Spanning four continents and six countries, this book introduces “new art landscapes” that fuse architecture, the reuse of found structures, environmentalism, and artistic experimentation. Through words and pictures, readers explore six institutions—Olympic Sculpture Park, Seattle, USA; Raketenstation Hombroich, near Neuss, Germany; Benesse Art Site in Naoshima, Japan; Inhotim, near Belo Horizonte, Brazil; Jardín Botánico, Culiacán, Mexico; and Grand Traiano Art Complex, Grottaferrata, Italy—dedicated to the experience of culture and nature. Integrating vegetation and non-linear sequences of spaces, the sites offer multiple experiences enticing the visitor to circulate between and within buildings.
Iwan Baan, one of today’s most influential architectural photographers, thoughtfully documents each project. In addition to his stunning images, the sites are depicted with architects’ plans and sketches, historical photographs, and maquettes and sketches by key installation artists. Raymund Ryan’s insightful essay discusses important historical precedents and considers the defining characteristics of “new art landscapes” through descriptions of each of the projects. Brian O’Doherty offers an artist’s critical perspective, while Marc Treib situates the projects in the history of landscape design Architects under consideration include such established masters as Tadao Ando and Álvaro Siza Vieira as well as emerging practices such as Tatiana Bilbao and Johnston Marklee.
About the Author
Raymund Ryan is Curator at the Heinz Architectural Center. He is the author of Cool Construction, Michael Maltzan: Alternate Ground, and Gritty Brits: New London Architecture.
“Smart, handsomely illustrated. . . . Raymund Ryan has gathered a visual feast of institutions that illustrate the future of museums.”
— Pittsburgh Post-Gazette
“A look at six art venues around the world that break the mold (with the Olympic Sculpture Park included).”
— Seattle Times
“[Explores] the idea of taking the museum out of doors and weaving art into a natural or constructed landscape.”
“These locations not only offer opportunities for curators, architects, and landscape architects to consider relationships between the various areas of focus, they give artists unconventional venues for creating and displaying art.”
[Represents] a departure from the traditional museum gallery space, as well as from expectations of how a gallery should be experienced.”
"Ryan not only proposes a move away from traditional curation, but a move toward a more democratic museum typology, a model in which architecture, art, and nature hold equal clout in an aesthetic experience. The viewer is encouraged to roam and discover in the Green Maze. And for the museums of the future, a new form may lie at the end of these labyrinths."
— Anna Fixsen