Titlebook: Lucius Burckhardt Writings. Rethinking Man-made Environments; Politics, Landscape Jesko Fezer,Martin Schmitz Book 2012Latest edition Sprin

大漩渦

,Gardening—An Art and A Necessity (1977), artist is unaware he is making art: in allowing a plant to prosper here, pruning one there, and tearing up that one by the roots in order to plant it elsewhere, or to trash it, he is not merely composting but composing too: composing a threedimensional image, his garden.

chronicle

Why Is Landscape Beautiful? (1979),ll landscape, and which other, equally visible phenomena are excluded? For we agree unanimously on this much at least: the cow pats in Vrin belong to the landscape while tin cans tossed aside by a tourist do not.

核心

灌溉

Design Is Invisible (1980), ready-to-use form, premised on certain external parameters: in the case of the can opener, on the structure of a can. The designer of cans, for his part, considers how a can opener functions. That is his external parameter.

helper-T-cells

Dirt (1980), hedgehog meat while other ethnic groups shudder at the thought of roast rabbit. Would you enjoy the taste of roast fox, a favorite dish of alpine farmers? Why did people bury horsemeat for centuries then begin in the nineteenth century to process it, in specially built slaughterhouses? What makes b

設(shè)想

The Night Is Man-made (1989), darkness falls, finally, unless the moon musters a meager light to help us on our way. Many animals—owls, bats and moths—are experts at locating their food by night while man has driven others such as foxes, deer, and rats into the nocturnal realm. Man himself, who is doubtless a diurnal creature,

CANT

,Architecture—An Art or A Science? (1983),difference between an artistic and a scientific approach supposed to lie? We are unable to trace this difference to concrete aspects of the design process, which is to say, to its thematic content or to its results; hence, on the one hand to artistic buildings, and on the other to technical ones. We

JEER

A Critique of the Art of Gardening (1983),eds out of existence, and to treat ornamental plants as disposable goods is indeed both wasteful and harmful. Another critique of the art of gardening, and in particular of city policy on parks and gardens, is based on the presumption of public use. It therefore regards the growing tendency to lands

obsolete

拔出

Aesthetics and Ecology (1990),f course, they got along well with those locals who sell their authentic handicrafts as cheap-at-the-price souvenirs yet who remain unspoiled. For these fortunate people actually get by without money. They live on and can make a good livelihood from this—and here comes the decisive term—from this in