英语翻译Barnes stresses that it will take time for the plantings to “settle in” and for the powerful architectural form of the foliage to be fully realized.He anticipates that the garden will,in maturity,be a mysterious place,shadowy and roma

英语翻译Barnes stresses that it will take time for the plantings to “settle in” and for the powerful architectural form of the foliage to be fully realized.He anticipates that the garden will,in maturity,be a mysterious place,shadowy and roma
英语翻译
Barnes stresses that it will take time for the plantings to “settle in” and for the powerful architectural form of the foliage to be fully realized.He anticipates that the garden will,in maturity,be a mysterious place,shadowy and romantic.
European parterre gardens were often completely enclosed,containing decorative plantings and patterns to be admired from outside the garden.Barnes instead created unembellished outdoor galleries to walk through.In this way,the minimal architecture of the Walker extends itself into the garden.The analogy to the Walker design is continued in the carefully planned openings in the court’s hedges to frame views of sculptures within,an effect not unlike Barnes’s placement of wide doorways between the Walker’s galleries to give glimpses of the next floor.Noting the deliberate break Barnes made with the Olmsed-style naturalism of other Minneapolis parks,Friedman describes their shared goal of a “museum character” for the sculpture garden:“There is an outside museum as well as an inside museum.” (3)
To provide this strong architectonic framework,Peter Rothschild selected trees such as the Glenleven Littleleaf linden,which would lend them to pruning.Rothschild and associate Claudia Thornton obtained no fewer than 875 arborvitae,200 Black Hills spruce trees,and 70 linden trees.A constraint on the landscape architects was the stipulation that the garden have no floral displays,nothing to compete with the sculpture.
Extensive grading of the site was required to achieve the terracing of the courts,which step down to the north.The granite planters sharply define the grade.The same granite that paved the Walker’s roof terraces is used for the garden’s stairs and planter walls.In contrast to the predominantly European character of the garden,Rothschild found inspiration for the low stone walls in New England.The rustic effect of a split-faced stone appealed to him,as he explains,the idea was to soften the effect of the walls by making them seem more like the kind of walls that a farmer in New England might have laid.The battered walls are self-supporting and lay with soil,allowing for natural movement as the ground freezes and thaws.

英语翻译Barnes stresses that it will take time for the plantings to “settle in” and for the powerful architectural form of the foliage to be fully realized.He anticipates that the garden will,in maturity,be a mysterious place,shadowy and roma
Barnes stresses that it will take time for the plantings to “settle in” and for the powerful architectural form of the foliage to be fully realized.He anticipates that the garden will,in maturity,be a mysterious place,shadowy and romantic.
巴恩斯强调,这将需要一段时间使植物“定居”下来,使强大的植物建筑形式得到充分实现.他预计,花园在植物成熟后,是一个神秘的地方,树荫笼罩和充满浪漫气氛.
European parterre gardens were often completely enclosed,containing decorative plantings and patterns to be admired from outside the garden.Barnes instead created unembellished outdoor galleries to walk through.In this way,the minimal architecture of the Walker extends itself into the garden.The analogy to the Walker design is continued in the carefully planned openings in the court’s hedges to frame views of sculptures within,an effect not unlike Barnes’s placement of wide doorways between the Walker’s galleries to give glimpses of the next floor.Noting the deliberate break Barnes made with the Olmsed-style naturalism of other Minneapolis parks,Friedman describes their shared goal of a “museum character” for the sculpture garden:“There is an outside museum as well as an inside museum.” (3)
欧洲花坛园林,往往完全封闭的,包含装饰性的植物,让人从花园外部敬仰.巴恩斯,独辟蹊径创造没有装饰的户外艺廊让人漫步.这样,最小的沃克建筑也延伸到花园.在精心策划的庭院树篱的开口勾勒了院内雕塑的景色,沃克设计在这得到沿续.Barnes在沃克的画廊之间留出宽阔的门口给人留下瞥见下一层的机会,这和以前效果没有什么不同.与其他明尼阿波利斯公园Olmsed自然主义的风格一样,巴恩斯从不蓄意破坏自然,弗里德曼描述了他们带有“博物馆特征”雕塑园共同的目标：“外面有一个博物馆,博物馆内还有一个.”（3）
To provide this strong architectonic framework,Peter Rothschild selected trees such as the Glenleven Littleleaf linden,which would lend them to pruning.Rothschild and associate Claudia Thornton obtained no fewer than 875 arborvitae,200 Black Hills spruce trees,and 70 linden trees.A constraint on the landscape architects was the stipulation that the garden have no floral displays,nothing to compete with the sculpture.
为了提供这种强大的建筑学框架,彼得柴尔德选择了如Glenleven小叶子菩提树,这将需要给予它们修剪树木.罗斯柴尔德和同事Claudia Thornton获得不少于875棵侧柏,200棵黑山云杉树,和70棵菩提树.对景观建筑师规定的制约因素是该园不能展示花,不能有与雕塑争艳的东西.
Extensive grading of the site was required to achieve the terracing of the courts,which step down to the north.The granite planters sharply define the grade.The same granite that paved the Walker’s roof terraces is used for the garden’s stairs and planter walls.In contrast to the predominantly European character of the garden,Rothschild found inspiration for the low stone walls in New England.The rustic effect of a split-faced stone appealed to him,as he explains,the idea was to soften the effect of the walls by making them seem more like the kind of walls that a farmer in New England might have laid.The battered walls are self-supporting and lay with soil,allowing for natural movement as the ground freezes and thaws.
本设计需要从南高北低梯田一样的庭院获得展览的平台.花岗岩花盆明确定义了级别.用于花园的楼梯和花盆种植的沃克的屋顶平台用同样的花岗岩铺成.和主流的欧洲的园林特征不同,罗斯柴尔德在新英格兰低石墙发现了灵感.一个分裂的石头乡村的效果吸引了他,因为他解释说,当时的想法是软化墙壁的效果,使它们看起来像那种在新英格兰的农民可能铺成的墙的效果.有裂缝效果的墙壁和土地一起能自我支撑因为地面冻结和融化自然的运动.

巴恩斯强调，这将需要一段时间的播种面积为“定居”，为强大的树叶建筑形式得到充分实现。他预计，花园将在成熟，是一个神秘的地方，阴影和浪漫。欧洲园林花坛，往往完全封闭的，含装饰播种面积和模式，从外部花园钦佩。巴恩斯，而不是创造没有装饰的户外艺廊漫步。这样，最小的沃克建筑本身延伸到花园。到沃克设计比喻是继续在法庭的对冲精心策划开口框架内，效果没有什么不同Barnes的沃克之间的画廊广泛门口给下一个放置雕...

全部展开

巴恩斯强调，这将需要一段时间的播种面积为“定居”，为强大的树叶建筑形式得到充分实现。他预计，花园将在成熟，是一个神秘的地方，阴影和浪漫。欧洲园林花坛，往往完全封闭的，含装饰播种面积和模式，从外部花园钦佩。巴恩斯，而不是创造没有装饰的户外艺廊漫步。这样，最小的沃克建筑本身延伸到花园。到沃克设计比喻是继续在法庭的对冲精心策划开口框架内，效果没有什么不同Barnes的沃克之间的画廊广泛门口给下一个放置雕塑地板瞥见了意见。巴恩斯注意到蓄意破坏与其他明尼阿波利斯公园Olmsed风格自然制成，弗里德曼描述了他们的“博物馆性格”的雕塑园共同的目标：“外面有一个博物馆，博物馆内还有一个。”（3）为了提供这种强烈的建筑学框架，彼得柴尔德选择，如Glenleven利特尔利夫椴，这将给予他们修剪树木。罗斯柴尔德和准和Claudia桑顿获得不少于875侧柏没有，200布莱克山云杉树，椴树和70。的景观建筑师规定的制约因素是没有花的花园显示，没有什么竞争与雕塑。广泛的网站，需要等级达到法院，哪一步下到北梯田。花岗岩种植大幅定义等级。同样的花岗岩铺成的沃克的屋顶平台用于花园的楼梯和墙壁种植。与此相反的主要是欧洲的园林特点，罗斯柴尔德发现在新英格兰低石墙灵感。一个分裂的石像，质朴的效果吸引了他，因为他解释说，当时的想法是软化，使它们看起来像墙壁的那种在新英格兰的农民可能更奠定了墙的效果。饱受摧残的墙壁是自在于支持和土壤，让自然的运动，因为地面冻结和融化。

收起