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Personalities ZA: · Zdenek Sendler · Pavel Šimek · Lenka Němcová · Martina Vlnasová · Eva Wagnerová |
Topics: · Origin, development and present of garden architecture · Energy in the landscape and its manifestations · Feng Shui in the garden · Revitalization of Brno parks · School of landscape architecture |
http://zahrada.aspweb.cz/ http://vzmb.brno.cz/ interests: LOVE (people, animals, plants, food, cucumber brine, drinks, aromatic smokes - not necessarily in this order), ENERGY current hobby: photography and incense life motto: EVERYTHING IS DIFFERENT." src="http://www.archiweb.cz/Image/zpravy/2008-06/lenkanemcova.jpg" />What is landscape architecture? I call our field garden and landscape CREATION. I perceive architecture as something that I build and "it is done." We primarily work with living materials and our works evolve over time. Plants react to the passage of time: they look different in autumn, winter, spring, or summer, differently during the day and at night; their age, vitality, and health are significantly reflected. Through the realization of our designs, we SHAPE with the help of plants, time, life conditions... cultural and natural landscapes in the intravillains and extravillains of our municipalities. What are the current trends in landscape architecture, is there a current "style"? In simplified terms, we can also successfully apply the term ENTREPRENEURIAL BAROQUE (garden maximalism) or ENTREPRENEURIAL FUNCTIONALISM (garden minimalism) in our creations. If the trend is a general direction, I would define it when designing gardens as a certain ignorance of the temporal variability of plants in creating a work. Certain instant architecturally designed gardens are being created with a large proportion of non-living elements (walls, gravel, boulders, paths from nowhere to nowhere and around nothing...), immediately after realization the garden is close to its target form and does not change significantly over time. In comparison to our natural landscape, evergreen plants are used excessively. We are quite dulled and can no longer enjoy, for example, the inconspicuous flowers of maples or the color of budding leaves; we need a massive magnolia bloom and as many variegated cultivars of woody plants in as small an area as possible to satisfy us. We do not know how to live in and with the garden, we do not distinguish whole and detail, we forget that sometimes it is enough, for example, to uncover a stone and plant a tree and the garden is done. Where does landscape end and garden begin? I consider "everything between buildings" as landscape with exaggeration and then understand the garden as a piece of landscape DELIMITED BY A FENCE OR FEELING. When designing, I create a garden for humans, I shape the landscape for people. I let the definition be looser.... Which of your 3 realizations do you consider (for yourself) the most characteristic? In my work, I emphasize the connection of the design with the place for which the design is created. Clarity of the design, continuity with place and time is important to me. I seek MOTIVES in the place where I design, whether spiritual or material. Frequently, potential vegetation of a particular place becomes my guiding factor, that is, what would grow in the place if man did not intervene. Garden of a family house in the vineyard, Podivín (for Atelier Brno s.r.o.) 4 bands of blue flowering plants as BLUE GIANT(ELETS) (styling of giant ellets of South Moravian buildings) - a reference to a characteristic element of folk architecture (realization 2003) linear beds with perennials and bulbs that bloom from spring to autumn in various shades of blue and blue-purple around the white house in the vineyard, other plants in the garden bloom inconspicuously, are decorative only by leaves, so they do not disturb the effect of "blue" giant; crucial is the optical connection with the landscape due to the use of the "ha ha" system Rooftop terraces of the Moravian-Silesian Region building, Ostrava (for PROJECT STUDIO) styling of nature of the Moravian-Silesian BESKYDS - primeval forest in the shade (including decaying trunk), heathland on the sunny terrace (including Beskid boulders) - reference with the natural symbol of the Moravian-Silesian Region (realization 2007) garden varieties or cultivars of plants that occur or are similar to plants growing in the above-described natural plant communities were used and good development is expected even on the terrace in the city, to enhance the effect "energy" was brought directly from the Beskids (trunk and boulders) Park landscaping of the Meandr apartment building, Brno (for Atelier D.R.N.H.) styling of PASTURE on the site where it was in the past - a connection with the way the place was utilized by humans in the past (currently in the proposal stage), variants grazed, semi-grazed, ungrazed grazed grass is stylized with recreational lawns, ungrazed then with ornamental grasses, which are supplemented with garden varieties of plants that cattle do not eat in pastures and which attract butterflies (e.g., ornamental thistles), freely growing groups of trees are shrubs of the pasture and there are also trees that provide necessary shade; all woody plants respect STG What experience do you have with lay clients and architect clients? I have incredibly positive experiences with all of them. I am fortunate that although I am "professionally young," I can choose projects because I design for joy and not for money (although I will of course accept payment). The prospect of pleasant work or collaboration is the only aspect in my decision-making; I can smoothly walk away from negative projects and clients. Why collaborate with architects? From a practical point of view, we can influence the creation of "landscapes" right from the beginning of the design process and not just be mere greenery enhancers of what has already been designed, when we then struggle to fulfill our colleagues' conceptual wishes :-) and moreover, we are deprived, along with our colleagues, of the opportunity to cooperate in the birth of an idea, concept. Once I chatted with an architect who bragged that he designed a house on a partially wooded plot without cutting down a single tree. To that, I replied that any skilled builder could do that and that I expect more from an architect, that they will draw from the conditions given by the site, in this case nature, and not just respect them, even though that is not yet the rule with us. But I mean inspiration, not mindless repetition of motifs. The work must "function" even without a verbal "instruction." I am happy to participate in such eye-opening for architects and myself and I enjoy continuing to collaborate with them after the eyes have been opened. Have you been impressed by the work of any of your colleagues or recent realizations? I will stick with "colleagues" in the Czech Republic…. In Brno, I like the realization of a private villa garden in Hlinkách by my dear colleague Pavla Kašubová. Otherwise, I am more fascinated by the feeling details that enhance the place: benches between the cherries behind the building of the constitutional court on Joštova street (Ivo Erben) and the sculpture Bystrcké zátiší at the church on nám. 28. dubna (Helena Hlušičková), both in Brno. My evergreen favorites include the monastery gardens in Litomyšl by the trio Sendler, Babka, Květ, and due to my love for ornamental grasses, I cannot fail to mention the realization of extensive grass beds in front of the administrative center The Park in Chodov in Prague (Copein Ultrecht, terra Floridus). I also appreciate the realization of a squirrel bridge by my classmates Jiří Šindelář and Naďa Sochorová. I was also very impressed by the work of Atelier A69, where in the EggO project, they precisely aimed ovoid "made" a garden with mature trees from an existing garden and also "additionally" built a house :-) (I just hope they allocated enough space in the "Tree Protection on the Construction Site" section…). The English translation is powered by AI tool. Switch to Czech to view the original text source.
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Lenka Němcová
Němec Old.
15.06.08 07:58
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