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Garden of Australia dream national museum of Australia, Canb

    Garden of Australia dream national museum of Australia, Canberra
    Garden of Australia dream national museum of Australia, Canberra 代写
     National museum of Australia(NMA) is a critical landscape design in terms of its’ successfully and meaningfully representation of Australia self- consciousness with explicitly challenging orthodox landscape expression. Richard Weller one of the important designer for Garden of Australia has stated in his writing that this is perhaps the largest built map and is s space representing rich Australia entire history! The landscape is imbued with aboriginal culture dressed by interesting forms and colors.(2001) at this stage Children seem to be positively enjoy the space but for mostly majority it seem to offer an unfamiliar experience, in, this is the reason why Garden of Australia dream is bring debate. Early in nineteenth centuries in European garden space for people is shaped by upper and middle class, where they directed their gardeners to plant in order to entertained their guests or looking for required scenes(Waymark, J.2003), furthermore, the garden city era in Amercia is more importantly express garden space is for people, the diffrence to early European is the overcrowding population is seeking a space for them to settle. At this point the GOAD is design to return an image of Australian aboriginal, torres strait islander and commonwealth government history, a place for people to read and knowing the Australian history from walking and playing, the image1 is showing children playing with the site and knowing the major feature of Australia-the water and land. The image2 is showing people walking across the site and reading and talking about the history,the experiential qualities of GOAD is well presented from those people using the site. Comparing to the traditional landscape design the surreal forms and overlaping images and pieces of floors are strongly against and challenge our understanding of landscape design, instead of planting design the GOAD’s physical qualities is more likely to be poetic and artistic design.
      
    The Layout of the Garden of Australian Dreams
    The divide between architecture and landscape architecture is a rewarding area of research. In the enclosed garden the two disciplines are amply represented(Aben, R. & de Wit, S.  1999) The GOAD is a context which forms part of the architectural and landscape around the National Museum of Australia on Acton Peninsula in Canberra’s Lake Burley Griffin. The Garden was designed by Richard Weller and Vladimir Sitta who runs of the Perth landscape designers Room 4.1.3, in collaboration with architects Ashton Raggatt Macdougall, designers of the NMA building itself and the masterplan for the whole site. It has been known by Naomi Stead that This masterplan, which importantly informs the design of both architecture and landscape, Walter Burley Griffin’s remarkable urban plan for the city of Canberra was been tied with Action Peninsula in a interesting inflected way. Where Griffin had designed different of intersecting axes, natural land icon and cultural institutions across the water have been linked, the architects of the NMA have taken these straight and axes and interacted them. furthermore Naomi has described that ‘the museum’s three thematic curatorial ‘threads’ of land, people, and nation are looped and intertwined into a ‘knot’ that both generates and circumscribes the architecture and the landscape’.(2007)
     
    The two main maps used are a standard English language map of Australia and Horton's map of the tribal boundaries of indigenous Australia. The names and lines of these two maps interweave, erase and overlay one another, forming a complex weave. Lines becoming distinct in here, Francis D.K. Ching has explained that line is a critical element in design, it can serve to join, link, support, surround, even the simple repetation of like or similar elements, if continuous enough, can be regarded as line and this type of line has significant textural qualities(1979), the design of line could illustrate there are rich information about Australia history is together showing in the map, the aboriginals, the western people, the land, the culture, now is linking together as a whole land this is well explained the central theory of Australia. The map is an document which officially offers social contract function and so it bears various written signatures. The end of a large red `X' has signed by Edmund Barton, Australia's first Prime Minister's It is uncommon knowledge that many Aboriginal people signed (and still do sign) documents with an X. The X is a sign made under duress by a party who could often neither read nor write. Another signature is the word `Australia' was signed on this map as well. It is written very large acrossing the water overlap to the land. It looks like half in and half out of the water at the northern end of the garden. The word is written in reverse, as if held in a reflection. A garden is represent Australian culture so it contains other elements, including various nods to the popular culture of the Australian backyard—a Canary Island palm tree, a kidney-shaped swimming pool, a patch of perfectly manicured lawn. The Northern edge of the map gives way to a water pool with recumbent dead tree and the word ‘Australian’ as a built element at its edge.
     
      It is stated that Modernism meant different things to different branches of culture at the beginning of twentieth century, but widely it was concerned with against old ways of thinking. If modernism meant the breaking from old patterns and idea of design, was there a set of rule or a common language of idea?(Thames$Hudson 2003) MOA is way too much for modernism or just at boundary, the answer is critical and lack of success to prove it but Thames&Hudson has further stated that to some extent we have to agree with art historian H.H.Arnason’s comment which in the study of art the only primary evidence is the work of art itself, the rule is impossible to achieve. For an example the Uluru Axis is the master art design showing the evidence we’ve looking for, the huge red line across the peninsula that rises up and curls back onto itself the spatial qualities become so clearly the hard steel materials and red rock color completely bring the Uluru in front of you and Richard Weller has described that The 'Uluru Axis' as it became known, demarcates a relevant national orientation is because its’ centre location of the nation's landmass and its historic activities with aboriginals This new axis allegorically brings the monumental Parliament House into line with the monumental Uluru, thus establishing the dialectical bookends of the project.(2001) Both the NMA and its garden are highly detailed, figurative, and tropical. both the landscape designers and architects have been able to structure their design as explanations more than facts in order to showing a level of separation through the whole garden, the design gives vistors more questions rather than a clear answer, as speculations rather than universal truths. Naomi has pointed out that By calling upon the parallel but different logic of art, they simultaneously duck the need to be authoritative, and grasp the ability to be experimental. The clear expression of artifice is the key signal of the works and constructedness. Generally the design philosophy are not seamless aesthetic works.(2007) they challengeing the conventions and traditions of sensuality in landscape and architecture. retaining a level of separation, even ugliness, Michael Keniger has argued that ‘The GOAD is urban not Arcadian, enclosed rather than limitless, complex and challenging rather than simplistic and sedate. The GOAD is more anactive event than a space of repose. It reveals clues as to the structure andnature of the forces that seek to control and shape the land and its pre- andpostcolonial occupation Like any garden, it is a mirror and foil to the world beyond and, in this case, to the tangle of ideas and actions that concern and affect the discovery, occupation, making and remaking of place in Australia’ strongly explained how modern garden design settle a body of rule to itself with clear speculations.
              Richard Weller has described this space can also be used by artists producing installations that relate to the changing exhibitions of the Museum. The front of the Dream Home can be used as an outdoor summer cinema(2001).There are eight blue poles which recalling Jackson Pollock's painting Blue Poles behind the empty dream home, is a controversial icon of post-modern Australian culture. There are numbers of different types of painters referenced in the garden include Sidney Nolan Arthur Gordon Bennett Boyd,Jeffrey Smart and Russell Drysdale. The entire map surface is full of chaotic painting interactive with each other is a technique used by traditional indigenous Australian artists. Sitting on a small porch off the front of the Dream Home Richard has placed himself as laughing at all of this, is the garden's gnome - a monstrous figure of an 'antipodean', the sort of mythical, mutated people that, back in the Middle Ages, Europeans thought might live in the antipodes(2001). Whilst we have been conscious of where our work might position itself in terms of local and international landscape architecture, our primary labour has been to make a place richly imbricated with the light and shadow of contemporary Australia.
    Conclusion
    Garden of Australia dream national museum of Australia, Canberra 代写
       The story of the GOAD is far from complete, and it has not all been happy. The NMA project was always politically loaded, and the building itself made some startlingly bold allusions and strident contributions to existing m xcontroversies over Australian national history and identity.(Naomi 2001) Located its position as Australian public national museum, it was only a time consume before it links to political attention. Furthermore, This opens several important debates in itself; not only around the idea of the garden as itself a museum ‘exhibit’, but also around the autonomy and authorship of the landscape designer. The panel clearly perceived the garden as one of the museum’s exhibits, and therefore scrutinised it for the same balanced, truthful, and authoritative approach that one might expect from any museum exhibition().Finding that the GOAD made a series of conclusions that the Garden ‘could be made both inviting and educational’, because of the theme of Tangled context into the Garden. Moreover, the garden offered a seris of ‘conceptual ideas which are adding ‘a number of large element rocks design that illustrate the geological history of Australian land, typical of Australia’s past and present plating design is also brought to here’ and also including ‘well-produced representations of Aboriginal rock art’, and adding more lawn.9(aila) All of this would serve to realise the Garden’s‘great potential’ as an inviting and educational domain—one which draws people into
    an area where they can sit or stroll, enjoy a meal or drink, in both summer
    and winter. It needs to be a place where visitors can reflect quietly. More
    vegetation and shaded seating would make this space welcoming—a real
    garden. It should be a space that is self-explanatory(AILA) but,GOAD is actually a fundamental map of Australia upon which visitors can walk and read complex layers of information. It is a mini land of Australia which means A footstep across the map could be the same as 30 miles across the real landmass of Australia. all the richly patterned drawings or design on the ground surface and written concrete surface are designed to look like a map printed on fabric that has been stretched and folded across the site. The map connects the National Museum and the Gallery of First Australians, thereby it is suggested by Richard that this is a shared cartography between different land-use practices and different cultural interpretations of property and place. The garden can be thought of as a theatrical interweaving of both the `Great Australian Dream' and the `Aboriginal 'Dreaming'.(Richard 2001)The former being the ideal of acquiring a cornucopian suburban property and the latter a mystical system of mapping and a comprehensive set of creation myths vested in landscape. Both are landscape based mythologies, both concern defining boundaries and kinship. Both are profound systems of orientation.

    Bibliography
    Garden of Australia dream national museum of Australia, Canberra 代写
     
      Naomi Stead, 2007‘Museological Landscapes, Mythological Lands: The Garden of Australian Dreams’, published in Michael J. Ostwald and Steven Fleming eds. Museum, Gallery and Cultural Architecture in Australia, New Zealand and the Pacific Region: Essays on  Antipodean Identity, Edwin Mellen Press, Wales, pp. 69-80.
     
    See Naomi Stead, ‘Popularise or Perish: Reading the National Museum of Australia’, in Kevin Green ed., Architecture’s Past, Proceedings of the Annual Conference of SAHANZ, Darwin, September 2001
     
      AILA,Excepts of the panel’s report published on the Australian Institute of Landscape Architects website, http://www.aila.org.au/gardenofaustraliandreams/INDEX.HTM
     
      Richard Weller, Director, Room 4.1.3 Pty Ltd,2001,www.room413.com.au
     
      Waymark, J.  2003, Modern Garden Design: innovation since 1900, Thames & Hudson, London
     
      Aben, R. & de Wit, S.  1999, The Enclosed Garden: history and development of the Hortus conclusus and its reintroduction into the present-day urban landscape, 010 Publishers, Rotterdam.
     Garden of Australia dream national museum of Australia, Canberra 代写
      Ching, F.D.K. 1979, Architecture: form, space, order, Van Nostrand Reinhold, New York.