Landscapes - People - Global change

Category: Architecture (Page 3 of 3)

The Cultivated Wilderness (1997)

Architect Paul Shepheard's (1997) volume, The Cultivated Wilderness.

Architect Paul Shepheard’s (1997) volume, The Cultivated Wilderness.

I was in Fredericton over Easter, for the usual egg-related festivities, and got a little time with my partner in its endless second-hand bookstore, Owl’s Nest. On and on we hunted, picking things up and putting them down. I had Feyerabend in my hand for awhile, and decided I’d never read it. Finally, way upstairs in a corner on natural history I found architect Paul Shepheard‘s (1997) volume The Cultivated Wilderness. Or, What is Landscape? I was not familiar with his name, but the title suggested it might be useful for my new project on climax landscape thinking. Another serendipitous discovery.

Shepheard writes conversationally but with great insight, and thankfully little tragedy, about “the ways in which we humans tussle with the wilderness and change it to suit ourselves” (p. 1).  Like many scholars he sees all landscapes as ‘cultivated’ to greater or lesser degress: as reviewer Christine Bucher observed, even the natural largely survives today “because of zoning, government regulation, and temporary and benign neglect”.

Unapologetically utilitarian, Shepheard reminds us that it is “easy to forget how beautiful utility can be” (p. 127). He reads in landscape – and describes for us –  a patchwork of shifting strategies at large scales: e.g. survival, reason, defense, economic exploitation, restoration. His epilogue is worth quoting at length (p. 233):

Cultivation—the work of humans—has a different sort of beauty [than Wilderness]. There is nothing else under the sun than what there has always been. Cultivation is the human reordering of the material of the wilderness. If it is successful, the beauty of it lies in the warmth of your empathy for another human’s effort.

Landscape is a huge subject, as big as the earth and its atmosphere and reaching out to the edge of the universe. The big moves in landscape happen very rarely. You will be lucky to see one during your lifetime and even luckier to be in the right place at the right time to be involved in the making of it. Incremental changes happen all the time, however. They gradually accrue to big changes in what there is in the world, and whatever you are up to, you will be involved in these already. My epilogue is: be aware of the strategy that governs what you do.

Summer Graduate RA position open

To staff up my sustainable grazing / climate change SSHRC project, I’m looking to hire a local graduate student as a summer research assistant. The specs are quite broad, including the possibility of doing research on bibliometrics, discourse analysis, policy, or farmer extension/education. The project will be designed to suit the candidate, but there must be interest in independent research. It could be ongoing, and fit as a project/internship/practicum/thesis in a range of programs, or be a contract if the candidate is graduating. Read the details  here, and apply by email to me if interested by April 1.

Terroir

Melanie Colosimo's Transmission Tower I, at the AGNS Terroir exhibition

Melanie Colosimo’s Transmission Tower I, at the AGNS Terroir exhibition

One of the nice things about sabbatical is a little more time to enjoy my city and its attractions. I visited the new Art Gallery of Nova Scotia exhibition, Terroir, before the cottage week. Though I will need to return for a more fulsome look,  this open-call show of Nova Scotia art has a nice range of media and messages, each intended to connect to the local landscape and story. I saw some familiar artists, such as Steve Farmer‘s wonderful detailed photos of rust and abraded paint – what he calls “industrial documentation” – which I had previously seen at Pavia in Herring Cove, and one of John MacNab‘s mathematical machined wood sculptures. I also discovered some new artists, such as Wayne Boucher, whose large abstract Fall (2005) made me feel I was drowning in the work; when I later read that was an explicit aim I felt a little creeped out at its effectiveness. Finally, I enjoyed both pieces by Melanie Colosimo, whose air-mesh-constructed Transmission Tower I (2016) (see photo) is evidence of her artistic move:

…towards a preoccupation with traditionally masculine utilitarian imagery and themes of progress and construction … to explore memory, transitory states… thresholds between a previous state of being and the next phase.

This appealed to me based on some of my new thinking about energy transitions as the recycling of landscape from one use to another, something we probably need to get used to doing.

Oh, Mother Canada

I suppose it is time to weigh in on the disappointing progress of the proposal to build a maudlin ten-storey statue reaching out toward the war dead in Europe from the shores of Cape Breton Highlands National Park. I am not averse to man-made structures in natural settings, as I have often said here, but I do not support this initiative. I think it is useful here to reflect on the words of English designer William Morris in 1880 (later published in Hopes and Fears for Art: Five Lectures Delivered in Birmingham, London, and Nottingham, 1878 – 1881 (1882)):

If you want a golden rule that will fit everybody, this is it: Have nothing in your houses that you do not know to be useful, or believe to be beautiful.

This stands doubly for landscape, in my opinion. I would have an easier time supporting a small-scale wind turbine on this site, which research has shown over time can accrue local acceptance, and even attachment as a result of its utility and symbolism. Meaning can be built over time to lots of useful infrastructure: lighthouses, headponds, factory stacks, or towers like the erstwhile Radio Canada International transmission site at Tantramar. Similarly, a piece of great art may be seen as consecrating such a natural site and emerge as an attraction (like now-common sculpture walks) as well as a site of local meaning. Mother Canada does not even meaningfully leverage the natural beauty like the recent construction of the Glacier Skywalk in Banff, which I also opposed.

Such developments in National Parks suggest Parks Canada is more interested in visitor numbers than conservation. I believe that attempts to impose a memorial of questionable aesthetic value or symbolism as an attraction for the purposes of local economic development are ill-advised. It will become a site where those happily employed locals can sneer at tour bus passengers, who may themselves smell the inauthenticity and see the place as just a welcome bathroom break (where is that septic going, anyhow?). Given recent federal cut-backs in veteran support, this just stinks. Use the funds to develop a wilderness retreat for returned service personnel, or the grieving families of those who did not return, and all will be better off.

Newer posts »

© 2025 Kate Sherren

Theme by Anders NorenUp ↑