Contemporary Landscapes of Contemplation by Rebecca Krinke

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By Rebecca Krinke

Contemplative panorama and contemplative house are general phrases within the parts of layout, panorama structure and structure. Krinke and her very hot participants got down to discover definitions, theories, and case experiences of contemplative landscapes. The members, Marc Treib, John Beardsley, Michael Singer, Lance Neckar, Heinrich Hermann and Rebecca Krinke have spent their careers discovering, critiquing, and making landscapes. right here they examine the position of contemplative area in a post-modern global and consider the influence of nature and tradition at the layout or interpretation of contemplative landscapes. The essays, drawn from either scholarship and private event discover the hyperlinks among areas designed to supply well-being advantages and contemplative area.

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Completed in 1940 after a design and construction period of a quarter century, the cemetery is a landscape so beautifully conceived, so beautifully composed, and so right in every way, that even for those without the Christian faith, the place reads as sacred. To effect healing the funereal landscape dampens the noise in one’s life so that the still small voice may be heard. The Woodland Cemetery speaks stillness, especially in the winter when the land is blanketed with snow and the sun rakes low across the contours (Plate 1).

13 I’d prefer to think of an advance toward contemplation rather than a retreat, but language isn’t with me on this one. 14 For an overview of the history of Japanese gardens see Lorraine Kuck, The World of the Japanese Garden, Tokyo: Weatherhill, 1968; Teiji Itoh, The Japanese Garden, New Haven, CT: Yale University Press, 1972; Günther Nitschke, Japanese Gardens, Cologne: Benedikt Taschen, 1992; and Marc Treib and Ron Herman, A Guide to the Gardens of Kyoto, Revised edition, Tokyo: Kodansha International, 2003.

20–21. See also Okakura Kakuzo, The Book of Tea, 1906, Rutland, VT: Charles Tuttle, 1956. In describing the tea room Okakura writes: 34 Attending 122 It is an Abode of Fancy inasmuch as it is an ephemeral structure built to house a 2 poetic impulse. It is an Abode of Vacancy inasmuch as it is devoid of ornamentation except for what may be placed in it to satisfy some aesthetic need of the 3 moment. It is an Abode of the Unsymmetrical inasmuch as it is consecrated to the 4 worship of the Imperfect, purposely leaving some thing unfinished for the play of 5 the imagination to complete.

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