Lithuanian Association of Landscape Architects LALA
Pecha Kucha PresentationIFLA Europe General Assembly,
8-10 November 2019, Antalya, Turkey
Prepared by Gintaras Stauskis, Delegate from Lithuania
Vaiva Deveikienė, LALA board member
“Landscape as a collective memory”
Artistic plein-air as a way of exploring the local landscape and protecting its memory
Lithuanian Association of Landscape Architects LALA
« Les effets du paysage doivent être étudiés par l’œil du peintre avant d’être mesurés par le compas de l’architecte »
"The effects of the landscape must be studied by the eye of the painter before being measured by the compass of the
architect“
E. F. André, 1879, L’art des jardins
Edouard André (1840-1911) at the end of the 19th century has created four picturesque parksin Lithuania: in Palanga, near Baltic sea and in Užutrakis, Lentvaris and Trakų Vokė near Vilnius.
Lithuanian Association of Landscape Architects LALA
View of Palanga Park in Revue horticole, 1906 View from the park to the sea
Lithuanian Association of Landscape Architects LALA
Edouard André has three main sources of inspiration. The first one is painting, the second iscycles of nature, and the third one is English landscape architect Humphry Repton (1752–1818).
Effect of light – morning, according to H. Repton. Park in Palanga (by E. André), 2005
Now the parks he has created become the source of inspiration for us. The plein-airs of LALA have started in 2005 from actualization of E. F. André heritage.
Lentvaris manor park, 2011 Painter Marta Vosyliūtė, 2011 “The motive is worthy of sin“
Lithuanian Association of Landscape Architects LALA
Lithuanian Association of Landscape Architects LALA
The activities and exhibitions of LALA plein-airs attracted the Ambassador of France. Ambassador's visit to Lentvaris park in 2010 was a good opportunity to attract the attention of local authorities to the problems of park management.
Ambassador delegation at Lentvaris Park near the grotto French ambassador meets with authorities ot Trakai district
We completed the plein-air cycle of André Parks on 2013 in France, at the former André homestead with a huge park in La Croix-en-Touraine.
Lithuanian Association of Landscape Architects LALA
Since 2014 the plein-airs take place in old towns and villages, where many subjects oflandscapes and architectural heritage, historical parks and manor houses have survived.
Lithuanian Association of Landscape Architects LALA
Painter Aldona Dobrovolskienė in Rokiškis, 2015 LA Egidijus Vidrinskas in Rietavas, 2016
Lithuanian Association of Landscape Architects LALA
Painter Viktoras Binkis in the plein-airs in Rokiškis 2015.
The artist combines the present and the story in one piece.
Lithuanian Association of Landscape Architects LALA
The work, discussions, games bring creative fullness and help you feel the spirit of the place.
The working weeks of plein-airs include seminars, meetings with local communities, and the exhibition.
Lithuanian Association of Landscape Architects LALA
Exhibition in Rokiškis, 2015
Exhibition in Užutrakis, 2006
Exhibition in Anykščiai, 2014
Lithuanian Association of Landscape Architects LALA
The publications on parks with illustrations of plein-airs works as a diary capture the memory.
Lithuanian Association of Landscape Architects LALA
The different approaches andattitudes of the various artists,the sense of the local spirit(genius loci), the creativeatmosphere and the emotionsreveal the layers of thecollective memory of the locallandscape.
The model of Zubov Forest Park. LA Karolis Grušas, 2o19
The plein-airs give to us:
2008
Lithuanian Association of Landscape Architects LALA
The understanding of the cultural landscape - from unrivaled distances to the eloquent details.
The plein-airs in Regional park of Kurtuvėnai 2019.
Lithuanian Association of Landscape Architects LALA
“Depending on the nature of the culturalheritage, its cultural context, and itsevolution through time, authenticityjudgements may be linked to the worth ofa great variety of sources of information.[…] The use of these sources permitselaboration of the specific artistic,historic, social, and scientific dimensionsof the cultural heritage being examined”.The Nara Document on Authenticity (1994)
For conclusion:
Thank you
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