That's right you're right.

A little light in the muck to stop.

The Legion Yeah.

Poorly.

Did I say that they're happy.

This is an accurate.

He's also professor compared.

We're also chair at Grenoble University.

Has had no little hole for

Digital's as a filmmaker
a documentary filmmaker.

Work on the radio is
an accomplished skull or

in this subject landscape and
others its teaching and

research focusing on landscape
stacks the history of vertigo.

Different areas of perception and
the poetics of architecture.

Welcome to the stage.

Michael Jacobs thanks so much.

And.

I'm first of all thanks a lot for
them to take.

For the possibility.

I was to present this landscape
architecture here around to be present in

the exhibition this exhibition has been
I'm a possible wideouts this cultural.

Organisation for a break and it was.

And we realise that it would be half our

universe the Polytechnic old school

in the design which will be presented
here at the end of the months.

Swiss landscape I could that
sure is not so easy to.

I mean because naturally try to propose

an explanation and
I plan on Rama after history or

the recent history of Swiss
landscape architecture or

should we rather say landscape
like the actor in Switzerland or

Swiss landscape architects
work around the world.

So you see already when we try
to define our topic it's not so

easy to identify it and if you look to the
exhibition you will see that we started

with streak conceptual panels so
the first one.

Is it tries to invite us to
see its response people get

actually starting with the concept
of time and then we have this right.

Then we have another one a second
one where we propose another

series of concepts.

Regular minimalist and
then we have asserted

one when we try to say Swiss
landscape architecture

has something to do with the ecology or
will become magical conscience but

and actually this is a better way and
by wrecked way to a present.

So it's landscape architecture and

to present Landscape Architecture
all together.

And you know radical
sense we could say that.

How can really present
landscape architecture.

Especially if we think about projects.

And especially if we take
into consideration that

in an exhibition we have one post or
one panel and

in order to show over
of some people work for

twenty or thirty or forty years and
evening so and then again.

Even if we weren't have a lot of space.

A single project how can we.

Charlotte's Web as it
made to show something.

Can we really represent
landscape architect.

And even the landscape.

So there are other problems linked to
theory on two factors which are present

in an exhibition but at the same
time we really wanted to show and

to make think Strabo and
to invite people to think about it.

So my topic is not only

Lance was landscape architecture but
landscape architecture generally.

And if I think about landscape
architecture generally the first thing

which comes to mind is well what do
we mean by landscape architecture and

I don't only ask this question
in a place like this one really

in a school of architecture where
maybe the presence of landscape and

of landscape architecture is
not automatic up not normal and

that where landscape architects
are some people know they exist but

strange animals strange people and
they somehow spot they don't.

And so we don't know what we really know
and this is in almost every landscape

every I could actually screw around
the world it's the same problem because.

Somehow even in places where the landscape
architecture has a long tradition there

is a problem to identify what they do and
how they do it.

So there is a problem out.

Your way on herself
landscape architecture.

Today I can doctor is quite well
represented many people know what

architects do and some architects Salcombe
sabse quite well and they're very present.

Maybe some people are even too
much proud to present and.

The whole star system etc but
landscape architects very often disappear.

So we don't know what they do we
don't know about the methods and

we don't know where landscape
architecture really goes so

I tried to with this beautiful
painting back Marchand see.

So that's landscape
architecture really exists and

where does it tell if it exists and
what do we know about it.

A Landscape Architecture is
a very recent discipline.

Generally not only does West want
Landscape Architecture all together and

it starts everything starts
in seventeen eighty nine.

It's a year of the great revolution in
France and this is Humphrey Repton and

probably help rewrapped and
really invented the discipline.

He is the first one who is not happy to
call himself a god nobody calls himself

a landscape gardener and he comes from I
write from visual arts at the same time

he has a real sense of business he first
think it as he prints a business card

this is his business card and so
he says I'm a landscape gardener and

you see he is someone who doesn't
really do the work that he has

the thinking he does a project team that's
the design and he will tell his clients.

I do the design and you have to pay
a lot because the design is a difficult

think everyone can do the work of
the working man they will do the work but

I am the one who has the overview.

I think you see a right turn
where somehow we can almost

Rance Howard out of his hand and that
his mind becomes a project of design and

it becomes a drawing of
the drawing will become reality.

When he will transpose it
into something real and

here you see another guy
a Frenchman who in eighteen or four

calls himself actually take place as this
which is a landscape architect So again we

see at the end of the eighteenth century
beginning of the nineteenth century.

There was a radical change and
we have a new professional figure.

And his importance.

Not only for landscape architecture but
in American culture pulled together for

many many reasons and then in order

to go on he was a Swiss landscape
architect I Q I believe the most

important man in the twentieth century his
name was the Cherokee nost he dying to

around two thousand and so
we have some of these big.

Respect many of these people
are almost unknown and

we don't know what they did and
how they did it.

How did it work and what did they do
while this brings us immediately to our

important concept of representation and
rapped on the guy I showed you before.

Well he understood the importance
of representation because he

presented to his clients
the so-called read books and

the read books were books he would go to
his clients pants one week two weeks or

months with them and
then he would make wonderful drawings and

rhetoric Quaaludes natural and
later he would come back.

Sri for months six months later and would
say well this is where the imagines and

he he would present his
projects in these Web books so

when he made these drinks and

especially work with
a system after a before and

after so because he knew that you
have to make your client dream.

So he always started with a starting
point which he found negative.

Well something Mr Brown said well the
entrance of your domain is not interesting

enough and you should do something and
you should invest it's a draw and

you make people dream and you hear
this trick because he would put future

reality of the project on
the existing ground and

people could simply turned up.

Take this book in their hand and
really have

a glance to what they project would become
you see that's how I'm pretty wrapped and

worked so here ready invented something
very powerful to it has to do

something with representation and we know
how important representation is today for

architects landscape architects
generally are probably many I

remember I spoke with the help of
the mill around some time ago and

they said for us now our representation is
almost fifty percent because you really

have to convince people and
it's not only up.

About Photoshop and about it's really
about how you translate ideas into reality

and proper Repton immediately
understood this and more I'll tomorrow.

This is our painting by my right so

you see the first landscape architects
were at the same time artists and

they could sell the idea of what
they wanted to their car but

they intended to do for their clients
in using painting and different cults.

Armstead naturally even father
because he invented it.

If you look to read competition of
the prints for its competition and for

Central Park.

You see that I'm so it really was.

It's amazing.

I was together with his
partner where he saw

Dom necessity not only to have
a beautiful representation at the same

time something which looks almost like
a logo something which is recognizable and

immediately recognizable and

then this is the project Kalki nice
the Swiss guy would present it.

So you see naturally things change.

You know how today how the possibility to

change our how to do that
today will represent.

Architecture and landscape architecture
differently as you know in one thousand

century and even in twentieth century but
still there is a surge of continuity.

Now read to the landscape architects do.

If we look to wrap when we are where
we have the chance to grow

too many of these places they still exist.

Almost fifty of his projects still
exist in quite good shape in Britain in

Great Britain normally of the French.

Landscape architect there is only one
project to make more than fifty forty but

certain one were destroyed and
only one project survives and

in a bad state so very often.

This is a problem because we could say
that there is a sort of Ela giant.

And I say well a giant destiny
of landscape architecture and

of guidance because they always change and
they will disappear one day.

So how can we keep the memory of
landscape architecture projects and

of gardens and of I do projects because
they are always exposed to China.

So don't know.

Not a lot.

Naturally everyone knows
I'm Stadion scenes and

whether you go to your local whether
you go even in the mill you travel

in America you're more you discover I'm
safe places so I think he's still very

much present and this is a keenest project
very famous one day interesting one.

It's a cemetery in the eastern part of
Switzerland where the keenest really

transformed a theme which is Spike present
in the work of landscape architecture

in these last thirty or forty years in
something very interesting because it's

a sort of wraps where the cemetery where
the where the idea of framing and.

Even the physical What does it mean to
go into a cemetery and what does it

mean what do we need there and how do we
deal with time so it was really very far.

This is another Swiss landscape architect.

Even in Switzerland.

Most of the people even working in
the field don't even know his no name so

Reese for God is completely invisible
His name is and scram are and

this is our project he presented in one
thousand nine hundred eighty nine for

a garden exhibition and I showed it
to you because his project himself

a drawing is very beautiful and
there was an absolutely direct influence

of this project called The God
of the ports on Robert's

mission Roberts Mason spoke about
the importance of primer and

naturally well know the importance
of Robert Smith and about.

Centrale O.T. and land out etc etc about
ants grammar is completely forgot.

And here you see one of the surviving
projects of Robert Smith and in Holland.

And with this.

I already come to our Another
theme which good be a sort of.

Like motif.

And this is the mountain and
for mountains we saw before.

And scram are beautiful mountain rabbits
misson in Amman built the far mountain and

this is a from mountain built
these days by Christopher Jewell

he is present in our exhibition.

It's actually in Switzerland.

Today we're building the biggest
glamorous terminal of the world

fifty nine kilometers and
there is a lot of material and

it is the rebel is a landscape
architect in her lips and Rick.

But was a French originally
he builds this for

a mountain and it is a very important very
interesting project and I choose this

because this prints I asked to remind
the second point I want to speak about

mountain it's not normally when we
speak about when we think about

Switzerland we immediately have we were
associated with mountains with I pine

landscape and indeed this
situation is somehow logical and

this brings us back to our tradition
I want to say some words about

our pine nature mountains and
the idea of nature in Switzerland.

Because I think you can understand
landscape architecture only if you

if we are aware that slice behind this.

There is a tradition behind.

Landscape Architecture in Switzerland and
I want to start with this famous painting

of protein for the first painted by
a German painter Conrad vits and

it's interesting because it is the first.

Canas Clark's told that once people try
to read we can recognize a landscape and

the landscape is in Geneva.

So it's on Lake Geneva and

this is the city of Geneva behind you
have two mountains which still exist.

I think so.

You see Your them up one mountain or
glimmer well and it still exists.

It's still there.

So we see there is a sort of
typographical attention which is

very different of the painting
of the protein century and

of the symbolic paintings
before we come of Brits.

So we see already the theme of
the mountain becomes important but

mountains for a very long time until
the seventeenth or eighteenth century.

We're not really something positive.

Right because you know we know what.

We know that there is one.

Let's say we could form a like
this Mountains in general and

I'm region where for a very long
time at least until the Strand in

the seventeenth century considered
to be something negative.

When people have one thousand
mountain reagents they

really hated these regions and
all their descriptions show us that they

stabbed at the eye playing
region I mean right nature.

Where something negative
because it was full of

off snakes off Drager only kind of things.

And it was really a sort of Africa to
reign of negativity and of the devil.

Why was this that bad.

Remember in the Old Testament.

We have at least two very
important stories if you want.

First of all Adam and

Eve were gods presented and
built for us a perfect wells.

But now we know how things went and
Adam and

Eve prefer not to live
forever in paradise.

We can't understand them because it
must be very boring to live for.

Every paradise what and how are they good.

And as we descend from Adam and
Eve shared the original sin and

after having laughter paradise.

They will live in a negative world
because to live in this world

our wealth means to survive and be
surrounded by the kind of temptations and

it's a world of the devil and the second
very important element is delusion.

It's a great flood and the great flood the
idea of the great club was very popular

and under YOUR percent seventeenth century
people starts that nature the nature in

which we really live is really
the result of the great flood and

so the big flap Where's the moment
when glad you remember Rance Adam and

Eve such children are ripe to save
them and be able it's actually

got God became so mad that he
sat at a certain moment deletes.

He deleted the first humanity and only
a few people survived on the arches and.

So the great labs for the base are framed
cetera destroyed the roofs and.

On to the seventeenth century
even though very serious people

even scientists believe that
the great flood really existed

there that we live in the woods and
the mountains were interpreted as the.

Fragments of this original destruction.

So the disgust people felt when
they went into the wild nature.

Fear and disgust was something which
was very magical because it is as if we

were to go back to our own past and this
explains why the mountain was imagined for

affray strange things so
here you have the floods and

the great flood in a representation
of the seventy seven century.

It is very much present
in many many represented.

The destruction of the world.

After the live in nature generally is
something negative and it's represented by

a kind of allegorical thinkers which
showed that nature is full of temptations.

And these are illustrations
of the eighteenth century.

So in the eighteenth century
there was a famous Swiss

scientists he was a physician he was
a mathematician a very bright guy.

But at the same time he wrote a guidebook
on the mountains and especially on the guy

of mountains in the region of lucerne
one of the Swiss can sense and

he may even strike exam and
he said if you go in the regents

be very careful because it's one of
these strange animals so it's true.

After a glance and
this is Trice or so and.

So he really somehow I
believe the existence of

this kind of animal sounds strange

being sent to some people even believe now
so if for example I pianists who go into.

I don't know to.

I can get if you don't eat for
you for days and

with it's I don't know minus how some.

It's very cold where you
have all kind of visions and

these visions become a sort of reality
in until the seventeenth century people.

The mountains are nature.

Right.
Nature is that the rain is a terrain of

the devil and that's where you have
all kind of the Devil's Bridge and

the devil's mountain and and so on.

So this is the negativity
of the mountains and

they took a look at a lot of time and
almost angrily.

During the night went into
it in Century that nature.

Will be unveiled here you
have an illustration of

what if they get in Century where
philosophy and builds nature.

Finally we see nature how it really is and

know how our theology and
others explained it.

And in this the pros.

The transformation of the idea of nature.

So first century Christian culture nature
was that the reign of negativity and

the transformation from
negative to positive from.

Seduction and.

Diabolic forces to something completely
positive was linked to these that think

that the sublime to physical theology and
very importance was figure Central.

Had had a major role the first one
has a break from the high level.

He was a part and after he became a very
famous scientist he was a mathematician

a professor at twenty two and getting on
and he made a big very important career in

the sciences but before he crossed the OPs
and he wanted to poem called The IP and

raps and it was immediately translated
in only languages and that.

There's a very important figure because he
didn't only describe the apps in a very

new way he said it's important to grow and

to see the right nature and
there is fresh you should grow.

You should leave the city and
will be discovered right nature so

he was a pioneer in this treatment and
at the same time he invented a sort of

very powerful miss where he said to people
in the mountains and they specially in

some remote regions of the mountains
in this special and Switzerland.

They are more democratic and
because they have to live with necessity.

In Switzerland rather see them to have
anything you have only stones and

Richard you don't have any
Thanks you don't have any

sand I do a richness So
you have to cope with what you have but

because you have to learn to cope
with what you have with necessity.

You can be stronger and so
he says these people are democratic and

they are not so
decadent as the Italians France banished.

And other cats are like people who are
natural he was influenced by Protestantism

it's not wrong and he said in these
rallies you have you have the good guys.

So he invented the mess up the good
mountaineer or the good man.

Some people will naturally know that
people are not better or worse and

mountain regions and in other regions but
this was very powerful and

the whole who it was
interested became interested.

In this region so
they said we have to discover this

wonderful place once a month and we have
to come there another figure in very

important influence behind the other one
father of this is John Jacques who say.

Reza originally came from Geneva.

And you saw there was a best seller at the
eighteenth century and well at least it's

a novel in letters and in his neighborhood
the main characters sound close as.

The only one skips I'm
interested in I demand from

landscapes because it's the sublime and
it's picturesque and it's extraordinary.

So you see how certain
themes became fashionable.

At the in a century.

If we think for centuries.

The mountains right nature was
no not interesting at all.

And now maybe we can century
literature and poetry painting and

early on it's somehow became more and
more interesting.

In nature and
the books I sometimes across or

with this Illustrated news
industry circulated a lot so and

the episodes are expressed so
the right areas and

especially the Holy Mountain eras
of Switzerland became more and

more important became important for many
reasons I cannot I don't have the time to

speak about physical theology about Thomas
Burnett and Jon Donnison cetera but it was

important too because in the seventeenth
and eighteenth century people were very

interested in the question of the origin
of the mountains because the urging of

the mountains was a passion of the origin
of the way out and there were two big.

And that trick positions a brand
as a volcano of theory so people

some people said the mountains of the
world come from the OK no sun the other

people were Neptunian sort of to make they
thought everything comes from movements we

could say geological movements and all the
interactions at the time had their opinion

some who I'm that one side some on the
other and at that time in the eighteenth

century it became a pleasure to come
to Switzerland to see how things really

work because they are in an empirical
culture you have to observe nature.

You have to wreck.

Where to find us fragments.

If we welcome around so.

So it's all and became a sort of
a barrier to people could come for

scientific reasons.

And here you see them as
important elements and

this is the aesthetic of the sublime.

You remember the sublime
as a kid I grew FLATOW X.

then it became a cattery statics
in the seventeenth century and

at the end of the seventeenth century
John Dennis was the first who identified

the right nature as a source
of very strange pleasure.

A sort of ox America
pleasure if you ranch.

He says terrible journey and so
right nature becomes something sublime and

that tourists very
quickly returned to mass

in the eighteenth century we see that
people start to come to the apps and

they want to see these new miracle.

Surf the world.

Nations for
example become are an object of

a fascination you see the people
you're sitting drink speaking about or

you see the glaciers there was
the glaciers in the Alps issues and

people and so people came to stab them and
to admire them.

And other forms of the sublime
tyrants all kinds of weather for.

Became very popular and were popularized
So during the week in Century.

As a for a scientist fame to
send other people were really

popularized by nature and
here again you see

how the tourists and you know the word
to risk comes from the ground or

on the ground to a pass through the yobs.

So the tourist would come there and
study nature and admired and

bats these are really beautiful places and
here you see the sublime.

It's almost a most or all these images
have to do with something to sublime

because the sublime is something which
is bigger in comparable to big so

it's something in comparable eight.

If we compare it to
the size of the persons and

you see how the person has become smaller
and smaller and nature becomes bigger and

bigger and
then at the same time there are certain

places which become topical they become
Typepad so everyone will know them.

This is a famous star back.

It's hard to fail in Switzerland and this.

It was so important that hundreds and

hundreds of painters and not only
visitors would come there and paint it.

For example if I remember well
this is Pier starts painting so

you know after hearts and
school etc I had some risk and so

people from the whole world came and
there.

Everyone wanted to paint the star
back because everyone would know it.

And here you see different paintings
selling the same place and

then with the production
of guidebooks and.

And the kind of literature around
eight hundred we have to imagine

that cultivated speak would have
their mind full of these images.

So everybody last would have images
are picturesque nature or sublime nature.

So if the.

Centuries the right nature.

Whereas I was people feel

a sort of sense of this last Everything
changed during that we can century and

Switzerland where it's really at the
center of this is static transformation.

So I mean this was a story.

It was really it happened in Switzerland
and Switzerland was at the center but

to tell its almost great consequences and
at the same time certain

Swiss elements became important you and
I represent a shallow layer of the cottage

was interested in the cottages and
shallowest before eight hundred.

We have descriptions of cottages
in England where people say these

are horrible places of horrible people and
they're stinky and they're lousy and

they're sad and never had any interest but
remember the end of the week and Century.

People who have moved so Brits who had
made a grand who discovered some sense

Amber knock on the architecture in Europe
who came back and they said the old blues

cottages are very sexy the reverential
sitting there started to back up its

places in the Lake District and these
places became fashionable for centuries.

No one looked at them out.

At the center of the attention and
the chalet the streets became so important

that it was represented we had proper
documents are no kind of objects but

they were almost So this is our existing
Swiss chalet in the eighteenth century.

But this is a shallow grave
in that in central Paris.

So because everyone in your picturesque
guidelines and the landscape guidance.

Of the inside story people wanted to have
a sort of half minutes what's around

the sort of Switzerland the miniature
was most Switzerland so

they would be able to capture just and
here we have a Swiss Cottage in England so

you have all kind of these caps are just
an imitation of Switzerland went so

far that we didn't Army imitate
architecture but even nature.

Here we have Raptor forts in the Alps and
then this is not in the ouse but these.

The eighteenth century
gardens where very often.

There were I to fish were bred to for
those really direct imitation

of Swiss nature so
serious nature became very fashionable and

very present in the European conscience
an international conscience here.

We're not in the OPs this is again in the
region a Ferris but this is our writer for

built artificially by people
specialized in oil will clearly

to do landscape architecture and it was
a reminder of sorts nature and if we look

in the books or plants keep architecture
after all right we see that this is and

this is a how to build a sort of
sublime scenery in a garden and

actually this is an imitation of these
kinds of scenes which people knew Repton.

You're very aware of those
how to do these things and.

So the imitation of Switzerland went so

far that even some
Switzerland's will invent it.

There is there would be a lot of
interesting stories to tell about for

example a Frenchman who had
a comment account and yet

at the certain moment he was a he
was in political trouble and

he had to leave Paris and
he went into pure and

nice and he went to the Peronist met
people he worked a lot as a translator and

as an intellectual on the space mountains
and many have come to play nice.

He said Well there are some interesting
mountains here and his interest for

mountain sea was the first person who
was interested in the Pyrenees before

November's interest in these mountains but
he was interested because there was

somebody Switzerland and after he read
some books he published some books and

people were nice became fashionable
the same thing happened in

the Lake District where in Great Britain
people became interested in their own

nature because they had discovered nature
in Italy and in the office and so on so

and this had a lot of calm.

Sequences and
especially one of the consequences.

Wells that already around eighteen hundred
people were full of ideas about nature by

nature but at the same time
almost suffered already I have.

A bi sexual relation by
there not too many people

out there too many people
are losing interesting places.

So we have already.

Artists who share our stats in
the Alps and that may be bad.

Nature doesn't exist anymore.

And until now I spoke about
transformations in the mind of the people.

So everything of this happened
in the consciences are for

people because they took a long
time to transform the negative

image of nature of wild nature
into something positive.

Now in the nineteenth century to do new
things happening very important things

happening in the yobs the arrival of
the train you remember that Ruskin and

many other people were extremely mad
with this and they said no truth and

the wild nature of the European mountains
will be destroyed forever at the same time

we have the hotel industry which
completely changed the relation we

have to true it's the picturesque and
sublime scenery because

until this time there was a certain
danger to comment to see the red nature.

Now you could play into a hotel and
the balcony where you sit there and

you can really without any danger you
can use sort of consumerist attitudes.

It's like television
today you sit there and

there is no danger of maybe
mental danger and psychics.

In other ranger forms are bencher But
now that wreck danger.

So you can admire nature.

What this means that nature and

that brought out by Nature has completely
been transformed and normally would and

we're not very much aware about it
because if you look to do this.

Photograph.

While most of the people would say
this is a beautiful landscape and

even if you make interviews with.

People who they would say walk
the train is beautiful and

it would be and it takes some
analysis to say well the train or

how much time has it been here and does it
change the perception of the landscape.

And for example around like in Iraq where
we have all these beautiful landscapes and

I think if you remember you know
this UNESCO world heritage of.

Places Sanj projects to be inscribed
in the Big Book of you know skull and

this is one of these Regents which
is a sort of strange paradox

because the way it should be inscribed why
only some places but it's another problem.

But coming back to this.

So if you're willing to this landscape or

see that nature is really
it's something manmade.

And especially when you have everything
all nature is Manmeet and maybe

around that lamp very few places around
the block where nature is not manmade.

But with time.

Well get used to it and we even find a few
people would say we have to route back and

to take this train away.

We somehow think this is a good.

There's a good mixture and you see already
at the end of the nineteenth century

there was an industry to build
trains sent to transform it.

And that's really bad radical
transformation not from nature in

Switzerland came with hydro
electricity and they were after.

Most of the people are not aware
that I would grandparents and

great grandparents had the chance for
example to go into the mountains and

to hear the mountain because they
were full of threat of force.

Now it's impossible because everything
there was directly into the pipes

of the hydroelectric industry and
we have these dams.

Now these dams may be very beautiful
we can say these are huge and

wonderful sculptures.

But at the same time they transform
it's completely the idea of nature and

then take traffic and other things.

So the.

Absent the beautiful right
nature of Switzerland's

called Nature what it's still so
it's really manmade it's.

It's marked by many many things and
by home and

sent by streets and by industry and then
this is one of the visible part of it and

then we have the invisible pipe inside the
mountain so very often I put down to my

students and many of our students come
from outside and they don't know it.

So it's a very round and they have
this image of Switzerland as a sort of

wonderful surprise and pure place and I
said there is nothing more artificial than

this results because they're completely
manmade and they're full of basins and.

Dams and
don't thousands of other thing and

read this kind of street and then if back.

Stories which is a direct
relation with this is Heidi.

Remember how.

She she loses her parents and
then she lives in the city and

living in the city is very bad anyhow and
so she's unhappy and then

happy when she goes to her grandfather and
her grandfather is a sort of incurred some

symbolic incarnation of the mountain and
he's a good grandfather and

with a good son the good milk and
the setter everything is perfect here.

And this is nature found again.

So the great from the city
found nature milk.

Friendship and happiness and cetera.

So and
how you became a sort of thing credible.

Myths.

But if we were to hide it.

Well I think there is a problem with ID
there is an original sin with title and

their original sin without it is
simply that you're honest period.

Published a book and it became aware
bestseller at the same haven't ran

the mountains really completely
transformed because this

was a moment of the regulation of
the mountain reverse of the construction

of trains etc So
we see how it is a start off our lives.

The story.

It's a straight to have story.

Somehow reinvents a sort of nostalgic
story of the possibility to keep first and

I make sure it's.

Right.
Nature at the same moment where we lost

a parabola because at this time of
fighting nature is a ready mast and

it's funny because you know I have a menu.

Every year.

Dozens and dozens of filmmakers come
from Bollywood and they love to make

their film since I was the same
to the amount by the way and

they do these films and
that Switzerland so they come there and

they say Switzerland is perfect job for
you.

They have been him out.

Ion some big groundswell of mountains
in India so wonderful mountains but

they love Switzerland because they
say everything is perfect here and

it's pure I don't think it's pure
I think it's it's not true at all.

And so
I speak about this because you see one of

the things which I was important for
landscape architecture and for

the landscape architect today as it was
his territory right that we come from and

what is nature for us.

What is the grounds where we work and what
is the tradition and a good symbol for

that is this mountain.

Now you know matter too even if you don't.

It became a very important symbolic
mountain not only for Switzerland

again Raskin just want to first Mansur he
writes about it in mountain painters and.

He made even one of the poorest rather
grabs of the rich and it's a mountain.

It has two names
Matterhorn in German said.

In French and in Italian it became back

from Switzerland a sort of
absolute symbol of Switzerland.

Forgetting for example of that half
a third isn't Italy but so you see there

are some small or big problems and
some who are recognize the potential raff.

The mother own is we have this need
because it's natural really sad

I could fish a matter
WHO WANTS around the world and

I'll show you some of these different
matter and some of you may know the matter

Harmeet sabse I'm a few I
have seen in other places and

when I read choose of the mother on
because it poses a very central problem

not only from landscape architecture but I
think I could actually I mean for culture.

What what is nature for us today and

do we have the past ability to
have a dialogue with nature and

what does what does it mean to
see the beautiful landscape.

Astronaut or Robert read already
in one thousand nine hundred six.

You said he was in a mountain place

of these resorts where
people went skiing and.

For other vacation and he said I'm amazed
because people are on always unhappy when

they hear because they say the postcards
I'm a beautiful than the place itself.

Because sometimes there is that web and
sometimes a bad mood setter and so on.

I was six maybe the fact that the perfect
representation the postcard is

more beautiful than the reality and
this is especially and

the Matterhorn shows this very well
because there was this idea of genius that

we can eat the matter heart.

So you can.
It's words aren't you

can't it's just landscape.

Because this is a modern So
you see in chocolate and

everyone knows I'm after her.

But if everyone knows I'm not around.

And if everyone knows with
nature it is just nature.

What about its purest is it
not something which is very

rich is fabricated which
is a sort of problem says.

So the many many years in
the idea of nature and

nature is never something
which is simply given.

But it's given by a very
complex cultural process.

And so if we think about these processes
we have to analyze where we work and

how we work and therefore I think
that this landscape architecture is

grounded in important tradition but
it's not

a let's say it's a matter of a rich
tradition where many things come together.

So it's of an extreme complexity and

one of the complexities about many among
many complexities is for example the way

engineers in the twentieth century
transformed the landscape.

I think engineering is generally
something which transforms massively

sometimes brutally by sometimes very
interesting landscapes and there is up for

example are an important story
story to write on the Swiss

engineering of bridges because
there will be many significant and

juniors who built very
very important bridges and

that's really bridges not
only functional but you see.

The people who invented these
two groups to these bridges.

They really thought about what I am
I doing here in this ride's region.

Why do I believe this.

Why do I give up this form and.

I could show you many examples
I think that was landscape

is marked by these kind of examples you

see one of the wonderful
bridges built by your concert.

One of the most famous and important
Swiss engineers who worked for six

years six years of paper to indorse office
and he built a new bridge in the B I.

Marla and the view Amala in the eastern
part of Switzerland it's going

to be a model because model.

It means bad.

So this was a double swelling and

this was a sort of by a ballot very
well thought and then the big.

I mean one of the central
places of tourism and

he built some wonderful
bridges in this region.

So you can and
must be published volume when

he makes the exhibition on your concert at
the A So I think he's among the many and

the Near East transformed Swiss landscape.

So in order to understand Swiss
landscape I think one has to

take into consideration.

Cultural processes and not the fact that
Switzerland was not given that it was made

that it was constructed that it's part
of the European conscious self meant to

truest into the grand truth to the sublime
to the picturesque and to many things.

So then for
its first landscape architecture itself is

of extreme complexity and I think you that
it's a very happy thing that we don't

have a Swiss landscape architecture school
in the sand that we have a sort of dogma.

Where in geology dangerous where you have
an edge ology and everyone does the same

but we have some shared values and
the street shared values and I come really

to the end of the presentation at least
that's how I try to A Guide to identify.

We can express a truce by the idea
of time or elegance of style.

And there is a Swiss tradition
Rafa looking to form and

up to the good for him.

It's linked to people like Max.

Who would teaching that you know
everything we do whether I could tax or

designer or landscape designers
we have to look for the good and

I think the good form is
linked to simplicity.

Now you are now the simple
rule the simplicity is

one thing which is the most difficult to
achieve because the simple solution is

simpler because it's simpler at
the end of a very complex process and

simplicity is an important value and
it's very much present in this.

The famous repairman the group of
ham the good form and you see you.

He takes a very simple objects I've
been alive but he takes bridges and.

Landscape Architecture and I do example
still so I think so good for them.

Style is important and
we can add to that in Swiss landscape

architecture is there is an extreme
sense for material for match reality.

They often there are many stories to
be told by many projects where people

are really spent days and weeks and months
in order to find the right solution and

there is a Swiss tradition of
handicraft of Mecha reality.

Which is they were present in
all these projects you see.

We could easily find examples
in contemporary architecture

to this is really not Tammy or
in architecture from the eastern part

of Switzerland with people like Club
route and or jati And so I'm sure.

This kind of I sometimes call it
is a carbon istic or Protestant.

Or tradition.

You know it's very my master.

It's about Underwood to be a cousin of
these guys you know because of it's very

you know let's reduce everything to a most
nothing it has something by a sceptic.

The simplest form sometimes it's
almost brutal removed simplicity.

But it's rooted simplicity
because it's in there is

a certain sense of necessity to
reduce something to have nothing

which you don't really need in
the projects to I really need.

Absolutely.

Simplest solution.

So when there are value for
an elegance style.

Another brand really good minimalism if
you want the last one is maybe a college.

You can add tickle conscience and
it's not it's not

how can I say resort after
fashionable ecology.

Now it's very fashionable you know.

In Switzerland hundreds and hundreds
of my kids and people globally and

especially the British RA
people globally and

especially the right observe
the doctors go then and.

You you you go in the morning and then.

You have people who sell care that's
not Rashed and they're dirty and

I would say by way of carrots and
thereby a special appeal.

So people are very happy
because they by nature and

I think you have something similar.

Sometimes in greenish landscape
architecture as we have greenish I

could actually rather people think it's so
easy to do you

just put some trees on a balcony and
I'm perfect and it's good conscience.

Now I think ecology interest landscape
architecture is more profound and

you have a very good example
of where the studio speak.

These are some people who
started in the seventy's and

they built the biggest the most
important guy done Public Garden call

in Switzerland it's into it but it's
a most it's a biggest public garden and so

it's a land it's called initial park and
it's a package the University of drink and

in the eighty's they decided
to have no pesticides and

no insecticides and
they were attacked by the industry.

And by repairs and by the colleagues
who said no it's impossible and

you destroy the garden centers and
the chemical industry and think about

Switzerland how important chemical
industries etc etc and so I think ecology.

Was more about what not to
do it was not about some so.

Gestures.

But some are about how to think
landscape architecture as a process.

So I would think we came very fashionable
now with our friends charts of our time

and your corner it's a trap where we speak
about process some time etc So you see

the most important landscape architecture
projects around the words they crashed.

Down and
now everyone speaks about this whether to

use or perhaps your time process is

almost by a magical and they go magical
concepts which begin at the beginning but

after the design process and
not the end and

I think this was very much present
there are many many source projects.

So when Bruce makes I
think a tradition which

is interesting enough to be discovered
in our exhibition and for attention.

It's just.

You know.

While it too it took a bear and i'm time
they didn't deal immediately the first

English garden in Europe was seven hundred
seventy or me and I'm Bill near Paris and

then you had broke loose in Germany and
it took a very very lamb time.

In Switzerland.

To adopt the so-called English or
picturesque style.

After it became a sort of international
language but I think only

in the second happening nineteenth
century and then it became then the there

are places where I think it would
be quite complex to answer.

So we have to distribute styles

that served in reducible if I Italian
classical French and English and

then around eight hundred twenty story
we have a sort of still mystical crisis

because we see that there is no new
language where the art of the guidance and

then we have a sort of eclectic periods
where people start to mix the different

styles and I think around eight
hundred fifty eight hundred sixty that

English style becomes an international
style and then you find it everywhere.

So at the same time one that
makes his journey to Britain and

when he discovers English gardens and
then comebacks comes back and Bruce in

the picture aside because most almost
everything I'm stage in is picture rescue.

Then in Switzerland two people
will start to do it and

after we had well it goes back and forth.

Because.

After immediately because there's
a comeback to the French garden and

then we have Robinson with the right
guy doing that they've got was or

was back in force in Switzerland two.

I think there was a maybe there was a sort
of resistance for an English garden in

Switzerland because probably the Swiss had
the sort of garden like nature around them

so they needed to last
the image constructed

by gardens because somehow they had
something which looked garden like.

Yeah you.

Are or were.

Well it's a very very
complex phenomenon and

process because first a paper with some of
this politically very complex because we

have a system of direct democracy where

almost every months on many things.

So we have the national vote we
have the count on the ballot and

we have the local about for
example if you would say we think

the campus as a place where you live
there and everywhere months or so

you have a problem because there
was a new construction the average

monism ited to work out whether you
accept this construction or not.

And this means that even planning.

There is now there are some
general rules for planning.

There's a standard words where the whole
country and then you have some.

Local region.

So regional and then you have
some common sort for one site and

service means that it's extremely
difficult to do things because you have to

pass things in order to do something
then there is another important thing.

And as you know Switzerland is probably
one of the most richest countries

in the way of maybe the richest So
I don't know it depends how you calculate.

And one interesting problem and

to the question you raise is agriculture
because we have zoning and so

generally speaking the country is divided
into places where you can live and we have

industry and then you have some places
where a good culture is still present.

Now the problem with agriculture
in Switzerland that it's senseless

because it's uses it's so
expensive and so.

People who do agriculture in Switzerland.

They really do it but
somehow I bear like the Queen of England.

I mean there are plenty to do
in order to do agriculture.

It's like the federal government and
so every Swiss police.

Some people have blue crabs and they're
salads and it's economically sensible it's

even ecological it's not probably what
we could speak about it's ecology and

said today we'll have a very very complex
and interesting but because situation.

People start to get away or that.

There is no there is no better space for
construction whether for same time for

political reasons we keep
after peasants after farm her.

Because he is somehow sort of
mythical still good of Switzerland.

So people are.

And so we'll have agriculture
even if it will be much easier.

To import from Italy from Spain
from Iraq on from other places.

So we build a salad for times or six times
more expensive and meet costs three times.

Because we want to keep through
their family the idea that.

So it's a new still a sort
of agricultural place and

these things started to now to become
difficult because at the margin.

It's the relation between the city and

the Man City becomes very very popular and
this is the same

even the smallest places are urbanized So

we have a certain there is strange
situation where the home country.

I think the bars are so
how to do Malone and

dinner said probably we have a big
city grand come to the rhetoric.

So there's one big space and
the problem is

what do we do with
agricultural territory and

the matter is the relation
to the family wild

nature which is again something very
urban If you go to school in research

think about Aspen or tattoo and there is
nothing more urban got no skiing resort.

Everything is and you see the same place
even the same people using the city.

You see in barrel cetera.

So there is a very very
complex situation now.

I think of the territory and.

It's not easy for politicians.

To cope with it.

So I think this is
an interesting moment and.

Naturally there are many many people
who want to have better say so

politicians openness landscape architects
and then the population to gather.

Yeah.

You know it's not a bad thing
that's probably the only

think which would be bad and not in
moral terms but more in those terms of.

Their design and its natural and
generally political awareness is

to try to keep an idea you know off.

Why would resign nature of so
I think to be no style joke is

always very dangerous because
to think that the past is better

than the present in the future is very
dangerous because it blocks future.

So if our society defines
itself by I think

the past was better mobile
are us more beautiful.

Everything was better then I think
this is something which is really.

It's tenderness.

I think to open up.

Now it's a future but
I agree very much with you.

I think our relation to nature
is starts almost with drop.

Laughs I think we start to be interesting
in nature at the moment where

we are lost where we're lost in it and
this is not only the case in California in

the sixty's where parallel a canter is for
stand extinction and

interest in nature in
a moment where we know.

What California was presented and

how quality trend in civilization and
in infrastructure.

What already in the search century B.C..

We see that the first moment in history
when people were interested in nature

was the same time the moment when
they transformed the tribe Akali So

it was the moment where Alexander of Egypt
became the biggest city of the world or.

At that moment we have an urban
conscience and I think

probably nature of the interest of for
nature is an urban invention.

It's that urban intelligence and so

first occasion which looks
back to something that last.

So I agree with you there is always
something and we're back to it.

What band we have to look forward.