5osA: [오사] :: *스톤 프롬나드 [ Jon Piasecki ] Stone River

5osa`database/Masterplan/Landscape2011/10/19 08:30

*스톤 프롬나드 [ Jon Piasecki ] Stone River

2011/10/19 08:30 / 5osa`database/Masterplan/Landscape

오사와 함께하는[페이스북/구글+] 누르기:) . -->

자연과 사람이 만나는 방법은 무엇이 있을까?
우리는 자연을 경외의 대상으로 바라보기도 하고
자연을 극복의 대상으로 간주하고 개척하기도 한다.
여기 스톤리버 프로젝트는 자연을 개척하기 보다 하나의 삶의 부분으로 끌어들여
우리 삶속에 아니 자연속에 우리의 삶을 넣는 일련의 작업을 하고 있다.
자연이 만들어 놓은 길 (돌과 나무가 자연스럽게 놓이고 자라면서 형성된 길)에
작가 자신이 돌을 작은 나무 수레를 끌고 다니면서 만들어 놓은 스톤페이빙은
우리에게 자연과 사람이 만나는 첫번째 단추를 끼워준다.
대략 400톤의 돌 그리고 800피트 길이의 스톤페이빙이
우리에게 시사하는 바는 상당히 크다.
우리 눈에는 보이지 않지만 그 치열한 생존경쟁에서 살아 남은 생물이
꾸며 놓은 자연은 어느 훌륭한 건축가나 디자이너를 뛰어 넘는 감동을 우리에게 선사한다.
이 자연을 만나도록 도와주는 스톤리버는 우리가 자연으로 가는 산책로 역활을 하기 때문이다.
자연을 거스르지 않고 그것을 있는 그대로 수용하면서
조화를 이루는 스톤리버 프로젝트는 그래서 랜드스케이핑 이자
건축이며 디자인 인 것이다.
이번 프로젝트는 자연이 지금처럼 극복의 대상으로 개발하여야 하는 것이 아닌
우리 삶의 소중한 일부분으로 인식하고 존중해야 하는
인식을 만들어 주는 중요한 프로젝트 인 것 같다.

reviewed by SJ

Jon Piasecki recently received a 2011 Honor Award from ASLA for his Stone River project. The magic of this project lies in the details. You need to watch the video (after the break) to appreciate the painstaking effort and attention to detail that went into this project.

Landscape Artist: Jon Piasecki
Location: New York
Collaborators: Rob Davis
Text: Jon Piasecki
Photographs: Jon Piasecki, John Dolan, David Borden

This project is designed and built as a piece of landscape art. The design was essentially a flash of inspiration during a site visit informed by several years of practice physically joining stone and working in the woods as well as by my independent research on Incan stone work. With this path I applied great effort to join stones together. I strove to join the path itself to the preexisting stonewall and woods in an attempt to offer the visitor the opportunity to experience a sense of fusion with nature. The goal of this project is to join culture to nature. This path provides one trajectory along which people can reintegrate with the world around them in a sustainable way.

I built this project by myself. There were no other laborers. I hammered each stone joint and moved each stone down the path on a small wooden cart. I transferred tens of tons of gravel and sand as a setting bed with a wheelbarrow and I moved nearly 400 tons of stone in the wall and as paving over the 800-foot length of the path. I opened the existing stonewall, chose the course of the path within it and rejoined the residual wall stone in such a way that the path appears to have grown organically within this stonewall where it resides. I was able to personally lay stones so as to avoid individual clumps of ferns, standing trees, fallen logs and existing stones with mossy growths in the wall. This was done in an attempt to preserve as much as of the preexisting life of the enormous wall as possible.

The general design context of this project is of the highest order of cultural production in the fields of landscape architecture, outdoor sculpture and architecture. The challenge in all participating fields is to do the best work possible. The project presented here is my part of this great project and is one piece of many pieces within the larger overall vision of the clients and of another landscape architect. I have designed and built the path presented here, which leads to two sculptures by different artists. However, my path is explicitly acknowledged to be its own sculptural work.

Machines with internal combustion engines played a part in this project. They were used in the quarrying of the silver stone (a mica schist) its transport, commuting to the job site, some rough stone cutting and to a limited extent in shuttling of stone, sand and gravel. A good deal of this mechanized work was carried out using vegetable based bio-diesel fuel. The vast majority of the project was made using simple machines without engines and with the efforts of my body.