Richard Serra as landscape architecture: How the sculpture practice of Serra may evolve landscape architecture in Aōtearoa : A dissertation submitted in partial fulfilment of the requirements for the Degree of Master of Landscape Architecture at Lincoln University

Abstract

This dissertation explores the potential of sculpture and sculptural processes as catalysts for advancing landscape architecture in Aotearoa, with a particular focus on the groundbreaking work of post-modernist American sculptor Richard Serra. While this approach represents a unique angle within contemporary landscape architecture academia, the research grounds itself by examining historical periods where the connection between sculpture and landscape was inseparable. Examples such as Göbekli Tepe in Turkey and Ginkaku-ji in Japan demonstrate how both practices contributed distinct qualities to the surrounding landscape, reflecting the worldviews of their creators. To contextualize the study in a contemporary setting, the research draws on art critic and theorist Rosalind Krauss's seminal essay ‘Sculpture in the Expanded Field’ (1979) to explore the relationship between sculpture and landscape as they evolved beyond modernism. To investigate Serra's practice within the realm of landscape architecture, a multi-modal research approach is adopted. Drawing from established landscape architectural studies, the research employs various tools and methods to address key questions related to Serra's work in the context of landscape architecture. These approaches include biographic research and design drawing to gain an in-depth understanding of Serra's unique practice. Additionally, interpretive and descriptive design critiques explore how Serra's work relates to landscape architecture. First-hand, experientially based design critiques further examine how Serra's practice extends into the landscape architecture domain. Finally, the research considers the potential attributes Serra's practice may bring to landscape architecture in Aotearoa by analysing two NZILA award-winning projects. The outcomes of this research are manifold. First, the study reveals how Serra's practice is influenced by the logic of process and materiality, forming the basis for a process-oriented approach across various mediums. Utilizing Serra's ‘Verblist’ (1967), the research delves into an embodied approach, expanding the notion of 'landscape' and drawing parallels with Tim Ingold's concept of 'taskscape.' This perspective contrasts the ocular-centric view prevalent in landscape architecture and emphasizes the idea that "through living in it, the landscape becomes a part of us, just as we are a part of it" (Ingold, 1993, p. 154). Second, the research demonstrates how Serra's sculptural practice consistently extends into the landscape. Through the analysis and design critique of his works, the study uncovers a practice that explores body, space, and time, engaging viewers through site-specificity, context, and materiality. This emphasis on experiential engagement aligns with phenomenological philosophy and an embodied perspective of landscape. Third, the research establishes that Serra's sculptural ethos and the qualities inherent in his extensive practice—such as body, space, time, process, site-specificity, context, and materiality—have the potential to enrich contemporary landscape architecture practices in Aotearoa. This insight specifically pertains to enhancing the utility and design experience of existing and future landscapes. And finally, the study provides valuable insights into how landscape architecture, influenced by sculpture or other art disciplines, can evolve into a distinct and recognizable form. The interdisciplinary, multi-modal approach employed in this research can serve as a model for future investigations within landscape architectural academia, offering numerous benefits to the field.