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Gilles Clément revisited: biology, art and ecology. A reply to Danielle Dagenais

Gilles Clément revisited: biology, art and ecology. A reply to Danielle Dagenais Abstract In ‘The Garden of Movement: Ecological Rhetoric in Support of Gardening Practice’ (Studies in the History of Gardening and Designed Landscapes, 24, pp. 313-340), Danielle Dagenais examines documents presenting the work of French designer Gilles Clement at the Parc Citroen in Paris. Her conclusion - that the designer uses ‘ecological rhetoric’ as a ‘post-facto justification’ for ‘garden art’ - is misguided, not least in its implications of opportunism on Clement's part. 1 Dagenais ascribes somewh]at arbitrarily certain descriptive terms to the vocabulary of ‘ecological rhetori’, and others to ‘garden art’ ,2 but Clement himself at this period links his work to one frame of reference only: ‘biology’. By substituting ‘ecology’ for ‘biology’ and furthermore using ‘ecological’ criteria that Clement explicitly rejects (i.e., plant selection by origin rather than behaviour and species diversity rather than evolutionary capacity), Dagenais reaches misleading conclusions, as she herself suggests after belated discovery of an early article which must deeply affect her argument. 3 My own conclusions (merely sketched here4 ) have evolved from regular interviews with Clement since 1986, preparation for several books in which his work is discussed and extensive reading of his writings, including unpublished manuscripts and the four books just published in 2005. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Studies in the History of Gardens & Designed Landscapes Taylor & Francis

Gilles Clément revisited: biology, art and ecology. A reply to Danielle Dagenais

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References (3)

Publisher
Taylor & Francis
Copyright
Copyright Taylor & Francis Group, LLC
ISSN
1943-2186
eISSN
1460-1176
DOI
10.1080/14601176.2006.10435469
Publisher site
See Article on Publisher Site

Abstract

Abstract In ‘The Garden of Movement: Ecological Rhetoric in Support of Gardening Practice’ (Studies in the History of Gardening and Designed Landscapes, 24, pp. 313-340), Danielle Dagenais examines documents presenting the work of French designer Gilles Clement at the Parc Citroen in Paris. Her conclusion - that the designer uses ‘ecological rhetoric’ as a ‘post-facto justification’ for ‘garden art’ - is misguided, not least in its implications of opportunism on Clement's part. 1 Dagenais ascribes somewh]at arbitrarily certain descriptive terms to the vocabulary of ‘ecological rhetori’, and others to ‘garden art’ ,2 but Clement himself at this period links his work to one frame of reference only: ‘biology’. By substituting ‘ecology’ for ‘biology’ and furthermore using ‘ecological’ criteria that Clement explicitly rejects (i.e., plant selection by origin rather than behaviour and species diversity rather than evolutionary capacity), Dagenais reaches misleading conclusions, as she herself suggests after belated discovery of an early article which must deeply affect her argument. 3 My own conclusions (merely sketched here4 ) have evolved from regular interviews with Clement since 1986, preparation for several books in which his work is discussed and extensive reading of his writings, including unpublished manuscripts and the four books just published in 2005.

Journal

Studies in the History of Gardens & Designed Landscapes – Taylor & Francis

Published: Jul 1, 2006

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