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"Sculpture gardens."
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Lower Bound for Sculpture Garden Problem: Localization of IoT Devices
The purpose of the current study is to investigate a special case of art gallery problem, namely a sculpture garden problem. In this problem, for a given polygon P, the ultimate goal is to place the minimum number of guards (landmarks) to define the interior polygon P by applying a monotone Boolean formula composed of the guards. Using this problem, it can replace the operation-based method with time-consuming, pixel-based algorithms. So, the processing time of some problems in the fields of machine vision, image processing and gamification can be strongly reduced. The problem has also many applications in mobile device localization in the Internet of Things (IoT). An open problem in this regard is the proof of Eppstein’s conjecture, which has remained an open problem since 2007. According to his conjecture, in the worst case, n−2 vertex guards are required to describe any n-gon. In this paper, a lower bound is introduced for the special case of this problem (natural vertex guard), which shows that if a polygon can be defined with natural vertex guards, then n−2 is a lower bound.
Journal Article
The Aesthetics of Violence: Myth and Danger in Roman Domestic Landscapes
This paper explores the use of art to recreate violent mythological landscapes in Roman domestic ensembles. Focusing on the Niobids found in two imperialhortiit argues that the combination of sculpture and landscape exerted a powerful imaginative effect over ancient viewers, drawing them into the recreated mythological world. Mythological landscape paintings also offered a view out onto a mythological realm, fostering the illusion of direct access to the spaces of myth. However, these fantasy landscapes need to be seen in the light of the associations which natural landscapes held in the Roman imagination. Recreations of mythological landscapes in domestic art express the desire to incorporate the natural world into the domestic sphere but through the presence of violent events they also highlight the inherent powers of those landscapes and the gods who frequent them. They speak to a yearning to immerse oneself in myth and the natural realm, yet also warn of the perils of such a desire.
Journal Article
Oasis in the city : the Abby Aldrich Rockefeller Sculpture Garden at the Museum of Modern Art
In 1953, architect Philip Johnson and landscape architect James Fanning designed a Modernist sculpture garden for the Museum of Modern Art in Midtown Manhattan, dedicated to patron Abby Aldrich Rockefeller. The rectangular, open-air courtyard was set on two levels and paved in long, rectilinear slabs of Vermont marble. The western, upper platform comprised a dining terrace shaded by a line of eight hornbeams. The lower terrace, sunken two-feet below grade, was incised by two water channels spanned by marble platforms and planted with cryptomeria and birch trees, which helped break up the space and control visibility of the sculpture placed throughout the garden. An 18-foot high, gray brick wall with climbing ivy formed the garden's north edge, screening it from West 54th Street. Under Johnson's aegis the garden was enlarged to the east in 1964, at which time landscape architects Zion & Breen unified the planting scheme by replacing the cryptomerias with weeping beeches and planting additional weeping birch trees to echo an existing cluster of trees in the west end. Following museum expansion between 2000 and 2004, the half-acre garden was recreated by Zion Breen & Richardson Associates. Johnson's overall plan was restored, but with lighter-colored, Georgia marble paving and a 14-foot high aluminum screen in place of the brick north wall. Now approached from the west, the garden is elevated on the three sides abutting museum buildings, while the centralized sunken space includes the water features, clusters of single-species trees, moveable chairs, and large pieces of modern art. -- Cultural Landscape Foundation website (viewed on October 26, 2018)
Book
The Afterlife of the Cesi Garden
One of the most celebrated gardens in early modern Rome was built by Cardinal Federico Cesi (d. 1565) near St. Peter’s Basilica. Earlier studies of the site have concentrated on the famous sixteenth-century antiquities collection displayed in the garden.The Afterlife of the Cesi Garden: Family Identity, Politics, and Memory in Early Modern Romeshifts the scholarly focus to also examine the changing appearance, functions, and the broader social, political, and economic significance of the garden for the Cesi family and for the city of Rome over the course of the seventeenth and eighteenth centuries. Through a close analysis of visual evidence, unpublished archival documents, and a plan of the garden by the architect Giovanni Battista Contini (d. 1723),Katherine M. Bentzdemonstrates that the long post-Renaissance afterlife of the Cesi Garden reveals the ways in which politics shaped specific urban environments in Rome, how aristocratic Romans considered and used gardens over generations, and the vital and symbolic role that the garden played for centuries.
Journal Article
WAR MEMORIAL LANDSCAPE HERITAGE IN ENGLAND
During the centenary of the First World War (1914–18), war memorials will be a focus of attention as they commemorate those killed or affected by war. War memorials come in many forms and memorial landscapes are often overlooked or misunderstood. This paper outlines the history of war memorials with particular focus on memorial landscapes, the different forms they take and the threats they face and it argues for their greater recognition and protection.
Journal Article
The secret kingdom : Nek Chand, a changing India, and a hidden world of art
\"The ... story of the world's largest visionary environment: the Rock Garden of Chandigarh, kept secret by outsider artist Nek Chand for fifteen years\"--Amazon.com.
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