Charlene Voight


Eibs Pond Park, Linda Pollak Architect, Mary Miss, 2001

The curvy path plays with the observers view, by taking one under the lake which alters perception.
red city

Urban Lounge, by Carlos Martinez and Pipilotti Rist, 2005

Source: Urban Landscape Architecture, Loft Publications

This space was revised to improve what use to be know as a normal space.  The red carpet laid over the existing court yard becomes a lush and plentiful place that is inventing.

The Red Ribbon, Tanghe River Park,2006

by Turenscape

The solid red line leads the viewer through the forests and also heightens ones senses of the rest of the forest due to the large contrast in color.




The Mire of Epiphany

One might ask themselves, why this painting is considered art and furthermore, question why this painting is located in a respected gallery in downtown Los Angeles, known as the CP Gallery.  Other spectators marvel with astonishment wondering why the painter, Lisa Adams, would add a 18 inch dimeter dot in the center on a four by five foot canvas.  It would be enlightening to understand from which perspective the painting was created .  Biographical research may give cause for one to assume a self interlaced perspective for the artist.  Removing the designers personal optical special needs, it would seem the painting was an atheistic perspective of a classic religious masterpiece.


Researching the insecure handicap, the painter was experiencing her visual prospect. The painting was created to help her display deep seeded emotional pain and suffering onto canvas.  Her motivation was not financial or for popularity.  True art, from the soul of her personal challenge and perspective.  It is easy to speculate and come to altruistic alternatives.  Realistically, she had a hole in her vision and thus when she looked up to god, she saw a black space.  This relieved scene of cataract clouds and vineyards of disease is both tragic as well beautiful.  The artist made a conscious effort to share her pain with the world audience.  Her abstract personal touch and vulnerability flows through the canvas to the viewer.


A beautiful piece of true artistic perspective.  Many critics, non-artisans, etc… may criticize.  Many may just simply not understand the true artistic perspective.  In viewing the sheer assertive, self confident approach to vulnerable greatness the painting is breathtaking.  Symbolism in the painting is everywhere.  The vines, the clouds, and the “black hole”.  All symbolic and true to the artist narrative.  A spectacular piece of art that is and will be enjoyed by many true artist for years to come.


Roberto Burle Marx is a Brazilian Landscape Architect who is well known for creating one of the most iconic promenades in Brazil. The promenade is called the Copacabana Boardwalk. It was designed in 1970 and built in Rio de Janeiro, Brazil. The promenade is located in front of the beautiful Copacabana Beach. The Copacabana Boardwalk frames the sandy beaches for two and half miles and is the longest mosaic in the world. The sidewalk is decorated with tiny black and white stones arranged in a wave pattern that creates the mosaic design. Each individual stone had to be cut and laid by hand. Burle Marx extended his mosaic design across the street onto the sidewalk and onto the traffic island. The sidewalk and the traffic island is a collaboration of geometric and abstract designs using the mosaic stones. Roberto continued to use the black and white colors and added a hint of red stones to accentuate his design.

Burle Marx was born in Sao Paulo, Brazil in 1909, and lived there for a short time before he moved to Rio de Janeiro, where he grew up. Roberto lived next door to a famous Architect named Lucio Costa who helped influence Roberto at a young age. Lucio Costa also commissioned Roberto’s first design project of a garden. Burle Marx thought of himself more of a painter, than as a Landscape Architect. He was once quoted “Landscape design is merely the method I found to organize and compose my drawing and painting, using less conventional materials.” Roberto was a multitalented artist that loved painting, sculpting, and making tapestries and jewelry. Burle Marx was an extraordinaire Landscape Architect and artist who brought Brazil a Modernistic approach for the 20th century.


Blog #4 Thematic

My visit to the Getty Villa Museum was like traveling back in time to Herculaneum, Italy and visiting a Roman home called Villa dei Papiri.  The Getty Villa Museum was designed to be an exact replica of the original home that once existed before Villa dei Papiri was destroyed by a volcano.  The highlight of this villa was the outer peristyle which is located in the back of the museum.

The marble flooring inside the museum leads visitors to the courtyard garden.  The garden is enclosed by a rectangular structure with rows of columns and elaborate marble flooring called a peristyle.  Inside the peristyle the walls are painted by a techniques called Fresco.  The Fresco paintings vary in subject matter. The ceilings are decorated with a grid pattern of three dimensional gold flowers and the gold flowers are framed by gold squares.  Traveling around the perimeter of the building there are several outlets that lead to the garden pathways.

The pathways that lead visitors through the garden take people in many different directions.  The design of the paths are so unique it is similar to a labyrinth.  Each pathway is encompassed by square cut shrubs.  Beyond the shrubs there are trees, ground cover, plants and bronze statues.  The bronze statues are replicas from the original Villa dei Papiri and are placed in the same area as they once were.

Lastly, is the rectangular pool that is 70 feet by 20 feet which is located in the center of the outer peristyle.  If one follows the path towards the trellis there is an opening to allow visitors to sit on the marble coping.  At each end of the pool is a bronze statue that sits above the water on top of stone.  Underneath the water lies bubblers that are strategically placed to emphasizes the movement of water and allows for a constant soothing sound of running water.

Visiting the Villa dei Papiri was an unexpected experience that I felt privileged to attend. This was an adventure back into time for visitors to enjoy an exact replica of an exquisite Roman home.

Blog #3 Chronological

When I visited the Getty Villa Museum in the Pacific Palisades I spent my time in the outer peristyle garden. Upon entering the outdoor garden the glistening pool first caught my eye.  As I walked toward the pool there was a pathway that led to a seating area on the marble coping of the pool.  The rectangular pool appeared to be 70 feet long by 20 feet wide and at the end of each side of the pool it was framed by a semi circle with a bronze statue protruding out of the water.  I was curious as to how the water was so blue and after a closer look I discovered that the bottom of the pool was painted blue.

Next I strolled down the pathway to observes the plant life surrounding the pool.  I noticed that the plants were enclosed by perfectly trimmed square shrub hedges that lead off into pathways of various directions such as horizontal, vertical, circular and zigzag.  The pool’s garden area contained planters that held a variety of plants, trees, and different ground covers.

After adventuring through the garden, there was an elaborate balcony at the far end which had a panoramic view of the Pacific Ocean. The balcony was framed by rows of columns.  Each column had the same decorative design.  The top of the columns had a Corinthian Capital which was inspired by the plant Acanthus mollis.  The shaft of the columns were fluted and the bottoms had a doric base.  The floors of the balcony had several patterns that were made out of marble.  The outer peristyle of the Getty Villa was unlike any  museum garden experience that I had ever encountered.  Not only was I surrounded by many types of plant life but the atmosphere was very relaxing and I could spend hours in deep thought in this peaceful space.