The Forest For The Trees

“Nature is my manifestation of God.
I go to nature every day for inspiration in the day’s work.”
― Frank Lloyd Wright

Architects taking their inspiration from nature isn’t an innovation, in fact, its retrieving what has often been forgotten. Sometimes that inspiration leads them outside of the building process altogether and into the sphere of Art, or to be more precise, into the sphere of Land Art Installation.

Swedish firm Kjellgren Kaminsky Architecture spends a great deal of time outside, and when they’re inside much of their work focuses on energy efficiency and sustainability.

In a project called Clear Cut last summer team members Joakim Kaminsky and Maria Poll traveled to the Medelpad forests of northern Sweden to make a visual statement about the country’s forestry management.  The depletion of virgin pine forest that began hundreds of years ago is currently offset by a system of silviculture where the trees are cultivated as timber in 60 year cycles.  But the current stands of slender trees can in no way compare to the 300-600 year old Norway Spruce and Scots Pine forests that once stood in their place.

The pair brought 15 meters of mirrored fabric into the forest for the purpose of visually expressing the ethereal nature that has replaced what had once stood for generations.  They carefully attached a fabric “collar” onto each tree at the same height, creating the illusion of floating trunks, or a ghostly visualization of the clear cut fate that awaited them.  Granted, the trees will be replanted, but they will never reach the old age and large diameters of their predecessors.

Joakim and Maria observed the forest for a 24 hour period,

observing how the installation changed in dialogue with its surroundings; during midday, as the sun set, as a mist came in, during the dark night and as the sun rose. Then they left, leaving no trace.

2 thoughts on “The Forest For The Trees

  1. Pingback: Tree House Redux « Raxa Collective

  2. Pingback: Pause and Reflect « Raxa Collective

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