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Pamela Grace Burton (born 1948) is a landscape architect known for her interdisciplinary approach to private and public projects, bringing together plant materials, art, and architecture. In 2006 she became a fellow of the American Society of Landscape Architects (ASLA). ==Education and philosophy== Burton was born in Santa Monica, California. She earned a Bachelor's degree in Environmental Design and a Master's of Architecture from University of California, Los Angeles (UCLA) in 1975. While attending UCLA, Burton worked at ACE Gallery and participated in the installation of earth-work artists, including Robert Smithson and Michael Heizer. Helping to construct Sol LeWitt’s ephemeral wall drawings, she was inspired by the way the colors overlapped. Likewise, Robert Irwin’s scrim pieces and Elyn Zimmerman’s observations of nature through photography, graphite drawings, and stone and water environments informed her about working with light, space, and perception.〔Pamela Burton Landscapes, (Princeton Architectural Press ), 2010. ISBN 978-1-56898-965-5〕 "Landscapes are a journey. It’s not just about the destination, but also about the journey of designing and walking through them… One of the most important things about any practice is cultivating awareness, something artists specialize in. Whenever we have an idea, it’s always amplified by the mysterious things that are about to happen. You can only take advantage of them if you are aware of them."〔McGuire, Leslie ''The Poetry of Place'', Landscape Architect and Specifier News, (April 2010) p. 40-46. Retrieved 13 March 2012.〕 Burton’s awareness of architecture and landscape as complementary forms of the same process was confirmed when she took time off from studying at UCLA to visit Japan. There, in the gardens and temples, she observed the power of aesthetic simplicity and experienced the fusion of nature and architecture.〔 “I like to think of the garden and landscape in the context of a big idea.”〔(ASLA 2006 Class of Fellows ), American Society of Landscape Architects. Retrieved 2012-01-11.〕 To demonstrate how modernist ideas were embedded in the mid-century gardens and houses of A. Quincy Jones, Joseph van der Kar, John Lautner, Richard Neutra, Rudolph Schindler, and many more, Burton wrote, with Marie Botnick and Kathryn Smith, the book ''Private Landscapes: Modernist Gardens in Southern California''.〔Burton, Pamela (Private Landscapes: Modernist Gardens in Southern California ), Princeton Architectural Press. ISBN 978-1-56898-402-5.〕 Throughout Burton’s career she has been influenced and informed by where she lived — the hills of Malibu and the valley of Ojai. She learned repeatedly that the success and value of spaces are not always seen immediately; they are felt. Many defining edges and threshold meetings can go into making a space resonant: proportions of inside and outside, light and shadow, nature and cultivation, social needs and solitude. Her living spaces became places to experiment and explore by instinct; if she fell, she didn’t hurt herself. She replanted. “Burton’s own garden has developed around her favorite themes: formal outdoor rooms casually appointed, flowing water, the wild world seen beyond the garden, the use of plants to narrate a human story.”〔Heeger, Susan ''Telling Stories: Plot is as Important as Plant Matter in Pamela Burton's Gardens'', Garden Design, (1997) p. 48-57.〕 In the end, a garden takes on its own layers of time and meaning, and Burton does not feel she needs to spell them out completely. She has come to be satisfied if it appears as if she didn’t do anything. Arriving at that point has taken a tremendous amount of work; it is the constant process of editing that lets a garden age and endure, deepening and leaning into its own story.〔 “I’m passionate about places that resonate, about places that make you think and long and remember.”〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Pamela Burton」の詳細全文を読む スポンサード リンク
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