In December 1968, from aboard the Apollo 8 spacecraft, US astronaut Bill Anders photographed a radiant blue earth floating above the gray lunar horizon. Although the primary objective of the Apollo missions was to explore the moon, Anders’ image, NASA AS08-14-2383 (later dubbed Earthrise), would become an icon for the modern era of terrestrial environmentalism, where scientific discovery and rapid technological change led to an anxious understanding of a whole and fragile earth. Earlier that same year, Dan Kiley’s atrium garden for the Ford Foundation Headquarters in New York City opened as the first major interior landscape in the United States. It was a self-contained biosphere engineered for human occupation (in this way distinct from greenhouses and conservatories), and Kiley stated that the project ‘embodied both risk and fun... Although it may not have been what the clients expected to hear, I told them frankly that the project was an experiment’. The midtownManhattan building, designed by Kevin Roche and John Dinkeloo, has been thoroughly studied in relation to the Foundation’s humanitarian mandate, organizational structure, and urban design context. Between 2015 and 2018, the entire building and garden underwent significant restoration and renovation to conform to 21 century building code and better align with the rebranding of the organization as the Ford Foundation for Social Justice. However, Kiley’s garden— particularly the planting design — has received comparatively narrow consideration; it is typically presented as little more than an exotic centerpiece to the atrium. This essay examines Kiley’s consultants, reference materials, and planting palette to reposition the garden as a cosmopolitan horticultural project that synthesizes diverse frameworks of modernism and ecology of the mid-20 century. The garden was not only a revelatory environment for city-dwellers, but, like Earthrise, a cultural artifact of the environmental era wherein new technologies linked local phenomena to planetary forces. This expanded context for the garden offers new perspectives on the historic treatment of landscape design in wholly constructed environments.

中文翻译：

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风险与乐趣：丹·基利为福特基金会设计的室内景观

1968 年 12 月，美国宇航员比尔安德斯在阿波罗 8 号宇宙飞船上拍摄了一个漂浮在灰色月球地平线上的辐射蓝色地球。虽然阿波罗任务的主要目标是探索月球，但安德斯的图像，美国宇航局 AS08-14-2383（后来被称为地出），将成为现代地球环保主义时代的标志，科学发现和快速的技术变革导致对整个脆弱的地球有一种焦虑的了解。同年早些时候，丹·基利为纽约市福特基金会总部设计的中庭花园作为美国第一个主要的室内景观开放。这是一个自给自足的生物圈，专为人类居住而设计（以这种方式不同于温室和温室），Kiley 表示该项目“体现了风险和乐趣...... 虽然这可能不是客户期望听到的，但我坦率地告诉他们，这个项目是一个实验。” 由 Kevin Roche 和 John Dinkeloo 设计的曼哈顿中城建筑已经根据基金会的人道主义使命、组织结构和城市设计背景进行了深入研究。2015 年至 2018 年，整个建筑和花园进行了重大修复和翻新，以符合 21 世纪建筑规范，并更好地与该组织更名为福特社会正义基金会的品牌保持一致。然而，基利的花园——尤其是种植设计——受到的考虑相对狭隘；它通常只是作为中庭异国情调的中心装饰品而已。本文考察了 Kiley 的顾问、参考资料、和种植调色板，将花园重新定位为一个国际化的园艺项目，综合了 20 世纪中叶现代主义和生态的不同框架。花园不仅是城市居民的启示性环境，而且像地出一样，是环境时代的文化产物，其中新技术将当地现象与行星力量联系起来。花园的这种扩展环境为在完全建造的环境中对景观设计的历史处理提供了新的视角。