Landscape architecture is a design discourse that evolves over time in responding to past influence that imparts form and gives expression to a place. Edmund Husserl, whose thought profoundly influenced the landscape of 20th century, says ‘each expression not merely says something, but says it of something; it not only has meaning, but refers to certain objects’. The landscape can, therefore, be seen as a nonverbal expression by injecting intangible past into physical material palette through certain design technique. That is, landscape elements are shaped and arranged by the designer, but their presence and design triggers the expression. As a tool for the elements’ application, design strategy can be summarized as a combination of point, …show more content…
In landscape design, points define outdoor attractions and line indicates the movement and flow between those attractions. Namely, the line gives the park a strong linear focus. The result in Ballast Point Park melted with geological expressiveness, while remain relevant and accessible through the sequential walls and paths. In John L. Motloch’s book ‘Introduction to Landscape Design’, he points out that the geology of the site is referenced with the palette used, not only for their structural integrity but spatial quality（John L. Motloch，2001）. In today’s world where the used as sandstone quarry transformed into lubricating oil manufactory finally becomes park, the composition of cultural geology is what the public has to notice. In this way, this project is read as a refined palette of recycled material that gives the site a geological atmosphere. Precisely, dominant new terrace walls sit atop the sandstone cliffs in the park but these walls are not made of precious sandstone excavated from another site, rather from the rubble of the past; these walls negotiate a series of terraces and walkways on the site, leaving and skimming over remnant sandstone and use some gravel materials to bring a fine-grain textural quality to this otherwise geological context. This is a design that evokes a deep emotional response from the natural geology environment. For design technique used in site, this experience is comparable to that is viewing a cinematic montages, with the point and line – industrial and geological expression – contrasting scenes juxtaposed and superimposed against one another. Additionally, Tim Ingold underpins that the landscape line system is in the movement from place to place – from topic to topic – that knowledge is integrated (Tim Ingold, 2007). What under those words is the idea of expression transformation occurs along the combination
Landscape architecture has been around since the beginning of time, but it was not until Frederick Law Olmsted came along that the idea of integrating design into the landscape with plants, water, and structures that it turned into a thriving profession. To many, Olmsted is considered “a pioneer in the profession of landscape architecture, an urban planner, and a social philosopher, one of the first theoreticians and activists behind the national park and conservation movements” (Kalfus 1). Growing up, he did not ever graduate from formal schooling and just sat in on a few classes while at Yale in New Haven, Connecticut. Instead, he acquired his education from being out in the world through traveling and reading. He had a hard childhood. His mother died when he was just four years old and on his journeys around the world to Europe and China, he became sickly with seasickness, paralysis of the arm, typhoid fever, apoplexy, sumac poisoning, and at times suffered from depression. For many years he went on a journey within himself to find out whom he really was and what he wanted to do with his life, career wise. Frederick had one brother, John Hull, who died in 1857. This left Olmsted feeling empty and at loss of what to do. That was when Calvert Vaux came and filled the space in Olmsted’s life that his brother left. Vaux convinced Olmsted to enter the Central Park Commissioner’s design competition with their design entitled the “Greensward Plan.” With the success in that project, Olmsted figured out what he wanted to do with the rest of his life, which was to become a landscape architect. Olmsted practiced from the years of 1857 up until he retired in 1895. Olmsted’s two boys, adopted son John Charles and biological son Frederick La...
Joe operates a successful commercial landscaping and tree trimming business, and client's keeps his operation extremely busy. Although Joe employees at least 50 workers, with landscaping being seasonal, he experiences a high turnover. In addition to landscaping and tree trimming, equipment rental is also available to the clients, which adds an additional division to the business. With $250,000 of capital, and past year's revenues of $500,000, Joe is looking for guidance to take his business to the next level.
Without the overbearing presence of external stimulation, the park guest is provided a safe place to turn inwards and upwards. This is seen in the park’s scare use of raised landmarks, which create a clear, coherent outline of the park, without imposing too much on the park-goer surrounding (Moore, et al., p. 30). The selective choice of materials further perpetuates the simplicity that is extolled at Pulaski Park. By limiting the construction to “neutral” materials (i.e. wood, grass, pavement, and stone), the man-made landscape successfully pays homage to a natural one by focusing on it’s more subtle and elementary features. This phenomena is applied in the use of landforms, as seen with the gradual slope that bleeds into the wood stage (Moore, et al., p. 27). The overall layout of the park is easy to digest, it is straightford with clearly defined clusters, which relieves the park attendee from uncomfortable feelings of disorientation or confusion. The three cluster formation is outlined by the paved walk way which defines the individual enclosures and provides a clear
How to create an environment suitable for human living when resources are limited is a challenging problem for modern society. My strong interest in photography and art has compelled me to become especially observant toward the relationship between human beings and the environment. I have come to realize that the environment we live in has suffered much damage from pollution and lacks competent planning, making it difficult to find beautiful scenery to photograph or sketch. I began to think that I could make use of my artistic gift, concern about, and interest in the environment by entering the field of landscape design and putting my effort into beautifying our surroundings. Therefore, after graduating from high school, I entered the Department of Landscape Architecture at ABC University.
Assignment 1 – An illustrated academic essay on ‘An exploration of the historic and contemporary garden and landscape design culture of Persia.
The role of gardens play a much more important role in Japan than here in the United States. This is due primarily to the fact the Japanese garden embodies native values, cultural beliefs and religious principles. Perhaps this is why there is no one prototype for the Japanese garden, just as there is no one native philosophy or aesthetic. In this way, similar to other forms of Japanese art, landscape design is constantly evolving due to exposure to outside influences, mainly Chinese, that effect not only changing aesthetic tastes but also the values of patrons. In observing a Japanese garden, it is important to remember that the line between the garden and the landscape that surrounds it is not separate. Instead, the two are forever merged, serving as the total embodiment of the one another. Every aspect of the landscape is in itself a garden. Also when observing the garden, the visitor is not supposed to distinguish the garden from its architecture. Gardens in Japan incorporate both natural and artificial elements, therefor uniting nature and architecture into one entity. Japanese gardens also express the ultimate connection between humankind and nature, for these gardens are not only decorative, but are a clear expression of Japanese culture.
Frank Lloyd Wright has been called “one of the greatest American architect as well as an Art dealer that produced a numerous buildings, including houses, resorts, gardens, office buildings, churches, banks and museums. Wright was the first architect that pursues a philosophy of truly organic architecture that responds to the symphonies and harmonies in human habitats to their natural world. He was the apprentice of “father of Modernism” Louis Sullivan, and he was also one of the most influential architects on 20th century in America, Wright is idealist with the use of elemental theme and nature materials (stone, wood, and water), the use of sky and prairie, as well as the use of geometrical lines in his buildings planning. He also defined a building as ‘being appropriate to place’ if it is in harmony with its natural environment, with the landscape (Larkin and Brooks, 1993).
The Heidelberg School’s contribution to the role of landscape in Australian art. Despite a brief lifespan between 1885-1903, the Heidelberg School or, more formally, the Australian impressionism movement (Splatt and McLellan 1986, 1), significantly aided in defining the role of landscape in Australian art (McCaughey et al. 1979, 7). The Heidelberg School’s establishment of a unique national identity, use of techniques such as plein-airism, accurate portrayal of the Australian Landscape, and incorporation of the rural mythology, “…shaped the Australian vision…” and tied landscape to the white Australian identity (McCaughey et al. 1979, 6-9 : Astbury 1985, 1). Arthur Streeton's Golden Summer, Eaglemont (1889) and Blossoms, Box Hill (1890) as
Architecture is the concept of bringing structure, materiality, form and space together as a whole, provide people with enclosed atmosphere to experience. Considering this, it is important to identify that materiality and the purpose of details has been a key methodology to bringing architectural intentions into the design in an affective manner, more over producing an architectural expression. However, this position is rather declining in architecture, reducing tectonics and materiality to being secondary to form and space. With the start of modernism, the attempt to achieve minimalistic style has caused detailing to increasingly develop into a decorative aspect of a building, neglecting its individual contribution to architecture.
The author explains architecture as an identification of place. Architecture starts with establishing a place. We define ‘place’ as a layout of architectural elements that seem to accommodate, or offer the possibility of accommodation to, a person, an activity, a mood, etc. We identify a sofa as a place to sit and relax, and a kitchen as a place to cook food. Architecture is about identifying and organizing ‘places’ for human use.
Remarkably, unlike in the description of art or music, the notion of atmosphere remains largely unaddressed in architecture. Atmosphere, can be argued, is the very initial and immediate experience of space and can be understood as a notion that addresses architectural quality, but the discussion of atmosphere in architecture will always entail, by definition, a certain ambiguity. After all, atmosphere is something personal, vague, ephemeral and difficult to capture in text or design, impossible to define or analyse. Atmosphere, Mark Wigley says, “evades analysis, it’s not easily defined, constructed or controlled”.
This chapter explores the idea of landscape in an anthropological construct. Hirsch aims to move away from the western ideals of understanding of landscape, and deconstruct it in an attempt to understand the local interoperation of landscape to prove it is part of a cultural process. Landscape has been used as a “standard framing device” (p1) by those looking from the outside in across anthropological history. Hirsch is looking to explore the landscape through the cultural understandings of the local people. (p1-5)
Davoudi’s (2012) environmental management typology discusses eight distinct meanings of environment that are incorporated into the planning system of today. The new discourse that is involved with environmental management has meant that the environment is being seen in different ways. And as a result, the meanings attached to the environment have changed substantially over time (Davoudi, 2012). Davoudi (2012) discusses that environmental management is restricted by the limited definitions of the environment, and the onset of climate change and the discourse surrounding it has meant that perceptions of environment have been shaped (Davoudi, 2012). The first definition that is offered is local amenity, which explains that the environment has aesthetic and recreational values associated with it. The next is environment as heritage landscape, which sees the environment as he...
Landscape lighting can transform the look of your home once the sun goes down. Lighting is also a practical consideration for safety and security. Finding the right combination of lights can be challenging with so many options available on the market. Here are some tips you can use for lighting up your landscape.
An important aspect of Critical Regionalism is that the occupants of the building should experience the local climatic conditions as well as the response to the nature of the landscape sensitively and thoughtfully. In my view, I think that each of these architects has achieved this aspect in whatever environment they worked with. In conclusion, I think that these international and regional architects have reached an interaction that contributes to the symbolic and iconic architecture that suggests new formal possibilities.