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31 A live space ideas | landscape architecture, landscape design, urban landscape The introduction describes the scope of the project, definition and evolution of landscape design of sustainable open space and sustainability. It presents the claims that landscape architects need an understanding of the ranges of participation in order to deliver flexible. Knowledge of the elements and principles of design is essential to designing a landscape and working through the design process. This publication describes each of the elements and explains the principles and their application. Elements of Design The elements of composition are the visual qualities that people see and respond to when viewing a country garden design ideas Size: 1MB. Mar 01, �� It can be considered in the practical application of space syntax theory in landscape design. Three different planting schemes are proposed as subjects of this study. A detailed analysis of space use pattern and a quantitative analysis of each planting design proposal for El-Qanater Gardens are conducted using the VGA technique (Figure 2).
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It is hard to think of architecture as object in this context. Systems thinking implies that architecture is only a boundary describing a system of systems, and that when we expand the boundary to include its site, or territory, those systems can be understood as connected to much larger ecological, cultural and infrastructural systems.

The term resilience has been in use in landscape and infrastructure systems for some time, but it is still new in the field of architecture, often used loosely, and without consensus in its definition and application to buildings. However, its value as a metaphor has been suggested as fostering the ability to rethink institutional structures that encourage slow restructuring, pattern behavior and preservation of current practices.

In contrast, sustainability in design, its metrics and aesthetics, has been explored for quite some time. But sustainability is focused on optimization, often pursuing notions of self-sufficiency. In that conceptual framework, the building can be conceived as an island, or its performance measured in terms of degrees of independence e.

A shift to true ecological thinking focuses on relationships. Most importantly, it recognizes that any act of building transforms and reconstructs a large territory, will affect or connect to infrastructural networks far beyond what we usually comprehend, and to an existing ecology that is complex and diverse. Therefore it demands that the landscape and the architecture are not reductive, and instead be thought of as integral to each other, in terms of systems and not objects.

Form is generative of performance, and although conceptual frameworks and a degree of abstraction from the real world are still needed to comprehend those complex systems and relationships, this generates a different kind of autonomy.

Some notable collaborations between architecture and landscape practices are resulting in an ecological approach to urbanism that reframes architecture as an active agent of the landscape. These projects not only are contingent to ecological conditions, but in their effort to construct a new landscape ecology, they create ecosystems and define ecotones in the urban environment, restore relationships, provide ecosystem services and heighten the awareness of the systems that support urban life.

The architecture and landscape generated from this way of thinking become singular forms, responding to climate and assertively creating new micro-climates. The field of ecology is inherently about relationships, developing abstract models of representation to diagram and explain complex and contingent systems.

As a conceptual space for architecture landscape ecology provides a framework to categorize, analyze, select, and engage with the contingencies and performance of systems. Frameworks of ecological performance allow architectural form to engage complexity, and to define its active role as consumer and producer of ecosystem services.

Architecture in this context is not a passive object sitting on scenery, but instead must become an active agent in restoring or constructing new urban ecologies. These classifications are in themselves problematic, as an ecological view of this landscape would suggest there is nothing strictly natural about the open space, and nothing strictly unnatural about the urban fabric.

The terminology has been discussed elsewhere at length, and that can be the topic of another paper. What is relevant about this distinction is that these two spaces, designed at two very different times in history, perform important ecological functions in the cultural and physical landscape of the city. Two architectural projects within these remarkable landscapes illustrate the output of practices that are deeply committed to a collaborative and integrated model of architecture and landscape, developing singular forms that are formally experimental but not self-referential, and that are generated from an understanding of the human and natural ecology of the site in ways that make those systems legible.

Both projects illustrate that an ecological approach to landscape creates a conceptual space where architecture cannot be objectified or reduced to categories of autonomous or contingent. Prospect Park is a cultural product of a unique moment in nineteenth and early twentieth century when Olmstead adapted theories of idealized pastoral landscape for the American city, to create more than purely visual compositions that were informed by the reading of the geological qualities of the glacial landscape of Brooklyn.

Its historical and cultural significance, apart from being one of the oldest and most important urban landscape spaces in American urbanism, is that it is designed by one of the founding figures of the landscape architecture discipline. As the city of Brooklyn grew in scale and density, this landscape has achieved a new significance in contrast to the intense urban condition around it. Weiss Manfredi was commissioned to design a new visitor center to the Botanical Garden.

Their work siting the building was sensitive to this transition from ordered to wild landscape. The chosen location created a challenge of acknowledging the presence of the building as an object on a strong urban edge, and at the same time negotiating its presence in the historic landscape. The architects claimed that the original location would place the building on axis with the very formal Cherry Walk, which would dominate the esplanade of trees.

The building on the right sits parallel to the berm that separates the garden from the parking lot. The paths of the landscape cut through the volume of the building, opening on the other side to the rain gardens. The practice of Weiss Manfredi has built a body of work that is characterized by the integration of building and landscape in cultural and performative ways, always leading large teams of experts in projects were legible forms on the land reveal spatial, performance and material continuities between the realm of building and site.

In this project they worked with HM White Landscape Architects to expose and make legible the role of building as ground, and the ground as built form. The landscape architects describe the building and the immediate site as a system of storm water management. This integrated system also creates a new path for the curated display of plant life and creates new surfaces for biodiversity, but in this case the building creates much of the ground for that life on its roof.

Other systems integrate building and site in less visible but equally didactic ways, such as a geothermal system that exchanges energy with the ground to heat and cool the building using local energy. This is an approach to building that views architecture as an instrument for human and landscape ecologies to become legible and integrated constructs.

Although as a form the building still operates within the distinctions of natural and urban, its spatial experience and performance reveals a landscape that is highly integrated and revelatory of the designed nature of the urban landscape. Green roof in the foreground and berm in the background. Nearby, Brooklyn Bridge Park present is a very different landscape, focused less on preservation or reinterpretation of a historic landscape, but instead on the ecological restoration of the coastal environment.

Unlike Prospect Park, the landscape of Brooklyn Bridge Park is more legible as a construction, repurposing a cargo shipping and storage facility on the waterfront of Brooklyn. The work by landscape architects from Michael Van Valkenburgh Associates MVVA , is quite explicit about its constructed nature, but also assertive about its ecological agenda in reusing this industrial landscape. The design of the park is redefining the edges of the piers, and reconstructing its surfaces as an open urban park space.

This constructed landscape also performs important ecological functions that are intended to improve the resilience of the urban environment to storms and salt water floods, that act as an infrastructure of acoustic absorption to minimize the impact of the highway in urban life, and that provides a resilient coastal ecosystems to sustain plant and animal life within intense human activity along the waterfront.

The language of the park is not picturesque or pastoral, nor does it invest in the distinctions between natural or urban. The park is a dialogue between enhanced nature and urban infrastructure.

The collaboration between these firms over the years has generated a significant body of work that includes public spaces in the Don River Park in Toronto, the Brooklyn Bridge Park, and currently the visitor center at the historic Walden Pond, among other projects. The architecture of the Warming Hut at Pier 6 , rather than a new construction, repurposed and reinvented an industrial building from the site, transforming it into another form of landscape experience.

The work of MTA is known for its integration of building and site, and the creation of unfolding spatial sequences that de-objectify architecture. The principal of the firm is trained in both architecture and landscape architecture, and has built a practice known for collaborating with notable landscape architecture firms in projects of many scales.

In this project, the architects turned the building from static object into a dynamic spatial sequence by exposing the original concrete core of the building, and recladding it with a spiraling ramp that leads to a newly occupied roof terrace.

The ramp wrapping the building creates a thick skin constructed with reclaimed timbers from the demolished industrial structures of the park. The same timbers are used for park furniture throughout the park. The louvered skin around the ramp creates a layered reading of the object, and an experience of dappled light that resembles a woodland condition. The resulting sculptural form of the architecture emerges from interpreting patterns of movement on the designed landscape, pragmatic considerations of accessibility, and the material ecology of the site.

View from above, showing ramp leading to roof terrace. Evaluating the body of work of these two architecture practices shows simultaneously site specificity and a consistent repetition of themes through language layering, unfolding, landform, unraveling, etc. The formal language is consistent through the work, resulting from the varied inflections to site and landscape that make each building unique to its place. A deeper look shows that there is a recurring theme of ecological performance driving formal decisions, and a desire to make the landscape more legible through the instrument of architecture.

In his seminal essay, K. The construction of the building as a landscape has a long tradition in modernism. They have expressive aesthetic, natural, and cultural qualities that are perceived and valued by people in multiple ways and invite actions resulting in landscape change.

Landscapes are increasingly urban in nature and ecologically and culturally sensitive to changes at local through global scales. Multiple disciplines and perspectives are required to understand landscapes and align social and ecological values to ensure the sustainability of landscapes. The journal is based on the premise that landscape science linked to planning and design can provide mutually supportive outcomes for people and nature. Landscape science brings landscape ecology and urban ecology together with other disciplines and cross-disciplinary fields to identify patterns and understand social-ecological processes influencing landscape change.

Landscape planning brings landscape architecture, urban and regional planning, landscape and ecological engineering, and other practice-oriented fields to bear in processes for identifying problems and analyzing, synthesizing, and evaluating desirable alternatives for landscape change. Landscape design brings plans, designs, management prescriptions, policies and other activities and form-giving products to bear in effecting landscape change.

The implementation of landscape planning and design also generates new patterns of evidence and hypotheses for further research, providing an integral link with landscape science and encouraging transdisciplinary collaborations to build robust knowledge and problem solving capacity. Elsevier stands against racism and discrimination and fully supports the joint commitment for action in inclusion and diversity in publishing.

In partnership with the communities we serve; we redouble our deep commitment to inclusion and diversity within our editorial, author and reviewer networks. A Special Issue SI in Landscape and Urban Planning LAND is a coherent collection of papers on a specific theme of research and scholarship that falls within the aims and scope of the journal and has a broad international appeal. Special Issues are especially intended to those topic areas where there is added value in bringing together multiple papers, leading to increased complementarity and attention for a specific emerging topic area.

Home Journals Landscape and Urban Planning. ISSN: Landscape and Urban Planning. Co-Editors-in-Chief: J. Nassauer , P. Verburg, PhD. View Editorial Board. CiteScore: 9. CiteScore values are based on citation counts in a range of four years e. Impact Factor: 5.

Submit Your Paper. While site specific art has always played a role in landscape architecture, the parameters of public art are expanding; ephemeral, temporal and performance-based art is now regularly integrated into sites. Until recently, art has largely served to cultivate a sense of identity within a public space or to highlight the unique stories, histories and culture of a place. Communal and accessible outdoor art is generally embraced by the profession and revered by the community, but the reality is, public space is not always welcoming for all.

Early on in the Chouteau Greenway Competition , the project team realized the power that artists could play in thinking creatively, pushing the boundaries if you will, but also in engaging and facilitating sensitive dialogue with communities. Early on, the competition team worked with renowned artist and architect, Amanda Williams , to help shape the submission. Her project, Color ed Theory , was acclaimed for its confrontational look at race and space in the South Side of Chicago.

At the inception of the Chouteau Greenway project now the Brickline Greenway , the team advocated for the inclusion of local St. Louis artists of color to actively inform, craft, and participate in the planning and design process. Artists; Mallory Nezam , an entrepreneurial civic artist, cultural producer, writer, and communications strategist; De Nichols , a social activist focused on addressing civic and social challenges within communities; and Damon Davis , who uses his art to empower the disenfranchised and powerless, became integral members of the 13 member project team helping to shape both the process and outcome.

Their unique perspectives and insight helped to frame the explicit goals for the project�a 22 mile greenway through 17 St. Louis neighborhoods�which ultimately became unearth , connect , heal , provoke , cultivate and envision.

The Brickline Greenway framework plan, released in late , crucially addressed how to equitably reinvest in the city, to increase walkability and vibrancy through neighborhoods, to bridge geographical and cultural divides, to incentivize greater social and economic equity, and to deeply engage, reflect and connect the diversity of cultures that exist in the city.

Embedding art in catalyst sites such as the Griot Museum of Black History and the historic Mill Creek Valley, a vibrant African American community erased in the creation of a freeway overpass, as well as under the freeway, became explicit opportunities to bring public art into marginalized communities. And, when the Council described the dire need for a welcoming, large-scale, public sculpture park accessible for all within the inner city, the idea for the Kings highway overpass was born�a cloverleaf design that winds through a new art park, then launches across the roadway to connect with Forest Park.

The boundary pushing, creative thinking, community dialogue, and social activism that the art community brought to the vision, was key to the vibrant and inclusive plan that emerged. This project is a prime example of how the role of art and the artist can be expanded, by embedding people like Ms.

Nezam in the discovery and design process. With that being said, different artists will have different ways that they approach working in the public realm. Yet, there are other artists who bring the strength of creative problem solving, dreaming outside of the traditional ways of operating and pushing teams to take risks. I'm also personally really interested in how artists can collaborate to reimagine the systems themselves of design, construction, implementation and governance of public projects.

How we, as inherently creative and imaginative practitioners, re-conjure and build new systems in which the folks we are designing for can become the folks we are designing with. Sometimes, we look to the past to give a modern space a distinct personality. In the case of 50 Scollard, a residential tower in the Yorkville neighborhood of Toronto, our team turned back time and ambitiously resurrected the art of pleaching.




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