Pub Date : 2022-09-02DOI: 10.1080/18626033.2022.2195244
T. Alon-Mozes, Avigail Heller
Abstract Productive green community spaces are currently the subject of extensive academic discussion. Scholars from diverse fields explore this phenomenon from social, economic, political and planning perspectives. Yet, the aesthetic dimension of such sites has remained outside the academic purview, while giving rise to public debate and critique. This paper addresses the lacuna by examining productive green community spaces in Israel to contribute to the contemporary discourse on aesthetics and community gardens. Three theoretical frameworks for aesthetics serve as the basis of our investigation: the intrinsic value of nature, experience beyond the visual towards the ethical and cues of care. Our analysis regards fourteen productive green community spaces, established in 2017 and 2018, that seem messy and unordered at first sight. We identified six constituents to establish the aesthetic merits of the gardens: expressions of social and cultural characteristics, cues of care through organization of space, presence of nonhuman lives, embodied experience, change over time (dynamics) and ethical expressions.
{"title":"The aesthetic dimension of productive green community spaces","authors":"T. Alon-Mozes, Avigail Heller","doi":"10.1080/18626033.2022.2195244","DOIUrl":"https://doi.org/10.1080/18626033.2022.2195244","url":null,"abstract":"Abstract Productive green community spaces are currently the subject of extensive academic discussion. Scholars from diverse fields explore this phenomenon from social, economic, political and planning perspectives. Yet, the aesthetic dimension of such sites has remained outside the academic purview, while giving rise to public debate and critique. This paper addresses the lacuna by examining productive green community spaces in Israel to contribute to the contemporary discourse on aesthetics and community gardens. Three theoretical frameworks for aesthetics serve as the basis of our investigation: the intrinsic value of nature, experience beyond the visual towards the ethical and cues of care. Our analysis regards fourteen productive green community spaces, established in 2017 and 2018, that seem messy and unordered at first sight. We identified six constituents to establish the aesthetic merits of the gardens: expressions of social and cultural characteristics, cues of care through organization of space, presence of nonhuman lives, embodied experience, change over time (dynamics) and ethical expressions.","PeriodicalId":43606,"journal":{"name":"Journal of Landscape Architecture","volume":"179 1","pages":"58 - 69"},"PeriodicalIF":0.6,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77489750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/18626033.2022.2156102
D. Delbaere, Frédéric Pousin
Abstract This article aims to examine the effects of large-scale planning projects. It focuses on the little-known Métropole jardin project, which was developed in the western centre of France in the late 1960s and 1970s. This was a period in regional planning history that welcomed landscape architecture, in which new actors entered the scene and new methods and tools were created to involve communities in the development of landscapes. The project is methodologically analysed on the basis of field visits to examine its achievements and the influence it may have had on the development of the territory as it appears today. The contrasting results are indicative of the particularities of French-style spatial planning, characterized by the gap that exists today between the effectiveness of major territorial guidelines and the fragmentation of real productions, which requires the analysis to be interpreted in various ways.
{"title":"The Palimpsest Plan: A critical investigation of the French Métropole jardin","authors":"D. Delbaere, Frédéric Pousin","doi":"10.1080/18626033.2022.2156102","DOIUrl":"https://doi.org/10.1080/18626033.2022.2156102","url":null,"abstract":"Abstract This article aims to examine the effects of large-scale planning projects. It focuses on the little-known Métropole jardin project, which was developed in the western centre of France in the late 1960s and 1970s. This was a period in regional planning history that welcomed landscape architecture, in which new actors entered the scene and new methods and tools were created to involve communities in the development of landscapes. The project is methodologically analysed on the basis of field visits to examine its achievements and the influence it may have had on the development of the territory as it appears today. The contrasting results are indicative of the particularities of French-style spatial planning, characterized by the gap that exists today between the effectiveness of major territorial guidelines and the fragmentation of real productions, which requires the analysis to be interpreted in various ways.","PeriodicalId":43606,"journal":{"name":"Journal of Landscape Architecture","volume":"195 1","pages":"44 - 59"},"PeriodicalIF":0.6,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78988765","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/18626033.2022.2156098
S. Rosier
Abstract Quarries are inherently complex situations that offer a unique and timely challenge to contemporary landscape architects. Their technical and operational nature tends to lead to an equally technical response by designers at the expense of engaging with the ethico-aesthetic potential of these confronting landscapes. Several designers and thinkers are responding to this problem through theorizing a revival of aesthetics that focuses on determining why certain landscape encounters occur, in order to use this as the basis from which to design. While attention has been given to theorizing the role of aesthetics in a contemporary design setting, less so has been directed to the practices and techniques suited to designing with these forces or doings. This paper uses the Horokiwi Quarry in New Zealand as an example to explore how the aesthetic forces can be understood as emerging from concrete spatiotemporal relations between the body and landscape. In doing so, it argues that greater attention needs to be paid to the specific, not generic, causes of aesthetic encounters so that stronger, more sustainable relations with nonhuman entities can be developed.
{"title":"An encounter with stone. Designing with the aesthetic force of post-mining landscapes.","authors":"S. Rosier","doi":"10.1080/18626033.2022.2156098","DOIUrl":"https://doi.org/10.1080/18626033.2022.2156098","url":null,"abstract":"Abstract Quarries are inherently complex situations that offer a unique and timely challenge to contemporary landscape architects. Their technical and operational nature tends to lead to an equally technical response by designers at the expense of engaging with the ethico-aesthetic potential of these confronting landscapes. Several designers and thinkers are responding to this problem through theorizing a revival of aesthetics that focuses on determining why certain landscape encounters occur, in order to use this as the basis from which to design. While attention has been given to theorizing the role of aesthetics in a contemporary design setting, less so has been directed to the practices and techniques suited to designing with these forces or doings. This paper uses the Horokiwi Quarry in New Zealand as an example to explore how the aesthetic forces can be understood as emerging from concrete spatiotemporal relations between the body and landscape. In doing so, it argues that greater attention needs to be paid to the specific, not generic, causes of aesthetic encounters so that stronger, more sustainable relations with nonhuman entities can be developed.","PeriodicalId":43606,"journal":{"name":"Journal of Landscape Architecture","volume":"1 1","pages":"16 - 29"},"PeriodicalIF":0.6,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85830934","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/18626033.2022.2156106
J. K. Larsen
Journal of Landscape Architecture / 2-2022 How often are we offered a novel look at seventeenth-century Dutch landscape painting? And how often does art criticism take mud, clay, silt, sand, water, marshland, dirt and mire as its subject, insisting not only on acknowledging the presence of these base materials, but also their performative and constitutive agency on the art in question? Lytle Shaw’s book New Grounds for Dutch Landscape offers a critical reading of the Dutch Golden Age school of painting, with an exclusive focus on Jan van Goyen, Jacob van Ruisdael and Meindert Hobbema, a trio that ‘seems marginal in many histories of landscape aesthetics, and art more generally’ (p. 203). The book is, however, more than a reading of a set of Dutch landscape painters. It discusses the failure of the diagrammatical pastoral space to engage with embodied landscape practices, and with the existential experience of filtered light, failing grounds and wet feet. Even more radically, however, it contrasts ideas of beauty, perspective and atmosphere with the prominence of what Shaw calls ‘incalcitrant matter’_matter that does not stay in place, that invades, flows, combines and becomes mud. Puddles hold a prominent place: ‘They are points when paths break down, when the water that the Dutch have been trying to hold back has entered at a mundane, low key level’ (p. 48). Thereby, these three painters seem more manifestly than any other to read the Dutch national ground. Shaw’s claim is that these painters do not as much represent the landscape, but re-enact it. In so doing they focus attention on the material state of the landscape, one that is particularly acute in a seventeenth-century Holland where landscape is incessantly being made, unmade and remade by hydroengineering on the one hand and entropic forces on the other: drainage problems, flooding, abrasion and erosion of the ground plane. The ur-scene of the Dutch experiment is not only of raising land from the sea, but the existential significance of producing one’s own ground (p. 93), a struggle presented in Ruisdael’s many paintings of broken dikes, torrents of water and pumping stations. Jan van Goyen’s View of Haarlem and the Haarlemmermeer (1646) may serve as the best example of how cities in this specific mud-centred trio seem to barely have made it out of the murky waters. Humans, cattle and ramshackle abodes seems to only just, or maybe not, be resting on dry ground. Lytle Shaw’s readings show how these specific Golden Age painters are not about looking at the landscape, but at what it is made of and the practices that make them_either by literally constructing them by way of engineering or by enacting them as wanderer, herder or ‘doing’ landscape in other ways. Shaw unlearns our computed tendencies to read ‘view’ and ‘pastoral’ in any landscape scenery. In fact, this shift in focus is literally performed in the paintings themselves, he claims, in an act of overlooking what in more traditional
我们多久能看到一次新奇的17世纪荷兰风景画?艺术批评又有多少次以泥、粘土、淤泥、沙、水、沼泽、泥土和泥潭为主题，坚持不仅承认这些基本材料的存在，而且承认它们对艺术的表演和构成作用?利特尔·肖(Lytle Shaw)的书《荷兰风景的新理由》(New Grounds for Dutch Landscape)提供了对荷兰黄金时代绘画学派的批判性阅读，并独家关注扬·凡·戈延(Jan van Goyen)、雅各布·凡·鲁伊斯达尔(Jacob van Ruisdael)和迈因特·霍贝玛(Meindert Hobbema)，这三个人“在风景美学的许多历史中似乎处于边缘地位，更广泛地说，艺术”(第203页)。然而，这本书不仅仅是对一组荷兰风景画家的阅读。它讨论了图解田园空间与具体景观实践的失败，以及过滤光、失败的土地和湿脚的存在体验。然而，更为激进的是，它将美丽、视角和氛围的观念与萧伯纳所谓的“顽固不化的物质”的突出特征进行了对比——顽固不化的物质不会停留在原地，会侵入、流动、结合并变成泥浆。水坑占据着重要的位置:“当道路破裂时，当荷兰人一直试图阻止的水进入一个平凡的、低水平时，它们就是点”(第48页)。因此，这三位画家似乎比其他任何人都更明显地解读了荷兰的民族立场。萧伯纳的主张是，这些画家并没有表现太多的风景，而是再现了风景。在这样做的过程中，他们把注意力集中在景观的物质状态上，这一点在17世纪的荷兰尤为突出，在那里，景观一方面是由水利工程不断地创造、破坏和重塑，另一方面是由熵力:排水问题、洪水、地面的磨损和侵蚀。荷兰实验的原始场景不仅仅是从海洋中升起土地，而且是生产自己土地的存在意义(第93页)，在Ruisdael的许多关于破碎的堤坝，水流和泵站的画作中表现出了这种斗争。扬·凡·戈扬的《哈勒姆和哈勒姆默尔》(1646)可以作为最好的例子，说明在这三个以泥为中心的城市中，城市似乎几乎没有从浑浊的水中走出来。人类、牲畜和摇摇欲坠的房屋似乎只是，或者可能不是，在干燥的地面上休息。利特尔·肖(little Shaw)的阅读表明，这些黄金时代的特定画家不是在看风景，而是在看风景是由什么构成的，以及制作它们的实践——要么是通过工程来真正地构建它们，要么是通过将它们塑造成流浪者、牧民或以其他方式“做”风景。萧伯纳摒弃了我们在任何风景中阅读“景色”和“田园”的刻意倾向。事实上，这种焦点的转移实际上是在绘画本身中表现出来的，他声称，在一种忽视传统绘画中会突出的行为中，或者从字面上看，通过指向的行为。在这些画中，前景几乎从来都不是舞台，观众在那里安全地休息，面对广阔的视野。Meindert Hobbema的《林地池塘》(Woodland Pond)从根本上把前景描绘成一个开放池塘不可能的有利位置:“不，Hobbema的前景奇怪的反社会之处在于，它们的细节和规模并没有吸引人停下来看一看”(第226页)。经常放在他的前景中的大圆木“更多的是作为障碍而不是礼貌的诱惑”(同上)。在梵高的画作中，前景通常是一片需要穿越或绕过的水洼。在《沙丘风景与人物》中，一组人物中的一个指向的不是我们想象中文化默认的地平线，而是他们将被迫穿越或最好绕过的阴暗地面。利特尔·肖荷兰景观的新理由
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Pub Date : 2022-05-04DOI: 10.1080/18626033.2022.2156100
Jessica Rossi-Mastracci
Abstract This article focuses on Leave Catalytic Traces, a design entry for the Land Art Generator Initiative (LAGI) Fly Ranch 2020 Design Competition, located in Fly Ranch, Nevada, USA. Co-hosted by LAGI, an organization that develops artistic renewable energy infrastructure, and the Burning Man Project, which organizes the annual nine-day art festival Burning Man nearby, the programmatic requirements of the competition included the mitigation of the festival’s environmental impact, ecological restoration and a demonstration of renewable energy generation through infrastructural sculpture at Fly Ranch. In response, this research through design case study investigates: (1) Land-based Infrastructures (LBI) as resilient infrastructure and a flexible process-driven framework for site design; (2) a temporary event harnessing participatory processes as a generative strategy; and (3) acupunctural land-based interventions as dynamic ‘sculptures’. The article argues that the work proposes a new design and research process that combines speculative futures and projective imaginaries, which are tested through the development of a process-driven design approach by deploying sitespecific land-based interventions.
摘要:本文关注的是Leave Catalytic Traces，这是位于美国内华达州Fly Ranch的Land Art Generator Initiative (LAGI) Fly Ranch 2020设计竞赛的设计作品。该竞赛由LAGI(一个开发艺术可再生能源基础设施的组织)和Burning Man Project(在附近组织一年一度的为期九天的Burning Man艺术节)共同主办，竞赛的项目要求包括减轻艺术节对环境的影响、生态恢复和通过Fly Ranch的基础设施雕塑展示可再生能源发电。为此，本研究通过设计案例研究探讨:(1)陆上基础设施(LBI)作为弹性基础设施和灵活的过程驱动的场地设计框架;(2)利用参与式过程作为生成策略的临时事件;(3)针灸陆上干预作为动态的“雕塑”。这篇文章认为，这项工作提出了一种新的设计和研究过程，它结合了投机性的未来和投射性的想象，通过部署特定地点的陆地干预措施，开发一种过程驱动的设计方法来对其进行测试。
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Pub Date : 2022-05-04DOI: 10.1080/18626033.2022.2156108
K. Shannon
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Pub Date : 2022-05-04DOI: 10.1080/18626033.2022.2156103
Nicole Porter
Goethe used the term ‘delicate empiricism’ to describe a disciplined process of prolonged empathetic observation, grounded in direct experience, using imagination, inspiration and intuition to encounter phenomena.1 Observational drawing, as an epistemological tool, can facilitate this kind of encounter. As design and drawing practitioner Laurie Olin asserts, drawing enables us to carefully observe ‘unquantifiable, but speculatively knowable, things: the nature of various places, the quality of light at different times, the manner of other people (or ourselves) . . . We learn through seeing, thinking about what we see, studying, and recording it in various ways by drawing.’2 In recent years there has been ‘a modest resurgence of interest within academia in the methodological affordance of observational sketching’,3 mostly in social sciences, anthropological fieldwork, geography and design schools. While drawing is regarded as a means of generating and recording knowledge of place—its past, present and potential future state—artist Gemma Anderson laments that ‘the kind of meditative space needed’ to concentrate purely on observational drawing as a professional scholarly practice ‘is increasingly constrained’.4 This project set out to reclaim observational drawing as a method to capture the ‘unquantifiable’ but ‘knowable’ dimensions of everyday residential landscapes during lockdown.
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Pub Date : 2022-05-04DOI: 10.1080/18626033.2022.2156097
S. Mathew, Stewart Copeland
How do our bodies recognize invisible changes in the environment
我们的身体如何识别环境中看不见的变化
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Pub Date : 2022-05-04DOI: 10.1080/18626033.2022.2156104
Eric Guibert, Alec Tostevin
Abstract The Queen Elizabeth Olympic Park in London has been celebrated as an exemplar of sustainable landscape architecture and regeneration. Yet tracing the new materialist histories of its enmeshed soils reveals how complex sustainable landscape architecture is. On the one hand, the park has expertly recycled and locally sourced its materials. On the other, the socio-ecosystems of its soil assemblages have been pulverized, treated and mixed to create a new profile of synthetic geological strata. Their history and life have been erased. The subterranean sections through this park are caricatures of a ‘sustainable Anthropocene’. Here, the anthropogenic geology supporting the vision of idealized future ecosystems is used for the global marketing of a nation and property developments. This project indicates a destructive systemic blindness in sustainable approaches and the need for truly regenerative design processes, based on working with a place, including the various (other-than) human inhabitants, instead of solely mining its materials to create a perfect vision anew.
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