Pub Date : 2022-01-02DOI: 10.1080/18626033.2022.2110437
L. Limido
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Pub Date : 2022-01-02DOI: 10.1080/18626033.2022.2110424
Suzanne Rey
Abstract Recreational parks, much like new towns, can be considered as ‘places of memory’. 1 They mark a complete renewal of French planning policies from the mid-1960s onwards, which were linked to the emergence of a new urban and landscape utopia. At the dawn of its 50th anniversary, the Cergy-Pontoise Recreational Park can be seen as an original and emblematic case study of such landscape designs. It was a laboratory for a young generation of landscape architects, in which they were able to develop and implement principles that are at the heart of teaching the profession in France today. These include observing the terrain, considering the site as a resource for the designed landscape, mastering earthworks and accompanying processes of landscape transformation. The park design allows us to re-examine the questions that landscape architects had to face and the formal answers they brought. We will confront them with today’s design practice and role of landscape architecture in order to reflect on the contemporary context of urban and territorial transition.
{"title":"Experiments in landscape architecture in 1970s France: The Cergy-Pontoise Recreational Park","authors":"Suzanne Rey","doi":"10.1080/18626033.2022.2110424","DOIUrl":"https://doi.org/10.1080/18626033.2022.2110424","url":null,"abstract":"Abstract Recreational parks, much like new towns, can be considered as ‘places of memory’. 1 They mark a complete renewal of French planning policies from the mid-1960s onwards, which were linked to the emergence of a new urban and landscape utopia. At the dawn of its 50th anniversary, the Cergy-Pontoise Recreational Park can be seen as an original and emblematic case study of such landscape designs. It was a laboratory for a young generation of landscape architects, in which they were able to develop and implement principles that are at the heart of teaching the profession in France today. These include observing the terrain, considering the site as a resource for the designed landscape, mastering earthworks and accompanying processes of landscape transformation. The park design allows us to re-examine the questions that landscape architects had to face and the formal answers they brought. We will confront them with today’s design practice and role of landscape architecture in order to reflect on the contemporary context of urban and territorial transition.","PeriodicalId":43606,"journal":{"name":"Journal of Landscape Architecture","volume":"98 1","pages":"70 - 87"},"PeriodicalIF":0.6,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76068545","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 : 2022-01-02DOI: 10.1080/18626033.2022.2110421
Forbes Lipschitz
As American agricultural production has mechanized and cities have grown, fewer and fewer people experience firsthand the planting, growing and harvesting of crops. City dwellers drive through and fly over the working landscape, observing its inner workings from a distance. From this vantage point, the cultural and ecological dynamics occurring in agriculture can be likened to the unseen landscapes described by artist Paul Nash: ‘They belong to the world that lies, visibly about us. They are unseen merely because they are not perceived; only in that way can they be regarded as invisible.’1 As a result, the public is generally unaware of the complexity of the agricultural systems that are fundamental to food production. New forms of process-based and participatory representation could challenge this paradigm by embracing the ways in which these working landscapes are constructed, maintained and experienced.
{"title":"By the Numbers: Rethinking the AgriCultural Image","authors":"Forbes Lipschitz","doi":"10.1080/18626033.2022.2110421","DOIUrl":"https://doi.org/10.1080/18626033.2022.2110421","url":null,"abstract":"As American agricultural production has mechanized and cities have grown, fewer and fewer people experience firsthand the planting, growing and harvesting of crops. City dwellers drive through and fly over the working landscape, observing its inner workings from a distance. From this vantage point, the cultural and ecological dynamics occurring in agriculture can be likened to the unseen landscapes described by artist Paul Nash: ‘They belong to the world that lies, visibly about us. They are unseen merely because they are not perceived; only in that way can they be regarded as invisible.’1 As a result, the public is generally unaware of the complexity of the agricultural systems that are fundamental to food production. New forms of process-based and participatory representation could challenge this paradigm by embracing the ways in which these working landscapes are constructed, maintained and experienced.","PeriodicalId":43606,"journal":{"name":"Journal of Landscape Architecture","volume":"15 1","pages":"48 - 57"},"PeriodicalIF":0.6,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74242196","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 : 2022-01-02DOI: 10.1080/18626033.2022.2110412
Imke van Hellemondt, J. K. Larsen, Sonia Keravel, Anaïs Leger-Smith, Usue Ruiz Arana, Burcu Yiğit-Turan, Ursula Wieser Benedetti
‘Copy and paste’, or copy-paste, is a term that’s so familiar these days that we tend to hardly think about it. The action of copypaste may be judged sarcastically or derogatorily, but it is seldom critically questioned, whether it is employed in designs themselves or in the texts and images that are used for representation. What do we find if we scrutinize our own profession through the prism of copy-paste, in particular in imaging/visualizations? In an era in which images and ideas are reproduced at great speed and circulate endlessly, what are the effects of visual hyper-circulation? Does it broaden the profession’s spectrum by making available an immense wealth of inspiration sources, or does it induce approaches disconnected from site thinking? To take an iconic example, imitations of New York’s High Line seems to have sprung up all over the world, in copies that are sometimes hard to differentiate from their famous model. This copy-paste mentality is strengthened by the amnesia that reigns among the design ranks. Projects and designs are predominantly presented in historical isolation, in particular when they are popular. That the concept of transforming an urban railroad into a recreational area or route is not new in itself is often overlooked.1 Besides the qualities of the design of the New York project, the fact that it is regarded as ‘original’ may have contributed to its star status. Rather than its concept, its structures, shapes, objects and materials are copied from images, and in doing so, its reputation. With each copy, a little bit of ‘High Line character’ is reflected in other designs. Are these designs still meaningful within their concrete, immediate surroundings, the substrate of the place, or do they tend to become shapes devoid of meaning? What kind of effects do the created meanings conceive? These questions are not new. Models have circulated over the centuries, crossing borders and cultures, being absorbed, transported by travellers and books, transformed and constantly reinterpreted. How does a project become a model? How does systematization in planning work? How do systems and models influence the way we view and envision our projects? The historian Françoise Choay has already studied these questions in relation to urbanism and architecture.2 Phenomena such as absorption, reinvention, and transculturation have influenced garden art and landscape architecture for centuries. Taking a look at nineteenth-century pattern books is particularly enlightening—one can trace genealogies of forms circulating throughout Europe and beyond. Famous British books like the ones by William Chambers were—at least partly—published in French and later disseminated in many countries; the French treatise of Édouard André travelled as far as Japan. The diffusion of shapes and ideas is thus clearly nothing new.
“复制粘贴”(Copy and paste)是一个如今已经非常熟悉的术语，以至于我们几乎不会去想它。复制粘贴的行为可能会被讽刺或贬损，但它很少被批判性地质疑，无论是在设计本身还是在用于表现的文本和图像中使用。如果我们通过复制粘贴的棱镜来审视我们自己的职业，特别是在成像/可视化方面，我们会发现什么?在一个图像和思想被快速复制和无休止循环的时代，视觉超循环的效果是什么?它是否通过提供大量的灵感来源来拓宽专业的范围，或者它是否诱导了与现场思维脱节的方法?举一个标志性的例子，对纽约高线公园的模仿似乎在世界各地如雨后春笋般涌现，有时很难将其与著名的模型区分开来。这种复制粘贴的心态被设计界普遍存在的健忘症所强化。项目和设计主要是在历史孤立的情况下呈现的，特别是当它们受欢迎的时候。将城市铁路改造成休闲区或休闲路线的概念本身并不新鲜，但常常被忽视除了纽约项目的设计质量外，它被认为是“原创”的事实可能也有助于它的明星地位。而不是它的概念，它的结构，形状，对象和材料是从图像中复制的，这样做，它的声誉。每一个副本，一点点的“高线字符”反映在其他设计。这些设计在其具体的、直接的环境中仍然有意义吗?或者它们趋向于成为缺乏意义的形状?被创造的意义会产生什么样的影响?这些问题并不新鲜。模型已经流传了几个世纪，跨越国界和文化，被旅行者和书籍吸收、传播，被改造并不断重新诠释。一个项目如何成为一个模型?计划的系统化是如何工作的?系统和模型如何影响我们观察和设想项目的方式?历史学家francaloise Choay已经研究了这些与城市主义和建筑有关的问题几个世纪以来，诸如吸收、再创造和跨文化等现象一直影响着园林艺术和景观建筑。看一看19世纪的图案书是特别有启发性的——人们可以追溯在欧洲和其他地区流传的形式的谱系。著名的英国书籍，如威廉·钱伯斯的作品，至少有一部分是用法语出版的，后来在许多国家传播;法国的Édouard andr专著远至日本。因此，形状和思想的传播显然不是什么新鲜事。
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Pub Date : 2022-01-02DOI: 10.1080/18626033.2022.2110414
S. Herrington
Abstract Among the earliest and most celebrated examples of modern landscape architecture is St Ann’s Hill (1935–1937). Christopher Tunnard designed the landscape and he worked closely with architect Raymond McGrath on the house, St Ann’s Court. The project graced the pages of numerous architecture magazines in the 1930s and 1940s and it made several appearances in Tunnard’s highly influential book Gardens in the Modern Landscape (1938/1948). While the project was designed exclusively for Tunnard and his male lover, there have been no analyses of the project regarding the role that sexual subjectivity played in its design. The following offers a rereading of the project through the lens of queer theories in architecture and domesticity, revealing that St Ann’s Hill hides in plain sight while challenging conventions of the time and likely pays homage to a couple who lived on the site previously and whose relationship also demanded secrecy.
圣安山(1935-1937)是最早和最著名的现代景观建筑之一。Christopher Tunnard设计了景观，并与建筑师Raymond McGrath密切合作设计了这座名为St Ann 's Court的房子。该项目在20世纪30年代和40年代为许多建筑杂志增添了光彩，并在Tunnard极具影响力的书《现代景观中的花园》(1938/1948)中出现过几次。虽然这个项目是专门为Tunnard和他的男性情人设计的，但关于性主观性在其设计中所扮演的角色，还没有对这个项目进行分析。下面通过建筑和家庭生活中的酷儿理论来重新解读这个项目，揭示了圣安山隐藏在人们的视线中，同时挑战了当时的习俗，可能是向以前住在这里的一对夫妇致敬，他们的关系也需要保密。
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Pub Date : 2022-01-02DOI: 10.1080/18626033.2022.2110417
Karen M’Closkey, Keith VanDerSys
Abstract This article focuses on the use of remotely sensed multispectral imagery for land cover classification, a process that landscape architects may know little about but that underpins many of the maps that they use as the basis for their designs. The relatively arbitrary nature of classification, and the homogenization that occurs when classifying multispectral imagery to create land cover maps, is especially consequential when distinguishing between land and water. Yet ‘finding’ water is a key step in land cover classification. The salt marshes surrounding the Wetlands Institute in Stone Harbor, New Jersey, USA are used as a case study for multispectral analysis that combines satellite imagery with on-site surveying. However, the implications of the digital survey methods extend beyond any particular site and point to broader questions about the role of image interpretation for understanding how landscapes and environments are changing, especially with growing uncertainty about the rate of climate change.
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Pub Date : 2022-01-02DOI: 10.1080/18626033.2022.2110422
P. Urech, Aurel von Richthofen, C. Girot
Abstract Topography in landscape design is understood as the foundation on which the dynamics of climate, soil, vegetation and human impact are negotiated. Surprisingly, topography plays a secondary role in the process of designing modern cities, despite being an ineluctable factor on large spatial and temporal scales of built environments. We argue that topographic representation and conceptualization in urban design has been neglected recently despite possibilities of high-resolution scanning techniques. The resulting shortfall of topographic inclusion in design methods limits the achievement of a coherent relationship between terrain, land cover, building and urban space deemed necessary to support evidence-based design methods. This text presents a design method that draws on topography to compose new landscape forms based on site-specific features. The method merges survey and digital modelling to achieve a selective manipulation of georeferenced point cloud models, which are used to represent the measured physical form of the environment. The topic of topography is discussed by first explaining shortcomings of topographic representation and its inclusion in design development, then by devising a design method that draws from point cloud models to handle the physical form of the environment, and finally by discussing the generative role of topography and the new design possibilities offered by this method.
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