Resumo: Para revelar como esculturas de gelo e neve redefinem a beleza natural no contexto da arte moderna e explorar suas implicações para o design de arquitetura paisagística, este artigo usa uma combinação de revisão de literatura e análise de caso, a fim de explorar o valor estético, forma artística e fundamento filosófico de esculturas de gelo e neve em jardins, e examina casos específicos de formas de arte de escultura de gelo e neve na arquitetura paisagística. Pesquisas mostraram que (...) a compreensão da filosofia da arte moderna da beleza natural ultrapassou o escopo da estética tradicional e está mais preocupada com a interação entre a natureza e os seres humanos. A escultura de gelo e neve é uma forma única de arquitetura paisagística, que não só incorpora as características estéticas dos materiais naturais, mas também expressa reflexões profundas sobre o ambiente natural, através da inovação tecnológica, criação artística e outros meios. Este texto fornece uma nova perspectiva para a criação da arquitetura paisagística e enriquece ainda mais a conotação estética dos jardins modernos. (shrink)

Sound and listening are intrinsically linked to how we experience and engage with places and communities. This guide invites landscape architects and urban designers to become soundscape architects and offers practical advice on sound and listening applicable to each stage of a design project: from reading the environment to intervening on it. This book foregrounds listening as an affective mediator between subjects and multispecies environments, and a vehicle to think and conceptualise environmental design beyond prevailing visual and human-centred modes. (...) The guide expands landscape architects' and urban designers' tools and skills to assess existing soundscapes, predict how those soundscapes will be altered through their designs, consider sound as a creative and active part of the design process, and envisage how users might perceive and be affected by those soundscapes as they evolve in time. The volume sits in the interface of research and practice, and incorporates theoretical, methodological and creative contributions from acoustic ecology, ecoacoustics, bioacoustics and sound art. Each of the design stages is illustrated through project examples that demonstrate the many advantages of incorporating attentive listening and sound into Landscape Architecture and Urban Design Practice. The book shows how incorporating listening and sounding as part of the design process promotes slow and subtle ways of practice, adds social and ecological value through the reduction of noise pollution and by monitoring the health of habitats, and enables the design of soundscapes that complement the character and design intent of a scheme and elicit joy and wonder. The book will be of interest to landscape architects, together with other design professionals such as urban designers, architects, geographers and engineers, who play a primary role in the composition of the soundscape. (shrink)

This essay presents a theory of aesthetics for landscape gardening based on Karsten Harries’s theory of the ethical function of architecture. It begins with an attempt to understand Horace Walpole’s praise of William Kent’s contribution to the development of “the modern taste in gardening,” according to which Kent was largely responsible for achieving the progressive revolution in landscape architecture that produced the picturesque style of English landscape gardening. After examining Harries’s theory, the essay discusses whether (...) landscape architecture can produce works of art and examines several historically-important garden styles to argue that it can. Finally, it discusses problems inherent in Modern and Postmodern landscape architecture. (shrink)

This paper presents a framework for understanding the value systems inherent in landscape architectural practice. It is based upon a close analytical reading of the academic and professional literature, supported by a series of in‐depth interviews with mid‐ and late‐career British landscape architects. The empirical results of these interviews will be presented in a future paper. A tripartite classification of values is suggested, based upon the categories of the aesthetic, the social and the environmental, each of which is (...) internally complex. This framework is offered as a tool for future landscape architectural criticism. The relationships between values both within and between these value areas are discussed. The conclusion reached is that there is no overarching value which can be used to arbitrate between conflicting values. However, while it is possible to identify areas where values conflict, there can also be significant convergence between aesthetic, social and ecological values, and the paper suggests that it is possible to create landscapes which have positive value in all three areas. (shrink)

Landscape architectural sketches as a painter in real life performance of the most simple and efficient means of drawing attention to the form of linguistic diversity to pursue both a true reflection of objective reality, but also further demonstrate the unique inner experience, mining personality, weaknesses, enrich and improve the artistic quality.

Tri Hita Karana is a traditional Balinese philosophy that emphasizes the importance of balance in the relationships between humans and God, humans and others, and humans and the natural environment. Although this principle underpins many aspects of life, its application in architectural and urban planning often faces various challenges. This research identifies the gap between traditional principles and the demands of modern development. A qualitative case study approach was used in Kedonganan Traditional Village, Kuta, Bali, employing in-depth interviews and (...) direct observation methods. The results of the study show that the people of Kedonganan Traditional Village still uphold customs and cultural traditions, which are implemented in various aspects of daily life, including religious activities, mutual cooperation, and environmental management. Collaboration between the government and traditional communities has proven effective in maintaining ecological, social, and spiritual balance. Additionally, the findings indicate that cultural, architectural and landscape elements remain relevant and functional in community life. The implications of this research highlight the importance of integrating Tri Hita Karana values into development policies to achieve sustainable balance. (shrink)

The study of landscape and place has become an increasingly fertile realm of inquiry in the humanities and social sciences. In this new book of essays, selected from presentations at the first annual meeting of the Society for Philosophy and Geography, scholars investigate the experiences and meanings that inscribe urban and suburban landscapes. Gary Backhaus and John Murungi bring philosophy and geography into a dialogue with a host of other disciplines to explore a fundamental dialectic: while our (...) collective and personal activity modifies the landscape, in turn, the landscape modifies human identities, and social and environmental relations. Whether proposing a peripatetic politics, conducting a sociological analysis of building security systems, or critically examining the formation of New York City's municipal parks, each essay sheds distinctive light on this fascinating and engaging aspect of contemporary environmental studies. (shrink)

Architecture of ancient Egypt is criss-crossed by a series of giant projects whose aim was to celebrate the divine nature of the Pharaohs and their rights to eternal afterlife. In many of such projects a complex interplay between idealization of symbols in hieroglyph writings and shaping of built objects and cultural landscapes can be seen. Since the afterlife destination of the Pharaohs was in the sky, astronomy plays a relevant role in understanding this interplay, as it occurs, in particular, (...) in the Khufu project at Giza and in the planning of Akhenaten’s capital at Amarna. (shrink)

The study of landscape and place has become an increasingly fertile realm of inquiry in the humanities and social sciences. In this new book of essays, selected from presentations at the first annual meeting of the Society for Philosophy and Geography, scholars investigate the experiences and meanings that inscribe urban and suburban landscapes. Gary Backhaus and John Murungi bring philosophy and geography into a dialogue with a host of other disciplines to explore a fundamental dialectic: while our (...) collective and personal activity modifies the landscape, in turn, the landscape modifies human identities, and social and environmental relations. Whether proposing a peripatetic politics, conducting a sociological analysis of building security systems, or critically examining the formation of New York City's municipal parks, each essay sheds distinctive light on this fascinating and engaging aspect of contemporary environmental studies. (shrink)

In this paper we address a frontier topic in the humanities, namely how the cultural and natural construction that we call landscape affects well-being and health. Following an updated review of evidence-based literature in the fields of medicine, psychology, and architecture, we propose a new theoretical framework called “processual landscape,” which is able to explain both the health-landscape and the medical agency-structure binomial pairs. We provide a twofold analysis of landscape, from both the cultural and (...) naturalist points of view: in order to take into account its relationship with health, the definition of landscape as a cultural product needs to be broadened through naturalization, grounding it in the scientific domain. Landscape cannot be distinguished from the ecological environment. For this reason, we naturalize the idea of landscape through the notion of affordance and Gibson’s ecological psychology. In doing so, we stress the role of agency in the theory of perception and the health-landscape relationship. Since it is the result of continuous and co-creational interaction between the cultural agent, the biological agent and the affordances offered to the landscape perceiver, the processual landscape is, in our opinion, the most comprehensive framework for explaining the health-landscape relationship. The consequences of our framework are not only theoretical, but ethical also: insofar as health is greatly affected by landscape, this construction represents something more than just part of our heritage or a place to be preserved for the aesthetic pleasure it provides. Rather, we can talk about the right to landscape as something intrinsically linked to the well-being of present and future generations. (shrink)

Following Jean-Marc Besse’s identification of landscape as a dynamic, changing, relational and ‘emergent’ entity, I argue in this article that the artistic creative process is a way of ‘doing with’ landscape that fully embraces this peculiarity of landscape. The art of dance, in particular, makes it clear that it is the artist who creates a kind of mutual attraction between the (trans)formative forces of the landscape, suggesting its renewal and thus giving impetus to its metamorphic and (...) transformative nature. Drawing on Tonino Griffero’s neo-phenomenological approach to the characterisation of landscape as an atmosphere, i.e. as an emotional tonality effused in a ‘felt-bodily’ space, I emphasise the role of the affective dimension in the perception of landscape as something ‘to do with’ rather than ‘to act upon’ in artistic practice. To this end, I take as a case study Anna Halprin’s ‘exploratory’ dance, which focuses on fostering an individual and collective search for a harmonisation of the relationship between movement and emotion. Drawing on notions of the ‘felt body’, ‘atmospheric affordances’ and ‘ecstasies of things’, I analyse the role that her outdoor dance studio – designed by landscape architect Lawrence Halprin – plays in placing the creative process at the centre of dance’s very specific way of ‘doing with’ the landscape. (shrink)

Drawing conceptually and directly on music notation, this book investigates landscape architecture's inherent temporality. It argues that the rich history of notating time in music provides a critical model for this under-researched and under-theorised aspect of landscape architecture, while also ennobling sound in the sensory appreciation of landscape. It makes available to a wider landscape architecture and urban design audience the works of three influential composers - Morton Feldman, Gyorgy Ligeti and Michael Finnissy (...) - presenting a critical evaluation of their work within music, as well as a means in which it might be used in design research. Each of the musical scores is juxtaposed with design representations by Kevin Appleyard, Bernard Tschumi and William Kent, before the author examines four landscape spaces through the development of new landscape architectural notations. In doing so, this work offers valuable insights into the methods used by landscape architects for the benefit of musicians, and by bringing together musical composition and landscape architecture through notation, it affords a focused and sensitive exploration of temporality and sound in both fields. (shrink)

Recovering the substantive nature of landscape -- Landscape, place and the state of progress -- Choros, place and the spatialization of landscape -- Are islanders insular? : a personal view -- The case of the missing mask : performance, theater, aetherial space and the practice of landscape//architecture -- Performing on the landscape versus doing landscape : perambulatory practice, sight and the senses of belonging -- Heidegger, Latour and the reification of things : the (...) inversion and spatial enclosure of the substantive landscape the Lake District case -- Transcendent space, reactionary-modernism and the diabolic sublime : Walter Christaller, Edgar Kant, and the landscape origins of modern spatial science and planning -- Geese, elves, and the duplicitous, diabolical landscaped space and wild nature of reactionary modernism : Holgersson, Hägerstrand, and Lorenz. (shrink)

"[W]ritten by writer and landscape architect Thomas Oles... his ideas about the landscape architecture profession has [been] brought together in one handy handbook."--.

Atmospheres are affective, sensory realms, where mood is palpable. Memory landscapes intensify affectivity, amplifying emotion. The senses, especially smell and taste, trigger and heighten memory. There is therefore a potent intersection between landscape, atmospheres, memory, and the senses. These connections present the compelling prospect that atmospheres could be designed, with the intention of enhancing memory landscapes through sensory means. This paper is written from the perspective of landscape architecture, a discipline which designs and shapes landscapes. Landscape (...) architects work within the spatially and temporally fluid context of the landscape, and aligned with this is the prospect of generating and tuning atmospheres. Past traumatic events, losses of people and places, float in atmospheres of melancholy. Two projects are explored here to probe the possibilities of intentionally invoking atmospheres, exploring how the landscape could be sensorially tonalised. The memorial landscape of Pike River where 29 men died in a mine explosion, and Laura Daly’s augmented reality artwork, The Storm Cone, offer insights into the possibilities of atmospheric design. (shrink)

There is fast-growing awareness of the role atmospheres play in architecture. Of equal interest to contemporary architectural practice as it is to aesthetic theory, this 'atmospheric turn' owes much to the work of the German philosopher Gernot Böhme. Atmospheric Architectures: The Aesthetics of Felt Spaces brings together Böhme's most seminal writings on the subject, through chapters selected from his classic books and articles, many of which have hitherto only been available in German. This is the only translated version authorised (...) by Böhme himself, and is the first coherent collection deploying a consistent terminology. It is a work which will provide rich references and a theoretical framework for ongoing discussions about atmospheres and their relations to architectural and urban spaces. Combining philosophy with architecture, design, landscape design, scenography, music, art criticism, and visual arts, the essays together provide a key to the concepts that motivate the work of some of the best contemporary architects, artists, and theorists: from Peter Zumthor, Herzog & de Meuron and Juhani Pallasmaa to Olafur Eliasson and James Turrell. With a foreword by Professor Mark Dorrian and an afterword by Professor David Leatherbarrow,, the volume also includes a general introduction to the topic, including coverage of it history, development, areas of application and conceptual apparatus. (shrink)

Philosophical reflections on journeys and crossings, homes and habitats, have appeared in all major East Asian and Western philosophies. Landscape and travelling first emerged as a key issue in ancient Chinese philosophy, quickly becoming a core concern of Daoism and Confucianism. Yet despite the eminence of such reflections, Landscape and Travelling East and West: A Philosophical Journey is the first academic study to explore these philosophical themes in detail. Individual case studies from esteemed experts consider how philosophical (...) thought about places and journeys have inspired and shaped major intellectual and cultural traditions; how such notions concretely manifested themselves in Chinese art, particularly in the genres of landscape painting and garden architecture. The studies present a philosophical dialogue between Confucianism and Daoism on issues of social space and belonging and include discussion on travel and landscape in Buddhism as well as Japanese and Tibetan contexts. Approaching the topic from an inter-cultural perspectives, particularly East Asian philosophies, and using these to enrich contemporary reflections on space, the environment, and traversing, this unique collection adds an important voice to present philosophical, political, and cultural discourses. (shrink)

Numinous Fields has its roots in a phenomenological understanding of perception. It seeks to understand what, beyond the mere sensory data they provide, landscape, nature, and art, both separately and jointly, may mean when we experience them. It focuses on actual or potential experiences of the numinous, or sacred, that such encounters may give rise to. This volume is multi-disciplinary in scope. It examines perceptions of place, space, nature, and art as well as perceptions of place, space, and nature (...) in art. It includes chapters written by art curators, and historians and scholars in the fields of landscape, architecture, cultural geography, religious studies, philosophy, and art. Its chapters examine ideas, objects, and practices from the ancient time of Aboriginal Australians' Dreaming through to the present. The volume is also multi-cultural in scope and includes chapters focussed on manifestations of the sacred in indigenous culture, in cultures influenced by each of the world's major religions, and in the secular, contemporary world. Contributors: Samer Akkach, James Bennett, Veronica della Dora, Alasdair Forbes, Virginia Hooker, Philip Jones, Russell Kelty, Muchammadun,Tracey Lock, Ellen Philpott-Teo, John Powell, Rebekah Pryor, Wendy Shaw. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Rhetorical Landscapes in America: Variations on a Theme from Kenneth BurkeLawrence W. RosenfieldRhetorical Landscapes in America: Variations on a Theme from Kenneth Burke. Gregory Clark. Columbia: University of South Carolina Press, 2004. Pp. 181. $34.95, hardcover.Once again we are indebted to the University of South Carolina Press for a fine contribution from its Studies in Rhetoric/Communication series. Gregory Clark sets parallel aims: to apply Kenneth Burke's critical vocabulary (...) to cultural history, and to read American tourist sites and literature in the frame of Burke's notion of "identity" (147). Clark sees the American public landscape as "constituting in individual citizens a shared sense of common identity as members of a national public" (148). He claims that such shared experiences are as rhetorical as are more typical instances of public discourse. Thus American tourism has contributed to developing us into a national community.Clark supports his theme of rhetorical influence with six case studies: New York City, Shaker villages, Yellowstone National Park, the Grand Canyon, the Lincoln Highway, and the 1915 San Francisco Panama Exposition. While Burke's vocabulary offers a handy point of departure, the real news is in [End Page 172] Clark's discussion of the meaning and prominence of each of his six exemplars as cultural icons.This may be most evident (and endearing) as Clark recalls his own boyhood visits to Yellowstone, where he stood in the parking lot and was as captivated by the variety of license plates from across the country as by the hot springs and mudpots (69). This too was a celebration of nationhood. Equally fascinating is his consideration of the efforts of Stephan Mather, Mary Colter, and the Fred Harvey Company both to preserve national parklands and to develop a befitting "National Park Service Rustic" architectural style to enhance the natural landscape (this long before Disney's theme parks). Such typical excerpts almost cry out for Ken Burns or the History Channel to recreate the optimistic climate of a Romantic Post-Bellum civic culture depicted by Clark.The book becomes more tedious when its repeated invocation of Burkian terms tilts toward veneration. In his lifetime, Burke was unnerved by uncritical academic worship. He sought understanding, not deification. As he remarked, "They are an evangelical brood, bejeez. So... I [became] an observer at my own funeral."1 His wariness of academic enthusiasm is well taken. It does no disservice to Burke, for example, to recognize that his "identification" is a reworking of Vico's "ingenium" outfitted in creaky 1920s literary machinery.2 Shorn of some of the cumbersome Burkian baggage, the book's exemplars emerge as epideictic celebrations of the American tourist phenomenon and its part in shaping a national Romantic consciousness:And as rhetoric they traffic not in actions but in attitudes. People can encounter them without ever thinking of themselves as anything but spectators. Even in that role they are being educated... in matters of individual and collective identity.(148)Seen thus as reminders of our forebears' vision in pioneering the development of a national landscape trust, Clark's work edifies and opens us to the quiet excitement of meditative discovery. Clark guides us to monuments of cultural memory; his project is remarkably readable and a uniquely American enterprise.Lawrence W. RosenfieldUniversity of New HampshireNotes1. Letter to Malcolm Cowley, dated 11 August, 1955. Newberry Library Collection, Chicago.2. Cf. M. Mooney, Vico in the Tradition of Rhetoric (Princeton: Princeton UP, 1985), 151. [End Page 173]Copyright © 2006 The Pennsylvania State University... (shrink)

Sculpted Ambiances in Africana Landscape centers on ambiance as it affects the expanded sculptural field, particularly filling a gap in aesthetics left by a lack of focus on sculptures and installations in the Africana world and elsewhere. This book differentiates ambiance from other affective states and emotions and explores its production. It provides an introduction to the history of ambiance and vividly demonstrates, through immersive and experiential writing, how ambiance manifests in different artistic situations and social settings. The book (...) considers the neglected and unique importance of sculptural ambiance to the history of Africana visual culture, and what these works mean in terms of their social, historical, cultural, political, and ecological imagination of space. The book is written in an episodic style and begins with a description of an image before present an analysis of the artist's style and staging for ambient experience. This book will benefit college and university students; scholars of art, architecture, aesthetics, philosophy, geography, anthropology, and sociology; and curators and galleries. (shrink)

This book explores the shared experiential ground of cinema, art, and architecture. Pallasmaa carefully examines how the classic directors Alfred Hitchcock, Stanley Kubrick, Michelangelo Antonioni, and Andrei Tarkovsky used architectural imagery to create emotional states in their movies. He also explores the startling similarities between the landscapes of painting and those of movies.

This paper describes two contemporary houses and their respective gardens: the small post-earthquake temporary shelters in Onna, Italy and Derek Jarman’s Prospect Cottage in Southern England. To dwell, as per the Heideggerian perspective, is an act of cultivation of the soil, the transformation of wilderness into a tilled (architectural) garden: it entails rootedness, permanence, and recurring practices of care. Nevertheless, what these two architectural gardens show is that in our time, while caring for the land can still epitomize the subjugation (...) of chthonic forces, attempting to institute an ecological relation of domination, it may also point in an altogether different direction. In Onna, the gardens appear as an act of resistance against the menacing forces of wilderness; Jarman’s attitude is that of a pathic acceptation of the atmospheric powers pervading the vast marine environment. (shrink)

With the rising influence of digitalization and its immense penetration intoeven everyday life, the last decade of the 20th Century addressed to a critical threshold in the successive transformation process of the spatiality in its long-term run. The advanced digital technologies of ubiquitous computing and generative design, as well as the invention of smart materials in late 90’s have all provoked the fluid characteristics of spatiality, and strengthen the transformative capacities of the architectural space through the emergence of computer-augmented territories. (...) Additionally, while they are becoming as the body extensions, the advent of novel apparatuses and gadgets further enhanced the inte- gration of the corporal and incorporal bodies with the spatio-temporal multiplicities, where the hyperdimensionality of the space has been triggered to its outmost range, in relation to the “soft and smart technologically augmented immanent millieu”, in Spuybroek terms. Thus, like Spuybroek points out as the “haptonomist” presence of the body merges itself with these diverse bodily extensions on one hand; and on the other hand, as the rising influence of nomadic view of the world further stimulates the unboundedness and endless fluidity of space, so that the spatiality becomes a landscape of successive transformations, a topology of emergence or a plane of becoming, which is merely defined by lines of forces, and occures as an alive territory rather than a limited space of predefined boarders. Therefore, this evolvable territory which is affectable and being affected by the lines of forces –inner and outer forces–, emerges as an animated existence, an interactive organism. So, by interacting with the Deleuzian Philosophy and their notions like lines of forces, folding, becoming, smooth space, territory, spatium, this article aims to reveal the relevance of these notions in architectural discourse, as well as the emergence of the smooth space in the contemporary architectural practice, by magnifiying one of the very initial examples of its kind; in terms of unfolding the Fresh Water Pavilion of NOX Architecture by Lars Spuybroek into question to reveal the essences of thecontemporary transformable-evolvable architectural spatiality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Philosophy of GardensRonald MooreA Philosophy of Gardens, by David E. Cooper. Oxford: Oxford University Press, 2006, 173 pp., $35.00 cloth.It is very likely that more people devote more aesthetic attention to gardens and their contents than they do to any other set of objects in the art world or in natural environments. Despite this, however, there has been very little philosophical writing devoted specifically to (...) the aesthetics of the garden experience. Mara Miller (The Garden as an Art, 1993) and Stephanie Ross (What Gardens Mean, 1998) have written important studies of gardens from the philosophical point of view. John Dixon Hunt has written several philosophically informed studies from the historical point of view (The Figure [End Page 120] in the Landscape: Poetry, Painting, and Gardening during the Eighteenth Century, 1976; Gardens and the Picturesque: Studies in the History of Landscape Architecture, 1992; Garden and Grove: The Italian Renaissance Garden in the English Imagination, 1600-1750, 1996). But apart from this valuable handful of discussions, the subject area has received scant scholarly attention. David Cooper's new book, A Philosophy of Gardens, is a very welcome addition to this underscrutinized field of inquiry.Cooper makes it clear at the outset that he does not aim to answer the questions regarding gardens that have attracted most philosophical attention to date, questions like "How do we define 'garden'?" "What are the standards of comparative aesthetic garden quality?" and "Should gardens be regarded as chiefly works of art or as products of nature?" Such questions are both important and quite predicable in the context of late-twentieth-century Anglo-American philosophy. Cooper aims to redirect attention to what he calls the deeper question of the significance of gardens, a question that turns out ultimately to be about the way in which gardens represent a serious contribution to "the good life." The good life, as he speaks of it, is neither la dolce vita nor the life of strict moral virtue. Rather, it is something approximating Aristotelian eudaimonia, a life in which inculcated capacities and strengths of character lead to informed and appropriate ways of acting, feeling, and evaluating.This is an attractive and unconventional project, one that spills over from aesthetics into ethics, philosophical anthropology, and (ultimately) theology. The clever argument that Cooper develops makes the project intriguing and informative, even in a few areas where its conclusions are not altogether convincing. Key to Cooper's distinctive approach is his insistence on regarding gardens not merely as focal objects of aesthetic regard and appreciation but also, and more importantly, as settings in which people engage in a range of distinctive, virtue-inducing practices. Some of these practices (for example, planting, cultivating, and pruning) foster personal virtues by requiring the submission to the discipline of caring and informed superintendence. Others (for example, conducting garden parties, swimming in a garden pool, indulging in solitary reverie) foster both personal and communal virtues by locating human pursuits in a setting that itself exemplifies vitality, change, and thriving. Cooper insists that it is only through the infusion of human activity in working cooperatively with nature to create them and then in dwelling in them appreciatively that gardens reveal their true meaning.The proper notion of garden meaning, Cooper argues, does not conform to either of the two canons of appreciation that have dominated discussion to date—the art model and the nature model. The art model fails because, in its effort to align the appreciation of gardens with that of landscape painting and other familiar aesthetic artifacts, it neglects gardens' fundamental condition as places where living, growing things call upon us to tend them and cooperate in their vitality. The nature model fails because gardens are unlike meadows and mountains in that they are—to some extent—contrived by humans and imbued with purpose by them. Moreover, Cooper argues, the distinctive meaning of gardens cannot be captured by combining (or "factorizing") the two models, that is, by regarding gardens as mixed phenomena of art-and-nature. This is because there is nothing in the two, taken separately, that can account for what is peculiar to our experience of garden aesthetics when they... (shrink)

This chapter contains sections titled: The Invention of the Picturesque Style Olmsted and Central Park: Ethics, Politics, Aesthetics “The Gates” and the Meaning of the Park Notes.

In this article we move beyond the problematic distinction between ‘higher’ and ‘lower’ cognition by accounting for so-called ‘higher’ cognitive capacities in terms of skillful activities in practices, and in terms of the affordances exploited in those practices. Through ethnographic research we aim to further develop the new notion of skilled intentionality by turning to the phenomenon of the tendency towards an optimal grip on a situation in real-life situations in the field of architecture. Tending towards an optimal grip (...) is an inherently affective and dynamic phenomenon. It has been under explored in philosophy, despite its central place in Merleau-Ponty’s phenomenology. When the architects experience discontent, attention is typically solicited by the affordances through which possible ways of continuing the improvement of the design can be explored. In various ways this tension or disequilibrium - fueling a tendency towards an optimal grip - is encountered in the complex architectural design practices that we observed. Based on our field material we distinguish between: a) grip in visual perception, b) grip on the design, and c) grip on ‘how to design’. The move towards an optimal grip takes shape by joining forces with a landscape of affordances. This landscape includes, for instance, affordances for grasping a cup of coffee, affordances provided by a cardboard model to improve it, as well as for engaging with a person who is not physically present. Because they are skilled, the architects can be responsive to these different affordances in similar ways. Furthermore, in practice the architects are responsive to multiple affordances simultaneously. Through our analysis of the tendency towards an optimal grip we show that our surroundings contribute to skillful action and cognition in a far more complex way than is currently acknowledged in philosophy and cognitive science. (shrink)

Animation victims: an abridged history of animated response -- Animated history -- The movement of accessories -- Fabric extensions and textual supplements from modern and antique fragments -- The movement of snakes -- Pneumatic impulses and bygone appendages from Philo to Warburg -- The afterlife of crystals -- Art historical biology and the animation of the inorganic -- Inorganic culture -- Nudes in the forest -- Models, sciences, and legends in a landscape by Léger -- Malicious houses -- Animism (...) and animosity in German architecture and film from Mies to Murnau -- Daphne's legacy -- Architecture, psychoanalysis, and petrification. (shrink)

Many of the following literary-critical texts (not all quite conventional “long-form” essays) originally appeared on the Landscape Agency New York website, LANY Archive-Grotto, on the web portal Geocities, between the years 1997 and 2008 – i.e., over a period of roughly ten years. Versions of some were published in various journals, academic or otherwise. In re-presenting them here, the intention is to trace a proverbial “red thread” that crosses the entirety of the work, arguably what might be denoted the (...) works-based agency of works, and, arguably, the telltale trace of what is otherwise known as the “life-work,” yet for works versus for authors. -/- The entire, retrospective apparatus of The Editioning of Gardens is also, decidedly, an homage to New York, New York, either where or from where much of the research was undertaken and “lived.” Manhattan, indeed, haunts these pages, directly and indirectly – that is to say, the unparalleled access to libraries, bookstores, universities, galleries, cafés, pubs, restaurants, cinemas, parks, and the streets is quite simply the source for the often-intense, yet suitably critical exegetical works. -/- This book is meant to both recapitulate themes crossing the “life-work” of the works collected, but to also illustrate the transitional gestalt of the 1990s and 2000s, something we collectively have not yet quite exited, and something that still haunts and gives pause to architects and landscape architects today. In naming this collection “The Editioning of Gardens,” the intention is to draw attention to the fact that it is landscape that underwrites almost all architectural interventions, whether acknowledged or denied, and that it is “landscape” – in the widest sense of the word – that we inherently and collectively inhabit. -/- NOTA BENE: -/- While many of the essays and texts presented here have been previously published as “working papers” or “reviews” on the LANY Archive-Grotto website, or in journals and P2P dossiers (i.e., in open-access collections posted to research repositories, here denoted Things Czech and Dossier LANY), their presentation in book form makes them more readily accessible and effectively new works as totality. Most have also been re-edited and re-formatted for inclusion in The Editioning of Gardens. -/- All texts are also dated so as to situate them in the timeframe in which they appeared (or were written), as snapshots or surveys of passing times. While re-edited and re-formatted for presentation here, they have not been re-written as such due to their implied “historic” and “time-based” nature. As collection, however, they function as an (un)timely reminder of critical exegesis as rite of passage – underscoring the significance of the title of the collection. This latter trait is what, ironically, makes the collection contemporary and post-contemporary – timely and untimely at once. (shrink)

The subject of the study is the Seljuk cultural code in the cultural landscape of the Crimea. The object of the study is the Seljuk style in the decorative and applied arts and architecture of the Crimea. The article uses the following methods: culturological (ontological and semiotic) analysis in deciphering the meanings of Seljuk elements, the method of historicism in the ontology of Seljuks in the Crimea, the method of analysis of previous studies, the method of synthesis in (...) the identification of ethnic signs. The article discusses the following aspects of the topic: The semantics of the Seljuk code in the cultural landscape of the Crimea is revealed, examples and ways of applying Seljuk stylistics in decorative and applied art and architectural decor of modern and postmodern are considered. 1. The multinational cultural landscape of Crimea consists of the cultures of ethnic groups that inhabited the Crimea in different periods. The leading marker of the definition and self-determination of ethnic groups is religion and folk mythology, embodied in national traditions. A clear example demonstrating ethnic identity and its continuity is folk art. 2. The appearance of the Seljuks in Crimea and the wide spread of the Seljuk style, which has become one of the main components of the "Crimean style" in modern and postmodern architecture, is not accidental and is due to centuries-old ethnic migrations and the mutual influence of cultures. The Seljuk style, therefore, ceases to be purely ethnic, and becomes part of the cultural landscape of the Crimea, used in the decor regardless of the ethnic origin of the author / owner. 3. A special contribution of the authors to the study is the identification and justification of the Seljuk code as one of the main ones in the Crimean stylistics. The scientific novelty of the research consists in the semiotic and stylistic analysis of the Seljuk code in the cultural landscape of the Crimea. (shrink)

Contrées et concepts a pour objectif de bâtir une culture commune aux artistes, aux praticiens, aux théoriciens et aux citoyens, concernant le paysage. Attentive à l'histoire des idées, elle interroge la corrélation existant entre invention des formes de nature, évolution de la demande sociale d'espaces verts et transformation du statut juridique, voire anthropologique de l'espace les modèles de nature qui se dissimulent derrière le discours des savants, ou des experts, des formateurs, des habitants et des usagers aux prises avec les (...) espaces ouverts la capacité des projets paysagers et de l'art à agencer des paysages énergiquement soutenables, voire à transmettre les principes du développement durable. Elle propose ainsi des essais dont le souci est de prendre position en partageant les concepts inhérents aux sciences et aux pratiques qui étudient, voire transforment, nos contrées. (shrink)

In recent years, a growing discussion about how we should design our cities has emerged, particularly for the more controversial modes of design such as “defensive,” “hostile,” or “disciplinary” architecture (i.e., benches on which one cannot sleep, or metal studs on which one cannot skate). Although this debate is relatively mature, many studies have argued that these design notions are undertheorized and are, thus, challenging to study from an empirical and normative perspective. In this paper, I will defne the (...) most common terms used in the literature and show how they are interconnected by utilizing a set of “conditions of adequacy” from philosophy to facilitate a more transparent and well-grounded discussion of them. Terms such as “hostile” and “defensive” design are underlined by several diferent phenomena, not just one as is sometimes commonly assumed. I will also show that these phenomena and their conceptualizations require—and sometimes force us to use—diferent moral reasons when justifying the utilization of diferent designs. (shrink)

Vera Schwarcz's Place and Memory in the Singing Crane Garden examines the moral, philosophical, and historical meanings of a garden built by a Manchu Chinese prince, subsequently destroyed by British imperialists, commandeered by Red Guard radicals, and finally transformed into the grounds of an art museum. Reading Singing Crane Garden in the context of Schwarcz's previous writings on Chinese intellectuals and Jewish traditions, as well as insights provided by critical philosophers and geographers, this essay explores the moral and ethical dimensions (...) of locating history in specific “emplacements”. The argument begins by examining the phenomenology of place articulated by Edward Casey, weaves through discussions of Chinese spatiality, embodiment, and garden aesthetics, and comments on Schwarcz's study of broken monuments and stele through comparisons with Classical Chinese writers and the contemporary American poet Louise Glück. Comparisons are made between the destruction of the garden by the British forces of James Elgin, the murder of the journalist Thomas Bowlby, and the purging, imprisonment, torture, and brutality against scholars and intellectuals by the Red Guards under Mao. The essay closes with commentaries on Schwarcz's reflections concerning continuing global atrocities, and new insights into the ways that understanding landscape architecture as a form of history can bring meaning to questions of memory, loss, and the desire to evoke unrecoverable experiences. (shrink)

本书共分为三个部分:即书信、论文和附录。第一部分是钱学森和大家来往的信件,共收入来往书信近480封,其中包括钱学森给大家的信件233封。第二部分是论文。收入钱学森院士有关建筑科学的著作9篇,从这些论文 中可以领会到钱学森建筑科学思想的精髓。本书也收入了作者撰写的文章,反映了作者对钱学森建筑科学思想的研究和探索。最后部分是附录.

Designing a virtual environment within a digital game occupies a large part of the design procedure, requiring holistic attention and a broad arrangement of the game constituents. Considering other design disciplines, they occupy a unified design methodology; however, a comprehensive literature review reveals the lack of the intended design methodology in the digital game domain's virtual environment development, despite a currently proposed theoretical methodology trying to dissolve the issue. Hence, this research aims to determine the industry's requirements and provide a (...) set of assets included in current digital games as an initial step of providing such a design methodology for the domain. In this regard, the researchers reverse-engineered ten selected digital games, understanding the current condition of digital games via adopting the mentioned currently available design methodology. This dataset reveals a lack in the assets of the story layer in the recent digital games, despite their focus on being story-based. This dilemma leads to long text or speech conversations between game characters, disrupting the players while following the game. The current design focuses on environmental resources only, however, as a virtual landscape, the story needs to be reinforced to be a balanced and well-designed game. Hence, increasing the ratio of the assets in this layer will advance the games' interactivity. Also, as future work, this data set could pave the way for a digital game industry design tool regarding the virtual environment. (shrink)

Milton's influence upon poets and poetry has been broadly and specifically studied often in collections of essays. The present volume of original essays, by emphasizing and classifying Milton's influence on the arts other than poetry, is a significant addition to interdisciplinary scholarship. The editors choose to interpret John Good's words literally—Milton's influence "was powerfully felt upon all the multiplied forms and phases of eighteenth century life"—and to examine the implications of that assertion even into twentieth-century life. No other volume considers (...) the certainty or possibility of Milton's influence on arts as diverse as oratorio, opera, drama, dance, book illustration, sculpture, and landscape architecture. Beyond Milton's well-documented influence on poets and poetry, the contributors focus their attention on the other arts and other creative artists whose imaginations were nevertheless affected by the poet Milton, at times profoundly so. Their chief aim is to be representative, not fully comprehensive, in defining, describing, and demonstrating the manifold influence of Milton on the other arts. A related aim is to motivate others to do likewise. Divided into three parts—Milton and book illustrations, Milton and the performing arts, and Milton and the philosophy of form—this book makes a central and significant point about the impact of Milton's work on the imaginations of artists in various disciplines throughout the following centuries. Indeed, for many of the works of art analyzed in the present volume, Milton must be considered their "onlie begetter.". (shrink)

Introducing the practices of Eastern Hinduism, Shintoism, Daoism, Confucianism, and Buddhism, a lavishly illustrated volume is complemented by full-color reproductions of sacred art, architecture, symbols, landscapes, ceremonies, and festivals.

Social scientists are well-trained to observe and chart social trends, but less experienced at presenting scientific findings in formats that can inform social change work. In this article, I propose a new theoretical concept that provides a mechanism by which social science research can be more effectively applied for proactive policy, organizational, and program development. The approach is to use the metaphor of “desire paths” from landscape architecture to show how social scientists can identify and analyze social desire (...) paths that appear on the social structural landscape. Social desire paths usually emerge because existing formal structures do not meet individual or group needs. Such paths are generally started at the individual level, followed by others through individual actions, and ultimately leave an (usually informal) imprint on the social structure, even though the motivations behind those actions are not usually social change. Using what we know about the sociology of interests and what we have learned from trying to apply social science findings to policy, I propose seven criteria for phenomena to be defined as social desire paths. I then apply the criteria to two case studies related to housing, and discuss social desire paths usefulness to social scientists involved in any research that captures interests, deviance, or innovation; and that also has the potential to inform formal structures such as policy, organizations, program development, and participatory democracy. (shrink)

This book draws on the authors' wide range of experience, to provide a greater understanding of the different dimensions of environmental engagement. It is essential reading for students, researchers, and practitioners of architecture, landscape architecture, urban planning, design and health sciences.