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TitleRepresenting Landscape Architecture
PublisherTaylor & Francis
ISBN 139780203412817
Author
LanguageEnglish
File Size14.5 MB
Total Pages241
Table of Contents
                            Book Cover
Title
Copyright
Dedication
Contents
Introduction
Acknowledgments
1 On the Use and Misuse of Historical Landscape Views
2 Scenic Transformation and Landscape Improvement: Temporalities in the Garden Designs of Humphry Repton
3 Color Fields
4 Observation and the Analytical Representation of Space
5 From Paper to Park
6 No Representation Without Representation
7 On Plans
8 Skewed Realities: The Garden and the Axonometric Drawing
9 Drawings at Work: Working Drawings, Construction Documents
10 Modeling the Landscape
11 Modeling, Physical and Virtual
12 Photographic Landscapes: Time Stilled, Place Transposed
13 Set and Location: The Garden and Film
14 From Chalk to CAD: Drawing Materials in the Work of Alle Hosper
Index
                        
Document Text Contents
Page 2

Representing Landscape
Architecture

It has been said that we can realize only what we can imagine; but to realize what

we imagine, we must convey those ideas to others as well as present them to

ourselves. We use images, models, and words�alone or in combination�to

conceive, study, test, construct, and evaluate new landscapes or modify old ones.

Given the transient nature of most landscapes�always growing, always changing�

landscape representation presents a special challenge. It is by no means neutral in

a political sense or even in terms of design evaluation.

Representation requires selection and thus bias, becoming as much a part of the

project as the designed landscape itself. The recent decades have witnessed a

major shift from the hand to the computer, raising new questions about the

methods and limits to what we can achieve through surrogates.

Representing Landscape Architecture offers a broad investigation of various

mediums through which the designed landscape has been depicted. Written by a

team of renowned landscape architects and scholars, this book examines the

subject along several critical axes. First, it casts an historical eye and tests the

limits of historical images to convey their place and time. Second, it examines the

types of drawings and graphic projections used during the various stages of the

design process. Third, it presents situations that trace the relation between client

and maker and the role of representation in their transactions.

This is not a �how-to� book, but a �why� and �what� book, and it is the most

comprehensive to date on the many dimensions of landscape representation.

Marc Treib is Professor of Architecture at the University of California, Berkeley,

and the author of numerous articles on architecture, landscape, and design. He

has held Fulbright, Guggenheim, and Japan Foundation fellowships, as well as an

advanced design fellowship at the American Academy in Rome. Recent books

include Noguchi in Paris: The Unesco Garden, The Donnell and Eckbo Gardens:

Modern Californian Masterworks and Settings and Stray Paths: Writings on

Landscapes and Gardens, published by Routledge in 2005.

Page 120

119

Page 121

7-9

Katsura Villa, Kyoto, Japan,
Seventeenth century. Site plan.

7-10

Ryoan-ji, Kyoto, Japan, c. 1500.
Plan of garden with partial plan
of temple.

7-11

Ryoan-ji, Kyoto, Japan.

Marc Treib

120 the geometry of the pool is quite regular, governed by the calculable arcs

of the compass rather than the irregular curves of the template [7-8]. In

many of Church’s gardens, in fact, the reading is richer than the shape, which

is often quite simple. To some degree this enrichment results because we

ultimately experience each element only in relation to other elements,

never in isolation. In addition, the garden’s designers only suggested many

of these curves in drawn studies; they were fixed only on site—often using

a convenient garden house to trace out the contour of the paving or the

planting bed.

We have plans of the Katsura Villa garden but, like Stourhead, there is little

merit in trying to read them [7-9]. We learn many things by examining the

floor plan of the villa: that the stepping of the three major shoin has been

directed by the module of the tatami, for example, or that, despite the recti-

linear matrix, the resulting spaces are quite fluid. But other than showing the

relation of the various structures to the pond, we grasp little from the garden

plan. This is a garden with a simple large idea, but with an incredibly complex

development using sight, movement, and refined craft. One could generalize

that this is true of most Japanese gardens. Even the plan of Ryoan-ji, which

is striking as a graphic pattern, tells us little about the materials, their color-

ation and the patina—and that from a seated position on the veranda it is

impossible to view all of the stones at one time (although one can see them

clearly in the plan) [7-10, 7-11]. The maker of these gardens would never have

used a plan because plans do not capture the essence of the idea.

Page 240

239I ND E X

16th Street Transit/way, Denver, 148

Aalto, Alvar, 152; and Aino, 135

Abstraction, 104

Adhesive films (Zipatone, Pantone), 152

Alberti, Leon Battista, 93

Alhambra, Granada, Spain, 82

Alphand, Adolphe, 146, 147; Les Promenades

de Paris, 146-147

Andersson, Sven-Ingvar, 92, 94; City Hall,

Rødovre, 92; Uraniborg, Ven, 93

Andrews, Malcolm, 32; Landscape and Western

Art, 32

Arnheim, Rudolph, 210

Austen, Jane, 49; Mansfield Park, 49, 50

Aveline, 24, 26

Axonometry, 125-139; military uses of, 125, 127

Bakker, Riek, 231

Baljon, Lodewijk, 225

Banham, Reyner, 138

Barragán, Luis, 189, 199, 202; San Cristobal, 189

Barthes, Roland, 197; Camera Lucida, 197

Bâtir, 132

Bauer, Lisa, 87, 89; Engelsbergs Bruk, 87;

Forsmarks Bruk, 87; Sundbyholm, 87

Bauer, Walter, 87, 94; Engelsbergs Bruk, 87;

Forsmarks Bruk, 87; Sundbyholm, 87

Baxandall, Michael, 35

Bazin, André, 210

Benes, Mirka, 36

Berger, John, 34, 191; Ways of Seeing, 191

Bijhouwer, Jan, 227

Bleeker, Ank, 231

Blom, Holger, 77

BMW, 182

Bois, Yves-Alain, 128

Brahe, Tycho, 93

Brandes, Ellen, 227

Braudy, Leo, 209

Britannia Illustrata, 79

Britton, John, 54; Architectural Antiquities of

Great Britain, 54

Brown, Capability, 43, 47

Brunelleschi, Filippo, 63

Bryant Park, New York, 142, 148

Building Footprints, see Sacriste, Eduardo

Bureau Bakker en Bleeker (B+B), 231

Cabinet of Dr. Caligari, 208

Candlestick Point Recreation Area, San Francisco,

see Hargreaves Associates

Canneel-Claes, Jean, 125-139; gardens: Forty-

Jaco, 129; Grimar, Genval, 129; Heeremans,

Liedekirke, 130; Van de Putte, Schaerbeek, 129

Carmontelle (Louis Carrogis), 30

Carrère and Hastings, 142

Castle Howard, Yorkshire, England, 212

Central Park, New York, 220

Chambers, William, 79

Chantilly, France, 122

Chaumont-sur-Loire, France, Festival of

Gardens, 176

Chermayeff, Serge, 135

Choisy, Auguste, 127, 128, 138

Christo, 220

Church, Thomas, 118, 120, 135

Cinema: costume drama, 211-232; documentary,

210; framing, 209-210, 215, 217; landscape in,

204-223; London in, 207-209; New York in,

205; sets, 208-209

Claremont, Surrey, England, 144

Comics, 65-66

Computer-aided design and drawing (CAD),

152-153, 155, 177-178, 183-186, 189, 225, 232;

computer-generated film images, 209

Construction documents, 63, 140-159

Costa, Gianfrancesco, 36

Crary, Jonathan, 191; Techniques of the Observer, 191

Cullen, Gordon, 132; Townscape, 132

Da Vinci, Leonardo, 63, 144

Dal Re, Marc’Antonio, 26, 32, 36-37

Daniell, Thomas, 53

Davis, Miles, 60

de Jonge, Nico, 227

De Kern Gezond (Healthy to the Core) project,

The Hague, The Netherlands, 235

de Loutherbourg, Philip, 48, 49

De Stijl, 128, 130

Design, computer-aided, 152-153, 155, 177-178,

183-186, 189, 209, 225, 232; participatory

(democratic), 76, 97, 99-101, 103-110;

process, 76; social considerations, 98-101,

103-107, 110

Design with Nature, see McHarg, Ian

Diagrams, 228

Disneyland, Anaheim, CA, 222

Donnell garden, Sonoma County, CA, 118, 120

Double Negative, see Heizer, Michael

Drawing, analytical, 63, 65, 69, 72; conceptual,

57-58, 118; construction 63, 140-159; elevations,

35; field sketch, 58; gestalt, 105-106; measured,

69; media, 224-235; perspective, 72, 85; aerial

perspective 24, 79; perspective cavalière, 129;

plan, 35, 112-123; serial, 65, 66; sharing ideas,

97, 99-106; site plan, 82-85;“thinking,”

63-64, 66

Drottningholm, Sweden, 81

Eastman Kodak, 190

Eckbo, Garrett, 122, 125, 135, 136, 137, 138;

Burden garden, Westchester, NY, 122, 137;

Small Gardens in the City, 135

Eisenstein, Sergei, 210-211

Elevations, 35

Empowerment, 97, 108

Ermenonville, France, 37, 38

Falda, Giovanni Battista, 36

Farrand, Beatrix, 147

Forster, E. M., 220

Gehry, Frank, 153, 155

General Motors, 183

Getty Center, Los Angeles, 152, 155, 205

Giedion, Sigfried, 197

Gilpin, William, 44, 49

Glemme, Erik, 82, 84, 85, 94; Vasa Park, 84

Goldberg, Rube, 65, 72

Goldsworthy, Andy, 196

Greenaway, Peter, 215; The Draughtsman’s

Contract, 215, 217

Grubbs, Christopher, 186

Guevrekian, Gabriel, 135; Garden of Water and

Light, Paris, 135

Gustav III, Sweden, 78, 81

Guston, Phillip, 59-60

Haleiwa, HI, 98-99

Halprin, Lawrence 155-156; Getty Center,

Los Angeles, 152, 155, 205; Lovejoy Fountain,

Portland, 155-156

Hanna/Olin, 157

Hargreaves Associates, 168-181 passim.;

Candlestick Point Recreation Area,

San Francisco, 170; Chaumont-sur-Loire,

France, Festival of Gardens, 176

Harvard University, Graduate School of Design,

161, 162, 166, 170, 173

Hearne, Thomas, 48

Heizer, Michael, 194; Double Negative, 194

Hermelin, Sven, 92

Historical prints, 22-41, as communication, 28-32;

perception of, 34-39; reception of, 32-34

Hoare, Henry, 81, 114; Stourhead, Wiltshire,

England, 78, 114, 212

Hodges, William, 53

Hollis, Douglas, 169

Hopewell Culture, Ohio, 175

Hopkins, Jeff, 206

Hosper, Alle, 224-235; Terschelling, 228

Iacofano, Daniel, 100, 108

Ijsselmeer polders, The Netherlands, 230

International Association of Modernist Garden

Architects (AIAJM), 128

Ivins, William, 189; Prints and Visual

Communication, 189

Jacobsen, Arne, 92; City Hall, Rødovre , 92

James, Frank, 66

James, Henry, 220

Jefferson, Thomas, 146

Jekyll, Gertrude, 147

Johnson’s Wax office building, Racine, WI, see

Wright, Frank Lloyd

Jones, Inigo, 48

Kahn, Louis, 141

Kandinsky, Wassily, 122

Katsura Villa, Kyoto, Japan, 120, 220

Kent, William, 144, 146, 147

Kiley, Dan, 118, 125, 135

King, Frank, 66

Knight, Richard Payne, 47-48

Kring Midden-Utrecht, The Netherlands, 228

Kubrick, Stanley, 211; Barry Lyndon, 211

La Cité, 132

La Quintinie, Jean de, 75

Laborde, 37; Description des nouveaux jardins

de la France, 37

Le Corbusier, 113, 115, 118, 128, 132; Plan Voisin,

132; Villa Meyer, Neuilly, 132

Page 241

240 Le Nôtre, André, 122, 194, 196, 199
Legoretta, Ricardo, 106

Les Promenades de Paris, see Alphand, Adolphe

Liancourt, France, 24, 26

Llanerch, Wales, 24

Lorrain, Claude, 196

Louis XIV, 75, 194, 211

Lovejoy Fountain, Portland, see Halprin, Lawrence

Lumière, August and Louis, 206, 207, 209

Lynch, Kevin, 98

Mack, Mark, 169

Malraux, André, 199; The Voices of Silence, 199

Manteo, NC, 105-107

Mapping, nature, 101-102, 104-105, 107-108; “sacred

places,” 105-107

Markerwaard, The Netherlands, 225

Marsham, William, 44

Martinsson, Gunnar, 90, 92, 94

Mason, William, 44

Massachusetts Institute of Technology (MIT),

Cambridge, 153; Media Lab, 186; Stata Center

for the Computer Sciences, 153

Matisse, Henri, 60

McGlade, Dennis 151

McHarg, Ian, 113; Design with Nature, 113

Méliès, Georges, 206, 207, 209; Voyage to the

Moon, 207

Merchant/Ivory, 220

Mexico, 189

Models, 160-167, 168-187; chipboard, 156; clay,

171, 175-176, 185, 186; plan-reliefs, 127;

translation to drawings, 170

Monticello, Virginia, 146

Munroe, Thomas, 146

Nash, John, 53

National Gallery of Art Sculpture Garden,

Washington, DC, 143, 148

NCNB Bank terrace, Tampa, Florida, 118

Neighborhoods, 97-99, 101-102

New York Public Library, 142

Nitsche, Judith, 155

Noguchi, Isamu, 170-171; Sculpture to Be Seen

from Mars, 171

Nymphenburg, Munich, Germany, 212

Olin Partnership, 148-152, 157; Stata Center for

the Computer Sciences, MIT, Cambridge, 153

Olmsted, Frederick Law, Sr., 146

Painshill, England, 78

Panofsky, Erwin, 205

Pantheon, Rome, 113

Parc de la Villette, Paris, 115, 231

Parc Monceau, Paris, 30-32

Parks: Big Wild, Los Angeles, 107-108; Bryant

Park, New York, 142, 148; Burnett Park, Fort

Worth, Texas, 118; Dana Park, Cambridge, MA,

96, 98-99; Green Plan, Taiwan, 107-109;

Haga Park, Stockholm, 78; Marvin Brande,

Los Angeles, 100; Natural Park, Los Angeles,

101, 102; San Vicente Mountain Park, Los

Angeles, 103

Patio of the Oranges, Cordova, Spain, 194

Pennsylvania Avenue, Washington, DC, 146

Perspective, 72, 85; aerial, 24, 79; perspective

cavalière, 129

Picturesque, 44

Piper, Fredrik Magnus, 75, 78-79, 94;

Drottningholm, Sweden, 81; Haga Park,

Stockholm, 81

Piranesi, Giovanni Battista, 197

Plan, 35, 112-123

Plan-reliefs, 127

Podro, Michael, 191

Potter, Sally, 220; Orlando, 220

Pouncey, Benjamin, 48

Prints and Visual Communication, see

Ivins, William

Reichlin, Bruno, 128, 130

Renoir, Jean, 209

Renzo Piano Workshop, 165

Repton, Humphry, 33, 42-55, 144, 146, 196;

Babworth, 50; design method 44; Fragments

on the Theory and Practice of Landscape

Gardening, 54; Longleat, 47; Red Books, 47, 196;

Royal Pavilion, Brighton, 51-52; Tatton Park, 47

Repton, John Adey, 43, 53, 54; Aspley (Duke of

Bedford), 54; Oxnead Hall, Norfolk, 54

Resnais, Alain, 212; Last Year at Marienbad, 212, 215

Ricoeur, Paul, 141

Robbe-Grillet, Alain, 212

Robinson, William, 113; The Wild Garden, 113

Rose, James, 125, 135, 136, 137, 138; Rose garden,

Ridgewood, NJ, 137

Rossellini, Roberto, 211; The Rise of Louis XIV, 211

Rousseau, Jean-Jacques, 38

Royal Pavilion, Brighton, 51-52

Royston, Robert, 135

Ryoan-ji, Kyoto, Japan, 120, 194

Sackville-West, Vita, 221

Sacriste, Eduardo, 113; Building Footprints, 113

Salas Portugal, Armando, 189, 202

San Cristobal, see Barragán, Luis

Sanders, James 205; The Celluloid Skyline, 205

Santa Monica Mountain Conservancy, 100-103,

107-108

Sartoris, Alberto 128, 130, 132

Sceaux, France, 199

Sculpture to Be Seen from Mars, see Noguchi,

Isamu

Seaside, FL, 222

Shipman, Ellen Biddle, 147

Siberecht, Jan, 37

Silvestre, Israël, 24, 26

Site plan, 82-85

Situationists, 202

Sloane, Eric, 64

Smithson, Peter, 60

Sontag, Susan, 190, 202

Sørensen, Carl-Theodor, 84, 85, 94; Allotment

gardens, Naerum, Denmark, 85

Specifications, 156

St. Peter’s Basilica, Rome, 144

Staatsbosbeheeer (Dutch Forestry Agency), 227

Stockholm, Sweden, 76, 77; Haga Park, 78;

Kungsträdgården, 76

Stockholm Parks Department, 84

Storm King Art Center, New York, 201

Stourhead, Wiltshire, England, 78, 114, 212

Stowe, England, 78

Sunset magazine, 197

SWA Group, The, 118, 161, 162

Tati, Jacques, 220; Mon Oncle, 220

Terrain, as design consideration 77-82

Tessin, Nicholas, the Younger, 81;

Drottningholm, Sweden, 81

The Truman Show, 222

Topography, 171-172

Troupe, Quincy, 60

Tunnard, Christopher, 125, 128, 132

Turrell, James, 165

Van der Rohe, Ludwig Mies, 152

Van Doesburg, Theo, 128

Van Eesteren, Cor, 128

Van Gogh, Vincent, 63, 72

Van Mourik, Wim, 228

Vauban, Marshal, 127

Vaux le Vicomte, France, 114-115, 122

Venturi, Robert, 201; Complexity and

Contradiction in Architecture, 201

Vera, Paul and André, 135

Versailles, France, 35, 122, 194; in cinema, 211;

le jardin potager, 75; Les Plaisirs de l’Île

Enchantée, 35

Vertov, Dziga, 206; Kino-Eye, 206

Villa d’Este, Tivoli, Italy, 72

Villa Giustiniani, Bassano Romano, Italy, 69

Virtual reality, 87

Voices of Silence, The, see Malraux, André

Volkswagen and Audi Design Center, Simi

Valley, CA, 182, 183

Vroom, Meto, 228

Wageningen University, The Netherlands, 227

Walker, Peter, 118; Burnett Park, Fort Worth,

Texas, 118; Nasher Sculpture Garden, Dallas,

TX, 164

Walker, Richard, 51-52, 53

Ware, Chris, 72

Ways of Seeing, see Berger, John

Weiler, Susan, 149

Wild Garden, The, see Robinson, William

Woburn Farm, England, see Richard Woods

Woodland Cemetery (Skogskyrkogården),

Enskede, Sweden, 199

Woods, Richard, 146, Woburn Farm, England, 146

Woolf, Virginia, 220

Wright, Frank Lloyd, 113, 152

Yountville, CA, 99-100

Zocchi, Giuseppe, 36

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