2 Landscape Design Strategies explore the terms of landscape and its design strategies as I will use them In the second chapter we will set the thematic context more specifically and idea of landscape around the question: throughout this study.The whole chapter focuses on the exploration of the I refer to landscape from a number of selected standpoints and discuss the concepts of landscape space. There I encounter crucial ideas about the human (2.1.). This will lead to a specific and concise definition of the discipline of strategies of landscape design this thesis relies on a prehensive definition each of Marot's four attitudes of landscape design with specific examples and distribute key concepts to landscape (2.3.1. to .4.). To explain the application of landscape strategies I also place the four attitudes of landscape in the theoretical context of architecture in each section and briefly summarise them in the last subchapter 2.3.4. The introduction of landscape attitudes in this chapter is different and more accurate than the idea of nature in architecture that I will discuss in the chapter three. Alexander von Humbolct () *Nature every where speaks to man in a voice .. familiar to his soul "* Equinoctal Regions of the New Continent Guring the years of 1799-1804 London 1814-29 p.160 Quoted after Andre Wulf The Imvention of Nature 2015/2016 form Humbold Personal Narrative of Travels to the S5 Landscape Design Strategies TOE
2.1TheIdea of Landscape AensiA bujaq se papuefau puel jo eaue papuaxa ue si adeospuel puom aui po bujueaw jueujwop au1 saes sado aese as e jo a e yns o sl u os ranging from climate zones of a continent across countries and regions to areas of only local significance. The typological distinction includes a whole series of qualities such as topography soil vegetation and hydrological system or the type of cultivations built infrastructures industries and settlements. As landscape typology is often reduced to qualities of specific elements among these the focus of phenomenological landscape research tends to be descriptive concentrating on the what' of landscape perception rather than on *how and why′ (Zube Sell et al. 1982). In a popular sense landscapes are often reduced to national or regional stereotypes. Switzerland is referred to as the Alpine mountains Norway as a fjord and Tuscany as hills with olives and black poplars. Beyond landscape as a cliche there is a broader meaning in the etymology of the word landscape. The English word landscape originates from the Dutch landschap described in 16th century e se so o e ao a a ( i) b that could be seen from a certain point came into use and only as recently as the 19th century did the word bee understood as a certain area of land as space or environment. Since the 20th century the term has expanded to even broader teritory such as intellectual landscape or financial landscape. uosoduoo jejbooua su jo juaudojanap pue aungonujs au pom punoduos e s adens-pue is revealing and is therefore often quoted in literature (Meeus 1984; Hunt 2000; Vroom 2006; dus- sll pue puel jo eaue pauyap aui aquosap adeos pue puel spuom pauiquoo au1 (booz abuor in the sense of state or condition of being as in other words like authorship dictatorship hardship etc. A similar position is found in the original Dutch land-schap. Its first ponent land- with the meaning of country remains a constant among the Germanic languages until today as in the German word Land-schaft Frisian lan-skip Nordic land-skapr or Danish land-skap etc. In German a similar meaning of schaft as the English state or condition would be found in other words like Bruderschaft Freundschaft or Herrschaft (Engl. Brotherhood Friendship Governance). The suffix schaft always describes a condlition related to the first word sometimes putting an emphasis on its duration or strength. Also notable is the relation of schap and -schaft to the Germanic root of the Dutch scheppen or schepping and German sch&pfen or Schopfung which is used in mythological and religious translations as in Prometheus creating man in Greek mythology (Schwab 1838/1982 book 1). God creating the earth and the Garden of Eden guarded by Adam and Eve (Genesis 2:4 :15). The Question if landscape is indeed a divine creation is subject to long disputes. These disputes were intensified by discoveries in natural sciences from the Renaissance on. The invention of the word landscape and its aesthetics coincides historically with the new scientific approach to nature. This epochal concurrence of a new awareness with new dliscoveries in the Renaissance can be interpreted as the nucleus of the epochal change towards modernity (Ritter 1974). Similarly consistent is the formation in the Romance languages such as the French Pays-age puel sueau -sfed xjad au aum wabesjed asanbnuod pue ojbbesaed ueel a[esjed ysjueds u se jo-bupxe au sajeoipu abe- xyns aq1 (sabenbue) ueuwuas au ut) Aqunoo o (uouauy u) squosap abe- youay u (uppam) abeuew so (abewubd) abeualad *(buusuea) abessuan 56 Landscape Strategies in Architecture TOC
being or action that is in many other cases an inflexion in the normalisation of a verb. The verb axs au os pue aeoges aogesaege -aege ee soa a rather than turning its prefix into a condition turns into being or a transformative action as opposed to the other French suffix -ment which describes a state or condition (as in sentiment batiment failissement etc.). Some words take both forms: assembler being assemblage describes the action of bringing things together (assembler) whereas assemblement is the state of collection as a result of the action expressed in the verb. The different suffixes of land-scape and pays-age illustrate two alternatives to the meaning of landscape. Both include a constant transformative interaction with man with two alternative approaches. The suffix scape turns land into a passive formation of mysterious plexity (Meeus 1984). The suffix age extends pays (or land) into the active result of our intervention. wogeubew q pauanyu ae uogewosuen pue Axaldwo jau u despue pue abesed yog ym uoeaqu jemn pue eosud q pawosue ae sadespue eau pue eujfew yog humans. From a philosophical perspective the untouched landscape does not exist at least on the surface of the European continent. There is a strong and lasting influence of collective use and collective imagination on a landscape's perception and physical appearance. Zube and Sell point sadenspuel Aum jo suogsanb buamsue o anquoo m suogeaui yons bupueasuapun mou ano are perceived as they are (perceived) what they mean to individuals and groups and how they contribute to one's sense of well being or quality of life* (Zube Sell et al. 1982). In conclusion we find that to fully understand landscape in its amplitude requires analysis of both jo wns aaw a puoaq auasxa pue aueeadde sadespue jo qeasu pue Axaduo a elements and the abstraction of their structure. Landscape is first of all an environment of humans. We do not speak of landscape for an animal species but rather as a natural habitat or territory. Landscape is an aesthetic category connected to human intellect rather than animal instinct. puel jo eaje ue jo ajes (eneu soq pue jeojfojoa6 au puo/eq o6ageo e ej u s) adespue am adespue) ujuf(sap jo 1padsoud au ul A(je(sadsa Xofaje jesjbojodouuue ve s) adespue must understand it more as a condition of social history art and the humanities than of purely natural sciences. The anthropologist Tim Ingold has given a panorama of anthropological view on landscapes in an article on the temporality of landscape in an archaeological conference (Ingold 2ooo). He relates punoj sujewau aup wouy saunjno sed onusuosau o A1 sisfojoaeuoue :<bojoaeuoue o1 adespuel in the strata of the land while landscape architects act in reverse in order to construct for future pue ojoaue po sapuabe yog sauo mau bueau pue ees busixa uoysue q saunn landscape design require similar capacity for imagination and creativity in various cultural matters to gain either a diagnostic or prognostic understanding of the meaning of a given site. According to Ingold Landscape is not land it is neither nature nor space (Ingold 2ooo). Rather e 1ou s) adespuel sup q6no.uL 21 u (1amp o) an oum asou o1 sjeadde 1 se pjom e sl adespue) fixed object of observation outside the human sphere but our self-inflicted environment. Landscape itself is the result of a plex process of relating that environment to humans that lived and live in it (Bazelmans 2010). pajonb uatjo aueuwuoμad jenoajasu ue jnq uani6 eofojois/ud e jou s) adespuel aouauadxa o1 to illustrate this is Francesco Petrarca’s ascent of Mont Ventoux (Hunt 2ooo). Petrarca himself 57 Landscape Design Strategies TOE xnoqua yuo snugsnnv jo shugam au jo uonipa buane e jib e se panjaoa peu au woum o uig os pay s o a e g d g uo quase su paanp ae climbed 1912 meters above sea level in the Provence in southern France. In his letter (Petrarca 1336 / 1995) he describes his inner emotional experience mirrored by the physical experience of climbing the Mont. In the physical arousal of the climb the writer recapitulates his life. Reaching the peak he is overwhelmed by the views describing his own feelings with rare intensity for his time. Beyond his description of the view he illustrates the intensity of his ecstasy paring the outer world of the landscape with the inner world of the soul in reference to Augustine's Confessions which he carries in his pocket. with a central quote Petrarca describes how the admiration of the landscape makes him feel beyond himself as if he had left his body behind. Many authors interpreted Petrarca's ascent of Mont Ventoux in 1336 as a turning point in the history of ideas and as the beginning of Humanism. This interpretation has been canonised by the infiuential art historian of the Renaissance Jacob Burckhardt (1860). The German art critic and activist Bazon Brock refers to Petrarca (and Burckhardt) as *the discovery of landscape as a piece of nature that is transformed by the subjects* perceptions experiences and actions . Thus au1 jo bupuesapun no o bunqujuo aum (61 xog) aunqeu pue a[qns au uaamjaq [Petrarca] discovered something that is taken for granted nowadays landscape as a relationship world and the arts Bazon Brock explains a challenge: “In the normal practice of culture discoveries (deeds) of this kind are not valued as much as books pictures pieces of architecture or tools 0 aay wau aonb I se sma peauaqns ueup aouan (2e1 xosg) uoesi go spaau angoadsiad (enpaalu jau se jenpesf uo uyples (juo qpeoudde adeospuel e asjapeeup time to reveal itself in the built environment. Summarising these thoughts I came to call program a major shift in aesthetics during the Renaissance triggered massive changes in the arts humanities and natural sciences that is described as age of humanism. The significance of landscape for the Renaissance humanism can hardly be overstated. 58 Landscape Strategies in Architecture TDC 2.2LandscapeArchitecture'sapproachto Landscape Although Landscape Architecture is a linguistically awkward expression (Hunt 2ooo) we may use (0 uosdo e lauu ) aouaaau jo ae e se apamoux euosaod yo p a weuboud aungeu puofaq sao6 teui daouoo e Jaqiey s 3t aunqeu jou s) adeaspuen It is inherent to the three natures that each refers to the others. Bacon also describes nature as god almighty’s garden and gardens mostly refer to nature. Although always defined in extension gardens refer to what lies beyond their boundaries (Hunt 2000). In this definition the first nature would always be an ideal untouched by man. So it poses an ontological problem: As soon as humans perceive nature we start to leave traces. Untouched nature or wilderness is hostile to humans; to be able to perceive its beauty we must tame it and s ge si uaad aes o eap s o wods ao e geoa sn Lucius Burckhardt put it “everything always gets uglier* (Burckhardt 20o8) or we think that the Landscape was more beautiful in former times. We keep idealising landscapes with no exception to those who are involved in the professional production of the collective landscape imagination. Landscape painters of the late 19th century Hague school would for example blend out any train or bridge that crossed the mercially successful Dutch landscape during the industrial revolution (Reynaerts Boom et al. 2008). As trains cars and planes have bee more prevalent means of mass transportation many explore the most remote regions of the world to praise its landscapes leaving traces in the form of built infrastructure among many other disturbances. For simplicity and to avoid a moralistic view I will concentrate on the anthropological realm and thus define landscape as cultivated nature (the 2nd nature in Hunt 2000). This idea includes the actual physical man-made landscape in cultures and gardens as well as the more idealised version of the human aesthetic appropriation of nature in visual and scenic arts. uisep engae pe anae adespe uaaq sauaaip eoopuau auap e from the subject matter itself Landscape design strategies (structured along the attitudes of Sebastien Marot in the next subchapter 2.3) stress the role of program; the integration and strategic manipulation of context within a design; the role of time; the limits and mechanisms pue :(S66. woou) sfupunq bugonujsuo o1 pasoddo se sadespue fuquapue u oujuo jo eaou Aue ae aaun s (ooo tunn) buxeu-atis pue bunq uaaag uousip a jowass ese aas o uoas xau au u auo asooup I uisap adespue sauudde organisation for a number of others integrated through one guideline. 59 Landscape Design Strategies TO0
景观设计策略 Landscape Design Strategies.pdf
