단지계획 12&13강THE SENSED LANDSCAPE AND ITS

MATERIALS

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PRESENTATION ORDER

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I. The Sensed Quality of a Place

• The sensed quality of a place

• Historic style

• Space perception

II. Principles & Elements

• Enclosure

• Proportion and scale

• Light

• Touch and hearing

• Connotations

• Viewpoints & Visual Sequences

• Ground form

• Textures and materials

• Visible activity

• Symbols

• Sense of time

III. Materials

• Rock and earth

• Water

• Plants

• Fences

• Site details

• Signs

• Environmental art

IV. Site Plan for a Sensed Landscape

• Perceptual organization

• Frameworks & programs

• Languages

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Rock and earth

• The primary site materials

• Rock expresses strength and permanence, the working of

powerful forces over long spans of time

• Stone is expensive but can be the ideal material for walls, steps

and paving

• Weathered stones … stunning objects in the landscape

( Sense of Time)

• To design a landscape to be part of some natural landscape, the

manner in which the local rock is exposed must be observed.

Ledge, talus, scattered boulder, bold artificial cuts through

rock strata …

III. Materials

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Rock and earth

III. Materials

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Rock and earth

III. Materials

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Rock and earth

III. Materials

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Rock and earth

III. Materials

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Rock and earth

III. Materials

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Water

• The range of form, the changeableness and yet the unity, the

intricate repetitive fluid movement, the suggestion of coolness

and delight, the play of light and sound, as well as its intimate

connection with life and its attraction for animals … It affect

sound, smell, and touch, as well as sight

• Can be expensive to introduce and to maintain … may raise

safety problems … catches trash and dust … insects and weeds

… floods …

III. Materials

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Water

III. Materials

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Water / A “clean” pond vs. a “balanced” pond

• A “clean” pond

Clean water, free of plants and other living things

Can be extremely shallow and can be located anywhere

• A “balanced” pond

a balanced ecosystem

Needs sunlight, and of at least 1.5 feet (45cm) of depth

• Either pond requires a watertight lining of masonry

III. Materials

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Water

III. Materials

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Water

III. Materials

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Water

III. Materials

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Plants

• The plant cover is one element in the organization of outdoor

space

• Trees, shrubs, and ground covers are the basic materials

Trees are the backbone; they form the structure of the plan

Shrubs, man-height, are the effective space formers …

privacy screens and barriers to movement

• At the site planning scale, dispose plants according to their habit

of growth, their texture, and mass as a group rather than by their

individual form

• Species must be chosen which are hardy for the harsh urban

areas

III. Materials

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Plants

III. Materials

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Plants

III. Materials

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Plants

III. Materials

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Plants

III. Materials

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Plants

III. Materials

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Plants

III. Materials

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Plants / Stability and change

• The landscapes we prefer are not the stable ecological climax states

(salt marsh, dry desert, or rain forest) but some intermediate stage

(meadow, grain field, park, orchard, or suburban garden)

• We labor to maintain these unstable, intermediate landscapes:

typical suburban garden; farm lands; city landscapes

• Difficulties in preserving existing trees: Feet and wheels compact

the earth; changes in the water table; pollution; climate change

III. Materials

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Plants / Stability and change

• The designer imagines her effects in youth and in maturity

Permanent trees must be set 15~20m apart and 6m from a building

quick-growing plants can be used to fill the initial emptiness

mature trees can be transplanted

Pre-plant trees for future

III. Materials

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Plants / Stability and change

III. Materials

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Plants / Stability and change

III. Materials

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Plants / Stability and change

III. Materials

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Plants / Stability and change

III. Materials

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Plants / Maintenance & Exotics

• To reduce maintenance cost, base the design on some minimum

simplification of the climax ecosystem proper to that place,

consistent with the given human purposes

• Any landscape plan must include a plan for maintenance: a budget;

a set of priorities; a calendar of routine upkeep; an allowance for

that intensive care and partial replacement

• Proper maintenance does not necessarily exclude the use of a

highly “unnatural” setting whenever it can be maintained

• The objective requirements for hardiness and maintenance, and the

subjective requirements of visual fit are the underlying principles

III. Materials

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Plants / Species mix

• It is usual to limit the plant list in a design, for reasons of

economy, and for power of effect: planting a single species along

a street, or in a flower bed … vivid impression … but risky when

dealing with long-lived plants and extensive areas since new

disease … succession is difficult

• It is wiser to use a mix of species … rarely more than three or

at most five species

• Planting is not a frill or a green stuffing to be packed between

buildings … The main framework should be completed before

occupancy

III. Materials

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Fences

• Walls and fences, thin lines on the plan … they are the most

important of the artificial outdoor elements. Their position and

height, their texture and condition, are significant

• There is a large vocabulary of alternative fencings: wooden;

cast and wrought iron; brick and stone; concrete block …

• E.g. white picket fence of Seaside, FL

III. Materials

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Fences

III. Materials

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Fences

III. Materials

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Fences

III. Materials

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Fences

III. Materials

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Site details

• The Normal furniture of any urban area: seats, traffic signals, signs,

utility poles, light poles, meters, trash cans, fireplugs, manholes,

wires, lights, newsstands …

• Most details are normally left to the customary operations of

many separate agencies

• The designer focuses on the details critical for the perception and

use of the site

III. Materials

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Site details

III. Materials

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Signs

• If signs are ugly, it is not by their nature but because they are

thoughtlessly used, ambiguous, redundant, and fiercely

competitive

• But also signs could inform us about the landscape

• It should be our objective to enhance the beneficial powers-not

to suppress, but to clarify and regulate, even amplify this flow of

information

III. Materials

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Signs

III. Materials

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Signs

III. Materials

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Signs

III. Materials

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Signs

III. Materials

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Environmental art

• Far more often, public sculpture is ignored by the passerby … it

commemorates someone he never heard of and has no love for

…

• One answer is the collaboration of artist and site designer from

the beginning of a project … another is to bring the user into the

process of programming and judging the artistic projects?!

III. Materials

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Environmental art

III. Materials

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Perceptual organization

IV. Site Plan for a Sensed Landscape

• Perceiving an environment is creating a hypothesis, building an

organized mental image of space and time that is based on the

experience and purposes of the observer as well as the stimuli

reaching his senses

• Physical characteristics: Symmetry, order, repetition; continuity and

closure; dominance, rhythm, common scale or similarity of form or

material

• Sharp variation (contrast) if there is some underlying continuity

between them

A dark, narrow street related to the broad avenue; a quiet park

to the intensive shopping; Chinese Garden (rough & smooth;

upright & recumbent; rock & water; mountain & plain)

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Perceptual organization

IV. Site Plan for a Sensed Landscape

• Continuity depends on the important transitions: the joint

between house and ground, gateways, decision points on a path

skylines …

• The principal structure of the plan is often some type of hierarchy

or centrality … but not the only possible structural plan

• They still rely on variations sequentially organized, on contrast,

continuity, emphasis, and grouping

세종시 사례

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Frameworks and programs

• The ways to entrust sensuous quality to the latecomers when the

designer is making a long-range plan to be developed by others

Common practices: the street layout; the land subdivision,

regulation as to use, density, and building envelopes

Design framework: cross-section, planting and succession of

views from the major streets

Sensuous program for future elements, without attempting

to fix their exact form: the location of some major landmark;

public activities should be visible; the nature of former

buildings on the site should be expressed …

IV. Site Plan for a Sensed Landscape

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Frameworks and programs

IV. Site Plan for a Sensed Landscape

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Languages

• The accepted languages of site planning (site and planting plans,

sections & profiles, details, specifications, perspectives)

communicate many of the sensuous aspects of a site but not all

of them

• Additional notations are needed: diagrams of program

requirements, of visible activity, of ambience and of sequential

form; or a series drawings which illustrate the moving view,

cyclical change, or developmental stages; quick freehand sketch

still most useful for the rapid and uncertain flow of the design

process

IV. Site Plan for a Sensed Landscape