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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
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Plants
III. Materials
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Plants
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Plants
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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
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Fences
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Fences
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Fences
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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
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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