Effects of Distribution Pattern, Modernism, and Topography in Landscape

Effects of Distribution Pattern, Modernism,

and Topography

in Landscape

Yingyi Hu

huyingyi32@hotmail.com

ABSTRACT The pamphlet describes effects of distribution pattern, modernism, and topography in landscape. In the first chapter, David Leatherbarrow mentioned that there are four ways to distinguish the larger landscape by gardens: horizontal distance; vertical distance; geographical distance; and technological distance. In the second chapter, Martha Schwartz indicates that art form relate to other visual arts could serve cultural artifacts to express contemporary culture’s values with modern materials. In the last chapter, David Leatherbarrow shows the dialogue between architecture and landscape creates a poetic area where the topography is not a abstraction in a design or site.

The writing of wandering, listening and language Lexicon words are related to the top of effects of distribution pattern, modernism, and topography in landscape.

CONTENT Response to Reading Generated Writing Chapter 1 Gardens and the Larger Landscape/David Leatherbarrow Chapter 2 Landscape and Common Culture/Martha Schwartz Chapter 3 Intro-The Topographical Premises of Landscape and Architecture David Leatherbarrow Response to Wandering Writing Chapter 1 The High Line Chapter 1

Tongva Park

Response to Listening Writing Chapter 1 DROUGHT AND BEAUTY LANDSCAPE AS NECESSITY DEBATE SERIES CULLITY AND LEHRER Chapter 2 ASLA President Richard Zweifel FASLA’S LECTURE Response to Language Writing Lexicon of Landscape Architecture Horizontal Distance Vertical Distance Geographical Distance Technological Distance Visible Landscape Reticent Myopic Efface Grasping Pictorialism

Gardens and the Larger Landscape There are four ways to distinguish the larger landscape

by gardens: horizontal distance; vertical distance; geographical distance; and technological distance. Horizontal distance is using different scale with different materials or element by gardens to divide the same topography within the larger landscape.Vertical distance is using the rood gardens as a substitute ground plane.

Geographical distance is walking into the earth, climbing surrounding walls.Using the technological ways by gardens to convert into common culture. Industrial culture developed beyond the control of designer.

The first is horizontal distance. Horizontal Distance is the pattern to use gardens in different scale with different materials or different element like stone path to separate the pathway and plant area in larger landscape. The gardens designed by Roberto Burle Marx for the Museum of Modern Art in Rio de Janeiro, it uses the pattern of horizontal distance like living spaces,terraces, gardens, patios with fountains, waterspouts, and sculpture exhibitions to distinguish the area in larger landscape. The Pedregal Gardens designed by Luis Barragan in Mexico City is the part of residential development. Gardens designed by spatial, practical and cultural, it also formed a coherent topography within the larger landscape. The gardens designed by the pattern of horizontal distance in the larger landscape to indicate the continuities established by the same topography.

The second is vertical distance. Vertical Distance is the pattern to use gardens in different level. Gardens can be built on the rooftop as a substitute ground plane in different level. Gardens also can be built in the circular staircase to continue the landscape.

The ground garden can be associated with the roof garden. The rooftop garden designed by Le Corbusier of 24 Rue Nungesser et Coli in Paris between 1931 and 1934, it designed a distant as an enclosure and isolation area from the ground and refreshed with the natural world, individuals recovered their association with one another.

The third is geographical distance. Geographical Distance is the pattern to use gardens built into the climbing retained walls on the surface of the earth. Gardens can be complex that combined different culture within traditional gardens and modern gardens, it symbolize the merging of peace. Gardens exceeded the boundary line of the site and making it engaged with geographical distance.

The Wexner Center of the Visual Arts designed by Laurie Olin and Peter Eisenman, located at the corner of the Ohio State University in Columbus, Ohio between 1983 and 1989 is using the pattern of geographical distance as a garden in a wider landscape.

Technological distance, which using the element of aluminum in the garden to protect the sun from screen and decorate surface. The ALCOA Forecase Gardens designed

by Garrett Eckbo between 1957 and 1959, it was located in the Wonderland Park development of western Los Angeles. It is using the pattern of technological distance as garden in a wider landscape. Aluminum mesh and sheets that built between stones, soil and plants combined the element of water and light with aluminum in the garden to looks more natural.

Distance is the way to separates and divided the horizontal, vertical, geographical and technological. Above four distances confront with displacement, substitution, reuse and absorption. These four distances indicates gardens reaching their limits to become greater and greater distances in larger landscape. Connecting the culture, history and background in gardens and converts it to larger landscape with four distances.

Author: David Leatherbarrow Year published: August, 2004 Type of publication: Hardcover from the University of Pennsylvania Press

LANDSCAPE AND COMMON CULTURE SINCE MODERNISM

Landscape Architecture is using art form to relate to other visual arts, and it could serve cultural artifacts like expressing contemporary culture’s values with modern materials.

Landscape could reflect the needs and values, it also used different pattern to descried the modern society. The modernist sentiment of embracing technology and non-precious materials, including concrete, asphalt, and plastic, is another way landscape architects can utilize the aesthetics of technology to reflect and capture cultural values.

There is a more recent generation of landscape architects observed in the same modernist tradition, identify concepts and art movements to understand the manipulation of space. They also use the pattern of geometry, emotional reactions to created by spatial arrangement, and the consideration of materials to understand the relationship of one space to another. By creating a movement of sculptural earthworks, art was reinstated as a part of our environment and no longer isolated events accessible only to the worn out and overindulgent gallery world. For example, with Martha Schwartz’s designed of “Splice” Garden which Whitehead Institute for Biomedical Research Cambridge of Massachusettes in 1986, one needs to establish a sense of orientation in order to recognize new changes and positions. Geometry allows us to recognize our position in space and is more relatable to architecture, as it deals with fabricated environments more honest than trying to imitate pristine nature.

There is a great distinction divides the attitude of modernist architect toward landscape and architecture.

Architectural modernism has been remarkably disinterested in issues of the pattern of collective space, focused on the spaces within structures towards to landscape. For example, visible landscapes with obvious forms are viewed as competing with the buildings, and in order to make buildings could be read clearly, the landscapes have to be passive and formless. Modernist landscape architects deal with the collective idea from uneducated populations and modernist architect that the landscape should function environmentally and socially, but not intellectually or aesthetically stimulating. A well-designed of landscape was to remain the pure, it was clearly not a field in which cultural attitudes and idea be explored. Using the pattern of exterior space has remained a moral battleground and until has been viewed aesthetically. On the contrary, the lack of a modernist vision for our manufactured landscapes has a effect on our urban and suburban environments.

There are many ideas central to modernism like the issue of history and culture. Following the theory of modernist art, ideas must be challenged in order to prove their viability in a culture.

Provocative art and design encourage the growth of atmosphere by questioning and challenging standards. For example, the landscape design of Center for Innovative Technology Fairfax of Virginia in 1988 followed the history of CIT company based on the value of health, education and technology. It abandon the idea of pristine natural environment and apply the same ideas of interaction and intervention to the complexity of the urban city.

In conclusion, the modernist architects have to shed the old tradition in order to develop aesthetic and philosophical stances to deal with the social needs, and had to shed the landscape in order to deal effectively with expanding urban and sub-urbanization. Landscape architecture as a field has touched upon the questions raised by modernism. Study arts that deals with description and manipulation of space, use of geometry, exploration of emotions produced by arrangements and concern with materials.

- SHADE THE LEGENDARY OAK TREE

TYPE 1 SEA

FOOD TRUCK AREA

B - BARRIER

NDCOVER -

NCE

BBQ AREA

TYPE 2.1 SE

SMALL GATHERING AREA

LOWERS -

E HABITAT

LARGE GATHERING AREA SMOKING AREA ENV CAFE AREA

SCAPE -

SCAPE -

CTING GRID

TYPE 2.1 SE GALLERY

STAGE/GALLERY VIEWING AREA PRIVATE SMALL GATHERING AREA

BACK PORCH

TYPE 3 SEATING

NATURAL EXPERIENCE AREA

TYPE 3 SEA

SEATING

SCAPE -

SCAPE -

S

MEDITATING AREA HISTORICAL FOUNTAIN

T

WILDFLOWERING AREA

DESIGN CONCEPT SITE MAP

LIGHTS ARE CAP ON TH

LIGHTING

YINGYI HU INSTRUCTOR: TAKEO UESEGI | DEPARTMENT OF LANDSCAPE ARCHITECTURE | CAL POLY POMONA UN

THE TOPOGRAPHICAL PREMISES OF LANDSCAPE AND ARCHITECTURE

Interpreting the introduction in how built works and how images are deployed toward new end is emphasized. It also compares the similarities and differences between architecture and landscape architecture, that share several things in common. It contains some poetic in the reading when it talks about the topography and how studies show how cultural imperatives work with a context.

The dialogue between architecture and landscape creates a poetic area where the topography is not a abstraction in a design or site. Gardens and buildings are part of the landscape, and they also part of architecture. Because of that, they should not be separated. A famous quote from the Mexican architect Luis Barragan who is also mentioned: “I don't divide architecture, landscape and gardening; to me they are one.� It means architecture, landscape and gardens can combine to be one object. Architect building is scale invariant and buildings are always built somewhere, but well-designed will use the gardens and different patterns to divide the space on different topography.

History and style can offered topic other than imagery, styles of building construction and the history of the buildings. And the modern buildings lack of expressive, figurative, and communicative power because historical imagery had been stripped from their surface. Space was

subordinated to surface, and surface subsumed styles. To remain convinced the architecture’s modes of disclosure are different from painting, theater, and film. With the efforts, concepts were appropriated into architecture in explanation with an odd mixture of traditional rhetoric and modern marketing of the building’s potential for signification.

Landscape is important to architecture because it creates attention to the material in a space or terrain that can demonstrate how alternatives to approach a culture of architecture. Terrain means more interest than geometry like the profile, compass, or configuration of a given plot of land, it means care for the material, thickness, temperature, color, luminosity, and texture of physical things. Land is not only focus on soil, it also discover the beneath and emerges from it. Topography incorporates terrain that has been built or not but it does includes practical affairs. Land is obviously physical and clearly spatial. The pattern of enclosures, continuities, and extent can be the attention to the spatial aspects of a place, and it also can lead to interpretations of the potentials for occupation and use. In addition to the material and spatial aspects of the land to continue the entire landscape, terrain is known most fully in the duration of spatial passage or movement and temporarily opens a dimension of architectural sense. Landscape is important to architecture because attention to the materiality, spatiality and temporality of terrain shows the alternatives to the pictorial approach can increase architecture’s cultural content.

Art can be understood as a broader cultural content where the architecture is not a subject. Architecture toward landscape enables one to re-conceive the tole that buildings play in a wider cultural context. Landscape and architecture are the way to giving the patterns of our lives durable dimension and expression.

The High Line Type: Elevated Urban Linear Park; Public Park Time: Nov. 9th. 2015 Locate: New York, NY 10011 Area: 395 acres

The High Line is a linear park with 1.45-mile-long in New York City, it built in the center of Manhanttan with an elevated section of a disused New York Central Railroad. The park used the pattern of vertical distance as green roof garden go through all the buildings surround in New York City. Along the stairs from ground to elevated High Ligh Park, it brings a sense for people that New York not only a modern city for business but the High Line Park also provides an area for relaxation and recreation in public. In the park, it utilized various native plantings for landscape, and the color of leaves will change with the weather. The trail is made of pebble-dash concrete walkways, and divides into concrete tines with planting in railroad as hardscape. The park also provides a lot of sitting area for people like the single stone bench as enclosure area for individual and group sitting bench for gathering. The view of the city and Hudson River as background to attract people stay in park for longer. A variety of project will be hold in the park for specific event. Because of park is connected to the city, it comes with eleven entrances and five of which for disabilities people.

The pathway designed for wheelchair accessible entrances, each with stairs and elevator to bring convenience for people. It is an amazing example to explain use gardens in different level as a substitute ground plane. The High Light Park opened to public since 2009, and it got a wonderful success.

Tongva Park Type: Public Park Time: Nov. 20th. 2015 Locate: 1615 Ocean Ave, Santa Monica, CA 90401 Area: 6.2 acres

Tongva Park is a 6.2-acre park in Santa Monica, California. The park is located south of Colorado Avenue, between Ocean Avenue and Main Street. The park includes an amphitheater, playground, garden, fountains, picnic areas, and restrooms. In the Tongva Park, Santa Monica

by JCFO, there is a sculpture called Weather Field No.1. This installation set up as public art. The designer IĂąigo Manglano-Ovalle is a super fan to find the different voice from natural. Weather Field No. 1 is a site sculpture composed of 49 telescoping stainless steel poles aligned in a grid. Alternating in height, each pole supports a weather vane and anemometer. These tuned instruments are designed to accurately respond to prevailing wind conditions, wind speed and direction. It attracts more people to Tongva Park, and it became a very popular public art place.

In Weather Field, the close grouping of the poles augments the instruments’ standard function. Instead of mapping the wind in a conventional manner, the sculpture uses crowding to trigger and reveal a more mysterious phenomenon. Weather Field strikes a balance between the order of the instrument grid and for the unique artifact response of its kinetic elements to produce its own micro-climate. The instruments influence and react to one another, flocking and schooling like birds in the air or fish in the sea. Sited on Gathering Hill at the crest of a gentle berm of meadow grasses, Weather Field announces itself from a distance and can be viewed from a number of vantage points in the park. The vertical rigid of the stainless steel sculpture contrasts and compliments both the flowing landscaping and the natural forces. Depending on which way the viewer approaches the sculpture the poles may align themselves as a transparent set of columns, or may reveal themselves to be a random forest of slender elements. Weather Field both gauges the viewer’s movement and facilitates navigation while allowing one to con-template the weather. Weather Field is a constant reminder of our connection to both local and global conditions, and might also call to mind the effects we each have on one another.

According to the similar historic methods of kinetic and wind, there is another sculpture called hypnotizing wind-powered sculptures by Anthony Howe. This sculpture uses the similar element of mesmerizing kinetic and wind as power to make the sculpture spin in the slightest breeze.

DROUGHT AND BEAUTY LANDSCAPE AS NECESSITY DEBATE SERIES CULLITY AND LEHRER

Location: HELMS BAKERY DESIGN CENTER Address: 8745 Washington Blvd. CULVER CITY, CA. 90232

Kate Cullity, Taylor Cullity Lethlean and Mia Lehrer, Mia Lehrer had a lecture of a debate moderated by Professor Kelly Shannon. She indicates a lectures from prominent landscape architects which followed by a moderated debate on “Drought & Beauty.” Shannon saids, “As we are in the midst of four years of drought, it will no doubt become clear that in order to go beyond the well-intentioned policies of state and local leaders, in order to have beauty in times of drought, there is an absolute necessity of landscape architecture.” It means a good design of landscape architecture can provide an opportunities to change the issues of drought. For example, the issues of social, cultural, political and spiritual dimensions is the context and challenge of landscape architecture in Australia in the coming decades. Landscape architecture is a multi-disciplinary field interesting art, design, and the earth and social sciences to plan and design public and private landscapes and infrastructures. The matters of design can be adapted to the site including planning, policy, advocacy, education and horticulture. An adaptation design refers to efforts by society or ecosystems prepare for or adjust to future climate change. These adjustments can be protective or opportunistic. A good design also related to urban ecology, urban landscape design to shape built and natural systems like social, economic, environmental allowing humans and nature to exist in productive harmony. So a welldesigned for landscape architecture can reduced environmental impact.

ASLA President Richard Zweifel FASLA’S LECTURE Name: K. Richard Zweifel, FASLA Location: Cal Poly Pomona Job Title: Immediate Past President

The different value of environmental seems different patterns distribute in the landscape, they all connect to each others and they all important. From a lecture of ASLA President Richard Zweifel, he indicates the value of water, resiliency, human health, environmental restoration and economic revitalization. For water, the effect of small amount of little water will cause a critical issue of the 21th century. For example, 34 acres of desert terrain, regional storm water, retention facility and community parks. For a big amount of water like Chicago has artificially created flood and prone places simply by paving over the region’s natural ability to manage excess water. For example, Community Devastated by Hurricane in 2008, the goal of one hour drive away from Houston is to proactively solve coastal planning challenges. Restored shoreline provides green space and recreation in an Ultra Urban Environment. The goal of that is to connect community to the river and connect historically divided communities. For human health, parks are part of our health care system. Parks can help people get out of the “diseases of indoor living” like hypertension, anxiety, depression and diabetes. Regarding employees, those with window views of nature report less stress, better health status, and higher job satisfaction in a variety of workplaces than do comparable groups with views of built environments. People want access to nature and place to play. Green space to a child’s home has a major impact on the child’s health and well-being. American Society of Landscape Architects leading the design and stewardship of land and communities. Their mission is to advance landscape architecture through advocacy, communication, education, and fellowship.

Lexicon of Landscape Architecture

Horizontal Distance ‘The distance between points anywhere on a horizontal plane’ (Dictionary of Construction).

Horizontal Distance is the pattern to use gardens in different scale with different materials or different element like stone path to separate the pathway and plant area in larger landscape. The gardens designed by Roberto Burle Marx for the Museum of Modern Art in Rio de Janeiro, it uses the pattern of horizontal distance like living spaces,terraces, gardens, patios with fountains, waterspouts, and sculpture exhibitions to distinguish the area in larger landscape. The Pedregal Gardens designed by Luis Barragan in Mexico City is the part of residential development. Gardens designed by spatial, practical and cultural, it also formed a coherent topography within the larger landscape.

The gardens designed by the pattern of horizontal distance in the larger landscape to indicate the continuities established by the same topography.

Lexicon of Landscape Architecture

Vertical Distance The distance from a level to another level. ‘The amount of separation between two horizontal surface or plane’ (Answers).

Vertical Distance is the pattern to use gardens in different level.

Gardens can be built on the rooftop as a substitute ground plane in different level. Gardens also can be built in the circular staircase to continue the landscape. The ground garden can be associated with the roof garden. The rooftop garden designed by PECO teamed up with PHS at its headquarters building in Philadelphia at 2013 Market Street, it designed a distant an enclosure and isolation area from the ground and refreshed with the natural world, individuals recovered their association with one another.

Lexicon of Landscape Architecture

Geographical Distance The distance measured along the surface of the earth between two points. ‘The distance measured along the surface of the earth. The formula in this article calculate distances between points which are defined by geographical coordinates in terms of latitude and longitude’ (Wikipedia).

Geographical Distance is the pattern to use gardens built into the climbing retained walls on the surface of the earth. Gardens can be complex that combined different culture within traditional gardens and modern gardens, it symbolize the merging of peace.

Gardens exceeded the boundary line of the site and making it engaged with geographical distance. The Wexner Center of the Visual Arts designed by Laurie Olin and Peter Eisenman, located at the corner of the Ohio State University in Columbus, Ohio between 1983 and 1989 is using the pattern of geographical distance as a garden in a wider landscape.

Lexicon of Landscape Architecture

Technological Distance The distance measured by technology pattern which means voids all the factors by human, economic and environment.

Technological distance, which using the element of aluminum in the garden to protect the sun from screen and decorate surface.

The ALCOA Forecase Gardens designed by Garrett Eckbo between 1957 and 1959, it was located in the Wonderland Park development of western Los Angeles. It is using the pattern of technological distance as garden in a wider landscape. Aluminum mesh and sheets that built between stones, soil and plants combined the element of water and light with aluminum in the garden to looks more natural.

Lexicon of Landscape Architecture

Visible Landscape Design landscape with obvious form, any activity that modifies the visible features of an area of land.

Visible explores the preoccupations, influences, themes, and challenges that shape how the principals and designers at Reed Hilderbrand reflect on their work. In contrast to the recent tendency to illustrate conceptual depth through diagram, three-dimensional illustration, and process drawings, this book relies on photographic representations of built work, through the interpretive lens of an artist and through plan drawings, to evidence consistency in approach and outcome. The result is an expository work that speaks of values, convictions, and aspirations toward humanistic achieve.

Hilderbrand, Reed. "Visible/Invisible: Landscape Works of Reed Hilderbrand." 2013 ASLA Professional Awards. Metropolis Books. Web. <https://www.asla.org/2013awards/431.html>.

Lexicon of Landscape Architecture

Reticent ret·i·cent /ˈredəsənt/ adjective

Not revealing one's thoughts or feelings readily.

Disposed to be silent or not to speak freely;reserved.

Reluctant or restrained.

Lexicon of Landscape Architecture

Myopic [maɪ'ɑpɪk] adjective

Lcking imagination or insight to think long term

Lexicon of Landscape Architecture

Efface [ɪ'feɪs] vt.

to erase from a surface or cause something to fade

Lexicon of Landscape Architecture

Grasping ['grɑːspɪŋ] adj. v.

the power to have or obtain something in your hands or brain and it can also be the need of greediness.

Lexicon of Landscape Architecture

Pictorialism [pik'tɔ:riəlizəm]

is the name given to an international style and aesthetic movement that dominated photography during the later 19th and early 20th centuries (WIKIPEDIA).