Bibliography of urban history 2019

The relationship between research and design in landscape architecture

A growing body of evidence from observational and experimental studies shows the associations between exposure to urban green spaces (UGSs) and mental health outcomes. Little is known about which specific features of UGS that might be the most beneficial. In addition, there is potential in utilizing objective physiological markers of mental health, such as assessing brain activity, but the subject requires further investigation. This paper presents the preliminary findings from an on-going within-subject experiment where adult participants (n = 22; 13 females) were passively exposed to six landscape scenes within two UGSs (a park and a neighborhood green space) and three scenes of a busy urban downtown (control site). The landscape scenes were pre-selected based on their contemplative landscape score (CLS) to represent different levels of aggregation of contemplative features within each view. Participants went to each of the sites in a random order to passively view the scenes, while their electroencephalography (EEG) signal was being recorded concurrently. Frontal alpha asymmetry (FAA) values, commonly associated with the approach-related motivation and positive emotions, were extracted. The preliminary results show trends for the main effect of site on FAA, suggestive of stronger FAA in park compared to the control site, akin to more positive mood. There was also a trend for the interaction between the site and scene, which suggests that even within the individual sites, there is variability depending on the specific scene. Adjusting for environmental covariate strengthened these effects, these interim findings are promising in supporting the study hypothesis and suggest that exposure to urban green spaces may be linked to mental health outcomes.

Can Exposure to Certain Urban Green Spaces Trigger Frontal Alpha Asymmetry in the Brain?—Preliminary Findings from a Passive Task EEG Study

In the wake of major earthquakes public open spaces become hubs for both short-term disaster response efforts and support longer-term recovery needs. At present, few open spaces are actually designed to support these intermittent but critical uses. Currently, there is no consolidated body of knowledge or resource for landscape architects designing for areas of high seismic risk. This research identifies ways in which landscape architects and professionals within allied design disciplines can proactively plan and design open space to support seismic resilience. A systematic review of both grey literature and peer-reviewed academic papers was conducted. The results of the systematic review identified six key themes: Multifunctionality; networks; site location and suitability; size and function; site elements; and, social resilience. These themes contribute to developing a foundation for design disciplines to better incorporate seismic resilience into planning and design of public open spaces.

Designing Public Open Space to Support Seismic Resilience: A Systematic Review

a larger inclusion of cultural action and ambition. A revising of the contemporary nature/culture equation is brought into focus and repeatedly questioned by all the essayists. As Corner states, \"What is needed is an ecology of culture, an ecology wherein the creative ingenuity of the human imagination is allowed to innovate, to extend new hybrids, and to fully partake in the pure diversifying force of evolution.\" Marc Treib’s essay, appropriately entitled \"Settings and Stray Paths,\" begins by setting up for the reader a brief chronology of the recent profession. He traces paths which have led to the transformation from a largely ecology-oriented practice to one of art--inspired creations during the 80s and 90s--whereby making landscapes meant \"striking back with a vengeance at [the] accepted image of nature.\" He proposes that landscape architecture at the turn of the century seems to be falling into one of two categories. One group rejects any sense of identifiable form, exchanging that urge for the look of nature. The second group rejects its forms, if not its systemic performance, for an overt human expression. As with all the essays, Treib takes a futuristic tone by asking, \"Are there strategies that appear more promising in generating landscape architecture for our times? Must we always choose between process-oriented landscape design, which never seems to appear as tidy artifact, and the tidy design, which never seems to address process?\" He concludes by suggesting that the merging of these two directions could lay fertile terrain for making landscapes in the future. More than the other essayists, Treib gives readers insight into the submission review process, and perhaps the frustration he experienced as a juror. He points out: \"Given that the projects submitted to the Forum were experienced only in color slides and explained with limited accompanying written explanations, it is hardly any surprise that evaluation was based primarily on the design’s formal aspects.\" The last essay, by John Beardsley, raises the question, \"Where do we go from here?\" A writer by trade, Beardsley suggests a strategy of \"communication\" for the profession. He states, \"we need a stronger commitment to discourse within the professions and a larger arena for public address if landscape designers are ever to have a serious i~npact on the cultural space we inhabit.\" He says the Forum can help improve this discourse, as well as resolve a number of parochial matters for the landscape design professions, for example, the schism between what he terms \"the pattern makers and the Eco-warriors.\" Throughout the book there is a peculiar imbalance in the quality and diversity of work. One striking observation in passing is the number of images devoted to a few select design titans. For example, images of Peter Walker William Johnson and Partners work appears on sixteen separate pages totaling more than sixty individual images, and the SWA Group has work displayed on fourteen separate pages totaling forty-nine separate images. Even the objective reader will find this odd, considering that most projects were allowed one, two, or maybe three images. The book is published by Spacemaker Press, founded in 1995 by landscape architect Peter Walker. With a professed devotion to landscape architecture, this company has published more than ten landscape-related books in its first year of operation. Through these efforts, Spacemaker is reinventing the monograph as a vehicle to chronicle influential projects and players in landscape architecture. On the one hand, there are those critics who suspect that Spacemaker is a vanity press. On the other hand, the imbalance of work in Forum 1 could simply portray the dearth of exceptional work submitted to the conference, leaving the editors with no choice but to exhibit the few quality images they had in their possession. \"Designed Landscape Forum\" and Spacemaker Press are timely venues for the rapidly changing, nascent landscape profession. The value of this book (as well as Spacemaker’s other publications) is to shape, contour and define \"landscape\" to an expanded audience, not simply to promote a picturesque aesthetic, which it does nicely. As a result, this self-declared \"state-ofthe-art\" conference and publication provoke others to forge their interpretation of what \"state-of-the-art\" means. Designed Landscape Forum 1 is an ambitious book trying to mediate between the languages of two audiences: those inside as well as those outside the landscape architecture field. The alluring photographic layout is sure to induce an enjoyable superficial reading for the lay person, while the essays will instigate deeper considerations for landscape practitioners and educators. In this sense, the book does well in chronicling both the \"contemplative\" and \"interpretive\" approaches of Mitchell’s thesis. However; it is in seeing these approaches side by side, in forums such as this book, that new interpretations necessary for the viability of landscape architecture at the threshold of the millennium will be forged. Alan Berger is Assistant Professor in the Graduate Program in Landscape Architecture at the University of Colorado in Denver.

Landscape in sight: looking at america

The DesignLab approach to teaching landscape

/pdf/research-by-design-the-refereed-studio-2nsw18tcfk.pdf

Research by design: the refereed studio

'Is a contemplative landscape a place of relaxation, designed to still the mind of thoughts? Is a reductive design vocabulary imperative? Or is it a place that should prompt new insights to emerge - perhaps by providing an intense or unique visual focus?'

/pdf/contemporary-landscapes-of-contemplation-1jelcqaqdu.pdf

Contemporary Landscapes of Contemplation

This issue of Landscape Review is one of four volumes of the proceedings of "CELA 2004 Here or There? The Global and the Local", the annual conference of the Council of Educators in Landscape Architecture held at Lincoln University, Canterbury New Zealand, 25-29 June 2004. The issue comprises the eight plenary papers presented at the conference, six of which are published as full double-blind peer review articles, and the remaining two as reports. This editorial summarises the main arguments from the opening presentation, which set the agenda for the conference, and establishes the context within which the plenary papers were selected and presented. We have also taken the opportunity to make some observations about contemporary pressures on the discipline of landscape architecture, and to offer some suggestions about directions in which the discipline might move in addressing the interrelationship between the global and the local.

/pdf/think-global-think-local-critical-regionalism-and-landscape-2uklwtjpzr.pdf

Think Global, Think Local: Critical regionalism and Landscape Architecture

This paper proposes that photographs have the potential to generate new thinking about the experience of Antarctic exploration, suggesting particularly that the diversified photographies of the early twentieth century provide a means of harnessing the reactions of individuals marginalized by conventional text-based discourse. It considers the Antarctic experiences of “second-tier” explorer Ernest Joyce, outlining existing constructions of his Antarctica in order to provide a context for thinking with the group of photographs he compiled in response to his participation in three of the British-led expeditions of the so-called Heroic Era of Antarctic exploration. It suggests that Antarctica brought about a significant attitudinal shift for Joyce, drawing him away from a paradigm based in service to duty towards one where individual will might prevail. However, this attitudinal shift was not matched by the tangible recognition Joyce craved, making his Antarctica also a site for considering the restless opera...

A working man in Wonderland: Ernest Joyce, photographs and Antarctic exploration

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