By Ian Thompson
This ebook examines the 3 relevant worth structures which effect panorama architectural perform: the classy, the social and the environmental, and seeks to find the position that the occupation can be enjoying now and for the long run. The ebook integrates an research of old resources with modern learn into the ideals and values of practitioners. The publication increases questions resembling: may still panorama structure aspire to the prestige of an paintings shape? what's the dating among aesthetics and ecology? Does panorama structure have a social project?
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Additional info for Ecology, Community and Delight: Sources of Values in Landscape Architecture
Nowadays we recognise that the meanings of words do not correspond to fixed categories, but are slippery things that arise from our everyday use of language. As it happens, the words beautiful, sublime and picturesque have lost most of their former nuances and are often used interchangeably. In many ways this is regrettable, as it suggests that we have become blinder or more indifferent to aesthetic qualities than were our eighteenth-century counterparts. What is important about the eighteenth-century debates for landscape designers, and for this present inquiry, is that qualities other than regularity and symmetry were seen to have aesthetic value.
A formal garden like Versailles appeals to our instincts at this level. Plato, it seems, must have had the mind of a Settler. The Kaplans have offered an account of the appeal of such places in terms of coherence and legibility. The Forester, Hunter and Settler are all straightforward enough and seem to make sense intuitively. The fifth level, which according to Jellicoe is a contemporary addition, is more problematic. He calls it the Voyager and suggests that mankind is currently on a journey of discovery; he is thinking not of an outward journey, but of the kind of inward exploration begun by Freud and taken further and deeper, some would say, by Jung.
M. D. dissertation, University of Michigan, Ann Arbor. 3 In practice: improving the view? The beauties of nature In the introductory chapter of Design with Nature (1969),1 Ian McHarg describes his childhood in the sootblackened streets of industrial Glasgow, and the way in which his experiences of the polluted city were heightened by the contrasting scenery of Loch Lomond and the Scottish Highlands which lay almost upon Glasgow’s doorstep. When I first read this, it resonated because I grew up in Barrow-in-Furness in Cumbria, a town kept economically alive by a nuclear shipyard, which also boasted a steelworks and the largest slag bank in Britain.