This paper explores various methods of integrating art into the landscape. It is recognized that the landscape is an important location of human experience. Art has the capacity to enhance our understanding of the world as it is concerned with heightening one's perceptions. Thus, it is important that art be integrated into the landscape to illuminate the relationship between humans and the material world. A literature review is conducted in order to determine methods of integrating art with the landscape. First, precedents of art in the landscape, and art and landscape architectural theory, are researched to identify criteria of engaging landscape experience. Second, a typology of differing modes of integrating art and landscape architecture is drawn out of the literature review. In response to the research, a site is chosen and designed according to the types identified. The designs provide a model of various modes of integrating art with the landscape and allow the theory to be tested and evaluated. The conclusion is that there is no right way of integrating art into the environment, but that in certain situations one type may be more appropriate than another. It is recognized that planning for art in the landscape is extremely important to ensuring integration between artwork and landscape. Perhaps then, the typology identified in this paper is best used by public art planners in the pre-development stage. By planning for art in the landscape proactively, there is less opportunity for landscape and artwork to be autonomous and objectified. To be sure, when art is integrated with the landscape the experience of place is enriched, and as a result, the human experience is enhanced.

Orientador: Percival Tirapeli / Resumo: Este trabalho de pesquisa sobre Arte Pública retrata a Nova Praça da Sé de São Paulo e suas esculturas. A Sé é um espaço com uma referência simbólica muito forte para a cidade, apesar das transformações que passou ao longo do tempo. A mais radical ocorreu na década de 60, para a instalação do Metropolitano na região, e é dessa época também a instalação do seu Jardim de Esculturas, considerado um dos principais núcleos escultórios de São Paulo. Outros elementos também foram importantes para esta pesquisa, como a memória arquitetônica e a relação que as pessoas têm com seus lugares preferidos, considerando que o ser humano, é o elemento mais importante, dentro desse espaço construído, que é a cidade. / Abstract: This research about Public Art, retracts the New Sé's Square of São Paulo and theirs scultures. The Sé is a very strong symbolic reference space for city, even the transformations that has passed over through the years. The most radical happened on the 70's, for the Undergound subway installation of the region; and the Sculture's Garden is from this time as well, consider one of the principle Sculture's Nucleus from São Paulo. From this research others elements were important, like the arquitetonics memory and the relation that people have with theirs favorite places, considering the human the most important element in this built space, that is the city. / Mestre

This paper explores various methods of integrating art into the landscape. It is recognized that the landscape is an important location of human experience. Art has the capacity to enhance our understanding of the world as it is concerned with heightening one's perceptions. Thus, it is important that art be integrated into the landscape to illuminate the relationship between humans and the material world. A literature review is conducted in order to determine methods of integrating art with the landscape. First, precedents of art in the landscape, and art and landscape architectural theory, are researched to identify criteria of engaging landscape experience. Second, a typology of differing modes of integrating art and landscape architecture is drawn out of the literature review. In response to the research, a site is chosen and designed according to the types identified. The designs provide a model of various modes of integrating art with the landscape and allow the theory to be tested and evaluated. The conclusion is that there is no right way of integrating art into the environment, but that in certain situations one type may be more appropriate than another. It is recognized that planning for art in the landscape is extremely important to ensuring integration between artwork and landscape. Perhaps then, the typology identified in this paper is best used by public art planners in the pre-development stage. By planning for art in the landscape proactively, there is less opportunity for landscape and artwork to be autonomous and objectified. To be sure, when art is integrated with the landscape the experience of place is enriched, and as a result, the human experience is enhanced. / Applied Science, Faculty of / Architecture and Landscape Architecture (SALA), School of / Graduate

Thesis (Ph. D.)--University of Hong Kong, 2005. / Also available in print.

Thesis (M. Arch.)--University of Hong Kong, 2001. / Includes special study report entitled: Public, art, space : a sensory experience. Includes bibliographical references.

Thesis (Ph. D.)--University of Hong Kong, 2005.

Thesis (M.Arch.)--University of Hong Kong, 2001. / Includes special study report entitled : Public, art, space : a sensory experience. Includes bibliographical references. Also available in print.

No description available.

This thesis tests the theories of Porosity which are part of my ongoing investigation into the revision and extension of public space in the city. Porosity Research seeks to classify spaces which exist deep within the skin or fabric of privately owned city buildings. The primary vehicle for this interrogation is the use of public art in the form of a set of games called Porosity Games ??? Snakes and Ladders, Hide and Seek and Jenga. These games are played out or performed within the territory of my Australian Research Foundation Discovery Grant outcomes. Their aim is to prove the validity of the research and to provoke interrogation of that research. The marginality of public art makes it ideally suited to the task of commenting on or contradicting the main body of the text of public space in the city. This contradiction is central to the work of this thesis. One of the vital needs or reasons for this work lies in finding ways of preventing cities from being shut down as a result of rampant capitalism in the ???Age of Terror???. Porosity as a strategy attacks this trend. It seeks the dissolution of architecture through a type of mapping which dissolves existing boundaries associated with rights of access. Capitalism needs to be continually measured by mapping or defining what is public against what is private. It can be argued that the social construction of a city is as important as its physical manifestation as buildings. It can also then be argued that a city which allows public space to penetrate its private space enables a healthier social construction. Fundamental to this thesis is the idea that the survival of the Western city depends on an increased density of public space and multiple ground planes as opposed to one. This creates three dimensional public access and alleviates congestion at the level of the street both for cars and for pedestrians. The Porosity Games are a first step in the transformation of the city through their successful reinvention of internal circulation spaces as game space. Game 1: Snakes and Ladders and Game 2: Hide and Seek both operate without interruption by the propriety of the buildings. Game 3: Jenga then intentionally heightened the risk of capture and eviction of the players for transgression within the climate of fear. Both the framework of surveillance and the intention to claim private space for public use, make the performances and the Porosity Research a useful progression in the project of transformation and the city as a plastic medium for the artist to interrogate.

This thesis tests the theories of Porosity which are part of my ongoing investigation into the revision and extension of public space in the city. Porosity Research seeks to classify spaces which exist deep within the skin or fabric of privately owned city buildings. The primary vehicle for this interrogation is the use of public art in the form of a set of games called Porosity Games ??? Snakes and Ladders, Hide and Seek and Jenga. These games are played out or performed within the territory of my Australian Research Foundation Discovery Grant outcomes. Their aim is to prove the validity of the research and to provoke interrogation of that research. The marginality of public art makes it ideally suited to the task of commenting on or contradicting the main body of the text of public space in the city. This contradiction is central to the work of this thesis. One of the vital needs or reasons for this work lies in finding ways of preventing cities from being shut down as a result of rampant capitalism in the ???Age of Terror???. Porosity as a strategy attacks this trend. It seeks the dissolution of architecture through a type of mapping which dissolves existing boundaries associated with rights of access. Capitalism needs to be continually measured by mapping or defining what is public against what is private. It can be argued that the social construction of a city is as important as its physical manifestation as buildings. It can also then be argued that a city which allows public space to penetrate its private space enables a healthier social construction. Fundamental to this thesis is the idea that the survival of the Western city depends on an increased density of public space and multiple ground planes as opposed to one. This creates three dimensional public access and alleviates congestion at the level of the street both for cars and for pedestrians. The Porosity Games are a first step in the transformation of the city through their successful reinvention of internal circulation spaces as game space. Game 1: Snakes and Ladders and Game 2: Hide and Seek both operate without interruption by the propriety of the buildings. Game 3: Jenga then intentionally heightened the risk of capture and eviction of the players for transgression within the climate of fear. Both the framework of surveillance and the intention to claim private space for public use, make the performances and the Porosity Research a useful progression in the project of transformation and the city as a plastic medium for the artist to interrogate.