This creative project was initiated primarily by two concerns. First, an interest into just what constituted sacredness or the sacred experience, and second, the current state of almost helplessness that man seems to exhibit when called upon to creatively address the myriad of life-threatening problems that contemporary society has spawned. The various connections betweer these two concerns constituted the foundation of this creative project, out of which emerged various hypotheses concerning the important roles that the built (and natural) environment play in the communication of the sacred experience. That this experience, communicated to individuals via the environment, can be extremely helpful in mending the almost ubiquitous mental and 'spiritual' fragmentation of our species, there is much to support. And increased holism within invariably manifests itself without. Thus it is proposed that careful and informed manipulation (ie., design) of the environment can be essential in eventually elevating the consciousness of man, much in the manner that this was achieved by ancient cultures such as the Greeks and the Egyptians, to name a few. In addition, this design intent will hopefully oblige designers to view the process of their craft in a new light - one that hopefully elevates it to a new and more enlightened level. / Department of Landscape Architecture

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Diss. (sammanfattning) Uppsala : Sveriges lantbruksuniv., 2003. / Härtill 5 uppsatser ; 1 CD.

In this half thesis the use of the garden as a metaphor for paradise has been explored. The English word “ paradise“ was derived from the Greek word “ paradeisos” which in turn was derived from the Old Avestana “ pairi-daeza,” meaning an enclosure. In Ancient Persia the concept applied to an enclosed garden in the modern sense of the word. For this reason the thesis begins with an examination of the development of the garden in this desert region. A more-or-less continuous chain of development in both the physical and allegorical nature of the garden is traced through history from these Ancient Persian beginnings to the height of Mughal architecture (epitomised by the Taj Mahal), by way of the Muslim expansion through Central Asia and Europe. While the core elements of garden design were set in Ancient Persian times, and recur throughout the period studied, the impact of Islam on the local Persian culture brought about a new development of allegorical meaning associated with the garden. This allegorical development reached its apex, too, in the Taj Mahal in which, it is argued, the metaphorical representation of paradise in the garden tomb was made astonishingly explicit. The research for this mini thesis was gathered from secondary sources, including many published books and academic papers, photographic and diagrammatic evidence of extant ancient gardens, and reproductions of carpet designs.

In designing spaces, designers should consider spatial sequence and its experiences, since we experience environment in a sequence along movement. The more a place satisfies desired experiences, the more the place will be successful. This thesis explored spatial sequence as a design tool by examining the major design elements of spatial sequence, the designed patterns of these elements in some cultures, and the sequential experiences and effects of the patterns. As a way of exploring spatial sequence as a design tool, cases in formal classic landscapes (Korean temples, Mughul gardens in Kashmir and Italian villas) have been examined. Classic landscapes have developed elaborate sequential patterns to achieve certain experiences and effects. Especially, the spatial sequence of classic formal landscapes is designed to be experienced along a major axis and to show straight forward and highly controlled sequence. Thus, classic formal landscapes are good examples of showing strong relationship between spatial sequence and spatial experiences. The three landscapes are examined and compared in terms of change of level, change of spatial characteristics and transition places to explore spatial sequence and sequential experiences. The results of this research showed that the designers of these landscapes deliberately used - spatial sequence to elicit certain emotional responses and experiences specifically desired under the contexts and purposes of the places. Korean temples located in the mountains provide good nature-reIated experiences and religious-but-inspiring experiences. The temple designers created delicate yet powerful sequential experiences through the effective use of site conditions and landscape elements. The designers of Mughul gardens worked to create cool and friendly spatial experiences in the hot climate and vast landscapes. They utilized water and planting materials in various ways to give a refreshing and intimate feeling through the whole sequence. Spatial sequences of Italian villas are designed to add to the pure pleasure of the residences and thus show the most articulated sequence design. Especially, level changes, as one of the sequential elements, have been used effectively to create or increase certain sequential experiences. ln Korean temples, the irregular slopes of sites are shaped sometimes into even and constant rises or sometimes into a rapid rise to make various sequential effects. The Mughuls deliberately made small level changes out of flat plains to create an intimate sequence. The Italians used level changes to create a vivid sequence. The steep slopes of hillsides are altered in two opposite directions: horizontally wide and vertically high. The existing site conditions are utilized and modified in various ways to make specific sequential experiences and effects. The findings confirm that spatial sequence is an effective design device which can satisfy desired experiences and thus can create successful places. Good sequence is the one that is appropriate for its purpose and for the context in which it belongs. More concern for and more understanding of spatial sequence will enable the designer to create an environment that will provide more pleasing spatial experiences. / Master of Landscape Architecture

Over fifty percent of humans live in cities. The environmental cost of this is massive, as is the potential for utilizing privately held yards as an integral part of conservation in urban areas. The Backyard Habitat Certification Program (BHCP) in Portland, Oregon, was established to reduce invasive plants, support wildlife, and promote conservation. The program involves > 3000 yards certified at three tiers. While onsite inspections are required to verify compliance, there has never been an assessment of the value of these yards to wildlife. Chapter 1 examined the relationships between the urban landscape and bird distributions outside of yards. Chapter 2 evaluated the ability of the program to separate yards by assessing differences in vegetation structure and composition. Chapter 3 tested if avian abundance, richness and diversity in yards are a product of responses to yard or landscape vegetation structure. Avian data was collected at 146 yards and 73 random locations in 2013 and 2014. Public landscape data was used to collect yard data in the field. Avian abundance, richness, and diversity were affected negatively by urbanization (especially impervious surface) and population density, but positively by tree cover. The BHCP was effective at distinguishing platinum yards from others, but overlap was relatively high among gold, silver and uncertified yards. Avian abundance, richness and diversity within yards was less affected by yard vegetation than the structure of habitat in the surrounding landscape. Species responded individualistically to yard vegetation and the urban landscape, and response was a continuum of tolerance to urbanization. Ultimately, the ability of yards to support wildlife will depend on wide scale neighborhood participation.

Sir Edwin Lutyens and Miss Gertrude Jekyll were part of the 'Art's and Crafts' movement, which advocated the use of local techniques and materials. They grew up separately, both in the Surrey country-side and both among creative people. Jekyll later worked with Edward Hudson (the author of 'Country Life') who persuaded her to be a garden designer . Lutyens was inspired first by the architecture of Surrey (mostly that of Norman Shaw), then by his friend, Herbert Baker, at architectural school, and lastly, by his long - time partner Jekyll. Munstead Wood, Surrey, England, was the partners' first project and it embodies nearly all of their ideals; the natural and indigenous use of flowers and plants, with an ordered colour scheme ; graded colour schemes without discord; the use of entirely local materials ; the sole use of local craftsmen and local techniques; a garden of 'rooms'; the intergration of architecture and garden design. A revival of interest in the partners work has helped to recreate some of the lost gardens of Jekyll. This interest has in turn put a spotlight on the ideals employed by the partners. Their wide influence has also produced many great buildings and gardens, most notably through the work of Sir Herbert Baker in South Africa. The Union Buildings are a perfect example of Baker's work, and much of it has the stamp of Lutyens' style and ideals. Through my own interest in Lutyens and Jekyll I have created my own Jekyll-style border in Grahamstown, Eastern Cape, to try and prove that her ideals can be translated into climates other than that of England. In this experiment, I succeeded in using indigenous South African plants and flowers with a colour scheme in the style of Jekyll, proving that the ideals to which she aspired could be applied in other countries.

Ng Kai Tik. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2004-2005, design report." / Includes bibliographical references. / introduction --- p.01 / city --- p.03 / traditional Chinese garden --- p.05 / Chinese opera --- p.35 / precedent --- p.39 / thesis design / intention --- p.57 / programme --- p.59 / site --- p.61 / process --- p.69 / final design --- p.89 / plans --- p.109 / section --- p.125 / detail --- p.126 / bibliography --- p.127