published_or_final_version / Architecture / Master / Master of Landscape Architecture

published_or_final_version / Architecture / Master / Master of Landscape Architecture

published_or_final_version / Architecture / Master / Master of Landscape Architecture

published_or_final_version / Architecture / Master / Master of Landscape Architecture

Winnipeg is a spatially, culturally, psychologically and visually fragmented city, particularly due to the vehicular-oriented growth which has engendered segmented land-use, dismantled walkable networks and provoked disconnection between culture and nature as well as within nature itself. In particular, the displacement of daily life from the complex web of interrelationships in ecosystems, which are essentially the mechanisms supporting our existence, should be the primary concern of urban design. In order to resolve this critical issue, this practicum will isolate and examine a problematic site while deconstructing fragmentation into specific causes, namely pollution, habitat degradation, placelessness and lack of urban ecological education. Concluding that this condition is ultimately created by our own fragmented thinking, the production of pragmatic solutions which continually evoke further fragmentation, I present a series of solutions to these challenges in the form of a landscape architectural design proposal for the City of Winnipeg.

The goal of this project is to create an outdoor environment that responds to the social, physical and emotional needs of older adults.The main objective of this project is to provide quality outdoor spaces associated with a housing facility. To meet this objective, the project stresses three major objectives: (1) to integrate the older adults' housing facility with the neighborhood in order to eliminate segregation and loneliness; (2) to determine the aspects of nature that are beneficial to the older adults' physical and mental health; and (3) to create an appropriate outdoor environment that will increase social contact and enhance active and passive recreational spaces to improve physical and emotional health.The literature section of this project focuses on setting up criteria for the questionnaire. The Literature review also helps to identify guidelines for design and design principles. Criteria for the final conceptual design was set using the data from the survey and the case studies. Finally a conceptual design was created to meet the objectives. / Department of Landscape Architecture

As the world's energy demand increases, it is generally known that conventional energy systems will not sustain future civilizations without repercussions to human and environmental health. Transitioning from current energy systems to those with renewable sources will be challenging and will potentially alter landscape aesthetics. However, the design of renewable technology can minimize adverse effects and can even improve the quality of living in addition to producing electricity. Wind turbines located so that landscape quality is preserved, electricity generators embedded in play equipment, or the use of solar panels to shelter people are examples of how renewable technology has been aesthetically used to improve the quality of life. To test these new ideas, this research thesis searched for examples of how landscape architects can use aesthetics to integrate renewable energy into three types of locations: regions, urban areas, and university campuses. In chapter one, analyses of methods from the Western Renewable Energy Zones (WREZ) initiative in the United States and the South Limburg project in the Netherlands reveal examples of how landscape architects can use aesthetics in visual impact studies and scenarios, which help integrate renewable energy into regions. In chapter two, an analysis of urban renewable energy projects resulted in a series of strategies for using aesthetics and amenities that landscape architects can apply to urban projects which utilize renewable technology. Chapter three presents results from a study of a design for the Ball State University campus in Muncie, Indiana, which produced a method for how landscape architects can use renewable energy products as aesthetic and unique sources of energy generation for a campus community. The subject of renewable energy is developing in the field of landscape architecture, and this research asserts that the use of aesthetics and amenities is a viable method for integrating renewable technology into landscapes. Using readily available products or customizing technology to fit the needs of a project are two options for designers who work with renewable energy to provide aesthetics and amenities. The consideration of both regional and urban scales is important to developing reliable renewable energy systems and a better quality of life. / Renewable energy, aesthetics and landscape architecture -- Aesthetics in regional renewable energy planning -- Strategies for aesthetic applications of renewable energy -- Design method for using renewable energy products -- Conclusions on using aesthetics in renewable energy design. / Access to thesis permanently restricted to Ball State community only / Department of Landscape Architecture

Winnipeg is a spatially, culturally, psychologically and visually fragmented city, particularly due to the vehicular-oriented growth which has engendered segmented land-use, dismantled walkable networks and provoked disconnection between culture and nature as well as within nature itself. In particular, the displacement of daily life from the complex web of interrelationships in ecosystems, which are essentially the mechanisms supporting our existence, should be the primary concern of urban design. In order to resolve this critical issue, this practicum will isolate and examine a problematic site while deconstructing fragmentation into specific causes, namely pollution, habitat degradation, placelessness and lack of urban ecological education. Concluding that this condition is ultimately created by our own fragmented thinking, the production of pragmatic solutions which continually evoke further fragmentation, I present a series of solutions to these challenges in the form of a landscape architectural design proposal for the City of Winnipeg.

Diss. (vol. 1-2) Uppsala : Sveriges lantbruksuniversitet, 2008.

[pt] A arte dos jardins comparada com as outras artes é extremamente ambígua:ela se constrói com a própria natureza, e, no entanto, desta deve se afastar por intermédio de um gesto que a torna jardim e que a isola da extensão que o cerca. O jardim é uma realidade frágil uma vez que lida com o mundo transitório e efêmero das plantas, com o ciclo de vida, com a mutabilidade, com a temporalidade bem marcada, diferente da obra de arte estática. Sob esta perspectiva, muitos autores são incisivos ao indicar Roberto Burle Marx como definidor de uma estética moderna de paisagem, incorporando o espírito da pesquisa plástica às soluções dos jardins. Colocam suas produções como descobertas de uma nova forma de arte intelectual, uma linguagem moderna, harmonizando valores geométricos e de ordem com os valores instáveis da natureza. Esse processo de trabalho pressupõe uma forma articulada de visão, que considera o jogo entre constantes e variantes: a definição formal do espaço (que busca um foco extremamente visual na composição, como numa tela em que os elementos possuem uma lógica intrínseca), o conhecimento das espécies com a compreensão do movimento e a dimensão do tempo no jardim. Estas composições paisagísticas passam a constituir uma unidade, uma experiência própria e autônoma possuidora de lógica interna, ainda que ligadas a uma extensão e a um movimento infinitamente mais vasto da natureza como um todo. Há um intercâmbio de vertentes na noção da paisagem: o ordenamento construído através da arte, numa coexistência com o princípio eterno de natureza. Através da manobra de introduzir a natureza estetizada na arquitetura, se estabelecia uma maneira de realizar a conciliação entre arquitetura e natureza, ora possibilitando uma unidade compositiva, ora ressaltando a distância entre os dois elementos insistindo em sua recíproca exterioridade. / [en] Garden art, if compared to other kinds of art, can be extremely ambiguous: it is built with nature although it should get away from it through a gesture which makes it a garden and that isolates it from the surrounding extension. The garden is a fragile reality since it deals with the transitory and ephemeral world of the plants, with a life cycle, with mutability, with well established temporality, different from static art. Under this perspective, many authors are incisive to point Roberto Burle Marx as a definer of landscape modern aesthetics, joining the spirit of plastic research to garden solutions. They state his productions as discoveries of a new form of intellectual art, a modern language, harmonizing geometric and order values with unstable values from the nature. This work process presupposes an articulated point of view, which considers the role played by the constant and variables: the formal definition of space (which seeks for an extremely visual focus in the composition, just as on a canvas where the elements have an intrinsic logic), the knowledge of species as the understanding of the movement, and the time dimension in the garden. These landscape compositions start to constitute a unit, an autonomous and own experience having internal logic, despite being connected to an extension and to an infinitely wider movement of the nature as a whole. There is a strand exchange related to landscape knowledge: the planning built through art, in a coexistence with the eternal principal of nature. By introducing aestheticized nature into architecture, a way of carrying out the reconcilement between architecture and nature was established, sometimes enabling a compositional unit, and sometimes enhancing the distance between the two elements instituted in its reciprocal externality.