Through natural and constructed elements, landscape architects design public landscapes to engage the public in the great outdoors. While many local governments and designers actively create landscapes to keep the unsheltered and homeless out of public spaces, keep water in storm drains, and keep native plants on the periphery of the public landscape, my project, Safe Haven, is about creating an inclusive public landscape for people, water, and native plants. Preliminary research into the history of property ownership, discrimination, economic inequality, and government programs for the unsheltered created a picture of why certain demographics struggle with housing. Case studies of homeless encampments in the Washington DC area of NOMA, Abbot's Camp in Austin, Texas, and car camping in San Diego, California, and Seattle, Washington, gave insight into the current landscape needs of unsheltered people. Studies of the watershed and plants native to the site inspired a water retention system and a seasonal pallet of plants. The design incorporates existing infrastructure, new buildings, a natural playground, wilderness camping, a Mount Vernon-inspired vegetable garden, and a sunken garden designed to retain water while showcasing native plants. Describing the design are narratives sharing the perspective of water, native plants, the unsheltered, and the homeless. Lady Landscape guides the stories and offers her views on the responsibilities of a landscape architect. / Master of Landscape Architecture / Inclusive landscapes create a vision of places where children, older adults, people with and without disabilities enjoy the beauty of Mother Nature. There are ADA regulations that ensure everyone can be accommodated within a public landscape, but those regulations don't extend to the needs of unsheltered or homeless people. Their needs to enjoy public parks and recreation areas are different from housed people. They're looking for a home, and many public spaces are built to deter them from living on public lands. My project is a landscape designed with the unsheltered and homeless as the primary client. My project is about creating room for people without homes in the landscape - offering them dignity and meeting them where they are. Researching the needs of the homeless and what is presently available helped guide my design. After choosing an appropriate site in Fairfax City, Virginia, it became apparent that water and native plants would also need a home in this project. A thorough study of the water pattern over the area informed design elements that gave water a home through a Vegetative Swale and Sunken Garden while native plants found space in garden rooms. The thesis is presented as a narrative with Lady Landscape guiding the reader through the design by introducing them to the people and natural elements the landscape offers refuge to.

This study uses the Tibetan mandala, a Buddhist meditation aid and sacred artform, as a secular critical model by which to analyse the complete fictions of author David Mitchell. Discussing his novels, short stories and libretti, this study maps the author's fictions as an interconnected world-system whose re-evaluation of secular belief in galvanising compassionate ethical action is revealed by a critical comparison with the mandala's methods of world-building. Using the mandala as an interpretive tool to critique the author's Buddhist influences, this thesis reads the mandala as a metaphysical map, a fitting medium for mapping the author's ethical worldview. The introduction evaluates critical structures already suggested to describe the author's worlds, and introduces the mandala as an alternative which more fully addresses Mitchell's fictional terrain. Chapter I investigates the mandala's cartographic properties, mapping Mitchell's short stories as integral islandic narratives within his fictional world which, combined, re-evaluate the role of secular belief in galvanising positive ethical action. Chapter II discusses the Tibetan sand mandala in diaspora as a form of performance when created for unfamiliar audiences, reading its cross-cultural deployment in parallel with the regenerative approaches to tragedy in the author's libretti Wake and Sunken Garden. Chapter III identifies Mitchell's use of reincarnation as a form of non-linear temporality that advocates future-facing ethical action in the face of humanitarian crises, reading the reincarnated Marinus as a form of secular bodhisattva. Chapter IV deconstructs the mandala to address its theoretical limitations, identifying the panopticon as its sinister counterpart, and analysing its effects in number9dream. Chapter V shifts this study's use of the mandala from interpretive tool to emerging category, identifying the transferrable traits that form the emerging category of mandalic literature within other post-secular contemporary fictions, discussing works by Michael Ondaatje, Ali Smith, Yann Martel, Will Self, and Margaret Atwood.