Esse trabalho pretende investigar as diferentes percepções de significado da palavra paisagem e seus desdobramentos na atividade do arquiteto urbanista. Para tanto, percorre um primeiro desenvolvimento que associa paisagem às diferentes concepções que se têm dela, procurando distinguir a qualidade que nos parece fundamental: a de ser um grande articulador de temas, lugar de múltiplas valências estéticas que dão significado à relação entre homem e natureza. A confusão entre paisagem e o que venha a ser natureza, associado ao fenômeno de supremacia de uma suposta ciência e conseqüente crescimento da figura do planejamento corroboram a redução do complexo significado da paisagem. A questão da possível sobrevivência em tempos modernos de chaves estéticas ligadas ao século XVIII constitui o cenário para a distinção da figura de Frederick Law Olmsted como pioneiro da atividade da arquitetura da paisagem com dimensões para toda a cultura de uma época. A paisagem como a construção de um olhar comparece nessa elaboração, tecendo a partir de exemplos históricos uma multiplicidade de significados que recusam os estreitamentos, apontando algumas fontes de possíveis enganos. A tese afirma a dimensão cultural e estética da arte como pivô nas criações de uma arquitetura da paisagem. / This research intends to explore the several meaning perceptions of the word landscape and their connection to the activity of the architect. Therefore, it runs at first the different concepts of the term landscape, trying to sort out of them the quality that seems fundamental to us: to be the great link to different themes, the place of multiple aesthetic values that makes meaningful the human-nature relationship. The confusion between concepts of landscape and nature, due to the supremacy of so-called science, and the subsequent outgrowth of planning corroborate the reduction of the complex meaning of the landscape concept. The question of a possible survival in modern times of aesthetic keys from the 18th century constitutes the background to the distinction of Frederick Law Olmsted as a pioneer in the activity of landscape architecture, of great significance of a whole era. Landscape as a construction of the eye appears in this elaboration, interlacing from historical examples a multiplicity of meanings that rejects to be straitened, and points to sources of possible misunderstandings. This work reaffirms the cultural and aesthetic dimension of art as motor for the inventions of landscape architecture.

Esse trabalho pretende investigar as diferentes percepções de significado da palavra paisagem e seus desdobramentos na atividade do arquiteto urbanista. Para tanto, percorre um primeiro desenvolvimento que associa paisagem às diferentes concepções que se têm dela, procurando distinguir a qualidade que nos parece fundamental: a de ser um grande articulador de temas, lugar de múltiplas valências estéticas que dão significado à relação entre homem e natureza. A confusão entre paisagem e o que venha a ser natureza, associado ao fenômeno de supremacia de uma suposta ciência e conseqüente crescimento da figura do planejamento corroboram a redução do complexo significado da paisagem. A questão da possível sobrevivência em tempos modernos de chaves estéticas ligadas ao século XVIII constitui o cenário para a distinção da figura de Frederick Law Olmsted como pioneiro da atividade da arquitetura da paisagem com dimensões para toda a cultura de uma época. A paisagem como a construção de um olhar comparece nessa elaboração, tecendo a partir de exemplos históricos uma multiplicidade de significados que recusam os estreitamentos, apontando algumas fontes de possíveis enganos. A tese afirma a dimensão cultural e estética da arte como pivô nas criações de uma arquitetura da paisagem. / This research intends to explore the several meaning perceptions of the word landscape and their connection to the activity of the architect. Therefore, it runs at first the different concepts of the term landscape, trying to sort out of them the quality that seems fundamental to us: to be the great link to different themes, the place of multiple aesthetic values that makes meaningful the human-nature relationship. The confusion between concepts of landscape and nature, due to the supremacy of so-called science, and the subsequent outgrowth of planning corroborate the reduction of the complex meaning of the landscape concept. The question of a possible survival in modern times of aesthetic keys from the 18th century constitutes the background to the distinction of Frederick Law Olmsted as a pioneer in the activity of landscape architecture, of great significance of a whole era. Landscape as a construction of the eye appears in this elaboration, interlacing from historical examples a multiplicity of meanings that rejects to be straitened, and points to sources of possible misunderstandings. This work reaffirms the cultural and aesthetic dimension of art as motor for the inventions of landscape architecture.

Thesis (Ph. D.)--University of Wisconsin, 1966. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.A.)--University of Wisconsin--Madison, 1971. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

The emergence of Progressivism at the beginning of the twentieth century influenced many aspects of American society. One of those aspects was urban parks. In the latter half of the nineteenth century Frederick Law Olmsted led a nationwide implementation of "Victorian" parks. These parks featured broad expanses of turf, waterways, and trees. Olmsted and the other Victorian park leaders designed the parks to cultivate Victorian values of self-restraint and independence among the citizenry. With the rise of Progressivism the ideals of the middle class changed. Led by Theodore Roosevelt, millions of Americans embraced the "strenuous life" and its emphasis on strength and leadership. Consequently, parks changed. The new Progressive park design favored athletic facilities over places for repose. Audubon Park in New Orleans was built just as this change was occurring, and therefore provides us an opportunity to study this moment in American history in detail.

Thesis (D. Min.)--McCormick Theological Seminary, Chicago, Ill., 2003. / Includes bibliographical references.

The present study focuses on the sediment deposition and consequent dredging issues in Lower Ohio River at the Olmsted Locks and Dam area-River mile (RM)-964.4 during the ongoing in-the-wet construction methodology. The study reach is between Locks and Dam 53 (RM 962.6) at upstream, and RM 970 at downstream. One dimensional (1-D) HEC-RAS numerical modeling in conjunction with Arc-GIS was employed. Stream flow measurements, velocity, incoming sediment concentration, bed gradation, and annual hydrographic survey data acquired from public archives of USGS and USACE Louisville District were used as inputs. The model was subjected to the 1-D quasi-unsteady and completely unsteady sediment transport module, available in the latest HEC-RAS 5.0 Beta release. Calibration and validation of the hydrodynamic and sediment models were performed using measured water surface elevation, velocity, and sediment loads at measured sections. Post-model calibration and validation, deposition to excavated cross-sections for future dam shells at Olmsted was predicted, which warrants dredging. The study attempted to analyze the sediment transport trend with the focus on depositionat Olmsted Locks and Dam area using the sensitivity analysis approach of transport capacity functions. Moreover, the capability of 1-D HEC-RAS quasi-unsteady and completely unsteady models were assessed in prediction of sediment deposition in the construction area (dam shells excavation area). A temporal deposition prediction model was developed that can potentially replace the current ad-hoc approach used to determine the dredging schedule. Likewise, a representative environmental risk associated with sedimentation in the study area was examined. The model can potentially be used as a decision support tool to analyze the long term impact of sedimentation in the vicinity of Olmsted Locks and Dam if further updates on the river bathymetry, and specific field data are supplemented to the model.

No description available.

Thesis (M.A.)--State University of New York at Buffalo, 2006. / Authorized facsimile, made from the microfilm master copy of the original dissertation published by UMI. The bibliographic information for this thesis is contained in UMI's Dissertation Abstracts database. Includes bibliographical references (p. 123-125).

Ecological planning relies on a keen awareness of relationships between biophysical and social processes, then uses this knowledge for decision making in accommodating for human needs. The value of this planning process allows for design intervention while also ensuring a sustained use of the landscape, with these insights blending skill and artistry into place-making. In the 1960s, environmental concerns galvanized a generation of landscape architects who first codified ecological planning as a rationale for decisions with environmental stewardship. While this is the accepted canon, in the early 20th century during a period of experimentation and exploration, the Olmsted Brothers landscape architecture firm was using ecological principles as foundations for landscape architecture practice. This thesis challenges current discourse and accepted history, presenting evidence that the Olmsted Brothers' work in the 1920s predated many modern ecological theories and applications, and is an important addition to the historiography of ecological planning. This thesis largely focuses on Frederick Law Olmsted, Jr. as the central historical figure, offering a more in-depth understanding of the evolution of the firm, and fills the gap of the Olmsted legacy. As the children of Frederick Law Olmsted, Sr., Frederick Law Olmsted, Jr. (1870-1957) along with his brother John Charles Olmsted (1852-1920) co-founded the Olmsted Brothers and created one of the most prolific landscape architecture practices, developing projects in all aspects of landscape design. The Olmsted Brothers' work in California accounts for over 200 projects, and ranks among the highest number of their 5000 designs developed in the United States. In the early 20th century, the city of Los Angeles offered significant ecological, cultural, and technological challenges for the firm, with the city's unbridled urbanization and proliferate use of water and automobility. Rich in solutions, the firm's built and proposed designs over the course of 20 years revealed the discipline of landscape architecture in its richest and most scalar form. From small scale gardens, residential communities, park and parkway systems, to open space and watershed planning, the Olmsted Brothers created public spaces that worked in relationship to the ecology of the region during a critical juncture in the history of regional planning in Southern California. A range of methods were utilized in this thesis. Primary data provided both qualitative and quantitative material for study and was extracted from letters, reports and writing, drawings, photos, plans and maps. Over 20,000 primary documents, written by the firm's principals, provided the basis for analysis, and in a new way, this thesis interprets not only the written documents, but related construction documents developed from 1914 - 1931. As part of its data collection, an original contribution of this study is a comprehensive corpus of Olmsted Brothers source material from their work in Los Angeles. Methodologies sought to modify these documents into a spatial understanding of their work through digital analysis and re-creation of designs. The Olmsted Brothers' design solutions provide insights into today's ongoing concerns about water management, sustainable urban planning, and multifunctional landscapes. Their design proposals solved multiple problems with the design, accounting for not only vast geography, but complex cultural and natural systems within it. The value of their ideas reflects landscape architecture solutions as hybrid, dynamic, and strategic, offering 21st century practitioners paradigms in an ever-changing ecology.