Landscapes - Winter 2013 - (Page 40)

DESIGN STUDIO | STUDIO DE DESIGN For more online images! BRENDA J. BROWN SEEING LIGHT FR_VOIR LA LUMIÈRE À L’AUTOMNE 2009, Brenda Brown a animé un atelier de maîtrise en architecture de paysage à l’Université du Manitoba. Son intention était de préparer les étudiants à des interactions significatives avec les concepteurs d’éclairage et de renforcer leur prise de conscience de la lumière et de ses possibilités. Les résultats impressionnants obtenus sont présentés brièvement ci-dessous. Pour une analyse plus approfondie, consultez notre numéro en version numérique ou les pages de LP sur EN_ LIGHT IS FUNDAMENTAL to landscapes and the landscape experience. When we create landscapes we alter and shape experience of light, whether or not we are aware that we are doing so. In landscape architecture education, light’s fundamental role is most commonly acknowledged by the study and use of sun charts and shadow diagrams. However valuable, these tools only hint at the rich poetic, social and experiential range of this medium. In fall 2009, I taught a master’s level landscape architecture studio at the University of Manitoba. My intention was not to divert students to lighting design, or even to inculcate agility in selecting lighting equipment. I sought rather to prepare them for meaningful interactions with lighting designers and to enhance their awareness of light and its possibilities. I also suspected, and the course confirmed, that informed considerations of light would illumine other aspects of landscape architecture. In the first weeks, we discussed in depth Wolfgang Schivelbusch’s Disenchanted Night (Berkeley: University of California Press, 1988), which describes the development of artificial light through the nineteenth century. It provided a base 40 LANDSCAPES PAYSAGES from which to reflect on light (and other) technologies’ interactions with culture and landscape. Copious slide presentations portrayed a wide range light conditions, effects and manipulations in landscapes. We considered works by photographers, installation artists, architects and lighting designers as well as landscape architects. There were films on the works of great cinematographers and on animal luminescence. There were guest lectures – one primarily concerned lighting technology; another, theatre lighting. A third lecture, by Linnaea Tillett of Tillett Lighting Design, emphasized philosophical and psychophysiological aspects of light and her firm’s work on landscape architecture projects. Field trips included an evening boat ride on the Red River and a night-time walk downtown. OBSERVATION…REFLECTION… EXPERIMENTATION… Students undertook observation, analysis and documentation exercises, as well as two major design problems, all situated on a site they had selected within the city. All sites were adjacent to one of Winnipeg’s three rivers, in part so that the effect of light on water could be explored. The first field assignment was a prescribed sequence and documentation of in-situ observations of changing natural landscape light. Supplied with a Benjamin Moore fan deck, employing paint-chip matching and photography, each student documented his or her site at four diff erent times at least fi ve hours apart over at least two days. [Image series A] DESIGN PROBLEM 1: NATURAL LIGHT | DESIGN INTERVENTION Students then tackled the first problem: an intervention to heighten visitors’ awareness and/or experience of natural light on the site. They could employ any form and material, but no artifi cial lighting. Although light was the focus, students 1 2 were expected to be sensitive to other aspects of the site’s context, its users and its characteristics. Devin Segal, for example, was drawn to a pair of Assiniboine River bridges and the spaces between them. He was particularly intrigued by the old railroad bridge and how its forms shaped light. He transmuted those forms into groups of long, horizontal, suspended acrylic boxes, which, though highly contrasting in weight and material, nonetheless evoked the railroad bridge forms. The boxes would cast shadows as the bridge does, but also filter, reflect and redirect sunlight. [Image B] Bret Mack proposed four groves for Whittier Park on the Red River, each dominated by a diff erent species – Schubert chokecherry, bur oak, Swedish aspen, paper birch – each species visibly and diff erently aff ecting and aff ected by light. Mack noted the Schubert chokecherry’s red glow in the early morning and its deep purple canopy in the afternoon, the paper birch’s intense white and golden yellow and the Swedish aspen’s deep green that, within a few seconds, changes to four diff erent shades of green as the sun sets. Diff erently coloured benches in each grove would further highlight the ambient, shifting colours of its trees. [Image series C]

Table of Contents for the Digital Edition of Landscapes - Winter 2013

Excitable Photons in the Ether | Photons affolés
99 Red Balloons | Light by the Barrel | Something Old, Something New | Cambridge Lights Up | Emptyful
We are Modern Day Lamplighters | Les allumeurs de réverbères modernes ….
The Lights Come Up on 3 Exceptional Landscapes | Les lumières s’allument sur trois paysages exceptionnels
Champ-de-Mars: Shedding Light on History | La lumière au service de l’histoire
To Infinity and Beyond! | Par delà l’infini!
The Gros Morne Challenge | Le défi de Gros-Morne
Cypress Hills: Land of the Living Skies | Cypress Hills : où le ciel s’anime
Urban Parks: To Light or Not to Light? | Parcs urbains : doit-on les éclairer? ….
Lightitude: Lighting Under a Capricious Sky | Lightitude : éclairer sous un ciel capricieux
A Pragmatist’s Guide | Guide pragmatique
Three Riffs on Custom Design | Trois approches du design personnalisé
Seeing Light | Voir la lumière
Representing Landscapes, Ed. Nadia Amoroso.
Collaborators |Collaborateurs
Game Changers | Nouvelle donne : quatre decennies en lumiere

Landscapes - Winter 2013