Landscapes - Winter 2013 - (Page 42)

A WRITER’S VIEW | OPINION D’UN ÉCRIVAIN Each chapter possesses its own unique atmosphere. Book info: Representing Landscapes: A Visual Collection of Landscape Architectural Drawings Nadia Amoroso, Editor Routledge 2012 ISBN: 0415589576 DANIEL ROEHR, CHAPTER CONTRIBUTOR* DRAWING INSPIRATION REPRESENTING LANDSCAPES INTRODUCES a new methodology for the study of media techniques for the representation of landscape architecture. Historically, most pedagogical books on this subject focused on topics like “how to sketch and draw landscape architecture”, and were written by one or two authors, with the intention of teaching skills such as perspective drawing, rendering techniques and analytical drawing. Those books engaged readers mainly in drawing exercises, encouraging them to practice diff erent representational techniques. Editor Nadia Amoroso takes a diff erent approach. She has invited educators from twenty accredited institutions to take part in her publication, including Walter Hood (Berkeley), Chris Reed (GSD), Mikyoung Kim(RSID) and Sean Kelly (University of Guelph). (I am one such contributor.) The book’s carefully orchestrated content is therefore a journey through accepted novel representational practices taught by educators around the world. Representing Landscapes is the first international book of its kind, exhibiting student work exclusively with supplemental text by their educators. The book’s layout invites the reader to flip through its pages at random, but the power and immense variety of media presented encourages a deeper engagement with the compelling images. Insightful commentary is provided by the contributors, who explain each project’s content, assignments, exercises and research approaches in detail, as well as the theoretical processes behind the images. *FULL DISCLOSURE: DANIEL ROEHR, with Matthew Beall, contributed the chapter, “Envisioning Landscapes”. A RICH CANON OF TECHNIQUES The strength of the book lies in the effective assembly of diff erent representational techniques. Each chapter possesses its own unique atmosphere, in accordance with the media technique presented. The layout of the book is in itself a lesson in exploring landscape architecture through representation. Examples reach into the rich COVER: TOP PASTORAL SCENE OF SANDHILLS SITE (COLLAGE USING PHOTOSHOP), BY ERIK PRICE BOTTOM LEFT TO RIGHT: 1 RIO GRANDE KAYAK PARK (PERSPECTIVE PHOTOMONTAGE USING PHOTOSHOP FILTERS + MASKS),BY JOHN OLIVER 2 RELIC FARMLAND (CHARCOAL DRAWING ON TEXTURED PAPER), BY KAREN MAY 3 WET/DRY, DORMANT/ACTIVE MOUNDS IN DESSERT (DIGITAL FABRICATED MODEL USING CNC PROCESS + DIGITAL MODEL CREATED IN RHINOCEROS), BY JOE KUBIK 4 FARMLAND SCENE ALTERNATIVE (ORIGINAL IMAGE #2 TEXTURED IN PHOTOSHOP, BARN REMAINS IN CHARCOAL), BY KAREN MAY 42 LANDSCAPES PAYSAGES canon of traditional charcoal drawing techniques, collages and photography, and tease the mind with state-of-the-art GIS mapping research examples. Because the book has no structural hierarchy, the readers are free to take their own reading approach and explore their own representational style without focussing pedantically on exercises alone. Many existing instructional books are problematic in that the exercises are designed to be copied by rote, leaving little leeway for nurturing creativity. Representing Landscapes is suggestive rather than prescriptive. It presents an extensive palette of representational possibilities, approaches and solutions to solve given problems, without suggesting a precise method. In this way, it encourages unrestrained and investigative thought. Moreover, the book presents serious and complex content, challenging the reader with all facets of media representation taught in the global community. It is the missing link in a comprehensive discussion of today’s practice: a must-have for everyone interested in an overview of media techniques in landscape architecture worldwide. The book not only raises awareness of how traditional sketching techniques continue to be relevant today and how they have merged with contemporary digital techniques, but it also demonstrates how representational techniques continue to influence both the design and perception of landscapes.

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