Listen to the music of \” High Mountain and water\”

The Chinese painting, above, commemorates the great and famous Chinese story about a Friendship between Bo Ya and Zi Qi.  Yu Boya was a famous music master during the Spring and Autumn Period. The inspiration for his music came from nature , however, very few people could understand him exactly. One day,  Boya  played  Guqin on a boat along a river side. A woodcutter, Zhong Ziqi, really enjoyed the music and was amazed that he could know the natural scenery correctly from the melody played by Boya.  Boya was excited, and said, “Bosom friend! Only you can understand my music!” They agreed that Boya would visit Zhong Ziqi again on returning from his tour. But when he returned Ziqi had already passed away because of illness. Boya was so sad. He played a tune by Zhong Ziqi’s tomb, then broke his Guqin into pieces and never again played music. Later,  people made a garden named the ‘Heptachord Terrace’  to commemorate this touching story about friendship. It is at the site where Boya met Ziqi, in Wuhan, China.

I visited  Heptachord Terrace last month and found it very special and well defined:  (1) Visitors could listen to the music  ’High Mountains and flowing water”  while visiting the whole garden. The music is just the one Boya played for Ziqi. (2) The garden designers did a very good planting design basing on the understanding of the old story. The whole garden has very few colouful flowers , instead  of which, they use lots of  plants appreciated by academic scholars (ie, bamboos and Pines). (3) They use a system of sculpturs to help people understand the old story, which could make the concept of the garden much more vivid.

When I was leaving the gate of the garden, I remembered a Chinese proverb ‘A single moment of understanding can flood a whole life with meaning’(一生得一知己, 足矣), which is an English proverb as well, and I agree with it.

It would be unfortunate to lose the distinction between [1] garden design and [2] [3] landscape architecture much as the trend towards [4] interior architecture is actually unfortunate for [5] interior designers. The differences of focus and attention to scale provide a variety of design insights which are not replicated.

Why? Because the rich tradition of garden design is the foundation and a source of inspiration to landscape architecture, to urban design and to city design. In the future we may say more as gardens move from the [6] ground plane to vertical surfaces and [7] roofs. Parc Eduardo VII in [8] the city of Lisbon is an example of the axis and hedges of gardens informing the structuring of city vistas.

There is much to be said for the process of abstraction. Landscape architects, arguably coming into being with the [9] English landscape tradition, have evolved a language and way of working of their own, which is continually evolving. Viva la difference!

Image courtesy Artifolio

The floods have done something amazing to the inland Australian landscape that is perhaps only rivalled by the fabulously unique underwater landscapes that are rarely glimpsed by the landbound. It is a rare event that mostly only occurs in La Nina weather patterns: the overflowing of Lake Eyre.

And where is all this additional water coming from? Tropical cyclones, with their destructive winds, which develop over the Pacific Ocean as far away as Fiji. So out of natural disaster (as we call it because of our cities and human settlement patterns) comes a natural wonder.

Is there a better way for us to accommodate the cycles of nature within our human environments?

Please have a look at Turenscape’s photographs of Tianjin Qiaoyuan Park – you can see why the American Society of Landscape Architects (ASLA) gave Tianjin Qiaoyuan Park an award.  Then please consider the above photographs. They were taken on a crisp Sunday in April: the park is bare, dry and without people. Did the ASLA act in haste? Did the ASLA judges visit Tianjin? Are the ASLA judges regretting their decision? If the design was as good as it looks on the designers’ photographs, shouldn’t it be full of people on a spring day?  North China has long hard winters. When spring arrives, everyone wants to warm their bones, stock up on Vitamin D, and admire the spring blossom. So where were all the people? Presumably they are in other parks, with water features which do not dry up and with flowers which smile at their admirers in spring.
My second thought concerns the sources for the design ideas. Designers always borrow, so where might the  ideas have come from? I sense three parents, which is an unusual number: (1) Bernard Tschumi’s design for Parc de laVillette (2) Peter Latz’ design for Duisberg Nord (3) Herbert Dreiseitl’s Waterscape approach. The use of red paint is traditional in China but it is also found at Parc la Villette.
My third thought is that borrowing visual imagery is rarely enough to make a good design. Duisborg Nord relates to the industrial history of Germany. Parc de la Villette relates to the structuralist theorizing of Gitanes cigarettes and Left Bank Paris. The Dreiseitl Waterscape approach may have a worldwide relevance – but it must be adjusted to the rainfall regimen of every locality: water cannot, should not, must not be the aesthetic focus of a design if a place which is going to be dry for half the year.
My conclusion is that the Single Agreed Law of Landscape Design should be applied as rigorously in China as in ever other square millimetre of land which the gods have made. Alexander Pope expressed it thus:

请看一案土人景观事务所设计的天津桥园公园的照片， 然后你就知道为什么美国风景园林师协会授予天津桥园公园授奖。然后请再考虑一下上面的几幅图片。这组照片拍摄于今年四月一个舒爽的周日：天津桥园公园几乎是“赤裸裸”，干旱而鲜见游客。是不是ASLA草率地授奖了呢？ASLA的评审专家是否来天津参观过呢？ASLA的评委现在是不是在对他们的评审懊悔不已呢？ 如果这个设计真的像设计师所拍摄的照片那样，为什么在春季美好的日子里公园中不是充满了游客呢？中国北方的冬季漫长而寒冷。当春季来临，每一个人都希望到户外晒晒太阳，贮存更多维他命D，并欣赏花开。但是，这里的人们都哪里去了呢？或者，他们都去了其它公园了吧，那里有春水和鲜花的微笑。

我的第二点思考是关于桥园公园设计理念的来源。设计师们总是喜欢“借用”。所以这个公园设计理念从何而来呢？ 我感觉它至少有三个“家长”，这个数量还挺不寻常的：（1）伯纳德·曲米的維葉特公園设计 （2）彼得·拉兹的杜伊斯堡·诺德设计（3）赫伯特·德莱赛特尔的理水方法。红色是中国传统的象征，但是在维葉特公园也使用了红色。

我的结论是“园林设计单一约定法规”应该在中国被严格执行，正如在上帝创造的其余哪怕是一平方毫米的土地上执行一样。正如亚历山大·蒲柏（Alexander Pope）所言。

What should this white elephant be used for?

It is nice for Granada to have a Museum of Memory designed by Alberto Campo Baeza. The idea for the Cultural CajaGRANADA Memoria de Andalucía was to mimic the much un-loved courtyard of the Palace of Charles V in the Alhambra, ‘to which it pays aesthetic tribute’. The only review on Tripadvisor says ‘I’d rather have a tour of Granada see something interesting’. The design has a sculptural quality but, in sharp contrast to the old buildings on the Alhambra plateau ignores garden and landscape considerations. History should speak. This is a dumb project – can anyone think of a better use for the building? I suggest healthcare. They should have wrapped the museum round a beautiful garden cafe. Images courtesy Landahlaut and José Agustín

Density is much more complex than its seems. U-Thant 7 Residences in Malaysia are described as luxury “low density condominiums.” In terms of their built form they would usually be considered a medium density form of living. The context, however, is more typical of low density or even rural or semi-rural settings with a formal park-like foreground setting and a natural background setting.

Undoubtably there are many more examples of this kind. The Cultural Centre design by Paul Eluard in Cugnaux, France attempts to address the contemporary needs of an historical low density city within the landscape.

Dublin is considered to be a low density city. The economic challenges it faces and the resulting contemporary waves of youth emigration suggests that Dublin may remain low density for some time into the future.

So, are we really viewing a population redistribution in global terms with some areas de-populating and others re-populating or increasing in population? What does this trend suggest for the future of our cities, for greenspaces and for wilderness?

Working, living and playing in a forest environment: is it possible?Selgas Cano’s architectural office near Madrid suggests so. Although critiques of the scheme suggest the ‘look but don’t touch’ approach of the sealed glazing is a limitation of the scheme. Natural ventilation is provided by a hinged pulley system at one end of the building.

Singapore’s Telok Blangah Hill Park’s forest walk constructed 60 feet above the ground demonstrates the ‘gem’ like qualities of a highly urbanised rainforest. Forest green space is valued and rare. One way to preserve the forest, yet to provide visual and physical recreational access, is to construct a forest walk. New questions arise. Do forests and their inhabitants suffer from noise pollution with large visitor numbers? The forest is home to squirrels, sunbirds, doves, lizards and white-crested laughing thrushes.

And then there is Zaha Hadid’s Capital Hill residence located in Barvikha Forest, Russia – taking forest dwelling to new heights.

Modern life presents numerous paradoxes. Perhaps the first is the widespread trade in food produce and the convenience of supermarket shopping, that has somehow alienated society from the concept that all food is land or sea based. And this means – land area & sea area – must be used, managed and preserved for this purpose, generally in some direct relationship with the population that must be feed.

Can all nations feed their own populations within the bounds of their own land and sea resources?

“Some countries just do not have the land to feed their year-2000 populations even at high yields. They include Afghanistan, Bangladesh, Algeria, Somalia, Lesotho, Haiti, and much of the Middle East. Some of these countries have resources they can trade for food; others do not. After the year 2000, if populations go on growing, other countries come onto the critical list, including Egypt, Ethiopia, Kenya, Nigeria, India, Pakistan, Iran, Iraq, Syria.”

How is sustainable agriculture and aquaculture to be understood?

Or is Ken Yeang’s landscape architecture subject to the same criticism as Patrick Blanc’s green walls? I would of course be much happier if these approaches to landscape architecture were genuinely sustainable. But I have my doubts. My guesses are (1) the planted balconies will be great features for wealthy residents who have more than enough indoor space (2) less-wealthy residents, especially in inclement climates, would rather have more indoor space than a big balcony, though sliding doors would offer the choice of indoor or outdoor space (3) the extra habitat space will do a little good for biodiversity, accoustics, carbon balance etc (4) but all these benefits could be obtained at less cost by other means (5) real people would not produce the nice green fluff on Ken Yeang’s drawings: there would be no visual unity at all to the balconies. Some would be richly planted. Others would provide storage for mountain bikes, or washing lines, or bird cages, or plastic furniture and dead plants in ugly containers. That’s life.
So I am a sceptic who hopes to be proved utterly wrong.

Lumenhaus inspired by Mies Van der Rohe’s Fansworth House is described by Virginia Tech students as responsive architecture. Responsive architecture according to Nicholas Negroponte’s definition is “a class of architecture or building that demonstrates an ability to alter its form, to continually reflect the environmental conditions which surround it.”

The aim of Lumenhaus designers was to “maximise user comfort with environmental protection” to make the user’s life “simpler, more energy efficient and less expensive.” They say the goal was to balance design quality, resource conservation and energy efficiency to produce architecture which achieves “beautiful enduring sustainability.”

One of the most significant benefits of the Lumenhaus construction concept is that it is off-grid (with options for feeding energy to the grid where appropriate), prefabricated and transportable making it an ideal solution for remote housing (increasing production standards, optimizing costs and providing improved accessibility to remote locations), temporary housing (mining and student communities) and emergency housing (after natural disasters).

Landscape architects could contribute significantly to the concept by, among other strategies, incorporating green wall technology on the wall cladding and designing a compatible site responsive green roof space beneath a solar panel shaded umbrella roof.