Category Archives: context-sensitive design

The landscape setting of Dun Carloway Broch, Lewis, Outer Hebrides

Brochs are a unique building form, dating from the 1st century BC and indigenous to Scotland. They had internal wooden floors and they were inhabited. This is clear. But how they were located and why they were built is unclear. Gordon Childe interpreted brochs as fortifications from which chiefs ruled subject populations. Since no evidence for this could be found, this was followed (in the 1980s) by a theory that they were prestige dwellings for important families, but again there was a lack of evidence and it is often the case that brochs are not located in good agricultural land. But many brochs do have significant positions in the landscape, near cliffs, in valleys and by narrow stretches of water. This suggests, to me, that like so-called hill-forts and stone circles, they had a symbolic and aesthetic role in proclaiming that an area of land was in the ownership of a clan of closely related families. Brochs are early examples of Scottish landscape architecture.

Thank you to Maciomhair for his beautiful black and white photograph of Dun Carloway Broch in Scotland’s Outer Hebrides. The building form made good use of local materials and gave a high level of protection from wind and rain. Since travel by boat was easier than travel on land, the west coast of Scotland had relatively good links with Celtic Europe. The crofts on the left of the photograph are a survival of a medieval building-and-farming settlement type. When the brochs were built, other families lived in circular huts with mud or stone walls and thatched roofs.

Specialised public open space enriches urban landscape design


The ‘urban squatters’ skateboard park on the South bank in London is one of my favourite examples of a highly specialised, and unofficial, public open space. Benighted planners have as unimaginative an approach to POS as they do to education. It is ONE SIZE FITS ALL – a national curriculum and a national provision of ‘public open space’. The historic standard was ‘7 acres of open space/1000 people’, to go with a national diet of one glass of milk, four slices of bread, meat and two veg, with a fish on a Friday. Cooks have liberated us from wartime diets but wartime POS provision continues. ‘You can have any POS you want, so long as it is green’. But, as the video shows, London’s young, dynamic, agile and multi-ethnic youngsters have other ideas, other tastes, other skills and a harlequin love of coloured space. My conclusion is that the age of Generalised POS is over. The age of Specialised POS has begun. The above example cost the authorities nothing to make and costs them nothing to maintain. It is therefore more SUSTAINABLE than a stupid patch of neglected grass.
Notes (1) other examples of specialised POS welcome (2) I’m not sure but I think the urban space in the video is a consequence of the architecture professions onetime love of pilotis.

Holistic urban water management in Chinese urbanisation: Atelier Herbert Dreiseitl in Zhangjiawo New Town

River Park in Zhangjiawo New Town

River Park in Zhangjiawo New Town

中国城市化进程中的整体城市水管理:张家窝新城设计—Dreiseitl工作室   Thinking about the urban development which has taken place in mainland China since Deng Xiaoping repudiated the Cultural Revolution in 1977, the words which come to mind are: fantastic, astonishing, unbelievable and unprecedented. If, however, a laowai 老外 may be allowed a word or two of criticism (1) the work has been a little rushed (2) too few landscape architects were involved in the urban design (3) it is a pity that so much was learned from America in comparison with what was learned from Europe (4) nature in general and water in particular have suffered from the urbanisation (5) the work could have been done in a more Daoist way than it has been, with the reverence for nature which was traditional in Daoist and Buddhist culture.
With these thoughts in mind I was very pleased to read that Atelier Dreiseitl have completed a project in Zhangjiawo New Town. As noted in a review of Dreiseitl’s book on Recent Waterscapes, his work has the virtue which Lewis Mumford attributed to Ian McHarg of combining ‘scientific insight’ with ‘constructive environmental design’.
‘The Chinese seem to have been the first to perceive the relationships joining the flow of water with the shape of land and with the social and philosophical milieu.According to Joseph Needham, China produced two opposing schools of thought in hydrological engineering as in virtually ever other area of human endeavor: the Confucian and the Taoist. The Confucians were disciplinarians who believed in strict rules and strong measures of control. They advocated ‘high and mighty dykes, set nearer together’… The Taoists, or expansionists, were more inclined to let water take its own course as far as possible, giving it plenty of room to spread. The result was a very complex network of flow. An early Taoist engineer, one Chia Jang, wrote over 3000 years ago that ‘those who are good at controlling water give it the best opportunities to flow away; those who are good at controlling the people give them plent of chance to talk’ (John Tillman Lyle, Design for human ecosystems: landscape, land use, and natural resources (1999, p.236)
The American approach to water management was Confucian, in the sense of regulatory. But McHarg introduced a more Daoist approach in the famous project for Woodlands, Texas. It proved to be more beautiful, more effective and more ecological. And it came in at 25% of the cost of the US engineers ‘Confucian’ system. As McHarg observed ‘there is no better union than virtue and profit’. I therefore hope Dreiseitl is re-pioneering a Daoist approach to holistic urban water management in the formerly Daoist Middle Kingdom. Continental European cities, because so many of them were founded in the Middle Ages, have a long tradition of incorporating open water channels within the fabric of the city. American cities, because so many of them date from the nineteenth century, have tended to put as much urban water as possible into underground pipes. China seems to have done things the American way, so far.

Images courtesy Tian Yuan

Charles Platt: Pools of inspiration and transformation

The swimming pool and bathhouse at Manhassat Long Island by architect and landscape architect Charles Platt demonstrates the transformation in design thinking from European ideas that slowly began to characterise the design approach in the United States. The Manor House garden is remarkable for illustrating the genesis of this transformation in thinking with the ‘before’ garden centred on a fountain and the ‘after’ garden centred on the pool.

Gwinn, for which Platt contributed the architecture and collaborated with Ellen Biddle Shipman Warren Manning on the landscape contributes to the transformation of the Italian villa as inspiration to an American sensibility. There are particular elements of the garden design on the shores of lake Erie which introduce a genius for place into the American oeuvre, and are more suggestive of the quintessentially casual out-of-doors leisure lifestyle.

What is beauty?

Many things.

The mirror art left is by Russian artist Francisco Infante-Arana who formed the Russian movement group in 1964. His simple gestures, while a subtle visual disruption to nature, reflects back to the viewer the essence of the invisible beauty which is accentuated in the visual perception of the artist when he contemplates nature.

Modern definitions of Western beauty have been given as ‘the unification of variety’, ‘the sensual manifestation of the idea’, ‘freedom in appearance’ and ‘the infinite expressed in the form of the finite.’ For Onishi, modern Western aesthetics in founded on the congruence of opposites (coincidenta oppositorum.) See ‘A History of Modern Japanese Aesthetics.’ ed Michael Marra 2001.

Is the planet in dire straits?

The Berring Straits Project asked designers to imagine an element to connect the Russia and the United States. A peace bridge perhaps? Off Architecture were awarded second place for this imagining of a sometimes occupied space between two parallel 10 metre walls.

As architects contemplate the perils of global warming marine architecture is emerging as a serious discipline. However the genesis of this architectural discipline can be found in iconic structures such as the Miami Marine Stadium designed by Candela in the early 1960s. The stadium is expected to achieve landmark listing status.

Obviously, marine architecture presents a new challenge to the land-scape profession because imagining a sea-scape and the propogation of corals and algae in the enclosed gardens – hortus conclusus – of the ocean is conceptually different.

In the petrified seagarden, Richie Park, we are challenged to rethink our ideas about the natural boundaries between land and sea.

Yet, in explorations of the seaside, are potentially the sparks of inspiration for seagarden designers.