Ecology, Community and Delight: Sources of Values in by Ian Thompson

By Ian Thompson

This e-book examines the 3 vital price structures which effect panorama architectural perform: the classy, the social and the environmental, and seeks to find the position that the career could be taking part in now and for the longer term. The publication integrates an research of old assets with modern examine into the ideals and values of practitioners. The e-book increases questions corresponding to: should still panorama structure aspire to the prestige of an artwork shape? what's the dating among aesthetics and ecology? Does panorama structure have a social undertaking?

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Extra info for Ecology, Community and Delight: Sources of Values in Landscape Architecture

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One of my interviewees, Nigel Marshall, the Principal Landscape Architect for East Sussex County Council, described a similar experience: I was 14 or 15 when I moved up to London. My father ran prison farms up till that point, and was then moved to head office in London, so we all had to trundle in there and having had the benefit of a fairly rich environment, coming to the concrete jungle made a major impression on me. Seeking to return to a life associated with the land, Marshall had already obtained a place at agricultural college when he came across an advert for a traineeship in landscape architecture with the Greater London Council.

6 Functional The idea that the beautiful object is the functional object (and by extension the beautiful landscape is the functional landscape) has a history which goes back at least as far as Plato. It finds a specific echo in Jellicoe’s Settler, who loves ordered fields and rows of crops, partly for their mathematical precision but also for their practicality. This tradition came to the fore in the Modern movement, which will be explored more fully in Chapter 6. 7 Symbolic Designers can be said to be employing a symbolic approach if they set out to make their landscapes carry meanings.

What is important about the eighteenth-century debates for landscape designers, and for this present inquiry, is that qualities other than regularity and symmetry were seen to have aesthetic value. The Sublime and the Picturesque remain part of our cultural background; we may not use the words often, or in quite their original sense, but they continue to offer us ways of interpreting and valuing what we see. In Price’s Dialogue the views considered to be Picturesque, setting aside the parson’s squinting daughter, included a gypsy’s hovel beneath a gnarled oak of a wild and singular appearance, with bark ‘full of knobs, spots and stains’; a rutted lane with shaggy banks; and a rambling parsonage, in good repair, but half smothered in vines, roses, jasmines and honeysuckles.

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