Landscape Theory

Since the advent of modern methods and new constructional approaches in architecture and landscape architecture, traditional architecture techniques which were based on utilizing natural energies have been completely set aside. In this case, the art of Iranian gardening has a great deal of valuable achievements and experiences which need to be reconsidered. Owing to its special geographic situation, the city of Shiraz includes a number of globally well-known gardens such as Eram, Jahannama, and Delgosha garden. As long as Persian gardens are considered as important parts of open and green spaces and urban landscapes in cities, the main purpose of this paper is the study of their structural features along with the role they play in improving environmental quality and comfort conditions. From this point of view in Landscape architecture, a quantitative-qualitative study was performed for the first time based on two distinct samples of Persian garden, Jahannama and Delgosha, to evaluat...

Mathieu Capel
ÉVASION DU JAPON
CINÉMA JAPONAIS DES ANNÉES 1960
La décennie 1960 est une période d’intenses bouleversements dans l’histoire du cinéma japonais. L’heure est à la libération sexuelle, à la contestation politique, aux mouvements citoyens contre la pollution industrielle : climat libertaire propice aux irrévérences, dont le monde cinématographique se fait comptable à travers une série de scandales. Mais l’accès du pays à la prospérité au tournant des années 1960, célébrée en grande pompe par les Jeux Olympiques de Tokyo de 1964, semble dissiper cette angoisse, entraînant les cinéastes de la nouvelle génération vers d’autres modèles théoriques et esthétiques, aptes à rendre compte de la nouvelle société de consommation et de communication de masse. C’est cette grande mutation qu’Évasion du Japon propose d’explorer.

During the South Indian Neolithic period (3000-1200 BC), the agro-pastoral inhabitants of the South Deccan/North Dharwar region constructed large mounded features by heaping and burning accumulations of cattle dung. These Ôash-moundÕ features were comprised of a myriad of variegated strata of ash, vitrified dung, and other culturally modified sediments, many of which reached monumental proportions. Ashmounds have been the subject of considerable debate since coming to the attention of scholars in the early 19th century. Current debate has centered largely on the function and spatial context of these features in relation to Neolithic settlement. This article examines the South Indian ashmounds as monumental forms of architecture and the loci of ritual and ceremonial activity within the context of Neolithic agro-pastoral landscape production. By situating ashmound construction within the social rhythm of cattle pastoralism and carefully examining the emplotment, depositional histories, and post-Neolithic afterlives of these unique features this paper argues that social practices likely originating in quotidian activities were gradually transformed into regular, public ceremonial activities producing monumental forms, relating and reinforcing socio-symbolically charged information.

"By Mark DeKay. Edited Susanne Bennett

"This book offers practical and theoretical tools for more effective sustainable design solutions and for communicating sustainable design ideas to today's diverse stakeholders.

It uses integral theory to make sense of the many competing ideas in this area and offers a powerful conceptual framework for sustainable designers through the four main perspectives of: behaviours; systems; experiences; cultures.

It also uses human developmental theory to reframe sustainable design across four levels of complexity present in society: the Traditional, Modern, Postmodern, and Integral waves. Profuse with illustrations and examples, the book offers many conceptual tools including:

• twelve principles of integral sustainable design
• sixteen prospects of sustainable design
• six perceptual shifts for ecological design thinking
• five levels of sustainable design aesthetics
• ten injunctions for designing connections to nature.""

"Charles Moore is central to understanding the continuum extant between Modern and Postmodern
architecture. This is not simply because he practiced architecture from the mid-1950s through 1993,
spanning the time period between these two styles; it is also because his architecture, writing and teaching
bridged the practical and theoretical tenets of both movements. Moore maintains a unique position among
his contemporaries in that he was both a modernist and postmodernist in many ways. Deeply influenced by
modernists William Wurster and Louis Kahn, Moore also drew upon Roger Bailey’s appreciation for history
and the Beaux Arts curriculum as well as Jean Labatut’s phenomenological emphasis on human experience
of historical places.1 The design-build mentality that Moore adopted from Roger Bailey and William Wurster
along with the purity of form derived from Louis Kahn’s teaching, reflect the inherently modern qualities of
his designs. His explorations with interior and exterior space, color, light and creating a “sense of place”2
represent the postmodern innovations that Moore brought to the field. He was an inclusivist,3 which
signifies a departure from his predecessors and an approach that greatly shaped his lasting influence.
This research seeks to answer how Moore’s role in the context of the late twentieth century is central to
understanding the significance that his work, writing and pedagogical influence had on contemporaries and
students alike. And furthermore, can that understanding inform the way in which his work can be
approached in the preservation context? To that end, this thesis presents Moore’s biographical background
and contextual history along with a discussion of three commissions that were central to his body of work:
Kresge College (1973) at the University of California, Santa Cruz; the Piazza d’Italia (1978) in New Orleans,
Louisiana; and the Moore/Andersson Compound (1984) in Austin, Texas.
The temporal and ephemeral qualities inherent in much of Moore’s work were characteristic of the time
period and paralleled in the work of other architects practicing at the time, most notably Robert Venturi.
These qualities pose unique challenges to preservation from a theoretical and practical perspective. This
research presents a lens through which those challenges and opportunities can be understood and further
explored.
Moore’s influence is evident in the work of many of his students, a great number of whom are successful in
their own right, including Billie Tsien, Brian Mackay-Lyons, and Turner Brooks. His lasting impact is also
apparent in the ongoing success of his former firms: Centerbrook Architects in Centerbrook, Connecticut;
Moore Ruble Yudell in Santa Monica, California; and Andersson/Wise Architects in Austin, Texas. These firms
continue to thrive twenty years after Moore’s death, reiterating the continued influence that Charles Moore
has had on architectural practice and teaching.
Despite Postmodern architecture’s relatively “young” age in preservation terms (the majority of the
building stock is less than fifty years old – the threshold for National Register designation except in
exceptional circumstances4) – it is an important moment for preservationists to begin discussing this period in architectural history. The material lifespan of these buildings is significantly compressed and
therefore merits a proactive approach. And while Postmodernism is often derided as a fad, its significance
in architectural history as well as its socio-political context merits opportunity for substantial scholarship
toward a better understanding of the movement, its architects, and its role in the development of
subsequent generations of architecture."

va lo r i z z a r e i l pa e s ag g i o L'insieme dei testi qui raccolti intende affrontare il tema del paesaggio secondo il taglio della valorizzazione, termine piuttosto recente nella nostra lingua, dove assume più d'una sfumatura di senso: esprime l'idea di conferire valore a ciò che ne è privo o d'incrementare il valore di qualcosa, vuol dire anche portare a compimento alcune potenzialità, e in dati contesti il senso si precisa con l'idea di sfruttare o, come si dice, 'realizzare' il valore, perlopiù in senso economico, di qualcosa. È dunque necessario sollevare un interrogativo: come pensare il valore secondo la curvatura del paesaggio? Muoveremo intanto dalla considerazione di due aspetti apparentemente ovvii. Anzitutto, il paesaggio ha che fare con la natura. Rosario Assunto -che nella filosofia del paesaggio è vero «maestro di color che sanno» -negava legittimità all'idea di un paesaggio urbano, perché la città, pur essendo posta nella tensione tra limite e apertura che è requisito paesaggistico essenziale, è concrezione delle vicende dell'uomo che spazializza la durata della storia; la metaspazialità del paesaggio, invece, manifesta la temporalità ciclica naturale, è intreccio polifonico delle pulsazioni di passato, presente e futuro, che Assunto esamina nei tre regni tradizionali della natura e classifica finemente nei diversi 'regimi' temporali delle molteplici componenti dei paesaggi 1 . Sicché solo in senso traslato e improprio si può applicare questo termine alla città, a un insediamento industriale, più estesamente al costruito. In secondo luogo, il paesaggio ha che fare con la bellezza, o con qualche altra categoria estetica, come per esempio il sublime che peraltro, nella sua ripresa moderna, si definisce proprio in riferimento all'esperienza estetica della natura, essendo che il paesaggio si dà sempre nell'interezza e nella densità del nostro sentire. Terza natura e valore del paesaggio MARIELLA PERUCCA va lo r i z z a r e i l pa e s ag g i o 4

Edited by Gareth Doherty and Charles Waldheim, Is Landscape . . . ? surveys multiple and myriad identities of landscape. Rather than seeking a singular or essential understanding of the term, the collection postulates that landscape might be better read in relation to its cognate terms across expanded disciplinary and professional fields. The publication pursues the potential of multiple provisional working definitions of landscape to both disturb and develop received understandings of landscape architecture. These definitions distinguish between landscape as representational medium, academic discipline, and professional identity. Beginning with an inquiry into the origins of the term itself, Is Landscape . . . .? features essays by more than a dozen leading voices shaping the contemporary reading of landscape as architecture and beyond.

Contents: Foreword Mohsen Mostafavi; Introduction Doherty and Waldheim; Is Landscape Literature? Gareth Doherty; Is Landscape Painting? Vittoria Di Palma; Is Landscape Photography? Robin Kelsey; Is Landscape Ecology? Nina-Marie Lister; Is Landscape Gardening? Udo Weilacher; Is Landscape Planning? Frederick Steiner; Is Landscape Urbanism? Charles Waldheim; Is Landscape Infrastructure? Pierre Bélanger; Is Landscape Technology? Niall Kirkwood; Is Landscape History? John Dixon Hunt; Is Landscape Theory? Rachael Z. DeLue; Is Landscape Philosophy? Kathryn Moore; Is Landscape Life? Catharine Ward Thompson; Is Landscape Architecture? David Leatherbarrow.

Der Schweizer Dieter Kienast (1945–1998) ist eine Schlüsselfigur der europäischen Landschaftsarchitektur. An einer markanten Wende im gesellschaftlichen Verständnis von Natur suchte er nach einer Synthese zwischen Gestaltung und Ökologie, ohne stadtfeindlich zu sein oder einem sentimentalistischen Naturbild anzuhängen. Seine Freiräume sollten die sich auflösenden Gegensätze von Stadt und Land lesbar machen und in ihrer ästhetischen Erfahrbarkeit die Bewältigung eines immer komplexer werdendes Alltagsleben unterstützen.

In ihrem Buch bietet Anette Freytag die erste kritische Auseinandersetzung mit Kienasts realisiertem Werk, seiner Entwurfshaltung und seinen theoretischen Positionen. Es beleuchtet zugleich eine prägnante Epoche der Landschaftsarchitektur, die seit den 1970er Jahren darum kämpft, wieder ein integraler Teil der Stadtentwicklung und Impulsgeber für die grossmassstäbliche Planung zu werden. Dieter Kienast wurde deren charismatische Leitfigur. Er hat die neuen Herausforderungen erkannt, benannt und als Entwerfer, Planer, Forscher und Hochschullehrer zur Diskussion gestellt. Städtebaukritik, Partizipationsprozesse und die Bedeutung der spontanen Vegetation der Stadt spielen dabei ebenso eine Rolle wie Kunst, Literatur, Architektur und die Populärkultur der Postmoderne.

Georg Aerni hat die bahnbrechende und zugleich zeitlose Sprache von Kienasts Œuvre in aktuellen Neuaufnahmen festgehalten. Fasziniert von den Kontrastwirkungen zwischen den vom Menschen gesetzten Formen und der sich diesen Formen widersetzenden Natur, erdachte Kienast ein Reservoir an Ideen und Lösungen, um zur Gestaltung einer Umwelt beizutragen, die lebenswert und zugleich schön ist. Seine hochentwickelte Sensibilität für Material und Raum verband ihn mit Künstlern wie Joseph Beuys, Sol LeWitt oder Mario Merz und machte ihn zum engen Partner von Architekten und Stadtplanern wie Herzog & de Meuron oder Diener & Diener.

Vorworte von Erik A. de Jong und Christophe Girot
Mit Fotografien von Georg Aerni und Christian Vogt

Auszeichnungen
«DAM - Deutsches Architekturmuseum Architectural Book Award 2016»
Deutscher Gartenbuchpreis 2016 «Bestes Buch über Gartengeschichte»
Deutscher Gartenbuchpreis 2016 «STIHL Sonderpreis für aussergewöhnliche Leistungen»
Auszeichnung «Die schönsten Schweizer Bücher 2015»

In the Leaves of the World - Japanese Filmmakers and the High Growth Era

The years 1960s stand as a time of upheaval in the history of Japanese cinema. A new generation of filmmakers arises, marking its difference from the so-called “great masters” of the 1930s and 1950s. The platforms of movie production diversify, while the great studios lose their domination upon the leisure industry. It is time for sexual freedom, political protests, civil movements against industrial pollution: a climate suitable for audacity and bold behaviors one can notice thoughout the cinematographic world, thanks to various “scandals”. Yet that new and boisterous youth shall not be considered as a mere demographic change, whatever may pretend filmmakers such as Nakahira Kô and other upholders of the so-called “Taiyôzoku” at the end of the 1950s. Indeed, for the likes of Oshima Nagisa, Yoshida Kijû and Matsumoto Toshio, that renewal relies on the contrary on a new definition of filmmaking as a way to “enact” the world: thus would it rather be a matter of weltanschauung. Such a transition is obvious when compared to postwar films: for instance, Imai, Naruse or Kurosawa develop specific aesthetic patterns what draw a world of entropy, undermined by anguish. Yet the access to prosperity at the turn of the 1960s, as celebrated by 1964 Tokyo Olympic Games, seems to dissipate such feelings, leading the young generation of filmmakers toward other aesthetic options, able to give an account of the new society of mass consumption.

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The discovery of the Sungai Batu complex by the Centre for Global Archaeological Research, Universiti Sains Malaysia in 2007 is of great significant in understanding the early civilisations in Malaysia. The complex was found during a scientific palaeoenvironmental reconstruction sutdy. A total pf 97 mounds were mapped and identified in 3km2 area that has great archaeological potential. To date, excavations at 16 mounds revealed ritual monuments, a riverside jetty built in the 2nd century CE, and iron smelting sites that were used from the 1st century CE. The discovery of the iron smelting industry in this complex showed that the Sungai Batu civilisation had an economic base. These new findings give a more holistoc and complete picture of the Bujang Valley civilisation and should lead to a significant re-evaluation of the evidence that has been accumulated since the 1840s. Based on the early research results, the Bujang Valley civilisation was thought to date as early as the end of the 4th century CE and to be primarily a Hindu-Buddhist site (Coedes, 1968). These new finds with chronometric dating (radiocarbon and OSL) allow us to re-write not onl the history of Malaysian civilisation but also that of the region. To date, the important discovery of a 110 CE monument meant Sungai Batu provides the earliest evidence of a monument (with chronometric dates) in Southeast Asia.

This essay analyzes the text of Giorgio Vasari’s Lives of the Artists across both editions in order to reconstruct the history of landscape painting in Italy as Vasari tells it. First, the advancements made in landscape within each of Vasari’s three eras of art are elucidated, with attention being paid both to landscape painters Vasari particularly praises, and to the innovations in media, technique and content that he notes in each period. Second, after Vasari’s chronology for the invention, development, and final perfection of landscape painting is set forth, the study examines the striking changes made between the 1550 and 1568 editions of the Lives, suggesting these changes show two things: Vasari’s increasing awareness of Northern European contributions to landscape painting, and his desire to establish Italian painters as preeminent in the invention and continued practice of the genre. Taken together, the history of landscape painting Vasari chooses to tell, and the modifications he makes to this history, show the importance of landscape painting in the Lives as a marker both of a painter’s dexterity and of his ingenuity.

So sehr auch der Begriff der Landschaft geläufig ist und in verschiedensten Kontexten verwendet wird, bereitet seine genauere Bestimmung dennoch größere Probleme. Landschaft ist nicht unabhängig von unserer Wahrnehmung gegeben, sondern erscheint, indem sie erfahren wird. Als Landschaft gilt nicht ein klar definierter Ausschnitt der Natur, vielmehr ist von ihr die Rede, wenn ein Betrachterauf der Basis gewisser objektiv gegebener Voraussetzungendie Natur als Landschaft erlebt. Zu den notwendigen Voraussetzungen dieser Erfahrung gehört die horizontale Offenheit des Raums, der vom Subjekt als Landschaft erfahren wird: Eine Gelegenheit zur Landschaftswahrnehmu ng wird erst eröffnet, wenn der Raum selbst nicht vollständig und klar begrenzt ist, sondern an einem Horizont, d.h. an einer durch unser Sehen bedingten Grenzlinie, endet. 1 Allein diese Offenheit ermöglicht es, dass mit einer Veränderung des vom Betrachter eingenommenen Standortes nicht nur eine andere Perspektive auf denselben Raum eröffnet wird, sondern zuvor verdeckte Aspekte oder verborgene Räume zum Vorschein kommen. In dem elementaren Bezug auf den Horizont und damit auf unsere Wahrnehmung und deren Grenzen zeigt sich der Anteil des Subjekts am Landschaftserlebnis. Es bedarf einer nicht-alltäglichen, ästhetischen Aufmerksamkeit 1 Vgl. Martin Seel, Ästhetik und Aisthetik. Über einige Besonderheiten ästhetischer Wahrnehmungmit einem Anhang über den Zeitraum der Landschaft, in: ders., Ethisch-ästhetische Studien, Frankfurt a.M. 1996, S. 36-69, bes. S. 62f. Zur offenen Grenze des vom Subjekt konstituierten Horizonts vgl. auch Albrecht Koschorke, Die Geschichte des Horizonts. Grenze und Grenzüberschreitung in literarischen Landschaftsbildern, Frankfurt a. M. 1990; Hans-Dieter Bahr, Landschaftsbilder, in: Cultura tedesca. Rivista quadrimestrale 27 (2004), S. 91-109, bes. S. 92f.; Gottfried Boehm, Offene Horizonte. Zur Bildgeschichte der Natur, in: ders., Wie Bilder Sinn erzeugen. Die Macht des Zeigens, Berlin 2007, S. 72-93, bes. S. 78f. 2 Hilmar Frank und Eckhard Lobsien, Landschaft, in: Ästhetische Grundbegriffe, Bd. 3, hg. von Karlheinz Barck u. a., Berlin 2001, S. 617-665, hier S. 620. Werner Flach hält auch die Reflexion der Relation von Landschaft und Subjekt, die "versinnlichende Beurteilung des Verhältnisses von Mensch und umgebender Natur", für einen konstitutiven Teil der Landschaftsvorstellung (Werner Flach, Landschaft. Die Fundamente der Landschaftsvorstellung, in: Landschaft, hg. von Manfred Smuda, Frankfurt a.

El presente libro aspira a convertirse en una guía útil para estudiosos y profesionales que en el futuro hayan de dedicarse con creciente intensidad a las tareas de protección, gestión y ordenación del paisaje, puesto que España ha firmado y ratificado el Convenio Europeo del Paisaje (Florencia, 2000), en vigor en todo el Estado desde 2008. El libro consta de unos capítulos iniciales, de introducción y revisión metodológica, que conducen a la propuesta de un método simplificado para el estudio del paisaje en distintos ámbitos territoriales; la parte siguiente trata de la aplicación y calibración del método, ensayada en tres escalas que se consideran destacadas como referencia para la aplicación del citado Convenio: escala local, comarcal y subregional. Se ha prestado especial atención a la reflexión sobre los fundamentos, subjetivos pero socialmente estructurados, de la calidad paisajística, a partir de los cuales puede argumentarse y consolidarse la acción colectiva sobre el paisaje.

Topology in Landscape Architecture is a theoretical framework and tools to recast the potentials of landscape architecture.  Landscape architecture is understood as an integrative discipline with a deeply rooted tradition in shaping and preserving nature.  The goal of establishing a «topological thinking» is to merge ecological concerns and a design approach that considers the basic factors of modeling a site: the understanding of both the terrain and the history of a place, its spatial qualities, the condition of its soil, the proper use of plants and building materials, and the adjustment to the expectations of its users while challenging aesthetic sensitivities.

John Dewey’s instrumental theory of knowledge
offers a starting point for the exploration of new
territory in landscape architecture, specifically the gap
between intention and reality. This space is always at
issue in landscape architectural practice and yet remains
largely untouched by contemporary theoretical and technical
projects. In recent years the discipline has become
concerned and engaged with design issues caused by the
unintended consequences of our society’s industrial legacy
and rapidly changing ecological and economic realities
through the conceptualization of landscapes that can
perform multiple functions through time. This paper presents
the results of ongoing research that grapples with
the gap between intention and reality and suggests that
this approach to landscape architecture is an appropriate
and promising disciplinary response to extreme and
changing conditions. It does so first through a critique of
current theories and then proposes new conceptual and
technical tools for analysis and representation through a
speculative project for an industrial shipping canal landscape
on the edge of the Rio de la Plata Estuary in the
heart of Buenos Aires, Argentina.

This article is a critical review of some aspects of theories of landscape appreciation in the light of the findings of neuroscience. Four propositions that have been employed in appraisal theory, and which can potentially be informed by these findings, are selected. An introduction is given on the scope of neuroscience and its models of aesthetic experience followed by reviews of objectivism, preferences from adaptation, the objective assessor, and direct perception. The conclusions of neuroaestheticians, even in their preliminary present state, offer the potential for clarifying these, and per-haps further, aspects of the theory of landscape assessment.

The primary motivation in this essay stems from the problematic consciousness in the field of contemporary Chinese landscape architecture. In the last decades, the relationship has tended to be ambiguous and confusing between landscape design and its theoretical discourses. To a certain degree, this latent complex condition has disturbed both design practice and academic research. My assumption is that there are three different kinds of relationships: interpretation, self-reference and mutation, on base of which relating function, producing mechanism would be introduced in respective categories.The purpose is to, first all of, clarify the complicated relationships, which could dispel the confusing situation caused by the misplacement of landscape design and theory. Secondly, it could not only invoke the creative practice by virtue of specifically theoretical genre, but also potentially promote the intellectual speculation on academic explorations. Last but not least, one more elaborated, concrete and oriented criticism on landscape design could even be expected in the critical framework of design and theory.

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The number of cultural parks has been steadily increasing in recent years throughout the world. But what is a cultural park? This book provides a detailed answer to this question and sets out the basis for an academic debate that moves beyond the technical narratives that have prevailed to date. It is important to open up the topic to academic scrutiny given that cultural parks are becoming widespread devices being employed by different institutions and social groups to manage and enhance cultural and natural heritage assets and landscapes. The main problem in dealing with this topic is the predominant lack of theory-grounded, critical reflection in the literature about cultural parks. These remain largely conceived as technical instruments deployed by institutions in order to solve an array of problems they must deal with. As cultural parks are generally regarded as positive and constructive tools whose performance is associated with the preservation of heritage, the overcoming of the nature/culture divide, the reinforcing of identity and memory and the strengthening of social cohesion and economic development, this book critically explores these issues through the analysis of the literature on cultural parks. In addition, it provides a novel theoretical conceptualization of cultural parks that is connected with, and underpins, a tentative methodology developed for their empirical analysis.

La crisi che attraversiamo, la mancanza di punti di riferimento disciplinari certi e il senso di inadeguatezza che ispirano i tradizionali strumenti di indagine e di governo del territorio ci spingono a tornare sul campo, ad osservare il territorio stesso, per rintracciare una conoscenza nuovamente utile ad orientare i comportamenti e le scelte.
Serve una conoscenza più appropriata alle nuove condizioni, incerte e cangianti, nelle quali gli studiosi, gli amministratori, i progettisti e i cittadini si trovano ad operare, una conoscenza riflessiva, capace di individuare i fenomeni mentre accadono, di riconoscere le connessioni che li legano, di vederne gli aspetti critici e di rintracciarne le potenzialità, di collegare tra di loro saperi lontani e di metterli in relazione con i problemi vicini. Come si costruisce questa conoscenza territoriale?
L’articolo prova a mostrare come il paesaggio – concetto caro alla geografia, che ha accompagnato la storia del pensiero
geografico da Von Humboldt in avanti – possa, a determinate condizioni, rappresentare una interessante chiave interpretativa per la conoscenza dei processi territoriali di cui oggi c’è bisogno. Il paesaggio viene trattato come strumento di conoscenza esplorandone le diverse dimensioni di "interfaccia", "intermediario", "mediatore", testandolo nell’ambito delle trasformazioni dello spazio dell’agricoltura nel Veneto.

My aim is to give an account of what Diarmuid Costello (2005) in ‘Aura, Face, Photography : re-reading Benjamin today’, describes as Benjamin’s ‘mature conception of aura’ (Costello 2005, p. 166). In Part One I discuss aura in regards to experience and with regards to the autonomous stature of nature and artworks. My intention is first, to connect Benjamin’s mature philosophical concept of aura and the autonomous stature of artworks with the structure of perceptual experience and second to highlight, as Benjamin does, the refrain of “what is at stake” regarding how we collectively experience and achieve access to the world.

In Part Two, I connect the experiential, relational aspects of aura with the phenomenological approach of this study. I suggest the surfacing of involuntary memories and the exact yet fleeting and momentary instances of affect and beauty contribute to the sensing of auratic atmospheres. In a reciprocal fashion, I propose that auratic atmospheres are composed, in part, of and by somatically registered sensations. I describe atmosphere as contributing to the matrix of auratic relations, suggesting, therefore, that an artwork’s aura and atmosphere are co-implicated and co-extensive. 

This essay is the third chapter of Mirrored Resonance: exploring an aesthetics of engagement (MFA exegesis 2017).

"As an artist for whom both magic and landscape are major influences, the notion of the ‘genius loci’ or indwelling spirit of a place has always been a particularly appealing one. Yet it seems that with regard to the magical practices of early modern Europe, the genius loci is – at first glance – absent. There has been a tendency by many commentators to gloss over the relationship between place and ritual magic, often presenting the rituals of angelic or demonic compulsion as divorced from possible geographical contexts. This excludes what we might call embedded spirits, dwelling in the physical environment and writ large in the early modern psyche as fairies and elves, as indicated by Emma Wilby’s research (2005), as well as more ill-defined 'aerial powers'.

Agrippa and other intellectual occultists may have considered the genii locorum as Classical woodland gods, much in the spirit of what Joscelyn Godwin (2002) might call ‘the pagan dream of the Renaissance’. However, in the more practical realm of ritual magic, the genii dwelling within place became synonymous with treasure guardians and inherited folkloric entities such as elves, fairies and dragons as well as with demonic agents. This is apt considering the magical preoccupations of the age: as Keith Thomas (1971) noted there was a broad – and soundly reasoned – assumption that the landscape was riddled with treasure. This paper will examine the evidence for the relationship between place, spirits and the geography of ritual magic chiefly through a discussion of historical sources, including magical treasure hunting manuals (Folger MS vb.26, Sloane 3824), Agrippa’s magical typologies of place (1533), and Scot’s Discovery of Witchcraft (1584/1665). As more than a historical curiosity, such occult philosophies also suggest new ways to interpret, encounter and re-enchant our immediate environments, notably when combined with new technologies such as GIS, GPS and locative media alongside sensitive artistic curation."

Estratto da La Val de Sambre et ses friches. Un’indagine progettuale su un territorio produttivo europeo. Tesi di LM in Architettura Costruzione Città, Politecnico di Torino, 26 settembre 2018 https://issuu.com/sttc1/docs/tesi_laurea_magistrale_gonella

ATMOSPHERE 10 explores Fabrications. Fabrications implicate diverse artifacts and modes of making, together with the places, practices, contingencies and intentions that enable and contextualize making. In other words, this symposium will examine not simply what, how and why we make, but sites and situations of making. The aim is to explore how cultural and environmental circumstances become meaningful catalysts of design, building, teaching and research. This theme encompasses manifold concerns beyond the digital: complexities of urban and social fabrics; intricacies of environmental skins; potentials of building sites and workshops; as well as the stories and arguments through which we craft shared understandings of our fabricated world.

Abstracts due Nov 1, Symposium Feb 1-3, 2018 University of Manitoba, Winnipeg.

Keynote Speakers include: Brian MacKay-Lyons & Philip Beesley
http://umanitoba.ca/faculties/architecture/atmosphere/2018/brian-mackay-lyons.html
http://umanitoba.ca/faculties/architecture/atmosphere/2018/philip-beesley.html

This paper considers audio-visual representations of Japan's March 11, 2011 earthquake, tsunami, and nuclear disasters in exploring the degree to which citizen reportage leveraged by mobile technology and social media give voice to those affected, and how these new forms of fragmented documentary call into question the medium of nonfiction cinema in its traditional filmic appearances. Finding recurrent emphasis on salvaged family photographs and depictions of amateur photography in 3.11 documentary cinema of potential significance, we trace these elements through the work of Toshi Fujiwara, Yuki Kokubo, Yojyu Matsubayashi, Koichi Omiya, and Lucy Walker. Surveying their short and feature length pieces covering the quake and its aftermath, such observation leads to case studies in stock footage manipulation, politics of the filmed photo, outsider interview ethics, and the position of landscape allegory and its past uses in theoretical critiques of the state-corporate complex. Focused on Japan’s visual culture in particular, but of relevance to a global community with increasing involvement in the production of the media they consume, yet little say in its rhetorical representation, the paper aims to test a notion that building a personal cinema can aid a culture’s reconstruction process following cataclysmic events.

La toile twomblienne est difficile à décrire : entre gribouillis et signes de graffiti, écritures calligraphiques et formes géométriques, éclaboussures de couleur, palimpsestes et grattages, effacements de couleur blanche. Son œuvre combine des petits signes faits en crayon et des grands gestes faits avec de grands pinceaux ou avec les mains. Comment ce langage pictural peut se lier au paysage ? Comment gribouiller devient structurer un paysage ?
La réponse émerge de la surface elle-même : un de ses motifs principaux est la ligne. L’artiste y donne beaucoup d’importance. Dans le seul texte qu’il ait jamais publié, Twombly nous parle de la ligne : « Chaque ligne est l’expérience de son histoire intrinsèque. Elle n’illustre pas - c’est la sensation de sa propre réalisation » . Deux ans plus tard, Twombly nous livre son premier paysage, la série Poems to the Sea (1959). La ligne n’illustre pas mais construit entièrement le paysage. Les dessins se remplissent par des lignes droites, horizontales, ondulées, continues, courtes ou longues, lignes qui barrent d’autres signes, lignes colorées ou effacées par la peinture blanche. La ligne définit l’espace pictural et évoque les vagues de la mer et l’horizon. La ligne n’est pas seulement un motif mais aussi un geste. Pour la former, l’artiste reproduit l’acte d’écrire : il fait le mouvement de la main qui écrit avec un crayon. C’est une écriture calligraphique, un geste sans interruption. L’écriture elle-même est une écriture abstraite. Est-elle un poème ? Un poème sur la mer ou un poème à la mer, comme le titre l’indique ?
Ecrire la ligne devient dessiner le paysage. Pendant les années 60-70 jusqu’à la dernière décennie de sa vie, du petit geste des doigts, il passe au plus grand : Blackboard Paintings, Roses, III Notes from Salalah. La ligne devient également des lettres et les lettres forment des mots d’une écriture cursive. Ce sont les mots de poètes copiés sur la surface. Dans plusieurs cas, ils se réfèrent aussi au paysage : le mot l’évoque par sa signification et sa forme. Pour le spectateur, le paysage est un paysage à voir, à lire et à traverser.  A travers l’analyse des paysages twombliens, cette communication espère contribuer au dialogue sur le paysage et, en particulier, le paysage dans l’art du XXe siècle.

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Now a day most work of the landscape architects are not often seen or are merely visible to the people. As for that, sometimes it prevents the appreciation of the work as an artful work. And also sometimes the work lost their functional and economical value. It seems to the people it was “natural” rather than “cultural”. In another way generally people believes it’s better to keep the nature untouched and human need not disturb the natural process. As we seen from the history most work of Frederick law Olmsted has been recognized as “natural” not “cultural” and after few decade people forgot their functional appeal (Sprine, 1995 page 111). His work on Yosemite national park or Boston’s river and fence way are can be great example of that fact. Constructing the “nature” in fact has some hidden controversy. The controversy lies on as the way of seen the landscape: either natural or cultural. Olmsted’s work makes us think about the middle ground about the controversy. It’s may be something like the John Muir’s concept of explaining the nature as temple and Gifford Pinchot’s concept of seeing nature as workshop. Lesley Instone (2004) in his article “Situating Nature: on doing cultural geographies of Australian nature” give the view point of a traveler who is traveling through the nature: “Negotiating the gap what is in our head and what is out there require strategies which refuses dualistic discourses and confound the distinction of nature and culture (page 132).” During my bachelor studies I was studied in Jahangirnagar University near Dhaka, the capital of Bangladesh which is famous for its natural beauty and wild characteristics. The students always prevent the authority from the cutting down of trees and clear the forest to make new roads. But authority has the strong logic that the trees are at the age of dying and the authority needs to clean the trees to protect new one. This conflict reminds me about the searching for a middle ground where and by which we can construct nature in the way every one love and also fulfill its functional use. As Anne Whiston Sprine (1995) written: “nature can be constructed but it is not only a construction” (page 113).