Imogen Reeves Landscape Architecture Portfolio

Imogen Reeves

LANDSCAPE ARCHITECTURE PORTFOLIO

About me

Currently in my third year of Landscape Architecture BA (Hons) at the University of Gloucestershire, I am passionate about inclusive landscape design and placemaking, whilst addressing the climate emergency.

I love to explore new areas, seeking out their public green spaces, and trying to understand the sense of place. I have found that walking, running and cycling has given me a fairly comprehensive understanding of how space is used and where it is inaccessible - if a bicycle can not navigate something, a wheelchair or pram probably can not either. Observing how people use space is just as interesting, from train carriages to city Christmas markets, and sketching dynamic scenes is always amusing!

Becoming a landscape architect who really listens to what people need, and enacts this in a way that respects the planet is very important to me. I aim to work within a team who share these priorities and will inspire and encourage me to become the best designer I can be.

Skills:

• Hand rendering

• Sketching

• Conceptual diagramming

• Site Analysis

• AutoCAD

• Adobe InDesign, Illustrator &

• Photoshop

• SketchUp

• TwinMotion

• Enscape

• Written communication

• Public speaking

• Client engagement

• Active listening

• Organisation & planning

• Collaboration

• Reflecting & evaluating

• Proactiveness

• Ambition & determination

This hand-painted postcard is of my home, a rural hamlet in the Lincolnshire Wolds, which has a very unique genius loci. With so few residents, the people dominate the landscape, in a strange juxtapostion, as

It is the experiences and encounters with people which make it a place. It is where I first learned that place meaning is different for everyone and must be respected and considered when change is being implemented.

Contact:

imogenreeves.3@gmail.com

Barnwood Park & Aboretum

The use and development of Barnwood Park and Arboretum in Gloucester is constrained by seasonal flooding, making it inaccessible to the public during the Winter months. This project looked at using cut and fill to create topography that would form sustainable drainage systems, alongside a robust vegetation strategy.

Planting Plan

Vegetation Strategy

The redevelopment of Barnwood Park and Arboretum included a new specification of hard and soft materials, details of which are shown below.

The proposed cafe building features a green roof, detailed below, to promote water capture and storage and decrease surface runoff to reduce flooding on site.

for details)

and tables

tables

Accessibility was also a key issue at Barnwood, with steep slopes leading into the main park. As a result, it was imperative to include steps and a ramp to ensure full public access.

bound paving for outdoor cafe (See BB for details)

Mixed shrub planting

Structural deck prime

Growth medium

Filter fabric

Resevoir layer

Moisture retention layer

Aeration layer

Thermal insulation

Waterproofing membrane

Root barrier

Extensive green roof planting layer details) engineer for details)

Protective screed

These hand sketches show the birdhide and boardwalk over the extension to the balancing ponds (top), and the proposed cafe (bottom). Both the birdhide and cafe feature the detailed green roof.

Mixed shrub planting

paving for outdoor cafe BB for details)

engineer for details)

Mixed shrub planting

Wetland planting

Extensive green roof (See DD for details) details)

Extensive green roof (See DD for details) engineer for details)

Bioretention pond planting

Bioretention pond planting

Water surface line

Bioretention pond

Water surface line

Bioretention pond

Wetland island

Bioswale

Planting Design

Francis Close Hall Quad, Cheltenham Surrey County Council Headquarters, Reigate

Key:

Although popular in the Summer, the main quad at Francis Close Hall in Cheltenham is otherwise ignored, being planted only as a lawn, and bounded by an unfriendly fence. This project aimed to create a planting plan for the space which would draw people into the space, and engage them with plants.

Seasonal interest was a priority, due to recognition that many students and staff struggle with mental health during the darker months. As a result, the concept was explored as a raging plant battle between light and dark, as expressed in the collage (centre). The illustrations demonstrate seasonal points of interest.

These watercolour visualisations depict different areas of the planting design (as marked on the plan) throughout the year. ‘A’ shows the bottom left corner as a golden Winter fire; ‘B’ shows the middle of the main path, as viewed from Seating Area 2 in late Summer/ early Autumn, portraying intense heat and light, and ‘C’ shows the top left entrance to the space in early Spring, with bright bulbs contrasting the dark Sambucus nigra ‘Black Lace’.

The collage (far left) shows the inspiration for this planting design, based on the concept of light and dark, which, left to interpretation hopes to provoke a variety and depth of response. The interlocking zig-zag pattern is intended to show the constant battle of light and dark, whether that be perceived as climatically, artistically, spiritually or emotionally.

The ‘light’ side dominates because the design intends to be inspring and though-provoking, not depressing. For this reason, seasonality has also been carefully considered in order to avoid a dark and barren landscape in Winter. To the right is an initial plan of gradations of height and texture (see key).

References:

Brickell, C. (2019) Royal Horticultural Society Encyclopedia of Plants and Flowers.

Gardenia (No date) Available at: https://www.gardenia.net. (Accessed: 25/05/2021).

Royal Horticultural Society (2019) My RHS. Available at: https://www.rhs.org.uk/my-account/collection/wishList/720673.

Provender Nurseries (No date) Products. Available at: https://www.provendernurseries.co.uk/products/search_field/allium.

Rendering

Although I feel that hand rendering creates a much more emotive and engaging illustration, different softwares can also be used to give a handrendered appearance. As a result, I have been exploring how digital representation can be used to create a softer graphic.

Three dimensional Twin Motion graphics being aged by Light Room is effective, creating an almost painted or vintage feel.

Using watercolour blocks in Adobe Photoshop is perhaps one of the most effective ways of creating a gentle illustration that implies more the sense of place that a landscape will create, than exactly what it will look like. Often this is more important to the viewer, especially the general public.

The same techniques are also effective when used to render masterplans. Below, the base plan is hand drawn to scale, and then rendered in Adobe Photoshop with a combination of collage textures and watercolour blocks. This is a much bolder graphic than the wholely pencil hand rendered masterplan (bottom panels).

At the survey and analysis stage of a project, photoshop collages are a useful expression of genius loci, especially overlayed with hand markups (below).

These segments of hand-rendered masterplan are part of a garden design for a private client. Produced in coloured pencil, it has a gentle, rustic air which was adored by the client, but approaching it with the above technique would also be interesting.

The Valley

A small courtyard within Francis Close Hall campus, Magnolia Court is an extremely underused site, and largely unknown. To recreate this forgotten space as a hub for students and staff to study, rest and meet outside, I drew on inspiration from the valley behind my home in the Lincolnshire Wolds.

Topography became important to the concept, with turfed mounds creating a playful atmosphere and levelled seating forming a dynamic environment.

Blue block paving mimics the river flowing through the valley and creates a sense of journey.

Tall grass creates a private, quiet space for study or reflection, as does the teal mound opposite.

Paving is edged with dark gray granite blocks, and mounds are edged with blue-gray cut stone.

A semi-ampitheatre would provide a valuable outdoor teaching space.

Path widens, mimicking a river’s mouth as people leave the space.

Group seating for eating, discussion and socialising.

Covered seating for all-weather use.

Teal mound with a benched edge. The ‘s’- shape of the bench adds comfort and a reclining posture, allowing for relaxation and reflection, and is selfdraining.

Tall grass screens the iron railings and steps.

Stepped seating gives users a new view and perspective of the site.

Christ Church Development Brief

Christ Church Site B is a disused school playing field in Cheltenham which is designated as land for housing development in the Cheltenham Plan and the Joint Core Strategy (for Cheltenham, Gloucester and Tewkesbury).

The purpose of this brief was therefore to guide the developer as to how best use the site within this allocation. I reccommended a sustainable housing approach, using precedents from Freiburg, Germany, with the inclusion of a community arts facility/ central hub as a nearby open studio facility was about to be demolished for further housing development.

The Glades

A public park in Cheltenham that is fairly secluded and poorly designed, St James’ Square has here been reimagined as a fantasy-inspired recreational space to host a youth hostel and appropriate facilities. The concept is derived from Jill Barklem’s illustrations for Brambley Hedge, and considers how a space would feel for the user if all of the built structures were giant natural forms.

As seen in the illustration to the right, the aim was to create a playful space where adults and children alike could be free to explore, and have a fresh sense of awe at nature.

Entry Space - Half Decking, Half Lawn Lawns for Socialising/ Activities

Lawn and Decking

Extending over River for Viewing & Socialising

Isolated

Wildlife

With Seating and Lawn

Turfed Steps/Seats (and Ramp) down to River Level for Direct Interaction & Lawn with Seating

Cycle and Electric Scooter Parking

Chiilout Pods on Decking with Glass River-Viewing Panel

Sculpture Meadows with Artwork from Visitors/ Local Artists

Path over River for Balcony Viewing Experience

Pond and Decking for Exploration

Decking, with Central Curved Bench, Over River Towards Exit/Entrance

Camping Lawn and Decked Seating

Youth Hostel Assocciation Hub, Inlcuding Laundry, Refectory, Indoor Sports Facilities, etc.

YHA Accommodation

Sono Dance Arch (by Yalp) with Seating

North Place

Currently a vast, open car park in the centre of Cheltenham, North Place is here re-envisioned as a vibrant community development featuring apartments, a university hub, and multi-storey car parks in order to meet demands for parking in the town.

The inspiration came from the Cotswolds, as the project aims to emulate the undulating landscape and transform what was a flat, barren landscape. Viewpoints are key to the design, with rooftop parks connected by balcony walkways.

In between the stepped building facades, wide valleys are created where community is curated and a circular economy endorsed.

Portland Street Entrance

Sensory Walkway

The Valley Walkway

Fern Vale

The Cloud Park

The Copse Walkway

The Sculpture Forest

The Edible Forest Garden and Greenfingers Garden

The Cycle Glade

Live/work terrace

The Honeycomb

The Rooftop Cafe and Play Forest

Solar Energy Production

NORTH PLACE SOC ANALYSIS

> Good connectivity and vehicular access to site.

> Number and location of entry points

> Surrounded by attractive historic architecture, e.g. Trinity church, Dowty House and regency terraces.

>Existing trees are in quite good condition and on periphery of site so will not constrain development.

> Proximity to NCP building and Brewery Quarter which could bring high footfall to the site.

> En-route to key destinations in Cheltenham such as the town centre and the racecourse, so good location for a public space.

> Already high pedestrian footfall, as shown by desire lines on the diagram, meaning people are already aware of the space.

> Largely flat topography, but sloped overall, giving more opportunity for exploiting views of hills on the North East side.

> Proximity to Brewery Quarter means it is wellplaced to attract high footfall at all times of day.

> Attractive periphery architecture could be framed by planting/ landform to bring historic depth and sense of place.

>Views of church spires and hills can be framed as borrowed views and will provide sense of place, as can see local, unique landscape and architecture. Also provides links to rest of town and wider landcape.

> Movement of sun across site means it is in full sun for most of day and spectacular sunrise and sunsets can be exploited.

The SOC analysis to the left was my initial responses to North Place and informed my design process. The concpetual sketch above shows my first ideas about spatial layout, and the SketchUp model on the right shows how this developed into the built form on the site, as there was a requirement to include a substantial area of car parking and live-work units.

> Brief demands open frontage onto noisy, unattractive St Margaret’s Road.

> Residential properties overlook the site on three sides, and are also at risk of losing privacy.

> Additional buildings would be at risk of losing privay if their use changed e.g. became residential.

>Considerable noise pollution from St Margaret’s Road, and also Portland Street and Clarence Street.

> Some very unattractive buildings which degrade atmosphere of the site.

> Located within conservation area - buildings outlined in orange are of architectural significance too.

> Neccessity of maintaining car parking spaces

The SketchUp model was used to help me visualise the space, and also to develop visualisations and views through the site. Initial sketches for these are shown below, to help capture the character of the space and understand the spatial proportions and uses of each part of the site.

Chaumont-sur-Loire

Participating in a group entry for the International garden Festival at Chaumont-sur-Loire has been a valuable experience of working collaboratively to produce a project under tight time constraints.

Under the theme of resilience, we designed a garden which explores how we need to harness the resilience of nature in order to survive climate change in the future. This is expressed through the juxtaposition of a stark white living room to a luscious plant centred haven.

The bright white stem of Betula Utilis Var Jacquemontii ‘Silver Shadow’ signifies human presence in the garden.

A variety of planting undulates across the garden, demonstrating that nature has a vivacity that will outlive ours.

In contrast to the first barren white landscape, the garden is alive with an abundance of climate resilient planting.

The path is a sensuous chamomile carpet, speckled with waste quarry offcuts.

The eye is drawn to a burst of colour, Heuchera ‘Wild Berry’, planted into an open-topped glass sphere, revealing the root structure.

The sketch above shows the luscious side of the garden, with the central reflective pool and circular bench that invites interaction with other visitors. Below, the stark white living room that visiors enter first is dominated by hard materials, with dead, matted plants choking the furniture.

Midway along the path is the opportunity for rest and reflection, enclosed by bamboo structures.

Visitors are invited to sit together around the semi-spherical reflection pool to symbolise the need for community.

The white walls of the first room are completely hidden by tall planting.

Upon exiting the garden, the visitor is confronted with self-reflection, being challenged by a large mirror.

A five-bolt door will be the opening into the main garden, so that visitors must collaborate to enter the plant centred haven.

Three white sofas and a table are hollowed out, erupting with dead, thorny plants to symbolise the state that we will live in if we do not harness nature’s resilience.

The visitor enters a stark white room, walled with white-washed recycled pallets and arranged as a typical western living room.

Dissertation: Inclusivity in PUGS

For my dissertation I explored the barriers to public urban green spaces (PUGS) being fully inclusive, which has now influenced my design approach. Discovering that it is having a sense of belonging in a green space which makes people more likely to use PUGS has altered how I view site analysis, consultation and design.

I came across a number of organisations during my research which changed my perspective on different landscape stakeholders, notably Make Space for Girls, a charity advocating the inclusion of adolescent girls in public space, and involved with trial designs in Vienna (see image below).

In Vienna, gender-mainstreaming has been introduced, which means that the needs of different gendered stakeholders are considered at every stage of the design process. For city parks in Vienna, this meant addressing the issues why teenage girls were not present. This included creating safe, small spaces to linger in the park, such as hammocks (left) and improving perceptions of safety through better lighting and wider pathways to enhance sightlines.

What are the main barriers to the inclusivity of public urban green space (PUGS) in the UK?

Imogen Reeves

My dissertation concluded that:“For people of ethnic minority background, the barriers to being included in UK PUGS are perhaps the greatest. This is because they often face the same barriers to inclusion as users from lowincome backgrounds, in addition to anxiety over racism and race related crime, which increase their vulnerability in public space.

Negative experiences can prevent people accessing PUGS, limiting their opportunities to cultivate positive memories there, which would then otherwise create a sense of belonging. However, when the reason for PUGS not being a part of everyday experience is because an area is green space deprived, the social exclusion is harder to overcome without the introduction of new and more ubiquitous PUGS.”

This has given me a new interest in planning and policy, because it has far reaching impacts which affect people’s experience of public landscapes. I found that although good design of PUGS is crucial to inclusivity, planning and urban design is actually the bigger issue if these spaces are not present in every community.

Alney Island

Currently a nature reserve on the edge of Gloucester, Alney is made into an island by the encompassing River Severn, which also creates some constraints on the site due to seasonal flooding. Its location makes it an ideal space for encouraging urban residents to engage with nature and have a walkable opportunity to interact with a green space that is wilder than a town park.

I began with site analysis through SWOC and a study into the spatial proportions of the site which formed part of a group feasibility report (see below). I then created a collage of the important existing and historical elements of the site which informed my concept, expressed through the collages and diagrams on the right.

The forces at play...

Concept Development

This collage represents the blending of the key dynamic forces which shape Alney Island. They define the physical environment as well as the genius loci of the site.

“I chatter, chatter, as I flow

To join the brimming river, For men may come and men may go But I go on for ever. ”

CONNECTION The Severn River and the road and rail bridges connect people and places, and the site stitches together rural and urban.

IMMERSION

(The Brook, Tennyson, 1855)

City to country

MODERN & URBAN EXPLORATIVE

Alney Island provides a transitional space between urban and rural environments. This connectivity is crucial to facilitating people in experiencing the countryside because an abrupt shift in space may be difficult for some users to adjust to. As the first space that people encounter as they leave the city, Castlemeads therefore becomes vital as a welcoming intermediary space, which integrates the regeneration of Blackfriars with the wild nature of the site. Before entering a truly rural experience, which is relatively nonprescriptive, the middle of the site provides a space for activity and education on the history of the site and innovative flood management.

Alney Island can be designated into three zones by its existing features, which create the connective journey across the site between urban and rural landscapes. These will not remain as three distinct area, but instead merge as a continuous transition. However, here it is helpful to see how the separate zones will provide distinct character areas to Alney and provide different immersive experiences for users. Castlemeads naturally becomes the opening into the city, and the far side of the site the more natural, wild area, with existing woodland and riverside pathways. In the middle, there is the opportunity to create an interactive, educational environment, which will be engaging for people of all ages and backgrounds.

RHS Tatton Long Border

‘Staying in Touch with the Garden’ is a group entry to the RHS Tatton Long Border competition, prodcued with two other teammates. We were successful, and will be building our border in July. The theme for the competition was ‘sensory’, and so we decided to focus on a tactile sensory experience for children, as the border will bring planting to their eye level, and a visual feast for adults.

The design aims to inspire families as to how they can all use the garden together at home. Younger visitors will be attracted to the playful form of Pittosporum tenuifolia, and the colour gradient sweeping along the border from orange to blue. Children will also enjoy the tactile zipper-shaped edge to the border, which will be set with a variety of differently textured natural materials, including pebbles, bark, sticks, shells and moss.

The sense of touch will be further engaged for children through the abacus trail which weaves between tactile, edible or scented edging plants. This provides an activity for younger users which adults can engage with alongside them, as well as having the time to visually enjoy the central planting.

We hope to inspire visitors to create intergenerational gardens which promote healthy family relationships, children’s cognitive development, and the fostering of an early connection to nature. This crucial cycle of childhood connection to nature, and the later desire to work with and protect it, is symbolised by the woven willow circle, a simplistic feature which could be replicated at home.

Development Sketches

Planting

Final Design

LDA Student Bursary

Marrying the economic and cultural practices of rural village lifestyles with modern sustainable technology and the opportunities of the city, an urban utopia is envisioned that provides a beautiful and functional space for people. Enhancing and managing the environment sustainably, it will be resilient to meet the needs of present and future generations. Markets, urban wetlands, rooftop parks and cable cars replacing conventional transport networks are key components.