Fairy Tales to Forest by Amy Kaye Taylor

ONCE UPON A TIME

fairy tales

forest

Tool Kit for the Design of Childrenâ&#x20AC;&#x2122;s Forests

Amy Kaye Taylor Master of Landscape Architecture Guided Research Project

contents 1 project and research Roles and Perceptions of Forest in America Choosing and Analyzing Childrenâ&#x20AC;&#x2122;s Literature for Study Fairy Tales to Forest: Project Description

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2 designing childrenâ&#x20AC;&#x2122;s forests Development of the Tool Kit Tool Kit Layout

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3 enchanting forests Enchanting Dense Ordered Forest Enchanting Open Forest Enchanting Forest Ecosystem Enchanting Enclosed Canopy Forest

53 56 58 60 62

4 ominous forests Ominous Dense Ordered Forest Ominous Impenetrable Forest

71 74 76

5 guardian forests Guardian Impenetrable Forest Guardian Layered Forest

85 88 90

6 tranquil forests Tranquil Forest Ecosystem Tranquil Edge Forest Tranquil Single Tree Forest

93 96 98 100

7 uninviting forests Uninviting Layered Uninviting Cleared Forest Uninviting Dense Ordered Forest

109 112 114 116

8 nocturnal forests Nocturnal Layered Forest Nocturnal Forest Ecosystem

125 128 130

9 happy forests Happy Single Tree Forest Happy Forest Ecosystem Happy Edge Happy Enclosed Canopy Forest Happy Open Forest

133 136 138 140 142 144

10 building a children’s forest Construction and Maintenance Choose a Children’s Forest and Design Children’s Books Cited

153 154 156 158

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4 Project and Research

project and research

Roles and Perceptions of Forest in America Choosing and Analyzing Childrenâ&#x20AC;&#x2122;s Literature for Study

Project Description

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ONCE UPON A TIME: FAIRY TALE TO FOREST ABSTRACT How we interact with our environment is influenced by our encounters with nature at an early age. Those encounters might be actual experiences with nature or vicarious experiences through other means. For example, we create images of place in our minds based on stories told to us as children. These stories are a reflection of societal views and cultural values in regards to how environment is perceived, how it should be encountered, and whether there is human interconnectedness. The forest is one of those places that we often learn about before we experience it, as it is portrayed recurrently in children’s literature. I explored the role of the American forest from the nineteenth century to present day and specifically how that definition evolves in children’s literature. In evaluating children’s literature, I assessed the tone and imagery of the forest and noted differences in children’s stories. Guided by similar methodologies in related topics in children’s literature, I developed a reading list of children’s

literature, with an emphasis on illustrated stories. I advanced a way to evaluate and categorize these stories for a better understanding of how forests are portrayed. Analyzing the context and illustrations within the reading list enabled me to speculate about how today’s child might anticipate and experience a forest. This context, as well as a critique of current children’s forests in the United States, guided the development of new children’s forest archetypes designed to create experiential landscapes that have a lasting impact on how we interact with our surroundings.

Fig 1. Alan Lee, “The Stone Trolls” Painting. From: http://alan-lee.narod.ru/Images/lee-lotr_TheStoneTrolls.jpg

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ROLES AND PERCEPTIONS OF FOREST IN AMERICA INTRODUCTION What role have forests played in children’s stories and how can designers use children’s literature to speculate on how a child today may anticipate and experience a forest? This question is multifaceted and there are four layers of information to reveal in its current state before analyzing children’s stories, fairy tales and fables. First, I will track the role and perception of forest through American history. Second, I will note current text that connects children’s stories with historic time lines and landscapes. Third, I look at studies relating to children’s perceptions of forests. Finally, I will explore different methods used to choose and analyze children’s literature for study. ROLES AND PERCEPTIONS OF FOREST On the very first page of Robert Pogue Harrison’s Forests: The Shadow of Civilization, Harrison states that “forests were first” that they were antecedent to mankind.1 According to Harrison, humans discovered the forest in a state of wildness. In The Idea of Wilderness, Max Robert Pogue Harrison, 1992. Forests: The shadow of civilization. Chicago: University of Chicago Press: 1. 1

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Oelschlaeger notes a shift in attitudes of wilderness in the nineteenth century from viewing wild nature as a valuable resource or an obstacle to conquer to viewing wilderness as a disappearing treasure that needs preservation and protection.2 When observing the roles of forest in children’s literature, it will be valuable to note if Oelschlaeger’s transition in forest perception is reflected in these stories. Before noting American views of the forest, a brief look at the English forest prior to English colonization in the United States is significant. The contemporary definition of forest in American forest management is “an ecosystem dominated by trees, as well as other plants and animals.” The unique feature of this ecosystem is the trees and their vertical structure.3 However, trees were not always the defining feature for forests in England. According to Vittoria Di Palma, in legal terms the early English forest referred to an area, forested or not, in need of severe use restrictions within its boundaries. Eventually, this led to the 2 Max Oelschlaeger, 1991. The idea of wilderness: from prehistory to the age of ecology. New Haven: Yale University Press: 4. 3 Roger A. Williams, Phd, “What is a Forest” (OSU course ENR5340 Forest Ecosystem Management, Columbus, OH, August 30, 2016), slide 2.

royal forests being used for hunting, thus placing the term “forest,” meaning a wooded area, amongst the highest legal category that land could be named. To qualify as a forest, a tract of land needed to possess venison, vegetation for the venison to eat, particular laws and privileges for the land’s use, and special officers to protect and enforce those laws.4 The historian Clarence Glacken writes that forest and woods differed from one another in ownership and the rights inherent in them.5 These descriptions of ownership continue to be reflected in a contemporary comparison of forest and woods posted on Kingsdowner blog. According to Kingsdowner, Nobility owned forests, which were generally larger. Woods were used by the AngloSaxons for fuel, timber and pasture.6 Fig. 2. James I at the hunt (standing, right). George Gascoigne, The noble art of venerie or hunting. 1611. Folger. https://manifoldgreatness.wordpress.com/2011/12/

Vittoria Di Palma, 2014. Wasteland: A History. New Haven: Yale University Press, 180. 5 Clarence J. Glacken, 1967. Traces on the Rhodian Shore; Nature and Culture in Western Thought from Ancient Times to the End of the Eighteenth Century. Berkeley: University of California Press, 321. 4

“What’s the Difference Between a Wood and a Forest?,” 2007, accessed December 13, 2016, http://kingsdownkent.blogspot. com/2011/01/whats-difference-between-wood-and.html.

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Fig. 3. Johannes Kip and Leonard Knyff “New Parke in Surry the Seat of the Rt. Honble the Earle of Roschester,” Copper Engraving http://www.phyllislucasgallery.com/newpainsuseo.html

As described by theydiffer.com, a forest covers a large area containing high tree density while a woodland has a lower concentration of trees on a smaller area of land.7 While reading children’s stories, the wording of forest versus woodland will be noted, particularly as English history has defined these terms and placed roles to them. Perceptions of the forest “Forest Vs Woods - What’s the Difference?,” 2014, accessed December 13, 2016, http://theydiffer.com/difference-between-forest-and-woods/. 7

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change considerably in England in the seventeenth and eighteenth centuries. In the mid 1600’s, the Forest Garden appeared in England. The makeup of these forests included acres of woods, tree lined avenues, fountains, glades, small openings, and a collection of views with a sequence of repetition. They were often mathematical gardens like those

Fig. 4. William Gilpin, Guide book, Observations, Relative Chiefly to Picturesque Beauty, Made in the Year 1772, on Several Parts of England, Particularly the Mountains, and Lakes of Cumberland Westmoreland http://www.geog.port.ac.uk/webmap/ thelakes/html/lgaz/glp309.htm

of French Landscape Architect Andre LeNotre.8 In 1700’s, a different intellectual and aesthetic movement, called the Picturesque, influenced some perceptions of the forest. This perception denounced the human order placed on plantations and forest gardens. The Picturesque movement valued scenery that was not planted in neat rows of all the same age, but according to William Gilpin was “forest trees in a state of nature.” The image of the forest was prized if the hand of nature was emphasized, like seeing all ages of trees seen in a disordered manner. In this way the forest would be pleasing to the eye and arouse the imagination.9 8 9

Di Palma, Wasteland, 200. Di Palma, Wasteland, 224.

“England’s Forests: A Brief History of Trees.” follows the progression of English forests including the decline of forests in the country due in part to the building of the English Naval Fleet. By 1905, England’s forest cover was estimated at just 5.2% of land cover in the country compared to 1086 when it was estimated at 15%.10 Why are English forest cover stats and historic English perceptions important when discussing American forests? The English colonized what is now The United States of America. It is highly likely the English brought with them, their views and expectations of the forest, thus influencing the roles and perceptions of early American forests. Bibi Van Der Zee, “England’s Forests: A Brief History of Trees.” The Guardian. July 26, 2013. Accessed October 10, 2016. https://www.theguardian.com/travel/2013/jul/27/history-of-englands-forests. 10

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The forests of America were not pristine when English settlers arrived. Native Americans had cleared forest areas for agriculture prior to English settlement. However, compared to the English landscape, forests were quite plentiful in the American colonies. Colonists found the vast forests in America to be a mixed blessing. The resources were plentiful but dangerous creatures lived in the forest that ate their livestock. During the first few centuries of American settlement, most people were subsistence farmers. From the perspective of the farmer, the view of the forest was both that of inexhaustible supply and an obstacle.11 Other economies of the original thirteen Colonies included fur trapping, fishing, and forest Industries like; lumber and timber (construction materials: poles, logs, wood shakes), maple syrup, and Naval stores (resin, turpentine). Other industries like ship building, ironworks, rum distilleries and trading and shipping also contributed to the colonyâ&#x20AC;&#x2122;s economy.12 The perception of the forest through the 17th and 18th centuries in America was predominately that the forest needed to be conquered and used. 11 Douglas W. MacCleery, 1993. American forests: a history of resiliency and recovery. Durham, N.C.: U.S. Dept. of Agriculture, Forest Service in cooperation with Forest History Society: 6. 12 J. R. McBride, 2007. The American Forest. Slide Collection and Notes. University of California, Berkeley: slides 24, 26.

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Between 1803, with the Louisiana Purchase, and 1850, the land base for the lower 48 states was in place and the transfer of public land to private ownership increased exponentially. Populations rose rapidly and so did the demand for agricultural land and wood for fuel. To connect this new expanse, transportation was need. Trains were fueled by steam which required wood to burn. US Railroads expanded to more than 350,000 miles between 1850 and 1910 and accounted for 20 to 25 percent of timber consumption in the US.13 Though this great expanse of the country, forests continue to be valued as a commodity. By the end of the 19th century there was both a vast decline in forest as well as a decline in wildlife.14 This started to become a cause for concern for some in the United States. At the end of the 19th century, there were several calls for preservation and conservation of forested areas due to concerns that American forests would not be able to sustain themselves at the rate they were 13 14

MacCleery, American forest: 13-19. MacCleery, American forest: 22.

being consumed. Conditions in American forest lands in the 1900’s were bleak as wildfires were common, there was no provision for reforestation and wildlife populations were dwindling. In response, conservation policies were drafted and new technologies helped ease the demands on forest resources. This included the burning of fossil fuels instead of wood, and the substitution of metals and concrete in some building materials. With these efforts, forests started to stabilize, eastern forests (particularly Southern forests) began to return and wildlife numbers began to rebound.15 At this time, there is a shift in the perception of the forest. Forests now possess an intrinsic value beyond commerce.

In 1905, President Theodore Roosevelt transferred the care of these reserves to the Department of Agriculture’s new U.S. Forest Service and the reserves were renamed National Forests.16 Today, the U.S. Forest Service manages and protects 154 national forests with a mission to sustain the health, diversity and productivity of these forests for future generations.17

Congress created the office of Special Agent in the U.S. Department of Agriculture in 1876 to access forest quality and conditions in the United States. Five years later the department expanded to Division of Forestry. In 1891, Congress passed the Forest Reserve Act authorizing the President to designate public lands in the West and called them forest reserves. 15

MacCleery, American forest: 24-31.

16 “Our History,” accessed December 13, 2016, http://www. fs.fed.us/learn/our-history. 17 “About the Agency,” accessed December 13, 2016, http:// www.fs.fed.us/about-agency.

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The management of National Forests continually changed throughout the 20th century due in part to changing perceptions and values of the American forest. Prior to the 1940â&#x20AC;&#x2122;s, national forest management was mainly for safekeeping and focused on meeting the needs of their surrounding area. After World War II and the return of veterans, the demand for timber for housing rose dramatically and national forests helped supply that demand. At the same time, there was an increased demand for other uses and values of national lands like outdoor recreation. The Multiple Use-Sustained Yield Act of 1960 and the Wilderness Act of 1964 would change how forests are managed. National

Fig. 5-7. Photos of different uses of the National Forests; grazing, camping, and hiking, The Forest History Society

forests are now required to be managed for outdoor recreation, wildlife, grazing, timber, and watershed protection. Other areas become preservation areas.18 This is particularly significant because the Act stresses that all management of various renewable surface resources of the national forests are to be combined to meet the needs of the 18

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MacCleery, American forest: 41-42.

Fig. 8. Ansel Adams, Yosemite Valley, Thunderstorm, 1970. http://www.fondazionefotografia.org/en/mostra/ansel-adams/

American people and conform to changing conditions of the forest.19 1970 marks a year of varied influences on the perception of forests from Dr. Suess’s book The Lorax, Ansel Adams powerful photography of National Park scenery and foundation of The National Environmental Policy Act.20 As years advance, there is global interest in forests.

In 1992, the dilemma of the world’s forest was the top concern at the “Earth Summit” (United Nations Conference on the Environment and Development). Here, a set of non-binding Forest Principals were agreed upon. As a result, U.S. Forest Service lands would restrict clear cutting and ecological principles would guide management.21

19 “Multiple-use sustained- yield act of 1960.” N.p., 2017. Web. 27 Apr. 2017. https://www.fs.fed.us/emc/nfma/includes/ musya60.pdf. 20 “Conservation Timeline 1901-2000,” accessed December 13, 2016, https://www.nps.gov/mabi/learn/historyculture/conservation-timeline-1901-2000.htm.

MacCleery, American forest: 50.

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Substantial strides have been made in the conservation and management of America’s forests but threats still remain. The continuing loss and fragmentation due to residential and urban development, climate change, air pollution, and invasive species of plants and insects are major concerns for America’s forests today. As the nation’s population continues to urbanize the role and scope of conservation has expanded. Humans are indeed a part of this complex ecosystem.22 With this realization comes a new generation of humans who will need to make decisions about the future of forests and not just the protected national forests. The forest or woods can be valuable even and especially if it is close to home. To quote William Cronon from Uncommon Ground, “We need to discover a common middle ground in which all these things, from the city to the wilderness, can somehow be encompassed in the word ‘home.’ Home, after all, is the place where we make our living. It is the place for which we take responsibility, the place we try to sustain so we can pass on what is best 22

MacCleery, American forest: 59-62.

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in it (and in ourselves) to our children.”23 The contemporary perception of forest will be shaped by our children. What we pass on in our design for children will also influence their perception.

CONNECTING CHILDREN’S STORIES WITH HISTORIC TIMELINES AND LANDSCAPE The idea that children’s literature is reflective of its historical context is important to the research question at hand. Children’s stories are written by adults and are a reflection of the societal views and cultural values of those adults. For instance, Donna Varga looks at the transformation of humananimal relations through time by looking at children’s stories and toys in her article “Babes in the Woods: Wilderness Aesthetics in Children’s Stories and Toys, 1830-1915.” Varga links changes in toys and stories to the evolution of wilderness aesthetics. Working under the premise that children’s toys and literature are reflections of adult beliefs, values and actions she describes an evolution of toys and stories. Varga notes the change in 23 William Cronon. 1995. Uncommon ground: toward reinventing nature. New York: W.W. Norton & Co.

themes through time from conquering nature- the forest and the animals within, to an anthropomorphic depiction of young animals, to the love of the teddy bear and general anti-hunting attitudes.24 Varga’s article illustrates how children’s stories not only entertain but teach lessons and reflect societal expectations and values. Similarly, Darby and Warren’s The Land of Whistlepunks & Wild Things: Our Forests of Yesterday and Today presents three fictional story lines that recreate life in the forests of East Texas. This contemporary writing depicts historic settings from the late 1800’s to the late 1900’s. The pioneer’s forest of 1863 was scary and dangerous with wild things and wild men. In this story the wild animals were hunted in mass and the forest was conquered. However, this is where men would hide if they didn’t want to go to war. The logger’s forest of 1920 revealed a time where lumber was the hot commodity and the woods was where one could find good employment. In this story a girl dresses like a boy to get work in order to help out the family. The final story, the environmentalist versus the Donna Varga. 2009. “Babes in the Woods: Wilderness Aesthetics in Children’s Stories and Toys, 1830-1915”. Society and Animals. 17 (3): 187-205. 24

Fig. 9. Johnny Bear, 1901. Appears to have Dyspepsia like children often did at the time, anthropomorphizing the bear. http://esnpc.blogspot.com/2016/02/ teddy-roosevelt-and-his-bears-grizzly. html

lumberman of 1996 told of one man’s struggle to support his family but still keep part of his forest. He hoped part of his forest could be a national park someday but money from the timber would pay the bills. If they agreed not to clear cut, he would sell some trees for timber.25

25 Maribeth Darby and Betsy Warren. The land of whistlepunks & wild things: Our forests of yesterday and today. in Eakin Press [database online]. Austin, Tex., 1997.

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Although forests have been around since the beginning of time, written children’s stories are a bit more contemporary. In 1935, Dorothy W. Baruch wrote an article called “Trends in Children’s Literature Today” in which she discusses the types of things children would have read in different centuries starting with the 14th century. Importantly, Baruch notes that it was not until the 20th century that children could get their hands on age appropriate stories. Baruch gives examples of what children would read at different ages: ages 12 – 14 might read books by Edgar Allen Poe, Mark Twain, Louisa May Alcott, etc.; ages 10-11 might read Alice in Wonderland, Robin Hood, etc.; ages 8-9 would read Brothers Grimm, retold in gentler versions, and ages 6-7 would engage in Mother Goose and simpler folk tales. Baruch discusses trends in children’s books of 1935 including one trend of note here. Books written for the youngest children would have content based on everyday experiences. Myths and folk literature was thought more appropriate for ages 11 – 12. For older children it was okay to

read stories of fiction as well as stories of exposition and science.26 Many of those trends continue today as writers and illustrators continue to make children’s books to relate to contemporary issues in creative ways. One way in which American illustrators can be awarded for distinguished picture books is with the Caldecott Medal. “The human-environment Dialog in Awardwinning Children’s Picture Books” by Podeschi, Palmer, Schwadel and Meyler looks at how the environment; natural, modified and built have been portrayed in children’s books, particularly Caldecott Winners from 1938 – 2008. They review changes in respect to story content through an environmental lens. Prior to engaging in their analysis, two modes of thought are considered – the authors wonder if growing concern about environmental problems will lead to more books about wild animals and the natural environment or if increasing isolation from natural environments will lead to more books about the built environment. They concluded that Caldecott books 26 Dorothy W. Baruch. 1935. Trends in children’s literature today. The Elementary English Review 12 (7): 187-91.

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Fig. 10. Lauren Castillo, illustration in Nana in the City, A 2015 Caldecott Honor Book.

have seen a decline in nature and wild animal depictions in recent years and more attention is given to the built environment. The study found that the natural and built environment were commonly found and equally found in children’s books up to the 1960’s. From the 1970’s until 2008 the representation of built environments continued to increase but the presence of natural environments showed a curved decline. Children today are exposed to relatively few images

of the natural environment and even fewer images of humans interacting with nature.27 As the environment around us becomes increasingly man-made so are the contexts in which children’s books are set in.

27 J. Allen Williams, Christopher Podeschi, Nathan Palmer, Philip Schwadel, Deanna Meyler. 2012. The human-environment dialog in award-winning Children’s picture books. SOIN Sociological Inquiry 82 (1): 145-59.

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CHILDREN’S PERCEPTIONS OF THE FOREST So far the research has shown connections between children’s stories and historical context in relation to wilderness or forest. Another aspect to consider is the children themselves. What studies have been done to reveal children’s perceptions of the forest? What do they think a forest is? What lives there? How does a child anticipate the experience of a forest? In “Lions and Tigers and Bears, Oh My! Children’s Conceptions of Forests and their Inhabitants,” Erik Strommen writes about how 1st grade children draw forests. Building on the educational theory that children’s learning will be influenced by their preexisting knowledge of the world, the purpose of the study was to help develop a new life science curriculum. In the experiment, Children participated in both drawing and interviews about their “knowledge” of forest environments. Strommen and his team chose 40 children from urban areas; 20 from Nebraska where experiences in forests are rare due to vicinity of forested areas and 20 children from New Jersey where

forests are plentiful. In general children classified forests as places with many trees and many animals. If children had visited forests before, they included more varieties of plants and animals. The New Jersey children also named more species in their forests than the Nebraska children. However, their accuracy of those species was similar overall, in that they did not accurately name all appropriate forest species (lobsters and elephants were named as forest creatures). Finally, amongst the total children surveyed, most saw the forest as a positive place although 10% feared carnivores.28 Children’s knowledge is built on top of previous knowledge. As a child gets older, he or she gets wiser. But how might that wisdom effect their perceptions of the forest? A study published by the U.S. Forest Service looked at urban 5th graders in Chicago and their perceptions of the forest and fears of the forest. Students filled out a brief questionnaire about their previous experiences, perceptions, and expectations regarding forested environments. The purpose Erik Strommen,, 1995. Lions and tigers and bears, oh my! children’s conceptions of forests and their inhabitants. Journal of Research in Science Teaching 32 (7): 683-98.

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of the study was to better understand the needs of programming in forests (particularly urban forests) for urban children. They looked at the differences in responses between black and white children as well as females and males. In general, regardless of having visited a forest before or not, children perceived forests as potentially enjoyable places to experience. Fears listed included animals, assault, cars, gangs/people, fights and fires although it is also mentioned that those fears may come from their homes as well.29 Another study looking at a similar demographic focused on fears associated with wilderness areas. The study questions were directed at urban nature center interpreters. They were asked to recall and list fears expressed by urban students on field trips to wildland areas. Top fears included snakes, insects, getting lost, strangers, animals which did not inhabit these areas (like bears, lions, tigers and alligators), and general fear of being in the woods. They also discussed some possible influencers of these fears including television and movies.30

According to Yi-fu Tuan, in his book Landscapes of Fear, two general features of the natural environment may be likely to trigger a sense of danger in children. The first are animals, owing to their sudden movements and by virtue of their size and strange shape. The second is darkness.31 As he discusses alarm and anxieties amongst children, Tuan also mentions fairy tales and specifically mentions fears of the forest in the fairy tale. He talks about how children fear being lost and that many times in fairy tales children are lost in a strange environment. He writes â&#x20AC;&#x153;The forest also frightens by its vastness, its breadth and the size of its towering trees being beyond the scale of a childâ&#x20AC;&#x2122;s experience. It is haunted by dangerous beasts. It is the place of abandonment a dark, chaotic non-world in which one feels utterly lost.â&#x20AC;? Tuan goes on to write that although terrible things happen in fairy tales, for healthy children ages five and above, these stories thrill rather than terrify, partially due the affectionate environment in which the stories are told.32

Laura J. Metro, et al, 1981. Forest Experiences of Fifth-grade Chicago Public School Students. US Department of Agriculture Forest Service. Research Paper NC-216 (6 p.). 30 Robert D, Bixler, 1994. Observed fears and discomforts among urban students on field trips to wild land areas. Journal of Environmental Education 26 (1): 24-33.

Yi-fu Tuan, 1979. Landscapes of fear. New York: Pantheon Books: 15. 32 Tuan, Landscapes of fear: 20.

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Fig. 11. Arthur Rackham, Hansel and Gretel Illustration, 1909, https://leilaspecialistpractice.wordpress.com/2013/10/14/fairytales/

Whether perceptions thrill, frighten, or encourage, research indicates that children have an opinion on a forest before experiencing one. A study that gets to the root of where those opinions might come from is needed. Stommen speculated that the first grade subjects in his study may have obtained forest misconceptions from “the quasimythical status of forests portrayed in fairy tales, television cartoons, and so on.”33 A study specific to how forests are portrayed in Children’s literature has the potential to reveal some of these misconceptions. 33

Strommen, Lions and tigers and bears, oh my!: 695.

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ROLES AND PERCEPTIONS OF FOREST IN AMERICA How can designers use children’s literature to speculate on how a child today may anticipate and experience a forest? In order to answer this question, there needs to be a clear methodology for choosing the literature to be analyzed and how to categorize those stories. Three researchers of note have used particular systems in their respective studies using children’s literature. Thomas A. More has looked at lists of children’s

literature on two particular occasions. More observes that many children first come into contact with wildlife in children’s stories. In 1979, he wrote “Wildlife Preferences and Children’s Books.” In order to choose books, More surveys the title index of Children’s Books in Print (Xerox, 1972). He then limits the list to titles mentioning animal species. He eliminates titles that are not about wildlife--like a book about the Baltimore Orioles baseball team. He then assigns a corresponding age range and mean age to each title so he can see what animals are more likely to be seen in books at what ages. Finally, individual animals are grouped by scientific classification and all species are considered. Domestic versus wild animals was not included as a factor.34 With these specific parameters, he is able to determine that mammals and birds are most popular. More’s goal is to bring this type of study to wildlife professionals so that they may work with educators and information specialists to ensure children are developing accurate images of animals.35 In 1984, More continued this analysis, 34 Thomas A. More, 1979. “Wildlife Preferences and Children’s Books”. Wildlife Society Bulletin. 7 (4): 274-275. 35 More, “Wildlife Preferences and Children’s Books”: 278.

writing “An Analysis of Wildlife in Children’s Stories.” This article discusses how urban people encounter wildlife and specifically looks at those encounters through children’s animal stories. More first introduces three categories of basic encounters with wildlife and discusses each type in detail. These are, direct natural, direct artificial and vicarious experiences. Children’s stories fall under vicarious experiences, meaning the child never comes into contact with the animal but learns about it indirectly through another source. More considers these stories the most important source of contact with wildlife.36 He creates a list of titles to estimate importance of animal themes as a topic in children’s books. He then uses the title index of Children’s Books in Print (Xerox, 1972) to create a reading list and, from those titles, distinguishes three categories of children’s stories: ourselves in fur, animals as animals but talking, and animals as animals. Through all this More is emphasizing how attitudes, beliefs and values represented in children’s stories influence adult behavior.37 36 Thomas A. More, 1984. “An Analysis of Wildlife In Children’s Stories”. Children’s Environments Quarterly. 1 (3): 20. 37 More, “An Analysis of Wildlife In Children’s Stories”: 20-21.

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Rule and Atkinson’s study “Choosing Picture Books about Ecology” is intended to help educators and librarians choose books about the earth. Rule and Atkinson state that books about the earth should show children the beauty of nature, instill a caring attitude toward their planet and motivate them to problem solve in matters concerning it.38 Three professional reference sources are utilized to select titles using subject headings “ecology-fiction” and “pollution-fiction” to narrow book titles. Thirty children’s book titles were selected on account of subject matter, literary and artistic merit and sensitivity to children’s developmental needs. The books are categorized into four themes; endangered species, destruction of habitats, pollution and land use and over population. Books are evaluated on the presentation of environmental message and the quality of the text and illustrations. Each book is evaluated according to 10 traits using a rating scale; 5 is very good and 1 is very poor. An annotated bibliography accompanies the titles selected for review.39 This study 38 Audrey Rule, and Joan Atkinson. “Choosing picture books about ecology.” Reading Teacher 47, no. 7 (April 1994): 586. Academic Search Premier, EBSCOhost (accessed December 10, 2016). 39 Rule and Atkinson. “Choosing picture books about ecology”: 586-587.

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is a tool for teachers. They can choose books based the evaluations from the study. Even if the title scores low in some traits, it can be of value to a teacher depending on the focus of the lesson. A final study demonstrating how children’s literature is analyzed is Matvienko’s “Qualitative Analysis of Dietary Behaviors in Picture Book Fiction for 4 to 8-Year-Olds.” Here, the researcher made a book sample selection using several databases and choosing titles based on certain inclusion criteria: “a picture book, fiction or nonfiction, published between 2000 and 2016, published or accessible in the US, available in print format, and identified by the publisher as appropriate for children aged 4-8 years.” The sample size was reduced to include just fictional books about dietary behaviors.40 The researcher then coded the books using codes and sub codes according to a particular angle of the story, be it weight loss, picky eating, gardening, etc. These codes were analyzed by a statistical program and the researcher synthesized Oksana Matvienko, 2016. Qualitative analysis of dietary behaviors in picture book fiction for 4- to 8-year-olds. JNEB Journal of Nutrition Education and Behavior 48 (9): 603. 40

the results.41 To answer my question, a strategy for limiting the number of titles, like the ones aforementioned, will be needed to analyze forests in children’s stories. SIGNIFICANCE TO LANDSCAPE ARCHITECTURE This research contributes to the field of landscape architecture in two distinct ways. First, most of the existing research focused on forests is related to nature, wilderness or animals. For instance, Donna Varga looks at the transformation of human-animal relations through time by looking at children’s stories and toys. Varga notes the change in themes through time from conquering nature, to an anthropomorphic depiction of young animals, to the love of the teddy bear and general anti-hunting attitudes.42 The focus of her study and other studies concentrate on animals but many of the contexts of those tales include forests as an integral part of the storyline. The forest sets the tone of fear, escape or compassion. A study that is specifically focused on forests and their connections 41 Matvienko, “Qualitative analysis of dietary behaviors in picture book fiction”: 603-604. 42 Varga,”Babes in the Woods”: 194-202.

to children through the stories they read can further assist designers when considering forest-like settings for family focused landscapes. Second, from a methodological and design perspective, Landscape Architects do not typically consider the study of children’s literature as an appropriate tool for design. The opportunity for this type of analysis is the ability to connect the human directly to the natural or built environment through a vehicle already being practiced in everyday family life through the reading of stories. The act of reading as a family activity and its influences on behavior was revealed in “Qualitative Analysis of Dietary Behaviors in Picture Book Fiction for 4 to 8-Year-Olds.” This study was able to isolate what specific dietary behaviors were portrayed in picture books and correlate that data with ways they might help parents address those issues.43 In a similar fashion, landscape architects can use connections made between children’s literature and illustrations of particular landscapes to help design. Matvienko, “Qualitative analysis of dietary behaviors in picture book fiction”: 602,608.e1. 43

fairy tales to forest 25

Fig. 12. Ernest H. Shepard, 100 Acre Wood. From An Atlas of Fantasy by Jeremiah Benjamin Post, 1979.

Children’s Forests are interactive, tactile outdoor spaces intended to engage families. As a result, projects have the potential to address and deepen mythologized representations of the forest while creating an experience that builds on the sense of place revealed in children’s literature. For example, in Winnie the Pooh written in 1926 by A. A. Milne and illustrated by E. H. Shepard, the setting is an English wood. English woods had dwindled by 1926 leaving forest landscapes of sparse tree cover. Observe the map of the one hundred acre wood illustrated in the book. It represents that sparseness.44 A 44 A. A. Milne, Ernest H. Shepard, 1926. Winnie-the-pooh, New York: E.P. Dutton & Co.

26 Project and Research

child reading this story before visiting a “wood,” might expect that wood to be more open like this drawing. Depending on the age, the child might also expect to have great adventures in the wood and see many different types of creatures including a bear, tiger, pig, rabbit, owl, donkey and kangaroo. Other ages know that it is just a story of imagination and that those creatures would not inhabit the same type of place. However, the same child still might believe the composition of the forest. A study that looks at many of these stories and identifies the roles and tones influencing children’s perceptions of forests will be helpful in Children’s Forest design.

fairy tales to forest 27

FAIRY TALES TO FOREST: PROJECT DESCRIPTION OBJECTIVES As study after study emerges encouraging children and families to connect with the outdoors and engage in physical activity, the federal government has increasingly invested resources in Children’s Forests.45 The goals of these forests include community engagement, conservation education and appreciation for the outdoors. While I am supportive of all of these goals, my initial critique of this forest network concerns accessibility to these spaces as they are spread widely across the nation and mostly in the west. Additionally, I feel these goals are missing a key component, the experience. These landscapes are built to meet ecological goals but do not capitalize on the child’s imagination that could foster a profound interconnectedness to the forest. These forests are designed for specific programing. I want to design forests for specific environmental experiences. Elizabeth Meyer’s manifesto “Sustaining Beauty” advocates that landscape design needs to nurture the human 45 “USDA Forest Service Makes $1 Million Commitment to Get Kids Outdoors.” US Forest Service.March 02, 2012. Accessed October 13, 2016. http://www.fs.fed.us/news/releases/usda-forest-service-makes-1-million-commitment-get-kids-outdoors.

28 Project and Research

experience and the aesthetic experience as much as develop ecosystems.46 There are opportunities in the design and management of children’s forests to create beautiful moments much like those found in storybook forests. In his article, “Exploring Woodland Design,” Roland Gustavsson describes the structure of woodlands and how these rich environments can be designed to appeal to all of the senses. He briefly touches on a relatively new concept, the adventurous woodland, which emphasizes the importance of “designing woodlands that support children, their development, their creativity and their play.”47 Fairy Tales to Forest is an exploration of that very concept, focusing on the experience of forest set forth by storytelling. In landscape architecture, there are numerous methods to analyze a site or landscape type to inform design. Using literature as a mechanism for greater understanding and interpretation is an underutilized method of analysis when 46 Elizabeth K. Meyer, 2008. “Sustaining beauty. the performance of appearance.” Journal of Landscape Architecture 3 (1) (03/01): 6-23. 47 Gustavsson, Roland. “Exploring woodland design: designing with complexity and dynamics - woodland types, their dynamic architecture and establishment.” In The Dynamic Landscape, edited by Nigel Dunnett and James Hitchmough,184-213. London: Spon Press.

addressing cultural perspectives with the practice. Children’s stories, fables and fairy tales can inform the design of Children’s Forest in order to create an experiential learning environment that instills an appreciation of the value of these natural resources. METHODOLOGY AND RATIONALE Phase I of this project employed a qualitative content analysis of children’s literature that defined the role forests play in children’s literature. Key elements in this phase included selecting stories, analyzing text and illustrations, and categorizing the various depictions of forest in the children’s stories; guided by previous research in the area of children’s literature. This phase resulted in the delineation of 21 new children’s forest archetypes for design.

design for children. Key elements in this phase included defining children’s forest archetypes, visiting forests for design reference, and creating drawings and diagrams to highlight important forest design features. Just as the study of illustrations guided analysis; illustrations, along with axonometric drawings, diagrams and sections were drawn to create a tool kit of Children’s Forest Archetypes.

Phase II was the development of design for these new children’s forest archetypes, taking the form of this book, a tool kit. This tool kit has become a guide that designers can refer to when considering this type of environmental

fairy tales to forest 29

WORKS CITED “About the agency,” accessed December 13, 2016, http://www.fs.fed.us/about-agency. Baruch, Dorothy W. 1935. Trends in children’s literature today. The Elementary English Review 12 (7): 187-91. Bixler, Robert D. 1994. Observed fears and discomforts among urban students on field trips to wildland areas. Journal of Environmental Education 26 (1): 24-33. “Children’s Literature Comprehensive Database.” Accessed November 11, 2016. http:// www.clcd.com.proxy.lib.ohio-state.edu/#/advancedsearch “Conservation Timeline 1901-2000,” accessed December 13, 2016, https://www.nps.gov/ mabi/learn/historyculture/conservation-timeline-1901-2000.htm. “Creating a National Network of Children’s Forests.” United States Department of Agriculture Forest Service. Accessed August 27, 2016. http://www.fs.usda.gov/Internet/FSE_ DOCUMENTS/stelprdb5387242.pdf. Cronon, William. 1995. Uncommon ground: toward reinventing nature. New York: W.W. Norton & Co. Darby, Maribeth,Warren, Betsy,,. The land of whistlepunks & wild things: Our forests of yesterday and today. in Eakin Press [database online]. Austin, Tex., 1997. Di Palma, Vittoria. 2014. Wasteland: A History. New Haven: Yale University Press. “Forest Vs Woods - What’s the Difference?,” 2014, accessed December 13, 2016, http:// theydiffer.com/difference-between-forest-and-woods/. Glacken, Clarence J. 1967. Traces on the Rhodian Shore; Nature and Culture in Western Thought from Ancient Times to the End of the Eighteenth Century. Berkeley: University of California Press. Gustavsson, Roland. “Exploring woodland design: designing with complexity and dynamics - woodland types, their dynamic architecture and establishment.” In The Dynamic Landscape, edited by Nigel Dunnett and James Hitchmough,184-213. London: Spon Press. Harrison, Robert Pogue. 1992. Forests: The shadow of civilization. Chicago: University of Chicago Press. MacCleery, Douglas W. 1993. American forests: a history of resiliency and recovery. Durham, N.C.: U.S. Dept. of Agriculture, Forest Service in cooperation with Forest History Society. Matvienko, Oksana. 2016. Qualitative analysis of dietary behaviors in picture book fiction for 4- to 8-year-olds. JNEB Journal of Nutrition Education and Behavior 48 (9): 602,608.e1. McBride, J. R. 2007. The American Forest. Slide Collection and Notes. University of California, Berkeley. Metro, Laura J. et al. 1981. Forest Experiences of Fifth-grade Chicago Public School Students. US Department of Agriculture Forest Service. Research Paper NC-216 (6 p.).

30 Project and Research

Milne, A. A., Shepard,Ernest H.,. 1926. Winnie-the-pooh. [New York: E.P. Dutton & Co. Meyer, Elizabeth K. 2008. “Sustaining beauty. the performance of appearance.” Journal of Landscape Architecture 3 (1) (03/01): 6-23. More, Thomas A. 1984. “AN ANALYSIS OF WILDLIFE IN CHILDREN’S STORIES”.Children’s Environments Quarterly. 1 (3): 19-22. More, Thomas A. 1979. “Wildlife Preferences and Children’s Books”. Wildlife Society Bulletin. 7 (4): 274-278. “Multiple-use sustained- yield act of 1960.” N.p., 2017. Web. 27 Apr. 2017. https://www.fs.fed. us/emc/nfma/includes/musya60.pdf. Oelschlaeger, Max. 1991. The idea of wilderness: from prehistory to the age of ecology. New Haven: Yale University Press. “Our history,” accessed December 13, 2016, http://www.fs.fed.us/learn/our-history. Rule, Audrey, and Joan Atkinson. “Choosing picture books about ecology.” Reading Teacher 47, no. 7 (April 1994): 586. Academic Search Premier, EBSCOhost (accessed December 10, 2016). Strommen, Erik. 1995. Lions and tigers and bears, oh my! children’s conceptions of forests and their inhabitants. Journal of Research in Science Teaching 32 (7): 683-98. Tuan, Yi-fu. 1979. Landscapes of fear. New York: Pantheon BooksTuan, Yi-fu. 1979. Landscapes of fear. New York: Pantheon Books. “USDA Forest Service Makes $1 Million Commitment to Get Kids Outdoors.” US Forest Service. March 02, 2012. Accessed October 13, 2016. http://www.fs.fed.us/news/releases/usdaforest-service-makes-1-million-commitment-get-kids-outdoors. Varga, Donna. 2009. “Babes in the Woods: Wilderness Aesthetics in Children’s Stories and Toys, 1830-1915”. Society and Animals. 17 (3): 187-205. “What’s the Difference Between a Wood and a Forest?,” 2007, accessed December 13, 2016, http://kingsdownkent.blogspot.com/2011/01/whats-difference-between-woodand.html. Williams, J. Allen, Podeschi, Christopher, Palmer, Nathan, Schwadel, Philip,Meyler, Deanna,. 2012. The human-environment dialog in award-winning Children’s picture books*. SOIN Sociological Inquiry 82 (1): 145-59. Williams, Roger A. Phd, “What is a Forest” (OSU course ENR5340 Forest Ecosystem Management, Columbus, OH, August 30, 2016). Zee, Bibi Van Der. “England’s Forests: A Brief History of Trees.” The Guardian. July 26, 2013. Accessed October 10, 2016. https://www.theguardian.com/travel/2013/jul/27/history-ofenglands-forests.

fairy tales to forest 31

32 Designing Childrenâ&#x20AC;&#x2122;s Forests

designing childrenâ&#x20AC;&#x2122;s forests

Development of the Tool Kit

Tool Kit Layout

fairy tales to forest 33

E. H. Shepard, Winnie-The-Pooh Illustration, from the 2011 reproduction of the original book.

Childrenâ&#x20AC;&#x2122;s Perception of Forest Children grow up with different surrounding environments and form perceptions about forest through means like park visits, parental influence, television, games and books. Reading about the great adventures of Winnie the Pooh, gives the perception of a tranquil, friendly forest while Hansel and Gretel, where children are lost in the forest and nearly eaten by a witch, may raise anxieties about the forest.

34 Designing Childrenâ&#x20AC;&#x2122;s Forests

Arthur Rackham, Hansel and Gretel Illustration, 1909, https://leilaspecialistpractice.wordpress.com/2013/10/14/fairytales/

What is the perception of forest in childrenâ&#x20AC;&#x2122;s literature and how can I, as landscape architect, develop new childrenâ&#x20AC;&#x2122;s forest archetypes that can be employed in landscape design?

fairy tales to forest 35

Archetype Development Read → Analyze → Classify → Design Compiling the List of Children’s Books with Forests Represented

Analysis of Text and Illustrations

1527 AWARD AND HONOR WINNING BOOKS ONLY FICTION BOOKS ONLY

10,000 books

Book descriptions relevant to study

180

Availability in Columbus Public Libraries

130

The Children’s Literature Comprehensive Database

2,468,000 books

“FOREST” “WOODS”

AGES 0-10 YEARS

24,400 books

23,000 books

Books Available during Analysis Time Period

112 books

1 2

Qualitative Analysis of Children’s Literature My Children’s Forest Archetypes are informed using a qualitative content analysis. I began the analysis with the selection of children’s book titles (1). I read children’s stories and recorded observations in an excel spread sheet (2). I classified the information in a variety of ways (3) leading to a hybrid delineation of forest archetypes (4). As an example, follow the steps from excel spread sheet to archetype delineation for the happy open forest.

36 Designing Children’s Forests

Spatial Classification

Hybridization of Classifications Form Childrenâ&#x20AC;&#x2122;s Forest Archetypes

open

happy open forest

Character Classification

3 happy

fairy tales to forest 37

Archetype Development Illustration Analysis Key to the analysis of childrenâ&#x20AC;&#x2122;s books was the study of the illustrations. I kept a sketch book of drawings investigating the illustrations of each childrenâ&#x20AC;&#x2122;s book. I drew one black and white abstract spatial diagram and one colored pencil or pen drawing interpreting the tone and perspective of the illustrations.

38 Designing Childrenâ&#x20AC;&#x2122;s Forests

fairy tales to forest 39

Archetype Development Illustration Analysis

Classification: Spatial Qualities I sorted and grouped the black and white spatial diagrams according to tree density, positive and negative space, planting organization, and the trees relationships to other ecosystems and relationships to edges. I gave each category a title and a brief description. The categories ranged from the cleared forest absent of trees to the thick and dense impenetrable forest.

40 Designing Childrenâ&#x20AC;&#x2122;s Forests

Classification: Character Qualities I separated the character drawings from the spatial diagrams and looked specifically at tone, mood and personality. For example, I categorized drawings with soft edges and calm colors as tranquil forests. Drawings with jewel colors in addition to whimsical tree shapes were classified as enchanting while drawings featuring dark colors, narrow, confining shapes and ragged lines were classified as ominous.

fairy tales to forest 41

Archetype Development Hybridization of Classifications HYBRIDIZATION STRATEGY: Developing Children’s Forest Archetypes THE OPEN FOREST

THE EDGE FOREST

THE LAYERED FOREST

FOREST AS AN ECOSYSTEM

SPATIAL

THE SINGLE TREE FOREST

CHARACTER

THE NOCTURNAL FOREST

THE OMINOUS FOREST

THE UNINVITING FOREST

HYBRID ARCHETYPES: Archetypes with Books Hybridization of SpatialTesting and Character Classifications Through the classification process I began to recognize that the forest experience is defined by the spatial and character qualities of the landscape. NOCTURAL EDGE Lining up the spatial classifications across from the character classifications, I NOTURNAL LAYERED connected possible hybrid forest types. NOCTURNAL OPEN

I created a list of hybrid forest types and confirmed those hybrids against the 112 books I read and analyzed. How well did the books fit into the hybrid NOCTURNAL ECOSYSTEM classifications? I confirmed that all but 2 of the hybrid forest types, were OMINOUS EDGE supported by my analysis. OMINOUS LAYERED 42 Designing Children’s Forests

OMINOUS DENSE ORDERED

THE HAPPY FOREST

TH ORDER

S AN EM

PY T

THE DENSE ORDERED FOREST

THE IMPENETRABLE FOREST

THE ENCHANTING FOREST

THE CANOPY ENCLOSED FOREST

THE GUARDIAN FOREST

SEE THE SKY FOREST

THE TRANQUIL FOREST

Hybrid Forest Types to Forest Archetypes The inventory I created in this process shows that happy open forests were the most prevalent forest type in children’s literature. Also amongst the top types were ominous impenetrable forest, uninviting dense ordered forest, happy single tree forest and tranquil ecosystem forest. In fact, if a type was represented by three or more books, it became a new children’s forest archetype. Through the children’s story analysis, classification and hybridization process, I identified 7 forest themes including enchanting, ominous, guardian, happy, uninviting, tranquil and nocturnal forests. Within these themes, there are 21 new archetypes. fairy tales to forest 43

Tool Kit Layout Tool Kit Overview To share these new Children’s Forest Archetypes, I have created this book, which is a tool kit, intended to help you, the designer, shape these forests. The analysis, like the potential of the children’s forest itself, goes beyond just one specific design. The results of the research gives us 21 options for how a children’s forest could look and feel. I want you to be excited and creative about forming a children’s forest experience using your own design aesthetic guided by my descriptions of that experience. Here is a quick overview of the layout of the book. The first chapter of the book explains the research behind the tool. Chapter 2 directs the designer on how to use the tool. Chapters 3 – 9 highlight the seven forest themes and the archetypes featured within those themes. Each of these chapters begin with an overall look at the theme including a definition and list of ideal trees followed by pages describing the archetypes. All 21 archetypes are described in the tool kit. However, I wanted to highlight certain forest features prevalent in the research. I selected 5 archetypes to feature in detailed drawing sets; the intent to further expound on the magic of that particular children’s forest archetype. A final chapter, not shown here, concludes with a chart suggesting planting, construction and maintenance options for all of the archetypes. 44 Designing Children’s Forests

HOW TO USE THE CHILDREN’S FOREST TOOL Area Type - What acreage does the forest ideally need? Regional Forest 500 - 1500 acres

Neighborhood Forest 10 - 100 acres

Planting Type - How are trees planted? Park Forest 100 - 500 acres

Regional

Park

Neighborhood

Back Yard

Regional

Back Yard Forest 1/4 acre - 10 acres

Condensed Trees closely planted, random

Ecosystem Trees and herbaceous planting

Open Trees widely planted, grid or not

Random Grid Trees row planted, varied spacing

Grid Trees planted on a perfect grid

Edge Trees planted around an open space

Regional

Park

Neighborhood

Back Yard

FOREST ARCHETYPE ARCHETYPE

enchanting dense ordered forest

The Experience The enchanting dense ordered forest is the perfect place for the organized imagination. This planted forest begins as a grid or rows and continues to keep that character as it matures. The journey through this forest begins a little messy with over arching branches but gradually opens into a datum of tall, straight trunks to freely run through. The density of the collective canopy invite rays of light and a twinkling through the forest. In tandem with twinkling light, soft rustling and trickling sounds tease the ears.

Forest Features Graduated Threshold High Dappled Canopy Grid Planting Light Fall Color Mostly Open Ground Plane Moving Water Opportunities for Fog

The Bear and the Piano (2015) David Litchfield

Planting: Grid

Spatial Relationships

FOREST THEME Enchanting Closed Canopy

THEME Enchanting Dense Ordered

enchanting forests

Ideal Trees

Tall / high canopy, small leaves for light filtering, straight trunks, great fall color and/or beautiful spring blooms, possibility of floating particles (like pollen)

enchanting

Enchanting Open

en·chant·ing /in'CHan(t)iNG,en/ 1 character/ charming, captivating, whimsical, fascinating, bewitching, delightful, entrancing, winsome, alluring 2 colors/ soft, bright 3 light/ prismatic, filtering, streaming, foggy, misty 4 textures/ decorated, enameled, engraved, feathery, fleecy, lustrous, metallic, ornamented, patterned, pleated, silky, soft, translucent.

Where the Wild Things Are and The Bear and the Piano are examples of children’s stories with enchanted forest settings.

Enchanting Children’s Forest Archetypes Enchanting Dense Ordered Forest

Enchanting Forest Ecosystem

Enchanting Enclosed Canopy Forest

Sugar Maple Yellow Birch Paper Birch River Birch Eastern Redbud Flowering Dogwood American Beech European Beech Tulip Tree Eastern Cottonwood Quaking Aspen Littleleaf Linden American Wisteria Chinese Wisteria

Enchanting Forest Ecosystem

Enchanting Open Forest

Acer saccharum Betula alleghaniensis Betula papyrifera Betula nigra Cercis candensis Cornus florida Fagus grandifolia Fagus sylvatica Lioriodendron tulipifera Populus deltoides Populus tremuloides Tilia cordata Wisteria frutescens Wisteria sinensis

FOREST ARCHETYPE DETAILED DRAWING SET ARCHETYPE

enchanting enclosed canopy forest

ARCHETYPE

Archetype Detail

Spatial Relationships

enchanting enclosed canopy forest

Section Threshold Reveal

The Experience The enchanting enclosed canopy forest encompasses the feeling of escaping to another place and time. This forest begins compressed, reveals an alluring threshold, then opens up into a magical forested room where the imagination can run wild. A dappled canopy allows sparkling light to interact with the ground plane.

Forest Features Strong Threshold High Dappled Canopy Expressive Spring Colors and Textures Mostly Open Ground Plane Moving Water Area Type Neighborhood

Planting Random Grid Regional

Where the Wild Things Are (1963) Maurice Sendak

Park

Planting Distance 15-30’

Neighborhood

Back Yard

ARCHETYPE

enchanting enclosed canopy forest

ARCHETYPE

5’

10’

enchanting enclosed canopy forest

Section Inside the Forest

Light Filtering Canopy Acer saccharum

Canopy Height above forest floor 10-30’

Mature Tree Height 60-70’

Fagus grandifolia

Cornus florida

Straight Trunks

Planting Distance 10-25’

Mostly Open Ground Plane Natural Path

Mossy Fallen Log

5’

10’

fairy tales to forest 45

Tool Kit Drawing Types

Area Type Diagrams Area Type diagrams are found in the detail drawing sets indicating the ideal size for a forest archetype. While any archetype could be achieved in any amount of space, habitat requirements or even the intensity of the experience can be influenced by how much space the forest occupies.

Regional Forest 500 - 1500 acres

Park Forest 100 - 500 acres Regional

Regional

Park

Neighborhood

Back Yard

Neighborhood Forest 10 - 100 acres

46 Designing Childrenâ&#x20AC;&#x2122;s Forests

Back Yard Forest 1/4 acre - 10 acres Regional

Regional

Park

Neighborhood

Back Yard

Planting Diagrams Each archetype is accompanied by a planting diagram. To achieve the desired experience, the planting plan might include a grid, be very condensed or include other habitat materials.

Condensed Trees closely planted

Ecosystem Trees and herbaceous planting

Open Trees widely planted

Random Grid Trees row planted, varied spacing

Grid Trees planted on a grid

Edge Trees planted around an open space

fairy tales to forest 47

Tool Kit Drawing Types

The Forest Experience Description Each archetype is described by its experience. This description is accompanied by one example of a childrenâ&#x20AC;&#x2122;s book illustration that influenced that particular experience. Also included is a list of forest features. While additional features and infrastructures may also be added to enhance the forest experience, these features are mostly forest specific.

The Experience The happy open forest allows plenty of room for playing games, picnics, and meandering walks. Trees are spaced far enough apart that canopies grow full and spread out. It is easy to choose whether you want to bathe in the sun or nap under the shade. For play time or daydreaming, the happy open forest floor is soft and inviting. Forest Features Widely Spaced Trees Open Threshold Full Canopies with fun shaped leaves Bright Fall Color Mostly Open Ground Plane Welcome Home, Bear: A Book of Animal Habitats (2015) Il Sung Na

48 Designing Childrenâ&#x20AC;&#x2122;s Forests

Spatial Relationships Axonometric Drawing Each archetype is also accompanied by an axonometric drawing representing a plot of land 500 feet by 500 feet. Here spatial characteristics of the archetype is highlighted.

0â&#x20AC;&#x2122;

5.7 acre patch

fairy tales to forest 49

Experiencing the Forest Sections A Childrenâ&#x20AC;&#x2122;s Forest Archetype Detail showcases three additional drawings. Two are sections; one revealing the forest threshold and the other detailing the experience of moving inside the forest. Section Threshold Reveal

Section Inside the Forest

50 Designing Childrenâ&#x20AC;&#x2122;s Forests

Textural Experience Illustration The third and final drawing is a watercolor and graphite illustration that highlights the textural quality of the forest. This illustration, like those in children’s stories, captures a single moment in time in a close up perspective.

How to Use This Tool Kit 1. Explore Archetype Descriptions 2. Choose an Archetype 3. Note Forest Features and Specifications 4. Consult Planting and Maintenance Chart (chapter 10) 5. Design a Children’s Forest 6. Construct Children’s Forest fairy tales to forest 51

52 Development of the Tool

enchanting forests enchanting

Where the Wild Things Are and The Bear and the Piano are examples of children’s stories with enchanted forest settings.

Enchanting Children’s Forest Archetypes Enchanting Dense Ordered Forest

Enchanting Open Forest

Enchanting Forest Ecosystem

Enchanting Enclosed Canopy Forest

fairy tales to forest 53

Enchanting Closed Canopy

Enchanting Dense Ordered

Enchanting Open

Enchanting Forest Ecosystem

54 Development of the Tool

THEME

enchanting forests

Ideal Trees

Tall / high canopy, small leaves for light filtering, straight trunks, great fall color and/or beautiful spring blooms, possibility of floating particles (like pollen)

fairy tales to forest 55

The Bear and the Piano (2015) David Litchfield

56 Enchanting Forests

ARCHETYPE

enchanting dense ordered forest

Forest Features Graduated Threshold High Dappled Canopy Light Fall Color Mostly Open Ground Plane Moving Water Opportunities for Fog Planting: Grid

Spatial Relationships

fairy tales to forest 57

Why Mosquitoes Buzz in Peopleâ&#x20AC;&#x2122;s Ears (1975) Retold by Verna Aardema Illustrated by Leo and Diane Dillon

58 Enchanting Forests

ARCHETYPE

enchanting open forest

The Experience The enchanting open forest invites open play and imagination. When sunny, much light shines through between the canopies. With this openness multiple paths can be ventured and new stories can be explored each time it is visited. In addition, the nocturnal experience is elevated as the moon and stars can be seen peaking around tree tops. There is a sense of safety in imagination allowing for free roaming without the fear of getting lost. This sense of safety is enhanced with a border that lets you know youâ&#x20AC;&#x2122;ve reached an edge of this known forest. As with all enchanting forests, dappling light and bubbling sounds of water engage the senses of sight and sound.

Forest Features Strong Border High Dappled Canopy Mostly Open Ground Plane Moving Water Planting: Open

Spatial Relationships

fairy tales to forest 59

Mr. Rabbit and the Lovely Present (1962) Charlotte Zolotow Illustrated by Maurice Sendak

60 Enchanting Forests

ARCHETYPE

enchanting forest ecosystem

The Experience The enchanting forest ecosystem is a charming, dynamic forest full of small surprises. Habitat for creatures, birds, and insects, this becomes a place of discovery. Fallen logs, moss, fungus, ferns, wildflowers, and water features contribute to complete cycle of forest life.

Forest Features Multiple Herbaceous Layers Habitat Light Fall Color Dynamic Ground Plane Moving Water or Riparian Edge

Planting: Under Story

Spatial Relationships

fairy tales to forest 61

Where the Wild Things Are (1963) Maurice Sendak

62 Enchanting Forests

ARCHETYPE DETAIL

enchanting enclosed canopy forest

Forest Features Strong Threshold High Dappled Canopy Expressive Spring Colors and Textures Mostly Open Ground Plane Moving Water

fairy tales to forest 63

Spatial Relationships

0’

5.7 acre patch

Area Type Neighborhood

Planting Random Grid

Regional

Park

Neighborhood

Back Yard

64 Enchanting Forests

ARCHETYPE

enchanting enclosed canopy forest

Section Threshold Reveal

Planting Distance 15-30’

5’

10’

Section Inside the Forest

Light Filtering Canopy

Canopy Height above forest floor 10-30’

Mature Tree Height 60-70’

Fagus grandifolia

66 Enchanting Forests

Planting Distance 10-25’

Natural Path

ARCHETYPE

enchanting enclosed canopy forest

Acer saccharum

Cornus florida

Straight Trunks

Mostly Open Ground Plane Mossy Fallen Log

5â&#x20AC;&#x2122;

10â&#x20AC;&#x2122;

fairy tales to forest 67

68 Enchanting Forests

ARCHETYPE

enchanting enclosed canopy forest

70 Development of the Tool

ominous forests ominous om·i·nous /'äm

n s/ 1 character/ threatening, forbidding, unpromising, menacing, sinister, dangerous, haunting, fearful, perilous, grim 2 colors/ dark, opaque, chiaroscuro 3 light/ dense, dark, shadowed 4 textures/ abrasive, bristly, barbed, course, jagged, jarring, knobbed, prickly,ragged, rough, sharp edged, snarling, sharp, thorny e e

An ominous forest awaits the young characters in the children’s stories Hansel and Gretel and The Bramble.

Ominous Children’s Forest Archetypes Ominous Dense Ordered Forest

Ominous Impenetrable Forest

fairy tales to forest 71

Ominous Impenetrable

Ominous Dense Ordered

72 Development of the Tool

THEME

ominous forests

Ideal Trees

Crooked or arching trunks, low outreaching branches, vines, thorny underbrush, allows for dark or stark/ dramatic light

Alnus regosa Carya ovata Catalpa speciosa Celtis occidentalis Chaenomeles speciosa Corylus avellana ‘Contorta’ Crataegus crus-gali * Fagus sylvatica ‘Pendula’ Gleditsia triacanthos* Ilex verticillata Lindera benzoin Lonicera fragrantissima Lonicera maackii Maclura pomifera Malus Phellodendron amurense PInus longaeva Pinus strobus Platanus occidentalis Quercus alba Quercus prinus Rhus typhina Vitis

Speckled Alder Shagbark Hickory Northern Catalpa Common Hackberry Common Flowering Quince European Filbert Cockspur Hawthorn Weeping European Beech Honeylocust Common Winterberry Spicebush Winter Honeysuckle Amur Honeysuckle Osage-Orange Crabapple Amur Corktree Ancient Pine Eastern White Pine American Sycamore White Oak Chestnut Oak Staghorn Sumac Grape Vine

*Has large thorns fairy tales to forest 73

Into the Forest (2004) Anthony Brown

74 Ominous Forests

ARCHETYPE

ominous dense ordered forest

The Experience The ominous dense ordered forest invites the brave and adventurous out to play. The edge of the forest starts out benign but slowly graduates into a thick datum of trees with outreaching branches. A fantastic space to play hide and seek or hide and spook your friends, this condensed maze of trees continually makes you wonder what is around the corner.

Forest Features Graduated Threshold High Thick Canopy Straight Trunks with Outreaching Branches Scruffy, crunchy Ground Plane Opportunities for Fog

Planting: Grid

Spatial Relationships

fairy tales to forest 75

Hansel and Gretel (original 1785 - 1863) Grimm Brothers Illustrated by Paul Galdone (1982)

76 Ominous Forests

ARCHETYPE DETAIL

ominous impenetrable forest

The Experience The ominous impenetrable forest offers a spooky arduous challenge for the courageous adventure seeker. With no clear path and intertwining branches, one must make their own way through this forest of brambles, always wondering what is around the corner. Will you flush out a slumbering creature? Will you get stuck and have to find another way out? Will you have to climb up above to see the way? Are you brave enough to enter dark curious spaces? Will you discover anyone else along the way? Enter if you dare.

Forest Features Strong Threshold Low Intertwining Canopy Climbing Opportunities Rough Ground Plane Dark structures

fairy tales to forest 77

Spatial Relationships

0’

5.7 acre patch

Area Type Back Yard

Planting Condensed Regional

Park

Neighborhood

Back Yard

78 Ominous Forests

ARCHETYPE

ominous impenetrable forest

Section Threshold Edge

Tree Planting Distance 20-30’

5’

10’

Section Inside the Forest

Canopy Height above forest floor 0 - 10’

Mature Tree Height 40-70’

Pinus dead grove

Planting Distance 5 - 15’

Natural Path

80 Ominous Forests

ARCHETYPE

ominous impenetrable forest

Catalpa speciosa

Dense Canopy Crooked Branching

Lonicera maackii

Rough Condensed Ground Plane

5’

10’

fairy tales to forest 81

82 Ominous Forests

ARCHETYPE

ominous impenetrable forest

84 Development of the Tool

guardian forests guardian guard·i·an /'gärdē

n/ 1 character/ sentinel, familiar, homey, comforting protective, motherly, fatherly, overseer, sheltering, watchful, kind 2 colors/ warm, soft 3 light/ even, incandescent 4 textures/ firm, ridged, solid, woolly, soft, padded e

The trees in guardian forests look protective and strong in stories like Redwoods and Owl Babies.

Guardian Children’s Forest Archetypes Guardian Impenetrable Forest

Guardian Layered Forest

fairy tales to forest 85

Guardian Layered

Guardian Impenetrable

86 Development of the Tool

THEME

guardian forests

Ideal Trees

Tall / full canopy, outward branching, single, distinguished trunk, warm fall colors, popular for habitat

Abies grandis Calocendrus decurrens Cedrus deodara Fagus grandifolia Fagus sylvatica Picea abies Platanus occidentalis Populus deltoides Pseudotsuga menziesii Sequoiadendron giganteum

Grand Fir California Incensecedar Deodar Cedar American Beech European Beech Norway Spruce American Sycamore Eastern Cottonwood Douglas Fir Giant Redwood

fairy tales to forest 87

The Shamanâ&#x20AC;&#x2122;s Apprentice (1998) Lyne Cherry and Mark J. Plotkin Illustrated by Lynne Cherry

88 Guardian Forests

ARCHETYPE

guardian impenetrable forest

The Experience The guardian impenetrable forest is thick with vegetation providing food, herbs and shelter amongst the thickness. Trees are large and protecting while surrounding vegetation provides quiet and softness. Although you might get lost exploring, you feel safe and confident youâ&#x20AC;&#x2122;ll find your way back out.

Forest Features Graduated Threshold Layered Canopy Thick Straight Trunks Soft Underbrush and Ground Plane

Planting: Condensed

Spatial Relationships

fairy tales to forest 89

Owl Babies (1992) Martin Waddell Illustrated by Patrick Benson

90 Guardian Forests

ARCHETYPE

guardian layered forest

The Experience The guardian layered forest is the quiet home for many with tiers of height for exploration and play. The trees are large and sentinel watching high above as well as down below. This is an ideal place to play hide-and-go-seek, have a scavenger hunt, or simply take a long walk.

Forest Features Open Threshold High Canopy Older, Larger Trees Dominate Rolling Ground Plane Engaging Nocturnal Opportunities

Planting: Random Grid

Spatial Relationships

fairy tales to forest 91

92 Development of the Tool

tranquil forests tranquil tranÂˇquil /'traNGkw

l/ 1 character/ quiet, peaceful, serene, restful, soothing, undisturbed 2 colors/ soft, often cool, muted 3 light/ translucent 4 textures/ smooth, velvety, wavy, even, fine e

When We Go Camping and Under and Over the Snow are beautiful examples of tranquil forests.

Tranquil Childrenâ&#x20AC;&#x2122;s Forest Archetypes Tranquil Forest Ecosystem

Tranquil Single Tree Forest

Tranquil Edge Forest

100

fairy tales to forest 93

Tranquil Forest Ecosystem

Tranquil Edge Forest

Tranquil Single Tree Forest

94 Development of the Tool

THEME

tranquil forests

Ideal Trees

Delicate textures, soft light filtering canopy, welcoming branching

Cercididphyllum japonicum Cercis canadensis Gleditsia tricanthos var. inermis Juniperus virginiana Metasequoia glyptostroboides Quercus alba Quercus robur Sassafras albidum Taxodium distichum Tsuga canadensis Ulmus parvifolia Salix babylonica

Katsuratree Eastern Redbud Thornless Honeylocust Eastern Red Cedar Dawn Redwood White Oak English Oak Sassafras Bald Cypress Eastern Hemlock Laceback Elm Weeping Willow

fairy tales to forest 95

When We Go Camping (2001) Margriet Ruurs Illustrated by Andrew Kiss

96 Tranquil Forests

ARCHETYPE

tranquil forest ecosystem forest

The Experience The tranquil forest ecosystem is an ideal place to camp and recreate in the wilderness. Waterfowl, animals and aquatic creatures enjoy the forest lake. Trees, shrubs, and fallen logs create unique and vital habitats. Be on the lookout for footprints. Listen to the frogs and birds. Experience a pathway that is far enough away to allow systems to operate flawlessly but also allows you to see and discover.

Forest Features Varied Canopies and Densities Soothing Green Colors Dynamic Ground Plane Forest Lake or Pond

Planting: Random Grid

Spatial Relationships

fairy tales to forest 97

The Tree (2002) Dana Lyons Illustrated by David Danioth

98 Tranquil Forests

ARCHETYPE

tranquil edge forest

The Experience The tranquil edge forest is a friendly reminder that beyond our busy lives is some calm and escape. This forest greets us with soft light, cool temperatures and quiet pathways. Feel free to wander along the edge, walk through the center or find a quiet spot to sit and contemplate.

Forest Features Clear Edge Threshold High Dappled Canopy Muted Fall Color Soft Ground Plane

Planting: Edge

Spatial Relationships

fairy tales to forest 99

Winnie the Pooh (1926) A.A. Milne Illustrated by E. H. Shepard

100 Tranquil Forests

ARCHETYPE DETAIL

tranquil single tree forest

The Experience The tranquil single tree forest invites story telling one tree at a time. This forest is planted with key speciman trees with interesting pathways in between. The pathway is different for each scene allowing for multiple interpretations as it is experienced. Arriving to a particular tree also invites a new story to unfold, but that story is up to the visitor as they make their way through this quirky but quiet landscape.

Forest Features Clear Threshold Soft Pathways Mostly Open Ground Plane Quiet Water

fairy tales to forest 101

Spatial Relationships

0’

5.7 acre patch

Area Type Park

Planting Open Grid Regional

Park

Neighborhood

Back Yard

102 Tranquil Forests

ARCHETYPE

tranquil single tree forest

Section Threshold Reveal

Path Leads to Feature Trees

5’

10’

Section Inside the Forest

Quercus alba

Canopy Height above forest floor 8-15’

Mature Tree Height 25-70’

Single Specimen Trees Throughout

104 Tranquil Forests

Planting Distance widespread - 80 feet or more

ARCHETYPE

tranquil single tree forest

Salix babylonica

Canopies Fun to Play Under

5’

10’

fairy tales to forest 105

106 Tranquil Forests

ARCHETYPE

tranquil single tree forest

108 Development of the Tool

uninviting forests uninviting

un·in·vit·ing / nin'vīdiNG/ 1 character/ questionable, unpredictable, vague, unsettled, unforeseeable, chancy, uncertain, mysterious, shady, suspicious 2 colors/ mid tones, purples, grays 3 light/ opaque or dappled, shadowed 4 textures/ angular, blemished, dusty, uneven, hatched, ill-defined, matte, knobbed, ragged, stubbly, serrated, shaggy e

Characters in classic fairy tales like Little Red Riding Hood and Snow White experience both danger and safety in uninviting forests.

Uninviting Children’s Forest Archetypes Uninviting Layered Forest

112

Uninviting Cleared Forest Uninviting Dense Ordered Forest

114 116

fairy tales to forest 109

Uninviting Layered Forest

Uninviting Dense Ordered Forest

110 Development of the Tool

THEME

uninviting forests

Ideal Trees

An uninviting forest consists of a combination of straight high branched trees and crooked branching trees, dull or gray in color most of the time but can have a distinguishing beautiful feature seasonally.

Araucaria araucana Carpinus betulus Elaeagnus angustifolia Hamamelis japonica Heptacodium miconiodes Kalmia latifolia Phellodendron amurense Pinus Enchinata

Monkey Puzzle European Hornbeam Russian-Olive Japanese Witchhazel Seven-Son Flower Mountain Laurel Amur Corktree ShortleafPine

fairy tales to forest 111

Snow White (1991) Retold by Josephine Pool Illustrated by Angela Barrett

112 Uninviting Forests

ARCHETYPE

uninviting layered forest

The Experience The uninviting layered forest is mysterious because you are uncertain what lies beyond the next hill or tuft of vegetation. The tree canopy allows for shadows that can be both intriguing and off-putting. The journey through this forest begins open and inviting. The forest rolls along the terrain, becoming denser with trees and other vegetation. Creatures enjoy this quiet environment and make peculiar noises moving just in the distance.

Forest Features Inviting Threshold Shadow casting Canopy Light Fall Color Vegetated Ground Plane Moving Water

Planting: Random Grid

Spatial Relationships

fairy tales to forest 113

The Lorax (1971) Dr. Seuss

114 Uninviting Forests

ARCHETYPE

uninviting cleared forest

The Experience The uninviting cleared forest is a forest that has recently been cut down. This forest is a found forest that is reinventing itself so you are uncertain if it wants you there or not. Run through the maze of stumps but be careful they donâ&#x20AC;&#x2122;t trip you. Find new growth and measure yourself against the saplings. Count the leaves and branches and give the new grove a name. Each time you visit, brave a new portion and continue the story. Allow this forest to grow with you and continue to learn from its life cycle.

Forest Features Stumps Saplings Protective Boundary

Planting: Grid

Spatial Relationships

fairy tales to forest 115

Little Red Riding Hood (1983) Retold and ill: Trina Schart Hyman Caldecott Honor Book

116 Uninviting Forests

ARCHETYPE DETAIL

uninviting dense ordered forest

The Experience The uninviting dense ordered forest feels friendly and daunting at the same time. The threshold provokes a question of comfort while the organized trees beyond seem benign. In the grid pattern of the trees there is not a defined path but it is easy to walk a straight line. Finally, light distribution through the grid allows for moving shadows as the sun crosses the sky. The middle becomes more dense and ominous while the edges welcome more filtering light.

Forest Features Strong Threshold Dappled Canopy Straight Tree Trunks in Grid Pattern Low Growing to Open Ground Plane

fairy tales to forest 117

Spatial Relationships

0’

5.7 acre patch

Area Type Park

Planting Grid Regional

Park

Neighborhood

Back Yard

118 Uninviting Forests

ARCHETYPE

uninviting dense ordered forest

Section Threshold Reveal

5’

10’

Section Inside the Forest Monoculture Canopy Creates Shadows

Canopy Height above forest floor 10-30’

Mature Tree Height 50-60’

Pinus echinata

Even Planting Distance 6’

Straight Trunks

120 Uninviting Forests

ARCHETYPE

uninviting dense ordered forest

Mostly Open Ground Plane

5â&#x20AC;&#x2122;

10â&#x20AC;&#x2122;

fairy tales to forest 121

122 Uninviting Forests

ARCHETYPE

uninviting dense ordered forest

124 Development of the Tool

nocturnal forests nocturnal noc·tur·nal /näk't

rnl/ 1 character/ activated at night, night loving, bed-time, dreaming 2 colors/ dark, mid tones, bright colors against dark 3 light/ dim, diffused 4 textures/ embossed, muted, slight, understated, fine e

Big Night for Salamanders is about a unique natural phenomenon that only occurs in a nocturnal forest, the vernal pool.

Nocturnal Children’s Forest Archetypes Nocturnal Layered Forest

128

Nocturnal Forest Ecosystem

130

fairy tales to forest 125

Nocturnal Layered

Nocturnal Ecosystem

THEME

nocturnal forests

Ideal Trees

Any forest has the potential to be an intriguing nocturnal forest. No specific tree is needed to create a nocturnal experience. The exception is the vernal pool forest whose seasonal nocturnal activities require trees that tolerate wet feet like those listed below.

Acer saccharinum Carya laciniosa Fraxinus nigra Fraxinus pennsylvanica Fraxinus profunda Populus heterophylla Quercus bicolor Quercus palustris

Silver Maple Shellbark hickory Black Ash Green Ash Pumpkin Ash Swamp cottonwood Swamp White Oak Pin Oak

fairy tales to forest 127

Last Night (2008) Hyewon Yum

128 Nocturnal Forests

ARCHETYPE

nocturnal layered forest

The Experience The nocturnal layered forest is where dreams and imagination come to life between the layers of trees, land, and vegetation. This rolling landscape allows for both a high point advantage as well as a low point hiding place. What night time surprises might be around the next corner? What is happening where the twinkling lights signal? This forest is most active in the evening.

Forest Features Lighted Threshold Several Defined Pathways Protective Boundary Changing Scenery Along Terrain

Planting: Random Grid

Spatial Relationships

fairy tales to forest 129

Big Night for Salamanders (2010) Sarah Marwil Lamstein Illustrated by Carol Benioff

130 Nocturnal Forests

ARCHETYPE

nocturnal forest ecosystem

The Experience The nocturnal forest ecosystem is full of activity when the sun goes down. Featuring unique ecosystems like the vernal pool, these forests are homes to animals that cannot survive anywhere else. Often seasonal, creatures like the salamander come out on an early spring night to lay their eggs. Frogs and insects sing, lightning bugs put on a display and bats and owls go out to feast.

Forest Features Vernal Pool Snags (Standing deadwood) Leaf Blanketed Ground Cover Defined Pathways

Planting: Ecosystem

Spatial Relationships

fairy tales to forest 131

132 Development of the Tool

happy forests happy

hap·py /'hapē/ 1 character/ cheerful, joyful, carefree, light hearted, contented, radiant, lively, playful, peaceful, upbeat, pleasant 2 colors/ energetic, bright, clear. light: iridescent, lustrous, gleaming, sunny 3 textures/ bubbly, decorated, enameled, fresh, glossy, metallic, mosaic, neat, patterned, sleek

Welcome Home, Bear and What a Forest Knows are two examples of children’s books that depict happy forests.

Happy Children’s Forest Archetypes Happy Single Tree Forest

136

138

Happy Forest Ecosystem

Happy Edge Forest

140

Happy Enclosed Canopy Forest

142

144

Happy Open Forest

fairy tales to forest 133

Happy Forest Ecosytem

Happy Enclosed Canopy Forest

Happy Edge Forest

THEME

happy forests

Ideal Trees

Combination of rounded and quirky shaped canopies, fun shaped leaves, light filtering, bright colors.

Acer rubrum Acer saccharum Aesculus glabra Aesculus pavia Buddleia Buxus Cavidia involcrata Cedrus deodara Cercididphyllum japonicum Cercis candensis Cornus florida Cornus kousa Ginko biloba Koelreuteria paniculata Liriodendron tulipifera Magnolia virginiana Pinus ponderosa Pseudotsuga menziesii Querqus Rubra Zelkova serrata

Red Maple Sugar Maple Ohio Buckeye Red Buckeye Butterflybush Boxwood Dove Tree Deodar Cedar Katsuratree Eastern Redbud Flowering Dogwood Kousa dogwood Ginkgo Golden Raintree Tulip Tree Sweet Bay Magnolio Western Yellow Pine Douglas Fir Red Oak Japanese Zelkova

fairy tales to forest 135

The Old Tree (2007) Ruth Brown

136 Happy Forests

ARCHETYPE

happy single tree forest

The Experience The happy single tree forest is unique because it is made up of many trees that lead you to a pinnacle tree inside. This tree is magnificent in its stature and requires the most exciting story from you the storyteller. How did it get there? why is it bigger than all the rest? Do creatures live in this tree? While center tree gets much attention, the story about the journey to center tree can be just as exciting. Explore a path surrounded by colorful, fun shaped trees, meadows or grasslands.

Forest Features One Large â&#x20AC;&#x153;Center Treeâ&#x20AC;? Multiple Thresholds Multiple Lined Paths Varied vegetation leading to Center Tree

Planting: Open

Spatial Relationships

fairy tales to forest 137

Over in the Jungle (2007) Marianne Berkes Illustrated by Jeanette Canyon

138 Development of the Tool

ARCHETYPE

happy forest ecosystem

The Experience The happy forest ecosystem features bright colors, loud melodious bird and animal calls, and sweet smells. Enticing all the senses, this playful forest hosts homes for all kinds of animals, birds and insects.

Forest Features Open Threshold Layered Canopy Fragrant Plantings Bright Fall Color Herbaceous Ground Plane Water

Planting: Ecosystem

Spatial Relationships

fairy tales to forest 139

Deer Dancer (2014) Mary Lyn Ray Illustrated by Lauren Stringer

140 Happy Forests

ARCHETYPE

happy edge forest

The Experience The happy edge forest is bright colored and welcoming no matter what it borders. It is a safe and joyful border or an escape depending on how you want to use it. A variety of fun tree shapes and playful colors endorse this joyful getaway.

Forest Features Solid Tree Edge Dappled Canopy Bright Fall Color Mostly Open Ground Plane

Planting: Edge

Spatial Relationships

fairy tales to forest 141

A Tree is Nice (1956) Janice May Udry Illustrated by Marc Simont

142 Happy Forests

ARCHETYPE

happy enclosed canopy forest

The Experience The happy enclosed canopy forest is quite magical with its overarching branches making dappled light on the forest floor. Trees with bright seasonal colors are inviting and playful. Song birds are attracted to nest here filling the forest with their cheerful songs. The soft rustling of leaves in the canopy harmonize in the background.

Forest Features Graduated Threshold High Dappled Canopy Light Fall Color Mostly Open Ground Plane

Planting: Random Grid

Spatial Relationships

fairy tales to forest 143

Welcome Home, Bear: A Book of Animal Habitats (2015) Il Sung Na

144 Happy Forests

ARCHETYPE DETAIL

happy open forest

Forest Features Widely Spaced Trees Open Threshold Full Canopies with fun shaped leaves Bright Fall Color Mostly Open Ground Plane

fairy tales to forest 145

Spatial Relationships

0’

5.7 acre patch

Area Type Park

Planting Open Grid Regional

Park

Neighborhood

Back Yard

146 Happy Forests

ARCHETYPE

happy open forest

Section Threshold Reveal

5’

10’

Mature Tree Height 50-70â&#x20AC;&#x2122;

Section Inside the Forest

148 Happy Forests

Quercus Rubra

ARCHETYPE

happy open forest

Liquidambar styraciflua

Sheltering Canopy

Planting Distance 30-45’

Mostly Open Ground Plane

5’

10’

fairy tales to forest 149

150 Happy Forests

ARCHETYPE

happy open forest

building a children’s forests Children’s forests can be achieved in two ways. If you have a site that is a clean slate, a forest can be designed and planted in a more traditional sequence. If you have a forest site already, or what I like to call a found forest, the design strategy is then focused on how to modify the forest to get the archetype you want. As time goes on, specific cleaning, pruning and planting management strategies will be key in keeping the character of the forest archetype. Refer to my chart on pages 154-155 for suggestions concerning building and maintaining your chosen Children’s Forest Archetype. While this tool kit focuses on woody species and the wooded experience, you are welcome to add additional infrastructure or plantings as you see fit to achieve the desired forest archetype experience. For example; bridges, shelter structures, outdoor art, seating and naturalized play equipment are also applicable features for the children’s forest experience if budget and desire allows.

Construction and Maintenance

154

Choose a Children’s Forest and Design

156

fairy tales to forest 153

BuildingaaChildren’s Children’sForest ForestPlanting, Planting, Construction, Construction, Maintenance Maintenance Building

Enchanting Dense Ordered Forest Enchanting Open Forest Enchanting Forest Ecosystem Enchanting Enclosed Canopy Forest Ominous Impenetrable Forest Ominous Dense Ordered Forest Guardian Impenetrable Forest Guardian Layered Forest Tranquil Forest Ecosystem Tranquil Edge Forest Tranquil Single Tree Forest Uninviting Layered Forest Uninviting Cleared Forest Uninviting Dense Ordered Forest Nocturnal Layered Forest Nocturnal Forest Ecosystem Happy Single Tree Forest Happy Forest Ecosystem Happy Edge Happy Enclosed Canopy Forest Happy Open Forest 154 Building a Children’s Forest

Incorporate/ make water feature

Define path(s)

Plant for spring interest

Plant for autumn interest

Plant contrasting edge / threshold

Plant herbaceous species

Plant monoculture

Plant multiple species

Plant minimally

Plant condensed

Plant in rows

Plant in grid

FOREST PLANTING STRATEGY

Clear ground plane of debri

Thin canopy

Clear dead trees, Replant

Thin trees

Maintain paths

Clear brush

Limb up branches

Define unique forest features

Define clear threshold

Clear/ build path(s)

Highlight Water

Clear unwanted species

Plant new species

Limb up branches

Replant

FOUND FOREST MODIFICATIONS MAINTENANCE

Forest border

Archway Entrance

Unique pathways

HIstory of past

Vernal Pool

Specimen Tree(s)

fairy tales to forest 155

Enchanting Dense Ordered Forest

Enchanting Open Forest

Enchanting Forest Ecosystem

Happy Single Tree Forest

Happy Forest Ecosystem

Happy Edge Forest

Uninviting Layered Forest

Uninviting Cleared Forest

Uninviting Dense Ordered Forest

Choose a Children’s Forest and Design How we interact with our environment is influenced by our encounters with nature at an early age. This tool book rekindles the spirit of the children’s story and facilitates design toward a greater connection to nature and our surrounding environments. Through children’s literature I have rediscovered the magic and beauty of designing for the human experience within a place. My children’s forest tool kit empowers and inspires us as designers to create experiential landscapes that have a lasting impact on how we interact with our surroundings. Children’s forests have the capacity to encourage activity, discover and appreciate nature, nurture health, free the mind and unleash the imagination. 156 Building a Children’s Forest

Enchanting Enclosed Canopy Forest

Tranquil Edge Forest

Tranquil Forest Ecosystem

Happy Enclosed Canopy Forest

Happy Open Forest

Tranquil Single Tree Forest

Ominous Dense Ordered Forest

Ominous Impenetrable Forest

Guardian Layered Forest

Nocturnal Layered Forest

Nocturnal Forest Ecosystem

Guardian Impenetrable Forest

fairy tales to forest 157

Children’s Books Cited Aardema, Verna, Leo Dillon, Diane Dillon, Warren Wallerstein, and Atha Tehon. 1975. Why mosquitoes buzz in people’s ears: a West African tale. New York: Dial Press. Cannon, Janell. 1997. Verdi. San Diego, California: Harcourt Brace & Company. Cherry, Lynne. 1998. The shaman’s apprentice. San Diego : Harcourt Brace & Co. Cherry, Lynne. 2000. The great kapok tree: a tale of the Amazon rain forest. San Diego: Harcourt, Inc. Grimm, Jacob, Wilhelm Grimm, and Paul Galdone. 1982. Hansel and gretel. New York: McGraw-Hill. Harris, Robie H., and Nadine Bernard Westcott. 2014. What’s so yummy?: all about eating well and feeling good. Hyman, Trina Schart, Jacob Grimm, and Wilhelm Grimm. 1983. Little red riding hood. New York: Holiday House Lamstein, Sarah, and Carol Benioff. 2010. Big night for salamanders. Honesdale, Pa: Boyds Mills Press. Leathers, Philippa. 2013. The black rabbit. Somerville, Mass: Candlewick Press. Litchfield, David. 2016. The bear and the piano. Boston ; New York : Clarion Books. Martin, Bill, and Eric Carle. 1983. Brown bear, Brown bear, what do you see? New York: Holt, Rinehart, and Winston. Milne, A. A., Shepard, Ernest H.,. 1926. Winnie-the-pooh. New York: E.P. Dutton & Co. Na, Il Sung. 2015. Welcome home, Bear: a book of animal habitats. New York : Alfred A. Knopf. San Souci, Robert D. and Jerry Pinkney. 1989. The talking eggs: a folktale from the American South. New York: Dial Books for Young Readers. Sendak, Maurice. 2013. Where the wild things are. New York: Harper Collins Publishers. Seuss. 1971. The lorax. New York: Random House. Waddell, Martin, and Patrick Benson. 2002. Owl babies. Cambridge, Mass: Candlewick Press. Ward, Helen, and Wayne Anderson. 2001. The tin forest. New York: Dutton Children’s Books. Yum, Hyewon. 2008. Last night. New York: Farrar, Straus and Giroux. Zolotow, Charlotte, Maurice Sendak, and Maurice Sendak. 1962. Mr. Rabbit and the lovely present. New York: Harper & Row.

158

fairy tales to forest 159