Significant Cultural Landscapes_Voight

Significant

Cultural

Landscapes

Charlene Voight - LA401 - Andy Wilcox - Fall 2015

ABSTRACT This pamphlet will investigate how cultural landscapes change over time through cultural attitudes, physical change, and occupancy. Examples of cultural sites will include West Philadelphia and Central Park in New York City. It will discuss how the cultural significance for the occupants that are using the sites and the benefits the users will receive from the meaningful interventions. Benefits from the sites will include community involvement, physical exercise, and a place for gathering. Lastly, it will explore how the outer boundaries of the site influence the design and the cultural importance in framing a site that will leave a lasting nostalgic impression for the future.

01 NOSTALGIA

“The Use of History in Landscape Architectural Nastalgia”

02 RUINS “The necessity for Ruins” 03 CULTURE

“Landscape and Commom Culture Since Modernism”

04 WANDERING 01

Wandering through the Streets of West Philadelphia

05 WANDERING 02

Expoloring New York City

06 LISTENING 01 James Corner

07 LISTENING 02 Bob Perry

08 LANGUAGE

Ten Lexicon Words

CONTENTS

0

0

CHAPTER THREE 500 WORDS

1

THE USE OF H RAFFAELL A

NOSTALGIA

ed to North Am work in any ar which it has pr the power of kn duction; or of j incisive remark and criticism o not only amon to live and wor the Old World history of gard Modernism, w would be seen and would be t of the past, abo importance of felt disenchant mentalism that past, has come and gardens an cial studies, gen history in diffe a greater sensit history has rec Yet this does, n of landscapes. such cases a no cumstances it m to meet certain construed as m In this latter in to the extent to Toward the end ers and critics styles, each of t American soil. republic had al

1

HISTORY IN LANDSCAPE ARCHITECTURAL NOSTALGIA FABIANI GIANNETTO University of Pennsylvania

CHAPTER THREE In his Treatise on the Theory and Practice of Landscape Gardening Adapt 500 WORDS

merica (1844), Andrew Jackson Downing wrote that, ‘‘To attempt the smallest t, without knowing either the capacities of that art, or the schools, or modes, by reviously been characterized, is but to be groping about in a dim twilight, without nowing, even should we be successful in our efforts, the real excellence of our projudging its merit, comparatively, as a work of taste and imagination.’’1 Downing’s ks effectively summarize why historical knowledge is impor-tant for the practice of landscape architecture. His words were probably inspired by the fact that he was ng the first professional landscape architects in America, but also that he happened rk in a country with a recently formed national identity that looked at the past of d for clues about the best way to represent the American character and ideals. The den making and landscape architecture continued to be valued until the dawn of when the achievements of previous generations—described in purely stylistic terms, simply as a crippling form of nostalgia, hindering the progress of the discipline, there-fore dismissed. Garret Eckbo, for example, rejected the formal principles ove all the axis, which, he claimed had ‘‘ran out of gas in the 17th century.’’2 The history resurfaced at the close of the twentieth century not only because designers ted with the unfulfilled promises of Modernism and the limits of the eco-fundat followed, but also because history, and the accompanying nostalgia toward the e to be understood as encompassing more than a simple account of historical styles, nd designed landscapes have been discussed in the con-text of material culture, sonder and reception histories. And while many landscape architects now respond to erent ways, by formulating new answers for centuries-old questions, or by showing tivity toward a site’s past histor-ies and traces of previous use, the very writing of cently been the subject of critical examination. nonetheless, raise the issue of how nostalgia works—well or poorly—in the making On one hand, history can be called upon for the construction of identity: in some ostalgia for a specific place and time may be positive and fruitful, but in some cirmay be sterile or harmful, as when the past is manipulated and tradition invented n ideological, often invidious political goals. On the other hand, history can also be memory, whose traces are preserved through design processes and their outcomes. nstance, a more edifying and even instructive nostalgia is at work, one that is useful o which it helps transform and improve the present. d of the nineteenth and the beginning of the twentieth century, Ameri-can designengaged in a provocative debate about the merits of various historical landscape them representative of foreign nations, and the legiti-macy of their imitation on . Gardens were considered ‘‘an expression of the genius of the republic,’’ and the lready produced great examples of landscape

Raffaella Fabiani Giannetto in her essay “The Use of History in Landscape Architectural Nostalgia� speaks of using history in finding an identity, finding inspiration, and to invoke memories.

Nostalgia in landscape architecture for the purpose of this essay begins with Andrew Jackson Downing (1844) speaking of how historical knowledge is important in landscape. America, being a newly formed country looked to the Old World past for how to represent the American landscape. Garden making and landscape architecture drew its inspiration from its European Heritage up to the beginning of modern architecture. The austerity of modernism which focused on interstitial spaces instead of the surrounding spaces left landscape architects disillusioned with their theories.

Landscape architects in the late twentieth century returned to history and nostalgia in the past to formulate their designs. There are varying viewpoints on how well nostalgia and history can be used when constructing a meaningful identity. History can be manipulated and traditions can be invented to achieve economic or political goals. Also, history can be used positively with the preservation or the improvement of a site. Central Park is a historical park designed by Frederick Law Olmsted, over a hundred years ago, that is an artificially built landscape in the center of New York City.

It is a great example of an historical landscape reflecting American ideals. Frederick Law Olmstead used picturesque nostalgia to send a moral message of improving life for the lower classes (who did not have access to an open public space) by providing an 843 acre park. Another example of going back into history is the use of archaeological excavations for inspiration. In ancient Roman sites they found garden rooms planted with herbs that were used for healing purposes. They had pergolas with patterned canopies and calming pools with lush vegetation. History told a story of ancient civilizations (Greek, Roman, and Ottoman civilizations) coexisting peacefully. There is a definite value to looking to history for its accomplishments as they pertain to landscape architecture. It can help give a critical analysis of what is functional and environmentally sound that can be applicable in a modern setting.

2 The Necessity

RUINS

of the armchai The price was of their way to share their ent Smithsonian, a typewriter, the ical association Presidents at in Bunkers’ two a (say) 2079 wou I am quite una temporary Am or a monumen their associatio understandabl with our politi cherish are me definite date. A many hours ag spent watching not necessarily Much of our e long-distance perhaps, in ord It is obvious th where the inha concerned wit establish its im and symbols a - or for that m the public but That was the c early as 1796 i celebrations en cal traditions. to the mother by steamer fro ed, and a large

2 for Ruins

CHAPTER THREE 500 WORDS

an’s Museum of History and Technology happily announced the acquisition irs used by Archie Bunker and his wife Edith in the TV serial, “All in the Family.” not mentioned, but commentators went out o say pleasant things about the event. I have never liked the program, so I failed to thusiasm. The as I understand it, collects objects not only impor­tant in themselves -like the first e first bicycle, Lindbergh’s Spirit of Saint Louis, but also objects having some historn, like the dresses worn by the wives of naugural balls. Under which heading did the armchairs belong? Did Mr. Ripley suppose that a visitor to the Museum in the year uld find the armchairs inspiring to look at? able to guess; but as I look around the con­ merican scene I am puzzled by what seems gener­ally to pass for a historical object nt. We admire and try to collect things not so much for their beauty or value as for on with a phase of our past; and that is le, every generation has done the same. But with us the association seems to be not ically historical past, but with a kind of private vernacular past -what we ementos of a bygone daily existence without a Archie Bunker’s armchair will recall -at least to the present generation -not only the greeably g television, but also the environment, the setting, of a popular program, though y the program itself. enthusiasm for historical preservation seems to or to dreamily recall the pleasant conversations of two or three months ago. We reach for our checkbook, angrily der to discharge the obligation and avoid future trouble. hat monuments of this hortatory sort are likely to be numerous in any landscape abitants share a strong sense of a religious or political past, and moreover are th their beginnings. That is why every new revolutionary social order, anxious to mage and acquire public support, produces many commemorative monu m ­ ents and public celebrations. That is what we see in the Soviet Union or China or Cuba matter in Nazi Germany: a proliferation of public symbols of all sorts, not to please to remind it of what it should believe and how it is to act. case when this country was young; a monu­ment to the Revolution was erected as in Lexing­ton, an obelisk, and for the next half century patriotic monu­ments and nlivened the landscape. Even place names helped remind Americans of our politiA typical commemoration occurred in the 1830s when a monu­ment was erected of George Washington at Mount Vernon. President Jackson and his cabinet came om Washington; there were cannon salutes, a mili­tary parade, poems were recite crowd was present. We can imagine what we would bear today if the mother of

re•con•struct•ed

Jackson’s article “The Necessity for Ruins,” speaks of the preservation of our cultural heritage and historical environments as monuments to our past. These historical landscapes display what it was like in the past while preserving a particular moment in history. He uses the ruins of a church in West Berlin that is a significant reminder of World War II as an example of a modern monument.

Historical environments that have been reconstructed and preserved show the necessity for our culture to respect the past. The Gettysburg battlefield became an enormous reconstructed environment that covered thousands of acres.

It was not the traditional monument that honored one man but honored tens of thousands of soldiers. Jackson does question the manufactured historical environments and artificial towns with constructed facades of a bygone past.

These artificial environments are more focused on a nostalgic past than preserving a tangible historic event. Recently, the past has more of a romanticized style of reconstruction.

Also, American public buildings have lost their monumental structure for more functional designs. Public buildings in the past were grand ornately designed structures. Traditional monuments of the past have given way to open-air parks where residents can walk, relax, and sit and have lunch. These parks display a different perspective on how to design our open space when it comes to cultural heritage. The article touches on unauthentic approaches to the preservation and restoration of the original landscape, historical neighborhoods, museums, wilderness areas, and industrial landscapes. Therefore, Jackson is concerned with using ruins to preserve our cultural history in a meaningful way instead of a romanticized manufactured landscape. It must be noted that this essay was written in 1980. Our cultural values and perspectives have changed over the past 35 years. Society has a cultural need to restore the surrounding environment to its natural form and beauty. In conclusion, Jackson perceives “the necessity for ruins” as a way to restore the environment to its natural state.

3 CULTURE

In this centmy, l such as Roberto who, aligning th These designers arts, and that lan and made from modernists-beli so­ciety-their ind A more recent g Hargreaves, and enced by (as we landscape desig who practice in Andrea Blum, E signers pre­sents and a legiti­mate Many aspects of egalitari­anism, h rational­ity), but While it was bas has not been kin tude to­ward arc modernism has instead on the s landscape. Inste ously, even thos toward landscap with obvious for building to “rea content of the la environment­fro never envi­ sioned the lands composition. W tured products w abric uponwhic not a field in wh mamed, a mora ilethaC has resu during the last three decades ..

3

landscape architectme has pro­duced a small but well-lmown cadre of designers o Burle Marx, Garrett Eckbo, Thomas Church, Lawrence Halprin, and Dan Kiley hemselves with modernist theory, broke from classical and Beaux-Arts traditions.. s believed that landscape architec­tm·e was an art form related to the other visual ndscape could also serve as a cul­tural artifact, expressive of contemporary culture modern materials Although all these practitioners could be lumped together as ieving that landscape could and should reflect the needs and values of a modern dividual design vocabularies ranged from sUirealism to constructivism. generation of landscape ar·chi­tects, including Peter Walker; Rich Haag, George d myself, practice within the same modernist tradition-but we are also being influ­ ell as exerting influence upon) the art world .. Today the boundary between art and gn has been at least partially effaced, and the landscape is also inhabited by artists the landscape .. Among this group are Richard Fleischner, Andrew Leicester, Elyn Zinunerman, Gary Reivschal, and Mary Miss .. This coalition of artists and des an opportunity by which landscape is at last seen again as an aesthetic enterprise e art form capable of being judged on formal and intellectual grounds. f modernism still hold promise for today’s world (intentions such as social honesty in the use of materials, optimism about the future, and the belief in human t how have these ideas exhibited themselves in the landscapes of the recent past? sed to some degree on envi­ronmental improvement, architectUI·al modernism nd to the landscape .. A great distinc­tion divides the modernist architect’s attichitecture and the modernist ar·chitect’ s attitude toward landscape. ArchitectUial s been remarkably disinterested in issues of col­lective space, for example, focusing space within buildings. Nor has it developed a for­mal attitude toward the built ead this was left as a moral arena, unmanipulated although socially utilized .. Curise architects who see buildings as being able to manifest ideas are often antagonistic pes that dis­play visnal or intellectual powet: Visible landscapes, those landscapes rm, are perceived as competing with buildings and too active formally To allow the ad” more clearly, the andscape must be drained .. Although every other aspect of the designed om buildings to soup spoons-has been seen as fair game by architects, modernism

CHAPTER THREE 500 WORDS

scape as manufactured space or al­lowed landscape to address issues of form and Well-designed, affordable manufac­ were a goal of the Bauhaus, 5ut the lanclscape-was to remain ffie1jure, iuterstitialich buildings were placed. It was clearly hich cultural attitudes and ideas could be-explored .. Exterior space was, and has re­ al battleground and until recently has rarelyoeenviewed aesthetically, an attJlilulted in a remarkable lack of design talent in the field of landscape architectJne Those interested in design seek

in • ter • sti • tial

Modern landscape architecture has moved toward the theory that landscape can be a visual art form and be a cultural artifact.

It is believed that landscapes should provide our modern cultural with designs that fulfill needs as well as values. Martha Schwartz artical “Landscape and Common Culture Since Modernism,� points out that modern architecture has been more concerned about the space between buildings than the collective surrounding spaces. Focusing on interstitial space architects have avoided intellectual landscapes with their own independent form and composition as if it is in competition with the surrounding architecture. It was viewed that landscapes should stay within the boundaries of interstitial space. This extremely myopic vision has been very detrimental towards the urban and the suburban landscapes. Visually and ecologically our landscapes have been deprived of form and function. For our landscapes to be a viable part of society they must provide aesthetically, intellectually, and environmentally functional surrounding spaces besides just spaces between buildings.

Landscapes of the past were traditionally composed of carved stone statutes and elaborate Renaissance fountains. Modern landscapers building materials consist of asphalt, concrete, repurposed materials, permeable paving, and plastic. Before only the rich could afford built landscapes but today landscapes are built for all socioeconomic groups. The sculpture of today is not confined to gallery sculpture but can be as massive as the landscapes that contain them. These sculptures are an integral part of the landscape. Landscape architects are borrowing from the ecological interventions of the natural environment and applying these interactions to the complexity of the urban and suburban landscapes. Landscape architecture is moving towards spaces that can be described and recognized by people with a sense of comfort and security. Geometry in landscape is a construct that provides the landscaper with a means to design a more viable approach to a manufactured environment. In conclusion, Martha Schwartz indicates that inspiration can come from the world of fine art in the form of painting and sculpture.

This article was written twenty years ago and it has been recently recognized that architecture has now derived its inspiration from natural sources, ecological preservation, repurpose, reconstruct, and replanting and healing ruins.

4 WANDERING

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CHAPTER THREE 500 WORDS

“FINDING HOME”

“Finding Home” is part of the Mural Arts Program of West Philadelphia. It is one of the most successful mural arts programs in the United States.

This mural was designed by the community members of the area and was commissioned by the Mural Arts Program for an artist to paint and be representative of what is important to the community members.

“Finding Home” is about the community working together as a whole to bring about unity. This mural has many different important aspects to it and tells a narrative visual from left to right on the linear building canvas .

On the left side it is all about the homeless and how the homeless feels that there are in fact invisible. Continuing on the mural interweaves all the residence doing activities to help with community growth.

Lastly, the mural shows all the different ethnicities becoming one and uniting together through the hands. “I am someone you are me together,” is what is highlighted above the different ethnicities hands uniting.

Throughout the rest of our journey through the city of West Philadelphia we saw many more narrative murals. Each district in the city had a different narrative.

For example in the gay district there was a mural of people ranging from different ages, gender, and race that were all united and having a party outdoors having a great time.

It is important for a place to be able to be free enough to accept and express who they are through celebration of art. These murals served as a catalyst to promote acceptance, unity, community, celebration, awareness, all through the use of outdoor wall art.

5 WANDERING

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CHAPTER THREE 500 WORDS

WANDERING THROUGH NEW YORK C Central Park is a located in New York City and designed

by Frederick Law Olmsted.

Central Park is 843 acres that is 100 percent artificial landscape that is shaped as a linear rectangle that is located in the heart of New York City.

The park is a perfect example of what one would think of as a picturesque nostalgic place. With many different spaces created with the use of trees and plant material acting as over head planes, vertical planes, define entries, borrowed views, climate mitigation, defined circulation, focus and emphasis, intimate spaces, recreation and ground planes. Transitions are used through outdoor-rooms such as bridges, pavement changes , monuments, fountains, sitting areas, ground covers, plant materials, children’s playgrounds, ponds, walking trials, running trials, and horse trails were used for transitions from area to area.

Olmsted also designed the park with trees that were evergreen and deciduous so that during the winter one could enjoy the fall colors of the leaves. With the use of deciduous trees allows for one to be warmed by the sun during the winter months due to the loss of the leaves.

CITY

The big idea behind Central park was to make a space for all economic classes to intermingle together. That is exactly what this park facilitates.

It does not matter if one had money or not this was a park for everyone to enjoy themselves regardless of their economic circumstances.

Even though Central Park opened over a hundred years ago it still brings economic diversity to its grounds. People come to this park with their families, children, friends, dogs and on their own to enjoy all the different outdoor spaces Central Park has to offer.

6 LISTENING

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CHAPTER THREE 500 WORDS

James Corner Lecture James Corner gave a lecture at Harvard University called “Daniel Urban Kiley Lecture: James Corner”, discussing the relationship between systemic systems and also the relationships found in ecology which create a design.

James described his theoretical design Mollusk Island on Governor’s Island in New York City. The inspiration behind the design came from the historic oyster beds found in the harbor. The oysters acted as a cleaning system for the water in the harbor. Thinking of the island as a giant mollusk with the interior attributes being fluid, silky, soft, and liquid with the juxtaposition of the exterior being super hard and crusty. Later James Corner made a photo montage of the island and the hard attributes would be the island and the fluid parts would be sculpted.

Design

Processes

fl

sil ky

ui d

ha

Juxtapositions

rd

cr u

sty

Systems + Ecology = connections with nature and humans

EXPERIENCES

HUMANS

NATURE

ENVIORNMENT

CONNECTIONS

ECOLOGY

SYSTEMS

PROCESS

Through a systematic system the tide pools where designed with different rock pools and rock flats. There would be different experiences for the visitors during high tide and low tide. Also, adjacent to the tide pools would be thermal salt pools that would be designed for people to enjoy swimming and relaxing in warm bodies of water. The process of the design was inspired by the ecological system of the site. Therefore, the water systems moved around in a harbor and the ecology was intertwined to connect with human experience to create a deeper connection with nature. Using James Corner design methods, one can frame a well thought out design by studying the natural systems in our environment and by connecting the environment to the design can create an extraordinary experience for humans.

7 LISTENING

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CHAPTER THREE 500 WORDS

Bob Perry Lecture Bob Perry is a guest speaker discussing “Plant Ecology, Planting Functions, Planting Aesthetics, Cultural�. He is well known at Cal Poly Pomona and within the Landscape Architecture family for his functional design with plant material and use of plants to create aesthetically pleasing sites. As one strolls through Central Park one can see how plant material can be constructed to resemble an interior of a room. Looking up into the tree canopies one can notice an overhead plane of vibrant colors and textures.

During the summer the canopies creates shade and shadows throughout the day. Looking to the right and to left one can view vertical elements that enclose a defined space. The ground is covered with multiple textures and a variety of colors from fallen leaves and ground covers. Micro climates are created within the park by the massing of plant materials and having bodies of water that lower the outside temperature as one makes their way through a meandering pathway.

ELEMENTS

Texture When designing outdoor spaces one should keep in mind how plants can be used in an overall function and serve a greater purpose then just be aesthetically pleasing. For example one needs to think of the purposes of definition of spaces, reinforcement of circulation, view mitigation, view enhancement, climate mitigation, productivity, and recreation purposes.

However, aesthetics are important to think about after the foundation is created through the functionality of a space. The two greatest attributes that need to be brought into an aesthetic design is elements of art and principles of art. Elements can be defined as line, shape, form, color, mass, texture, sound, and fragrance. Art and principles are defined as balance, proportion and scale, variety and simplicity, sequence and rhythm, layers and repetition, harmony and contrast, static, dynamic, and chaotic. Even though these elements and principle sound simple and not very complex they are the foundation to any worthwhile design which in turn will map the road to experiences that will transcend through the years PRINCIPLES

Rhythm

Chaotic

Variety

Repetition

8 WORDS

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CHAPTER THREE 500 WORDS

nos·tal·gia noun noun: nostalgia; plural noun: nostalgias

a sentimental longing or wistful affection for the past, typically for a period or place with happy personal associations.

“I was overcome with acute nostalgia for my days in college” synonyms: reminiscence, remembrance, recollection; More something done or presented in order to evoke feelings of nostalgia. “an evening of TV nostalgia” -Merriam-Webster-

Nostalgia is when o wistfully for the pas to yearn for someth or place.

- Charlene Voight

one longs painfully or st, home, or country. It is hing that is distant in time

mem•o•ry In psychology, memory is the process in which information is encoded, stored, and retrieved. Encoding allows information that is from the outside world to reach our senses in the forms of chemical and physical stimuli. http://encyclopedia.thefreedictionary.com/Ethnography

The act of remembering and honoring - Merriam-Webster Memories can be formed from many different experiences.

For example something as simple as a scent from the past can invigorate ones memories and causing one to remember a time from the past. Old photographs from the past can also evoke emotions that a person would remember from a time long ago.

i•den•ti•ty The qualities, beliefs etc., that make a particular person or group different form others -Merriam-Webster “When I graduate...” This is an art installation at Cal Poly Pomona allowing students to express their identity on a public board. Not only is this installation interactive but it brings an opportunity for individuals to learn about other people and understand other cultures within the college community.

ver•nac•u•lar noun a landscape that evolved through use by the people whose activities or occupancy shaped that landscape. Through social or cultural attitudes of an individual, family or a community, the landscape reflects the physical, biological, and cultural character of those everyday lives. http://encyclopedia.thefreedictionary.com

It tends to evolve over time to reflect the environmental, cultural, technological, and historical context in which it exists. While often not thoroughly and academically planned, this kind of architecture played and still plays a major role in the history of architecture and design, especially in local branches. https://books.google.com/books

Cultural attitudes, context, physical place, weather, and ecological functions are pertinent to factor in when designing environments for people. In West Philadelphia the culture is very different than the other areas in Philadelphia. The people are about art, music, and they are food driven which creates the sole of their environment. Narrative grows deep within their culture. To not create a site specific design for such a culturally driven area would be creating something that has no meaning and therefore would not be utilized or appreciated by the residents as compared to something that is designed specifically for that site.

eth·nog·ra·phy

(from Greek ἔθνος ethnos “folk, people” and γράφω grapho “to write”)

is a qualitative research design aimed at exploring cultural phenomena.

The resulting field study or a case report reflects the knowledge and the system of meanings in the lives of a cultural group. An ethnography is a means to represent graphically and in writing, the culture of a people. http://encyclopedia.thefreedictionary.com/Ethnography

Qualitative studies can be used to find out what is important to an area. The study can be done in many ways graphically and or in writing as long as it is critically thinking about the information.

The study should display the information facilitating landscape architects to design an area for the selected culture.

H PU OP E SE RP L O H A F W SE O RE PPY RT L H SA AX F AR ETY T MUS IC PLA Y HEALTH

BS HU

CONNECTI ON EDIBLE

MOSAICS

OUTDOOR ROOM CLASS URE SCULPT N SSIO EXPRE WORK TEAM CLE RECY

HUBS IN THE PARK unusable space to meaningful places

con·struc·tiv·ist adjective or noun often capitalized a nonobjective art movement originating in Russia and concerned with formal organization of planes and expression of volume in terms of modern industrial materials (as glass and plastic) http://www.thefreedictionary.com/constructivist

It uses non representational objects that are constructed with different building materials placed together to create a functional object. A pallet garden is a constructed no representational object that is stacked with reconstructed materials that has been used to create a vertical garden that can make more space for planting in areas that are spatially challenged, such as in an urban area.

to

in•ter•sti•tial Forming a narrow or small space between parts of other elements, or between floors in a structure. http://encyclopedia2.thefreedictionary.com/interstitial

Interstitial can be thought of as the voids in a planting arrangement.

Such as the void could be the space where the plant root ends and where the ground cover starts. Or in an urban setting could be the void between the buildings comparable to such as an alley way. We forget about the narrow spaces between buildings. However, these places that have narrow passages are used as pedestrian friendly walkways. People use these spaces as third places or as a place to get away from the city or a pathway of travel.

cul•tur•al adj 1. (Art Terms) of or relating to artistic or social pursuits or events considered to be valuable or enlightened 2. (Sociology) of or relating to a culture or civilization http://www.thefreedictionary.com/cultural

Cultural is not something easy to understand or able to be defined in a few sentence. It is something that one finds with deep investigation and an open mind to see more than meets the eye.

Cultural is diverse and based upon the people, climate, religion, geography, and economics. The key to being a good designer or understanding people is to be able to relate and appreciate their culture.

sur•re•al•ism noun (sometimes cap.) a style of art and literature developed principally in the 20th century, stressing the subconscious significance of imagery arrived at by automatism or the exploitation of chance effects, unexpected juxtapositions, etc. http://www.thefreedictionary.com/surrealism

Imagination can take people to great places of exploration that are unfathomable in the real world. Art has been an outlet for people to share their experiences and be able to expresses themselves graphically and reveal their thoughts on canvas, buildings, in the garden, through architecture, and in art instillations.

e•col•o•gy noun 1. the branch of biology dealing with the relations and interactions between organisms and their environment.

2. the set of relationships existing between organisms and their environment.

3. Also called human ecology. the branch of sociology concerned with the spacing and interdependence of people and institutions.

4. the advocacy of protection of the air, water, and other natural resources from pollution or its effects; environmentalism. http://encyclopedia.thefreedictionary.com/ecology

To socially define ecology is to say that the residents that inhabit the area have a clean healthy environment. This environment should include organic gardens, healing gardens, educational gardens, places of exercise, and open spaces for the community to gather. Socially speaking the humans need a clean ecology to live in.

“Cultural landscapes change over time through cultural attitudes, physical change, and occupancy�

- Charlene Roxanne Voight