(2021-2022)[SEM2]HaoranWeiS2058760 Acdemic Portfolio
Then I fell in love with painting, I use the brush to record my perception
[
Self-introduction I travel in an unfamiliar land, stop and observe during the journey, find interests in life
Urban Impressions of York and London, Watercolor, from Sep 2021 to Dec
2021
The perception of landscape that I dreamed of ...
Landscape Strip Windows, Watercolor, from Jan 2021 to Dec 2021 Landscape
[ Portfolio Statement
SCAVENGE ABSTRACT SIMULATE REPRESENT CONLUSIONSTATEMENT
As a landscape architect and a painting enthusiast, I try to explore whether painting can provide guidance and assistance for landscape design. In this portfolio, I will combine my design projects to search for the relationship between painting and landscape design from three aspects: observation, abstraction and simulation. This portfolio will also discuss the influence of painting on my presentation and decision-making on landscape design. upon painting
As a literal meaning, it refers to searching through the waste for things that can be used or Aseaten.achapter
As a chapter title, it refers to extracting and summarizing both culture and nature landscape after the analysis of preliminary fieldwork
ABSTRACT
SCAVENGE
As a literal meaning, it refers reveal or introduce something, article or scheme to sb in a idiosyncratic ways In terms of landscape, It mainly refers to the presentation of design drawings. Display the design results through a variety of media diversity.
As a literal meaning, it refers to extracting and summarizing the characteristics of objects.
SIMULATE As a literal meaning, it refers to creating corresponding environment using digital technology, models and various forms of media. In terms of landscape, its main variable is time, which is used to review the history and future development process in aspects of the dynamic system.
REPRESENT
title, it refers to exploring the landscape through observation and searches during the Fieldwork stage.
Chaper Ⅰ SCAVENGE How we as landscape architects Observe and informationgatherbypainting Illusion of Landscape, Watercolor, 10 Jul 2021
Activity Analysis, Hefang Street, Hangzhou, Project _Lost in Landscape Painting, Undergraduate Course Work, May 2017 Site Geographic Analysis, Hefang Street, Hangzhou, Project _Lost in Landscape Painting, Undergraduate Course Work, May 2017
' Any place registers tangible certain aspects of many larger more spatially extensive patterns, orders, and systems. Design can modify site features concerning larger patterns. (Kahn and Burns, 2021)
Fieldwork
Keen observation can gain more comprehensive and complex site information, to promote the designer's subjective and objective cognition of the site.
[
p. 8 Subtitle _ Field work CHAPTER 1 _ SCAVENGE
Fieldwork is the stage of information collection and analysis in the early stage of landscape design. A specific locale provides the material ground for action in design practice, and ideas about the site provide a theoretical background against which such actions are taken. (Kahn and Burns, 2021) In Site Matters, it is emphasized that the sequence of site investigation lies before the design activities and provides evidence for the design decisions(Kahn and Burns, 2021). As a landscape designer, the ability to collect and analyze site data is indispensable.
Subtitle _ Intuitive Feeling CHAPTER 1 _ SCAVENGE
Reflection on the Lake and Stars in the Night Sky, Watercolor, Yangpu riverside public space Shanghai, 9 Jul 2021 [
Intuitive feelingColor,
sound, smell, tactile sensation andcapturing site information through eyes, ears, nose , and skin is the most intuitive way. Certainly, it does not rule out tasting the special food using our tongue. Through these first-round collections of site information, designers will subjectively process information according to their cognition and generate new acknowledge, such as the atmosphere, vitality, sense of time, prosperity, urbanization progress, etc.
'seeing is not necessarily believing, hearing is not necessarily false. The misconception is everywhere. 'Although the most direct sensory information may deceive our objective cognition, the subjective first feeling of the site imperceptibly affects the design decision.
Extrinsic and Intrinsic
“However forcefully the real and the represented world resist fusion, however immutable the presence of that categorical boundary line between them, they are nevertheless indissolubly tied up with each other and find themselves in continual mutual interaction, uninterrupted exchange between them…”
I agree with the interpretation of site communication: design does not appear on any site with no evidence. Designers should respond to the knowledge conveyed by the site to make decisions. The acquisition of the site internally requires deep knowledge and experience. This perspective encourages designers to adopt more diverse methods and experiments in site research to obtain information(Kahn and Burns, 2021).
The distinctive two-color lagoon and the hydrangea sea spreading the mountains constitute the vibrant crater natural landscape in the watercolor figure.
Subtitle _ Extrinsic and Intrinsic CHAPTER 1 _ SCAVENGE
The acknowledgment of site comes from the continuous communication between reality and representation, internal and external, the world and the world we know.
In terms of ecological fact, the low-level lagoon is severely endangered by water eutrophication, and the invasive species 'Hydrangea' occupy most of the living space of the original grassland plants.
[
Illusion of Landscape, Watercolor, Sete-Cidades-lake San, Miguel Island, The Azores, 10 Jul 2021
Left 2 Figs: Cedras Village View, Caldeira of Faial, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb 2022 Right 2 Figs: Pico Wineyard, Coast Line of Sao Jorge, MLA 2 [SEM1] Project, Oct 2021
Fig from left to right: Hydrangea Mountain Path, Geothermal Landscape, Faja, MLA 2 [SEM1] Project, Oberservation Drawings, Watercolor, Sep 2021
'Instruments of representation allow developments in techniques of description. Graphic tools inform and bracket how designers think......For a design professional, what matters about a locale slated for design action—what will be considered useful or valuable about a site—depends on how knowledge of the site is framed.' (Kahn and Burns, 2021)
Painting as an auxiliary way helped me establish my first impression of the Azores. The process of selecting objects promotes my review of site elements.
The project site of MLA2 is located in the Azores islands in the middle of the North Atlantic. For such a remote and isolated site, Internet resources have become the major source of fieldwork information.
Why should I refer to this picture for painting? What are the sights or things that attract me? Do these landscapes represent the characteristics of the site?
[ Can painting support fieldwork ? Phase 1 Information selecting ]
Although there are various forms of resources, such as literature, photos, news and videos, the way of long-distance research makes me unable to feel the site's characteristics. Strangeness and distance are two reasons that perplex my site research.
Subtitle _ Can Painting Support Fieldwork ? _ Phase 1 Information Selecting CHAPTER 1 _ SCAVENGE
The task of a landscape designer is not only the investigation and design decision but also the representation. Landscape architects' own passion and interest is also an important factor to impress the audience during the presentation. Searching for the most attractive landscape elements may explore the design interests of the designer, and deepen the understanding of the particularity of the site.
Subtitle _ Can Painting Support Fieldwork ? _ Phase 2 Interest and Enthusiasm CHAPTER 1 _ SCAVENGE
Township Identity, Cedros, Faial island, The Azores, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Mar 2022
‘Spatial differentiation, geographical variety, is not just an outcome; it is integral to the reproduction of society and its dominant social relations.’(Bakhtin, 1981) For site investigation, the challenge is to understand the basic information of the site and find the particularity Synchronously; Find the existing problems and explore the potential advantages and resources; While analyzing the ecological situation, pay attention to the local social culture.
Phase 2 Interest and Enthusiasm ]
Landscape painting provides a unique way of observation, that is, the painter's observation of the particularity of the site and potential resources.
'Enthusiasm and passion are contagious.' (Lewandowska, 2018) These are core topics in Community Arts Practice which focus on how to communicate with audiences and express views with appeal Do landscape architects need to find their interest in design sites to support their enthusiasm? I think it is necessary
'If you are not interested in something, how can you persuade others to be interested? '(Crummy, 2020)
Why beLandscapeshouldanalyzed through abstraction
Chapter Ⅱ ABSTRACT Abstract Drawing of Invisible and Obscure Connection on Cedrus, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb 2022
A phenomenon is a connection between the surface form and the outside. Essence refers to the internal nature and internal connection.
'The color/shape analogy substantially contributed to the establishment of a Bauhaus myth geared towards it, which continues to this day.'(Droste, 2019)
The phenomenon of things often can not correctly reflect the inevitable law of things while the essence can. However, it is not easy for people to perceive the essence directly(Langer, 1953).
Everything has its phenomenon and essence.
CHAPTER 2 _ ABSTRACTSubtitle _
The extraction and reconstruction of the structure, color, and shape show the analysis and exploration of the essence in abstract painting.
Abstraction is the process of extracting common and essential features from things and discarding their non-essential features(Langer, 1953).
Material Relief on the Theme of Structure, Texture and Touch from the Preliminary Course with László Moholy-Nagy, Franz Ehrlich, 1927, Bauhaus 1919-1913, Page 87
Abstraction is a method based on practice and produces rich perceptual materials to form thinking forms such as concept, judgment, and reasoning, to reflect the essence and law of objectives (Lind, 2013). The significance of abstraction is that it can grasp the essence of things through the surface phenomenon.
The picture on the right is the ink painting of Guanzhong. He abstracted the vitality and vigor of plants in full bloom through the points, lines and surfaces with a strong sense of rhythm, which is the generalization and refinement embodied in the abstract painting [ What is abstraction?
Blossom Out, Guanzhong Wu, Abstract expressionism, ink painting, 1986 What is abstraction?
For fieldwork, the designer obtains site information through two aspects: objective reality and subjective perception. Raw materials obtained directly are not screened and processed, which requires the designer to classify the information, summarize and then extract relevant information.
[ Metaphor of communication - Abstract [ Abstract of site relationship - Mapping
To reflect the focus of the analysis, the map may not show multiple complex layers. One way to abstract and emphasize is to selectively enhance the main layers and weaken the irrelevant layers.
Analysis Map of Geographical Location and Tourism of Hefang Street, Hangzhou, Project _Lost in Landscape Painting, Undergraduate Course Work, May 2017
CHAPTER 2 _ ABSTRACTSubtitle _ Metaphor of communication - Abstract
‘In landscape architecture, the communication metaphor materialized primarily in the way information from various sources was translated into cartographic representations for use in design decision making.’(Carlsson, 2017)
Mapping, as an indispensable link in landscape design, can well reflect the designer's screening and refining of objective information. When drawing a map, the designer will overlay different types of site information on top of the base plan, such as plants, urban texture, constructions, land type, water body, contour line, traffic line, human flow and precipitation.
Detailed Plans of Five Different Themes, Queen Margaret University, Musselburgh, MLA 1 [SEM2], Mar 2021 General Material Plan Drainage Plan Hard Material Plan Soft Material PlanGeneral Plan CHAPTER 2 _ ABSTRACTSubtitle _ Abstract of site relationship Mapping
relationship Mapping
A mapping is an abstract painting of a landscape designer. Designers select, refine, summarize and integrate from numerous geographical layers to search for site problems and explore the essence of the landscape. site
CHAPTER 2 _ ABSTRACTSubtitle _ Abstract of
Analysis Map of Pedestrian Flow and Distribution of Scenic Spots on Faial Island, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb 2022
Analysis Map of Cultural Heritage and Landuse Types on Faial Island, MLA 2 [SEM1] Project_Praise of Pioneers, Oct 2021
Compared with mapping that summarizes objective geographic information, element photo collage is an abstract way for designers to deal with intuitive perception.
2
Photos and images are the raw materials that directly generate place knowledge through vision, which is formed through subjective experience. The collage is to process this knowledge through creative Awork.common approach is to retain the main elements, subtract the general environment and background, and connect the elements in different graphics into a painting with timeline or story threads.
[ Abstract
CHAPTER 2 _ ABSTRACTSubtitle _ Abstract of vision Collage
Site MLA [SEM1] Pioneers, Windmill types
collage, Oct 2021
History Collage Map, The Azores,
Invisible information can be creatively told through image collages, such as the historical background and story of the site. of vision - Collage
Project_Praise of
Site Characteristic Collages, Queen Margaret University, Musselburgh, MLA 1 [SEM2] Project_OBSTACLES & CONNECTIONS, Individual booklet, Mar 2021 BIODIVERSITY CONNECTIVITY IDENTITY CHAPTER 2 _ ABSTRACTSubtitle _ Abstract of vision Collage
The Windmill Type Collage, The Azores, MLA 2 [SEM1] Project_Praise of Pioneers, Windmill types collage, Oct 2021 CHAPTER 2 _ ABSTRACTSubtitle _ Abstract of vision Collage
“Numerous impulses, which still unused await their realization by the world of works, came from modern painting, which was breaking through its old boundaries,” Walter Gropius wrote in 1923. (Droste, 2019)
CHAPTER 2 _ ABSTRACTSubtitle _
Abstract in art initially refers to the generalization and refinement of concrete images, which makes the picture dissolve the specific outline and details and become highly symbolic.
[ Abstract painting and design innovation
Dröbsdorf, Lyonel Feininger, 1927, Bauhaus 1919-1913, Page 332 Grey and Pink, Wassily Kandinsky, 1924, Bauhaus 1919-1913, Page 336 Row of Illuminated Houses, Lyonel Feininger, 1929, Bauhaus 1919-1913, Page 333 Abstract painting and design innovation
Unlike mapping and collage, painting does not need additional geographic maps or photos as raw materials to complete creation.
Mainly abstract art, its contribution lies in a systematic analysis of the fact that artistic means are recognized and depicted in their own rights and then provided to creative work (Droste, 2019). It is based on the belief that abstract colors and forms have independent expressiveness, and that they are immediate and universally readable(Droste, 2019).
Since abstraction is influenced by people's subjective consciousness, painting is difficult to achieve absolute objectivity. No matter how realistic a painting is, the process of painting is transmitted to the brain through the eyes, and then to the hand through the brain nerve (Lind, 2013). The initiative of the human brain provides the subjective feelings and ideas conveyed in the painting.
Plunge into nature _ Chinese traditional landscape painting Plunge into nature _ Chinese traditional landscape painting
In China, the word "abstract" is a concept introduced from abroad. The concept discussion of abstract art was started by art theorist Kandinsky a hundred years ago. Before that, there was no word "abstract" in China.
[
CHAPTER 2 _ ABSTRACTSubtitle _
However, the word "impression" is a Chinese philosophical and cultural term. " impression " is spirit and " appearance" is material. The ancients believed that " impression " is a subjective and abstract meaning and " appearance " is an objective image. From the perspective of philosophy, there are similarities between eastern and western Chinesecultures. traditional landscape painting is generally divided into Fine Brushwork Painting and Freehand Painting. The former pays attention to the description and restoration of nature, while the latter emphasizes the artist's expression of landscape emotion and artistic conception.
Left(Fine Brushwork): The Fairy Land of Peach Blossoms, Ying Chou, Ming dynasty Right(Freehand Painting): Lotus Peak Waterfall, Vertical Scroll, 130×44.5 Cm, Painted by Daqian Zhang in 1936 and inscribed by Beihong Xu in 1948
In terms of landscape abstraction, Chinese traditional landscape painting has identical Directions and cases.
Similar to the concept of lyric abstract painting, the difference is that majority of freehand brushworks are landscape paintings, which shows the painter's emotion for nature and the exploration of the essence of the landscape.
The right Figure shows a traditional landscape painting of artistic conception. Except for the large area of blank sky and lake, there are distant mountains, nearby wooden pavilions, boulders and trees. The long-term visual angle not only reflects the openness and emptiness of the landscape but also reflects the painter's indifferent attitude towards fame and wealth.
Traditional Chinese painters' records of the landscape are not realistic but highlight the characteristics according to their own perception of nature.
This painting is not simply a portrayal of the landscape, but a perception of nature. In terms of the connection between landscape painting and garden design, ancient Chinese scholars construct their own courtyards and gardens by recording landscape elements while traveling(Wang and Jin, 2018).
[ A painting is an attitude and a state of mind
Judging from the inscription in the painting, the author was in his 60s when he painted the painting. He no longer pursued fame and devoted his interests to the tranquility and harmony of nature.
Autumn Pavilion with China Fir, Vertical Scroll, 114×34.3 Cm, Zan Ni, Yuan Dynasty A painting is an attitude and a state of mind
CHAPTER 2 _ ABSTRACTSubtitle _
Site History Collage Map, The Azores, MLA 2 [SEM1] Project_Praise of Pioneers, Windmill types collage, Oct 2021
Obviously, the painting is not constructed from a fixed human perspective. The perspective seems to be recorded by a traveler as he was climbing the mountain. The continuity is reflected not only in space but also in time, which is the essence of the natural landscape that the author wants to express. If there were current multimedia technology at that time, this picture could dynamically represent the visual changes of a passenger in the process of mountaineering.
This idea inherits the design process adopted by ancient Chinese scholars when designing gardens. I use the form deduction thinking to extract the plane form and height of the painting world. As shown in Figure 7, this is a long axis depicting the mountain road. The author Huiming Wen highlights the continuity of the picture through the tortuous mountain road.
CHAPTER 2 _ ABSTRACTSubtitle _ An attempt _ abstract landscape through painting
In my undergraduate course on traditional garden space exploration, I tried to extract the space depicted by a traditional Chinese landscape painting, then transform the painting into a three-dimensional space.
[ An attempt _ Abstracting landscape through painting
landscape through painting
CHAPTER 2 _ ABSTRACTSubtitle _ An
Deconstruction and Reconstruction of Spatial Form, Refer to Wangmeng Landscape Impression painted by Huiming Wen(Ming Dynasty), Project _ Lost in Landscape Painting, Undergraduate Course Work, May 2017 Deconstruction and Reconstruction of Spatial Form, Refer to Libai Poetic Scroll painted by Huiming Wen(Ming Dynasty), Project _ Lost in Landscape Painting, Undergraduate Course Work, May 2017 attempt abstract
_
Master Plan, Hefang Street, Hangzhou, Project _ Lost in Landscape Painting, Undergraduate Course Work, May 2017 CHAPTER 2 _ ABSTRACTSubtitle _ An attempt _ abstract landscape through painting
CHAPTER 2 _ ABSTRACTSubtitle _ Continuity _ Seeing
With GEO satellite maps, I drew a wider range of landscape features from several aerial views.
In the archipelago studio, I attempted to imitate the continuous landscape depicted by Huiming Wen with a long scroll painting.
[ Continuity _ Seeing through the site
Like the mountain roads (Figure left), the design site includes similar landscape elements, such as continuous mountain roads and hiking.
From the cliff at the bottom of the picture, through villages, fields, and cedar forest, to the caldera at the top of the picture, the natural and cultural landscape changes with space and height.
Wangmeng Landscape Impression, Vertical Scroll, 154×57 Cm, Huiming Wen, Ming Dynasty
As shown in the painting (Next two pages), I use the river as the thread running through the long axis to demonstrate the human activities and natural ecological integration along the water corridor.
Although the scene depicted in the painting is far from the conventional abstract painting, the essence of expression can be shown, that is, the continuity and connection of the landscape(Wang, As2015).Lippard said in the book, 'The viewer’s mobility is inevitable, the viewer’s experience of a place is inarguable, but the site is not static either'.(Lippard, 2004) Expectations of the site can affect what happens there. So seeing through a site is a necessity(Lippard, 2004). through site
the
CHAPTER 2 _ ABSTRACTSubtitle _ Continuity _ Seeing through the site
2022FebWindmills,andCedarsofTaleProject_A[SEM2]2MLAIntegration,CulturalandEcologicalofAxisWindmills,andCedarsofContinuation CHAPTER 2 _ ABSTRACTSubtitle _ Continuity _ Seeing through the site
What role simulationdoesplayin
Landscape Architecture Simulation of Water Rendering, Dynamic Simulation of Culture and Nature, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb 2022 Chapter Ⅲ SIMULATE
Simulation of Agricultural Civilization Development, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb 2022
[ Reasons for simulation _ Dynamic
CHAPTER 3 _ SIMULATESubtitle _ Reasons for simulation _ Dynamic
Whether it is the cultural landscape or natural landscape, they are constantly changing, and the change is affected by the variable of time.
Water _ the source of life Forest _ ecological patch Logging _ the arrival of the colonists
Simulating the ecological iteration of natural landscape can predict the future development trend, and carry out human analysis and intervention according to the simulation.
Farming _ necessary survival resources Roads _ civilization network Husbandry _ thrive but threatened
‘In essence, the tension between the dynamism of the environment and landscape architects’ attempts to observe and potentially intervene resonates with cybernetics.’(Carlsson, 2017)
“The ability to find of all environments the most fit, and to adapt that environment and oneself, is in fact a creative process” (McHarg and Steiner 2006, 24).
Simulation of Flood Adaptive Riparian Landscape, Project _ Ehco of Werland Industry, Undergraduate Course Work, Jul 2020 CHAPTER 3 _ SIMULATESubtitle _ Reasons for simulation _ Dynamic
CHAPTER 3 _ SIMULATESubtitle _ The best solution _ Balance between ecological and social benefits
simulation method is similar to cost-benefit analysis. He believes that there is a method that can achieve the maximum social value with the minimum environmental cost.
Sequential Drawings of Ecological Corridor according to Time Scales, Queen Margaret University, Musselburgh, MLA 1 [SEM2] Project_OBSTACLES & CONNECTIONS, Individual booklet, Mar 2021
‘Although there is a best solution in theory, it can only be revealed through the complex process of human interpretation and subjective evaluation.’(Mcharg 1967, 105).
[
The best solution _ Balance between ecological and social benefits
Mcharg believes that ecology provides the language for the decisionmaking of landscape design. He imagines landscape architects as "the only bridge between natural science and planning and design" (Mcharg 1967, 105). stipulates that a design intervention is “right when it [tends] to preserve the integrity, stability, and beauty of the biotic community”(Carlsson, Mcharg's2017)
CHAPTER 3 _ SIMULATESubtitle _ Subjective
and judgment
Eventually, it is difficult to achieve the optimization of perfect ecological and social benefits. However, as landscape designers, we can still try our best to choose the scheme that meets most interests through negotiation and judgment, which is another compromise point of view. ‘Any single solution cannot be considered to be given at one time.’ (Carlsson, 2017) The negotiation takes place between competing Throughinterests. negotiation, we can choose a solution that meets most interests. [ Subjective coordination and judgment Recalibration Drawing of the Site, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb 2022 coordination
Secondly, it avoids the subjective cognition of landscape designers, and simulation objectively provides an auxiliary tool to help designers make However,decisions. design decision-makers are still people and the driving force of design is the subjective creativity of designers.
Garden,
Simulation enhances the systematic and analytical thinking mode of landscape design.
Oasis, Dec 2020 CHAPTER 3 _ SIMULATESubtitle _ Creativity _ Driving force of decision-making
Divergent Creativity, Deduction Process of Design Plan in Three Directions, Granton Walled Edinburgh, MLA 1 [SEM1] Project_Urban
[ Creativity _ Driving force of decision-making
In the archipelago studio, Cedros(Design Site) is a plain region with a high concentration of agricultural production. The isolated island environment and limited survival resources gave benefits to the agricultural culture of harmonious coexistence between colonists and nature(Morton and de Frias Martins, 2018).
After investigation, the dense river network and developed forest resources in the south of the settlement are the basis of agricultural development. Starting from the river flow, the source of life, the sequential drawings simulate the iteration of the ecosystem here and the development of the colonists.
CHAPTER 3 _ SIMULATESubtitle _ Simulation of
[ Water and color _ Simulation of culture and nature Site Condition Mapping, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb 2022 water Simulation culture
of
and nature
and color _
Conflicts Simulation Process Between Nature and Culture, Sequential Drawings, Water Medium,, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb 2022 CHAPTER 3 _ SIMULATESubtitle _ Simulation of water and color _ Simulation of culture and nature
Conflicts Simulation Between Nature and Culture, Water Medium, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb 2022 Possibility of integration Culture
CHAPTER 3 _ SIMULATESubtitle _
The abstract simulation of the natural and cultural elements of the site with color and free form to the real landscape provides an attempt direction for design process.
_
and nature
How can I realize the integration and transition between culture and nature?
Compared with Mcharg's geographic information layer stacking method, the plane uses real water and watercolor pigments as the medium for dynamic creation in the painting. The simulated process imitates the real water flow direction and allows colors to render from high altitude to the bottom cliff.
Based on the principle of following objective conditions, The main roles of sequential mapping are depicted according to GIS layers.
Through the contrast color of water and vegetation(blue as water, green as plants, orange as human settlement, red as culture spots), the development of colonial civilization and the conflict and integration with natural ecology are formed.
[ Possibility of integration _ Culture and nature
In which aspects can paintingbeused in the representation
2022 Chapter Ⅳ REPRESENTATION
Left: ‘Circle of Windmill’ Market Planting Plan Right: ‘Circle of Windmill’ Market Plan, The Azores, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb
Especially for design sites like the Azores, the ecosystems of each region and even each island are sensitive and closely linked. The artificial interventions on the landscape are likely to change the regional Althoughecosystem.landscape
Ecosystem Habitat and Food Chain Analysis, Queen Margaret University, Musselburgh, MLA 1 [SEM2] Project_OBSTACLES & CONNECTIONS, Individual
Secondly, the more thorough a designer's fieldwork analysis, the deeper he understands the particularity and complexity of the site. The acknowledgment of the site and its surrounding environment will promote designers to make more rigorous design decisions.
[ Intervention from nowhere _ Thinking transformation
_
from
booklet, Mar 2021 CHAPTER 4 _ REPRESENTATION
designers are not professional ecologists, their attention to ecological values will gain future ecological benefits over time, which is also why time scale is significant to landscape design.
Subtitle Intervention nowhere
After completing the fieldwork, the designer needs to gradually shift from the research to the design intervention stage. The transition of these two stages is often affected by resistance and Onemaladjustment.ofthereasons for the resistance is that the objective data need to be sorted out and analyzed in a variety of ways in the research stage, such as mapping, collage and modeling. Compared with design intervention, the tasks in the research stage are more systematic and analytical with less creativity.
_ Thinking transformation
Windmill Revival Strategy _ A Symbol without Function _ Resume Operation, The Azores, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb 2022
Windmill Revival Strategy _ Ruins by the Road _ Recover as Entrance Icon, The Azores, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb 2022
CHAPTER 4 _ REPRESENTATIONSubtitle _ Intervention from nowhere _ Thinking transformation
Designers can create design inspiration from multiple angles through brushes and pencils. Of course, the inspiration can be adjusted or refined through erasers.
Drawing support from the subjective initiative, painting is a creative process. Painting by hands can not only mobilize designers' creative inspiration but also help designers complete the transition from systematic fieldwork to creative design.
Compared with creating schemes directly on drawings, painting by hand is less likely to give designers apprehension.
Windmill Revival Strategy _ Ruins by the River _ As Hiking Break Points, The Azores, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb 2022 CHAPTER 4 _ REPRESENTATIONSubtitle _ Intervention from nowhere _ Thinking transformation
PÁTIO Horse & Lodge Traveler Center Plan A' A B B'
Plan, as the core display drawing, reflects the overall site relationship, including shape, size, layout, location and contour line and other
Unlike painting, electronic drawings and hand-painted drawings tend to pay attention to accurate proportions and data, such as appropriate scale relationships, road width, and accurate location of plants and structures. The freedom of painting is difficult to reach the accurate standard required by drawings, especially when drawings are used for rigorous construction. How can the form, color, deficiency and excess of painting be expressed on the design drawings?
[ Accuracy and Ambiguity
Inaspects.landscape design, the plan is often used to show the plant planting, hard pavement, drainage system and the position of the section line.
Like mapping, numerous pieces of information often overlay the layers together in the way of superposition, which increases the complexity of Assumingdrawings.that the location, scale, size and layout are consistent, the painting layer can be overlaid on the drawing by superposition.
PÁTIO Horse & Lodge Traveler Center Plan, Water Colour Painting Combine with Autocad Line Draft Plan, The Azores, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb 2022
CHAPTER 4 _ REPRESENTATIONSubtitle _ Accuracy and Ambiguity
Right: ‘Circle of Windmill’ Market Plan, Water Colour Painting Combine with Autocad Line Draft Plan, The Azores, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb 2022
CHAPTER 4 _ REPRESENTATIONSubtitle _ Accuracy and Ambiguity
The superposition of line draft layers is an effective means to improve the accuracy of drawings, which effectively indicates the site Paintingrelationships.hasgreat potential to enrich the expressiveness and tension of drawings, while line draft ensures accuracy and preciseness.
Compared with the plan composed of wireframe and color blocks, the plan superimposed with painting layers complements the changes and identity with the designer's own style, which is especially reflected in the performance of soft materials. Brush can not only create complex strokes to shape the texture and irregularity of plant canopy, but also distinguish landscape flowers and green plants through appropriate colors.
‘Circle of Windmill’ Market Plan C C'
Generally, the materials in landscape design will be divided into soft materials and hard materials.
CHAPTER 4 _ REPRESENTATIONSubtitle _ Living and inanimate
In landscape design, there is a complex relationship between color, life and materials, which can be expressed in the section drawing through painting.
[ Living and inanimate
Under: Tree Species Observation Painting, The Azores, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb 2022
Soft materials mostly refer to living materials, such as plants. Hard materials mostly refer to pavement, surface materials and underground Althoughstructures.the soil is a lifeless material, there are countless inseparable organisms in it, so the soil should be classified as a living material in the distinction between life and nonlife in the perspective of landscape design.
Vitality is usually associated with the purity of color in people's subjective feelings. Bright pure color often represents fresh life, while dim gray often represents no vitality.
Section B-B' _ Basalt Retaining Wall, Water Colour Painting Combine with Autocad Line Draft Section, The Azores, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb 2022
Can the advantages, information and expressiveness of construction drawings and design proposals be combined in the Section?
CHAPTER 4 _ REPRESENTATIONSubtitle _ Living and inanimate
Section drawings are often used to show the details of construction materials, especially hard materials, which are also inanimate.
Soft materials are often simplified by linear drafts in construction drawings to highlight the types, data, layout and structure of hard materials. However, in the design proposal, the section can be used to improve the expressiveness and show the design theme by enriching texture and pattern.
The main purpose of adding paint to the detailed design line draft is to enrich the amount of information that is difficult to achieve in the portfolio.
Subtitle _ Living and inanimate
Simultaneously, I believed that this method is also an interesting exploration and attempt to combine painting and digital drawing.
In the proposal, I painted most of the plant species suitable for site planting through observation painting. In terms of hard materials, with the help of AutoCAD, I drew the hard part according to the detailed design standard. The key clue linking these two materials is whether they are alive or not.
In the construction drawing, to show the vast area occupied by the soil and enhance the comparison between the soil layer and the hard material layer, the soil is often replaced by a compact filling pattern.
Section A-A' _ Stepped Courtyard, Water Colour Painting Combine with Autocad Line Draft Section, The Azores, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb 2022
CHAPTER 4 _ REPRESENTATION
When the colored and personalized hand-painted plants are integrated with the black-and-white and accurate hard paving line draft on the same section, the collection of data and display is achieved. The sharp contrast between pavement and plants in color and form even strengthens the information expressed in the section, that is, materials and relationships.
As an important life material in landscape design, soil often acts as a filler below the ground in the
Insection.thedetailed design, the soil separates the hard material from the roots of plants.
The soil is drawn in the profile as a living material, so that the boundary and position of hard material under the ground are relatively clear and identifiable.
Section C-C' _ Central Market Festival Time, Water Colour Painting Combine with Material Section, The Azores, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb 2022 CHAPTER 4 _ REPRESENTATIONSubtitle _ Living and inanimate
[ Conlusion
As an art, painting and design have never been separated. They are both innovative processes. They affect and promote each other. Because of my love for nature and travel, I record the landscapes I encounter during my journey through landscape painting. This is my original intention and the reason why I explore the connection between painting and landscape design. I firmly believe that painting can show us its unique perspective, which I have never considered before.
Identity, Water Colour Painting, The Azores, MLA 2 [SEM2] Project_A Tale of Cedars and Windmills, Feb 2022
Droste, M. 2019. Bauhaus, 1919-1933 New 2019 edition. Köln: Taschen. Kahn, A. and Burns, C. 2021. Site matters : strategies for uncertainty through planning and design 2nd edition. (A. Kahn & C. Burns, eds.). London New York. Langer, S.K. (Susanne K.K. 1953. Feeling and form : a theory of art developed from Philosophy in a new key. London: Routledge & K. Lewandowska,Paul. K. 2018. Culture, democracy and the right to make art: the British Community Arts Movement. Lind, M. 2013. Abstraction (M. Lind, ed.). London: Whitechapel Gallery. Lippard, L.R. 2004. Around the corner: A photo essay In: Site Matters: Design Concepts, Histories, and Strategies., pp.1–18. Massey, D.B. 1995. Spatial divisions of labour social structures and the geography of production Second edition. Basingstoke: Morton,Macmillan.B. and de Frias Martins, A.M. 2018. The azores [Online] Second Edi. Elsevier Ltd. Available from: https://doi.org/10.1016/ Wang,B978-0-12-805068-2.00025-5.X.2015.Anarchitecture towards Shanshui .pdf. , pp.14–30. Wang, X. and Jin, Q. 2018. Arcadia: A Contemporary Chinese Garden Experiment. Architectural Design. 88(6), pp.24–31.
Reference
Bakhtin, M.M. (Mikhail M. 1981. The dialogic imagination four essays (M. Holquist, ed.). Austin: University of Texas Press. Carlsson, M.K. 2017. Environmental design, systems thinking, and human agency: McHarg’s ecological method and Steinitz and Rogers’s interdisciplinary education experiment. Landscape Journal. 36(2), pp.37–52. Crummy, A. 2020. Craigmillar Festival, the Scottish Community Arts Movement of the 1970s and 1980s and its Impact: A View from Scotland. Culture, Democracy and the Right to Make Art. (October), p.83.
