Visual Perceptions - A Rural Landscape.
ASBN26
Landscape Architecture & Gardens Jasmina McKenna Spring/2018
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Table of Contents. Introduction 1. Spatial Landscape Elements 1.1 Landscape Minimalism 1.2 Interacting Layers 1.3 Focal Points and Contours 2. Textures 3. Colour Variations and the Sky 4. Seasonality Conclusions
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Visual Perception.
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[ . . . ] There is ... a basic issue that is only very seldomly discussed: What do we mean by “visual experience”? Very often the problem of vision is oversimplified, and to “see” a scene is identified with the task of computing a verbal description of it. This problem is difficult enough, but it is important to recognize that there is much more in visual perception than assigning verbal labels to “objects”. Marroquin, J.L. (1976). Human Visual Perception of Structure. Master’s thesis, MIT.
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Introduction to the Site. This text talks about a rural landscape and its frequently understated aesthetic values and its beneficial qualities for mental health. While the essay explores a specific stretch of landscape - the open agricultural fields between Furulund and Lund - the points raised might also apply to other locations. Furthermore, the discussion topics might serve as framework for the analysis of other environments with natural elements, that are under heavy anthropological influence and still create a calming effect within some of us. Although the rural landscape is not a natural environment, it still stands in stark contrast with the urban scape of nearby cities. For daily commuters, like me, this contrast helps me set my mind to the activity at the upcoming destination - may it be study, work or leisure. Favorably, I experience the transition between the different spheres on my bike. In this way I travel in a slower pace, which allows me to notice the many details that enrich my ride through all senses. In this text however, I mainly focus on the visual experience of the landscape.
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Entering the Rural Landscape. The aim of this text is to analyse and describe my visual perception of a familiar landscape. The chosen site is the agricultural land that I pass through on frequent bike rides to my university in the city of Lund. The journey starts in Furulund, a village located in about 12 km distance from Lund. Furulund itself does not have a train station so that most people either travel by car or by bus or use the train station in closeby Kävlinge, the neighbouring commune. I however, prefer to travel by bike whenever the weather allows me to. It liberates me, not only by giving me a chance to be physically active in an otherwise sedentary daily routine, but also by offering me space for thought. And so my journey begins. The people of Furulund mostly live in detached family houses with generous gardens, and park 1 to 2 cars under the shelter beside their well-groomed front yards. Some of the houses are built in the traditional manner of old farm properties: several timber houses of different sizes are grouped together in odd angles to each other; apple trees grow in their gardens. In the early winter mornings smoke escapes from their chimneys and in me a warm feeling arises - triggered by the idea of a cozy inside. Not every house on the street has this homy flair about itself, but somehow, there is a certain curiosity that makes me peek inside the large windows. Maybe, I am fascinated by how ordinary it seems to expose one's private life to the public street in such a manner. Giving more thought to it, I come to the conclusion that a community must profit from such openness: the boundaries between public and private become blurred by allowing others to, to some extent, take part in what is going on behind closed doors. The visual connection creates a mental bridge. If I am lucky, the sun peeks over the crowns of the local woods I travel through, promising me an energizing ride as sunrays warm my face. I then pass the main road, the rails and the village’s community facilities. Entering Lakkalänga, I pass an old white church and gravestones resting underneath the canopy of an old tree. Then I enter the landscape I want to make this essay about: the open agricultural fields between Furulund and Lund. Why do I want to talk about them? It is the calming impact of the commute that motivates me. In the following, I explore how flowing physical movement and the visual components of this particular landscape cause my mind to settle and my mood to balance. 3 / 27
1. Spatial Landscape Elements Firstly, I would like to analyse the landscape scene the way I visually perceive it. This means looking at the different elements in the panorama that unfolds in front of me when I leave the rural village behind me. The following points seem relevant: physical components; non-physical negative spaces as well as the interrelation between the physical and the non-phyisical; interacting layers; vanishing points and horizons; textures and colours.
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Landscape Minimalism.
Interacting Layers.
Focal Points and Contours.
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1.1 Landscape Minimalism
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1.1 Landscape Minimalism
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[ . . . ] And as with minimal art, minimalist landscape is not necessarily or essentially reductivist, although these works often do have minimum components and a directness that implies simplicity.
Walker, P. (1997). Minimalist Landscape. In: S. Swaffield, ed., Theory in Landscape Architecture: A Reader, 1st ed. Philadelphia, University of Pennsylvania Press: pp. 87-88.
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Landscape Minimalism - as Sculptural Artform
Minimal Components. Academics such as Peter Walker describe Landscape Minimalism as an artform that uses open landscape as frame for a designed element, which presents the core of the artwork. In this sense the landscape may be compared to a passepartout because it amplifies the effect of the designed object/s placed within it: The open landscape creates a negative space with little disruptions drawing the viewer’s attention directly to the designed element. The integration of a minimal amount of components may enforce this effect.
The Designed Element and the “Natural”. Even though the sculpture presents the core of the artwork, the surrounding landscape is just as important: the designed element is consciously placed and thoughtfully embedded in its surroundings and cannot stand by itself. In this interdependency the environment and the sculpture spatially communicate with each other. Negative space, physical bodies and scale create a new whole and are integral parts of the composition. Moreover, artists of Landscape Minimalism, such as Donald Judd, work with the dichotomy of the “natural” and the “man-made”, often playing with contrasting materials (e.g. slick concrete vs. fields of fuzzy grasses) and shapes (e.g. sharp edges vs. soft, organic forms of vegetation).
Movement and Changing Scale. The physical experience of a minimalist landscape artwork augments the effect of scale. Moving through the site, the observer experiences new perspectives and a constant recompositioning of the artwork. The experience might alter significantly as the viewer suddenly becomes a part of the landscape. Depending on her/his location within it, the spatial relation to the designed objects might cause feelings of comfort or discomfort, control and empowerment or inferiority and a loss of orientation. Unexpected views and elements of surprise entice the viewer to further explore the site. Although some effects cannot be entirely planned for in advance, the artist creates the artwork with such intentions. 9 / 27
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[ . . . ] If you really want to achieve a dialogue between plants and space, it's vital to bear in mind that the plant is a living thing. It needs simplicity of space. Weilacher, U. (1999). Between Landscape Architecture and Land Art. Basel: Birkhäuser.
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Landscape Minimalism - a Rural Landscape
Spatial Elements of Rural Landscapes. The chosen site is a patchwork of productive fields. Prominent elements of the landscape are: the open fields, the obvious seams they create between each other, the road I travel on and clusters of either vegetation or rural housing with groups of plantings. Here, every element is man-made and “designed� and mostly serves functionality rather than aesthetics. The strict zoning of land in accordance with property boundaries and its productive use do not allow much freedom for design.
Interdependency of Elements in a Highly Designed Space. In a rural landscape, every element serves a purpose: open land is for growing produce, roads for guiding traffic and clusters of greenery to break wind and to mark borders. The placement of elements mostly follows practical reasoning. In comparison to landscape minimalist art, where a man-made sculpture is placed within a relatively natural context, agricultural land consists of designed elements only. Although the contrast between man-made and "natural" is not applicable to this environment, the contrasts between textures and shapes, volumes and negative space remain greatly significant. Exemplarily, clusters of trees present organic, vertical volumes and create a stark contrast to the intensely worked, flat fields that seem to have lost all "naturalness" in its productive obedience.
Combination and Identity. As I continue on, I notice a straight line of pollarded willows planted in regular distances to each other along the bike path. As an exception, the design of this stretch is of aesthetic rather than of functional nature and carries a symbolic meaning for some: The specific combination of elements creates a scene that many might define as typically Scanian landscape, showing that very few elements can create a strong identity of place. The composition is easily (and cheaply) replicable and therefore is a simple tool for creating a recognizable landscape character through repetition. 11 / 27
1.2 Interacting Layers
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1.2 Interacting Layers
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[ . . . ] Visual grouping can be interpreted as segmentation, the division, by the visual system, of a scene into possibly meaningful parts, as an early step in the analysis of a visual scene.
van Tonder, G.J. & Lyons, M.J. (2005). Visual Perception in Japanese Rock Garden Design. Axiomathes. 15(3): 353-371.
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Interacting Layers - Horizontal
Foreground. Riding closely past the row of willow trees gives me a sense of speed and progression. In contrast, elements in the distance pass my field of vision rather slowly, which - by itself - decreases perceived velocity. As I have limited time to get to university, the sense of moving forward is crucial. It gives me confidence that I will get to class in time.
Middleground. Elements in the middleground act as milestones to me. I anchor my eyes onto the next group of vegetation, the upcoming cluster of farm housing or the monumental tree at the closest intersection. This is a way of dividing my journey into more assessable segments that allow me to understand distances better. My mind maps out these landmarks as a way of remembering the route more easily.
Background. Naturally, the background is the least dynamic layer with distant elements passing slowly through my field of vision. There is a lack of detail and therefore little textural complication. In contrast to more built up areas, the placement of built structures within the landscape is more obvious in the open fields. I recognize a pattern that rationalises the location of settlements. It appears that most are found either on top or at the foot of slopes flanking a stretch of vegetation - "beautifully laying in the landscape" - as S. Andersson (2002) would describe it as. According to him, this perception of beauty has been greatly influenced by classical landscape paintings: In the background, built structures were typically positioned centrally, at the edge of, on top of or at the foot of "natural" landscape features, thereby melting into the surroundings. Although most of Scania's agricultural land is rather flat and groupings of farm houses inevitably stand out, there is a certain harmony in their relation to landform just by cohereing to these simple rules. The features of the rolling landscape create a pleasant and non-distractive backdrop. 15 / 27
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[ . . . ] In correlation, though minimalist landscape exists in the larger context of the environments, and though it may employ strategies of interruption and interaction, one can see beyond the designed “objects” to the larger landscape, the focus is still on the designed landscape itself, its own energy and space. Scale, both in the context and internally experienced, remains primarily important. Walker, P. (1997). Minimalist Landscape. In: S. Swaffield, ed., Theory in Landscape Architecture: A Reader, 1st ed. Philadelphia, University of Pennsylvania Press: pp. 87-88.
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Interacting Layers - Vertical
Celestrial Sphere and Terrestrial Surface. I realize how much the sky can influence my mood and conclude that its impact is stronger when the horizon is open and its visual presence more extensive. A clear sky is liberating and uplifting, while a dark grey sky urges me, reminding myself of my shelterless exposure on the open plane. Though sometimes, I like the feeling of being stripped off control: I will have to continue my ride whatever the weather turns into. Soothing Openness
Space for Thought. The vastness of the sky and the little interruption in the horizon create a vacant space that I can fill with thoughts and reflections of the day. My mind is not distracted by fast moving images, bright colours, sharpe edges and groups of people. The space is not only physically vacant but also presents an empty time slot set aside for my journey. However busy my day may be, this time is saved for my ride, which employs my body - but not my mind. My thoughts can wander where ever they want or need to.
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1.3 Focal Points and Contours
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1.3 Focal Points and Contours
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Focal Points, Lines and Horizons - Guiding Directions
Vanishing Points. The views on my journey are characterized by long lines radiating away from me. On many stretches the roads, paths, furrows and rows of trees are found to be organised in a linear, symmetrical manner. They end in vanishing points on the horizon prescibing direction of travel and guiding line of vision. Vanishing points connect fore-, middle- and background as they draw my attention to the different layers and the objects they carry.
Topography and Contours. Lines follow the topography of the land. The contours they create give definition to the form of the landscape making slopes more visible to the eye of the observer. The effect of the "rolling landscape" is being enhanced by the lines that follow along its shape. The fields lie open: Crops grow in constant heights and thereby do not hide the land's profile; the absense of widespread dense vegetation or extensive built structures do not alter the ground. As I am moving through it and with me my viewpoint - the low hillsides glide apart and into each other in a seemingly flowing motion. The movement is smooth and relaxing and has an even greater effect when travelling at a higher speed by train.
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2. Textures and Contrasts The elements within a rural landscape oppose each other through a variety of contrasts, thereby adding drama to the scene. The main contrasts consist in coarse and mottled textures in the foreground versus smooth surfaces and blurred textures in the background. In the distance, volumetric elements break up the flat fields in a repetitive manner in different distances and scales. Although a comparison with a Japanese stone garden might seem farfetched for some, I would like to point out certain parallels. The use of self-similar elements within the Japanese stone garden allows for predictability and therefore comforts the mind. Mansfield (2009) states:
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Natural patterns are often self-similar, the outcome of repeated application of the same organizing principle at multiple spatial scales.
In the rural landscape groups of vegetation appear in similar patterns and bring forward comparable aesthetic qualities such as tranquility, simplicity and naturalness. In a highly designed agricultural environment a contrast between manicured and wild seems non-applicable. However, while groups of trees reappear in similar shapes at varying distances, the trees themselves are organically irregular and add to the site a more "natural" feel. Mansfield conveys a comparable idea in the context of the Japanese stone garden:
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Although similar shapes reappear over multiple scales, the shapes themselves are irregular, preserving the asymmetrical, natural appearance of the overall design.
Mansfield, M. (2009). Japanese stone gardens: Origins, meaning, form. Foreword by D. Richie. Tokyo: Tuttle Publishing.
Another considerable distinction exists within hard and soft surfaces. Roads and bicycle paths made of hard asphalt determine vehicular and pedestrian movement and direction, whereas fields of soft, organic materiality stay widely inaccessible (except for machines working the land in certain seasons). Thus, the seam between hard and soft presents a visual boundary and creates a mental barrier between public and private spheres. Although no physical obstacle is present, this barrier is just as efficient. 22 / 27
Flat and Volumetric.
Manicured and “Wild”.
Hard and Soft.
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3. Colour Variations and the Sky On usual days, I travel to university in the morning hours and back home in the early evening. In most seasons, these times are blessed with the nicest light due to the low angle of the sun. Then, the sky transitions from bright to dark or vice versa and - if it is a sunny day - it presents itself in a soft gradient of pastel colours. As the openness of the fields allows me to see far into the distance, I can speculate about the coming weather by analysing the clouds. The soft tonal variations tell me when to expect rain - and if I am going to make it home in dry clothes.
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Colour Transitions.
Soft Variations.
Feelings & Atmosphere.
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4. Seasonality
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Lands of change.
Unexpected Diversity.
Kinship & Connectedness.
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Seasonality
The Obedient Land. In the endless cycle of changing seasons the land loyally serves the farmer and complies to his rules. Only the winter allows the planes to rest - then, vegetational growth is arrested and does not intervene with the line of production. The land will not rise up against the rulership of man, only the weather can influence his profits from it. While travelling through this landscape, I am reminded of this unreserved exploitation. The fields lie perfectly groomed in front of me, patiently awaiting their next task. I wonder, how long the earth will tolerate man's illusory superiority. I wonder, why little efforts are made to change our harmful intrusion into these delicate natural systems, when it is commonly understood that - in the end - we will not be able to withstand nature's forces. For now, we keep extracting and profiting from the fertile soils to be able to stay competitive in a system that is far removed from our - and our planet's - intrinsic needs.
Pioneers & Volunteers. In spring and in summer time my views are more optimistic. I am delighted to find flowers and grasses popping up here and there in and at the fringe of fields of swaying wheat stalks. Vallmo and BlĂĽklint - Poppy and Cornflower - poke their red and violet heads out in between the pale beige crops and create a beautiful contrast. There are also pioneer plants that demand less attention. Some may be invasive, others might positively contribute to the biodiversity of an otherwise mono-cultivated field. They do not only add dabs of colour, but also suggest that nature will never allow us to suppress it completely. It is a gentle reminder of who really is in control here.
Earthbound. Whatever sentiments I might have, I realise the value of this landscape being so present in people's daily life and hope that one or the other commuter shares my thoughts. Seeing the crops grow and harvested makes me more aware of where our foods come from and what it means to work the land to such an extent. Maybe, it helps us to better appreciate the fruits of the earth. 29 / 27
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Arriving with Conclusions. After this rich visual experience, I finally arrive at the outskirts of Lund. The street scape becomes more urbanised, more and more distractions enter my field of vision, buildings disrupt the straight line of the horizon. As I continue pedalling, I become more aware of the tasks and duties of the day. While my focus is now also directed at traffic and I am somehow more alert to my surroundings, my mind still turns inwards as if I want to shelter myself from external influences. The last uphill stretch is physically more demanding, which adds to my general tensioning. It is not an uncomfortable tenseness, just the physical reaction to entering a different environment - an environment that I automatically affiliate with my occupation as student and the work involved. I believe, that the bike ride through the fields allows me to let my mind wander freely. Most days, I consider myself lucky to have the space for thought that is required to balance my moods and settle my reflections of the busy daily life. It is a way of combining a "task of necessity" (getting to university) with time for myself. In a world where time has to be managed efficiently, I would probably not reach the same quality in depth of reflection and thought. As the world is flocking to the cities, the threat of loosing connection to the surrounding lands becomes more prevalent. Production chains are less transparent, the commitment to local goods seemingly less relevant, and the valuation of "the natural" more distorted. Although I do not think that urban planning that necessitates commuting is to be strived for, I do believe in the positive mental effects of travelling through the open landscape on a daily basis. If urban sprawl and densification is unavoidable, there is an urgent need to incorporate quality landscape elements and green open spaces into the city fabric to enable us to re-engage with the land and to be reminded of our dependency on it.
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Sources: Andersson, S. (2002). Building and Landscape: Scattered Thoughts about lying beautifully in the landscape. Copenhagen: The Royal Danish Academy School of Architecture, pp.52. Mansfield, M. (2009). Japanese stone gardens: Origins, meaning, form. Foreword by D. Richie. Tokyo: Tuttle Publishing. Marroquin, J.L. (1976). Human Visual Perception of Structure. Master’s thesis, MIT. van Tonder, G.J. & Lyons, M.J. (2005). Visual Perception in Japanese Rock Garden Design. Axiomathes. 15(3): 353-371. Available at: https://doi.org/10.1007/s10516-004-5448-8 [Accessed: 19/03/2018] Walker, P. (1997). Minimalist Landscape. In: S. Swaffield, ed., Theory in Landscape Architecture: A Reader, 1st ed. Philadelphia: University of Pennsylvania Press, pp. 87-88. Weilacher, U. (1999). Between Landscape Architecture and Land Art. Basel: Birkhäuser.
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