Landscape Architecture Portfolio by Keeley Mc Hale

LANDSCAPE ARCHITECTURE

PORTFOLIO Keeley Mc Hale

2020

CONTENTS

â&#x20AC;¢ -

Project_2.0 RESEARCH landscape element_VEGETATION planting philosophies ......................................................................... 2 Project_2.1 GROUP SITE ANALYSIS space typology_PRIVATE GARDEN ............................................................................................................ 6 Project_2.2 REFERENCE BOOKS AND IMAGES space typology_PRIVATE GARDEN............................................................................................................ 10 Project_2.3 DESIGN space typology_PRIVATE GARDEN............................................................................................................ 11 Project_3.1 SITE, SURVEY & ANALYSIS space typology_COMMUNAL CAMPUS SPACE.................................................................................... 16 Project_3.2 PRECEDENTS & ELEMENTS RESEARCH campus landscape precedents.................................................................................................................... 18 Project_3.3 CONECPT & MASTERPLAN campus landscape concept and masterplan............................................................................................. 24 Project_3.4 DETAILED DESIGN STAGE ucd campus outdoor lab.............................................................................................................................. 26 Project_3.5 FINAL PRESENTATION STAGE ucd campus outdoor lab.............................................................................................................................. 28 Student Competition_THE SANCTUARY MEDITATION GARDEN year 1 student competition: stage 1 and stage 2...................................................................................... 32 Design Principles_LINKING IDEA: WOLFE TONE SQUARE year 1 analysis & design principles and design........................................................................................ 36

James van Sweden and Wolfgang Oehme

RESEARCH

2.0

Planting Philosophies: BACKGROUND • Wolfgang Oehme was born May 18th , 1930, Chemuitz, Germany and died December 15, 2011, Toson, Maryland, United States.

Image 1.0

• James van Sweden was born February 5th, 1935, Grand Rapids,

Michigan, United States and died September 20, 2013,

Washington D.C, United States. • van Sweden was the son a building contractor in Michigan and was influenced by the construction industry where as Oehme lived in East Germany and started gardening at 5 years old. • Took a job in a nursery in East Germany • Landscape architect Hans-Joachim Bauer who introduced him to Karl Foerester and he encouraged him to persue his degree in Landscape Architecture • Heavily influenced by Karl Plomins use of ornamental grasses at the Planten un Blomen Gardens, Hamburg • Collaborated with his influencer Blomen in 1964. • James van Sweden and Wolfgang Oehme founded their firm in 1975 in Washington • Both designers were revolutionary in creating the ‘new American garden’

Image 1.1 Ornamental Grasses (JVS)

James Van Sweden

COMPARISON

Wolfgang Oehme

• Romantic naturalism • Naturalistic styles in urban landscapes • Philosophical inspiration: the building of the autobahn in the 1930’s and 40’s • Connecting the house and garden • Making sure a space has purpose

• Emphasis on perennial planting scheme • Inspired by co-worker Karl Foerster • Plants aren’t just for the weekend and holidays; they are for everyday life

2.0

LANDSCAPE DESIGNS 1. THE VOLLMER GARDEN • Example of foundation planting • Asymmetrical design

PHILOSOPHY • Artistic approach • Naturalistic • “Foundation planting” • Plants for everyday life

• Plants for privacy

• JVS: space and context

• Use of perennials

• WO: plants and associations • “Small garden spaces can be treated as outdoor extensions of the

Image 1.2 Artistic approach

house”-JVS

2. A MANHATTAN TERRACE • “cityscape” • Midtown Manhattan, New York • Privacy in the city • Use of plants to create layers • Amazing views of the city and the terrace

Image 1.4 Foundation Planting

Image 1.3 Naturalistic designs

Image 1.5 Encountering obstacles

Image 1.7 Terrace View Image 1.8 Cityscape

Image 1.6 Plan of The Vollmer Garden

Image 1.9 Plan

FAVOURITE PLANTS AND ASSOCIATIONS PERENNIALS

• Appreciate plants • Use of perennials

• Achillea Filipendulina ‘Parkers Variety’ (fern-leaf yarrow)

• Use of climbers (JVS)

• Artemisia Schmidtiana ‘Silver Mound’ (silvermound wormwood)

• Very natural style

• Bergenia Cordifolia (heartleaf Bergenia)

• Oehme’s emphasis on plants and space Image 2.0 Natural Style

2.0

• “That’s a weed, but its beautiful so it stays”-JVS,

GRASSES AND HEDGES • Calamagrostis Acutiflora Stricta (feather reed grass) • Achnatherum Brachytricha (silver spike grass) • Imperata Cylindrica ‘Red Baron’ (Japanese blood grass)

PERENNIALS • Zelkova Serrata ‘Greenvase’ (Japanese Zelkova) • Hex x ‘Nellie R.Stevens Holly) • Amelanchier Canadensis (shadblow) • Cornus Kousa (kousa dogwood) Image 2.1

Image 2.2 Perrenials Wolfgang Oehme

COLOURS THEORIES/PREFERENCES

• Philosophy is based on the use of colours • Use of similar colours Image 2.5 Reusable Material

• Old materials

Image 2.4 Different Texture Through Plants

• WO artistic approach • Plant palette • Colour and contrast • Textures through the use of plants

Image 2.3 Oehme’s Palette

2.0

WRITINGS James Van Sweden

FOLLOWERS/INFLUENCE ON

Wolfgang Oehme • Wolfgang Oehme • Planting genius of the two

• Asymmetry elements in his home

• Petra Pelz

• “We did the drawing, and Wolf-

• Came from reading the book ‘Bold Romantic Gar-

gang added the plants”-JVS

• Against the ADA

dens’

• Gardens are still as exciting to this

• “I hated the ADA”-JVS • Homeowners and accessibility

• Inspired by Oehme’s use of perennials and herba-

day

ceous grasses

• Disregard for authorities and proto-

• Calming effect they have on the landscape

cols just like his partner

• Oehme flew back to Germany to work with her

• His role, not with clients but with the planting scheme

BIBLIOGRAPHY BOOKS

• Leppert, S. 2009, Ornamental grasses: Wolfgang Oehme and the New American Garden, Frances Lincoln, London.

IMAGES

• Oehme, W., Van Sweden, J. & Rademacher, S. 1998, Bold romantic gardens: the new world landscapes of Oehme and Van Sweden, Rev. edn, Spacemaker Press, Wash-

• https://lalh.org/remembering-james-van-sweden/

ington, DC.

• https://gardendrum.com/2013/09/28/james-van-sweden-dies/

• Taylor, P. 2006, The Oxford companion to the garden, Oxford University Press, New York;Oxford;.

• https://laidbackgardener.blog/tag/do-climbing-plants-damage-walls/

• The garden book, 2000, Phaidon, London.

• https://www.signals.com/HX7936.html

• Kingsbury, N. & Browne, N. 2005, Gardens by design, Pavilion, London.

• https://recyclenation.com/2014/06/how-to-recycle-bricks/

• Plumptre, G. 1994, Great gardens, great designers, Ward Lock, London.

• https://my.chicagobotanic.org/horticulture/karl-foerster-the-plant-the-myth-the-legend/

• Wilson, A. 2002, Influential gardeners: the designers who shaped 20th-century gar-

• https://www.pinterest.ie/pin/812196114027692866/?lp=true

den style, Mitchell Beazley, London.

• https://www.bookdepository.com/Bold-Romantic-Gardens-Wolfgang-Oehme/9781888931105

WEBSITES

• https://washingtongardener.blogspot.com/2011/12/wolfgang-oehme-profile.html

• https://tclf.org/pioneer/wolfgang-oehme • https://stonehousenursery.com/plant/rudbeckia-fulgida-goldsturm/

• http://wocogardens.com/wolfgangoehme.html

• https://lalh.org/remembering-james-van-sweden/

GROUP SITE ANALYSIS

2.0 2.1

DUBLIN VS POTSDAM CLIMATE COMPARISON

POTSDAM CLIMATE

566

• Potsdam is the largest city in the state of Brandenburg, and directly borders Berlin to the southwest.

Rainfall Statis• Average rainfall in the region of Potsdam is high

• Potsdam has a temperate climate which means hot summer months, and cold winters.

at around 566mm.

• This is due to its location in the middle latitudes.

• The highest level of precipitation falls in june at 67mm. • The lowest level of precipitation is in February at

IMAGES OF POTSDAM

35mm. Map of Germany, Potsdam lies just southwest of Berlin Wind direction • Potsdam has a north westerly prevailing wind, which blows north from the Caucusus mountains of Russia. Vector map of Potsdam • The climate of Potsdam would be more similar to that of Dublin if it was futher North toward the north sea. • Due to its inland location it does not feel the cooling effect of the sea in the summer and hence its warming effect in the winter, Its temperature in winter is severly effected by an extremely cold wind chill. • The hottest month on average in Potsdam is July at 18.6 degrees celsius, whilst the coldest month on average is January at -0.6 degrees celsius.

DUBLIN CLIMATE

2.1

Dublin location within Ireland 80

• Dublin is Irelands capital city and is located on the countries east coastline. • Dublin has a temperate oceanic climate This means that it experiences cool

summers and mild winters. This is due to its coastal location and the influence of the Gulf stream. DIAGRAM OF GULF STREAM

767 Dublin Rainfall Statistics

Wind Direction • Dublins prevailing wind is south westerly

IMAGES OF DUBLIN CITY

Vector map of Dublin • The average yearly temperature in Dublin is 9.7 degrees celsius. • The warmest month of the year is July with an average of 15.3 degrees, whilst the coldest month of the year is Febrauary with temperatures averaging 5.1 degrees. • The sea surrounding Ireland prevents extremely hot summers as it is at its coldest during the summer months. As Dublin is coastal this effect is very noticeable. Alternatively in Winter the sea is at its warmest and so severe cold is prevented.

VEGETATION

PLAN AND SECTIONS THROUGH SITE

2.1

Site Location : Potsdam, Brandenburg, Germany. EXISTING TREES

Quercus robur ‘Oak’

Pinus sylvestris ‘Scots Pine’ B

Betula verrucosa ‘Silver Birch’

2.1

SECTIONS SECTION A:A

SECTION B:B

MODEL PHOTOS

REFERENCE BOOKS AND IMAGES

2.2

Site Location Potsdam, Brandenburg, Germany. Dieter Kienast. 1997, Kienast: Garten, Birkhauser, Basel.

ATMOSPHERE The main design will have an industrialist approach and have an eighties Berlin style, taking in the dull atmosphere of the building design but containing intense hues, with cold hard materials such as concrete and steel. The planting will consist of very dense herbaceous ground cover and retain alot of the existing trees.

MATERIALS

PLANTING

STYLE

2.3

PRIVATE GARDEN DESIGN

PROPOSED PLANTING FOR GARDEN

EXISTING TREES

Hydrangea anomaia

Perovskia atriplicifolia Calamagrostis x acutiflora

Quercus robur ‘Oak’

Rudebeckia fulgida Calamagrostis x acutiflora

Pinus sylvestris ‘Scots Pine’ Micanthus sinesis Euonymus sachalinensis*

Clematis paniculata*

Betula verrucosa ‘Silver Birch’

CONCEPT PLAN

PLAN WITH SECTION LINES B

2.3

SECTION A:A B

SECTION B:B

2.3

SKETCHES OF CONCEPT DESIGN

AUTOCAD CONTOUR MAP USED TO PRODUCE MODEL

3D GRAPHICAL EXPLORATION OF MODEL

2.3

DETAIL A

SECTION A:A

SOLIDWORKS Educational Product. For Instructional Use Only

DETAIL B

2.3

e Only

EXPLODED VIEWS

MODEL PHOTOS

SITE, SURVEY AND ANALYSIS UCD FIGURE GROUND

CONTROL OF SPACE KEY: Roads Footpaths

UCD LOCATION INDICATOR

3.1

Site Entry Points Bottlenecks

Site of Intervention

Carparks Woodlands

UCD In relation to Dublin City Centre UCD Site Boundary

SECTION A:A THROUGH UCD

3.1

UCD SITE ANALAYSIS A - By the use of material elements on the ground plane space is defined in a soft manner. While spaces which are created like this are common throughout UCDâ&#x20AC;&#x2122;s campus these spaces can have negative aspects. Examples of these aspects would be ease of access to more private areas, the creation of desire lines through planting or on lawns, lack of security within an area etc. The aspects which are possitive in a these spaces would be connection to areas, a sense of openness, access of visiability etc.

B - There are a lot of physical barriers around campus, from buildings and fences to hedging and bushes, giving physical boundaries throughout. These physical boundaries can either prevent access or even direct pedestrians and circulation throughout the UCD campus. This type of landscape control can be found throughout the campus.

C - UCD has a lot of spatial boundaries and defined spaces in campus. Human impact is the biggest influence throughout the campus but there are also woodlands and other areas which are not influenced by human activity. Gates and pathways allow access to and access through the spaces upon the campus.

PRECEDENTS & ELEMENTS RESEARCH GRANGEGORMAN LANDSCAPE PLAN

3.2

DESIGN PRINCIPALS

DESIGN CONCEPT 1) Consolodate DIT into One Campus 2) Relocate Existing Hse Facilities 3) Intergrate Grangegorman Into The City 4) Remember The History Of The Site NEW CAMPUS WALKWAY

DESIGN CONCEPT DIAGRAM

1) Two Hearts 2)Quadranes And Greens Fingers HA-HA CONCEPT SECTION

3)St.brendans Way And The Serpentine Link 4)Broadstone Gate – Kings Inn – Henrietta Street Link 5)Connecting To Smithfield And The North Circular Road 6)Ha-Ha Concept, Sport And Recreation And Utility Corridor

3.2

URBAN CONTEXT

3.2

HISTORICAL CONTEXT

The structures that remain have severed a number of institutions and were built over the last 200 years. Most famously st. Brendanâ&#x20AC;&#x2122;s mental institution. In 1760â&#x20AC;&#x2122;s the north circular road was laid, forming the northern boundary of the site. The site contains 11 structures which are listed in dublin city councils record of protected structures (rps), containing sections of boundary walls, gates and piers. It creates major challenges for master planning in terms of parameters such as: building height, open space, transport, density gradients and the extent to which the general public will have access to the streets, the buildings and the open spaces.

HISTORICAL CONCEPT MAP

HISTORICAL AERIAL PHOTOGRAPH

3.2

COLOURS AND MATERIALS KEY COLOURS

SUSTAINABLE URBAN DRAINAGE Mitchell + Associates, the leading landscape architects for this unique project contacted kilsarans specification manager, Dermot Cowler. The brief was to allow the public space to be enjoyed and used on a regular basis and help revitalize the local community. activities included such things as markets and funfairs, so the demands for the hard landscaping were to be very heavy. Grangegorman Authorities, contractor and landscape architect were all very keen on, a sustainable public realm that would remain intact for a long time. The hard landscaping area was in excess of 7000m2 and consisted of not only bespoke sizes but new colours also. These were required to complement the natural stone being incorporated into the design and also the existing building. Kilsarans newest permeable paving unit, clima-pave grangegorman 200x125x120mm was developed, in light ocher and dark ochre.

“Colours and materials play a significant role in creating a cohesive image for the urban quarter, while lending distinctive identities to various parts of the district. A harmonious palette of colours and materials is developed from the existing dublin context, the local climate, as well as the design guidelines established for the grangegorman development. The use of special accent colours and materials is reserved for areas of specific articulation such as important structures, gateways and entries.

KEY MATERIALS AND PRINCIPLES • Sustainablity • High Quality • High Performance • Healthy • Enviromntal Responsible • Carefully Processed • Flexible • Safe And Secure

The colours chosen by the architect were to help blend the fully sustainable and permeable landscaping solution, so it had the feel and look, of a hard landscaping solution that had always been there the complexity of the build didn’t stop there; they also require a paving flag that would be mortar jointed in tandem with the natural stone. Kilsaran`s in house technical team were able to not only help in the design of the new flag for its aesthetic and more importantly its strength properties but were also able to help with the streetscape material, the unique bedding compounds for the natural stone and new 400x250x120mm concrete flag in-situ. Finally the paving units were all factory pre-sealed with kilsaran k-seal to prevent airbourne dirt from adhering to the surface. This process reduces maintenance and cleaning time by up to 80 percent and is ideal for areas such as this with a very high level of foot traffic.

PLANTING AND VEGETATION

3.2 CULTURAL GARDENS

TREE PLANTING AREAS -Avenue/access- tilia cordata ‘greenspire’

More formal take onto space and looks, offering a green

-St.brendans way- carpinus betulus ‘frans fontaine’

connection between academic and health heart and the cul-

-Plazas/ squares- tilia cordata

tural heart of the grangegorman site. Overall it will provide

-Serpentine walk- malus ‘john downie’

history of the site and will featuire a range of spaces for con-

-Green fingers- prunus avium

templation, gathering and relaxing.

-Park- fraxinus excelsior, quercus robur/rubra, fagus sylvat-

Formal planting, series of hedges creating ‘green chambers’

ica

wioth informal seating and a calming water feature. It will

-Cultural gardens- carpinus betulus, ilex aquifolium, buxus

provide a respectful setting for the collection of historic build-

semperiverens

ings being preserved.

-Tree groves- magnolia x soulangeana, malus floribunda ST. BRENDANS WAY

-Courtyards hse- malus, crataegus monogyna -Courtyards dit- fraxinus omus, acer rubrum, ilex aquifolium

Is a wide, pedestrian-priority boulevard curving through the

-Entrances (outside of the site)- prunus avium ‘plena’

site from east two west with a link north to the north circular road. Its is the primary urban route through the quarter. Fea-

FIVE FINGERS

tures lots of public seating, paved and landscaped surfaces,

Offering rich pedestrian walks, the walkways that lead north-

mostly leans on hard rather than soft scaping.

south would be populated with native species, framed by

Shared surface where pedestrian and cyclist movement and

buildings edges intersected by the main internal circulation

access are the priority throughout. Re-use of material to be

routes for the quarter.

used in accordance to conservation and waste strategies,

They provide view corridors for the pedestrians as theyre able

seating areas to be provided, maintenance vehicles to be

to see the mountainside from afar, while it provides a sense

allowed with some partial space for other special vehicles

of micro-climate with the trees capturing dust and bringing

such as ambulances and taxis etc. ontrol points to be added

shade thus a cooling effect, they provide ecology for the

in various entry points such as gates barriers or retractable

birds as well with use of berry-bearing shrubs and bushes as

bollards.

well as permeable surface to allow with the suds planning.

3.2

TRANSPORT

EXISTING ROAD NETWORKS - Cabra road- high quality single carriageway road, generally east to west in direction in proximity to site, good quality footpaths on both sides of the n3, bus lane located too. -North circular road( r101)- 7.5km wide with 2m wide footpaths, very good condition. runs general southwest to northeast direction. will be known to be the key access route to the development plan. forms signalised junction with the n3 cabra road un the northeast and another junction at old cabra road/ prussia street to the southwest. PUBLIC TRANSPORT -Well connected by bus services and is surrounded by a number of existing quality bus corridors, eg. blanchqbc, lucan qbc, and ballymun qbc. -Existing luas red line running from tallaght to connolly has three stops. four courts smithfield and museum, all within 12-15 mins walking distance from grangegorman site. proposal for upgrades -Significant proposals planned in transport 21 that will improve site access. within local vicinity, metro north and luas line bx and d will directly improve services providing high capacity public transport links. -Metro north will connect swords to dublin city centre via dublin airport. -luas line bx will connect the two existing luas lines, providing enhanced penetration to the city centre.

COMMUNITY ENGAGEMENT

• Dublin City Council Branch Library • Primary School • Sports Pitches • Arts And Cultural Hearts • Public Transport • HSE Primary CarE • Playground

“THROUGH ITS CIVIC ENGAGEMENT ACTIVITIES TU DUBLIN: -Builds mutually beneficial partnerships with civil society, communities and other education sectors to create and exchange knowledge and develop pathways to learning -Provides transformative learning opportunities for a diverse range of students and widening participation in higher education -Impacts positively on irish society, through engagement programmes addressing key societal issues and co-creating knowledge for better policy and practice -Enhances the quality of tu dublin’s education experience, supports student development and prepares life and career-ready graduates”

3.3

CONCEPT AND MASTERPLAN FLOW

MAIN NEW TRAFFIC ROUTE THROUGH CAMPUS

ORIGINAL CONCEPT

SEPARATION BY WOODLAND

FOCAL POINT

SITE BOUNDARY

‘H’ SPINE

QUADS AND OPEN SPACES

3.3

PRECEDENT

CONCEPT MAP

KAREN BLIXENS PLADS LOCATION: COPENHAGEN, DENMARK For the concept design the tension discovered in the design of the buildngs is a parellel to the tension in the intial use of the space the â&#x20AC;&#x2DC;Hâ&#x20AC;&#x2122; spine. There is always tension and friction between both cyclists and pedestrians when both are tasked with sharing a pathway, the solution for this was to have a slightly elevated in places pathway for pedestrians and a sunken cycling way for cyclists alollowing both users to share the same axis but never converging allowing for smooth movement by both pedestrians and cyclists through the main spine of the new campus. The design for this concept was influenced by the Karen Blixens Plads as it clearly shows light and freedom for both users in its design.

DETAILED DESIGN STAGE FLOW

DETAILED PLAN OF LEARNING CORRIDOR

SECTION THROUGH OUTDOOR LEARNING SPACE

MATERIALS

3.4

Wood for Seating

Wood Deck

Soil for Planting

Grass

Concrete for Ground

Walls

Glass

Wood Frame

3.4

ORIGINAL CONCEPT

LEARNING CORRIDOR

REFERENCE IMAGES

VANCOUVER, CANADA

CONCEPT MAP Tension between the Buildings lead the ‘H’ spine to buckle and form a unique line of tension in the design. This tension and the pattern it creates is used as the base for the design of the learning corridor as it is directly translated into the main design of the learning garden. It was important for the main concept from the previous stage to have an impact on the overall design of the learning corridor as, coherence in design was important to create a more unified campus design.

LONDON, ENGLAND

FINAL PRESENTATION STAGE FLOW

UCD FIGURE GROUND

CONTROL OF SPACE KEY: Roads Footpaths

UCD LOCATION INDICATOR

3.5

Site Entry Points Bottlenecks

Site of Intervention

Carparks Woodlands

UCD In relation to Dublin City Centre UCD Site Boundary

SECTION A:A THROUGH UCD

3.5

STEVEN HOLLS CONCEPT MASTER PLAN

INITIAL CONCEPT

INITIAL CONCEPT MAP

MAIN NEW TRAFFIC ROUTE THROUGH CAMPUS

DETAILED DESIGN STAGE ORIGINAL CONCEPT

SEPARATION BY WOODLAND

‘H’ SPINE

LEARNING CORRIDOR

Tension between the Buildings lead the ‘H’ spine to buckle and form a unique corridoe in the design and allows the tension to be explored more in later design stages.

QUADS AND OPEN SPACES

Main focal point in the new UCD campus as 50% of the student body converge at this point everyday.

SECTION THROUGH PROPOSED CONCEPT PLAN

Section B:B

DETAILED PLAN OF OUTDOOR LEARNING SPACE ‘LEARNING CORRIDOR’

PRECEDENT

3.5

KAREN BLIXENS PLADS LOCATION: COPENHAGEN, DENMARK For the concept design the tension discovered in the design of the buildngs is a parellel to the tension in the intial use of the space the ‘H’ spine. There is always tension and friction between both cyclists and pedestrians when both are tasked with sharing a pathway, the solution for this was to have a slightly elevated in places pathway for pedestrians and a sunken cycling way for cyclists alollowing both users to share the same axis but never converging allowing for smooth movement by both pedestrians and cyclists through the main spine of the new campus. The design for this concept was influenced by the Karen Blixens Plads as it clearly shows light and freedom for both users in its design.

MATERIALS PLAN

VEGETATION PLAN

TREES

Wood for Seating

Glass

Quercus robur (Oak)

Prunus serrulata (Cherry Blossom)

Fagus sylvatica (Beech)

Glass

Outdoor Deck

Pinus sylvestris (Scots Pine)

Acer pseudoplatanus (Sycamore)

Betula pendula (Birch)

SHRUBS AND GRASSES

Concrete

Grass

Panicum virgatum (Red Hamamelis × intermedia (Jelena) switch grass)

FLOWERS

Walls

Agave attenuata (Ray of Light)

Wood Frame

Hyacinthus orientalis

Lavandula. L. augustifo- Rosmarinus officinalis lia (Lavender) (Rosemary)

3.5

PERSPECTIVE VIEW

SECTION THROUGH ‘LEARNING CORRIDOR’

Section C:C

For the detailed design stage, it was very important that the main concept from the earlier development stages were carried on and influenced the design of the Learning Space. Again the main concept of tension in design was used only this time instead of as segreagation of masses of people within one central link, this time it will hopefully intice people to take a jouney through the new proposed learning corridor and hopefully learn new interesting facts in the company of both those personal to them and aquintances.

SECTION THROUGH ‘LEARNING CORRIDOR’

Section Lines

C C

Perspective viewing angle

Section D:D

MASTERPLAN

student competition_The Sanctuary Meditation Garden

THE SANCTUARY MEDITATION GARDEN

Stage 1 - concept:

STAGE 1 : CONCEPT Concept Plan

Theme: Ensō Circle

THEME: ENS

CONCEPT PLAN

ō CIRCLE

Student Competition

Context plan

CONTEXT PLAN

Ensō is a Japanese word meaning ‘circle’ and a concept strongly associated with Zen. It symbolises absolute enlightentEnsō is a Japanese word meaning ‘circle’ and a concept strongly ment and infinity, it can also sometimes associated with Zen. It symbolises absolute enlightentment and insymbolise the Japanese aesthetic itself. finity, it can also sometimes symbolise the Japanese aesthetic itself. As an ‘expression of the moment’ it is ofAs an ‘expression of the moment’ it is often considered a form of ten considered a form of minimalist minimalist art. Ensō symbolises a moment when the mind isart. free to Ensō symbolises a moment when the mind is be simple. free to be simple.

PLANTING Planting SCHEME Scheme Birch and Trees Birch and Apple Apple Trees

Box BoxHedge Hedge

Flower Flower Bed Bed

Grass

MATERIALS BOARD Materials Board

Grass

Scale 1 : 2000

9 Student Competition

student competition_The Sanctuary Meditation Garden

Perspective Sketches PERSPECTIVE SKETCHES

Model Photos MODEL PHOTOS

Diagramatic Sections DIAGRAMATIC SECTIONS

Student Competition

student competition_The Sanctuary Meditation Garden

STAGE 2 : DETAILED DESIGN

Stage 2 - detailed design: CONCEPT PLAN

Plan with Section Axis

PLAN WITH SECTION LINE AXIS

Concept Plan

Perspective Sketches Perspective Sketches

Scale 1:200

Student Competition

Scale 1:200 Section A:A SectionElevation Elevation A:A

Scale 1:200

SectionElevation Elevation B:BB:B Section

Scale 1:200

student competition_The Sanctuary Meditation Garden

Student Competition

Rye Grass

PLANTING SCHEME

MATERIALS BOARD

Planting Scheme

Bay Tree

Downy Birch

Box Hedge

Materials Board

Mint

Basil

Olive Tree

Bark Chippings

Recycled Pallet Wood

Crushed Limestone

Scilla*

Purple Aster*

Red Fire Brick Purple Aster*

Purple Crocus*

Daffodil*

Purple Pansey*

All flowerbeds have the same flowers as marked with the*

Snow Drop*

Lavender

Rosemary

Concrete Cast Pressure Stepping Treated Pine Stone

student competition_The Sanctuary Meditation Garden

Sketch Up Model DrawingsPLAN

Plan PLAN

Plan

Student Competition

Drawings in Colour

Drawings in Black and White Drawings in Black and showing White Hidden Detail showing Hidden Detail

Drawings in Colour

Section Elevation B:B

Scale 1:200

Section Elevation A:A SectionElevation Elevation A:AA:A Section

SectionElevation Elevation A:AA:A Section

Section Elevation B:B

Scale 1:200

Section Elevation B:B

Scale 1:200

12.1 & Design12.2 Principles

12.1

LINKING IDEA: WOLFE TONE SQUARE design principles_LINKING IDEA_analysis & design principles_LINKING IDEA_design

connecting idea_analysis : Kurt Schwitters

ANALYSIS : KURT SCHWITTERS

-Repition of colour in the Artwork. -Repition of the Artwork. There’s a clear There’s a colour clearinbalance in the colour, balance in the colour, the paintproportionally theproportionally painting works as all the aslight colour’s ing works all the light colour’s balance balance outout the the dark colours. dark colours. -There tension among colours -There is is tension among somesome colours in the in the painting butting together, painting butting together, there is also tension in there is also tension in the periphery the periphery of the painting as of one the of thebands bands of the painting as one of white surrounding the painting is thicker than of white surrounding the painting is the rest. than the rest. thicker -The focal of the for painting for -The focal pointpoint of the painting me is the ring, me is the ring, the reason being it’s the reason being it’s the only shape not completthe ed. only shape not completed. -There is a possibly of the golden tri-There is a possibly of the golden triangle occurangle occuring in this artwork. (Lots ing in this artwork. (Lots that of diagonal lines that of diagonal lines flow through flow through this allowing painting allowing see this painting one toone seeto the the purposeofof the the position of all of elements in the purpose position all elements in the painting.) painting.)

Kurt Schwitters (1887 - 1948) Kurt Schwittersmit (1887grünem - 1948) Ring, 1926 Merzbild Merzbild mit grünem Ring, 1926 DARK Dark

TENSION Tension

LIGHT Light

LARGE Large PERIPHERY Periphery

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connecting idea_design : Wolfe Tone Sq

DESIGN: WOLFE TONE SQUARE

Plan

Planwith with Section Lines Plan Section Axis

FOCAL Focal POINT Point

Section A:A

Scale 1:500

Section A:A

PAINTING WITHOUT COLOUR Painting without Colour

Movement THROUGH through THE the MOVEMENT Painting PAINTING

Strong in the STRONG LINES Lines IN THE PAINTING Painting

Section A:A SectionElevation Elevation A:A

Scale 1:200

12.2

design principles_LINKING IDEA_a

Section B:B

Section Elevation B:B

Section B:B

Section Elevation B:B

Scale 1:200

Perspective Sketch

Photo of area from

Design Photo of area from which Perspective Principles which Perspective Sketch is Drawn Sketch is Drawn

Scale 1:200

Atmospheric Perspective

Site Photos Site Photoâ&#x20AC;&#x2122;s

Ariel View Sketch Arial View Sketch

& 12.2

design principles_LINKING IDEA_analysis & design principles_LINKING IDEA_design

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MATERIALS Materials

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Scale 1:1000

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