Based on the drawing of Zoe Zenghelis “Conceptual plan for Sixteen Villas on the Island of Antiparos, Greece”, 1983 R t ie Ee en e uv ur s e L ct er U te nd K i a // ch ll o Ar H t g r in Ba aw , r D ut ho k c
//designed by Natasha Kurmashova
Appendix 3
ATLAS of self-generated landscape
Based on the drawing of Zoe Zenghelis “Conceptual plan for Sixteen Villas on the Island of Antiparos,Greece”,1983
design studio “Drawing Architecture”,KU Leuven tutors: Riet Eeckhout, Bart Hollanders designed by Natasha Kurmashova 2018, Ghent
4_intro
Being a seemingly abstract geometrical composition, “Conceptual plan for Sixteen Villas on the Island of Antiparos,Greece” by Zoe Zenghelis is in fact a painting derived from a real architectural project. Yet, no matter how much more open to interpretation a drawing can be compared to an architectural plan, it is still not capable of overcoming the inherent shortcoming of any drawing – being static. A close examination of what is underneath the composition reveals a rich landscape formed by a brush. Arguably, a real-life landscape is not an immutable space. Landscape design approach thus should take into account the object’s tendency to further develop itself. As a matter of fact, the entire design strategy can be built on taking advantage of the object’s natural development. The role of the architect in that case is to arrange the environmental factors and apply the initial impulse, engaging the space in a perpetual dance without further guidance.
contents_5
page
title
6-7
planet_Zoe_orthographic_projection
8-11
physical_features_with_cross_section
12-13
planet_Zoe_land_cover_Mercator_projection
14-15
parcel_5-9_F
16-17
parcel_13-15_B
18-19
parcel_16_F
20-21
parcel_1_C-1_D
22-23
parcel_16_A
24-25
parcel_3_F-4_F
26-27
parcel_10-12_B
28-29
planet_Zoe_negative_space
30-31
hypothetical_mosaic_of_self-generated_landscape
6_planet_Zoe_orthographic_projection
7
8_physical_features
cros
s_se
cross_section
ctio
n
cross_section_9
c
cross_section
n
tio
sec
s_ ros
10_physical_features
cro
ss_
cross_section
sec
tio
n
cross_section_11
cross_section
cross_section
o
o
8
0
7
10 N
o
6
20 N
o
30 N
5
o
40 N
4
o
50 N
3
o
2
o
70 N
1
o
180 E
60 N
12_planet_Zoe_land_cover
A
o
120 E
B
o
60 E
C
0
o
D
o
60 W
E
o
120 W
1
2
3
4
5
6_length_units
o
o
7
0
6
10 N
o
o
5
20 N
4
30 N
o
o
3
40 N
2
50 N
1
o
o
o
180 W
60 N
70 N
F
8
16
o
70 S
15
o
60 S
14
o
50 S
13
o
12
40 S
o
11
30 S
o
20 S
10
10 S
9
o
Mercator_projection_13
o
180 E
A
o
120 E
B
o
60 E
C
0
o
D
o
60 W
E
o
120 W
o
o
o
14
70 S
13
60 S
o
o
12
50 S
11
40 S
10
o
9
30 S
o
20 S
o
10 S
F
15
16
180 W
14_parcel_5-9_F o
A
B
o
40 N
o
120 E
40 N
1
1
o
o
30 N
30 N
2
2
o
o
20 N
20 N
3
3
o
o
10 N
10 N
4
4
0
o
0
5
120 E
5
o
o
o
o
6 10 S
10 S 6
A
B
1
2
length_units
3
4
The formation of a programmed self-generated landscape is preceded by design inclusions based on thorough analysis of a site. To achieve the desired pattern, a set of interrelated natural phenomena has to be inherent in the site to give it a certain spacial quality. These natural
starting_point_for_generation_15
negative_space_5-9_F
Earth_environment R.E.Meatyard,Light_on_Water
coal_mine
Akpatok_Island//NASA
16_parcel_13-15_B C
o
o
120 E
B
60 E
A
1
1
o
o
50 S
50 S
2
2
o
o
60 S
60 S
3
o
60 E
o
120 E
3
A
B
1
2
length_units
3
C
4
processes form an everadvancing environmental progression. Regarding the original site as an already existing project gives an idea of its complexity and prevents frivolous design decisions. Therefore, there are three steps leading up to the selfgenerated landscape:
starting_point_for_generation_17
negative_space_13-15_B
Earth_environment steam
wild_grass
Terkezi_Oasis//NASA
18_parcel_16_F 2
o
120 W
1
A
o
120 W
A
1
1
2
length_units
3
2
4
site analysis, defragmentation of its environmental qualities and design intervention for reunification of all site’s parameters into one active system. The first step requires a long-term study of the area in order to identify the prevailing nature processes,
starting_point_for_generation_19
negative_space_16_F
Earth_environment Ansel_Adams,Water_and_Foam
Brian_H.Peterson,Word+Image
Ghadamis_River,Libya//NASA
20_parcel_1_C-1_D 2
0
o
1
A
0
o
A
2
1
1
2
length_units
3
4
their character, power and relationship with surrounding environment and artificial elements. Then the collected data and spacial impressions should be synthesized and divided into separate. This insight will bring a designer to the next step. With an understanding of
starting_point_for_generation_21
negative_space_1_C-1_D
Earth_environment muddy_ground
dry_trunks
Lake_Chad//NASA
22_parcel_16_A 2
o
120 E
1
A
o
120 E
A
2
1
1
2
length_units
3
4
the site’s internal logic it is possible to guide the natural processes into the course of the project by introducing artificial elements. All design solutions influence the locality, but a gentle incorporation with the existing landscape makes artificial interventions minimal and
starting_point_for_generation_23
negative_space_16_A
Earth_environment black_marble
meteor_shower
Baffin_Bay,Greenland//NASA
24_parcel_3_F-4_F B
o
120 W
A
1
1
o
o
50 N
50 N
2
2
o
o
40 N
40 N
3
o
120 W
3
A
1
2
B
length_units
3
4
more efficient. Reading brush strokes of Zoe’s planet as a conventional land cover map from geographical atlas might give an insight into an unknown nature of a site. Making a negative of the original drawing leads to constructing a parallel to the Earth’s environment. This way the
starting_point_for_generation_25
negative_space_3_F-4_F
Earth_environment fluffy_clouds
Pako_Quijada,Dark_Water
Kalahari_Desert,Namibia//NASA
26_parcel_10-12_B A
1
1 o
o
20 S
20 S
2
2
o
o
30 S
30 S
3
3
A
1
2
length_units
3
4
prevailing topography and natural processes might be sorted out and combined together again in a new articulated matrix where brush landscape is translated to the Earth grammar. Â
starting_point_for_generation_27
negative_space_10-12_B
Earth_environment Klea_McKenna,Rain_Studies
moon_reflection_in_the_water
icefall//NASA
28_planet_Zoe
1
2
3
4
5
6_length_units
negative_space_29
o
o
8
0
7
10 N
o
6
20 N
o
30 N
5
o
40 N
4
o
50 N
3
o
2
o
70 N
1
o
180 E
60 N
30_landscape_generation
A
o
120 E
B
o
60 E
C
0
o
D
o
60 W
E
o
120 W
1
2
3
4
5
6_length_units
o
o
7
0
6
10 N
o
o
5
20 N
4
30 N
o
o
3
40 N
2
50 N
1
o
o
o
180 W
60 N
70 N
F
8
16
o
70 S
15
o
60 S
14
o
50 S
13
o
12
40 S
o
11
30 S
o
20 S
10
10 S
9
o
hypothetical_mosaic_31
o
180 E
A
o
120 E
B
o
60 E
C
0
o
D
o
60 W
E
o
120 W
o
o
o
14
70 S
13
60 S
o
o
12
50 S
11
40 S
10
o
9
30 S
o
20 S
o
10 S
F
15
16
180 W
for_an_example_of_self_generated_landscape_see_appendix_4
// Thus every work of landscape architecture, whatever its scale, ought first of all to be responsive to the whole range of interactive systems —soils and geology, climate and hydrology, vegetation and wildlife, and the human community — that will come into play on a given site and will be affected by its design. In the measure that the forms of the designed landscape artfully express and celebrate that responsiveness, their beauty will be discovered.
Catherine Howett, “Systems, Signs, Sensibilities: Sources for a New Landscape Aesthetic”
Atlas of self-generated landscape designed by Natasha Kurmashova special thanks to Maxim Zaev