Part_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 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.

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title

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planet_Zoe_orthographic_projection

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planet_Zoe_land_cover_Mercator_projection

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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

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negative_space_5-9_F

Earth_environment R.E.Meatyard,Light_on_Water

coal_mine

Akpatok_Island//NASA

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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:

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Earth_environment steam

wild_grass

Terkezi_Oasis//NASA

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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,

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Earth_environment Ansel_Adams,Water_and_Foam

Brian_H.Peterson,Word+Image

Ghadamis_River,Libya//NASA

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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

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Earth_environment muddy_ground

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Lake_Chad//NASA

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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

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Earth_environment black_marble

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Baffin_Bay,Greenland//NASA

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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

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Earth_environment fluffy_clouds

Pako_Quijada,Dark_Water

Kalahari_Desert,Namibia//NASA

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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

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Earth_environment Klea_McKenna,Rain_Studies

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icefall//NASA

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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