Shaping Perception: The Role of Narratives in Landscape Architecture

SHAPING PERCEPTION

THE ROLE OF NARRATIVES IN LANDSCAPE ARCHITECTURE

'Design always presents itself as serving the human but its real ambition is to redesign the human. The history of design is therefore a history of evolving conceptions of the human. To talk about design is to talk about the state of our species.'

Beatriz Colomina, Mark Wigley, 2016

CONTENTS

SUMMARY

1. INTRODUCTION

2. FROM TEXT TO TERRAIN

3. BUILDING THE FOUNDATION

4. DELVING INTO LANDSCAPE NARRATIVES

5. BUILDING WITH STORIES SYMBOLIC REPRESENTATION SENSE OF BELONGING

6. CONCLUSION

NOTES

LIST OF SOURCES

SUMMARY

Landscapes are not just physical spaces but powerful canvases that represent cultures’ histories, values, and beliefs. Landscape narratives are crucial in landscape design, integrating and expressing stories and meanings. They help us understand our role in the environment and our cultural, historical, and social influences. We argue that designed landscapes, by their symbolic representation significantly impact our perceptions and experiences. We also argue that landscape narratives help in promoting a sense of belonging and identity through the stories embedded in landscapes. The essay concludes by underscoring the significance of creative landscape design, in providing meaningful experiences, which shape human perspectives. (100 words)

For generations, landscapes have fascinated us with their stunning splendour. Rolling hills, towering mountains, and tranquil coasts evoke awe and wonder. However, under the surface is a richer layer: a tapestry made from the threads of history, culture, and personal experiences. Landscapes are transformed into 'cultural phenomenon[s]' by these tales, according to Carl Sauer, a famous landscape geography specialist.1 Landscape architecture discovers a tremendous instrument in this domain of narratives for influencing not only the beauty of a place, but also the fundamental core of how we relate with it.

Exploring the transforming power of tales in landscape architecture. By delving into the works of significant figures in the field, we will learn how landscape architects can become storytellers, creating spaces that connect with the past, present, and future.In his book 'The Good and the Beautiful in Landscape Architecture,' Grant Jones highlights the importance of storytelling in creating emotional relationships with landscapes.2 He asserts that narratives 'have the power to move us and make us care about places.' Consider a public park created not only for recreation, but also to illustrate the story of a local indigenous community’s historical relationship to the land. The landscape architect might instill respect and awareness for this cultural legacy through intelligent design components, resulting in a deeper appreciation for the space.

INTRODUCTION

Mitchell’s 'The Landscape of Memory' provides additional insights. Mitchell emphasises the necessity of discovering the hidden narratives contained in a landscape.3 Understanding these stories allows landscape architects to create landscapes that are more resonant and connected to their environment. The National September 11th Memorial and Museum in New York City serves as a compelling example. The design, inspired by the story of loss and remembrance, includes elements such as Twin Tower footprints and a flowing waterfall, creating a space for reflection and connection. This demonstrates how landscape architects may unearth and incorporate narratives into their designs, establishing a feeling of shared memory and eliciting powerful emotional responses.

This study examines the many opinions on the use of narratives in landscape architecture. This article will go more deeply into how these narratives are woven into the fabric of landscapes, generating a sense of connection, emotional resonance, and environmental stewardship.

FROM TEXT TO TERRAIN

We traverse landscapes not solely physically, but also emotionally and intellectually, becoming immersed in narratives weaved from design decisions, historical echoes, and cultural importance. Landscapes have the capacity to impact how we view and interact with the world around us, from the expansive vistas of national parks that inspire awe to the meticulously managed courtyards of urban sanctuaries that whisper stories of tranquilly.

READING THE LANDSCAPES:

A ARCHAEOLOGICAL APPROACH TO LANDSCAPE NARRATIVES

In 'Are We Human?' Colomina and Wigley talk about how design shapes and reflects human identities.4 Similarly, landscapes, through their tales and representations, influence communal and individual identities. These tales may be incorporated in physical landscape elements such as landmarks, monuments, or cultural heritage sites, or they may be shared through oral traditions, literature, art, and media representations. The book investigates the temporal dimensions of design, namely how architecture and design change over time.5 'Are We Human?' looks at agency and power relations in design.6 The book emphasises the importance of design in promoting meaning-making and interpretation.7 The book explores environmental ethics and stewardship in design. The evidence of human life is seen in precarious movements of refugees, the collapse of biodiversity, the global flows of information and resources.8

DESIGNING WITH STORIES:

SHAPING PERCEPTION THROUGH LANDSCAPE NARRATIVES

Narratives are more than just aesthetic flourishes in landscape architecture; they are crucial to its very core. Landscape architects, like excellent storytellers, create narratives via the use of space, plant choices, and mate-

rials. This viewpoint is consistent with the views offered in 'Are We Human: Notes on an Archaeology of the Human' by Beatriz Colomina and Mark Wigley.9 According to Colomina and Wigley, architecture is an active factor in influencing human experience, rather than a neutral background. Similarly, landscapes drive our movement, elicit emotions, and produce long-lasting memories.10 Beyond their fundamental role in moulding perception, narratives provide an important means for landscape architects to accomplish specific design objectives. A landscape architect may develop a feeling of place, elicit feelings, and encourage certain types of interaction by carefully designing a story.11 Stephen Kaplan’s research on the notion of 'preference' in landscapes demonstrates how tales interlaced with natural features may elicit sentiments of tranquilly, healing, and sense of place.12 This is consistent with the concept that landscapes might serve as healing spaces, increasing well-being.13

Fig.01 There is hardly any dimension of the natural world that has not been affected by human activity.

‘The vey fact that place is such a crucial site of contestation points towards its fundamental role in human life - the fact that we are placed beings.’

Tim Cresswell, 2004.

BUILDING THE FOUNDATION

We examined the importance of narratives in creating our experience of landscapes, drawing on fundamental concepts from leading experts in landscape architecture and related subjects. In his seminal work 'Place: An Introduction,' Tim Cresswell emphasises the significance of place as a concept that goes beyond simple geography. 14He contends that locations acquire meaning via individual and communal experiences, emphasising the role of social, cultural, and historical narratives in moulding our perception of a location.15 Similarly, in his work 'Landscape and Memory,' landscape historian Simon Schama emphasises the significance of memory in landscape construction and interpretation.16 According to Schama, landscapes are active actors in constructing our memories and identities, rather than passive backgrounds.17

Building on these notions, we delve deeper into the concept of landscape as a narrative construct using the works of Stephen Kearns and W. J. T. Mitchell. Kearns’ book 'Place and Landscape: The Poetics of Experience' explores the subjective and experienced aspect of landscape perception.18 He contends that landscapes are not neutral phenomena, but rather loaded with significance through the tales and narratives we identify with them.19 Similarly, Mitchell’s 'The Landscape of Memory' examines the intricate link between memory and landscape. 20 He claims that landscapes serve as memory devices, storing and conveying cultural histories across generations.21 Drawing on these many views, we investigate how narratives might shape our perception and knowledge of the environments around us.

A renowned landscape geography specialist Carl Sauer who argued that landscapes are transformed into “cultural phenomenon[s]” by the sto-

ries they hold. His work on the morphology of landscapes (1925) is referenced to support the idea that every landscape has a history and cultural significance.

A landscape architect whose book “The Good and the Beautiful in Landscape Architecture” (2007) is referenced. Jones emphasizes the importance of storytelling in creating emotional connections with places. The quote “stories have the power to move us and make us care about places” is attributed to him .

Author of the book “The Landscape of Memory” (2002). a prominent landscape architect, emphasizes the significance of uncovering hidden narratives within landscapes. His work stresses the importance of discovering these stories and integrating them into the design process. This concept of narrative discovery and incorporation is a recurring theme throughout the introduction.

Author of “Learning Landscapes: People, Places, and Sustainability” (1993). Her work emphasizes the importance of landscapes that “teach” . This concept is used to illustrate how landscape design can educate and inspire users about sustainability.

Kevin Lynch, a renowned urban planner and author of “The Image of the City” (1960) [ix], brings the concept of “imageability” to the table. Lynch argues that creating a strong sense of place identity is crucial for fostering community and belonging. We are exploring how landscape narratives, incorporating stories specific to a community, can play a vital role in achieving this sense of “imageability”

DELVING INTO LANDSCAPE NARRATIVES

Landscape design, which has historically focused on the usefulness and beauty of outdoor plac-es, has shown a growing interest in the importance of narratives in creating user experience. This literature review delves into the current corpus of research on how landscape features and design practices may produce narratives that shape our perception and relationship to the envi-ronment.

THE NARRATIVE POTENTIAL OF LANDSCAPE ELEMENTS

The fabric of a landscape has the power to convey stories. According to Mitchell, landscapes are more than just passive backdrops; they are 'cultural texts' that encode meanings and narratives.22 Elements such as spatial sequences, constructed buildings, and plants all add to the story potential. Banerjee and Butler explore deeper into these concepts, emphasising how spatial se-quences may generate 'journeys'.23 For example, a meandering route leading to a hidden clear-ing stimulates feelings of adventure and discovery. Similarly, using sensory aspects such as textures, noises, and water features can elicit certain feelings and memories, enhancing the story.24 Plantings have a particularly important impact in the narrative building. Basso emphasises the cultural importance of plants in forming our perceptions of location.25 Specific species might elicit historical connotations, whilst the intentional use of local or alien flora can convey themes of persistence, adaptability, or cultural interchange. A landscape design that incorpo-rates native drought-tolerant plants, for example, might convey a message of sustainability and respect for the local ecology. Beyond the physical aspects, the time dimension complicates landscape tales. Carlson emphasises the significance of time and memory in changing how we see environments.26 Stories emerge throughout time, as the environment changes with the sea-sons and user interactions. Personal experiences and cultural tales deepen the experience, trans-forming a landscape into a dynamic canvas for continual storytelling.

NARRATIVE TECHNIQUES IN LANDSCAPE DESIGN

Landscape architects may actively affect the user experience by using a variety of storytelling strategies. One important strategy is the use of metaphorical allusions. A garden shaped like a flowing river, for example, may convey a sense of calm and flow, or a sequence of intercon-necting courtyards could represent a busy marketplace, promoting a sense of community and engagement.27 Furthermore, the utilisation of focus points, such as sculptures, water features, or significant landmarks, may serve as narrative anchors, grabbing viewers’ attention and leading them around the environment.28

Another important strategy is to reference historical accounts. Retaining relics of old structures or introducing aspects that refer to historical events might help people connect with the site’s history and develop a feeling of place connection.29 This approach is very useful for revitalis-ing neglected or abandoned locations. For example, a landscape design that incorporates parts from a demolished industrial structure may communicate a message of perseverance and change. Landscape architects may also use juxtaposition and contrast to build tension and mys-tery within a story. This can include contrasting natural and man-made components, as well as open vs enclosed settings.30 Such contrasts may create a feeling of mystery, promote investiga-tion, and prompt deeper thought about the relationship between humans and the environment. The idea of ‘co-creation’ is gaining popularity in the field of narrative-driven landscape design.31 This approach recognises that landscapes are not static things, but rather platforms for continuous interaction and interpretation. Landscape architects may build environments that support multiple narratives while also encouraging visitors to add their own tales by including stakeholders and users in the design process.32 Corner emphasises the use of ‘mapping’ as a technique for representing location and aiding user interpretation.33

The study of narratives in landscape architecture provides a strong new perspective on how built settings influence our perception and connection to the environment. Landscape archi-

tects may design more meaningful, engaging, and emotionally resonant user experiences by recog-nising the story potential of landscape features and using narrative strategies. However, further study is required to investigate the ethical implications of narrative manipulation and to create ways for quantifying the efficacy of story-driven design components. As this area advances, the future of landscape design promises a richer and more dynamic link between humans and the tales inherent in the environments they inhabit.

BUILDING WITH STORIES

The literature review of narratives in landscape design provides an engaging method to building a feeling of belonging and connection between people and the places they live. According to the literature review, landscapes are to be filled with tales and meanings.34

Landscape narratives, rather than just describing things, use symbolic representation to reveal deeper meaning. However, deeper inspection reveals a far more powerful force at work: symbolic representation. By imbuing landscapes with symbolic value, tales transform them from backdrops to active actors, altering reader perception and encouraging a deeper knowledge of the characters and themes.

As the literature review stated, the notion of co-creation, in which stakeholders and users participate in the design process reinforces the sense of belonging.35 The visual characteristics of a landscape surely contribute to its aesthetic appeal; yet, it is the tales linked with a location that genuinely foster a sense of belonging. We contend that landscape narratives serve as a link between the objective and subjective, weaving together threads of shared history, cultural practices, and personal experiences to transform landscapes into meaningful spaces that foster a deep sense of belonging for individuals and communities.

Fig.02 Tompkins Square Park, New York. It is used for relaxation but this place has been site of numerous protests and struggles.

SYMBOLIC REPRESENTATION

We argue that landscapes tell stories, they transcend their status as mere locations. Landscape architects build settings that connect with people emotionally, change how they view the environment, and generate a sense of purpose by incorporating narratives into their designs.

UNEARTHING HISTORY AND EVOKING EMOTION

Every landscape has a history, a collection of stories etched by natural forces, cultural traditions, and previous land uses. Carl Sauer, a well-known landscape geography specialist, maintained that 'every landscape is a cultural phenomenon'.36 Landscape architects who are sensitive to these tales might discover the essence of a location. As Mitchell argues in 'The Landscape of Memory,' this uncovered narrative can then be woven into the architecture, giving the project a sense of identity, and rooting it in its specific environment.37 A moving example is the National September 11th Memorial and Museum in New York City. The Twin Tower footprints and a flowing waterfall are included in the design, which is inspired by the story of loss and remembrance. This creates a space for introspection and connection.

People are programmed to respond to stories. Landscape tales can tap into this intrinsic connection, encouraging emotional involvement with a region. According to landscape architect Grant Jones’s book 'The Good and the Beautiful in Landscape Architecture,' stories 'have the power to move us and make us care about places'.38 A well-designed memorial garden, for example, can communicate a story of loss and remembrance while asking visitors to join in a shared narrative. This emotional connection promotes a more profound respect for the space and its function. The Vietnam Veterans Memorial in Washington, D.C. demonstrates this approach. The black granite wall, etched with the

names of fallen soldiers, provides visitors with a profound and moving experience by connecting them to the human cost of war.

COMMUNITY AND IDENTITY

Landscape tales have the potential to bridge the gap between humans and the environment. Landscape architects can employ stories about sustainability, ecological balance, and history to educate and inspire users. In her book 'Learning Landscapes,' Clare Cooper Marcus emphasises the relevance of landscapes that 'teach.'39 Imagine a public park with native plant life and rainfall gathering systems. This design conveys a subtle message about environmental responsibility, which may influence user behaviour and develop a sense of ownership over the space. The High Line in New York City embodies this idea brilliantly. This elevated park, created on a former railway line, features native vegetation and rainwater collection devices. While providing a unique urban getaway, it also teaches tourists about sustainable design principles.40

Landscapes can act as a powerful social adhesive. Landscape architects can build spaces that generate a sense of belonging and shared identity by incorporating community-specific narratives.In 'The Image of the City,' Lynch emphasises the importance of 'imageability' in developing a feeling of place identity.41 A communal garden that incorporates features from several ethnic traditions communicates a message of collaboration while also celebrating the community’s diversity. Paley Park in New York City exhibits this. Designed as a modest urban sanctuary, it features seating patterns that encourage interaction, promoting a sense of community and shared space in the centre of the city.42

Fig.03 Paley Park’s landscape design, characterized by strategically placed, moveable tects can intentionally cultivate community in urban spaces.

moveable chairs, demonstrates how landscape archi-

Fig.04 A war memorial set in a large landscape depicting a shared history narrative that unites a community.

SENSE OF BELONGING

We argue that beyond appearance, it’s the tales woven throughout a landscape, which include history, culture, and human experiences, that truly foster belonging.

WEAVING SHARED HISTORY AND CULTURAL IDENTITY

Landscape narratives are more than just a collection of stories; they are dynamic tapestries fashioned from common history and cultural identity. These tales, passed down through generations or created through personal experiences, endow landscapes with meaning that goes beyond their physical attributes.43 For example, a certain mountain range may include stories about previous wars and achievements for a particular community. These shared narratives foster a feeling of communal identity and belonging, connecting people to a location not just via physical presence, but also through a common understanding of its historical significance.44 Places have numerous memories, and the question is which ones are pushed and which are no longer remembered. Places become areas of conflict over which memories to evoke. Cresswell depicts the Statue of Liberty in New York City as an official site of recollection. The ugly reality of locations like this sparks debate about what they symbolise and what to do with them.45 People with opposing interests must argue their case for preservation and what should be included or eliminated, resulting in the birth of a new type of place through a contentious interpretation process.46 Geographers have lately conducted extensive research on the relationship between place and memory, as well as the disputed nature of that connection.47

Similarly, landscape narratives may be inextricably linked to cultural behaviours, reinforcing the sense

of belonging. A fishing community may have a rich tradition of storytelling centred around the enormous ocean that nourishes them. These stories are passed down from generation to generation and constitute an important component of the community’s cultural identity. The ocean is no longer merely a source of income; it is a symbol of their common history and cultural heritage, instilling a strong sense of belonging in individuals who name this region home.48

The Statue of Liberty is a globally recognised emblem of the United States that commemorates memorialises a specific tale of American nationhood as a country that more or less welcomes immigrants.

Fig.05

commemorates and immigrants.

Fig.06 When

LANDSCAPES AS MEANINGFUL SPACES

Landscape narratives go beyond common history and cultural practices and into the world of human experiences. Individuals create their own relationships with landscapes, weaving personal tales and emotions into the current tapestry.49 A childhood spent exploring a specific forest may instill a feeling of awe and connection to nature in an individual. These personal stories get linked with the environment, imbuing it with a deeper meaning and instilling a sense of connection. Furthermore, landscape tales may provide peace and inspiration. A writer may find comfort in the tranquil seclusion of a mountain hideaway, whilst an artist may find inspiration in the ever-changing hues of a desert scene.

These personal ties, fueled by unique experiences and emotions, strengthen the relationship between people and their surroundings.50 Landscape tales play an important role in developing a sense of belonging. These tales make landscapes more meaningful by tying together common history, cultural traditions, and personal experiences. This stronger connection to place promotes a sense of rootedness and belonging, which enriches the human experience.

Ellis Island served as an immigration station, people were processed at the Ellis Island Immigration Museum Hall. It is now part of a museum dedicated to the immigrant experience and its impact on American life.

CONCLUSION

Carl Sauer, a renowned landscape geography scholar, contends that 'every landscape is a cultural phenomenon'. These narratives, discussed in the sections Weaving Shared History and Cultural Identity' and 'Landscapes as Meaningful Spaces,' bring a place to life, instilling a strong 'sense of belonging that goes far beyond the tangible'. Landscape architects, as advocated in 'Unearthing the Palimpsest' and 'Emotional Resonance through Story Telling,' have the extraordinary capacity to magnify this effect by incorporating these narratives into their designs. These cover a location’s history, including past events and struggles that bring a community together. Consider a mountain range, as Mitchell describes in 'The Landscape of Memory' that has stories of past wars and triumphs for a certain society These shared stories foster a sense of belonging by connecting people to the location not only physically, but also via a shared understanding of its historical significance.

Grant Jones emphasises in 'The Good and the Beautiful in Landscape Architecture' that stories 'have the power to move us and make us care about places.' This is eloquently demonstrated by a fishing community’s rich heritage of storytelling centred on the ocean that nourishes them. These stories, passed down through generations, have formed an important component of the community’s cultural identity. The ocean is no longer only a source of income; it is a symbol of their common history and cultural heritage, forging a strong bond with their homeland.

Individual experiences, in addition to common history and cultural customs, contribute to the landscape’s rich fabric. A childhood spent exploring a particular forest may establish a sense of awe and connection to nature in an individual. These personal stories get entwined with the landscape, giving it a greater meaning, and creating a sense of belonging. Furthermore, landscapes can function as sanctuaries, providing serenity and inspiration. An artist may find refuge in the tranquilly of a mountain retreat, whilst a writer may be inspired by the ever-changing colours of a desert setting.

Personal connections, powered by unique experiences and emotions, deepen the bond between individuals and their surroundings. Landscape narratives are important for building a sense of belonging. They transform landscapes from mere sites into meaningful environments by weaving together shared history, cultural traditions, and personal experiences. This stronger connection to place fosters a sense of rootedness and belonging, which enhances the human experience.

abandoned railway,

transformed into a thriving ecological network, showcasing the value of shared and personal memories in preserving landscapes.

Fig.07 The High Line, an

has

1 Sauer,Carl Ortwin, 1925, The Morphology of Landscape. University of California Publications in Geography, 2(2): 1954.

2 Jones,G. W., 2007, The Good and the Beautiful in Landscape Architecture. Taylor and Francis.

3 Mitchell, W.J.T, 2002, The Landscape of Memory, University of Chicago Press.

4 Beatriz Colomina, Mark Wigley, 2016, Are We Human? Notes on an Archaeology of Design (Switzerland: Lars Muller Publisher).

5 Colomina, Wigley, 2016.

6 Colomina, Wigley, 2016.

7 Colomina, Wigley, 2016.

8 Colomina, Wigley, 2016.

9 Colomina, Wigley, 2016.

10 Colomina, Wigley, 2016.

11 Corner, James, 1999, The Landscape Imagination: A Project for the Ninth Century. Princeton Architectural Press.

12 Kaplan, Stephen, 1995, ‘The restorative benefits of nature: Toward an integrative framework’, in Journal of Environmental Psychology 15 (3): 169-182.

13 Velarde, M. C., Fry, G., & Tveit, M. S., 2007, ‘Health effects of viewing landscapes – Linking landscapes with health theories’, in Landscape and Urban Planning, 84(4), 199-212.

14 Cresswell, Tim, 2004, Place: An introduction (2nd ed.), Blackwell Publishing.

15 Cresswell, Tim, 2004.

16 Schama, S., 1995, Landscape and memory. Harper Perennial.

17 Schama, S., 1995.

18 Kearns, S., 2013, Place and Landscape: The Poetics of Experience. Reaktion Books.

19 Kearns, S., 2013.

20 Mitchell, W.J.T., 2002

21 Mitchell, W.J.T., 2002

22 Mitchell, W. J. T., 2000, Landscape and Power. University of Chicago Press.

23 Banerjee, T., & Butler, C., 2011, The Power of Landscape Stories: Telling Ecology Through Design. Routledge.

24 Banerjee, T., & Butler, C., 2011.

25 Basso, K. H., 1996, Wisdom Sits in Places: Landscape and Language among the Western Apache. University of Arizona Press.

26 Carlson, A., 2004, Places: Perspectives on Landscape and Geography. University of California Press.

27 Banerjee, T., & Butler, C., 2011.

28 Banerjee, T., & Butler, C., 2011.

29 Nassauer, J. M., 1995, ‘Messy ecosystems, orderly frames: Looking at landscape in the design context’, in Landscape Ecology

30 Nassauer, J. M., 1995.

31 Corner, J., 1999, The Agency of Mapping: Signifying Place in a World of Signs. Princeton Architectural Press.

32 Corner, J., 1999.

33 Corner, J., 1999.

34 Mitchell, W. J. T., 2000.

35 Corner, J., 1999.

36 Sauer, Carl Ortwin, 1925.

37 Mitchell, W.J.T., 2002

38 Jones,G. W., 2007.

39 Marcus,C. C., 1993, Learning Landscapes: People, Places, and Sustainability. Timber Press.

40 'ASLA 2010 Professional Awards | The High Line, Section 1,' n.d., https://www.asla.org/2010awards/173. html

41 Lynch, K., 1960, The Image of the City. MIT Press.

42 Gianfranco Deganello, 'A case history: Paley Park - Watercube Design,' Watercube Design, January 15, 2021, https://www.watercubedesign.it/paley-park/.

43 Cresswell, Tim, 2004.

44 Jorgensen, A., Hitchmough, J., & Dunnet, N., 2006, ‘Woodland as a setting for housing: Appreciation and fear ‘ in Landscape and Urban Planning, 69(4), 315-334.

45 Cresswell, Tim, 2004.

46 Hoskins, G., 2007, Materialising memory at Angel Island Immigration Station, San Francisco, Environment and Planning A 32, 437-455.

47 Cresswell, Tim, 2004.

48 Cosgrove, D. E., 1984, Social formation and symbolic landscape, Croom Helm.

49 Schama S., 1995.

NOTES

50 Feldman, D. L., & Ornstein, S., 2002, ‘The relationship between nature and self-concept: A longitudinal study’. Journal of Environmental Psychology, 22(4), 145-157.

(Word Count: 4065)

LIST OF SOURCES

1. Beatriz Colomina, Mark Wigley, 2016, Are We Human? Notes on an Archaeology of Design (Switzerland: Lars Muller Publisher).

2. Corner, James, 1999, The Landscape Imagination: A Project for the Ninth Century. Princeton Architectural Press.

3. Kaplan, Stephen, 1995, ‘The restorative benefits of nature: Toward an integrative framework’, Journal of Environmental Psychology 15 (3): 169-182. (https://www.sciencedirect.com/science/article/ pii/0272494495900012)

4. Velarde, M. C., Fry, G., and Tveit, M. S., 2007, ‘Health effects of viewing landscapes – Linking landscapes with health theories’. Landscape and Urban Planning, 84(4), 199-212. (https://www.researchgate.net/ publication/223358151_Health_Effects_of_Viewing_Landscapes_-_Landscape_Types_in_Environmental_Psychology)

5. Cresswell, Tim, 2004, Place: An introduction (2nd ed.), Blackwell Publishing.

6. Schama, S., 1995, Landscape and memory. Harper Perennial.

7. Kearns, S., 2013, Place and Landscape: The Poetics of Experience. Reaktion Books.

8. Mitchell, W. J. T., 2002,. The Landscape of Memory. University of Chicago Press

.

9. Mitchell, W. J. T., 2000, Landscape and Power. University of Chicago Press

10. Banerjee, T., and Butler, C., 2011, The Power of Landscape Stories: Telling Ecology Through Design. Routledge.

11. Carlson, A., 2004, Places: Perspectives on Landscape and Geography. University of California Press.

12. Nassauer, J. M., 1995, Messy ecosystems, orderly frames: Looking at landscape in the design context. Landscape Ecology

13. Corner, J., 1999, The Agency of Mapping: Signifying Place in a World of Signs. Princeton Architectural Press.

14. Jorgensen, A., Hitchmough, J., and Dunnet, N., 2006, ‘Woodland as a setting for housing: Appreciation and fear’. Landscape and Urban Planning, 69(4), 315-334.

15. Cosgrove, D. E., 1984, Social formation and symbolic landscape. Croom Helm

16. Feldman, D. L., and Ornstein, S., 2002, ‘The relationship between nature and self-concept: A longitudinal study’. Journal of Environmental Psychology, 22(4), 145-157.

17. Sauer,Carl Ortwin., 1925, The Morphology of Landscape. University of California Publications in Geography, 2(2): 19-54.

18. Jones,G. W., 2007, The Good and the Beautiful in Landscape Architecture. Taylor & Francis.

19. Marcus,C. C., 1993, Learning Landscapes: People, Places, and Sustainability. Timber Press.

20. “ASLA 2010 Professional Awards | The High Line, Section 1,” n.d., https://www.asla. org/2010awards/173.html.

21. Lynch, K., 1960, The Image of the City. MIT Press.

22. Gianfranco Deganello, “A case history: Paley Park - Watercube Design,” Watercube Design, January 15, 2021, https://www.watercubedesign.it/paley-park/.

IMAGES

Fig 01 Beatriz Colomina, Mark Wigley, 2016, Are We Human? Notes on an Archaeology of Design (Switzerland: Lars Muller Publisher).

Fig 02 Cresswell, Tim, 2004, Place: An introduction (2nd ed.), Blackwell Publishing.

Fig 03 “Paley Park | TCLF,” October 6, 2012. https://www.tclf.org/landscapes/paley-park.

Fig 04 Oldfrontline, “The Vimy Memorial,” Old Front Line, December 5, 2021, https://oldfrontline. co.uk/2021/01/30/the-vimy-memorial/.

Fig 05 Cresswell, Tim, 2004, Place: An introduction (2nd ed.), Blackwell Publishing.

Fig 06 Cresswell, Tim, 2004, Place: An introduction (2nd ed.), Blackwell Publishing.

Fig 07 “High Line,” DS+R, n.d., https://dsrny.com/project/the-high-line.

CHECKLIST

Student 1 Student 2

Name: Arpita Patel

Name: Priyanka Patil