Flowscape: Landscape Architecture in Creating an Affective Landscape for Performance Enhancement wit

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A F F E C T I V E F O R

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LANDSCAPE TOPICS LARC 7400 MARCELLA EATON FACULTY OF ARCHITECTURE UNIVERSITY OF MANITOBA VINCENT TANG

A L A N D S C A P E T O P I C S P A P E R B Y

V I N C E N T T A N G

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“...the optimum healthy environment [is] the conditions which tend to promote or permit an animal’s optimal physiological, mental, and social performance in its natural or evolutionary environment.”

- Stephen Boyden, 1971, Biologist

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LANDSCAPE TOPICS LARC 7400 MARCELLA EATON FACULTY OF ARCHITECTURE UNIVERSITY OF MANITOBA VINCENT TANG

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“To be affected by something is to evaluate that thing. Evaluations are expressed in how bodies turn towards things. To give value to things is to shape what is near us.”

- Sara Ahmed

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WALL PAINTING WITH HORSES CHAUVET CAVE VALLON-POINT-D’ARC ARDECHE GORGE, FRANCE 30,000 BCE.

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“…[to] reduce the concept of landscape [from] a more static, nostalgic, and fixed sense of place [to] a mobile and hybrid, full of potentials for ‘becoming’ that may, in the end, be a more productive sense of landscape.”

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he air was cold’, as Jean-Marie Chauvet described the cold December afternoon, whom alongside her two fellow colleagues began the slow ascension of a steep cliff, exploring caves within the Ardeche River gorge in southern France (Sayre, 2010). What would become of this exploration would be the discovery of the most accomplished prehistoric cave drawings ever. While there have been twenty-seven such drawings previously discovered along the Ardeche River gorge from other expeditions, the one Chauvet and her colleagues stumbled upon were so compelling and insightful, they eventually spearheaded the transformation of our knowledge and understanding of prehistoric people (especially these people who lived before the time of writing and thus, recorded history) (Sayre, 2010). Simply titled Wall painting with horses, it depicts four horses, each behind the other in startling realistic space. In front of the horses is a herd of aurochs, an extinct ancestor of oxen and below them are two rhinoceroses locking horns in a fight. Encapsulating this imagery are lines and colours that make up a landscape painted onto limestone (Sayre, 2010).

This painting effectively demonstrates the perspective of the landscape owned by these prehistoric people. The animals depicted deliver a sense of value towards the landscape in which these individuals dwelled within. A sense of hierarchy is interpreted to include importance to which animals these prehistoric people valued, depended on, and admired. The illustrated landscape thus is an artful reimagining and reconstruction of their landscape they identify with. They allow us; the viewer, to enter into their world, their landscape, their place cultivated by their values, goals, and aspirations. These drawings, and the many others that would follow offer insight into the cultural, social, and political experiences of these individuals. Experiences stemming from its association, both real and imaginable, these paintings become generative; they are enabling, originating, producing, or reproducing ideas and theories (Berberich, Campbell, Hudson, 2012). They become vectors, artfully depicting 6

landscape beyond its material properties of space and place, but rather they become ideals and imagination, both real and intangible (Anderson and Harris, 2010). The word landscape is bounded by definition, what we do with land; how we shape, construct, imagine, transform and destroy it (Berberich, Campbell, Hudson, 2012). However, Christine Berberich (2012) aims to redefine the concept of landscape beyond its earthly boundaries as she eloquently puts, “…[to] reduce the concept of landscape [from] a more static, nostalgic, and fixed sense of place [to] a mobile and hybrid, full of potentials for ‘becoming’ that may, in the end, be a more productive sense of landscape.”

Thus, landscapes are not a single property of natural occurrence, they are not one thing but of many, ultimately illuminating “… both our power to affect the world around us and our power to be affected by it, along with the relationship between these two powers (Hardt, 2007, cited in Berberich, Campbell, Hudson, 2012). Evoking this duplicity of landscape by definition, carries meanings of surface and depth, solid earth and superficial scenery, natural and cultural, the ontological and the ideological (Daniels, 2011, cited in Berberich, Campbell, Hudson, 2012). Thus, it comes to the conclusive agreement of coalescing ideals into the notion of affective landscapes.

Affective Landscapes κºººººººººººººººººººººººººººººººººººººººººÏ

In its most simplest forms, affect refers to something that moves, that triggers reactions, forces, or intensities “…that pass body to body, simultaneously engaging the mind and body, reason and emotions” (Berberich, Campbell,

Hudson, 2012). The term affective landscapes is inherently tied to landscapes’ ability to inspire, effectively recognizing landscape affectiveness as a justifiable mean to be employed as a trigger for theoretical and creative works (Berberich, Campbell, Hudson, 2012). Douglas Reichert Powell explains this landscape mechanism as,

“…we ultimately think of the landscape as a complex, multiple field of experience to be read, felt, imagined, used, known, performed and sensed. Thus, when we think about and encounter land as space and place, perhaps we should always relate to it as a complex layering of texts, experiences, and interpretations of specific locales that produces, in its ongoing processes - a place...these layers have been bent, folded, broken, and melted into each other; they are transformed and transforming” (Powell, 2007, cited in Berberich, Campbell, Hudson, 2012).

Powell (2007) details the affective potential of landscapes to motivate individuals, to look beyond the immediate surface; to radically change the perspective of landscape to being something more. As Berberich (2012) details in her book, Affective Landscapes in Literature, Art and Everyday Life, Berberich analyzes the exploration and examination of how people respond to, debate and interact with landscape.

In her work, Berberich (2012) and her colleagues of scholars disseminate between various sources of landscape, ranging from poetry to painting, cultural and literal studies, politics, and creative works. Berberich aims to identify the root of specific qualities that generate our experience of such landscapes. How does one landscape truly become affective? Berberich (2012) claims, “…[to] consider how humans interact with space and place: how they are defined by it [or] define it…tracing the nuances and ambiguities of landscape in all its manifestations, [it] can become a resource, not for indecision or vagueness, but rather to expand the envelope of [landscape] and bring in new forms of [experience] into being.”

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“The potential to affect, to trigger a positive chain reaction of thought, movement, and extension, results in an ‘affective bloom space’; a space open and accessible to all of us to take in our surroundings, events, others, and engage with them actively and differently.”

The idea of affective landscapes thus, is to generate a landscape that can be generative; to create a landscape that compel us “…to think and rethink, to feel and to perceive in unexpected flows, and consequently to ‘drive us toward movement, thought, and extension,’ acting as the persistent proof of a body’s never less than ongoing immersion in and among the world’s obstinacies and rhythms” (Seigworth and Gregg, 2010, cited in Berberich, Campbell, Hudson, 2012). This fairly pedagogic approach to transitioning our awareness of affective landscapes is important to the overall concept of landscape architecture. The practise of landscape architecture is devoted to the ideology that landscape architects are agents of change. It resides in our profession, an obligation to possess and execute our ability to create beautiful, sustainable, and functional landscapes for all realms of life. As stewards of our own conception, landscape architects effectively become curators of happiness, desire, excitement, pleasure, and wonder. It is a medium that desires the utmost knowledge of understanding in crafting landscapes that are beneficial and promote optimal performance.

Thus, the practise of landscape architecture must recognize the importance of understanding how landscape intricacies affect life, and how does one create an affective landscape.

aftermath of the Second World War (Highmore cited in Berberich, Campbell, Hudson, 2012).

Highmore (2011) details how the “…youth became defined by its association with waste-ground, forming a particular mood-world…[tracing] back the concerns, fears, and creativity associated with these landscapes, as the youth adapted them to their own existence”. Highmore (2011) continues to identify the correlation between the upcoming youth and the psychological ramifications these damaged landscapes produce.

In an effort to accomplish this pedagogic method of applying the theory of affective landscapes to the practise of landscape architecture, one must begin with acknowledging the process of it. Ben Highmore’s essay Playgrounds and Bombsites: Postwar Britain’s Ruined Landscapes details the affectiveness of the bombed-out landscape scattered throughout London in the the

“Damaged youth as a cultural archetype found its perfect match in these bombed-out spaces, alongside the multiple affects emerging from the same terrain, such as the aggressions of war, dreams of regeneration, and the good life; together, these created in image-repertoire, ‘fashioning the moods and feelings from wrecked landscapes’.”

The resultant residual effects left by these wrecked landscapes provided the genesis for radical transformations within politics such as giving rise to the internal conflicts 8

which legitimized the growth of neoliberalism as a means to overcoming sociopolitical contradictions (Highmore, 2011, cited in Berberich, Campbell, Hudson, 2012). This essential reactive process refers to the process of being affected and in turn, affecting. The potential to affect, to trigger a positive chain reaction of thought, movement, and extension, results in an ‘affective bloom space’; a space open and accessible to all of us to take in our surroundings, events, others, and engage with them actively and differently (Seigworth and Gregg, 2010, cited in Berberich, Campbell, Hudson, 2012). This highlights the process of one such possibility as well as illustrates the potential positive and negative ramifications of landscape affectiveness.

but to produce for the individuals that construct and sustain the industry. Echoing the demand to not only observe at how these industrial landscapes produce for economical gains, but for psychological gains as well.

The Creative Industry κºººººººººººººººººººººººººººººººººººººººººÏ

Terry Flew writes in his book, Global Creative Industries, imploring the recognition of the growing creative industry as a major economical component to the world’s economy and aims to promote “…a more holistic approach to thinking about the arts, media, and design, associating their future with digital technologies, creativity, and intellectual capital, and warranting a place at the table in wider debates about the economic future of [the world].” (Leadbeater, 1999; Howkins, 2001, cited in Flew, 2013). Evidence supporting this shift into a new economical powerhouse is revealed in a conference held by the United Nation Conference on Trade and Development (UNCTAD), whom found that exports of creative goods and services were worth upwards to USD $592 billion dollars in 2008 (UNCTAD, 2010 cited in Flew, 2013). However, as Flew (2013) explains that while the value of exports is impressive, the most important information that the financial data demonstrates is,

Berberich’s work demonstrates the prowess of affective landscapes. It details its ability to infiltrate and effect cultural and political boundaries, artistic expressions, and belief systems. There lies the psychology of affective landscapes, or much rather the psychological potential affective landscapes can establish. The profession of landscape architecture has made incredible progress with the growing knowledge of ecological technology and environmental sciences and how to accurately apply this knowledge in order to fulfill our architectural ambitions.

However, there is now a growing concern over the psychological aspect of landscape, or in other words, how a landscape affects one psychologically. As we evolve into the digital age, much of our industry evolves its dependency from the industrial to the creative, and as such, we must begin to take more consideration into the holistic nature of the productivity of these landscapes. To look at how these landscapes function, not only at producing for our industry,

“…a 14% annual growth over the last decade, meaning that the size of creative goods and services exports in 2008 have double in that of 2002…[meaning] such exports continued to grow in the wake of the global financial crisis of 2008 which saw exports more generally contract by 12%. Such figures have suggested that the creative industries are not only a growing part of the worlds economy, but that their growth has developed its own dynamics and is not contingent upon developments in other sectors of the economy, such as manufacturing, services and finance” (UNCTAD, 2010).

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Thus, the creative industry can therefore be seen as harbingers of what has been referred to as the creative economy (Flew, 2013). Flew ultimately provides a general definition of the concept of the creative economy which “… places creativity and knowledge at the core of economic growth and development, identifying the products and services associated with the arts, media and culture as intangible goods embodying unique creative inputs that take the form of tradable intellectual property, and becoming more central to the future of cities, regions, nations, communities, and the world” (Flew, 2013). Furthermore, the evolutionary economist Jason Potts has argued that the creative industries are not only spearheading “experimental use of new technologies… developing new content and applications, in creating new business models’, but that by promoting ‘new lifestyles, new meanings, and new ways of being’, they are ‘resetting the definition of normal” (Potts, 2011, cited in Flew 2013). Thus, it aims to shift the perspective onto the role of the landscape architect in time of the shifting world economy. How can landscape architectural practise generate a landscape that allows the creative industry to flourish and be able to sustain the potentiality of this new world economy. As much of the creative industry is dependent on the exports and services like many other industries, its genesis is heavily dependent on the creative individuals that generate and produce these exports. These exports are a product of the mind; they are manifested from a psychological beginning. Therefore it is paramount in the role of the landscape architect to continue the role of the affective landscape within this new creative economy, providing the

knowledge of its practise to promote and sustain the well being of the psychological state of the creative individuals that sustain this economy.

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As the growing creative industry is dependent of the psychological condition of its employees, landscape architects must begin to ask how these creative professionals practise in their work and what knowledge can we as designers provide to sustain and enhance their ability to perform. Biologist Stephen Boyden defines the optimum healthy environment to have “…the conditions which tend to promote or permit an animal’s optimal physiological, mental, and social performance in its natural or evolutionary environment” (Boyden, 1971, cited in Heerwagen, 2008). In keeping with the landscape architecture narrative of being agents of change, it is paramount to take into consideration Boyden’s words in the light of this new creative economy. To view the objective as to how can landscape architecture aid in the performance of an individual; to pursue the optimal environment for the physiological, mental, and social health of a creative professional in order to perform his/her duties. In order to achieve such an objective, one must take into account the work of William Sullivan, a Professor and the Head of the Department of Landscape Architecture at the University of Illinois. His research aims to identify a connection between the presence of nature and effective human functioning (Sullivan, 2014 cited in Burton, and Mays, and Winkelmes, 2014). Sullivan (2014) examines the 10

importance of urban nature within a design studio environment and its ramifications it has on the engaging students. In his publication, More than Creativity: Infusing Research in the Design Studio, Sullivan, being a design instructor for many years, was able to observe and understand the methods and work patterns of design students as well as professionals. Sullivan (2014) understood that although typical design studios “…emphasize inspiration and creativity over other considerations…students are encouraged to meet the requirements of a client and often to do so safely and efficiently, yet the overriding emphasis is on novelty, imagination, and originality” (Sullivan 2014, cited in Burton, and Mays, and Winkelmes, 2014). Such demands for design work extensively engages the mind.

There is a heavy reliance onto “…[the] capacity to pay attention and process information - it is central to almost everything we care about accomplishing” (Sullivan 2014, cited in Burton, and Mays, and Winkelmes, 2014). However, with such rigorous mental exertion, the capacity to pay attention and process information has its limitations in the form of mental fatigue to which Sullivan calls attentional fatigue (Sullivan 2014, cited in Burton, and Mays, and Winkelmes, 2014). Sullivan explains the potential ramifications of attentional fatigue has on our psyche as well as our ability to produce; “…the cost of attentional fatigue are profound and far-reaching; they include becoming inattentive, withdrawn, irritable, distractible, impulsive, and accident-prone” (Sullivan 2014, cited in Burton, and Mays, and Winkelmes, 2014). Throughout his ongoing research and observation, his studies have concluded with an exploration of a variety of health benefits that have been documented

with providing everyday contact with urban nature for individuals, families, and communities (Sullivan 2014, cited in Burton, and Mays, and Winkelmes, 2014). Sullivan (2014) continues with his intriguing discovery; “The health benefits are far-reaching. They include being better able to concentrate; being less impulsive, error prone, and irritable; having stronger ties to one’s neighbours; recovering from stressful events faster; and even living longer than individuals who have less contact with nearby green spaces. This focus on research also stems from my sense that it helps produce one of the most valuable outcomes of an undergraduate education: the capacity to think clearly and critically about ideas and the evidence that supports or refutes those ideas.”

Sullivan (2014) concludes in his research that physical settings ultimately have systematic and substantial impacts on how quickly our capacity to pay attention fatigues and how it can eventually help recover from fatigue. In his research, Sullivan (2014) identifies setting characteristics such as those that compete for our attention, or lack opportunities for small, restful experiences are exhaustible to the mind.

While settings that include green spaces, even in the most simplistic of forms such as a grove of trees in an urban environment, not only restore our capacity to pay attention and function more effectively, but through the provision of opportunities to rest and renew, these spaces ultimately alleviate one’s physiological stresses (Sullivan 2014, cited in Burton, and Mays, and Winkelmes, 2014). It is apparent in Sullivan’s research that while “…[the] body’s stress response is an amazing cascade of physiological steps that can allow for someone to have moments of [heightened alertness and responsiveness], …chronic stress can negatively impact [one’s] mood, productivity, relationships, quality of life 11

and longevity” (Sullivan 2014, cited in Burton, and Mays, and Winkelmes, 2014). As a response, the exposures to green spaces often alleviate chronic stress due to its experiential qualities, such as in the presence of green spaces, it often produces feelings of moderate interests, pleasantness, and calmness which all fuel the ability to recover from stress. Engaging in the main ideas and theories behind his research, Sullivan recounts an evaluation of this theory by fellow colleague Rodney Matsuoka in which Matsuoka evaluated high school landscapes in correspondence to student academic performance while controlling for a host of parameters that are associated with academic accomplishment (e.g. size of school, age of school. socioeconomic status of the students) (Sullivan 2014, cited in Burton, and Mays, and

Winkelmes, 2014). What Matsuoka documented was compelling as it reveals a correlation between the greener the view for the students, the greater their academic performance. Even after factoring in the control variables Matsuoka identified in his analysis, the correlation remains true (Sullivan 2014, cited in Burton, and Mays, and Winkelmes, 2014). In his conclusive evidence, Matsuoka identifies two mechanisms that were responsible for this correlation; “… students who had greener views were likely less mentally fatigued, and thus better able to pay attention, and students who had greener views were likely recovering from stressful events faster which put them in a better position to learn” (Sullivan 2014, cited in Burton, and Mays, and Winkelmes, 2014). Sullivan (2014) also recounts another similar study conducted in Dundee, United Kingdom, in which the study examines the link between exposure to neighbourhood green spaces and the levels of stress within the unemployed population in corresponding poor neighbourhoods as well as assessing the concentration of the hormone cortisol in the participants saliva in comparison to their corresponding measured stress. This study also generated conclusive evidence in that the greener the neighbourhood, the lower the levels of cortisol, which is a long-acting stress hormone and that abnormal cortisol levels are associated and treated with Ritalin for Attention Deficit/ Hyperactivity Disorder (also known as ADHD) (Sullivan 2014, cited in Burton, and Mays, and Winkelmes, 2014).

“It is suggestive to our ancestry and genetic inheritance that landscape preference contributes to affective restoration; that improvements in mood and the capacity to focus one’s attention are positively associated with measures of preference for natural environments.”

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Landscape Preference κºººººººººººººººººººººººººººººººººººººººººÏ

they help them survive and thrive (Heerwagen, 2008). One such theory is the Savannah Hypothesis, developed by ecologist Gorgon Orians who specializes on habitat selection theory who argues that,

In the light of these research findings, it is important to assimilate experiential qualities and empirical data in order to bridge together and truly understand the benefits of green spaces. In the aims to deliver an affective landscape that deliberately benefits the potential to aid in the performance of the creative individual, one must aim to understand it at an empirical and scientific level in order to deliver such promise. One such empirical study that delves into this subject matter is another research project conducted by William Sullivan and his colleagues titled A Dose-Response Curve describing the Relationship between Tree Cover Density and Landscape Preference (Jiang et al., 2014). This research places emphasis on landscape preference in correlation to urban tree density. Although, while under an empirical microscope, landscape preference is not relied upon as a predictor of how well people function in an environment, yet an increasing number of empirical studies have emphasized that the presence of urban trees yields physical and psychological benefits (Jiang et al., 2014). Therefore, it is possible to draw a line connecting landscape preference as a proponent to landscape affectiveness. People often make judgements about an environment fairly quickly with minimal cognitive or perceptual effort and that these judgements are often widely uniform, regardless of the person’s cultural, educational, or social background (Kaplan & Kaplan, 1989; Heerwagen, 2008). It is often associated to widely recognized theories that suggest through evolutionary and psychological reasoning, humans prefer greener environments because

“…humans are psychologically adapted to and prefer landscape features that characterizes the African savannah, the presumed site of human evolution…[and that] although humans now live in many different habitats, …[our] species long history as mobile hunters and gatherers on the African Savannah have left its mark on our psyche” (Orians, 1971 cited in Heerwagen, 2008).

Thus, it is suggestive to our ancestry and genetic inheritance that landscape preference contributes to what Sullivan and his colleagues coin, affective restoration; that improvements in mood and the capacity to focus one’s attention are positively associated with measures of preference for natural environments (Jiang et al., 2014). An example of this association is derived from a recent study where participants in the study demonstrated a 3.1 times greater stress reduction within moderate (29%) eye-level tree cover density assessed in psychological and hormonal measures than participants in low (2%) tree cover density (Jiang et al., 2014). As many other studies collaborate with this resulting information, the research conducted by Sullivan (2014) and his colleagues accurately show, “…when sites are relatively barren, a slight increase in tree density yields a steep increase in preference. After tree cover density exceeded those values, however, higher tree densities yielded smaller, but still positive increases in preference.”

Thus, landscape preference consistently shows a positive influence on lowering levels of psychological stress and stress hormones. This finding and the many others that cooperate with this hypothesis, identify with accuracy, 13

a dose-response curve (describes the change in effect on an organism caused by differing levels of exposure to a stressor after a certain exposure time) for two distinct measures of tree cover density and landscape preference (Krump et al. 1976). These findings, as well as many other conclusions alluded to in Sullivan’s research reliably and continuously predict landscape preference is in tune with the social and psychological well-being of individuals.

Thus, there is a desire to diagnose elements that propose a landscape to be preferred. In other words, to deliver an affective landscape that aids in the potential for the creative individual to perform at their most optimal level, the landscape architect must identify elements that trigger a preferred landscape. Since psychological and social well-being is a clear indication of a preferred landscape, one must aim to discover how to promote psychological and social wellbeing in order to truly embrace the concept of the affective landscape.

Psychosocial Value κºººººººººººººººººººººººººººººººººººººººººÏ

It is evident in the creative industry that successful creative works derive from the sum of many. Although many recognized and celebrated creative works are made from one individual, the creative industry as a whole is only reliably productive if individuals come together as an ensemble to create. It is the collective that helps this creative industry thrive. Therefore, the objective of an affective landscape within the creative industrial context must aim to provide a landscape that is for the betterment of the whole. This is emphasized by Judith Heerwagen in her publication, Psychosocial

Value of Space, where she investigates how the design of spaces promoting psychological and social well-being affect the senses, emotions, mind, behavioural patterns, and the sense of community (Heerwagen, 2008). An example Heerwagen (2008) explores is the transformation of the philosophy and design behind zoo enclosures which were radically changed when concerns over the animals psychological and social well-being were in question after the animals exhibited strange neurotic behaviours such as abnormal repetitive pacing and excessive aggression. In response to this issue, it was determined by an animal psychologist that the animals exhibited these behaviours simply because they suffered from boredom (Heerwagen, 2008). While this diagnosis is true, it is a superficial diagnosis. The true underlying problem was not a simple case of boredom, but rather it is detrimental because of the lack of environmental stimuli, that their enclosures catered toward maximizing survivability and not social well-being and psychological engagement (Heerwagen, 2008). Once again, it is desirable to echo the words of Biologist Stephen Boyden, that the optimum healthy environment should have “…the conditions which tend to promote or permit an animal’s optimal physiological, mental, and social performance in its natural or evolutionary environment” (Boyden 1971, cited in Heerwagen, 2008). Heerwagen (2008) alludes to Boyden’s (1971) words in order to shift the perspective beyond survivability, but to design for well-being with the same capacity by stating, “…[while] survival depends on the environmental aspects that directly affect human health, clean air and water, toxins and pathogens, rest and sleep. Well-being is associated with fulfillment, quality of life, and psychological health.

Whereas failure to satisfy survival needs may lead to serious

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savannah features can be used to enhance the emotional experience, which ultimately can result in pleasurable environments that allow creative workplaces to thrive. One such example of this is preference of places with good visual access and perspectives of the surrounding environment to which geographer Jay Appleton identifies as high prospect (Appleton, 1975, cited in Heerwagen, 2008). Appleton (1975) also designates the term high refuge to areas associated to feelings of protection and safety and that if either is undermined such as poor visual access or the sense of refuge is absent, negative reactions and emotions occur. In order to translate this to landscape design, an example of a sense of refuge can be created by canopy-like features such as vertical enclosures and high prospect can be achieved by providing strong attractive sightlines and points of interest throughout the landscape such as generous views of the outdoors or gathering spaces available to natural light (Heerwagen, 2008). Anthropologist Melvin Konner details the tradition of hunting and gathering in our

illness or death, failure to meet the well-being needs can lead to psychosocial maladjustment and stress-related illnesses”

This is also alluded to in the aforementioned work by William Sullivan regarding the costs of attentional fatigue.

Therefore, one can draw a rather stark comparison of a caged animal to that of a starved creative employee. Landscape architects must rise to the challenge of placing emphasis on the psychosocial values of space, which echo what environmental psychologists consider very important for the future environments of the creative economy (Heerwagen, 2008). It is also important to note that landscape preference which is derived from primitive habitat preferences evolved from human evolution also have a strong consideration into the psyche of individuals. Heerwagen (2008) explains, “…nature has fortunately provided an intuitive guide to habitat quality - our emotions. Positive emotional states of interest and pleasure, associated with preference, signal that an environment is likely to provide resources and supports that promote survival and well-being while negative [emotions] serve as warning of potential harm and discomfort…[thus, since] humans [have] evolved in a natural landscape, it is reasonable to turn to the natural environment for clues about preference patterns that may be applicable to [landscape] design”

Savannah Features κºººººººººººººººººººººººººººººººººººººººººÏ • A high diversity of plant (especially flowers) and animal life for food and resources • Clustered trees with spreading canopies for refuge and protection • Open grassland that provides easy movement and clear views to the distance • Topographic changes for strategic surveillance to aid long-distance movements • Scattered bodies of water for food, drinking, bathing, and pleasure • A ‘big sky’ with a wide, bright view to aid visual access in all directions • Multiple views and distances

In aspiration to develop an affective landscape for individuals working in the creative industry, landscape architecture must take more consideration into designing for psychological and social well-being. Humans are intrinsically more drawn to environments that contain features resembling our savannah origins (Heerwagen, 2008). Heerwagen (2008) advocates that designed settings that show manipulation of space and artifacts that are consistent with

Figure 1.0 Heerwagen lists attributes of a landscape design that can support this fulfillment. (Heerwagen, 2008)

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ancestral roots may be an ancient carryover to present humans with our positive association to community spaces where people are available to congregate, relax, and converse (Konner cited in Heerwagen, 2008). This is a strong attribute to the creative industrial landscape design as bonding and relationship development fuel the collaborative effort. In the end, the many potential configurations of landscape design that incorporates elements of the savannah are in tune with basic humans needs, ancestral preferences, and connections to patterns of nature. These spaces generate high psychosocial value (Figure 2.0 identifies a list of of attributes that can support high psychosocial value).

Design For Well-Being κºººººººººººººººººººººººººººººººººººººººººÏ • Opportunity to engage in spontaneous social encounters • Opportunity for relaxation and psychological restoration.

• Opportunity for desired privacy and solitude • Opportunity for desired movement for interaction • Opportunity for learning and information sharing • Opportunity for connection to the natural environment • Opportunity for regular exercise • Sound levels not much above or below that of nature • Meaningful change and sensory variability • Interesting visual environment with aesthetic integrity • Sense of social equity and respect.

• Ability to maintain and control personal comfort • Making sense of the environment.

Figure 2.0 Heerwagen lists attributes of a landscape design that can support this fulfillment. (Heerwagen, 2008)

Places of high psychosocial value form an affective landscape. The social dynamics within a creative community is vital to the success of the creative economy. Sites of high psychosocial value aim to aspire to form a landscape that allows people to rejoice, gather, share, and work with one another. It is also important to take into consideration the provision of spaces for seclusion, relaxation, as

“Landscape architects have the responsibility to design landscapes that “…promote human interaction and involvement, enrich human experience, maximize quality of life, and promote ecological, physiological, and psychological health.” well as spontaneous social encounters in order to deviate from the effects of mental fatigue (Sullivan 2014, cited in Burton, and Mays, and Winkelmes, 2014). The affective landscape in the creative industry must assume all of this in its equation. In addition to these features, the affective landscape aims to be generative for the creative community by inspiring positive emotions which will yield a positive performance and enhance overall creative work. What Heerwagen has demonstrated is essentially a landscape that is an alternative to the cubicle landscape that is currently the dominant archetype associated with people exhibiting strange neurotic behaviours and suffering from mental exhaustion. Through Heerwagen and Sullivans’ work, it provides clarity into what an affective landscape must deliver in the pursuit of performance enhancement. Furthermore, the affective landscape that embodies these features provides an unforeseen, yet invaluable 16

after-product; opportunity. Designing to be an affective landscape for creative performance enhancement is different to designing for maximized survivability, as to say, to design for survivability there are essentially two main absolutes; life or death. An affective landscape embodying features for creative performance enhancement is designed rather for no absolute, as you cannot design to reach a specific objective, but to design for the opportunity for a multitude of objectives to occur. This inherently mimics the creative process as it is the unknown spontaneity of the creative mind that is a desirable outcome of an affective landscape. Promoting for opportunity, randomness, and a range of possibilities helps differentiate an affective landscape from a conventional landscape design as these features bolster the collaborative effort, offer a range of opportunities to alleviate mental fatigue, trigger positive emotional responses, create cognitive interest, and spark the creative mind.

Landscape Application κºººººººººººººººººººººººººººººººººººººººººÏ

However, in the application of these features, there is not a one-size-fits-all mold that is transferrable to all creative industries.

They (attributes listed in Figure 1.0) are not meant to be formulas or recipes, but to suggest relationships between aspects of the natural environment and how people experience or react to them (Kaplan et al., 1998). Mainly, people have different comfort levels, associating to different things on different levels, and preference differs from person to person. Regardless of the person’s individual lifestyle, cultural backround, genetics,

etc., the creative community that comprises the creative industry is a combination of a wide range of people. People with different comfort levels desire different situations. In order to reap the benefits of what an affective landscape has to offer, the landscape architect must also consider the vastness of the possibilities and “…be more aware of how their efforts can affect people’s comfort and enjoyment of [affective landscapes]” (Kaplan et al., 1998). In aims to deliver an affective landscape with all of its potential benefits and reach a global audience, one must explore and understand the specific qualities that differentiate the cognitive and perceptual abilities of each person and what are they most responsive towards.

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Landscape architects have the responsibility to design landscapes that “… promote human interaction and involvement, enrich human experience, maximize quality of life, and promote ecological, physiological, and psychological health (Simonds et al., 1961 - 2006 cited in Clements and Dorminey, 2011).

Traditional design methods used by landscape architects follow a clear, rational, scientific methodology (Clements and Dorminey, 2011).

Terry Clements and Sarah Dorminey (2011) explain this procedure, “…during the design process, designers are encouraged to study the site’s environmental opportunities and constraints related directly to the project’s functional aspects and programming concerns, geo-political issues governing site development, as well as relevant social and cultural values.

But these methods do not question how or why people actually engage with the landscape”

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While there are people-based research that is developed from post occupancy evaluation of observed behaviours in specific landscapes, there is little to assist designers in addressing the diverse ways that people experience and engage in their environment based upon individual perceptual and cognitive capacities (Clements and Dorminey, 2011). These evaluation tools generalize “…user activities and design success is [measured based upon] observable behaviour and characteristics, [discrediting] an individual’s motivation or the quality of the individual’s experience” (Clements and Dorminey, 2011).

To truly deliver an affective landscape to the creative community in order to potentially enhance their performance, the landscape architect must incorporate within the site design process the objective to develop a greater meaningful landscape experience. In order to explore this objective, Terry Clements and Sarah Dorminey’s work Spectrum Matrix: Landscape Design and Landscape Experience proposes two cognitive theories in relation to designing for the landscape experience.

individual’s capabilities to eight intelligence domains and their related traits” (Gardner, 1999). As a Professor of Cognition and Education at Harvard Graduate School of Education, Gardner spearheaded Project Zero, which “… involves the design of performance-based assessments of cognitive development and use of the theory of multiple intelligences to achieve more personalized curriculum, instruction, and pedagogy in children’s learning environments (Gardner 2000, cited in Clements and Dorminey, 2011). In Clements and Dorminey’s work, the duo explains the utilization of Gardner’s theory to enhance the potential affectiveness of landscape to users. Clements and Dorminey (2011) explain,

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Gardner’s theory builds upon the awareness that people perceive and interact with their worlds in different ways, and that they are distributed across eight intelligence domains, each with a distinctive range of traits and capabilities (Clements and Dorminey, 2011).

Therefore, it is desirable to discover what each of the eight intelligence domains are and what landscape elements and qualities are meaningful to the person’s range of perception and cognition under each intelligence domain. The theory suggests that across these eight domains, individuals from one intelligence domain to

The work of Howard Gardner’s theory of multiple intelligences offers a unique perspective to the question; “…how does one design for [affective landscapes] when individuals perceive and engage the same places differently” (Clements and Dorminey, 2011). Howard Gardner is well known among the education circles for his theory of multiple intelligences (Harvard, 2011, cited in Clements and Dorminey, 2011).

His theory “…provides a framework relating an

“For a landscape experience to be meaningful to a user, the landscape must include qualities and elements within an individual’s range of perception and cognition. Those landscape elements that are perceived and understood are then evaluated for their purpose or function. If an individual does not understand or recognize an aspect of the landscape, the experience of the element is difficult to place in some mental order thereby making it challenging to remember or engage in meaningful participation. If someone does not perceive an aspect of the landscape, it does not have relevance for her or him.”

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“For a landscape experience to be meaningful to a user, the landscape must include qualities and elements within an individual’s range of perception and cognition.”

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another have varying abilities (Gardner 1999, cited in Clements and Dorminey, 2011). Gardner (1999) explains that this distribution “…composes an individual’s perceptual and cognitive capacities into a unique intelligence profile that described traits of how they interact with their environment” (Gardner 1999, cited in Clements and Dorminey, 2011). In the end, Gardner categorizes the eight intelligence domains as; logical-mathematical, musical-rhythmic, bodilykinesthetic, verbal-linguistic, visual-spatial, naturalistic, intrapersonal, and interpersonal (Gardner 1999, cited in Clements and Dorminey, 2011).

These eight intelligence domains each embody a specific set of characteristics and traits and Gardner acknowledges that they are not immune to overlap one another as he theorizes that human intelligence is not exclusive to a single capacity but comprised of multiple capacities (Clements and Dorminey, 2011). This theory application in relation to the landscape experience is as each landscape element is interacted upon by the individual, certain elements may become more affective or be more responsive to the user depending on which of the eight or a combination of the intelligence domains he or she is composed within (Clements and Dorminey, 2011). For example, people within the logical-mathematical intelligence are usually more responsive to patterns. As such, fractal geometry within a landscape may yield a greater experience within these individuals because of their ease in deciphering a patterned relationship to objects (Clements and Dorminey, 2011). Their numerically-based intelligence recognizes the abstract patterns

• logical - mathematical - the ability to recognize abstract patterns, perform inductive and deductive reasoning, perform complex calculations, and think scientifically about investigation.

• musical - rhythmic - the ability to to appreciate the rhythm and structure of music, to create and reproduce sound, rhythm, music, tone, and vibration, and also a heightened sensitivity to sounds and vibration patterns.

• bodily - kinesthetic - the ability to control voluntary body movements, mimetic movements, to gain understanding through the awareness of the body and through the mind-body connection.

• verbal - linguistic - the form of verbal memory and recall, having a flair for words, the ability to teach or explain verbally, and linguistic based humour.

• visual - spatial - able to form mental images, understanding your relationship to the space occupied, mental manipulation, visual perception from alternative angles, visual memory, and an active imagination • naturalistic - encompasses the ability to grow things, sensitivity to flora and fauna, understanding people’s impact on nature and nature’s impact on people, and classification of not only species but also artificial items • intrapersonal - understanding of one’s internal self, to understand feelings and emotions that can guide behaviour. The ability to understand and label the difference between opposing emotions, feelings and sensory stimuli.

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• interpersonal - the outward relationship and understanding of other’s moods or motivations. To be able to distinguish among different people and their temperaments. The ability to understand and interpret others feelings or intentions, even when hidden, is the more advanced side of the interpersonal intelligence.

(Figure 3.0 details a graphical representation and description identifying each of the eight intelligence domains and their associated characteristics) (Clements and Dorminey, 2011)

associated with fractal geometry within the environment and are able to draw connections between the brain and environmental experience based on fractal patterns (Clements and Dorminey, 2011; Heerwagen, 2008). Ultimately, Gardner claims, “…the overall combination and interaction of the personal intelligences helps form a sense of oneself, resulting in a person’s ability to experience and interact with his or her environment” (Gardner, 1983, cited in Clements and Dorminey, 2011). Therefore, with an understanding of the inherent traits of each of the eight intelligence domains, a landscape architect can formulate an affective landscape by addressing the many unique ways one interprets, interacts, understands, perceives and experiences their surrounding environment.

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On the other side of the coin, Mihaly Csikszentmihalyi, the distinguished Professor of Psychology at Claremont Graduate University is a leading researcher in positive psychology, which studies positive traits such as optimism, creativity, intrinsic motivation, and responsibility (Claremont University 2011, cited in Clements and Dorminey, 2011). His most recognized work in psychology is the theory of flow which “…[offers] a foundation for understanding the achievement of meaningful experiences [by] relating to an individual’s skill level or capacity to the level of challenge posed to that individual when engaged in an intrinsically motivated activity” (Csikszentmihalyi, 1990,

cited in Clements and Dorminey, 2011). The theory of flow is the psychology of the optimal experience. It relates to an individual’s skill level in response to the level of challenge embodied in a particular activity that produces a state of mind, resulting in “…a state of intrinsic motivation, of total mental and physical involvement described by many as being in the zone” (Csikszentmihalyi 1990, cited in Clements and Dorminey, 2011). Csikszentmihalyi describes the occurrence of flow happens usually when a person is engaged in an activity where either(or both) their physicality and mental capacity is stretched to the limits in a voluntary effort to accomplish something worthwhile and difficult (Csikszentmihalyi 1990, cited in Clements and Dorminey, 2011). Thus, the theory of flow relates challenges to bodily senses, and in the activation of flow, “…these senses relate to different ways of perceiving, comprehending, and/or knowing.

The state of flow is intrinsically motivated and results in an enjoyable experience” (Clements and Dorminey, 2011). While the feelings of pleasure and enjoyment are often coincided with one another, Csikszentmihalyi (1990) details the discrepancy, “Pleasure is a feeling contentment when expectations determined by biological programs or social conditioning are met, such as receiving a massage or taking a hot bath.

Pleasure lacks a sense of achievement or a necessary contribution to the result. Enjoyment occurs when a person has met some prior expectation or satisfied a need or desire and gone beyond to achieve something unexpected.

Enjoyment requires forward movement and achievement.”

Thus, flow is the “…symbiotic relationship of engagement between personal skills and life challenges” (Clements and Dorminey, 2011). In order to facilitate flow, one must possess the necessary skill set to interact 20

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In the grand scheme of things, the question is how can Csikszentmihalyi’s theory of flow and Gardner’s theory of multiple intelligences translate to landscape architecture in the deliverance of an affective landscape for the creative industry. Both cognitive theories grasp the concept of expanding the experience.

Together, they can be used to “…stimulate various intelligences and enhance the engaged experience which when successful, results in a state of flow” (Project Zero Institute 2000, cited in Clements and Dorminey, 2011). Clements and Dorminey (2011) explain the unison of both cognitive theories as beneficial to landscape architecture because,

• 1 Confrontation with tasks we have a chance to complete • 2 The ability and opportunity to concentrate on what we are doing • 3 The ability to concentrate because we have clear goals • 4 Tasks that have immediate feedback • 5 Deep but effortless involvement away from awareness of everyday life • 6 A sense of control over one’s actions(whether possible or actual) • 7 Disappearance of concern for self, although this is

stronger after flow experience is over • 8 An altered sense of time duration (Figure 4.0 details the process Csikszentmihalyi identifies in attaining flow) (Csikszentmihalyi 1990, cited in Clements and Dorminey, 2011)

with the challenge presented to them (Clements and Dorminey, 2011). A person without the right skills for an activity cannot be in flow because if the person lacks the skills to conquer the challenge, anxiety occurs and if the person possess superior skills and easily conquers the challenge, boredom results (Clements and Dorminey, 2011). Thus, the state of flow “… [is an] experience that has been described as playful, feeling in control, concentration is highly focused, mental enjoyment, a distorted sense of time, and a conjunction of ones skill level and introduced challenges” (Dorminey, 2003). Flow cannot be achieved during sedentary relaxation or activities of little challenge, it only occurs when the mind is engaged and is interactive with an activity (Dorminey, 2003).

Ultimately, the resultant of flow (not limited to) is an improvement of personal skills. In the end, Csikszentmihalyi (1990) describes the feeling of flow common with “…a sense of discovery and a creative feeling of transporting the person into a new reality” (Csikszentmihalyi, 2008; Csikszentmihalyi, 1990, cited in Clements and Dorminey 2011).

“The relationship between flow theory and the theory of multiple intelligences can be used by designers and programmers to develop sites that more fully engage people and provide opportunity for more meaningful landscapebased experiences. Landscapes that include site elements that support a range of activities at a variety of levels of challenge are more likely to appeal to a wider population of users and provide more opportunities for meaningful experiences.”

For a landscape to have a meaningful experience, the landscape must include qualities and elements that lie within the range of a person’s cognitive and perceptual range.

Only then can they be perceived, understood and evaluated as valuable for their purpose or function (Clements and Dorminey, 2011).

Without this recognition, the landscape loses its relevancy. Csikszentmihalyi (1990) notes that meaningful landscape experiences “…bring order to the contents of the human mind by integrating one’s actions into a unified flow 21

Spectrum Matrix κºººººººººººººººººººººººººººººººººººººººººÏ Engaging the Logical / Mathematical Intelligence Refers to: quantity-classification and acts on the object; logical or mathematically defined patterns; any logical or mathematical internal or external relationships between objects. This is a confrontation with the world of objects.

Traits (Gardner 1983; 1993; 1999) Related Characteristics Abstract pattern recognition Elements convey or compare distances Inductive reasoning Logical sequences of elements or events Deductive reasoning Creation of line or other generic forms Discerning relationships and connections Patterns use mathematical concepts Performing complex calculations Elements involve proportion Scientific thinking and investigation Elements involve scale

Challenge

Engaging the Musical / Rhythmic Intelligence Refers to: melodies - pitch - groups according to prescribed system; harmonies; and timbre - qualities of tone. Doing, not thinking, Not related to words, rather closer to mathematics.

Traits (Gardner 1983; 1993; 1999) Related Characteristics Appreciation of structure and rhythm Music, sound, vibration, tone Schemes or frames for hearing music Creation Sensitivity to sounds and vibrations patterns Mimicry / Reproductions Appreciation of sound qualities Sounds of nature or human emphasized Recognition, creation, and reproduction of

sound, rhythm, music, tones,

and vibrations

Challenge

Engaging the Bodily / Kinesthetic Intelligence Refers to: ability to use one’s body in highly differentiated and skilled ways for expressive and goal-directed purposes; abilities to handle one’s body; and abilities to handle objects. There is a sense that this develops through imitation for both learning and teaching.

Traits (Gardner 1983; 1993; 1999) Related Characteristics Pre-programmed body movements Challenge various levels of physical abilities Expanding awareness through body Understanding of personal limits Mind-body connection Fine/gross motor skill challenges Mimetic abilities Movement, balance, stillness, agility challenges Improves body functions Relationships between body and mind

Movement effects movement of other elements

Challenge

Engaging the Verbal / Linguistic Intelligence Refers to: rhetoric - persuasion; mnemonic - memory help; explanation - instruction adages; use of language to explain language - “do you mean x or y,” use of oral and written expression; and communicative and expressive abilities. Oral abilities are still very important in many pre-literate groups.

Traits (Gardner 1983; 1993; 1999) Related Characteristics Facility with words Literary references Explaining, teaching and learning abilities Riddles, rhymes, puns Convincing others of a course of action Areas for communication Linguistically-based humor Narrative Verbal memory and recall Meta-linguistic analysis (language investigating itself)

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Challenge

The Spectrum Matrix includes three columns. The first contains Gardner’s list of each of the intelligence domains. The second column lists related landscape elements and characteristics that may engage some of Gardner’s traits. The third column is left blank for users to articulate how specific elements and landscape qualities are to be incorporated into the site’s design to engage multiple intelligences of users at a variety of challenge levels.

(Figure 4.0 details the Spectrum Matrix as illustrated in Terry Clements and Sarah Dorminey’s Spectrum Matrix: Landscape Design and Landscape Experience, 2011.)

Engaging the Visual / Spatial Intelligence Refers to: the manipulation of color and color interactions; manipulation of form, singularity and in relationship to others; spatial manipulation; geometric play and manipulations; recognition and knowing of places in space; relationships between places, spaces, and things; and knowing of spatial properties.

Traits (Gardner 1983; 1993; 1999) Related Characteristics Active imagination Patterened or geometric divisions Finding your way in space Visual stories Forming mental images Distortion of space, size, shapes, colors Mental manipulations of objects Creation / maniulation of space, size, view, color Accurate perception from different angles Mental manipulation challenges (such as Visual Memory M. C. Escher-like drawings) Graphic representation (2 or 3 dimensions)

Challenge

Engaging the Naturalistic Intelligence Refers to: distinguishing among members of a species; recognizing the existence of other, neighbouring species; charting out the relations, formally or informally, among several species; and abilities in making and justifying distinctions between elements or things (may be through touch, sight, touch, taste, or sound). This is a valued capacity where survival of an organism depends upon its ability to discriminate between different species.

Traits (Gardner 1983; 1993; 1999) Communication with nature Sensitivity to nature’s flora Growing things Recognizing and classifying species Appreciating impact of nature on self

and self on nature Caring for, taming, interacting with

living creatures

Related Characteristics Challenge Revelation of natural process(es) Planting areas for creation, reproduction Varying plant choices and uses Interaction with surroundings Use of different plants that relate to each other in subtle (not so subtle) ways

Engaging the Intrapersonal Intelligence Refers to: ability to notice and make distinctions among other individuals, including moods, temperament, intentions, and motivations.

Traits (Gardner 1983; 1993; 1999) Related Characteristics Effective verbal/non-verbal communication Sport areas Sensitivity to others Group interactive elements Empathy Group interactive areas Working cooperatively in a group Outdoor classrooms Creating and maintaining ‘synergy’ with others Deep listening and understanding, perspective

of another

Challenge

Engaging the Interpersonal Intelligence Refers to: development and access of one’s own feeling life.

Traits (Gardner 1983; 1993; 1999) Related Characteristics Concentration of the mind Quiet areas Mindfulness (stop and smell the roses) Memorial areas Meta-cognition (thinking about thinking) Areas with large expansive views Transpersonal sense of self Labryinths Awarenss of personal goals and motivations Areas for individual creation or manipulation Awareness and discrimination of one’s of space and surroundings emotional range 23

Challenge

experience” (Csikszentmihalyi, 1990, cited in Clements and Dorminey 2011). In other words, the meaningful landscape must create opportunities for flow to occur by providing challenges within the landscape (Dorminey, 2003). Thus, attaining flow through the recognition of the range of individuals’ cognitive and perceptual domains and challenging them accordingly becomes the ultimate measure of a meaningful or fully engaged experience (Clements and Dorminey, 2011). Clements and Dorminey ultimately develop a generative design tool known as the Spectrum Matrix, specified for the use at various points within the design process to enhance a landscape to provide more opportunities for engaging landscape experiences (Clements and Dorminey, 2011). It uses Gardner’s theory of multiple intelligences as an influencing design criteria, offering a range of experiences for a diversely intelligent population by matching landscape experience opportunities to challenge users at various cognitive levels (Clements and Dorminey, 2011). These challenges allow the user to exercise and develop personal skills, which in turn can result in the achievement of entering flow. Although the Spectrum Matrix is a tool that brings clarity to the unison of both cognitive theories in translation to landscape design, Clements and Dorminey (2011) also acknowledge its limitations, “The [Spectrum Matrix] does have limitations. The multiple intelligence profile of tool users can limit their ability to recognize landscape characteristics and/or opportunities that are outside of their individual perceptual and cognitive capacities. Additionally, the tool is not appropriate for assessing the success of built landscape projects. Postoccupancy observation methods would need to be supplemented with research of user motivation and quality of landscape experience to learn how and if a landscape design was successful. This research has not yet been done.”

As such, an affective landscape offers choices towards people who interact with it.

In offering a diversity of challenges relative to the multiple intelligences, the landscape itself understands each person’s unique cognitive psychology. This provides greater opportunities to engage users. Through this, the experience of flow is a desirable goal within the landscape. This attribute contributes to the overall meaningful landscape experience as “… [it] provides a variety of challenges relating to multiple intelligences [that] facilitates the creation of flow” (Clements and Dorminey, 2011).

Are there landscape architectural projects around the world that address this desire and is able to provide an enhanced level of affectiveness?

The following landscape architectural projects demonstrate the engagement of the cognitive theories through the manipulation of landscape elements and their characteristics. Although they were designed without the consideration, nor acknowledgment of the Spectrum Matrix or both cognitive theories, they demonstrate a range of challenge levels for each of the intelligence domains and were designed to actively engage with the users’ bodily senses and evoke a sense of region or culture, and a meaningful experience through landscape preference (Clements and Dorminey, 2011). The end result attributes to the development high value of psychosocial spaces that increase the achievement of flow and allow for the tantalizing of intelligence domains.

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MediaCityUK κºººººººººººººººººººººººººººººººººººººººººÏ

creative public realm. Gillespies aims for the landscape architecture to enhance the appeal and function of each corresponding building it has a relationship with. By identifying this relationship through proximity and eventual user patterns, it generates a holistic experience when one works within the buildings to when they work within the landscape. Drawing inspiration from the its industrial history, “…construction materials selected and utilized within the public realm include steel and natural stone from the industrial manufacturing past as well as wood reflecting the former dockside character” (Gillespies, 2015).

MediaCityUK is a globally significant digital media hub, servicing more than 80 business centred on digital and creative sectors.

Principal tenants include media organizations and broadcast networks like BBC and ITV as well and many other creative businesses (Landscape Institute, 2015). These entities interact together on this 200-acre mixeduse property development site on the banks of the Manchester Ship Canal in Salford and Trafford, United Kingdom (Gillespies, 2015).

The University of Salford also has a notable foothold on the site, with a main objective to formulate a collaborative network between students and professionals within this creative field, emphasizing the value of creativity that is generated through close proximity with relating partners (University of Salford, 2015). Developed on a formerly derelict brownfield site, Gillespies Landscape Architecture spearheaded the project “…with the aim of meeting and exceeding the aspirational objectives of the developer, the BBC and public sector partner bodies.” (Gillespies, 2015).

Through an ambitious and creative design response towards the challenges presented by the site, from its brownfield industrial history to the terracing landscape towards the Salford Canal, Gillespies Landscape Architecture created a landscape that embraces the creative industry, transforming its exteriors into a high quality environment with an extensive array of public spaces (Gillespies, 2015). External spaces are designed to integrate architecture with a fresh and

At the heart of the landscape is a multifunctional Piazza. The expansive space features radial geometry, emphasizing a functional space for activities, media events and large gatherings. Elegant arrangement of natural stone paving also establishes a dynamic connection between the waterfront and the buildings (Gillespies, 2015). In contrast to the sleek lines of the Piazza is the landscape’s green heart - Media Park; with rich naturalistic planting and sweeping paths to create intimate spaces for strolling, relaxing and creative inspiration as well as attractive backdrops for outdoor broadcasts (Gillespies, 2015). Gillespies also emphasized the planting schematic within the landscape “…by selecting predominantly native trees, shrubs, herbaceous, bulbs, grasses and wild flowers, attracting many insects and birds” (Gillespies, 2015). In addition to offering aesthetic and biodiversity benefits, the plantings “…provide microclimate benefits and were carefully located to offer local amelioration from the strong winds that affect some parts of the site” (Gillespies, 2015).

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©DARREN HARTLEY

©DARREN HARTLEY

©DARREN HARTLEY

©DARREN HARTLEY

MEDIACITYUK SALFORD, UNITED KINGDOM GILLISPIES LANDSCAPE ARCHITECTURE ©DARREN HARTLEY

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MEDIACITYUK SALFORD, UNITED KINGDOM GILLISPIES LANDSCAPE ARCHITECTURE ©UNIVERSITY OF SALFORD

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MediaCityUK is exemplary of an affective landscape because of the project’s intent to address active and passive recreation amongst employees, office workers, students. For this densely populated landscape, a central hub to the growing creative industry in the United Kingdom, the designers of Gillespies Landscape Architecture were conscious of the beneficial effects of landscape as a tool to rejuvenate the mind and body, the driving force of this industry. By providing landscape spaces such as the Piazza which features a wide large spaces for spontaneous social interaction, congregation, and the exchange of converse and ideas, it also alludes to perceptual identification of space.

This large spot in the landscape is a place of an inviting aura, a point in the landscape that promotes community neutrality. This alludes to what Heerwagen described as the hearth in detailing our evolution of intellectual development across the places we share social bonds and develop relationships (Heerwagen, 2008). These places began with a level of intimacy and safety as gathering spots such as campfires, which in our ancestral roots was the main gathering point and as such the Piazza in MediaCityUK replicates this dynamic in our new evolutionary environment of the creative industry (Heerwagen, 2008).

Media Park, on the other hand, provides lush landscaped environments for recreation as well as providing spaces to appeal to the bodily senses. From spacious green landscapes and pathways for strolling and relaxation, along with the consciously planted plants that provide local amelioration and microclimate benefits, Media Park infuses and utilizes the ability for

green spaces to benefit the psychological and the physiological by reducing potential stress.

Even the terracing landscape that provides access to the Salford Canal is utilized, as the site’s close proximity to water is celebrated and has psychosocial values as alluded to in Heerwagen’s (2008) work when she details how bodies of water reflect a landscape preference based from the Savannah Hypothesis. All of these landscape elements fulfill the need to address attentional fatigue across individuals working within MediaCityUK. Thus, Gillespies’ project provides a landscape that is proactive in its capacity to improve, influence, and rejuvenate people in their daily working environment.

Furthermore, the landscape elements also offers challenges across the intelligence spectrum. The radial geometry that demarcates the Piazza, with its radial geometric patterns across its paving scheme expresses mathematical patterns as well as oscillating pathways and walkways throughout Media Park and terracing down to the water’s edge with the Salford Canal offer complexity through elements spaced out in various two-dimensional and three-dimensional space. These mathematically defined forms within the landscape most notably address the logical-mathematical intelligence. The bodilykinesthetic intelligence is also enticed through the suggested movement through horizontal and vertical space within the landscape as these suggested movements through demarcated pathways influence an understanding and awareness of the body within space (Clements and Dorminey, 2011). Naturalistic intelligence is addressed via the incorporation of native deciduous trees and additional planting of various species of shrubs and bushes places 28

emphasis on the sensitivity of flora and fauna.

Visual-spatial intelligence is also entertained through the strong view perspectives which garner visual memory and visual perception from the alternative ways one moves within the landscape. This can entice active imagination as Randy Lee Cutler alludes to in his work On Speculative Walking: From the Peripatetic to the Peristaltic (Cutler, 2014). Cutler (2014) states,

shift in the landscape in order to achieve the status of an affective landscape, dramatic change is not at all a requisite to affective landscapes.

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ULAP-Platz Berlin is a landscape with a generative history. In London of 1851, the first world exhibition was held “…introducing a wave of large technology and trade exhibitions staged

by Europe’s capital cities,…[eventually] giving birth to Expos; large showcases of technological innovations shown to an international audience” (Gruyter, 2005). In the mid-19th century, Berlin, like many other capital cities were looking for a suitable exhibition site. Administrators eventually settled on a site in 1879. In front of the city gates to the west of the “…Lehrter Stadtbahnhof railway station between AltMoabit street and the Invalidenstrasse, the newly christened Universum-Landesausstellungspark or ULAP opened to the public in 1879 with an industrial exhibition on hygiene, art, and technology” (Gruyter, 2005). In the following years, major exhibitions took place here regularly “…including the Great General Horticultural Exhibition in 1890 and the Great Berlin Art Exhibition which continued until after the outbreak of World War I [where the site and] the exhibition halls were used to produce detonators for the Germany war effort” (Gruyter, 2005). The site also suffered from tragic episodes following years of conflict. The first tragic episode in the history of the site occurred in 1919,

“…the penchant for walking while thinking is a human activity further enhanced by the presence of natural and human-made panoramas. Perhaps the quality of imaginative explorations is afforded by geographical place and atmospheric condition: charming vistas, shadow casts, light quality, and the arduousness of the terrain. It takes time and distance to unfold an idea or disentangle a motif of one’s imagination.”

In the end, it is arguable that MediaCityUK address all of the intelligence domains to a degree, but what makes it exemplary is because of the project’s initiative to be exemplary of a landscape in the age of the creative economy.

It is specifically designed to provide spaces for the benefit of the psychological aspect of human behaviour. The project emphasizes human psychological functionality as an irreplaceable asset and direct aims its intention to the preservation and enhancement of it.

MediaCityUK’s landscape strives for the goal to allow people to achieve greater without having to dig deeper. Thus, it is effective in achieving the experience of flow, precisely because it strives to address the cognitive and perceptual domains and continuously challenges them. All of this culminates to a landscape that is meaningful and preferred in a creative working environment which ultimately improves individuals state of mind which will translates beneficially through their work. While MediaParkUK is a dramatic

“…when the bodies of Spartacists murdered in the Moabit prison were buried here, only uncovered [when] electrical systems for the city railway were [being] installed in 1926. In 1934, the National Socialists party converted the exhibition

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©REHWALDT LANDSCHAFTSARCHITEKTEN

©REHWALDT LANDSCHAFTSARCHITEKTEN

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©REHWALDT LANDSCHAFTSARCHITEKTEN

tone of the design through the atmosphere and continuous green of the grove of trees already present (Gruyter, 2005). Rehwaldt adapted ULAP into its new context, having being defined between the newly-built administrative district and the recently-opened railway station, “… the intervention was to bring about a subtle ordering while respecting the natural character it had spontaneously acquired so that it would articulate, as a kind of green vestibule, the relationship between these two new realities” (Rehwaldt, 2008).

buildings into a museum of German aviation (with the monumental steps that are still present today act as remnants of the site’s entrance). From 1933 and on, the Nazis used the site as a concentration camp, where hundreds of political dissidents were tortured and executed. The [site and] exhibition building was badly damaged in the bombing raid of 1943. [The final act of the site’s dark history] was its association to the Berlin Wall where] the park’s close proximity led to it becoming disused and fall into disrepair” (Gruyter, 2005).

The sites unkind history began to transition into optimism after the reunification of Berlin. The establishment of a “…new government district in 1999 brought the triangle ULAP site back into the city’s central planning boundary” (Gruyter, 2005). However, the emphasis was placed on the construction of Berlin’s central station in 2005, which ultimately regulated ULAP into a residual afterthought area, leading it to rest in an unfulfilled state. Fortunes changed when the city announced a new district neighbouring the site and the senate commissioned a design competition in order to rejuvenate ULAP (Rehwaldt, 2008).

The project is given the name of ULAPPlatz in memory of the fairground that had once existed there (Rehwaldt, 2008). Through the preservation and commitment to incorporate trees from its rich history as well as planting new trees, Rehwaldt emphasized the present element as the main focal point as “…the trees, in a symbolic fashion, became a major feature of the design. The pillar-like trees, the canopy of leaves and the play of light almost call to mind a sacred building - an impression reinforced by 32 long benches made from wooden planking, all facing towards the grand steps” (Gruyter, 2005).

Rehwaldt emphasized the grandiose stairs, along with the landscape’s terrain, sloping up towards the higher ground of the Alt-Moabit Strasse.

Rehwaldt details the design decisions,

At the end of the competition, the firm, Rehwaldt Landschaftsarchitekten took first prize. The idea behind their winning entry was “…instead of turning the site into a heavily meaningful lecture, transfiguring it or giving it pseudo-Romantic attributes, Rehwaldt chose [an] artfully reductive approach, and kept to it with absolute consistency” (Gruyter, 2005). The sites condition before Rehwaldt’s conception materialized was still marked in history. The large open-air steps from the Nazi period were still in place, with the steps punctured by many trees which have sprung up over time (Gruyter, 2005). Rehwaldt acknowledged this element as an inherent part of the landscape and set the

“The embankments are planted with low-lying hedges and colourful perennials, with visually accentuate this landscaped terrain and enliven the central area with their colourful blossoms. The embankment is also where the large historical 9.6 m x 20 metre natural stone steps are located. The landscape architects largely refrained from interfering with the steps, leaving the trees which have taken root in the steps due to years of neglect, intact, as they convey a sense of time [which has passed along]. The emphasis on the years of history has given birth to a new expo; an impressive new design with an aesthetic quality

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that responds appropriately to the former uses of the site and the conflicting feels they arose” (Gruyter, 2005).

This minimalism approach allows the viewer to relate and interconnect “…all the elements, historical and new, to each other, in a web of subtle interconnections” (Gruyter, 2005). From every element; the hall of trees, the rigid grid of benches, and the ruined steps, primarily stands by and for themselves with the intention to be exposed rather than to remade. This interplay of reinvigorating old elements in a new context create new experiences as, “Sitting on a bench in the hall of trees feels like being in a church. Walking on the tree-grown steps feels like taking part in a procession through a sacred space. Seeing the illuminated benches at night make the space suddenly seem different and almost unbounded. The wide central open square which meets the higher ground of the Alt-Moabit Strasse invites a new generation of the expanding district [with open arms]” (Gruyter, 2005).

The idea behind the rejuvenation of ULAPPlatz speaks volume through its minimalistic approach as the project intention emphasizes restoration rather than replacement. Through this restoration of ULAP-Platz, it inherent a different typology of the affective landscape.

While MediaCityUK is dramatic reinvention of the site, ULAP-Platz is generated through recognition of its landscape evolution. As Rehwadlt chose to preserve the grand staircase, the overgrown vegetation, and the trees that seemingly puncture the hardscape, the project is essentially emphasizing time as a unique character to the site, one that should be held in remembrance, reinvigorated by only its new contextual role as a place of social bonding and a proud public entity. What makes ULAPPlatz as a strong consideration for an affective

landscape is in its subtlety and naturality.

ULAP-Platz provides a strong space and inviting atmosphere for social gathering, leisure walks, and a recreational green backdrop for individuals working in the immediate proximity or people arriving via train from the station. ULAPPlatz engagement with the theory of multiple intelligences in a multitude of ways. ULAP-Platz harmonic qualities in its quiet atmosphere and natural environmental sounds percolate across the canopy of trees. Coupled with birdsong effectively communicate to the musical-rhythmic intelligence as the people passing by become sensitive to the sounds and vibration patterns of the natural atmosphere. The naturalistic intelligence domain is also challenged here as the space utilizes the appreciation of nature and how nature subtlety interacts with landscape elements. ULAP-Platz expands the awareness of the body through the simplistic movement through the space that when coupled with the preservation of the landscape elements, allow the landscape to tell a visual story about the site’s original past conditions. This engages the bodily-kinesthetic intelligence domain as well as the visual-spatial intelligence domain.

Perhaps ULAP-Platz most dominant challenge is towards both the intrapersonal and interpersonal intelligence domains as the space addresses the sensitive and historical past and as one moves through the space, you develop a sense of synergy with the landscape. The visitor becomes aware of the significance of the space. The landscape acts as a time capsule with the ability to transport visitors to a place that commands empathy, with spiritual and cultural weight due to its historical significance. This landscape memorabilia offers an intimate interaction 32

©REHWALDT LANDSCHAFTSARCHITEKTEN

ULAP-PLATZ BERLIN, GERMANY REHWALDT LANDSCHAFTSARCHITEKTEN ©REHWALDT LANDSCHAFTSARCHITEKTEN

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with the landscape that has a resounding affect, resulting from its purposefully embraced history presented in a new context. This can be evaluated as the experience of flow as these senses and feelings “…relate to [a] different way of perceiving, comprehending, and/or knowing” (Clements and Dorminey, 2011). It is a different type of flow in comparison to the improvement of personal skills as Csikszentmihalyi normally identifies flow with, but rather it provides a meaningful experience through optimizing and challenging the mental capacity to understand the inherent metaphysical qualities of the space. Thus, ULAP-Platz is a affective generative landscape. It is a landscape that compel us to think and rethink, to feel and to perceive in unexpected flows which in turn, correlates to the development of ones self awareness and “… immersion in and among the world’s obstinacies and rhythms” (Seigworth and Gregg, 2010, cited in Berberich, Campbell, Hudson, 2012).

The sites characteristics affect individuals in a different fashion than that of MediaCityUK. The subtle tones and quiet gestures are just as impactful yet are in stark contrast with MediaCityUK’s dramatic landscape elements. While MediaCityUK’s main clientele is easily identifiable in the creative community, ULAP-Platz demonstrates that an affective landscape does not necessarily have to readily identify and design for a certain category of people, nor does it have to be grandiose in its presence. Thus, how is it affective to the everyday person? It is an affective landscape because of the engagement of this landscape invigorates the new generation with a sense of history and place identification. Much like what

Highmore details about the youth growing up in the wrecked landscapes from the Second World War, it is here where it finds its strength in its affectiveness as it provokes the essential reactive process of being affected and in turn affecting. The entire site neither forgets or dismantles its dark history, but rather through its preservation of elements like the overgrown trees and grand staircase, the elements that have their origins tied to unfortunate historical situations are reborn in a new context of social gathering, equality, and positive outlook. This rebranding essentially invites a new generation to potentially never forget nor repeat the terrible situations that have taken place on this very site. Much rather it shines new light among its new purpose. Through this subtlety, it provides an affective landscape whose approach is more indirect than that of MediaCityUK’s landscape, but affective nonetheless.

Flowscape κºººººººººººººººººººººººººººººººººººººººººÏ

The term affective landscapes is inherently tied to landscapes’ ability to inspire (Berberich, Campbell, Hudson, 2012). In the deliverance of a truly affective landscape to enhance the performance (not exclusively) of the creative community, the landscape architect “…[has] the opportunity to influence a user’s experience through creatively designing landscapes that are cognitively engaging” (Dorminey, 2003). That to deliver the affective landscape, one must aim to incorporate landscape preferences and “…assist in the design and management of landscapes [catered] towards the well-being of people” (Clements and 34

Dorminey, 2011). It is also important to address concerns of mental fatigue by understanding one’s environment, providing opportunities for exploration as well as restful and enjoyable spaces of psychosocial value (Csikszentmihalyi 1990; Sullivan 2014; Heerwagen, 2008). To allow for meaningful participation through landscape design that helps and challenge individuals to experience and interact with their environment cognitively and perceptually, eventually igniting a development of self. All of these elements share the qualities with what Csikszentmihalyi details as conditions for the achievement of flow (Figure 4.0)(Clements and Dorminey, 2011). Thus, an affective landscape creates an advantageous condition within the landscape to allow users to more affectively achieve flow. This renders a new concept known as Flowscape through the provision of the aforementioned landscape qualities. Flowscape examines the application of psychology theory to human behaviour layered onto landscape architectural practice to create a landscape that is more inherently in-tune with the needs and desires of the growing (and not limited to) creative industry and their employees.

It aims to understand how people work with one another and subsequently how landscape architecture can aid in helping individuals perform better in their work (Heerwagen, 2008). Flowscape aims to uncover how people function at a psychological level, addressing issues such as capacities to pay attention, work space environments, relationships, and how to alleviate mental fatigue (Sullivan, 2015). Can landscape architecture help generate a space that has the potential to increase in the productivity, psychological, and healthy well-being of its workers? Can landscape architecture create

a landscape dramatic enough to shift one’s way of thinking or one’s way of acting? Can it make improve individual’s personal skills and influence their awareness of themselves and the world? Flowscape: Landscape Architecture in Performance Enhancement within the Creative Field aims to provide such a landscape that affects users in this fashion. Fundamentally, Flowscape is an affective landscape, one that recognizes that “…life is a movement of opening not of closure, [and] that the world is still tentative, charged, overwhelming, and alive” (Ingold, 2011; Stewart, 2007, cited in Berberich, Campbell, Hudson, 2012).

“Flowscape is an affective landscape, one that recognizes that…life is a movement of opening not of closure, [and] that the world is still tentative, charged, overwhelming, and alive.”

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“Control of consciousness determines the quality of life.�

Mihaly Csikszentmihalyi,

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Figures κºººººººººººººººººººººººººººººººººººººººººÏ Figure 1,3, & 4 Clements, T., and Dormancy, S., 2011. Spectrum Matrix: Landscape Design and Landscape Experience. [online] Available at: < http://muse.jhu.edu/journals/landscape_journal/summary/v030/30.2.clements.html > [Accessed Oct 20. 2015].

Figure 2 WBDG National Institute of Building Sciences, Heerwagen, J. 2008. Psychosocial Value of Space. [online] Available at: <https://www.wbdg.org/resources/psychspace_value.php > [Accessed 5 October 2015].

Pictures κºººººººººººººººººººººººººººººººººººººººººÏ MediaCityUK Darren Hartley, 2011; In Archdaily, 2015. MediaCityUK Exterior Spaces / Gillespies. [online] Available At: <http:// www.archdaily.com/150678/mediacityuk-exterior-spaces-gillespies> [Accessed December 3, 2015] ULAP-Platz University of Salford, 2011., MediaCityUK aerial view April 2011. [online] Available At: < https://en.wikipedia.org/ wiki/MediaCityUK#/media/File:MediaCityUK_aerial_view_April_2011.jpg > [Accessed December 3, 2015] Rehwaldt Landschaftsarchitekten Till Rehwaldt, 2008., Rehwaldt Landschaftsarchitekten - ULAP-PLATz, Berlin; In Gruyter, W., 2005. Spielräume / Changing Places: Zeitgenössische deutsche Landschaftsarchitektur / Contemporary German Landscape Architecture. Bund Deutscher Landschaftsarchitekten. Birkhäuser Basel

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LANDSCAPE TOPICS LARC 7400 MARCELLA EATON FACULTY OF ARCHITECTURE UNIVERSITY OF MANITOBA VINCENT TANG

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