They focus on the dynamic relationship between the natural and the man made and how this can be revealed to enhance the experience of the architectural landscape. Augmented Landscapes features landscape architects Smout Allen. Smout Allen presents five projects that respond to the way in which man has enlarged the landscape through architecture and infrastructure, manipulating and blurring perceptions of what is natural and what is artificial. Its through these intriguing drawings that there notions of space, observation, materiality and nature are expressed.

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File: PDF, 9. Visit our web site at www. No part of this book may be used or reproduced in any manner without written permission from the publisher, except in the context of reviews. Every reasonable attempt has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions. Landscape architecture. Allen, Laura, — II. Spiller, Neil. Most times of the day or night they are in their studio, positing, honing, and creating architecture of astounding dexterity, subtleness, and minimal ecological disruption.

This they do with the happy humor of people really enjoying the intimacy of working together and the strange dance of fecund creative activity. But we are getting ahead of ourselves; can we search back in their pasts to ascertain an architectural lineage? Laura Allen was once a student of Peter Cook.

They both tutor as well as having studied at the Bartlett. Their teaching unit is highly regarded and often is rewarded with medals from the Royal Institute of British Architects. Like any teachers of architecture worth their salt, generations of students have acted as guinea pigs for their ideas. So what is, as we architectural alchemists say, the prima materia of their work?

Firstly the siting of their work is never random and never expedient; it is always vastly important and is the fundamental generator to the project.

Much inspiration is gleaned from geomorphic natural phenomena. Architectural objects make up multi-scaled machinic ecologies, both within individual buildings and between groups of buildings. Their work is always attuned to issues of time, duration, weather, and weathering.

The work rejoices in the dusk, the sunset, and the horizon—the changing position of the viewer, the user, and the idle observer all carefully choreographed and accommodated.

They may introduce more vegetal variety into the sites and use the byproducts of their growth to drive other aspects of the building. Their work is modern without being stupidly avant-garde; it speaks of a quieter, more assured understanding of genius loci. In fact the Smout Allen world is one of tracking and instigating loci to architectural effect. It is indeed of its own time. Both architects share a kind of Voyseyian crafted concern for sumptuousness. But unlike Salter, Smout Allen is also cosseting the virtual in some of their work.

This is not embedded in the work with the usual fanfare and light show but in a simple and pragmatic way that further enhances their dioramas and set pieces.

All good architectural designers should experiment with the various modes of representation open to them, but Smout Allen are virtuosi of techniques. They sketch like a dream, but when these sketches evolve into presentation drawings they take on an almost religious intensity. Blimey they are clean! Not for them the grungy patina of a well-worked working drawing or the grubby paw print and greasy splodge. The quality of lines on the drawings is very pure, no jolt and no fade.

The drawings themselves are composed with protocols which abound with a type of contemporary cubist minimalism, each view on top of one other. It is through these drawings that the genetics of each scheme is revealed to us as a series of spatial relationships at once teased and delightfully manicured.

Smout Allen is a delightful young practice. They are harbingers of a new architecture. An architecture that touches the land lightly because nothing else seems appropriate anymore. An architecture that forsakes the meaningless pyrotechnics of our current generation of technocratic architects yet uses technology appropriately and sensitively. Enjoy the joy. Restless Landscapes Man continues to mark the land, relentlessly shaping the surface from wilderness to cultivation.

Strategies of mechanization, the necessity of irrigation, and the demands of inhabitation introduce a new order. Alien materials interrupt the processes of growth and decay. New and evolving features created by man are, to an extent, Oxford Tire Pile No. The reshaping of terrain by of our surroundings.

This neo-nature has become a picturesque aesthetic, an often cherished rural environment where sentimental attitudes that inform our visual perception of the landscape become key.

Representations of the landscape play an important role in our understanding of our environment. The picturesque parkscapes and paintings of the eighteenth century enabled the viewer to appreciate from a distinct distant position an idealized rural scene. In the nineteenth century panorama and diorama theaters were a popular attraction in major cities. The panoramas represented the desire to discover and understand the horizon in the perceptual world.

This developed the use of perspective and spatial depth in constructing an image of a view. The panorama was a viewing mechanism that taught people how to see a view as it organized the visual experience for the eye. The illusion was often enhanced by the use of real objects positioned with perspectival accuracy in the foreground. In each the physicality of site and the processes of environmental transformation are exploited— the intrinsic features of the landscape, the force of nature, geography, climate, geology, and land use are all scrutinized.

Restless Drawings Each design case expresses a unique response to the augmentation of architecture and its prevailing relationship to the restless landscape. In addition, hand in hand with notions for architectural space, materiality, and program, observational and representational concepts are used through which the mutability of nature can be exposed.

The creation of test sites on and in the surface of the paper allows the work to react to and describe the iterative process of design. This work becomes a materialization of the practice of design. Modeling and drawing methods enable this detail to become apparent. This enables them to be viewed at the scale of an object or within the scale of the horizon. This relation to the landscape is expressed most often through an abstract projection of the body upon the natural world.

Consequently, both the miniature and the gigantic may be described through metaphors of containment—the miniature as contained, the gigantic as the container. A more contemporary example of a technique by which to contrive a composition is the matte paintings of the movie industry, now sadly redundant. These were used to augment reality by adding or subtracting from the scene.

Unlike the Claude Glass, careful positioning is crucial to enable the desired single and static views to be directly related to the panoramic scenes.

Each Panorama Landmark takes up its position in the anatomy of its surroundings. The viewer is precisely placed relative to the horizon on which new elements are positioned, juxtaposed to the fore-, mid-, and background. However, in the endeavor to realize both the scope and scape of the landscape, to depict time and duration, and the dynamism of their disintegrating territory, they exist between the realm of sketch diagrams and architectural orthographic representations. They contain multiple viewpoints and simultaneous shifts of position.

Mutability We have used kinetic models and devices to illustrate the restlessness of the environment or the trajectory of the architecture. These provide one with numerous ways with which to contemplate the work.

They mastered a subtle yet impressive technique that revealed, as a theatrical display, the transition of dawn or dusk over the chosen scene by a simple adjustment of relative light levels across and behind the canvas. The technology is embedded, contextual, and visual. The Grand Egyptian Museum celebrates the vernacular technologies of arid and semi-arid countries, which are used to substantially moderate the environmental comfort of the galleries.

The 44— They the performance of the landscape. Environmental Technologies The projects described here develop technological strategies in a manner that fuses them into the body of the architecture. The rock is a literal edge between the sea and the land, and the building that inhabits it merges and blurs the boundary so that in essence the architecture becomes part of the geological and topographical landscape.

The passage of abundant water on the site provides a source of kinetic energy that invades the building. Trenches, gullies, and reservoirs are cut into the rock to channel water throughout the gardens and through the service core.

Counterbalances and weights shift building pieces. The top layer abstracts time sequences and space. Light highlights the building facade. This moving landscape requires complex control. The rock landscape is sculpted by water channels and fountains and is veiled by sprays and steam. The building provides a suitable environment for growth, divided into two gardens.

The building explores the natural cycles and processes that are present in the surrounding landscape and apparent in the ambient and latent qualities of the site. One is introduced to these phenomena with heightened sensitivity by means of tranquil areas such as hot pools, viewpoints, and sun-drenched plateaus.

From both land and sea the building and gardens can be seen as sequences of horizontal stripes formed by the kitchen, breakfast bar, and garden plate.

The visual dashes are countered by both horizontal and vertical dots formed by lifts and the passage of the trolleys around the site. The coastal facade is perceived from a greater distance and as such the visual indicators are at a greater scale and a slower pace.

The high freezing point of water and the low temperatures of the sub-arctic winter mean that measures will have to be taken to prevent freezing, bursting, and irreparable damage. In the proposal, the penstock enters the turbines at just above sea level. The turbines convert the potential energy of the water from the Semsvannet reservoir on the west side of the fjord.

This is ample for the proposal. A safety factor of four is applied, giving the weight of the lift as 8kN. Water was a fundamental feature in ancient Egyptian garden design. Canals cut into the gardens fed water into the orchards and planting beds. Trees were planted in pits cut into the ground of inner gardens so they could each be watered.


Augmented landscapes



Augmented Landscapes



Smout Allen: Augmented Landscapes and Delicate Machinery


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