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{"id":2885,"date":"2019-02-28T17:21:29","date_gmt":"2019-02-28T16:21:29","guid":{"rendered":"http:\/\/landscapearchitecturetudelft.nl\/?p=2885"},"modified":"2019-03-05T15:00:41","modified_gmt":"2019-03-05T14:00:41","slug":"drawing-time","status":"publish","type":"post","link":"https:\/\/landscapearchitecturetudelft.nl\/drawing-time\/","title":{"rendered":"Drawing time"},"content":{"rendered":"\nAs landscape architects we deal\nwith time and process. We plant trees from nursery and wait for them to grow\ninto a mature form, we decorate gardens with flowers which blossem in spring, we\ncreate public spaces like waterfronts according to the dynamic of floods and\ntidal change. Nothing is fixed and can be controlled fully. We are not\ndesigning buildings where we have meticulous elaboration on space and\nmateriality. Working with landscape we place\nourselves within the flow of nature and work with the enchantment of\nindeterminacy. <\/p>\n\n\n\n
Recognizing the dynamics of\nprocess and time in landscape architecture, it is intriguing to think of\nanother component that is dominant in our design practice: drawings. As drawings\nseem to be so static and permanent, how does it integrate with process and\ntime? How can time and drawing reinforce one another? How can we represent time\nin our drawings and vice versa, how can the activity of drawing time invite nuanced\nobservation that may polish our design?<\/p>\n\n\n\n
The one-week-period of working\nwith time brings me some insights on the topic of time and space, presentation and\nrepresentation, design determination and the agencies of change\u2026 In the\nfollowing parts, I will try to conclude my observations on four themes: 1)\npresentation: to whom, 2) drawing time=observing, 3) measurement, determination\nand reality, and 4) architectonic\nprecision and agencies of indeterminacy.<\/p>\n\n\n\n
1. Presentation: to whom<\/p>\n\n\n\n
When we are talking about\npresentation, we recognize the presenter as the heart of the event. However, the\npresentation always involves a crucial component that we would better not forget\nabout: the audience. Therefore, we need to identify our audience carefully: Whom\ndo we present? for which reason? Following this, we then decide the forms of\nthe representation for our design inline with audience\u2019s interest. <\/p>\n\n\n\n
As designers, we may use different forms of representation: models, technical drawings such as plans, sections, elevations, and narrative drawings like comics. Each form of representation contains different types of information. Furthermore, different forms of drawings have their own potentials to engage the audience. For example, the technical drawings are very convincing for certain audiences such as clients or planning professionals, engineers and architects, while the comics is lively, therefore it may be easily accepted by general audience. Sometimes the success of the presentation is not so relevant to what information we express with drawings, but it is more about what form of drawing we choose. It is interesting to think that each form of drawings may have its own \u2018autonomies\u2019 to tell a story.<\/p>\n\n\n\n
2. Drawing time = observing <\/p>\n\n\n\n
Drawing as a noun could be understood as a form of representation in design. Nevertheless, drawing could also be considered as a verb: to draw. When we recognize drawing as an action and a process, it brings invaluable insights for design. Drawing can be something powerful for developing design thinking. Firstly, it is a fundamental tool for observation, moreover, it allows more nuanced elaboration that polish our design. From drawing and representing the current conditions or past transformation of the site, it allows a designer to think about different tendencies of the site. However, the level of detail we draw might also effect on develop our design ideas. For the project Werf 35, because of its rather smaller scale, it is easier to grasp spatial, material components of the project. One student makes a life span drawing in sequences for different facilities found on the site. The facilities such as warehouses are more permanent while the outdoor furnitures, that were brought for temporal events, are ephemeral. This drawing allows us to imagine what amenities could be added to the site in the future that may facilitate other favored programme. On the contrary, students have difficulties to develop thorough understandings on the project \u201cRoom for the River\u201d, because of large scale and more dynamic natural process. As a result of lacking detailed information of the project, their time drawing of the project stays fuzzy and they\u2019re uncomfortable to make assumptions about the future. <\/p>\n\n\n\n
3. Measurement, determination and reality<\/p>\n\n\n\n
When we consider the precision of representation,\nit makes me think of another factor in drawings: the measurement. The\nparadoxical relationship between measurement and realties is discussed in the\nbook Taking measures across the American\nlandscape<\/em>. In general, measure \u201cis the unit as well as the vehicle by which\na particular reality is given a mathematical structure\u201d[1]<\/a>. \nThe book highlights the relationship between measure and design as\nfollows: <\/p>\n\n\n\n \u201cmeasure is intrinsic to the design,\nhabitation, and representation of land. It underlies the variety of ways land\nis traversed and negotiated. It enables the spacing, marking, delineation, and\noccupation of a given terrain\u201d[2]<\/a>. <\/p>\n\n\n\n Designing landscape as we do, we\nhold an explicit position of introducing changes. We alter the flow of nature\nand from there we try to reach our goals \u2013an improvement of the existing\nsituation. No matter we want to make the existing more functional or aesthetic,\nour intervention is driven by a specific intention and we ought to be aware of\nthat. We are not letting the site develop naturally. From this perspective, the\nmeasurement is fundamental, as the very basics in our practice, for us to\nunderstand, evaluate and exploit the existing conditions. As measure is important in our design, and therefore,\nin our drawings, then what is their role when we draw time? <\/p>\n\n\n\n 4. Architectonic precision and agencies of indeterminacy<\/p>\n\n\n\n An interesting finding from\nstudents\u2019 work: some students intentionally draw the existing situation with a\nprecise language while the future is blurry. It is reasonable, as in the future\nwe cannot be sure about how the site will be developed. In other words, the\narchitectonic precision becomes vague when we are working with time. It brings some interesting perspectives on\nthe process during time. As once our design is constructed, we then try to\nthink of future. However, not only is it us who transform the site, but also\nother non-human agencies such as wind, rain, animals and flora, as well as\nother socio-economic factors such as the changing users or land use policies,\netc. Therefore, we could say the designer\u2019s definition of the site is inevitably\ndefusing in the duration of time. <\/p>\n\n\n\n Louis Le Roy states that everything\nin nature is always under constant transformation[3]<\/a>. It further recalls a beautiful\npieces of writing from French scientist P.S. de Laplace: [4]<\/a><\/p>\n\n\n\n \u201cWe ought to regard the present\nstate of the universe as the effect of its previous state and the cause of the\none which is to follow [where] an intelligence knowing at a given instant of\ntime all the forces operating in the universe would be able to comprehend the\nmotions of the largest bodies of the universe and those of the smallest atoms\nin a single formula\u2014provided that it was sufficient to submit all these to\nanalysis. To it nothing would be uncertain and the future would be present to\nits eyes as much as the past.\u201d<\/p>\n\n\n\n Considering every process taking\nplace on our planet, they have their own destined trajectory, then what\ndesigners could be understood as altering the existing flow towards the end\nthrough their design. To work with time, or in a more stronger expression, to\ndesign with time, it might be relief for the purposeful design to think of\nother possible agencies that might be influential in time. <\/p>\n\n\n\n Those agencies also play an active\nrole when representing time with drawings or models. In the visualization, it might\nbe better not to randomly suggest what is going to change, but to show who\nbrings the changes and how those agencies interact with the design composition.\nFor the cases that try to use models to represent the changes of the site, it\nalso makes a difference if we use the similar agencies, or we just mimic the results\nof change. For example, one student creates a model with square grids to\nrepresent how wild flora will spread and intrude the adjacent grids. He then uses\nwatercolor to draw five grids and add a few drops of water to let color defuse.\nFrom my point of view, it is a lively way to represent the flux of nature, but\nit might be more interesting to see some real living organism moving and\nescaping the definition of grid blocks. <\/p>\n\n\n\n To sum up, we may think the very\nintriguing ingredient in drawing time (for landscape architectonic design) is\nthe interplay between the form introduced by the designer and the multiple agencies\nduring the site\u2019s transformation. <\/p>\n\n\n\n I end this observation with a paragraph from Le Roy, which states the devision between the form fixed by utilitean intervention and the form of natural transformation: <\/p>\n\n\n\n \u201cThe painter Paul Klee wrote, \u2018giving shape to something is a form of life, but form as such is the deadly end of a process. We are not looking for forms but for their function\u2019. The landscape designer Van Der Laan argues that \u2018making\u2019 is not a creation in the sense that we generate the product: \u2018it is always only a remaking, a modification of a natural given. Everything, I mean everything, in the world is complex. Nothing is simple! Everything, I mean everything, is in transformation. Nothing keeps its form!\u2019[5]<\/a>.<\/p>\n\n\n\n \u2026 \n<\/p>\n\n\n\n Drawing and design with the flux\nof nature in mind, how do we make (or remake) the form? And what would be the\nsignificance of that? [1]<\/a>Corner,\nJ. and Valkenburgh, M. van. (1996) Taking measures across the American\nlandscape<\/em>. New Haven: Yale University Press. Pxvii. <\/p>\n\n\n\n [2]<\/a> Ibid.<\/p>\n\n\n\n [3]<\/a> Boukema,\nE. et al.<\/em> (2002) Louis G. Le Roy\u202f: nature, culture, fusion<\/em>.\nRotterdam: NAi Uitgevers.<\/p>\n\n\n\n [4]<\/a> Tony\nFlew, An Introduction to Western Philosophy: Ideas and Argument from Plato\nto Popper <\/em>(New York: Thames and Hudson, 1971), P238. See also Raxworthy, J.\nR. (2013) Novelty in the Entropic Landscape: Landscape architecture,\ngardening and change<\/em>, School of Architecture<\/em>. The University of\nQueensland. P178. <\/p>\n\n\n\n [5] <\/a>Boukema, E. et al.<\/em> (2002) Louis G. Le Roy\u202f: nature, culture, fusion<\/em>. Rotterdam: NAi Uitgevers. P59. <\/p>\n\n\n\n Cover image: Wutsje \/ Wikimedia Commons \/ CC-BY-SA 3.0<\/a><\/p>\n","protected":false},"excerpt":{"rendered":" As landscape architects we deal with time and process. We plant trees from nursery and wait for them to grow into a mature form, we decorate gardens with flowers which blossem in spring, we create public spaces like waterfronts according to the dynamic of floods and tidal change. Nothing is fixed and can be controlled…<\/p>\nRead More<\/a>","protected":false},"author":19,"featured_media":2896,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[7],"tags":[477,478,479],"class_list":["post-2885","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-observations","tag-drawing-time","tag-experiments","tag-workshop","col-lg-4 col-sm-6"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/landscapearchitecturetudelft.nl\/wp-content\/uploads\/2019\/02\/20120804_Ecokathedraal_Mildam_Fr_NL-e1551793896856.jpg?fit=2402%2C655&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/paMEHc-Kx","_links":{"self":[{"href":"https:\/\/landscapearchitecturetudelft.nl\/wp-json\/wp\/v2\/posts\/2885","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/landscapearchitecturetudelft.nl\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/landscapearchitecturetudelft.nl\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/landscapearchitecturetudelft.nl\/wp-json\/wp\/v2\/users\/19"}],"replies":[{"embeddable":true,"href":"https:\/\/landscapearchitecturetudelft.nl\/wp-json\/wp\/v2\/comments?post=2885"}],"version-history":[{"count":2,"href":"https:\/\/landscapearchitecturetudelft.nl\/wp-json\/wp\/v2\/posts\/2885\/revisions"}],"predecessor-version":[{"id":2900,"href":"https:\/\/landscapearchitecturetudelft.nl\/wp-json\/wp\/v2\/posts\/2885\/revisions\/2900"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/landscapearchitecturetudelft.nl\/wp-json\/wp\/v2\/media\/2896"}],"wp:attachment":[{"href":"https:\/\/landscapearchitecturetudelft.nl\/wp-json\/wp\/v2\/media?parent=2885"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/landscapearchitecturetudelft.nl\/wp-json\/wp\/v2\/categories?post=2885"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/landscapearchitecturetudelft.nl\/wp-json\/wp\/v2\/tags?post=2885"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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