Skateboarders are an increasingly common feature of the urban environment - recent estimates total 40 million world-wide. We are all aware of their often extraordinary talent and manoeuvres on the city streets. This book is the first detailed study of the urban phenomenon of skateboarding. It looks at skateboarding history from the surf-beaches of California in the 1950s, through the purpose-built skateparks of the 1970s, to the street-skating of the present day and shows how skateboarders experience and understand the city through their sport. Dismissive of authority and convention, skateboarders suggest that the city is not just a place for working and shopping but a true pleasure-ground, a place where the human body, emotions and energy can be expressed to the full.
The huge skateboarding subculture that revolves around graphically-designed clothes and boards, music, slang and moves provides a rich resource for exploring issues of gender, race, class, sexuality and the family. As the author demonstrates, street-style skateboarding, especially characteristic of recent decades, conducts a performative critique of architecture, the city and capitalism. Anyone interested in the history and sociology of sport, urban geography or architecture will find this book riveting.

Boundless Russia, humble yet full of hidden grandeur-such visions of "the motherland" became crucial markers of Russian national identity. This Meager Nature is the first full-length study to trace the cultural construction of Russia's landscape during the nineteenth century, showing how artistic and literary representations of nature reflected and shaped Russians' ideas about themselves and their nation. In the early 1800s, Russians commonly accepted the European judgment that their land lacked aesthetic value. That view changed with the outpouring of literary and artistic creativity that followed the century's political upheavals. Artists such as Aleksei Savrasov, Fedor Vasil'ev, Ivan Shishkin, and Nikolai Nekrasov turned to their native land and revealed the power of grey skies, vast open fields, and simple birch forests. Russians came to embrace their land's modest beauty, which represented strength and hidden depths. The historical creation of Russia's sense of place resulted not so much from its citizens' encounters with their environment, Ely argues, as from their long-term struggle to distinguish Russia from Europe. The humble beauty of the Russian land served to assert the genuineness of Russia against the inauthenticity of western Europe. For those who embraced it, the "meager" beauty of the landscape provided a powerful means for experiencing and expressing Russian national identity.

Tracing the history of landscape park design from British gardens up through the city park designs of Frederick Law Olmsted, Ethan Carr places national park landscape architecture within a larger historical context. Despite the difficulties now confronting the parks, their continued ability to attract millions of visitors suggests that their creators succeeded in presenting a captivating vision of a once-wild America.Ethan Carr is a landscape architect and is currently working for the National Park Service. He has taught landscape architecture at the Harvard University Graduate School of Design and the University of Virginia School of Architecture.

This efficiency-boosting resource gives you fast access to 350 of the most commonly used site construction details. Details for curbs, steps, lighting fixtures, walls, and much more are ready to be copied from the convenient spiral-bound, lie-flat format. In addition, this manual offers you a clear view of each detail both in section and in a photograph of a sample installation. To further simplify and speed up your design and adaptation work, each clear, standard-scaled detail is accompanied by full data on cost, CSI Masterformat reference, applications, installation, intensity of use and substrate constraints, maintenance and climatological requirements, and other relevant considerations. Perfect for on-site consultation or desktop at-a-glance reference, as well as time-saving adaptation to documents, Site Construction Details Manual gives landscape, design, and construction professionals the comprehensive and up-to-date selection of details they need, right where they need it. Any way you look at it, this all-in-one detail anthology is an invaluable on-the-job toolÑone that youÕll definitely want to keep within reach. And its a handy companion to the popular Landscape Construction Details CD-ROM!

". . . as we anticipate the world of the twenty-first century, landscape architecture is at a crossroads. If the discipline embraces ecological design and planning, then it has a leadership role in contemporary society throughout the world. If landscape architecture, however, turns inward and ignores its larger responsibility to the public good, then it will become marginalized and less relevant." —George F. Thompson and Frederick R. Steiner.

The essays contained in this book are written by a cross section of the most respected teachers and prac-titioners of landscape design from around the globe. Ecological Design and Planning offers a unique opportunity to learn about the latest thinking and practices in the art and science of ecological landscape design from such leading lights as Michael Laurie, Carol Franklin, Laurie Olin, Elizabeth Meyer, Mark Johnson, and Ian McHarg.

The common thread that runs through these essays is the authors' conviction that the growing rift in landscape design—ecology vs. aesthetics—is an artificial one. Each author expresses abiding concern for the ecological preservation and enhancement of the site, while demonstrating clearly—with both words and pictures—that the best designs are those that harmonize aesthetic form and ecological function. Ecological Design and Planning is a source of ideas and inspiration for landscape architects and planners, architects, and all those who understand the importance of designing with nature.

"It is high time that we citizens of the world begin to understand that our situation on earth is not one in which nature must rule over culture, or culture over nature, as if one can separate the two in the first place. It is high time to reflect upon the geographies and landscape histories of the past throughout the world so that we can bring forward—again—the concept that only by designing and planning with nature and culture can we begin to heal the landscapes and places of everyday existence—urban, rural, and wild—in environmental and aesthetic terms. 'God's own junkyard' need not continue to dominate our public landscapes, nor our own backyards and city streets." —George F. Thompson and Frederick R. Steiner

New essays by: James Corner, Carol Franklin, Mark Johnson, Michael Laurie, Ian L. McHarg, Elizabeth Meyer, Forster Ndubisi, Laurie Olin, Claire Reiniger, Sally Shauman, Meto Voom, and Joan Hirschman Woodward.

Photographs by Steve Martino

"This book will be extremely useful for gardeners, nurserymen, extension agents, students, and others interested in woody landscape plants of the Deep South. . . . The text contains much information based on first-hand observations of the authors in a personal style that is most attractive. The Table of Horticultural Characteristics and Landscape Planning Aids is a welcome addition."--Dr. Frederick G. Meyer, National Arboretum, Washington, D.C.

"Woody Ornamentals" will take its place alongside the spade and trowel as an indispensable gardening tool for plant lovers in the Deep South. No other book offers such complete information about trees, shrubs, woody vines, and ground covers for USDA Zone 8, an area beginning at the Texas-Mexico border and cutting a wide swath across the Deep South.
When David Rogers retired after a life's work in botany and returned to his native Deep South, he discovered that many new cultivated plants and rare species from all over the world had been introduced into the gardens and landscapes. This comprehensive work also identifies the native flora that contribute handsome, hardy plants to residential landscaping, the many subtropical trees and shrubs that do not grow in more northerly gardens, and the fruit-bearing trees such as mandarin orange, sand pear, and new varieties of apple.
The plants are listed alphabetically in the book by their generic name. General information about the plants--their appearance, growth and habit, with details about geographic origin, environmental requirements, and special features--appears in easy-to-read prose. For those who designate plants by their common name, an index to the common names references the generic name, and an additional index references the family, genus, and species. Photographs of unusual species and 174 beautiful, detailed line drawings supplement the text. Extensive tables of horticultural characteristics and landscape planning aids provide an overview of each species in the categories of large, medium, and small trees, shrubs, woody vines, and woody ground covers.

The restoration of the flower gardens at Monticello in 1941, sponsored by the Garden Club of Virginia, was the result of Edwin Betts's scholarly research and Hazlehurst Perkins's practical gardening skills. Thomas Jefferson's Flower Garden at Monticello presents the evolution of Jefferson's ornamental gardening efforts with an analysis of the flower gardens as they were planned, planted, and ultimately restored.

No early American gardens were as well-documented as those at Monticello, which became an experimental station, a botanic garden of new and unusual plants from around the world. Betts and Perkins communicate here the nature and sources of Jefferson's intelligent venture into ornamental gardening.

The third edition includes a revised plant list, annotation of the more than 100 species cultivated in the flower garden, and new illustrations.

This is a book about contemporary Swedish landscape architecture, reflected through the work of the country's leading landscape designer Thorbjorn Andersson. Three essays by international writers open the book, elaborating on the concepts of Nature, Site, and Restraint. The essays are followed by the project section, including photographs, drawings, and descriptions. The projects are in the public realm; mainly squares and parks in Sweden. Swedish landscape architecture stands firm in the world, directed towards social use and careful design. Sweden has developed a tradition built on human values, selective design, and an urge to work in a resourceful way. The book covers a selection of recent projects by Thorbjoern Andersson, who is one main interpreter of contemporary Swedish landscape design. Essays are by Annemarie Lund of Denmark, critic, editor and author, Marc Treib, professor emeritus of UC Berkeley and prolific author, and Udo Weilacher, chair of Landscape department at TU Munich and author.

Leading with Aesthetics: The Transformational Leadership of Charles M. Vest at MIT examines the role of aesthetics, design, and architecture in organizational transformation and leadership, particularly in the context of academic institutions. Leadership has been thus far predominantly examined from the perspective of function (performance) and position in the organizational structure (such as a CEO or a president). Relatively little work has been done in studying leadership of academic institutions, let alone from the perspective of aesthetics, both of which this book aims to rectify. Although aesthetic dimension is important in any organizational context, it is particularly important for academic institutions. Leading with aesthetics would empower leaders in any organizational setting. Daas examines the aesthetic dimension of transformational leadership through an eclectic blend of lenses drawn from the fields of architecture, political science, organizational aesthetics, and organizational psychoanalysis. A detailed case study of the leadership of Charles Marstiller Vest (1941-2013), who served as the president of Massachusetts Institute of Technology for fourteen years between 1990 and 2004, illustrates the importance of the aesthetic dimension in leadership and organizational change.

The European Landscape Convention has introduced a Europe-wide concept of protection, management and planning of all landscapes - not just the outstanding ones. This book reflects on the background to the establishment of the convention, takes a critical look at examples and experiences of its implementation, and discusses future developments for the convention and the management of landscapes in Europe. A decade after the creation of the European Landscape Convention, this book asks how it has influenced the governance and development of European landscapes, and what role it will play in the coming years. The authors provide a wide range of analyses, reflections and visions, informed by their diverse experiences of researching, working with and using the convention. The sixteen essays are organised into three sections, focusing on the fundamental concepts and values behind the convention, current projects and experiences of implementation, and prospects for future developments.

Outlandia is an off-grid artists' fieldstation, a treehouse imagined by artists London Fieldworks (Bruce Gilchrist & Jo Joelson) and designed by Malcolm Fraser Architects, situated in Glen Nevis, opposite Ben Nevis. It is performative architecture that immerses its occupants in a particular environment, provoking creative interaction between artists and the land. This book explores the relationship between place and forms of thought and creative activity, relating Outlandia and the artists there to the tradition of generative thinking and making structures that have included Goethe's Gartenhaus in Weimar, Henry Thoreau's cabin at Walden Pond and Dylan Thomas's writing shack in Laugharne. Based on a series of residencies and radio broadcasts produced by London Fieldworks in collaboration with Resonance 104.4fm, the Remote Performances project enabled twenty invited artists to consider and engage in transmissions, sound performances and dialogues on their artmaking strategies immersed in this specific rural environment of mountain, forest and river; flora and fauna. Some artists engaged in dialogue with people living and working in the area with a range of specialisms and experience in, for examples, forestry, mountain culture, wildlife, tourism, and local history. This book explores the ways in which being in the field impacts on artists and permeates through to the artworks they create. It considers the relationship between geography and contemporary art and artists' use of maps and fieldwork. It charts these artists' explorations of the ecological and cultural value of the natural environment, questioning our perceptions and relationships to landscape, climate and their changes. The book is an inspiring collection of ways to think differently about our relationship with the changing natural environment. The book includes essays by Jo Joelson, Francis McKee, Tracey Warr and Bruce Gilchrist, and texts, images and drawings by the artists: Bram Thomas Arn

As you crest the ridge, the green valley below and the ocean beyond come into view. This is Shobac, a seaside village featuring an ensemble of buildings that, at first glance, looks like a monumental work of Land Art. What is this place? A fishing village from the future? A monastery teleported here from another planet? A utopian colony with a message for the world? Shobac is recognised internationally as the masterwork of famed Canadian architect Brian Mackay-Lyons. In partnership with his wife Marilyn Mackay-Lyons and their family, he has built a unique community over the granite ruins of a historic settlement on the fogbound coast of Nova Scotia, an area identified on Champlain's first map of North America from 1604. Among the structures at Shobac are homes, barns, studios, cottages, fishing shacks, a boathouse, even a schoolhouse, all designed in Mackay-Lyons's compelling architectural language that fuses contemporary Modernism with Nova Scotia building traditions. It's a sublime accomplishment that feels equally part of the past and the future, a living manifesto that expresses how landscape, climate, culture and architecture can ideally come together in elevating the human experience.

This edited volume examines how to develop a planning and design process with green infrastructure that creates technical answers to the social and ecological function of the city's climate change adaptations demands. In this context, it proposes a process that engage the values linked to the art and culture of the place, capable of generating adoption by the population and promoting the right to landscape. Since the nineteenth century, many theoretical and practical experiences have integrated urban and environmental issues, revising the understanding of nature as an object and thinking of nature and culture in conjunction. However, consensus of the methodological strategies needed to guide the development of multi-scale landscape planning and design capable of responding to the climate emergency, heritage, water, biodiversity and social inclusion, among other issues has not been achieved. Green infrastructure has emerged as a tool to link considerations of the planning and design process to examine the impact urban nature can have at a global and a local scale. The book gathers together authors from different parts of the world and disciplines to showcase conceptual thinking, best practices and methodological strategies relating to landscape planning and design with green infrastructure adapted to climate change. The topic of this book is particularly relevant to scholars, practitioners and developers around the world who have an interest in planning and environmental management, landscape architecture, and socio-cultural understandings of landscape.

Technical lands are spaces united by their "exceptional" status-their remote locations, delimited boundaries, secured accessibility, and vigilant management. Designating land as "technical" is thus a political act. Doing so entails dividing, marginalizing, and rendering portions of the Earth inaccessible and invisible. An anti-visuality of technical lands enables forms of hypervisibility and surveillance through the rhetorical veil of technology. Including the political and physical boundaries, technical lands are used in highly aestheticized geographies to resist debate surrounding production and governance. These critical sites and spaces range from disaster exclusion and demilitarized zones to prison yards, industrial extraction sites, airports, and spaceports. The identification and instrumentalization of technical lands have increased in scale and complexity since the rise of neoliberalization. Yet, the precise theoretical contours that define these geographies remain unclear. Technical Lands: A Critical Primer brings together authors from a diverse array of disciplines, geographies, and epistemologies to interrogate and theorize the meaning and increasing significance of technical lands.

If this were a novel, the tales of astounding wealth, sexual perversion, murder, munificence, rape, insanity, brutality, slavery, religious mania, selfishness, snobbery, charity, suicide, generosity, theft, madness, wickedness, failure and eccentricity which unfold in these pages would be too concentrated to allow for the willing suspension of disbelief. All these sins and virtues, and more, are displayed by the characters in this book, some exhibiting several of them simultaneously. Folly builders were not as we are. They never built what we now call follies. They built for beauty, utility, improvement; it is only we, struggling after them with our imperfect understanding, who dismiss their prodigious constructions as follies. Follies can be found around the world, but England is their spiritual home. Having written the definitive books on follies in Great Britain, Benelux and the USA, Headley & Meulenkamp have turned their attention to the folly builders themselves, people so blinded by fashion or driven by some nameless ideology that they expended great fortunes on making their point in brick, stone and flint. Most follies are simply misunderstood buildings, and this book studies the motives, characters, decisions and delusions of their builders. If there was madness in their building, fortunately there was no method in it.

Issue 10 of LA+ Journal brings you the results of the LA+ Iconoclast open design ideas competition, in which we asked designers to reimagine New York's Central Park, fictionally devastated by eco-terrorists protesting the loss of the world's forests. See what designers did when faced with the opportunity to challenge this icon of landscape architecture. LA+ Iconoclast also features interviews with jurors Geoff Manaugh (BLDGBLOG), Jenny Osuldsen (Snohetta), Charles Waldheim (Harvard GSD), Beatrice Galilee (The Met), Lola Shepard (Lateral Office), and Richard Weller (PennDesign), as well as a critique of competition entries by Julia Czerniak.

Risk is many things. It can invoke fun, temptation, or danger; it can be laced with uncertainty, fear, or hope. But most importantly for the design professions, risk is the engine of art and innovation. Complicating the risks inherent in every act of environmental design are two now dominant threats to humanity: climate change and social inequality, both of which are expected to make Earth a more volatile, dystopian planet. Risk reduction - under the rubric of resilience - is the new paradigm for landscape architecture and urbanism.

Working together as a joint architectural and urban design studio, twenty six students from the three UNSW disciplines of architecture, built architecture and interior architecture, a group of twelve Italian students from the host University, IUAV of Venice, and three visiting students from the Future University of Khartoum (Sudan), were engaged in a critical discourse on contemporary problems of the built environment, grounded in the culture of Venice. The site and project brief was to explore the currently un-renovated "Gas Area" in the neighbourhood of Santa Marta, located in the west part of the historic centre of Venice, and its potential as a new gateway for the city.

Sustaining our agricultural landscapes is no longer just a technical, scientific or even political problem, but it has evolved into a socially complex, so-called wicked problem of conflicting social governance and economics. This creates an extreme economic obstacle where the value of ecosystem services remains low and diffuse and the transactions costs remain high and multiple.Using Uber-like business platform technology and a shared governance model, a symbiotic demand for environmental benefits is created. Enabling multi-sector transactions for environmental benefits, this platform innovation would remedy the "tragedy of the commons"; the economic nemesis to achieving landscape sustainability. In a nutshell, to sustain our agricultural landscapes a transdisciplinary approach supported by a shared governance model housed within a multi-sided platform in needed. This book introduces an assessment framework identifying governance actors, styles and ratios for socio-ecological systems. The assessment uses a new governance compass to identify the types of actors completing which tasks and identifies the styles of governance used to complete the tasks. It is aimed to anyone involved in sustainability science, agricultural policy planning, or integrated landscape design.

Hybrid and mixed media create a huge variety of diagramming and drawing options for landscape representation. From Photoshop mixed with digital maps, to hand drawings overlaid with photos and modelling combined with sketches, the possibilities are endless. In this book, Amoroso curates over 20 leading voices from around the world to showcase the best in contemporary hybrid design. With over 200 colour images from talented landscape architeture students, this book will explore the options, methods and choices to show the innovative approaches that are offered to students and practitioners of landscape architecture. With worked examples in the chapters and downloadable images suitable for class use, this is an essential book for visual communication and design studios.

As much as the nineteenth and early twentieth century gardens and their designs were a product and representation of industrialization and urbanization, they were also motors of change. Gardens became an industry in and of themselves. They were both the last resting places of the dead and cultivated plots for survival. Gardens were therapeutic environments regarded as civilizing, socializing and assimilating institutions, and they were designed and perceived as social landscapes and community playgrounds. Rich with symbolism, gardens were treated as the subject and the setting for literature and painting and were often considered works of art in themselves. In a time of empire, when plants were drawn from across the globe, gardens also reflected territorial conquest and expansion and they fostered national, regional and local identities. A Cultural History of Gardens in the Age of Empire presents an overview of the period with essays on issues of design, types of gardens, planting, use and reception, issues of meaning, verbal and visual representation of gardens, and the relationship of gardens to the larger landscape.

Previously published in French by A0/00ditions Quae, this volume presents findings of a major research programme into landscape and sustainable development. While led by French scholars, the research team and geographical scope of the project was international, collaborative and comparative. Using case studies from across Europe, the interdisciplinary team of contributors discuss the relationship between landscape as defined by the European Landscape Convention and the concept of sustainable development. This English edition has a new introduction written by Yves LuginbA1/4hl and Peter Howard. The book is then divided into three sections: Biophysical Realities and Landscape Practice; Landscape Resources-Inheritance and Renewal; Governance and Participation. Some of the topics covered, such as wind-farm landscapes, will be familiar to English language readers, but others, such as footpath economics, non-woodland trees, inter-generational equity, and the insistence on the necessary developments in governance less so.

Sir John Vanbrugh (1664-1726) was one of the most important figures in English garden history although he is rarely recognised as such. An eclectic early career as a merchant, a soldier and a dramatist preceded Vanbrugh s acceptance of the role of architect to the Third Earl of Carlisle in 1699. His impact on architecture was paralleled by a revolution in landscape design as Vanbrugh shifted the place of the architect from the house to the grounds. He used the ancient rules of proportion combined with an empathetic approach to Nature to create innovative layouts that were geometric, but bore no relation to the formal gardens of the seventeenth century.

In Sir John Vanbrugh and the Vitruvian Landscape Caroline Dalton seeks to explain Vanbrugh s distinctive style of landscape architecture. The natural and moral philosophy of Marcus Vitruvius Pollio (Vitruvius), Euclid, Plato and Epicurus is traced through the Arabic scientists of the Middle Ages into the Italian Renaissance. The book examines the impact of science and humanism on the landscape ethos of Leon Battista Alberti in the Quattrocento and of Andrea Palladio a century later, and looks for parallels with the early Enlightenment in England from 1660 onwards. It becomes clear that the scientific advances and the political, social and economic changes associated with the Enlightenment created an atmosphere where Vanbrugh could thrive. By reference to the writing of Vitruvius, Alberti and Palladio and by utilizing his innate skills as an artist, Vanbrugh combined the science of Vitruvian geometry with the philosophy of the Ancients to create a new English landscape.

The text is illustrated throughout with a hundred images, including eighteenth-century maps and plans which have not previously been published, alongside geometrical analysis and computer-generated reconstructions of Vanbrugh s landscapes. The author has combined her extensive knowledge of information technology with her experience as a landscape historian, to produce an innovative work which questions our previous understanding of the first English landscape architect. The book is essential reading for students studying the history of the eighteenth-century landscape, as well as appealing to those with a general interest in garden history.

Routes and roads make their way into and across the landscape, defining it as landscape and making it accessible for many kinds of uses and perceptions. Bringing together outstanding scholars from cultural history, geography, philosophy, and a host of other disciplines, this collection examines the complex entanglement between routes and landscapes. It traces the changing conceptions of the landscape from the Enlightenment to the present day, looking at how movement has been facilitated, imagined and represented and how such movement, in turn, has conditioned understandings of the landscape. A particular focus is on the modern transportation landscape as it came into being with the canal, the railway, and the automobile. These modes of transport have had a profound impact on the perception and conceptualization of the modern landscape, a relationship investigated in detail by authors such as Gernot BAhme, Sarah Bonnemaison, Tim Cresswell, Finola O'Kane, Charlotte Klonk, Peter Merriman, Christine Macy, David Nye, Vittoria Di Palma, Charles Withers, and Thomas Zeller.

Boundless Russia, humble yet full of hidden grandeur-such visions of "the motherland" became crucial markers of Russian national identity. This Meager Nature is the first full-length study to trace the cultural construction of Russia's landscape during the nineteenth century, showing how artistic and literary representations of nature reflected and shaped Russians' ideas about themselves and their nation. In the early 1800s, Russians commonly accepted the European judgment that their land lacked aesthetic value. That view changed with the outpouring of literary and artistic creativity that followed the century's political upheavals. Artists such as Aleksei Savrasov, Fedor Vasil'ev, Ivan Shishkin, and Nikolai Nekrasov turned to their native land and revealed the power of grey skies, vast open fields, and simple birch forests. Russians came to embrace their land's modest beauty, which represented strength and hidden depths. The historical creation of Russia's sense of place resulted not so much from its citizens' encounters with their environment, Ely argues, as from their long-term struggle to distinguish Russia from Europe. The humble beauty of the Russian land served to assert the genuineness of Russia against the inauthenticity of western Europe. For those who embraced it, the "meager" beauty of the landscape provided a powerful means for experiencing and expressing Russian national identity.