The fourth book in Nadia Amoroso‘s Representing Landscapes series, this text focuses on traditional methods of visual representation in landscape architectural education. Building on from the previous titles in the series, which look at digital and hybrid techniques, Representing Landscapes: Analogue is a return to the basic foundations of landscape architecture’s original medium of visual communication.
Each of the 20 chapters includes contributions from leading professors teaching studio and visual communication courses from landscape architecture programs across the globe, showcasing the best student examples of analog techniques. It demonstrates the process from graphics as a form of research, design development, and analysis, to the final presentation through drawings, models and descriptive captions of the methods, styles and techniques used. It features critical and descriptive essays from expert professors and lecturers in the field, who emphasise the importance of the traditional medium as an intrinsic part of the research, design and presentation process.
Over 220 full colour images explore the range of visual approaches students and practitioners of landscape architecture can implement in their designs. With worked examples in the chapters and downloadable images suitable for class use, this is an essential book for visual communication and design studios.
Table of Contents
1. Introduction: Why Use the Analogue in Today’s Landscape Architectural Education? 2. Drawing on the Power of the Original 3. Marking Time 4. The Archaeology of the Drawing and How to Slow Ideas down in a Design Conversation 5. Composing Cartographies of Complexity 6. Urban Sketching: The Practice of Sketching and Communicating 7. The Hand Graphics Experience 8. Practice and Permission to Take Shortcuts 9. Inside Out: Illustrating Site Experience through Drawing 10. Intent and Craft: Making Refined Drawings 11. Notational Topographies and Experiential Literacies through Constructive Drawings 12. Intermediate-Level Sketching in Architecture and Landscape Architecture 13. Fundamentals for Hand Developed (Re)fined Drawings 14. Understanding Landscape and Drawing Idea 15. Analogue Fields 16. Lands Types And Models’ Forms: The Art of Represented Models in Middle-Scale Landscape Architecture 17. Modeling Ecologies: Raw Materials and Conceptual Optics 18. A Kiss over a Tweet: Operating a Snow Academy to Scale in a Cool Climate 19. Modeling Ideas – Landscapes as Representational Systems 20. Making Parts and Pieces Afterwords – Professional Practice Using the Analogue 21. A New Way to Produce Landscapes Portal into Intuition as Method: DoodleTech 22. How a Sketchbook Shapes a Practice: OLIN 23. Strokes of Inspiration: The Hallmark of Evocative Design –EDSA Hand Graphics 24. The Analogue Version
Nadia Amoroso is a faculty member at the University of Guelph, Department of Landscape, School of Environmental Design and Rural Development. She was the Lawrence Halprin Fellow at Cornell University and the Garvan Chair Visiting Professor at the University of Arkansas. She holds a PhD from the Bartlett School of Architecture, UCL, London, and degrees in Landscape Architecture and Urban Design from the University of Toronto. She specializes in visual communication in landscape architecture, digital design, data visualization and creative mapping. She also operates an illustration studio, under her name, focusing on landscape architectural visual communication. She has written a number of articles and books on topics relating to creative mapping, visual representation, and digital design.
‘Throughout my academic and professional career I have championed analogue methods as being integral to the creative process. In her latest volume Nadia Amoroso supports what I have been professing for the past thirty years—that drawing and modeling by hand is the most accessible and sustainable form of landscape representation. Thankfully, the dire predictions that digital technologies would replace or eliminate analogue practices have been proven incorrect. I continue to believe in the power of the hand and the heart; this text is a confirmation of that faith. In chapter after chapter, contributors describe innovative techniques and sophisticated pedagogies as well as provide exemplary approaches to using analogue tools for recording and documenting the landscape. Representing Landscapes: Analogue is sure to become the keystone for future generations of designers who will bravely carry forth the torch that a few of us struggled to keep lit.’
Chip Sullivan, UC Berkeley, USA