TY - BOOK AU - Wilk,Sabrina TI - Drawing for landscape architects 2: perspective views in history, theory, and practice SN - 9783869226538 AV - SB472.47 W55 2021 PY - 2021/// CY - Berlín PB - DOM Publishers KW - Landscape architectural drawing KW - Handbooks, manuals, etc KW - Local KW - Architectural drawing KW - technique N1 - Includes bibliographical references; Understanding landscape and visualization -- Introduction to terminology: Basics, principles, and preclusions -- 16 The profession, its distinction from architecture and why this matters to perspective visualisation -- 17 Landscape, imagery, and the profession -- 19 Transmitting the message: The landscape as medium for ideas -- 20 The difference in design and visualisation: Changeable, ephemeral contents of landscape Understanding linear perspective -- 22 Being outdoors: Sensations and universal experiences -- 24 The role of the viewer: Perceiving the medium of landscape -- 26 Influential imagery: The landscape-image-landscape cycle, and its role in fostering value and meaning -- 27 Final points -- Understanding linear perspective -- 32 Basic characteristics and composition -- 34 The perspective view: Definition and terminology -- 37 Origins and history: From Ancient Greece to the Renaissance -- 38 The discovery of perspective construction -- 40 Atmospheric perspective views -- 44 A review of general observations -- 45 The importance of the picture plane and the effects of convergence -- 48 Usefulness and limitations of perspectives: Perceptibility over precision -- 49 Types of linear perspective: Construction and effects One-point perspective -- 50 Two-point perspective -- 51 Viewer location and elevation -- 52 Pedestrian eye level -- 55 Human figures and embellishment: Storytelling -- 56 Artistic possibilities: Graphic style, colour, and media -- 59 Composition variables and placement of vanishing points -- 64 Criteria for success -- The perspective leap into landscape visualisation -- 70 Pictorial developments and literary influences -- 71 From painting to landscape: Seeing landscape space as restorative place --- 72 The Arcadian ideal and its influences on the garden -- 75 Origins in painting: The framed view from indoors / background landscapes in Italy and Flanders -- 76 Other applications of perspective and landscape in Europe -- 78 Symbolic and fantasy landscape: The view from outdoors-- 80 Visualisation: The perspective and its early influence on architectural and garden design Combining the imaginary with the factual -- 81 The perspective visualisation at Villa Lante in Bagnaia -- 83 Villa Lante: Construction and manipulation -- 84 Landscape design from Renaissance Arcadia onwards-- Perspective developments in the 17th and 18th centuries -- 88 Visualising the formal garden and landscape garden -- 89 The 17th century: Linear perspectives and the formal French garden -- 92 Visualisation for persuasion and publicity Standardised visualisation before construction -- 94 Prestige and power: Visualisation after construction -- 96 The 17th century and new artistic influences -- 97 New observation and appreciation of landscape -- 98 Lorrain and the perfected landscape composition -- 101 The 18th century ideal landscape: Pastoral Arcadia -- 102 Claude's influence on the English countryside -- 103 The perspective in 18th century landscape visualisation: Picturesque vision -- 104 Visualising the picturesque landscape -- 105 William Kent -- 106 Capability Brown -- 107 Repton and the composite perspective: Fusing the imaginary with the real -- 110 The reciprocal relationship: Nature imitates art, art imitates nature -- 111 Concluding statements and summary of events -- Visualising a social Arcadia: 1850s to early 1900s -- 118 Visualising a social Arcadia: Public landscapes from the 1850s to the early 1900s. The need for a new public green space -- 119 Beginnings in England -- 120 Visualising public parks in England -- 122 Competition culture -- 123 The influence of education on perspective visualisation -- 125 Education in urban design and planning: The Beaux Arts schools -- 127 Urban expansion and the competition for Central Park -- 132 After Central Park: Visualising the landscape at the beginning of the 20th century -- 134 Summary of 19th century: Public design and the professionalisation of landscape design -- The first decades of the 20th century -- 140 The first decades of the 20th century Contextual background for garden and landscape design before World War II -- 141 New influences: Photography, media, and art. The impact of print media and competitions -- 142 Events in art: Abstract and decorative influences on gardens and landscapes -- 144 Garden visualisations in the first decades of the 20th century: Germany and France -- 146 The return to the geometric garden in early 20th century France Henri and Achille Duchene – 148 J.C.N. Forestier: Planting emphasis within perspective scenes -- 150 Cubism and the influence of new art on landscape design-- 150 The Vera brothers' perspective visualisations -- 152 Other gardens of the 1920s across Europe -- 154 The 1920s: Neues Bauen, public parks, and landscapes in Germany -- 155 The Bauhaus and landscape architecture -- 156 Landscape visualisation in the public realm: Leberecht Migge's ideas for social improvement -- 158 Erwin Barth -- 159 Le Corbusier: Landscape versus architecture -- 161 Garrett Eckbo and Roberto Burle Marx: Modernist black-line perspective -- 162 Perspectives for large-scale projects -- 163 Roberto Burle Marx -- 164 Summary of developments -- The second half of the 20th century -- 170 Subjective expression -- 171 Landscape architectural design in the modernist and post-modernist period -- 172 A changing profession: Urban expansion and new fields of work in the 1950s and 60s -- 173 Visualising for corporate clients: New projects -- 174 The stronghold of modernist graphics: Halprin and Nogiichi -- 176 Landscape architectural education: Producing the landscape designer-engineer-artist -- 177 Competition culture -- 178 Art and technology in turn-of-the-century visualisation: The emergence of the collage -- 179 Digital collaging. From modernist austerity to expressive perspective visualisations -- 180 Subjectivism and uniqueness in landscape architectural visualisation -- 182 Dieter Kienast -- 184 New viewpoints: Dutch landscape visualisation -- 186 Summary of 20th century subjective landscapes -- 21st century perspective visualization: The return of Arcadian themes -- 192 21st century Arcadia and the hyper-realistic picturesque -- 193 New ideas and the return to pictorial vision -- 194 The digital turn in the landscape profession -- 196 Digital models in landscape visualisation: The difficulty of representing vegetation in CAD -- 197 Digitalisation of the landscape -- 201 The impact of digital media on visualisation Persuading the viewer: Storytelling through digital perspectives -- 204 The picturesque composition as evolutionary preference-- 206 The return of beauty and awe in 21st century Claudian pictorial composition -- 207 Enduring themes of Beauty and Sublime -- 209 The return of the Sublime: Wonder and awe in artificial and natural contexts -- 212 The return of an Arcadian vision: The ideal society -- 214 Summary of events and final thoughts -- 218 Concluding remarks -- 220 Future creativity and artful expression -- Constructing perspectives -- 226 Perspective views: Seeing and understanding space -- 228 Linear perspectives: Basic observations, principles, and assumptions -- 229 Basic assumptions -- 230 Observations and principles -- 232 The horizon line -- 234 Basic set-up for linear perspective -- 236 Types of linear perspective -- 238 Atmospheric or size perspective -- 242 Extending the visual fields -- 246 Dimensioned space and depth illusion -- 247 Cone of vision -- 248 Constructing a perspective grid -- 249 Diagonal point method for determining depth -- 250 The horizon line and its effect on the perspective -- 252 Stairs, ramps, and slopes -- 253 Reflections in perspectives -- 254 Repetitive elements in perspective -- 256 Drawing circles in perspective -- 257 Constructing simple shadows -- 258 Perspective plan method: One-point perspective -- 260 Perspective plan method: Projecting a two-point perspective -- 262 Drawing perspectives with a prepared perspective grid -- 264 Using a perspective grid -- 266 Using a prepared perspective grid -- 268 Drawing perspectives using photographs -- 270 Freehand perspective drawings on site -- 272 Estimating proportions when freehand drawing -- 274 Freehand one-point perspective -- 276 Freehand two-point perspective -- 278 Rendering and graphic styles -- 280 Composition: Key elements and devices -- 281 Framing -- 282 Framing using architecture and built structures -- 284 Balance Contrasts, light, and atmosphere -- 287 Horizontal proportions: Sky and ground plane -- 288 Human figures and activities -- 290 Composition: Final comments -- Perspective visualisation: Examples and inspiration -- 294 Perspective visualisation in landscape architectural design: Examples and inspiration -- 296 atelier le balto, Berlin -- 300 Auböck + Karasz, Vienna -- 304 Balmori Associates, New York -- 308 Karl Bauer, Karlsruhe -- 310 Bureau B+B, Amsterdam -- 312 Claude Cormier & Associés, Montreal -- 318 DnD Landschaftsplanung -- 320 die-grille, Penzberg -- 322 GROSS.MAX., Edinburgh -- 324 Hager Partner AG, Zurich -- 330 Benedikt Hartl, Munich -- 334 Franz Reschke, Berlin -- 338 Sabine Heine, Rotterdam -- 342 Martha Schwartz and Partners, New York -- 344 silands I Gresz + Kaiser, Ulm -- 348 Sabrina Wilk, Freising -- 350 West 8, Rotterdam -- Appendix -- 356 Contributor list -- 358 Image list- 363 Bibliography and suggested reading -- 366 Thanks and acknowledgements ER -