This paper addresses the issues related to contemporary representation for landscape design through significant experiences developed from the 1990s to today, born from the collaboration of architects, landscape designers, and artists such as Yves Brunier, Enric Miralles, Inside Outside (studio founded by Petra Blaisse), Mark Smout, Laura Allen, Teresa Moller Landscape Studio (studio founded by Teresa Moller), Openfabric (studio founded by Francesco Garofalo), 08014 arquitectura (studio founded by Adrià Guardiet and Sandra Torres), Mir (studio founded by Mats Andersen and Trond Greve Andersen). Contemporary trends in landscape design representation include hybridizations aimed at integrating the communicative power of the concept with photography through the expressive value of manual experience; schematic drawings of project management systems; detailed analytical representations of the multiple areas involving the landscape; botanical investigation representations; communicative images to narrate atmospheres, materials, and colors. The analysis of the methods, forms, and language in use allows for probing the expressive potential of representation. Over this time, the methods and tools have changed, but it is possible to trace a common denominator, namely the role of representation in relation to the type of narrative objective. Representation does not manifest itself simply as a product/image but as a process of construction of form and of the design and figurative content.
Questo saggio affronta le tematiche inerenti alla rappresentazione contemporanea per il progetto di paesaggio tramite alcune esperienze significative sviluppate dagli anni ’90 del XX secolo ad oggi, nati dalla collaborazione di architetti, di paesaggisti, di artisti tra i quali Yves Brunier, Enric Miralles, Inside Outside (studio fondato da Petra Blaisse), Mark Smout, Laura Allen, Teresa Moller Landscape Studio (studio fondato da Teresa Moller), Openfabric (studio fondato da Francesco Garofalo), 08014 arquitectura (studio fondato da Adrià Guardiet e Sandra Torres), Mir (studio fondato da Mats Andersen e Trond Greve Andersen). Le tendenze contemporanee della rappresentazione del progetto di paesaggio comprendono ibridazioni finalizzate ad integrare la forza comunicativa del concept alla fotografia tramite il valore espressivo dell’esperienza manuale; disegni schematici dei sistemi per la gestione del progetto; rappresentazioni analitiche di dettaglio dei molteplici ambiti che coinvolgono il paesaggio; rappresentazioni di indagine botanica; immagini comunicative per narrare le atmosfere, la materia, i colori. L’analisi critica dei metodi, delle forme e del linguaggio in uso consente di sondare le potenzialità espressive della rappresentazione. In tale lasso di tempo, i metodi e gli strumenti sono cambiati ma è possibile rintracciare un comune denominatore, ossia il ruolo della rappresentazione in relazione al tipo di obiettivo narrativo. La rappresentazione non si manifesta semplicemente come prodotto/ immagine bensì come processo di costruzione della forma e dei contenuti progettuali e figurativi.
Colaceci, S. (2024). Contemporary Representations for Landscape Design. DISEGNO, 15, 267-278 [10.26375/disegno.15.2024.24].
Contemporary Representations for Landscape Design
Sara Colaceci
2024-01-01
Abstract
This paper addresses the issues related to contemporary representation for landscape design through significant experiences developed from the 1990s to today, born from the collaboration of architects, landscape designers, and artists such as Yves Brunier, Enric Miralles, Inside Outside (studio founded by Petra Blaisse), Mark Smout, Laura Allen, Teresa Moller Landscape Studio (studio founded by Teresa Moller), Openfabric (studio founded by Francesco Garofalo), 08014 arquitectura (studio founded by Adrià Guardiet and Sandra Torres), Mir (studio founded by Mats Andersen and Trond Greve Andersen). Contemporary trends in landscape design representation include hybridizations aimed at integrating the communicative power of the concept with photography through the expressive value of manual experience; schematic drawings of project management systems; detailed analytical representations of the multiple areas involving the landscape; botanical investigation representations; communicative images to narrate atmospheres, materials, and colors. The analysis of the methods, forms, and language in use allows for probing the expressive potential of representation. Over this time, the methods and tools have changed, but it is possible to trace a common denominator, namely the role of representation in relation to the type of narrative objective. Representation does not manifest itself simply as a product/image but as a process of construction of form and of the design and figurative content.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.