In the field of Landscape Architecture, Topography aims to study the complex and ongoing changing relationship between humans and the land through continuously updated and iterative tools and media. It maintains a balance between abstract concepts and concrete perceptions, which can both drive the development of science and technology in this field and hold on to openness to artistic expression. Thus, topographical design may be an effective way to help facilitate refining landscape design methods.
The Mekong Delta (across Cambodia and Vietnam) and the Sài Gòn-Đồng Nai Delta (where Ho Chi Minh City is embedded), like most deltas, are typically considered a vast, relatively flat water-dominated and dynamic territory characterized by always evolving variations of wetness, multiplying by that multitudes of biotopes. Ancient and modern engineering developed with this overly simplified preconception and subsequently radically transformed the entire ecotones into sharp and categorical distinctions of wet and dry, primarily to create productive and protective landscapes for humankind within abstractly ordered and static landscape structures. Fluid gradients in elevation and humidity were systematically replaced by fixed elevations. Extractive monocultures on massive scales resulted simultaneously in gigantic harvests but also the loss of ecology and biodiversity that is largely irrecoverable. The paper critically unravels the historical development of the deltas in relation to their homeopathic topography: how its manipulation framed development agendas—of productive landscapes, of settlement, and of infrastructure—and was linked to both cosmological worldviews and territorial geo-politics. The micro-topographies of the deltas were significantly altered by the mighty Khmer Empire and Nguyễn Dynasty and since the 19th century by French and American occupiers and subsequently by Cambodians and Vietnamese projects. The paper utilizes several case studies to reveal that IKSP (indigenous knowledge systems and practices) have harnessed topographical manipulation for context-specific socio-cultural reproduction. A host of local practices, often in peripheral geographies, has either escaped the relentless “modernization” process or locally adapted to and/or intelligently subverted the imposed supra-order. There is a strong resistance and resilience (subversive by humans and geological by the forces of nature including sea level rise and subsidence) to imposed topographical manipulation. The cases, arranged from the least to the most intrusive and controlling land management practices, underscore that the deltas remain a territory that is culturally, religiously, and productively nuanced by topographical transformation. At the same time, there is clearly an innate, ever-changing nature of deltaic physiography and topography, which is simultaneously an asset and a vulnerability.
The artificial mountain in traditional Chinese gardens as a kind of topographical landscape features has not been deeply and constructively studied in contemporary landscape theories. This paper analyzes the typical artificial mountain making in traditional Chinese gardens from the perspective of topography, and discusses about the landscaping concepts in three aspects—form, space, and time—according to the understanding of the characteristics of topography in architecture and landscape culture proposed by David Leatherbarrow. For the making of form, the dynamism of both mountain and water is the key consideration. For the spatial experience, it should focus on the arrangement of mountain “realm” in both stillness and motion states. Time management is also important, and both the scenery itself and the experience of visitors should pay attention to the vitality of the mountain and water over time. This paper will help us understand the topographical landscaping art of artificial mountain better, contributing to the theory and practice development of Landscape Architecture in contemporary China.
Perceiving and understanding topography is not only fundamental for landscape architects, but also a core issue in landscape construction practice. In this interview, two prominent scholars, Karen M’Closkey and Keith VanDerSys, offer their insights about the theoretical and historical foundations of topography in landscape architecture, the influence of mapping on landscape architects’ site observations and design actions, the role of new navigation and sensing technologies in understanding and designing landscapes, and the enriched visualization methods for landscape design by advanced digital media. Finally, they also share their teaching experience in training students about site surveying and its translation into design responses.
Replacing abstract form-making training with the perception of landscape site has been an important trend in the basic course of landscape architecture. Based on theoretical research and the authors’ teaching practice, this article aims to explore the significance, objects, and methods of site perception training. The authors argue that because landscape design is stemmed from the perception and interpretation of site characteristics, experiencing landscape sites must precede form-making training to become the foundation of design learning. Human-scale spaces that concern elements, structure, processes, and feelings for perception, representation, and design would be a suitable object of focus and the starting point for site perception training in basic courses. Five methods for landscape site perception and representation are introduced then, including sketch of space, sequential sections, notation, sketch model, and spatial structure mapping. These methods provide a visualized and operable pathway for site perception, which also involve preliminary design training, offering a reference for the teaching of site perception in basic courses of landscape architecture.
This essay writes on a building project in the remote southwestern China that is built in uninhabited and is inspired and informed by its landscape context. The essay discusses how an extraordinary building project reacts to three different dimensions about landscape–architecture—a natural terrain being manipulated and recast. A small building needs to find its precise connecting point to a much larger historical and environmental context. A practical project needs to reach a balance between architectural pursuits and engineering concerns. Initially, artificial works might be isolated from and in conflict with the terrain, which requires architectural approaches to reconciling the demands at different scales and of functions. Finally, people who use the building will move forward to an effective and open dialogue between architecture and its landscape settings.
“From nature to nature” is the major goal of landscape design. The former is the idea of nature, i.e., landscape architects regard nature as the archetype of design; the latter is the experience of nature, i.e., landscape architects hope people can perceive the natural atmosphere through designed landscape. In this sense, the transformation from idea to experience of nature refers to the process of landscape design, which materializes landscape. According to this, this article focuses on the following topics: 1) what role does nature play as the origin of the landscape design theory; 2) how does nature as an idea promote form-giving in landscape design; and 3) what aesthetic experience does designed landscape create. This article draws on two influential landscape architects, Xiaoxiang Sun and Lawrence Halprin, and analyzes their theories and works from the perspective of comparative culture, including the idea of nature and its representation, the inherent mechanism of form-giving in landscape design, and the experience created by designed landscape. It aims to explore the intellectual potentials for contemporary landscape architecture theory through comparing the discrepancies and similarities of the two masters’ paths of landscape design.
Emerging from the discourse of environmental humanities, plant humanities debuted at Dumbarton Oaks in 2018 as an interdisciplinary field. As living species, plants possess both biological and cultural attributes, holding unparalleled socio-cultural significance. This article recollects the author’s journey of encountering plant humanities in the 2020 Plant Humanities Summer Program, and co-initiating an action group in China, Plant South Salesroom, to promote the burgeoning plant-matters idea among wider audience. Plant South Salesroom raised the phrase “Zhiwu Shimin” (植物世民, Plant Inhabitant) to get rid of the ingrained plant blindness and open potential dialogues between scientific and humanities studies. It makes the modified research framework of plant humanities more accessible. Rooted in the plant humanities studies, Plant South Salesroom has conducted diverse public-engaged practices at local cultural space, combined with culture-oriented creation and spread. The activities of Plant Walk, Plant Life Interview, Local Plant Post, and Plant Tabloid facilitate the participants start to appreciate plants in the original form and be kin with them. Reciprocally, the feedback received during the practices and the insights captured under the perspective of plants also enriched the existing plant humanities studies.