From the Red Books of Humphry Repton to Digital Visualizations,

A Pedagogical Review

Hooman KolijiAssistant Professor

University of Maryland

Humphry Repton’s Drawing

Humphry Repton’s Drawing

BEFORE : : AFTER

BEFORE : : AFTER Existence : : Non-existence

Philosophical Home for RepresentationRene Descartes (1596 -1650)cogito er go sum ( I think therefore I am )

Rene Descartes (1596 -1650)cogito er go sum ( I think therefore I am )

Anti Cartesian Perspectives

St. AugustineGiambattista VicoMarcilio FicinoJoseph Schelling

Philosophical Home for Representation

Philosophical Home for Representation

INTELLECT

Human’s Faculties of Perception/Cognition

SENSES

IMAGINATION

DRAWING and UNDERSTANDINGDRAWING | WORLD OF PHENOMENA

SENSORY

DRAWING | IMAGINATIVE NARRATIVE

DRAWING | SPATIAL CONFIGURATIONCONCEPTUAL DIAGRAMSANALYSIS

VISUAL REPRESENTATION ANDLANDSCAPE EDUCATION

“Drawing is the work of designers”Paul Ricoeur quoted in Olin (2008). p.141

“Drawing is what we actually make.”Olin (2008), p.141

VISUAL REPRESENTATION ANDLANDSCAPE EDUCATION

“Drawing is the work of designers”Paul Ricoeur quoted in Olin (2008). p.141

“Drawing is what we actually make.”Olin (2008), p.141

DRAWING :: KNOWLEDGE

VISUALIZATION :: KNOWLEDGEDESIGN :: REPRESENTATION

RESEARCH Can we verbalize all what we know?

Visualization of Intellectual ConceptsConcept drawings provide the framework for organizing our ideas. They are strategic representations that force the designer and viewer to discover additional possibilities.

- Landscape Architect WALTER HOOD (in TRIEB 2009, P.58)

Sasaki Associates, Upenn Development, Source: ASLA.org

Axonometric: Intellectual View of the Architect

DRAWING | SPATIAL CONFIGURATION

DRAWING | SPATIAL ORDER

DRAWING | ANALYSIS

Imagination and Visualization. . . what is crucial in the considerationof architecture is not seeing but theapprehension of structures. Theobjective effect of the buildings on theimaginative being of the viewer ismore important than their ‘beingseen.’ In short, the most essentialcharacteristic of the architecturaldrawing is that ‘it does not take apictorial detour.

-Walter Benjamin

They [drawings] are experimentaloperations that stretch theimagination

- Walter Hood

“In consolidation of his own theory of image,Giambattista Vico … established a contrastbetween intelligible universals (universaliintellegibili) and imaginative universals (universalifantastici) in determining the aim of a new"scientific" research. By questioning of the aridityof the "rationality" of Cartesian thinking, hepromoted a "mental glossary of images," athesaurus of intelligible universals embodied inmeaningful theoretical images. Consideringhuman institutions as the only possible source ofhuman knowledge, the Neapolitan philosopherdeveloped a new science, the science ofimagination. The search for intelligible universalsis described by Vico as the product of a rational,but soporific mind (the French: esprit), whereasthe search for imaginative universals is seen as anoutcome of a productive poetic mind (the Italian:ingegno)”

-Marco Frascari

Sensory Visualized | Sensory and Landscape Visualization

The landscape is primarily a medium that irreducibly rich in sensual and phenomenological terms.

Drawing is, in fact, the discipline that connects sight and knowledge. The act of seeing, since it allows us to enter into knowledge of the world of things in which we live, is the first and foremost means by which we come to possess these things. To take this one step further, the connection between drawing and knowledge can be thought of as the natural extension of the relationship between sight and the outside world. It can be said, then, that drawing is knowledge. Therefore, there exists no better demonstration of our knowledge of the external world than the ability to draw it. Through drawing we strive to possess the world that exists outside us, and to make it part of ourselves.

Moneo, J. (1987, p.2) Quote in Wood (2002).

FUNCTIONS OF THE DRAWING

DRAWING is CAPTURINGDRAWING is CASTING

CATCH and CAPTURE

Sunset at Sea Ranch, Lawrence Halprin, 1979, Adopted from: www.tclf.org

CASTING

“Landscape architectural drawing is not so much an outcome of a reflection on a preexisting reality, as it is a productive of a reality that will later emerge.”James Corner (2002, p.145)

THE WISDOM of THE DRAWING

Making Visible the InvisibleMaking Tangible the Intangible

THE WISDOM of THE DRAWING

VISUALIZATION as Creative Inquiry(Inductive vs Deductive)

(Action research using all human faculties)VISUALIZATION as Conversation with Situation

(Reflective Practitioner)(Knowledge of Particulars)

VISUALIZATION as a Hermeneutical Cycle(Capturing and Casting)

(Interpretation and reinterpretation)

Concluding Remarks:

The drawing is like a sentence in a text, in which the word is a detail. . . . a detail helps incorporate a thought.

-John Hejduk

I deliver my opinions in writing, that they might not be misconceived or misinterpreted.

-Humphry Repton

Word and Image Narrative

Concluding Remarks:

From Picturesque to Construct

Concluding Remarks:

The Scene and the Screen

DRAWING | CONCEPTUAL DIAGRAMS

DRAWING | SEEING

I want to see things. I don’t trust anything else. I place things in front of me on the paper so that I can see them. I want to see therefore I draw. I can see an image only if I draw it.

Carlo Scarpa

Murphy, Richard. (1990), Carlo Scarpa and Castelvecchio. London: Butterworth Architecture, p.12