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Landscape Architecture Programme

2012 Trimester 1

COURSE OUTLINE

LAND251 LANDSCAPE ARCHITECTURE HISTORY AND THEORY

GENERAL

Core; Trimester One; 15 points ASSESSMENT

100% internal by assignment

CLASSTIMES AND LOCATIONS

LECTURES: Tuesdays 3.40 – 4.30 VS204 & Thursdays 2.40 – 3.30 VS316

TUTORIALS: Tuesdays 4.30 – 5.30 VS204 & VS236 & Thursdays 3.30– 4.30 VS316 & VS236

COORDINATOR AND TUTOR

Coordinator Tutor

Warwick McLeod

Room: Wigan 007

Phone:463-6121

Cellphone: 02102675680

Office Hours: Mondays, Thursdays 1.30 – 2.30

Email: warwick.mcleod@vuw.ac.nz

Sabrina Hiridjee Room: VS.... Phone: 463-.... Cellphone: ............ Office Hours:...........

Emails: Sabrina.Hiridjee@vuw.ac.nz

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COURSE SYNOPSIS

The urbanization and democratization of societies in the nineteenth and twentieth centuries transformed the role of landscape architecture. Industrial and Technological Revolutions brought intense pressure on the planet’s resources; much increased the repertoire of technological responses to landscape issues; and nested those issues within the rapidly growing, changing, and shape-shifting cities. Social Revolutions made the designed landscape now a public realm, with the landscape architect having to consider many different, often conflicting, programmes; and the necessity to incorporate rapid and open-ended social change in the design. From the last 200 years contemporary landscape architecture inherits the legacy of four large movements – imperial romanticism; modernism; environmentalism; and deconstruction – which have physically formed our cities, suburbs and towns, the contemporary public environment. Their influence cannot be read like strata because each of these movements, while sometimes chronologically distinguishable, has had to grapple and negotiate and merge with the other, in the special arena of exterior space. They are each and together the immediate and present inheritance of the urban landscape architect. Through this 200-year period a sine-curve weaves between thinking of Design as the human hand’s reverence for and conservation of pre-human landscapes and ecologies on the one side, and, on the other side, an active formal and programmatic intervention in refashioning environments to human needs. Within the same period, the role of landscape architecture has fluctuated. Landscape architecture of the nineteenth century understood the scale of the change that was underway; and grew to a remarkable scale of vision to try to comprehend the completeness of environment, knowledge, society and change. Subsequently the mid-twentieth century’s embrace of modernism saw the perception of landscape architecture shrink to a neglected sub-category of urban design and architecture within the public realm, and to small-scale garden design within the private realm. More recently, through the igniting of the environmentalism movement, and the liberation that postmodernist deconstructive thinking has bought to the conception of space, the last 30 years has seen a revival of the belief that landscape architecture should regain a largeness and wholeness of vision needed to lead in the understanding and design of the environment; This is a very ambitious goal, and to get there landscape architecture has to develop its theoretic discussion much further. There are particular challenges. The universal scale of contemporary landscape architecture, with so many levels of geology, ecology, society, knowledge, history, culture, aesthetics and a host of other domains to consider, makes it an impossible job to do in isolation. It has to be interdisciplinary; but there is very little help from theorists in the other disciplines. Whereas no history of the 16

th, 17

th, 18

th or 19

th centuries

would fail to consider landscape architecture fundamental to a general discussion of cultural theory, in the twentieth century landscape architecture was dropped from this wider debate and is still often overlooked. This means when it comes to actually designing space the landscape architect can feel him or herself lacking in the creative confidence, the power of conviction and integrity, that comes from having a strong, well-understood and well-explicated theoretic position: and can easily default to becoming a passive player in the design process, a mediating, facilitating agent of the political, economic and practical vectors shaping the job. It is crucially important for any creative person to find in themselves, and make vital, the place that connects understanding of theoretic and critical convictions to their work in the studio – so that realisation of the theory in the studio can operate confidently and fluidly in intuitive decision-making, not as the filling of an academic prescription. And in a field where collaborative decision-making is the very medium, the ability to understand and explain theory fluently is a fundamental skill. Contemporary landscape architecture theory shares with all theory the challenge of getting out of thinking within the prison of one conceptual universe. Theory can be its own prisoner, because language is designed to justify itself. The system of premises and sequiturs, that is writing, can build a defensive wall around the mind writing it; to the oblivion of the one within and the frustration of the one without. Dialogue is essential in breaking down this wall. Yet even dialogue can find it difficult to find the edges of issues when it takes place within a homogenous cultural context - context establishes parameters which, because so familiar and comfortable, become invisible to the discussion. Through accident of history, most landscape architectural theory we read today was and is generated within such a homogenous cultural condition in the Northern hemisphere. But New Zealand is unique in having developed institutions of cross-cultural critique within its society: the Treaty of Waitangi activates questioning on myriad levels, as its principles of dialogue and negotiation within partnership are enacted in all kinds of specific areas. By examining the body of LA theory critically, and subjecting it to a test against the knowledge indigenous to our own place, a whole new direction for landscape architecture could be forged. This is the challenge for LAND251.

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AIMS OF THE COURSE LAND251 aims to provide students with knowledge of the history of ideas wherein discussion of the role of contemporary landscape architecture is taking place. It aims to produce students who are confident in engaging in an active, critical and creative manner with the various schools of thought that make up Landscape Architecture’s theoretic construct. And it aims to begin a conversation amongst new landscape architects which can move the terms of Landscape Architecture theory in new directions in the 21

st century.

The first 5 weeks of the course will examine the development of the city through the last 200 years, the industrial and post-industrial ages; and will concentrate on various key theoretic positions both formative and critical of those developments; in order to assess the position in which contemporary Landscape Architecture finds itself. The last 7 weeks examines the forming of philosophy with regard to the relationship of human to landscape; and discusses how New Zealand’s historical inheritance can contain understandings which, when brought into the critical forum, could help to shift the discussion of Landscape Architecture theory.

COURSE LEARNING OBJECTIVES

Knowledge Students who pass this course will be able to:

understand contemporary attitudes and approaches to landscapes and their development

understand theories and movements that have defined our reading and production of landscape

appreciate the values and practices associated with culturally significant landscapes Creative & Critical Thinking Students who pass this course will be able to:

employ methods and skills with which to critically analyse literature;

engage with the practices and production of theoretical writing;

explore connections between theory and the practices of Landscape Architecture design

Communication Students who pass this course will be able to:

understand and practice principles of constructing an argument Leadership Students who pass this course will be able to:

understand the critical abilities necessary to take a position

GRADUATE SKILLS

Graduate Skills

Tau

gh

t

Pra

cti

sed

Assessed

Knowledge

Information literacy

Creative and Critical Thinking

Problem solving

Critical evaluation

Work autonomously

Creativity and innovation

Communication

Effective communication (written)

Effective communication (oral)

Effective communication (graphic)

Work effectively in a team setting

Leadership

Ethical behaviour in social / professional / work environments

Responsible, effective citizenship

Commitment to responsibilities under the Treaty of Waitangi

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COURSE CONTENT

LAND251 is a thematic enquiry of issues informing approaches to the design and appreciation of landscapes, including a discussion of regional and international case studies, with an emphasis on the development of analytical, critical, and discursive skills. The course focuses on the theory of the last 200 years; namely the Landscape Architecture theory associated with the movements of Imperial Age Romanticism, Modernism, Environmentalism and Postmodern Deconstructivism: and tests that theory by analysing its landscape and urban forms in Wellington. Having formed comparatively slowly and traceably over the last 200 years, Wellington is a most appropriate site for studying the international theory informing the design of exterior space in that time; and for the same reason is a very fitting site for testing developing contemporary theory. Two assignments ask you: first to analyse the theories which have shaped Wellington in the various stages of its history; and secondly to come up with a philosophical position to address contemporary theory, focused towards the writing of a brief for the design of a National Urban Park in Wellington. This is done not in isolation but in light of ongoing analysis of contemporary landscape architectural theory. Critique of contemporary Landscape Architecture theory is the heart of the course. Along with working on their assignments, students prepare critiques of crucial writings and present them for discussion in class; submission deadlines and assessment are structured to support participation in critical, rigorous debate. The sequence of classes is as follows:

PART ONE: THE CITY March 6 Lecture: Course Introduction; Definitions of Landscape Architecture in the Urban Age. Tutorial: Sign-up for presentations of readings and designs

March 8 Lecture: Romanticism and National Reserve Parks Tutorial: Discussion of the question “is it wrong to get away to nature?” analysing the design of: access to Yosemite and Niagara Falls; Smith and Berkley campuses (Olmsted), University campuses, Reserves and National Parks in New Zealand and critiquing the readings: Henry David Thoreau “Solitude” from Walden New York 1845 and Ralph Waldo Emerson “Nature” from Collected Essays New York 1866 Ann Whiston Spirn, “Constructing Nature: The Legacy of Frederick Law Olmsted” in Uncommon Ground: Rethinking the Human Place in Nature ed. Cronon 1996 William Cronon “The Trouble with Wilderness” in Uncommon Ground: Rethinking the Human Place in Nature ed. Cronon 1996

March 13 Lecture: 19

th Century Urban Design

Tutorial: Discussion of the question “how do you read a city?” analysing the design of: New York, Paris, London, Washington DC, Chicago, Boston, Barcelona, Vienna, New Delhi, Wellington

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and critiquing the readings: Camillo Sitte The Art of Building Cities: City Planning According to Its Artistic Principles Vienna 1885 Kevin Lynch from chapters 2 and 3 of The Image of the City Cambridge1961 Rem Koolhaas Introduction and Chapter 1 of Delirious New York London 1978

March 15 Lecture: 19

th century Green Belts, Urban Parks and Botanical Gardens.

Tutorial: Discussion of the question “is the Victorian legacy positive or negative?” analysing the design of: London’s West End with Royal Parades and Parks and Kew Gardens (Nash & Repton, Paxton, Barry); New York’s Central Park and Prospect Park (Olmsted); Boston’s Emerald Necklace; Paris’ Bois de Boulogne, Parc de Vincennes, Parc des Buttes-Chamontes (Alphand), Barcelona’s Park Guell (Gaudi); Botanical Gardens, Parks and Green Belts in New Zealand cities and critiquing the readings: John Claudius Loudon “Landscape Gardening” Pt 3 Bk 4 from The Encyclopedia of Gardening London 1835 Robert Smithson “Frederick Law Olmsted and the Dialectical Landscape” in Artforum February 1973 Kathy Poole, “Marginal Landscapes as Infrastructure: Boston’s Back Bay Fens” in The Proceedings of the Association of the Collegiate Schools of Architecture’ April 2000

March 20 Lecture: 20

th Century Urban Design

Tutorial: Discussion of the question “should we abandon all utopian ideas?” analysing the design of: The Garden City, Letchworth, Welwyn, Canberra, The Radiant City & City for 3 Million Inhabitants, Chandigarh, Brasilia, Boston City Hall Plaza; Wellington motorway and high-rise government precinct and critiquing the readings: Ebeneezer Howard The Garden Cities of Tomorrow London 1898 Le Corbusier Part 4 from The Radiant City Paris 1935 and “The Hours of Repose” from The City of Tomorrow and Its Planning Paris 1929 Jane Jacobs Introduction to Death and Life of Great American Cities New York 1961

March 22 Lecture: Modernism Tutorial: Discussion of the question “how relevant are aesthetics of formal and spatial composition?” analysing the design of: Tirga Jiu (Brancusi), Beverly Hills Pool Gardens (Eckbo), Copacobana, Fazenda Marambaia, Parque del Este (Burle Marx), South Auditorium and Lovejoy Plazas, Freeway Park (Halprin), California Scenario and the Noguchi Museum (Isamu Noguchi), Vietnam War Memorial (Lin), Christian Science Headquarters Plaza (I M Pei), IBM Solana, Center for Advanced Science and Technology (Walker), Shell Petroleum Headquarters in Paris, Human Rights Square in Paris (Gustafson), Pershing Square (Olin), Frank Kitts Park, Hopper St Flats in Wellington (Athfield), Oriental Bay (Isthmus) and critiquing the readings Elizabeth Meyer “Landscape Architecture as Modern Other and Postmodern Ground” in The Culture of Landscape Melbourne 1978 Marc Treib “Must Landscapes Mean?” Approaches to Significance in Recent Landscape Architecture Landscape Journal 1995 pp. 47-62 Martha Schwartz “Landscape and Common Culture Since Modernism” in Modern Landscape Architecture: A Critical Review Cambridge 1994 Chapter 22, pp. 260-265.

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March 27 Lecture: Environmentalism Tutorial: Discussion of the question “does Environmentalism inhibit Design” analysing the design of: Sea Ranch Community in Gualala California (Halprin), Bloedel Reserve (Richard Haag), Asphalt Rundown, Spiral Jetty (Robert Smithson), Effigy Tumuli, City (Michael Heizer), Ice Wall Series, Mill Race Park, Connecticut Water Treatment Facility (Michael Van Valkenburg), Candlestick Point Cultural Park in San Francisco, Guadalupe Park, Byxbee Park, Crissy Field (Hargreaves), Fresh Kills Park (Field Operations), Consultation process leading to brief for Waitangi Park in Wellington (Wraight/Athfield) and critiquing the readings Ian McHarg “The Plight” in Design With Nature and “Man and Environment”, “The Place of Nature in the City of Man”, “Ecological Determinism”, “Landscape Architecture”, and “Ecology and Design” in The Essential Ian McHarg: Writings on Design and Nature Island Press 2006 Ann Whiston Spirn “Ian McHarg, Landscape Architecture, and Environmentalism: Ideas and Methods in Context” in Environmentalism in Landscape Architecture ed. Conan, Dumbarton Oaks 2000 Elizabeth Meyer “The Post Earth-Day Conundrum: Translating Environmental Values Into Landscape Design” in Environmentalism in Landscape Architecture ed. Conan, Dumbarton Oaks 2000 March 29 Lecture: Deconstructivism Tutorial: Discussion of the question “is the inevitable result of Deconstruction a mess?” analysing the design of: Parc de la Villette (Tschumi), Splice Garden, Jacob Javits Plaza, Grand Canal Square, Manchester Exchange Square (Martha Schwartz); Civic Square in Wellington

and critiquing the readings Bernard Tschumi Cinegramme Folie New York 1987 James Corner ‘The Agency of Mapping: Speculation, Critique and Invention’ in Mappings ed Cosgrove 1999 Nikos Salingaros ‘Two Languages for Architecture’ in A Theory of Architecture Solingen 2006

April 3 Lecture (Sabrina Hiridjee): Contemporary Landscape Urbanism Tutorial: Discussion of the question “should landscape be considered a civic human process subject to civic human change?” analysing the design of: The High Line (Field Operations), Duisburg Nord (Latz), Seattle Gasworks Park (Richard Haag), Parc Andre Citroen (Giles Clement & Alain Provost), Parc de Bercy, Brooklyn Bridge Park (MVVA), Gowanus Canal, Downsview Park Proposals (Various), Wellington’s Container Wharf and Railyards and critiquing the readings Charles Waldheim “Landscape as Urbanism” in The Landscape Urbanism Reader ed. Waldheim, Princeton 2006 James Corner “Terra Fluxus” in The Landscape Urbanism Reader ed. Waldheim, Princeton 2006 Sebastian Marot ‘The Reclaiming of Sites’ in Recovering Landscape ed. Corner, Princeton 1999

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April 5 Lecture (Sabrina Hiridjee): Contemporary Landscape Urbanism Tutorial: Discussion of the question “can urban infrastructure and natural ecosystems coexist?” analysing the design of: Schouwburgplein (West 8), Lower East Side Gardens, Eastern Scheldt Storm Surge Barrier, Markeroog (West 8), Biebosch Stad, Cergy-Pontoise, Bordeaux Right bank, Lyon Confluence, Var Plain above Nice (Desvigne), The Hutt River and Lower Hutt and critiquing the readings Elizabeth Mossop “Landscapes of Infrastructure”, in The Landscape Urbanism Reader ed. Waldheim, Princeton 2006 Richard Weller “An Art of Instrumentality: Thinking Through Landscape Urbanism” in The Landscape Urbanism Reader ed. Waldheim, Princeton 2006 Kathy Poole "Civitas Oecologie: Civic Infrastructure in the Ecological City," Harvard Architecture Review 1998

Mid-term break

PART TWO: HUMAN AND LANDSCAPE

April 24 Visit to Te Herenga Waka: assemble 2.40 at Kelburn Campus bus-stop outside Easterfield Building April 26 Introduction of Assignment 2 Lecture: Hermeneutics and Phenomenology May 1 Lecture: The role of Landscape in Understanding Self Tutorial: Discussion of the question “what is the contemporary discussion with Self and how can Landscape be a meaningful party in this conversation?” Analysing the design of The Site of Reversible Destiny (Shusaku Arakawa); Otari Reserve; The Memorial to the Murdered Jews of Europe (Peter Eisenman); Angel of the North (Gormley); Public Sculpture of Anish Kapoor And critiquing the readings: James Corner ‘A Discourse on Theory II: Three Tyrannies of Contemporary Theory and the Alternative of Hermeneutics,’ Landscape Journal, v 10, pp. 115-133 1991 Juhani Pallasmaa The Eyes of the Skin London 2005 Elsdon Best The Forest Lore of the Maori Transactions and Proceedings of the Royal Society of New Zealand vol.40 1907

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May 3 Lecture: The Genetic Relationship Tutorial: Discussion of the question “does urban infrastructure provide an opportunity for people to understand a genetic relationship with the landscape?” Analysing the design of Te Marua Catchment (Beard), Waitangi Park (Wraight/Athfield), Wellington Waterfront and City to Sea Bridge, Wellington Town Belt Conservation Plan 1994 (Boffa Miskell) Smithsonian Environmental Research Center Comprehensive Facilities Master Plan Edgewater, Maryland (Poole), Tervel Urban Development, David Chipperfield, Yokohoma Ferry Terminal, FOA

and critiquing the readings: James Corner ‘A Discourse on Theory 1: Sounding the Depths: Origins, Theory and Representation,’ Landscape Journal, v 9, pp. 61-78 1990 “The Theory of Creative Fitting” by Ian McHarg in Conversations With Students: Dwelling With Nature New York 2007 Ann Whiston Spirn pp. 111-32 from The Language of Landscape New Haven 1998 May 8 Lecture: The role of Landscape in Understanding the Larger Role of Human in Time and Space Tutorial: Discussion of the question “can Landscape Architecture connect contemporary individuals to an understanding of belonging to a larger continuum?” Analysing the design of Brion Vega Tomb (Scarpa), Igualada Cemetery (Miralles), Woodland Cemetery (Asplund & Lewerentz), Ngaruawahia, Wanganui, Patea and critiquing the readings: Laurie Olin ‘Form, Meaning and Expression in Landscape Architecture ’in Landscape Journal, 7:2 149-168 Linda Pollack “Constructed Ground: Questions of Scale” in The Landscape Urbanism Reader ed. Waldheim, New York 2006 Peter Adds, ‘Ancestral Landscapes of Taranaki’ in Taranaki Whenua: Life Blood Legacy. New Plymouth, Pukeariki Museum, 2008. May 10 Lecture: Cultural Global Understanding Tutorial: Discussion of the question, “is mapping for Landscape Architecture inherently colonialist?” analysing the design of Uluru Kata-Tjuta National Park, Ngai Tahu Claim Settlement Act 1998, Te Kotahi Ā Tūhoe and Crown Terms of Negotiation, Ngā Mana Whenua O Tāmaki Makaurau and Crown Framework Agreement, Taranaki Whānui Ki Te Upoko O Te Ika Deed of Settlement and critiquing the readings: Christophe Girot “Four Trace Concepts in Landscape Architecture” in Recovering Landscape ed. Corner; Princeton 1999 Giselle Byrnes, ‘As Far As the Eye Can Reach: Reading Landscapes’ in Boundary Markers: Land Surveying And The Colonisation Of New Zealand Da Cunha, Dilip and Anuradha Mather Mississippi floods: designing a shifting landscape, Yale University Press, New Haven and London (2001)

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May 15 Lecture: Language as paradigm Tutorial: Discussion of the question, “must there be agreement among citizens about the nature of people, land, and the government of both?” analysing the design of Scottish Parliament (Miralles), Parliament Grounds in Wellington, Aboriginal Tent Embassy Canberra and critiquing the readings: Mullholland & Tawhai Weeping waters: the Treaty of Waitangi and constitutional change Wellington 2010 Durie, M. ‘A framework for considering constitutional change and the position of Māori in Aotearoa’. In James, C. (Ed.), Building the constitution (pp. 414-425). Wellington: Institute of Policy Studies 2000 F.M. Brookfield ‘Parliament, the Treaty and freedom: millennial hopes and speculations’ in Essays on the Constitution

May 17 Lecture: Life Span and Inhabited Space Tutorial: Discussion of the question “is it possible to design for contested landscape?” analysing the design of Te Aro Park, Te Papa, National Memorial and Tomb for the Unknown Warrior, Pakaitore Moutoa Gardens in Wanganui And critiquing the readings: Di Menzies “Place, people and prospect: responding to spirit” Australian Institute of Landscape Architects Geoff Park “Looking for Signs of Life; Genius Loci in the Austral City” in Theatre Country: Essays on Landscape and Whenua Wellington 2006 Angelique Pratt “The Occupation of Moutoa Gardens – Pakaitore marae” Ph.D Massey University 1998 May 22 Lecture: (James Richardson) Global Understanding in the Contemporary World Tutorial: Discussion of the question “can Landscape Architecture construct values of Citizenship?” Analysing the design of The Swiss Way (Descombes), Human Rights Way (Dani Karavan), Central Park, Champs Elysees, Tiananmen Square, Washington DC Mall

and critiquing the readings: David McCrone ‘Devolving Scotland’ from Creating a Scottish Parliament. Edinburgh 2005 Henri Lefebvre from “Architectonics of Space” in The Production of Space Paris 1974

May 24 Lecture: (Marita Hunt) Meaning in Landscape Architecture Tutorial: Discussion of the question, “can Landscape Architecture create Identity?” Analysing the design of Lancy (Descombes), South Coast Interventions and Bike Tracks in Wellington And critiquing the readings: Sebastian Marot “The Return of the Landscape” and “Space and Memory: The Rediscovery of a Forgotten Art” in SubUrbanism and the Art of Memory London 2003 Hone Tuwhare Mihi: Collected Poems, Auckland, Penguin, 1987

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May 29 Presentations in Debate

May 31 Presentations in Debate

June 5 Presentations in Debate

June 7 Presentations in Debate

COURSE DELIVERY

. The class meets for 2 hours twice a week. The first hour of each class will normally be a lecture, and the second, a tutorial hour, will be a discussion or workshop, as two groups. The tutorials will be dedicated to discussing designs and critical writing. It is the responsibility of a different small group of students each week to be especially familiar with them, and their presentation of these designs and theory will be assessed. The rest of the class are expected to come to the tutorial having read the readings, researched the designs, and will take part in the discussion, asking questions of the presenters. At the end of the tutorial hour each person writes a paragraph-long statement and hands it to the tutor, also for assessment. In this way we will quickly get into a lot of reading and research, which is necessary to begin comparative analysis; and writing statements in response to these discussions twice a week helps get ideas well under way for the essays, in which you evaluate the influence of international precedents and theories in the formation of Wellington, and then develop your own philosophy for approaching landscape design there.

ASSIGNMENTS / PROJECTS

assignment submission assessed weighting

Presentation in tutorial (1

st 5

weeks)

Once in first 5 weeks

live

8%

Statements written in tutorial (1

st 5 weeks)

Twice weekly in first 5 weeks

April 5th

8%

2500-word essay

24

th April May 15th

30%

2

nd Presentation in tutorial (2

nd 5

weeks)

Once in second 5 weeks

live

8%

Statements written in tutorial (2

nd 5 weeks)

Twice weekly in second 5 weeks May 25th

7%

100-word word-model and concept cut-out

24

th April After end of course

16%

1500-word essay

24

th April After end of course

15%

Presentation of brief for National Urban Park Wellington Once in last 2 weeks live 8%

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ASSESSMENT REQUIREMENTS

Tutorial Presentations Your presentations for tutorial discussions should be 5 minutes long and will be assessed on the following criteria:

Depth of knowledge of the readings and the designs

Clarity of presentation of views

Critical ability in comparing and analysing readings and designs to find relationships

Your tutorial statements should be one to two paragraphs long and will be assessed on the following criteria:

Familiarity with issues in readings and the designs

Ability to apply crucial issues to new contexts

Ability to ask crucial questions

2500-word essay Your 2500-word essay will be assessed on the following criteria:

Depth of knowledge of readings and designs

Critical ability in comparing and analysing readings and designs to find relationships

Creativity in bringing independent understandings of locale to critique and evaluate judgment

Critical rigour in forging these understandings into critical argument

Clarity of presentation of views

100-word word model Your 100-word word model and conceptual/spatial cut-out will be assessed on the following criteria:

Creativity of language and spatial composition

Accuracy of language and spatial composition

Perceptual skill

Conceptual skill 1500-word essay Your 1500-word essay will be assessed on the following criteria:

Understanding of Landscape Architecture principles

Understanding of local Landscape Architecture history

Critical ability in comparing and analysing these to find relationships

Creativity in bringing independent understandings of locale to critique and evaluate judgment

Critical rigour in forging these understandings into critical argument

All work submitted for assessment must be accompanied by an Assessment Declaration Form unless advised otherwise by the Course Co-ordinator. All grades posted during this course are only provisional results until confirmed by the School Examiners Committee which meets after the examination period.

ATTENDANCE AND PARTICIPATION

Attendance and participation is an important aspect of the learning process, and you are required to attend all the lectures and tutorials. If extraordinary circumstances arise that require you to be absent from some class sessions, you should discuss the situation with the Course Coordinator as soon as possible.

COURSE EXPECTED WORKLOAD

You should expect to spend a total of around 150 hrs on this course, including both scheduled class time and independent study. Typically this involves around 12-14 hours per week during the twelve teaching weeks, with the balance during the mid trimester break. .http://www.victoria.ac.nz/home/about_victoria/avcacademic/publications/assessment-handbook.pdf

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MATERIALS AND EQUIPMENT REQUIRED

It is recommended that you have your own laptop although computer facilities are available at the School. If you are purchasing a laptop and would like information on the minimum requirements please contact the Student Administration Office. While digital cameras are available at the school, it is also recommended that students consider purchasing a simple digital camera (3.2mpxl minimum). Note: The Student Loan, administered by StudyLink, allows students to claim up to $1000 for course related costs for each year of study.

RECORDING OF WORK AND PORTFOLIO

You are strongly encouraged to respect and care for your work, making and recording a visual summary of each project in this course. This may be in digital and/or hard copy. The principal purpose of this is to maintain a record of your work for incorporation into your own personal ‘Design Portfolio’. Recording a summary of your work also means it is available if needed for you or the School to exhibit or publish.

SUBMISSION OF WORK

Each student is responsible for ensuring their work is submitted to their course tutor on time and in the required format. Late submissions will be penalised as set out below, unless an extension is approved by the Course Coordinator.

EXTENSIONS In the event of illness or other extraordinary circumstances that prevent you from submitting a piece of work on time, or that you feel adversely affect the quality of the work you submit, it is important that you discuss your circumstances with the Course Coordinator as soon as possible so that appropriate arrangements may be made. You should complete an Application for Extension form (available from the Faculty Office) for the Course Coordinator to approve. You will also need to provide suitable evidence of your illness or other circumstances. In an emergency, or if you are unable to contact the Course Coordinator, you should advise the Faculty Office of your situation. Work submitted late must be submitted to the Course Coordinator.

PENALTIES

Students are required to personally present their work on time at all scheduled reviews and in the location and specified format as set out in assignment outlines. Failure to personally present work at any scheduled graded review will result in an automatic failing grade of E for the work being reviewed, unless an extension has been approved in writing in advance by the Course Coordinator.

Late submissions will not be penalised in the event of illness or other extraordinary circumstances provided students have requested an extension of time in writing in advance of the scheduled review, and the Course Coordinator has similarly approved this in writing (see the Student Administration Office for an Application for Extension form). Work submitted late without the prior agreement of the Course Coordinator will be penalised by one grade step by calendar day including weekends (i.e. an A will become A-).

Work submitted late must be submitted directly to the Course Coordinator. Any project work left on the project shelves or elsewhere will be entered on the grade sheet as a no-submission.

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SCHEDULE OF SESSIONS

Week 9

February

March

M 27

TU 28

W 29 Orientation Week

TH 1

F 2

Week 10

March

M 5 Trimester 1 Begins

TU 6 Lecture & project

introduction

VS204 3.40 - 5.30

W 7

TH 8 Lecture & tutorial VS316 & VS236 2.40 – 4.30

F 9

Week 11

March

M 12

TU 13 Lecture & tutorial VS204 & VS236 3.40 - 5.30

W 14

TH 15 Lecture & tutorial VS316 & VS236 2.40 – 4.30

F 16

Week 12

March

M 19

TU 20 Lecture & tutorial VS204 & VS236 3.40 - 5.30

W 21

TH 22 Lecture & tutorial VS316 & VS236 2.40 – 4.30

F 23

Week 13

March

M 26

TU 27 Lecture & tutorial VS204 & VS236 3.40 - 5.30

W 28

TH 29 Lecture & tutorial VS316 & VS236 2.40 – 4.30

F 30

Week 14

April

M 2

TU 3 Lecture & tutorial VS204 & VS236 3.40 - 5.30

W 4

TH 5 Lecture & tutorial VS316 & VS236 2.40 – 4.30

F 6 Good Friday - holiday

Week 15

April

M 9 Easter Monday - holiday

TU 10 Easter Tuesday – VUW holiday

W 11

TH 12

F 13

Week 16

April

M 16 Mid Trimester Break

TU 17

W 18

TH 19

F 20

Week 17

April

M 23

TU 24 Powhiri & whakatau mihi

Te Herenga Waka 3 – 5.00 Hand-in essay 1

W 25 ANZAC Day - holiday

TH 26 Lecture & project introduction

VS316 2.40 – 4.30

F 27

Week 18

April

May

M 30

TU 1 Lecture & tutorial VS204 & VS236 3.40 - 5.30

W 2

TH 3 Lecture & tutorial VS316 & VS236 2.40 – 4.30

F 4

Week 19

May

M 7

TU 8 Lecture & tutorial VS204 & VS236 3.40 - 5.30

W 9

TH 10 Lecture & tutorial VS316 & VS236 2.40 – 4.30

F 11

Week 20

May

M 14

TU 15 Lecture & tutorial VS204 & VS236 3.40 - 5.30

W 16

TH 17 Lecture & tutorial VS316 & VS236 2.40 – 4.30

F 18

Week 21 M 21

14

May TU 22 Lecture & tutorial VS204 & VS236 3.40 - 5.30

W 23

TH 24 Lecture & tutorial VS316 & VS236 2.40 – 4.30

F 25

Week 22

May

June

M 28

TU 29 Presentations VS204 3.40 - 5.30

W 30

TH 31 Presentations VS316 2.40 – 4.30

F 1

Week 23

June

M 4 Queen’s Birthday - holiday

TU 5 Presentations VS204 3.40 - 5.30

W 6

TH 7 Presentations VS316 2.40 – 4.30 Hand-in Essay 2 and word-model

and conceptual spatial cut-out

F 8

Week 24

June

M 11 Study/Examination Period

TU 12

W 13

TH 14

F 15

Week 25

June

M 18

TU 19

W 20

TH 21

F 22

Week 26

June

M 25

TU 26

W 27

TH 28

F 29

Week 27

July

M 2

TU 3

W 4 Examination Period ends

TH 5 Mid-year Break begins

F 6

Week 28

July

M 9

TU 10

W 11

TH 12

F 13

CLASS REPRESENTATIVES The Faculty of Architecture and Design operates a system of Class Representatives in 100-level courses, and Year Representatives in each of the professional disciplines. Student Representatives are elected during a class session in the first week of teaching. All Student Representatives will be listed on the STUDiO notice board in the Atrium, and the relevant Representatives are also listed on studio notice boards. Student Representatives have a role in liaising between staff and students to represent the interests of students to the academic staff, and also in providing students with a communication channel to STUDiO and the Student Representation organiser.

ACADEMIC INTEGRITY AND PLAGIARISM

Academic integrity means that University staff and students, in their teaching and learning are expected to treat others honestly, fairly and with respect at all times. It is not acceptable to mistreat academic, intellectual or creative work that has been done by other people by representing it as your own original work. Academic integrity is important because it is the core value on which the University’s learning, teaching and research activities are based. Victoria University’s reputation for academic integrity adds value to your qualification. The University defines plagiarism as presenting someone else’s work as if it were your own, whether you mean to or not. ‘Someone else’s work’ means anything that is not your own idea. Even if it is presented in your own style, you must acknowledge your sources fully and appropriately. This includes:

Material from books, journals or any other printed source

The work of other students or students or staff

Information from the internet

Software programs and other electronic material

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Designs and ideas

The organisation or structuring of any such material

Find out more about plagiarism, how to avoid it and penalties, on the University’s website: www.victoria.ac.nz/home/studying/plagiarism.html

USE OF TURNITIN Student work provided for assessment in this course may be checked for academic integrity by the electronic search engine http://www.turnitin.com. Turnitin is an online plagiarism prevention tool which compares submitted work with a very large database of existing material. At the discretion of the Head of School, handwritten work may be copy-typed by the School and subject to checking by Turnitin. Turnitin will retain a copy of submitted material on behalf of the University for detection of future plagiarism, but access to the full text of submissions is not made available to any other party.

GENERAL UNIVERSITY POLICIES & STATUTES – WHERE TO FIND MORE DETAILED INFORMATION Students should familiarise themselves with the University’s policies and statutes, particularly the Assessment Statute, the Personal Courses of Study Statute, the Statute on Student Conduct and any statutes relating to the particular qualifications being studied; see the Victoria University Calendar or the University’s policy website http://www.victoria.ac.nz/home/about/policy Student and staff conduct The Statute on Student Conduct together with the Policy on Staff Conduct ensure that members of the University community are able to work, learn, study and participate in the academic and social aspects of the University’s life in an atmosphere of safety and respect. The Statute on Student Conduct contains information on what conduct is prohibited and what steps are to be taken if there is a complaint. For information about complaint procedures under the Statute on Student Conduct, contact the Student Interest and Disputes Resolution Advisor or refer to the statute on the Victoria policy website at: http://www.victoria.ac.nz/home/about/policy The Policy on Staff Conduct can also be found at: http://www.victoria.ac.nz/home/about/policy Academic grievances If you have any academic problems with your course you should talk to the tutor or lecturer concerned; class representatives may be able to help you in this. If you are not satisfied with the result of that meeting, see the Head of School or the relevant Associate Dean; the Student Interest and Dispute Resolution Adviser is available to assist in this process. If, after trying the above channels, you are still unsatisfied, formal grievance procedures can be invoked. These are set out in the Academic Grievance Policy which is published on the Victoria website at: http://www.victoria.ac.nz/home/about/policy There is also a leaflet explaining the grievance process available from the Academic Office website at: http://www.victoria.ac.nz/home/about_victoria/avcacademic/Publications.aspx#grievances

Students with Impairments Refer to the Meeting the Needs of Students with Impairments Policy, available on the University’s policy website http://www.victoria.ac.nz/home/about/policy The University has a policy of reasonable accommodation of the needs of students with impairments. The policy aims to give students with disabilities the same opportunity as other students to demonstrate their abilities. If you have a disability, impairment or chronic medical condition (temporary, permanent or recurring) that may impact on your ability to participate, learn and/or achieve in lectures and tutorials or in meeting the course requirements, please contact the course coordinator as early in the course as possible. Alternatively, you may wish to approach a Student Adviser from Disability Services to discuss your individual needs and the available options and support on a confidential basis. Disability Services are located on Level 1, Robert Stout Building: telephone 463-6070 email: disability@vuw.ac.nz Information regarding support is available from the Faculty Office reception desk.

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Student Support Staff at Victoria want students to have positive learning experiences at the University. There are a number of support services available to help you directly if your academic progress is causing concern or if there are elements in your life that are affecting your ability to study. These include:

Your course coordinator or programme director;

Staff in your Faculty Student Administration Office Student Dedicated learning support through Student Learning Support Service; Te Pūtahi Atawhai; Disability Services and Victoria International;

Wider holistic support through the Health Service; Counselling Service; Financial Support and Advice; Accommodation Service and Career Development and Employment. Find out more at www.victoria.ac.nz/st_services/ or email student-services@vuw.ac.nz;

Facilitation and Disputes Advisory Service can provide support and guidance on matters involving student safety, conflict or misconduct.

TE ARO CAMPUS BUILDING RULES AND FACILITIES

Students on the Te Aro Campus are required to comply with the Faculty Guidelines relating to the safe use, access and care of the Architecture and Design technical resources and building facilities. These are available on the School website, and in the following documents available from the student R drive: R:\Student Health and Safety Information FAD Health & Safety Handbook – http://www.victoria.ac.nz/fad/facilities/3d-model-workshops.aspx

Workshop and campus safety

Safety training and safety precautions for the workshops

FAD hazard Register

Te Aro Campus floor plans FAD Technical Services and Facilities Handbook – issued to all staff and available to all students on the student R drive, covering various local practices, including information on:

Information for new staff and students

Access and booking of teaching/studio spaces, and technical resources

Studio etiquette and rules pertaining to exhibitions, critiques and storage of models/drawings

Housekeeping/cleaning within the studios and workshops

Information on Te Aro IT systems and support

Te Aro campus floor plans General information on Faculty/School Technical Facilities including technical staff and their associated areas: http://www.vuw.ac.nz/architecture/facilities/index.aspx WHERE TO GET HELP Faculty of Architecture and Design Student Administration Office – Vivian Street – Level One The Faculty’s Student Administration Office is located on the first floor of the Vivian Street Wing. The first floor counter is the first point of contact for general enquiries and Faculty forms. Student Administration Advisors are available to discuss course status and give further advice and the Faculty qualifications. To check for opening hours call the Faculty Student Administration Office on (04) 463 6200. HEALTH AND SAFETY Students are reminded that they must comply with any health and safety instructions given by staff members in charge or work places and instructions and signs posted around the campus. All students should familiarise themselves with the FAD Health and Safety Manual and Notices around the Workshops and Laboratories. Students are advised to refer to the Student R drive for safety and other relevant information. R:\Student Health and Safety Information WITHDRAWAL DATES Information on withdrawals and refunds can be found at: http://www.victoria.ac.nz/home/admisenrol/payments/withdrawlsrefunds.aspx

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VICTORIA UNIVERSITY OF WELLINGTON Te Whare Wananga o te Upoko o te Ika a Maui

Faculty of Architecture and Design

Work Submitted for Assessment

Declaration Form Student’s full name : Course : Assignment/project : (number and title) Date submitted : _____________________________________________________________________ Refer to the information on Academic Integrity, Plagiarism and Copyright on the back of this form. I confirm that:

I have read and understood the University’s information on academic integrity and plagiarism contained at http://www.victoria.ac.nz/home/study/plagiarism.aspx and outlined below:

I have read and understood the general principles of copyright law as set out below:

This project/assignment is entirely the result of my own work except where clearly acknowledged otherwise:

Any use of material created by someone else is permitted by the copyright owner.

Signed: Date:

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Academic Integrity, Plagiarism and Copyright ACADEMIC INTEGRITY Academic integrity is important because it is the core value on which the University’s learning, teaching and research activities are based. University staff and students are expected to treat academic, intellectual or creative work that has been done by other people with respect at all times. Victoria University’s reputation for academic integrity adds value to your qualification. Academic integrity is simply about being honest when you submit your academic work for assessment

You must acknowledge any ideas and assistance you have had from other people.

You must fully reference the source of those ideas and assistance.

You must make clear which parts of the work you are submitting are based on other people’s work.

You must not lie about whose ideas you are submitting.

When using work created by others either as a basis for your own work, or as an element within your own

work, you must comply with copyright law (Summarised from information on the University’s Integrity and Plagiarism website: www.victoria.ac.nz/home/studying/plagiarism.html) PLAGIARISM The University defines plagiarism as presenting someone else’s work as if it were your own, whether you mean to or not. ‘Someone else’s work’ means anything that is not your own idea. Even if it is presented in your own style, you must acknowledge your sources fully and appropriately. This includes:

Material from books, journals or any other printed source

The work of other students or staff

Information from the internet

Software programs and other electronic material

Designs and ideas

The organisation or structuring of any such material Find out more about plagiarism, how to avoid it and penalties, on the University’s website: www.victoria.ac.nz/home/studying/plagiarism.html COPYRIGHT Copyright law regulates the use of the work of an author, artist, designer or other creator.

Copyright applies to created work including designs, music, computer programs, artistic and literary work.

The work can be in printed, digital, audio, video or other formats. Normally the author or creator of a work owns the copyright for their lifetime and for 50 years

after their death, (although sometimes someone other than the creator of a work owns the copyright to the work, such as the creator’s employer, or a person who commissions the creator’s work).

You must have permission from the copyright owner to copy, alter, display, distribute or otherwise use created work.

If the creator has applied a Creative Commons licence to a work, this permits others to use the work but only in accordance with that licence.

Further information on copyright is available on the Creative Commons Aotearoa FAQ website: http://www.creativecommons.org.nz/frequently_asked_questions#III1

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