Creative Gardens: Towards Digital Commons

date-added: 2015-03-04 03:12:21 +0000 date-modified: 2015-04-01 06:49:53 +0000date-added: 2015-03-04 03:12:21 +0000 date-modified: 2015-04-01 06:49:53 +0000This work was supported by the Arts and Humanities Research Council, CreativeWorks London Hub, grant AH/J005142/1, and the European Regional Development Fund, London Creative and Digital Fusion

Creative Garden Poster

Poster presented at the Digital Economy Conference 2013.Can we move beyond simply networking creative individuals to establishing diverse communities of practice for innovation through discursive methods. Furthermore, can we digitise their creativity activities within an integrative socio-cultural collaborative technology platform that could then support distributed innovation. First, we consider the complexity of creative cultures from the perspective of design innovation, including how to nurture creativity activities in what we call Creative Gardens. Specifically, how they could grow, diverge, and combine,being cultivated to nurture emergent, disruptive, collaborative innovation. Then, we consider the digitisation of Creative Gardens from the perspective of digital culture. Specifically, the tenets of Creative Gardens as dynamic and innovative communities. This includes considering the challenges and opportunities around digitisation, the influences around the connectivity with knowledge cultivation, and the potential for distributed innovation as collective intelligence to utilise diverse expertise

Cultural and Creative Industries and Art Education

AbstractThe progress of cultural and creative industries calls for numerous talents in this field. After an analysis of the development of cultural and creative industries, this paper demonstrates that art education is the most vital approaches of all to cultivate cultural and creative talents, and that it offers intellectual support and talents for the development of cultural and creative industries, which in return facilitates the development of art education. On this basis, the thesis probes into the mode of development of art education with the rise of cultural and creative industries so as to offer new ideas for college art education

Improving Urban Greenways Using James Rose’s Theories of Integration

After an insightful discussion with my peers regarding the theories of landscape urbanism, we concluded that many of the concepts are not new, but were perhaps extrapolated from landscape design principles well known to us. Throughout the discussion, I could not help but think back on my previous research about the mid-century modern landscape architect, James Rose, who’s rebellious designs and intriguing publications spoke to larger concepts than purely form and design, unapologetically. His theories, although laced with humor and sarcasm, have many relevant applications in designing urban parks in cities today. His theories on the integration of indoors and outdoors, people and nature, movement and stillness, and the recycling of old materials to make new things can be applied to greenscapes in cities in order to create fully integrated, sustainable, and inhabitable spaces

Impregnaciones japonesas. James C. Rose y la expresión del hábitat evolutivo

When the city undermines the health of its inhabitants and its landscape is the result of a mechanized and mercantilist production process that forgets the person as part of it, landscape architecture has to react. In the American sprawl cities, known as Suburbia, the landscape architect James C. Rose (1913-1991) opposed the egalitarian behaviour of modernity with his idea of a garden as an art form committed to the place. Deeply influenced by the Japanese spirit towards nature, his project in Ridgewood (1953) presents the idea of evolutional habitat as a house that grows and evolves with its user in a spatial perfection through the fusion of indoor-outdoor. In addition, his project in Baltimore (1956) presents how to conceive a form that comes from the place itself, as an instructive action for the client. The contribution of Rose to modern landscape architecture should be understood as that gardens inspire celestial paradises in the earth that are in themselves a failure due to their impossible materialization. Rose’s lawbreaker character remains in the lesson that each place has a different quality that only through the creative act it reveals. Cuando la ciudad socava la salud de sus habitantes y su paisaje es consecuencia de un proceso de producción mecanizada y mercantilista que olvida a la persona como parte de él, la arquitectura del paisaje tiene que reaccionar. En las extensas ciudades americanas, conocidas como “Suburbia”, el arquitecto del paisaje James C. Rose (1913-1991) se opuso a las conductas homogeneizantes de la modernidad con su idea de jardín como forma de arte comprometida con el lugar. Profundamente influido por el espíritu japonés hacia la naturaleza, su proyecto en Ridgewood (1953) presenta la idea de hábitat evolutivo como casa que crece y evoluciona con su usuario en un perfeccionamiento espacial mediante la fusión de los espacios interiores y exteriores. Su obra en Baltimore (1956) evidencia concebir una forma que nace del propio lugar, como acción instructiva para el cliente. La aportación de Rose a la arquitectura del paisaje moderno ha de entenderse como que el jardín inspira paraísos celestes en la tierra que son en sí un fracaso por su materialización imposible. El carácter transgresor de Rose permanece en la lección de que cada lugar tiene una cualidad diferente que solo puede ser desvelada a través del acto creativo.

Impregnaciones japonesas. James C. Rose y la expresión del hábitat evolutivo

When the city undermines the health of its inhabitants and its landscape is the result of a mechanized and mercantilist production process that forgets the person as part of it, landscape architecture has to react. In the American sprawl cities, known as Suburbia, the landscape architect James C. Rose (1913-1991) opposed the egalitarian behaviour of modernity with his idea of a garden as an art form committed to the place. Deeply influenced by the Japanese spirit towards nature, his project in Ridgewood (1953) presents the idea of evolutional habitat as a house that grows and evolves with its user in a spatial perfection through the fusion of indoor-outdoor. In addition, his project in Baltimore (1956) presents how to conceive a form that comes from the place itself, as an instructive action for the client. The contribution of Rose to modern landscape architecture should be understood as that gardens inspire celestial paradises in the earth that are in themselves a failure due to their impossible materialization. Rose’s lawbreaker character remains in the lesson that each place has a different quality that only through the creative act it reveals. Cuando la ciudad socava la salud de sus habitantes y su paisaje es consecuencia de un proceso de producción mecanizada y mercantilista que olvida a la persona como parte de él, la arquitectura del paisaje tiene que reaccionar. En las extensas ciudades americanas, conocidas como “Suburbia”, el arquitecto del paisaje James C. Rose (1913-1991) se opuso a las conductas homogeneizantes de la modernidad con su idea de jardín como forma de arte comprometida con el lugar. Profundamente influido por el espíritu japonés hacia la naturaleza, su proyecto en Ridgewood (1953) presenta la idea de hábitat evolutivo como casa que crece y evoluciona con su usuario en un perfeccionamiento espacial mediante la fusión de los espacios interiores y exteriores. Su obra en Baltimore (1956) evidencia concebir una forma que nace del propio lugar, como acción instructiva para el cliente. La aportación de Rose a la arquitectura del paisaje moderno ha de entenderse como que el jardín inspira paraísos celestes en la tierra que son en sí un fracaso por su materialización imposible. El carácter transgresor de Rose permanece en la lección de que cada lugar tiene una cualidad diferente que solo puede ser desvelada a través del acto creativo.

Innovation and Tourism: Between Territorial Reproduction and Sustainable Development

The Ourika Valley, located less than an hour from the red city of Marrakech, is now experiencing various and rapid environmental, demographic, socio-cultural, economic changes, etc. These changes also affect traditional productive systems and the local way of life.Its authentic and unspoiled places, with a good reputation and a wealth of therapeutic processes and treatments based on natural products and medicinal plants in a territory. This strong potential at the level of products and resources linked to well-being tourism, until now not well exploited, and omitted on the part of those responsible for tourism, it constitutes a good ground to exploit in order to implement this type. Tourism, thus strongly contributing to the diversification of the tourism product and offer on offer.Indeed, the projects of the tourist gardens of Ourika, present an innovative tourist product in the valley, thanks to the valorization and the mobilization of the aromatic and medicinal plants, which are finalized in the laboratories of the gardens of natural cosmetic products. Thus, authenticity and specificity can become a support for the creation of wealth and territorial innovation, through the diversification of the tourist offer.This is not just a new tourist product, but it is about trying to understand how to structure local initiatives and mobilization processes around the promotion of a heritage collective heritage and territorial order around a mountain territory

From map to mapping: imaging active landscapes through 'figure' and 'ground'

The research builds on and contributes to the representation in landscape, specifically the imaging of active landscapes. Current representational methodologies in landscape architecture have already defined various regimes for the mapping of landscapes. Most of these operate by portraying existing conditions that prioritize visual and formal qualities, displacing objects from their wider context and creating neutral artificialities. Although the discourse of representation has already emphasized the need for appropriate methodologies that engage more closely with the landscape, there has not been an examination and production of techniques that not only privilege the object but also encourage the imaginative conception of experiential phenomena unfolding over time. A convention such as the figure-ground plan is an idealized and dominant technique that expresses an existing cond ition, without references to evolution or change. This research provides additional insight into the depiction of events that develop over time by reconceptualising "figure" and "ground" as mutualistic entities rather than hierarchical and biased conditions. It demonstrates that figure and ground are but interdependent and coordinated concepts by depicting them in patterns with variant scales, colours and textures. These shift landscape representation from appearance to composition, from description to narration, forming chains of information that lack regularity and stability, and which inform the deviating course of phenomena in the landscape. The analytic focus on mapping enables various contributions: firstly it allows imaging the incessant construction of landscape rather than its portrayal as an empty, dead event. The communicated perception of a changing landscape permits a more inclusive appreciation of its development and staging: understanding how things work aids in developing ways to choreograph what they may become. Secondly, the maps outcomes not only depict or represent images, but facilitate a visualization of the performative qualities of landscape elements - their processes, events, affective phenomena, etc. This means that the viewer is not only an external observer but is able to participate in a shared experience of apprehending a given landscape. This method of communication uses various scales and colours to manipulate perception and give multiple meanings depending on an experiential engagement with the representation. The work evaluates the participation of representation in design by using real experimental cases from three international design competitions. The importance of the research relies not only in mapping outcomes, but in its inquisitive production that reconceptualises "figure" and "ground". The figure-ground map provides a laboratory for graphic experimentation by developing series of patterns and moirés that addressed temporal phenomena and irregularities in landscape systems. The research project does not aim to simply produce experimental graphic compositions, but to use figure-ground mechanisms to structure processes and phenomena. This approach unveils the potential of institutionalized representation techniques and exposes their ability in facilitating visualization of active landscapes

Lighted ceramic garden sculptures

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