Journals@Lincoln (Lincoln University)
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Bingham Canyon National Park: Reclaiming the Bingham Canyon Mine by Transforming it into a New Generation of National Park
No full textSensory Landscapes: Developing a Design-oriented Approach to Mapping for Healthier Landscapes
No full text Landscape design needs a novel value system centred on human experience of the landscape rather than simply on economic value. Design-oriented research allows us to shift the focus from mechanistic paradigms towards new sense-making approaches that value both the sensual and the cognitive in human experience. To move in this direction, we investigate cultural and natural aspects of sensory experience in rural landscapes, arguing that: (1) rural (non-urban) regions offer diverse sensory experiences for optimising human health; and (2) spatial interconnectedness between rural and urban areas means that healthy rural regions are critical for urban development. Our key argument is that many rural landscapes contain intrinsically valuable traditional practices that create multisensory experiences with untapped benefits for human wellbeing, particularly in the auditory and olfactory realms, and thus a mapping system that accounts for sensory experience is required
Walking, Hutting, Mapping: A Landscape Architecture Investigation into the Generative Potential of Experiences’ ‘Other’
No full textThe Human Body as a Sensory Design Tool to Advance Understanding of Coastal Landscapes Changes
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As the world’s climate changes and becomes warmer, the sea level is rising and affects the coasts globally (Church et al, 2013). One area where its impact is especially evident is southern Sweden, where land uplift is almost absent and where commitment and preparedness among authorities to adapt to these rising sea levels are limited. In a search for complementary strategies to enhance the work for climate adaptation, alternative methods have been tested in collaborative work with a choreographer and groups of Master’s students in landscape design, where the students used their bodies to express landscape dynamics, principles for protection or interaction with the sea and their own understanding of a future changed meaning and identity within the coastal landscape. In one of the choreographed, design-driven movement workshops, the students walked the high-water line as it appears on maps and, with other movements, they integrated the dynamics of the sea and its confrontation with coastal life.
The challenging and tentative work, conceptualised as ‘reflective motion’, ended in a public performance where the students identified and dramatised threats, reconciliation and possibilities for change in relation to future sea-level rise on the site. The performance took place along a 2-kilometre stretch and concluded with a public discussion in the library. The method seemed to be useful and complementary to other methods; by ‘blurring’ the static high-water line in favour of a more complex understanding; by being an interactive tool between the researcher, the designer, the choreographer and a coastal society (Germundsson and Wingren, 2017); by developing a ‘value action’ or a common language of environmental awareness (Hirsch, 2016); and by giving space for emotional expressions and mourning related to loss of landscapes, landscape identity and meaning (Cunsolo Willox, 2012). The results indicate that ‘reflective motion’ is a method that can be investigated further as a platform for better-informed design and as a forum where local people and authorities can meet to share their landscape knowledge.
 
Experiencing the Post-mining Wonder: Reclaiming a New Purpose for Post-mining Landscapes in Quadrilatero Ferrifero
No full textLandscape as Tension: Exploring the Analytical and Generative Potential of a Focus on Tension
No full textCo-creating with Animals: Crossing the ‘Narrow Abyss of Non-comprehension’
No full text This paper describes student work in a seminar and field school that use research through designing as a means to engage the more-than-human world in landscape architectural design practices. Students used an epistemology of engagement to observe, describe and co-create with animals, towards an applied end of transferrable design theories and practices that aim to make places for people and animals. Claire Waterton has described the large literature in anthropology, cultural geography and related social sciences exploring the idea that how we study the world is also a way of reinforcing, of performing, that world (Waterton, 2003). This field experiment sought to invert that structure: by consciously performing an inquiry, can we change how we perceive and conceive of the world and, specifically, the role of animals as co-creators of our landscape architectural designs? The field experiments were grounded in art practices, intentionally uncoupling and problematising notions of perception, landscapes and their human and non-human inhabitants (Jeremijenko, 2010)
Design Fieldwork: Reclaiming Affect and Experience as a Primary Locus of Design Knowledge and Expertise
No full text This paper presents a series of design experiments that are used to introduce and prototype a form of research I call design fieldwork. Design fieldwork is a hybrid practice of fieldwork and design intervention in which each informs and is embedded in the other. This method builds knowledge and understanding of landscapes through immersive encounters, actively intervening in the landscape and observing the events and novelty that unfold. In each of the experiments, the designer’s own sensing and affective physical body is foregrounded as a primary medium for exploratory research, either as prelude to design or as the design itself. Two claims are made based on this research. First, the aesthetic and performative experiences of the designer/researcher should be a primary concern in any design research method, as they are pivotal to how sites and landscapes are perceived and constructed, which in turn lead to qualitatively different research outcomes. Second, design fieldwork is positioned as an iterative technique of engaging landscapes that provides unique access to indeterminate formative processes, novelty and serendipity. This embodied exposure to landscapes’ elastic range of becoming can serve as a productive counterpoint to highly conceptual, abstracted and overly determinate design methods in research, teaching and practice