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Architect Profile Evaluating the role of collage as a more effective representation in landscape architecture praxis by Tina George A Thesis presented to The University of Guelph In partial fulfilment of requirements for the degree of Master of Landscape Architecture in Landscape Architecture Guelph, Ontario, Canada © Tina George, June, 2021 ABSTRACT EVALUATING THE ROLE OF COLLAGE AS A MORE EFFECTIVE REPRESENTATION IN LANDSCAPE ARCHITECTURE PRAXIS Tina George Advisor: University of Guelph, 2021 Dr. Nadia Amoroso Photomontage has evolved from traditional collages to highly photorealistic simulations - the currently preferred style of landscape visual communication. These photorealistic graphics are popular, owing to their ease of interpretation, but limit discourse possibilities and fail to reveal the ideation process. On the other hand, traditional collage is credited with projecting the design process and promoting intelligent discourse. This research investigates the efficiencies of using traditional collage representation within current praxis. A literature review focused on the trajectory of landscape architecture graphics brought an understanding to why impressionist, realistic graphics are being used. A case-study analysis of fifteen graphic representations by landscape architecture practices and the results of a questionnaire tested for recognition of various graphic styles was used to consolidate information that led to the determination that collage techniques are superior and can be revived to be utilized effectively in praxis. DEDICATION Dedicated to the artists who see beyond borders to create awareness and change. "Here's to the crazy ones, the misfits, the rebels, the troublemakers, the round pegs in the square holes ... the ones who see things differently -- they're not fond of rules, and they have no respect for the status quo. ... You can quote them, disagree with them, glorify or vilify them, but the only thing you can't do is ignore them because they change things. ... They push the human race forward, and while some may see them as the crazy ones, we see genius, because the people who are crazy enough to think that they can change the world, are the ones who do."- Steve Jobs. iii ACKNOWLEDGEMENTS I acknowledge, appreciate, and affirm Providence's affordances to constantly place amazing people in my path to guide me in my quest for art, truth, and life. You were all highly impactful in the design of this thesis and the design of my life because of who you all are- the most wonderful of people! iv TABLE OF CONTENTS Abstract ............................................................................................................................ii Dedication ....................................................................................................................... iii Acknowledgements .........................................................................................................iv Table of Contents ............................................................................................................ v List of Tables (if any) .......................................................................................................ix List of Figures .................................................................................................................. x List of Appendices ......................................................................................................... xiv 1 Introduction .............................................................................................................. 1 Overview ............................................................................................................ 1 Research Problem ............................................................................................. 3 Research Goal ................................................................................................... 3 Objectives .......................................................................................................... 4 Literature review ....................................................................................................... 5 Overview ............................................................................................................ 5 Graphic expression in Landscape architecture .................................................. 5 Exploring the language of drawings and the power of simulacra ................. 6 The trajectory of design representation ....................................................... 7 Various techniques of graphic representation in landscape architecture ... 12 Creativity vs analytics in landscape drawing .............................................. 22 Fine art and landscape architecture .......................................................... 24 How did photorealism become a popular graphic expression? ........................ 25 Familiarity and comfort in the old-world aesthetic of the Picturesque: ....... 25 v Ease of interpretation ................................................................................ 26 Realism in visual communication ............................................................... 27 Strategizing the next step by reviving montage ................................................ 31 The advantages of montage ...................................................................... 32 The direction of montage-making in current praxis .................................... 33 Discussion ........................................................................................................ 36 Methods ................................................................................................................. 37 3.1 Overview .......................................................................................................... 37 3.2 Case Study Overview: ...................................................................................... 39 3.3 Questionnaire Overview: .................................................................................. 39 Key informant 1- Samantha Solano ........................................................... 40 Key informant 2- Simon M. Bussiere ......................................................... 41 Key informant 3- Kirk Diamond .................................................................. 41 Key informant 4- Pablo Pérez-Ramos ....................................................... 41 Key informant 5- Nicholas Serrano ............................................................ 42 Key informant 6- Danika Cooper ............................................................... 42 Key informant 7- Jacob Mitchell ................................................................. 43 Key informant 8- Rebecca Popowsky ........................................................ 43 Analysis and discussion ......................................................................................... 44 Overview .......................................................................................................... 44 Case-studies .................................................................................................... 44 Case Study 1- Christophe Girot ................................................................. 46 Case Study 2- Chip Sullivan ...................................................................... 47 Case Study 3- Claude Cormier .................................................................. 48 vi Case Study 4- Garett Eckbo ...................................................................... 49 Case Study 5- Grossmax........................................................................... 50 Case Study 6- James Corner .................................................................... 51 Case Study 7- Kathryn Gustafson ............................................................. 52 Case Study 8- Roberto Burle Marx ............................................................ 53 Case Study 9- Rem Koolhaas ................................................................... 54 Case Study 10- Piet Oudolf .................................................................... 55 Case Study 11- EDSA ............................................................................ 56 Case Study 12- Thomas Church ............................................................ 57 Case Study 13- Diana Balmori ............................................................... 58 Case Study 14- Yves Brunier ................................................................. 59 Case Study 15- Ken Smith ..................................................................... 60 Case study analysis table: ............................................................................... 61 Timeline of graphic representation ............................................................ 62 Relationship of plan/perspective across time ............................................. 63 Legibility ..................................................................................................... 63 Chromatic range ........................................................................................ 63 Questionnaire ................................................................................................... 64 4.2.1 Question 1- Christopher Girot's graphic ..................................................... 65 4.2.2 Question 2- Chip Sullivan's graphic ........................................................... 66 4.2.3 Question
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