UCD school of architecture, planning & environmental policy - landscape architecture - 2020 LARC10090_landscape studio 1B

Name: Maria Dicla PinhasovStudent Number: 19398466

project _10 documentation of semester work_PORTOFOLIO

foumtains

“In constant to lakes, pools, and ponds are defined as relatively small scale water bodies that pro-vide both rotational and potential wildlife habitats” Catherine Dee

“Water spaces attract people be-cause of their diverse recreational potential and they are often impor-tant habitats for wild-life” Catherine Dee

“As water spaces, both pools and ponds have the potential to provide distinct and contrasting landscapes experiences.” Catherine Dee

“At a smaller scale which can often still be very grant these systems in-clude fountains, ponds and pools in landscape and gardens design” Tim Waterman

WATER

Also according to Catherine Dee water is a primary element of land-scape architecture ‘Water spaces’ refers to places in which water is a dominant element or simply to a waterbody along with its enclosing topography. As a source of life water has fundamental and enduring cul-tural meaning

According to Tim Waterman wa-ter is constantly in motion, and the effects of this are visible in almost every part of our existence on the planet. Water has unique qualities allowing it to appear as a clear liq-uid, fog, steam, or ice. On the other hand Axel Lohrer says working with water as a design element has involved and always will involve this field of conflict.

rivers

lakes

seas and oceans

“Oceans, seas, lakes, rivers and streams all powerfully shape the visual and environmental equalities of landscape” Tim Waterman

“Jetting water can be designed in a natural manner in the form of springs, geysers mist fountains, or waterfalls. For a more artificial ap-proch, walled fountaiins of large animated fountains ca be used. The amount of jetting water is an essen-tial part of any design concept.” Axel Lohrer

“The level of reference-the site of an element in reletion to eyelevel- de-termines how it will be experienced and therefore defines the entire ef-fect of the chosen approach. A low angle of perception provides a good overview. a sightly raised angle, a knee level, offers a more tangible experience” Axel Lohrer

In this project I explored the textures found on the site. I drew 9 and use 9 photographs of the textures and combi-nation of the textures that I thought were the most intresting. However i can reach my project due to the circum-stances , my project is in my drawer in studio .

In this part of the project we wher asked in groups of 2 people to explore and combine two textures one from each member from the first part of the project .I did my project with Monica, she had the texture of an ivy plant and I had the texture from a wall that had a combination of textures . Our poster , six small models and our final model is in studio in my drawer.

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Connecting generations

Military road River walk

Axial view from middle bridge towards Memorial-Glass panelling along with pine joiners.-Vegetation (wild flowers) in rectangular raised planters- Viewing platforms either side - Glass tiles in bridge floor, lit at night-Cycle/ pedestrian lanes

Impression of seating area phoenix park side - Pine benches - Sandstone paving- Wild meadow verging- Deep step incline

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Bridge view

Section of the Bridge

Plan of the Bridge

Image of the Bridge

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Drawing and Making

Plaza & Fuente del Bebedero1959 BY LUIS BARRAGAN

Introduction:

The long white walls serving as a visual boundary, they also act as canvases on which trees are drawn. A wall 15 meters high stands out clearly within this configuration of elements.The gray anthracite glass is placed offset to one side of the promenade and in a position tangent to the wall. It is a volume of dense and dark waters that reflects thegigantic trees.Despite the fact that the wall and the fountain are independent elements that do not touch each other,there is a strong link between the two.Perimeter walls close the space of the plaza and together with the source, they form an enclosure.

Context De los Caballos , at Las Arboledos near Mexico City

Vegetation and Materials He used white and blue freestanding walls, eucalyptus trees and beberos (house watering thoughts ) from which water plunged into reflecting pools to lend the sound of splashing water.

The length of the thought its masterfullyscaled to emphasize the avenues longaxis . Special paths for horses were andgathering places for ridden wheredelineated. The white wall is a planeplaced perpendicular to the path , with awidth of 10.40 m and a height of14.60m. At its feet the volume of thewater is situated in a tangential shape.The rectangular prism is 2.55 m wide, 44m long and 67 cm high. The large whitewall and the volume of water in thefountain function as means for capturingAttention at two different scales. Whilethe wall can be seen from a distanceas the background of the Paseo, thefountain that appears at its feet is hiddenby the treesIt is only visible in the vicinity

Scale,use and purpose Plan ; Axonometric ;

PLAN ; Process of making the casting ;

Making the casting ;My Casting ; (this is a sketch of what my casting looked like )

Making the model;

The Model;

Thank you

Maria Dicla Pinhasov

PhotographyAssignments

Assignment One: Light Assignment Two: Textures Assignment Three

Assignment Four - Colour Assignment Five - Typologies Assignment Six - Photo Story

Final Assignment