The Garden of Cosmic Speculation
The garden design by Charles Jencks and his wife, Maggie Keswick is located in Scotland. It has been made baring in mind the fundamentals of modern physics; the design highlights the fundamental elements of the cosmos. From 1889 to the death of his wife Jenkins and his wife would meet with scientist and horticulturalists for the design of a landscape that would merge areas of art, science and nature. This was seen as an unconventional way of landscaping. The elaborate views of geometric fractals illuminate and draw inspiration from black holes, string theory and the Big Bang; Jenks has continued work on the garden up until 2007. The garden primarily features areas that are linked by man-made lakes, bridges and other architectural works such as large white staircases and terraces that have a zigzag formation along the green hillside (this has been created to convey the creation story (Anhie [pseud], 2014).
For this design in particular the natural landscapes reinforce the built landscapes through the use of fractional geometry, Fibonacci spirals and other patterns which naturally occur over time (Grandy, 2015).
In my opinion this can be said because the elements improve the character and visual nature of the surroundings, adding areas of interest to explore and to deeply think about.
From looking at this precedent I have found it to be quite interesting and thought provoking in the sense of using science, art and nature to inspire design. I like the rhythms and symmetry of the man-made landscapes and if I were to use this style within my design I would think about creating links between spaces through the use of patterned formations. I love the way the architect has incorporated pools of water within his design, as this breaks up the space and acts as a mirror which reflects the surroundings.
Bomarzo Mannerist grotto
Bomarzo began as a medieval fortress then was transformed into a residence and the valley into a luxurious garden. The garden design features elaborate geometric patterns, views and circulation systems (Dave, 2010).
Park di Mosti (also known as Monster Park) is a mannerist work of art that rejects both the symmetrical and axial arrangement as well as the formality of design on its ground. It is unclear as to who the architect of was. Some believe it might have been Vignola (1507) the designer of Villa Lante. Whilst others consider it to have been Pirro Ligorio (1520 – 1585). The array of sculptures, monuments and statues depict a narratives of scenes that have been thought to have represented characters from popular literature. The monster featuring an individual being torn apart (Figure 5. Rodman, 2014. ...a monster tearing a man in half...). shows reference to the 1532 poem, Orlando Furioso, and the Hell Mask, or The Orc. The examples mentioned stem from philosophical and humanist allegory. The oddities in the park act as a foreshadow of the Baroque and the 18th century Gothic era. It is believed that the materials used have been erected from the park and carved into the hillside. The park was abandoned for three centuries. Despite the disrepair and forgotten park the artist, Salvador Dali, rediscovered and bought the park in 1949 (Rodman, 2014).
The natural landscape help to create an ominous mood along with the large statues (part human/part animal). Both the natural landscape and the statues create a mood that speaks volumes of mystery and some level of fear to those who visit the garden, especially when the sun’s light darkens (Dave, 2010).
Overall the natural landscape reinforces the mood. The statues help to clearly and effectively communicate the narrative the architect had intended to convey. And also, the myth created by the carved statues communicate the materiality of the area in a very effective manner, highlighting the strength, creativity and grandeur of the culture of Italy at the time.
In response to the studio project this precedent can be used to inspire ideas of creating a narrative by drawing on the history of the site, focusing on possible mythological aspects and the ways to convey ideas through architectural design. I could also consider using varying levels of landscape to create tense moods that are similar to the precedent, but also show reference to the specified client. I could even possibly research into the Baroque and Gothic styles the garden shows reference to. This would be so the character of the precedent can be captured. Through the study of this precedent I have gained a wealth of knowledge as it has broadened my understanding when thinking about creating atmosphere and mood.
Bomarzo began as a medieval fortress then was transformed into a residence and the valley into a luxurious garden. The garden design features elaborate geometric patterns, views and circulation systems (Dave, 2010).
Park di Mosti (also known as Monster Park) is a mannerist work of art that rejects both the symmetrical and axial arrangement as well as the formality of design on its ground. It is unclear as to who the architect of was. Some believe it might have been Vignola (1507) the designer of Villa Lante. Whilst others consider it to have been Pirro Ligorio (1520 – 1585). The array of sculptures, monuments and statues depict a narratives of scenes that have been thought to have represented characters from popular literature. The monster featuring an individual being torn apart (Figure 5. Rodman, 2014. ...a monster tearing a man in half...). shows reference to the 1532 poem, Orlando Furioso, and the Hell Mask, or The Orc. The examples mentioned stem from philosophical and humanist allegory. The oddities in the park act as a foreshadow of the Baroque and the 18th century Gothic era. It is believed that the materials used have been erected from the park and carved into the hillside. The park was abandoned for three centuries. Despite the disrepair and forgotten park the artist, Salvador Dali, rediscovered and bought the park in 1949 (Rodman, 2014).
The natural landscape help to create an ominous mood along with the large statues (part human/part animal). Both the natural landscape and the statues create a mood that speaks volumes of mystery and some level of fear to those who visit the garden, especially when the sun’s light darkens (Dave, 2010).
Overall the natural landscape reinforces the mood. The statues help to clearly and effectively communicate the narrative the architect had intended to convey. And also, the myth created by the carved statues communicate the materiality of the area in a very effective manner, highlighting the strength, creativity and grandeur of the culture of Italy at the time.
In response to the studio project this precedent can be used to inspire ideas of creating a narrative by drawing on the history of the site, focusing on possible mythological aspects and the ways to convey ideas through architectural design. I could also consider using varying levels of landscape to create tense moods that are similar to the precedent, but also show reference to the specified client. I could even possibly research into the Baroque and Gothic styles the garden shows reference to. This would be so the character of the precedent can be captured. Through the study of this precedent I have gained a wealth of knowledge as it has broadened my understanding when thinking about creating atmosphere and mood.
Newgrange
The Stone Age monument, Newgrange, is located in the Boyne Valley, County Meath, Ireland. The structure was constructed around 3,200 BC in the Neolithic period. The large circular mound has stone passage ways and internal chambers. The mound has large kerbstones that can be seen on the circumference of the structure. Newgrange, constructed by a farming community, is situated near two other similar mounds; known as Knowth and Dowth. As a collective they have been identified and labeled as a World Heritage site by UNESCO.
The ancient tomb/ passage temple was used for a variety of reasons such as astronomical, spiritual, religious and ceremonial activities. The expansive kidney shaped mound covers over an acre of land and the base of 97 kerbstones has been densely decorated with megalith art. The inner passage (spanning 19 metres) leads to a cruciform compartment with a corbelled roof (Newgrange.com, 2015).
The Stone Age monument, Newgrange, is located in the Boyne Valley, County Meath, Ireland. The structure was constructed around 3,200 BC in the Neolithic period. The large circular mound has stone passage ways and internal chambers. The mound has large kerbstones that can be seen on the circumference of the structure. Newgrange, constructed by a farming community, is situated near two other similar mounds; known as Knowth and Dowth. As a collective they have been identified and labeled as a World Heritage site by UNESCO.
The ancient tomb/ passage temple was used for a variety of reasons such as astronomical, spiritual, religious and ceremonial activities. The expansive kidney shaped mound covers over an acre of land and the base of 97 kerbstones has been densely decorated with megalith art. The inner passage (spanning 19 metres) leads to a cruciform compartment with a corbelled roof (Newgrange.com, 2015).
By looking at both the exterior facade and interior plan and elevation I have been able to take note of the organic, robust and symmetrical formation. This may have been designed in this way to create parallels with the natural landscapes. The elongated passage way builds a sense of drama when entering the main chamber. Now when considering the use of materials the use of stone is quite unsymmetrical and unbalanced, but within this structure the constructors have managed to achieve a design that is quite symmetrical and uniform, but still captures the character of the uneven formation of stone as a material. The design is quite static in the sense of it blending with its surroundings through the grass rooftop and the structural materials used for the build. Even though this static impression is created it still portrays a dynamic impression. The reason why is because of the way its overall shape has taken on one circular form which contrasts with the natural formation of the land.
In relation to the project (NaturaL Synthesis) this precedent shows relevance because it has helped to develop an understanding of using unbalanced formation to create symmetrical design. It has also helped to develop an understanding of static and dynamic styles.
When visiting the site there were an array of disused stone structures that contrasted with the surroundings but also blended quite well because of the discolouration of the material and the natural greenery that had been formed over time. When designing I could consider these areas to create reference and links with both the site and the precedent, Newgrange.
In relation to the project (NaturaL Synthesis) this precedent shows relevance because it has helped to develop an understanding of using unbalanced formation to create symmetrical design. It has also helped to develop an understanding of static and dynamic styles.
When visiting the site there were an array of disused stone structures that contrasted with the surroundings but also blended quite well because of the discolouration of the material and the natural greenery that had been formed over time. When designing I could consider these areas to create reference and links with both the site and the precedent, Newgrange.
My personal consideration of balancing natural and built landscape to enhance the viewers perception
I think the balanced use of natural and built landscapes can enhance ones perception of a given space for several reasons. Built landscapes can be constructed in a variety of ways to improve the views in the distance, to improve the aesthetics of a land; i.e. creating themes and rhythms associated with the historical or current day context (much like Jencksan's design (which shows reference to the universe), and also create a sense of order and harmony with space. Whereas with natural landscapes, the formation can sometimes tend to be disordered and unbalanced, but still facilitate freedom when walking through the space.
Both natural and built landscapes are interesting to consider as they create different effects and moods when standing within the location. By considering the element of landscapes within the design process I will be able to show an understanding of the most appropriate (natural or built) type through creating links and references in the style of the actual design that will be produced (i.e. organic and unbalanced to represent the natural and order / harmony to represent the man - made).
I think the balanced use of natural and built landscapes can enhance ones perception of a given space for several reasons. Built landscapes can be constructed in a variety of ways to improve the views in the distance, to improve the aesthetics of a land; i.e. creating themes and rhythms associated with the historical or current day context (much like Jencksan's design (which shows reference to the universe), and also create a sense of order and harmony with space. Whereas with natural landscapes, the formation can sometimes tend to be disordered and unbalanced, but still facilitate freedom when walking through the space.
Both natural and built landscapes are interesting to consider as they create different effects and moods when standing within the location. By considering the element of landscapes within the design process I will be able to show an understanding of the most appropriate (natural or built) type through creating links and references in the style of the actual design that will be produced (i.e. organic and unbalanced to represent the natural and order / harmony to represent the man - made).
Analysis and comparison of the precedents with the site visit
Both contemporary and historic designs convey a grand impression, whereas the site visit to Lumsdale valley had a more recognisable scene. Each precedent conveys a narrative that is abstract and individual. When visiting the site I wanted to explore and look into the spaces and areas where the disused mills were situated, take in the natural landscapes and think about why the impressive structures had been abandoned and disused.
Overall the precedents convey a contrasting atmosphere to the site. By thinking about incorporating inspired features from these precedents will enable me to create a dynamic concept that will complement and contrast with the mood of the scene, but also show reference to historical and cultural ideas from other cultures and time periods.
Both contemporary and historic designs convey a grand impression, whereas the site visit to Lumsdale valley had a more recognisable scene. Each precedent conveys a narrative that is abstract and individual. When visiting the site I wanted to explore and look into the spaces and areas where the disused mills were situated, take in the natural landscapes and think about why the impressive structures had been abandoned and disused.
Overall the precedents convey a contrasting atmosphere to the site. By thinking about incorporating inspired features from these precedents will enable me to create a dynamic concept that will complement and contrast with the mood of the scene, but also show reference to historical and cultural ideas from other cultures and time periods.
Tree Hotel
The Tree Hotel by Tham & Videgård Arkitekter is a glass mirrored glass box, which has been suspended in the air around the trunk of a tree. Located in the far north of Sweden, near the small village of Harads, the lightweight aluminium structure is a 4x4x4 box. As the surroundings reflect the exterior; resulting in an almost invisible structure, a transparent ultraviolet colour is laminated into the glass panes which are visible to birds (Daily Scandinavian, 2015).
As regards to my ideas, I have thought about including reflective elements to play with the perception of the viewer and also to see how spaces can be made to appear larger than they already are. The incorporation of reflective glass mirror will enable me to achieve this. Another interesting element is the fact that facades have been overlaid with a transparent ultraviolet colour. This is interesting because it shows the architect's understanding to use methods to help preserve the natural wildlife. For my design I will consider to use this element.
The Tree Hotel by Tham & Videgård Arkitekter is a glass mirrored glass box, which has been suspended in the air around the trunk of a tree. Located in the far north of Sweden, near the small village of Harads, the lightweight aluminium structure is a 4x4x4 box. As the surroundings reflect the exterior; resulting in an almost invisible structure, a transparent ultraviolet colour is laminated into the glass panes which are visible to birds (Daily Scandinavian, 2015).
As regards to my ideas, I have thought about including reflective elements to play with the perception of the viewer and also to see how spaces can be made to appear larger than they already are. The incorporation of reflective glass mirror will enable me to achieve this. Another interesting element is the fact that facades have been overlaid with a transparent ultraviolet colour. This is interesting because it shows the architect's understanding to use methods to help preserve the natural wildlife. For my design I will consider to use this element.
Mills Valley Cabins
The Mills Valley Cabins is a project that was constructed in Mills Valley, California, USA, by Feldman Architecture. Surrounded by many trees the house, with a garden rooftop, is made up of two parts (the upper and bottom house). The two sections are separated by bushes and greenland. On the roof of the first section the roof garden design can be found. The roof provides the opportunity for the plantation of a variety of flowers and plants; some of which can be used reflect and augment the scenery. pathways can be found along with a stone staircase with natural bushes and wildflowers (House Beauty, 2014).
The reason for choosing this precedent was to gain ideas on extenuating nature onto building design, considering the ways the colours seen in a forrest can help to create the atmosphere of a design, and also to see an example of architecture that has been split into more than one section and gives off an ascended effect. Overall this precedent is inspiring and has inspired many ideas for my project.
The Mills Valley Cabins is a project that was constructed in Mills Valley, California, USA, by Feldman Architecture. Surrounded by many trees the house, with a garden rooftop, is made up of two parts (the upper and bottom house). The two sections are separated by bushes and greenland. On the roof of the first section the roof garden design can be found. The roof provides the opportunity for the plantation of a variety of flowers and plants; some of which can be used reflect and augment the scenery. pathways can be found along with a stone staircase with natural bushes and wildflowers (House Beauty, 2014).
The reason for choosing this precedent was to gain ideas on extenuating nature onto building design, considering the ways the colours seen in a forrest can help to create the atmosphere of a design, and also to see an example of architecture that has been split into more than one section and gives off an ascended effect. Overall this precedent is inspiring and has inspired many ideas for my project.
I like the way the materials used on the design form part of the colour scheme of the surroundings.
I love the way the man made flooring arrangement has been imbedded into the landscape
I like the impressive roofgarden. The visual effect is very useful when considering integrating a design within its surroundings. It helps to camouflage the structure, creating the idea of hidden architecture.
Six Eco-centric structures
The six eco-centric structures by BCJ Architects are placed in a forest and mountain environment. Each design engages with the ecology of their rural contexts. More importantly they manage to convey historic and regional styles, whilst maintaining a contemporary character through modern materials and building methods (Dornob, 2015).
The six eco-centric structures by BCJ Architects are placed in a forest and mountain environment. Each design engages with the ecology of their rural contexts. More importantly they manage to convey historic and regional styles, whilst maintaining a contemporary character through modern materials and building methods (Dornob, 2015).
The reason for looking into this style of architecture is because of the way the architect has managed to create a design that sits well with its environment. The rhythm seen in the stepped roof line, window shape and general form all contribute to the success of the design. However, an area which I would have to think about is further a way to enhance the character of the design with the environment. Even though the design's character reflects its environment I still feel for my design further exploration is needed. A primary idea would be to create voids that will allow space for natural trees to grow within the area of the building. those trees may be even possibly viewerd from large floor to ceiling windows.
Suspension bridge
This type of rope bridge has wooden decking beneath the hand ropes. The bridge is stable and safe even for young children. Two high strength deck cables are hung between the two towers with a separating gap of 3000-9000 mm. The boards are then tied or bolted to the cables which would be of a slightly lighter material. They are then positioned 9000-15000mm above the deck cables. Ties are then connected between the hand and deck rail on each side. The ties can be made from a single rope which runs up and down along the whole length of the bridge. Separate cables (usually rope), or mesh can be strung along the ties to hold them in position and reduce the risk of anyone slipping out between nearby ties (Fulton, 2015).
This type of rope bridge would be good to use as inspiration for when connecting compartments together as it looks safe and would appropriately suite the character of the area.
This type of rope bridge has wooden decking beneath the hand ropes. The bridge is stable and safe even for young children. Two high strength deck cables are hung between the two towers with a separating gap of 3000-9000 mm. The boards are then tied or bolted to the cables which would be of a slightly lighter material. They are then positioned 9000-15000mm above the deck cables. Ties are then connected between the hand and deck rail on each side. The ties can be made from a single rope which runs up and down along the whole length of the bridge. Separate cables (usually rope), or mesh can be strung along the ties to hold them in position and reduce the risk of anyone slipping out between nearby ties (Fulton, 2015).
This type of rope bridge would be good to use as inspiration for when connecting compartments together as it looks safe and would appropriately suite the character of the area.
Izakaya Kinoya
The Izakaya Kinoya, designed by Jean De Lesard, is a dynamic restaurant/bar space that focuses on fractals, chaos and the idea of confinement. The wooden angular geometry encourages social interaction in an unusual way. The urban atmosphere is unusually different (Jean De Lessard, 2015).
The Izakaya Kinoya, designed by Jean De Lesard, is a dynamic restaurant/bar space that focuses on fractals, chaos and the idea of confinement. The wooden angular geometry encourages social interaction in an unusual way. The urban atmosphere is unusually different (Jean De Lessard, 2015).
I had chosen to look at this precedent because of the social space being intimate; and also because it encourages social interaction in a different way; the features within the overall design contrast quite strongly with the environment. Specifically speaking the material contrast with the environment not because of the colours and visual textures, but because of the way the cladding has been cut and composed onto the walls. The space would work well within the site location as the contrast would be dynamic and a high point of interest for visitors. To relate more with the environment I think large open windows should be incorporated into the style of design; to create an inter-mergence with the surroundings. Perhaps even the floor should be overlaid with a stone material design that is similar to the materials used on the mill structures on the site.
Tower Bridge
Designed and manufactured by GLASSOLUTIONS, the new glass walkway is located 42 miles above the River Thames. Within the design the panes of glass used have been inserted into both 11.5 metre long walkways on the tower bridge. The existing floors were removed and a steel frame was inserted to hold the glass panes. The glass used had ben developed to accommodate severe weather conditions and potential collisions, should a vessel attack. The design integrates a top sacrificial layer which can be replaced in the case of possible damage (i.e. scuff marks, cracks and scratches). The managing director, Simon Carin stated "The glass walkways are designed to enhance this already stunning visitor attraction and have certainly created a new talking point."
Designed and manufactured by GLASSOLUTIONS, the new glass walkway is located 42 miles above the River Thames. Within the design the panes of glass used have been inserted into both 11.5 metre long walkways on the tower bridge. The existing floors were removed and a steel frame was inserted to hold the glass panes. The glass used had ben developed to accommodate severe weather conditions and potential collisions, should a vessel attack. The design integrates a top sacrificial layer which can be replaced in the case of possible damage (i.e. scuff marks, cracks and scratches). The managing director, Simon Carin stated "The glass walkways are designed to enhance this already stunning visitor attraction and have certainly created a new talking point."
The idea of enhancing a visitors experience through the use of large panes of glass is precisely what I want to achieve. whether through ceilings, floors or walls, this is what I want to achieve. This style of design is a good solution for altering ones perception; creating an interesting sense of phenomenology. If I were to walk on this bridge feelings of uncertainty fear but yet interest would be resolute. These feelings are precisely what I would like to create. This is so that the viewer can pay close attention to the surroundings in an interesting way, thus the preconception of the viewer would be altered and geared to look at the surroundings in an unconventional manner. In terms of positioning the bridge, above the river would be a perfectly suited place for the design. This is because the moving water is naturally an interesting focal point within the site and also, it would create reference to the initial reason why the site had been chosen for the purpose of manufacturing cotton and other materials (Barbour Product Search, 2015).
Leopold Museum
In 2001 the architects Ortner and Ortner created the The Withe Cube in the Muesumsquartier Vienna.Located in Museum Quartier, a complex of buildings and courtyards. The white cube has a 19 metre high ceiling atrium with panoramic windows to provide great views of the Hofburg and rooftops of Historic Vienna (Leopold Museum, 2015).
I like this precedent for a number of reasons. reasons such as the colours, panoramic windows, general form and the way it sits with its context, the building stands out. If I were to respond to this design I would think about the areas mentioned a possible ways of integrating them within my design. However, a the general form is quite modern, maybe creating a design that retains historic but yet contemporary styles would be better suited for the site location.
In 2001 the architects Ortner and Ortner created the The Withe Cube in the Muesumsquartier Vienna.Located in Museum Quartier, a complex of buildings and courtyards. The white cube has a 19 metre high ceiling atrium with panoramic windows to provide great views of the Hofburg and rooftops of Historic Vienna (Leopold Museum, 2015).
I like this precedent for a number of reasons. reasons such as the colours, panoramic windows, general form and the way it sits with its context, the building stands out. If I were to respond to this design I would think about the areas mentioned a possible ways of integrating them within my design. However, a the general form is quite modern, maybe creating a design that retains historic but yet contemporary styles would be better suited for the site location.
The Collection, Lincon
The museum provides - Permanent Archaeology Gallery - Temporary Exhibition Gallery - Orientation Hall - Audio-Visual Theatre - Schools Spaces - Museum Shop - Café/Bar Design. The form and character responds to the context of Medieval Lincon through blending in with the scenery. The design is made up of self compacting concrete and limestone on the external facades; the window frames are made up of bronze. The materials have been chosen specifically as each element represents something of importance. The limestone represents the rough natural forms while the bronze work symbolises the human inhabitation of these forms (Panter Hundspith Architects, 2011).
I like the colour scheme, the materials used (which represent important elements of the build, and the way the surroundings reflect off the large panes of glass. Within my design I would like to integrate ideas as such to really emit and reflect the surroundings of the site location. As the site includes old historic structures made out of stone, it would be a good idea to employ contemporary stone designs alongside the historic stone designs located on the site.
The museum provides - Permanent Archaeology Gallery - Temporary Exhibition Gallery - Orientation Hall - Audio-Visual Theatre - Schools Spaces - Museum Shop - Café/Bar Design. The form and character responds to the context of Medieval Lincon through blending in with the scenery. The design is made up of self compacting concrete and limestone on the external facades; the window frames are made up of bronze. The materials have been chosen specifically as each element represents something of importance. The limestone represents the rough natural forms while the bronze work symbolises the human inhabitation of these forms (Panter Hundspith Architects, 2011).
I like the colour scheme, the materials used (which represent important elements of the build, and the way the surroundings reflect off the large panes of glass. Within my design I would like to integrate ideas as such to really emit and reflect the surroundings of the site location. As the site includes old historic structures made out of stone, it would be a good idea to employ contemporary stone designs alongside the historic stone designs located on the site.
The Calgary Tower is by A . Dale and Associates. The build is made up of concrete, steel and features 360 panoramic view from the restaurant and observation levels. Travelling to the highest level in 62 seconds, the build includes 25 high speed lifts. The deign has been made in way to withstand high wind and shock elements, though the city the Calgary is located in is not an earthquake zone (Calgary Tower, 2015).
Calgary Tower is a good precedent because it has an interesting form, the framework at the top divides the glass windows, which causes the views to be directed in what ever direction the viewer is looking. Another reason is because of the glass floor; the design relates to the previous precedent 'Tower Bridge', as this design also integrates the use of glass into the floor of a design. In relation to my design I could focus on creating an observatory space so that the viewers can circulate to a area which has a focus on the external surroundings, not only the internal spaces.
Calgary Tower is a good precedent because it has an interesting form, the framework at the top divides the glass windows, which causes the views to be directed in what ever direction the viewer is looking. Another reason is because of the glass floor; the design relates to the previous precedent 'Tower Bridge', as this design also integrates the use of glass into the floor of a design. In relation to my design I could focus on creating an observatory space so that the viewers can circulate to a area which has a focus on the external surroundings, not only the internal spaces.
Bibliography
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Images
Figure 1. Richardson., T. 2012. Scotland's the Garden of Cosmic Speculation, designed by the American Charles Jencksan [Online Image]. Available at: http://www.telegraph.co.uk/gardening/9161088/The-Medlar-Can-we-speak-of-the-national-garden.html [Accessed: 3 April 2015].
Figure 2. Grandy, B., 2015. Lake and grassland [Online Image]. Available at: http://bengrandy.info/Golden_Ratio_files/summary%20precedent%20study.pdf [Accessed: 3 April 2015].
Figure 3. Grandy, B., 2015. Fibonacci spirals [Online Image]. Available at:
http://bengrandy.info/Golden_Ratio_files/summary%20precedent%20study.pdf [Accessed: 3 April 2015].
Figure 4. Broyles, T., 2012. Mannerist Garden, Bomarzo [Online Image]. Available at: http://www.lifeinitaly.com/garden/mannerist [Accessed: 3 April 2015].
Figure 5. Rodman, C., 2014. ...a monster tearing a man in half...[Online Image]. Available at: http://archinect.com/cameronrrodman/monster-park-bomarzo-italy [Accessed: 3 April2015].
Figure 6. Rodman, C., 2014. Statue [Online Image]. Available at: http://archinect.com/cameronrrodman/monster-park-bomarzo-italy [Accessed: 3 April2015].
Figure 7. Grey, M., 2014. Newgrange Megalith caim [Online Image]. Available at: http://sacredsites.com/europe/ireland/new_grange.html [Accessed: 3 April 2015].
Figure 8. Ancient wisdom., 2015, Newgrange plan [Online Image]. Available at: http://ancient-wisdom.co.uk/Images/countries/Irish%20pic/newgrange%20plan.gif [Accessed: 3 April 2015].
Figure 9. Ford., M. 2015. Lumsdale Valley [Primary Image].
Figure 10. Lindman, A., 2010. Tree Hotel [Online Image]. Available at: http://dailyscandinavian.com/two-amazing-swedish-hotel-designs/ [Accessed: 5 April 2015].
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Figure 12. House Beauty., 2014. Pathway [Online Image]. Available at: http://housebeauty.net/impressive-garden-roof-above-the-bottom-house-section-in-mill-valley/#page [Accessed: 5 April 2015].
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Figure 19. Leopold Museum., 2015. Panorama window on the 4th level [Online Image]. Available at: http://www.museumsinvienna.org/leopold_en.htm [Accessed: 19 April 2015].
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Images
Figure 1. Richardson., T. 2012. Scotland's the Garden of Cosmic Speculation, designed by the American Charles Jencksan [Online Image]. Available at: http://www.telegraph.co.uk/gardening/9161088/The-Medlar-Can-we-speak-of-the-national-garden.html [Accessed: 3 April 2015].
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Figure 3. Grandy, B., 2015. Fibonacci spirals [Online Image]. Available at:
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Figure 11. House Beauty., 2014. Stone Staircase [Online Image]. Available at: http://housebeauty.net/impressive-garden-roof-above-the-bottom-house-section-in-mill-valley/#page [Accessed: 5 April 2015].
Figure 12. House Beauty., 2014. Pathway [Online Image]. Available at: http://housebeauty.net/impressive-garden-roof-above-the-bottom-house-section-in-mill-valley/#page [Accessed: 5 April 2015].
Figure 13. House Beauty., 2014. Rooftop [Online Image]. Available at: http://housebeauty.net/impressive-garden-roof-above-the-bottom-house-section-in-mill-valley/#page [Accessed: 5 April 2015].
Figure 14. Dornob., 2015. rustic-luxury-forest-retreat [Online Image]. Available at: http://dornob.com/rustic-modern-rural-retro-6-forest-mountain-homes/ [Accessed: 5 April 2015].
Figure 15. Fulton, P., 2015. Suspension bridge [Online Image]. Available at: http://www.thetreehouseguide.com/bridges.htm [Accessed: 6 April 2015].
Figure 16. Williams, A., 2015. Kinoya-Delessard-06-web-1440x620 [Online Image]. Available at: http://delessard.com/projet/izakaya-kinoya/ [Accessed: 6 April 2015].
Figure 17. Barbour Product Search., 2015. SPL Tower Bridge 04-file047347 (1) [Online Image]. Available at:
http://www.barbourproductsearch.info/glassolutions-creates-glass-walkways-for-tower-news023164.html [Accessed: 19 April 2015].
Figure 18. Leopold Museum., 2015. Leopold Museum, Vienna. [Online Image]. Available at: http://www.museumsinvienna.org/leopold_en.htm [Accessed: 19 April 2015].
Figure 19. Leopold Museum., 2015. Panorama window on the 4th level [Online Image]. Available at: http://www.museumsinvienna.org/leopold_en.htm [Accessed: 19 April 2015].
Figure 20. Panter Hudspith Architects., 2011. The Collection, Lincon [Online Image]. http://copperconcept.org/references/collection-uk [Accessed: 19 April 2015].
Figure 21. Wiki Mdeia., 2010. Calgary - Olympic Plaza & Calgary Tower [Online Image]. Available at: http://commons.wikimedia.org/wiki/File:Calgary_-_Olympic_Plaza_%26_Calgary_Tower.jpg [Accessed: 19 April 2015].
Figure 22. Visit Calgary., 2015. Girl on glass floor [Online Image]. Available at: http://www.visitcalgary.com/things-to-do/arts-attraction/attractions/calgary-tower [Accessed: 19 April 2015].