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Catherine Dee

To Design Landscape
Art, Nature & Utility
To Design Landscape

To Design Landscape sets out a distinctively practical

philosophy of design, in an accessible format. Based
on the notion that landscape design is a form-based
craft addressing environmental processes and utility,
Catherine­Dee establishes a framework for approaching
such craft with modesty and ingenuity, using the concept
of ‘aesthetics­of thrift’.
Employing numerous case studies as diverse as
Hellerup Rose Garden in Denmark; Bloedel Reserve,
Bainbridge Island, USA; Rousham Gardens, Oxfordshire,
UK; and Tofuku-ji, Kyoto, Japan to illustrate her ideas,
the book is a beautiful portfolio of Dee’s drawings,
which are both evocative and to the point.
The book begins with a Foundations section, which
sets out the basis of the approach. The Principles chapters­­
then elaborate eleven significant considerations applicable­
to any design project, regardless of context and scale.
Following on, the Strategies chapters reinforce the
principles,­and suggest further ways to design, which
are adaptable to different conditions. The book ends with
a focus on Elements: case studies and verb lists provide
sources for the designer to consider how the components –
vegetation, water, terrain, structures, soils, weather
and sky – might be engaged, mediated and joined.
Dee’s book is for all those who craft landscape, from
the gardener, to the professional landscape architect,
to the student of design.

Catherine Dee trained in fine art before studying

landscape­architecture, and today practises both. She is
author of Form and Fabric in Landscape Architecture:
A Visual Introduction (Routledge 2001) and several
articles­on the relationship between design, drawing and
art. She is a founding editor of the European Journal of
Landscape Architecture (JoLA) (2006) and creator of its
peer-reviewed visual essay section ‘Thinking Eye’. A highly
regarded design teacher, she holds an academic post in the
Department of Landscape at the University of Sheffield, UK.
Catherine Dee

To Desi gn Landscape
Art, Nature & Utility
First published 2012
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN

Simultaneously published in the USA and Canada

by Routledge
711 Third Avenue, New York, NY 10017

Routledge is an imprint of the Taylor & Francis Group,

an informa business

© 2012 Catherine Dee

The right of Catherine Dee to be identified as author of this

work has been asserted by her in accordance with sections
77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or

reproduced or utilised in any form or by any electronic, me-
chanical, or other means, now known or hereafter invented,
including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from
the publishers.

Trademark notice: Product or corporate names may be

trademarks or registered trademarks, and are used only for
identification and explanation without intent to infringe.

British Library Cataloguing in Publication Data

A catalogue record for this book is available from
the British Library

Library of Congress Cataloging in Publication Data

Dee, Catherine, 1958-
To design landscape : art, nature and utility / Catherine Dee.
p. cm.
Includes bibliographical references and index.
1. Landscape design. 2. Landscape design--Philosophy. I. Title.
SB472.45.D44 2011
712.01--dc22
2011005712

ISBN13: 978-0-415-58504-0 (hbk)

ISBN13: 978-0-415-58505-7 (pbk)
ISBN13: 978-0-203-80620-3 (ebk)

Typeset in Egyptienne, Trade Gothic and Bell Gothic

Cover and graphic design: Oliver Kleinschmidt, Berlin
To my mother and father
Acknowledgements

Thank you Marc Treib. Your encyclopaedic knowledge of landscape

architecture and contemporary art was freely and most generously
shared. Your support, acute critical suggestions and editorial advice
played the most significant role in the book’s development. Thank you to
my friends; co-editors of the European Journal of Landscape Architecture­
(JoLA), from whom I have greatly enjoyed learning during the many
long meetings as we worked to found the journal: Bernadette Blanchon,
Malene Hauxner, Karsten Jorgensen and Martin Prominski. Thank you to
Anne Spirn, friend and kindred spirit. Your work has inspired me since
I first encountered landscape architecture. Thank you to all the students
I have had the pleasure to teach and to learn from. Thank you to John
and Will for bearing with me: I hope family life did not suffer too much.
Thank you to Alex Hollingsworth and Louise Fox at Routledge, for your
support and patience. Oliver Kleinschmidt, thank you: I could not have
wished for a better graphic designer. The book is as much yours as mine,
and how wonderful it has been to work with someone who knows his
craft, and practises aesthetics meticulously.
 C o nt ent s

Foundations Principles
1 | To design landscape 3 5 | Sculpting time 14

2 | Craft 6 6 | All possible forms 24

3 | Form 8 7 | Nature, culture, both 36

4 | The aesthetics of thrift: 10 8 | Soft, rock-hard

art, nature and utility and evergreen time 48

9 | Elemental register 56

10 | Hand and machine 68

11 | Modesty and ingenuity in art 80

12 | Economy of means 90

13 | Utilitarian form 98

14 | Context is everything 110

15 | Raking 118
 Strategies Elements
16 | Abstraction 128 23 | Green 196

17 | Hardly 140 24 | Terrain 208

18 | Intervention 148 25 | Wet 220

19 | Keep 156 26 | Furnish 232

20 | Absence 168 27 | Dirty, rotten 240

21 | Lucky 178 28 | Wind 248

22 | Interplay 188 29 | Sky 254

Bibliography 262

Case studies
listed by designer 266

Case studies

listed by site 267

Index 268

ix
12
Foundations

13
1 To design landscape

I must tell you that landscape architecture is a simple art. You may know
that design involves working with nature. Anyone can make a good land-
scape – just by cultivating a tree, for example, and nature, without human
intervention, simply forms landscape too. Yet I will convey that landscape
architecture is also a complex multi-faceted endeavour. It is complex be-
cause designed landscape belongs to nature and to culture. It is a profound
art for the same reason. It may also be considered an innocent, authentic
and pervasive practice. Innocent: because to dwell is to design. Authentic:
because dealing with the actual. Pervasive: for both reasons.

Recently, professional landscape architects have had difficulty defining the

sphere of their enterprise and the status of their work as an artistic disci-
pline. As environmental crises threaten, and health, poverty and equality
are issues of paramount importance for design, a focus on aesthetics may
seem frivolous and perhaps unnecessary; I hope to show otherwise.

The project of this book is to position practical aesthetics as the very means
by which utility, and ethical and environmental concerns, are addressed
and realised in designed landscape. This idea is not new but needs rein-
statement. In proposing design as contemporary craft gauged by an ‘aes-
thetics of thrift’ I aim to illustrate why utility and aesthetics should dwell
closely in each other’s company, and attempt to show how this close rela-
tion is ethical, how it might be practised and, finally, how it takes a variety
of forms. Here, utility is conceived not only as that which meets social and
ecological requirements, but also as meaning art as Kant’s ‘purposeful pur-
poselessness’. The practice requires a humility which goes against widely
held views about the character and role of ‘creative’ design, but such mod-
esty combined with ingenuity is what makes landscape architecture, the
innocent, authentic and pervasive art I referred to. It is an artistic practice
entirely sufficient in meeting need.

Landscape design
Landscape architecture is the broad discipline of planning, design and
management of the outdoor environment, which encompasses nature, nature­
systems and all human land uses. It is an academic field and a set of prac-
tices. The tripartite division of planning, management and design indicates
differences in endeavour at different physical scales, in methods and in
time-scales.

3
Emphasis is given here to aesthetic practices as ‘design’, i.e. to the work of
the landscape architect as one who makes proposals for the material form
and processes of vegetation, water, structures, soils and topography, rather
than through strategic social policy, and the legislative tools of the planner
and urbanist at larger scales.

The term ‘aesthetic’ is defined in chapter 4. Related, ‘art’ refers to the prac-
tice of design when aesthetic judgement plays a central role, and also to
the designed landscape made towards and providing significant aesthetic
experience. The term ‘craft’ is used to define the specifics of such an art
practice. The words ‘ethics’ and ‘ethical’ will occur frequently, and are pre-
ferred to the term ‘social’, and loosely refer to that which is life-sustaining,
‘good’ having the same meaning. ‘Utility’ refers to function: the diverse uses
landscape must provide for, art being one of these uses.

Using the book

The book is for anyone interested in adapting landscape.

The drawings and case studies

Drawings are the primary method of communication because design think-
ing and knowledge are actualised through visual media. The book is con-
ceived as a kind of sketchbook conveying a sense of being in the field, and
an aesthetic analogous to actual experience of places. The white paper
surrounding­the drawings is deliberately generous, signifying that landscape
continues­and may be imagined beyond the drawing’s extent. The case studies,
illustrating principles, strategies and actions with elements, are primarily
drawn from temperate geographic zones and cultures, as this is where my
experience lies. Drawings also illustrate the central tenet: ‘the aesthetics of
thrift’. They speak for themselves in this respect, but are also captioned to
highlight significant content. Captions combine evocative prose and more
factual description. Case studies are listed alphabetically by landscape
architect and by place name at the end of the book.

Readings
For the sake of simplicity I have avoided making direct reference in the main
body of the text and captions to literature that has inspired and informed
the book or which extends its thesis. Instead, key references pertinent to
each topic are given at the end of each chapter. These readings are also
listed in the bibliography.

4
 To d e s i g n l a n d s ca p e

R EA D ING Foundations
The first section (including this chapter) sets out the basis for the approach
Bye, Arthur E. 1983. Art into and design philosophy, and definitions for ‘craft’ with ‘form’ employing an
Landscape: Landscape into Art. ‘aesthetics of thrift’. The remaining sections, ‘principles’, ‘strategies’ and
Mesa, AZ: PDA Publishers. ‘elements’, elaborate.

Fairbrother, Nan. 1974. Principles

The Nature of Landscape Design. Principles operate regardless of scale, location, design brief and context.
London: Architectural Press. Organised by chapter, they together provide a basis for design, illustrating
how an ‘aesthetics of thrift’ might be pursued.
Krog, Steven R. 1981. ‘Is It Art?’,
Landscape Architecture (May). Strategies
Strategies, suitable for adaption to different projects, are not mutually
Krog, Steven R. 1991. ‘Whither the exclusive, nor separate from principles, but may be used together in any
Garden?’, in Stuart Wrede and combination or degree. Though the chapter ‘Interplay’ is a principle (i.e.
William Howard Adams (eds.), relevant to all projects), it is included here as a reminder that integrative
Denatured Visions: Landscape craft is necessary strategy.
and Culture in the Twentieth
Century. New York: Museum of Elements
Modern Art. Vegetation, water, topography, soils and structures, along with the sky and
local weather, are treated as the media of design. In place of prose, verb
Serra, Richard. 1994. ‘Verb List’ lists for actions with and of these elements are provided in each chapter
(1967-68), in Writings, Interviews. prior to case study. The lists are inspired by the artist Richard Serra’s ‘Verb
Chicago: University of Chicago list’ published in 1967, in which he set down actions with and of materials­
Press. through which sculpture might be derived. In his proposal, processes both
are the source of sculpture and constitute the resulting aesthetic. So it is
Simonds, John Ormsbee. 1961. with landscape design. The verb lists are only partially formulated and
Landscape Architecture: are open-ended: a start. Their aim: to inspire strategies in design. They
The Shaping of Man’s Natural come at the end of the book because ultimately what matters for landscape
Environment. New York: architecture is action.
F. W. Dodge.

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