LANDSCAPE STUDIO PORTFOLIO - MONICA BALAUCA 19312621 LARC10090 11/05/2020 - UNIVERSITY COLLEGE DUBLIN
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Landscape Studio Portfolio
Monica Balauca
19312621
Larc10090
11/05/2020
1
Landscape studio Portfolio
Table of Contents
1. Reading Assignment..........................................................................................................................................page 3-7
2. Iveagh Gardens...................................................................................................................................................page 8-9
3. Textures Transfornming ...................................................................................................................................page 10-11
4. Textures Collecting............................................................................................................................................page 12-13
5. Liffey Valley 13.1................................................................................................................................................page 14-18
6. Liffey Valley 13.2................................................................................................................................................page 19-21
7. Liffey Valley 13.3................................................................................................................................................page 22-28
8. Drawing and Making........................................................................................................................................page 29-34
9. Photography.......................................................................................................................................................page 35-39
2
Reading Assignment UCD school of architecture, planning & environmental policy - landscape architecture - 2020
LARC10090_ landscape studio 1B
project_9 reading assignment_BASICS OF LANDSCAPE ARCHITECTURE
brief_ During the winter break period you are requested to read / review es-
sential literature on design and landscape elements as explored in the
first semester of your landscape architecture studies.
You are each assigned to specific topics and chapters of key books on
our reading list (see list below) - note edition of books carefully!
Compare the different approaches to your topic as stated by different
authors. Discuss and summarize the results of your studies/research
verbally, in your own words (you might use significant quotations), and
graphically through your own sketches and diagrams (copies of draw-
ings from your books are not allowed).
topics_
point – line – plane
space space + organisation
space + edge space + plants
motion / path focal point
vegetation site + context
topography place + square
water
texture
submission_ Wednesday 22nd January 2020
presentation_ from Thursday 23rd January 2020 onwards
requirements_ - verbal presentation of your findings, 5 minutes max.
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- sketches and diagrams showing the essence of your comparative
study laid out on 4 A3 sheets
Larc10090
All drawings are to be properly annotated, titled and laid out on A3
sheets (preferably portrait!). Indicate clearly which diagrams and state-
ments refer to which author and topic. Arrange your information to
Summer 2020
highlight the comparisons.
Include a bibliography of the sources you were assigned to using the
Harvard System of Referencing, add your own name on the first sheet
of the set and number your pages 1 to 4. We plan to copy and bind all
the finished sheets to make a ‘reference’ book for the studio.
assessment_ Understanding of the topic
Ability to compare and discuss different authors
Clarity of verbal + graphic communication
tutors: dr frieder luz, victoria kavanagh, maeve o’neill, n.n., angela hayles, dominick comerford
3
Reading Assignment
Form and Fabric in Landscape Architecture
Dee, Catherine Space is:
-a result of division and
use of design
-organising the land
-manipulating the ground
-spaces that provide the
landscape with human
use and enjoyment.
-A medium and concept
of landscape architecture
-opposite of form & mass
Space Barriers in
lanscape cam be
formed by Space can be seen as an area de-
vegetation, fined in three dimentions by:
topography, -the ground plane
structures and water. -”wall” or vertical planes
-the “sky” plane
4
Reading Assignment
Form and Fabric in Landscape Architecture
Dee, Catherine
The use of all these tech-
niques can be very usefull
when coming up with new
idea. apces can be abstract
or naturalistic or a combi-
nation of both.
Geometry and the science of mathematics strongly influ-
ences forms created on landscape. Some examples are frac-
Scale of spaces refers to part
tional geometry and euclidean geometry which can be very
of lanscape comapres with
confusing due to its many shapes such as rectangular and
eachother to human size ,
circular.
phisically and emotionally
(as in how a person feels in relation to the land-
scape).
Space barriers enables defenition and eclosure in re-
lation with human activities, such as a maze or a gar-
den. This affects humans atention to concentrate on
certain things, affecting their experience as well as
the spaces microclimate and character.
5
Reading Assignment
Architecture, Form, Space, and Order
Francis D.K Ching
Base Plane: Defines a simple field of space, e.g. a
lawn.
Elevated Base Plane: Reinforces the visual sepera-
tion between its field and the surounding ground.
Depressed Base Plane: defines the volume of a
space .
Overhead Plane: Defines a volume of space between
itself and the ground plane. Elevated Base Plane: Spacial
and Visial comunication de-
Base Plane: For a base plane to be seen as a figure pends on the level of
there should be a change in colour, texture or tone elevation of the plane.
between the surface and the surounding area. For For example in these elevated
example, a path beside grass, a carpet on top of planes both spacial and visual
wooden tiles, etc. elevation is maintained.
Depressed Base Plane:
The floor plane can also be
elevated to define it as a singular
zone or a viewing platform
of the surrounding
space.
6
Reading Assignment
Architecture, Form, Space, and Order
Francis D.K Ching
Vertical Planes: They establish the visual elements of
a spacial field. They have a huge presence in our visial
field, as well as providing us with a sense of enclose-
ment and privacy when inside it.
Its role is usually to establish a boundry between in-
terior environment and exterior environment.
7
Project 11 UCD school of architecture, planning & environmental policy - landscape architecture - 2020
Iveagh Gardens LARC10090_ landscape studio 1B
project _11 design process_SITE ANALYSIS Iveagh Gardens
introduction_ In general every design process in landscape architecture begins with
the analysis of the site.
On our fieldtrip to the Iveagh Gardens you will be requested to
analyse graphically the key components of the public garden. You will
be asked to use the specific “language” of landscape architecture as
introduced in first semester.
programme: subjective response - on site
You are asked to record your spontaneous personal feelings while
step 1_
entering and exploring the gardens. How would you describe the
Bell, 2004: genius loci, the atmosphere of the garden and its different parts? Try
to identify the reasons for your emotional response and find a way to
basic elements: express your subjective analysis graphically through sketches, col-
point - line – plane - volume lages, diagrams etc. on an annotated A2 board (“mood board”).
variables:
number, position, direction, orientation; step 2_ objective analysis and mapping - on site
size, shape (form), interval, texture, You are then asked to identify the main spaces of the historical gar-
density, colour: den, its diverse sub-spaces, its boundaries, its circulation-routes and
time, light, visual force, visual inertia. its main features, and to produce an annotated draft map of the site.
You are also expected to look for 3 more topics/components/elements
as described in the recommended books by Bell, Dee, Loidl et.al., to
examine them graphically and to present the results on an annotated
Dee, 2001: A2 board (“objective board”).
landscape fabric
spaces step 3_ analysis based on maps of the site - studio work
paths On the basis of the OSi map (scale 1:2500), the aerial photograph
edges (1:2500) and the historic map (25’’ map 1936/37, 1:2500) you are now
foci asked to revise your analytical observations and to produce, based on
thresholds an annotated map, a minimum of 5 diagrams showing key compo-
detail nents of your analysis. Plan and diagrams are to be presented on an
A2 board (“components board”).
19312621
N.B.
Loidl, 2003:
No photographs are allowed, annotated drawings must communicate
all your observations (diagrams, plans, sections, elevations, axono-
Larc10090
“space” (creating space)
metrics and perspectives). Your drawings have to be to scale; the
dimensions should be measured, and in some cases estimated. All
“place” (selecting the focal point)
measurements and annotations should be integrated in your drawings.
Summer 2020 “path” (movement and access)
Your A2 boards should be labelled and laid out coherently!
fieldtrip_ Meeting Wednesday 22th January 1 pm at the entrance to Iveagh
Gardens in Clonmel Street off Harcourt Street.
Please bring your notebook, soft lead pencil (HB, 2B), eraser, sharp-
ener, colour pencils / markers, measuring tapes, rain gear, gloves and
weather proof shoes!
tutors: dr frieder luz, victoria kavanagh, maeve o’neill, simon ronan, angela hayles, dominick comerford
8
Project 11
Iveagh Gardens analysis
Project 11 required our year group to go to Iveagh
Gardens and analyse graphicelly the key compo-
nents of the park.
At the begining we were told not to look at a map
and try estimate what the park would look like in
plan view. This in my opinion benefited me great-
ly as i got a true sense of the park and the athmo-
sphere.
Doing this exercise helped the second part of the
project a lot.
When entering the park as well as The special thing about the park is the fact that its so
Calming, Spiritual, Paradise, Exitment,
walking around it, we were told to intimite, even though it is in the middle of Dublin Focal Points, Tropical, Intimite, Iso-
record the genius loci and all the City Centre, everything that surrounds the park diss-
apears once you enter, which is what makes Iveagh lation, Secrecy, Safe are all words that
sponatnius feelings we felt when come to mind when entering the park.
entering. Gardens so unique.
These words are all key words that rep-
After getting a good feel of the park resent the park. The parts of the park
To understand the park better, a lot of time was spent
and writing down the emotions that that expressed the words the most were
in studying the map of the area. This helped with the
came to mind, I started drawing the the: waterfall, fountain, pathways, two
concept of the whole park rater than certain areas
areas thatexpressed the most emo- statues and neches in the area.
which were seen just by the eye.
tion.
At the end i produced 3 A2 boards which were: Mood board, Ob-
jective Board and Component board.
These boards showed my understanding of the park in many ways.
It helped me understand the focal points of the park, the whole
area and the linking paths as well as the impotance of the artifical
fountain in the area.
Unfortunately My project is in University College Dublin where I
can not acces it, which is why i provided a reflection instead.
9
Project 12.1 UCD school of architecture, planning & environmental policy - landscape architecture - 2020
Textures Collecting LARC10090_ landscape studio 1B
project_12.1 design principles_TEXTURE individual
collecting
brief_ On our trip to the Docklands you are supposed to look out for any
textures that you deem to be characteristic of the site – its locality,
materiality, design philosophy, etc.
Those textures might be: hatching, stacking, layering, grids, patterns,
series, webs, fabrics etc .
Record 6 different textures you consider outstanding, complex and
remarkable, 3 of which are to be recorded as photographs, 3 as pencil
drawings. The drawings need to be at least 150mm square.
Each of the 6 chosen textures has to be photographed / drawn in
three different ways, showing different aspects of the texture:
1 Your texture in its wider context
2 Large area of your texture without its borders and intersections
3 Close-up detail of your texture without borders and intersections
Find a minimum of 2 adjectives which describe each of your textures ‘
tactile quality precisely.
Please note:
- Drawings must be began on site. Finishing them later in studio
is an option, doing drawings from photographs, is not allowed.
- Draw on 1 side only of each page in your notebook
- Draw 150 x 150 mm boxes on at least 9 pages in your notebook
before going out on the Docklands walk
- The drawings you mount on your final boards can be either the
originals, or scans or photocopies thereof.
- Size of photographs and drawings: 150 x 150 mm (please cut white
edges off your prints).
field trip_ Grand Canal - Docklands
Wednesday 05th February 9:00 am sharp
meeting at Grand Canal / Baggot Street
19312621 joint trip with Vincent Hoban photography
Larc10090 presentation_ Friday 07th February 9:00 am
Summer 2020 requirements_ 3 x 3 photographs, 150 x 150 mm, black and white
AND
3 x 3 drawings, 150 x 150 mm, black and white,
laid out and presented on 2 thin cardboard sheets ca. 594 x 594 mm,
studio + project title, year and name and a minimum of 2 descriptive
adjectives to be incorporated on the card sheets
assessment_ - originality of chosen textures
- quality of photographs and drawings
- description of textures
- lay out of 594 mm square sheets
tutors: dr frieder luz, victoria kavanagh, maeve o’neill, simon ronan, angela hayles, dominick comerford
10Project 12.1
Textures Collecting
For Project 12.1, our study site was Dublin Docklands.
The objective of this project was to grow a better understanding
for textures, and doing this project made me view simple things
like the pathway as a very important characteristic in any place.
The project requiremnt was to study 6 diffrent materials, un-
fortunately I only have 3 of them, due to the horrible pandemic
which is going on during this time. I managed to find 3 of the
textures that I took pictures of, but the other 3 were sketches
so unfortunately they are in University College Dublin where i
can not currently access them.
The pictures taken show 3 diffrent perspectives of each texture,
which gives a new light to these textures, for example the bot-
tom 3 pictures all look completely diffrent, but are all pcitures
of the same texture.
My sketches of the other tectures consisted of a drawing of a
Rumex Obtusifolius, a stone wall with a plant growing out and
also stone paving.
We were asked to describe each texture with two adjectives;
The top three images describe well as slick and smooth, the
middle three as tan and lumpy, and the bottom three as rough
and solid.
For the textures that can not currently be presented in this
portfolio: the Rumex Obtusifolius is described as broad and
succulent, the stone wall with a leaf growing out as as durable
and rare, and the stone paving as gritty and dry.
11Project 12.2 UCD school of architecture, planning & environmental policy - landscape architecture - 2020
Tectures Transforming LARC10090_ landscape studio 1B
project_12.2 design principles_TEXTURE group
transforming
brief_ After the presentation of your 6 textures the members of studio will
choose the most interesting and promising one; a second texture (of
any of your colleagues) will be assigned for further project develop-
ment. Ideally one of these will be a drawing, the other a photograph.
step_1 With your assigned partner you are asked to analyse graphically the 2
textures, to reduce them to their very essence.
step_2 Find a way to combine both texures and to “transform“ the overlapping
/ interlinking textures into a drawn 2-dimensional composition.
Present this black and white hand-drawn plan on a base 35 x 35 cm to
represent the 2D composition, showing the outlines of your composi-
tion. Be aware of the thickness and texture of the lines representing
different elements! You are free to add details, sections and perspec-
tives to illustrate your idea.
Note that your original textures consist of elements and gaps or
joints. The elements are composed in a certain way, are repeated
following certain rules. Within those rules exceptions and variations
might occur. Both elements and gaps are of importance!
step_3 Based on the final 2-dimensional composition of step 1 you are then
required to create a spatial / 3-dimensional ABSTRACT landscape /
scenery on a 35 x 35 cm base.
Depending on your textures you should use as few elements as
possible. Nevertheless try to generate manifold/various spaces with
them. (See also chapter 4.1 in: Loidl, Hans + Bernard, Stefan (2003),
Opening Spaces.)
Note: In steps 2 + 3, one texture should cover approximately two
thirds, the second texture not more one third of the square base.
19312621 Take into consideration the following questions:
What is the relation between the original objects / the size of your
drawn or photographed textures and the dimension of the textures
Larc10090 transferred into 2D / 3D?
Which elements / gaps, which relations between them are important
and need to be focused on?
Summer 2020 What kind of objects and spaces emerge by interlinking and trans-
forming the textures into 2D and 3D compositions?
How shall / how can both textures meet? (sharp / soft edged, inter-
locked, overlapping, stepped / gradual)
How could the emerging spaces be used?
What sizes / scales do you imagine they would be?
This project and its results are meant to be experimental: start imme-
diately transforming your ideas into abstract drawings and models.
All analytical drawings and draft models have to be presented at the
final crit.
tutors: dr frieder luz, victoria kavanagh, maeve o’neill, simon ronan, angela hayles, dominick comerford
12Project 12.2
Textures Transforming
For 12.2 the class chose for Maria’s The picture in the bottom left shows one of
stone paving and my Holly leaf. In our processes in out design idea. We desided
this part we were asked to transform to create an abstract paving in the grand ca-
the two chosen textures by combine- nal river. After the process shown in the im-
ing them. This area of he project in- age, me and maria took several of the pieces
volved many skethes showing our of the carbord boxes and raised them in order
process as well as our design ideas. to create an uneven surface. The pieces of the
Me and Maria explored many dif- plant are surounded the boxes of cardboard
frent ideas and possibility for our which represnt stone blocks.
combination.
One me elevated some of the blocks
we than stuck them to the sides
with hot glue so that they can re-
main raised. We then used the hot
glue gun to stick the ivy onto the
blocks.
In the end me and maria managed
to find a a curved clear plastic ma-
terial in the studio which we glued
on top to represent water.
Unfortunately this project is unac-
cesable due to Covid-19.
13Project 13.1
Liffey Valley Concept
19312621
Larc10090
2020
14Liffey Valley 13.1
Bridge Structures
15Liffey Valley 13.1
Fauna
Kingfisher
Skylark
Eurasian jay
Scale 1:5000
6/10 species of Bats Fallow Deer
Stock Dove
Mink
16Liffey Valley 13.1
Sea Water Area
Common Harbour Seal
Seagull
Kingfisher Otter Salmon
17Liffey Valley 13.1
Urban Context
Pheonix Park
Pheonix Park
Hotel
River Liffey
National War
Memorial
Gradens
Island Bridge Golden Bridge Bluebell Kilmainham
Industrial Estate
18Project 13.2
Liffey Valley Concept
19312621
Larc10090
2020
19Liffey Valley 13.2
Masterplan
Reconstructions
New Planting
Recreational Areas
Scale: 1:5000
20Liffey Valley 13.2
Changes Made
21Project 13.3
Liffey Valley Concept
19312621
Larc10090
2020
22Liffey Valley 13.3
Masterplan
IMaster plan drawing Scale 1;5000
23Project 13.3
Green Spaces
Plan drawing Scale 1;10000
STUDENT NAME: MONICA BALAUCA
24 MODULE NUMBER: LARC 10090Liffey Valley 13.3
Section
As shown above the minimum heigh
clearence for the vehicles is 5.7m.
The connecting bridge is 11.2m above If you look at the map to the right
ground level giving vehicles lots of room hand side, you can see where this
and the ability for tall vechicles to drice section drawing is taken from.
by confidently.
25Liffey Valley 13.3
Section
Th bridge touches the ground in three diffrent
points providing stability to its long size in
lengh.
The section drawing
mesuremnts are:
2mm = 1m in real life.
26Liffey Valley 13.3
Connecting bridge
27Liffey Valley 13.3
Connecting Bridge
28Drawing and Making
Bijlmermeer Memorial Park
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Larc10090
2020
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Photography
Final Portfolio
19312621
Larc10090
2020
35Assignment 1: Light Assignment 2: Textures
36Assignment 3: Proportion Assignment 4: Colours
37Assignment 5: Typologies Assignment 6: Photo Story
PHOTOGRAPHY ASSIGNMENT
MONICA BALAUCA
38Assignment 7: Final Assignment
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