Design value of landscape design

In the west, the word landscape can be traced back to the Old Testament in BC, and Xibo's essay is Noff, which is related to the beauty of Yafei from the etymology. In this context, it is used to describe the magnificent scenery of Solomon's Imperial Capital Jerusalem (Naveh, 1984). So the earliest meaning of this landscape is actually an urban scene. As you can imagine, this is a shepherd, standing on a barren hill, with horrible and despicable nature behind him and pavilions and palaces hidden by palm coconuts and olives in front of him in the desert oasis. Therefore, the landscape at this time is an escape from nature by rural people, and a vision for a safe and sheltered city. The city itself is a symbol of civilization. The design and creation of landscape is actually a city building cities and buildings.

1.2 Landscape as the extension and attachment of the city

People first noticed the city itself, and then the vision of the landscape expanded from the city to the countryside, making the countryside a kind of landscape (Cosgrove, 1998, P70). Before the Renaissance, the feudal lords system in Europe bound people to the monarchy and the land. Nature is full of mystery and terror. It is the mother of human life. Attachment and dependence on the land make people like mothers' babies. The rise of urban capitalism has liberated people from land, and the value of land has changed from the use value necessary for survival and life to the exchangeable goods and resources. People and land separated for the first time and became urban residents. Emerging urban aristocrats outline their ideal city through powerful capital, and at the same time, they continue to expand to the countryside as an accessory to the city. New noble people want to use the ideal city model to organize and direct the ideal rural scenery and realize the new social, economic and political order.

1.3 Landscape as the Escape of the City

As the second change of the meaning of visual beauty, landscape originated from the deterioration of urban environment brought by industrialization. Industrialization itself is the result of the Renaissance. At least since the second half of the19th century, the urban environment of major cities in Europe and America has deteriorated extremely. As a civilized and elegant image, the city has been completely destroyed. On the contrary, it has become an ugly and horrible place, while the natural Yuan Ye and countryside have become places to escape. Therefore, the landscape as an aesthetic object has changed from appreciating and praising the city to loving and protecting the countryside. So there are Landscape Architects (not gardeners) represented by olmsted, and there are Landscape Architects (not horticulture); Therefore, there is the American city park movement that advocates pastoral scenery and the American national park system that protects the original beauty of nature. As a result, Howard's popular garden city and the subsequent rural and suburban movements came into being.

The attitude of civilized society towards landscape has changed dramatically. The trajectory of this transformation is from escaping from the terrible nature and longing for the magnificent city to designing and showing off the ideal city, and taking the countryside as the extension of the city and the vision of future development, and then developing into fear and deviation from the city, taking the countryside and countryside as shelters, thus vaguely revealing the treasure and pity for the natural countryside in the landscape.

This gradual change of landscape aesthetic connotation is also clearly reflected in the attitude of landscape protection, design, creation and management.

The Significance and Evolution of Landscape as an Aesthetic Object

Socio-economic forms Manor and feudal lords ruled the economy. During the Renaissance, the urban economy rose to industrialization, and the urban economy was dominant.

Beautiful scenery (landscape refers to sacred and magnificent buildings, beautiful countryside of the city, as an extension of the city and the resources of the city economy, beautiful countryside and nature, as an escape and confrontation to the city.

Landscape architecture houses and palaces create urbanized and geometric nature (such as baroque gardens) while depicting and reproducing rural scenery, and introduce nature into cities (parks and green space systems) or cities into rural areas (rural cities and rural suburbs).

Landscape, as the perceptual object of visual beauty, is based on the separation of things and me, that is, people as appreciators. However, at the same time, people put their social and environmental ideals in the landscape. Tao Yuanming's Peach Blossom Garden is also a landscape in this sense, and the Peach Blossom Garden in Wu Lingren's eyes is a typical example of China literati's ideal social environment.

However, the landscape in the Peach Blossom Garden, or people's inner vision, has another meaning, that is, the landscape is a habitat. 2. 1 Landscape is the imprint of the relationship between people and nature on the earth.

Every landscape is the home where human beings live. China ancient landscape painting regards livability as the highest standard of painting and artistic conception. Whether painting or appreciating painting is a process of divination (Lin Zhi by Guo and Guo Si). It is also the deep meaning of the concept of place. This will be traced back to the philosopher Heidegger's concept of habitation (Heidegger, 197 1). The process of living is actually a process of interacting with the forces and processes of nature to achieve harmony. The landscape on the earth is the result of human adaptation, transformation and creation of nature for survival and life. At the same time, the process of living is also the process of establishing harmonious coexistence between people. Therefore, as a habitat, landscape is the brand of the relationship between people and nature on earth.

Longshan in the city, the Feng Shui forest behind the village, the pond in front of the village, the path from the back door of the house to the back of the mountain, terraces, trees on terraced fields, and even poultry, livestock, vegetables and fruits are all the results of the interaction and balance between man and nature for thousands of years. They are people's choice and utilization of the richness of nature, and they are also mean and ruthless avoidance and submission to nature. The harmony between man and nature in the Peach Blossom Garden is not always like this, nor is it always like this. That is, in the process of constant coordination with natural forces, sometimes it is harmonious and sometimes it is not harmonious. Finally, nature taught people how to manage the ecology, including how to save land and water, protect forests, how to choose land to settle down, how to divert water to build roads, how to rotate crops and sow seeds in time, and how to use wood and wood in time (Meng Ziliang); Know how to cut down poplar trees in midsummer and shady trees in midsummer (Zhou Li Underground Pipe).

Red railings, fences, the height of roofs, the orientation of doors and windows in cities, the ridge boundaries in rural areas, canals and dams, canals and lanes, and the earth's border defense lines are all short-term balanced results of long-term competition, communication and reconciliation among countries, families and people, which is Jackson's so-called political landscape (1984).

2.2 Landscape is the inner life experience of people.

As a place where people live, landscape connects specific people and specific places. Landscape is composed of places, and the structure of places is expressed through landscape (Norberg-Schultz, 1979, P8). Place, like concepts such as time and space, is ubiquitous and people can't live without it. Place is the foothold of human beings in the earth and the universe. Place turns nothing into existence and abstraction into concreteness, which makes people know and grasp the external space and have a starting point and an end point for their own understanding and positioning. Philosophers raise the place to a philosophical concept to explore the world outlook and life (Kathy,1998; Heidegger,1971); Geographers, architects and landscape theorists have taken it to a deeper level to understand landscape phenomena. To understand the place, we should first understand it from four aspects: the physical attributes of the place, the internal and external relationship between the subject and the place, the activities of people in the place and the ubiquitous time. These four aspects constitute an inseparable whole of the landscape as an experience place.

(1) Physical properties of the site.

Place consists of two parts: space and characteristics, which can also be understood as space and resource characteristics. In the analysis of spatial structure, one is the point-knot-line-surface model, and the most typical models are Lynch's node-sign-path-edge-region model (1969) and outsider-insider model. The latter can be analyzed by elements such as bottom surface, top surface, enclosure, gap and boundary, and the sense of space can be strengthened by centripetal, directivity and rhythm. In the landscape cognitive mode of China people, the spatial phenomenon of places is more like a box in a box. Whether it is a geomantic model, a spatial composition in Chinese painting or a paradise in religious mythology, there is such a spatial model, which can be called a gourd model (Yu, 1998). Point-line-surface model and gourd model can be combined, which will be more conducive to our grasp of space.

The characteristics of space are determined by the more specific material composition and its state, which specifically describe the elements or components that make up the space, the texture of objects, the color and form of light, and form an atmosphere with local characteristics. For example, the blue sky, white clouds, black soil, dark green forests, mossy roofs, Hani girls in red clothes, the shouts of the old people rushing home with scalpers, and the smell of bamboo rice. All these * * * together create the characteristics and atmosphere of a place. All these have formed the local personality or geographical characteristics of the landscape.

(2) About the internal and external relations of the subject.

People in the scene and outsiders look at the scenery in different ways. The former is the expression of the landscape, and the latter is the impression of the landscape. The latter studies landscape with a sense of distance from the landscape and a separation of subjective and objective, which leads to the artistic view of landscape as a landscape and the scientific view of landscape as a regional concept and a systematic concept of empirical geography. Human geography and phenomenology emphasize that the understanding of the locality of landscape must be based on the people in the landscape, and Jackson (1984) understood the landscape on this basis. He believes that landscape exists in human life, and it is not the object people watch; Landscape is the space of social life and the organic whole of man and environment, which is completely opposite to the view that positivism separates subjectivity from objectivity. The judgment of landscape is as a living and working space, judging and understanding from the standpoint and angle of people living and working in it; All the scenery expresses an ideal, an eternal ideal to create a kingdom of heaven on earth.

⑶ Functions of places or people's activities: location and identification.

Place is the integration of human and natural order, and it is the most direct and concrete center of our experience of the outside world. Places are defined not so much by their location, attributes or communities as by people's experience in specific situations (Relph, P 14 1). The meaning of place in English is related to Takeplace. The legends about creation in most nations and cultures in the world regard chaos and no rank as the state before the world. When the sky and the earth are separated, there will be grades, and the sun, the moon and the stars, the mountains and rivers, the birds and animals, and the humanities will have positions. Therefore, places are from scratch, from scratch and from scratch, so the formation of places lies in the organization of the world, dividing the world into unique centers with different properties and structuring them to reflect and guide people's experiences. To get a place and feel the existence of a place depends on human experience, which depends on two aspects: orientation and recognition. The former indicates whether people feel the existence of order centered on a certain place or a certain node, while the latter indicates whether people's own order can be in harmony with the objective order. If both are positive, then this place is meaningful, or has a sense of place. Otherwise, either in space or in the vast universe, people don't know where they are and are at a loss; Either you never feel bad, but you don't know where to go. This is the loss of sense of position (RelPH, 1976).

A. First of all, regarding positioning, it mainly corresponds to the structural characteristics of space. The gourd pattern in the cultural landscape of China, such as the four beasts feng shui pattern centered on acupoints, is a traditional spatial positioning pattern of China people. Based on this model, China has formed a multi-level local system, or national land positioning system. On the largest scale, the positioning structure is looking up at the sky and constellations, dividing the latitude and longitude, with Kunlun as the ancestral mountain, the Yangtze River, the Yellow River and wuyue as the surrounding areas, and the secondary positioning system is divided into Xuanwu Suzaku, Mingming Mountain and Shuikou, with the state capital, county government, Longshan and Long Mai as the surrounding areas, and occasionally marked with. They are all spatial positioning coordinates on different scales, so that residents can understand their position in heaven and earth, just like a fetus sitting in its mother's womb, snuggling in the arms of mother nature and getting a peaceful habitat. The gourd pattern of China people is a life pattern and spatial orientation pattern based on agricultural production mode. Lynch's point, line and plane model provides a spatial positioning system and reference for people moving in the landscape. Through these spatial elements, the impression of the whole city is formed and people's movement in the city is guided. The centripetal nature of nodes, the directionality of roads and the rhythm and change of space all strengthen the sense of order of places.

B. The second aspect of the role of places in people's activities is identity, which corresponds to the local characteristics and personality. Identity means being friends with a specific environment, or belonging to a place and a social group in this place. The recognition of a place is the result of adapting to all natural processes and patterns as well as social processes and structures in this place. It is the harmony between individuals and the order of the land under their feet and the sky above them, and the order of nature and people around them. When the other party tells you that it is Mali Village from Ailao Mountain, he actually brings you the village halfway up Ailao Mountain, the dense Woods above the stockade, the clouds in the Woods and the terraced fields below the stockade. In fact, he also brought you a long and thick bamboo pipe bong, a red headscarf on a man's head, white embroidery on a girl's body, the smell of bamboo rice, a mushroom house, a long street banquet, and an altar on a holy tree. Here, people become a part of places, and places become a part of people.

For example, the direction and positioning function of a place depends on the spatial structure of the place, and people's recognition of the place corresponds to the material characteristics of the place. Material attributes, human activities and the significance of these activities are the basic elements that constitute the overall personality characteristics of the place.

As a person in the scene, you belong somewhere and identify with it. The deeper you are in the scene, the stronger your sense of identity with this place (Relph, 1976, P49). Only when you become a person in the scene, belong to the natural process, natural force, social process and local gods of the place, and identify with them, can you get a real sense of place, a conscious sense of belonging to the place, and the landscape composed of places is meaningful.