Landscaping Design Quotes

Whoever you are, bear in mind that appearance is not reality. Some people act like extroverts, but the effort costs them energy, authenticity, and even physical health. Others seem aloof or self-contained, but their inner landscapes are rich and full of drama. So the next time you see a person with a composed face and a soft voice, remember that inside her mind she might be solving an equation, composing a sonnet, designing a hat. She might, that is, be deploying the powers of quiet.

Places matter. Their rules, their scale, their design include or exclude civil society, pedestrianism, equality, diversity (economic and otherwise), understanding of where water comes from and garbage goes, consumption or conservation. They map our lives.

it seems profoundly unlikely that our universe has been designed to reward individual primates for killing one another while believing in the divine origin of a specific book.

How can you care about the image of a landscape, when you show by your deeds that you don't care for the landscape itself?

Someone, he added, ought to draw up a catalogue of types of buildings listed in order of size, and it would be immediately obvious that domestic buildings of less then normal size – the little cottage in the fields, the hermitage, lockkeepers's lodge, the pavilion for viewing the landscape, the children's bothy in the garden – are those that offer us at least a semblance of peace, whereas no one in his right mind could truthfully say that he liked a vast edifice such as the Palace of Justice in the old Gallows Hill in Brussels. At the most we gaze at it in wonder, a kind of wonder which itself is a form of dawning horror, for somehow we know by instinct that outsize buildings cast the shadow of their own destruction before them, and are designed from the first with an eye to their later existence as ruins.

Dick Feynman was a genius of visualization (he was also no slouch with equations): he made a mental picture of anything he was working on. While others were writing blackboard-filling formulas to express the laws of elementary particles, he would just draw a picture and figure out the answer.

The great tragedy of science—the slaying of a beautiful hypothesis by an ugly fact.” — THOMAS HENRY HUXLEY

We often say that the earth is a sphere, but to be precise, the term sphere refers only to the surface. The correct mathematical term for the solid earth is a ball.

All buildings have a psychological as well as a purely visual effect on the landscape.

In merging nature and culture the most successful cities combine such universal needs as maintaining or restoring contact with the cycles of nature, with specific, local characteristics.

The landscape had been so maimed by this new kind of warfare it was as if human architects of great genius had sat down to plan hell, since no two of them could agree on the design of heaven.

In town and in country there must be landscapes where we can walk in safety, pick fruit, cycle, work, sleep, swim, listen to the birds, bask in the sun, run through the trees and laze beside cool waters.

Single-purposism, as we have seen, tends to create projects that harm the environment. Instead, we should design projects with as favourable an environmental impact as possible. This is the objective of environmental impact design.

The trees and shrubs rear white arms to the sky on every side; and where were walls and fences, we see forms stretching in frolic gambols across the dusky landscape, as if Nature had strewn her fresh designs over the fields by night as models for man's art.

Landscape design theory has been rotting away, peacefully, like a garden temple, since the close of the eighteenth century.

We must have design in a picture even at the expense of truth. You are using nature for your artistic needs.

We should not be afraid of mathematics. If you already understand nature, you understand mathematics.

The tragedy of feminine design is that it receives so little official support. Most of the world's design schools, having been organized by men, encourage a masculine approach, even when they are run by women. Yet many designers who are male in the biological sense have a feminine approach to design.

The recipe for becoming a good novelist, for example is easy to give but to carry it out presupposes qualities one is accustomed to overlook when one says 'I do not have enough talent'. One has only to make a hundred or so sketches for novels, none longer than two pages but of such distinctness that every word in them is necessary; one should write down anecdotes each day until one has learned how to give them the most pregnant and effective form; one should be tireless in collecting and describing human types and characters; one should above all relate things to others and listen to others relate, keeping one's eyes and ears open for the effect produced on those present, one should travel like a landscape painter or costume designer; one should excerpt for oneself out of the individual sciences everything that will produce an artistic effect when it is well described, one should, finally, reflect on the motives of human actions, disdain no signpost to instruction about them and be a collector of these things by day and night. One should continue in this many-sided exercise some ten years: what is then created in the work­shop, however, will be fit to go out into the world. - What, however, do most people do? They begin, not with the parts, but with the whole. Per­haps they chance to strike a right note, excite attention and from then on strike worse and worse notes, for good, natural reasons.

Cities and landscapes are illustrations of our spiritual and material worth. They not only express our values but give them a tangible reality. They determine the way in which we use or squander our energy, time, and land resources.

Nature is an increasingly influential part of building design—we are being guided by trees, rather than overwhelming them. New architecture is finding innovative methods to incorporate natural landscapes into, onto, and around buildings.

Nature already uses the language of mathematics, so why not work with the environment instead of against it. We need to start mimicking the mathematical logic that occurs in the landscape, identify existing systems, and out of those concepts create new ones.

Trying to design or reclaim places is, therefore, rather like trying to make or modify life itself. In this effort, it is wisest to adopt the gentle patient manner of an environmental midwife, while rejecting utterly the machine-driven arrogance of some environmental equivalent to a genetic engineer. By such gentle means places might flourish again, but also the world might become less threatened.

When you think of Eden, don’t think of a public park with a lawn, a play set, and a flowerbed or two, where God hands Adam a lawnmower and says, Keep it tidy, will ya? Think of a violent, untamed wilderness teeming with beauty, but no infrastructure, no roads, no bridges, no cities, no civilization, and God says, Go make a world. Adam wasn’t a landscape-maintenance employee. He was an explorer, a cartographer, a gardener, a designer, an architect, a builder, an urban planner, a city-maker.

Carrero’s First Law of Landscape Mathematics Mathematics is the language of nature. If you understand nature, you understand mathematics.

Mathematics needs to be taught using nature!

designed and built the world’s first municipal park. This park so captivated the American landscape architect Frederick Law Olmsted that he modeled Central Park in New York on it.

Feminism has both undone the hierarchy in which the elements aligned with the masculine were given greater value than those of the feminine and undermined the metaphors that aligned these broad aspects of experience with gender. So, there goes women and nature. What does it leave us with? One thing is a political mandate to decentralize privilege and power and equalize access, and that can be a literal spatial goal too, the goal of our designed landscapes and even the managed ones -- the national parks, forests, refuges, recreation areas, and so on.

at Birkenhead, near Liverpool, designed and built the world’s first municipal park. This park so captivated the American landscape architect Frederick Law Olmsted that he modeled Central Park in New York on it.

The moon garden of the mansion was famous, having been designed with night-blooming flowers lining the pathways and hillocks of the landscape. They stepped through open doors, went down the wide stone steps, and were greeted by the heady perfume of late-blooming autumn flowers. The pale blossoms were lit from below, setting a mood of mystery. A fountain of natural stone rose up out of a pond surrounded by terra-cotta sculptures.

When classical architecture was revived during the Renaissance, every educated person knew that it symbolised admiration for the achievements of the ancient world. Architecture had become a metaphor for civilisation.

An architect is a generalist, not a specialist-the conductor of a symphony, not a virtuoso who plays every instrument perfectly. As a practitioner, an architect coordinates a team of professionals that include structural and mechanical engineers, interior designers, building-code consultants, landscape architects, specifications writers, contractors, and specialists from other disciplines. Typically, the interests of some team members will compete with the interests of others. An architect must know enough about each discipline to negotiate and synthesize competing demands while honoring the needs of the client and the integrity of the entire project.

native: a plant or animal that has evolved in a given place over a period of time sufficient to develop complex and essential relationships with the physical environment and other organisms in a given ecological community.

Physically, gardens must have boundaries. Mentally, they can reach to the limits of the known universe. The ideas that bestow such vast extent upon gardens derive from sun, earth, art, water, history, civilization, family, anything.

Ecosystems function locally, not globally. Local extinction, the disappearance of a species within, say, the woodlot down the street, or even your front yard, is now predicted to compromise the productivity of that woodlot and your yard.

The arts which we now call garden design and landscape design have three separate origins: sacred space, horticultural space and domestic space. Like Homo sapiens, the arts of garden and landscape design probably spread to Europe from West Asia.

The Peacemaker Colt has now been in production, without change in design, for a century. Buy one to-day and it would be indistinguishable from the one Wyatt Earp wore when he was the Marshal of Dodge City. It is the oldest hand-gun in the world, without question the most famous and, if efficiency in its designated task of maiming and killing be taken as criterion of its worth, then it is also probably the best hand-gun ever made. It is no light thing, it is true, to be wounded by some of the Peacemaker’s more highly esteemed competitors, such as the Luger or Mauser: but the high-velocity, narrow-calibre, steel-cased shell from either of those just goes straight through you, leaving a small neat hole in its wake and spending the bulk of its energy on the distant landscape whereas the large and unjacketed soft-nosed lead bullet from the Colt mushrooms on impact, tearing and smashing bone and muscle and tissue as it goes and expending all its energy on you. In short when a Peacemaker’s bullet hits you in, say, the leg, you don’t curse, step into shelter, roll and light a cigarette one-handed then smartly shoot your assailant between the eyes. When a Peacemaker bullet hits your leg you fall to the ground unconscious, and if it hits the thigh-bone and you are lucky enough to survive the torn arteries and shock, then you will never walk again without crutches because a totally disintegrated femur leaves the surgeon with no option but to cut your leg off. And so I stood absolutely motionless, not breathing, for the Peacemaker Colt that had prompted this unpleasant train of thought was pointed directly at my right thigh. Another thing about the Peacemaker: because of the very heavy and varying trigger pressure required to operate the semi-automatic mechanism, it can be wildly inaccurate unless held in a strong and steady hand. There was no such hope here. The hand that held the Colt, the hand that lay so lightly yet purposefully on the radio-operator’s table, was the steadiest hand I’ve ever seen. It was literally motionless. I could see the hand very clearly. The light in the radio cabin was very dim, the rheostat of the angled table lamp had been turned down until only a faint pool of yellow fell on the scratched metal of the table, cutting the arm off at the cuff, but the hand was very clear. Rock-steady, the gun could have lain no quieter in the marbled hand of a statue. Beyond the pool of light I could half sense, half see the dark outline of a figure leaning back against the bulkhead, head slightly tilted to one side, the white gleam of unwinking eyes under the peak of a hat. My eyes went back to the hand. The angle of the Colt hadn’t varied by a fraction of a degree. Unconsciously, almost, I braced my right leg to meet the impending shock. Defensively, this was a very good move, about as useful as holding up a sheet of newspaper in front of me. I wished to God that Colonel Sam Colt had gone in for inventing something else, something useful, like safety-pins.

Bottom line: the world we know is eminently fragile. And that’s when it is working to design. Today’s economic landscape isn’t so much dependent upon as it is eminently addicted to American strategic and tactical overwatch. Remove the Americans, and long-haul shipping degrades from being the norm to being the exception. Remove mass consumption due to demographic collapses and the entire economic argument for mass integration collapses. One way or another, our “normal” is going to end, and end soon.

Why should this matter? Why not accept the little fake church as a playful, harmless, adorable architectural oddity, as the lovers of kitsch do? Because it's a bad building, cheaply cute, out-of-scale, symbolically false, and stuck in the middle of a parking lot, a little noplace that contributes to the greater noplace. Because if the town had not been degraded by other bad buildings and bad design relationships, there would be no need for its mendacious symbolism, which cheapens the town a little more.

Planners and designers should encourage as much diversity in human habitats as they find in animal habitats. It is not possible to resolve all conflicts or to gain all ends. Choices have to be made. Different aspects of the public good should be stressed in different places. To achieve variety in land use patterns, there should also be a variety of relationships between the professions, not an institutionalized decision-making tree. Relationships between the constructive professions should, therefore, be deconstructed.

The charm of a city, now we come to it, is not unlike the charm of flowers. It partly depends on seeing time creep across it. Charm needs to be fleeting. Nothing could be less palatable than a museum-city propped up by prosthetic devices of concrete. Paris is not in danger of becoming a museum-city, thanks to the restlessness and greed of promoters. Yet their frenzy to demolish everything is less objectionable than their clumsy determination to raise housing projects that cannot function without the constant presence of an armed police force… All these banks, all these glass buildings, all these mirrored facades are the mark of a reflected image. You can no longer see what’s happening inside, you become afraid of the shadows. The city becomes abstract, reflecting only itself. People almost seem out of place in this landscape. Before the war, there were nooks and crannies everywhere. Now people are trying to eliminate shadows, straighten streets. You can’t even put up a shed without the personal authorization of the minister of culture. When I was growing up, my grandpa built a small house. Next door the youth club had some sheds, down the street the local painter stored his equipment under some stretched-out tarpaulin. Everybody added on. It was telescopic. A game. Life wasn’t so expensive — ordinary people would live and work in Paris. You’d see masons in blue overalls, painters in white ones, carpenters in corduroys. Nowadays, just look at Faubourg Sainte-Antoine — traditional craftsmen are being pushed out by advertising agencies and design galleries. Land is so expensive that only huge companies can build, and they have to build ‘huge’ in order to make it profitable. Cubes, squares, rectangles. Everything straight, everything even. Clutter has been outlawed. But a little disorder is a good thing. That’s where poetry lurks. We never needed promoters to provide us, in their generosity, with ‘leisure spaces.’ We invented our own. Today there’s no question of putting your own space together, the planning commission will shut it down. Spontaneity has been outlawed. People are afraid of life.

The Great Bridge: The Epic Story of the Building of the Brooklyn Bridge by David McCullough (Simon and Schuster, 1972) The Roebling Legacy by Clifford Zink (Princeton Landmark Publications, 2011) Silent Builder: Emily Warren Roebling and the Brooklyn Bridge by Marilyn E.

Chinese and Japanese horticulturists have been aware of the primacy of relationship for centuries. Sakuteiki, the eleventh-century Japanese manual of gardening, possibly the oldest written record of landscape design, exhorts people to open themselves to the disposition of mountain streams, to wind and emotion.

We should note that almost every technological transformation of consequence has taken place under Western auspices—if not Western in the strict geographical sense, then Western in the notion of a cultural landscape shaped by free thought and the chance for profit. Even non-Western innovations, like stirrups and gunpowder, have been quickly modified and improved by Western militaries. Jet fighters, GPS-guided bombs, and laser-guided munitions are all products of Western expertise. Even the jihadists’ most innovative and lethal weapons—improvised explosive devices and suicide belts—are cobbled together from Western-designed explosives and electronics.

Black Rook in Rainy Weather On the stiff twig up there Hunches a wet black rook Arranging and rearranging its feathers in the rain. I do not expect a miracle Or an accident To set the sight on fire In my eye, nor seek Any more in the desultory weather some design, But let spotted leaves fall as they fall, Without ceremony, or portent. Although, I admit, I desire, Occasionally, some backtalk From the mute sky, I can't honestly complain; A certain minor light may still Lean incandescent Out of the kitchen table or chair As if a celestial burning took Possession of the most obtuse objects now and then -- Thus hallowing an interval Otherwise inconsequent By bestowing largesse, honor, One might say love. At any rate, I now walk Wary (for it could happen Even in this dull, ruinous landscape); skeptical, Yet politic; ignorant Of whatever angel may choose to flare Suddenly at my elbow. I only know that a rook Ordering its black feathers can so shine As to seize my senses, haul My eyelids up, and grant A brief respite from fear Of total neutrality. With luck, Trekking stubborn through this season Of fatigue, I shall Patch together a content Of sorts. Miracles occur, If you dare to call those spasmodic Tricks of radiance miracles. The wait's begun again, The long wait for the angel, For that rare, random descent.

With this exponential growth of robots, we could soon have a fleet large enough to do the work of altering the desert landscape. They would mine the soil, construct new factories, and make unlimited copies of themselves cheaply and efficiently. They could create a vast agricultural industry and propel the rise of modern civilization not just on Mars, but throughout space, conducting mining operations in the asteroid belt, building laser batteries on the moon, assembling gigantic starships in orbit, and laying the foundations for colonies on distant exoplanets. It would be a stunning achievement to successfully design and deploy self-replicating machines. But beyond that milestone remains

The world is moving into a phase when landscape design may well be recognized as the most comprehensive of the arts. Man creates around him an environment that is a projection into nature of his abstract ideas. It is only in the present century that the collective landscape has emerged as a social necessity. We are promoting a landscape art on a scale never conceived of in history (Geoffrey Jellicoe, Landscape of man)

To achieve these goals [of making good landscapes}, there is but one necessity: when preparing and approving plans for new places, or spending money on old places, we must look beyond the confines of each and every project. Gazing at these wider horizons, we shall see that development projects are initiated by specialists who have been imprisioned within "closely drawn technical limits" and "narrowly drawn territorial boundaries" (Weddle 1967; vii).

If a boy fires off a gun, whether at a fox, a landlord or a reigning sovereign, he will be rebuked according to the relative value of these objects. But if he fires off a gun for the first time it is very likely that he will not expect the recoil, or know what a heavy knock it can give him. He may go blazing away through life at these and similar objects in the landscape; but he will be less and less surprised by the recoil; that is, by the reaction. He may even dissuade his little sister of six from firing off one of the heavy rifles designed for the destruction of elephants; and will thus have the appearance of being himself a reactionary. Very much the same principle applies to firing off the big guns of revolution. It is not a man's ideals that change; it is not his Utopia that is altered; the cynic who says, "You will forget all that moonshine of idealism when you are older," says the exact opposite of the truth. The doubts that come with age are not about the ideal, but about the real. And one of the things that are undoubtedly real is reaction: that is, the practical probability of some reversal of direction, and of our partially succeeding in doing the opposite of what we mean to do. What experience does teach us is this: that there is something in the make-up and mechanism of mankind, whereby the result of action upon it is often unexpected, and almost always more complicated than we expect.

Whoever you are, bear in mind that appearance is not reality. Some people act like extroverts, but the effort costs them in energy, authenticity, and even physical health. Others seem aloof or self-contained, but their inner landscapes are rich and full of drama. So the next time you see a person with a composed face and a soft voice, remember that inside her mind she might be solving an equation, composing a sonnet, designing a hat. She might, that is, be deploying the powers of quiet.

The fifth principle emphasizes another human strength: whenever possible, we should take measures to re-spatialize the information we think about. We inherited “a mind on the hoof,” as Andy Clark puts it: a brain that was built to pick a path through a landscape and to find the way back home. Neuroscientific research indicates that our brains process and store information—even, or especially, abstract information—in the form of mental maps. We can work in concert with the brain’s natural spatial orientation by placing the information we encounter into expressly spatial formats: creating memory palaces, for example, or designing concept maps. In the realm of education research, experts now speak of “spatializing the curriculum”—that is, simultaneously drawing on and strengthening students’ spatial capacities by having them employ spatial language and gestures, engage in sketching and mapmaking, and learn to interpret and create charts, tables, and diagrams. The spatialized

One night, returning to the house, he went into his father’s shed. He stared at the unsold pots and the vases on the shelves, at their shapes and their designs, the illustrations of landscapes. He wondered what would become of them. He reached for one, then hesitated. He thought of them staying here, untouched, through the seasons and the years. He thought of the ones people had purchased, scattered throughout the country. He imagined that somewhere underneath the glaze and the paint there remained his father’s hands. That they contained the heat of a kiln and a home that no longer existed. He wondered whether he would be able to recognize them if he saw them again.

It is not, of course, only the Japanese who find flat sterile surfaces attractive and kirei. Foreign observers, too, are seduced by the crisp borders, sharp corners, neat railings, and machine-polished textures that define the new Japanese landscape, because, consciously or unconsciously, most of us see such things as embodying the very essence of modernism. In short, foreigners very often fall in love with kirei even more than the Japanese do; for one thing, they can have no idea of the mysterious beauty of the old jungle, rice paddies, wood, and stone that was paved over. Smooth industrial finish everywhere, with detailed attention to each cement block and metal joint: it looks ‘modern’; ergo, Japan is supremely modern.

When people look at my work, they often say, “Your picture is so good. I can’t even draw a straight line.” I think everyone can learn to draw. The important thing is to keep trying, keep drawing. […] Young children make marvelous pictures. There is nothing they can’t draw. They paint and draw from their imaginations and the world around them. And they are not afraid to draw anything. I saw a child’s picture, a country landscape. It had fifteen trees that looked like lollipops, both a sun and a moon in the sky and a crazy river running through. It wasn’t very realistic, but it was a miracle of design. … And when children draw people or portraits of themselves, even if they are only stick figures, they have an animate quality that a professional rarely gets.

For most of human history, when you were born you inherited an off-the-shelf package of religious and cultural constraints. This was a kind of library of limits that was embedded in your social and physical environment. These limits performed certain self-regulatory tasks for you so you didn’t have to take them on yourself. The packages included habits, practices, rituals, social conventions, moral codes, and a myriad of other constraints that had typically evolved over many centuries, if not millennia, to reliably guide – or shall we say design – our lives in the direction of particular values, and to help us give attention to the things that matter most. In the twentieth century the rise of secularism and modernism in the West occasioned the collapse – if not the jettisoning – of many of these off-the-shelf packages of constraints in the cause of the liberation of the individual. In many cases, this rejection occurred on the basis of philosophical or cosmological disagreements with the old packages. This has, of course, had many great benefits. Yet by rejecting entire packages of constraint, we’ve also rejected those constraints that were actually useful for our purposes. “The left’s project of liberation,” writes the American philosopher Matthew Crawford, “led us to dismantle inherited cultural jigs that once imposed a certain coherence (for better and worse) on individual lives. This created a vacuum of cultural authority that has been filled, opportunistically, with attentional landscapes that get installed by whatever ‘choice architect’ brings the most energy to the task – usually because it sees the profit potential.” The German philosopher Peter Sloterdijk, in his book You Must Change Your Life, has called for a reclamation of this particular aspect of religion – its habits and practices – which he calls “anthropotechnics.”6 When you dismantle existing boundaries in your environment, it frees you from their limitations, but it requires you to bring your own boundaries where you didn’t have to before. Sometimes, taking on this additional self-regulatory burden is totally worth it. Other times, though, the cost is too high. According to the so-called “ego-depletion” hypothesis, our self-control, our willpower, is a finite resource.7 So when the self-regulatory cost of bringing your own boundaries is high enough, it takes away willpower that could have been spent on something else.

European statesmen of the First World War era did—to some extent—recognize the problem and its significance. As soon as they began to plan their annexation of the Middle East, Allied leaders recognized that Islam’s hold on the region was the main feature of the political landscape with which they would have to contend. Lord Kitchener, it will be remembered, initiated in 1914 a policy designed to bring the Moslem faith under Britain’s sway. When it looked as though that might not work—for the Sherif Hussein’s call to the Faithful in 1916 fell on deaf ears—Kitchener’s associates proposed instead to sponsor other loyalties (to a federation of Arabic-speaking peoples, or to the family of King Hussein, or to about-to-be-created countries such as Iraq) as a rival to pan-Islam. Indeed they framed the postwar Middle East settlement with that object (among others) in view.

unlike birds, for instance, who keep building the same nest over thousands of years, we tend to forge ahead with our projects far beyond any reasonable bounds. Someone, he added, ought to draw up a catalogue of types buildings listed in order of size, and it would be immediately obvious that domestic buildings of less than normal size—the little cottage in the fields, the hermitage, the lockkeeper’s lodge, the pavilion for viewing the landscape, the children’s bothy in the garden—are those that offer us at least a semblance of peace, whereas no one in his right mind could truthfully say that he liked a vast edifice such as the Palace of Justice on the old Gallows Hill in Brussels. At the most we gaze at it in wonder, a kind of wonder which in itself is a form of dawning horror, for somehow we know by instinct that outsize buildings cast the shadow of their own destruction before them, and are designed from the first with an eye to their later existence as ruins.

Olmsted did think about it and began to see the exposition as an opportunity to achieve something for which he had fought long and hard but almost always with disappointing results. Throughout his career he had struggled, with little success, to dispel the perception that landscape architecture was simply an ambitious sort of gardening and to have his field recognized instead as a distinct branch of the fine arts, full sister to painting, sculpture, and brick-and-mortar architecture. Olmsted valued plants, trees, and flowers not for their individual attributes but rather as colors and shapes on a palette. Formal beds offended him. Roses were not roses but “flecks of white or red modifying masses of green.” It irked him that few people seemed to understand the effects he worked so long and hard to create. “I design with a view to a passage of quietly composed, soft, subdued pensive character, shape the ground, screen out discordant elements and get suitable vegetation growing.

What is most dystopian about all of the digital houses designed for customized consumption is the implication that the entire landscape could be covered with new houses lacking any social or economic neighborhood context. Designers minimize the need for family or neighborhood interaction if they plan for digital surveillance as a route to ordering mass-produced commodities as well as handling work and civic life. If many external activities, such as paid work, exercise, shopping, seeking entertainment, and voting, are able to be done in-house through the various electronic communications systems, reasons for going outside decrease. The residents become isolated, although the house continues to function as a container for mass-produced goods and electronic media. In a landscape bristling with tens of thousands of digital houses and cell towers, where the ground is laced with hundreds of thousands of miles of fiber-optic cable, neighborhoods may not exist. Car journeys involving traffic problems may disappear, although the roads will be clogged with delivery vans.

Sam scanned the orchards. U-Pickers laughed and posed for photos with apples on their heads, babies in the baskets, hugging trees. She lifted her head to study the sky, blue as her eyes. The clouds moved across the sun, blocking it out for long distances at a time, causing the landscape in front of her to become illuminated one patchwork piece at a time: the rolling hills lined with grass and endless rows of trees, peach, tart cherry, apples of every variety; blueberry bushes sitting at the bottom of the hill where the rain pooled; the old red barn where high school kids doled out baskets for fruit, which Sam's father weighed when they returned; the old shed where more high schoolers handed out free donut samples and sips of apple cider to arriving cars; the farmhouse with shutters- designed with apple cutouts- where her grandparents, Willo and Gordon, lived; the blue-green waters of Suttons Bay stretching out beyond the trees, the Old Mission Peninsula jutting into it; the family cornfields that sat across M-22 and would soon be cut into an intricate corn maze filled with spooks and goblins to scare fall visitors. This slice of northern Michigan was Sam's home, her whole world.

The billboards ruin everything. The historical flavor, the old-time architecture, even the beauty of the wooded hillside—all are sacrificed. Pole-lines and wires may be accepted, like fences, as part of the basic American landscape. They do their work without striving to be conspicuous, and often their not-ungraceful curves add a touch of interest, an intricacy of pattern, even some beauty. Billboards are different. . . . billboards blast themselves into the viewer's consciousness. . . . some of the smaller billboards—those advertising local hotels, service-stations, or small industries—seem to have a certain rooting in the soil, and are often modest and comparatively harmonious to the setting. The large billboards—owned by special companies, usually advertising the products of mass-production—are always placed in the most conspicuous spots, and have designs and colors carefully chosen to clash with the background. One feels a difference between a home-produced: "Stop at Joe's Service Station for Gas—Two Miles," or "The Liberty Café—Short Orders at All Hours—Give Us a Try!" and some gigantic rectangle advertising tires or beer. Large billboards are now springing up along U. S. 40 even in the vastnesses of the Nevada sagebrush country. They are an abomination! Personally, I try to buy as little as possible of anything that is so advertised.

Beyond those somewhat anchored fantasy settings are the wild-eyed and the wahoo worlds. This is by no means pejorative, as these include some of my personal favorites, but it is meant to show that there are high-concept, love-’em-or-hate-’em sorts of settings. Call them worlds of pure chaos, places where anything goes and where the usual rules do not apply. They are not meant to be realistic, and indeed that is their appeal. They are settings unmoored from reality and operating by rules of your design—but these settings do have rules. To provide some examples, think of places like China Mieville’s Bas Lag, Pratchett’s Disc World, Frank Baum’s Oz, David “Zeb” Cook’s Dark Sun and Planescape, Keith Baker’s Eberron, Jim Ward’s Gamma World, NCSoft’s Guild Wars, Andrew Leker’s Jorune, Michael Moorcock’s Melnibone, Jeff Grubb’s Spelljammer, and Blizzard’s World of Warcraft. These are places where truly Weird Shit happens, with different rules of physics, alien landscapes, magical wastelands, alien gods, mutants, and cosmologies. It’s fun to go out on the edge, and fantasy is always exploring strange places like this. These are the high-wire acts of worldbuilding. They take creative risks, not always successfully, and they endure a higher degree of mockery than the real fantasies or anchored fantasies do because of those creative risks. They also attract a loyal following who love that particular flavor of weird. Just ask any Planescape fan.

The importance of ethical governance, exemplified by the Norwegian Pension Fund, is highlighted by a deplorable UK government proposal in 2016 to set up a Shale Wealth Fund.38 The fund would receive up to 10 per cent of the revenue generated by fracking (hydraulic fracturing) for shale gas, which could amount to as much as £1 billion over twenty-five years. This would be paid out to communities hosting fracking sites, which could decide to use the money for local projects or distribute it to households in cash. It is hard to avoid the conclusion that this is a bribe to secure local approval of environmentally threatening fracking operations, to which there has been considerable public opposition. Beyond that, there are many equity questions. Why should only people who happen to live in areas with shale gas be beneficiaries? How would the recipient community be defined? Would the payments go only to those living in the designated community at the time the fracking started? Would they be paid as lump sums or on a regular basis, and how long would they last? What about future generations? Can cash payments compensate for the risk of harm to the air, water, landscape and livelihoods? All these questions cast doubt on the equity and ethics of any selective scheme. They underline the need for the principles of wealth funds and dividends from them to be established before they are implemented, and for a governance structure that is independent from government and business. But

On the other hand, everyday language would soon prove inadequate for designating all the olfactory notions that he had accumulated within himself. Soon he was no longer smelling mere wood, but kinds of wood: maple-wood, oak-wood, pine-wood, elm-wood, pear-wood, old, young, rotting, mouldering, mossy wood, down to single logs, chips and splinters – and could clearly differentiate them as objects in a way that other people could not have done by sight. It was the same with other things. For instance, the white drink that Madame Gaillard served her wards each day, why should it be designated uniformly as milk, when to Grenouille’s senses it smelled and tasted completely different every morning depending on how warm it was, which cow it had come from, what that cow had been eating, how much cream had been left in it and so on … Or why should smoke possess only the name ‘smoke’, when from minute to minute, second to second, the amalgam of hundreds of odours mixed iridescently into ever new and changing unities as the smoke rose from the fire … or why should earth, landscape, air – each filled at every step and every breath with yet another odour and thus animated with another identity – still be designated by just those three coarse words. All these grotesque incongruities between the richness of the world perceivable by smell and the poverty of language were enough for the lad Grenouille to doubt that language made any sense at all; and he grew accustomed to using such words only when his contact with others made it absolutely necessary.

Wait until the truffles hit the dining room---absolute sex," said Scott. When the truffles arrived the paintings leaned off the walls toward them. They were the grand trumpets of winter, heralding excess against the poverty of the landscape. The black ones came first and the cooks packed them up in plastic quart containers with Arborio rice to keep them dry. They promised to make us risotto with the infused rice once the truffles were gone. The white ones came later, looking like galactic fungus. They immediately went into the safe in Chef's office. "In a safe? Really?" "The trouble we take is in direct proportion to the trouble they take. They are impossible," Simone said under her breath while Chef went over the specials. "They can't be that impossible if they are on restaurant menus all over town." I caught her eye. "I'm kidding." "You can't cultivate them. The farmers used to take female pigs out into the countryside, lead them to the oaks, and pray. They don't use pigs anymore, they use well-behaved dogs. But they still walk and hope." "What happened to the female pigs?" Simone smiled. "The scent smells like testosterone to them. It drives them wild. They destroyed the land and the truffles because they would get so frenzied." I waited at the service bar for drinks and Sasha came up beside me with a small wooden box. He opened it and there sat the blanched, malignant-looking tuber and a small razor designed specifically for it. The scent infiltrated every corner of the room, heady as opium smoke, drowsing us. Nicky picked up the truffle in his bare hand and delivered it to bar 11. He shaved it from high above the guest's plate. Freshly tilled earth, fields of manure, the forest floor after a rain. I smelled berries, upheaval, mold, sheets sweated through a thousand times. Absolute sex.

I need only, to make them reappear, pronounce the names Balbec, Venice, Florence, within whose syllables had gradually accumulated the longing inspired in me by the places for which they stood. Even in spring, to come upon the name Balbec in a book sufficed to awaken in me the desire for storms at sea and for Norman Gothic; even on a stormy day the name Florence or Venice would awaken the desire for sunshine, for lilies, for the Palace of the Doges and for Santa Maria del Fiore. But if these names thus permanently absorbed the image I had formed of these towns, it was only by transforming that image, by subordinating its reappearance in me to their own special laws; and in consequence of this they made it more beautiful, but at the same time more different from anything that the towns of Normandy or Tuscany could in reality be, and, by increasing the arbitrary delights of my imagination, aggravated the disenchantment that was in store for me when I set out upon my travels. They magnified the idea that I had formed of certain places on the surface of the globe, making them more special and in consequence more real. I did not then represent to myself cities, landscapes, historical monuments, as more or less attractive pictures, cut out here and there of a substance that was common to them all, but looked on each of them as on an unknown thing, different in essence from all the rest, a thing for which my soul thirsted and which it would profit from knowing. How much more individual still was the character they assumed from being designated by names, names that were for themselves alone, proper names such as people have! Words present to us a little picture of things, clear and familiar, like the pictures hung on the walls of schoolrooms to give children an illustration of what is meant by a carpenter's bench, a bird, an anthill, things chosen as typical of everything else of the same sort. But names present to us— of persons, and of towns which they accustom us to regard as individual, as unique, like persons— a confused picture, which draws from them, from the brightness or darkness of their tone, the colour in which it is uniformly painted, like one of those posters, entirely blue or entirely red, in which, on account of the limitations imposed by the process used in their reproduction or by a whim on the designer's part, not only the sky and the sea are blue or red, but the ships and the church and the people in the streets.

To give you a sense of the sheer volume of unprocessed information that comes up the spinal cord into the thalamus, let’s consider just one aspect: vision, since many of our memories are encoded this way. There are roughly 130 million cells in the eye’s retina, called cones and rods; they process and record 100 million bits of information from the landscape at any time. This vast amount of data is then collected and sent down the optic nerve, which transports 9 million bits of information per second, and on to the thalamus. From there, the information reaches the occipital lobe, at the very back of the brain. This visual cortex, in turn, begins the arduous process of analyzing this mountain of data. The visual cortex consists of several patches at the back of the brain, each of which is designed for a specific task. They are labeled V1 to V8. Remarkably, the area called V1 is like a screen; it actually creates a pattern on the back of your brain very similar in shape and form to the original image. This image bears a striking resemblance to the original, except that the very center of your eye, the fovea, occupies a much larger area in V1 (since the fovea has the highest concentration of neurons). The image cast on V1 is therefore not a perfect replica of the landscape but is distorted, with the central region of the image taking up most of the space. Besides V1, other areas of the occipital lobe process different aspects of the image, including: •  Stereo vision. These neurons compare the images coming in from each eye. This is done in area V2. •  Distance. These neurons calculate the distance to an object, using shadows and other information from both eyes. This is done in area V3. •  Colors are processed in area V4. •  Motion. Different circuits can pick out different classes of motion, including straight-line, spiral, and expanding motion. This is done in area V5. More than thirty different neural circuits involved with vision have been identified, but there are probably many more. From the occipital lobe, the information is sent to the prefrontal cortex, where you finally “see” the image and form your short-term memory. The information is then sent to the hippocampus, which processes it and stores it for up to twenty-four hours. The memory is then chopped up and scattered among the various cortices. The point here is that vision, which we think happens effortlessly, requires billions of neurons firing in sequence, transmitting millions of bits of information per second. And remember that we have signals from five sense organs, plus emotions associated with each image. All this information is processed by the hippocampus to create a simple memory of an image. At present, no machine can match the sophistication of this process, so replicating it presents an enormous challenge for scientists who want to create an artificial hippocampus for the human brain.

Between concentric pavement ripples glide errant echoes originating from beyond the Puddled Metropolis. Windowless blocks and pickle-shaped monuments demarcate the boundaries of patternistic cycles from those wilds kissed neither by starlight nor moonlight. Lethal underbrush of razor-like excrescence pierces at the skins of night, crawls with hyperactive sprouts and verminous vines that howl with contempt for the wicked fortunes of Marshland Organizers armed with scythes and hoes and flaming torches who have only succeeded in crafting their own folly where once stood something of glorious and generous integrity. There are familiar whispers under leaves perched upon by flapping moths. They implore the spirit again to heed the warnings of the vines and to not be swayed by the hubris of these organizing opportunists. One is to stop moving at frantic zigzags through gridlocked streets, stop climbing ladders altogether, stop relying on drainage pipes where floods should prevail, stop tapping one’s feet in waiting rooms expecting to be seen and examined and acknowledged. Rather, one is to eschew unseemly fabrications and conceal oneself beneath the surface of leaves—perhaps even inside the droplets of dew—one is, after all, to feel shameful of the form, of all forms, and seek instead to merge with whispers which do not shun or excoriate, for they are otherwise occupied in the act of designating meaning. Yet, what meaning stands beyond the rectitude of angles and symmetry, but rather in wilds among agitated insects and resplendent bogs and malicious spiders and rippling mosses pronouncing doom upon their surroundings? One is said to find only the same degree of opportunism, and nothing greatly edifying that could serve to extend beyond the banalities of self-preservation. But no, surely there is something more than this—there absolutely must be something more, and it is to be found! Forget what is said about ‘opportunism’—this is just a word and, thusly, a distraction. The key issue is that there are many such campaigns of contrivance mounted by the taxonomic self-interest of categories and frameworks ‘who’ only seek primacy and authority over their consumers. The ascription of ‘this’ may thusly be ascribed also with that of ‘this other’ and so it cannot be ‘that precisely’ because ‘this’ contradicts another ‘that other’ with which ‘this other’ surely claims affiliation. Certainly, in view of such limiting factors, there is a frustration that one is bound to feel that the answers available are constrained and formulaic and insufficient and that one is simply to accept the way of things as though they are defined by the highest of mathematics and do not beget anything higher. One is, thusly, to cease in one’s quest for unexplored possibility. The lines have been drawn, the contradictions defined and so one cannot expect to go very far with these mathematical rules and boundaries in place. There are ways out: one might assume the value of an imaginary unit and bounce out of any restrictive quadrant as with the errant echoes against the rippling pavement of this Puddled Metropolis. One will then experience something akin to a bounding and rebounding leap—iterative, but with all subleaps constituting a more sweeping trajectory—outward to other landscapes and null landscapes, inward through corridors and toward the centroid of circumcentric chamber clusters, into crevices and trenches between paradigms and over those mountain peaks of abstruse calculation.

THE VISION EXERCISE Create your future from your future, not your past. WERNER ERHARD Erhard Founder of EST training and the Landmark Forum The following exercise is designed to help you clarify your vision. Start by putting on some relaxing music and sitting quietly in a comfortable environment where you won’t be disturbed. Then, close your eyes and ask your subconscious mind to give you images of what your ideal life would look like if you could have it exactly the way you want it, in each of the following categories: 1. First, focus on the financial area of your life. What is your ideal annual income and monthly cash flow? How much money do you have in savings and investments? What is your total net worth? Next . . . what does your home look like? Where is it located? Does it have a view? What kind of yard and landscaping does it have? Is there a pool or a stable for horses? What does the furniture look like? Are there paintings hanging in the rooms? Walk through your perfect house, filling in all of the details. At this point, don’t worry about how you’ll get that house. Don’t sabotage yourself by saying, “I can’t live in Malibu because I don’t make enough money.” Once you give your mind’s eye the picture, your mind will solve the “not enough money” challenge. Next, visualize what kind of car you are driving and any other important possessions your finances have provided. 2. Next, visualize your ideal job or career. Where are you working? What are you doing? With whom are you working? What kind of clients or customers do you have? What is your compensation like? Is it your own business? 3. Then, focus on your free time, your recreation time. What are you doing with your family and friends in the free time you’ve created for yourself? What hobbies are you pursuing? What kinds of vacations do you take? What do you do for fun? 4. Next, what is your ideal vision of your body and your physical health? Are you free of all disease? Are you pain free? How long do you live? Are you open, relaxed, in an ecstatic state of bliss all day long? Are you full of vitality? Are you flexible as well as strong? Do you exercise, eat good food, and drink lots of water? How much do you weigh? 5. Then, move on to your ideal vision of your relationships with your family and friends. What is your relationship with your spouse and family like? Who are your friends? What do those friendships feel like? Are those relationships loving, supportive, empowering? What kinds of things do you do together? 6. What about the personal arena of your life? Do you see yourself going back to school, getting training, attending personal growth workshops, seeking therapy for a past hurt, or growing spiritually? Do you meditate or go on spiritual retreats with your church? Do you want to learn to play an instrument or write your autobiography? Do you want to run a marathon or take an art class? Do you want to travel to other countries? 7. Finally, focus on the community you’ve chosen to live in. What does it look like when it is operating perfectly? What kinds of community activities take place there? What charitable, philanthropic, or volunteer work? What do you do to help others and make a difference? How often do you participate in these activities? Who are you helping? You can write down your answers as you go, or you can do the whole exercise first and then open your eyes and write them down. In either case, make sure you capture everything in writing as soon as you complete the exercise. Every day, review the vision you have written down. This will keep your conscious and subconscious minds focused on your vision, and as you apply the other principles in this book, you will begin to manifest all the different aspects of your vision.

The strengths landscape architecture draws from its garden design heritage include: the Vitruvian design tradition of balancing utility, firmness and beauty; use of the word 'landscape' to mean 'a good place' - as the objective of the design process; a comprehensive approach to open space planning involving city parks, greenways and nature outside towns; a planning theory about the contextualisation of development projects; the principle that development plans should be adapted to their landscape context.

Key goals include helping increase employee productivity while supporting new business requirements and technology trends, including IT consumerization, cloud computing, and access by a broader range of users. At the same time, the architecture is designed to reduce our attack surface and improve survivability—even as the threat landscape grows in complexity and maliciousness.

During the eighteenth and nineteenth centuries a practical knowledge of the construction of small lakes was part of the equipment of most countrymen. Many of the holes they dug and dams they built still hold water and are now often regarded as 'natural.' They are of immeasurable value in the landscape.

Will the roofs of new buildings be vegetated? If not, why not?

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The principles are exactly the same as those of QED: everything is built out of propagators, vertex diagrams, and coupling constants. But there are new actors and whole new plot lines, including one called QCD.

The day the earth-moving machines arrived, it was as if aliens had invaded Earth. Overnight they appeared, diggers with huge scoops, plodding their slow and ancient ways across the landscape. By the next week they had multiplied and evolved into diverse forms—cranes with long arms, bulldozers and levellers, an assortment of lorries. All day they worked towards some unseen design, creating and removing debris, their latticework of tracks remaking and writing over the space. Untenanted and vulnerable, the attap huts offered no resistance.

If these influences are reversed—and they can be—an environment designed around the true needs of individuals, conducive to the formation of community and preservation of the landscape, becomes possible.

Sam marvelled at how easily people walked off the street and into these decadent dioramas. It was spooky how easily people’s inner landscapes were expressed in enclosed booths and glittering bars. Their private nightmares slid into the moulded furniture as if it had been designed for them.

Skin is a multilayered, multipurpose organ that shifts from thick to thin, tight to loose, lubricated to dry, across the landscape of the body. Skin, a knowledge-gathering device, responds to heat and cold, pleasure and pain. It lacks definitive boundaries, flowing continuously from the exposed surfaces of the body to its internal cavities. It is both living and dead, a self-repairing, self-replacing material whose exterior is senseless and inert while its inner layers are flush with nerves, glands, and capillaries

What troubles me most about my vegetarianism is the subtle way it alienates me from other people and, odd as this might sound, from a whole dimension of human experience. Other people now have to accommodate me, and I find this uncomfortable: My new dietary restrictions throw a big wrench into the basic host-guest relationship. As a guest, if I neglect to tell my host in advance that I don’t eat meat, she feels bad, and if I do tell her, she’ll make something special for me, in which case I’ll feel bad. On this matter I’m inclined to agree with the French, who gaze upon any personal dietary prohibition as bad manners. Even if the vegetarian is a more highly evolved human being, it seems to me he has lost something along the way, something I’m not prepared to dismiss as trivial. Healthy and virtuous as I may feel these days, I also feel alienated from traditions I value: cultural traditions like the Thanksgiving turkey, or even franks at the ballpark, and family traditions like my mother’s beef brisket at Passover. These ritual meals link us to our history along multiple lines—family, religion, landscape, nation, and, if you want to go back much further, biology. For although humans no longer need meat in order to survive (now that we can get our B-12 from fermented foods or supplements), we have been meat eaters for most of our time on earth. This fact of evolutionary history is reflected in the design of our teeth, the structure of our digestion, and, quite possibly, in the way my mouth still waters at the sight of a steak cooked medium rare. Meat eating helped make us what we are in a physical as well as a social sense. Under the pressure of the hunt, anthropologists tell us, the human brain grew in size and complexity, and around the hearth where the spoils of the hunt were cooked and then apportioned, human culture first flourished. This isn’t to say we can’t or shouldn’t transcend our inheritance, only that it is our inheritance; whatever else may be gained by giving up meat, this much at least is lost. The notion of granting rights to animals may lift us up from the brutal, amoral world of eater and eaten—of predation—but along the way it will entail the sacrifice, or sublimation, of part of our identity—of our own animality. (This is one of the odder ironies of animal rights: It asks us to acknowledge all we share with animals, and then to act toward them in a most unanimalistic way.) Not that the sacrifice of our animality is necessarily regrettable; no one regrets our giving up raping and pillaging, also part of our inheritance. But we should at least acknowledge that the human desire to eat meat is not, as the animal rightists would have it, a trivial matter, a mere gastronomic preference. By the same token we might call sex—also now technically unnecessary for reproduction—a mere recreational preference. Rather, our meat eating is something very deep indeed.

Although we don't tend to think of libraries as media technologies, they are. The public library is, in fact, one of the most important and influential informational media ever created—and one that proliferated only after the arrival of silent reading and movable-type printing. A community's attitudes and preferences toward information take concrete shape in its library's design and services. [...] The library provides, as well, a powerful symbol of our new media landscape: at the center stands the screen of the Internet-connected computers; the printed word has been pushed to the margins.

The first and the cheapest way anyone can choose is the do-it-yourself. Get yourself into research mode and read as much as you can about the subject and put those ideas into practice. This may help execute a decent landscape. The information may be obtained from the local libraries with lots of books on landscape design Ottawa.

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Paleolithic landscape:

or complementary stones, are arranged nearby.

o resume: 2 It is often said—and even more often screamed at anti–gay marriage rallies outside the statehouse in Lansing—that I created Adam and Eve, not Adam and Steve. 3 Wrong. 4 Now will I tell the story of the first man, Adam; and of the companion I fashioned for him, Steve; and of the great closeting that befell their relationship. 5 For after I created the earth, and sea, and every plant and seed and beast of the field and fowl of the air, and had the place pretty much set up, I saw that it was good; 6 But I also saw, that by way of oversight it made administrative sense to establish a new middle-managerial position. 7 So as my final act of Day Six, I formed a man from the dust of the ground, and breathed life into his nostrils; and I called him Adam, to give him a leg up alphabetically. 8 And lo, I made him for my image; not in my image, but for my image; because with Creations thou never gettest a second chance to make a first impression; 9 And so in fashioning him I sought to make not only a responsible planetary caretaker, but also an attractive, likeable spokesman who in the event of environmental catastrophe could project a certain warmth. 10 To immediately assess his ability to function in my absence, I decided to change my plans; for I had intended to use Day Seven to infuse the universe with an innate sense of compassion and moral justice; but instead I left him in charge and snoozed. 11 And Adam passed my test; yea, he was by far my greatest achievement; he befriended all my creatures, and named them, and cared for them; and tended the Garden most skillfully; for he had a great eye for landscape design. 12 But I soon noticed he felt bereft in his solitude; for oft he sighed, and pined for a helpmeet; and furthermore he masturbated incessantly, until he had well-nigh besplattered paradise. 13 So one night I caused him to fall into a deep sleep; fulsomely did I roofie his nectar; and as he slept, I removed a rib, though not a load-bearing one. 14 And from this rib I fashioned a companion for him; a hunk, unburdened by excess wisdom; ripped, and cut, and hung like unto a fig tree before the harvest; 15 Yea, and a power bottom. 16 And Adam arose, and saw him, and wept for joy; and he called the man Steve; I had suggested Steven, but Adam liked to keep things informal. 17 And Adam and Steve were naked, and felt no shame; they knew each other, as often as possible; truly their loins were a wonderland. 18 And they were happy, having not yet eaten of the Tree of the Knowledge That Your Lifestyle Is Sinful.

Steve could look at an open, weed-choked field and see gardens, walkways, new environments for animals. His mind buzzed with projects. It takes vision, and hard work. I would watch Steve planting trees, moving earth, and landscaping. He milled his own timber to build enclosures. He worked from dawn until well after dark, when he rigged spotlights to be able to keep working. I had never seen anything like it. He was a machine. He would go past human endurance. Often I’d catch him throwing up behind a tree out of sheer physical exhaustion. “Don’t worry about it. I just drank too much tea this morning,” he said after one such incident, when I expressed my concern. He continued with the job. Running a zoo meant being able to work with wildlife, yes. But I discovered there was so much more to it. Steve had an apprenticeship in diesel fitting, so he could operate and repair the backhoes, vehicles, and machines necessary to run the zoo. He laid brick and concrete, designed enclosures, and had an eye like an interior decorator for the end result of all his work. It didn’t just have to be sturdy and well-built. It had to look good, too. Over the course of several years in the early 1990s, I helped as Steve developed and expanded the zoo. Funds were limited. Steve did much of the work himself, making what little money we had stretch that much further. He wouldn’t even have one project finished and would already be dreaming up visions of another.

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Never before in history have grown men sat down and seriously designed electric hairbrushes, rhinestone-covered file boxes, and mink carpeting for bathrooms, and then drawn up elaborate plans to make and sell the gadgets to millions of people,” wrote Victor Papanek in 1971: Today, industrial design has put murder on a mass production basis. By designing criminally unsafe automobiles that kill or maim nearly one million people around the world each year, by creating whole new species of permanent garbage to clutter up the landscape, and by choosing materials and processes that pollute the air we breathe, designers have become a dangerous breed.

the forest islands of Bolivia are comparable to any place in South America. The same is true of the Beni savanna, it seems, with its different complement of species. Ecologically, the region is a treasure, but one designed and executed by human beings. Erickson regards the landscape of the Beni as one of humankind’s greatest works of art, a masterpiece that until recently was almost completely unknown,

The nearest watch-tower, at which the driver pointed, was sharply silhouetted. It was closer than the other had been and had no higher hills behind it, only the clearing sky with its suggestion of of pale gold, now perhaps employed in the propaganda services of the people’s free republic. All the fences, designed to keep those people feeling free and happy without a chance of break-out, could be seen from this vantage point. It was as if the landscape was now within the brain of some giant power lunatic, with barbed and electrified wire running towards nerve ends, watch-towers completing the optical system.

I see the world in a unique way, mathematically, as a Landscape Mathematician. When I observe nature, concepts and visualizations form in my brain, and systems start to connect mathematically.

found some insight in the essays of the landscape theorist J. B. Jackson, who observes that we have long been uneasy about our membership in the animal kingdom, preferring to focus on the traits that distinguish us from other species. The built environment mirrors this anxiety, carving out ample space for our cultural aspirations while ignoring our biological needs. In Jackson’s view, our cities are designed to make us feel separate from nature, when in fact we are a part of nature. For most of human evolution—eighty thousand generations—nature was not a place we went but a place we lived.

as is becoming increasingly clear to those who have attempted these types of minor corrections, willpower, tips, and vague resolutions are not sufficient by themselves to tame the ability of new technologies to invade your cognitive landscape—the addictiveness of their design and the strength of the cultural pressures supporting them are too strong for an ad hoc approach to succeed. In my work on this topic, I’ve become convinced that what you need instead is a full-fledged philosophy of technology use, rooted in your deep values, that provides clear answers to the questions of what tools you should use and how you should use them and, equally important, enables you to confidently ignore everything else.

Think with the end in mind. Before you go on a trip, you determine your destination and plan out the best route. Before you plant a garden, you plan it out in your mind, possibly on paper. You create speeches on paper before you give them, you envision the landscaping in your yard before you landscape it. You design the clothes you make before you thread the needle.

It was a lavishly decorated medieval manuscript or something that looked like one. The first letters caught the light from the hallway and sparkled in gold. Strange birds and exotic animals hidden in a tangle of foliage and fairy-tale landscapes lined the borders.

In most cases and most places, the design of broadly functional, ecologically sound, resource-conserving residential gardens requires a carefully balanced mix of native and non-native plants. It’s time to stop worrying about where plants come from and instead focus on how they function in today’s ecology. After all, it’s the only one we have.

One of the most important functionalities is durability: the capacity to thrive over a long time without dependence on resource-consuming maintenance regimes.