Dee, C., 2004, Bright berries, glisting wood: the role of poetic-critical drawing in the development of landscape architecture theory, in: ECLAS (Jørgensen, K. & G. Fry), ‘A critical light on landscape architecture’, ,
- Author : Dee, C.
- Year : 2004
- Published in Book : A critical light on landscape architecture
- Abstract in English : Drawing is neglected by theorists and is often dismissed as belonging to the realm of landscape practice. But each time a drawing is made something new is potentially learnt. Used as a particular kind of poetic-critical tool, drawing can be employed to develop landscape architectural theory. Poetical drawings enable the evolution of understandings of landscapes and are simultaneously propositional. They offer a view; a thought. Drawings provide different kinds of insights and conceptions to those elicited in words. Inspired by Anne Whiston Spirn’s ‘Language of Landscape’, and using phenomenological philosophy and Geertz’ ‘thick description’ I have been experimenting with approaches to drawing which crystalise disclosive and embodied ways of reading and conceiving landscape. This process of drawing is both motivated and informed by and ‘descriptive of’ theoretical positions but also acts to alter and develop these positions. Drawing is dialogic. In this paper I illustrate and discuss three types of poetic-critical drawing: ‘Dwelling Drawing’; ‘Embodied Drawing’; and ‘Eco- drawings’. My aim is to demonstrate how a process and final drawings can be understood as a theory of landscape architecture in which the poetic and analytical entwine to promote understandings of social, cultural and ecological dimensions of place.