![]() ![]() ![]() ![]() Nevertheless, the ability to identify the visual and corporeal singularity of specific landscapes is undeniable, and this is what we can define as a landscape vernacular, which is both related to and distinct from architecture because of its territorial scale and relationship to temporal phenomena.Īs a case study in vernacular North American landscapes, Cape Cod is a region with deeply embedded historical and cultural associations. Jackson who, in his book Discovering the Vernacular Landscape, provides a concise, modern definition of landscape as “a composition of man-made or man-modified spaces to serve as infrastructure or background for our collective existence.” (2) To define landscape in this way reveals the extent to which its construction, as both a concept and a physical environment, is the result of a mixture of environmental and cultural conditions.ĭespite attempts to define and condense the experience of landscape through language, its imbricated layers of climate, geography, and topography, along with temporal fluctuation of human occupation, seasonal, and diurnal variations, highlight the complexity and ambiguity of the task. Perhaps the most salient work on this subject comes from J.B. Recent critical discourse in landscape history has addressed the complex etymological provenance of the term “landscape” in an attempt to re-evaluate and clarify its contemporary usage and meaning. Yet doing so may signify a false equivalency between the two as separate products of a similar process of cultural activity. (1) It’s tempting to apply a similar reading of landscape, acknowledging its own inherently constructed nature. When applied to architecture, the term describes the evolution of urban fabric and building typology based on spontaneous, rather than critical, evaluation. Vernacular construction occurs through the application of embedded, localized knowledge developed over time and through custom. Cannon Ivers, Devin Dobrowolski & Mary Catherine Miller ![]()
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