Wood In The Landscape

Holz gehört zu den gebräuchlichsten Materialien bei der Landschaftsgestaltung, sei es in Form von Sichtschutzwänden, Zäunen, Holzböden, Pergolas oder anderen freistehenden Strukturen. Es besitzt jedoch eine Reihe von Eigenschaften, die z.T. schwierig zu berechnen sind und die man bei der Auswahl der geeigneten Holzart beachten muß, insbesondere, wenn es Wind und Wetter ausgesetzt ist. Dieses Buch erläutert die Eigenschaften von Holz sehr umfassend und gibt Informationen, wie man das Material am besten in die Landschaftsgestaltung einplant, bei der Konstruktion die technischen Daten berücksichtigt und entsprechend verarbeitet.

Holz gehört zu den gebräuchlichsten Materialien bei der Landschaftsgestaltung, sei es in Form von Sichtschutzwänden, Zäunen, Holzböden, Pergolas oder anderen freistehenden Strukturen. Es besitzt jedoch eine Reihe von Eigenschaften, die z.T. schwierig zu berechnen sind und die man bei der Auswahl der geeigneten Holzart beachten muß, insbesondere, wenn es Wind und Wetter ausgesetzt ist. Dieses Buch erläutert die Eigenschaften von Holz sehr umfassend und gibt Informationen, wie man das Material am besten in die Landschaftsgestaltung einplant, bei der Konstruktion die technischen Daten berücksichtigt und entsprechend verarbeitet.

In the early sixteenth century, Albrecht Altdorfer promoted landscape from its traditional role as background to its new place as the focal point of a picture. His paintings, drawings, and etchings appeared almost without warning and mysteriously disappeared from view just as suddenly. In Albrecht Altdorfer and the Origins of Landscape, Christopher S. Wood shows how Altdorfer transformed what had been the mere setting for sacred and historical figures into a principal venue for stylish draftsmanship and idiosyncratic painterly effects. At the same time, his landscapes offered a densely textured interpretation of that quintessentially German locus—the forest interior. This revised and expanded second edition contains a new introduction, revised bibliography, and fifteen additional illustrations.

A guide to using the metaphorical language of a “stuck” situation to discover the solution • Shares an easy, fun process of exploring well-known sayings as a means to identify new solutions and get unstuck in life and work • Explains how to bring clarity to a problem, highlight alternative perspectives, bypass any conscious resistance to finding a solution, and allow solutions to emerge organically, from within ourselves • Details the author’s “Landscaping Your Life” method, which has been used successfully in business strategy development, team development, project problem resolution, and in one-to-one coaching If you can’t see the wood for the trees, feel like a fish out of water, or are going around in circles, we’ve got good news for you: that saying is also a clue to where you’ll find the solution. Yes, you read right--you can use the language you’re using to describe the stuck situation to discover the solution. It’s not even the language as much as the landscape contained within your description of the situation that can give you pointers. As Alison Smith explains, “If a picture paints a thousand words, then a metaphor paints a thousand pictures. In other words, the metaphor in the saying you’re using will provide a million words that will undoubtedly have the solution contained within them.” That’s what this book is all about--taking these sayings that you’re using to describe being stuck and using them to get unstuck again. The language you apply provides clues to how you perceive the current situation. Subconsciously, you know the solution. Exploring the metaphors contained within your language allows your subconscious to communicate to your conscious awareness more easily. The metaphor reduces resistance and the barriers we put up to change. It’s as if we enjoy exploring the metaphor and forget what it means in reality, and before we know it, we have a metaphorical solution that we cannot help but translate into real life. Offering an effective, easy process based on the power of metaphors, Alison Smith introduces her “Landscaping Your Life” method as a means to bring clarity to a problem, highlight alternative perspectives, and allow solutions to emerge organically, from within ourselves.

Whether you are planting a yard from scratch or modifying an existing area, Landscaping for Wildlife in the Pacific Northwest will help you select, arrange, and maintain plants and other landscape elements that fulfill wildlife needs. Homeowners, property owners, professional wildlife managers, landscape architects, and garden designers will all find it invaluable. A wealth of information is provided on: --Wildlife habitat and landscaping basics --Birds, mammals, reptiles, amphibians, and insects likely to be attracted to your property --Specialty gardens for butterflies and hummingbirds --How to plant and maintain woodlands, grasslands, wetlands, and waterways --Feeders and nest boxes --Ponds and birdbaths --Potential problems --Wildlife viewing tips --Extensive plant lists

These three volumes of Tom Wood's new work, "Landscapes," are drawn from the artist's extensive unseen and unpublished landscape work. The first volume concentrates on Wood's photographs made in response to County Mayo in the west of Ireland--the landscape of his birthplace and childhood and an area he has returned to as an artist almost every year since 1975. Taken over decades, views of this wild and remote landscape--many of them glimpsed from the car, bus or train during his journeys there--are combined with fragile fragments of surviving family photographs, video stills, and intimate and affectionate portraits of day-to-day life within a rural community. The second volume consists of Wood's landscapes predominantly made within Merseyside, where he lived and worked for 25 years, from 1978-2003. In this more urban environment, his landscapes encompass pictures of people's homes and gardens, parks, wastelands and the river Mersey. Wood moved to Wales in 2003 to address what he has referred to as the matter of landscape. His open and experimental approach to photography means he is constantly pushing its formal and conceptual possibilities. Selected from the photographs he has been making in Wales, the third volume is the most formally abstract of the three books and includes many photographs taken with a panoramic camera--complex, optically rich pictures with multiple points of view and focus.

The colony that became Ontario arose almost spontaneously out of the confusion and uncertainty following the American Revolution, as a quickly chosen refuge for some 10,000 Loyalists who had to leave their former homes. After the War of 1812 settlers began to spread throughout the inter-lake peninsula that was to become southern Ontario and by the middle of the nineteenth century expansion had led to a diversifying agriculture and an increasingly open farming landscape that replaced a mature forest ecosystem. The scale of the change from forest to cropland profoundly affected what had been for many decades a rich environment for life forms, from large herbivores down to microscopic creatures. In Making Ontario David Wood shows that the most effective agent of change in the first century of Ontario's development was not the locomotive but settlers' attempts to change the forest into agricultural land. Wood traces the various threads that went into creating a successful farming colony while documenting the sacrifice of the forest ecosystem to the demands of progress, progress that prepared the ground for the railway. Making Ontario provides a detailed focus on environmental modification at a time of great changes. It is liberally illustrated with analytical maps based on archival research. J. David Wood is professor of geography and urban studies at Atkinson College, York University.

How are the far-away, invisible landscapes where materials come from related to the highly visible, urban landscapes where those same materials are installed? Reciprocal Landscapes: Stories of Material Movements traces five everyday landscape construction materials – fertilizer, stone, steel, trees, and wood – from seminal public landscapes in New York City, back to where they came from. Drawing from archival documents, photographs, and field trips, the author brings these two separate landscapes – the material’s source and the urban site where the material ended up – together, exploring themes of unequal ecological exchange, labor, and material flows. Each chapter follows a single material’s movement: guano from Peru that landed in Central Park in the 1860s, granite from Maine that paved Broadway in the 1890s, structural steel from Pittsburgh that restructured Riverside Park in the 1930s, London plane street trees grown on Rikers Island by incarcerated workers that were planted on Seventh Avenue north of Central Park in the 1950s, and the popular tropical hardwood, ipe, from northern Brazil installed in the High Line in the 2000s. Reciprocal Landscapes: Stories of Material Movements considers the social, political, and ecological entanglements of material practice, challenging readers to think of materials not as inert products but as continuous with land and the people that shape them, and to reimagine forms of construction in solidarity with people, other species, and landscapes elsewhere.