The historic landscape of the Mendip Hills

When travelling north-east across the Somerset Levels and Moors the eye is drawn to the dark mass of the Mendip Hills, a Carboniferous Limestone ridge which rises abruptly from the flatness of its surroundings. The Historic Landscape of the Mendip Hills explores the archaeology and architecture of this remarkable corner of England, beginning with evidence for the first hunting groups who passed through the region over half a million years ago. Succeeding generations have left their mark on the Hills, from the enigmatic ceremonial structures of the Neolithic and Early Bronze Age, to the ancient farming landscapes and brooding hillforts of the Later Prehistoric period. Field archaeology, combined with architectural and historical enquiry, has also allowed a complex narrative to be constructed for more recent periods of history. This is a story dominated by adaptation and change, evidenced by the developing architecture of manorial centres and the shadowy remains of earlier structures fossilized within village houses. This volume presents a synthesis of the results of recent fieldwork undertaken by English Heritage and traces this region’s remarkable past, revealing ways in which it has shaped the landscape we see and value today.

Sculptural abstraction of landscape

The purpose of my Senior Scholar project was to create a series of sculptures that are based on the interaction of natural forms within a selected landscape setting. I hope to convey a sense of how I view and interpret the landscape and to create works that stimulate a sense of wonder in the mind of the viewer. This fascination, perhaps even obsession, with the power of the landscape has kept me going throughout the year. As a source of ideas and imagery, the landscape can never be depleted. There will always be new combinations of landscape elements, different light conditions, and changing seasons to provide me with fresh ideas. Research for the project took me to many different places, be it my trip to Monhegan Island or driving to New York City to study the cityscape. I began the year working in steel and plaster, combining the two in works that explore the interaction between living tree roots and inanimate rocks. This led to a series entitled Landscape Recollections, comprised of welded steel forms housed in protective wooden boxes and lit from inside. After visiting New York City, architecture began to playa role in my work, as seen in the two Roadcut pieces and the Cathedral Woods series. Roadcut #1 and Roadcut #2 explore the relationship between a man-made road and the landscape that lies beneath and around it. The Cathedral Woods pieces incorporate architecture in a more abstract manner, using imagery derived from Gothic cathedrals to convey a sense of quiet peacefulness. The soaring verticality of Gothic architecture integrates with the tall tree forms in each piece, enabling me to intertwine these two elements into one another and create a harmonious relationship between architecture and nature. Throughout the year I have kept a sketchbook in which I draw from life, jot down ideas, and take notes on how the project is progressing. I have also completed several large charcoal drawings of my sculptures in which I explore different ways of viewing the steel forms. I am grateful to have had the opportunity to undertake this project, as it has been a very difficult but rewarding process of observing, interpreting, and manifesting the landscape according to my personal vision and experiences.

The influence of bedrock orientation on the landscape evolution, surface morphology and denudation (10Be) at the Niesen, Switzerland

Landscape evolution and surface morphology in mountainous settings are a function of the relative importance between sediment transport processes acting on hillslopes and in channels, modulated by climate variables. The Niesen nappe in the Swiss Penninic Prealps presents a unique setting in which opposite facing flanks host basins underlain by identical lithologies, but contrasting litho-tectonic architectures where lithologies either dip parallel to the topographic slope or in the opposite direction (i.e. dip slope and non-dip slope). The north-western facing Diemtigen flank represents such a dip slope situation and is characterized by a gentle topography, low hillslope gradients, poorly dissected channels, and it hosts large landslides. In contrast, the south-eastern facing Frutigen side can be described as non-dip slope flank with deeply incised bedrock channels, high mean hillslope gradients and high relief topography. Results from morphometric analysis reveal that noticeable differences in morphometric parameters can be related to the contrasts in the relative importance of the internal hillslope-channel system between both valley flanks. While the contrasting dip-orientations of the underlying flysch bedrock has promoted hillslope and channelized processes to contrasting extents and particularly the occurrence of large landslides on the dip slope flank, the flank averaged beryllium-10 (10Be)-derived denudation rates are very similar and range between 0.20 and 0.26 mm yr−1. In addition, our denudation rates offer no direct relationship to basin's slope, area, steepness or concavity index, but reveal a positive correlation to mean basin elevation that we interpret as having been controlled by climatically driven factors such as frost-induced processes and orographic precipitation. Our findings illustrate that while the landscape properties in this part of the northern Alpine border can mainly be related to the tectonic architecture of the underlying bedrock, the denudation rates have a strong orographic control through elevation dependent mean annual temperature and precipitation.

Geophysical mapping of the sediment architecture in the Orkhon Valley, Mongolia

Ground penetrating radar (GPR) and capacitive coupled resistivity (CCR) measurements were conducted in order to image subsurface structures in the Orkhon Valley, Central Mongolia. The data are extended by information from drill cores to the entire transects distinguishing different sedimentary environments in the valley. The Orkhon Valley is part of the high sensitive Steppe region in Central Mongolia, one of the most important cultural landscapes in Central Asia. There, archaeological, geoarchaeological and sedimentological research aims to reconstruct the landscape evolution and the interaction between man and environment during the last millennia since the first settlement. In May 2009 and 2010 geophysical surveys have been conducted including transects with lengths between 1.5 and 30 km crossing the entire valley and a kilometre-scaled grid in the southern part of the investigation area. The geoelectrical and GPR data revealed the existence of two layers characterized by different resistivity values and radar reflectors. The two layers do not only represent material contrasts, but also reflect the influence of sporadic permafrost which occurs in several areas of Mongolia. The results help to reconstruct the evolution of the braided Orkhon River and therefore give important hints to understand the environmental history of the Orkhon Valley.

An ITS architecture specification - The FOTsis project experience

The recent continuous development of Cooperative ITS has resulted in several initiatives which focus on different parts of the Cooperative environment landscape. The FOTsis project focuses on the infrastructure side of the Cooperative environment and will deploy and test 7 services designed to maximise the benefits of the integration of the road operator and infrastructure-based information providers into the ITS environment. This integration can take place in any of the stages of data collection, processing and actuations of the services, but also support and trigger external tasks such as operations of the emergency response entities, etc. This paper describes the current status of the project and focuses on the specification of the supporting architecture to the services tested: references, a brief outline of the requirements’ definition, and the FOTsis architecture proposal, with some conclusions about the architecture tests conducted. The outlook on the project’s next steps is given in the last section of the paper.

Climatic analysis methodology of vernacular architecture

Vernacular architecture has demonstrated its perfect environmental adaptation through its empirical development and improvement by generations of user-builders. Nowadays, the sustainability of vernacular architecture is the aim of some research projects in which the same method should be applied in order to be comparable. Hence, we propose a research method putting together various steps. Through the analysis of geographical, lithology, economic, cultural and social influence as well as materials and constructive systems, vernacular architecture is analyzed. But, all this information is put together with the natural landscape (topography and vegetation) and the climatic data (temperature, winds, rain and sun exposure). In addition, the use of bioclimatic charts, such as Olgyay or Givoni’s, revealed the necessities and strategies in urban and building design. They are satisfied in the vernacular architecture by the application of different energy conservation mechanisms, some of them are shown by different examples in this paper.

An ITS architecture specification - The FOTsis project experience

The recent continuous development of Cooperative ITS has resulted in several initiatives which focus on different parts of the Cooperative environment landscape. The FOTsis project focuses on the infrastructure side of the Cooperative environment and will deploy and test 7 services designed to maximise the benefits of the integration of the road operator and infrastructure-based information providers into the ITS environment. This paper describes the current status of the project and focuses on the road safety approach within the project: safety services and safety impact assessment. The outlook on the project's next steps is given in the last section of the paper.

Dan Kiley en la casa Miller

El propósito de esta tesis es estudiar los aspectos fundamentales de la obra del paisajista norteamericano Dan Kiley a través del ejemplo de la casa Miller en Columbus, Indiana. A la hora de abordar el estudio se ha tratado por una parte de estudiar y explicar cuánto hay de relevante en esta obra, pero también de situarla en su contexto. Éste es, además, múltiple: el de la obra, de su autor, el del lugar en que se encuentra y el del momento cultural e histórico en que se produce. En el caso de la casa Miller, la autoría es compartida, y el resultado final, como ocurre en muchos casos de viviendas unifamiliares, responde a un carácter coral, en el que los protagonistas son varios, con mayor o menor influencia, pero indispensables todos ellos en la visión final de conjunto. El primero de los aspectos a considerar son los antecedentes que la han hecho posible ya que el entorno que conforma el universo de Dan Kiley hasta llegar a Columbus es fundamental para entender las circunstancias de partida de una obra como la casa Miller: sus años previos a la universidad, su particular relación con el paisaje a través de sus diferentes trabajos, su extenso conocimiento de las especies de plantas y la experiencia acumulada trabajando para Warren Manning, como la formación basada en la enseñanza, herencia de Olsmted y de las Bellas Artes. Después, sus compañeros de Harvard Eckbo y Rose, la influencia dentro de la universidad tanto de Walter Gropius como de los paisajistas Thomas Church o Christopher Tunnard y de los jardines realizados en Europa durante las primeras décadas del siglo XX conocidos a través de las publicaciones y de la arquitectura de Mies van der Rohe. Años más tarde, después de haber abandonado Harvard, la decisiva influencia de Eero Saarinen y también la de sus relaciones con los diversos colaboradores, los primeros viajes a Europa y con ello la posibilidad de visitar las grandes obras de Le Nôtre. Por otro lado, y en paralelo, la biografía de Irwin Miller, propietario de la casa, nos lleva hasta el momento en el que se ponen en contacto las tres figuras clave para el inicio de las obras (Miller, Saarinen y Kiley) terminando de situar a la casa Miller en el contexto biográfico de su creación. El análisis del lugar, una ciudad tan especial como Columbus, nos remite continuamente a la figura de Irwin Miller, manteniendo siempre una relación indisoluble entre este singular patrono y su ciudad, materializada en la creación del Architecture Program. La primera parte del trabajo aborda estos temas, alternando entre una figura y otra, aunque todas las partes se encuentran ligadas entre sí. En la segunda parte de la tesis se analiza en profundidad primero la casa Miller y después con una mayor precisión los jardines: su esquema compositivo general, sus tres partes diferenciadas y dentro de ellas las sucesivas subpartes que las componen. El análisis se estructura en tres fases: una primera descriptiva del desarrollo del proyecto hasta su materialización en la obra, la siguiente que analiza lo realmente ejecutado y por último los cambios sufridos a lo largo del tiempo. En cuanto al análisis propio de la casa y los jardines, la información de los planos, así como de las fotografías familiares, junto con las imágenes más oficiales de la casa pertenecientes a Ezra Stoller y Balthazar Korab, permitirá conocer los cambios producidos a lo largo del tiempo debidos a diversos factores, como el cambio de criterio en cuanto al uso o decisiones personales del matrimonio Miller: sustitución de plantas y árboles, desaparición de elementos curiosos como las cascadas del techo de uno de los porches, o aparición de elementos singulares que formaran parte de las visiones ya clásicas de la casa, como la escultura de Henry Moore. La tercera parte de la tesis describe la influencia de los jardines de Le Nôtre en el jardín de la casa Miller, gracias a la utilización y adaptación de numerosos recursos del jardín barroco francés, y se configura, junto con el análisis de las obras de jardín doméstico más significativas de Kiley en su obra posterior a la Miller, como el análisis final de todo el trabajo. La utilización de estos instrumentos depurados bajo una estética formal propia del movimiento moderno tiene una singularidad única en los jardines de la Miller, y a pesar de que a lo largo de su carrera Dan Kiley convirtió esta utilización en una constante, no logró la armonía demostrada en esta residencia de Columbus en ninguno de los jardines posteriores en cuanto a forma, escala, relación entre las partes, respuesta a las necesidades de uso y de evolución a lo largo del tiempo. ABSTRACT The purpose of this thesis is to study the fundamental aspects of the work of the american landscape architect Dan Kiley through the example of the Miller House in Columbus, Indiana. When addressing the study it was treated on the one hand to study and explain how much is relevant in this work, but also put it into context. This is also multiple: the work, its author, the place where it lands and the cultural and historical context in which it occurs. In the case of the Miller house, the authorship is shared, and the end result, as in many cases houses, responds to a coral nature, in which the protagonists are several, with more or less influence on it, but indispensable all of them in the final overview. The first aspect to be considered are the antecedents that made it possible, because the environment which forms the universe of Dan Kiley to reach Columbus is essential to understand the circumstances of departure for a work like the Miller house: his previous years of college, his particular relationship with the landscape through his different jobs, his extensive knowledge of species of plants and the accumulated experience working for Warren Manning, and also the training based on Olmsted and Beaux Arts heritage . After that, his Harvard fellows Eckbo and Rose, the influence from Walter Gropius Thomas Church and Christopher Tunnard within the university, and also the landscape and garden made in Europe during the first decades of the twentieth century known through publications and the architecture of Mies van der Rohe. Years later, after leaving Harvard , the decisive influence of Eero Saarinen and also his relationships with various partners, the first trips to Europe and therefore the opportunity to visit the great works of Le Nôtre. On the other hand, and in parallel, Irwin Miller´s biography, owner of the house, takes us to the time when the three key figures come into contact to the start the construction (Miller, Saarinen and Kiley) putting the Miller house into the biographical context of its creation. The analysis of the place, a very special city like Columbus, continually refers us to Irwin Miller´s figure while maintaining an indissoluble relationship between employer and this unique city, materialized in the creation of the Architecture Program. The first part of the work deals with these issues, alternating between one figure and another, although all parties are linked. The second part of the thesis analyzes in depth Miller´s house and then with greater precision the gardens: its overall compositional scheme, its three distinct parts and within them the successive subparts that compose the garden The analysis is divided into three phases: the first one is focused in the project development to its materialization in the final work, the second one which analyzes what is really executed and finally the changes undergone over time. As for the own analysis of the house and gardens, the information drawings, as well as family photographs, along with the official pictures of the house belonging to Ezra Stoller and Balthazar Korab, will reveal the changes throughout time due to various factors, as the change in criterion for the use, or Miller´s marriage personal decisions: replacement of plants and trees, disappearance of curious elements like waterfalls roof of one of the porches, or appearance of single elements that now have become part of the classic visions of the house, like the sculpture of Henry Moore. The third part of the thesis describes the influence of the gardens of Le Nôtre in the garden of Miller´s house, through the use and adaptation of numerous resources from the French Baroque garden, and it is configured as the final analysis of of the work, also with the description of Kiley´s most significant post-Miller one family housing gardens. The use of these released under its own formal aesthetics of modernism instruments has a unique singularity in the gardens of the Miller´s , and although Dan Kiley turned this use in a constant throughout his career, he never got to the harmony demonstrated in Columbus residence in any of the later gardens in form, scale, relationship between the parties, responding to the needs of use and evolution over time.

Overdeepened glacial basins as archives for the Quaternary landscape evolution of the Alps

The Alps and the Alpine foreland have been shaped by repeated glaciations during Quaternary glacial-interglacial cycles. Extent, timing and impact on landscape evolution of these glaciations are, however, poorly constrained due to the fragmentary character of terrestrial archives. In this context, the sedimentary infills of subglacially eroded, ‘overdeepened’, basins may serve as important archives to complement the Quaternary stratigraphy over several glacial-interglacial cycles. In this thesis, the infills of deep subglacial basins in the Lower Glatt valley (N Switzerland) are explored to better constrain the Middle- to Late Pleistocene environmental change. Five drill cores gave direct insight into to the up to ~200 m thick valley fill at the study site and allowed for detailed analysis of sedimentary facies, age and architecture of the basin fills. A first focus is set on the sedimentology of coarse-grained diamicts with sorted interbeds overlying bedrock in the trough center, which mark the onset of deposition in many glacial bedrock troughs. Evidence from macro- and microsedimentology suggests that these sediments are emplaced subglacially and reflect deposition, reworking and deformation in response to repeated coupling and decoupling of the ice-bed interface promoted by high basal water pressures. Overlying these subglacial sediments, large volumes of sandy glacio-deltaic, fine-grained glacio-lacustrine and lacustrine sediments document sedimentation during glacier retreat from the basins. On these thick valley fill sequences the applicability and reliability of luminescence dating is investigated in a second step on the basis of experiments with several different luminescence signals, protocols and experiments to assess the signal stability. The valley fill of the Lower Glatt valley is then grouped into nine depositional cycles (Formations A-I), which are related to the Birrfeld Glaciation (~MIS2), the Beringen Glaciation (~MIS6), and up to three earlier Middle Pleistocene glaciations, tentatively correlated to the Hagenholz, Habsburg, and Möhlin Glaciations, according to the regional glaciation history. The complex bedrock geometry and valley fill architecture are shown to be the result of multiple erosion and infilling cycles and reflect the interplay of subglacial erosion, glacial to lacustrine infilling of overdeepened basins, and fluvial down-cutting and aggradation in the non-overdeepened valley fill. Evidence suggests that in the study area deep bedrock incision, and/or partial re-excavation, occurred mainly during the Beringen and Hagenholz Glaciation, while older structures may have existed. Together with the observation of minor, ‘inlaid’ glacial basins, dynamic changes in the magnitude and focus of subglacial erosion over time are documented.

Pictorial history of the city of Richmond, Indiana : containing a brief sketch of Richmond, views of public buildings, school houses, churches, business houses, manufactories, private residences, street, park, and river views ; 1806-1906.

Includes index.