Design Thinking: 5 Design Approches to Inspire Creativity

1. Metaphor 

In literature a metaphor is “a figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable”. (Metaphor, n.d.) However, from a design perspective we must acknowledge that metaphor is fundamentally a cognitive process. As outlined by Lakoff and Johnson “metaphor is primarily a matter of thought and only derivatively a matter of language.” (Ervas, 2019) As landscape architects we must acknowledge that metaphors have the capacity to play a significant role in our design approach. Fundamentally, we are creative problem solvers, often challenged with multidimensional problems, too complex to be solved with linear, rational thinking. However, metaphorical thinking is not logical or linear, it allows us to interpret space in the terms of another distinct entity; the outcome often innovative and imaginative. (Ayıran, 2012)

Landscape architecture is a visual art, thus, metaphors often materialise visually. This is the case in my own work, Woven Ground; the art of weaving was visually interpreted through a series of interweaving pathways, willow rods intertwined alongside the River Severn . However, metaphors also prevail conceptually. In my work I aimed display a metaphorical interpretation of weaving through the intertwining of people, place and nature. 

2. Archetype

The word archetype originates from the Greek archetypo, meaning “original pattern”. (Archetype theory, practice, and Model Driven Architecture, 2003) From a landscape perspective an archetype is a universally recognised framework that is used to guide a design process. As previously acknowledged, landscape architects are often challenged with complex design problems; in many circumstances, archetypes provide a solution. From traditional knot gardens to urban boulevards, recurring patterns which have proven successful throughout the history of landscape design have the potential to provide a model for contemporary landscape architecture.

In the 20^thcentury, modernist landscape architect Lawrence Halprin utilised the archetype of the waterfall to create a series of multisensory urban spaces. Halprin took a modernist approach, responding to the natural, organic forms of the waterfall in an innovative and experimental way. He studied the flows of water, and was able to create a similar effect without directly mimicking a waterfall; abstracting the organic rock forms found in nature. 

3. Symbolism 

Landscape architects use symbolism to represent abstract ideas through design. Symbolic landscape design has its origins in ancient civilisation, myth and religion. In antiquity, earth, water and vegetation were all entwined with meaning. 

In contemporary landscape design, symbolism most often materialises through public art and memorialisation. Today Geoffrey Jellicoe’s Kennedy Memorial, designed in 1966, is regarded a noteworthy exemplar of symbolic landscape design. The memorial is a nod to the visible and invisible qualities of landscape. Upon entry, visitors begin to climb a steep stone pathway of 60,000 granite setts, “the setts represent a multitude of pilgrims on their way upwards” whilst the surrounding woodland symbolises the cycle of life and death (Turner, 2016).

Commemorating the events and victims of 9/11, Ground Zero is another poignant example. The empty space symbolises both the loss of life and the physical void left by the destruction of the twin towers. The water, flowing downward in individual streams, collects at the bottom of the pool, representing the idea of bringing together many separate lives into one lived experience (Hammond, 2020).

As emerging landscape architects we must acknowledge the power of symbolic landscape design to raise awareness of the challenges we face today. Public art is often used to symbolise contemporary issues, from racial injustice to environmental degradation. Going into the future we must begin to create places that hold meaning and symbolise a call for change. 

4. Narrative 

Narrative can provide a framework for an approach to landscape architecture.  It can materialise explicitly in order to convey a historic or cultural narrative, for example, the Vietnam Veterans Memorial, tells a story of the fallen soldiers in the Vietnam war. However, it most often prevails subliminally. Fundamentally, narrative is a means of making sense of experience and landscape. As outlined by Potteiger and Purinton “people map landscapes into the very texture and structure of stories”. (Potteiger and Purinton, 1998) By taking a narrative approach to design, landscape architects can encourage people to engage in the experience of place. 

I myself am inspired by William Kent’s garden design at Stourhead. The garden experiments with ideas of suspense and revelation; something I have tried to capture myself in Woven Ground. (Cassar, 2016) The garden was designed as a series of carefully constructed vistas, creating a narrative as visitors travel around the lakes. The picturesque views were created to be remembered “like scenes from a landscape painting”. (The history of the house at Stourhead, n.d.)

5. Geometry 

Geometry has a powerful influence within the realm of landscape architecture. Whilst we apply geometric principles to study and divide space, we also utilise it to design interesting and aesthetically pleasing environments. From the simple geometric forms of the Bauhaus, to the asymmetrical landscapes of Burle Marx, geometry is intrinsic to landscape architecture. Nonetheless, some designers are more deeply influenced by geometry than others. For example, landscape architect Charles Jencks is widely recognised for his use of geometric shapes and spiral mounds. Jencks’ Garden of Cosmic Speculation is heavily inspired by science and mathematical formulae. Covering a total of 30 acres the garden elegantly combines natural features with artificial symmetry and curves. (Patowary, 2013)

References 

Ayıran, N., 2012. The role of metaphors in the formation of architectural identity. ITU Journal of Faculty of Architecture, 9(2).

 

Cassar, S., 2016. Tell me a Story about Designing Narrative Landscapes. [online] Edinburgh. Available at: <https://issuu.com/archileo89/docs/cassar_-_landscape_contextual_studi> [Accessed 8 April 2021].

 

Ervas, F., 2019. Metaphor, ignorance and the sentiment of (ir)rationality. Synthese, [online] Available at: <https://doi.org/10.1007/s11229-019-02489-y> [Accessed 8 April 2021].

 

Hammond, G., 2020. Rebuilding Ground Zero: Design of the 9/11 Memorial & Museum. [online] 911 Ground Zero. Available at: <https://911groundzero.com/blog/rebuilding-ground-zero-architects-behind-911-memorial-museum/#:~:text=The%20empty%20space%20symbolizes%20both,bombing%20of%20the%20North%20Tower.> [Accessed 8 April 2021].

 

National Trust. n.d. The history of the house at Stourhead. [online] Available at: <https://www.nationaltrust.org.uk/stourhead/features/the-history-of-the-house-at-stourhead> [Accessed 8 April 2021].

 

Oxford Reference. n.d. Metaphor. [online] Available at: <https://www.oxfordreference.com/view/10.1093/oi/authority.20110803100153175#:~:text=A%20figure%20of%20speech%20in,Dictionary%20of%20Phrase%20and%20Fable%20%C2%BB> [Accessed 8 April 2021].

 

Patowary, K., 2013. Charles Jencks’s Peculiar Landscaping Art. [online] Amusingplanet.com. Available at: <https://www.amusingplanet.com/2013/08/charles-jenckss-peculiar-landscaping-art.html> [Accessed 16 April 2021].

 

Potteiger, M. and Purinton, J., 1998. Landscape narratives. New York: J. Wiley.

 

Ptgmedia.pearsoncmg.com. 2003. Archetype theory, practice, and Model Driven Architecture. [online] Available at: <http://ptgmedia.pearsoncmg.com/images/032111230X/samplechapter/arlowch01.pdf> [Accessed 9 April 2021].

 

Turner, T., 2016. Geoffrey Jellicoe on the visible and invisible in landscape design. [online] Landscape Architects LAA. Available at: <http://www.landscapearchitecture.org.uk/geoffrey-jellicoe-visible-invisible-landscape-design/> [Accessed 8 April 2021].