Based on aerials, maps, and images available through Google and other sources, I develop a typology of built landscape forms found within 24 metropoli- tan regions worldwide and use GIS to map these forms and compare regions. The analysis shows that 27 basic types of built landscape make up metropolitan regions worldwide, of which nine are very common. Traditional urban types now make up a small fraction of most metropolitan areas world- wide, while suburban and exurban forms comprise the vast majority of the land area.
There are noted regional differences in the mix of built landscape types. Takeaway for practice: Each built landscape form offers challenges and opportunities for planning objectives such as livability and sustainability. It is important for planners to a help the public and decision makers understand built landscapes and their implications; b include landscape-scale elements, such as street patterns and networks of green infrastructure, when framing urban development alternatives; c ensure that local codes and design guidelines enable desired forms of built landscapes and discourage those that are problematic for sustainability; and d encourage built landscape change that promotes sustainability.
Many UC-authored scholarly publications are freely available on this site because of the UC's open access policies. Let us know how this access is important for you. Skip to main content. Email Facebook Twitter. For improved accessibility of PDF content, download the file to your device. The grass covered roofs of the power station workshops in south form the extension of our landscape. As for the part of the building that is situated within the core of the earth wall, a basic structure of exposed concrete is supplemented with built in furniture elements in colored MDF, wooden oak floors, and brightly painted magnesia-bonded panels for acoustic absorption on walls and door elements.
Part of the exposed concrete is stained in bright colors to contrast the archaic look of the untreated concrete. Profiled glass walls allow daylight to penetrate far into the building. All meeting and conference rooms are enclosed in frameless glass walls. The light timber structure of the upper glue-lam shell remains exposed, the diamond shaped curvilinear spaces between them are filled with acoustic panels stained in a dark purple color.
Most of the north side of the building is covered in vegetation, yet three aluminum clad meeting rooms project through the earth wall and cantilever over the slope.
Some of these gabion walls even penetrate into the foyer of the building. The main structural challenges arose from the fact that we had to create an earth wall of up to 13 m height that is capable of supporting not only itself at a 45 degree slope, but also to accommodate a building within it, situated at about 6 meters above grade. It was very important to cover the building in landscape and vegetation that appears to be continuous and without indication of the shape of the building underneath.
A specially engineered and carefully balanced mixture of earths with fine aggregate and a very low percentage cement for adhesion ensures the stability of the earth wall structure, yet allows enough water to be retained to let vegetation cover the structure completely and evenly.
A large portion of the building is covered with up to 6 m of the earth wall. Here the core of earth wall is built up with geo-blocks to reduce the weight of the earth wall. All this is covered with the same earth mixture and vegetation. The upper floor of the building folds out of the wall and cantilevers up to 20 m over the upper level of the site.
This would be important regardless of whether the building was religious, monumental, utilitarian, or residential. Architecture is often used to make religious and cultural statements. For example, Bayon, at Angkor, is a state temple, a complex monument that uses face towers to create stone mountains of ascending peaks, and below are two bas-relief galleries with delicately carved historical, religious, and mythological subjects sweeping across the walls. Dancing apsaras are incised on pillars.
They invited the congregation to worship and pray. Everyone had access to God. Windows let in light, sometimes through stained glass, which adds a kaleidoscope of rainbow colors dancing on the floor and walls as the sun moves. It is light, mysterious, and holy. In the Americas the Maya wrote their history on the outside of their buildings. Like any culture that believes the earth is alive, they used objects as symbols for the natural world.
Their pyramids were mountains, and the doorways of their temples were the mouths of those mountains — cave entrances. Their Classic Period was noted for elite architecture, propagandistic monuments, and flamboyant theater-state rituals where epicenters of Maya sites were constructed as stage settings for religious spectacles, demonstrating the political and spiritual power of the rulers.
Standing stones, stone circles, and cairns date to the Neolithic period and the Bronze Age. People have probably been anthropomorphizing the stones since soon after they were erected — brooding, pensive figures — maybe even witches or faeries in the woods or open moor.
The builders of the Neolithic burial chamber at Pentre Ifan in Wales would never have intended it to be viewed as it is today — a large and elegant capstone balanced delicately on the tips of upright stones.
They covered it with a mound of earth feet 40 meters long, traces of which still remain, but thousands of years of wind and rain have exposed the very essence of its design, revealing a monument of lyrical grace, equal to or surpassing modern contemporary sculpture. There might only be the most teasing of hints, but often nothing left on the surface to tell us what will lie beneath.
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