This essay examines Parc de la Villette through what will be defined as the versatile monument question, in order to discuss a non-linear, dynamic relationship between the processes of project commission, design and implementation, and site management. With this overview, we would like to facilitate further methodological discussion in landscape architecture and enhance interdisciplinary communication and cooperation with other academic disciplines. In grounding RTD in Creswell's framework, we argue that many types of designing can be a respected research method when they comply with the respective rules. For each claim, we articulate types of new knowledge that is searched for, related research questions, appropriate RTD methods and evaluation strategies. Building upon Creswell's well established overview of knowledge claims ((post)positivist, constructivist, advocacy/participatory and pragmatic) and related research methods, we categorize different types of RTD for landscape architecture in these knowledge claims. We position ‘research through designing’ in general discussions on research and design relations and indicate its great importance for landscape architecture research. Therefore, we shed light on methods that actively employ designing within the research process or ‘research through designing’ (RTD) in this essay. To enhance the methodological repertoire, the core activity of landscape architecture – designing – needs more emphasis in research. There is a general consensus amongst landscape architecture academia that the discipline has to urgently advance its methodological repertoire to generate new knowledge and thus strengthen the academic position of landscape architecture. Green architecture should therefore be critiqued from multiple angles, including the ideas, plans, politics, and economics that shape future cities. The assumption that green facades can bridge the gap between density and green-ness became an important premise for the project. The study shows that the projects for the new Oluf Bager's Plaza strike a balance between different ambitions, mainly adjusting to the historical context, while also answering the paradoxical double aim of Odense to become a densely built yet green city. How can green facades be critically discussed, beyond the dominating glossy project presentations and quantitative measurements of technological and ecological aspects? This article studies the green facades in the architectural competition, Oluf Bager's Plaza, 2016, in Odense, Denmark, using two traditions of critique: Noël Carroll's art criticism, in which green facades are seen as part of a designed work that follows certain intentions, and Mary McLeod's concept of architecture as public domain that requires critical attention towards broader cultural, social, and economic processes. This article explores how design critique can contribute to the thinking and practice around green architecture, particularly green facades, which are growing in number and significance.
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Increasingly celebrated, often without questioning, "green architecture" calls for a substantiated discussion.
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An agenda for future actions is given, including a list of projects that strongly asks for criticism, appealing to a shared feeling that these projects should be known, discussed, and visited.
MOCKS LANDSCAPING PROFESSIONAL
As critique can be both an activity in the professional arena and an academic undertaking, the specific requirements of both options are considered. The essay points at the difficulties for landscape architecture criticism due to the particularities of landscape and landscape architecture-the aspect of time is very important in this.
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In so far as there is a 'recipe' for a critique, the main ingredients are given. Using examples from art and architecture, the role of criticism in landscape architecture is described. An overview of the media in which criticism operates is given, including social media. Based on the work of Carroll, a theory on critique is provided, focussing on the aspect of 'grounded evaluation'.
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This essay explores critique as a specific instrument to evaluate and discuss artistic products, and argues that the relatively young discipline of landscape architecture could profit from further developing criticism within this field.