Research Articles Base: Architectural Design Essays

Term Paper on How Architectural Design Values Influence Design Decision-Making

Design decisions and architectural strategies are highly dependent on the architectural design values of the architect. These values make up an important element that influences the decision-making of architects and designers. Nonetheless, individual architect or designer differs in values and intentions and this may have a significant manifestation in the architectural designs themselves and the outcomes. Also, such values determine and contribute on how architect or designer operates in relation to the clients.               There are seven distinct values for the architect: aesthetic, social, environmental, traditional, gender-based, economic and novel. The interplay between these design values contributes to the non-committing of unethical architectural practices. A unified design ethic is what guides the architect to perform his/her duty righteously. In an environment where moral professionalism is increasingly becoming a theory, the architectures must prove that they are performing their duties and responsibilities to the best of their ability.               The problem, however, is on the demarcation of morality from artistic merit which leads to facing ethical dilemmas over their profession. What constitutes ethical architecture is also a concern as well as what are the means to resolve design dilemmas.        Credit:ivythesis.typepad.com

Term Paper on How Architectural Design Values Influence Design Decision-Making

Design decisions and architectural strategies are highly dependent on the architectural design values of the architect....

Architectural Essay Revolution

The arch form firstly evolved as a structural element that applied for underground   structures such as tunnels for drainage systems and foundations for buildings as early   as 4000BCE. But ever since the Romans adapted the arch, a new architectural   treatment was given to its form that not to mention its structural advantages,   applied for the design and elaboration  of grand scale civic buildings and monuments   that would compromise with the tastes and predilections of  the Empire’s noble   society. [ Jackson T.G. p 6 ]   Triumphal arches were highly elaborate structures erected to commemorate military   victory and important events such as the ‘capture of Jerusalem’ depicted in sculptures   in the  Arch of Titus in Rome ( Figure 1 ). The arch form in this case is purely for   decoration as it features part of it on its underside (Figure 2 )  and simply connects   two pillars on which a superstructure rests. [He.S. p911]                                                                                                       Figure 1  Arch of Titus, Rome    Figure 2  The underside of the Arch of Titus              Chiefly, the Romans had also proved their engineering skills through the procedure   concerning the construction of the arch and which is called centering ( Figure 3 ).   Stones cut in wedge shape known as voussoirs were laid on a temporary timber frame   that followed the underside of a semicircular or segmental arch. When the ring was   complete and centering had been removed, the maximum vertical load occurs at the   crown of the arch which is why a joint between two voussoirs was avoided at that   particular point.                                         - 2 –                                       Figure 3                                                                                      Figure 4                                                   Centering   ( Drawn by author )                                     Roman aqueduct at Pont du Gard, France                      Therefore the keystone – which was the top most stone of the arch -  resulted by using   an odd number of voussoirs. Thus, vertical loads spread radially causing an outward   push at the point where the arch abuts with its supports, from where the forces   continue a vertical route towards the foundations.   As a result, the tensile stresses that forced the lintel to snap convert into compressive   to which the arch resists bending downwards due to its curved shape.   Owing to this structural advantage, wide openings in structures could be spanned and   for the long distances of bridges and aqueducts the structure consists of a series of   arches ( Figure 4 ) – known as an arcade –  resembling the former trabeated orders.     Throughout history the arcade was a very recurring type of structure as can bee seen   at one of the most most remarkable buildings of antiquity – the Colloseum in Rome –   following a circular plan at  ground floor level  and the next two stories above (   Figure 6 ).In this case, a reasonable compoarison is that between the two distinct types   of structure : The arcade, and  post and lintel in trabeated order. While the  narrow   intercolumniations prevent the spanning of wide openings , the ground floor arcade of   the Colloseum eliminates this problem with its eighty broad span arched entrances   that – in contribution with the efficient system of stairways and corridors ( Figure 5 ) –                                                                  – 3 - benefit the amphitheatre by enabling quick clearance from about 50 000 spectators.   [He. S. p 911]                                             Figure 5                                                                              Figure 6                                System of corridors and stairways                                            The  Colosseum in Rome     Below the seating skin of the amphitheatre were constructed a system of extruded   arches known as vaults, serving as circulation passages. Naturally following the same   structural principal of the arch, these vaults provide structural support as they spring   above the summit of the arcade’s arches conducting the loads to the columns between.   This proves the arcades do not serve any load bearing purposes, but constitute the   decoration of the building by the sharp and contrasting effect of shadow and light,   produced by the shaded space behind the arcades and the illuminated façade.     It can be seen how the Romans were influenced by the Greek trabeated orders due to   Their frequent contacts from about 200BC [ He. S. p 913 ].  In advance, they contrived   to develop the arch also as space-making and decorative element defining their   architecture as of  being composed by ‘ the organization of lines,  surfaces, masses   and volumes in space’. [ He.S. p 909 ]      Fortunately in the following years, the concept of vaulting as a constructional method   for covering a space, was followed by a series of disadvantages ( due to its form ) and   corresponding solutions. As a matter of fact, this becomes the first incentive for   for the elaboration and experimentation of the arch, in various combinations of its                                                             – 4 - form to exploit  further its peculiarity as a structural, space-making and decorative   element. Consequently the initial period of Roman architecture   was followed by a new Romanesque style which as a term, does not attempt to define   a particular period in architecture but categorizes a period in which the architecture   resembles the Roman during the 11th and 12th centuries, based on the arch form.           [ He.S. p 926 ]   To begin with – as regards this particular transition – when vaulting was required to   span more than a corridors width in order to cover grand scale buildings a   constructional problem arose. According to the structural principal of the arch, barrel   vaults exert thrust along their entire length. If applied over buildings of  great   dimensions, massive walls with limited openings in number and size would had to be   constructed along their entire length in order to count resist the thrust exerted.   Especially for public buildings such as the basilicas, this would be a disadvantage   since it prevents light and circulation.     The solution to this problem was ultimately solved when the Roman builders   discovered that  by the intersection of two barrel vaults forming an elliptical   embodiment known as a groin, the thrust is directed to the four corners formed by the   intersection at the lowest  part and four corresponding piers down which the thrust is   conducted provide the support. Accordingly, the groins were repeated in parallel   series of rectangular areas eliminating the mass of continuous walls. Thus, by groin   vaulting less materials were utilized and more floor space was granted.       Admittedly, a form such as the groin is quite confusing as one can imagine. In order   to procure such a form during construction the corresponding form by scaffolding was   required which having to reach a certain height led to the alternative solution of rib   vaulting. By reversing the procedure of groin vaulting, semicircular arches spanning   diagonally applied as a frame for pouring the masonry to form the  vault, substituting   the elliptical curves naturally formed by the intersection for which  transverse and   horizontal arches also applied as they were necessary to apportion the weight of the   vault. To meet this, the point of intersection formed by the ribs reached    higher than the summit of the transverse and horizontal arches since the height of a   semicircular arch is dictated by its width. What could reach the same height   without affecting the given span of the transverse and horizontal was the pointed arch.   Thus, from groin to rib vaulting the rectangular area consists of  two diagonal arches –   regarded as ribs – and four pointed arches spanning the sides. [ He.S. p 884 ]       The reversed process of working the structural components in the first place provided   the potential to amplify the dimensions of a vault determining it as the basic design   element in church and cathedral architecture where regarded as the nave, it concerns   the large seating space for the congregation.     In England, after the spread of the prevailing Roman Empire throughout Europe, there   are numerous churches and cathedrals that exemplify Romanesque architecture by   depending largely on the arch for their construction. But apart from the structural and   space-making advantages derived from the arch, there was a range of highly elaborate   carvings during this period that overlaid in recessed arches of doorways and   windows ( Figures 7-10 )producing lavishly effects for which the churches and   cathedrals were admired  [ Parker J.H. p42 ]  whilst the monks worked on them under   the belief that the more elaborate, the more work was done in the eyes of God.                               [ Scott Robert A. p 58 ]   Some of these carvings were the star, the billet, the billet and lozenge, and the   most recurring type which was the zigzag ornament ( Figures 11 ), carved in     diminutive and larger scale arcading in the interior of a cathedral ( Figures 12,13 ).                    Figure 7 ( Drawn by author )                                       Figure 8 ( Drawn by author )                                                                                                      St. John Devizes church (window)                                             Iffley , Oxon church (window)                                                                                                                                                                               Figure 9 ( Drawn by author )                                                       Figure 10 ( Drawn by author )                                           Cuddesdon , Oxon church (doorway)                                       Middleton Stoney , Oxon church  (doorway)                                                                                              Figure 11                                                                                                                                                                        The Star                                   The Billet                    The Billet and Lozenge          The zigzag with beads                                                                                                                              -7-                                                                                                                                                                           Triforium arcade, Peterborough cathedral                                                                                                                                                                                                                                                                                                                       Figure 12                                                                                                Although successful vaulting was achieved by the introduction of the pointed arch,   the diminutive arcading as well as the arches over doorways and windows remained     semicircular as can bee seen in Durham cathedral which stands as one of the finest   examples to distinguish the Romanesque period.                                                                                                                           Figure 13                                                                                                           Nave in Durham cathedral                                                                                            Consequently when the pointed arch applied utterly in the design of  a cathedral,   Romanesque shifts to a Gothic period in which the pointed arch proves the advanced     structural and space-making capabilities it possesses. The new technology of the                                                               pointed arch led to alternative structural methods achieving broader and taller   buildings in which the introduction of light is distinct and heightens the sheer size of   the interior.                                                                                           This particular improvement is derived is from the basic principal of the pointed   arch which unlike the semicircular, exerts thrust at a steeper angle conducting the   loads more efficiently towards the supports thus reducing the outward push at the   points of  abutment. This gives ground for less abutting wall area to suffice for   resisting the reduced outward push and thus, columns were reduced in size, and more   floorspace was granted in every location where load bearing supports had to apply                         ( Figures 14 ,15 ).                                 Figure 14                                                                                  Figure 15                                Vaulted chambers of the Bishop’s Palace, Wells                  Western  Romanesque  crypt Canterbury cathedral       In order to achieve the same for providing maximum width for the aisles along the   sides of a nave as circulation paths beside the seating areas, were constructed  an   exterior system of half arches – the so called flying buttresses –in order to count resist      the thrust of the transverse arches.  These flying buttresses channel the outward push   of the transverse arches obliquely towards lower and heavier buttresses constructed      againsts the perimeter walls of  the cathedral ( Frankle P. pp 86-87 ). Thus, by     eliminating the  lateral thrust of the building transversely, expansive areas of glass   substituted the masonry of the wall intervals between the buttresses to achieve interior   illumination also accentuating the interior volume of space.( Wodehouse L. P 230 )                                                                                                                                         9                                                        During a later Gothic phase dominated the Perpendicular style ( A.D. 1189 – 1272 )   featuring a high sense of linearity through its forms the most characteristic of which is   the fan vault. Transverse horizontal and diagonal arches form part of a concave sided   cone incorporating intermediate ribs springing from the centre after reaching a certain   height. These cones apply in a series vertically halved with their axes defining the   width of circulation passages leading to important  rooms necessary for the monastic   life of the monks [ Lang- Sims p 146 ]. The fan-like appearance of the ribs resemble   the route of forces  from ceiling to ground proving both structural and space-making   purposes of this   form. At Canterbury cathedral the rectangular areas formed on the   ceiling of the   Great Cloister’s fan vaults ( Figures 16, 17 ), blend with the ribs by   joints – like webbing – containing miniature shields of arms as bosses that mask   the numerous points of intersection formed by ribs ( Figure 18 ).                                                         Figure 16                                     Figure 17                                       Figure 18                        Miniature shields of arms        Great Cloister’s north fan vault          Nave in Canterbury Cathedral                                                                                                                                                                                                  What is more noteworthy during this period is the elimination of capitals on which the   arches do no longer abut, but are the continuation of each individual of the grouped   piers ( Figure 18 ). The reversed process of constructing the structural components in   the first place to improve the geometric surfaces of groin vaulting during the   Romanesque period the method of which evolved from the Roman period, visually   results in the late Gothic phase as a unitary spectacle  of geometrically related   components forming a unified whole. [ Frankl P. pp 86- 87 ]         It is clear – out of the pure forms of verticality- how a change of direction towards a   bond immediately  generates a structural, space-making and decorative element: the   arch. Capable of serving individually or simultaneously these three purposes   stands as one the greatest innovations in architecture reflecting the ambition and   necessity for erecting grand scale structures, and always having the potential to   evolve.                                                                            -         11 –     Bibliography:   Sources   Frankl P. (2000) Gothic Architecture.  Revised edition by Paul Crossely. New Haven and London. Yale University Press.     Jackson T.G. (1913) Byzantine and Romanesque Architecture. Cambridge University Press.     Lois- Sims L. (1979) Canterbury Cathedral. 35 Red Lion Square, London, Cassell LTD.     Parker J.H. (1900) ABC of Gothic Architecture. 11th edition. 6 Southampton street, Strand, London. James Parker and CO.     Scott Robert A. (2003) The Gothic Enterprise. Berkeley, Los Angeles, London. University of  California Press     Wodehouse L. ( 2003 ) A World History of Architecture. 71 Great Russel Street London,  Laurence King Publishing     Images   Figure 1. Arch of Titus, Rome. [online image]. Available from www.artlex.com [accessed 10 March ] Figure 2.  The underside of the Arch of Titus.[online image]. Available from www.artlex.com    [accessed 10 March ]. Figure 3. Centering. ( Drawn by author )  Figure 4. Roman aqueduct at Pont du Gard, France. [online image]. Available from www.artlex.com    [accessed 10 March ]    Figure 5.  System of corridors and stairways. (image from: Roman Architecture, Thorpe Martin, p57 ) Figure 6.  The Colosseum in Rome.  [online image]. Available from   www.prolinguis.ch/languages-studies-abroad-sc… [accessed 10 March] Figure 7.  St. John Devizes church (window). ( Drawn by author ) Figure 8. Iffley , Oxon church (window). ( Drawn by author )                                                                              Figure 9.  Cuddesdon , Oxon church (doorway). ( Drawn by author ) Figure 10.   Middleton Stoney , Oxon church  (doorway). ( Drawn by author         Figure 11.  The Star, The Billet, The Billet and Lozenge, The zigzag with beads (image from: ABC of Gothic Architecture. pp56-57 ) Figure 12.  Triforium arcade, Peterborough cathedral.  (image from: ABC of Gothic Architecture. p 49 ) Figure 13. Nave in Durham cathedral. [online image]. Available from   www.wearsideonline.com   [accessed 13 June] Figure 14.  Vaulted chambers of the Bishop’s Palace, Wells. (image from: ABC of Gothic Architecture. p 113) Figure 15. Western  Romanesque  crypt Canterbury cathedral. (image from : Canterbury Cathedral,  Lois- Sims L.  p 29 ) Figure 16.  Miniature shields of arms. (image from : Canterbury Cathedral, (image from: ABC of Williamson H.R. p 40)                                        Figure 17.   Great Cloister’s north fan vault at Canterbury cathedral.    (image from : Canterbury Cathedral,  Williamson H.R. p  41)                                                                                                                                                                                                                                                                                                                       Figure 18.  Nave in Canterbury Cathedral.   (image from : Canterbury Cathedral,  Williamson H.R. p  11)             Credit:ivythesis.typepad.com

Architectural Essay Revolution

The arch form firstly evolved as a structural element that applied for underground structures such as tunnels for drainage systems and...

SUSTAINABLE ARCHITECTURE

SUSTAINABLE ARCHITECTURE

I will hereby ask you for inspiring me to find a thesis statement for sustainable design in architecture. Credit:ivythesis.typepad.com

Regent’s Park – The Architecture and Planning of Regent’s Park

Regent’s park is truly an epitome’ of the history of art and architecture that brings beauty and life as of today’s generation. In London, the architecture and planning of the Regent park started and that there affects the development of capital as projected and carried to completion as the plan for the park creation was possible for the realization of the metropolitan improvements of Regency – being the plan which embraced the Regent’s Park layout as well as the Regent Street as well as the cutting of the Regent’s Canal, with its branch and basin to serve Regent’s Park. The wholeness of the colossal plan have provided useful spine to London’s far-reaching effect expansion being carried out by the genius . There was the success to seize and unite number of opportunities which presented with blessed promptitude beginning the Regency and that has set out liberal and enticing program for the development of the Park, relating the project that will extend the Park to Carlton Home. Aside, there was indication that presented something innovative – the high picturesque conception of a garden city for the aristocracy along with panoramas showing a composition of alluring groves and elegant architecture of Parisian character. ‘’During the year 1811, the Prince and Nash were clearly the moving powers in the planning scheme. The Prince talked enthusiastically about eclipsing Napoleon’s Paris, while Nash designed a Royal pleasaunce, for Regent’s Park and planned Regent Street as a “Royal mile” from Carlton House with the promoters of a canal scheme and introduced a stretch of it picturesquely into the Park.’’ (1935) ‘’The design for the Park was elaborated as well as dramatic, the Villas are dotted everywhere in woody grooves. The guinguette has a strip of formal water in front of it, while the arms of a serpentine lake embrace the centre of the area in great double circus with a National Valhalla in the middle. Pound the margins are terraces and in the south-east corner is the marketing and working class quarter. Where the southward road crosses the New Road is another vast circus, with a church in the middle. Thus, as a piece of planting it is bald and uninteresting, lacking as it does the rich gardens and groves of the forty or fifty intended villas. Its architectural beauties are confined to the margins with their noble approaches and the belt of terraces, interrupted across the north, so that the view of Hampstead and Highgate should be preserved  The Regent’s Park terraces are greatly loved today more so than ever they were when they were new, when their shortcomings in detail and finish grated on the susceptibilities of critics bred in an exacting school. The truth is that these buildings, careless and clumsy though they are in many ways, have an extravagant scenic character which, perceived through nostalgic mists of time, makes them irresistible. Carved pediments, rich in allegory, top the trees; massive pavilions, standing forward like the corps de garde of Baroque chateaux are linked to the main structures by triumphal arches or columnar screens; each terrace stretches its length in all the pride of unconfined symmetry – magnificent.’’ (1946 )   Source: (1946). Georgian London Charles Scribner\’s Sons       Where the eye apprehends a mansion of great distinction, supported by lesser mansions and service quarters, the mind must interpret it as a block of thin houses, with other blocks of thin houses carrying less ornament or none at all. The sham is flagrant and absurd. The terraces are architectural jokes and though Nash was serious enough in his intention, the effect is an odd combination of fantasy and bathos which only the retrospect of a century can forgive. The earliest architectural feature of Regent’s Park is the lovely, unpretentious, neatly detailed Park Crescent, the design of the square is less happy, the façades being crowded and coarse in design, but the arrangement as a whole, considered as a formal approach from a thoroughfare to a landscaped park is admirable and the simple appropriateness of Park Crescent with its Ionic colonnades is beyond criticism. With the development of Regent’s Park proceeded the cutting of Regent Street. This great thoroughfare is unique in the history of town-planning. Its amazingly successful blend of formality and picturesque opportunism could have happened nowhere and at no time but in England of the period of the picturesque. It might be said of Regent Street as Rasmussen said of the Adelphi, that it was “not only a dream of antique architecture” but “just as much a finance-fantasia over risk and profit”; the financier was an artist and the artist a financier. To some extent it was a masterly, calculated solution; but also to some extent it was a no less masterly improvisation. ( 1946)   ‘’The central pediments are redundant, though the florid ornament they contain is excellent of its kind. The attics on the end pavilions are over-emphatic and inappropriate to the academic character of the design as a whole. The Corinthian columns are sloppily executed and lack the precision essential to the effective use of that order. The story of Regent’s Park and Regent Street as official building projects of the Crown goes back though it is evident that the Regent’s Park idea had been growing in his mind for some time. This is proved by the existence of two long panoramic sketches for buildings in and around the park, buildings which do not connect with any known plan and which must be earlier than 1810. Nash has kept the Bath tradition well to the fore in approaching the park problem. The double circus he planned for the high ground in the centre is an obvious theft from the St John’s Wood scheme there is Park Crescent and the terraces with their highly architectural symmetry derive ultimately from John Wood’s north side of Queen Square, Bath. The Regent’s Park conception was far more than a continuation of this excellent native tradition.’’ (1946)         ‘’Nevertheless, Regent’s Park cannot be explained without some inquiry into the lofty and dramatic comprehensiveness which characterised its beginnings. If taken into Ledoux’s book came into Nash’s hands, it is not improbably the source of that feeling for the play of social factors as determinants of design which informs the original Regent’s Park project and makes it something wholly new in the history of English town-planning. Today, Regent’s Park is fragmentary and dissolute reflection of the brave image of the year 1812 London’’. ( 1946 )                             Source: (1960). The Architecture of John Nash, Studio     Source: Terence Davis (1960). The Architecture of John Nash, Studio         FIRST PLAN FOR REGENT’S PARK Source:  (1960). The Architecture of John Nash, Studio     Source:  (1960). The Architecture of John Nash, Studio   Regent Street, LONDON 170 Source:  (1960). The Architecture of John Nash, Studio     WATERLOO PLACE, LOWER REGENT STREET, LONDON Source: (1960). The Architecture of John Nash, Studio         ‘’Mentioned it again in connection with ‘Capability’ Brown, who reduced the new irregular landscaping to a system of his own in which the main elements were clumps, belts, and lakes distributed in an otherwise close-shaven terrain. Finally, we noted that Sir William Chambers, in his mockserious Dissertation on what purported to be Chinese gardening, ridiculed Brown and opened the door to further reconsideration of the subject. The style and composition of the house remained unaffected by the changing notions of how its setting should be composed. True, there was the problem of disposing of the service quarters so as not to obtrude them in a landscape so carefully groomed. Brown, for instance, liked to sink them under the house; others hid the service wing behind shrubs, there was always the question of ornamental buildings within the landscape  temples but although carefully set relative to the pictorial conception of the scene, were not necessarily modulated to the key of the landscape and during the last phase of the Georgian art of landscape that architecture began to feel the effects of the picturesque idea. It was only then, indeed, that ‘picturesque’ began to take on precise meaning only then that an aesthetic of the picturesque, charging the word with a much weightier significance than it had hitherto possessed, was evolved. ‘Picturesque’ had meant, roughly, the kind of landscape which recalled landscape-paintings, something more abstract than that, as when Robert Adam defined his conception of ‘movement’ in architecture as being calculated greatness of the picturesque of the composition’. Moreover, Repton was friendly with both Knight and Price, and although the views of the three men never precisely coincided and, indeed, diverged considerably as time went on, he can be considered, with them, as one of the chief protagonists of the movement.’’ ( 1530 to 1830) ‘’Throughout the nineteenth century, the leading landscape architects and park advocates believed that parks were important instruments of enlightenment and social control. Consequently, they praised and promoted parks for their healthgiving characteristics and character-molding capabilities, landscape architects used these arguments to convince city governments to invest in elaborate urban parks. The escalating tensions between the middle and working class led to working class activism for increased access to park space and for greater latitude in defining working class leisure behavior.’’ (1999 )     ‘’Olmsted and other park advocates also believed in the restorative and calming powers of parks, and in their ability to help the classes bond, thereby, reducing their antagonisms towards each other. Olmsted thought the parks would inspire communal feelings among all urban classes, muting resentments over disparities of wealth and fashion. Gregarious recreation, the coming together of thousands of people of various walks of life in the parks, was the remedy for the anomie, alienation and hard selfishness of urban life (1999 , 1967;  1976;  1997;  1868; 1853). ‘’Recognizing that such funding schemes could exacerbate inequalities and limit access to urban parks, Olmsted opposed the private financing of parks. Olmsted declared: The enjoyment of the choicest natural scenes in the country and the means of recreation connected with them is thus a monopoly, in a very peculiar manner, of a very few, very rich people. The great mass of society, including those to whom it would be of the greatest benefit, is excluded from it private parks can never be used by the mass of the people in any country nor by any considerable number even of the rich, except by the favor of a few, and in dependence on them… The establishment by government of great public grounds for the free enjoyment of the people under certain circumstances, is thus justified as a political duty’’. ( 1999 , 1865)   ‘’It therefore results that the enjoyment of scenery employs the mind without fatigue and yet exercises it, tranquilizes it and yet enlivens it; and thus, through the influence of the mind over the body, gives the effect of refreshing rest and reinvigorating to the whole system’’. ( 1999; 1865) ‘’Olmsted sought to use subtle designs in his parks to create this mood. However, it was not Olmsted’s intent to recreate the grand and sensational scenery. Instead he intended to use the subtlety of domestic arrangements to stimulate the unconscious, and elevate people to higher plane of thought and clear the way to explore other thoughts and feelings’’. (1999, 1997)               Source of the above: Landscape Architecture Guide – Garden Visit and Travel Guide Gardenvisit.com Garden History Reference Encyclopedia Tom Turner Being one of the finest urban park which launched Frederick Law Olmsted in profession of landscape architecture. New York’s Central Park was an example of brilliant landscape planning: it was the right type of space, created in the right place at the right time. The best usage of Central Park is as a greenway leading from the Millennium Village to North Greenwich Underground Station.       The Central Park on the Greenwich Peninsula Source of the above illustrations: Landscape Architecture Guide – Garden Visit and Travel Guide Gardenvisit.com Garden History Reference Encyclopedia Tom Turner   The Royal Park encircled by Regency terraces that were seen across the lake within lawns and trees as Nash’s planning and Repton’s landscape conception had profound influence on 20th century planning.       Source of the above illustrations: Landscape Architecture Guide – Garden Visit and Travel Guide Gardenvisit.com Garden History Reference Encyclopedia Tom Turner     Credit:ivythesis.typepad.com

Regent’s Park – The Architecture and Planning of Regent’s Park

Regent’s park is truly an epitome’ of the history of art and architecture that brings beauty and life as of today’s generation. In Lon...