Features of formation of parks-monuments of lanscape art of the second half of the XX century of Ukrainian Polissia

The formation of park-monuments of landscape art was analyzed from a historical perspective. In the second half of the twentieth century, two national and nine local park-monuments of landscape art were created in Ukrainian Polissya. The purpose of PMLA is the protection and the preservation of the most prominent and valuable examples of park construction in order to use them for aesthetic, educational, scientific, environmental and health purposes. By the placement in the planning structure of inhabited localities are defined city, village and district parks. The motivation for the creation of parks was the preservation, reproduction and enrichment of tree diversity in the conditions of the Ukrainian Polissya. In the parks were planted technical, fast-growing, rare species, and species of woody plants valuable for forestry and landscape gardening with their subsequent use for scientific and economic purposes. Some of the plantations in the parks were memorable, anniversary, or dedicated to significant events (the anniversary of the October Revolution and the birthday of V.I. Lenin). In Ukrainian Polissya, there are three parks created on the basis of existing oak plantations “Klevanskyi Park”, “Park Antonivka”, “Bondaretskyi”); one - on the basis of man-made plantations with Acer platanoides L., Carpinus betulus L., Fraxinus excelsior L., Tilia cordata Mill. (“Ovrutskyi”); three parks of culture and recreation (“Horodnianskyi”, “Vysokivskyi”, “Slovianskyi”) including a meadow park (“Slovianskyi”), a children's park (“Bondaretskyi”), three arboretums (“Dubechnenskyi”, “Bairak”, “Novostavskyi dendropark”, “Zhornivskyi”), which were transformed over time, or which were granted the status of PMLA. By the size, PMLA were small, medium, and large with star, axial, fan, loop, cross-shaped and combined planning structures. In four PMLA, there were man-made and natural reservoirs, and a fountain. Five parks were combined (memorial and park of culture and rest); there were concentrated memorial complexes, monuments, and an obelisk. Plantings of parks are represented by groups, solitairs, alleys, ordinary plantings, hedges, and sometimes by groves and massifs. On the territory of 11 PMLA grew 178 species of woody plants, with 121 of them being included to the IUCN Red List. In 4 parks, since their creation the number of species increased by 75–129%; in 6 parks tree diversity decreased, with 29 to 87% of tree plant species remaining, among them 66–94% of trees were rare. 11 PMLA are valuable centers of tree diversity and unique plantings of Ukrainian Polissya; and an example of the formation of didactic, ethnographic, memorial, children's, culture and recreation, and combined parks that need further protection and expansion of the area and collection. Some parks are in need of planting reconstruction.

At Home with a View: Exploring Notions of Landscape

<p>The aim of this thesis is to gain an understanding of the role and value of a view of landscape with respect to the interior of New Zealand houses. It explores the all-or-nothing manner in which contemporary architecture presents surrounding scenery. Through a translation of New Zealand landscape paintings, it presents alternative approaches for connecting the interior and exterior of a house in such a way that can enhance both the experience of a view and a house. In doing so this thesis contends that artistic themes and techniques can enrich views of landscapes, especially of nature, through the architecture of New Zealand houses. This thesis employs three research approaches to achieve its aim. The first research section, a literature review, provides an examination of historical and contemporary western attitudes towards a view. This confirms that much of western society has learnt to appreciate and benefit from, a view, and that the nature of people's response is deeply ingrained. The second section focuses on domestic views in both international and Wellington houses. Each study is analysed to gain understanding of the design strategies in respect to architectural presentations of a view. The last section pursues a more integrated designresearch approach, separated in two parts. Firstly, it explores a possible connection between the artistic treatment of landscape paintings and architectural treatments of houses. Four spaces are presented as studio residences for artists, focusing on four very different characteristics of land. Secondly, two further house designs are developed which employ techniques produced from the first design part as well as research from the previous sections. It aims to present two opposite spatial approaches to a depiction of surrounding landscape in an architectural design, one that presents a single view to look at and one that presents a series of views to engage with. This final design section explores the above contention. It presents how a connection between landscape art and architecture can offer guidance to the way in which a view is experienced from New Zealand homes. This is achieved on a theoretical as well as practical level, generating a range of techniques for further exploration.</p>

At Home with a View: Exploring Notions of Landscape

<p>The aim of this thesis is to gain an understanding of the role and value of a view of landscape with respect to the interior of New Zealand houses. It explores the all-or-nothing manner in which contemporary architecture presents surrounding scenery. Through a translation of New Zealand landscape paintings, it presents alternative approaches for connecting the interior and exterior of a house in such a way that can enhance both the experience of a view and a house. In doing so this thesis contends that artistic themes and techniques can enrich views of landscapes, especially of nature, through the architecture of New Zealand houses. This thesis employs three research approaches to achieve its aim. The first research section, a literature review, provides an examination of historical and contemporary western attitudes towards a view. This confirms that much of western society has learnt to appreciate and benefit from, a view, and that the nature of people's response is deeply ingrained. The second section focuses on domestic views in both international and Wellington houses. Each study is analysed to gain understanding of the design strategies in respect to architectural presentations of a view. The last section pursues a more integrated designresearch approach, separated in two parts. Firstly, it explores a possible connection between the artistic treatment of landscape paintings and architectural treatments of houses. Four spaces are presented as studio residences for artists, focusing on four very different characteristics of land. Secondly, two further house designs are developed which employ techniques produced from the first design part as well as research from the previous sections. It aims to present two opposite spatial approaches to a depiction of surrounding landscape in an architectural design, one that presents a single view to look at and one that presents a series of views to engage with. This final design section explores the above contention. It presents how a connection between landscape art and architecture can offer guidance to the way in which a view is experienced from New Zealand homes. This is achieved on a theoretical as well as practical level, generating a range of techniques for further exploration.</p>

Research on Intelligent Control System Based on Feature Recognition

Fountain is an important facility in modern landscape art. Ordinary fountains are regulated by water valves, which makes the water column of the fountain very high, so the height of the fountain cannot be changed flexibly, the fountain is the product of the combination of the most popular garden architecture and appreciation in recent years. In this paper, intelligent control system based on feature recognition is designed. According to the system, fountain forms and features can be recognized automatically. At the same time, the system can also be integrated with computer animation, which makes the melody, emotion, rhythm and waterscape art to realize harmonious and unified.

COMPOSITION IN THE LANDSCAPE: ART AND PEDAGOGICAL ASPECT

The author emphasizes the importance of studying the landscape as a genre of fine arts by students. The laws and techniques of composition are the basis, the basis of writing works of all genres of painting that is why compositional competencies are the main place in the structure of art education. This is especially true of landscape composition.Creating a landscape involves drawing in the open air, outdoors. The work should start with finding the best location – landscaping locations. It is well known in an art practice that any composition begins with sketches. The same goes for landscape composition. It is emphasized that in the course of future teachers' of fine arts professional training should be acquainted with the basic laws of the construction of landscape composition on the plane, the means of applying the method of golden intersection in landscapes, methods of reaching the depth of space in the image of the surrounding nature in different compositional formats and compositional generalization; step-by-step work from compositional searches to detailing and completion of a complete artistic landscape image. Art educators argue that all the details in the landscape should be well connected and helped to express the overall idea of the composition. To do this, students need to focus on more area characteristic features, select the most typical landscape objects. It is revealed that the landscape is not just a copy of nature from nature, but also the expression of the artist's attitude to nature, the transfer of the artist's own mood, their experiences and emotions. The author emphasizes the importance of studying the соmpositional techniques in the landscape should be applied not formally, but in order to best express the main idea of the artist. The author agrees with the opinion of artist-educators, who argue that students should be given the opportunity to independently set certain compositional tasks and perform them independently in the creation of a landscape.

Assessment of the national significance «Skala-Podilsky park» park-memories and landscaping art green plantations conditions

Green plantations of ancient park not just only an important ecological component of human habitat, but also a cultural and historical factor of national identity. The history of Ternopil landscape art demonstrates the close links of Ukrainian culture with Polish, Lithuanian and Western European. Galicia is rich in architectural monuments of the past: fortresses, castles, defensive ramparts, courtyards, fortifications, fortified monasteries and temples, estates and manors of the local nobility. Decorative parks, orchards, and collections of medicinal plants were established near such buildings. Most of the ancient parks have undergone significant negative changes due to turbulent historical events in the twentieth century. But some objects, although in a state of disrepair, have been preserved and need to be restored and maintained. Skala-Podilsky Park, a monument of landscape art of national importance, was founded at the end of the 18th century. In the future, this park was repeatedly reconstructed. During that time, many ornamental, fruit, berry trees and shrubs, including exotic ones, have been acclimatized here. During the period of Ukraine's independence, proper care of plantations was not carried out. Such way brings the destruction of the park's infrastructure and a reduction in the number of valuable taxes. A tax inventory of dendroflora was carried out to organize the territory and reconstruct the park-monument. The vital and phytosanitary condition of trees and bushes was determined there according to the Alekseev scale. 63 species of trees, bushes and vines were found during this research. It is established that the general indicator of relative living condition of park plantings makes 57,7% and corresponds to a category "weakened". According to the phytosanitary condition of trees and shrubs, 41% belong to the category of "satisfactory", 34% - "good", 25% - "unsatisfactory". Thus, a quarter of the registered trees need to be rehabilitated or removed from the stand. The received materials testify to the need to conduct counting and inventory of all ancient parks of Ukraine and to develop a system of their geoinformation monitoring in order to streamline revitalization.

Parallel Calculation Method of Patch Area Landscape Art Index Based on Surface Coverage Data

Aiming at the problem of slow convergence in the parallel calculation of patch area landscape art index, a parallel calculation method of patch area landscape art index based on land cover data was proposed. Firstly, patch type area index, patch connectivity index, patch number index, and fragmentation index were selected as patch area landscape art spatial staggered pattern indexes to conduct characteristic analysis and establish a 3D visual reconstruction model with actual colors. Then, the coordinate points of the landscape space staggered pattern are transformed into three-dimensional visual coordinate points to realize the reconstruction of landscape art space staggered pattern in patch area. The aerial landscape image of patch area is preprocessed and input into GPU to build a Gaussian difference pyramid model. The feature points of the patch area in the aerial landscape image are calculated by the parallel computing process, and the patch boundary in the aerial landscape image is determined. The landscape perimeter of the patch area was calculated according to the boundary. The experimental results show that the complete convergence time of the horizontal axis error and the vertical axis error is 2.13 s and 1.81 s, respectively, and the absolute error and relative error of the perimeter measurement are controlled below 0.60 m and 1.00%, respectively.

Art and Leisure: Amateur Artists, Rembrandt, and Landscape Representation

This chapter identifies a correspondence between Dutch amateur art and the place of landscape in Rembrandt’s artistic production, and in doing so illuminates the link between gift culture and the withholding of certain types of artworks from the domain of the marketplace. Dutch amateurs favored landscapes drawn from nature as a pastime, thus enacting interrelated ideals of art and leisure that also governed the status of landscape in contemporary art theory. This aestheticized social construct of sketching nature as a leisure activity also shaped the landscape art of prominent history painters, including Rembrandt, whose landscape drawings share close affinities with amateur landscapes. Rembrandt’s sketching excursions in Amsterdam’s suburban countryside, like those of Dutch amateurs, were not purely a commercial undertaking.