Maastike taju ja esteetika

Kalkahjumägi, Laanemetsa, Valgamaa

Allikad:

• Lothian, Andrew 1999: Landscape and the philosophy of aesthetics: is landscape quality inherent in the landscape or in the eye of the beholder? Landscape and Urban Planning, 44.1

• Appleton, Jay 1986: The Experience of Landscape.

• Higuchi, Tadahiko 1983: The Visual Structure of Landscapes

• Saarinen, Thomas F. 1974: Environmental perception. In: Manners, Ian R., Marvin W. Mikesell (eds.) Perspectives on Environment.

• Lehari, Kaia 2001: Loodus, keskkond või maastik? TÜ Geograafia instituudi toimetised, 91

Kuidas maastikku tajume?

• Granö: maastiku nähtavad (valgus, värvid, vormid), kuulmis- (helid), haistmis- (lõhnad) ning kompimismeelega tajutavad (soojus, niiskus, vastupidavusomadused - surve, takistus, kallakus, kandvus) omadused.

• Yi-Fu Tuan: ruumi tajumisel kuulub juhtkoht nägemismeelele. Teised meeled laiendavad ning rikastavad visuaalset ruumi. Helid lisavad maastikule "elu" (dramatizes spatial experience): hääletu maastik tundub rahulik ja elutu, kuigi silm võib samal ajal fikseerida liikumist, tegevust. Lõhn võib väljendada ka massi ja ruumala (mahtu): mõned lõhnad tunduvad suured ja rasked, teised õrnad, kerged, õhukesed. Naha tundlikkuski võib olla abiks maastiku tajumisel: nahk registreerib näiteks niiskust, pehmust jms.

Keskkonnataju mudel

Väärtushinnangud Tajuretseptorid Informatsioon

Kujutis

OtsusKäitumine

Reaalne maailm

otsing

Taju seaduspärad

?

(a) (b)

(c) (d)

Some Gestalt-laws and their effect upon describing spatial patterns: (a) law of proximity and similarity in shape, (b) law of vertical dominance, (c) law of the reduction to simple geometric shapes, (d) the whole is more than the sum of its components.

Millest taju sõltub

• Viewpoint• Range of vision• Direction• Principal feature• Distance

Uehara Kenji

• Distance• Observer position• Form• Spatial definition• Light• Sequence

RB Litton Jr

Millest sõltub maastike visuaalne struktuur

• Nähtavus või nähtamatus• Kaugus• Vaatenurk• Nähtamatuse sügavus• Angle of depression• Angle of elevation• Sügavus• Valgus

Kaugus

• Changes (size, sharpness and hue) that take place in the appearance of an object as the distance between the observer and the object varies; from these indexes we discover the visibility of the landscape's texture.

• As the distance from the object increases, a gradual (quantitative) change in the appearance of the object becomes a qualitative change.

Vaatenurk

• When a landscape is conceived of as a concatenation of surfaces, the angle at which the line of vision strikes each surface determines which planes should be taken as frontal and which as longitudinal planes which to a large degree settles the relative visibility and the range of a vision (vertically and horizontally). The same index, set at a value of 0 degrees, tells us where is the skyline forming the boundaries of the landscape. Angles of depression and elevation indicates the nature of up- and downward view. By ascertaining the distances and elevation angles of surfaces having large angles of incidence, we can decide whether the visual space is open or closed.

Vaate sügavus

• Depth of the visual space – determines the visual perception of three-dimensionality of the landscape as it unfolds before the viewer (viewer’s sense of position).

• Depth is an effect, first, of a continuous change in the surface of the terrain (3D) and, second, of atmospheric perspective or the overlapping of objects viewed.

• longitudinal planes (parallel to the line of vision) having low angles of incidence would be perceived as having a textural density gradient, i.e. a gradual rise in the density of the texture as the distance from the viewer increases.

Kattumine

• Overlapping of two objects leads to a certain sense of perspective as the one object of which a part is hidden is recognized as being behind and therefore farther away than the others

Valgus

• The appearance of a landscape changes drastically in accordance with the manner in which the light strikes it. This index has to do with the transformations that take place as the position of the source of light moves from front to side to back. The light index would show the frequency with which sunlight falls on a given object on each side. Lighting and weather conditions play an important role in creating mystic or fantastic settings with its constant changes and transformations

Atmosfääri läbipaistvus

• With natural landscapes that involve distances of several kilometres or several tens of kilometres, the degree of atmospheric haziness becomes a factor, then discernibility (distinctness that makes perception easy) is often a question not so much of angle of vision as of the contrast between an object and its background.

• When the air is dry and clear, distant features appear to be nearby; when it is misty, nearby features appear to be far away.

• Even on very clear days visibility in the morning and evening is less than half what it is at midday. Visibility is reduced even more drastically under rainy or snowy conditions. It is difficult to generalize on this subject beyond remarking that visibility decreases rapidly as the humidity rises above 70 percent.

Maastiku ruumiline liigestus

• intiimne (intimate)• normaalne (normal)• avalik (public)

inimmõõde (human scale)

Blumenfeld

• intiiimne (intimate)• personaalne (personal)• sotsiaalne (social)• avalik (public) kaugus

Hall

Higuchi ruumiliigestus

• Lähivaate puhul tajutakse puid üksikute puudena, on näha tüved, oksad. Võib kuulda tuule kohinat ja näha okste liikumist.

• Keskvaate puhul eristame puude latvu, kuid mitte muud. Nähakse pigem metsa kui puid. Keskvaate puhul hakkavad maastiku tajumist mõjutama atmosfääri optilised omadused. Ka reljeef mõjutab maastikust saadavat muljet.

• Kaugvaate puhul ei eristu enam puude ladvadki, nähakse vaid reljeefi ja seda, kas see on metsane või mitte. Ei tajuta värvusi, vaid ainult heledust.

Purvinase visuaalsed ruumid• Visual space (визуaльнoe пространствo, мecтнocть) –

elementary/primary unit/element of perceptive spatial structure (district image), which man can individually perceive as one unit from every point of this space that expresses human scale in space; exists in reality bordered by visual impediments (Purvinas, 1975; 1982).

• Image of visual space (oбpaз пространствa, мecтнocти) – perception of visual space, individual concrete impression (Purvinas, 1975).

• District image (кpaeoбpaз) – long-term impressions stored and piled by help of human memory/subconscious, sum of images of visual spaces, result of generalisation and typifying of concrete impressions (Purvinas, 1975).

Proposed characteristics of spatial structure of visual space:

• 1. Visual space’s place in hierarchy of spatial structure of district image;

• 2. Size of visual space – mean radius of observation is statistically 85% of visual space diameter. Different sizes of spaces are perceived differently and evoke different emotions (main radiuses: 100, 450, 2000 and > 2000 m);

• 3. Shape of configuration – it has to be stretched out or compact, otherwise it would be not perceived as one unit;

• 4. Horizontal plane of vision in height of 2 meters (approximately the height of human eyes; Higuchi considered it to be 1.5 m);

Proposed characteristics of spatial structure of visual space:

• 6. Visual impediments – objects higher than horizontal plane, obstacles to the line of horizon; separating concrete visual space from neighbouring visual spaces; size of impediment is dependent on its actual height and from distance of observer;

• a) Horizontal closeness – isolation from neighbouring spaces: if 85% of line of horizon is blocked then this visual space is horizontally closed, medium closeness is 65-85%, horizontal visual openness of visual space is when less than 30% of line of horizon is blocked;

• b) Vertical closeness – if 85% of perimeter of visual space is covered with impediments > 45° then visual space is totally vertically closed, if 18-45° then partly vertically closed territory;

Proposed characteristics of spatial structure of visual space:

• 5. Line of horizon – parts of horizon seen between or over visual impediments in the height of horizontal plane;

• 7. Visual connections to neighbouring visual spaces – parts of other visual spaces that can be seen between or over visual impediments;

• 8. Arrangement of different components.

Maastiku esteetilisus on

• “maastiku ilu, tema veetlevus (privlekatel`nost`), mis on vajalik inimese vaimse tervise säilimiseks ja normaalse puhkuse tagamiseks".

Reimers 1990

Esteetika kaks paradigmat

• Objektivistlik - maastike kvaliteet on füüsikaline omadus, mida saab mõõta sarnaselt teistele füüsikalistele suurustele

• Subjektivistlik - maastiku ilu on meie kujutusvõime vili, mis moodustub vaataja kultuurilisest, sotsiaalsest ja psühholoogilisest tagapõhjast

Mis on esteetiline?

• Leedu koolkond: kogu looduskeskkond, mis kutsub inimeses esile esteetilist rahuldust

• Vene koolkond: looduslik tuleb ümber kujundada, siis muutub ta veel esteetilisemaks

• A. Niine (1976): linnamaastike esteetika seisneb parkide ja haljasalade ilus, kusjuures ilus on ökonoomne ja funktsionaalne

• Gifford (1987): loodusmaastik ilusam kui linnamaastik.

• M. Jones (1991): maastikule antav väärtushinnang sõltub vaatleja rahvustundest, majanduslikest huvidest, sotsiaalsest kuluvusest ja erialasest haridusest

• vaatleja kultuuritaust ning selle paiga ilme, kus vaatleja on üles kasvanud.

• kristluse vastuvõtmise aeg

• vaatleja samastumine maastikuga, identiteeditunne.

Mis on esteetiline?

Maastikueelistuse kujunemine Appletoni järgi

• Habitat theory: Aesthetic satisfaction, experienced in the contemplation of landscape, stems from the spontaneous perception of landscape features which, in their shapes, colors, spatial arrangements and other visible attributes, act as sign-stimuli indicative of environmental conditions favorable to survival, whether they really are favorable or not.

• Prospect-refuge theory: The ability to see without being seen is conductive to the exploitation of environmental conditions favorable to biological survival and is therefore a source of pleasure.

Maastikueelistuste kujunemine Bourassa järgi

• The landscape taste of any individual stems from biological laws. These are cross-cultural, genetically transmitted elements of survival behavior.

• Out of these biological laws, each cultural group begins to develop its own particular ways of seeing; its cultural rules impose its own system of values, its own criteria of excellence, determined in accordance with its own fashions, customs and conventions.

• Cultural groups in turn are made up of the individuals who comprise them, and each individual forges his own personal strategy, his own unique mix of meanings, preferences and typical behavioral responses, out of his inherited behavior patterns and within the context of the cultural rules imposed by the group at whatever scale - the family, the peer group, the nation state, etc.

ärritav

mitteärritav

meeldivebameeldiv

aktiivne

erutav

rõõmus

mugav

rahulik, lõdvestav

unine

tüütav

sünge

rõhuv

masendav

hirmutav

rahutu, ärev

Joonis 2. Emotsioonide kaks põhilist mõõdet ning nende hübriidid - Russell-Pratti skaala (Gifford, 1987).

Väike välitöö • Looduslikkus - suure ulatuse, kõrge parima koha ja kõrge

looduslikkuse, aga samuti mõnevõrra nõrgema laadungiga kõrge keskmise koha ja hilisema aastaaja. Niisiis, need on looduslikud suvised maastikud, mida hinnatakse üldiselt kõrgelt, kuid mis siiski põhjustavad suuri lahknevusi eelistus tes..

• Mittemidagiütlevus: tugevalt seotud mitteärritavuse ja madala halvima kohaga eelistusreas. Keskmise tugevusega seosed osutavad eelmisest veelgi hilisemale aastaajale ning keskmisest madalamale eelistusele.

• Liigestatus: tugevalt positiivselt korreleeritud reljeefi liigestatusega ja negatiivselt korreleeritud veega.

• Panoraamsus: seotud vaate ulatusega. Ka iseloomustavad seda faktorit keskmisest suurem meeldivus ja keskmisest väiksem ärritavus.

1. Erutav, loovat innustust esilekutsuv

2. Ergutav, reipust esilekutsuv

3. Säästev, endasse süvenemist soodustav

4. Kasulikult piduirdav, täielikku rahu loov

5. Rekreatsiooniks vähesobiv