[雙語翻譯]園林專業(yè)外文翻譯—景觀設(shè)計(jì)中的數(shù)字工具（原文）

1、Scientific Journal of Latvia University of Agriculture Landscape Architecture and Art, Volume 11, Number 11 42 Digital Tools in Landscape Architecture Natalija ?itavska, Artūrs Mengots, Latvia University of Agriculture

2、Abstract. Nowadays professional tools in landscape architecture are more related to digital tools. Landscape architects’ hand powered tools have been replaced by computers and digital tools where the traditional techniqu

3、es are supplemented with 3D modelling and animation for landscape planning in different scales and for different projects levels. The main aim of this paper is to understand and analyse the use of digital tools in land

4、scape architecture and planning in Latvia. For the collection of data for this study a questionnaire was designed and sent to Latvian landscape architects and planners. The questions it included were on how landscape a

5、rchitects and planners use digital tools for the representation of their sketches and ideas and on what kind of digital tools they use in different landscape types and scales. Results showed that all the surveyed lands

6、cape architects use digital tools in their everyday professional practice – for landscape design or assessment. Most of them also still use the traditional drawings by hand for draft sketches and ideas, but for communi

7、cation with public, projects and designs elaborated by digital tools are used. Landscape architects have emphasized the great potential of digital tools for enhancing communication between the landscape architect and t

8、he potential user. Digital tools (visualizations, animations, 3D models, etc.) allow the potential user to participate in the landscape planning process and easily imagine the landscape before it is created. Today land

9、scape architects use digital tools to produce the final project presentation images (visualizations) in the landscape planning processes for selling of the project. However, we believe that in future there is a potent

10、ial for using digital tools more as a communication tool, which can help in contacting clients at various levels of the project implementation, especially in the early stages of the design. Keywords: digital tools, vis

11、ual communication, landscape architecture Introduction The landscape architect’s daily work is associated with landscaping projects of varying scales, specifics and levels, landscape research or landscape manageme

12、nt planning. The landscape architect's profession is comparatively new – dating back a little over a hundred years ago, when in 1863 the Board of Central Park Commission in New York City approved a landscape arch

13、itect's position. Since then, this new profession had officially gained more stability and recognition in its development. In landscape architecture arts and professional knowledge in the field of landscape plan

14、ning as well as social, ecological and mental aspects are closely intertwined. The results of day-to-day landscape architect’s work are often subject to public criticism and perception, thus influencing the ivolvemen

15、t of the residents in the issues of landscape conservation, planning, design and installation [1]. How do information transfer and communication take place? What tools can a landscape architect use to more effective

16、ly prepare quality information, simultaneously making it easier for the residents and clients to perceive the ideas. Nowadays more and more digital tools are being used in the field of landscape architecture, which,

17、on the one hand facilitates the presentation of the results of the remote landscape architect's work, but on the other hand reduces the possibility of using traditional drawing methods without additional processi

18、ng and also leaves no room for direct communication. Digital tools allow the landscape architects to use new approaches and methods in planning and communicating about landscape planning, conservation, renovation, or i

19、nstalling issues [2]. In several studies the use of digital tools has been particularly emphasized in landscape architecture and planning in order to improve the project perception and communication among landscape

20、 architects and professionals, residents, clients as well as colleagues [3; 4; 5; 6]. The use of these digital tools is diverse, and it is adjustable to the projects of different scales and complexity in different s

21、tages of development: illustrative, immersive, interactive, intuitive and intensive [7]. So, one of the aspects is the communication with clients and residents. A part of this communication is the emotional design w

22、hich does not depict the real function of landscape or real proportions, but influence the clients and residents through artistic tools at the emotional level. The authors in their study call that kind of emotional

23、design a “wow effect” which works not only in landscape architecture but also in all the design fields throughout the world and it is more oriented towards selling of the product [8]. Overall, the result of the lan

24、dscape architect’s work – a project or an installed object – includes the emotional aspect of art, therefore it always involves a subjective evaluation. Exactly what landscape elements or project parts must the cli

25、ents and residents most often evaluate or read from the designs made by landscape architects? Does the use of versatile digital tools make it easier and with higher qualitaty to perceive the landscape elements? Comm

26、unication has always been acknowledged to be one of the most significant aspects in the process of landscape design. DOI: 10.22616/j.landarchart.2017.11.05Scientific Journal of Latvia University of Agriculture Lands

27、cape Architecture and Art, Volume 11, Number 11 44 Fig. 1. The stages of the evaluation process of the perception aspects of visualisation types [created by the authors, 2017] The visual materials were prepared for Tradi

28、tion Square of the town of Plavinas, in Latvia during the development of the technical project in January/February of 2017. The territory is located in Plavinas among Tirgus, Rainis and Daugava streets. The proj

29、ect has been developed with an aim to regain the lost identity of Tradition Square and connect it with the bank of the Daugava river. According to the project Tradition Square will be developed as a modern public out

30、door space, incorporating both - a place for people to gather and fulfil the function of a green zone and recreation, thus radically changing the spatial planning of the existing territory – the network of pathways a

31、nd layout of a green zone, at the same time showing respect to the existing valuable plantings to be preserved. In total, four visual materials were prepared – a technical plan, an animation, a poster and an intera

32、ctive 3600 panorama using CAD, 3D modelling and Image processing tools. During the process of designing visual materials, several computer software programmes were used – AutoCad, Sketchup, Adobe Photoshop, V-Ray

33、for SketchUp and Lumion3D. To have the opinion of Latvia’s landscape architects and the professionals of the respective field on the designed visual materials, a queationnaire was created. The online survey was

34、 carried out using systematic gathering of data from the target audience (professionals and students of the landscape architecture, Latvian citizens) characterized by the invitation (e-mail) of the respondents and

35、the completion of the questionnaire over the World Wide Web, using software Google forms from March – April of 2017. In total, 81 respondents were involved. The questionnaire included eight questions. The respondent

36、s were asked to evaluate the following parameters: the layout of the elements in the planned landscape, perception of the design as a whole and the project idea, vegetation – the existing and planned woody plants,

37、 the inclusion of the object in and harmonizing it with the existing environment, linkage with the adjoining territories, perception of the proportions of the space and elements and terrain. At the beginning of the q

38、uestionnaire the data about the respondents’ profession and age were obtained, whereas in the middle part the respondents’ opinions about the perceiving capacity of the visualization types were analysed. At the

39、end of the questionnaire the respondents were requested to express their opinion about the visualization types they saw. MS Excel software programme was used for summarizing the data and interpreting the results. Res

40、ults The results of the evaluation method of the use of digital tools The number of the respondents taking part in the survey – professionals engaged in the field of landscape architecture – happened to be equally d

41、istributed regarding the responses given to the question about their experience in landscape architecture – six of them responded that they have had fitteen or more years of work experience, four of the respondents

42、have had 5–15 years of experience, seven have had 3–5, but three of them 1–3 years of work experience. Most of the respondents – 16 (80 %) of them responded that their knowledge is adequate, whereas 3 (15 %) resp

43、onded that they are beginners. In order to find out about the frequency of the use of digital tools in the design process of landscape architecture in Latvia, the respondents were asked how often they use these tools i

44、n their projects. The professionals in the field of landscape architecture use digital tools in each project (85 %), which indicates the popularity and necessity of digital tools in the work of landscape architects.

45、The results also testify about the need to acquire the digital tools already in the study process so that knowledge and skills are obtained for the designing process. Giving the response to the question whether the

46、 landscape architect him/herself uses digital tools or a professionals is involved, 11 (55 %) respondents acknowledged that they both use digital tools themselves and also engage professionals, while 8 (40 %) respond

47、ents use these tools themselves without any professionals’ assistance. The responses allowed us to conclude about the lack of skills in the use of digital tools, showing also that there is a need for developing high

48、quality visual material. According to the respondents’ answers to the question about the main prerequisites of the use/non- use of digital tools in the design process, most often four variants of answers were ch

49、osen – the possibility of depicting the landscape (80 %), the time for project developing (75 %), qualitative exchange of information with the customer (70 %) and data exchange possibilities (55 %