Dissertations / Theses on the topic 'Aerial photography in landscape design'

Aerial photography and digital visualisation technologies are commonly used to reveal and interpret archaeological sites and landscapes. These methods afford a clarity and overview that has considerable advantages in heritage visualisation. Despite this, both technologies offer a view that is distanced from the grounded experiences that are integral to heritage sites and landscapes. This tension, between visualisation technologies and lived experience, is significant because the experiences of visiting these places are a valuable common platform - shared by specialists and general audiences alike - for communicating archaeological narratives. Beyond this, such tensions have been central to debates within landscape archaeology about how embodied perspectives on the one hand, and the conventions of visual representation on the other, might affect archaeological interpretations. This thesis investigates the hypothesis that creative practice can serve to bridge the gap between visualisation technologies and lived experience, ultimately providing more powerful and meaningful visualisations of landscape heritage. This is possible because aerial and digital visualisations can and do go beyond topographical representation and respond to the aesthetic and emotive dimensions of landscape. Aerial photographs and digital models resist the visual modes of modernity despite their technological premise. The meanings that they transmit draw not only from the visual language of aerial photography and digital media but also from the viewer's prior experience of landscape and flight. It is within this context that this study attempts to better understand the relationship between visualisation technologies, creative practice, and the lived experience of landscape. To do this the author adopts the role of research-practitioner in order to explore and demonstrate the arguments through the creative application of aerial photography and digital visualisation technologies. This practice combines methods from archaeological survey, and approaches from visual effects filmmaking, with an aesthetic inspired by artist-photographers like Marilyn Bridges, Emmet Gowin and Patricia Macdonald. These creative practitioners have adopted the aerial view to portray landscapes with intimacy, agency and dynamism. The practice aims to work from an immersed or insider's view, drawing influence from Tim Ingold's notion of the "dwelling perspective". A main case study is undertaken at the Iron Age hillfort site of the Caterthuns in Angus, Scotland, with supporting case studies at the prehistoric site of Links of Notlland in Orkney and additional hillfort sites in Strathearn. Through this hands-on experience the aim is to better understand how novel approaches to practice can improve landscape heritage visualisation in an interdisciplinary context.

The purpose of the study was to explore the potential of resident employed photography as a context sensitive assessment tool in roadway design by identifying the key elements of resident employed photography and context sensitivity and then exploring the potential of the elements of resident employed photography that may contribute to context sensitivity in roadway design. State and federal transportation agencies have identified principles and potential outcomes with the intent to guide processes that are sensitive to the context of a project’s surroundings. The improved design of public roadways to meet the needs of those who live and travel along them is the goal of these agencies. Resident employed photography is the use of a photograph to obtain information from a participant. The study explored resident employed photography as a context sensitive technique in the discovery of the attributes that reflect and define participant attachment to an environment. The technique therefore relied upon the existing community in the establishment of elements of value to be used to shape and guide the roadway design of the realignment of Utah State Route 30 through a neighborhood in Logan, Utah. Cameras and photograph logs were distributed to households in the residential area and participants were invited to provide contextual information about their neighborhood with regard to the proposed realignment. This information was gathered and analyzed using a grounded theory approach. The data derived from the participant’s photos, written comments, and interviews shaped and added to the research questions and resultant theory. In the study, areas of concern and mitigation ideas as identified by the participants found that a complete streets approach focused on maintaining or improving the feel of the neighborhood may be the best possible alternative in the realignment of SR-30. However, the success of this alternative is largely dependent upon a design professional’s consideration of the contextual relevance of the data provided through resident employed photography.

This thesis reviews the background, influences, and evolution of the body of work entitled Folia, which forms the basis for the candidate's thesis exhibition. It traces the development of the candidate's artistic inclinations from drawing to photography. Directorial and Pictorialist photography are discussed as forebears in the Influences chapter. Evolution of the Body of Work details how the current work grew from both the candidate's background and influences. A Brief Anthology of Quotations references Susan Sontag's influential work, On Photography, with quotations that have either influenced the candidate's work or reflect his perceptions of art and life. The balance of the thesis describes the candidate's working process in creating the work, and the installation at VCU's Anderson Gallery.

How is nature conceived today, a generation into the environmental movement? Many contemporary artists grapple with how to reconcile our inheritance of both a precarious natural world and the culture that created it. My work investigates the subtle intricacies of our relationship with nature. I use photography to develop a way of seeing that points to the often-unnoticed nature in front of us. In particular, my work recognizes and re-imagines nature's deep connections in the context of our ecologically changed world.

This thesis provides a tour through an imaginary building that contains the work I have completed in the last two years at Virginia Commonwealth University. The body of the text provides a discussion of specific paintings as well as more general themes related to painting and art. The discussion includes thoughts on futility, desire, schism, the leap, collage, photography, materiality, painting, image, and landscape. The second part of the text is an abstract statement about the paintings included in the thesis show, Splinter Paintings.

Thesis (M.Sc.)--University of Manitoba, 2006.
A thesis submitted to the Faculty of Graduate Studies in partial fulfillment of the requirements for the degree of Master of Science, Department of Soil Science. Includes bibliographical references.

This thesis attempts to elaborate on my artwork during my graduate studies, while contextualizing it within the framework of the art world and the works of other artists. A main project during this time was to minimize the singular interpretation and framing of a fine art photographic print, while expanding its possibilities of meaning through the addition of important ephemera and objects such as plants, drawings, moving imagery, conversation and the unknown.

No presente estudo, utilizaram-se de fotografias aéreas verticais e levantamentos florísticos de épocas distintas, para acompanhar as transformações ocorridas nos maciços vegetais do Parque da Escola Superior de Agricultura “Luiz de Queiroz” (ESALQ), da Universidade de São Paulo (USP), em Piracicaba. O Parque, de 15.000 m2, construído no Estilo Inglês de Paisagismo, foi implantado ao redor de 1907 e teve crescimento descontrolado e demasiado das áreas de seus maciços arbóreo/arbustivos, comprovado pela análise de fotografias aéreas verticais a partir do ano de 1945, que mostram o aumento em área dos referidos maciços propostos no projeto original. Nos projetos paisagísticos, considera-se a média de vinte anos, para que a cobertura florística atinja os limites representados geograficamente, desde que na implantação, a escolha de espécies, plantios, condições edafo-climáticas, tratos culturais etc, também sejam contempladas no planejamento. Usando-se o software IDRISI, fotografias aéreas verticais dos anos 1945, 1962, 1969, 1973, 1993 e 1995 e o projeto original do Parque, calculou-se a área de cada um dos 24 maciços vegetais presentes no Parque, nos diferentes anos e estas foram confrontadas. Os resultados mostram um grande crescimento dos maciços, uma vez que o somatório das áreas dos mesmos, projetados em 1907, perfazem um total de 28.641m2 de cobertura arbórea, prevista para 1927, vinte anos após a sua concepção, medidas estas que deveriam ser mantidas. Em 1945, o somatório de suas áreas já perfaziam 40.576 m2, portanto 11.935 m2 além do projetado inicialmente (1907) e em 1995 (última fotografia obtida), a área de cobertura arbórea era de 77.221 m2, portanto mais da metade (51,5%) da área total do Parque (150.000 m2) e ainda, 170% a mais de cobertura arbórea do que o projetado inicialmente. No período de 1945 a 1995, o incremento arbóreo foi de 36.655 m2, praticamente dobrando a área total de cobertura. Levando-se em consideração os anos de 1945 e 1995 (maior amplitude, em anos, deste estudo), os maciços cresceram, em área, praticamente na mesma proporção, sendo estas ajustadas a uma reta. Uma das características importantes do Estilo Inglês de Paisagismo, são as linhas de visada que ressaltam pontos de interesse, como edificações, árvores exóticas e outros. No projeto original do Parque da ESALQ, foram planejadas dez linhas de visada. Em 1995, seis dessas linhas estavam obstruídas pelo crescimento não planejado dos maciços e também pela construção de um prédio em área do Parque. Destas, quatro podem ser desobstruídas, através de práticas simples de manejo e as outras duas, ficam impossibilitadas de desobstrução devido à presença do referido prédio. Quanto ao estudo dos levantamentos florísticos de parte dos maciços arbóreo/arbustivos (do maciço de número 1 ao de número 22), realizados no Parque nos anos de 1965 e 1991, os mesmos foram digitados no software Access. Pelo levantamento florístico realizado em 1965, constata-se que o Parque era formado por 444 indivíduos arbóreo/arbustivos, sendo este valor aumentado para 2.904, segundo o levantamento florístico realizado em 1991. Com relação às espécies arbóreas e arbustivas encontradas, em 1965, no Parque existiam 241 espécies, número este, diminuído em 1991, para 215 espécies. Nota-se ainda, grande domínio em número de indivíduos, de algumas espécies sobre outras e a formação de reboleiras de algumas espécies. Ainda sobre os levantamentos florísticos, através de confrontos realizados, utilizando-se do software Access e os respectivos levantamentos, nota-se, a extinção de 154 espécies arbóreo/arbustivas e incremento de outras 124, estando apenas 90 espécies, presentes nos dois levantamentos (1965 e 1991). Todos estes fatos apresentados, indicam a necessidade de um manejo adequado urgente dos maciços vegetais do Parque da ESALQ, para evitar maior descaracterização do mesmo.
In the present study, vertical aerial pictures and floristic surveys from different times were used to assess the transformations on plant masses of the Park of Escola Superior de Agricultura “Luiz de Queiroz " (ESALQ), Universidade of São Paulo (USP), in Piracicaba - SP - Brazil. The Park, comprised of 15.000 m2, was built in the English Landscape Style, near 1907 and has had ever since too much uncontrolled growth of arboreal/shrubby masses, as determined by the analysis of vertical aerial pictures in 1945. In the large seales landscape projects it is expected twenty years for the plant mass to reach its peak, considering that the choice of species, planting, edafo-climatic conditions, cultural treatments etc are also regarded in the planning. The area of the 24 masses existents on the Park was calculated on different years and compared, using software IDRISI, vertical aerial pictures of 1945, 1962, 1969, 1973, 1993 and 1995 as well as the original project of the Park. The results show excess of growth of the plant mass. In 1907 the total area of the added 28.641 m2. As foreseen for 1927, twenty years after its conception, such measurements should remain the same. In 1945, these areas added 40.576 m2 (11.935 m2 above the original project); and in 1995 (last obtained picture), the area of arboreal covering was of 77.221 m2, more than half (51,5%) of the total area of the Park (150.000 m2) and 170% larger than the area of the initial project. From 1945 to 1995, the arboreal increment was of 36.655 m2, practically doubling the total area of arboreal covering. On 1945 and 1995, the masses grew, in area, pratically in the same proportion, and were adjusted to a straight line. One of the important characteristics of the English Landscape Style, rely on points that can be see through lawn the area, forming "lines of view"- leading to uninterrupted view of the opposite side across the lower strata (lawn). The value points of interest, such as constructions, exotic trees and others. In the original project of the ESALQ`s Park, ten lines of view were planned. In 1995, six of those lines were obstructed by the untamed growth of the masses and also for the construction of a building in area of the Park. Four of them can be cleared through simple management practices. Unfortunately the others, are no longer of liable for desobstruction due to the presence of the referred building. The study of the floristic surveys of the arboreal/shrubby masses (masses number 1 to 22), carried out in the Park in the years of 1965 and 1991, were typed in the software Access. The floristic survey of 1965 shows that the Park was formed by 444 arboreal/shrubby individuals, which increased to 2.904 in the floristic survey on 1991. In the 1965, survey were found 241 arboreal/shrubby decreasing 215 species in 1991, with an increased dominance of some species on others (in numbers) as well as aggregate groups. The extinction of 154 arboreal/shrubs species and the increment of 124 was observed. Only 90 species were common to both surveys (1965 and 1991). The presented facts, indicate the need of an urgent management of the masses of the ESALQ’s Park, to avoid farther uncharacterization.

This thesis is in support of the exhibition entitled ES-SEN-TIAL on display in Tipton Gallery located in Downtown Johnson City from February 27, 2017 to March 10, 2017. The exhibition is a presentation in fiber medium of the human impact on the landscape, specifically using the extractive industry of coal mining as example. This is accomplished through the use of digital imagery printed on textiles, hand and machine embroidery, and surface design techniques of dyeing and layering. This body of work reflects the artist’s interest in art activism and the utilization of photography, fiber arts, ideas and techniques, as creative process to formally explore the landscape.

La caractérisation de la réalité matérielle du paysage impose d’une part de reconnaitre avec précision le cadre physique et d’autre part de saisir les interrelations entre les hommes et l’environnement, conditions indispensables à l’appréciation des origines du modelé du paysage. La compréhension des paysages passés se fonde en partie sur l’analyse de différentes sources documentaires qui permettent ensemble de caractériser bon nombre des évolutions paysagères intervenues notamment depuis l’époque moderne. Toutefois, les aménagements plus anciens ne sont ni localisés ni représentés sur des cartes. Leurs traces sont alors décelées dans le paysage actuel de manière efficace grâce notamment à la mise en oeuvre conjointe de diverses méthodes de détection : la photographie aérienne, enregistrant des variations topographiques ou colorimétriques à la surface du sol et le système LiDAR (Light Detection And Ranging), mesurant les variations microtopographiques à l’aide d’un laser. L’étude d’autres paramètres, imperceptibles à nos sens, permettent également d’appréhender les traces des paysages passés. Les méthodes géophysiques détectent la présence de vestiges ou de structures enfouies qu’aucun indice ne signale en surface grâce à la mesure des propriétés physiques du sol. Il est largement admis que les méthodes de prospection sont susceptibles de fournir des données archéologiques quant à l’occupation du sol et/ou l’exploitation du territoire. A ce titre, elles ont été appliquées depuis plusieurs années sur le site de l’agglomération antique d’Epomanduodurum (Mandeure-Mathay, Doubs) dans le nord Franche-Comté. Cette ville est considérée, par sa taille, son équipement urbain et sa parure monumentale comme la seconde de Séquanie derrière la capitale de cité Vesontio (Besançon, Doubs). Ce travail de recherche se propose donc de comparer, à différentes échelles spatiales, l’apport respectif de plusieurs méthodes de prospection à l’étude de dynamiques naturelles et anthropiques dans un espace géographique de 80 km², centré sur la ville antique, associant un tronçon de plaine alluviale du Doubs aux plateaux calcaires environnants. Durant cette étude, il a été possible, entre autre, de développer des outils aidant à la détection des structures archéologiques et géologiques. Les résultats ont aussi permis de redéfinir en partie la topographie de l’agglomération antique
The characterization of the material reality of the landscape requires to accurately identify the physical geography and to capture the interrelationships between humans and their environment. These conditions are essential to the estimation of the origins of the landscape shaping. The analysis of documentary sources offers the opportunity to determine the organization of former landscapes and to characterize a large part of their evolutions since the Modern period. However, older land settlements are not localised or symbolised on maps. Their signs are efficiently detected in present landscape through the joint implementation of various detection methods: aerial photography, recording topographic or colorimetric variations on the soil surface, and the LiDAR (Light Detection And Ranging) system, measuring micro-topographic variations using a laser beam. Other methods can be used to identify the elements conserved in present landscape and reflect their past uses. The measure of physical properties of soils by the geophysical methods can detected the presence of archaeological remains or structures buried while nothing is perceptible to the soil surface. It is widely supported that survey methods can provide archaeological data of the land use and / or the exploitation of the territory. Thus, they have been applied since several at the site of the ancient city of Epomanduodurum (Mandeure-Mathay, Doubs) in the north of the Franche-Comte. This city is considered by its size, urban equipment and monuments as the second behind de civitas capital of Sequani, Vesontio (Besancon). This research intends to compare, at different spatial scales, the contribution of several prospecting methods for the study of natural and anthropogenic dynamics in an area of 80 km². The study area is centred on the ancient city and combines a section of the alluvial plain of the Doubs river and the surrounding calcareous plateaus. In this study, it was possible, among other things, to develop tools for the detection of archaeological

Like Alike explores notions of pleasure and beauty through an examination of mundane activity. Pleasure is simple, uncomplicated niceness. Pleasure is forgettable and related to the norm. Beauty is complicated and hardly predicted. Finding beauty in the banal provides an escape from mundane life. The banal, then becomes unforgettable. The nondescript, everyday experience becomes important and gains meaning. Like Alike's electronic format is adapted from the original format of an artist book.

碩士
國立彰化師範大學
工業教育與技術學系
104
The purpose of this thesis is to design a cheap, precisely balance autonomous quad-copter including microcontroller, gyroscope, acceleration sensor, air pressure gauge, electronic speed controller and brushless motor, where gyroscope and acceleration sensors to measure quad-copter's attitude data, the Kalman filter is to remove quad-copter attitude's noise, then integrate each axis smooth attitude data, and via microcontroller transmission pulse width modulation signal (PWM) to the electronic speed controller to control quad-copter motor's speed. Currently, the quad-copter's noise removal filter is a complementary filter; its drawback is the case in the large angle attitude changes will produce distortion. Therefore, the design of the quad-copter filter in this thesis is to improve the shortcomings of complementary filter to get a more accurate, and stable flight attitude, so that the quad-copter can attain autonomous balance. This study uses the Kalman filter to replace complementary filters to achieve mentioned goal. We also can instantly obtain flight conditions by remote monitoring and accomplish stable distal unmanned autonomous flight quad-copter for aerial photography, such that the disaster or rescue staff is very difficult to reach areas, based on the quad-copter for aerial photography, we are able to get a stable and clear image quickly in order to facilitate arrange rescue operations. Keywords: Quad-copter, Gyroscope, Accelerometer Sensor, Kalman Filter.

碩士
正修科技大學
營建工程研究所
107
Before the design or engineering , if we can show the result of displayed and combined with the environment and the landscape, it is often possible to reduce the design change and reduce the problem of project re-doing, especially the design and sales of the buildings, if it can be displayed during the pre-sale The appearance of the integration with the environment after the completion of the case will help the sales of the house. In this study, the unmanned aerial vehicle (UAV) payload high-end digital camera was used to model the aerial photography and environment of the Kaohsiung Citizen Road construction site, and then a three-dimensional visual film was produced to demonstrate the combination of architecture design and environment. During the research, it was found that the environmental model was imported into the software, because the accuracy of the model was insufficient. Therefore, the model library was needed to assist the simulation. In the process of virtual camera operation, attention should be paid to the focus and the environmental model shooting. Create a three-dimensional visual film that attracts customers to watch, which in turn enhances customers' desire to buy. The research results show that the construction of high-precision environmental models and the production of three-dimensional visual environment films require strong hardware equipment. Use Lumion software to integrate and reinforce the model, and use Photoshop to make special materials to supplement the lack of material library. After the virtual and real integration, the 3D visualized film can help customers understand the appearance, environment, landscape and internal design results of the project. Sales in the case of construction.

Through inquiry, experience, and discovery, this practicum reveals the landscape of Old Wives Lake, Saskatchewan and the prairie pothole region that surrounds it. It is my intention for this work to become a device for the revealing of unseen forces, for the creation of a different attention, an altering of perception, and an openness to a unique landscape of ever changing and shifting phenomena. It is accepted that complex systems, cannot be fully understood without time, patience, and commitment; however, through learning, understanding and revealing, the potential to not simply ‘see’ a landscape, but ‘read’ a landscape is harvested to enlighten and share in its discovery. The result is an exhibition of the unexpected Saskatchewan landscape.

Echoes of Experience: The Narrative Forces of the Qu’Appelle Valley explores the possibility of playing on the picturesque notion of a ‘folly’ within this Southern Saskatchewan valley. By incorporating an understanding of the physical and narrative forces that have shaped the valley as both place and space, speculative interventions are proposed that generate an awareness of past conditions in order to provide some trace of those narratives within the future of the valley. This practicum endeavors to use landscape narrative inquiry as a tool that helps one to understand the landscape experience by harkening to the ‘echoes’ that beckon people to the Qu’Appelle Valley’s hills and lakes. The valley is a setting for exploration and for experience. Working within a narrative when designing allows those key experiences to be extracted, along with subsequent narratives, and developed into a three-dimensional space. This results in a meandering yet defined direction of thought and reflection during the course of design. By revealing what was once previously hidden within the landscape, the spirit of place reemerges, and the new design becomes integral in the experience and understanding of self and of place.

As artists continue the long and storied lineage of Landscape, are there aesthetic responsibilities that come with representing the forces that afford you the capacity to do so? As we delineate spaces into places, endless interconnectivity into knowable “systems”, and living matter into thing based taxonomies, who do these delineations serve and with what intentions do we proceed? My studio art practice explores what it means to give form to our Former—the Former being that from which we came, the here and now, our explicit ecological reality, the stuff of what we call nature. In this way, the Former consists of all the powers at play that unthinkingly formed the vital life-forces that afford us our perceptive and creative capacities, and in doing so, precede us chronologically. The primary questions my creative practice posits are therefore: what does it mean to give form to our Former through creative applications? In doing so, is it appropriate to assume that we are returning the favor?

This project explores a reinterpretation process of a deindustrial site through landscape architecture. By using the industrial process to guide the formation of the landscape, spaces, and experiences, a semi-abandoned industrial site is transformed into a cultural park. The purpose of the project is to articulate the intriguing qualities of a deindustrial site and respond to them through a design process that is sensitive to the history and character of the site, while allowing contemporary uses and experiences to evolve.
February 2008

Le réseau de distribution aérien, ou plus simplement le réseau de poteaux de bois et ses câbles, est encore aujourd’hui omniprésent dans la majorité des villes du Québec. Pour plusieurs, le réseau de poteaux d’utilité publique semble appartenir à une autre époque. Pourtant, les poteaux et câbles ne sont pas près de disparaître, au contraire, ils ne cessent de se transformer. Depuis peu, de plus en plus d’équipements s’ajoutent sur le réseau: boîtiers techniques, nombre de câbles, appareillages au sommet des poteaux, antennes de communication, etc. Bien que les équipements du réseau de distribution aérien soient des éléments produits industriellement, ceux-ci intègrent rarement les services du design industriel au moment de leur conception initiale. Cette recherche étudie le système de distribution aérien sous l’angle de la « pensée design ». L’intention de cette étude est d’analyser les impacts de la présence du réseau aérien en milieux urbains et a pour objectif d’orienter les pratiques de conception de ce type d’équipements. Pour ce faire, dans une optique transdisciplinaire, diverses approches ont été sollicitées dont: l’approche systémique, l’approche paysage et les approches des partenaires des réseaux. Au moyen d’une recherche documentaire et d’observations faites sur le terrain, la recherche vise à dresser un portrait général du réseau de distribution aérien et les défis qui y sont associés. La recherche expose, dans un état des lieux, les résultats issus des questions analytiques de recherche suivantes: de quoi est composé le réseau de distribution aérien, quels sont les intervenants sur le réseau, quelles sont leurs interactions, quels sont les points de vue des différentes catégories d’acteurs en relation avec le réseau, quels sont les impacts reliés à la présence du réseau en milieux urbains et quelle a été son évolution au fil des années. Dans la perspective de l’approche design, chercher à comprendre une problématique de façon plus large permet de s’assurer que l’on répond au bon problème, que l’on considère tous les facteurs en cause visant ainsi à réduire les répercussions négatives sur les contextes de vie actuels et futurs. Les principaux constats de cette recherche démontrent que la composition du réseau de distribution, avant même de considérer les nouveaux usages et l’ajout de nouveaux équipements, présente des lacunes importantes. La gestion entre les divers partenaires du réseau de distribution pose aussi problème. L’ajout de nouveaux équipements sur le réseau, combiné aux multiples équipements apparaissant sur les voies publiques laisse entrevoir l’atteinte d’un niveau de saturation des milieux urbains. Les façons de faire hermétiques et «cristallisées» des partenaires du réseau ne collent pas avec les initiatives et aspirations générales en matière d’aménagement. En étudiant la problématique du réseau de distribution par le biais de la pensée design, l’approche design cherche à déceler, de façon proactive, les opportunités de design qui permettront de mieux gérer l’apparition et l’intégration des nouveaux équipements sur les poteaux. Cette démarche permet d’envisager des solutions qui visent à limiter les répercussions collatérales une fois en contexte et qui, du même coup, adressent des problématiques connexes. Finalement, à la lumière de l’état des lieux, cette recherche propose des critères de conception de futurs réseaux de distribution, élaborés dans l’esprit de l’approche design.
The aerial distribution network, also known as the utility network, comprised of wooden poles and its cables, is still omnipresent in the majority of Québec’s cities. Although many perceive the public utility poles as belonging to another era, they are not ready to disappear; quite the opposite, they don’t cease to evolve. Recently, more and more pieces of equipment have been added to the network: technical contraptions, additional cables, apparatuses mounted on the summit, antennas for wireless communication, etc. Although these devices are industrially produced, the service of industrial designers has been rarely solicited during their initial conception. This research examines the aerial distribution system from a design prospective, an angle of the « new » design approach also called design thinking. The intent of this study is to analyze the impact of the aerial distribution network on the urban environment with the goal of better guiding future design practices of such infrastructures. In order to do so with a transdisciplinary mind-set, several approaches have been solicited: the systemic approach, the landscape approach and the approach of system partnership. Through literature search and field observation the research intends to obtain a holistic view of the aerial distribution network and its challenges. Through inventory, the research exposes the results of our analytical questioning: what does the aerial distribution network consist of, who intervenes with and within the network, what are their interactions, what are the viewpoints of the different categories of actors with regards to the network, how does the presence of the network impact the urban landscape and how has it evolved over the years. From a design perspective, seeking to understand an overall problem situation helps to insure that the right problems are being addressed, that all contributing aspects are being taken into account and thus diminishing negative repercussions on the current and future contextual situations. The main findings of this research show that the current composition of the distribution network has significant shortcomings, even without taking into consideration the newly added services, uses and equipment. Management among service providers using the network is also facing challenges. The add-on of devices combined with all other equipment that gradually appear on public streets allow us to anticipate a level of saturation within the urban landscape. The hermetic and « crystallized » practices of the service providers that share the network are neither in line with the initiatives nor with the general aspirations when it comes to urban planning. Studying the problem situation of the distribution network using a design approach allows us to proactively isolate design opportunities that aim for the improvement of the existing situation, with regards to the newly appearing equipment on the poles. This approach encourages solutions that limit collateral repercussions once in its contextual environment and addresses at the same time other problem areas. Finally, the analysis of the research results allows us to enumerate a series of guidelines for the design of a future distribution network, which have been elaborated from a design perspective.