Visualisation, as a drawn or painted representation of future spatial designs, is a
powerful means of communication in landscape architecture. To explore and raise awareness of the ambiguity inherent in such representations—on the one hand as a tool for presenting a project to clients or the public, and on the other as a medium for the designer’s subjective and creative interpretation of a spatial problem—we examine the topic through the lens of communication theory and Gillian Rose’s visual methodology of the three sites: the site of production, the site of the image, and the site of interpretation. Once a visualisation is produced and reaches its viewer, the viewer brings their own ways of seeing to it. Rose emphasizes the importance of analysing not only the production and reception of images, but also the contexts in which they appear, in order to reveal their deeper meanings and effects. With this in mind, three case studies—both from Slovenia and abroad—are analysed. These show that visualisations are tailored to specific purposes, in terms of both content and presentation. For private investors, the focus is on aesthetics, functionality, and key elements. For local communities, the positive environmental impact of the project is communicated by emphasising sustainable approaches, nature conservation, recreational spaces, and the project's contribution to the wellbeing of the local population. For professional audiences, there is greater emphasis on construction methods, materials, technical details, and innovation, as well as the conceptual dimension of the solution: How does the design affect the community, sustainability, and spatial use? How does it integrate into the surroundings, and what kind of visual message does it convey? How is it perceived and used in practice? While these visualisations generally omit negative or disruptive elements that might reduce their aesthetic appeal or positive impression, they can nevertheless serve as tools to raise public awareness of broader social issues.
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