Search results for "scape landscape architecture"
Robots blow bubble walls and algorithms make miniature landscapes in “Automatic Architectures”
Open Space is the Place
Lawrence Halprin’s L.A. projects star in landscape architecture symposium this weekend
Bradley Cantrell chosen as Chair of Landscape Architecture at UVA School of Architecture
It's Plane to Seam
Explore landscape architecture and fashion design together at this new GSD exhibit
2016 Best of Design Award in Landscape > Private: Modern Vineyard by Jeffrey Gordon Smith Landscape Architecture
The Architect’s Newspaper (AN)’s inaugural 2013 Best of Design Awards featured six categories. Since then, it's grown to 26 exciting categories. As in years past, jury members (Erik Verboon, Claire Weisz, Karen Stonely, Christopher Leong, Adrianne Weremchuk, and AN’s Matt Shaw) were picked for their expertise and high regard in the design community. They based their judgments on evidence of innovation, creative use of new technology, sustainability, strength of presentation, and, most importantly, great design. We want to thank everyone for their continued support and eagerness to submit their work to the Best of Design Awards. We are already looking forward to growing next year’s coverage for you.
Landscape > Private: Modern Vineyard by Jeffrey Gordon Smith Landscape Architecture
Architect: Jeffrey Gordon Smith Landscape Architecture Location: Paso Robles, CA
Jeffrey Gordon Smith Landscape Architecture selected a subdued color palette accentuated with Mediterranean grasses and timeworn olive trees to define this 72-acre vineyard in the Paso Robles wine region. In order to create a poetic exchange among the landscape, architecture, and surrounding environment, the firm softened the structure’s modern aesthetic with grasses that mirror the native vegetation as it fluctuates through the seasons, creating a strong sense of connection with the region.
Landscape Contractor D’Alfonso’s Native LandscapesArchitect Ferguson-Ettinger Architects, Inc. Structural Engineer Craig Dobbs Isokern Fireplaces Earthcore Doors LaCantina Doors
Honorable Mention, Landscape > Private: Dorchester Art + Housing CollaborativeLandscape Architecture: site design group, ltd. Location: Chicago, IL
Located on the South Side of Chicago, Dorchester Art + Housing Collaborative is a unique development of 36 rehabilitated units that serve as mixed-income housing for artists, arts professionals, and those with a creative impulse, designed to foster community collaboration around the arts.
Honorable Mention, Landscape > Private: Gateway Plaza Landscape
Architect: Forum Studio Location: Richmond, VA
Positioned as a portal to downtown, this urban plaza weaves art, design elements, ample seating, and greenery through the site to catalyze a new urban vitality and serve as a model for sustainability.
A new must-read book explores the divides within landscape architecture and urban design
Questions of environment, ecology, and climate have never more intensely occupied the cultural zeitgeist. According to editors Christophe Girot and Dora Imhof of the ETH Zurich, as scarcity, ruin, and a siege mentality drove the functionalism that dominated architecture of the post-war period, the profession of landscape architecture is still in the midst of responding to a decades-long environmental crisis, and has produced similarly functionalist design. They suggest (as Elizabeth Meyer has for years in her Sustaining Beauty writings) that recent landscape architectural production is too highly conditioned by analytics, abstracted from site, and producing works that don’t rise above functionalist responses to an environment in peril.
Thinking the Contemporary Landscape, a 17-essay collection, attempts to set up a discourse between opposing ideologies, such as science and memory, power and territory, fact and myth, in order to present an all-encompassing theory of contemporary landscape practice. While this endeavor ultimately frays, revealing the unlikelihood (or frankly, undesirability) of such unification, the book itself is a must-read for landscape architects and urbanists. The editors wittingly construct a discourse about a schism in modes of practice, a reaction perhaps to the dominance in recent years of landscape urbanism and its hybrids. Despite the foregrounding of an environment in peril, they react to scientific positivism by advocating for a return to aesthetics, poetics, myth, and meaning. The current volume suggests other new identities. If we are to believe Charles Waldheim, landscape architect equals urbanist. Waldheim and James Corner in particular are intent on fomenting this shift in perception; beseeching practitioners to take control of urban design territory (presumably, before the architects and urban planners beat them to it).
Girot’s essay laments the modes of visualization epitomized by the “layer-cake” approach of Ian McHarg, author of the 1969 Design with Nature. He suggests that years of design with 2-D maps and collage have effectively broken down landscape thinking into abstract, and ultimately, meaningless, layers. Girot argues that the results of this diagrammatic thinking have stripped design of character, of local connections, and ultimately, of meaning.
As a counterpoint, Corner argues for the preeminence of the plan, composite layers, and collage, suggesting they have the capacity to become “engendering machines” of “rich and unpredictable interactions,” a method that comes from ecology itself. Corner plays both ends of the spectrum, at once advocating for performance and form. In a mediated (and ultimately modest) position, Corner’s conception of “format” is hardly memorable. In the context of design reviews as long as six years ago, Corner declared that the University of Pennsylvania was about form and aesthetics, and Harvard was about performance. This dissonance of Corner’s recent commentary with his earlier writings manifests as some subconscious and uncoordinated id-war, a shift away from the working landscape and toward the “pictorial impulse” he earlier reviled (in New Operations and the Eidetic Landscape).
Recalling David Gissen’s Subnatures, Vittoria Di Palma’s intriguing discussion of aesthetics engages the wasteland as site of primal disgust and ultimately, subversive aesthetics. She revisits the picturesque and its power to give “a new prominence to aversive landscape,” (a topic explored by Robert Smithson in 1973’s Frederick Law Olmsted and the Dialectical Landscape), an apt aesthetic history to sample when theorizing the entropy, asymmetry, and gnarliness of the Anthropocene.
Other contributors reject the editors’ prompt of aesthetics altogether. Notably, Kongjian Yu, a practitioner of ecological design in China, argues powerfully for landschaft or the working landscape, suggesting that “the quality and beauty of the landscape has been detached from the notion of a holistic land system for living and survival, and has now become high art landscape design exclusively for the pleasure of the urban elite.” In a similar vein, Saskia Sassen’s critique eviscerates the blunt hand of capitalism that is currently playing out in the form of global land acquisition.
Rather than a clear way forward, the diversity of this volume evidences a fraught world in need of urban design leadership, solutions for the anxious environment of climate change, and rethinking the future of landscape’s territory and meaning in the 21st century.
Thinking The Contemporary Landscape Christophe Girot, Dora Imhof, Princeton Architectural Press, $45
Australian National Landscape Architecture Awards
From penguin watching to healing gardens, see the best Australian landscape architecture from 2016
AILA International Award of Excellence Nanjing Tangshan Geopark Museum Hassell According to the AILA, the project is an "experiential and immersive gateway and forecourt" for the Nanjing Tangshan Geopark Museum, which was designed by Parisian architect Odile Decq. Multidisciplinary firm Hassell integrated a network of pathways and gardens into a 15-hectare park that includes a 300 million-year-old Paleozoic quarry.
AILA National Award for Parks and Open Space McCulloch Avenue Boardwalk Site Office Completed on a "modest" budget, the McCulloch Avenue Boardwalk sets travellers within the diverse topography and landscape of the site. "What could have been a simple boardwalk through a dune has become an experiential journey that rewards the user with a sense of pride and enjoyment," said the AILA. "No longer will be the destination be the focus."
AILA National Parks and Open Space Award of Excellence MacKenzie Falls Gorge Trail Hansen Partnership Creating new routes through Grampians National Park, urban design, planning, and landscape architecture firm Hansen Partnership were able to cast MacKenzie Falls Gorge (one of Australia's largest waterfalls) in a new light. Bolted steel bridges and mesh pathways are able to endure flooding and fires (but can't protect you from spiders).
AILA National Gardens Award of Excellence Forest Edge Garden Jane Irwin Landscape Architecture Jane Irwin Landscape Architecture approached this project with the view to blend the garden into the terrain. The result was a subtle and elegant series of interventions that kept the existing landscape in harmony with the dwelling through careful design, plant species selection, and water management.
AILA National Tourism Award of Excellence Penguin Plus Viewing Area Tract Consultants with Wood Marsh Architecture On Phillip Island, tourists can catch glimpses of penguins both inside and outside this curvaceous, topographic timber structure by planning and design firm Tract Consultants with Wood Marsh Architecture. "The work is beautifully detailed and provides a replicable prototype for the development of other components of this fragile landscape into the future," said the AILA.
AILA National Award for Communities Get Sunflowered OUTR Research Lab, RMIT University Get Sunflowered saw new life come to the Latrobe Valley in Victoria, Australia. Community events include cleaning, planting, weeding, watering, and "harvesting"—all accompanied by local live music, food, and entertainment. The AILA praised Get Sunflowered for making use of a forgotten place which has been subject to a population and economic shift.
AILA National Award for Civic Landscape Glenorchy Art and Sculpture Park (GASP!) Stage 2 McGregor Coxall Multidisciplinary firm McGregor Coxall's work the second stage of the Glenorchy Art and Sculpture Park pays extensive tribute and homage to the dramatic landscape of Wilkinson’s Point. The "build it and they will come" approach has paid dividends and is, according to the AILA, a well-used civic and cultural space. "It has captured the imagination of locals and visitors as well as being recognized nationally and abroad."
AILA National Award for Infrastructure Sydney Park Water Re-Use Project Stage 2 Turf Design Studio and Environmental Partnership Juggling numerous constraints, Turf Design Studio and Environmental Partnership educate visitors to Sydney Park on environmental issues and the value of inner city green space. Integrating ecology, play, stakeholder management, engineering and sustainable water management requirements within an existing and well-loved inner city park is a difficult brief in any context," the AILA said. "The project beautifully expresses the forms, shapes, context, ecology and management of water, while also focussing on people, place, habitat and ecology."
AILA National Award for Land Conservation Shipwreck Coast Master Plan McGregor Coxall Shipwreck Coast in South Victoria is a popular tourist destination on the Australian southeast coast. Tourists, however, are the issue at hand with their presence threatening the site they flock to. Tackling this challenge, McGregor Coxall (in their 4th mention in the full list of 40) tie in habitat preservation with investment opportunities while maintaining and amplifying the sight-seeing experience–something which is a must for the economic prosperity of the area.
Senior editor Matt Shaw sat down with Rotterdam- and New York–based ZUS (Zones Urbaines Sensibles) partners Elma van Boxel and Kristian Koreman to see what the United States can learn from the Netherlands, a country that is almost half below sea level and leads the way in water management in landscape infrastructure design.
The Architect’s Newspaper: You have a host of urban and landscape projects that are currently in the works, some of which are very large in scale. Are any of these explicitly dealing with water?
ZUS: There are five water-related projects we are working on right now. The Almere Dune is an artificial dune landscape on the original polder (a piece of low-lying land reclaimed from the sea and protected by dikes), with 3,000 houses and a mixed-use core.
We are working on the world’s largest sea lock, at IJmuiden, which means we are doing the landscape design and architecture of three control centers. A similar project we are designing is the Hoogwatergeul Veessen, a three-mile river bypass that serves as a river flood basin, with a dynamic flood-protection bridge berm. There is also the self-initiated Delta 3000 project, which is a utopia that imagines the Netherlands as a dune metropolis. We are proposing massive dunes to counter soil inclination and rising waters.
Here in the U.S., we are working together with AECOM and ORG on the execution of our winning competition entry for Rebuild by Design: New Meadowlands. It is a very exciting combination of coastal protection, green infrastructure, and public amenities.
What are some of the issues that designers and researchers are dealing with in the Netherlands today? Is climate change an important topic for designers in the Netherlands?
Yes, of course many issues are climate related, like sea-level rise, rising temperatures, and new migration patterns. We also face a more diffuse clientele, as governments are retreating and new markets and players emerge. Therefore, designers have to be more proactive to get interesting commissions.
One of the main issues is water. As half of the country is below sea level, every project has to respond to the challenges of water coming in more intensely from all sides: Sea-level rise, river floods, rain events, and groundwater.
How do you see working in the U.S. as different from working in the Netherlands? What are the differences in attitude about water and dealing with climate change?
We face many of the same issues: Climate adaptation, bureaucracy, big companies versus small offices, less and less risk-taking. In the Netherlands, there’s a long tradition of spatial planning and the culture of design, where, for decades, they were by definition incorporated into policy making. In the last few years, a corporatism is emerging, where [experimentation] is hardly possible. The good news is that, in the U.S., we feel an emerging interest in design in all fields. However, there is still a big gap between the academic world and the real world there, including governments and bureaucracy.
What do you think other countries can learn from designers in the Netherlands, in terms of designing for water and with water?
We would say to them: Take sea-level rise really seriously, and do it together. Only if all parties—governments, designers, scientists, contractors, engineers—collaborate can the challenges be faced and countered. Build with nature, meaning that we will never win against the water unless we embrace its presence and dynamics. Introduce different levels of safety, and spread risks along hard infrastructure, adaptive landscapes, and evacuation programs.
Are attitudes to waterfront development changing in the Netherlands? How do is that possible? On-site infrastructure? Off-site?
After having the top-down Delta Works (1953) for many decades, protecting the Netherlands from 10,000-year storms, our country established a rich apparatus of water boards, such as the National WaterAuthority and local governmental agencies, to think of the next big threats. The first Delta Works turned the Netherlands into one big bathtub.
In addition to sea-level rise, extreme river floods and rain events are also severe risks to the country. Therefore, Room for the River was introduced, and the new Delta Works, which directs new policies for more local adaptations. For example, Almere Dune introduces a public–private partnership for making more resilient urban districts. This means that the dunes, privately funded, are contributing to national safety. And they are also a new way to live above sea level. The IJmuiden sea lock is made for the 200-year forecast of sea-level rise, so large-scale infrastructure is made with great responsibility toward the future.
Off-site, we witness more adaptation measures, like water squares and retention basins to deal with extreme rain events. Nowadays, many of these projects come with multiple agendas with climate adaptation also taking a social responsibility.
This article was part of our Oct. 12 issue which focused on how water is shaping today’s landscape architecture and urbanism. Communities face deluges and droughts—for some, the stakes can be survival itself, but others see opportunities for decadence. To explore these stories from around the U.S. and the world, click here.
“Landscape Architecture as Necessity” conference at USC aims to “counter the onslaught of politically-correct eco-speak”
Half-Pipes Come Full Circle
Meet the German landscape architecture firm Maier that specializes in skateparks from Palestine to Peru
German landscape architecture firm Maier Landschaftsarchitektur has designed a very colorful addition to Bethlehem, a town you'd be forgiven for foremost associating with the birthplace of a certain Biblical character. Built with the support of charities Skate-Aid and SOS Children's Villages and on the latter's village grounds in the area, the skatepark aims to install feelings of "joy" and "happiness" in the troubled area.
The park is split in two, comprising two bowls, one open and the other closed. The park gains an increased lifespan thanks to its rolling landscape that protects it from damage. Currently, around 126 children reside in the SOS Children's village in east Bethlehem, an area which has been subject to political instability, prevailing violence, high unemployment, and increased poverty.
The freedom to play is an important part of any childhood and so Maier, lead by German landscape architect Ralf Maier, hopes to give the children of the village that chance. Fortunately, skating, as a recreation, has no religious or political affiliations embedded within the sport. Neither are there any allegiances with common enemies—like with the Giants and the Dodgers, for example. Subsequently it's an easier way to unify communities such as the SOS Children's Village.
Working with Skate-Aid, SOS Children’s Villages, and Betonlandschaften (concrete landscapes) Maier has been able to install skate parks all over the world, across Germany, Africa, to Palestine and even Peru.
In Kigali, Rwanda, another skatepark was completed as recently as 2016. Here a mini-ramp, and ledges and curbs for grinding have been included to cater for all abilities. Meanwhile, an existing tree is the focal point of the space. Located in the middle of the park, it acts as a "volcano" surrounded at the base by curved concrete so skateboarders can interact with it.
In an email, Ralf Maier said that a "key aspect" was the "painting of skatepark with the logo of skate-aid. It gives the park colorful nuances and keeps a picture in your mind."
The same principle was also applied to the skatepark in Bethlehem. In this case, a group of young artists from aptART (Awareness & Prevention Through Art) complimented the skatepark with a splash of color. The vibrant hues employed on the curvaceous concrete enliven the space which would otherwise be suspect to anonymity, fading into the gray surroundings of the vicinity.
Here, the children have a place that is both visually and physically stimulating, but more importantly, have a place to call their own.