Posts tagged with "James Corner Field Operations":
• • •Each team will receive a stipend of $20,000 to develop a plan and budget for the challenge. The final designs will be showcased at the Philadelphia Horticultural Society's annual Flower Show from March 3 – 11, 2018, at the Pennsylvania Convention Center at 12th and Arch Streets in Philadelphia. The winning design will then help to raise funds and take further steps in implementing the project.
BIG + ONE + SHERWOOD Bionic Team Common Ground HASSELL+ Permaculture + Social Equity Public Sediment The All Bay Collective The Field Operations Team The Home Team Team UPLIFTThe teams were each awarded $250,000 to engage in research over the next three months and to work with community members to analyze chosen sites with the eventual goal of crafting an adaptation strategy for a specific project location by May. “Resilient by Design is creating a blueprint for the world, bring together community members and experts to show how we can collectively tackle climate change,” Amanda Brown-Stevens, managing director of Resilient by Design | Bay Area Challenge, told The Architect’s Newspaper. “We know that it is time for something different, a new approach that matches our new reality but draws on who we are and what we have always been able to do: think differently, innovate, come together, and adapt.” Formal announcements for team and site pairings will be timed to coincide with California Governor Jerry Brown’s scheduled Global Climate Action Summit in December. The most recent announcement comes after the Bay Area Challenge was awarded a $4.6 million grant from the Rockefeller Foundation earlier this year.
Authorities expect the whole of Freshkills Park to be fully open by 2036. More information can be found on the park's website, here.
- Conditions Assessment: Documenting and analyzing the current state of the physical structures of the canal, as well as how people currently use the park.
- Historic Preservation: Inventorying and developing a plan to preserve the historic elements of the canal.
- Safety & Accessibility: Recommendations to improve access to the canal and make it a safer, more comfortable place to be through interventions such as lighting, ramps, signage, and seating.
- Recreation Opportunities: In addition to the paddling dock to be built in Spring 2018, the Master Plan will create opportunities and inviting spaces for all kinds of recreation; from active recreation like cycling and kayaking, to passive recreation like bird watching or gongoozling (watching activity on a canal).
- Transformative Designs: There are five nodes/plazas within this one-mile stretch of canal that are currently underused or not used at all. The Master Plan will explore concepts for transformative designs for these spaces:
- Zero Mile Marker/Tide Lock
- Lock 1
- Mule Yard
- Fish Market Square
- Aqueduct Overlook
- Programmatic Plans: In order to bring life and activity back to the canal, the Master Plan will include plans for interpretation, education, and cultural programming.
James Corner Field Operations and nARCHITECTS team up to revamp 10-acre park in the heart of Cleveland
Cleveland’s downtown is more welcoming thanks to a civic space replacing a formerly traffic-choked intersection. The Public Square is a recently completed 10-acre park designed by James Corner Field Operations (JCFO). The $50-million project also includes a small cafe designed by New York–based nARCHITECTS with local architects Westlake Reed Leskosky. Initiated by nonprofit organization The Group Plan Commission, the Public Square is a major part of larger mission to connect Cleveland’s public spaces to Lake Erie.
The design joins four smaller traffic islands situated between the wide lanes of Superior Avenue and Ontario Street in the heart of the city. As part of making the space more pedestrian friendly, Ontario Street was shut down in that section, and Superior Avenue, which still bifurcates the area, was altered and restricted to public transportation. A butterfly-shaped path encircles the site and is flanked by curving park benches designed by JCFO. Within the paths, small hills produce an outdoor amphitheater and provide a lookout over the surrounding traffic.
The Café Pavilion, the final piece of the square, includes a large kitchen and a modest interior dining space. A 60-foot glass facade looks out onto the Public Square and a large fountain. A curated art wall covers the opposite facade, while triangulated metal panels wrap much of the rest of the exterior. Side windows, impressed into the form of the building, allow for views from the street through the dining area and onto the square. The only other structure in the square is the 125-foot Soldiers’ & Sailors’ Monument, dedicated to those who fought in the Civil War. Built in 1894, the large monument once occupied one of the quads divided by traffic, but it is now integrated into the corner of the Public Square.
By adding a more inviting green space into the center of the city, the designers are taking part in an effort to revitalize Cleveland’s downtown. Before the park even opened, programs and events were already planned for the square, including hosting the performance season of the Cleveland Orchestra. A temporary outdoor installation by Milan-based Cracked Art was also commissioned by LAND Studio, the nonprofit landscape and public art agency that managed the project. The National Endowment of the Arts awarded arts organization Cuyahoga Arts and Culture a $50,000 matching grant for additional arts programming for the Public Square.
Like many recently built civic spaces across the country, the public–private partnership behind Public Square raised both the public and private funds for the needed $50 million for the project. Similar projects, such as Chicago’s Millennium Park and Houston’s Discovery Green, though both larger than the Public Square, have been wildly popular, much to the benefit of the surrounding cities. Others point to the success of JCFO’s High Line Park in New York as a good sign that the square will have the positive impact the city anticipates. In any case, Cleveland has a little more public space to enjoy—and a little less traffic to avoid—in its downtown.
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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