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TrEE nurSErIES – CuLTIVATIng ThE urBAn JungLE Edited by Dominique ghiggi, the Chair of günther Vogt, Department of Architecture, ETh Zürich Design: Integral Lars Müller 24 × 33 cm, 9 ½ × 13 in, 240 pages 600 illustrations, softcover 2010, ISBN 978-3-03778-218-7, English 2010, ISBN 978-3-03778-217-0, German EUR 35.– GBP 35.– USD / CAD 55.– nEw Exotic trees in England and a rainforest in Zurich, a seed bank on the arctic island of Spitsbergen and urban agriculture in Tanzania, trade in old trees in China and biodiversity in Senegal. Tree Nursery – Cultivating the Urban Jungle uses the example of plant production throughout the world to demonstrate the manifold relationships that exist between human beings and nature. Numerous essays and detailed accounts examine current phenomena like desertification in the Sahel, greening projects in Shanghai and the genesis of rooftop gardens in London. Travelogues from Europe, Africa and Asia consider the role played by a range of economic and historical factors in the significant influence that tree nurseries have come to exercise on urban planning and landscape architecture. R H O D O D E N D RO N - M A N I A 150 Jahre nach der in England stark verbreiteten Rhododendronmania fotografi erte der belgische Gärtner Koen van de Moortel zehn Jahre lang eine unüberschaubare Zahl blühender Rhododendron-Sorten in den berühmtesten Gärten und Parks seines Landes. Die Züchtungen des Rhododendrons sind so unterschiedlich wie ihr Verbreitungsgebiet – von der Meeresküste bis ins Hochgebirge, vom tropischen Regenwald bis in die subpolare Tundra. Bildserie von Koen van de Moortel DAGENHAM D O C K S BAUMSCHULE ALS PARK So übergreifend der Begriff ist, so unterschiedlich kann die Umsetzung der Prämisse «Nachhaltigkeit» aussehen: Ihre Bedeutung für Bauwerke, Grünfl ächen oder die Produktion hängt von den Zielen, dem Standort und seinen Ressourcen ab. Was im ökologischen, wirtschaftlichen oder sozialen Klima Shanghais Ressourcen schont, kann in Zürich eine andere, vielleicht negative Bilanz ergeben. Nachhaltigkeit mag ein globales Thema sein, ihre Umsetzung ist in höchstem Mass lokal. Insofern ist der Sustainable Industries Park Dagenham Docks ein Paradox: Er verbindet zwei so globale wie künstliche Landschafts- beziehungsweise Stadtlandschaftselemente – Industriegebiet und Baumschule – zu einem lokalen Konglomerat nachhaltiger Gestaltung. Essay von Silke Schmeing Ein Projekt von Vogt Landscape Limited London und Sergison Bates architects LLP, London Alice foxley DISTAnCE AnD EngAgEMEnT nEw walking, Thinking and Making Landscape Vogt Landscape Architects Design: Integral Lars Müller 24 × 16.5 cm, 9 ½ × 6 ½ in, 480 pages approx. 1000 illustrations, hardcover 2010, ISBN 978-3-03778-196-8, English 2011, ISBN 978-3-03778-195-1, German (January 2011) EUR 50.– GBP 50.– USD / CAD 80.– 16 0 161 Project Novartis Campus Park Switzerland Günther Vogt and his landscape designers bring a lot of passion to their research and to their search for ways to transform undesigned sites or unspecified tracts of land into landscapes. They don’t want to depend just on knowledge acquired from books. They venture out into the landscape at all times of the day and year and interrogate what they see there. They make room for art and science in their studies and use the same tools SChematiC deSigN. A 1:200 model shows an inter ‘interpretation’ implies artistic invention. The successive pretation of Basel’s ‘hidden landscape’ transformed terraces, for example, do not descend a slope but instead into a park located on the roof of a subterranean parking are tilted upwards, as shown in the project sections to turn garage. Because their it is a park landscape and not a scientific model, (p. 162). designs Thus, at the end of this into sequence layer reality. after layer Their “field trips” begin out of curiosity based on something they’ve seen, heard, or read. Against this backdrop, they explore, among other things, fortifications in France, the Upper Rhine in Switzerland, and national parks in England. The results of their “field trips,” research projects, and practical implementations in projects by Vogt Landscape Architects are collected in this publication. 1 2 of terraces are visible from a groundlevel viewpoint. The dramatic effect of this structure is revealed in photographs of Novartis Campus Park as built (see pages 200 –201). 226 227 Project Novartis Campus Park Switzerland ALICE FOxLEy studied architecture in Newcastle and Bath, UK. Employed with Vogt Landscape Architects since 2003. günther Vogt 1 initial sketch MInIATurE AnD 2 1:100 model of the oil tank terraces and proposed park south of Tate Modern photographed from above PAnOrAMA Vogt Landscape Architects 7 8 304 305 Project London Tate Modern England 16.5 × 24 cm, 6 ½ × 9 ½ in, 576 pages 950 illustrations, hardcover 2007, ISBN 978-3-03778-069-5, Eng 2006, ISBN 978-3-03778-068-8, Ger EUR 50.– GBP 50.– USD 65.– 1 2 TransforMing TaTe Modern. The proposed land- emphasise in diverse ways connections between here, focusing on the triangle of land to the south framed by At the junction of Sumner Street and Holland Street scape of Tate Modern’s southern hemisphere uses coherent ‘Transformed’ Tate Modern and the visible urban and Sumner Street, Tate Modern and the planned Transforming the roofs of subterranean oil tanks housing new gallery circulation to connect disparate existing and new parts. invisible geological contexts. Because the project is still Tate Modern extension. In our proposal the dual functions spaces double as a series of raised terraces enclosed The proposed landscape morphology and materiality in progress, only parts of the design process are shown of local park and Tate Modern plaza are combined. by a continuous wall of rough stabilised London Clay. 8 Architecture 9 1 1:200 model 2 details from the 1:200 model
TOuCh ME The Mystery of the Surface Edited by gregor Eichinger and Eberhard Tröger, Chair of Architecture and Design, Department of Architecture, ETh Zürich Design : Ecke Bonk 16.5 × 24 cm, 6 ½ × 9 ½ in, approx. 240 pages approx. 500 illustrations, softcover ISBN 978-3-03778-229-3, English (January 2011) EUR 30.– GBP 30.– USD / CAD 50.– nEw Like a living skin, the architectural surface provides an impression and expression of human needs, moods and time-related commitments of our designed environment. The surface is what we perceive with all our senses at the same time as spontaneous, synaesthetic, multi-dimensional experience. Working on the basis of his work in his department at the ETH in Zurich, in this publication Gregor Eichinger therefore shifts emotional relationships between people and architecture into the centre. Touch me’s associative switches between interdisciplinary texts and pictorial sequences create a cosmos of our perceptions of the built and designed environment. Josep Lluís Mateo Architectural Papers V AfTEr CrISIS Contemporary Architectural Conditions Edited by the Chair of Josep Lluís Mateo, Department of Architecture, ETh Zürich, and Krunoslav Ivanišin With contributions by Iñaki Ábalos, Tariq Ali, Alexander Brodsky, Antón García-Abril, Rem Koolhaas, Krunoslav Ivanišin, Julio Martínez Calzón, Josep Lluís Mateo, Richard Sennett, Wang Shu, Ramias Steinemann, Slavoj Žižek, among others Design: Integral Lars Müller 16.5 × 24 cm, 6 ½ × 8 ¾ in, 160 pages approx. 175 illustrations, softcover 2010, ISBN 978-3-03778-230-9, English EUR 25.– GBP 25.– USD / CAD 40.– After Crisis concentrates around the new conditions for architectural practice and around the new epistemologies that may inform it in the next future. That is, in the period after the financial bubble has collapsed and living and working conditions have significantly changed. Essays, studies and interviews, along with a selection of indicative projects, tackle the actual issues of growth and shrinking, economy and ideology, craftsmanship and social space in the city, materiality and sustainability in architecture. In a logical sequence, they depict the current reality of architecture. AFTER ConTEmpoRARy ARChITECTuRAl CondITIonS CRISIS lARS müllER publIShERS 10 Architecture 11 nEw Dubai is a little statelet built on sand. Many of us have of migrant labour from South Asia. Without this migrant been saying for twenty years that if there is a serious labour, the country would collapse, but they do not in- economic crisis, countries like Dubai could disappear. tegrate this migrant labour into the society as a whole They will not disappear from the map, but all this con- because they feel that these people might challenge it. struction of huge skyscrapers which stay empty, with Essentially, Gulf States are apartheid states, where the only one storey occupied in a twenty storey building, will migrants are kept on one side and the rich, both locals CAN DUBAi come to an end. it is a world without a future. SURViV and foreigners, live in those bubble spaces. E ? best-sellers. Tariq Ali … “Model Dubai” has bitten the dust, maybe forever. But in fact, such a reading only reinforces our initial accusation of laziness: Dubai is an entirely different construct, the brainchild of a local minority that generously invited manpower and expertise from everywhere to assemble an artificial community, to test, explore and put into practice STRESSTEST the relationship between islam and modernity. Where a Western perspective could only register unguid- Rem Koolhaas inTEgRA T ion of THE Lo CAL And THE ConTEmPoRARy As far as the architectural exploration is concerned, architects should focus more on how Tiles wall integrates with modern concrete construction system, and how its height can be enlarged up to twenty four meters instead of only eight of the traditional way. in the ningbo Historic museum project, approximate same quantities of tiles walls and concrete walls building with bamboo formwork twist together, which become a kind of dialog with complicated meaning but plain form. The result is really surprising. on the detailed principles with incontrollable masonry by handicraftsmen, the dark red tiles shape as various “natural forms”. it is within the principles, but out of our expectation. When the construction of the museum was completed, it was almost beyond words for these craftsmen to express their pride. They did not call me “professor” any more, but “master worker”. They told me that someone had asked them to build the private houses using the method we have used while building this museum. This confirms my former idea that if we do not use traditional construction methods with the modern ways in large-scale contemporary architectures, Chinese architectural traditions will die in architects’ empty talk and casuistry. themselves about what they have done there. This laughter is meant to mask the shame that they do these things just for money. Lot of architects working there had no integrity: it was about building something there just to get a lot of money and then building something really serious back where it matters. You can compare most of the buildings in these imperial petrol stations to airport That is the characteristic of all the Gulf States. i refer to The great countries of the islamic world are the countries them often as imperial petrol stations. of the Maghreb, Egypt, iran, even Saudi Arabia or Yemen. The only building that i have seen there in which a West- These are real countries, whether you like them or not; ern architect has tried to relate architecture to the soci- As long as they have energy, gas and oil, they will go on. whereas the Gulf States are a totally artificial breed. All ety in which he is building is the New islamic Art Museum But if the price of oil collapses, if there are new eruptions the buildings there could be seen as a sort of Post- Mod- in Qatar by i. M . P e i . of war... these societies will not be able to cope with it. ernist mimicry which forgets what there originally was. As long as they carry on getting money and then using They have nothing to do with the lives of people in that that money the way they do, without being accountable to area and there is a high level of obscenity in these build- anyone, they can carry on existing, but that is a strange ings. it is a very strange world. it does not feel real. sort of an existence. it reminds of dreams of American billionaires who became it is strange in many ways: strange in the sense that the rich suddenly and then they build strange buildings in indigenous population is very small, and strange in the strange parts of the United States. Gulf States have been sense that they are totally dependent on a huge influx exploited by some famous architects who laugh among ed frivolity, Dubai from an iranian perspective would represent freedom; from an indian, opportunity; to an Arab, the hope that Arab modernity can work… it is true that at one point a grotesque developer’s euphoria created in the Gulf a number of unsustainable “visions”, some barely built, others mercifully evaporated. With the yearly cityscape as a nightmarish apotheosis, Dubai became an experiment in what would happen in a world where the developer would no longer encounter resistance. But the reality on the ground remains much more complex… Dubai is a prototype that will never be repeated. its madness, even in retrospect, has the profoundly sympathetic quality of a test with an uncertain outcome. it is impos- sible to witness dawn across the Palm’s organized tenternationalism, to the sanctums of China’s think tanks, a tacles without being moved by their sheer beauty, their new Arab world is being plotted and planned. The entire weird poetry in numbers. The eye’s journey from the Gulf is teeming with initiatives- from the most public to Burj’s base to its pinnacle has to traverse such a vast the most private- to change and reinvent seemingly im- number of “perspectival” conditions as have never before mutable rules, regimes, edicts, and assumptions, culmi- been offered in the history of mankind: a building where nating, perhaps, in the stated intention of Saudi Arabia, top and bottom belong to literally different worlds. The Kuwait, Bahrain, Qatar, the United Arab Emirates and metro, even unpaid, is an exhilarating achievement… Du- Oman to work more closely together in the Gulf Cooperabai’s vision contained profound levels of reality. in fact tion Council… As we witness the very moment when the the genius of Dubai was to suspend reality for one eu- proven hollowness and corruption of our own systems phoric decade. The result, in the form of the Palm, the give us pause, there is every reason to take such integra- Burj Khalifa, Business Bay, Dubai Marina, are significant tion very seriously. prototypes that even if they read today as symptoms of excess will soon become recognizable as defining But the Gulf states have a past, and they will have a fu- achievements of the early twentieth century, both good ture. The contours of that future are readable even now and bad… it is also obvious that Dubai’s energy and tal- amidst the signs of disarray. ent are not spent; it has reached a point where it can only have a great future. From informal summer gatherings of Arabia’s jeunesse dorée, to the deepest recesses of Riyadh’s royal palaces, to the teetering international accountants’ empires that are restructuring Dubai World’s debt, to Doha’s brisk in
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