Landscape Architecture: Landscape Architecture: - School of ...

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Editorial If the museum was the architectural leitmotif of the turn of the millennium, it has been eclipsed in the noughties by landscape architecture. As guest-editor Michael Spens so aptly brings to our attention in the introduction to this issue, it is the planet’s ecological plight and the confinement of people to an ever shrinking natural world that has jettisoned landscape architecture – within a matter of a decade – from a discipline responsible for creating elitist ‘Arcadias’ to that of much sought-after human ‘sanctuaries’. Whether situated on urban, suburban or greenfield sites, these sanctuaries are very much for public consumption (or at least semi-public when attached to an institution or corporation). Certainly they are not like the landscaped estates of the 18th century, land that was partitioned off for the appreciation of all but the smallest ruling elite. Whether the schemes featured here are situated in Beirut, Singapore, New York, Toronto or Birmingham, they engender a sense of place that is precious in its provision of outdoor space for increasingly displaced urban populations, but also enriching in terms of a city’s political and socioeconomic kudos. The design for Toronto’s waterfront, for instance, led by Adriaan Geuze and West 8, is to reclaim a continuous promenade at the edge of Lake Ontario for which three levels of government have pledged $20.1 million for the first phase of construction. This is the tail end of the statesponsored ‘Superbuild’ programme that has commissioned a college of art from Will Alsop, a substantial reworking of the Art Gallery of Toronto by Frank Gehry, and a makeover of the Royal Ontario Museum by Daniel Libeskind. It is all too easy to regard landscape architecture as an entirely new episode – severed from any previous tectonic or artistic roots. In his introduction, Spens poignantly corrects this notion by tracing the lineage of landscape architecture’s expanded field from the Land Art of the 1970s, which effectively dispelled architecture’s obsession with buildings as objects. An understanding of the potential of the landscape art of the picturesque for architecture was, though, latent even in the postwar period. As Jonathan Hill has pointed out, Alison and Peter Smithson were influenced by Nikolaus Pevsner’s promotion of the picturesque. 1 For them, the picturesque placed the emphasis on the observer giving meaning. It was about perception and the genius of place making. This is most evident at Fonthill in Wiltshire where the Smithsons bought a cottage in the estate of the ruined folly. The new house they built there was in no way intended to be authentic; one window was displaced to create the garden wall. Life there, though, was described by Alison Smithson as ‘Jeromian’, evoking with its serenity and air of studious calm Antonello da Messina’s St Jerome in His Study (National Gallery, c 1475). It was this triumph of atmosphere over form that was prophetic for 21st-century landscape. Helen Castle Note 1. I am indebted to Jonathan Hill for his observations in his paper ‘Ambiguous Objects: Modernism, Brutalism and the Politics of the Picturesque’ , presented at the 3rd annual Architectural Humanities Research Association International Conference, St Catherine’s College, Oxford, 17–18 November 2006), and also for his help sourcing this fascinating photograph from Georg Aerni. Text © 2007 John Wiley & Sons Ltd. Image © Georg Aerni 5
Introduction Site/Non-Site Extending the Parameters in Contemporary Landscape As the world teeters on the verge of environmental collapse, landscape architecture has taken on a new significance offering a longed-for sanctuary for our increasingly urbanised lives. Here, in his introduction to the issue, guest-editor Michael Spens explains how by taking its impetus from land art, landscape architecture, as an expanded field, transcends the conventional confines of site. This renders it possible to read architecture ‘as landscape, or as nonlandscape, as building becomes non-site’ and the ‘site indeed materialises as the work per se’. 6
Page 1 and 2: 4 Landscape Architecture: Site/Non-
Page 3 and 4: 4Architectural Design Forthcoming T
Page 5 and 6: ISBN-13 9780470034798 ISBN-10 04700
Page 7: Alison and Peter Smithson, Upper La
Page 11 and 12: The most dramatic case of the expan
Page 13 and 14: Dixon and Jones Architects, Exhibit
Page 16 and 17: From Mound to Sponge How Peter Cook
Page 18: The Oslo Patch investigates a new w
Page 21 and 22: The Frenzy of Theorising In our tim
Page 23 and 24: Giovanni Bellini, The Madonna of th
Page 25 and 26: landscape architects, not only one
Page 27 and 28: Recombinant Landscapes in the Ameri
Page 29 and 30: West 8 and du Toit Allsopp Hillier
Page 31 and 32: Cooper, Robertson & Partners, Coast
Page 33 and 34: Cooper Carry, Mizner Park, Boca Rat
Page 35 and 36: Brian McGrath and Victoria Marshall
Page 37 and 38: forest in terms of human carbon pro
Page 39 and 40: Urban American Landscape
Page 41 and 42: Patricia Johanson, Fair Park Lagoon
Page 43 and 44: flights up extending for 22 city bl
Page 45 and 46: City, a new mixed-used neighbourhoo
Page 47 and 48: Ken Smith, Mary Miss, Enrique Norte
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Page 51 and 52: Toronto Waterfront Revitalisation S
Page 53 and 54: Running the entire length of the sc
Page 55 and 56: Operationalising Patch Dynamics Vic
Page 57 and 58: TILL, Monroe Center for the Arts Wa
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urban-interface, Megalopolis Now, B
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Recent Works by Bernard Lassus At t
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Bernard Lassus, motorway landscapes
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View of the upper terrace of the ol
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Deep Explorations into Site/Non-Sit
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Aerial photo of the site showing th
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Gustafson Porter, Hadiqat As-Samah
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Gustafson Porter, Shoreline Walk, B
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Gustafson Porter, Gardens by the Ba
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‘Activating Nature’ The Magic R
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Collage of the Garden for a Plant C
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Zaha Hadid Architects and Gross.Max
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Mosbach Paysagistes, Le Jardin Bota
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Mosbach Paysagistes, Le Jardin Bota
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West 8, Luxury Village, Moscow, Rus
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Landscapes of the Second Nature Emp
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The recent work of Beigel and Chris
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Structures on the new harbour ramp.
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Architecture Research Unit, Paju Bo
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ARU design model of Paju landscape
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City in Suspension New Orleans and
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the start, settlers had to construc
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in order for water to pour into the
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An empty lot on high ground. View o
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In August 2005, 80 per cent of New
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Is There a Digital Future Landscape
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not therefore about averting disast
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C O N T E N T S 4+ 114+ Interior Ey
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The shop floor of the department st
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Render of the three types of screen
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Building Profile Louise T Blouin In
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1 Entrance lobby void 2 North stair
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7 6 7 5 4 1 2 3 1 Exhibition space
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Practice Profile The Tailored Home
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Front and back elevations. Bungalow
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Entry detail. 130+
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Loft area. Split-Level to Loft, sou
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Home Run Dosson in Casier, Italy Va
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The subsidised residential housing
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In the complex next to the countrys
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McLean’s Nuggets Learning from th
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Site Lines Night Pilgrimage Chapel
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4 Architectural Design Landscape Ar
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