Author: Erik Schofield

Museum of Nature, by Ilkka Halso, set in the distant future on Earth. A rollercoaster track loops over an idyllic riverscape, creating a clear reflection in the water as it dances off into the distance like a great serpent; a single tree lies in the middle of a paved square encircled by benches in an enclosed room with light piercing through a single hole, as though the tree was the main attraction; a cinematic room faces not a large digital screen but a pristine waterfall scenery, untouched, bright and idyllic in comparison to the dark auditorium. Through the combination of landscape photography and computerized 3D models, the photographic series of Museum of Nature only suggests idyllic scenery at the first glance. Through careful observation do we realise that the nature we know and can see today is depicted in the future as being torn from its environment- isolated, cultivated and preserved like animals close to extinction- a precious relic. Welcome to the strange world of Finnish artist Ilkka Halso where his photographic series will challenge how we imagine nature to be like in the distant future.

A Word From The Artist

“The project is based on pessimistic vision of what is happening on earth. I am looking into future and I am not very happy about it. I am considering these pictures more as visual pamphlets than aesthetic images.” – Ilkka Halso For many of us, the relationship we have with nature is ambivalent. It is present in our everyday life, even in vast quantities in some countries and it seems our access to nature is boundless. Perhaps we don’t imagine enough of what our natural environment will be like in the future. Halso, however, has visualized a future we do not want to see coming into fruition.

What is the future of nature?

This is a daunting question. During this day and age, there are global discussions around the world on climate crisis- a threat to our natural environment. The answer depends on how much we value nature’s benefits- its values which are multiple from the provision of food, water, creating safe places for living, including provision of materials such as timber and many of our medicines. Let’s not forget how they provide opportunities for breath-taking recreation, cultural inspiration and spiritual fulfillment. The availability of nature is largely free and accessible. It is only when something becomes scarce that we begin to appreciate its value. The photographs depict the future society learning how to value and evidently pay for abusing the benefits of nature. Recomended Reading:

• Art and Photography by David Campany
• Art and Photography by Aaron Scharf

A Frightening Population Increase

According to the UN (United Nations), the population at present, 7.2 billion, is predicted to increase to 9.6 billion by 2050. How do we, then, balance out the act of providing the needs of nature and people? Will we be able to feed, provide energy and clean water for people at a time of storms and rising sea levels? Can we meet those needs for the growing population whilst we protect the richness of nature that we all depend on? The answers, it seems, will be multiple and complicated. Halso’s work is one answer to those questions as well as a brief glance into a less greener future.

Don’t Miss Halso’s Other Works

The internationally renowned artist has been dealing with the healing and restoration of nature in his work for the past decade. His photographic inventions are a reaction to our unstable planet. His previous series “Restoration” dealt with the idea of giving nature a treatment, like a patient receiving medical care, trees are arranged inside transparent scaffolding structures. Now the “Museum of Nature” collection shifts and nature is no longer being rescued but protected from threats of man’s actions in visualized shelters and massive buildings that allow the ecosystems to be “stored as they are found today.”

Can photography depict the future without cinematographic effects?

As I observed Halso’s photographic imageries, I could not help recall unfamiliar feelings of shock and eerie realization (of a possible bleak life on Earth) I experienced from a movie I recently watched- Mad Max: Fury Road. Whilst this heated, action-packed film has nothing to do with Halso’s idyllic work of art, it depicts a tale of a post-apocalyptic world of dry desert land where nature, the “Green Place”, is absolutely absent.

A Different Take on Photography

Halso’s photographic series shows a different take on photography that films have always done in the past and that is to depict a time in the future. Photography is about the here and the now, the taken image fits into the historical timeline of the subjects in the photograph- one which we can comprehend. Yet photographic work like this challenges the viewer. This playing with time and the contrast between the fictional film, the reality and the documentary photograph makes the urban landscape recognizable but also strange.

As far as story-telling artistry goes, Halso has definitely succeeded in increasing my awareness of the limited resource of nature. I would not want to live a world where my physical interaction with a riverscape is limited to a spectacular rollercoaster ride or overlook a pine forest through a shelter with an overarching elegant roof. The possible catastrophe of our complicated relationships towards nature is frightening. As I conclude my thoughts on “Museum of Nature”, I can’t help but reason the fact that if such a medium can provide a possible glimpse of the future, there might be a future for the medium. On the other hand, if we can imagine such a future, even if it is a pessimistic one that is uncertain and dangerous, then perhaps we can begin to think of a different future. What is your imagination of the future of nature? Is it bleak like Ilkka Halso’s work or hopeful? Recommended Reading:

• Drawing and Designing with Confidence: A Step-by-Step Guide by Mike W. Lin
• Landscape Perspective Drawing by Nicholas T. Dines

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Sandgrund Park, by Thorbjörn Andersson, in Karlstad, Sweden. “Water is the driving force of all nature.” Never has this statement by Leonardo Da Vinci (1452-1519) rung truer for us than in recognizing the sheer impact Thorbjörn Andersson Landscape Architects have made on one dramatic landscape in a place that is suspended between land and water. Sandgrund Park in Karlstad, Sweden, is situated on a sandy peninsula that flows into the Klar River. The driving force behind the different aspects of the park is one’s physical closeness to water — and ultimately to its meditatively calm to raging aspects. The park exemplifies a project that takes full advantage of the abundance of opportunities created by the location and creatively plays on the magical attraction we have with one of the strongest and most irrepressible forces of nature.

Sandgrund Park

The peninsula has always been a dramatic place, but one with a lost sense of purpose. Prior to the construction of the park, there was no sense of arrival. Taking advantage of the site starts with the story of the Klar River: The river has its source in the Scandinavian Mountain ranges on the border of Sweden and Norway and ends in Lake Vanern, the largest lake in Sweden. While upstream, it enters the Karlstad region and splits into two main parts and eight smaller parts. At the point where it separates, the 300-meter-long peninsula where the park now stands is formed. The powerful physique of the peninsula is further dramatized from the air, resembling a bird’s pointed beak.

Another existing feature is the Vermland Museum, designed by Swedish architect Cyrillus Johansson in 1927. It is located at the base of the peninsula and sits on the axis of the city’s main street, opposite a railway station. When it was first built, the museum was situated on the river’s shore. Over the passing years, fluvial sand deposits have built up to result in today’s peninsula.   The city’s central axis hence has been extended from the train station, through the museum, and into the Sandgrund Park peninsula, finally dissolving into an almost infinite river view. As the design team points out: “While the museum is a collection of the world, the train station collects the world.”

Working With The Nature, to Create an Exceptional Space and Experience

Conceptually, the park and the river represent the dramatic yet calming endpoint to the possibilities of travel that exist within the city and from the train station. The designers were able to work with the river, the sand, the abundant space of the peninsula, and the close proximity to the city’s center to use the presented resources wisely, amplifying the existing qualities for the future park.

Just Because You Can’t Swim in it, Doesn’t Mean You Can’t Enjoy it

With the currents being too strong and the water being too cold, the resulting design is not made for physical contact with water, such as swimming. Therefore, the landscape architects wanted to create a place that can be seen and enjoyed in all seasons. The element of water is highlighted by comfortable wooden walkway surfaces. A boardwalk system extends along the western shore, facing the sunset with plenty of space for social opportunities. Four triangular viewpoints in the form of jetties protrude over the river for a pause.

Main Features of The Park

The scenic dramatic tip of the peninsula’s profile was given a sharper profile by adding a 40-meter-long viewing platform with a springboard-like viewing feature at the tip that really maximizes on the pause-and-reflect opportunity this location provides. Other features of the park include a sandy beach and a reedbed walk on the western shore, activity space near the peninsula’s tip, and an event location close to the base of the peninsula.

In the center of the interconnecting riverside paths to the east and west, an undulating terrain with five parallel ridges manipulates the grounds. Their sizes vary, with the longest ridge being 100 meters long and six meters high, gradually dropping lower. The spatial concept behind the ridges was to break up the view along the peninsula’s length and to open up views to the sides. This, no doubt, dramatizes the width of the peninsula. The ridges form closed valleys in between and each valley has a distinct plant habitat of a beech forest, a magnolia grove, or a fern valley. The ones in between are grounds for rest and play, with contour lines deliberately marked with low granite steps, grass, and bulb fields. In many cases in our day-to-day lives, we have to dive in and fully immerse ourselves in our daily activities — often headfirst. What a place such as Sandgrund Park allows for is a certain place of stability — a place where users can come to enjoy the “grandeur of the surrounding landscape,” as the designers call it, to gaze out to the river, to observe the variations of the four seasons, and to reflect for a brief moment on what is designed to be an enchanting end point of the city. One cannot travel beyond this point, so it only makes sense to stop for a brief moment and experience the force of nature and the abundance of life that exists, thanks to the creative intervention within a piece of land bounded on most sides by water.

See More Projects by Thorbjörn Andersson:

• Dania Park, Landscape Architecture’s Love Story With Water
• How Winter Bay Culture Park Merged History and Revitalization
• Sjövikstorget Square: Traditional Techniques in Modern Landscape Architecture

Full Project Credits for Sandgrund Park

Project: Sandgrund Park Location: Karlstad, Sweden Designer: Thorbjörn Andersson with Sweco Architects Design Team: Johan Krikström, Emma Pettersson, Andreas Johansson Program Team: Margaretha Diedrichs, PeGe Hillinge Construction: Lennart Knutsson, VBB structures Illumination: Ljusgestaltning AB Area: 40,000 sqm Time of Completion: 2009 Investment: 2, 9 million Euro Client: City of Karlstad Recommended Reading

• Landscape Architecture: An Introduction by Robert Holden
• Landscape Architecture, Fifth Edition: A Manual of Environmental Planning and Design by Barry Starke

Article by Win Phyo

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Van Campenvaart, by Carve, The Hague, Netherlands. We live in a world filled with diversity. As adults, the more we test out unfamiliar places, the more we are exposed to all the differences that make up our world. This is also true for children. Play is a big part of children’s lives: In every child, there is a natural explorer willing to investigate new territories, which (let’s face it) exist practically everywhere. When a child plays, he gets to test out the capacities of his body as he explores the material world around him. This is also where children begin to navigate around the complexities of social interactions. For children with disabilities, their chance to play can often be limited by physical barriers and social exclusions. As sad as this sounds, we also live in a world that is also forever changing for the better. Campenvaart Playground gives hope for future generations to become more tolerant of these differences.

Van Campenvaart

Carve’s genius designers had one goal in mind: When they received the brief to design a playground with “integrated play facilities,” their mission was to blur the lines to the point where “integration” did not exist, simply because differences were not a part of the design vocabulary. In order to truly appreciate the revolutionary statement this playground is making, we must stroll down memory lane to see the progression that has been made in the history of playgrounds.

No More “KFC” (Don’t Worry, We are not Talking about Kentucky Fried Chicken)

Do you remember where you used to play when you were a child? This could have depended on where you were living at the time. For example, I remember when I was around eight years old, I would play on swings and slides in a little fenced “playground” within a big park. For me, this became my definition of a play space. Through the preconceived notions of creating safety for children, identical approaches were carried out in many cities in what can be described as “KFC” style: Kit, Fence, and Carpet (a term invented by landscape architect and academic Helen Woolley at the University of Sheffield for unimaginative and standardized playgrounds). Recommended Reading

• Landscape Architecture: An Introduction by Robert Holden
• Landscape Architecture, Fifth Edition: A Manual of Environmental Planning and Design by Barry Starke

Dropping KFC Like a Bad Habit

In contrast to this, a friend of mine from Zambia recalls her childhood being spent in the great outdoors, climbing trees, picking the fruits of the trees, and getting happily muddy. Thankfully, the “KFC” approach has changed significantly over the past years to evolve into something along the lines of what my friend experienced during her childhood years. The idea of “Natural Play” — the integration of play areas within natural landscapes such as woodlands — is now seen as a beneficial approach that immensely aids the learning capacities of children, their understanding of nature, and hence the world around them. See These Other Playground Related Articles: 

• Zorlu Center, The Playground Where Imagination Comes to Play
• How “A Toddlers Playground” Inspires Learning
• Creative Outdoor Gym in a Modern Community Park

In Carve’s Vision, “Playing Together” Doesn’t Mean Playing Next to Each Other

Playgrounds such as Campenvaart are challenging the notion of social inclusion in play spaces. The secret ingredient that one needs to design a playground for children both with and without disabilities is to eliminate the idea that you are catering to a specific group of children. As differences were set aside, Carve was able to see the opportunities that come with considering the capacities of children with and without disabilities, not their limitations. The natural explorer within every child makes her want to explore the possibilities and extend her boundaries. Therefore, the playground does not show any obvious sign that possible visual, auditory, physical, or mental limitations have been taken into account. Yet it provides increasing challenges for all children. The playground becomes their oyster, free from any limitations to challenge themselves as they wish.

Folding the Blanket to Create Change The form of the playground is in the shape of a folded red blanket. As the “blanket” gets folded, creases are formed, shaping an existing lawn into a striking graphic entity consisting of ramps and multi-level angles. The unlimited possibilities presented with this form and the intersecting routes that pass throughout the space allow children of differing abilities to meet and to help one another. The impact-absorbing surfacing — strikingly red to spark a child’s curiosity — is filled with many tactile elements, such as climbing grips, a moving rubber mat, a number of concave and convex half spheres, and other additional play elements, such as whisper tubes, a slide, a concave turntable, and a hammock. See These Other Playground Related Articles: 

• Zorlu Center, The Playground Where Imagination Comes to Play
• How “A Toddlers Playground” Inspires Learning
• Creative Outdoor Gym in a Modern Community Park

So from this project, how can we begin to define inclusive play? Well, we do not need to define our perceptions of accessibility in play by making special adaptations for special needs. We can begin by creating designs that cater to a broad spectrum of children’s needs, to their innate role as explorers, right from the beginning to really demonstrate the true definition of inclusion.

Crossing the Barriers That Are Created Through Varying Degrees of Ability

Campenvaart playground shows that accommodating children with disabilities does not need to have additional costs for specific play items to “help” special needs children in particular ways. Designing for inclusive play can benefit all children, as they get to concentrate on their own particular abilities. Interactions between children with varied abilities help them develop a true understanding of the world, appreciate differences, recognize the underlying similarities between people, and be capable of tolerating and accepting diversity.

The future of the world begins with the growth of today’s youngest generations, and by giving them a chance to play together in well designed playgrounds such as Campenvaart, we allow these spaces to flourish as the beginnings for a more inclusive society with equal opportunities to participate and flourish. What are your play memories from your childhood? Did you ever come across a play space that we could define as being “inclusive”? If you have, share with us so we can continue celebrating the progression of playground designs.

Full Project Credits for The Osum River in Van Campenvaart

Project Name: Van Campenvaart Location: The Hague, Netherlands Client: Municipality of The Hague Designer: Carve Area: 280m2 Construction: 2010 Awards: Child and Family Friendly Initiatives Prize 2011 Show on Google Maps Recommended Reading

• Landscape Architecture: An Introduction by Robert Holden
• Landscape Architecture, Fifth Edition: A Manual of Environmental Planning and Design by Barry Starke

Article by Win Phyo

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Shrewsbury International School “Play Field” for Kindergarten Children, by Shma Designs, in Bangkok, Thailand. Shrewsbury “Play Field” is a shining example of a sensory-stimulating environment for kindergarten children. Going beyond the typical all-in-one play equipment — which suggests limitations for the growth of a child — Shma has created an all-encompassing play area where young children are able to experiment, explore, observe, and manipulate their surroundings. So, just how exactly is this executed? Multi-sensory play makes up a big part of the design. Stop and think about what you are doing right now or what you were doing a minute ago. Can you identify the senses you used that allowed you to gain an understanding or perform a function? Through this short contemplation, you will realize how your senses are key to survival. Inside this Article:

• Geometric Galore
• Color Coordination
• Vegetation Variety
• A Play Garden Full of Contradiction
• Thinking Through Exploring
• Full Project Credits for Shrewsbury International School “Play Field”
• WATCH: Jinsop Lee: Design for all 5 senses
• Recommended Reading

Shrewsbury “Play Field”

Sensory play allows children to focus on one particular sense or use all senses in different play opportunities. Such sensory stimulations — to be able to see, hear, touch, smell, and taste — are key to existence in our world as much as food and water. Some of the many benefits of a stimulating environment include the ability to learn better, aid motor and cognitive development, and improve language and social interaction skills. Shma has used the following elements in efforts to encourage children’s brain development.

Geometric Galore

One of the most noticeable things about this design is the contrast between the linear ground patterns against the circular seating and play areas. The combination produces a striking sight sure to grab the attention of any five-year-old child. The circular elements, known as “Playing Pods,” provide varied experiences. “Swirl Pod” is a maze-like structure that mimics the experience of moving through a snail shell; “Island Pod” is like being surrounded by a water plant; “Herb Pod” stimulates the sense of smell with Thai herbs; “Sand Pod” provides the all-time favorite sand play (particularly strong for stimulating the sense of touch); and lastly, “Classroom Pod” has a roof for class gatherings.

More Top Articles on LAN

1. 10 of the Most Common Mistakes People Make in Planting Design and How to Avoid Them
2. Interested But Not Confident? – Know How to be Good at Hand Drawings
3. Top 10 YouTube Tutorials for Technical Drawing

The various pods are characterized by 1.2-meter-high wooden partitions that create an intimate setting, allowing children to revel in their own world while still low enough to provide adult supervision. Additional spatial dimension is also created by circular holes within the wooden partitions.

Color Coordination

The striped ground pattern is characterized by different tones of green rubber flooring to imitate the feeling of a lawn. The colors are gentle for the children’s eyes and create a more pleasant setting. Among the linear pattern runs a meandering bicycle track that travels in and around the pods for fun bike classes. The final color pallet consists of earthy tones; here Shma managed a delicate balance between geometry and color. Both of these elements widen a young child’s vision — a sense that helps them gather the most information of the world.

Recommended Reading

• Landscape Architecture: An Introduction by Robert Holden
• Landscape Architecture, Fifth Edition: A Manual of Environmental Planning and Design by Barry Starke

Vegetation Variety

When it comes to multi-sensory stimulation, do not underestimate the power of planting. For example, plants such as lavender (Lavendula angustifolia) produce a strong pleasant scent; Allium spp. have large spherical shapes that can make any child feel like they are on another planet; Bamboo (Bambusa spp.) can produce whistling sounds in the wind; textural plants such as Lamb’s ears (Stachys byzantine) have a velvety soft feel (a favorite for growing with children); and any edible planting such as fruit trees are great to cultivate to educate the children.

Within this particular play area, existing trees are retained for shade and chosen shrubs have textural quality. Among the different species, Iris is used for its soft movement in the wind and Elephant Ear (Colocasia spp.), with its gigantic leaves and advantageous height, ignites the children’s imagination.

A Play Garden Full of Contradiction

Keep thinking about what the “Play Field” would look like from a five-year-old’s point of view. At a first glance, the play area looks like a forest, with “glades” and swathes of green created from either the planting or the rubber flooring. There is a challenging aspect for the children, because there is always an element of contradiction.

Geometry, as mentioned above, is one of the contradicting elements. The space can be traveled from inside to outside, creating hidden/open and public/private areas. The height of planting varies from groundcovers that hug the planting beds to medium to large planting that towers well above the young children. Circular spaces are also defined either by tall partitions or short bordering edges.

More Top Articles on LAN

1. 10 of the Most Common Mistakes People Make in Planting Design and How to Avoid Them
2. Interested But Not Confident? – Know How to be Good at Hand Drawings
3. Top 10 YouTube Tutorials for Technical Drawing

These contradictory elements are there to challenge the children to use their senses as a way of exploring and getting familiar with the space. They are not on their own. With an army of kindergarten children playing together in the play garden, they can interact with one another and share their discoveries.

Thinking Through Exploring

Children learn to think and relate to the world around them through the exploration of their surroundings: touching wood, rubber, metal, or concrete surfaces; changing body positions and movement patterns; and so on. They have fun and “‘fun’ is a child’s word for sensory integration.” We, as adults, can relate to this, because our senses are our gateways to the world that surrounds us.

Unfortunately, not all of us have grown up with play areas such as Shrewsbury “Play Field”, but we have learned the ways of the world using our senses. Jinsop Lee, a product designer, in his TED talk “Design for all 5 senses” (watch below) talks about how humans are blessed with five senses, yet most experiences or products allow us to use only one or two at a time. As demonstrated above, in landscape design, we have the necessary scope and elements to engage with all five senses. We can take a few pointers from this project to create spaces that do take notice of this impact and aim for maximum sensory stimulation for children and adults alike.

WATCH: Jinsop Lee: Design for all 5 senses

We have picked out the key elements that this project contributes to the multi-sensory play experience. Do you think Shma has the right balance or could there be more elements introduced to heighten the children’s senses?

Full Project Credits for Shrewsbury “Play Field”

Project: Shrewsbury “Play Field” Landscape Architecture: Shma Designs Client: Shrewsbury International School Location: Bangkok, Thailand Site Area: 900 sq.m. Design: 2007 Construction: 2007 Show on Google Maps

Recommended Reading

• Landscape Architecture: An Introduction by Robert Holden
• Landscape Architecture, Fifth Edition: A Manual of Environmental Planning and Design by Barry Starke

Article by Win Phyo

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Peak Experience, by Atlas Lab, Market Street, San Francisco. What does a main street in your city or town look like? A streetscape is typically a stretched linear entity that encourages circulation and has common elements such as street lighting; lanes paved in an orderly fashion for cars, bicycles and pedestrians; landscape planting; and some street furniture. One finds great diversity in a streetscape, and every street has a separate identity. However, we don’t always find streets that encourage us to partake in any activity besides fast-paced walking. As part of the Market Street Prototyping Festival, the unique streetscape prototype installation of the Peak Experience is driven by a desire to integrate play into traditional street models and provide opportunities for connection with others.

Peak Experience

For the people of San Francisco, Market Street has always been a passageway, not a destination. The city itself is built on rolling waves of hills. Besides the Golden Gate Bridge and the stunning views across San Francisco’s bay, the city is famous for the hilly topography of its peninsula, making it distinctive among American cities. The city’s iconic terrain has curated and framed its diverse neighborhoods. Market Street has been a different story. Built on a rare flat land, the area lacks the iconic views of San Francisco’s landscape. Although the main thoroughfare provides links to the vibrant surrounding neighborhoods, it lacks the character other spaces in the city provide and does not support a platform for community engagement.

Inspired by the Existing Topography The Peak Experience preconceives the hills of San Francisco into a collection of undulating mini-mounds that vary in elevation, just like the real hills. What better way to know San Francisco than to know its hills? If hiking up one of the original hills is not your idea of fun, then a new challenge awaits those who come in contact with Market Street — and that is simply to conquer each mini-mountain-like structure of the Peak Experience. The fuchsia-colored mounds invite a mix of uses, including offering a playful form of an interactive discovery, educating users about the city’s geology. Related Articles: 

• 10 Top Examples of Land Art From Around the World
• Urban Artwork Transforms Everyday City Space into a Lively Plaza
• Shanghai Red Carpet Park Lets People Reflect on Their Everyday Lives

What are the hills made out of? The streetscape prototype for the festival involves the installation that occupies a 15-foot-by-15-foot site. The surface of the pedestrian route is transformed into an expressive display of the topography of three of San Francisco’s hills: Nob Hill, Russian Hill, and Telegraph Hill. The hills are made out of milled foam coated in the flexible play surface. The interesting addition to the design is that the mini-mounds also correspond to the primary street grid overlaid on the surface of each hill. Looks Can Be Deceiving… Don’t let the simplistic appearance fool you. The design process for Peak Experience consisted of extensive research of the hills of San Francisco. Through the collection of topographic data and mapping, each hill was assigned a vertical elevation on AutoCad to recreate the city’s hills accurately. The computerized models were then used to vertically exaggerate the surfaces to represent the true forms of these hills, stripped off from the urban fabric. Why not have this everywhere? The true benefit of the project stems from the engagement of the community with the public art installation. You can take a look at Atlas Lab’s Instagram page that shows children performing parkour like movements to see the vision of the project come true, while the adults snap pictures on their phones and the braver adults have a go at testing out the middle peak as a seating structure. The children’s interactions present a valid question of why our journeys down long streets have to consist of plain walking when we can spice it up with some kicks and flips in between? “100 percent unique to San Francisco” Peak Experience is simple, context-sensitive, and interactive for all ages. What is great about this project is that it is 100 percent unique to San Francisco, turning the city’s natural landmarks into rubberized mounds. The soft and flexible pedestrian zone within the street responds to the often static streetscape elements with a malleable street typology that ultimately breaks up the linear form of the thoroughfare. A Shift in Focus The recreational corridor introduces play into people’s daily lives, allowing passers-by to shift their focus from getting from point a to point b and realize that the journey can be quite an exhilarating experience. That being said, can you think of ways to recreate the streetscapes in your towns and cities to benefit community engagement and change perception?

Full Project Credits for Peak Experience

Project: PEAK EXPERIENCE – Deploying San Francisco’s iconic terrain as an agent for interactive discovery, play, and community engagement Project Type: Juried Competition – Temporary Installation Competition Name: Market Street Prototyping Festival Designers: Atlas Lab Location: Market Street, San Francisco Area: Around 20m2 Client: The public engaging in the 2015 San Francisco Market Street Prototyping Festival Year: 2015 Team Information: Andrew tenBrink and Kimberly Garza (ATLAS Lab)

Recommended Reading:

• Landscape Architecture: An Introduction by Robert Holden
• Landscape Architecture, Fifth Edition: A Manual of Environmental Planning and Design by Barry Starke

Article by Win Phyo

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Choorstraat-Papenhulst, by Buro Lubbers, s’Hertogenbosch, Netherlands. There is always something intriguing about a project that exudes simplicity. You know, the ones that look effortlessly put together, like models on a catwalk. Nestled within the historic setting of a neo-gothic chapel, the project Choorstraat-Papenhulst was sparked by the transformation of a historic center within the immediate vicinity of the courtyard into a luxurious apartment building. Buro Lubbers has designed a space that is part of a sequence of squares around Sint-Jans Cathedral, giving the area a little boost to mark the change in residencies. The initial design as implemented is supposed to be a transformation of a private courtyard into a semi-public square. But unlike a bustling city square, the serenity of the space is palpable. Although the overall design lacks greenery, there is no sense of it being a cold and hardened place. Just as you can find solitude, comfort, and warmth inside a church, the space has a private character that allows you to find your bearings. With the addition of a good design, it is able to foster a mesmerizing presence with a welcoming and peaceful atmosphere.

Choorstraat-Papenhulst

The whole of the space is paved in random strokes of Irish bluestone that is darkly rich with fossils. The linear pattern of this paving is reflected in a scattering of parallel wooden strips on which seating and tables are placed, made also out of wood.It is the gothic character of the Irish bluestone that makes this space so relatable to the historic building facades, yet the warmth brought about by the wood reflects the wooden chapel doors and makes the area seamlessly modern.

The Wine Cooler That Keeps People Coming Back The centerpiece of the design revolves around a 24-meter-long wooden table with wooden cube-shaped seating in a tightly knit cluster. The whole attire looks cozy enough to host a modernized Medieval banquet — just perhaps in tinier portions. That’s because an integrated water feature that serves as a wine cooler occupies the middle of this wooden table. Yes, a wine cooler! Serving small portions of food and having cool wine under the sun filtering trees should just about fit the bill in keeping with today’s trends. See More Projects in the Netherlands: 

• Stirring Emotions at the Netherlands Army Museum and Netherlands Air Force Museum
• A Roof Garden That’s so Good, You Might Want to Work There!
• How Zoetermeer Vivaldi Care Home is Merging with Nature

Planting Design The only soft scape is the trees along the edge of the chapel façade. There were design limitations due to an underlying parking garage, so the trees had to be placed immediately near the chapel. Named Kentucky Coffeetree (Gymnociadus dioica), the trees have thin foliage that allows light to filter through to the seating area and do not overshadow the visual significance of the chapel. As mentioned above, the space originally was designed to be accessed by all; however, the courtyard was soon after made only accessible by the residents. This could open up further design possibilities and perhaps give the opportunity to add more greenery. The Atmospheric Use of Lighting Lighting plays a role in making certain elements of the design ornamental. Lighting on the ground brightens up the trees and special lighting poles set at different heights give the design further depth and dimension. Spotlights on the lighting poles focus on certain objects, giving importance to the design elements that were made from a very clean palette of materials. An Award Winning Design This space was acknowledged in 2004, winning a Dutch Design Award in the “Public Space” category. The jury has quoted: “A long wooden table, next to a church, with wooden cube-shaped seats, 12 altogether, one spontaneously can imagine Da Vinci’s Last Supper here, in the open air. This public space has changed into a special artifact, in which ornamental and symbolic elements have a practical function: An artificial water element, integrated in the table, serves as a wine cooler; the latticework in the pavement is made of the same material (wood) as the table and benches and (is structured) in a delicate way”. Masterful Simplistic Design What is it about this design that makes it so intriguing? Is it the linear response to the original space with the use of such basic shapes that, although it looks modern, brings to us the feeling of traveling back in time? Maybe it is the general hush and the feeling that you need to gather around and speak in polite whispers, which you don’t particularly get from walking around in a less private city square? Or perhaps simply the presence of the imposing chapel gives the space a clever advantage in invoking a sense of awe and reverence in the beholder. Do you think there is more to this simplistic design than meets the eye?

Full Project Credits for Choorstraat-Papenhulst

Project: Choorstraat-Papenhulst, A courtyard for Leonardo da Vinci’s last supper Landscape Architecture: Buro Lubbers Location: ‘s-Hertogenbosch, Netherlands Area: 1800 m2 Costs: € 125.000 Realization: 2003 (phase 1), 2008 (phase 2) Photos and text: Buro Lubbers Award: Winner Dutch Design Awards 2004 (category: design public space) Show on Google Maps

Recommended Reading:

• Landscape Architecture: An Introduction by Robert Holden
• Landscape Architecture, Fifth Edition: A Manual of Environmental Planning and Design by Barry Starke

Article by Win Phyo

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David H. Koch Plaza at the Metropolitan Museum of Art, by OLIN in New York City, New York, USA. Before I share the intricacies of the project with you, I would like to first share this quote by Jane Jacobs, as cited by Dennis McGlade, partner at OLIN, when commenting on his thoughts about the project: “The ballet of the good city sidewalk never repeats itself from place to place, and in any one place it is always replete with new improvisations.” This is a project that revolves around transformation and this quote is a gentle reminder that tells us of the inconsistent patterns between people and spaces. Why is it so relevant to this project? Well, the project is grandly sitting in Manhattan, New York- one of the most famous, busiest metropolitan cities of the world, in front of one of the largest and prestigious art institutions of the world- the Metropolitan Museum of Art. David H. Koch, who is among America’s richest and frankly not so popular men, funded the project with a $65 million dollar donation.

David H. Koch Plaza

It would be an understatement to say designing for a colourful community of New Yorkers and tourists alike would spark a challenging task of accommodating the fusion of movement and change, a “dance” as Jacobs calls it that glaringly exists. This is the result of what was supposed to be repair work for the long-standing space and its old fountains that turned into a total redesign of the public spaces spanning four blocks long. It has brought about many controversial opinions but keeping this quote in mind, let us see why the space works.

OLIN led the design for an ultimate pedestrian experience in the outdoor space that runs throughout Fifth Avenue whilst creating a welcoming destination for the Museum’s enthusiasts. The $65 million contribution allowed the replacement of the old fountains into ones with a modern design, new paving, atmospheric lighting and a whole lot of tree planting. Fountains Reflecting the City’s Contemporary Rhythm New granite fountains are positioned close to the museum’s beloved iconic stairs marking a grand entrance to an equally grand façade of the museum. Water elements are always a welcoming feature in an urban space as the movement and sound of water ignites those who come into contact with the space with energy. These fountains, particularly, have individually controlled nozzles that eject streams to display geometrical shapes and innovative motion patterns. The simple square form of the fountain with its circular centre connects Museum’s historic architecture and the City’s contemporary spirit through the motions they create. With environmental sustainability in mind… The plaza has approximately 100 new trees, doubled the previous number creating a shaded environment whilst reducing the surface temperature of the paving by as much as 25 degrees Fahrenheit. A suspended paving system allows subsurface tree pits to collect and use on-site stormwater, taking some pressure of the city’s ageing infrastructure. Excess stormwater not captured by the tree pits are collected and held in the underground retention areas before they are slowly released into the city’s stormwater system. Watch the Space Change at Night In the evening, the ambience of the space is turned into an illuminated oasis that displays the museum as a work of art- from placing new lighting on the façade of the building, the grand stairs, the fountains and the landscape. We are then made to appreciate the shape and form of the building’s details as the landscape takes a step back from the limelight. Unifying the Entire Site The plaza is unified its entire length and depth by paving of grey toned granite. There are many opportunities for people to stop their busy schedules to enjoy the atmosphere of the space and people watch through the provision of permanent and temporary seating, with some having parasols for shade. The integration of lighting means this space can be used well into the late hours of the evening. The Old and the New We also have to give some consideration to the old and the new- of course; this reinvention of the space came at a cost of replacing the old features of the space. To make way for the new era, the museum’s old linear long fountains, its cobblestone paving that embraced and encouraged movement, gave a sense of continuity and displayed a classic form of spatial design. Taking a Risk on Change The new material palette, the additional seating spaces and the high arching play of the water may not completely reflect the historical façade of the building but it does encourage people to dwell more in the area and allow the space to turn a new leaf and embrace the modern city vibrations. Related Articles Featuring OLIN: 

• Green Revival Brings Life Back to River Park
• The Street Bridge Park Everyone’s Talking About

An Exhilarating Mix of People This area draws in an exhilarating mix of museum-goers, street performers and performance watchers from all over the city and all over the world. Although there has been a significant change, people are sure to find their way again, filtering through the length of the four city blocks and making this renewed public space their own. After all, as Jane Jacobs has said: “The ballet of the good city sidewalk never repeats itself from place to place, and in any one place it is always replete with new improvisations.” Full Project Credit:  Project: David H. Koch Plaza at the Metropolitan Museum of Art Location: New York City, New York, USA Lead Design Firm: OLIN – landscape architecture Completed: 2014 Consultants: Fluidity Design Consultants – water feature design L’Observatoire International – lighting design Spatial Affairs Bureau (formerly Rick Mather USA) – parasols, stone benches, new guard booths Gorton & Associates – project and cost management Sam Schwartz Engineering – vehicular and pedestrian traffic flow plan Kohler Ronan – MEP, fire protection engineering WJE Engineers & Architects, P.C. – building façade consulting Langan Engineering and Environmental Services – civil, geotech, traffic, surveying AKRF – environmental consulting Jacobs | Doland – food service operations Robert Silman Associates, Inc. – structural engineer Northern Designs – irrigation Milrose Consultants Inc. – code consultant, permitting Urban Arborists – arborist Urban Trees & Soils – soils consulting Entro – signage design RCDolner – general contractor Image Credits: All images © OLIN / Sahar Coston-Hardy Show on Google Maps

Recommended Reading:

• Landscape Architecture: An Introduction by Robert Holden
• Landscape Architecture, Fifth Edition: A Manual of Environmental Planning and Design by Barry Starke

Article by Win Phyo

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Bishan Park- Kallang River Restoration Poject by Atelier Dreiseitl, in Singapore. Bishan Park, with more than 3 million visitors annually, has a local significance in Singapore similar to that of Central Park in New York City. At the heart of the park is a dynamic natural ecosystem of an important river that flows at a length of 3.2km through the park that once fell victim to the country’s rigid flood control infrastructure system of the sixties. For Singapore, engineering of the past left a legacy of concrete along with physical barriers that divided local communities, created a lack of biodiversity and deprived the citizens of a recreational space with fresh water. The new life brought about by the project brings residents of Singapore closer to water and encourage the busy city go-getters to slow down and enjoy nature.

Bishan Park

Kallang River is the longest river in Singapore that carries water from one reservoir at the center of the island to another on the coast. During the 1960s and the 1970s, as part of a flood control project, it was forced into a straight concrete drainage channel that flowed through Bishan Park. This cut off neighbourhoods from each other and from the park creating more isolation.

River Freed From its Concrete Restraints It was only in 2011 that the river freed from its concrete restraints and transformed into a dynamic natural stream system. The river now happily meanders through the park as a natural riverbed- with rocks, pools and riffles slowing the velocity of the water and allowing it to be cleansed by communities of plants and organisms. Reducing the Heat Island Effect The park surrounding the river is once again the river’s floodplain, absorbing and carrying 40 percent more floodwater during heavy rain than its old concrete canal could handle. Urban rivers also help reduce the heat island effect when they are not refined in concrete and the Kallang River restoration has made it possible to cool an area of the dense city. Stepping Stones Symbolically and Physically Connecting People and Places During the dry weather, people living in the surrounding neighbourhoods come down to the river where gently sloping riverbanks form part of the park features. Bridges and people friendly river crossings made of large stones connect the once separated neighbourhoods. People are able to sit on the boulders within the water or walk barefoot on the pebbled streambed as both adults and children gain the freedom to dangle their fingers in the water and squat down to examine the creatures living in the river! A Child Friendly Space Makes for a Great Public Space The park also features a water playground, two other new playgrounds and a community garden, making the park extremely child friendly. Pieces of concrete removed from the old concrete channel have been recycled and used to build a lookout point named “Recycle Hill.” Biological Filters in Action Biological processes clean the water- plants are chosen for their natural cleansing properties that maintain the quality of the water without the use of chemicals. The use of soil bioengineering techniques to stabilize the banks was also a first for Singapore. See More Projects Featuring Atelier Dreiseitl:

• How The Chicago City Hall Green Roof is Greening the Concrete Jungle
• Potsdamer Platz in Berlin Becomes a Sustainable Ecofriendly Urban Square

With extensive tests being carried out to refine a selection of appropriate techniques and plants, as well as finding an effective construction method, we can all appreciate the amount of planning that has gone behind the restoration of this park. Thriving Wildlife Reed beds, flowering plants, trees, shrubs, and the varied topography of the river restoration have created a variety of microhabitats, and even though no wildlife was introduced, biodiversity in the park increased by 30 percent during the first two years. Fish swim in the river; there are many species of birds and dragonflies as well as species of wildflowers have been identified. Some migratory birds are even beginning to use the park for resting. The ABC Waters Program The project is the first of many projects in Singapore’s Active, Beautiful, Clean Waters (ABC Waters) Programme, a long initiative scheme that aims to transform Singapore’s waters from being simply drainage and water supply devices into elements of green infrastructure that also acts as places for recreation and community building.

Bishan Park, A $60 million Success Story

The park offers a vibrant example of what is possible in the midst of a dense city for the people, the wildlife and for the benefit of the environment. Much to everyone’s delight, the three year- $60 million Bishan Park intervention was environmentally and socially relevant and became a huge success.

Full Project Credits:

Landscape Architecture: Atelier Dreiseitl Partners in Charge: Herbert Dreiseitl, Gerhard Hauber Project Management and Lead Design: Tobias Baur, Rudolf Mager, Leonard Ng, Hendrik Porst Project Engineers: Andreas Bockmühl, Stefan Brückmann Project Team: Jeff Boggess, Angelika Büchele, Jason Chia, Edith, Gustavo Glaeser, Tobias Klinger, Martin Koller, Birgit Kühlbrandt, Wi Ming, Herbert Montevirgen, Vera Sieber, Angela Soler, Chanida Suebpanich, Sebastian Walker, Melissa Yip, Ingo Zoefelt, Christoph Hald, Nengshi Zheng Bioengineering: Peter Geitz und Partner JV Partner: CH2MHILL Project owners: PUB, Singapore’s national water agency and the National Parks Board Image credits: Dreiseitl, PUB, Wang Area: Central catchment 140 km² 62 ha / 155 acres Client: Public Utilities Board & National Parks Board Design: 2007 – 2010 Construction: 2009-2012 Cost: 76 million SGD / 45 million € / US$ 60 million Awards: WAF 2012, Excellence on the Waterfront Honor Award 2012, President’s Design Award Singapore 2012

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Recommended Reading:

• Urban Design  by Alex Krieger
• The Urban Design Handbook: Techniques and Working Methods (Second Edition) by Urban Design Associates

Article by Win Phyo

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Qunli Stormwater Park, by Turenscape, in Haerbin City, Heilongjiang Province, China. These days, with cities growing, life taking on a faster pace, and resources strained by the demands of the developing human race, it can be difficult to determine the importance and ability of natural ecosystems to fit into the urban context. Nature takes its time to grow and develop, and seems to be nowhere as demanding as people. When it comes to dealing with water, urban environments can lack resilience. In China’s Haerbin City, 30 hectares of wetland was on the brink of extinction. With a little bit of help, Turenscape was able to turn a bleak situation into a green oasis filled with the abundance of nature and life, while addressing the problem of stormwater management and providing aid in the city’s development.

Qunli Stormwater Park

The City’s Context Qunli New Town, east of Haerbin City in the north of China, is a fairly new urban district that has been developing since 2006, with more than 32 million squares to be developed within the next 13 to 15 years. Once finished, the place will be a concrete jungle, with more than a third of a million people living there. A small percentage of the developable land – 16.4 percent — is dedicated as permeable green space. But the area’s rainfall statistics do not reflect this decision. From June until August, rainfall is intense, accounting for 60 percent to 70 percent of the annual rainfall. Flooding and waterlogs are regular occurrences in the area. A small percentage of the developable land – 16.4 percent — is dedicated as permeable green space. But the area’s rainfall statistics do not reflect this decision. From June until August, rainfall is intense, accounting for 60 percent to 70 percent of the annual rainfall. Flooding and waterlogs are regular occurrences in the area.

The site is surrounded on all sides by roads and development, completely separated from its water sources. For a site that is protected as regional wetland, its ecological and biological processes are unable to re-establish in the current situation. Turenscape was asked to design a 30-hectare park to salvage the wetland. The result has demonstrated not only the recovery of a wetland, but also a transformation of the area into an urban stormwater park. The finished site consists of a seemingly simple yet complex-looking multi-layered park with several design elements and strategies. 1. Untouchable Core There is an untouched core of green in the center to allow for “natural evolution,” as Turenscape describes it. This central area of the existing wetland will continue to have natural habitats evolving. The thought of humans not being able to gain access to the center is both a relief and an alluring matter. More Articles Featuring Turenscape:

• The Stunning Yanweizhou Park Recaptures Lost Ecology
• Shipyard Site Transforms into Stunning Ecological Park
• Turenscape Design Outstanding River Park

2. Cut-and-Fill Landform Strategy The infamous cut-and-fill landform strategy is an understated method that transforms the site’s wetland perimeter into a series of ponds and mounds that surround the former wetland. This outer ring then becomes a stormwater filtrating and cleansing buffer zone for the wetland core — a welcoming transition and an interesting connection between nature and city.

The system involves the collection of stormwater from the newly built urban area into the ponds for deposition via a pipe that runs around the circumference of the wetland. The stormwater is filtrated in a natural process initiated from wetland grasses and meadows grown at various depths in the ponds, after which it is evenly distributed into the wetland. The mounds form a dense forest environment filled with groves of native silver birch trees of differing heights. 3. Inviting Network of Paths and Platforms The wetland site is turned into an inviting park through the provision of access around the circumference of the site. Urbanites can enjoy a walking-through-forest experience. Integrated seating and platforms adjacent to the ponds allow them to have close contact with nature. 4. A Multi-Layered Experience A skywalk with viewing platforms and towers give users distant views of the untouchable central core and the natural habitats associated with the growth of the wetland while being an explorer of the forest through the dense tree canopy. A selection of materials used for the five pavilions (bamboo, wood, brick, stone, and metal) and two viewing towers (one in steel and the other in wood) enhance the quiet observational experience of the green expanse and add more visual textures to the overall design.

Qunli Stormwater Park

The role of landscape architecture is growing in the current climate to aid nature and its systems in integrating and adapting to our urban environments, helping our cities flourish and become more resilient. This site is now listed as a national wetland park. The multiple ecosystems service, collect, cleanse, and store stormwater, infiltrate into an aquifer, protect and recover native habitats, and inevitably will help with flood prevention. And the city’s residents? Well, they will benefit from an environment filled with recreational and aesthetic experiences. Here, we find a growing area where in the future, nature and city will be in better harmony than they were at the beginning of the story. Recommended Reading:

• Urban Design by Alex Krieger
• Digital Drawing for Landscape Architecture by Bradley Cantrell

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Delft University of Technology, by Mecanoo Architecten, in Delft, Netherlands. Known as TU Delft, Delft University of Technology is the largest and oldest technical university in Holland. The university needed to update its campus atmosphere, so what better way to do this than by coming up with a design for one of the buildings that makes up the heart of a campus: the library. We can all call up the image of a library with endless rows of books in cases reaching the ceiling. But modern libraries combine books with computers and a sense of community. Inspired by such radical change, the design for the outside atmosphere of the TU Delft library brings the university into the new century, giving rise to an iconic library set within a fascinating site design. WATCH: Library Delft University of Technology (2013)

Delft University of Technology

Is it a building or a landscape? It is a building that doesn’t want to be a building – it wants to be a landscape. Mecanoo Architecten designed the library on a sloped plane, extending the grass from the ground to the very edge of the building roof, allowing intensive interaction with all facades of the building. What’s more, you can literally walk over the building! The steel structure resembles a large pin that secures the roof to the ground on one side, like a sheet of paper being pinned to a noticeboard.

Symbol of technology The pointed cone pierces the green lawn and stands as a symbol of technology, pinning down the endless form of the landscape. It is also floodlit at night, acting as a beacon on campus day and night. Within the cone, a central void allows daylight to stream in from a glazed roof to the internal reading spaces below. Related Articles:

• WARNING: Why You’re Losing Money By Not Using a Green Roof
• A Roof Garden That’s so Good, You Might Want to Work There!
• Why Should You Have a Grass Roof?

As an underground library where books are stored like a good wine, the building has done well at maximizing its volume by building across the landscape. A large volume of 15,000 square meters of underground book archives, reading rooms, study spaces, and bookshops all stand under one roof.

In addition to serving the local needs of university students and staff, the library provides reference and information services for many companies and industries. Designated as the national library for technical and natural sciences, the facility is also connected electronically to major libraries around the world. The library thus satisfies both electronic needs and the sensory pleasures derived from being able to touch and smell the books. The inviting atmosphere Space, lighting, and a relaxing atmosphere are lasting values of an effective library, and this one is no different. The interior and exterior combined bring a new twist to the typical concrete setting. The inside and outside seamlessly mesh together — the interior is proudly on display through the panels of glass windows with metal cladding that visually welcome users in and out. The overall design is outward looking and invites users to make the most of the space. The grass roof of the library is freely accessible for walking and lounging, creating a new amenity for the whole campus. The tilted landscape also provides a sledding hill in winter. Going to a library doesn’t sound so tedious now, does it?

Sustainability at Delft University of Technology

The density of the mass of the planted roof has significant insulating properties so that the interior of the building is less susceptible to changes in temperature. In addition, the mass provides excellent soundproofing, and gradual evaporation of rainwater held by the vegetation provides natural cooling in the summer.

The building and landscape rely on one another to make this library a successful space. The building alone cannot attract as much attention or allow for such innovative eco-technology without the vast green expanse, and the green-roofed landscape alone would be just a simple form of space that lacks intricacy. The design is one that leaves us pondering what else could be achieved when design successfully closes the bridge between architecture and landscape architecture. Can you think of similar projects? Recommended Reading:

• The Green Roof Manual: A Professional Guide to Design, Installation, and Maintenance by Linda McIntyre
• Green Roof Construction and Maintenance (GreenSource Books) (McGraw-Hill’s Greensource) by Kelly Luckett

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Channel Center Park and Iron Street Park, by Halvorson Design Partnership, Boston, Massachusetts. Relatively small it may be, but Boston as a city is still growing and building new neighborhoods such as Channel Center. The city’s seaport district, commonly known as the Innovation District, has been transforming in the recent years to make the area more vibrant with new businesses and residential areas. With a mixture of new office buildings and over 200 residential units, Channel Center is one of the mixed-use projects that are the first to develop its multiple parcels. Amongst the initial implementations, a pocket park named Iron Street Park and a large neighborhood park, Channel Center Park have begun to grace Boston with their innovative and community-spirited designs.

Channel Center Park and Iron Street Park

Set in the historic 100-Acre District of South Boston, adjacent to the Fort Point Channel, these open spaces are a core to serve the growing Fort Point Channel neighborhood. The vibrant Channel Center will include a community of offices, residences, retail spaces, live/work art studios, an art gallery and even a performance theatre- becoming a fusion of many architectural styles and details.Halvorson Design Partnership of Boston has had to collaborate with numerous architects and engineers involved with the project to really make these spaces integrate well with the diverse surrounding, whilst making a special statement of their own. Halvorson Design Partnership of Boston has had to collaborate with numerous architects and engineers involved with the project to really make these spaces integrate well with the diverse surrounding, whilst making a special statement of their own.

Design Challenges The challenges that already exist for these open spaces is to be versatile enough to accommodate many different users (not to mention the existing residences already present and growing in the area), as well as create a vision that sets the character of the future public realm projects within the district. What’s more, these two spaces, although they may have higher common goals, they vary in size and function. Iron Street Park Designed in a more intimate setting at an intersection between two streets, this smaller pocket park is perfect for lunch breaks, smartphone checks, and performances. The design idea was envisioned as an outdoor living room and you can see this reflecting on the carefully considered positions of the park’s seating and central artistic piece that almost resembles a living room’s couches and center table. The use of art within the parks The park also makes references to the Fort Point Channel District’s industrial park through the use of materials and artistic pieces. Artist Lisa Houck has designed a mosaic piece and graphic design Flanders + Associates has depicted the history of Boston’s Seaport area and its evolution over time. Particularly, the mosaic is a colorful and lively addition designed to incorporate the historic themes of the park and depicts the iconic loft buildings that were built in the neighborhood 100 years ago. Related Articles:

• Historical Landscape Gets Modern Day Makeover
• 15 Great Examples of Historical Landscape Architecture
• Giant Sized Pergola Creates Ecological Haven

The concrete plinths are also highlighted with quotations of the area’s history. What’s more, the most interesting incorporation of the area’s history is how some of the seating is also made from original beams from the historic buildings, nicely bringing together the artistic and construction design. Channel Center Park This park is bigger and seeing as it is situated at the forefront of the business and residential environment, the firm has done a good job of creating a welcoming character and a beautiful green backdrop. There are many seating areas and open spaces, as well as a playground.

The play space is specially designed to stimulate children’s large motor skills that include features like a rope climbing structure, grassy mound and a lawn circle as well as children scaled furniture as reflection and relaxation zones to balance out the play activity with quieter gatherings. Unlike the nearby Iron Street Park that follows a geometrical language, Channel Center Park incorporates a long, slightly curving main path to allow users to move through the park with ease. The wooden benches in both parks are made out of reclaimed wood from an existing building of the old Channel Center site. These benches, as well as the salvaged granite foundation blocks, are slightly set into the grassy hillside to demonstrate this well-remembered industrial past of the Fort Point Channel. Of course, they are also great to sit on!

Channel Center Park and Iron Street Park, development for Boston’s Future

These two parks are already demonstrating how beneficial they will become to the future growth of this neighborhood. Not only in appearance but also in functionality, the landscape treatments that have been done to improve this area, along with these open spaces, have really managed to create streetscape improvements consisting of new sidewalks, street trees and lighting. As Boston’s growing seaport district celebrates the past and looks forward to the future, it can clearly be seen that these two parks have played a major role in paving the way. Recommended Reading:

• Site Engineering for Landscape Architects by Steven Strom
• The Artful Garden: Creative Inspiration for Landscape Design  by James van Sweden

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The Elastic Perspective, by Next Architects, Carnisselande, Netherlands. A project rich in meaning, form, and experience, the Elastic Perspective by Next Architects is rather a rare finding in the Carnisselande, Rotterdam suburbs of the Netherlands. The giant circular staircase marks the end of a tram stop and takes visitors up to a height that provides a continuous view of the surroundings, including the skyline of Rotterdam. Rotterdam is the second-largest city in the Netherlands, and Carnisselande looks out to its mother town. It is this attraction/repulsion relationship between the two diverse places that stimulated Next Architects’ inspiration for the staircase design.

The Elastic Perspective

The Mobius ring inspires the form of the design. The Mobius ring — or the Mobius strip, as Next Architects describes it — is a surface with only one side, whereby a traveler on such a shape can climb endlessly and never end up wandering over the edge. The final design picks up on this alluring illusion of travelling above and below a single surface. There underlies a meaning of continuity. Although the tram stop represents an end of the journey back and forth the Carnisselande and Rotterdam, the three-dimensional staircase suggests an endless route.

The Use of Corten Steel Appearing to float in mid-air around a grassy peak, the circular structure also picks up on the heavy infrastructural surroundings it sits above — a six-lane carriageway, a motorway merging point, and a district bypass. Created as part of a local art project, the architects’ use of Corten steel as the main material of the walkable staircase makes a clear statement of how Carnisselande may be just minutes away by tram, yet the busy traffic forms a superior barrier from Rotterdam. The one material also emphasizes its circular continuity without any distraction. This weathering steel forms a protective layer on its surface; therefore, no coatings were needed to provide protection from further corrosion. Try to experience this metaphorical journey… The ambiguous Ying-yang journey to go up the circular steps is an exhilarating experience, as one is rewarded with an incredible view of what lies a few kilometers ahead — the city of Rotterdam. However, the walkway is an illusional loop, and you are unable to complete the circle. The staircase path turns upside down, and a visitor such as yourself is forced to turn around and retrace your steps back into the Carnisselande suburb. This looping, oxidized steel structure is a great execution of the form, scale, and function. Draping on the grassy hill, the journey up and down the staircase is a journey of the mind as well as of the body. Every angle gives a new image of the structure, providing a very literal answer to the local art plan of an elastic perspective. An Art Sculpture and its Meaning On the surface, it looks like an intriguing interactive art sculpture where perhaps one might go for reflection or to escape reality. Yet the project connects this ambiguity of the form of the Mobius ring with the mentality of the suburb’s inhabitants, who feel a connection with the large city, but, in daily life, remain disconnected.  As Next Architects explains, “With the Mobius strip stair, we offer them a glimpse towards the Rotterdam skyline, but to continue their trip, they have to turn backwards, facing the context of their everyday life, Carnisselande.” Related Articles:

• RheinRing Bridge is a Work of Art!
• Top 10 Bridges
• Top 10 Pedestrian Bridges

What’s more important the journey or the destination?  I think we may all be able to relate to this staircase and what it represents in our own ways. You will probably have heard about the quote that explains our destinations are never as important as the journey we take. Perhaps this structure is also a great example of the different journeys we may take every day, sometimes as difficult as turning back to where you have come from. Perhaps it is just as simple as appreciating the good old view once you have reached a goal! For a local art project, it adds to the experience of the suburban inhabitants and the thought process from Next Architects is genius. Do you feel this project was executed well enough? Does it really fit into a suburb, or could something less dramatic take its place? Recommended Reading:

• Site Engineering for Landscape Architects by Steven Strom
• The Artful Garden: Creative Inspiration for Landscape Design  by James van Sweden

Article by Win Phyo Return to Homepage