Author: Land8: Landscape Architects Network

Article by Cristina Ferrara Cultural Corridor Chapultepec by FR-EE, in Chapultepec Avenue Mexico City. How many times, strolling on the street with your head held high, have you felt upstaged compared to the surrounding vehicles and buildings? Who, at least once in their life, desired to freely walk in the urban center, without worrying about one’s safety from cars, dangerous crossings, and the traffic noise? Well, something is going to change now in Mexico City because there will be a solution that is going to make the difference; a two-level green corridor running from Chapultepec Park down to the Glorieta de los Insurgentes, dedicated to pedestrians, bikes, skaters, wheelchairs, and strollers at the street level, in specifically designed lanes. It is the CCC– The Cultural Corridor Chapultepec by FR_EE Fernando Romero Enterprise, 1.3 kilometers of reinvented urban space specifically designed to give relevance to public spaces that embrace the history of places and which considers how crucial the presence of green areas are for high quality of life in any city.

Cultural Corridor Chapultepec

The project aims to “organize the surroundings, will double the green areas, will enhance connectivity and will celebrate the cultural diversity of the city” – says Fernando Romero, general director of FR-EE. Different Functions, one Goal: Make People Happy… and Active! The CCC is a multicultural approach, encouraging people to visit different creative and artistic open rooms; the theater and cinema area, water dedicated spaces, a reading and learning location, music places, and art settings. They are the fil-rouge of the pedestrian tape that lies on two levels; the ground floor and mezzanine, and the first level. Free time can be spent having ping pong matches with friends, visiting art galleries, or reading in the digital public library. Dancing spots and urban musical instruments, speakers, and a dance hall are available for all music-loving people, while a range of emotions are guaranteed at the open air auditorium; others might be stimulated at the first level cinema. If you have children, you can try kids-and-adults’ workshops, interactive fountains, or water exhibitions. All these attractions are perfectly mixed with a restorative mass of vegetation making this site the perfect place to relax and have fun.

When Arrangements and Details Make the Difference Now, you will wonder where all the traffic is; maybe you are thinking of new technological electric transports or of a drastic policy for the abolition of street vehicles, but none of this was needed. Good thing, because teleportation, at the moment, is impossible. Traffic has been simply pushed to the sides of the axis that connects Chapultepec Park to the city center and new lanes for buses have been provided so that the central space could be extended up to 57 meters in width! The CCC will include elevated walkways with detailed areas for activity and relaxation and wider, ground level walkways, bordered by bike lanes and crossed by all the perpendicular access from the near districts to the linear park. The vegetation aspect of the Cultural Corridor Chapultepec has been carefully designed; that’s why greenery will not only give shadow and relief to people, but it will also be decisive in mitigating the “heat island” effect. The corridor will be mostly be planted with a second row-order trees at the ground level, with bright foliage and a fine texture: the color changes from light to dark green until reaching the purple of some species. Together with ensuring shadow, climate control, and slight movement within the project, trees can also be considered a focal point, like landmarks for this project, visible from a distance. Lower level trees, shrubs, and perennial grasses cover almost the whole area of the first level with exceptions for the activity spaces. Their layout is not as linear as the trees’ disposition: they are rather mixed and spotted with no apparent geometrical principle and they give a sense of naturalism at the CCC. The advantages of shrubs and small trees in this project are mainly that they create natural boundaries of the areas as if they were open rooms; they also have a very good sound-absorbing effect of the noise coming from the adjacent streets, and finally, they create a visual separation from the urban hardscape surrounding the pedestrian axis. The use of materials in the project mainly involves natural flagstones for the whole paving, in a light color that seems to nicely reflect the sun’s heat, and a modest presence of steel for the railings which are mainly covered and reinforced by the shrubs at the first level; this grants the Cultural Corridor Chapultepec project a good balance between the hardscape and the softscape. In addition, the project will provide a very careful use of water for the irrigation and services since it will be utilizing recycled rainwater, and solar cells will provide electrical energy; a great sustainable project. A Livable Urban Access The CCC is definitely a smart project offering different approaches to the city by looking at the surroundings from multiple points of view and different heights: it encourages people in walking and having fun. What earns this project the merit of being an effective and livable urban access is that the CCC is both an answer to citizens’ needs and the environment’s needs; with attention to urban and environmental requirements and the use of sustainable technologies, it is able to give high importance to both greenery and community life. Pedestrians gain priority and you will feel perfectly comfortable while you’re strolling around the center. So, if you want to be comfortable in wandering and relaxing in the middle of the city, safe and in a respected place, please consider the Cultural Corridor Chapultepec in Mexico City. What would make you more confident while walking in city centers? Go to comments

Full Project Credits For the Cultural Corridor Chapultepec:

Project Name: Cultural Corridor Chapultepec (Spanish: Corredor Cultural Chapultepec) Client: Sapi de CV Date: 2015 – 2017 Location: Chapultepec Avenue, between Lieja street and the Glorieta de los Insurgentes, Delegación Cuauhtémoc, 06700, Mexico City Program: Mixed use Construction Area: 452,085 square feet (42,000 square meters) Architects: FR-EE / FRENTE / RVDG Landscape Design: Mario Schjetnan GDU FR-EE Team: Fernando Romero, Mauricio Ceballos, Raymundo Zamora, Ignacio Méndez, Gustavo Pérez, El Mehdi Belyasmine, Montserrat Fragoso, Libia Castilla, Diego Velázquez, Alba Díaz, Gaia Cella, Pedro Ramírez, Ignacio Herrera, Aarón García, César López, Cecilia A. Pérez, Angélica Ortiz, Alejandro Magallón, Carlos Flores, Karen Soto, Antonio Carpio, Miguel Araujo, Diego Venegas, Christian García, Jessica Wang, Rigel Scarlett Dávila Cantú, Christopher Alexander Hernández Muñoz, Alan Mauricio Parra Vázquez, Ana Laura Cardoso Rodríguez, Vania Velasco Rodríguez, Oswaldo Guzmán Montero, José Jorge Carbajal Domínguez, Clarissa Moreno Tapia, María Fernanda León Sánchez, David Ari Orozco Suarte, Saúl Flores López, Adriana Jaquez Anguiano, Martha Angélica Villa Vivas, Diego Venegas Cuevas, Luis Enrique Torres Lira, Raymundo García Meneses, Edgar Campusano Ramírez, Araceli Damián Navarrete, Annia Rocha, Luis Enrique Pérez Cervantes, Viridiana Quintana García, Manuel A. Archundia Reyes, Osvaldo Jasso Vargas, Aranza Campeche Ramírez, Johana Vega Baltazar, Rodolfo Romero Chávez, Diego Guzmán Penella, Lucy Alejandra Rodríguez Iglesias, Christian García Díaz, Isabel Landín, Yair López Marín, Diego Jacobo Ruvalcaba, Alejandro Hernández Morales, Eunice Marisel Salinas Yáñez, Paola Castanedo Shaadi FRENTE / RVDG Team: Juan Pablo Maza, Ruysdael Vivanco, Jonathan Estrada, Narciso Martínez, Oriana Barrera, Mario Ramos, Mario Alquicira, Tania Juárez, Diana Pérez, Omar Velasco, Ana Pérez External Team: 24 Studio, Colinas de Buen, Ingeniería Experimental, ICA Ingeniería, Lighteam, Ildefonso Rodríguez Recommended Reading:

• Becoming an Urban Planner: A Guide to Careers in Planning and Urban Design by Michael Bayer
• Sustainable Urbanism: Urban Design With Nature by Douglas Farrs

Article by Cristina Ferrara

Article by Irene Crowo Nielsen We take a look at a selection of our top 10 books for hand drawing, helping you to get better at this wonderful skill. Always wanted to grip a pencil and draw beautiful drawings? Have you looked at others and thought, “wow, that looks easy”, but when you try it is so hard! If yes, keep reading! Because here are some seriously inspiring books to improve your hand drawing skills whether you are just starting out, think you suck at hand drawing or are a more experienced drawer looking to take your drawing skills to the next level. Whether you want to draw realistic cityscapes, lifelike trees, or completely master the art of perspective drawing. It’s time to embark on your creative journey. Pick up your pencil and begin today!

Books for Hand Drawing

10. Drawing Trees (2007), by Victor Perard  This book is super-inspiring for how to draw realistic trees using different sketching techniques. It also offers plenty of trees in every height, shape, and type to trace.

9. Drawing Nature for the Absolute Beginner: A Clear & Easy Guide to Drawing Landscapes & Nature (2013), by Mark Willenbrink, Mary Willenbrink This book offers a great beginner’s course on drawing nature. It is written in a fun and friendly teaching style and focuses on how you can realistically capture the world around you. You will learn how to break every component down into basic shapes and then how to add texture and detail and before you know it you have created realistic rocks, trees and other natural elements, step-by-step. 8. Keys to Drawing (1990), by Bert Dodson A book that pushes you to draw straight away, it has no first chapter with tools and descriptions. Use whatever pencil you have to get to the action; “look, hold, draw”. Dodson shares his complete drawing system – fify-five “keys” that you can use to render any subject with confidence, even if you are a beginner. 7. Digital Drawing for Landscape Architecture: Contemporary Techniques and Tools for Digital Representation in Site Design – Bradley Cantrell and Wes Michaels “A digitized, contemporary version of a book such as Reid’s Landscape Graphics, Digital Drawing for Landscape Architecture bridges analogue and digital representation methods. Each chapter and section demonstrates varying techniques, from using Photoshop to create sections and plan graphics, to scaling and working with aerials. This is a great resource for anyone wanting to improve his software and rendering skills“. – Paul McAtomney – Top 10 Books For Landscape Architecture 6. The Urban Sketcher: Techniques for Seeing and Drawing on Location (2014), by Marc Taro Holmes Draw the moment; see the world. The Urban Sketcher teaches you how to complete drawings on the spot, it helps you achieve a fresh impression of not just what you see, but also what it feels like to be there. You will find everything from still lifes and architecture to people and busy street scenes in this one. Practical advice for working in the field, choosing subjects, capturing people in motion and more are covered through daily exercises. WATCH >>> The Urban Sketcher: Techniques for Seeing and Drawing on Location

5. The Art of Perspective: The Ultimate Guide for Artists in Every Medium (2007), by Phil Metzger If the concept of perspective makes you shiver, because you expect pictures of confusing angles, fancy measuring gadgets, and complicated theories, get ready for a very pleasant surprise! This book demystifies perspective, and presents simple but powerful techniques for achieving a convincing illusion of depth and distance. 4. You Can Draw in 30 Days: The Fun, Easy Way to Learn to Draw in One Month or Less (2011), by Mark Kistler If you want to start drawing, but you don’t know how or where to begin, this book is perfect for you! This book shows you quick and easy step-by-step instructions for drawing, from simple spheres to apples, trees, buildings, and the human hand and face. The mantra of this book “…In just 20 minutes a day for a month, you can learn to draw anything, whether from the world around you or from your own imagination.” 3. Experimental Drawing , 30th Anniversary Edition: Creative Exercises Illustrated by Old and New Masters (1992), by Robert Kaupelis This book is not your average “how-to-draw” book. It focuses on how you can improve the way you form ideas and concepts. You will most likely take your drawing skills to a new and more intriguing level by performing some of the innovative exercises you will find in the book. How about drawing models while blindfolded or integrating a grid system?

2. The Art of Urban Sketching: Drawing on Location Around the World (2012), by Gabriel Campanario A book packed with inspiring drawings from more than 100 sketchers from all around the world. With different kinds of focus (architecture, people, landscapes), they altogether capture real places in real time. Learn the inside tips and tricks from the artists as each image has notes on the materials and time used to create it. 1. Drawing on the Right Side of the Brain: the Definitive, 4th Edition (2012), by Betty Edwards A legend of a book. A must-have on your bookshelf. It is the world’s most widely used drawing instruction book. This book is not your typical “step-by-step” drawing book. It is packed with content to really explain techniques to enable you to bypass your left (logical) brain, and access your right brain (your subconscious mind). P.S. Any edition is good! There is a jungle of drawing books out there, but hopefully by now you see this jungle as a manageable one. Start with whatever interests you and take it from there, whether it’s drawing trees, landscapes, people, or cities, you will be surprised by how far you can go. Also check out this inspiring Landscape Architects Network article by Win for tutorials online in relation to drawing perspectives. Now, what do YOU want to draw? Go to comments Recommended Reading: 

• Drawing for the Absolute Beginner: A Clear & Easy Guide to Successful Drawing (Art for the Absolute Beginner)  by Mark Willenbrink
• You Can Draw in 30 Days: The Fun, Easy Way to Learn to Draw in One Month or Less by Mark Kistler

Article by Irene Crowo Nielsen

Book review by Rose Buchanan – Total reading time 3minutes A book review of Living Roofs, produced by teNeues and written by Ashley Penn Can you imagine living without a garden? For many people the thought of this is unbearable. Gardens provide us with green, private spaces that we enjoy in the company of others or in treasured solitude. For this reason the idea of a large house in a leafy suburb with sprawling lawns is often held as the ideal lifestyle. However, with the growing population there is a greater need for people to live in a high density city. This usually means a confined living space in high rise apartments with no gardens. In reaction to this, there has been a growing trend for inner city residential spaces to include rooftop garden spaces. Not only do these spaces provide personal gardens, but their sustainable advantages for the city are numerous. These gardens provide habitat for birds and insects, clean the polluted city air, retain stormwater, and can even improve the climatic functions within the building while reducing the amount of heat radiated outwards. Architects have begun to take this into account, blurring the lines between inside and outside through using roof gardens as an extension of their buildings while choosing planting as alternatives to roof sheeting. Order this book here. But if you’re still not convinced read on!

Living Roofs

“Living Roofs” by Ashley Penn is a beautiful coffee table book which has recognized the growing trend for roof top gardens and has showcased various examples through strong visuals and informative text. The book features thirty-five rooftop gardens from around the world with each example as a unique response to its site, context, and architecture. These projects range from compact but extensive green roofs and roof gardens, to luxury penthouses with intensive roof planting. Each featured project serves as inspiration for a whole range of approaches from creating hardscaped contemporary solutions to urban gardening and green oases. About the Writer Ashley Penn is a Chartered Member of the Landscape Institute in the United Kingdom and has worked for many years as a landscape architect. He is no stranger to Landscape Architects Network and is currently the Content Director for the site while freelancing as a landscape designer. He has also written numerous articles for the network, including articles on green roofs such as “An Essential Guide to Extensive Green Roofs”. In the book’s foreword, Ashley describes the term “roof garden” as referring to “green roofs or roof terraces where plants are planted in containers”. The foreword also explains the difference between intensive (deeper planting) and extensive (thin, lightweight planting) and each project is described in terms of these differences.

What do you get From this the book Living Roofs?

• An understanding of what green roofs are
•  Large photographs of outstanding residential green roofs
• Detailed descriptions of the projects, highlighting their unique aesthetic characteristics
• Captions with project details including location, designer, size, material, and plants used
• Plan and elevation layouts

Why you Should buy the Book – Living Roofs?

Living Roofs is the type of book that you can pick up and page through or sit and delve into the projects in detail. The images are spectacular and provide the reader with a complete understanding of the projects while instilling a sense of inspiration and continued interest. Each page is well-constructed and formatted, making it easy to navigate without dwelling too long on one project. Ashley’s narrative of the projects provides just the right amount of technical and aesthetic information while critically engaging with the specific design intentions. Information such as the climatic zones and planting palette take the text beyond simple descriptions while labelled plans add an essential component of understanding for fellow architects or designers.

But what really makes this book stand out is the variety and quality of the chosen projects. These projects include gardens in major cities such as New York, Sydney, London, Singapore, and Madrid, allowing various cultural responses to the urban garden to be represented. Examples also range from terraced townhouse gardens to tree-planted pavilions to 14-square-metre indoor courtyards. This combination of examples makes the book not only visually appealing, but rich with content. Many of these examples were unknown and unseen before and one cannot help but feel that Living Roofs has managed to uncover the beauty of 35 hidden green spaces. This book is not only an exciting and inspiring read, but provides rich and valuable information for designers and home owners alike. The content is relevant to current trends yet varied enough to provide design lessons for many years to come. In today’s world of urbanisation we feel that Living Roofs provides a glimpse of the possibilities to create garden spaces in the city and we cannot wait to see more.

If you love this book review on Living Roofs, check out these other book reviews:

• Landscape and Urban Design for Health and Well-Being
• Digital Drawing for Landscape Architecture
• 10 Books to Read in Your Fourth Year of Landscape Architecture

Order your copy of Living Roofs today!

Book review by Rose Buchanan

Article by Rose Buchanan – Total reading time 3 minutes Cyan, by ONG & ONG Pte Ltd, Bukit Timah, Singapore It’s not often that you see a residential development dominated by outdoor recreational space. In fact, most developments squash as many tiny living spaces as possible onto one property to “maximize” their return. This is not true of Cyan, a prime residential development located in Bukit Timah in Singapore. Cyan’s two 24-story towers cover just 18 percent of the total land area, leaving the rest of the site open for landscaping. What’s more, this landscaping does not simply consist of rolling lawns and occasional plantings, but boasts fully programmed spaces that create a magical, resort-like setting within the city center. With a gym, children’s play areas, spa facilities, various “themed” swimming pools, a 50-meter lap pool, sun decks, and a considerable area of lush vegetation, this is far more than an ordinary apartment development.

Botanical Inspiration The inspiration for the landscape design was taken from the site’s close proximity to the Singapore Botanic Gardens. Landscape designers ONG & ONG capitalized on the location by including similar verdant vegetation in the design in order to make residents feel as if they were living in an extension of the Botanic Gardens. Even the lap pool is merged seamlessly into the design and enveloped with a curtain of rainforest trees, mimicking the Swan Lake at the Botanic Gardens. Combined with this is the overwhelming resort-like effect of a swimming pool landscape, which allows for movement along its edges or through the crystal-clear water via clean-cut pavers. The name “Cyan” reflects the dramatic use of bright blue mosaic tiles in the pools, enhancing the upbeat feeling of the space. Delightful Detail What makes this landscape so impressive is its delightful and luxurious combination of water, vegetation, and paving surfaces with beautifully detailed timber, glass, and steel structures. Every tiny exterior space has been given a programmatic function and is detailed down to the paving joint, while responding effortlessly to the surrounding context. ONG & ONG has created a landscape with a superb composition of fluid and straight lines overlaid with a rational paving and structural grid and punctured with quirky, green, tree islands. The clear aesthetic and palette of materials unifies the space, yet excites the user through the variety of levels, textures, and the unique character of each functional space. Experiential Excitement This excitement is carried right through the design as movement between the various spaces and functions changes in direction, height, and materials without compromising on functional requirements. Movement throughout the site corresponds to a continuous flow of water as the various pool levels overflow into one another, culminating in a cascading river of trees at the entry gate. Aesthetic Abstraction ONG & ONG has further referenced the garden vegetation through a diagonal pattern of tree branches. This aesthetic is subtly repeated in various different forms, from feature walls that provide privacy from the road to rubber playground surfacing, screen walls around the tennis courts, and paving that allows for circulation through the pool without inhibiting the continuous flow of water. Programmatic Planning Cyan does not simply provide residents with recreational space, but creates an outdoor experience that caters to every need. Activities such as lap swimming, tennis, gym, and a children’s playground are merged with hydrotherapy, BBQ pits, and massage rooms and softened by a continuous thread of greenery. These functions are carefully planned, using design elements and levels to separate areas such as the children’s pool from the deeper lap pool, as well as vegetation to create privacy for areas such as the hydrotherapy pool. Luxurious Facilities The landscape design also includes various pavilion structures that can be rented out by residents for parties. These structures are linked into the garden landscape via covered walkways, and feature individual designs that create unique, semi-private garden experiences. The apartments also feature sky terraces, which ONG & ONG envisioned as luxurious sky gardens with lush vegetation planters, dip pools, and hydro-massage beds. Playground for the Wealthy There is no mistaking that this development is aimed at the elite and wealthy, but it does not exude this in a glittering and ostentatious manner. Materials and fittings may be expensive and top of the range, but their placement is down to earth. ONG & ONG has paid careful thought to the relationship between form and experience, using a palette of materials and planting to create a defined aesthetic and spatial identity. Cyan is a beautiful, well-designed landscape that creates a truly unique recreational experience. One can only imagine what it must be like to step out of the elevator and into a paradise-like setting in your own back garden. Now that’s inner-city living that we’d definitely like to have! Go to comments

Full Project Credits For the Pavilion for Cyan:

Project Name: Cyan Landscape Architect: ONG & ONG Pte Ltd Location: Bukit Timah, Singapore Date of Construction: 2013 Director: Lena Quek Photographer: Bai Jiwen Recommended Reading:

• Becoming an Urban Planner: A Guide to Careers in Planning and Urban Design by Michael Bayer
• Sustainable Urbanism: Urban Design With Nature by Douglas Farrs

Article by Rose Buchanan

Article by Nour Adel – Total reading time 3 minutes Jubilee Plaza, by Ubu Design, in University of Southampton “Space to walk is also space to think, and I think that’s one thing landscapes give us: places to think longer, more uninterrupted thoughts or thoughts to a rhythm other than the staccato of navigating the city.”― Rebecca Solnit, Storming the Gates of Paradise: Landscapes for Politics Who would not love a spacious outdoor plaza at their college, where they have a space for relaxing, socializing, and brainstorming? You guessed it; Nobody. The learning process has been changing throughout the years and students need spaces where they can sit back, relax, and unleash their creativity without being confined in a lecture hall.

Jubilee Plaza

Ubu Design has been commissioned to undertake the design of a new piazza at its Highfield Campus situated on the leafy outskirts of Southampton City Centre. Right in front of the award-winning Life Sciences building, the piazza, known as Jubilee Plaza, occupies the former site of a building known as the George Moore building. Multi-purpose Piazza The main purpose of the plaza is to improve pedestrian access to the area, creating an attractive route between the Life Sciences Building and Library Square while offering a series of awesome spaces for users to gather, sit, and relax.

One of the functions of landscape is to correspond to, nurture, and provoke exploration of the landscape of the imagination. These pedestrian walkways and seating areas not only serve as spaces for contemplation and relaxation but they might also be performing their role as an extracurricular educative space. In order for students nowadays to be more productive and enthusiastic, they need to go beyond the walls of the lecture halls and have an open space to kick back and unwind. This very simple yet powerful plaza in University of Southampton offers a wide platform for students and teachers to break their boring daily routine of running through hallways between lectures, and just take a break. The sense of spaciousness in Jubilee plaza is what makes it a perfect, simple space for users, especially students, to generate ideas. Whether you are looking for a place to conduct your group meetings and generate your ideas or for a place to go by yourself to grab some fresh air and do some solo brainstorming, the Jubilee plaza is your place to go. From my personal experience in different universities, I heartily believe that spaces like these are indeed what make an institution such as the University of Southampton known as a global centre for excellence in research and education, and contribute to making it ranked in the top 1% of universities worldwide. Creating an Interconnected Community: The challenging site occupies a pivotal location in the hub of university buildings and open space forming the Highfield Campus. The materials and textures of the hardscape design in the plaza have been chosen very carefully in order to blend in with the adjacent buildings and make it visually compatible. The bricks on the buildings and the tiles on the floor have the same colors and textures; as if the walkways reflect the buildings and complement them rather than being contradictive or opposing. Accordingly, the piazza creates a seamless linkage to the street and other faculty buildings. A locally cohesive plant palette and restrained material choice complement the contemporary materials and historic palette of the adjoining buildings, helping to visually connect the sequence of spaces and create a harmonious flow. The designers intentionally used only a narrow range of specific material choices to complement the contemporary materials of the LSB and the more historic palette of Library Square. A locally friendly plant palette integrates and strengthens visual connectivity between the new developments. The Jubilee plaza project represents a landscape design that is not only considerate of the user’s needs, but also successfully creates an attractive unified space by linking the buildings in the university together. Can these sorts of simple concepts be the next approach to landscape design in academic institutions? Go to comments

Full Project Credits For Jubilee Plaza:

Project Name: Jubilee Plaza, University of Southampton Architects: Ubu Design Client: University of Southampton Consultants: NBBJ, Plincke, Arup, AKT, EC Harris (undertaken while working for Plincke) Status: Completed Awards: RIBA 2011 regional award winner Photography: ©martingardner Recommended Reading:

• Becoming an Urban Planner: A Guide to Careers in Planning and Urban Design by Michael Bayer
• Sustainable Urbanism: Urban Design With Nature by Douglas Farrs

Article by Nour Adel

Article by Eleonora Fiorin – Total reading time 4 minutes Pavilion for the Nature Concert Hall, by Architecture office DJA (Didzis Jaunzems Architecture), in Gauja National Park, Sigulda, Latvia. Sometimes, architecture breaks its boundaries and combines its identity with other human expressions to reach a higher level of communication with our sensibilities. This is the case with the Nature Concert Hall pavilion in Sigulda, Latvia. As we inquire into this construction, we will face something more: an idea revealed in an atmosphere, an experience realized only because of people believing in it, that goes beyond simple architecture. It has something to teach us. Nature Concert Hall 2005 is a non-profit organization whose aim is to create occasions, interactive events, and shows to help people understand and reconnect with nature. The association is trying to offer not only a classical educative approach, but a strong and sensitive life experience.

Pavilion and Workshops for Nature Concert Hall

Every summer the group organizes multimedia, nature-educational events incorporating science, theater, music, and arts with different characteristics according to the theme of each year. To do so, they provide exhibitions, lectures, and — of course — buildings. The pavilion we are talking about here was designed and constructed by Didzis Jaunzems and Klinta Pickaine in 2014, and can be reasonably considered the architectural concretization of the spirit of attention, appurtenance, and deep feeling that should connect us to the environment that surrounds us.

The first strong impression it gives concerns how the volume is clearly recalling nature — not imitating living shapes and surfaces the way organic architecture usually does, but in a critical and honest way referring to the crystalline structure of a plant’s basic cells. This proposition goes beyond the pure appearance, straight to the meaning and to the crux of the message they want to give. The Structure Design The structure itself is simple and practical: The system is modular, so it can be arranged in different combinations, giving the architecture an extra capacity of expression according to the intent of each project. The facade appears as a light and smart skin, made up of vertical fabric bars that can be mechanically rotated in order to obtain the maximum flexibility of the surface drawing. This method allows performers to play with transparency, shadows, and motifs. Like in music, that is the main protagonist of the scene — the pavilion is fluid and mutable; there is not a unique and determined way to perceive it. Light and the wind play with the building, giving you a sense of freedom and natural flow that is well connected with the openness and the breath of the forest, a natural dynamism involving artificial elements, too. Light and the wind play with the building, giving you a sense of freedom and natural flow that is well connected with the openness and the breath of the forest, a natural dynamism involving artificial elements, too. A Landmark for the Area The pavilion is a kind of landmark for the area. It contrasts with the flatness of the surrounding landscape, creating a strong relationship with the protected biotype of Gauja Natural Park. This can be better understood focusing on the way the structure touches the ground and in the points of contact: The number of those points is reduced to the minimum. More About the Site Gauja Natural Park is the largest and oldest of the national parks in Latvia, and it used to be the stage for several cultural activities. In the valley of Sigulda, chosen area for the project, we can admire a varied natural environment, with large oaks, aspen, and ash together with the dominant type of the pine forest. The field occupied by the concert hall is an open clearing, a homogenous place. It seems like a place to rest in the middle of the dense forest, in which the architectural object is attached in the center, as a holy artefact isolated but coherent with the surroundings. Due to the composition of the facade and the images that can be projected on it, it can be characterized by “natural shadows” that link nature and architecture and give the concert hall the power to catch your attention. The building belongs to the place because of its meaning, which is its function as well: to explain the environment around it. Function, meaning, and architecture are linked together through the same expression. Every compositional choice is addressed to the same aim. Architecture is a very concrete and material way of communication, so it is surprising to realize how the pavilion is, in this case, fundamental without being the protagonist. The fact that its surface is a screen is proof that this unselfish construction is more about content than structure. Even if we could perceive a strong idea of sculpture, we notice that the roof is not visible from a human’s point of view. It is only once inside that you perceive it and its protection. The main task of architecture — to provide protection by giving a roof — is here apparently denied, to benefit a different perspective and meaning. The Natural Concert Hall pavilion is difficult to decode in all its potential, but at the same time has the strength of a clear and decisive message: Its main function is to have and show a meaning. Every choice of the designers contributes to this. The pavilion is as temporary as the experience that it represents, yet strong and unusual to reach people’s minds and build in a coherent way to the approach that the organization is promoting through nature: respect, mutual valorization, harmony, and deep understanding without losing its identity. Every year, you have the opportunity to have this amazing experience and become one with nature. Do not forget — this particular project is done in conjunction with people and their feelings and beliefs: It needs you to make it work. Go to comments

Full Project Credits For the Pavilion for the Nature Concert Hall:

Project Name: Pavilion and Workshops for Nature Concert Hall Location: Gauja National Park, Sigulda, Latvia Client: Association “Nature Concert Hall” Project Author: Architecture office DJA (Didzis Jaunzems Architecture) – Didzis Jaunzems, Klinta Pickaine Area: 150 square meters Year: August 2014 Engineers: “Veldrums and Partners” Ltd. Builders: „Hanza Film Service” Ltd. Photos: Ernests Sveisbergs Recommended Reading:

• Becoming an Urban Planner: A Guide to Careers in Planning and Urban Design by Michael Bayer
• Sustainable Urbanism: Urban Design With Nature by Douglas Farrs

Article by Eleonora Fiorin

Article by Eni Çeka – Total reading time 5 minutes Vlotwatering Bridge, by NEXT Architects, Monster, Netherlands The Vlotwatering Bridge is a unique eco-friendly bridge that connects the residents of the Dutch town of Monster with the Poelzone, a recreational area located in the Westland region of South Holland. The 70-meter “Batbridge” was designed by NEXT Architects, a design office based in Amsterdam and Beijing and the construction was finished last October. The bridge improves the ecological value of its environment by providing an attractive roosting space for the local bat colony, who feed off the river insects. The architects were able to successfully merge the bat’s needs with a curvilinear path conducive for walks and bicycle rides. The serpentine structure is not only functional and aesthetically pleasing but also offers an overlook to the best landscape views. The project was endorsed by bat expert Marcel Schillemans of the Dutch Mammal Society, “A textbook example of how a functional object can at the same time serve nature.”

Vlotwatering Bridge

How did the Architects Create the Ideal Habitat for Various bat Species? The bridge design offers differing habitats aiming to grow a large bat colony around the bridge. Through a well-thought-out design, the structure has three specific bridge components that provide year-round accommodation for bats. The northern abutment has been designed for winter hibernation. The structural space in the cross section is cleverly used to implement the roosts. The underside of the bridge is provided with entrance slits which are part of a pattern of grooves in the concrete arch. The slits are largely kept out of sight to protect bats from natural predators such as owls. The openings are very small and have a rough finish for grip. They are marked by a series of tinted bricks with open joints on either side. During summer, the bats can stay in the openings underneath the deck and the brick balustrade.

The pedestrian and bicycle-friendly bridge has one side clad in wood and the other in brick. The materials were chosen to echo the materials used elsewhere in the park. The construction consists of 25-meter-long concrete arch spans. The s-shaped deck is supported with a pressure arc that slants under the bridge. “The Bat bridge is designed to house bats in as many ways as possible. In the design, we figured out that we could use the specific qualities of the mass of the concrete, the height of the construction within the deck, and the railings for pedestrians and bicycles for bats as well. These spaces provide unique opportunities to house bats,“ NEXT Architects explain on their official website. Environmental Qualities “One of the noticeable things of the area was that there were already different types of bats flying the route over the water — throughout the winter periods they hide in World War Two concrete bunkers around the area, from the moderate climate. This became our inspiration, we thought we might be able to design the foundation (bridgehead) equating the environmental qualities of a bunker.” explained Bart Reusers, NEXT Architect’s co-founder, to Dezeen magazine. Bats need different roosting conditions at different times of the year and they will often move around to find a roost that meets their needs. To optimize the suitability of the bridge for bats, the main structure is made out of concrete. During hibernation, also known as an extended period of deep sleep that allows animals to survive cold winters, bats need cool roosts that remain at a constant temperature. The mass of the concrete provides a stable and pleasant climate both in winter and summer. For several weeks in summer, female bats gather in warm and dry maternity roosts to have their babies. The walls, decks and concrete foundation were thickened to an average of 0.75m so that the bridge temperature could be relatively stable. Another Fine Example of an Ecological Bridge During the design process of the bridge, the architects consulted Herman Limpens from the Netherland’s Mammal Society, one of the leading experts in bat behavior. “There is no other bridge like it that is specifically designed to house bats,” said Limpens. Nevertheless, another well-known, bat-friendly bridge is the Ann W. Richards Congress Avenue Bridge in downtown Austin, Texas. The difference between the Congress Avenue bridge and Vlotwatering is that the former’s reconstruction engineers weren’t expecting that new crevices beneath the bridge would make an ideal bat roost. Today, the Congress Avenue Bridge is home to the world’s largest urban bat colony, with 1.5 million Mexican free-tailed bats emerging from under the bridge, offering a spectacular view to the hundreds of people gathered to witness the bat’s flight. This unusual and fascinating tourist attraction generates ten million dollars in tourism revenue annually. The architects hope that a large colony of various species will be encouraged to grow around the Vlotwatering bridge, making it a similar eco-tourism destination. WATCH >>> 2 MILLION BATS Austin Texas

Why Spend Time, Energy and Money on a bat Habitat? Despite the popularity of the bat bridge in Austin, bats are still among the world’s most endangered and least appreciated animals. Unfortunately, besides suffering from habitat loss and environmental pollution, the primary cause of bats’ decline is persecution from humans. Is it time to give bats a break by not falling for the old myths describing them as scary and dark creatures?

Hopefully, you will even like them a bit by learning about their ecological, economic, and scientific value. For many people, the truth might come as a surprise: bats are gentle and sophisticated animals and bat-watchers have nothing to fear if they don’t try to handle bats. In addition to the economic impact, the Austin bats alone are making the world a better place to live through their nightly eating of 10,000 to 20,000 pounds of insects, including agricultural pests. Bats eating all these insects means fewer chemicals and poisons will be used on crops; equal to a healthier life for all of us. The Bridge as the Entrance of a Recreational Area Vlotwateringbrug is part of a greater development project called the Poelzone, an elongated recreational area in the Westland, aiming to transform the surrounding river banks of Gravenzande, Naaldwijk and Monster into a green public zone in which natural and recreational values complement each other, as well as create new habitats for indigenous wildlife. The unique bridge marks the ideal entry for the Poelzone. The ecological landscape design is led by landscape studio LOLA Architects. The main features of the 21-hectare zone right through the greenhouse-filled Westland in the Netherlands, are an elongated line of ecological banks, a 1.5 km winding bicycle route, 15 plots for new houses and an innovative setup of a 2.2 ha spawn site for fish. Nature and Functionality The Vlotwatering bridge breaks the conventional perception of a bridge as a structure that allows people to cross from one side to the other. Not only does it connect pedestrians and bikers of the town to a recreational area, but also offers an ideal habitat for roosting colonies of bats. This is exactly the kind of project that inspires us to follow ecological thinking to make the world a better place. The Batbridge is a great example of how you can enhance the harmonious coexistence of humans and nature. What do you think about this special bridge design? Tell us in the comments below. Go to comments

Full Project Credits For Vlotwatering Bridge:

Project Name: Vlotwatering Bridge Location: Monster, Netherlands Architects: NEXT Architects Client: Municipality of Westland Date of construction: 2015 Budget: € 700.000 Photographs: © Raymond Rutting Team: Bart Reuser, Marijn Schenk, Michel Schreinemachers, Jurriaan Hillerström, Sylvia Hendriks, Luuc Sonke, Anne Hilgers, Anna Korzeniowska Awards: ARC15 Detail Award Recommended Reading:

• Becoming an Urban Planner: A Guide to Careers in Planning and Urban Design by Michael Bayer
• Sustainable Urbanism: Urban Design With Nature by Douglas Farrs

Article by Eni Çeka

Article by Paula Uzarek – Total reading time 5 minutes Red Rouge, by 100architects, in Shanghai, China Do computer games influence landscape architecture; the art of arrangement of elements in a given space? When talking about inspiration, they sure do. It is also known that certain kind of games have an impact on our brain activity as they stimulate the processing of spatial elements. But what connects Tetris with public space design, and with the world of design itself? When looking at Red Rouge in Shanghai, it is striking that the simple, geometrical shapes of polyominoes from a popular tile-matching puzzle game can create an array of seating, tables, and walls in Bar Rouge terrace. This, Shanghai’s most privileged balcony, with a stunning view of the Pudong area, is enriched with a new, red, VIP Lounge area. Red Rouge maximizes the impact of the panorama, just as Tetris boosts our cognitive skills. So how does this project increase the value of landscape design?

The Design ;Semi-Public Spaces 100architects, the Red Rouge designer, aims to explore “the thin boundaries between public leisure and urban marketing” and they do it here in a simple but very sophisticated way. Social dynamics and public interactions, as the company claims, happen also in “semi-public spaces”. They have an indubitable public character because people gather there, whilst the space is, simultaneously, the legal possession of a private individual or corporation. What we can recognize that people are talking about is that members of the public become users in these “semi-public spaces”. The characteristics of Bar Rouge are similar. This is a place of social interactions on the top of Shanghai’s Bund 18 mall complex. It was located on the rooftop of an historical Shanghai building by VOL Group, a specialist and leader in the food and beverage industry in the city. These all factors really attract users. The Assumptions A simplified skyline of Shanghai is illustrated by the use of geometrical forms. Well-known Shanghai buildings were imitated in these Tetris-like forms, and simplified. This measure makes use of the most significant feature of the Bar Rouge and puts the view of the Pudong area in the spotlight. What has been assumed is that the visual impact should be escalated and the business activity of a place should not be disrupted. These conditions were the first and foremost thing that has been noticed during the design process. Such a view and location cannot be found in any other place in the world. Then the key words were established to set a framework – skyline, terrace, visual impact, and business activity. The Birth of the Design The concept is simple, but was not simple to implement. Existing lounge sofas were substituted with a new solution which boosts the background view through the use of shapes, colors, and the light. The attention of clients is definitely drawn to these functional objects. They can be treated as furniture, architectural elements, art, or anything that comes to your mind. Having multiple meanings, Red Rouge is a perfect solution that fits into a modern metropolitan VIP area and takes space design to a brand new level. The Composition of Modules Each of the five shapes have their own way to activate users of the VIP area. The tableseating area is the first element, with a size of 3,15 meters of total length. Actually, each module has 45 centimeters of length that is arranged into Tetris-like dynamic shapes. The connections between each section are 90 centimeters; the one in the middle stretches 135 centimeters. The tables are a frequent place for groups to gather due to their capacity of hosting up to eight people. The wall behind the first seating area has a built-in showcase displaying drinks. The second area features lounge cubes, being a less-formal place for up to seven people to sit in multiple directions and a few more to stand nearby. The top view reminds one of a chessboard, while the side view still recalls Tetris cubes merged into various combinations. The total length here is 2,25 meters. The third section, behind the longest circulation route, is the slope, which arouses curiosity by its shape. It has three seating choices in the form of pins that stick out of the curved space. It introduces the grandstand, which looks like typical stairs, with three levels for a maximum of nine users. The slope is 1,8 meters long and the grandstand is 1,35 meters long. The fourth section is the simplest element in the Red Rouge. This bench can seat up to six users. And the last element, the projection wall, has two functions; it hosts three users and serves as a projector for images or movies. It closes the composition and is the mirror reflection of the Red Rouge first element. The texture and the color highlight the precise design of the shapes. A Spirit in a Material World The construction is completely made of Corian Solid Surface. This is a type of premium decorative material, primarily used for kitchen and bathroom surfaces. It is now more and more commonly used among designers and artists thanks to its characteristics. Corian Solid Surface is non-porous, stain resistant, and seamless. Moreover, it can be shaped into literally any contour thanks to its thermoformable features. As the 100architecs say, “Since Red Rouge is an object that lies between furniture, sculpture, artwork, and public space, we consider it highly convenient and suitable to use this material, to boost its visual aesthetic impact.” And is the colour also a matter of a precise choice? Indeed, it is. Red makes the Red Rouge an energetic place. Its impact is noticeable from a distance. Shiny red, as the colour of attraction and strength, has a lot of energy. In psychology, it is said to make shy people open up. Red also stimulates the appetite. The purpose of using this colour is clear. Red Rouge is definitely a unique example of taking inspiration from other fields of our life, like computer games. Arranged in a sophisticated way that does not sting our eyes with too much simplicity, the Tetris connotations in the project boost the landscape architecture world with old ideas given in a new, fresh way. This design is really worth remembering as an example of incorporating game design into landscape design. Go to comments

Full Project Credits For Red Rouge:

Project Name: Red Rouge Location: Shanghai, China Designer: 100architects Size: 14,85 x 2,7 meters Client: VOL Group Recommended Reading:

• Becoming an Urban Planner: A Guide to Careers in Planning and Urban Design by Michael Bayer
• Sustainable Urbanism: Urban Design With Nature by Douglas Farrs

Article by Eni Çeka

Article by Aybige Tek IBS Headquarters Phase 1, by Samoo Architects and Engineers, in Daejeon, KOREA. How does one create office spaces with a global sense of creativity within a fabulous landscape for people who are interested in science? Samoo Architects & Engineers, global design competition winner for the IBS Science Institute in Korea, absolutely nailed this. Their project for IBS Headquarters Phase 1 has brought to life a hub filled with study, research, and culture. The theme of the competition was “Cloud World”, which describes being a cloud of resources for scientists. The designers took the theme literally, creating building elevations that look like clouds with different blue color tones.

IBS Headquarters Phase 1

Breathing Life into a Space for Science The site has a lot of entry points. This makes the complex breathe. All the buildings are surrounded by greenery, either as grass or trees or both. If we were to simplify the landscape design, it would basically be a rectangle of grass, with trees and a circular central green plaza in the middle. There are a lot of picnic spots where people can sit down and enjoy the grass and open fresh air in warm weather. The trees are evergreen and newly planted at about three to four meters in height. Korea’s climate is good for pine and pinus densiflora trees. The gardens have newly planted trees in a variety of colors, with patterned designs creating harmony.

The Central Plaza, with its walking paths and theater-like seating ring, is quite fascinating, because it also has functional buildings, such as a restaurant and conference hall. The first ring on ground level is circular, and there is another level of the same ring on the first floor that connects the buildings to one another. A lot of movement is created with the help of the right landscape design. The grass continues to the roofs of one building, which also features squared pattern designs with cut stones to create paths or playground areas. The green roofs in the project are extensive, which means they do not require an additional watering system. The variety of plants is limited, however the grass provides biodiversity and insulation and is visually pleasing. Sustainable Architecture The headquarters is a sustainable complex. When the architects were designing the buildings, simulations were done to record solar radiation and wind paths at the site. To make it a sustainable project, vertical louvers were integrated into the façade designs to provide appropriate shading from the sunlight. Indoor atriums were designed to bring in quality fresh air that provides natural ventilation, which is very healthy. The buildings’ seven stories and one basement are designed with open spaces and a circular center in their landscape. The buildings are designed in a compact order, with a central plaza between them as a community public space. This central plaza provides social gathering space and has a restaurant and conference room where people can hold events, eat, and drink. All of these are designed considering accessibility as well as sustainability. The buildings’ second floors are connected with a circular ring and a pedestrian ring. The third floors are connected with a creativity ring function that promotes interaction. How Did it All Come Together? Samoo has some diagrams that explains how the project came to life. If we were to summarize it all: They have worked on building programs and inserted the buildings within a green carpet of landscape architecture inside nature. The convergence ring created one-way, two-way, and loop transition paths to create flow within the site and the buildings. The band that passes from a level high above the landscape is lifted and flows in between trees and green views. The vast green open space allows for creativity offers a public, open-air, outdoor space. The building designs include symbols. For example, one building has what looks like a rocket shooting out of it, symbolizing the new ideas created in the study of science. The elevations of the buildings are really dynamic. Some window panels or louvers are more blue; some of them have tons of white sky. Overall, they look like clouds. What is the Overall Experience of Users of the Complex? The whole complex creates communication and unity for people working in the headquarters and also for students or people coming from outside the buildings. Some cool functions in the complex are a library, a sports center, the restaurant, an auditorium, and gallery space. A lot of events can be held in these spaces. Can you give other examples of science centers in your city? Let us know in the comments below. Go to comments

Full Project Credits For the IBS Headquarters Phase 1:

Project Name: IBS Headquarters Phase 1 Architect: Samoo Architects and Engineers Project Location: Daejeon, KOREA Date of Construction: 2014 Date of Completion: 2016 Size: 106,592 square meters Floors: 7 Stories and 1 Basement Collaboration: Haeahn Architecture, HHM Architects & Engineers Recommended Reading:

• Becoming an Urban Planner: A Guide to Careers in Planning and Urban Design by Michael Bayer
• Sustainable Urbanism: Urban Design With Nature by Douglas Farrs

Article by Aybige Tek

Article by Rosa di Gregorio Urban regeneration strategies are a very broad and complex topic with endless variations. In this article, we address the issue of urban regeneration applied to residential neighborhoods, in regard to their degradation and marginalization. In talking about urban regeneration, the degraded public space can represent a specimen “to design laboratory”, capable of allowing investigations and experiences aiming to establish a new quality of life in housing, spaces, relationships, environments, and social interactions. The regeneration process of public residential areas can find its solution through a new way to approach open spaces. Today, many of these open spaces can be found in areas that have been abandoned or are incomplete, degraded, or unsafe. Regardless of their situations, if one takes a proactive view, they are definitely convertible and can become an opportunity to start anew. The following 10 design strategies and projects are a significant testimony to urban regeneration.

Urban Regenerative Strategies

10. Diversity Diversity means to design the existing environment so that it is easily recognizable by the citizens, providing in those environments a clear, defined use and function of its places. Doing so requires that each open space be defined in terms of treatment, hierarchy, and readability. An extraordinary example of this is Superkilen Park in Copenhagen, Denmark.

9. Remodel Remodeling of a space involves using the existing materials to create something new that redefines the place. This can be seen in a project such as The King’s Cross Pond Club, where the anonymous and underutilized public space of the city center has been redesigned as a playground and pool. 8. Relocation To encourage social cohesion, it is sometimes necessary to redesign the heart of a neighborhood from scratch. We call this strategy relocation. This can be achieved by concentrating in the same area spaces accessible to different social groups, providing them with specific and unique features. The Amstelveen project Zonnehuis Care Home by Hosper is a good example of this. 7. Infilling Infilling a space is the act of increasing population density through the insertion of new buildings. This strategy can include social housing and community services that attract economic growth, provide a quality lifestyle and offer activities. These are opportunities for social inclusion and urban regeneration. In his article “Turning the House Inside Out: A New Perspective on Residential Development”, LAN’s Nick Shannon talks about the Funen Blok K, by NL Architects in Amsterdam, the Netherlands, as an example of this stratification strategy. 6. Deconstruction Deconstruction is a reverse approach to the stratification strategy of infilling. It works by removing building components to create an open space suitable for public use where it did not exist before. An extraordinary example of this strategy — from which arises the whole architecture of the post-modern landscape — is New York City’s Central Park. 5. Reconnect Reconnecting a space means to mend the connection between parts of a city previously disconnected by structures and/or infrastructure that have made a real cut into the urban fabric. Looking at this from the urban regeneration point of view can make these obstacles a connecting bridge for the city. An excellent example is the New York City High Line, with all the projects it has inspired. 4. Reorganize Many urban building interventions are designed and set in place separately from each other and therefore have no communication between one another. As a result, the urban fabric becomes chaotic and messy, creating a need to recover this lost balance. The open space acts as a reorganizing agent, as the example of Tanner Springs Park shows: “An oasis in the city providing an escape from the hustle and bustle of city life,” said writer Rachel Kruse. 3. Refer to the Context Every place has its vocation, dictated mostly by the landscape surrounding it. It is wrong to think that every space can adapt to everything. Reading the landscape properly and grasping its peculiarities helps to integrate every project in the context where it’s built (it could be a seaside, riverside, countryside, etc.). A great example is the Zhongshan Shipyard Park, designed by Turenscape. 2. Enhance the Landscape Public settlements can establish wider connections with the city and the natural environment around them. These districts can act as filters and portals between the urbanized area and the natural surroundings, because of their semi-suburban location and their gradual density of building volumes. This strategy has been used as a guideline for Parc du Mont Evrin, an outstanding example of a project that enhances its own surrounding landscape. 1. Give New Meaning Very often, urban regeneration requires us to reinvent a space because its form and use are no longer suitable. The landscape project can give shape to a new meaning for an old place; it has no connection with the past, but marks the launch of a brighter future. An example of this is Charlotte Garden, by SLA. Landscape architects face a call to define actions and create projects to restore dignity and meaning to public spaces, to re-create a space that is a meeting place for socialization through daily events, making it recognizable and with a new identity. The public space is therefore a crucial element of the urban scene. For too long, this space has not been considered in modern planning. But as we have seen through these examples, its value has been renewed. The New York City High Line testifies to the reconnection with a city; the Superkilen Park in Copenhagen shows how an urban void can become a meeting place. These are just two of the extraordinary examples of regenerative strategies for public open space. Do you agree that today, as never before, this rethinking of public space is the key to solving the problems of the contemporary city? Is this a way to provide cities with new meanings and possible uses? Go to comments

Recommended Reading

• Natural Swimming Pools: Inspiration For Harmony With Nature by Michael Littlewood
• You Can Draw in 30 Days: The Fun, Easy Way to Learn to Draw in One Month or Less by Mark Kistler

Article by Rosa di Gregorio

Article by Terka Acton Garden of Remembrance, Marburg, Germany, by scape Landschaftsarchitekten GmbH, Düsseldorf, Germany There is an open space in Marburg’s otherwise built-up city grid, a space that marks a significant absence. A synagogue designed by architect Wilhelm Spahr stood here from its completion in 1897 until its destruction on “Kristallnacht” — Nov. 9, 1938. From that point forward, the Nazi regime escalated the persecution of the Jews in Germany and Austria. Many synagogues were destroyed, along with the communities that built them. All but annihilated in the first half of the 20th century, Marburg’s Jewish community has since begun to rebuild itself, and its members have been determined to turn what had long been a gap in the urban fabric into a space that would be both a meaningful memorial to the people and culture destroyed in the pogroms and a public space integrated into the life of the city.

Düsseldorf-based landscape architects scape Landschaftsarchitekten, working with artists Oliver Gather and Christian Ahlborn, won a 2009 competition to create Marburg’s Garden of Remembrance. The team, led by Rainer Sachse, included Johannes Middendorf, Kerstin Gehring, Judith Pfahler, Judith Koch, Stefanie Trobisch, Marvin Müller, and Anike Zilske. The garden was completed early in 2013. Realization of the Design Most visitors approach the Garden of Remembrance from Universitätsstrasse at the point where the pavement widens into an elongated square paved in black basalt. It is not by accident, however, that this space has been designed to be accessed via several paths through the site, many wheelchair-friendly: All aspects of the design work together to communicate that this is a thoughtful, welcoming place. While the palette of materials is limited and austere – steel, stone, glass, and white concrete – the planting palette is restricted, but far from restrained. Densely planted red shrub roses (and a few cherry trees for spring interest) border the site on three sides, spilling their petals over the gray stone paths and angular steel retaining walls. Roses have a special significance here, since the rose was the only flower permitted to be grown within the city walls of ancient Jerusalem. At the center of the space is an inner garden. Here, a white concrete parallelogram surrounds a slightly recessed square lawn. This is shaded by a single lime tree (Tilia x europaea, much loved in European culture), and traces the foundations of the former synagogue’s prayer hall beneath it. Narrow steps moulded into the corner of the surround lead up from street level to a glass panel embedded in the concrete. Through this panel, relics of the synagogue (including the recently excavated mikveh, or ritual bath) can be glimpsed. While nothing remains of the synagogue above ground, parts of the foundations are preserved underground. The panel is aligned on an axis pointing to the recess that formerly accommodated the Torah, thus giving special recognition to the holiest place in the destroyed synagogue. Gaps and Connections Embedded in the lawn above the former prayer hall is the memorial stone first erected on the site in 1963, along with 10 glass cases (Zettelkasten) containing memories and texts. These cases are crucial to the concept of the design: Artists Gather and Ahlborn rejected the conventional idea of another solid, fixed commemoration in stone or bronze. Instead, they wanted to start a conversation about the site, its history, and the people connected with it — a dynamic dialogue centred around the cases. These glass cases contain 10 statements relating to the site, and the texts are frequently changed in order to continually connect and communicate with visitors. As Gather and Ahlborn commented on the project’s website, their point of departure was “thinking about the myriad gaps and gaping holes the Shoah has left behind. One of those gaps, both in a literal and a broader sense, is represented by the synagogue grounds in Universitätsstrasse and the condition of the site during the past decades, symbolizing not only the destruction of the synagogue but also the attempt to eradicate a whole culture. Its redevelopment aims at reconnecting the empty plot ‘abandoned by time’ with its urban surroundings, enabling the former vacant lot to grow into a garden of remembrance.” Commemoration and Communication In the subtle way that it communicates the marks left by history in the landscape, Marburg’s Garden of Remembrance has parallels with other memorial landscapes explored by Rose Buchanan in her recent article for LAN. This Garden of Remembrance is open to all, and the design succeeds in communicating this intention. Used by young and old alike, it is a powerful space that serves both as a memorial and as a channel of communication about the enduring significance of what is remembered. How important is it to integrate memorials into the current life of our communities? Go to comments

Full Project Credits For the Garden of Remembrance:

Project Name: Garden of Remembrance Location: Marburg, Germany Budget: €720,000 Date of Construction: 2012-2013 Size: 1,370 square meters Awards: Competition winner, 2009 Lead Design and Landscape Architect: scape Landschaftsarchitekten GmbH Matthias Funk , Hiltrud M. Lintel, Prof. Rainer Sachse Designing Team: Project leader: Prof. Dipl. Ing. Rainer Sachse Co-Workers: Johannes Middendorf, Kerstin Gehring, Judith Pfahler, Judith Koch, Stefanie Trobisch, Marvin Müller, Anike Zilske Artist: Oliver Gather and Christian Ahlborn Client: City of Marburg (Fachbereich Planen, Bauen, Umwelt) Photography: Bernd Nützel, Gereon Holtschneider, Christian Ahlborn Project homepage: www.garten-des-gedenkens.de Recommended Reading:

• Becoming an Urban Planner: A Guide to Careers in Planning and Urban Design by Michael Bayer
• Sustainable Urbanism: Urban Design With Nature by Douglas Farrs

Article by Terka Acton

Article by Taylor Stapleton – Total reading time 4 minutes Indautxu Square, by JAAM sociedad de arquitectura, Biscay, Spain. When thinking of any European city, it is hard to imagine one without a city square. Urban squares are the essence of the European city. Often a symbol of the community’s identity, these squares serve important social functions, acting as gathering places, places of relaxation, or even just as pathways for people to pass through. When they work well, they can be the soul of a city. But when they are designed poorly, they become a place people avoid. Indautxu Square was the result of an ideas competition on how to use what was an under-utilized and closed-off space. Divided by a road, the area was depressed and largely ignored. Situated on top of an underground parking lot and shopping arcade, the site responded poorly to its subterranean infrastructure, not meeting current regulations, a point that was to be rectified in the new design.

Something from Nothing The architects of the project, JAAM, ultimately won the contest for their design that integrated the site into the rest of the city while also giving it its own specific character. The biggest problem they faced was replacing the vehicular dominance with pedestrians. Two of the three lanes crossing over the site were removed, and the third was restricted to public transportation only. This allowed for the entire space to be unified and safe for pedestrians. The perimeter of the square itself was expanded, as well as the sidewalks along the street, to support shops and allow for outdoor terraces for hotels and restaurants. Now, three sides of the square are bordered by roads, with the fourth being bound by buildings, including the parish of Our Lady of Carmen. The roof on this building is tilted dramatically, which has been mimicked on the smaller buildings on the site. Various facilities to accommodate the underground infrastructure needed to be incorporated into the site, including ventilation, new entrances, elevators, stairs, mechanical pedestrian ramps, vehicle ramps, and public toilets. To minimize these facilities on the surface, they were enclosed in glass prisms located on the perimeter of the square. The steep pitch of their roofs references the surrounding built environment in a unique and contemporary way. A Square of Many Uses Indautxu Square had to be able to support many different activities within the community. This is why two distinct spaces were designed within the site: a main space for social events such as markets, fairs, and exhibits, and a quieter space surrounding this for walking, reading, and relaxing. The main space is defined by a large, central circle canopy 40 meters in diameter and made of glass and wood. The four-meter-wide, translucent canopy creates a covering and outline of stalls for book or craft fairs. While the circle is designed to be an open space for a multitude of activities, the surrounding space is occupied by circular garden beds of various sizes between walking areas. The gardens are scattered throughout the site and each has a tree at its center. JAAM did this to create scenic pathways that pass through the site, allowing people to stroll or cross through the square in any direction and at any speed they wish. Indautxu Square’s ability to be traversed in all directions is one of the most important features of the site, and is intended to allow people to use the space however they would like to and not be restricted by the design. The ability to move through the space in all directions created its own unique problems, as there was a drop of more than three meters between ends of the square. The solution was to develop a continuous surface with changing inclinations generated from the union of the square’s center with the perimeter through straight lines. The headache was worth it in the end design, as pedestrian mobility was one of the reasons the site had been avoided in the past. Turning a New Leaf The planting and lighting design follows the same circular pattern created at the center and radiates out through the site. Immediately surrounding the central circle, the trees are large and deciduous and the lights are the tallest and facing into the circle to light the space for public events. As the outer rings get closer to the perimeter of the square, the lights become shorter and face out toward the streets, inviting people into the space. The vegetation varies from small evergreen trees to shrubs. The variation in plants ensures that there is always green through the seasons and gives color to the site with changing leaves in the fall. The luminaires are unique to the site, with an upper structure shaped like a leaf and illuminated by LED lights. This is complemented by the lighting system within the pavement that indicates main paths and lights the bottom of the trees. From a design perspective, JAAM sociedad de arquitectura has created a European square that ticks all the boxes: open space, vegetation, and structural interest. But its most important feature is its humanity. People should be able to utilize the space in any way they choose, and that is exactly what Indautxu Square was designed to do. What do you think of this space as an urban square? Go to comments

Full Project Credits For the Indautxu Square:

Project Name: Indautxu Square Landscape Architect: JAAM sociedad de arquitectura Location: Biscay, Spain Architect: Ander Marquet Ryan Project Area: 18,500 square meters Client: Ayuntamiento de Bilbao Cost: 5,120,765 euros Building Surveyor: Juncal Aldamizechevarría Collaborators: Nicolás Espinosa, Aritza Astiz, Hernán Martín Constructor: Balzola construcciones Photographer: Elker Azqueta Recommended Reading:

• Becoming an Urban Planner: A Guide to Careers in Planning and Urban Design by Michael Bayer
• Sustainable Urbanism: Urban Design With Nature by Douglas Farrs

Article by Taylor Stapleton