Author: Land8: Landscape Architects Network

Bus Stop by mmmm… in Baltimore, S. East Avenue in Highlandtown, USA.  Awhile ago, I watched an artistic installation made by the collaborative mmmm… for a bus stop in the city of Baltimore. It is undoubtedly outstanding because of its minimal and clean style, high functionality, identification, and as a positive feature in an otherwise anonymous place, but I found myself wondering, why is it beautiful? What is beauty? Is the Latin phrase “de gustibus non disputandum est” true? Is there no accounting for taste? Is beauty really only in the eye of the beholder? The question is, why do we like something? Why do we surround ourselves with nice things, live in a nice place, buy nice stuff?

Bus Stop by mmmm…

But let’s start from the beginning: The city of Baltimore opened a collaboration with citizens associations and the group TRANSIT- Creative Placemaking with Europe in Baltimore in order to include European artists in the urban renewal of the city. Through this collaboration, the city was able to identify the principal needs of the community and, through a contest, examine different solutions. The winner was mmmm…’s perfect bus stop – or as the studio calls it, the obvious bus stop.

Certainly Not the Conventional Bus Stop The studio designed a bus stop that is very different from what we usually see, including an artistic matrix in the functionality of the object, creating a real masterpiece. What is a bus stop useful for? It gives shelter from the weather and a place to sit and rest while waiting. It usually has a common look, often combined with advertising or signage, and is quite anonymous. Most bus stops are indistinguishable from one another, and if we don’t really know the place or read the name written upon the pole, we might not know where we are. These are the bus stations we all know. From the Creators of the Metting Bowls… But what could happen if we give an anonymous place an artistic makeover? Something new will come about, creating a different atmosphere in a place most people pass by willy nilly. From the minds of the creators of the “Meeting Bowls” At Times Square (See image below) was born an “obvious bus stop”, consisting of a sculpture of three gigantic letters rendering the word BUS, each 14 feet by 7 feet. It provides the usual shelter from the elements, but also provides preferential access to public transport for the disabled and a multifunctional bench that could be used to sit or recline. All of these features are hidden within the word BUS. A Symbol of Fun What happens in a place like this is that everyone can find his own way of making the act of waiting for the bus more pleasant, and that was the aim of the artists who created this iconic meeting point, a symbol of fun, interaction, and — using their words – a way to “transform the dull experience of waiting for the bus to an entertaining, leisurely space in the middle of the hectic rhythm of the city”. Indeed, removing a plain piece of urban furniture and replacing it with a strong, positive connotation, the designers were able to influence the characteristics of an entire block. Not More Plexiglas The materials used for the construction are warm and engaging — not more Plexiglas and cold steel seating, but a double row of wooden joists fixed above and below to a steel structure that acts as a carrier for the entire sculpture, a surprising result both from the point of view of aesthetics and function. It is easy to see that a structure like this can be universally recognized as beautiful, and here we return to the initial question: What is beauty? 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

The Process of a Winning Design Let’s talk about this bus stop: It was chosen among a multitude of others, and it was the first idea drawn from the study. It was initially discarded because it was considered too trivial by the artists themselves. But it turned out to be the winner. Was the proposal instinctive? Was it the designers’ primal instinct that took them to the most immediate, the most beautiful of all, and then reasoning that brought them to study, develop, and eventually backtrack? Well, it seems that is exactly what happened. The first ideas — those conveyed by instinct — seem to be winning ones. Mirror Neurons (Here’s the Science, Pay Attention) To assist the processes of perception, there are mirror neurons in our brains (recently discovered in 1992) that are used to convey emotional states and are the key to activating the process of empathy between living beings. Indeed, they act at the primordial level, an area research has shown to be very important for those involved in the visual arts. How much might we be influenced in our daily lives if art could find more space in our cities? Maybe we could benefit from being “bombarded” by positive messages conveyed by the art. The difficulties of each individual certainly would not change, but the collective mood could be raised, with a ripple effect that could be surprising — like an obvious bus station.

Full Project Credits:

Project: Bus Stop Location: Baltimore, S. East Avenue in Highlandtown, USA Designer: mmmm… Date of Construction: 2014 Size: 14 feet x 7 feet 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 written by Valentina Ferrari

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We take a look at the water sculptures of artist Giles Rayner. For Giles Rayner, it all started at the age of 16 when he fell in love with the sculpting of ceramics. Years later, he felt an attraction for metalwork. Since then, he has built up an incredibly varied portfolio of water sculptures. He has the ability to create sculptures that not only work in terms of scale and design, but are also timeless. Because of this, his work can be placed almost anywhere, from a country yard to a modern garden to a public space. His works intrigue; they have a simple aesthetic beauty but radiate energy in combination with the water. As Rayner puts it, the water not only has an aesthetic purpose, it is “the element that embodies designs with real life, binding order and chaos and achieving — sometimes the dramatic, sometimes the peaceful”.

Giles Rayner

If we take a closer look at his creations, we have the feeling that he sometimes defeats the impossible, putting real energy into each design. Take his Falling Leaves water sculpture, for example. The 12-foot-tall sculpture contains five triangular “leaves” of reinforced copper. The water runs from the upper leaf, joining each torrent as it tumbles through the other leaves into the water basin. To correspond to the size of each leaf, more water is introduced at each intersection. All this without ever seeing one tube.

Brainteasing operation, only Giles has the answer. Another brainteaser is the Whirlpool sculpture, a six-foot-tall reinforced copper pyramidal basin. The water clings to the steep exterior of the bowl as it gently overflows, sucked downward in an impressive vortex into the center of the basin. I’m still not quite sure how the water in both sculptures is pushed upward. You judge for yourself! Force Meets Elegance An excellent example of elegance combined with brute force is the Lasso, a three-dimensional movement of six tubes of stainless steel from which converging water jets cause a starburst effect in the center. That elegance can also be seen in the Serpent, a nine-foot-tall spiral of marine-grade stainless steel. The spiral starts from a broad base and ends in a small top, where a water jet falls down. Converging Water Jets System The Implosion, Fusion, and Coral water sculptures also all use the converging water jets system. Rayner’s attention to detail is clear. The water jets come together in the middle of the circle, and not a bit lower or higher. It takes precise work to make sure the lowest jets have enough power and the others less energy to get them to the same point. More Amazing Works It’s not possible to review each of Rayner’s works in detail. But the following creations still deserve your attention. Blade looks at first to be just a creation of bronze (and structural stainless steel). But the 30-foot-tall 12-foot-wide water sculpture is a work of art worthy of review. The Blade consists of 31 pieces that overlap like the scales of a fish. The scales are largest on the base, becoming smaller as they go up. From the top, water flows down all over the object, leaving no small piece dry. The Use of Reinforced Copper The Twiggy water sculpture is a 16-foot-tall fountain composed of many hollow tubes of reinforced copper. The sculpture looks like a big torch or tree, with water raining down from the “twigs” that represent a burst of energy. When an auxiliary pump is turned on, a burst of water breaks up in the structure to form a cloudburst. In combination with some lighting, this gives the sculpture a completely different appearance at day or night. Exciting the Senses Related Articles:

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Exciting the Senses Rayner’s sculptures excite the senses in a new way. The combination of light, water, and movement adds a totally new dimension. The thoughtfulness and complexity of his sculptures are sometimes overlooked because of their simple appearance. That’s what makes Giles Rayner a leading water artist and sculptor. We just couldn’t publish this articles without featuring these ones:

Recommended Reading:

• Flume & Vortex: The Art of Two Fountaineers: The Extraordinary Lives and Works of Giles & Ranulf Rayner by Jenny Pery
• Land and Environmental Art by Jeffrey Kastner

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A Toddlers Playground, by Espace Libre, in Alfortville, France. When children play in the open air, they experience life to the fullest, all of their senses being stimulated in the most amazing ways. “A Toddlers Playground” is the kind of project that you understand from the start, being designed and realized for children. Thanks to the talented team of architects from Espace Libre, the town of Alfortville, France, now has an incredible playground, a perfect environment in which toddlers can develop their broad and fine motor skills. The project was completed in 2014, covering an area of 2,500 square meters and having a budget of 400,000 euro. What resulted was a playground filled with color and elements of creativity.

A Toddlers Playground

One cannot design a space intended for children without taking into consideration what children actually need. In going through with the project, the team of architects from Espace Libre has gone beyond that scope, performing extensive research on children and how they perceive space. It was this thorough research process that allowed the French architects to create a space that suits the concept of early childhood development to perfection.

Fun and Fuctional Looking at how the playground turned out in the end, it is quite obvious that every element has been considered in regard to how fun and yet functional it actually is. Children have the opportunity to engage in numerous activities in this space, developing skills that are essential for the future. Generous Space Divided in a Creative Manner As the architects had a generous amount of space to play with, it should come as no surprise that they also managed to divide it in the most creative way possible. A quick glance over the playground will reveal three main areas: plot, adult area, and children area. The interesting thing is that each space has its own designated functionality, which manages to successfully integrate into the overall use of the playground. The Use of Micro Altitudes One of the most interesting demonstrations of creativity relates to the use of various micro altitudes. There are shooting steps, slopes, and hollow elements that children are definitely attracted to, allowing them to enjoy the numerous physical activities provided in the designated area. Moreover, the choice of micro altitudes contributes to the overall visual aesthetic appearance. The Importance of Using Mulitple Materials It is also interesting to see the wealth of materials that have been used in the project and how they contrast with one another. Among these materials, one can find the practical concrete that kids can use as a giant drawing board, as well as the soft soil and grass that allow for an instant connection with one’s senses. An Incredibly Colourful Experience The beauty of this playground lies in how colorful it is, with shades of red and beige, blue and yellow, green and brown being used on different elements. There are also different textures to discover, appealing first and foremost to the tactile sense. Playground Contributes to the Development of Children’s Sensory Skills The multitude of elements used in making this playground definitely contributes to the development of children’s sensory skills. Children can walk on different surfaces, enjoying the variety of textures presented to them. They can listen to the hissing sounds that come from the playground furniture and enjoy the way light reflects through the transparent structures. As you look throughout the playground, you can see how much thought has been put into this project and how this diverse area is more than a suitable place for toddlers. Taking in Information Through the Senses Toddlers take in a lot of information about the environment through their senses. They use the tactile sense in order to discover textures and understand different objects. On the other hand, they rely on the senses of hearing and seeing in order to orientate themselves in a new surrounding. All of the senses provide information and a playground like this one allows toddlers to instantly draw the information they need for the development of sensory skills. Great Choice of Vegetation Even though this is a space designed for children, the architects working on the project have gone with the concept of abundant vegetation. There are different types of trees and shrubs, not to mention a wealth of grasses and perennials. In choosing the vegetation, the architects have considered the benefits offered to children and adults. All of this vegetation generates a lot of oxygen, reducing the negative consequences of pollution. Choosing the Correct Vegetation There is one more aspect to consider and that is related once more to the sensory development of children. The vegetation chosen for this project appeals to the different senses of the children, allowing them to develop the necessary sensory skills. The tactile sense is stimulated by the touching of different grasses, such as Panicum, Imperata, or Spodiopogon. The sense of smell is enticed, as children can smell lavender, oregano, or verbena. Last, but not least, the sense of taste is developed, with choices such as sage, mint, and thyme being available here. In conclusion, this is one great playground to bring your kids, providing a wealth of stimulation and helping him develop in a correct manner. There are plenty of opportunities for physical movement, generous quantities of fresh air, and colorful elements for the kids to enjoy. Plus, adults will find the area to be relaxing and perfect for warm summer afternoons.

Full Project Credits:

Landscape Architecture: Espace Libre Location: Alfortville Design Year: 2013 Year of Construction: 2014 Area: 2500 m² Budget: 400 000 euros

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Recommended Reading:

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

Article written by Alexandra Antipa

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Thessaloniki New Waterfront Landscape Design by Nikiforidis-Cuomo Architects in Thessaloniki, Greece. Thessaloniki is the second-largest city in Greece, with more than a million inhabitants. Developed along the coast of Thermaikos Gulf, the city’s proximity to the sea has defined its character to a great degree. The “in-between” of sea and city became the object of an architectural competition held by the Municipality of Thessaloniki in 2000. The architectural firm Nikiforidis-Cuomo Architects won the top prize. The project was completed in 2014 and has already become well known and enjoyed by the citizens of Thessaloniki, as well as by city visitors.

Thessaloniki New Waterfront

The three kilometers-long promenade starts from the White Tower of Thessaloniki, an emblematic city landmark, and reaches up to the New City Concert Hall. The intervention unfolds in two parallel zones along the water. Each line differentiates in terms of function, scale, and character.

The two project zones are The Breakwater and the Inner Gardens: The Breakwater The Breakwater zone unravels right along the water surface. It is the place for walking, running, and enjoying views of both the city and the sea. The motion on the Breakwater reflects the motion of the water surface. The visitors come in contact with light, the sea breeze, and a wider sense of perspective. The wooden deck right along the water’s edge marks the boundary between land and sea. The linear luminaria along the wide concrete paving create a sense of rhythm across the waterfront and make the place accessible during the night. There is a wide zone for pedestrians and a separate bicycle zone. The Inner Gardens A zone of green areas has been developed along the Breakwater and the urban tissue. Instead of designing a long linear park, the architects have opted to create a sequence of open-air green rooms with a variety of characteristics. Sports and recreation facilities have been allotted in each of the gardens. Each Garden Concept derives from a different topic related to the senses, the city memory or the vegetation characteristics. Playing on the Historical Context For instance, the Garden of Alexander refers to the historical king of Macedonia, Alexander the Great. There is a statue of Alexander already allocated in the area. The intervention creates an appropriate context for the sculpture, combined with recreation and green areas. Taking Advantage of Golden Views The Garden of Afternoon Sun has been designed as a mild, natural slope that functions as a viewpoint toward the waterfront, especially during the afternoon. The Garden of Mediterranean has been created by enhancing the existing vegetation, mostly large trees, with orchard trees and Mediterranean herbs. The existing walking routes have been maintained and paved with stabilized soil, in order to create a natural result. Visitors can relax at various sitting areas and a small open-air café. Nature Inspired Gardens On the other hand, the Garden of Seasons resembles a natural field with indigenous wildflower species. There is a great diversity of herbs, water plants, and flowers that are mainly found in the Greek countryside. The garden visitors have the opportunity to become acquainted with nature, which has been developed within an urban frame. These are only a few examples of the diversity featured along the Inner Garden Zone. The different gardens/green rooms are: • The Garden of Mediterranean • The Garden of Sand • The Garden of Seasons • The Garden of Alexander • The Garden of Music • The Garden of Odysseas Fokas • The Garden of Shadow • The Garden of Afternoon Sun • The Garden of Sculpture • The Garden of Water • The Garden of Sound • The Garden of Roses • The Garden of Memory Open-air Rooms The idea of open-air rooms is a clear reference to the pre-existing landscape of the area. There used to be small, domestic gardens that reached the natural seashore, before the landfill of the coast. Interpreting public space in terms of private function is an interesting perception. It allows for small scale, intimacy, and a sense of community to develop in a large-scale intervention. “The landscape has been interpreted rather than redesigned” It makes a rather philosophical comment on the almost conflicted relationship between private and public space that one observes in Greek cities. It also allows the design to adjust to the variations and pre-existing elements found along the intervention site. The landscape has been interpreted rather than redesigned, which seems to be the project’s great success.

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Greek, urban landscape has recently become an object for contemplation and intervention for architects and landscape professionals. A number of architectural competitions regarding parks and public squares have been held. The New Waterfront of Thessaloniki Landscape Design has also been a competition object, as previously mentioned.

What are the major values of this project? What I would consider as one of the project’s major values is the introduction of a new mentality regarding urban space and landscape construction in Greece. This project could and should function as a role model for designers and builders in order to define the image of the contemporary Greek city. It embraces the Mediterranean character, it awakens the memory, and it enhances the urban landscape with contemporary design elements.

Full Project Credits:

Project Name: Thessaloniki New Waterfront Landscape Design Designers: Nikiforidis-Cuomo Architects Location: Thessaloniki, Greece Area: 238.800 m² Date of Completion: 2014 Construction Duration: 2006-2014 Budget: €43.200.000 Contractor: Sidirodromika Erga S.A. Client: Municipality of Thessaloniki

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Recommended Reading:

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

Article written by Eleni Tsirintani

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To be a successful landscape architect, one has to possess multiple qualities. The way to success is always pursued by three basic factors – the ideas we have, the persistence to realize them, and the way we present (or sell) them. Those three things go hand in hand. It’s not enough just to have good ideas. Almost every person has good ideas. But the difference between the good professional and the average one, is that the good landscape architect has the full package. He has ideas, knows how to present them, and is persistent. In this article, we will focus on the third part of the design process – how we illustrate our design concepts and why is the way we do it so crucial? If a designer generates original ideas but doesn’t display them in an attractive way, he will be wasting efforts, time, and money. If another designer doesn’t have marvelous ideas, just decent ones but is able to create a mind-blowing illustration of them, which one, you think, will gain more? After clarifying the significance of designers’ presentation skills, let’s discuss the two most popular graphic techniques for Landscape architects.

Hand Drawing versus Computer Rendering

Hand Drawing Although the majority of designers nowadays prefer computer rendering, hand drawing is still very much alive and kicking. It remains the most fluent and unhindered way to transmit what is in designer’s imagination to the physical world.

Pros: 1. Closest to your initial idea Sketches and hand drawings are the fastest medium through which you can deliver your concepts on a sheet of paper. As creative personalities, landscape architects know that inspiration doesn’t always give a notion when it arrives. That’s why, if you don’t have the intention of becoming Michelangelo, you should at least try to sketch – to feature your primary ideas. This is how you will stay closest to what only your imagination can create. 2. Gives you freedom and creativity Perhaps everyone will agree that your hand is the tool which gives you limitless freedom when drawing. There’s no computer that will let you do exactly the same sketch like the one done by your hand. Sketching also allows you to prepare numerous versions of your concept very fast, and then to decide which one to develop. Thus, you train and improve your creativity. 3. Develops your analytical skills To visualize your design plans, a great attention to detail should be considered. Shapes, materials, vegetation… A landscape architect should study profoundly the nature of each object in a scene. How those objects interact, reflect light, cast shadows – all those things must be observed and analyzed by the designer. Drawing teaches you both – to observe and to think. Cons: Besides all the advantages of sketching, there are certain offsets going along. 1. Paper can be damaged easily You should be extremely precise while drawing on paper. Erasing a mistake from a sheet is much harder than clicking the undo button. Paper can also be unintentionally stained or moistened. 2. Only one original of your work As an artist, you spend hours and efforts to create your perfect visualization. Although you get paid for your work, you give away your only original, which isn’t a pleasant feeling at all. The Golden Mean Before exploring how the other way of visualizing works, let’s take a look at one medial method – using a graphics tablet. This instrument of illustration can be defined as a combination of hand drawing and computer rendering, as it creates hand-drawn images, in a way similar to a person who draws images with pencil and paper. Still, the computer facilitates the process and the final result differs a lot from authentic hand drawing. Computer Rendering Now that we reached the subject on computer rendering, it’s time to mark the pros and cons of it. Pros: 1. Saves your time for a number of reasons This is the greatest advantage of all the computer programs you use. Although it takes time to study how to use certain software, the time you waste while studying it will be compensated later in your daily work. You won’t waste time calculating measurement, you won’t have to analyze how to draw a scene because the computer will do that for you. Furthermore, while your computer is rendering, you are free to start another project or spend that time in another useful way. 2. Better accuracy No matter how precise you are when drawing, a computer will always win the battle with the human hand. Designers who draw by hand are often tempted to “measure by eye”, which leads to mistakes and bad final results. 3. More opportunities When you draw, you can hardly escape from your style. Although this could be a plus for your reputation, sometimes it may tip the balance in the wrong direction and make your works look all the same. The plethora of 2D and 3D graphic programs offers a plenty of filters and effects, which allow you to try and apply various styles to your projects. Related Articles: 

• Digital Drawing for Landscape Architecture, second edition | Book Review
• Top 10 YouTube Tutorials for Technical Drawing
• Freehand Drawing & Discovery by James Richards | Book Review

Cons: Like hand drawing, computer rendering has its shortcoming too. 1. Licensed versions require resources The greatest disadvantage of computer programs is that licensed versions have their price. Although there are free demo versions, they often process slowly and lack a part of the tools and libraries, which licensed programs have. 2. Misleading clients Subconsciously or not, designers tend to carry away with the effects they use in visualizations. Too much exaggeration could result in misunderstandings with clients, who expect that the realization will look just like the scene you showed.

Hand Drawing or Computer Rendering? Hand drawing and computer rendering are both important. A landscape architect should know how to use a pencil, as well as he should move with the times and keep up with the current technologies. Ultimately, there’s no matter which method you decide to choose. Just make sure you give prominence to the one that gives you more pleasure and master it until you know you are the best at it.

Recommended Reading:

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

Article by Velislava Valcheva

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A book review on Designing With Succulents by Debra Lee Baldwin.  Having a landscape with succulents might be easier than it seems. Succulents offer plentiful colors, textures and shapes that provide stunning project possibilities for any landscape designer and gardeners. Moreover, succulents are very resistant to drought due to their water storage in their leaves, stems, and/or roots. Due to this fact, many landscape designers have been using theses species to create a xeriscape, reducing the need for supplemental water from irrigation. Debra Lee Baldwin, who is completely in love with succulents, share with us in her book “Designing With Succulents” some of hers and other people experiences of working with succulents over the years. Following her tips, advice and thorough explanations about how to work with these magnificent plants, you will be able to create and maintain your own succulent garden.

Designing With Succulents

The book is divided in two parts, “Design and Cultivation” and Plant Palette, with a total of ten clear and well-organized chapters, resulting in a comprehensive and didactic guide. In each chapter the author focus in a different subject and, together, prepare the readers not only to design a succulent garden, but also to maintain it. The Part One, which consists from Chapter One to Six, is about Succulents’ Design and Cultivation. If you are new in the garden field, you will find, in this part, the information needed to start. In the course of the Chapter One, the author makes a great description of some initial characteristics that are important to consider such as insolation analysis, soil evaluation, water and irrigation design, preparation of the garden and how to maintain it. This chapter touches on all the planning stages that the readers should respect when designing a garden with succulents. Other more general explanations made by the author, for those who are beginning to understand a garden, are about basic concepts of Garden Design such as Scale and Proportion, and Repetition and Contrast. In this chapter, you can also find some beautiful pictures of front yards, slopes, and terraces.

How to Work With the Succulents Colors Departing from basic concepts and advancing into more practical topics, Debra tells us, in Chapter Two, how to work with the succulents colors from the leaves to the flowers and from your front yard to pairing plants and pots. In addition, you can find a short list of succulents organized by color as to the leaves, and by shape as to the flowers to support species selection. Get it HERE! Excellent Design Exmples Included Throughout Chapter Tree, the readers will find several possibilities of outdoors succulents’ gardens. Many of the design examples, such as green roof, rock, desert, beach or even labyrinth gardens might hook and surprise the reader given the unexpected result. Likewise Chapter Tree, Chapter Four is about the various possibilities of use of succulents in small places from pots to wreaths. Different from previous chapters, from Chapter Five to Chapter Six readers will find more information about how to maintain the succulents garden. While in Chapter Five, the author explain how to deal with succulents in a colder climate, in Chapter Six the author knowledgeably share with us her terrific experience about what did work and did not work for her in situations that she needed to get rid of weeds. Moreover, she gives us some planting and propagation tips, completing the maintenance reference guide. Get it HERE! Important Details Make This Book Worth it! In Part Two, which consists of Chapter Seven to Nine, the author concentrates her attention in succulents’ species. Readers will find some well-organized lists divided over three consecutive chapters: “Tall and Immense,” “Midsized, Small Succulents”, and “Companion Plants”. Since this part of the book works more as a guide, it might be unexciting to some readers, but, at the same time, it is what was missing to make a whole book for anyone willing to work with such plants. Why would anybody get this book? In summary, if you are a gardener, a landscape designer, a teacher or even someone who is a succulent lover, this is a must have book. Following the steps and tips written by Debra Lee Baldwin, you certainly will be able to plan, plant and maintain any succulent garden. In the end, you will see that taking care of succulents is much easier than you initially thought, and the final result will pay off.

Pick up your copy of Designing With Succulents today!

Article by Sarah Suassuna Return to Homepage

Yi Zhong De Sheng Secondary School, Foshan, China, by Gravity Green. Is it possible to create an educational environment that integrates play and learning? Most people have been brought up in a traditional educational structure based on determination of rules, obedience, homogenization, collective thinking, and memorization of tedious knowledge. This is often accompanied by dull environments and rigid schedules. China’s state education system is often considered to be both rigorous and traditional, based on the philosophy of one-sidedly passing on knowledge from generation to generation. In reality, the quality of education China’s students receive varies greatly. Parents often invest a lot, depending on where they live and how ambitious their choice of school, making decent education a privilege.

Yi Zhong De Sheng Secondary School

But what is decent? We are beginning to witness advances in education, with innovative proposals related to integrative learning processes being implemented as an interesting option for a more effective and inspirational approach to education. Foshan, a city located in the province of Guangdong in China, is the location of the Yi Zhong De Sheng Secondary School, a 2009 campus enhancement project designed by Gravity Green Limited and Frank Yu and Claude Wong of Gravity Green Partnership architects. Gravity Green is a young studio with a clear vision of design called “Smart and Great”, which pursues comprehensive, sustainable, and responsive design solutions to highlight the uniqueness of each project.

The Learning Playscape The importance of play in learning and development from childhood to maturity is vital at each stage of life and in all its different forms, styles, and meanings. Children respond in a positive way when information is delivered in a cheerful space, in a non-academic environment or activity. In other words, learning should be an interactive, virtuous cycle in which children participate actively by integrating observation, exploration, intuition, and application of many other processes of human behavior stimulated by the natural environment. Therefore, the scenery of Yi Zhong De Sheng Secondary School was designed and remodeled into a huge encyclopedia, allowing students to explore and to interact in this massive outdoor classroom. As a result, Gravity Green received the Merit Award of the HKILA Design Awards for the Yi Zhong De Sheng renovation project. Related Articles:

• How to Grow a School Garden – Book Review
• Dyslexia in Design – Is Dyslexia a Problem or an Advantage to a Designer?
• 10 Great Places to Study Landscape Architecture in Europe

The 10th anniversary of the school was an excuse to enhance the old-style open space and change the appearance of the school as a whole. The building has a built area of 12,500 square meters and is home to 2,800 students. The complex comprises a display of blocks with open spaces in between, which suggested an opportunity to transform these voids into dynamic and stimulating learning spaces to rejuvenate the complex as a whole.

Themed Courtyards The courtyards were organized and selected to depict three academic subjects: physics, geography, and art. From these broad fields, complex topics were chosen, such as the Universal Law of Gravity, Law of Energy Conservation, Energy Generation, Kinetic Energy Mounds or Wind Farms, and the Law of Gravity and Demography. These laws and principles were then transformed cleverly into Isaac Newton’s Gravity Law Garden, the Geo-map Courtyard, and the Energy Generation Law Garden. Using a Variety of Shapes and Colours The themed gardens and installations use a variety of shapes and elements (color cubes as benches, colorful 3d typography as signage, etc.) and all these elements are integrated harmoniously with natural elements and textures. The purpose of using these pieces is to capture the curiosity of students and provoke their desire to touch, interact, examine, and experience by their own will. Multi-functional Spaces These courtyards are not only used for educational purposes, they are also a hotspot for social interaction among students who spend their breaks and spare time relaxing in the grass, close to the trees, bushes, ornamental grasses, and flowers that beautifully embellish the school. A mixture of trees offers much-desired shade during hot summer days, creating a perfect atmosphere for contemplation and study. The design studio selected natural wooden materials to contrast with the concrete tiles placed in the courtyards to suggest different areas within the public space. Opening up Possibilities A playful learning space opens up possibilities for individuals to become intrinsically motivated to define for themselves what to learn, how to deal with change, and to discover, moved by their own curiosity and desire. This enhancement project is an example of how this bottom line can be translated conceptually in the spheres of architecture and landscape, and shows the positive impact of integrated clever design. Full Project Credits: Project name: Yi Zhong De Sheng Secondary School Location: Foshan, China Client: Deming Education Investment Company Limited Landscape Architect: Gravity Green Limited Architecture Firm: Gravity Partnership Limited Design date: 2009 Completion date: 2010 Site area: Approximately 12,500 square meters Awards: The Hong Kong Institute of Landscape Architects, Merit Award: Overseas Landscape Project 2012 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 written by Claudia Canales Return to Homepage

Presqu’île Rollet Park, by Atelier Jacqueline Osty & associés, Petit-Quévilly and Rouen, Seine-Maritime, France. As the industry of coal storage begun to lose importance in the past years previous port sites turned into wastelands, but they did not lose their importance or dynamism. Cities became denser so that these sites along rivers and ports became focal points for development and investment. As part of the project, Seine Ouest-Rive Gauche and being in direct relationship with two major elements – the Seine river and the eco-district – Presqu’île Rollet Park designed by Atelier Jacqueline Osty & associés draws the tableau of restoration of nature in the city. Furthermore beyond the park’s function, it shows the reconciliation of the city of Rouen and of the Flaubert district with the river. The design of this park places value on the identity by retaining former materials and elements of the site.

Presqu’île Rollet Park

How to recapture a river bank? The banks of the river Seine located in the neighborhood of the Flaubert eco-district developed on the site of a former port and industrial wasteland. Thus, the river banks struggled with soil contamination. Because of this, and the desire for nature, different steps had to be found to overcome the present difficulties of creating biodiversity and restoring the river banks.

Planting 100,000 Native Trees The renewal of the natural banks begun with planting 100,000 native trees constituting a forest mound. The hill contains the volume of soil excavated during the work on the river banks. The artificial “ecological niche” helps develop a wildlife refuge and an island with an original shape reflecting the natural scale of the Seine meander. Through the direct use of green plants, the contamination of the soil is reduced through the process of phytoremediation. Ideal Place for Events The second strategy of the recapture was the design of the park landscape. The platform lying alongside the water and the industrial quays represents an ideal place for events, together with the large clearances intended to accommodate festivities. From the Gustave Flaubert Bridge, the large walk in the river park takes you through different “paysages” (landscapes). Planning for Now and Beyond At the rear of sheds 106, 107 and 108 extends the “Jardin du rail” (garden of the rail), a playground and two wooden structures for children, and a “pétanque” area (a traditional game from Provence), a large flowery meadow for relaxation and leisure. This particular strategy also accounts for the future through careful planning. A concert hall and a business incubator will in future add to the recapture of the river banks. How to reconnect people to water? The imprint of the industry on the city of Rouen had major negative effects such as contaminated soil. This is especially true of the nature in the city. The restoration of the landscape, biodiversity, and river banks resulted in the Presqu’île Rollet Park. The development of the banks of the Seine River is the first transformation of the district. The improvement of the quality life for locals, as well as tourists, is tremendous. Nature Inspired Walkways Along the 2km long promenade along the Seine, the alteration between designed functionality and “rewilded” nature makes the perfect combination for inspirational walks, sport, and relaxation. Therefore the missing link between the people, river and nature was restored through this peninsula-park that also became the natural neighborhood of the Flaubert eco-district. What are benefits of re-using of materials? The integration of some existing raw materials into the former wasteland has a wide range of benefits. The so-called new-life reuse of the former railway tracks evokes the spirit of the site– the dynamic of a port and of the water. These are embed in the soils as the grass lashes and reminds of another successful project, the Highline in Manhattan. Not only the railway but also reused paving stones and concrete becomes an essential part of the park. Reused Elements The reuse of the pavement saves money and resources. It also limits the environmental impact of the construction. The benefits are extended to the community too. The reused elements confer identity and preserve the special character of the port. The people living in the new eco-district can have a direct tangent to the past of the site.

Related Articles: 

• 10 Practices Showing That “Sustainability” is More Than Just a Buzzword!
• 5 Landscape Architecture Buzz Terms, Explained!
• Exceptional Ecological Park Reconnects Children With Nature

Biodiversity Created Where Once it was Lost The successful recapture – planting, designing and planning – of the Seine River banks synchronize with the reconciliation of the city river relationship and nature restoration. Where biodiversity was created because it had been totally lost, the relationship between people and the river has been restored and reconciled because it was never absent. An Ecological Laboratory The old island that was used for storage of coal became a natural island with its forest hill, meadows, and promenade, where it is possible to discover new and unique views of the city and harbor. As a kind of ecological laboratory and a potential environmental workshop the Presqu’île Rollet Park goes beyond park functions. The reuse of materials shows an environmental awareness that can further change attitudes of local people. Full Project Credits: Project: Presqu’île Rollet park Team: Prime Design Consultant, Landscape architect: Atelier Jacqueline Osty & associés (Jacqueline Osty, Loic Bonnin, Gabriel Mauchamp, Fanny Guimet) With ATTICA, urbanist, EGIS, Engineer consultant, BURGEAP, Environment engineering, Michel Boulcourt, forest plantation consultant Client: Communauté de l’Agglomération Rouennaise Location: Petit-Quévilly and Rouen, Seine-Maritime (76), France Planning: project studies: 2009-2011, construction: 2012-2013 Area: 12.5 hectares in a future eco-district of 31 ha, Budget: M1: 16,3 M € HT, M2 : 36 M € HT Awards: “Grand prix d’architecture et d’urbanisme de Haute-Normandie” 2014, Prix de l’aménagement Program: Redevelopment of the Seine’s bank as part of the project Seine Ouest-Rive Gauche, within the eco-district Flaubert Show on Google Maps

Recommended Reading:

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

Article by Ruth Coman Return to Homepage

This week’s Sketchy Saturday top 10. This week’s Sketchy Saturday top 10 is as electrifying as ever. However with such a diverse range, one does have to question – “How do we put the various styles up against each other and choose a top 10? It’s not easy, mind you, but let’s start by looking at the name “Sketchy Saturday“, the key word is “Sketchy” and preference will always be given to work with a high sketchlike presence and raw style as opposed to the more refined rendered types. However with such a diversity of style and no control over who enters on what week, keeping a level of consistency in the judging process is a challenge in itself, and sometimes the sketchy entries are swamped by the more refined styles. This week we achieved a good balance between the raw sketches and the more artistic entries. Enjoy this week’s Sketchy Saturday top 10! 10. by Anastasia B. Uli, University of Florida, Urban Designer at Florida Community Design Center, Gainesville, FL

“I love to draw, paint and sketch, especially combining the reality and imagination. I call it Realistic-Comical. This drawing ” The Stitch at Animal Kingdom, Orlando, FL” was done in less than 45 minutes. I always set the time limit to practice my sketching ability. The sketch was made using ink and pencil (Color) technique on canvas canson paper”. 9. by Andi Papastefani, Boston, MA, USA. student (graduate candidate) of Landscape Institute of the Boston Architectural College “This sketch is part of a proposal for a Front Garden for a new small villa (Villa XLT) to the owner and to her architect. This Front Garden is designed in cottage style, aiming to create a joyful entrance to this small contemporary villa. Villa XLT is designed by Skender Luarasi, architect and it is built in Tirana, Albania near Dajti mountain. In the design of this front garden Mediterranean shrubs are used, along with small trees and grasses. The introduction of a water feature near the donkey steps makes the entrance to the villa more pleasant. The drawing technique for this presentation is color pencils and watercolor”. 8. by Vanessa Marques de Souza, BH- MG – Brazil Architecture, Interior Architecture, Landscape and Urban Planning Student “Motivation/reason for making the sketch: ( I made those sketches for my LA studio at KSU). Style in which the sketch is made: ( All are freehand drawings). Location: ( Leadership Building, Kansas State University – campus Manhattan). The material used: ( graffiti and Ink)”. 7. by Jack Tremblay, Landscape Architect, USA “It’s been a while since I drew this. It was for the school or the architect, not sure. Either way it was used for sales promotion. It was straight technical pen on mylar”. 6. by Camille Briez Chauvey “Concerning This Sketch: It’s an atmospheric sketch to illustrate the Garden of ‘hotel De Sambucy’ In Millau – France. Which, I used ink (rotring ) And Graph’it markers for the shadows”. 5. by  Dinu Marian Alexandru , student University of Arhitecture and Urbanism Ion Mincu Bucharest , Romania “This is an exercise in inner perspective, made in two complementary colors and marked by the presence of Mr. Mies van der Rohe: D”. 4. by Peter Bonette “This represents a new entry portal to an existing amenity space or courtyard. The drawing is on trace using a marker and colored pencil”. Drawing Related Articles: 

• Freehand Drawing & Discovery by James Richards | Book Review
• Digital Drawing for Landscape Architecture, second edition | Book Review
• Top 10 YouTube Tutorials for Technical Drawing

3. by Eirini Mouka, master’s degree student of Landscape Architecture, at Neapolis University of Pafos, Cyprus. “I am a Landscape Architect from Greece and now I’m doing my master’s study in the Neapolis University of Pafos, in Cyprus. This sketch was made for a school project, in order to learn how to observe and note the elements of famous historical gardens. Firstly I drew it with pencil and then with a pen. It shows some site views from “Patio de Los Naranjos”, a great historical court in Cordoba, Spain”. 2. by Karl Bergot, an Interior designer specialized in high end residences for Middle east “This is the first proposal for the guest house of a quite huge villa in Dubai. The techniques are hand sketch perspective and then after scanning inlays of photoshop to improve ambient in drawing”. 1. by Pablo Saiz del Rio, Architecture student, Spain “I believe in drawing as a way of performing what each one is capable of imagining. Although photography helps in showing a more generic vision, through each stroke of the pencil it is showing the true intention of the architect, your own expression”. – That’s this week’s Sketchy Saturday Top 10, congratulations to all of you who featured, you have come out on top of a very talented bunch of people. Check out the Sketchy Saturday official Facebook album and see literally 1,000′s of incredible sketches! Follow all the winning entries on our dedicated Sketchy Saturday Pinterest page. If you want to take part send your entries to us at office@landarchs.com Recommended reading:

• Sketching from the Imagination: An Insight into Creative Drawing by 3DTotal
• Architectural Drawing Course by Mo Zell

Article by Scott D. Renwick Return to Homepage

Holalokka, by Dreiseitl, in Oslo, Norway. Water has always served as inspiration for some of the greatest renovation projects, as is the case with Holalokka, bearing the signature trademark of Dreiseitl. This project was commissioned by the City of Oslo, Norway and had 13.3 Multiconsult as faithful partner. Covering an area of 2 ha (5 acres), it was completed in 2007 and it demonstrated once more how amazing the blend between urban hydrology and landscape architecture actually is. Holalokka was part of a larger scale restoration project of the Norwegian River Alna. In choosing the design elements, the talented team working on the project considered the importance of storm water management, using water as a central element of the new urban park and adding plenty of informal recreation areas as satellite elements.

Holalokka, Oslo, Norway

The main idea of the project was to release the beautiful Alna River from its concrete prison, bringing it to its natural form and thus creating one of the most incredible projects in the field of urban planning. Today, it is enough to look at the soft planted banks and at the pond areas, in order to understand what a successful creation is all about.

The Understatement of the Century To state that the architects and engineers working on the project had a unique perspective would be the understatement of the century. The concept of re-naturalization was primordial for this project, as it allowed for the creation of a unique habitat. What resulted was an urban park with amazing green spaces and plenty of water elements to satisfy the thirst of visual aesthetics of prospective residents. The interesting thing is that the water elements have been chosen so as to guarantee the sustainable management of the river at the same time. Water Elements, Signs of Finesse and Elegance Leonardo da Vinci once said that water is the driving force of all nature. Taking a look at the design of Holalokka, it is quite easy to agree with above statement. It is amazing how the natural qualities of the Alna River were restored, being blended into the urban area to perfection. The water elements appear as signs of finesse and elegance, completing the urban picture. Delicate pathways create a connection between the river and the local circulation, offering a wealth of recreation possibilities. Definitely Good Enough to Swim in According to the talented team that has worked on the project, the water matches the highest standards of quality, being so good that one could easily swim into it. With such thoughts in mind, the bathing pond and the beach were created as central elements of the park. It seems that every element has been considered with regard to the people who will be coming to this urban location – just take a look at the wooden deck, which represents the perfect place to get a tan. And if you are all about visuals, you will certainly enjoy the view from the wooden deck. You will have the opportunity to look straight at the cascade elements, which are wonderful to say the least. 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
• How Bishan Park Became “The Central Park” of Singapore

Sustainable water management, one of the main objectives of the project This project becomes even more amazing once we stop and consider the way it covered the concept of sustainable water management. The paradox is that, even though there were a lot of technical aspects of water management to integrate into the urban park, this is not obvious when looking at how relaxed and attractive the atmosphere of the park actually is. Holistic Thinking Leads to Great Design Features The experienced team working on the project managed to combine the storm water management from the nearby industrial buildings directly into the river system. Moreover, rainwater was collected from the roofs and transmitted through the most interesting surface details directly to the biotope area. In this area, the rainwater goes practically through a cleansing process, being then slowly released for irrigation purposes. A Project That Speaks From the Heart In conclusion, Holalokka is the kind of project that speaks from the heart. Combining elements from both urban hydrology and landscape architecture, it is a bold design statement. On one hand, it promotes a relaxed park atmosphere, with water elements drawing attention wherever you go. On the other hand, for those with an eye for detail, it is all about sustainable development, using modern technologies for capturing rain and storm water. Interesting enough, from whichever perspective you decide to look at things, water remains the central element of this amazing project! Full Project Credits: Project title: Holalokka Landscape architects: Dreiseitl Partner in charge: Dieter Grau Project engineer: Andreas Bockemühl, Stefan Brückman Team: Ulf Glänzer, Jessica Read Client: City of Oslo Partner: 13.3. Multiconsult Area: 2 ha / 5 acres Completion: 2007 Show on Google Maps

Recommended Reading:

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

Article by Alexandra Antipa Return to Homepage

We take a closer look at the enchanting Arashiyama Bamboo Forest. The Japanese culture has a long tradition of living in harmony with their surrounding landscape. To them, nature is seen from a wider philosophical understanding and is treated with admiration and respect. Although the country is highly developed and industrial, the perception of the role of the environment has allowed for nature to become part of the city fabric. Furthermore, their connection with the land involves an understanding of natural resources and the potential benefits they can provide for the country.

Arashiyama Bamboo Forest

Arashiyama Bamboo Forest (also known as Sagano Bamboo Forest) is a perfect example of this harmonic relationship. Bamboo has a long history of Japanese myths and legends and the forest is thought to be planted to protect the temples from evil. The exotic grass is also seen as a symbol of strength, drawing from its natural attributes of strength and durability.

Arashiyama bamboo forest is located in the Arashiyama district of western Kyoto. For centuries, this area has been a popular destination for people to experience the beauty of the landscape and it is particularly breath-taking during autumn and cherry blossom season. The forest sits on the edge of the city below the mountains and its 16 square kilometres of dense bamboo contrasts dramatically with the surrounding urbanity. A Pathway in The Forest What makes this forest one of Kyoto’s most popular tourist destinations is the pathway that cuts through the dense vegetation, transporting visitors into a landscape of soaring bamboo stalks. The pathway is approximate 300m long and is accessible directly from the main street of Arashiyama. Its generous width accommodates both pedestrians and cyclists, allowing people to experience the landscape at their will. It is a serene and quiet place and even though it can get extremely busy during peak tourist season, the sense natural calm and the connection to nature is maintained. Although there is no knowledge of any clear design intent, the curvilinear pathway and its contrast to the bamboo has a sense of balanced aesthetic. The beauty of the pathway is in the simplicity: natural stone combined with a continuous railing of dried bamboo, edged by straight bamboo stalks reaching almost 50m into the air. Visitors can simply stroll along the pathway or can experience the cultural connection with the landscape through visits to a teahouse, shrine and temple along the way. Photogenic Nature Arashiyama Bamboo Forest is one of the most photographed sites in the world. The natural vegetation creates a striking scene of tall and straight bamboo stalks which contrasts to the plain and unadorned pathway. During the day thin slashes of sunlight are projected through the densely packed grove while at night footlights create an eerie yellow glow. The forest is a place of natural yet ordered beauty. Natural Music The forest is not only a place for experiential visual beauty, but creates a unique landscape experience through sound. As the wind blows against the bamboo a soft resonating tune is produced, masking out city noise and creating a natural music experience. This sound as been added to the list of “100 soundscapes of Japan” by the Ministry of Environment as a means to encourage locals to connect with nature through all their senses. Role of Bamboo Bamboo is the fastest growing plant on earth, making it a truly sustainable product. In fact, bamboo can regenerate its full mass after being cut in only 6 months – while a tree will take 30 to 50 years!. This allows Arashiyama Forest to not only function as a tourist and cultural destination, but continuous harvesting takes place for its use as a local natural resource. The bamboo is harvested for products such as cups, boxes, baskets and mats and is used as a structural material due to its extremely high tensile strength and flexibility. Community Stewardship Since 1967 bamboo forests have been recognised as important sustainable and environmental resources and there is strict legal control to preserve their gross area. The location of the forest in Arashiyama has meant that the local community has become environmental stewards, ensuring maintenance and conservation of the forest is maintained. The forest has even become part of their cultural traditions and each year in mid December a night walk is held as part of the Kyoto Arashiyama Hanatoro festival where 2500 oriental lamps are lit along the pathway as the community celebrates their landscape. Arashiyama Bamboo Forest teaches us not only about the importance of cultural harmony with the environment but forces us to acknowledge the striking beauty of the natural landscape. The simple path edged by complete natural beauty and sounds creates an experience which reminds us of our role as stewards of the planet and shows us how man and nature can occupy the same space. WATCH: Bamboo Forest Kyoto Sagano

Show on Google Maps

Recommended Reading:

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

Article by Rose Buchanan Return to Homepage Featured image: Brian Jeffery Beggerly, source. Licensed under CC 2.0

LAN writer Michelle Biggs interviews GeoDesign expert Nadia Amoroso. Nadia Amoroso is an adjunct professor in practice at the University of Guelph, as well as the principal of Nadia Amoroso Studio in Toronto, a firm focusing on urban design and landscape architecture representations and creative cartography. She has also published several books and articles on the topics of design and data visualization, and speaks internationally on the subject. She has her PhD from the Bartlett School of Architecture, and Urban Design and Landscape Architecture degrees from the University of Toronto. Nadia’s work is focused on digital media for data visualization and design illustration. In her role as professor, Nadia works with students to help them in harnessing digital tools to become more effective as both communicators and designers. Now, Nadia is sharing with us her latest work, in the field of GeoDesign and representing landscapes in her latest book.

Interviews GeoDesign expert Nadia Amoroso

LAN: First off, thanks so much for taking the time to talk to us at Landscape Architects Network about your work. Let’s get started. Your current work focuses on GeoDesign; can you explain for our readers what GeoDesign is? Nadia: GeoDesign is simply a new way of thinking about the design process and applying the site’s or nature’s data with computer software such as a GIS (Geographic Information System) to create urban or landscape designs. GeoDesign supports the rapid implementation of new planning strategies and urban design capabilities using its technology to achieve these demands.

LAN: How is GeoDesign framework and technology different from some of the traditional methodology for design? Nadia: Using the right technology, the GeoDesign process allows designers to integrate site data to create, design, visualize, assess, compare, and evaluate urban design and landscape planning projects, using evidence-based backing.   At the same time, GeoDesign technologies can support your current workflows and improve the communication of your designs (plans) to the public and stakeholders, and essentially can help get the “buy-in” required to move plans forward, thus reducing costs by reducing delays. The right GeoDesign technology can help with workflows and overall project efficiency. Esri Inc., the global mapping and GIS company (started in 1969), is one of the forefronts of the GeoDesign technology offering a “GeoDesign Solutions Platform”. As a side note, Jack Dangermond, the founder and president of Esri Inc., has a background in landscape architecture and studied at Harvard Graduate School of Design. He understands the importance of geographic data and incorporating it into design processes to achieve optimal design solutions. LAN: Who else are you collaborating with on your work in GeoDesign? Nadia: Well, not directly with me, but there are a number of award-winning architecture and landscape architecture firms using the GeoDesign process and technology, such as Kongjian Yu of Turenscape and Doug Olson of O2 Planning and Design in Calgary. I had the pleasure of seeing their presentations on GeoDesign in the recent ALSA conference in Denver. They spoke about how the GeoDesign technology assisted them for zoning issues and help develop flood-protection plans for their sites. Also, other internationally renowned architecture, landscape architecture, and planning firms like Skidmore Owings & Merrill (SOM), HOK, and Sasaki Associates are also using the GeoDesign technology. Refer to this link on a past GeoDesign Summit Lecture by Kongjian Yu, professor and dean, College of Architecture and Landscape Architecture, Peking University, and president and principal designer of Turenscape. LAN: How can designers use GeoDesign as a tool to improve their designs? Nadia: Designers can use GeoDesign as a means to get real-time feedback of their designs based off of a set of rules, parameters, or goals/objectives. Specific software will allow the designer to dynamically change their designs and receive real-time feedback or information. The GeoDesign platform will enable designers to compare and contrast alternative design scenarios and select the best option that meet the program needs and objectives and overall idea. Using the GeoDesign platform enables designers to defend their design decisions (backed by data) and take site analysis to a whole new level of sophistication. GeoDesign is a kind of DataScaping that allows the designer to take numerical data and integrate it to shape the new city or landscape. LAN: What kind of applications of the GeoDesign technology can be applied specifically to the work of landscape architects? Nadia: There are a number of technologies. Grasshopper for Rhino allows the designers to create complex forms and creative designs based on parameters and data inputs. It utilizes parametric modeling to rapidly output different landscape designs. Esri has a specific “Geodesign Solutions Platform” targeted for the designer of the built environment. The GeoDesign platform includes a number of 2D and 3D applications combined to offer a complete suite of tools for design solutions. This includes GeoPlanner (web-based plan sketching and assessment), ArcGIS Pro (2d and 3d view analysis and modeling), and CityEngine (3d procedural modeling, CityEngine has also a cool “Complete Streets” package of streetscaping and urban design). LAN: What do you think is the future of the GeoDesign framework and technologies? What role will it play in the field of landscape architecture? Nadia: I believe GeoDesign technology will become a standard and part of best practices in landscape architecture. As there is more of a need to design resilient cities and designing for future outcomes, the GeoDesign process can help with design of future needs based on the provided data. Data-driven design becomes more apparent, and offers intelligent designs. GeoDesign technologies will become easier to use but offer more advanced analysis and outcomes. LAN: You’ve also just released a new book, “Representing Landscapes: Digital”. Can you tell us a little about what’s in the book? Nadia: The book is a visual collection of effective and visually stunning drawings and models composed digitally and done by students across the globe from various respected landscape architecture programs. The images are supplemented with critical and narrative essays on the topics of visual representation in the profession — contributed by studio professors — creating a valuable resource for students on the various techniques and styles used in communicating concepts. The book is structured by “drawing type”. For example, the diagrams, presentation plan, section-elevations, perspectives, etc, and these drawing types are defined and redefined by the respective contributor (professor), providing his/her point of view on the subject matter. I was also pleased to have James Corner of Field Operations to write the foreword and Roberto Rovira, chair of the Landscape Architecture Department at FIU, to write the afterword. Their contributions have added great value to the publication. This book is also a resource for lecturers to use in their teaching, to aid students in developing their landscape representation. LAN: As an expert in digital design and data visualization, what are the most common mistakes you see students making when trying to communicate their designs? Nadia: Sometimes students add decorative background and “non-informative diagrams” to occupy white space. I believe in creative editing and not to include everything on your panel. Think twice before adding a drawing, and ask yourself does that drawing add “value” to the understanding of your project. Also, don’t add too much text. Try to use infographics to depict key information and facts. I also suggest looking at the writings of Edward Tufte, infographic guru. LAN: Can you suggest some ways that students can more effectively communicate their ideas? Nadia: Keep it simple and clear. Do use diagrams to visually explain your design ideas and overall organization and components of your designs. Strong illustrative graphics always help to initially “buy-in” the client or reviewer, but the work should be backed by strong design. Try to develop a graphic style and various skill sets (from hand graphics to digital means), that make you stand out from the rest. I also suggest going online or flipping through landscape architecture design magazines and looking at design competition submissions. This will help give you ideas of how professionals and award-winning firms are showcasing their designs. My books Representing Landscapes and Representing Landscapes: Digital offer many visual examples and suggestions for students to follow and be inspired by. LAN: Again, thank you so much for speaking to us about your work in GeoDesign and landscape representation. – To learn more about Nadia’s work, you can visit her company’s website, or check out our her latest book, Representing Landscapes: Digital, as well as her other books: The Exposed City: Mapping the Urban Invisibles, Representing Landscapes: A Visual Collection of Landscape Architectural Drawings and Digital Landscape Architecture Now. Interview conducted by Michelle Biggs Return to Homepage Feature image: Matthew Perotto