Author: Land8: Landscape Architects Network

The Ravelijn floating pedestrian bridge, by RO&AD. The Ravelijn Bridge, designed by RO&AD, is an 80-meter long pedestrian bridge in Bergen op Zoom, the Netherlands. The primary function of the bridge is to connect the mainland city to a fortress, which is surrounded by a moat. The Ravelijn is currently used for small public and private events and stands as a time capsule to the beginning of the 18th century. The island fortress was once only accessible via boat. All of the materials used to build the fort had to be paddled across the moat by workers. Paddleboats were also used to transport visitors to and from the fortress. When in a paddleboat, visitors traveled a somewhat meandering path through the water. With this historic image in mind, the designers created a pedestrian bridge that mimics the pathway of the boats.

Modern day visitors have a similar experience as the bridge does not take a straight course but rather snakes from mainland to the island. Giving visitors as authentic of an experience as possible creates a lasting impression and gives them a glimpse into the reality of the time period in which the Ravelijn was built. This connection to history creates a more meaningful experience and provides a strong connection to the culture and people of the Netherlands. The Bridge Adapts to Climatic Conditions The Raveljin Bridge displays a superior level of flexibility and adaptability. The bridge is constructed out of wood set on floating tubes. As the season changes, the water level fluctuates. Instead of closing the bridge because it is rendered impassable during rainy seasons, the bridge is designed to float and raise or fall with the water level. Forward thinking designers developed this concept through sketches, drawings, and physical models and came up with a solution that is well adapted to the seasons. Just as many other designers are thinking about holistic design, this bridge was designed with a cradle-to-cradle mindset. This means that materials were responsibly acquired with the end use in mind. This bridge is designed to be dismantled at the end of its life, in at least 20 years, and either reused or recycled. This helps reduce the amount of waste that enters the landfill and sets a precedent and an example to other designers and visitors as they visit and learn about the project. Related Articles:

• Moses Bridge: Walking Through Water
• Top Ten Pedestrian Bridges
• Mark Nixon’s Cimecco Chime Bridge

Visually, the bridge also adapts to its environment in color, form, and geometry. The convex design of the bridge allows it to seamlessly fit into its surroundings. The bridge is designed without handrails so as to not obstruct views. Nothing about the bridge is designed to stand out, make a dramatic statement or draw attention.

3 Design Lessons Learned from the Floating Bridge

  The Ravelijn Bridge offers students and professionals with a few lessons in design: 1. Design with the context in mind. The strength of this design is due to the convex nature allowing for maximum interaction between visitors on the bridge and the context. Getting visitors as close to the water as possible is another strength of this Ravelijn Bridge design. 2. Do your research. Allow the history of the site to inform the design. It’s important to find out what historical structures are nearby or were formerly there and how they were used. In this case, allowing the path of paddleboats from the fortress to the mainland to dictate the course of the bridge pays homage to the history of the site.

3. Design continues into material selection. Make a conscious effort to specify sustainably harvested and locally manufactured materials. It’s always an added bonus to know the materials can be recycled or reused when the site is later adapted to meet different needs. The Ravelijn Bridge breaks away from the form of a traditional bridge and while not supported by cables, columns or piers, it still delivers an important connection and pedestrian passageway between the city and fortress. Providing a precedent for cradle-to-cradle design, it also seamlessly integrates into its surroundings in form and geometry. The Ravelijn Bridge spans the gap between context sensitive design and creative problem solving. Recommended Reading:

• The World’s Most Amazing Bridges (Landmark Top Tens) by Michael Hurley
• Bridges: The Science and Art of the World’s Most Inspiring Structures by David Blockley

Article written by Rachel Kruse Return to Homepage

Some humorous observations from working away in the studio. Being in design school, you will find yourself around your classmates constantly. Sleep deprived all-nighters and coffee filled early mornings seem to bind us together. These people will be your best friends, critics, and inspiration. But everyone is different, so here is a list of the 10 people you will find in the studio. 1. The Coffee Addict If this person were a car, caffeine would be their gasoline. Ice coffee their unleaded, two shots of espresso their diesel, but never the unmentionable decaf – okay maybe on desperate mornings. A great friend to make for when you need a boost on a late night studio visit. 2. The Sleeper The sleeper really is the antithesis of ‘the coffee addict’. They seem to always been swaying back and forth. You will find yourself jealous of this person in their ability to fall asleep in literally every position while you spend the night tossing and turning worrying about deadlines. 3. The Teacher’s Pet The one that asks five questions about the project when it is plainly written on the rubric. The one that will always have a question, comment, and concern after a lecture. There is a teacher’s pet in every studio, just look for the constantly raised hand. 4. The Last Minute Noted for running through the halls just minutes before 8 AM, carless printing on pin ups, and some genius last ditch effort ideas. Many students take to this life style because they know working under pressure produces the “best” results. Some just like to live dangerously. 5. The Ghost Either they have a drafting table in the apartment, or I have no clue how they’re doing these projects without being here. We are all a bit jealous of the ghost being able to complete these tasks from the comfort of their own home. 6. The Supply Hoarder Need a specific brand of drafting dots? They got it. Need 5 different tones of yellow Chartpak markers? They got it. The Supply hoarder even goes all out by getting amazing carrying cases for all their gear. You love them, because you totally needed that mini glue stick set last week and couldn’t find it in any store. Related Articles:

• Life as a Landscape Architect: A GIF Party – LAN
• The 10 stages of being a landscape architecture student: GIF party

7. The Resident They might as well be paying rent to the school on top of tuition. But let’s be honest, we all live in the studio sometimes. 8. The Luddite Loathes their computer and always seems to have the printer crash on them. Usually they day dream back to the earlier days of landscape architecture, before Autodesk was a company. They are the best for tips on hand rendering. But put Rhino in front of them, and headaches will come. 9. The IT The ying to the luddite’s yang. While they know every hotkey in AutoCAD, they can’t sketch to save their life. Go to this person for questions about your computer, but keep away when wondering about hand drafting. 10. The Best Friend The truly important one to you, you will meet them, guaranteed, during your time in the program. A lot of great friendships will form over your time in school, but your best friend will always be by your side. Honest critiques and fun times downtown. The studio is a breeding ground for friendships, you are destine to find your closest friend here. You will meet so many different personalities in the studio, it’s not right to lump them into strict boxes, but it is fun to see which category you or your friends may land in. Make sure to try to meet all of your peers. You’re in the studio to learn but also to grow. Meet friends and become a better person. Article written by Kevin Pfeiffer Return to Homepage

The ICD/ITKE Research Pavilion developed by a multidisciplinary team at the Institute for Computational Design. In recent years, architects, biologists, and engineers have been thinking about the possible connection the architectural field can have with living entities, such as insects or trees. Most of the time, architects design projects based on the imitation of natural forms. This imitation takes place in a field where there haven’t been previous studies about the organism being imitated, its basic organic functions, and its interaction with the environment. This concept is called biomorphism. When you add in concepts such as biomimicry and biomimetics as theoretical foundations, the design process is focused on the understanding of the functions of the project, how its functions and structure can be solved by studying a specific organism, and, in some supported research projects, how it can be built with parametric design. WATCH: Biomimicry and Landscape Architecture The ICD/ITKE Research Pavilion was developed by a multidisciplinary team at the Institute for Computational Design, which is part of the faculty of architecture and urban planning of the University of Stuttgart. The team included architects, engineers, biologists, and paleontologists. The pavilion was part of a research project focused on demonstrating the potential of novel design, simulations, and fabrication processes in architecture, based on nature and parametric design.

From Beetles to Architecture: The Design Process

  Considering the context and the functions to which the pavilion would respond, architects were concerned about the living organism that can be the foundation to develop biomimetic design. All these, along with the problems that Stuttgart’s weather can cause, forced the architects to consider the study of the Elytron, a type of hardened forewing that certain types of insects possess, including beetles.

The Elytron structure can be a suitable role model for highly material-efficient construction, creating a lightweight structure. Its unique capacity and lightness relies on the geometric morphology of a double-layered system and the mechanical properties of the natural fiber composite. This structure consists of chitin fibers that create a protein matrix, allowing for locally differentiated material properties. Once the case of study was defined and the architectural program of the pavilion established, the process of creating the structure began under the cooperation of the ANKA Synchrotron Radiation Facility and the Institute for Photon Science and Synchrotron Radiation at the Karlsruhe Institute of Technology (KIT). The designers used three-dimensional models of different beetle Elytra structures through micro-computed tomography. With this, the research team had the opportunity to study the complicated structures of the beetle shell. This study confirmed the presence of the double-layered structure that is connected by column-like, curved support elements — a structure called trabeculae. “The fiber layout within a trabecula merges the upper and lower shell segments with continuous fibers. The distribution and geometric articulation of the trabecula is highly differentiated throughout the beetle shell.” In nature, each structure has a lot of variations and, because of this, the research team studied multiple flying beetles in order to identify these variations and establish the rules for structural morphologies to be reproduced artificially. Subsequently, in order to recreate the same properties of the Elytron structure, the research team had to develop a new robotic fabrication method for fiber-reinforced polymer structures. To do this, the team used a custom robotic fabrication method to obtain modular panels of polymers. Related Articles:

• Biomimicry UK: Interview with Richard James MacCowan
• Biomimicry: What is it and What Does it Mean For Landscape Architects?
• Naples Gridshell Urban Furniture Experiment

Glass and carbon fiber-reinforced polymers were chosen as construction materials for the panels, due to their unique qualities such as high strength-to-weight ratio and its potential to generate different material properties by changing its arrangement.

An Attractive Organic Design

  For the fabrication of the geometrically unique double-curved modules, a robotic coreless twisting method was developed, which used two collaborating 6-axis industrial robots to wrap chitin fibers between two custom-made steel frame effectors.

The interaction between fibers generates doubly curved surfaces from initially straight deposited fiber connections. These reciprocities among material, form, structure, and fabrication are defined through a winding syntax that becomes an integral part of the computational design tool. A total of 36 different panels were fabricated, each with a unique fiber layout. The biggest panel has a 2.6 meter diameter, with a weight of 24.1 kilograms. The research pavilion covers a total area of 50 square meters and a volume of 122 m³. WATCH: ICD ITKE Research Pavilion 2013-14 The final design of the research pavilion bases its form on its interaction with the public space of the university and its close location to the park. The final outcome demonstrates how the computational synthesis of biological structural rules can lead to the generation of innovative construction materials, such as fibers, allowing novel spatial structures. Recommended Reading:

• ARCHITECTURE without architecture: Biomimicry design by Carlos Ginatta
• Discovery of Design by Donald DeYoung

Article written by Luis Eduardo Guisar Benitez Return to Homepage

Building Information technology is rapidly changing our approach to landscape architecture.  The digital input within construction management has rapidly increased in the last decade or so. Likewise, the focus has shifted to urban landscaping when it comes to green practices within architecture. The premise is that landscape should be the main building block for city design. New York’s Fresh Kills reclamation project is an ideal example of technology input and urban landscaping. Urban landscaping offers a potential method to translate ideas within urban ecology to generate technology driven construction management that reflects both cultural and natural processes. Practices such as ‘Field Operations’ represent how much landscaping has evolved in the digital era.

The Efficiency of Building Information Modeling and IT Tools

  Technology allows a better comprehension of large scale systems and this allows architects and town planners to develop schemes that engage and augment ecological and social paradigms. A basic precedent for this principle was the McHarg’s plan for Woodlands in Texas, leading people to come closer to nature. The design successfully used a storm drainage system, with water flows at the center of the landscape.

Another significant paradigm is the use of building information modeling (BIM) within landscaping. Simulation based design, stemming from IT resources, enables a vast number of architectural and engineering applications, such as modeling of energy, behavior prediction, project management and structural integrity analysis. BIM is not merely about the graphic element behind construction, but also about the efficiency that can be inculcated within landscaping. A major problem within construction management is the ‘lags’ that are created by various aspects of project management. WATCH: What is BIM?

The Benefits of BIM

  Green practices are also about lesser or optimal usage of construction infrastructure. Procore Technologies points out that IT input can help to create better management of building projects and they demonstrate this with a real time dashboard that keeps track of projects, contacts and documents. By reducing the lag between various processes, projects can be completed in less time. This means less time is spent on auxiliary issues and more is spent on the actual landscaping.

BIM Helps Guarantees Quality Assurance

  BIM also leads to quality assurance parameters within landscaping and construction. This can be seen with the development of Building Information Modeling Maturity (BIMM), a rating metric used to monitor the modeling process and generate efficient designs. With the help of BIM tools and IT resources, landscape analysis can be explored, developed and documented for design in a better way. On one level, BIM allows storage of object information while on the other; it allows planning for all sorts of landscape elements. Through simulation, walk-through animation and top notch visualization, landscape architects can produce detailed designs.

The Importance of BIM in the Future

  As per an estimate, nearly 70% of the global population will inhabit urban areas by 2050. This means that city center development, generation of green spaces, infrastructure construction and building information modeling would be at the center of aiding the construction industry. Urban landscaping is evolving at a faster rate owing to IT input. Architects should explore news ways using these resources to generate large scale designs of landscaping within urban areas. Article written by guest writer Brooklyn Williams Return to Homepage Feature image:  littleny/shutterstock

Words of wisdom to work by and perhaps live by. Here at LAN we love a good quote. Wise words stand the test of time. In this article we take take a look at some famous quotes that can apply to landscape architecture. 11. “Whatever the mind of man can conceive and believe, it can achieve”. –Napoleon Hill (1883 – 1970) Just look at some of the most inspiring landscape architectural projects of recent years; The Eden Project, The High Line, or the National September 11 Memorial. Great projects are about not only having a great idea, but believing in them, and having the tenacity to see them through to completion.

10. “Whether you think that you can, or that you can’t, you are usually right.” – Henry Ford (1863-1947) OK, so not every project you’re working on can be the next High Line, but if you constantly tell yourself that you’ll never design the next great piece of landscape architecture, you’re probably right. 9. “You must be the change you wish to see in the world.” – Mahatma Gandhi (1869-1848) In any profession it is not enough to merely talk the talk, one must walk the walk and practice what one preaches. Alan Titchmarsh once told me that as landscape professionals we are custodians of the landscape, holding it in trust for future generations. If biodiversity matters to you, make sure all your work seeks to increase biodiversity. If inclusive design is your muse, then reflect this in everything you do. 8. “A doctor can bury his mistakes but an architect can only advise his clients to plant vines.” – Frank Lloyd Wright (1868-1959). …and lets face it, they’ll probably specify the wrong ‘vines’. But seriously, landscape architects design in four dimensions, and what we do should be regarded as being here to stay. Revisions are cheaper and easier than redevelopments, so get it right the first time. 7. “The greater damage for most of us is not that our aim is too high and we miss it, but that it is too low and we reach it.” – Michelangelo di Lodovico Buonarroti Simoni (Michelangelo) (1475-1564) In everything a landscape architect does they must always aim to achieve the best they can. There is no reason to settle for mediocre design. 6. “Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.”- Antoine de Saint Exupery (1900-1944) Humphrey Repton one said “Some have asserted, that it is more pleasant to make improvement by the axe than by the spade.” Its often the same with many aspects of design. Remove everything that’s superfluous to improving the design results in a clear and concise design. 5. “In theory, there is no difference between theory and practice. But in practice, there is.” – Yogi Berra (1925-) Theory to practice in any profession is an interesting field. In landscape architecture it can sometimes seem like there is a gulf between the two. Particularly for newly qualified landscape architects. Theory should underpin everything one does in practice, even when it is difficult to reconcile the two. 4. “There is only one way to avoid criticism: do nothing, say nothing, and be nothing”. –Aristotle (382-322 BC) Everyone’s a critic. If you are concerned about having your work criticized, perhaps landscape architecture is not the profession for you. Always listen to criticism, but take it for what it is, evaluate it, and take note if it is fair and constructive. 3. “The best time to plant a tree was 20 years ago. The second best time is now”. –Chinese Proverb There’s something about old Chinese proverbs. They always seem to be so true in a very simple way. With modern technology we can now transplant semi-mature and even veteran trees, of course, but this proverb still holds true! 2. “You can’t use up creativity. The more you use, the more you have”. –Maya Angelou (1928-2014) The more you practice the better you get. Never stop sketching ideas, and working them up. You can’t use up creativity! 1. “You can design and create, and build the most wonderful place in the world. But it takes people to make the dream a reality”. -Walt Disney (1901-1966) People more than animate the landscape. They are our ultimate clients. When we design for people we succeed in landscape architecture. There are many famous quotes that can apply to landscape architecture. Perhaps this is due to the fact that the best quotes apply generally to life, and as art imitates life, landscape architecture also imitates life. Or perhaps it is because landscape architecture is so pervasive to life that so many quotes can apply to it? Who knows. Why not use the comments box below to share your favorite quotes with us, and how they apply to landscape architecture. Article written by Ashley Penn Return to Homepage

This week’s Sketchy Saturday top 10. Welcome to this week’s edition of Sketchy Saturday, where we had our tightest week ever in terms of competition, picking which sketch should obtain top spot was no easy feat. While the talent we get is always of a high calibre, the top three are usually in a league of their own and the winner is often a clear favourite, this week, we’re happy with first place but in a different week several others listed could of been featured in that number one position. Decide for yourself, which one would you of put in the top spot. 10. Marcin Wodniczak, landscape architekt from Poland, owner in www.addgreen.pl

“I made this sketch as part of a design, to make sure a prospective client hires me as a contractor to make their garden around his summer house in Denmark. It is made by hand and pencil, using a real photo as the basis. It is located in Vejle Fiord, Danmark”. 9. Isa Eren AKBIYIK – Landscape Architect – Nota Design Landscape Architecture Office Owner – Antalya/Turkey “This is a concept sketch for the NovaPark Shopping Center in Antalya, Turkey. It represents the Ornamental Pool for the garden. I made the sketch into a 2 point perspective with 0.3 – 0.5 drawing pen on A3 paper”. 8. by Gonzalo Cid, agricultural engineer with a post degree in Landscape Planning and Environment, Buenos Aires, Argentina “I drew this scene of the Mendoza`s Central Park last July, during my holidays in Mendoza, Argentina. This park was built on the old and abandoned railroad depot. I used to live near this land when I was a child and I played with my friends for several years! It`s a nice park (although I`m not in agreement with the design) and it was a big change for the zone. The drawing was made on location in about 2 hours. Materials: Pencil, ink and watercolor on a notebook (made by a very good friend, by the way), Canson sheets 300 grs (21x15cm) on a landscape format (42x15cm)”. 6. by Mario Rotersos, Italy “I do a lot of freehand sketches or 3d rendering then I colour them with Aquarelle or Copic colouring pens and scan the drawings and finally touch them up with photoshop. It’s a mix medium style. The drawing is of a wellness and spa hotel in south Tyrol, Italy done in Aquarelle / watercolours.” 4. by  Amela Djurakovac, Landscape architect from Serbia

A look at how the inevitable technology of automated cars will change the face of landscape architecture. Paradigm shifts in technology, through history’s lens, have proven to profoundly alter our society. This new technology, whether it be a printing press, cotton gin, nitrogen based fertilizer, car, or a computer sets a benchmark on how we function as a people. Its tendrils seep into our culture, economics, and a myriad of other locations – but one aspect that often gets overlooked is our landscape. Our cities were built to be the backbone support of the industrial revolution. Our roads were built to accommodate the car and truck. Our soil is radically altered due to fertilizers and farm practices of the past. Time and time again we can look at the trend of technology being introduced and a few decades later it fundamentally changes the way we look at the landscape.

Get out of the way, automated cars are coming!

Automated cars are here and they work. From test upon test these vehicles have proven safer than human driven cars, and the automated ones are only getting better. They have driven successfully over 700,000 thousand miles on city streets, highways, and residential roads. While their primary function as a regular car is similar with an already laid out road system, I call that as automated cars become assimilated to our roads it will alter not just the roads themselves but the landscape around them. WATCH: Google Self-Driving Car Project Basic designs of our roads are posed to be altered with the introduction of the automated car. Highway lanes may expand or reduce in number depending on how a “constant speed” may change the road. On and off ramps could look virtually different. Our residential roads could accommodate the pedestrian much more.

Driving Without Focusing on the Road All of these possible changes will need designers, not only the road itself, but it’s surrounding environments. People will have more time to take in the landscape around them, instead of just focusing on the road. Road beautification would become a much more prominent idea. All of this a clear calling for a future market for landscape architects. Who else does this effect? The most interesting point to this change is how rudimental it will alter the opaque and translucent functions of our everyday. While yes, the roads cars drive on will change, where else is transportation used? In agriculture, automated tractors are now being used (versus traditional machines, like Mahindra tractors, that require a driver). In mining and earthmoving, automated large vehicles are being used. In the transportation industry, where millions of drivers stand to lose, think of New York City with no taxi drivers in the taxis. In warehouses, where automated small vehicles organize and mitigate goods to be shipped – by an automated semi – to an airport to be flown by an automated plane – to an automated car factory. Related Articles:

• 6 Reasons Why Our Future Depends On Landscape Architecture
• Will These Solar Roadways Change The World?
• Visionary Smart Cities Offer a Glimpse of The Future

WATCH: Benefits of Mining Operation Automation | Caterpillar The Future’s Looking Bright I am hopeful that this new invention along with many other amazing new products will help better or world. I am optimistic that it will benefit not just landscape architecture but our environment as well. The automated car has the potential to affect so much of the world around us, and better it at that. My original question was, “how will automated cars change landscape architecture?”, and the answer to that is, I don’t know. No one knows, but what is important is that we try to know. We try and design new things to support the automated cars industry. This new tool is something that will change our landscape and landscape architects need to have their hands on the wheel of that change, instead of another profession. The automated car has the potential to become a prominent tool in our pockets and what’s important is that we utilize it. Article by Kevin Pfeiffer Return to Homepage Featured image: Highway 401 by 401-DVP CC BY 2.0 Nayu Kim 

DM2 Housing Project by OODA architects. In historic downtown Porto, Portugal, buildings are protected to retain the strong character of the area. OODA architects have undertaken the sensitive renovation of D. Manuel II (DM2), reinvigorating the building and incorporating a patio that is part stylish green roof, part car park. The building has been restored from commercial use to its original purpose as a residential building, albeit now providing 17 residences instead of the one it was initially built for in the 19th century. In close proximity to the city’s the universities, hospitals, nightlife, and arts district, DM2 is being repositioned for a younger market. Compact living spaces and the use of some cheaper materials on the inside reflect this, but don’t be mistaken – the architects have added unique quirks throughout to make the building interesting and stylish.

Weaving the Pattern of History A traditional dichromatic pattern is stylish and functional, linking the exterior spaces and facades to the interior. To the rear of the building and above one of the units is a patio space intended entirely for parking cars. The patio comprises triangles of grass and sod, repeating the pattern of the tiles on the building’s facade. These triangles will support the weight of vehicles and allow rainwater to penetrate into the ground, slowing down its transition to sewers — important in the face of climate change. The footfall and traffic from the car use should keep the grass at a low level, requiring little maintenance. Does this design meet the design brief? A couple of small private courtyards and balconies provide the only recreational outdoor spaces and allow ample light into the building. But with the 17 units comes no communal space, certainly none outside. Is that OK? If aimed at students and young people, is there a need for all of the exterior space to be a car park? It’s a shame there couldn’t be more of a garden for residents to enjoy, with native plants that would also encourage more wildlife and provide a place for the building’s residents to venture outside and interact with their neighbors. Related Articles:

• Why Grass Belongs on Your Roof and Not Just in Your Garden
• Extensive Green Roofs: The Essential Guide
• Why Should You Have a Grass Roof?

The first thing I noticed in the architect’s plans is the suggestion that there is a large tree in the car park area, but in the completed photographs it is evident that this tree is actually on a neighboring property.

In the hot, dense area of inner city Porto, increasing tree cover would have a huge environmental and economic benefit. Perhaps the designers could have facilitated a more flexible use of space so that residents could interchange the space’s function between car parking and communal outdoor space? Aesthetic and practical, but neither multifunctional nor too imaginative, the roof at DM2 demonstrates that green space can be part of a sensitive redevelopment of historic architecture in our cities, but also highlights the need for landscape architects to be part of a design team as well as architects to ensure that the quality of that green space lives up to its full potential. Recommended Reading:

• Planting Green Roofs and Living Walls by Nigel Dunnett
• The Professional Design Guide to Green Roofs by Lisa Lee Benjamin

Article written by Simon Vive Return to Homepage

Stunning waterfall art by Laurent Gongora. The Cascade de Vaucoux waterfall in south-central France is one of those wonders of nature that for centuries has evoked awe in all who see it. It’s hard to believe that man could enhance Mother Nature’s handiwork, but artist Laurent Gongora may have managed it. Gongora has added a series of 24 steel triangles, which protrude from the waterfall in the mountainous Massif Region, “redrawing” the flow of water, splitting and scattering it as it pours toward the ground. The water diverges from its natural path, providing a gleam of light and misting the skin of visitors.

The Design Gongora arranged the steel triangles in an eight-meter-high diamond formation, with the pointed shapes emerging from the falling water and diverting the torrent over and around them. Gongora has created something very geometrical that holds firm and stands strong against the fall of water. I like to think that the artist signified the triangles as a symbol of equilibrium that holds tight but remains affectionate toward Mother Nature. The artwork’s title, Les Cascadeurs, translates as “the stuntmen” and also relates to the French word for “waterfall”. The metal peaks were colored black to match the local stone and were fixed onto a steel base frame hidden by the water. Horizontal bars beneath each peak were designed for daredevil wildlife to take shelter from the cascade. There is a small wooden perch under each roof, in case a “stunt bird” would like to come and shelter. Gongora worked with two climbers over three days to hang the structure from rocks and trees above the site, using six steel cables. The piece was installed for the annual Horizons Sancy art and nature festival in 2012. Art and Nature By their very nature, waterfalls attract visitors who delight in the feeling of elation they experience in the presence of such a powerful force. Gongora has only enhanced that magnetic pull – for humans and wildlife alike. By choosing this setting, the artist has revealed how smart and deliberate he is  in his work.  He has created a wonderful vision that explains his love and enthusiasm toward geometric shapes through the use of triangles inscribed within a diamond-shaped frame, creating a state of equilibrium that holds the frame in a crescendo against the flow of water, splitting and renewing the path of its fall. The birds that flit and perform stunts around the sculpture add to the artistry, providing photographers with a multidimensional canvas for their own art. Gongora’s artwork has revived the Cascade de Vaucoux waterfall. He has made  impeccable use of the mountains as his canvas, the flow of water as his paint, and the triangles as the brushes for his masterpiece. I hope this article has given you an insight into this wonderful place and the splendid artwork of Laurent Gongora. Recommended Reading: 

• Land Art by Ben Tufnell
• Land and Environmental Art by Jeffrey Kastner

Article written by Sha Sulaiman Return to Homepage

Looking for your first job is really hard work. You have to realize that job hunting is kind of your first job. If you want to succeed in this hunt, full-time dedication is required. Almost everyone has the same doubts and questions when the time to work finally arrives: What kind of job do I want to get? How can I impress my employer? Are my skills good enough for my dream job? Is there a way to eliminate the competition? You can be pretty good at something and learn faster than the rest, but you have to persuade the person on the other side of the table that you are exactly what he needs.

There are a few things you need to consider in order to get your first job:

  1. You Don’t Have a Job Hunting Strategy

Job searching can be really stressful if you don’t have a plan. Online applications will rarely be enough; you can send a billion, and ages will pass before you get a call.

The first step for a successful job search is to know thyself — make a list of your interests, goals, values, skills, and accomplishments. To sell yourself as a unique, precious piece made of unimaginable talents, it is important to be able to back up your claims. Keep in mind that everyone else will be applying the same way. If you don’t have any friends who can help you get into a firm, then look for the companies in your city and do some research to find out how your skills match their needs. You’ll need to know who’s in charge of contracting new employees, then pay him a visit. Even if he is not looking for applicants at the time, you might get lucky and arrive at precisely the right moment. If you are hoping to work abroad, online applications may be your only option. But that doesn’t mean you have to send resumes to every landscape architecture firm in the world in order to succeed. After sending an application, you have to follow up, including phone calls and e-mail. Companies will receive a bunch of applications, so try to be remarkable and stand out above the rest of the competitors. Make a good impression and behave exceptionally nice; humble people are well received everywhere. 2. How do you pick the right firm for you? Once you have defined your goals and recognized your talents, it is time to put them all together. It is likely that you will be given more responsibilities if you work at a small firm than at a large multinational, but this is not a rule. Don’t just look for jobs you can easily do, but also at positions that represent a challenge to your capabilities. Be flexible.

3. Overcoming your lack of experience Keep in mind that landscape architecture is a business and money has to be made. You do not want to show up as a load for the company or someone they will have to teach everything. Rather, you want to be an investment — a self-sufficient, independent thinking, and responsible young mind. Ask yourself what can you offer that an experienced applicant doesn’t have and be sure your interviewers know that answer. Every company has a weakness; do solid research and become the solution to a problem they probably don’t even know they have. For example, not everyone is familiar with the most recent software on the market, and if you are able to save them time, money, or just make a considerable improvement, you’ll be one step ahead of the competition. 4. Your portfolio is impressive when it needs to be effective! Sometimes we make the mistake of thinking that an awesome portfolio design will instantly get employers’ attention and leave every competitor behind. Focus on the content rather than the presentation. Make sure it is legible, clear, and concise. Your design skills will rarely be valued in the beginning. Your new employers will want you to be useful from the first day. Focus on what they are expecting from you. Filling your portfolio with fancy renderings and cool drawings is important, but don’t forget to add technical details, cad drawings, and every element that reflects your understanding of the construction process. WATCH: One of the sample portfolio videos in our hit article: 5 Mistakes You Should Avoid When Designing Your Portfolio 5. You don’t know anyone in the profession! This is not the first time and won’t be the last you hear about the importance of networking. We are a social species; building relationships is as important for your career as it is for life. Let people know what you are doing. Employers and potential clients will give the job to someone they trust, even if they are aware that he might not be the best. Family, friends, and acquaintances will help you if they can. Friends you make while in school probably will be your ticket to get into your first jobs; working on a unique skill is quite useful here. When an opportunity opens in the field of your domain, people will remember your exceptional ability and may recommend you for the job. Always know how to sell yourself. It is possible that you offer the same things as the competitors at first, so create the feeling that a firm is buying extra features by contracting you. A good sense of humor is also highly appreciated. See also: 10 Easy Ways for Landscape Architecture Students to Network with Professionals – Your first job as a landscape architect may lay the foundation for your career. Do not accept a job just to have one. Define your goals and head out in the right direction. Try thinking about where you want to be five years from now. If your search is not getting results, review your strategy, identify the problem, and try a different path. Getting a job is not that hard. Don’t give up. Article written by Eduardo Reguer Return to Homepage Featured image: Credit: Ethan; licensed under CC 2.0

The Roof Gardens of the European Patent Office, Rijswijk, The Netherlands. In the words of the celebrated French architect Jean Nouvel, “Each new situation requires a new architecture.” And so it is that the European Patent Office (EPO) has come to require a new building to replace its outdated and now unsuitable existing home in The Hague, The Netherlands. It is clear to see why the EPO would wish to replace its current building. Even if it were not too small for the agency’s requirements, there would be compelling grounds to replace it for aesthetic reasons. The stark nature of the two intersected cuboid forms, devoid of ornament and contour, dominates both the site and the local area in an oppressive and massive statement of authority. The building’s iconic 1970s architecture has quickly become dated and unfashionable, failing the test of time.

A Lasting Legacy The EPO building does, however, have one major redeeming feature — the roof garden, designed by Copijn Tuin-en Landschapsarchitecten in the late 1990s. It is a testament to the timeless design of the roof garden that while the rest of the site is to be razed to the ground, the garden will be integrated into the site’s new design.

The Brief for the Roof Garden

The garden was designed in 1999, with construction completed in 2001.The garden covers the underground car park and an extension to the existing EPO Headquarters. Primarily, the design seeks to accomplish two main criteria: to introduce natural elements into the site and to provide functional outdoor space for EPO employees. This design has inspired the DePalma Roofing contractor employees to use similar tactics. The design achieves this through a layered approach incorporating a system of subtly defined garden rooms, each containing a thematic range of plants, and outdoor nodal spaces that encourage encounters between employees.

In an achievement quite ahead of its time, the roof garden also incorporates rainwater harvesting and storage. This helps to ameliorate the urban heat island effect. Both rainwater harvesting and the use of evaporative cooling to mitigate urban heat island effects were progressive ideas for mainstream landscape architecture in the late 1990s, demonstrating how far ahead of its time the roof garden at the EPO Headquarters is. The Concept The roof garden encapsulates a conceptual microcosm of the Dutch landscape. The design is divided into separate ecologically themed “rooms” divided by “dikes” constructed of sea clay (a natural material that helps to conceptually anchor the design within its context). For example, one such room is planted with native and near native species on the dike that encourage butterflies and bees, while the shallow valley in between the dikes offers foraging habitat for birds. The repetitive pattern of undulating dikes and planting is evocative of waves. Indeed, water plays an integral role within the garden. A large, amorphous lake on the site brings to mind the sea, while reflective linear pools closer to the existing building are evocative of Dutch canals. The more naturalistic forms of the planting and lake are intersected by linear pathways that cut slices through the micro-landscape. This juxtaposition of forms speaks of Man’s attempt to rationalize or dominate the landscape — but also serves the purpose of increasing access and leading the eye through the garden. Related Articles:

• Why Grass Belongs on Your Roof and Not Just in Your Garden
• Why Should You Have a Grass Roof?
• Planting Green Roofs and Living Walls

Aesthetics From plans and aerial photography, it isn’t easy to appreciate the scale of the site. Key to the success of the design is that it is large enough for the compartmentalization of the spaces to work. The design is neither too busy nor empty and barren. At the human scale, one encounters broken vistas that encourage exploration of the site and create a sense of intimacy for users. Soft planting forms are used to carefully screen views and offer a degree of privacy. The soft, curvilinear forms of the roof garden offer much needed relief to the stark brutalism of the architecture of the EPO building, and go some way toward mitigating the domineering effect of the architecture. From reviewing the artist’s impressions of the proposed new building by Jean Nouvel, it is easy to see that the existing garden could easily integrate into the proposed design. The concept of the proposed building borrows heavily from the local area’s nautical past, with visual references to boats and shipping. The large reflective pool will aid in bringing this concept to realization. Standing the Test of Time The once fashionable architecture of the EPO Headquarters has sadly failed to stand the test of time. But due to the visionary forethought of the designers, together with the timeless use of organic forms and native planting, its roof garden has not only lasted, but has become such a beloved piece that it will be carefully protected during the redevelopment of the site and incorporated into the new design for future generations. This incredible roof garden is kept to the highest standards by Van der Tol. Recommended Reading:

• The Professional Design Guide to Green Roofs by Lisa Lee Benjamin
• Planting Green Roofs and Living Walls by Nigel Dunnett

Article written by Ashley Penn. Return to Homepage

PRESS RELEASE: Studio Fink completes a temporary transformation of the Piazza Vecchia Renaissance square in Italy into a contemporary Piazza Rosa. The Piazza Vecchia ( Old Square ) in Bergamo Italy is a Renaissance square, that Le Corbusier called “the most beautiful square in Europe” .As key part of a major international landscape symposium Arketipos held in Bergamo throughout September 2014 this historical square was transformed for two weeks into an outdoor living room as an event attracting tens of thousands of citizens and tourist of all ages. This year London based artist Peter Fink of Studio Fink has designed its annual makeover in collaboration with Lucia Nusiner ( Planting ) and Maurizio Quargnale ( Lighting ).

Peter knows Bergamo well because he has participated in the last two Arketipos symposiums as well as being involved with the local community in re design of a local park at Malpensata. He is enchanted by the creative dynamism of the Italian culture, but has often admitted to being disappointed about the energy wasted in political opposition and in the lack of clear agreement within the community. Because of this, he has decided on a dialogue of contrasts in his design approach with a strong contemporary conceptual and artistic emphasis whilst bearing in mind the theme of healing landscape and social sustainability. Working with Peter as a designer whose expertise is recognized world-wide is seen as a response to Bergamo’s desire to awaken its creativity, to open up to the international spirit and thus to better valorize itself. Peter Fink’s design aims to renew the relationship between art and landscape design through a creative exploration of our senses through a bold use of colour, shapes, smells, and texture of planting. The checkerboard of trees defines and cast its shadow at the edges of the square gradually making way for smaller perennials and grasses. The flower beds of the same colour as the surface on which they stand on, merge with the artificial turf in sloping, flared triangles. The raised beds contain a wide variety of herbal and medicinal plants with the trees and shrubs also chosen following the same criterion – that of healing and well-being. People become an integral part of the set up, moving and occupying the space “like water streaming through pebbles.” The new place making helps to create informal day and night time spaces for relaxing and socializing as well as increase temporarily the dialogue with the surrounding urban grain.

Besides creating a marvellous platform for meetings and events, and an irresistible attraction for people of all ages, the temporary transformation of a major historical square is thought-provoking act that directs public attention to the positive importance and the implications of place making and landscaping ideas. For further details and high resolution images please contact : Studio Fink Telephone : 0044 (0) 207 1484693 Mobile: 0044 782 5001907 Email: peter@studiofink.eu www.studiofink.eu Press release from Studio Fink Return to Homepage