Smith Ken_ landscape architect urban projects

+NOWLTON 3CHOOL OF !RCHITECTURE

3OURCE "OOKS IN ,ANDSCAPE !RCHITECTURE

+EN 3MITH ,ANDSCAPE !RCHITECT 5RBAN 0ROJECTS *ANE !MIDON 3ERIES %DITOR

0RINCETON !RCHITECTURAL 0RESS .EW 9ORK

:6<9*, )662: 05 (9*/0;,*;<9,!

-ORPHOSIS $IAMOND 2ANCH (IGH 3CHOOL 4HE ,IGHT #ONSTRUCTION 2EADER "ERNARD 4SCHUMI :ÏNITH DE 2OUEN 5. 3TUDIO %RASMUS "RIDGE 3TEVEN (OLL 3IMMONS (ALL :6<9*, )662: 05 3(5+:*(7, (9*/0;,*;<9,!

-ICHAEL 6AN 6ALKENBURGH !LLEGHENY 2IVERFRONT 0ARK

0UBLISHED BY

%DITING .ICOLA "EDNAREK

0RINCETON !RCHITECTURAL 0RESS

$ESIGN *AN (AUX

%AST 3EVENTH 3TREET .EW 9ORK .EW 9ORK

3PECIAL THANKS TO .ETTIE !LJIAN $OROTHY "ALL *ANET "EHNING

-EGAN #AREY 0ENNY 9UEN 0IK #HU 2USSELL &ERNANDEZ

&OR A FREE CATALOG OF BOOKS CALL

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,ATER ,INDA ,EE +ATHARINE -YERS ,AUREN .ELSON -OLLY 2OUZIE *ANE 3HEINMAN 3COTT 4ENNENT *ENNIFER 4HOMPSON

¥ 0RINCETON !RCHITECTURAL 0RESS

0AUL 7AGNER *OSEPH 7ESTON AND $EB 7OOD OF 0RINCETON

!LL RIGHTS RESERVED

!RCHITECTURAL 0RESS +EVIN # ,IPPERT PUBLISHER

0RINTED AND BOUND IN #HINA &IRST EDITION ,IBRARY OF #ONGRESS #ATALOGING IN 0UBLICATION $ATA .O PART OF THIS BOOK MAY BE USED OR REPRODUCED IN ANY

+EN 3MITH ,ANDSCAPE !RCHITECT URBAN PROJECTS *ANE !MIDON

MANNER WITHOUT WRITTEN PERMISSION FROM THE PUBLISHER

EDITOR

EXCEPT IN THE CONTEXT OF REVIEWS

P CM 3OURCE BOOKS IN LANDSCAPE ARCHITECTURE )NCLUDES BIBLIOGRAPHICAL REFERENCES

%VERY REASONABLE ATTEMPT HAS BEEN MADE TO IDENTIFY OWNERS OF

)3". 8 ALK PAPER

COPYRIGHT %RRORS OR OMISSIONS WILL BE CORRECTED IN SUBSEQUENT

3MITH +EN )NTERVIEWS ,ANDSCAPE ARCHITECTS

EDITIONS

.EW 9ORK 3TATE .EW 9ORK )NTERVIEWS ,ANDSCAPE ARCHITECTURE .EW 9ORK 3TATE .EW 9ORK ) 3MITH +EN

4HE SEMINARS AND PUBLICATIONS FOR THIS SERIES ARE MADE POSSIBLE

n )) !MIDON *ANE ))) +EN 3MITH ,ANDSCAPE !RCHITECT

BY THE GENEROUS SUPPORT OF $EE$EE "3,! +NOWLTON

&IRM )6 3ERIES

3CHOOL OF !RCHITECTURE AND (ERB 'LIMCHER

3" 3 + DC

#ONTENTS

!CKNOWLEDGMENTS

&OREWORD 0ETER 2EED

$ATA AND #HRONOLOGY

#ONVERSATIONS WITH +EN 3MITH

#OMPILED AND EDITED BY *ANE !MIDON

4HE -USEUM OF -ODERN !RT 2OOF 'ARDEN

%AST 2IVER &ERRY ,ANDINGS

0 3

+EN 3MITH ,ANDSCAPE AS #ULTURAL #RITICISM .INA 2APPAPORT

#REDITS

"IBLIOGRAPHY

"IOGRAPHIES

!CKNOWLEDGMENTS

+EN 3MITH AND HIS OFlCE 7ORKSHOP +EN 3MITH ,ANDSCAPE !RCHITECT +3,!

PROVED EARLY TO BE A PRO VOCATIVE AND PRODUCTIVE SUBJECT FOR THE SECOND 3OURCE "OOK IN ,ANDSCAPE !RCHITECTURE )N THE +NOWLTON 3CHOOL OF !RCHITECTURE WAS FORTUNATE TO HOST +EN 3MITH S INSTALLATION OF THREE $UMPSTER 'ARDENS ON THE /HIO 3TATE 5NIVERSITY CAMPUS THE PROJECT NOT ONLY CAUSED BOTH JOY AND CONSTERNATION WITHIN THE UNIVERSITY AUDIENCE BUT INDICATED THE VALUE OF PROVISIONAL LANDSCAPES WHEN WORD WAS RECEIVED THAT THE UNIVERSITY PRESIDENT HAD LOOKED DOWN FROM HER WINDOW ONTO $UMPSTER PLANTED IN SCARLET CELOSIA AND GREY ARTEMISIA AND PROCLAIMED THE PROJECT A SUCCESS 3MITH S ARTICULATE PRESENTATION OF IDEAS CASTS QUESTIONS TOWARD THE MAKING OF CONTEMPORARY URBAN LANDSCAPES QUESTIONS WHOSE ANSWERING FEEDS THE PERPETUAL FRESHNESS OF +3,! DESIGN -UCH APPRECIATION IS OWED TO +EN FOR HIS GARDENS FOR HIS GENEROUS TIME AND ENERGIES SPENT IN THE 'LIMCHER SEMINARS AND FOR HIS THOUGHTFUL CONTRIBUTIONS TO THIS PUBLICATION 4HE CRITICAL VALUE OF THIS BOOK IS MUCH INCREASED BY THE PARTICIPATION OF 0ETER 2EED AND .INA 2APPAPORT 4HANKS ALSO TO THE STUDENTS WHO JOINED IN THE SEMINAR *EFF !NDERSON -ICHAEL $ENISON ,IN 'OEPFERT "RIAN 'RIFlTH 4IM (ESS +RIS ,UCIUS *ILL -C+AIN 'ABRIELA 0ATOCCHI #HERYL 3OMERFELDT AND ESPECIALLY *ASON "RABBS FOR HIS VIDEOGRAPHY -ATT /GBORN WAS A CHAMPION TRANSCRIBER 4HE 3OURCE "OOKS IN ,ANDSCAPE !RCHITECTURE WOULD NOT BE POSSIBLE WITHOUT THE GENEROUS PATRONAGE OF $EE$EE AND (ERB 'LIMCHER AND THE SUPPORT OF MANY AT THE +NOWLTON 3CHOOL OF !RCHITECTURE 3PECIlCALLY

THE ENCOURAGEMENT OF $IRECTOR 2OBERT ,IVESEY IS ESSENTIAL TO THE PROGRAM ) AM THANKFUL FOR ADVICE OFFERED

BY COLLEAGUES AND FOR THE LOGISTICAL HELP OF +EN 3MITH S STUDIO IN PARTICULAR 3ENIOR !SSOCIATE %LIZABETH !SAWA 0RISCILLA -C'EEHON SHARED INSIGHTFUL COMMENTS INTO THE WORK OF +EN 3MITH &INALLY THE EDITORIAL GUIDANCE OF .ICOLA "EDNAREK AND +EVIN ,IPPERT AT 0RINCETON !RCHITECTURAL 0RESS IS VERY MUCH APPRECIATED

3OURCE "OOKS IN ,ANDSCAPE !RCHITECTURE

3OURCE "OOKS IN ,ANDSCAPE !RCHITECTURE PROVIDE CONCISE INVESTIGATIONS INTO CONTEMPORARY DESIGNED LAND SCAPES BY LOOKING BEHIND THE CURTAIN AND BEYOND THE SCRIPT TO TRACE INTENTIONALITY AND RESULTS /NE GOAL IS TO OFFER UNVARNISHED STORIES OF PLACE MAKING ! SECOND GOAL IS TO CATCH EMERGING AND ESTABLISHED DESIGNERS AS FACETS OF THEIR PROCESS MATURE FROM TENTATIVE TRIAL INTO DElNITIVE TECHNIQUE %ACH 3OURCE "OOK PRESENTS ONE PROJECT OR GROUP OF RELATED WORKS THAT ARE SIGNIlCANT TO THE PRACTICE AND STUDY OF LANDSCAPE ARCHITECTURE TODAY )T IS OUR HOPE THAT READERS GAIN A SENSE OF THE PROJECT FROM START TO lNISH INCLUDING CRUCIAL EARLY CONCEPTS THAT PERSIST INTO BUILT FORM AS WELL AS THE IDEAS AND METHODS THAT ARE SHED ALONG THE WAY $ESIGN PROCESS SITE DYNAMICS MATERIALS RESEARCH AND TEAM ROLES ARE EXPLORED IN DIALOGUE FORMAT AND DOCUMENTED IN PHOTOGRAPHS DRAWINGS DIAGRAMS AND MODELS %ACH 3OURCE "OOK IS INTRODUCED WITH A PROJECT DATA AND CHRONOLOGY SECTION AND CONCLUDES WITH AN ESSAY BY AN INVITED CRITIC 4HIS SERIES WAS CONCEIVED BY 2OBERT ,IVESEY AT THE !USTIN % +NOWLTON 3CHOOL OF !RCHITECTURE AND PAR ALLELS THE 3OURCE "OOKS IN !RCHITECTURE %ACH MONOGRAPH IS A SYNTHESIS OF A SINGLE 'LIMCHER $ISTINGUISHED 6ISITING 0ROFESSORSHIP 3TRUCTURED AS A SERIES OF DISCUSSION BASED SEMINARS TO PROMOTE CRITICAL INQUIRY INTO CONTEMPORARY DESIGNED LANDSCAPES THE 'LIMCHER PROFESSORSHIPS GIVE STUDENTS DIRECT SUSTAINED ACCESS TO LEADING VOICES IN PRACTICE 3TUDENTS WHO PARTICIPATE IN THE SEMINARS PLAY AN INSTRUMENTAL ROLE IN CONTRIBUT ING TO DISCUSSIONS TRANSCRIBING RECORDED MATERIAL AND EDITING CONTENT FOR THE 3OURCE "OOKS 4HE SEMINARS AND 3OURCE "OOKS ARE MADE POSSIBLE BY A FUND ESTABLISHED BY $EE$EE AND (ERB 'LIMCHER

&OREWORD

) HAD GOOD NEWS AND BAD NEWS FOR +EN 3MITH WHEN ) CALLED HIM IN 4HE -USEUM OF -ODERN !RT -O-! WANTED TO COMMISSION A BEAUTIFUL AND IMAGINATIVE LANDSCAPE ATOP THE ROOF OF ITS NEW GALLERY BUILDING IN MIDTOWN -ANHATTAN DESIGNED BY 9OSHIO 4ANIGUCHI 4HAT WAS THE GOOD NEWS "UT THE PROJECT CAME WITH A LONG LIST OF RESTRICTIONS THAT COULD HARDLY BE ATTRACTIVE TO A LANDSCAPE ARCHITECT LIVE PLANTS WERE STRONGLY DISCOURAGED THE NEED FOR WATER WAS TO BE MINIMIZED OR ELIMINATED ALTOGETHER THE HEIGHT OF THE LANDSCAPE COULD NOT EXCEED ABOUT THREE FEET THE ACCEPTABLE ROOF LOAD WAS MINIMAL BLACK AND WHITE STONES ROOF BALLAST HAD ALREADY BEEN PURCHASED AND IDEALLY SHOULD BE INCORPORATED IN THE NEW DESIGN AND THE BUDGET WAS SLIM "ESIDES THERE WAS NO PUBLIC ACCESS TO THE ROOF GARDEN )N FACT MUSEUM GOERS WOULD NEVER SEE THE ROOF ONLY PEOPLE IN THE SURROUNDING BUILDINGS NOTABLY RESIDENTS OF THE ADJA CENT -USEUM 4OWER CONDOMINIUM WOULD ENJOY THE VIEW FROM ABOVE 4HIS WAS A WORK TO BE LOOKED AT

NOT WALKED THROUGH !FTER EXPLAINING THIS LITANY OF RESTRICTIONS THERE WAS A PAUSE ON THE PHONE FOLLOWED BY 3MITH S SOMEWHAT CAUTIOUS REPLY h7ELL ) LL SEE WHAT ) CAN DO v 3MITH S PAST PROJECTS SUCH AS HIS 'LOWING 4OPIARY 'ARDEN AND THE 0 3 SCHOOLYARD SUGGESTED THAT HE WAS AN IDEAL CANDIDATE TO TAKE ON THE MUSEUM S ROOF GARDEN (IS WORK DEMONSTRATED A REMARKABLE ABILITY TO CONFRONT THE COMMON REALITY OF MANY URBAN SITESÂ&#x2C6;HARDSCAPES AND LOW BUDGETSÂ&#x2C6;AND PRODUCE UNCONVENTIONAL DESIGNS THAT ARE HYBRIDS BETWEEN LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL ART (IS APPROACH STRETCHES THE CONVENTIONAL DElNITION OF LANDSCAPE IN RESPONSE TO A SPECIlC PROGRAM THAT ITSELF SUGGESTS A FOCUS ON AESTHETIC OR PRACTICAL ISSUES MORE THAN ECOLOGICAL PROCESSES 3MITH S IDEAS ARE BOLD

EVOCATIVE AND SOMETIMES HUMOROUS AND IN SOME RESPECTS SHARE A SENSIBILITY WITH OTHER DESIGNERS PAR TICULARLY -ARTHA 3CHWARTZ WITH WHOM 3MITH PREVIOUSLY WORKED

)N HIS lRST PROPOSAL FOR THE ROOF GARDEN 3MITH THREW CAUTION TO THE WIND &IELDS OF ORDINARY COLORFUL PINWHEEL DAISIES ARE hPLANTEDv IN A GRID OF mUORESCENT GREEN 06# PIPEÂ&#x2C6;!NDY 7ARHOL MEETS *OHN 7ATERS MEETS +MART 4HE IMAGE OF SIX THOUSAND WHIRLING DAISIES ARRANGED IN GREAT WASHES OF COLOR WAS HUMOROUS

IRREVERENT AND POTENTIALLY VERY BEAUTIFUL ESPECIALLY WHEN VIEWED FROM AN OPTIMAL DISTANCE 4HE NEIGH BORING RESIDENTS HOWEVER WERE NOT CONVINCED THAT KITSCH WOULD BE ELEVATED TO THE STATUS OF ART 3OME WEEKS LATER 3MITH SUBMITTED A NEW PROPOSAL WHICH EXPLORED IDEAS OF CAMOUmAGE AND CONCEAL MENT USING REAL AND PLASTIC STONES PLASTIC SHRUBS AND GRASS CRUSHED GLASS AND BRICK 4HESE ELEMENTS COULD BE ARRANGED IN SEVERAL WAYS 3CHEMES VARIED FROM A RECTILINEAR GEOMETRY THAT ECHOES THE -IESIAN GRID OF 0HILIP *OHNSON S !BBY !LDRICH 2OCKEFELLER 3CULPTURE 'ARDEN SEVERAL STORIES BELOW TO AN ORGANIC FREE FORM THAT IMITATES CAMOUmAGE PATTERNS AND RECALLS THE IDIOSYNCRATIC DESIGNS OF THE RENOWNED "RAZILIAN LANDSCAPE ARCHITECT 2OBERTO "URLE -ARX SUCH AS HIS ROOF GARDEN FOR THE -INISTRY OF %DUCATION BUILDING IN 2IO DE *ANEIRO n 4HE CAMOUmAGE GARDEN PREVAILEDÂ&#x2C6;BEAUTIFUL IN ITS OWN RIGHT AND STANDING IN CONTRAST TO THE CONTROLLED ORTHOGONAL GEOMETRY OF *OHNSON S GARDEN AND 4ANIGUCHI S ARCHITEC TURE 3EVERAL BLOCKS AWAY AT 4IMES 3QUARE THE ROOF OF THE 5 3 !RMED &ORCES 2ECRUITING 3TATION A SMALL ONE STORY PAVILION DESIGNED BY !RCHITECTURAL 2ESEARCH /FlCE IS PAINTED IN MILITARY CAMOUmAGE PATTERN (ERE THE ROOF DECORATION DOES NOT CONCEAL THE STRUCTURE BUT IS TANTAMOUNT TO A BILLBOARD ADVERTISING THE ACTIVITIES WITHIN THE BUILDING 3MITH S ROOF GARDEN NEITHER CONCEALS NOR IS INTENDED TO EVOKE MILITARY ASSOCIATIONS "UT BECAUSE OF ITS UNCONVENTIONALITY AND BOLD CONTRAST WITH THE SURROUNDING ENVIRONMENT IT TOO CALLS ATTENTION TO THE INSTITUTION WITHIN HOPEFULLY TO THE DELIGHT AND CURIOSITY OF THOSE WHO SEE IT

9<5505. /,(+: -69,>69+

2ATHER THAN COVER ITS ROOF IN ORDINARY STONE BALLAST THE MUSEUM SEIZED AN OPPORTUNITY FOR A MORE CREATIVE SOLUTION !S SUCH THE ROOF GARDEN PROJECT IS NOT UNLIKE -O-! S EXHIBITION PROGRAMS THAT PRESENT EMERGING TALENT AND FOSTER EXPERIMENTATION 4HE MUSEUM S PROJECT SERIES BEGUN IN WAS CONCEIVED AS A FORUM FOR NEW ARTISTS AND HAS BEEN CENTRAL TO THE ROLE OF CONTEMPORARY ART AT -O-! 3IMILARLY THE 9OUNG !RCHITECTS 0ROGRAM WHICH TAKES PLACE EVERY SUMMER IN 0 3 S COURTYARD AND IS NOW IN ITS lFTH YEAR HAS RESULTED IN ASTONISHINGLY INNOVATIVE TEMPORARY STRUCTURES -O-! S 3CULPTURE 'ARDEN HAS ALSO BEEN THE SETTING FOR ARCHITECTURAL PROJECTS MOST RECENTLY 3HIGERU "AN S lRST WORK IN THE 5NITED 3TATES

0APER !RCH A MONUMENTAL LATTICE ROOF MADE OF PAPER TUBES 3MITH S ROOF GARDEN ALTHOUGH LOCATED OUTSIDE THE PARAMETERS OF A PUBLIC GALLERY IS INTENDED TO BE NO LESS A COMPELLING WORK !ND AS EVIDENCED BY THE THREE PROJECTS PRESENTED IN THIS MONOGRAPH lNDING SOLUTIONS OUTSIDE CONVENTIONAL PARAMETERS IS JUST WHERE +EN 3MITH S WORK WANTS TO BE 0ETER 2EED #URATOR 4HE -USEUM OF -ODERN !RT

9<5505. /,(+: -69,>69+

(WYPS /N INVITATION BY -O-! +EN 3MITH SUBMITS MATERIALS FOR UNSPECIlED PURPOSE

4HE -USEUM OF -ODERN !RT 2OOF 'ARDEN

,HYS` 5V]LTILY 3MITH MEETS WITH MUSEUM STAFF AND CURATORS TO DISCUSS PARAMETERS OF THE ROOF PROJECT

*30,5;!

+LJLTILY

4HE -USEUM OF -ODERN !RT

3MITH DEVELOPS 0HOTOSHOP STUDIES FOR TWO ALTERNATE CONCEPTS THAT EXPLORE

+(;(!

mOWERS AS SUBJECT MATTER AND WRITES

.ORTH ROOF SQUARE FEET

DESCRIPTION OF THE &IELD $AISIES !

5V]LTILY

3OUTH ROOF SQUARE FEET

MODEL IS MADE OF THE ASSEMBLY PRO

4HE DESIGN IS APPROVED AND $ECEPTION BECOMES THE PRIMARY

POSAL AND A MOCK UP IS FABRICATED -ATERIAL PALETTE

ON THE -O-! ROOFTOP ! 1UICKTIME

:\TTLY

SCHEME -ATERIALS DETAILING AND

ARTIlCIAL BOXWOOD INCHES

VIDEO IS MADE AND THE IDEAS ARE PRE

3MITH DEVELOPS CAMOUmAGE CONCEPTS

PRICING RESEARCH PROCEED WITH DESIGN

SENTED TO -O-! CURATORS

-ATERIALS AND DETAILING RESEARCH

DEVELOPMENT

HEIGHT

MOCK UPS ARE DONE IN +3,! STUDIO

SHEETS $URAGRATE MOLDED 1HU\HY`

INCH SQUARE MESH

0ROJECT IS PRESENTED TO -USEUM

:LW[LTILY

#HALK LINE MOCK UP IS DONE ON ROOF

4OWER CONDOMINIUM BOARD FOR

&OUR CAMOUmAGE DESIGN CONCEPTS

TO TEST OUT THE HORIZONTAL GEOMETRY

GREY 06# mANGE PIECES FOR

APPROVAL !T END OF THE MONTH WORD

ARE PRESENTED TO -O-! CURATORS AND

OF THE SCHEME AT FULL SIZE )NITIAL BIDS

BOXWOOD ASSEMBLY

IS RECEIVED THAT THE &IELD $AISIES CON

STAFF h)MITATIONv AND h$ECEPTIONv

REVEAL THAT THE PROJECT IS SUBSTAN

CEPT IS REJECTED BY THE CONDOMINIUM

ARE SELECTED FOR PRESENTATION TO

TIALLY OVER BUDGET 6ALUE ENGINEERING

HEADERS PAINTED "ENJAMIN -OORE

BOARD -EETINGS WITH 0ETER 2EED AND

CONDOMINIUM BOARD ! MOCK UP

BEGINS "Y *UNE THE PROJECT IS RE BID

(ILLSBORO BEIGE

OTHER -O-! STAFF ENSUE TO DISCUSS

IS PLACED ON THE -O-! ROOF IN

FOR A THIRD TIME AND A lNAL COST ESTI

NEXT STEPS

ADVANCE

MATE IS ACCEPTED IN 3EPTEMBER

GREY 06# PIPE SEGMENTS AND

LINEAR FEET #.# CUT FOAM

ARTIlCIAL ROCKS BLACK ARTIlCIAL ROCKS WHITE ONE POUND BAGS RECYCLED TUM BLED GLASS AGGREGATE CLEAR lFTY POUND BAGS WHITE MARBLE CHIPS INCH DIAMETER FORTY POUND BAGS RECYCLED BLACK RUBBER MULCH INCH CHIPS

1HU\HY`

lBERGLASS GRATING INCH THICK

$ATA AND #HRONOLOGY

5V]LTILY .EW 9ORK 4IMES COLUMNIST !NNE 2AVER WRITES AN ADVANCE REVIEW OF THE -O-! ROOF GARDEN DESIGN h!

2OOFTOP 'ARDEN 7ITH 3YNTHETIC

%AST 2IVER &ERRY ,ANDINGS

'REEN v *30,5;!

1HU\HY`

.EW 9ORK #ITY %CONOMIC

#ONSTRUCTION COMMENCES

$EVELOPMENT #ORPORATION .EW 9ORK #ITY $EPARTMENT OF

-LIY\HY`

4RANSPORTATION

#ONSTRUCTION REACHES POINT OF SUB

.EW 9ORK #ITY $EPARTMENT OF

-HSS

STANTIAL COMPLETION WITH COMPLETED

0ARKS AND 2ECREATION

3MITH IS NOTIlED THAT HIS OFlCE HAS

PUNCH LIST 4HE PREVIOUS DAY THE .EW

BEEN PLACED ON A SHORTLIST OF DESIGN

9ORK 0OST PUBLISHES A PHOTO OF THE

+(;(!

CONSULTANTS FOR A NEW FERRY LAND

-LIY\HY` 4HYJO

GARDEN ENTITLED h)T S !RT IlCIAL v 4HREE

4OTAL PROJECT COVERAGE ACRES

ING PROJECT ON THE %AST 2IVER +3,!

#AMOUmAGE SCHEMES EXHIBITED AT

DAYS LATER 0ETER 2EED S -O-! SHOW

(ARVARD 5NIVERSITY 'RADUATE 3CHOOL

h'ROUNDSWELL #ONSTRUCTING THE

OF $ESIGN

#ONTEMPORARY ,ANDSCAPEv OPENS

WITH APPROXIMATELY SQUARE

FOUR OTHER DESIGN TEAMS AND IS

4HE ROOFTOP GARDEN IS REPRESENTED IN

FEET OF MARSH PLANTERS

SELECTED FOR THE COMMISSION

:LW[LTILY 6J[VILY

THE EXHIBITION BUT PUBLIC ACCESS IS

+3,! STAFF VISITS #.# SHOP TO VIEW

NOT AND NEVER WILL BE ALLOWED

DIVIDED INTO FOUR SITES 4HIRTY FOURTH 3TREET SITE ACRES

TEAMS UP WITH +ENNEDY 6IOLICH !RCHITECTURE IN A COMPETITION AGAINST

3IZE OF MARSH PLANTERS FEET BY FEET IN NINE MODULES

MOCK UP DIGITAL lLES FOR #.# CUT

1HU\HY` 1\UL 3MITH PREPARES PLANS FOR TEMPORARY

FOAM HEADERS AND lBERGLASS GRATING

(WYPS 4H`

-ARSH PLANTER ELEMENTS

LANDING AT %AST 3IXTY SEVENTH 3TREET

ARE ISSUED WITH lNAL CONSTRUCTION

0ETER -AUSS OF %STO PHOTOGRAPHS THE

PUMP

WITH *ERSEY BARRIERS CRIB WALL PLANT

DOCUMENTS

PROJECT

SALTWATER IRRIGATION CHANNEL

ERS AND TAXODIUM BOSQUE PLANTING

SALTWATER SCUPPERS FRESHWATER POP UP SPRAY IRRIGATION 3(%,4%2

SYSTEMS IVA FRUTESCENS MARSH ELDER OR HIGH TIDE BUSH

2)0!2)!. 0,!.4).'3 /. 3425#452%

/0%. 4/ 7!4%2

&%229

SPARTINA ALTERNIFOLIA SMOOTH CORD GRASS

6J[VILY

4H`

0ROJECT SUBMITTED TO .EW 9ORK #ITY

3MITH RECEIVES CALL FROM 2OBIN (OOD

&INE !RT #OMMISSION FOR PROJECT

&OUNDATION ABOUT A POSSIBLE SCHOOL

APPROVAL

YARD PROJECT IN 1UEENS

+LJLTILY

0 3

!PPROVAL RECEIVED

3MITH MAKES lRST SITE VISIT TO SEE THE *30,5;!

4HYJO

PROJECT

4HE 2OBIN (OOD &OUNDATION

CONSTRUCTION DOCUMENTS DELIV

1\UL

(\N\Z[

ERED &OLLOWING THE INITIAL COST ESTI

+(;(!

3MITH PRESENTS BOOKLET OF 0HOTOSHOP

+3,! PRESENTS SCALE MODEL AND

MATE VALUE ENGINEERING BEGINS

3ITE SQUARE FEET EXCLUDING

hBEFORE AND AFTERv IMAGERY ILLUS

BUILDING FOOTPRINTS

3MITH S 0HOTOSHOP DIAGRAMS FOR NEW

TRATING lVE LOW COST PROTOTYPE

MARSH PLANTER BOX SCHEME 3OON

6J[VILY

AFTER 3MITH DEVELOPS THE FOLDED

CONSTRUCTION DOCUMENTS

3ITE COMPONENTS

PROJECT MANAGER AT THE 2OBIN (OOD

GEOMETRY PARTI IN A PHOTOMONTAGE

DELIVERED

CUSTOM MODIlED DUMPSTERS

&OUNDATION 2ECEIVES A CALL WITHIN

SCHOOLYARD IMPROVEMENTS TO THE

CUBIC YARDS 7VZ[ :LW[LTILY

(WYPS

&OLLOWING THE TERRORIST ATTACKS ON THE

4HE PROJECT IS OUT FOR lNAL BIDS 4HE

7ORLD 4RADE #ENTER THE PROJECT GOES

MARSH PLANTERS ARE LISTED AS AN h!DD

ON HOLD FOR SIX MONTHS

!LTERNATEv FOR BIDDING

FEET INCHES BY FEET

SQUARE FEET ,EARNING 'ARDEN

1\S` 6J[VILY $ESIGN DEVELOPMENT AND CONSTRUC TION DRAWINGS ARE PREPARED

SQUARE FEET WOOD CHIP PATH LOGS TYPES OF PERENNIALS AND ANNUALS

TOTAL PLANTED TYPES OF SHRUBS TOTAL PLANTED TYPES OF TREES TOTAL PLANTED

+(;( (5+ */965636.@

HOURS h#LIENT LOVES IT v

SQUARE FEET NYLON SCRIM AT

,EARNING 'ARDEN ELEMENTS

1\UL

,HYS` (WYPS 3MITH SUPERVISES SOIL PLACEMENT

BERM LAYOUT AND SCRIM INSTALLATION +3,! COMPLETES lNAL BERM GRADING PLANS AND WORKS WITH THE .EW 9ORK 2ESTORATION 0ROJECT TO PREPARE THE SITE AND STAKE OUT THE BIRD AND BUTTERmY 1HU\HY` -LIY\HY`

GARDEN :\TTLY

0LANTING PLANS FOR BIRD AND BUTTERmY GARDEN ARE PREPARED

3H[L (WYPS

0AUL 7ARCHOL PHOTOGRAPHS THE SITE

,OGS AND PLANTS ARE DELIVERED TO THE 4HYJO

SITE /N %ARTH $AY VOLUNTEERS FROM

(\N\Z[ :LW[LTILY

3MITH SELECTS SPECIMEN LOGS FOR THE

THE 4IMBERLAND #ORPORATION DO

-ETROPOLIS MAGAZINE PUBLISHES THE

GARDEN

INITIAL PLANTINGS !LL +3,! STAFF ARE

PROJECT h'ARDEN 3POT v

5V]LTILY

ON SITE TO SUPERVISE THE VOLUNTEER

0AINTED GRAPHICS ELEMENT OF PROJECT

4HYJO

EFFORTS THROUGHOUT THE PLANTING AREA

6J[VILY

IS COMPLETED AND !LBERT 6EC ERKA OF

-OCK UP OF DUMPSTER PLANTER IS

!DDITIONAL PLANTINGS ARE INSTALLED

0ROJECT RECEIVES AN !3,! -ERIT

%34/ PHOTOGRAPHS THE SITE

CREATED IN 7EST "ABYLON .EW 9ORK

THROUGH -AY

!WARD

#ONVERSATIONS WITH +EN 3MITH #OMPILED AND EDITED BY *ANE !MIDON

*ANE !MIDON 7HAT S IMPORTANT NOW IN YOUR

THE UNDERLYING QUALITIES OF MY WORK THAT ALLOW ITS

WORK AND HOW DOES THIS RELATE TO THE DEVELOP

OTHER ASPECTSÂ&#x2C6;THE FORMAL QUALITIES AND THE COM

MENT OF YOUR PRACTICE

MENTARY ON CONTEMPORARY CULTUREÂ&#x2C6;TO COME TO BEAR ON THE PROJECTS WHETHER THEY ARE SMALL GAR

+EN 3MITH 4HERE ARE SEVERAL THREADS THAT ) THINK

DENS OR URBAN SPACES OR COMPLEX LARGER SITES SUCH

ARE VERY IMPORTANT &IRST IF YOU WANT TO PRACTICE

AS REHABILITATING A LANDlLL /BVIOUSLY YOU CAN T

LANDSCAPE ARCHITECTURE SERIOUSLY YOU MUST HAVE A

DESIGN A LANDlLL ON THE BASIS OF IRONYÂ&#x2C6;YOU MUST

COMMITMENT TO PUBLIC SPACE 9OU SHOULD ALSO BE

DEAL WITH THOSE OTHER ISSUES OF ECOLOGY AND SOCIAL

COMMITTED TO ENVIRONMENTALISM AND ALTHOUGH

SPACE AND HISTORY

THE LATTER IS NOT IMMEDIATELY OBVIOUS IN MOST OF MY PROJECTS IT S IMPLICIT IN MY THINKING ABOUT

*! 7HAT ARE THE ROOTS OF THE MINIMALIST AND

LANDSCAPE !ND lNALLY YOU MUST HAVE A COM

ICONIC TENDENCIES IN YOUR WORK AS WELL AS THE

MITMENT TO HISTORY A RESPECT FOR HISTORY WHICH

OTHER THREADS YOU MENTION $OES A MULTIPLICITY

) HOPE IS ALSO IMPLICIT IN MY WORK 4HESE THREE

OF READINGS OBSCURE A CRITICAL STANCE AS MUCH

SOCIAL AGENDAS IF YOU WILL ARE CRUCIAL TO A CRITICAL

AS ENRICH IT

PRACTICE "ECAUSE MY DESIGNS ARE OFTEN BASED ON MINIMALISM ICONS AND IRONY ) FEEL IT S EVEN

+3 ) M COMFORTABLE WITH AN OPEN INTERPRETATION

MORE ESSENTIAL NOT TO GLOSS OVER THE SERIOUSNESS

OF MY PROJECTS ) LIKE THAT THERE S A CERTAIN INHERENT

OF MY PRACTICE AND THE NON IRONIC ASPECTS THAT

ABSTRACTNESS AT THE CENTER OF A PROJECT S CONTENT SO

UNDERPIN IT ! SENSITIVITY FOR PUBLIC SPACE ENVI

THE UNDERSTANDING OF IT CAN SHIFT AND IT CAN HAVE

RONMENTALISM AND COMMITMENT TO HISTORY ARE

MULTIPLE MEANINGS ) THINK THAT S WHAT MAKES

/PYP`H 3HUKMPSS 7HYR JVTWL[P[PVU 2LU :TP[O PU JVSSHIVYH[PVU ^P[O 4PLYSL <RLSLZ" 1\SPL )HYNTHUU + 0 9 ; :[\KPV" HUK 3H\YH :[HYY :HYH[VNH (ZZVJPH[LZ ;LS (]P]

LANDSCAPE WORK OVER TIME 4AKE #ENTRAL 0ARK FOR

DESIGN TEAM -ARTHA S SIDE OF THE OFlCE WAS OFTEN

EXAMPLE -Y READING OF THE PARK IS THAT ONCE YOU

REFERRED TO AS THE hPLAY PENv BUT THERE WAS A SERI

STRIP AWAY THE WELL WORN NARRATIVE OF MITIGATING

OUS EXCHANGE OF IDEAS BETWEEN BOTH SIDES OF THE

THE URBAN ILLS AT THE CORE IT S BASICALLY ABSTRACT

OFlCE AND ) LEARNED TREMENDOUSLY FROM BOTH 0ETE

CONTENTÂ&#x2C6;A GREAT EMPTINESS AT THE HEART OF THE CITY

AND -ARTHA 5NDERSTANDING THEIR DIFFERENT STRATE

#ENTRAL 0ARK HAS SURVIVED BECAUSE PEOPLE CAN PROJ

GIESÂ&#x2C6;-ARTHA S IN YOUR FACE APPROACH AND 0ETE S

ECT ON IT NEW AND EVOLVING MEANINGÂ&#x2C6;EACH GENERA

MORE SUBTLE BUT CALCULATED DESIGN STRATEGIESÂ&#x2C6;PRO

TION CAN lND WHAT IT NEEDS AND THE PARK S CONTENT

VIDED ME WITH A GOOD SET OF BOOK ENDS FOR MY

CAN SHIFT WITH THE TIMES AND WITH CULTURAL CHANGES

OWN PRACTICE 4HE IMPORTANCE OF HISTORY BECAME

4HIS IS ALSO TRUE OF *APANESE GARDENS SUCH AS

CLEAR TO ME WHILE WORKING IN THEIR OFlCE BECAUSE

2YOAN *I IN +YOTO OR PLACES LIKE 7ALTER $E -ARIA S

THEIR WORK WAS ROOTED IN CULTURAL PRECEDENTS IN

,IGHTNING &IELD WHERE THE LEVEL OF ABSTRACTNESS

UNDERSTANDING THAT WE ARE PART OF A CONTINUUM

ALLOWS AN OPENNESS OF INTERPRETATION AND MEANING

AND THAT THERE IS A DEEP WELL OF DESIGN HISTORY AND

)N MY THINKING ABOUT LANDSCAPE ) LEARNED

TRADITIONS TO DRAW UPON IN INNOVATING CONTEMPO

FROM BOTH 0ETER 7ALKER S MINIMALISM AND -ARTHA 3CHWARTZ S POP APPROACH ) WAS HIRED BY -ARTHA

RARY DESIGN 4HE EMPHASIS OF THEIR OFlCE WAS ON REINVIGO

RIGHT OUT OF GRADUATE SCHOOL AT (ARVARD WHERE )

RATING THE ART OF LANDSCAPE ARCHITECTURE 7HEN

WAS A STUDENT OF 0ETER 7ALKER 0ETE AND -ARTHA

) MOVED TO .EW 9ORK #ITY TO OPEN MY OWN OFlCE

WERE PARTNERS AT THE TIME AND ) WAS BASICALLY

) FOUND IT NECESSARY TO EMPHASIZE PUBLIC SPACE

-ARTHA S ENTIRE STAFF AT lRST WHILE 0ETE HAD A SUB

AND THE SOCIAL ASPECTS OF DESIGN AS PART OF THE ART

STANTIAL AMOUNT OF PROJECTS AND A SOLID STAFF AND

OF MY PRACTICE !ND INCREASINGLY ECOLOGY AND

*65=,9:(;065:

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*65=,9:(;065:

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=PSSHNL VM @VYR]PSSL 7HYR ;VYVU[V *HUHKH

ENVIRONMENTALISM ARE GROWING AS AN ARTISTIC

+3 ) TEND TO DEVELOP IDEAS IN THE OFlCE THAT ARE

INSTRUMENT IN MY DESIGN WORK %NVIRONMENTALISM

THEN EXPLORED IN VARIOUS PROJECTS IN DIFFERENT WAYS

IS PROBABLY SOMETHING THAT IS GENERATIONAL )T HAS A

UNDER DIFFERENT CIRCUMSTANCES 4HE LINEAGE OF CER

STRONGER CURRENT TODAY THAN TWENTY YEARS AGO

TAIN IDEAS CAN BE TRACED FROM PROJECT TO PROJECT

"Y THE S THE PROFESSION HAD SET UP A DICHOTO

&OR EXAMPLE A FEW YEARS AGO ) BECAME INTERESTED

MY BETWEEN ENVIRONMENTAL PLANNING AND FORM

IN THE IDEA OF CONTAINERS ) PROPOSED USING TRASH

OR SPACE DRIVEN DESIGN !T SOME POINT YOU REALIZE

AND CONSTRUCTION DUMPSTERS IN A WAY SIMILAR TO

THAT THIS IS A RIDICULOUS AND COUNTERPRODUCTIVE

CONVENTIONAL mOWER BOXES BUT LARGER IN SIZE AND

DICHOTOMY AND THAT IT S MUCH MORE SUBSTANTIVE TO

SCOPE THIS DEVELOPED INTO THE CONTAINER CONCEPTS

COMBINE ALL ELEMENTSÂ&#x2C6;TO DO WORK THAT S ENVIRON

AT 0 3 1UEENS 0LAZA AND IN THE INSTALLATION

MENTALLY SENSITIVE AND ARTISTICALLY STRONG IN TERMS

OF DUMPSTER GARDENS AT THE /HIO 3TATE 5NIVERSITY

OF ITS MEDIUM AS WELL AS SOCIALLY RESPONSIBLE IN ITS

4HE MARSH PLANTERS IN THE %AST 2IVER PROJECT ARE A

USE OF PUBLIC SPACE AND SUSTAINABILITY

VARIATION ON THIS INTEREST IN THE CONTAINER AS IS THE

Â&#x2039;

COLLECTION BOX IDEA ) USED AT 9ORKVILLE 0ARK *! "UT CAN YOU REALLY HAVE IT ALL +EN

!NOTHER IDEA DEALS WITH THE CONCEPT OF VERTI CAL GREENÂ&#x2C6;THE NOTION THAT LANDSCAPE CAN OCCUPY

+3 ) DON T KNOW ) M lNDING OUT

OR CO HABIT WITH URBAN INFRASTRUCTURE IN A VERTICAL OR STRUCTURED WAY 4HIS GOES BACK TO THE QUESTION

*! (OW DOES A PROJECT GET BORN IN YOUR OFlCEÂ&#x2C6;

OF HOW YOU lND SPACE TO MAKE LANDSCAPE IN HIGHLY

WHAT S THE PATTERN OF INTERACTION BETWEEN YOU

BUILT URBAN AREAS ) EXPERIMENTED WITH THIS IDEA AT

CLIENTS YOUR STUDIO TEAM

THE 4IME 7ARNER #ENTER AT #OLUMBUS #IRCLE WHERE *65=,9:(;065:

/PYP`H 3HUKMPSS 7HYR JVTWL[P[PVU ;LS (]P]

) DESIGNED A FOLDED STAINLESS STEEL hTOPIARY WALLv THAT IS PLANTED TO CREATE A VERTICAL LANDSCAPE AND

PRIATION AND FOUND OBJECTS 4HE DUMPSTERS ARE

AT A MUSEUM IN 1UEENS WHERE ) PROPOSED A TOPIARY

CERTAINLY A MANIFESTATION OF THIS 0ART OF THIS IS

CURTAIN !T THE MUSEUM PROJECT PHOTOGRAPHING

ALSO MY INTEREST IN USING CONTEMPORARY MATERIALS

THE SITE GAVE ME THE IDEA OF CREATING A KIND OF THE

THAT ARE INTENDED FOR OTHER USES 4HE !LUMINUM

ATRICAL CURTAIN ALONG ONE EDGE WITH mUID FOLDS THAT

'ARDEN WHERE ) USED FACTORY GRATING STRUCTURAL

COULD BE PLANTED WITH VINES )N ANOTHER CURRENT

MARINE CHANNELS AND HEAVY CONSTRUCTION TIMBER

PROJECT ALSO IN 1UEENS ) HAVE PROPOSED A SERIES OF

IS AN EXAMPLE -Y INTEREST IN FOUND OBJECTS AND

LARGE BILLBOARD STRUCTURES FOR THE TOP OF SEVERAL LOW

THEIR TRANSFORMATION IS EXPLORED IN THE (OTEL %DEN

RISE BUILDINGS THAT WOULD BE PLANTED WITH VINES

INSTALLATION FOR .EST MAGAZINE AND IN THE -O-!

A KIND OF GREEN SIGNAGE IF YOU WILL 2ELATED TO THE

ROOF GARDEN 4HE ROOF GARDEN TAKES THIS ASPECT OF

IDEA OF VERTICAL GREEN IS MY CURRENT INTEREST IN

APPROPRIATION TO A NEW LEVEL OF SIMULATION

PLEATS A KIND OF FOLDING THAT ARTICULATES FORM /NE

!NOTHER MAJOR THREAD IN MY WORK IS APPRO

)N TERMS OF HOW WE WORK AS A STUDIO ) TEND

OF THE lRST PROJECTS OF THIS TYPE IS A SMALL URBAN

TO START OUT WITH AN INITIAL IDEA THAT ) WANT TO

COURTYARD IN -ANHATTAN WHICH IS GOING TO HAVE A

EXPLORE ARTISTICALLY AND TO WHICH THE PROJECT IS

FOLDED FORM TOPIARY SCREEN CONSTRUCTED OF AN ARMA

SUITED 4YPICALLY ) THINK BEFORE ) BEGIN TO DRAW )

TURE WITH STAINLESS STEEL MESH PANELS AND VINES )

LIKE USING 0HOTOSHOP IN EARLY DESIGN STAGES AS A

USED PLEATS IN THE (IRIYA LANDlLL PROJECT IN 4EL !VIV

SKETCHING TOOL TO MAKE MONTAGES AND DIAGRAMS OF

AND THE %AST 2IVER &ERRY ,ANDINGS PROJECT ALSO HAS A

INITIAL CONCEPTS ) MOSTLY DO THESE STUDIES MYSELF

FOLDING FORMÂ&#x2C6;ORIGAMI FOLDING IN THIS CASEÂ&#x2C6;AS DOES

BECAUSE THEY ALLOW ME TO DEVELOP IDEAS AND A

THE 4IME 7ARNER PROJECT

LINEAGE OF THOUGHT ) OFTEN USE A COMBINATION OF

*65=,9:(;065:

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*65=,9:(;065:

4\[HU[ .HYKLUZ 3H\ZHUUL :^P[aLYSHUK

'OOGLE DOWNLOADS AND MY OWN IMAGE AND REFER

OWN WORK ) M INTERESTED IN DEVELOPING A KIND

ENCE COLLECTION IN GENERATING CONCEPT IMAGES

OF RANDOMNESS THAT IS ROOTED IN GEOMETRY &OR AN

)T S PRETTY COMMON FOR ME TO START OUT WITH THESE

INTERIOR WALL IN THE NEW CAFÏ AT THE #ORNERSTONE

0HOTOSHOP SKETCHES BEFORE THE OFlCE DOES ANY

'ARDEN &ESTIVAL IN 3ONOMA ) CAME UP WITH THE

KIND OF #!$ WORK /FTEN ) GO FROM THESE STUDIES

IDEA OF hWALLmOWERSv ARTIlCIAL mOWERS THAT ARE

DIRECTLY TO MODEL AND THEN lNALLY TO #!$ PRODUC

PINNED TO THE WALL ACCORDING TO AN INVISIBLE GRID

TION ) M A COMMITTED MODEL BUILDER %VEN THOUGH

)T S A BIT OF A 3OL ,EWITT NOTION THAT THE mOWERS CAN

) DON T USUALLY HAVE THE LUXURY OF BUILDING COM

OCCUPY THE CENTER OF THE GRID ONE OF FOUR SIDES

PLETE MODELS MYSELF ANY MORE ) STILL LIKE TO WORK

OR ONE OF FOUR CORNERS THERE ARE NINE POSSIBLE

WITH SMALL STUDY MODELS TO HELP ME UNDERSTAND

POSITIONS AND A LIMITED RANGE OF mOWER CHOICES )

THE FORM OF SOMETHING ) M THINKING ABOUT AND

CLIPPED THE IMAGES OF mOWERS FROM ANOTHER PROJECT

MODELS ARE CONSTRUCTED THROUGHOUT THE DESIGN

) HAD IN MY COMPUTER TO TEST OUT THE GRID PALETTE

PROCESS EVENTUALLY EVEN AT FULL SIZE TO TEST OUT

PULLING A mOWER PICKING AN UNUSED POSITION

FORM AND SCALE OF FEATURES ) AM PROTOTYPING

AND APPLYING IT UNTIL THE lELD WAS EXHAUSTED THEN STARTING THE PROCESS OVER AGAIN AND AGAIN UNTIL

*! 7HAT S YOUR TAKE ON SYSTEMATIC RANDOMNESS

THE ENTIRE WALL WAS COMPLETE )N THE lNAL INSTALLA TION THE GRID IS GONE BUT YOU CAN SENSE IT WHEN

+3 ) M INTERESTED IN PROCESS AND HOW PROCESS CAN

YOU LOOK AT THE RANDOM PATTERNING )T S LIKE WHEN

BE A GENERATOR OF FORM ) M A FAN OF MINIMALIST

YOU TOUCH POISON IVY AND GET THESE LINES OF WELTS

MUSIC FOR EXAMPLE WHERE PROCESS AND STRUCTURE

ON YOUR SKIN 9OU CAN READ THE LINES AS GEOMETRIC

ARE USED TO CREATE AN EXPERIENTIAL ART FORM )N MY

FORMS BUT BEHIND THE OVERT GEOMETRY THERE IS THIS

*65=,9:(;065:

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OTHER DYNAMICÂ&#x2C6;THE PATTERN EXISTS BETWEEN GEOM

PRODUCTSÂ&#x2C6;WITH THE COUTURE LINE BEING THE MOST

ETRY AND THAT OTHER FORCE 9OUR EYE WANTS TO RECOG

IMPORTANT LINE OF PRODUCTION ARTISTICALLY SPEAKING

NIZE AN ORDER BUT YOU CAN T QUITE PIN IT DOWN

"UT THE FASHION HOUSE ALSO HAS READY TO WEAR AND

BRIDGE LINES PERFUMES AND ACCESSORIES AND OTHER *! 9OU INITIALLY GAINED PUBLICITY IN DESIGN

PRODUCTS THAT EXTEND THE IDEAS DEVELOPED FOR THE

CIRCLES FOR YOUR SMALLER SCALE PROVISIONAL

COUTURE LINE IN DIFFERENT BUT STILL ARTISTICALLY SIGNIl

INSTALLATIONS SUCH AS THE 'LOWING 4OPIARY

CANT DIRECTIONS %ARLY IN MY OFlCE S HISTORY ) USED

'ARDEN -UTANT 'ARDENS OR THE &IFTH !VENUE

TO TALK ABOUT THIS ABOUT HAVING DIFFERENT KINDS OF

#HANDELIER PROPOSAL )N DISCUSSIONS IN

PRODUCT LINES THERE ARE THE ART INSTALLATIONS THE

YOU STRESSED THE SUBVERSIVE NATURE OF TEMPORARY

PUBLIC PROJECTS AND THE RESIDENTIAL WORK ) WAS

WORK AS A PRIMARY INTEREST 4ODAY YOU ARE WORK

NEVER INTERESTED IN ESTABLISHING THE KIND OF OFlCE

ING ON LARGE SCALE hPERMANENTv LANDSCAPES AND

THAT FOCUSES ONLY ON ONE SINGULAR THING )NSTEAD )

YOU LIST PUBLIC SPACE HISTORY AND ENVIRONMEN

WANTED TO DEVELOP A GENERAL PRACTICE THAT ALLOWS A

TALISM AS MANDATES FOR SUCCESS $O SMALL TEM

WIDE RANGE OF WORK

PORARY WORKS STILL MATTER IN YOUR PRACTICE

!T lRST IT WAS DIFlCULT TO GET LARGER PUBLIC PROJECTS BECAUSE NOBODY WAS GOING TO TRUST SOME

+3 ) VE ALWAYS THOUGHT OF THE PROVISIONAL PROJ

BODY WITH LITTLE OR NO EXPERIENCE IN THIS AREA "UT

ECTS AS A KIND OF RESEARCH AND DEVELOPMENT TOOL )

NOW ) M AT A POINT WHERE ) HAVE THE OPPORTUNITY

LIKE TO COMPARE THIS TO THE WORKINGS OF A FASHION

TO DO MORE LARGE SCALE WORK )N MY PRACTICE

HOUSE SUCH AS #HRISTIAN $IOR OR *EAN 0AUL 'AULTIER

THERE S A LINK BETWEEN STRATEGY AND CONCEPT AND

! FASHION HOUSE CONSISTS OF A WHOLE RANGE OF

MATERIALITY AND DETAIL -ISSING THAT LINK IS ONE OF *65=,9:(;065:

THE FUNDAMENTAL PROBLEMS WITH A LOT OF LANDSCAPE

POST INDUSTRIAL ERA THAT hDID NOT EXIST AS PUB

ARCHITECTURE PRACTICES THERE ARE PEOPLE WHO DO

LIC SPACE HALF A GENERATION AGO v )N THE SAME

ONLY THEORETICAL AND CONCEPTUAL WORK AND NEVER

WAY THAT WE LOOK BACK TO %LIZABETH +ASSLER S

GET ANYTHING BUILT AND THERE ARE PEOPLE WHO ARE

-O-! PUBLICATION -ODERN 'ARDENS AND

REALLY GOOD AT BUILDING AND DETAILING BUT DON T

THE ,ANDSCAPE AS A SIGNAL THAT MODERNISM HAD

HAVE ANY IDEAS !ND THEN THERE ARE THE CRITICAL

COALESCED INTO A DOMINANT POSTWAR PARADIGM

PRACTICES AND A FEW GOOD lRMS IN THE COUNTRY THAT

WHAT DOES AN EXHIBITION SUCH AS h'ROUNDSWELLv

ARE ENGAGED AT BOTH LEVELS -Y AMBITION IS TO CRE

SAY TO YOU AS A LANDSCAPE ARCHITECT AND HOW

ATE WORK THAT IS CONCEPTUALLY GROUNDED AND MATE

WILL YOUR WORK BE POSITIONED IN THE COMING

RIALLY RIGOROUS WITH A STRONG CONNECTION BETWEEN

DECADES OF POST PRODUCTIVE SITES

IDEA AND DESIGN FORM AND MATERIAL RESOLUTION ) THINK THAT THE EXPERIMENTATION WITH AND RISK TAK

+3 4HE h'ROUNDSWELLv EXHIBITION IS A KIND OF

ING INVOLVED WITH THE TEMPORARY OR PROVISIONAL

SUMMARY OF THE DOMINANT IDEAS TO EMERGE IN

PROJECTS IS ESSENTIAL IN TESTING AND DEVELOPING IDEAS

LANDSCAPE ARCHITECTURE AT THE END OF THE TWENTIETH

THAT CAN COME TO BEAR IN THE EXECUTION OF LARGER

CENTURY AND THE BEGINNING OF THIS NEW CENTURY )T

AND MORE COMPLEX BUILT PROJECTS

MARKS A TRANSITION IN THE PRODUCTION OF LANDSCAPE SPACE FROM MODERN TO POSTMODERN )T IS REALLY NO

*! 4HE h'ROUNDSWELLv SHOW AT -O-! OPENED

LONGER FEASIBLEÂ&#x2C6;ECONOMICALLY SOCIALLY OR ENVI

IN &EBRUARY OF )T DOCUMENTS THE PROFES

RONMENTALLYÂ&#x2C6;TO CONTINUE WITH THE EXPLOITATION

SION S CURRENT OCCUPATION WITH IN CURATOR 0ETER

OF RAW SPACE THAT TYPIlED A LOT OF THE MODERN

2EED S WORDS hNEW URBAN LANDSCAPESv OF THE

ERA PRODUCTION 4ODAY THE MOST INTERESTING AND

*65=,9:(;065:

RESPONSIBLE WORK IS OCCURRING IN THE MARGINS OF

BROAD CONCEPTUAL IDEAS ) THINK THE SAME IS TRUE

LEFTOVER AND RECLAIMED SPACE 4HIS INCLUDES WORK

FOR A WHOLE YOUNGER GENERATION OF DESIGNERS

ING WITHIN THE CONSTRAINTS OF EXISTING URBAN FABRIC

) LIKE TO WORK A PROBLEM CONCEPTUALLY FROM BOTH

RECOVERING DEFUNCT MANUFACTURING AREAS DERELICT

ENDS TO SEE WHERE THE SOLUTION lNDS RESOLUTION

WATERFRONTS AND MARGINAL URBAN FRINGE AREAS

IN THE MIDDLE

CREATING NEW PUBLIC USES IN THE SUBSIDIARY SPACES THAT OCCUR ALONGSIDE INFRASTRUCTURE RETHINKING SMALL LEFTOVER URBAN SPACES FOR NEW SOCIAL USES AND RECLAIMING ENVIRONMENTALLY DAMAGED SPACES SUCH AS BROWNlELDS 4HE DIFlCULTY OF WORKING WITH THESE TYPES OF SPACES LIES IN CREATING NEW DESIGN APPROACHES THAT RESPOND TO NEW PROGRAM MATIC DEMANDS CHALLENGING ENVIRONMENTAL CON DITIONS AND THE REALITIES OF CONTEMPORARY LIFE ) THINK THE WORK IN THE -O-! SHOW IS A RESPONSE TO THIS CHANGING lELD OF LANDSCAPE DESIGN )N MY OWN WORK ) HAVE EXPERIMENTED WITH NEW DESIGN METHODOLOGIES ) AM AS INTERESTED IN INDUCTIVE hBOTTOM UPv DESIGN APPROACHES THAT FAVOR CONTEXT AND OPPORTUNISTIC TACTICS AS ) AM IN LARGER STRATEGIC hTOP DOWNv APPROACHES THAT FAVOR SYSTEMS AND

*65=,9:(;065:

4HE -USEUM OF -ODERN !RT

2OOF 'ARDEN .EW 9ORK .EW 9ORK

)N -O-! CURATOR 0ETER 2EED ASKED +EN 3MITH

HAD RIGHT OF REFUSAL AND INDEED ARE THE PRIMARY

TO PROPOSE AN hIMAGINATIVEv ROOFSCAPE INSTALLATION

AUDIENCE FOR THE ROOFTOP SITE 7HAT DID YOU

FOR THE NEW GALLERY ADDITION BY ARCHITECT 9OSHIO

LEARN FROM THE lRST SCHEME S FAILURE AND HOW DID

4ANIGUCHI .EVER TO BE ACCESSIBLE TO THE GENERAL

THAT GUIDE YOUR IDEAS FOR THE SECOND SCHEME

PUBLIC THE SQUARE FOOT GARDEN SITTING SIX FLOORS ABOVE STREET LEVEL WAS DESTINED TO FUNCTION

+3 4HE lRST SCHEME THAT ) CAME UP WITH WAS A

MORE AS ONE OF THE MUSEUM S COLLECTED WORKS OF

GRID OF SPINNING DAISIES AN OPTICAL lELD OF PLASTIC

MODERN AND CONTEMPORARY ART THAN AS AN INHABIT

mOWERS THAT REACTED TO WIND MOVEMENT 4HE IDEA

ABLE LANDSCAPE .UMEROUS DESIGN CONSIDERATIONS

WAS MAYBE TOO OBVIOUS ) THINK THE -USEUM

INCLUDED WEIGHT RESTRICTIONS ZERO TOLERANCE FOR IRRI

4OWER S RESIDENTIAL CO OP BOARD DIDN T LIKE ITS OVERT

GATION NO ELEMENTS ABOVE THREE FEET IN HEIGHT AND

NATURE 3O FOR THE NEXT PROPOSAL ) THOUGHT THAT A

A LOW BUDGET 3MITH S FIRST PROPOSAL WAS DISALLOWED

STUDY OF CAMOUmAGE WOULD BE A GOOD STARTING POINT

SENDING THE DESIGNER BACK TO THE DRAWING BOARD TO

FOR GETTING AN INTERESTING SCHEME UNDER THE RADAR

DEVISE A FINAL SCHEME OF A CONTEXTUALLY ALERT PAT

AS IT WERE

TERNED SURFACE CONDITION *! )S IT PROBLEMATIC IF THE DESIGN SUCCEEDS TO *! 9OUR lRST SCHEME FOR THE -O-! ROOFTOP

THE POINT THAT IT S RENDERED INVISIBLE I E IF A

WAS A SUCCESS ON THE LECTURE CIRCUIT AND IN ITS

VIEWER MISSES THE POINT $OES THE TERM CAMOU

EVENTUAL INSTALLATION AT THE #ORNERSTONE 'ARDEN

mAGE NEED TO BE USED EXPLICITLY IN RELATION TO THE

&ESTIVAL IN 3ONOMA #ALIFORNIA "UT IT WAS

PROJECT

REJECTED BY -O-! S RESIDENTIAL NEIGHBORS WHO

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PUJO KPHTL[LY KHPZ` WPU^OLLS H[[HJOLK [V WPWL ZJHMMVSKPUN IHZL INCH DIAMETER $AISY 0INWHEEL ATTACHED TO PIPE SCAFFOLDING BASE :JHMMVSKPUN [`WL [\IL HUK JV\WSLY SH[[PJL

3CAFFOLDING TYPE TUBE AND COUPLER LATTICE STANDARD GALVANIZED PIPES PAINTED BRIGHT GREEN WITH STANDARD COUPLERS

Z[HUKHYK NHS]HUPaLK WPWLZ WHPU[LK IYPNO[ NYLLU ^P[O Z[HUKHYK JV\WSLYZ

9VVM IHSSHZ[ YVJR 2OOF "ALLAST 2OCK

INCH O C TYP

INCH STEM

+3 ) THINK IT S HARDLY INVISIBLE 7HEN ) PRESENTED

AS A STUDENT ) READ THE OLD 0ENCIL 0OINTS ARTICLES BY

THE PROJECT FOR APPROVAL ) DIDN T HAMMER THE

$AN +ILEY *AMES 2OSE AND 'ARRETT %CKBO )N THE

POINT HOME ) DIDN T START OFF BY SAYING hTHIS IS

SAME BOUND VOLUME OF THE MAGAZINE THERE WAS

ABOUT CAMOUmAGE v WHICH WOULD ACTUALLY HAVE

AN ARTICLE ON THE ART AND THEORY AND TECHNIQUES OF

BEEN QUITE COUNTERPRODUCTIVE ) TALKED ABOUT THE

CAMOUmAGE )T WAS GEARED TOWARD ARCHITECTS AND

GARDEN IN DIFFERENT TERMS BUT MY PRESENTATION

TALKED ABOUT HOW YOU COULD CAMOUmAGE BUILDINGS

ACKNOWLEDGED WHAT IT WAS ABOUT AND HOW IT WAS

FOR REASONS OF NATIONAL SECURITY ) ALWAYS THOUGHT

OPERATING 4HE DESIGN IS ABOUT SIMULATION )N FACT

THAT CAMOUmAGE WAS AN INTERESTING QUALITY AND DID

CREATING A LANDSCAPE GARDEN ON A ROOFTOP IS INHER

MY lRST CAMOUmAGE STUDIES DURING THE LATE S

ENTLY AN ACT OF SIMULATION ) AM VERY INTERESTED IN

)T WAS AN IDEA THAT ) HAD PLAYED WITH BUT HAD

HOW CAMOUmAGE SIMULATES LANDSCAPE AND IN THIS

NEVER GOTTEN TO THE POINT OF EXECUTING

GARDEN THE LANDSCAPE SIMULATES CAMOUmAGE SIMU LATING LANDSCAPE 4HERE IS A WHOLE SERIES OF DIFFERENT CAMOUmAGE

*! $OES THE MAKING OF A CONSTRUCTED LANDSCAPE ALWAYS IMPLY THE ARTIlCE OF SIMULATION 3OME

STRATEGIES THAT WERE DEVELOPED AT A CRITICAL MOMENT

WOULD SAY THAT ALL ACTS OF DESIGN CAMOUmAGE

OF THE LATE S AND EARLY SÂ&#x2C6;COINCIDING WITH

TRUTH WHILE OTHERS SAY IT S A BRINGING FORTH AN

7ORLD 7AR )) 0EOPLE THEN WERE VERY INTERESTED

AGENT OF CLARIlCATION AND AMPLIlCATION

IN THE NOTION OF CAMOUmAGEÂ&#x2C6;SCIENTISTS AS WELL AS DESIGNERS AND ARTISTS )N THE ARCHITECTURE MAGAZINES

+3 4HE HISTORY OF GARDEN DESIGN IS lLLED WITH

OF THE TIME THERE WAS A CRITICAL DISCUSSION ABOUT

EXAMPLES OF SIMULATION AND CAMOUmAGE #ENTRAL

THE ROLE OF CAMOUmAGE IN DEFENSE ) REMEMBER THAT

0ARK FOR EXAMPLE IS A LARGE SCALE GARDEN THAT 9<5505. /,(+: 464( 966- .(9+,5

ARTISTICALLY SIMULATES VISUAL AND SPATIAL ASPECTS OF

$ECEPTION CAMOUmAGE IS A METHOD THAT DOES NOT

AN IDEALIZED PRE INDUSTRIAL ARCADIA AND DISGUISES A

ATTEMPT TO COMPLETELY HIDE THE SUBJECT BUT TO

LARGE TERRITORY OF THE -ANHATTAN GRID WITH IMITATED

CHANGE ITS APPEARANCE ENOUGH THAT IT RESEMBLES

NATURE #ONTEMPORARY LANDSCAPE DESIGN OFTEN DEALS

SOMETHING OF A DIFFERENT OR INNOCUOUS NATURE 4HE

WITH THE FUNDAMENTAL ISSUE OF AMELIORATING OR

PRINCIPLE IS EMPLOYED TO DECEIVE THE BOMBARDIER

COVERING UP THE IMPACTS OF THE CONSTRUCTED ENVI

WHO IS LOOKING FOR A POWERHOUSE AND lNDS ONLY AN

RONMENT 0RACTITIONERS REFER TO THIS AS hREMEDIA

hAPARTMENT HOUSEv WITH AWNINGS AND SHRUBS $ECOY

TION v hSHRUBBING IT UP v hCONTEXTUALIZATION v OR

CAMOUmAGE IS ACHIEVED THROUGH THE CONSTRUCTION OF

SIMPLY hNATURALIZING v 4HIS PRACTICE OF LANDSCAPING

DUMMY OBJECTS IN CONJUNCTION WITH THE CONCEAL

AS CAMOUmAGE IS A COMMON BUT CRITICALLY UNRECOG

MENT OF REAL ONES SO THAT ENEMY BOMBERS WILL BE

NIZED ASPECT OF SIMULATION IN THE LANDSCAPE ARCHI

ATTRACTED TO FALSE TARGETS #ONFUSION IS THE LEAST USED

TECTURE PROFESSION

CAMOUmAGE PROCEDURE AND CONSISTS OF CONCEALING

&OUR BASIC CAMOUmAGE STRATEGIES WERE IDENTIlED BY !RCHITECT AND %NGINEER MAGAZINE IN IMITA

SENTING A MULTIPLICITY OF POTENTIAL OR ILLOGICAL TARGETS

TION DECEPTION DECOY AND CONFUSION )MITATION

THAT CONFUSE ACCURATE DETERMINATION

CAMOUmAGE IS THE MOST COMMON AND WIDELY USED

THE SUBJECT BY IMPAIRING VISION OR JUDGMENT BY PRE

)N CONTEMPORARY URBAN LIFE hCAMOUmAGEv IS

TECHNIQUE )T IS THE BLENDING IN WITH SURROUNDING

IRONICALLY USED TO BOTH BLEND IN AND STAND OUT 4HE

TERRITORY SO THAT THE SUBJECT IS INDISTINGUISHABLE

-O-! PROJECT TAKES THE ART OF CAMOUmAGE AND THE

FROM ITS SETTING 7HETHER IT IS IN THE COUNTRY OR

ARTIlCE OF SIMULATION A STEP FURTHER BY USING THE

CITY DESERT OR FOREST SUMMER OR WINTER THE SUBJECT

SIMULATION ITSELF AS A SOURCE FOR DESIGN SPECULATION

APPEARS TO BE PART OF THE SURROUNDING LANDSCAPE

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SKYLIGHTS VENTS OR ELEVATOR SHAFTSÂ&#x2C6;THE SORT OF PLAT

2OOF GARDENS ARE INHERENTLY ARTIlCIAL ENVIRON

FORMS YOU lND ON THE TOP OF BUILDINGS THAT BLEND

MENTS 4HEY HAVE LIMITATIONS OF WEIGHT LOADING

INTO THE URBAN LANDSCAPE 3O OUR lRST SCHEME WAS

THERE ARE ISSUES OF HOW TO ANCHOR ELEMENTS AND

VERY RECTILINEARÂ&#x2C6;A KIND OF 0ETER 7ALKER SCHEME

PROTECT THE WATERPROOF MEMBRANE AS WELL AS ENVI

4HE SECOND STRATEGY IS BASED ON DECEPTION IN

RONMENTAL ISSUES OF WIND ACCESS TO LIGHT AND GEN

THIS CASE MAKING THE ROOFTOP LOOK LIKE SOMETHING IT

ERALLY HARSH CONDITIONS FOR LIVING PLANTS INCLUDING

ISN T AS OPPOSED TO BLENDING IN ) USED CURVILINEAR

LIMITED MAINTENANCE AND CARE 3IMULTANEOUSLY THE

FORMS TO IMITATE #ENTRAL 0ARK WHICH IS JUST A FEW

DESIGN OF THESE SPACES IS OFTEN DRIVEN BY THE DESIRE

BLOCKS NORTH OF THE BUILDING ) APPLIED THE ICONIC

TO IMPOSE THE IMAGERY OF IMITATED NATURE ONTO

CAMOUmAGE PATTERN YOU lND IN MILITARY CLOTHING TO

THESE BUILT CONSTRUCTIONS

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ARTIlCIAL AND ICONIC

GREAT BIG DAISY SHAPES mOATING ON THE ROOF LIKE MUTANT GIANT LILY PADS

*! 4HE CLIENT SELL WAS MORE SUCCESSFUL THE SECOND TIME AROUNDÂ&#x2C6;WHY

*! 4HERE SEEMS TO BE A CONSISTENT USE OF FAUX PLANTS ROCKS AND PAVING TEXTURES THAT IGNORES

+3 ) CREATED GRAPHICS AND A QUARTER SCALE MODEL

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OF EACH SCHEME LATER THESE WERE ON DISPLAY IN A

MUTABILITY OF LANDSCAPE MEDIAÂ&#x2C6;CHARACTERISTICS

SMALL EXHIBITION AT THE (ARVARD 'RADUATE 3CHOOL

THAT COULD PLAY INTO IDEAS OF DECEPTION CON

OF $ESIGN AND PRESENTED THEM TO THE MUSEUM )

FUSION AND SO ON (OW DOES INVESTIGATION OF

MET WITH 4ERENCE 2ILEY 0ETER 2EED 'LENN ,OWRY

MATERIALITY ENTER INTO THESE SCHEMES

AND OTHERS AND WE AGREED THAT WE WOULD TAKE TWO OF THE SCHEMES TO THE CO OP BOARD TO PRESENT THE

+3 4HE MATERIALS HAVE SHIFTED A LITTLE BIT BUT BASI

RECTILINEAR ONE AND THE CURVILINEAR ONEÂ&#x2C6;IMITATION

CALLY ALL FOUR OF THE SCHEMES ) PRESENTED INVOLVED

AND DECEPTION

ARTIlCIAL ROCKS ARTIlCIAL SHRUBS AND THREE COLORS

) PUSHED FOR THOSE TWO ALTHOUGH ) ALSO LIKED

OF GROUND MATERIAL WHITE BLACK AND CRUSHED

THE CONFUSION SCHEME "UT ) THOUGHT THAT THE

GLASS 4HE PALETTE REMAINED CONSISTENT IN THE FOUR

IMITATION AND DECEPTION APPROACHES WERE THE

SCHEMES !LTHOUGH THE DESIGN WAS MORE ABOUT THE

MOST TRUE TO THE IDEA OF CAMOUmAGE THAT WE WERE

FORM AND CONTENT THAN MATERIALITY THE MATERIALS

DEVELOPING ) WAS LEANING TOWARD THE CURVILINEAR

DO HAVE CONTENT AND TO EMPHASIZE THE SIMULATION

SCHEME ALTHOUGH DURING OUR MEETING WITH -O-!

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THERE WERE CONCERNS ABOUT THE CURVILINEAR DESIGN

ARTICULATED GROUND PLANE MORE OF A CHALLENGE TO

BEING DIFlCULT TO BUILD 4HE RECTILINEAR ONE WOULD

PREVAILING SITE AESTHETICS

BE SIMPLER TO CONSTRUCT AND EVERYONE THOUGHT IT MIGHT ALSO BE MORE PALATABLE TO THE BOARD MEM

+3 )T HAS A WHOLE SERIES OF LEVELS THAT ARE INTEREST

BERS OF THE RESIDENTIAL CO OP BECAUSE IT S INHERENTLY

ING BECAUSE SO MUCH OF LANDSCAPE ARCHITECTURE IS

MORE CONSERVATIVE 0EOPLE UNDERSTAND MINIMALIST

UNCRITICALLY INVOLVED IN CAMOUmAGING 7E RE A

GEOMETRY AND CERTAINLY IT WAS MORE IN KEEPING

PROFESSION OF SHRUBBING THINGS UP COVERING UP

WITH THE 4ANIGUCHI BUILDING "UT THAT WAS EXACTLY

MISTAKES HIDING AND SMOOTHING THINGS AND

WHY ) PREFERRED THE CURVILINEAR SCHEME ) THOUGHT

CONTEXTUALIZING THEM 5SUALLY THE CAMOUmAGING

THAT IT WAS MORE INTERESTINGLY SUBVERSIVE ABOUT

EFFORTS WITHIN THE PROFESSION ARE INVISIBLE 4HIS

CAMOUmAGE BECAUSE IT PLAYS A REVERSE GAME OF

SCHEME ACKNOWLEDGES THE ISSUE OF CAMOUmAGE

DECEPTION RATHER THAN SIMPLE IMITATION

AND USES IT CRITICALLY AS A VISIBLE ELEMENT "UT NOT EVERYONE WANTS TO HEAR ABOUT THAT

*! -ANY CRITICS COMPLAIN THAT THE CURVILINEAR

) STARTED THE PRESENTATION TO THE CO OP BOARD

IS A DEFAULT PARTI A LIMITING PLANIMETRIC INTER

BY TALKING ABOUT THE ROOF AS A KIND OF *APANESE

PRETATION OF A ROMANTIC PASTORAL LEGACY "UT

GARDEN 0ART OF THE PROGRAM STATED THAT WE

REALLY SINCE THE S WE VE ENDURED A REGIME OF

COULDN T HAVE ANY LIVE PLANTS WE COULDN T HAVE

MINIMALIST GEOMETRIES AND AGGRESSIVE FORMALISM

ANY IRRIGATION WE COULDN T HAVE ANY SUBSTANTIAL

THAT OVERLOOKS THE lGURAL POWER OF SITE SPECIlC

WEIGHT WE COULDN T HAVE ANY PHYSICAL ATTACH

CONTINUOUS TOPOLOGIES (OW IS THE CURVILINEAR

MENTS 4HERE WERE ALSO ISSUES OF A LIMITED BUDGET

SCHEME AND ITS IMPLICATION OF A TWO DIMENSIONAL

AND LITTLE OR NO MAINTENANCE "ASICALLY THINGS

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INHERENTLY A DRY GARDEN SIMILAR TO THE *APANESE

ING IN THE GARDEN BECAUSE OF LIMITED MAINTENANCE

:EN GARDEN WHICH IS AN ABSTRACTION OF NATURE IN

LIMITED SOIL AND THE ENVIRONMENTAL CONDITIONS

SOME WAY ) CONTINUED BY TALKING ABOUT THE TWO SCHEMES THAT WE WERE GOING TO PRESENT A RECTILIN

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EAR GEOMETRY AND A CURVILINEAR GEOMETRY SHOWING

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THEM THE GARDENS ON TOP OF 2OCKEFELLER #ENTER AS

CEPT AND THE lNAL INSTALLATION (OW DID VALUE

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ENGINEERING EFFECT SPECIlC CONSTRUCTION DETAILS

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OR CHANGE YOUR INTERPRETATION OF DECEPTION BY

EXAMPLE OF CURVILINEAR MODERN WORK 4HEY LOVED

DESIGN

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INTO PIECES THAT lT TOGETHER ON THE ROOF ) SPECI

BRINGING AN ARTIlCIAL SHRUB INTO THE MEETING THE

lED 06# PIPES THAT GO INTO 06# mANGES WHICH ARE

MATERIALS WERE JUDGED FROM A DISTANCE OF FORTY OR

BOLTED TO THE lBERGLASS GRATING TO PROVIDE STEMS

lFTY FEET THE ACTUAL VIEWING DISTANCE &ROM THAT

FOR THE SHRUBS 4HESE ASSEMBLIES ARE HEAVY ENOUGH

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THAT THEY CAN JUST REST ON THE ROOF /RIGINALLY )

BETWEEN AN ARTIlCIAL BOXWOOD AND A REAL ONE AND

HAD PLANNED TO PLACE THE SHRUBS AT A DISTANCE OF

IN FACT THREE YEARS OUT THE ARTIlCIAL BOXWOODS ARE

TWENTY FOUR INCHES FROM EACH OTHER BUT THIS WAS

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PLANTS WERE MORE EXPENSIVE THAN LIVE PLANTS 4HIS

QUESTION WHETHER THIS MATERIAL IS ACTUALLY NATURAL

ADJUSTMENT SAVED

BUT A STUDY ALSO SHOWED

OR NOT AT THIS POINT 4HE BLUE SURFACE IS CRUSHED

THAT THE NEW SPACING ACTUALLY WORKED BETTER )N A

GLASS WHICH COULD ALSO BE CONSIDERED A NATURAL

REAL LANDSCAPE WITH REAL PLANTS YOU WOULD WANT

MATERIAL )T ALSO CALLS INTO QUESTION WHAT S AUTHEN

THE SHRUBS TO BE PLACED CLOSE TO EACH OTHER SO THAT

TIC AND WHAT S SIMULATED

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ING THE SHRUBS READ AS INDIVIDUAL ELEMENTS WORKED

SCHEME HAPPENED TO CUT COSTS &OR EXAMPLE THE

BECAUSE IT MADE THE DESIGN MORE SYNTHETIC

HEADERS WERE GOING TO BE BRICK IN ORDER TO RELATE TO

4HE ARTIlCIAL ROCKS ) USED ARE A BRAND THAT

THE HISTORIC CONTEXT BY CHOOSING THE SAME MATERIAL

PEOPLE IN THE SUBURBS USE TO HIDE THEIR UTILITIES

0HILIP *OHNSON USED BUT INSTEAD ) ENDED UP USING

"ASICALLY THEY RE CAMOUmAGING ELEMENTS IN THE

#.# MILLED STRUCTURAL 3TYROFOAM )N HISTORIC PRES

LANDSCAPE !CROSS THE ROOFTOP ) LAID A SERIES OF RUN

ERVATION WORK A LOT OF DETAILING SUCH AS CORNICES

NERS TO WHICH THE ROCKS WERE BOLTED 0LACED OVER

IS MADE OUT OF THIS MATERIAL USUALLY WITH A lNISH

THE RUNNERS IS A THIN LAYER OF GROUND COVER 4HE

THAT LOOKS LIKE LIMESTONE OR ANOTHER STONE (ERE IT

BLACK GROUND COVER WAS ORIGINALLY -EXICAN BLACK

IS TREATED WITH A SPRAY ON HARDENING SURFACE THAT S

PEBBLES BECAUSE THAT WAS WHAT 4ANIGUCHI S OFlCE

REALLY STRONG AND PAINTED THE COLOR OF BRICK !LL

HAD SPECIlED BUT TO SAVE MONEY ) DECIDED TO USE

THE SHAPES IN THE CURVILINEAR PLAN ARE TRANSLATED

GROUND TIRESÂ&#x2C6;RECYCLED RUBBER A MATERIAL RECOM

ARCS TANGENTS AND STRAIGHT LINES TAKEN FROM A

MENDED BY THE LANDSCAPE CONTRACTOR 4HE WHITE

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WHOLE PROCESS OF BEING FORCED TO GO BACK TO THE

ARE THREE DIFFERENT CURVE RADII AND THREE DIFFERENT

CLIENT WITH A COMPLETELY NEW IDEA AFTER THE lRST

LINE SEGMENT AND INTERSECTION CONDITIONS 4O TRANS

DESIGN WAS REJECTED AND WORK THROUGH THE ISSUES

FER THE PATTERN ONTO THE ROOF IT WAS DIVIDED INTO A

OF THE REJECTED PROPOSAL RESULTED IN A BETTER DESIGN

SERIES OF SIMPLE UNITS WHICH WERE FACTORY CUT FROM

CONCEPT !ND WHILE ) M NOT A BIG FAN OF VALUE

STANDARD SHEET SIZES INTO A PALETTE OF PARTS NUM

ENGINEERING IN THIS CASE IT CLARIlED THE MATERIAL

BERED AT THE FACTORY PUT TOGETHER ON SITE AND

PALETTE AND MADE THE PROJECT STRONGER CONCEPTUALLY

GLUED DOWN

AND MATERIALLY

!S ) WAS CONCERNED ABOUT THE INTEGRITY OF THE CURVILINEAR FORMS MY OFlCE STAFF AND ) MOCKED UP

*! )N RETROSPECT WHAT GOT SACRIlCED WHEN YOU

ABOUT A lFTH OF THE AREA ON ONE SIDE OF THE ROOF

LET GO OF THE lRST PROPOSAL THE SPINNING DAISIES

WITH CHALK AND STRING LINES )N HALF A DAY WE LAID

OUT THE GEOMETRY OF ONE SUBSTANTIAL AREA OF THE

+3 4HE -O-! TEAM LOVED THE lRST SCHEME 4ERRY

DESIGN SO WE COULD SEE HOW THE FORMS lT AND GET

2ILEY LIKED IT BECAUSE IT USED AN ICONIC ELEMENT

A SENSE OF THE SCALE 7E LOOKED DOWN AT IT FROM

TAKEN OUT OF CONTEXT 0ETER 2EED LIKED IT BECAUSE

THE TOWER WHICH WAS KIND OF REASSURING 7E ALSO

IT HOVERED BETWEEN POP ART AND MINIMALISM

DISCOVERED WE HAD SOME DIMENSIONING ISSUES IN

7HEN 0ETER TALKS ABOUT LANDSCAPE ARCHITECTURE

THE ROOFTOP LAYOUT WHICH NEEDED TO BE CORRECTED

HIS APPROACH IS TO SPEAK ABOUT LANDSCAPE DESIGN

4HESE LITTLE ADJUSTMENTS AND IN SOME WAYS ALSO

RELATIVE TO THE TUG BETWEEN SURREALISM AND CUBISM

THE THINGS WE HAD TO DO TO BRING THE BUDGET

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%AST 2IVER &ERRY ,ANDINGS .EW 9ORK .EW 9ORK

)N THE CITY OF .EW 9ORK SELECTED lVE DESIGN lRMS

PRACTICES WERE ON THE LIST ) WAS THE ONLY LANDSCAPE

TO SUBMIT PROPOSALS FOR THE %AST 2IVER WATERFRONT

ARCHITECT ) KNEW &RANO 6IOLICH AND 3HEILA +ENNEDY

ALONGSIDE THE SIX FERRY LANDINGS INCLUDING 4HIRTY FOURTH

FROM TEACHING AT THE (ARVARD 'RADUATE 3CHOOL OF

3TREET IN -IDTOWN 4HE AREA OF INTERVENTION WAS A

$ESIGN AND ONE DAY &RANO CALLED ME UP TO ASK

NINETY FOOT LONG STRIP OF SEAWALL AND A TWENTY FOOT

WHETHER ) WAS INTERESTED IN JOINING FORCES ) REALLY

WIDE RIGHT OF WAY OWNED BY THE CITY 4HE PROGRAM WAS

RESPECTED THEIR WORK 3O WE BECAME A COLLABORATIVE

TO CREATE A PEDESTRIAN ENVIRONMENT THAT WOULD EXTEND

TEAM AND BASICALLY PICKED OFF THE COMPETITION THAT

EXISTING RIVERSIDE CIRCULATION THROUGH THE SITE )N RELA

WAY +ENNEDY 6IOLICH S DESIGNS FOR BUILDINGS AND

TION TO A BRIDGED WALKWAY DESIGNED BY ARCHITECTS 3HEILA

STRUCTURES ARE BASED ON A KIND OF SYSTEMS APPROACH

+ENNEDY AND &RANO 6IOLICH +EN 3MITH DEVELOPED AN

THEY THINK ABOUT OCCUPYING SURFACES IN TERMS OF

URBAN ECOLOGICAL SYSTEM THAT REVIVES ATAVISTIC PLANT

MOVEMENT )N THEIR SCHEME FOR THE PROJECT THERE

INGSÂ&#x2C6;GRASSES THAT ONCE PROSPERED ALONG THE SLOPED

IS A SYSTEM OF FURNISHINGSÂ&#x2C6;ALL UTILIZABLE IN SOME

BANKS OF THE RIVERÂ&#x2C6;WITHIN A CONSTRUCTED NATURE OF

WAYÂ&#x2C6;THAT MOVE THROUGH THE SITE AND A SYSTEM OF

FOLDED UNMISTAKABLY CONTEMPORARY PLANTERS

CANOPIES WHICH PROVIDE PROTECTION )N RESPONSE ) STARTED TO THINK ABOUT THE LANDSCAPE AS A SYSTEM AS

*! $ESCRIBE HOW YOU GOT INVOLVED WITH THIS

AN ECOLOGICAL SYSTEM CONSISTING OF INDIVIDUAL PLANT

PROJECT

ERS THAT MIGHT RECLAIM THE RIPARIAN EDGE OF THE RIVER

+3 4HE CITY PICKED lVE lRMS THAT WERE INVITED TO

4HEY NEVER ONCE SAID h.O YOU SHOULD BE DOING

SUBMIT PROPOSALS "ESIDES ME THE ARCHITECTURAL lRM

IT THIS WAY v 7E BASICALLY DEVELOPED OUR OWN

+ENNEDY 6IOLICH AND THREE OTHER ARCHITECTURAL

IDEAS IN A COMMON VOCABULARY AND PROGRAM 4HE

+ENNEDY AND 6IOLICH WERE GREAT TO WORK WITH

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SUBSTRUCTURE WAS DESIGNED BY ENGINEERS SO WE BOTH

AND ENVIRONMENTAL ISSUES "UT WHILE WE CAN GET

RESPONDED TO A STRUCTURAL ARMATURE WITH +ENNEDY

PERMITS TO BUILD PLATFORMS FOR PEOPLE TO WALK ON

6IOLICH S BUILDINGS OFTENTIMES SITTING ON PIERS

AND FOR BOATS TO TIE UP TO THE RIPARIAN PLANTINGS

4HEY WERE WORKING WITH A SERIES OF ORGANIC FORMS

WHICH ACTUALLY DO SOME GOOD IN TERMS OF VISIBILITY

ON THEIR ROOF STRUCTURES 4HESE ARE FOLDED SURFACES

AND COMMUNICATE THE IMPORTANCE AND LOSS OF

AND WHILE MY OWN FOLDED FORMS ARE MUCH MORE

THE RIPARIAN ENVIRONMENT ARE THE PIECES THAT ARE

ANGULAR THAN THEIRS THE COMBINED DESIGN RESULTS IN

GETTING MOST CRITIQUED )T S VERY FRUSTRATING 7E STILL

A DIALOGUE OF FOLDED OR WARPED FORMS

DON T HAVE ALL THE APPROVALS NECESSARY TO CONSTRUCT THE MARSH PLANTERS AND THIS PART OF THE PROJECT IS

*! 4HIS HIGH PROlLE PROJECT HAS SOME REAL LIMI TATIONS IN TERMS OF WHAT YOU AS THE LANDSCAPE

IN DANGER OF BEING DELETED )T JUST BREAKS MY HEART ) STARTED WORK ON THIS PROJECT IN WITH

ARCHITECT CAN ACHIEVE $ESCRIBE THE SITE ISSUES

SOME VERY SIMPLE 0HOTOSHOP STUDIES !T THE BEGIN

YOU ARE DEALING WITH

NING THERE WAS A SET OF FORMS THAT CARRIED INTO THE WATER !S THE PROJECT MOVED FORWARD MY STAFF DID A

+3 4HE PROJECT UNDERWENT SEVERE VALUE ENGINEERING

LOT OF RESEARCH ON SOILS DRAINAGE AND OTHER ASPECTS

IN WHICH A LOT OF MY DESIGN WAS CUT 7E ALSO HAD

OF RIVER ECOSYSTEMS 4HE STRUCTURE EVOLVED FROM AN

SOME DIFlCULTY GETTING ENVIRONMENTAL APPROVAL

ORIGINAL DESIGN OF SLOPED PLANTERS MADE OF WOOD

) lND IT IRONIC THAT THE RIPARIAN MARSH PLANTERS

PILES EXPECTING WE WOULD HAVE PIER CONSTRUCTION

WHICH DO THE MOST ENVIRONMENTAL GOOD ARE SO DIFl

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CULT TO GET APPROVED )T IS THE PART OF MY PROJECT THAT

ENGINEER DECIDED THAT STEEL MADE THE MOST SENSE

MOST SPEAKS TO THE LOSS OF THE NATURAL RIPARIAN EDGE

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*! 4HE WARPED RECTANGULAR FORM HAS SOMETHING

CURRENTS WOULD JUST SCOUR THEM AWAY 4HE PLANTERS

IN COMMON WITH THE PLEATING OF THE (IRIYA

ARE ACTUALLY NECESSARY TO PROTECT THE GRASS )N THE

LANDlLL PROJECT ALTHOUGH THE SCALES ARE VASTLY

GIVEN SPACE THERE WASN T ENOUGH ROOM TO CREATE A

DIFFERENT

TRUE GRADATED SLOPE THAT WOULD SUPPORT THE RANGE OF LOW MARSH HIGH MARSH AND UPLAND BORDER

+3 9ES THIS SIMILARITY REmECTS MY MOVE TOWARD

)NSTEAD AS A SCULPTURAL NOTION ) DEVELOPED A FOLD

VERTICAL GREEN AND FOLDING FORMS #REATING A TOPOG

ING STRUCTURE THAT HAS ELEVATED AREAS AND LOWER

RAPHY WAS IMPORTANT TO ME BECAUSE THE PROJECT

ONES !N IRRIGATION SYSTEM PUMPS RIVER WATER INTO

WAS ABOUT REPAIRING AN EDGE AND THE RIPARIAN EDGE

THE PLANTED BOXES A KIND OF ARTIlCIAL TIDE WHICH

IS INHERENTLY A GRADED SLOPE )N THE %AST 2IVER THE

RESULTS IN A DIFFERENTIATION OF PLANT SELECTION SORTING

TIDAL mUCTUATION IS ABOUT SIX FEET BETWEEN HIGH AND

ITSELF OUT WITHIN THE PLANTERS .ECESSARILY THE LOWER

LOW TIDE )N A NATURAL CONDITION THE RIVER S GRADATED

AREAS WHERE MORE MOISTURE GATHERS HAVE A GREATER

SLOPE DISSIPATES THE ENERGY OF THE RIVER S MOVEMENT

POPULATION OF MUSSELS AND THINGS LIKE THAT !T HIGH

ALLOWING TIDAL PLANT COMMUNITIES OF PRIMARILY SPAR

TIDE THESE AREAS WILL GET mOODED

TINA GRASS TO THRIVE 4HE ECOLOGY OF THE %AST 2IVER HAS BEEN ALTERED THROUGH LAND lLLING AND CONSTRUC

*! 4HE PLANTING BOXES MAKE WHAT USED TO BE

TION OF SEA WALLS AND TODAY S CURRENTS WOULD NOT

A NATURAL CONDITIONÂ&#x2C6;VEGETATED SHORELINEÂ&#x2C6;POS

ALLOW THESE TYPES OF COMMUNITIES TO EXIST WITHOUT

SIBLE AGAIN BUT IN A MANNER THAT REmECTS THE

SOME KIND OF PROTECTIVE STRUCTURE 3IMPLY PLANT

ENGINEERED CONDITION )S THERE SOME INHERENT

ING SPARTINA GRASS IN A SLOPE ON THE RIVER WOULDN T

WRONG DOING IN THIS 4HE FRESHWATER IRRIGATION

WORK IN THIS ALTERED ENVIRONMENT BECAUSE THE RIVER

NEEDED FOR THE SPARTINA GRASSES AND FOREIGN

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FORTIlED PLANTING SOILS WILL ENTER INTO THE RIVER

PLANTER BOXES ARE DESIGNED TO RECEIVE ONLY LIMITED

SYSTEM AND ONE COULD IMAGINE IF THIS

TIDAL mUSHING IN ORDER TO PROTECT THE PLANTINGS

PROJECT SERVED AS A MODEL FOR MILES OF SHORELINE

FROM THE DAMAGE OF STRONG CURRENTS 3UPPLEMENTAL

THE RIVER WATER S NUTRIENT BALANCE WOULD BE

WATER IS PUMPED FROM THE RIVER AND DISTRIBUTED

DISTURBED

THROUGH A SYSTEM OF OPEN TROUGHS AND SPOUTS TO PROVIDE AN ARTIlCIAL TIDAL INmUX OF BRACKISH WATER

+3 7ELL THIS PROJECT IS INTENDED FOR A STRETCH OF

AND NUTRIENTS 4HERE IS ALSO AN AUXILIARY BACK UP

RIVER THAT IS ALREADY IRREPARABLY OUT OF BALANCE

SYSTEM OF FRESH WATER IN CASE THERE IS A PROBLEM

)T ADDRESSES THE ISSUE OF HOW WE RESPOND TO AN

WITH THE BRACKISH WATER SYSTEM ) DESIGNED THE

ALTERED RIPARIAN ENVIRONMENT AND HOW WE CAN

LATTER TO BE A VISIBLE COMPONENT OF THE PLANTERS

CREATE AN AWARENESS OF THE PROBLEM "ECAUSE OF

)T S PART OF OUR ATTEMPT TO EXPOSE THE STRUCTURE OF

THE RIVER S BULKHEAD WALLS AND ALTERED CURRENTS IT

WHAT WE CREATED TO REVEAL THE SYSTEMS THAT PROPA

IS IMPOSSIBLE TO GROW A RIPARIAN MARSH IN NATU

GATE AND SUSTAIN THE PLANTS ) WANTED TO SHOW THE

RAL CONDITIONS HERE SO ) RESORTED TO DESIGNING A

MECHANICS AND THE COMPLEXITY OF THE MATERIALS

PLANTER SYSTEM THAT WOULD ALLOW BRINGING BACK THE

AND SYSTEMS SO THEY BECOME AN ACCESSIBLE PART OF

3PARTINA COMMUNITY UNDER CONTROLLED AND PROTECT

UNDERSTANDING THE LANDSCAPE ) M NOT INTERESTED IN

ED CONDITIONS 4HE PLANTER BOX IS A VERY PRACTICAL

COVERING UP AND DENYING THESE THINGS

SOLUTION BUT TO MAKE IT WORK IN THE ALTERED ECOL OGY OF THE %AST 2IVER IT IS NECESSARY TO INTRODUCE

*! $O YOU IDENTIFY THIS CONCERN WITH REVEALING

IRRIGATION USING BOTH BRACKISH WATER AND A BACK UP

STRUCTURE AND FUNCTION AS A MODERNIST STRAIN IN

SYSTEM OF FRESH WATER TO SUPPORT THE PLANTINGS 4HE

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+3 9ES "ASICALLY YOU HAVE THE FORM OF THE FUNC

ARTIlCIALITY OF THE RIVER ENVIRONMENT THAT WE VE

TION "UT ) M ALSO INTERESTED IN THE OVERLAP BETWEEN

CREATED IN CONTEMPORARY CITIES "UT ) THINK THERE

STRUCTURE AND THE SYMBOLIC )F YOU LOOK AT THE

IS A SENSE OF AWE AND WONDER IN BEING PLACED IN

3EAGRAM "UILDING THE COLUMNS ON THE OUTSIDE DO

A SITUATION WHERE YOU RE OVER AND SURROUNDED BY

PROVIDE THE NECESSARY SUPPORT FOR THE CURTAIN WALL

WATER AND CLOSE UP TO A hPRIMORDIALv MARSH GRASS

BUT THEY RE ALSO PURELY SYMBOLIC 4HE USE OF THE )

COMMUNITYÂ&#x2C6;YOU CAN ALMOST TOUCH AND SMELL THE

BEAM IS BOTH A DECORATIVE AND A STRUCTURAL ELEMENT

MARSH AND HEAR THE GURGLING OF THE BIVALVES 7HILE IT S NOT A TRUE MARSH OBVIOUSLY YOU DO GET A SENSE

*! !T WHAT MOMENT IN THE %AST 2IVER PROJECT

OF THE VEGETATION BETWEEN YOU AND THE OPEN WATER

DOES PERCEPTION SHIFT FROM AWARENESS OF THE

AND THIS STARTS TO SET UP THE KIND OF EXPERIENCE

URBAN CONDITIONÂ&#x2C6;THE ENGINEERED RIVER WAY THE

YOU WOULD HAVE IN A NATURAL SITUATION 4HE NOTION

ARCHITECTURAL PROMENADEÂ&#x2C6;TO NOTICING THE

OF URBAN ECOLOGY IS ENGAGED BY THE CONTEMPORARY

VITAL DETAIL OF WATER CURRENT BARNACLE CRUSTING

CONDITION OF THE WATER S EDGE 4HIS EXPERIENCE IS

TIDAL mUX

ROOTED IN THE PRAGMATICS OF THE PLACE AND IN WHAT IT TAKES TO MAKE THIS MATERIAL STRUCTURALLY SOUND

+3 4HERE ARE TEN MARSH BOXES /N A BRIDGE NEXT TO

4HE DESIGN ACCOMPLISHES THIS IN A SYMBOLIC WAY

THEM DESIGNED BY +ENNEDY 6IOLICH IS A PUBLIC

THAT SPEAKS TO THE LOSS OF THE NATURAL ENVIRONMENT

WALKWAY AND AT BOTH ENDS OF THE WALKWAY IS THE

AND CREATES A PHENOMENAL EXPERIENCE

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0 3 1UEENS .EW 9ORK

0 3 IS A PRO BONO DESIGN PROJECT COMMISSIONED BY

AND BIRDS AND THE MOVABLE MINI DUMPSTERS USED FOR

THE 2OBIN (OOD &OUNDATION AS PART OF THE SUCCESSFUL

TEACHING AND EXPERIMENTAL PLANTINGS

h,IBRARY )NITIATIVE v A PROGRAM THAT ENGAGES LEADING ARCHITECTS TO BUILD LIBRARIES IN THE CITY S NEEDIEST NEIGH

*! .OW THAT YOUR SCHEME FOR 0 3 HAS BEEN IN

BORHOODS )T IS THE lRST LANDSCAPE PROJECT SUPPORTED BY

PLACE FOR OVER TWO YEARS WHAT BIGGER ISSUES HAVE

THE FOUNDATION +EN 3MITH S SCHOOLYARD SCHEME OFFERS

EMERGED FROM THIS PROJECT TO IMPACT YOUR OTHER

A BALANCE OF PRAGMATISM AND PRIDE FEATURING LOW COST

WORK

FUNCTIONAL AND KID ORIENTED SOLUTIONS TO TYPICAL CONDI TIONS SUCH AS BOUNDARY DElNITION EXCESSIVE ASPHALT

+3 0 3 IS THE LARGEST ELEMENTARY SCHOOL IN .EW

PAVING AND THE NEED FOR PLAY SPACE TO BE BALANCED

9ORK #ITY )N WE COMPLETED THE PROJECTÂ&#x2C6;WE

WITH OPPORTUNITIES FOR OUTDOOR LEARNING &IVE PROTOTYPE

HAD lNISHED ALL DESIGN COLLABORATED WITH THE FAB

ELEMENTS WERE DEVELOPED AND THEN MODIlED TO ADDRESS

RICATORS AND VOLUNTEER GROUPS INSTALLED THE PLANT

SPECIlC CHARACTERISTICS OF THE 0 3 SITE )N PHASE ONE

INGS lNISHED PAINTING AND PUT UP THE CLOUD SCRIM

GRAPHICS WERE PAINTED ON THE ASPHALT PAVING AND ON

7E HAD SET UP ALL ELEMENTS OF OUR DESIGN BUT THE

THE WALLS OF THE hTEMPORARYv CLASSROOMS NOW TWENTY

BIG UNKNOWN WAS HOW THE STUDENTS AND TEACHERS

YEARS OLD ,ATER A CLOUD SCRIM WAS STRETCHED ACROSS

WOULD ACTUALLY USE THE LANDSCAPE &OR EXAMPLE WE

THE SCHOOLYARD S CHAIN LINK FENCE RAISING THE EYE TO

WEREN T SURE HOW THE LEARNING GARDENS A SERIES OF

AN ALWAYS BLUE SKY PERIMETER ! CURTAINED SPACE FOR

PLANTED DUMPSTERS WOULD DEVELOP INTO MORE THAN

READING WAS PROPOSED AND MODULAR SEATING MADE OUT

JUST SOMETHING THAT WAS INSTALLED 4HERE NEEDED TO

OF STANDARD PIPE SEGMENTS WAS FABRICATED 4HE TWO ELE

BE SOME MECHANISM THAT INTEGRATED THE GARDEN AND

MENTS MOST POPULAR ARE THE LINEAR GARDEN FOR BUTTERmIES

ITS PIECES INTO THE SCHOOL LIFE 7HEN ) VISITED 0 3 9<5505. /,(+:

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! GRAPHIC PANEL OF SIGN MATERIAL WOULD BE LAYERED OVER THE TOP PORTION OF THE TALL SCHOOL YARD FENCE TO CREATE A STRONG IMAGE FOR THE SCHOOL AND VISUALLY BUFFER THE ELEVATED TRAIN 0RODUCT SYSTEMS FOR THIS APPLICATION INCLUDE 0RINTED -ESH &ABRIC USED FOR 4IMES 3QUARE ADVERTISING 2EFLECTIVE 0AILLETTES USED FOR CAR WASH SIGNAGE

9<5505. /,(+: 7 :

! GARDEN OF SMALL PLANTINGS COULD BE DEVELOPED

BY FILLING COMMON DUMPSTERS LIKE THOSE USED BY THE "OARD OF %DUCATION WITH SOIL AND PLANTS 4HE $UMPSTERS COULD BE PAINTED IN GRAPHIC COLORS 3HORT DUMPSTERS SHOULD BE SELECTED TO REFLECT A CHILDgS HEIGHT ! WATER FAUCET SHOULD BE LOCATED NEARBY FOR MAINTENANCE

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06# DRAINAGE PIPE COMMONLY USED IN CONSTRUCTION WOULD BE CONFIGURED TO CREATE A DIVERSE SETTING OF MODULAR AND PORTABLE SEATING ELEMENTS 4HIS LIGHTWEIGHT AND DURABLE SYSTEM OF STANDARD COMPONENTS INCLUDE PIPE SECTIONS END CAPS AND A VARIETY OF FITTINGS AND COUPLERS RANGING IN SIZES FROM TO DIAMETER

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! GRAPHIC CARPET COULD BE CREATED IN THE SCHOOL YARD USING PAINT LIKE THAT USED BY THE $ / 4 4HE CARPET COULD IDENTIFY SPECIFIC USE AREAS OR GIVE AN OVERALL IDENTITY AND SENSE OF PLACE TO THE WHOLE SITE 2EFLECTIVE GLASS BEADS LIKE THOSE USED IN CITY CROSSWALKS COULD GIVE SPARKLE AND LIFE TO PARTICULAR AREAS OF THE GRAPHIC PATTERN

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!N OUTDOOR CURTAIN OF CONSTRUCTION NETTING WOULD BE USED TO ENCLOSE A READING SPACE 4HE TRANSPARENCY OF THE CURTAIN MATERIAL WOULD CREATE AN AREA WHICH IS BOTH SPATIALLY DEFINED AND VISIBLY OPEN "Y MOVING THE CURTAIN THE SPACE COULD BE TRANSFORMED FOR DIFFERNECT TYPES OF ACTIVITY

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ABOUT TWO MONTHS AGO ) DISCOVERED THAT THE ENTIRE

+3 ) THINK EVERYTHING IS PRETTY WELL INTEGRATED

SCHOOL HAD MADE THE LEARNING GARDEN THE FOCUS OF

7E LL KNOW IN A FEW MORE YEARS IF CERTAIN PARTS

THEIR STUDIES FOR THE SPRING SEMESTER 4HE ART CLASSES

DON T lT INTO THE GENERAL SCHEME &OR EXAMPLE

THE SCIENCE CLASSESÂ&#x2C6;EVERY TEACHER WAS DOING THINGS

WE VE HAD SOME PROBLEMS WITH THE WIND CATCHING

THAT INVOLVED THE LEARNING GARDEN )T JUST BLEW ME

THE CLOUD SCRIM )T HAS TO BE RETIED ONCE OR TWICE

AWAY )T MADE A BIG IMPACT

A YEAR WHEN WE HAVE ESPECIALLY STRONG WINDS 4HE

4HIS PROJECT WAS REALLY AN ESSAY FOR ME BECAUSE

SCRIM IS INHERENTLY THE MOST TEMPORAL PART OF THE

IN CERTAIN SOCIALLY ORIENTED SCHOOLS AND THEORIES OF

LANDSCAPE BECAUSE THE MATERIAL ITSELF HAS ONLY A

PUBLIC SPACES THERE IS THIS SENSE THAT YOU CAN T HAVE

SHELF LIFE OF lVE YEARS OR SO )T IS COMMERCIALLY

GOOD DESIGN AND SOCIAL RESPONSIBILITY AT THE SAME

INKJET PRINTED AND COMES IN BIG ROLLS SO IT CAN

TIME )T S THE SAME KIND OF SPECIOUS ARGUMENT AS SAY

EASILY BE REPLICATED AND REPLACED 7HETHER OR NOT

ING YOU CAN T HAVE GOOD DESIGN AND ENVIRONMENTAL

THE SCHOOL WILL CHOOSE TO DO SO ) DON T KNOW )T S

RESPONSIVENESS AT THE SAME TIME 0 3 WAS MY

THE MOST EPHEMERAL PIECE IN THE DESIGN THE LEAST

ESSAY ON HOW YOU CAN HAVE SOCIAL RESPONSIBILITY AND

ENDURING IN SOME WAYS BUT IT WAS ALSO THE ONE

COMMUNITY SERVICE WITHIN SOMETHING THAT IS A GOOD

THAT MADE THE BIGGEST SPLASH IN TERMS OF TOTALLY

DESIGN SUPPORTED BY A STRONG VISUAL VOCABULARY

READJUSTING THE PERCEPTION OF THE PLACE )T S THE ELE MENT THAT WILL REQUIRE THE MOST COMMITMENT TO

*! !RE THERE PIECES OF THAT STRONG VISUAL VOCABU

REPLACE )T S SIMILAR TO THE *APANESE GARDEN AT )SE

LARY THAT ARE ELBOWING OUT ADDITIONAL PROGRAM

WHERE THEY REBUILD THE TEMPLE EVERY TWENTY YEARS

4HE CRITIC IN ME SEES THE POLKA DOTS AS GRATU

!LL PUBLIC SPACE INVOLVES A RITUAL OF RENEWAL )T S THE

ITOUS THE KID IN ME SEES PRIME TERRITORY

RITUAL OF SWEEPING THE PAVEMENT OR PICKING UP THE

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TRASH 2ENEWING THE SCRIM HAS A LONGER TEMPORAL

WITH STUDENTS WHO GAVE ME A LIST OF THINGS THEY

TIME FRAME THAN SWEEPING AND A SHORTER ONE THAN

WANTED TO SEE IN THE GARDEN /NE STUDENT WANTED

REBUILDING A TEMPLE BUT ESSENTIALLY IT S ALL THE SAME

ROSES SO ) VE ADDED ROSES AND SOMEBODY ELSE WANT

RITUAL OF CONTINUITY

ED A BIRD BATH )T S TOUGH TO DESIGN A GARDEN FOR AN

4HE TEACHERS SPRAY PAINTED NUMBERS ON THE

ACADEMIC CALENDAR WHICH IS WITH ITS LONG BREAK

DUMPSTERS AND EACH CLASS SIGNS UP FOR ONE DUMP

IN THE SUMMER EXACTLY THE OPPOSITE OF WHEN THE

STER GARDEN 4HERE IS A FAIR AMOUNT OF COMPETITION

PLANTS WANT TO GROW

BETWEEN CLASSES AS THE STUDENTS ADOPT THE GARDENS

4HIS IS A GARDEN THE KIDS SEE EVERY DAY WHEN

AND TAKE OVER THE PLANTING AND WEEDING )N THE

THEY COME TO SCHOOL )T S VISIBLE FROM THE CLASS

SUMMER THE GARDENS ARE MAINTAINED BY THE .EW

ROOMS AND FROM THE STREET ON THREE SIDES 4HERE ARE

9ORK 2ESTORATION 0ROJECT BUT EVENTUALLY THE SCHOOL

CERTAIN AREAS WHERE YOU ACTUALLY PASS THROUGH ITÂ&#x2C6;IF

WILL TAKE OVER

YOU ENTER FROM THE WEST SIDE OF THE SCHOOLYARD YOU

7HEN ) REVIEWED THE PROJECT A COUPLE OF

WALK THROUGH IT ON YOUR WAY TO THE SCHOOL !ND AS

MONTHS AGO ) FOUND A FEW BARE SPOTS IN THE BIRD

PART OF THE OVERALL ENVIRONMENT OF THE SCHOOLYARD

AND BUTTERmY GARDEN BUT MOST EVERYTHING ELSE DID

IT S PART OF THE STUDENTS DAILY LIFE

WELL 4HERE WERE AREAS THAT NEEDED TO BE REPLANTED

AND ) REALIZED THAT THERE WAS NOT ENOUGH OF A WIN

*! (AS THERE BEEN ANY VANDALISM

TER BONE STRUCTURE ) HAD PLANTED CERTAIN SHRUBS

INCLUDING ILEX AND JUNIPERS BUT IT NOW BECAME

+3 .O 4HERE USED TO BE A LOT OF VANDALISM AT THE

CLEAR THAT THERE WEREN T QUITE ENOUGH 3O ) DECIDED

SCHOOLÂ&#x2C6;GRAFlTI MOSTLYÂ&#x2C6;AND WHILE ) DO BELIEVE THAT

WE NEEDED TO DO A SUPPLEMENTAL PLANTING ) MET

DESIGN CAN MAKE A DIFFERENCE ) WOULD NEVER HAVE

9<5505. /,(+: 7 :

PROMISED THE SCHOOL THAT MY GARDEN WOULD SOLVE A GRAFlTI OR VANDALISM PROBLEM "UT THE BUILDING

;OPZ WOV[V ^HZ [HRLU MVSSV^PUN JVTWSL[PVU VM [OL ZJOVVS`HYK NYHWOPJZ PU

ENGINEERS AND THE SUPERINTENDENTS HAVE TOLD ME THAT THERE HAS BEEN ALMOST NO VANDALISM OR GRAF lTI SINCE THE GARDEN WENT IN WHICH IS JUST AMAZ ING )T S NOT JUST THE STUDENTS BUT ALSO THE PARENTS WHO REALLY LOVE THIS GARDEN )T S AN IMPORTANT ELE MENT OF THE COMMUNITY NOW AND COMMUNITIES HAVE CERTAIN MEANS OF ENFORCING SOCIAL NORMS )F SOMETHING ISN T ACCEPTABLE WITHIN THE COMMUNITY

PEOPLE LET EACH OTHER KNOW THAT

9<5505. /,(+: 7 :

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+EN 3MITH

,ANDSCAPE AS #ULTURAL #RITICISM .INA 2APPAPORT

)N THE WORK OF +EN 3MITH LANDSCAPE ARCHITECTURE IS

REMOVE PEOPLE FROM THE EVERYDAY (IS CREATIONS ARE

A REINVIGORATED THREE DIMENSIONAL ART FORM 3MITH

INSPIRED BY SIXTEENTH CENTURY )TALIAN DESIGNERS WHO

IS DEVOTED BOTH TO MODERN LANDSCAPE AESTHETICS

MANIPULATED SPACE TO FORM PLEASURE GARDENS SUCH

AS SEEN IN PROJECTS BY !MERICAN LANDSCAPE ARCHI

AS THOSE AT 4IVOLI S 6ILLA D %STE WITH FAUX LAKES

TECTS $AN +ILEY 0AUL &RIEDBERG B

MINIATURE WATERFALLS AND PERSPECTIVE TRICKS TO

AND 2OBERT :ION B AND TO THE

ENHANCE THE GARDEN S SCALE )NVENTING LANDSCAPE IS

EXPRESSION OF A CONTEMPORARY URBAN PLACE THAT

SOMETHING THAT LANDSCAPE ARCHITECTS HAVE ALWAYS

ENGAGES THE PUBLIC THROUGH THE ARTISTIC AND INVEN

DONE AND HAVE ALWAYS BEEN ASKED TO DO AND THIS

TIVE USE OF NATURAL AND ARTIlCIAL MATERIALS &ROM

OFTEN ENCOURAGES AN ARTISTRY THAT 3MITH EXPRESSES

THE MODERNISTS 3MITH LEARNED HOW TO ARTICULATE

BY TRYING TO REVEAL BOTH NATURE S NATURE AND OUR

THE DIFFERENCES BETWEEN HARDSCAPES AND SOFTSCAPES

NATURE IN THE WORLD (E PERCEIVES GARDENS IN FRAG

TO EXPOSE STRUCTURE TO EMPHASIZE THE CONTRAST

MENTED CONTEMPORARY CITIES AS FRAMES FOR COM

BETWEEN URBAN FORESTS AND OPEN SPACES AND TO

MUNICATING IDEAS THAT BALANCE CULTURE AND NATURE

FORMULATE HIS IDEA OF A SUBLIME CONSTRUCTED NATURE

ARTIlCE AND NATURE AND ART AND NATURE EVERY URBAN

THAT ENHANCES URBAN EXPERIENCE 3MITH ALSO OFFERS

ELEMENT IS A KIND OF GARDEN THAT OFFERS AN OPPORTU

AN IRONIC VIEW OF CONTEMPORARY CULTURE IMBUING

NITY TO REWEAVE THE CITY FABRIC 3MITH S WORK AT ITS

HIS WORKS WITH CONTENT IN A SUBTLE MANIPULATION OF

MOST RElNED AND THOUGHT PROVOKING HAS AN IRONY

FORM MATERIAL AND TEXTURE THAT ENCOURAGES OBSERV

TO IT A CRITICAL EDGE THAT AS ,INDA (UTCHINSON

ERS TO PERCEIVE THEIR ENVIRONMENT IN A NEW WAY

NOTES OF VISUAL ARTS IS hA PROCESS OF COMMUNICA

&OR 3MITH THE GARDEN IS lRST A PLACE OF SEPARA TION AS EXPERIENCED IN WALLED VILLA GARDENS THAT

TION THAT ENTAILS TWO OR MORE MEANINGS BEING PLAYED OFF ONE AGAINST THE OTHER 4HE IRONY IS IN 9<5505. /,(+:

;67 (5+ 6776:0;,! 3L]LY /V\ZL 5L^ @VYR *P[` SHUKZJHWL YLZ[VYH[PVU

THE DIFFERENCE IRONY MAKES THE DIFFERENCE )T PLAYS

3MITH S APPROACH IS CHARACTERIZED BY ITS

BETWEEN MEANINGS IN A SPACE THAT IS ALWAYS AFFEC

COMPLEMENTARY NATURES IT IS BOTH THE APPROACH

TIVELY CHARGED THAT ALWAYS HAS A CRITICAL EDGE v

OF A CREATIVE ARTIST WHO HAS A VARIED PALETTE AND

4HIS PLAY IS SEEN IN 3MITH S JUXTAPOSITION OF UNCONVENTIONAL GARDEN MATERIALS REUSE OF EVERY

AND HIS INDICATIVE LOVE FOR TRUTHFUL DETAIL ALLOW

DAY OBJECTS AND TRANSFORMATIONS OF ONE FORM INTO

3MITH TO DETERMINE HOW EVERYDAY MATERIALS AND

ANOTHER 4HE DESIGN FOR -O-! S CAMOUmAGE ROOF

THEIR PERFORMANCE CAN BE EMPLOYED TO REVEAL

GARDEN IS AN EXAMPLE OF THIS COMMENTARY 3MITH S

THE CONTENT BEHIND THE LANDSCAPE IN THE MAKING

ROOFTOP INSTALLATION RAISES QUESTIONS ABOUT WHAT IS

.OT THAT THE NUTS AND BOLTS ARE SHOWN BUT THE

REAL IN AN URBAN GARDEN MADE OF ARTIlCIAL MATERIALS

WAY THE PIECES ARE PUT TOGETHER IS DEMYSTIlED AND

SUCH AS PLASTIC TREES AND GLASS SHARDS A FAUX SCAPE

VISIBLE ALTHOUGH OTHER CEREBRAL GAMES MAY BE

THAT IS COLORFUL YEAR ROUND AND VISIBLE ONLY TO

BEING PLAYED

RESIDENTS OF THE ADJACENT HIGH RISE 4HE GARDEN IS A

THAT OF A PRAGMATIC CRAFTSMAN 4HIS PRAGMATISM

&OR 3MITH CLIENT AND PROGRAM PARAMETERS ARE

CAMOUmAGE BOTH OF THE BUILDING AND OF NATURE

PART OF THE DESIGN CHALLENGE AND THE PUZZLE THAT

THERE IS NO REAL NATURE AND THE mAT ROOF NOW HAS

HIS WORK HAS TO lT WITHIN (IS WORK IS A STRATEGIC

A DÏCOR 4HE UNINHABITABLE ROOFSCAPE IS FOR DISPLAY

EXPRESSION OF HIS PREOCCUPATION WITH THE PUBLIC

ONLY NOT FOR PHYSICAL EXPERIENCE IT IS SIMILAR TO

AGENCIES OR CLIENTS FOR WHOM HE IS DESIGNING

LOOKING AT A PAINTING ON A WALL &ROM A DISTANCE

&OR THE RENOVATION OF THE ,EVER (OUSE 0LAZA IN

ONE CANNOT EVEN DISCERN WHAT KIND OF MATERIALS ARE

.EW 9ORK 3MITH RESEARCHED THE ORIGINAL SCHEMES

USED ONE SEES ONLY RELATIVELY INERT COLOR PATTERN

IN THE .OGUCHI ARCHIVES AND WITH LANDSCAPE

AND FORM

ARCHITECT 'AVIN +EENEY RECREATED THE ORIGINAL

9<5505. /,(+:

9<5505. /,(+:

DESIGN CONCEPTS WHILE UPGRADING THE PLAZA FOR

3MITH S PROJECTS BEGIN AS TEMPORARY INSTALLATIONS

CONTEMPORARY NEEDS )N THE IMPROVEMENT PROJECT

/FTEN MADE OF DISPOSABLE MATERIALS THEY GIVE HIM

FOR ,AWRENCE (ALPRIN S DILAPIDATED -ANHATTAN

THE FREEDOM TO EXPERIMENT AND INVESTIGATE MORE

3QUARE 0ARK IN 2OCHESTER .EW 9ORK THE

COMPLEX IDEAS FOR FUTURE PERMANENT STRUCTURES 4HE

WORK WAS PHASED SO THAT THE DISUSED AREAS OF THE

TEMPORARY NATURE OF THESE DESIGNS EMPHASIZES THE

FOUNTAIN AND THE STAGE CAN BE REVITALIZED WHILE

WEIGHTY ELEMENT OF TIME IN LANDSCAPE ARCHITECTURE

THE REMAINDER OF THE PARK IS ONLY MINIMALLY REDE

IN RELATION TO BOTH NATURAL AND ARTIlCIAL MATERIALS

SIGNED UNTIL THE CITY OBTAINS FURTHER FUNDING

7HILE THE ARTIlCIAL ELEMENTS IN 3MITH S WORKS CAN

!T THE SAME TIME AS AN ARTIST 3MITH REIN

4HIS ALLOWS THE DESIGNER MORE CONTROL OVER THE

ART FORM IMBUING IT WITH ALLUSIONS TO CULTURE

PALETTE )N CONTRAST THE NATURAL LANDSCAPE IS PRE

$RAWING A PARALLEL BETWEEN FASHION AS A CULTURAL

DICTABLE BUT NOT STABLE )T IS RENDERED TEMPORARY BY

PHENOMENON AND LANDSCAPE ARCHITECTURE HE SAYS

ITS CONSTANT PROCESS OF CHANGE WHILE THE ARTIlCIAL

BOTH ARE hARTIlCIAL CONSTRUCTIONS THAT lT AN ORGANIC

LANDSCAPE IS TEMPORARY BECAUSE IT IS DISPOSABLE &OR

BODY THAT MOVES AND mUCTUATES )T IS AN IDEOLOGI

EXAMPLE THE SYNTHETIC MATERIALS OF THE -O-! ROOF

CAL EXPRESSION MAKING OR REVEALING THE BODY OR IN

GARDEN NEED ONLY LAST THE LIFE OF THE ROOF CONTRAC

THE CASE OF LANDSCAPEÂ&#x2C6;THE CITY v 3MITH NOTES THAT

TOR S GUARANTEE

FASHION WAS SEEN AS A REGRESSIVE ART FORM UNTIL CRIT

BE REMOVED THEY DO NOT DIE OR CHANGE QUICKLY

VIGORATES LANDSCAPE ARCHITECTURE AS A CONCEPTUAL

!LTHOUGH 3MITH DOES NOT PROMOTE ENVIRON

ICS SUCH AS 2ICHARD -ARTIN EVALUATED IT AS A FORM

MENTALISM PER SE HE IS AN ENVIRONMENTALIST IN

OF CULTURAL EXPRESSION AND HE FEELS THAT THIS IS HOW

SUBTLE WAYS WHILE NOT MAKING A MORAL DISTINCTION

THE PUBLIC VIEWS LANDSCAPE DESIGN AS WELL -ANY OF

OF IT &OR HIM THE ENVIRONMENT IS SOMETHING TO BE

9<5505. /,(+:

RESPECTED AND UNDERSTOOD AS A GIVEN &OR THE %AST 2IVER &ERRY ,ANDINGS FOR EXAMPLE 3MITH SELECTED NATURAL GRASSES TO BE PLANTED IN mOATING CONTAIN ERSÂ&#x2C6;HINTING AT WHAT WAS ONCE THERE AS WELL AS AT WHAT COULD BE IF THERE WAS NO RETAINING WALL AT THE RIVER S EDGE 3MITH S DESIGN APPROACH REINTEGRATES OFTEN OBSCURE AND FRAGMENTED SITES INTO THE PUBLIC REALM IN CELEBRATORY WAYS AS HE TRANSFORMS THEM INTO SOMETHING BEYOND THE NORM (IS CONCEPTUAL STRATEGIES ADAPT TO THE LOCAL CONDITIONS AND SPECIlC SITES IN AN INDUCTIVE METHOD BY lRST APPRECIATING WHAT IS THERE (IS ARTISTIC AND INVENTIVE YET PRACTI CAL APPROACH ENVIRONMENTAL SENSITIVITY AND BROAD ARTIlCIAL AND NATURAL MATERIAL PALETTE INTERTWINE TO MAKE SPACES THAT TRANSFORM DAILY LIFE AND ENGAGE THE PUBLIC

,INDA (UTCHINSON )RONY S %DGE ,ONDON AND .EW 9ORK 2OUTLEDGE

9<5505. /,(+:

#REDITS

4HE PROJECTS IN THIS MONOGRAPH RESULT FROM A TEAM EFFORT IN

4HE -USEUM OF -ODERN %AST 2IVER &ERRRY !RT 2OOF 'ARDEN ,ANDINGS

(9*/0;,*;

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.EW 9ORK #ITY %CONOMIC

,5.05,,9:

$EVELOPMENT #ORPORATION

- ' -C,AREN 0 #

+ENNEDY 6IOLICH !RCHITECTURE

MY OFlCE ) D LIKE TO ESPE CIALLY THANK %LIZABETH !SAWA

3ENIOR !SSOCIATE WHO HAS BEEN INVOLVED IN ALL OF THESE WORKS

3(5+:*(7, (9*/0;,*;

.EW 9ORK #ITY $EPARTMENT OF

AND PLAYS AN IMPORTANT ROLE

+EN 3MITH ,ANDSCAPE !RCHITECT

4RANSPORTATION

*65:;9<*;065 4(5(.,9:

.EW 9ORK #ITY $EPARTMENT OF

(UDSON -ERIDIAN #ONSTRUCTION

0ARKS AND 2ECREATION

'ROUP

IN THE OPERATION OF THE OFlCE 4HE PROJECT MANAGERS PLAYED

+,:0.5 ;,(4 4OBIAS !RMBORST

A SIGNIlCANT ROLE IN THE DESIGN

%LIZABETH !SAWA

3(5+:*(7, (9*/0;,*;

4 , 7

OF EACH PROJECT !LEX &ELSON FOR

$AVID (AMERMAN

+EN 3MITH ,ANDSCAPE !RCHITECT

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+EN 3MITH

4OBIAS !RMBORST

#OSENTINI !SSOCIATES

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!NNIE 7EINMAYR

%LIZABETH !SAWA

,ANDIS FOR THE -O-! 2OOF

*UDITH 7ONG

(EIKE "ERGDOLT

#HRISTIAN :IMMERMANN

9OONCHUL #HO

THE %AST 2IVER &ERRY ,ANDINGS

!NNIE 7EINMAYR FOR 0 3

'ARDEN +EN 3MITH

-ATT ,ANDIS

!LEX &ELSON 3(5+:*(7, *65;9(*;69

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*30,5; 2OBIN (OOD &OUNDATION

,ANDSCAPE !RCHITECT UNLESS 5<9:,9@

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"ISSETT .URSERY #ORPORATION

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9<5505. /,(+:

"IBLIOGRAPHY

0ETER 2EED 'ROUNDSWELL

!NN 2AVER h! 2OOF 4OP 'ARDEN

-AGAZINE !RCHITECTURE -AY

,ESLIE 3HERR h-ANHATTAN

#ONSTRUCTING THE #ONTEMPORARY

7ITH 3YNTHETIC 'REEN v 4HE .EW

4AKEOVER v ,EVER (OUSE ) $ 4HE

,ANDSCAPE .EW 9ORK 4HE -USEUM

9ORK 4IMES .OVEMBER

OF -ODERN !RT

"ARBARA (OFFMAN h)T S !RT IlCIAL v

)NTERNATIONAL $ESIGN -AGAZINE ,AURA 3TARR h!YALON 0ARKÂ&#x2C6;

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#OLLABORATIONS AT THE 74# v

!RCHITECTURE 3EPTEMBER +ENNETH (ELPHAND h(ORTUS

!RCHITECTURAL 2ECORD -ARCH 3HARON -C(UGH h.EW ,IFE FOR

,UDENS v ,ANDSCAPE !RCHITECTURE

+AREN % 3TEEN h'ARDEN 3POT v

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"IOGRAPHIES

1(5, (40+65 IS A LANDSCAPE DESIGNER CRITIC AND LEC TURER CURRENTLY TEACHING IN THE ,ANDSCAPE 3ECTION OF THE +NOWLTON 3CHOOL OF !RCHITECTURE (ER PUBLISHED WORK INCLUDES $AN +ILEY !MERICA S -ASTER ,ANDSCAPE !RCHITECT

2ADICAL ,ANDSCAPES AND -OVING (ORIZONS 4HE ,ANDSCAPE !RCHITECTURE OF +ATHRYN 'USTAFSON AND 0ARTNERS 2ECENT PRESENTATIONS INCLUDE DISCUSSIONS OF MODERN AND CON TEMPORARY LANDSCAPE ARCHITECTURE AT THE .ETHERLANDS !RCHITECTURE )NSTITUTE THE 2OYAL )NSTITUTE OF "RITISH !RCHITECTURE AND THE 7EXNER !RT #ENTER

505( 9(77(769; IS AN ARCHITECTURAL CRITIC CURATOR AND EDUCATOR BASED IN .EW 9ORK 3HE IS PUBLICATIONS EDITOR AT 9ALE 3CHOOL OF !RCHITECTURE WHERE SHE IS THE EDITOR OF THE BIANNUAL PUBLICATION #ONSTRUCTS EXHIBITION CATALOGS

AND STUDIO BOOKS 3HE IS A FELLOW OF THE $ESIGN 4RUST FOR 0UBLIC 3PACE FOR h,ONG )SLAND #ITY #ONNECTING THE !RTS v AN ARTS IDENTITY AND URBAN DESIGN PROJECT 3HE HAS CONTRIBUTED ARTICLES TO !RCHITECTURE !RCHITECTURAL 2ECORD

$EUTSCHE "AUZEITUNG &UTURE !NTERIOR -ETROPOLIS 0RAXIS AND 4EC !T #ITY #OLLEGE SHE IS ADJUNCT PROFESSOR TEACHING SEMINARS ON THE POST INDUSTRIAL FACTORY AND ON INNOVATIVE ENGINEERS 3HE IS CO CHAIR OF THE .EW 9ORK 4RI STATE CHAPTER OF $OCOMOMO 53

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