Nicole la Hausse de Lalouviere's Portfolio

Nicole la Hausse de Lalouvière PORTFOLIO

As much as possible, the content of this portfolio is the direct product of work by the author, although work by other members of the team and external collaborators is included (with attribution) to provide full understanding of the projects.

All text by author.

Harmann Schedel, Woodcut of the Garden of Eden, 1493

segreto, garden of Eden, abundance, wall/gate/threshold

VIA GIULIA

LOCATION: ROME

TYPOLOGY: PUBLIC PARK

TIMELINE: 2010 COMPETITION 1ST PRIZE; 2015-2017 DESIGN STATUS: PENDING CONSTRUCTION PERMIT SIZE: 4,400 M 2 COLLABORATORS: DIENER & DIENER (ARCHITECTS), BASEL CLIENT: CAMEDILIZIA - CAM. S.R.L. ; CITY OF ROME

The new walled garden on Via Giula has both an internal and exter nal story. Inside the perimeter lies a world of quiet and calm, lush vegetation, and a glistening water basin. Visitors come here to sit alone or in pairs, sometimes to meeting wiht neighbours in the eve ning. It has the casualness of a garden that has been here for a long time, forgotten and partly neglected. The canopies of the trees reach over the wall, climbers and ramblers seem to be escaping the garden. It presents itself as an old garden rediscovered but still a well-kept se cret, and thus part of a long history of roman gardens. Those who enter will be reminded of the quieter areas of the Orti farnesiani or of remote spots in the park of Villa Borghese.

The garden is organized in three parts: atrio giardino, frutteto, and giardino segreto. The atrio giardinao offers street access from the prestigious Via Giulia. People may choose to have a drink under the café’s pergola, or sit on one of the chairs surrounding the water basin. From here, steps lead up to the orchard, where rows of fruit trees (critrus, olive, etc) stand on stepped terraces. The true “giardino seg reto” can be reached on the highest part of the garden, where a wild mix of trees, climbers, and bushes surround ancient ruins. A winding path leads the visitor through the rolling topography.

PERSONAL DUTIES:

- led Concept, Schematic Design, Design Development, Building Permit Application for public park sitting atop ancient ruins and new parking garage - managed up to 4 designers - coordinated with public and corporate clients; worked closely with Diener & Diener Architects, Basel - developed design through historical and precedent research, phys ical models, CAD drawings, Rhino digital model

KEY IDEAS:

landform shaped by glacial processes, smooth topography, kettle-and-hill

Geomorphology of Denmark

NEW NORTH ZEALAND HOSPITAL

LOCATION: HILLEROD, DENMARK TYPOLOGY: PUBLIC HOSPITAL, WOODLAND AND HEATHLAND TIMELINE: 2013 COMPETITION 1ST PRIZE – 2020 CONSTRUC TION ENDS

STATUS: BUILDING PERMIT APPLICATION, ONGOING SIZE: 27 HECTARES SITE; 24,000 M 2 INTERIOR LANDSCAPE COLLABORATORS: HERZOG & DE MEURON ARCHITECTS; VILHELM LAURITZEN ARKITEKTER; HENRIK JØRGENSEN LANDSKAB, RAMBOLL (STRUCTURE), MOE (CIVIL)

CLIENT: REGIONAL COUNCIL OF THE CAPITAL REGION OF DENMARK

Landscape and architecture are considered as a whole for this new public hospital, which has for main aim to respect and fade into its surroundings. The horizontality of the building reflects its pastoral location within the wide-open Danish landscape. Here, the sky be comes the most important landscape feature.

The landscape design finds its origin in the glacial processes that shaped the site’s geology, topography, and vegetation. Woodland, heathland, and wetland areas are connected through a system of paths and views, ans sit within a terrain that has been remodelled to main tain the area’s gentle topography. Two open space typologies frame the building: an open heathland punctuated by single-species tree groves on the inside, and a woodland park forming a denser site edge.

Inside the building, over 50 separate courtyards and one large green roof define the character and atmosphere of the hospital. Planting strategies take on the limitations in terms of sunlight and space (ivy, ferns, beech plantings), while also making the most of the opportunity that the large roof garden provides. Here, hedges frame intimate gar dens, each with a different function and feel.

PERSONAL DUTIES:

- led Schematic Design, Design Development, Building Permit Ap plication for 27 hectares site including 24,000 m2 green roofs (>50 courtyards); managed 20M. EUR landscape budget, oversaw team of up to 5 designers.

- coordinated with public client and large international team of ar chitects, engineers, quantity surveyors, local landscape architects; worked closely with Herzog & De Meuron Architects

- developed design through CAD drawings; physical & BIM models

Site aerial (Herzog & de Meuron collaboration)

KEY IDEAS:

wilderness of great American landscape, foreground/middleground/background, aspenc clones, sound of leaves

Aspen, New Mexico - Ansel Adams

MET BREUER COURTYARD

LOCATION: NEW YORK CITY

TYPOLOGY: MUSEUM COURTYARD

TIMELINE: 2014 COMMISSION -2016 CONSTRUCTION

STATUS: OPENED SPRING 2016

SIZE: 170 M 2

COLLABORATORS: FUTURE GREEN STUDIO, NYC CLIENT: THE METROPOLITAN MUSEUM OF ART

The iconic Breuer Building underwent a renovation that included its sunken courtyard, 4.5m below the bridge connecting Madison Av enue to the museum’s main entrance. This courtyard is re-imagined as a publicly-accessible space that is part of the bustling city life above.

Since the space needs to accommodate large events, most of the area is left open and flexible, while the long back wall is transformed from a flat, monotonous surface into a thickened and changing expe rience. Full-size quaking aspen are planted along the wall, bringing a piece of American wilderness to Manhattan. The aspen’s leaves shim mer and clatter in the wind, producing a soothing sound in the con tained space below noisy Manhattan streets. The top of the tree cano py is visible from street level, creating a new horizon, and drawing the visitor in.

From the inside of the museum, a large pane of glass separates the exhibition space from the courtyard. It becomes the front plane of a larger-than-life diorama. In the foreground: people mingling and so cialising amidst the new Breuer outdoor furniture. In the mid dleground: the densely-planted quaking aspens. In the background: Madison Avenue and all frenzied activity of Manhattan. The spectacle of aspens and human use of the courtyard changing through the day and the seasons, can be viewed from the museum, the bridge, and the street. In this sense, the courtyard fits into the spatial culture Manhat tan, where transparency, projection, and reflection are intrinsic to the experience of the city.

PERSONAL DUTIES:

- design for Concept, Schematic Design, Design Development phases, oversaw construction and shop drawings from Future Green Studio (local consultants) - coordinated with MET curators, local consultants - developed design through physical models, 1:1 mock-ups, CAD drawings

Photos by Shimpei Shirafuji

relationship, 3D stone cutting, colour in paving

Craft of bell-making, method and metal alloy mix is kept secret by specialised foundries

KURT HACKENBURG PLATZ

LOCATION: COLOGNE

TYPOLOGY: PUBLIC SQUARE

TIMELINE: 2014-2017

STATUS: IN CONSTRUCTION

SIZE: 3600 M 2

CLIENT: STADT KÖLN

This square is located in close proximity to Cologne’s main cultural institution: its cathedral. The sound of its bells creates rings through the square and marks the passage of time throughout the day. We wanted to create a relationship to the Cologne Cathedral and de signed a drinking fountain to do so. The fountain has two compo nents: the drinking piece, the hearing piece and the resonance chamber underground. As one bends over to take a drink, the sound of water droplets hitting the drums below, travels back up the hearing piece. The act of drinking and tasting is thereby connecting to hearing, and also to touching (holding onto the the copper foun tain for balance). Like the bells of the cathedral, the fountain is made of a copper alloy, developed for its acoustic qualities.

In addition to the fountain, we designed two 22m-long benches, which lie on either side of the planted gravel area. They are made of Grauwacke, a local stone, which is cut into smooth forms to create a new horizon line on the square. Although the benches are very solid and form a solid border to the space, they keep a certain informality, offering unconventional seating areas. One may choose to sit on the shaded, quieter side or to face outwards to the bustling vehicular and foot traffic.

New paving unifies the space, all the way up to the various buildings surrounding the square. Grauwacke is used here too, but different shades are chosen to compose a seemingly-random pattern of changing dimensions and colours.

PERSONAL DUTIES:

- led Schematic Design, Design Development, Construction Docu ments (project transferred to VOGT Berlin office for Construction Administration)

- developed design of bespoke benches and drinking fountain through Rhino model, rapid prototyping, 3D-prints, 1:1 mock-ups

Documents in collaboration with VOGT Berlin Office

Construction Administration in collaboration with VOGT Berlin Office

KEY IDEAS:

viewing/reflecting/projecting, foreground - middleground - background, miniature & panorama

Jade diggers along Xinjiang’s White Jade River

HYUNDAI MOTORSTUDIO

LOCATION: BEIJING

TYPOLOGY: PUBLIC SQUARE, RENOVATION

TIMELINE: 2015-2017 COMMISSION

STATUS: IN CONSTRUCTION

SIZE: 1000 M 2 EXTERIOR LANDSCAPE COLLABORATORS: 2X4.ORG, NYC

CLIENT: HYUNDAI GROUP

Landsberg-am-Lech is intrinsically tied to the river that flows through it - it’s even in the town’s name. The river Lech flows down from the Alps, grinding down pebbles and depositing sediments in the floodplain. The river is Landsberg’s direct connection to the greater landscape and millennia of geomorphological activity.

The area of Papierbach is a now-defunct industrial zone that is be ing redeveloped as a mixed-use neighbourhood, with two main axes. One of these encompasses the public square; the other connects the old town (via a bridge over the river) to the other side of town. A tun nel under the existing railway line stands as the main challenge to cre ating an open and welcoming public space. The proposed design fo cuses on materiality, choosing “Nagelfluh” (a local conglomerate stone) for walls, and cobblestones for paving. The walls are a recurring element that separate the public spaces from private gardens half a meter above. Walls also run along the sides of the tunnel below the railway. These are thought of in more sculptural terms: gently curving stone walls guide people through the tunnel. The whole neighbour hood is paved in the same unifying surface of cobblestones. But rather than using a standard pattern, the old-fashioned “passé” laying tech nique is chosen for its lack of orientation. This allows the different spaces to relate as needed to building entrances, direction of move ment, connection to the street, etc. This paving pattern also allows the ground surface to smoothly rise into planters, where trees sit atop the slab of the parking garage below.

PERSONAL DUTIES:

- led design from Concept Design to Construction Administration - coordinated with 2x4.org, local consultants - developed design through physical models, 1:1 mock-ups, local construction methods research

NOTFORCONSTRUCTION

NOTFORCONSTRUCTION

Parthenocissus

subtropical

winters

Parts

the origin of the plants

temperature: 10

C temperature:

winter (lower temperatures) humidity provided by spray system or evaporation of higher than in winter Development of fungi is high in winter

photosynthesise a process crucial to their survival live, approx 2 ACH (air changes per hour)

air Temperature of the

pre-heated

and moisture

Planting on ground: Acrostichum aureum Anisodontea capensis Abutilon darwinii Bauhinia acuminata Darlingtonia californica Dicksonia antarctica Michelia champaca Psidium guajava Strelizia reginae var juncaceae

Ground cover: Pellaea rotundifolia Nertera granadensis

pieces/m 2

pieces/m

Nutri-LED light see specs air humidity and temperature sensor

top row of water spray nozzles fixed in top holes of column , may be moved depending on plant health

custom-made metal column with double

climbing and hanging plants in planters on columns

groundcover and perennials planted in ground

bottom row of water spray nozzles fixed in holes of column

overflow drainage substrate humidity and temperature sensor waterproofing and drainage mat concrete planter

sensor connection to digital control system filter fleece

planting substrate with high percentage of mineral soil

KEY IDEAS:

map and sections of Manhattan Island, State of New York (1898)

PARK LANE

LOCATION: NEW YORK CITY

TYPOLOGY: URBAN GARDEN

TIMELINE: 2015 COMPETITION 1ST PRIZE; 2015-2017 DESIGN STATUS: DESIGN DEVELOPMENT COMPLETED SIZE: 2,500 M2 COLLABORATORS: HERZOG & DE MEURON ARCHITECTS, BASEL CLIENT: WITKOFF, NEW YORK

A new skyscraper in Manhattan stands just south of Central Park. On West 59th Street, horse-drawn carriages take tourists from Colum bus Circle to Madison Avenue. The swaying branches of park trees move past on their left, while massive Gilded Age facades border the street to their right. Within long imposing street edge, they might no tice a small garden. Groups of trees planted close to the street hang over the railings, creating areas of shade on the sidewalk. Here, pass ers-by slow down to peer into an urban oasis through the stately wrought-iron gates.

Once inside, a new horizon appears, defined by a 4-m high box hedge standing against the brick party walls. Ivy evokes both the wil derness of American forests and the urban condition of New York City, where it covers stately brownstone buildings. Visitors will recog nize trees typical of the American Northeast: the Sugar Maple, the American Elm, and the Sassafras Tree. Not usually planted as garden trees, they bridge the gap in scale between this urban site and the wide open spaces of the American landscapes.

New York City is built atop some of the oldest rocks of the North American tectonic plate. In Central Park and throughout the island of Manhattan, massive glacial erratics sit in between deep skyscraper foundations and complex layers of infrastructure. These large boul ders stand as evidence of the magnitude and timescales of geological forces. Just as boulders emerge out of the ground in parts of the city, a large rock grows out of this garden on Park Lane. The artificial geo logical formation rises from a sunken courtyard two levels below. It reminds the visitor that there is a world right under our feet that we often forget about.

PERSONAL DUTIES:

- led design of project for Concept Design, Schematic Design - coordinated with Herzog & De Meuron Architects, NYC real es tate developer - developed design through urban research, physical models

IDEAS:

Photographic series of site photos: plazas, cul-de-sacs, passages, interiors

zones, shipyard, public space in Turkey

HALIÇ SHIPYARDS

LOCATION: ISTANBUL

TYPOLOGY: URBAN REGENERATION

TIMELINE: 2015 MASTERPLAN - CONCEPT DESIGN

STATUS: STUDY COMPLETED

SIZE: 27 HECTARES

COLLABORATORS: TABANLIOGLU ARCHITECTS,ISTANBUL; TEGET ARCHITECTS, ISTANBUL

CLIENT: HALIÇ MARINA

The Haliç Shipyards have been in operation since the area was es tablished under Fatih Sultan Mehmet in 1455. They were some of the longest operating docks in the world. The site is situated on the Gold en Horn, directly across from the Old City (Constantinople). Sur rounded today by a park, a cemetery, and popular neighbourhoods, it has the potential to provide a large and rich area of public space for the local population and a destination for many others. Just as the wa terfront provided the raison d’etre for the site as a shipyard, it should remain the main organizing principle for this development. As the site’s main asset, it should not be privatized, but instead act as its con tinuous, pedestrian, and public spine. We propose that the promenade maintain multiple connections, both physical and programmatic to the water. The esplanade offers points of direct access to the sensory experience of water.

A careful site analysis, based both on tangible and intangible ele ments, led us to five main goals for the urban regeneration scheme:

- Critical Conservation: integrate and translate the historical context of the site at multiple scales.

- Landscape Matrix: recognize landscape as the matrix within which the buildings are sited.

- Scale of Urban Fabric: new site elements (building, landscape, and infrastructure) should sit between the scale of the existing historic shipyard buildings and the small residential buildings of the surround ing urban fabric.

PERSONAL DUTIES:

- part of design team, prepared presentation materials for submis sions and internal reviews, produced research materials - coordinated with Tabanlioglu Architects, TEGET Architects - developed design through physical modeling, extensive cultural research, typological studies,

Landscape Zones

KEY IDEAS:

maritime city, legacy planning, public space and change of use

Xylography based on drawing by Adolf Eltzner, 1882.

MASTERPLAN OLYMPIC CITY 2024

LOCATION: KLEINER GRASBROOK, HAMBURG TYPOLOGY: NEW NEIGHBORHOOD AND GROUNDS FOR THE 2024 OLYMPIC GAMES

TIMELINE: COMPETITION 1ST PRIZE, MASTERPLAN SUBMITTED TO PUBLIC 2015, “NO” VOTE TO HOSTING OLYMPICS SIZE: 900 HECTARES BUDGET:COLLABORATORS: KCAP (URBAN DESIGN), ARUP (ENGI NEERS), GMP INTERNATIONAL, WES , DREES & SOMMER, KUNST+HERBERT

CLIENT: HAFENCITY, HAMBURG

The Olympic City is located in Kleine Grasbrook, a link between the islands of the River Elbe the rest of Hamburg, including HafenCity, the location of intense urban regeneration.

The new masterplans understands Olympic and Paralympic Games as initiators of sustainable urban renewal and engines of development. Building on the precedents of Barcelona, Vancouver, and London, the proposal anticipates the post-Olympic use of all new structures and infrastructure.

The core is formed by the Olympic Village, where athletes live during the events, and immediately available for inhabitation after the games. The stadium is envisioned as a lasteing symbol of the Olympic City, supplemented by new uses post-games. The Olympic Hall would be converted into a cruise terminal and the Olympia Swimming Pool would continue to be a sports and leisure complex.

The main structuring elements of the urban development are the ports, quays, and shores of Kleiner Grasbrook. The road network and planting typologies are respond to the banks of the River Elbe, Moldauhafen,and Hansahafen. A linear park runs east to west, con necting the main square to the new subway station across the stadium. A new east-west axis forms the Grasbrooker-allee – a central shopping street for the district.

PERSONAL DUTIES:

- part of design team, prepared material for internal reviews, respon sible for submission - coordinated with KCAP (urban design) , Zurich - developed design through urban research, typology studies

KEY IDEAS:

-industrial zone, urban regeneration, green/blue connections, urban square, transit

Existing industrial zone in Klybeck (north Basel), large portions inaccessible to the public

KLYBECK PLUS

LOCATION: BASEL

TYPOLOGY: URBAN REGENERATION

TIMELINE: 2016-2017 TESTPLANUNG COMPETITION STATUS: ONGOING SIZE: 20 HECTARES

COLLABORATORS: DIENER & DIENER (ARCHITECTS), BASEL CLIENT: KANTON BASEL-STADT, BASF, NOVARTIS

Klybeck is an industrial neighbourhood in Basel, northeast of the Altstadt (old town). Its large industrial campuses were closed to the public for many decades. It is now opening up, through a process of regeneration and transformation whereby Novartis, BASF and the canton of City Basel join forces to create a new identity of the neigh bourhood.

The aim of the masterplan is to retain the industrial character of this part of town while integrating new uses to the existing and new buildings, including living, international offices, cultural and educa tional education, and research. The phased approach relies on a sensi tive understanding of the current urban composition of the area, and a new urban heart: Klybeck Platz. This square sits at the intersection of traffic lines running north-south and east-west. It sits along Mauer strasse, the historic axis through the industrial zone, now a connection line between the Rhein and the Wiese canal.

PERSONAL DUTIES:

- led design through 3 main testplanung (study competition) phases, including public workshops, client presentations and - coordinated with Diener & Diener Architects - developed design through urban research, typological studies

kleinhüningen haltestelle

Wiesenplatz

kLybEckpLatz

Dreirosenanlage

Erasmusplatz

claraplatz

Wettsteinplatz

2004 S-E ASIA TSUNAMI MEMORIAL

LOCATION: STOCKHOLM

TYPOLOGY: PUBLIC MEMORIAL

TIMELINE: 2016 COMPETITION

STATUS: 3RD PRIZE

SIZE: 11,50 M 2

COLLABORATORS: STUDIO JULIAN CHARRIÈRE

CLIENT: NATIONAL PROPERTY BOARD OF SWEDEN, STATENS KONSTRÅD

The memorial has for mission to commemorate the 543 Swedes and over 230,000 dead caused by the 26 December 2004 Tsunami. Through its range of natural materials and elemental symbolism, the memorial invokes the immense forces and timescales of nature as a counterpart to human life. Aspects of the monument are distributed throughout the site in Djurgården, affording various modes of visitor engagement: establishing a public space for reflection and solemn re membrance while further serving as a site for communication and lei sure – integrating lives past and the living present.

One enters the site through a newly planted Birch Grove, which shields the memorial from the parking and completes the forest edge. Amidst the birches, the visitor first encounters the Offering Table, where flowers and candles may be laid. The visitor then reaches a clearing - the meadow where the Reflection Table stands beneath the old orchard trees and new rambling roses. Toward the forest edge, Communication Tables offer the visitors a place to come together and share a meal. From the clearing, sculptural stone columns are visible. They reach into the forest, accessible via the new Belt Path.

As visitors stroll through the park, they undertake a journey through deep geological time. They encounter stones from various places and epochs, including existing dales and manufactured sculptural stone posts. The extreme contrast in age and lifecycle between the stones, the park’s centenary oaks, and the vistors themselves, invokes the im mense forces and timescales of nature as a counterpart to human life.

PERSONAL DUTIES:

- led design of public park and collaborated with artist on design of memorial

- coordinated with Studio Julian Charrière, stone and glass manufac turers

- developed design through physical models,prototypes, 1:1 mock-ups

The entrance to the site is through a newly planted Birch Grove, which shields the memo rial from the parking and completes the forest edge. Amidst the birches, the visitor first en counters the Offering Table, where flowers and candles may be laid. The visitor then reach es a clearing - the meadow where the Reflection Table stands beneath the old orchard trees and new rambling roses. Toward the forest edge, Communication Tables offer the visitors a place to come together and share a meal. From the clearing, sculptural stone columns are visible. They reach into the forest, which visitors can stroll through by taking the new Belt Path

As visitors walk through the park amidst the stone columns they are encountering objects created by tectonic forces over thousands of millennia – undertaking a journey through deep geological time. Within the selection of stones they encounter samples from various physical epochs, some millions of years apart.

The extreme contrast in age and lifecycle between these stones, the trees of the park, and the vistors themselves, invokes the immense forces and timescales of nature as a counter part to human life.

The Reflection Table is placed among the existing fruit trees, in the Forest Clearing. From this loca tion, visitors have views to the different areas of the site, and can take the old path or the new Belt Path through the Ancient Forest.

Main Path through Birch Grove to the Reflection Table under the fruit trees and rambling roses

The parking lot comes visitors to

The Birch Grove

Existing picnic

The parking lot is separated from the memorial by a new Birch Grove. The Offering Table wel comes visitors to the site with an engraving annoucing the memorial.

The Birch Grove shields the memorial from the parking, creating an enclosed Forest Clearing.

Taking the Belt Path through the forest leads visitors to the existing dales (rock outcrops), and al lows them to experience the Sculptural Columns within the forest.

Existing picnic tables are replaced by granite Communication Tables, where visitors may sit at the forest edge.

Minnessten / 210500

Leaves

Forest Clearing

Birch Grove covered in snow

Frost and reflections on Offering Table

Shadows of names on granite Reflection Table

Rambling roses climb up fruit trees in Forest Clearing Looking up in Ancient Oak Forest

Leaves and bark provide contrast in Birch Grove

When considered together the columns terminate at the same height – regardless of variations in the park’s topology. This means that column heights compensate for lower or higher elevations so that each corresponds with one-another on a new horizon line. Formally, this device draws them all together. Furthermore, in terms classical sculptural logic a column is a supporting device. In the unified space above the columns there is no particular individual being supported. Instead, raised on common ground from all parts of the world, there is a space offered as monument to universal community.

Frost and reflections on Offering Table

Tree shadows on Reflection Table (same view as below)

Shadows of names on granite Reflection Table Names on granite Reflection Table (same view as above)Birch Grove

Minnessten /

Geological map of Sweden showing sources of granite

In the clearing, visitors encounter a group of circular stone tables made from smooth Swedish granite. They are cylindrical in form and set within the soil, as if projecting up from the ground itself. Each is accompanied by granite stools.

The Reflection Table stools are set away from the table to allow groups and wheelchair access to the table. Seating is for reflection rather than direct contact with the table. The distance between table and stools registers the profound disruption of everyday life, domes tic, and familial relations, caused by the loss of life.

clearing, visitors encounter a group of circular stone tables from smooth Swedish granite. They are cylindrical in form and within the soil, as if projecting up from the ground itself. Each is accompanied by granite stools.

Reflection Table stools are set away from the table to allow and wheelchair access to the table. Seating is for reflection than direct contact with the table. The distance between table stools registers the profound disruption of everyday life, domes and familial relations, caused by the loss of life.

Sculptural stone columns (25 cm diameter) are located in the clearing and in between trees, fully inhabiting the park, integrated into its flora and topography. Like core-samples from a geological survey, they appear to have risen from the ground itself. Rather than Swedish granite, these col umns are made of stone from all five inhabited continents – and, specifically, regions most affected by the tsunami.

Each is a physical signifier of place, an avatar of strength, and an individual invitation for reflection. Next to every column, a shallow hole has been drilled into the earth. Each of these figures a void - both registering the physical break left by the geological event which caused the tsunami and the lost victims.

Winter View: Section Sculptural Columns and Offering Table 1:20

Core drilling is a standard technique in mining and consctruction.

Geological forces of compression lead to the creation of new material at the surface of the Earth.

History of water engineering in Bremen

IDEAS:

of water, musical movements, flood-protection

ALTE NEUSTADT PROMENADE

LOCATION: BREMEN

TYPOLOGY: RIVER PROMENADE

TIMELINE: 2016 COMPETITION

STATUS: COMPLETED

SIZE: 4 HECTARES

BUDGET:CLIENT: FREIE HASESTADT BREMEN

Thanks to its strategic location on the river Weser, Bremen became one of Germany’s Hanseatic cities. Its waterfront is thus of great his torical and cultural importance.This open competition called for a new concept for the southern promenade, on the “Alte Neustadt” side. We proposed a “changing melody” as one moves along the river: from the industrial zone, to the dense residential centre, and eventual ly to the more natural marshland and park. These changing atmo spheres find form in the flood-protection wall, which becomes the primary expressive element of the design. The rhythm of the curving brick wall connects upper and lower promenades. It moves like a wave, opening to offer more space along the water, or the street above; of fering places to stop and sit or accelerate; providing new activities and even a children’s play area. The river goes through different move ments as it travels along the promenade: it accelerates under the bridges, and slows down between the dam and the marshes. The flow of the water finds itself translated into the wall construction. The curving wall is also a reference to the movements in music and Bre men’s long musical history.

PERSONAL DUTIES:

- led design of open competition, managed team of 4 designers - developed design through urban research, typological studies ,physical modeling, 1:1 mock-ups

Beleuchtung

Mauer Gelbe Klinker

Charcoal sketches: open square with active edges

T’ZAND SQUARE

LOCATION: BRUGES

TYPOLOGY: PUBLIC SQUARE AND PAVILION

TIMELINE: 2015 COMPETITION

STATUS: COMPLETED

SIZE: 10,000 M 2

COLLABORATORS: NOA ARCHITECTS, BRUGES

CLIENT: STAD BRUGGE

T’Zand is a public square that connects Brugge’s historic old town to its main traffic axes and green spaces. It has been used for centuries as a marketplace, and as such, needs to remain an unobstructed open space to host dozens of stalls every weekend. The design proposal takes for inspiration the name: “sand”; location: close to the coast; and geology: sedimentary. Most of the square is resurfaced with beigetoned asphalt, giving it a unified and fluid materiality. It rises on one side to form the roof of a new pavilion, and descends on the other to create a water feature at the base of a series of steps. These provide seating facing the square to one side, and a shaded planted area on the other. The new space has well defined edges, marking the boundary between the square and the busy adjacent roads. It remains open on the old town side, where busy cafes spill out onto it, while offering sheltered spaces under the trees where it borders busy street intersec tions. It retains its ability to function as a market place when needed, while also offering amenities (water, various seating types, shaded ar eas, kiosk, bike parking) that make it an attractive urban space yearround.

PERSONAL DUTIES:

- designed square and public spaces of greater site, prepared review and submission materials

- coordinated with NoA Architects, Bruges - design developed through urban research, physical models, hand sketching

KEY IDEAS:

stairs as an architectonic and topographic element, bricklaying

View of the Roman Capitol, 1757 engraving by Piranesi

BALCONY ON THE ELBE

LOCATION: HAMBURG

TYPOLOGY: NEW URBAN QUARTER

TIMELINE: 2016 COMPETITION

STATUS: COMPLETED

SIZE: 13.2 HA

CLIENT: HAFENCITY HAMBURG

Elbbrucke is part of Hafencity, an area of Hamburg undergoing regeneration. The site includes a new urban square which sits at the end of a dock. It benefits from proximity to a new train station, and promenades along the river. However, it also faces the challenge of noisy traffic on the neighbouring streets, and directly adjacent residen tial areas. The staircase is seen as an architectonic solution that can be adjusted based on different site demands. It also becomes an element of placemaking, with each stair bringing a different character to the adjoining spaces. The main square is organised into a lower zone reaching the water, and two balconies connecting it to the street level. Separate spaces are thus created for circulation, seating, playing, and events. Two grand staircases lead down from the balconies to the wa ter, each offering different spatial qualities. Along the river promenade, smaller stairs also lead to squares, gardens, and courtyards on the up per levels. The standard Hamburg brick becomes an expressive ele ment of the scheme, found not just in the building facades, but also now in the stairs. It is exploited for its tonal, textural and even graphic qualities: the name of the dock is spelled out in the brick walls.

PERSONAL DUTIES: - led team of 3 designers, responsible for submission - developed design through urban research, typological studies, 1:1 mock-ups, physcial models

Balkone und Plätze auf unterschiedlichen Niveaus

Die neue Gestaltung des Amerigo Vespucci-Platzes nim mt starken Bezug auf die Diagonale zum Bahnhof und nimmt die Orientierung mit seinen Blickbezügen und die Choreografie vom Bahnhof zum Hafenbecken und dann weiter zu den Promenaden hin auf.

Der Hauptplatz mit durchgängigem geringem Gefälle führt vom Niveau der Baakwerderstrasse hinunter zu den

beiden Promenade längsseitig zum Hafenbecken. Diese großzügige, kontinuierliche Geste des Verbindens der unterschiedlichen Niveaus unterteilt den Platz gleichsam in unterschiedliche Bereiche. Mittig entsteht ein harter, urbanen Stadtplatz und seitlich flankierende Balkone, die ebenerdig den Zugang zu den Gebäuden ermöglichen.

Der Hauptplatz wird durch die Formgebung der Mau ern bzw. Treppenanlagen in zwei Situationen mit unter schiedlichen Atmosphären geteilt. Die Verengung in der

Mitte dient gleichsam als Tor zum Wasser Der durchge hende Belag aus Kopfsteinpflaster fasst dabei die zwei Räume dennoch zu einem Ganzen und verbindet den ge neigten Hauptplatz mit den Promenaden am Wasser.

Die Balkone bieten mit dichten Baumgruppen aus Schn urbaum und Rundbänken Ausblicke auf den Hauptplatz, sowie auf das Hafenbecken. Als Belag werden hochwer tige grossformatige Betonplatten mit einer Oberflächen behandlung verwendet, die einen Kontrast zum Kopf

steinpflaster Massstab iehen.

Der Pavillon alb

Promenade längsseitig zum Hafenbecken. Diese großzügige, kontinuierliche Geste des Verbindens der unterschiedlichen Niveaus unterteilt den Platz gleichsam unterschiedliche Bereiche. Mittig entsteht ein harter, urbanen Stadtplatz und seitlich flankierende Balkone, die ebenerdig den Zugang zu den Gebäuden ermöglichen.

Hauptplatz wird durch die Formgebung der Mau bzw. Treppenanlagen in zwei Situationen mit unter schiedlichen Atmosphären geteilt. Die Verengung in der

Mitte dient gleichsam als Tor zum Wasser. Der durchge hende Belag aus Kopfsteinpflaster fasst dabei die zwei Räume dennoch zu einem Ganzen und verbindet den ge neigten Hauptplatz mit den Promenaden am Wasser.

Die Balkone bieten mit dichten Baumgruppen aus Schn urbaum und Rundbänken Ausblicke auf den Hauptplatz, sowie auf das Hafenbecken. Als Belag werden hochwer tige grossformatige Betonplatten mit einer Oberflächen behandlung verwendet, die einen Kontrast zum Kopf

steinpflaster auf dem Hauptplatz bilden und sich auf den Massstab und die ehemalige Nutzung des Quartiers bez iehen.

Der Pavillon kann auf dem nördlichen Balkon innerh alb der Treppenanlage positioniert werden, der bereits in der Sichtachse vom Bahnhof liegt. Der Pavillon nim mt den Höhenversatz auf und ist somit auf zwei Höhen zugänglich – vom Balkon als auf vom Hauptplatz aus.

SITZEN PROMENIEREN

VERANSTALTUNGKUNST & KULTUR

Grössenvergleich

Amerigo-Vespucci-Platz Rathausmarkt

Paul-Nevermann-Platz Gerhart-Hauptmann-Platz

Promenade von Hafenbecken zum Bahnhof

Kopfsteinpflaster

Sitztreppen

Schnurbaum

Schnurbaum

Ziegelmauer

Südseite

der Nordseite

Treppenanlage

Speicherstadt

beziehen sich einerseits

anderseits

2 1

Speziell gebrannte Klinker sorgen für einen kon tinuierlichen Farbverlauf dunkel bis hell von unt en bis oben und bieten über den Tages- und Jahresverlauf ein interessantes Farbspiel. Für die Adressbildung und Identifikation des Ortes wird mit helleren Ziegelsteinen und Typografie als un verwechselbares Ornament der Name Vespucci’s in die Mauern eingelassen. Dies wiederspiegelt die alte Tradition großer Schriftzüge zur Orientierung in Hafenbereichen.

Die Elemente Treppenanlagen, Sitzstufen oder Mauern sind sehr funktional verortet und beziehen sich auf Sonnenstand, Aufenthaltsorten, Ausblick situationen und optimale Wegeverbindungen. Diese Individualisierung der beiden Balkone führt zu ei nem sehr differenzierten Hauptplatz in der Mitte, der sich beim durchgehen stark wandelt. Der Weg vom Bahnhof bis zu den Promenaden ist durch die geneigte Fläche für Rollstuhlfahrer und Fahrrad fahrer möglich ohne eine Treppenanlage queren zu müssen.

Mauerabschluss

Sitzstufen

Kopfsteinpflaster

Kopfsteinpflaster

Rundbank

Schnurbaum

Schnurbaum

Schnurbaum

Sitztreppe

Hafenbecken

Hafenbecken

Passé paving pattern

IDEAS:

traditional paving laying pattern, non-directional paving

QUARTIER PAPIERBACH

LOCATION: LANDSBERG AM LECH

TYPOLOGY: NEW URBAN QUARTER

TIMELINE: 2017 COMPETITION

STATUS: COMPLETED

SIZE: 8 HA

CLIENT: EHRET+KLEIN REAL ESTATE

Landsberg-am-Lech is intrinsically tied to the river that flows through it - it’s even in the town’s name. The river Lech flows down from the Alps, grinding down pebbles and depositing sediments in the floodplain. The river is Landsberg’s direct connection to the greater landscape and millennia of geomorphological activity.

The area of Papierbach is a now-defunct industrial zone that is be ing redeveloped as a mixed-use neighbourhood, with two main axes. One of these encompasses the public square; the other connects the old town (via a bridge over the river) to the other side of town. A tun nel under the existing railway line stands as the main challenge to cre ating an open and welcoming public space. The proposed design fo cuses on materiality, choosing “Nagelfluh” (a local conglomerate stone) for walls, and cobblestones for paving. The walls are a recurring element that separate the public spaces from private gardens half a meter above. Walls also run along the sides of the tunnel below the railway. These are thought of in more sculptural terms: gently curving stone walls guide people through the tunnel. The whole neighbour hood is paved in the same unifying surface of cobblestones. But rather than using a standard pattern, the old-fashioned “passé” laying tech nique is chosen for its lack of orientation. This allows the different spaces to relate as needed to building entrances, direction of move ment, connection to the street, etc. This paving pattern also allows the ground surface to smoothly rise into planters, where trees sit atop the slab of the parking garage below.

PERSONAL DUTIES:

- led team of 2 designers, responsible for submission - developed design through urban research, hand-sketching, physcial models

Vegetation

Beleuchtung

KEY IDEAS:

English Landscape Park in Switzerland, serpentine paths, framed views, follies, surprise, awe, contemplation.

View from the Station Eismeer on the Jungfraubahn.

MITTELHOLZER PARK

LOCATION: KLOTEN

TYPOLOGY: PUBLIC PARK

TIMELINE: 2017 COMPETITION

STATUS: COMPLETED SIZE: 8,2 HA

CLIENT: FLUGHAFEN ZÜRICH COLLABORATORS: PROF. CHRISTIAN SCHMIDT (SOCIOLO GIST, ETH)

Adjacent to Zurich Airport sits a small hill named “Butzenbuhl”, a remnant of the glacial processes that shaped the geomorphology of the region. With the extension of the airport into a global centre for research, medicine, and shopping, the Butzenbuhl hill is poised to become a new point of focus. The competition brief required a clearer definition of its program and character. We worked with a sociologist from ETH University to better understand the potential users: travelers in transit or on a short stop-over, airport staff, and the local inhabitants of the town of Kloten nearby. All of these visitors operate on different timescales and speeds. They require that the new public park be used for a taste of the Swiss landscape, a lunchtime break, or a weekend walk.

A new choreography is drawn through the park to bring visitors to different areas of interest: the grove, the orchard, the holloway, the meadow, etc. Landscape elements are thought of as “follies”, reveal ing themselves from different points on the path. A new, typical ly-Swiss, mountain railway invites the visitors to take the ride up from the main square to the top of the hill. Here, a primordial mound acts as a sun dial, registering astronomical time as a complement to fastpaced airline schedules.

PERSONAL DUTIES:

- led team of 3 designers, responsible for submission - collaborated with academic sociologist, manufacturers - developed design through urban research, typological studies, physcial models

Topographie

Desert de Retz: open air theatre, grotto, “colonne brisée”.

WUNDERLUST

WANDERKAMMER /WUNDERLUST

BOOK AND EXHIBITION SERIES BOOK SLEEVE CONTAINS: LOOSE LEAFLETS (“COLLECTING”), BOOKLET (“RECORDING”), LEPORELLOS (“TRANSLATING”)

AUTHORS: GÜNTHER VOGT; MARA KATHERINE SMABY; NICO LA EIFFLER; NICOLE LA HAUSSE DE LALOUVIÈRE; GIJS RIJN BEEK; 3A GALLERY ZÜRICH : ZÜRICH LARS MÜLLER PUBLISHERS, 2016

“A Wunderkammer is a classification device that emphatically resists classifica tion. It occupies a liminal netherworld between furniture and room, between the natural and the artificial, between the intimate and the universal.

This collection, like the Wunderkammer it considers, is neither monograph, nor catalog, nor book. In three volumes — Collecting, Recording, and Translating — this hybrid collection considers the content and ethos of a Wunderkammer de signed by Case Studio VOGT.”

“Not intended as an artifact, and certainly not as a work of art, the Wunder kammer is instead a design tool, helping us to discursively hone our position as landscape architects. How do we train ourselves as designers to be awake in the world ? How might we transcribe a site with greater intimacy and less remoteness? What are we to do when inevitably, saturated with the radical complexity of the phenom enal world, we must sit back down at our desks and get to work ?”

“Translating is the process by which knowledge and insight acquired through field research is instrumentalized in a productive way. It builds on the work of collecting and recording, capitalizing on the particular insights and perspectives acquired through these processes and bringing them to bear on new problematics. Field trips are centered about a very specific setting, and yet extracting what we learn from this context can be an extremely productive act. The revelation that comes when shedding new light on an idea can trigger some of the most original insights.

In our landscape architecture office, we are con stantly faced with utilitarian requests and prag- matic demands. Through the process of translating, we are able to bring seemingly unrelated ideas”

PERSONAL DUTIES:

- wrote and edited text - graphics and layout design of exhibition catalogues - acquired image copyright - coordinated with editors, graphic designers, publishers

Ice Hole photo series - Olafur Eliasson

KEY IDEAS: collaboration, shared sensitivity between artist and landscape architect

YOUR GLACIAL EXPECTATIONS

ESSAY: “SEARCH AND RESEARCH: THE MOLS LANDSCAPE IN DENMARK”

AUTHORS: GÜNTHER VOGT, NICOLE LA HAUSSE DE LALOU VIÈRE

PUBLISHED IN BOOK BY ÓLAFUR ELÍASSON, JOSEFINE KLOU

GART, VOGT LANDSCAPE ARCHITECTS, KVADRAT

LONDON : THAMES & HUDSON, 2017 COLLABORATORS: STUDIO ÓLAFUR ELÍASSON, GRAPHIC THOUGHT FACILITY

On the Kvadrat site the sheep roam free: it is the trees that are enclosed by wo ven fencing. This reversal brings our attention to the woodland tree groves, which are both garden and wilderness. Plucked from the neighbouring woodland and placed within the grassland, they are miniature Gardens of Eden: impenetrable, idealised landscapes.

The groves present to the viewer a single species in multiple habitus, ages, and heights: a representative collection for each species. Each chosen species has its own preferred habitat, soil conditions and success rate over the ages. As the climate evolved since the last Ice Age, different trees have come and gone as the dominant species in this area of Djursland.

First came the pioneer softwood species such as birch, aspen and pine, which lead through vegetative succession to species such as oak, a hardwood and shade tree. In addition to these, there are groves of maple, mountain ash and honey lo cust, which were added for their light foliage and seasonal colour change. Today, all of these species are present in Djursland and are representative of the different migration stories and changing roles of trees in a woodland.

“The grassland is a particularly beautiful feature of the site, and was left most ly untouched by the design.[... ] It is enhanced by a simple maintenance approach. The grass is cut only every two years in order to maintain the plant variety, and to allow the perennials to flourish and grasses to seed. The grassland is mown to create a meandering path through the site. This mown area shifts slightly every year, since the exact path location is left undefined. Thus the movement through the site’s gen tle topography changes, and new types of grasses and flowers flourish with the dif ferent mowing patterns.

PERSONAL DUTIES:

- research in various fields: design, geology, botany - wrote and edited text - graphics and layout - coordinated with editors, graphic designers, publishers

As a landscape architecture project, Your glacial expectations is both understated and complex. Vogt Landscape Archi tects’ design melds wilderness and garden while extending its scope beyond the site boundaries.

Simple yet evocative interventions in the landscape are derived from considerable research into the physical processes that moulded the

peninsula. These interventions place the

within both a dynamic geography and a geological timescale.

The following pages present Vogt Landscape Architects’

and Research’ approach: allowing subjective and sometimes tangential elements of interest to come to the fore. These disparate points of focus create a new base of knowledge, which led in Your glacial expectations to the expression of invisible phenomena in a tangible landscape.

Search and Research: The Mols Landscape in Denmark Vogt Landscape Architects Text by Günther Vogt and Nicole la Hausse de Lalouvière

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