VAGUE FROM AUSTERE BACKGROUND TO CULTURAL VANGUARD.
COVER PHOTO : RODARTE SS18. BUREAUBETAK. BELOW: PRADA FW17 CAMPAIGN.
The field of landscape architecture has developed to encompass a wide range of practice and focuses. From its extensive history of garden design to its more recent position as the framework of contemporary urban design, landscape architecture has had an ambiguity to its role within society. Not only with the concept of how to define the boundary of the site, but with understanding the professionâ€™s objectives, efficacy, and philosophical positions in design. It is in this broadness of the profession that has attracted such a diverse range of designers and scholars, each initially interested in landscape architecture for a variety of its characteristics and potentials to practice or understand the world in one sub-area or another.
ARRIVE WITH THE PASSION AND FASCINATION OF LANDSCAPE MATERIALITY OR TRANSCENDENTAL DESIGNS RODARTE SS18. SHOWROOM SET DESIGN BY BUREAU BETAK.
For many students studying in programs in the contemporary period, they arrive with the passion and fascination of landscape materiality or transcendental designs, and through studying the minutiae, there becomes an ambivalence that as landscape architects, we must be advocates for addressing significant issues occurring across the globe. Current development of landscape
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practice is questioning how the profession should be using our skills for resolving urban density, pollution, inequity, along with other issues. Not to discount these noble efforts focusing on societal and environmental issues, but it has consistently been an issue within the practice of landscape architecture that to work within one realm of efficacy is to resist all others.
THERE HAS BECOME AN INTERNAL DISMISSAL TO DESIGN FOR AESTHETICSâ€™ SAKE OR FOR AESTHETICS TO BE THE PRIMARY DRIVER OF A PROJECT. DIOR SS16. SHOWROOM SET DESIGN BY BUREAU BETAK.
The ambiguity of the field has led to design and assess landscapes as either aesthetics or performance as the primary driver, seldom being accepted as sufficient within the field either way. All the while, as professionals and scholars develop theories with the field, there is a struggle for the role of landscape architecture to be defined and truly understood within society. Not only within the hierarchy of the design realm of architects, landscape architects, planners and engineers, but society in general, there is a lack of awareness and comprehension of the profession’s position and potential, resulting in limited
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AMBIGUITY OF THE FIELD
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budget or capability to realize impactful projects. We have developed this ethic that our landscapes must have a certain level of functionality to be considered successful, all the while we are limited by budget and an area to design. There has become an internal dismissal to design for aestheticsâ€™ sake or for aesthetics to be the primary driver of a project. But what if designing in aesthetic driven projects were the Trojan horse for bringing awareness of landscape architecture and its potential to address significant issues. By developing a presence in culturally profound industries such as fashion, there becomes a potential to manifest landscape architecture as a known and recognized profession of necessity and actualize the performative landscapes for significant global issues.
FIGURE IN A FIELD
In 1950â€™s, Garrett Eckbo had recognized issues within the profession for lacking a modernism movement, but for also class struggles, environmental issues, and major development at a time of leisure and consumption. Eckbo wrote in Landscape for Living how theory must be oriented to society as must as the technical and aesthetics to address the environmental problems. In order to create OPPOSITE: DIOR HOMME SS16.
designs that truly function, theory in landscape design should be a theory of form as must as function. At the same time, we have JB Jackson, where cultural landscapes are a way to understand society and culture. It is an embedded notion within the history of landscape theory that culture and form are equally important in the ways we are understand the built environment and by DIOR CRUISE 2018. BUREAU BETAK.
extension, how designers can understand their profession. As the field of landscape architecture has developed the theory of ecological urbanism, a contemporary approach of urbanism incorporating inherent conditions of ecology and urbanism, we arrived to the position of profession assigning itself the opportunity to resolve global issues. Felix Gattari presents the argument in The Three Ecologies that the only true response to ecological crisis is on the global scale. The three types of ecologies are the environment, social relations, and human subjectivity, all being related to another in a balanced ethical-political concept of “Ecosophy”. If the true response to create an impactful position is on a global scale, then it should inherent that the value of efficacy be as flexible as the systems we study and design.
BUENOS AIRES-BASED ARTIST ALEXANDRA KEHAYOGLOU FOR DRIES VAN NOTEN’S SS15 SHOW
COLLECTION INSPIRED BY THE AMERICAN WEST AND SUNLIT FIELDS
Creative Director Stuart Vevers worked with set designer Stefan Beckman to create a runway show on the High Line in New York City’s Chelsea neighborhood, near the Hudson Yards, where the fashion house’s headquarters is located. Vevers and Beckman built a glass tent on the Hudson Yards construction site several weeks in advance, and brought on John Beitel, a landscape designer, to produce a mixture of native grasses and plants inside the venue. Studied dozens of types of plants and grasses to achieve the right mix of a late summerto-early fall field
PHILLIP LIM MAYA LIN SS13
The fashion industry is prominently influential on cultural behavior and is a potential way to bring awareness to the issues our profession is currently involved in addressing, or the very least, offers a way to strengthen a presence of landscape architecture and recognition of our role. Fashionâ€™s Phillip Lim has had a prominent partnership with Maya Lin, with runway set designs and collection pieces. Phillip Lim approached Lim because of the interest in environmental issues and was a shared interest to raise awareness. The installation included 360 cubic yards of organic compost soil in 13 foot tall conic mounds that were later donated to New York Cityâ€™s community gardens. Many companies are just as interested in environmentalism and sustainability, being that the fashion industry is one of the
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leading polluting industries. The forms of the Phillip Lim Spring-Summer 2016 set design were impactful within the fashion community as a form of land art, where it also has environmentalism undertones. Runway set design is significant in presenting the collections of fashion companies, for designers have used it as a background to amplify the collectionâ€™s meanings or
juxtapose with the clothes, and demarcate it as a moment in history. Few landscape and architecture offices have recognized this partnership as a means to convey the ethos we hold inherent in our work, or as a manner to strengthen our presence or artistic opportunity. OMA, Office of Metropolitan Architecture, has developed a strong presence in the fashion industry, design runways
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consecutively for Prada and designing for the Prada Foundation. Jacques Wirtz, landscape architecture office in Paris, designed for Christian Diorâ€™s SpringSummer 2013 collection. Dior has a prominent reputation of have landscape integrated within their shows as it is embedded in Christian Diorâ€™s personal interest and inspiration. Fashion often refers to landscape for inspiration in form, patterning, and many other things, as well as being interested and referring to similar condition modern landscape architects are interested in and addressing. Many fashion companies more directly refer to landscapes in their runway shows as ways to present their collection. Landscape architects have a potential to design runways if it can be understood as small scale provisional installations. Ken Smith referred to these type of projects within this
CHRISTIAN DIOR SS13 WIRTZ INTERNATIONAL LANDSCAPE ARCHITECTS
LANDSCAPE ARCHITECTS HAVE A POTENTIAL TO DESIGN RUNWAYS IF IT CAN BE UNDERSTOOD AS SMALL SCALE PROVISIONAL INSTALLATIONS
CHANEL SS18. SET DESIGN BY BUREAU BETAK.
ERDEM SS15. INSPIRED BY THE WORK OF VICTORIAN BIOLOGIST AND EXPLORER MARIANNE NORTH.
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office as means to research and as a development tool. As Dior and other fashion companies have a wide range of lines and products, from fragrance and accessories to couture and ready wear, where couture is vital as artistic exploration and other lines extend as developed ideas, his office views these small
scale installations as means to experiment and explore. What could be considered superficial may be an opportunity to integrate landscape architecture with culturally relevant industries, such as fashion, to have society interested in the profession and all it offers.
ECKBO, GARRETT. LANDSCAPE FOR LIVING. DODGE, 1950. GUATTARI, FÉLIX. THE THREE ECOLOGIES. BLOOMSBURY ACADEMIC, 2014. LLOYD, LAUREN. ““DESIGNING PLANES AND SEAMS” EXPLORES LANDSCAPE ARCHITECTURE AND FASHION AT THE GSD.” ARCHPAPER.COM, 9 FEB. 2017, ARCHPAPER. COM/2017/02/DESIGNING-PLANES-AND-SEAMS-GSD/#GALLERY-0-SLIDE-0. OWENS, MITCHELL. “DIOR’S SPRING 2013 COUTURE SHOW MIMICS SPRING WITH A GARDEN-INSPIRED SET.” ARCHITECTURAL DIGEST, 2 SEPT. 2015, WWW. ARCHITECTURALDIGEST.COM/STORY/DIOR-SPRING-COUTURE-COLLECTION-GARDEN-PARIS. MINTON, MELISSA. “17 OF THE MOST ARCHITECTURALLY SIGNIFICANT FASHION SHOWS.” ARCHITECTURAL DIGEST, 1 JULY 2016, WWW.ARCHITECTURALDIGEST.COM/ GALLERY/ARCHITECTURE-AT-FASHION-SHOWS/ALL. RAPOPORT, MARIANNA. “CATWALK CARPET: ALEXANDRA KEHAYOGLOU WEAVES TOGETHER ART AND FASHION FOR DRIES VAN NOTEN’S S/S 2015 SHOWSCAPE | FASHION | WALLPAPER* MAGAZINE.” WALLPAPER*, WALLPAPER*, 5 FEB. 2015, WWW.WALLPAPER.COM/ FASHION/CATWALK-CARPET-ALEXANDRA-KEHAYOGLOU-WEAVES-TOGETHER-ART-AND-FASHION-FOR-DRIES-VAN-NOTENS-SS-2015-SHOWSCAPE. “REI KAWAKUBO / COMMES DE GARCONS. ART OF THE IN-BETWEEN.” CONDÉ NAST. SMITH, KEN, AND JANE AMIDON. KEN SMITH, LANDSCAPE ARCHITECT: URBAN PROJECTS. PRINCETON ARCHITECTURAL PRESS, 2006. YOTKA, STEFF. “3.1 PHILLIP LIM TEAMS WITH MAYA LIN ON CHARITABLE TEES FOR EARTH DAY.” VOGUE, VOGUE, 25 MAY 2017, WWW.VOGUE.COM/ARTICLE/31-PHILLIPLIM-MAYA-LIN-EARTH-DAY-TEES. IMAGES OF BUREAU BETAK WORK AVAILABLE AT BLOG.BUREAUBETAK. IMAGES OF OTHER SHOWS AVAILABLE AT ARCHIVES.VOGUE AND WALLPAPER.
LANDSCAPE ARCHITECTURE TREND REPORT.