LDAR-06
Andrew Liang
Instead of looking at small ways to impact our surroundings and quality of life, and providing the education and resources necessary for constructing and implementing them, they favor large projects which require lots of time and money. This further disconnects the built environment from the people whom it is intended to serve. My work explores the actions required to explore the imagination of the public. Can urban space be a place where physical community needs and the need for self-expression meet?
At the core of my process is the struggle between fetish of form and integrity of meaning. See Also ARCH-21, ARCH-10, GLASS-01, ID-04, PHOTO-04, PAINT-08, PAINT-01, SCULP-03, SCULP-05, TLAD-04
LDAR-07
David Mazer The medium of landscape architecture can take on many forms, while the philosophies, demands and requirements are always in flux, with landscape architects being asked to take on non-traditional roles as designers. Last semester I took the Oystertecture studio at risd taught by our department head Scheri Fultineer. The studio appealed to me as a unique and non-traditional departure from landscape studios usually offered by the department and even other universities. Students took on a range of issues, from Oyster harvesting to habitat and systems that dealt with coastal soil erosion to water quality issues. My approach was to create a reef system that aggregates and serves several purposes at once. My process in Oystertecture definitely changed my perception of what the practice of landscape architecture can be or the issues it can inform and challenge, both in terms of my approach in school and in terms of the practice after graduation. Landscape is evolving, becoming richer and more complex than it has been, and the possibilities are expanded far beyond traditional notions of what a landscape firm is and how it functions. See Also DM-05
LDAR-08
Megan McLaughlin Because of lack of public funding and the complicated bureaucratic processes surrounding design, our institutions, municipalities and designers of the public realm are failing us.
See Also INTAR-22
LDAR-09
Hope McManus A predominant thread, or the weft, that weaves in and out of my work is a consciousness of the social, cultural, and ritual aspects of the landscape. Typically this has involved making a place out of a space, sculpting a point of view and exposing an existing phenomenon of a site, whether historical or elemental. In my travels, I have discovered that rituals, both the daily and the sacred, are what aggregate to form relationships between culture and environment. It is at this intersection, that we can either be productive or destructive. The warp, that which lays the foundation for the process of my work, is ecology. As an artist, my work has commented on the human relationship to its environment. As a designer, my work has considered ways of creating a relationship between human and resource, in order to influence our evolution. Almost every one of my projects has acknowledged and addressed the presence of water on the site. Whether altering its trajectory, changing its state, filtering it through vegetation or mycelium, collecting, storing, or featuring it, water has shaped my decisions of form and material. See Also GRAPH-17
LDAR