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SONIA JACKETT ma landscape architecture - Por tfolio -


A

bout me...

I see no shame in saying that I am a self professed geek - I am interested in all things art, architecture and landscape related. I believe there is a strong acadamic and theoretical backbone to my work, partly due to the fact that I have a first degree in Architectural History from the University of Edinburgh. I am a passionate and hard working individual – I previously wrote for Landscape Architects Network (www.landarchs.com) and run a blog. Peripatetic Island is featured on the Landscape Institute’s Iwanttobealandscapearchitect. com and records my experiences as a conversion student. It is also a general blog about a few different passions of mine – pyschogeography, travel, art, architecture, politics and current events. In addition, some of my own art and photography can be found there. Above all Peripatetic Island is a platform for me to share my peripatetic life. All of the above, plus my social media pages, can be found through my website: www.soniajackett.com After graduating from the University of Edinburgh in Architectural History, I decided to embark upon a Masters in architectural theory and critique. Before the summer was out however, it became apparent to me that although I had all these things to say; all these ideals and beliefs, I did not have the grounding or the training to be heard - and to be taken seriously. Or so I felt. In a way I felt powerless. I want to do. Not just say. I am interested by life, society and how we, as communities; or a civilisation, engage in that life...and how we move through the space we inhabit as a part of that life. I am interested by how we, as a social species survive ...no, how we live, and continue to evolve. I believe in the many different ways public space, art, architecture and landscape can influence, shape, help and effect the comings and goings of humanity and I believe in those institutions as redemptive catalysts for good. I wanted to act practically as well as consider theoretically. I believe to be a truly good designer you must have a balance of these two things; (Theory) knowledge of history and philosophy to make intelligent judgments and importantly to understand the foundations upon which we build and (Praxis) the willingness/ability to go out into the world, commit to the practical and embrace the empirical. Theory is important but context is everything; ultimately architecture is made by, and importantly made for, man. So why landscape architecture? Human geography, sociology, culture, society, life, architecture, landscape, art - all of these things are landscape architecture. It is this interdisciplinary nature of landscape architecture that appeals to me so. Not just that my passions for art, nature and history, amongst others accumulate here, but because the subject embraces all ranges of society, as well as the issues at stake for defining and

protecting that society. I believe landscape architecture provides this path for me, because of the reasons mentioned above and because landscapes are the world. It is quid pro quo. We both define and are defined by our surroundings and in this sense landscape architecture is unique, because as Geoffrey Jellicoe comments, “landscape architecture...cannot be wholly internationalised.” I want to be a landscape architect because I want to contribute my beliefs and ideas to design, communities and social space and to not just make empty theories and suggestions. In a way I have written this personal statement also for myself. It is a manifesto of the beliefs I hope to explore and confirm as I embark on my career in Landscape Architecture... The full version of my personal statement in application for my MA Landscape Architecture course and (only a slightly longer story) just why I want to be a Landscape Architect, can be viewed online at my blog http://soniajackett.blogspot.co.uk/2012/07/upon-completing-my-undergraduate-degree.html


MALMÖ’S NYGÅGATAN Concept to Detail ALNarp’s archipelago Campus Strategy The Tetley Food Hub & Brewery Park Urban Regeneration The Nature Chamber Artistic Intervention in the City

CONTENTS

Curriculum Vitae

MODEL EXPLORATION Photography sketching ma architectural history writing


sonia louise jackett MA Landscape Architecture and Design

Contact T: +447833573331 (UK) E: soniajackett@gmail.com W: www.soniajackett.com

EDucation MA Landscape Architecture and Design (current grade B) Leeds Metropolitan University 2012 - 2014 (6 month erasmus exchange at SLU, Alnarp, Sweden)

MA Architectural History Honours

1st Class with Honours The University of Edinburgh 2007 - 2011

A Levels in English Literature, Religious Studies, History & Art A/A/A/A Queens’ School, Bushey, Hertfordshire, 1999 - 2006

Skills Mac & PC Microsoft Office**** Adobe Photoshop*** Adobe InDesign **** Adobe Illustrator * Google SketchUp** Arcview (ArcMap) * AutoCAD****

(Certified 2011 Associate in AutoCAD)

Other Research Communication Organisation SLIC Rep* 2012 - 2014 for Leeds Metropolitan *(Student Landscape Institute UK) George Simpson Award for Architectural History University of Edinburgh 2011 George Simpson Award for Architectural History Dissertation University of Edinburgh 2011

Key experience Junior Landscape Architect (Part Time) Alistair W Baldwin Associates February 2014 - Current Part-time landscape architect working on detail design - cutting lists CAD construction drawings and layouts, conducting LVIAs and consequential reports, schematics and visuals. Writer Landscape Architects Network (LAN) www.landarchs.com September 2012 - Jan 2014 LAN inspires people to get out into the landscape. The website aims to reveal the great outdoor spaces, art and architecture of the world in order to inspire and help people understand how valuable our landscape is. Visit my blog for a full list of articles written by me.

Numerous volunteer positions including: Volunteer Learning Resource Experimental Gardens, Leeds Metropolitan University

Centre

and

Volunteer Project Assistant Up Projects, London Participant in the Riga Technical University Architectural Summer School – ‘Entering the Void’

Interests Photography Art, Architecture and Design Yoga Food (growing, cooking, sourcing, eating!) Writing and Blogging Pyschogeography


MALMÖ’S NYGÅGATAN

Malmö, Skåne, Sweden

Concept to Detail

For my masters project I chose a site in Malmö, Sweden. The aim is for the 3km linear space to connect the urban fringe development of Hyllie, on the outskirts of Malmö, with the city centre. The overall concept is to create a highly enjoyable, walkable space, with lots of variation, to give the environment meaning and to connect people to place.


MALMÖ’S NYGÅGATAN

Wander through the Green Arcade filled with public art

See whats happening in the ever changing Pop Up Park

Wonder at the eco-corridor through the Miljökvarter

Education at the Urban Arboretum

HYLLIE It is the “intertwined paths [of individuals that] give shape to spaces…In that respect, pedestrian movements form one these ‘real systems whose existence in fact makes up the city... ...Surveys of routes miss what was: the act itself of passing by.’

- Michel de Certeau


MALMÖ CITY CENTRE

G LOSSAR Y

FI KA is a traditional Swedish past time - it means,

essentially, ‘coffee and cake’ - as in “Hey, let’s meet for fika at 11?” Swedish people are made about fika. Have some Fika at Nygågatantorget

GÅ tan

means ‘to walk’ or stroll. Gågausually means ‘walking street.’

Hinna

No literal translation in English, but it essentially means “to find the time”. As in, will you hinna the cinema on friday? “nej, jag hinna inte - no i will not find the time.”

orka

Another Swedish verb with no literal translation. It means ‘to have the energy.’ As in “I didn’t orka to go to the supermarket today.”

La Go m

is a Swedish word with no direct English equivalent, meaning “just the right amount”. It is also widely translated as ‘in moderation’, ‘in balance’ and ‘perfect-simple.’


N Y G Ă… G ATANTOR G ET

Somewhere people can stop, rest, chat or have some fika, whilst finding the time or energy (hinna/orka) to enjoy the simple act of passing by...


1 5

2

7

3 6

8 4

1. 50mm Black Diabase Swedish Granite Edging and Pavers 2. Mortar Bed 3. Cast In-Situ casing 4. Concrete foundation slab with rebar 5. Bespoke Grate Detail (See overleaf) for overflow channel 6. Uplighting 7. Black pebble lined pool 8. Reservoir Outlet Pipe

SECTION DETAIL OF POOL 1:5 @ A1 SK EDUCATIONAL PRODUCT

PRODUCED B

POOL AND BESPOKE GRATE DETAILING


PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

BESPOKE GRATE DETAIL FOR POOL The pool will have a bespoke grate for its overflow. The filigree type face is is part

inspired by Sweden Sans - ‘the lagom font’ - and a font called Line by a Swedish type foundary called Letters From Sweden.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

MALM Ö’S NYG Å G ATAN Sonia J ac k et t MA Lands c ape Arc h ite c tu re an d D e sign

MALMÖ’S NYGÅGATAN DRAW NO : S J . 5 5 _ MN G _

GA01DT02 TITLE: Filigree Grate Detail SCALE varies @ A3

It is the “intertwined paths [of individuals that] give shape to spaces…In that respect, pedestrian movements form one these ‘real systems whose existence in fact makes up the city...

May 2014

...Surveys of routes miss what was: the act itself of passing by.’

- Michel de Certeau

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

To have a bespoke grate detail surrounding the pool, will also inspire people to stop, look at the details of their environment as well as the bigger sum.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT


ALNARP’S ARCHIPELAGO

Alnarp, Skåne, Sweden

Campus Strategy

Ths module led by Lisa Diedrich and Mads Farso, posited us at pre-qualification stage for the EUROPAN competition entry. It focused on site-specificity and site specific design. The following designs are in collaboration with Lisa Markström. The final project culminated in an exhibition in which we were asked to produce a one-to-one ‘model’ that would complement our design.


FINDING A STRATEGY The idea of Alnarp as an isolated island was something that many people mentioned to us at the start of the project. This became very central to our development: we compared Alnarp to a few different islands, notably the “phantom island” and “treasure island”. Our inventory showed us qualities of Alnarp which then led us to a discussion of different aspects of the site, each with their own problems. We then came up with an aim for each of these aspects and identified possible sollutions.

SPECIMEN

No.

3

SPECIMEN

No.

4

COFFEE CUP

SUGAR BEETS

What are the daily rituals of Alnarp?

What do the open fields around Alnarp have to offer?

Alnarp Restaurant

Field, Alnarp

0

8/10/13 8

cm

0

8/10/13 11 cm


Island typologies

SOLUTIONS

PROBLEMS

Why and how to enhance an “islands” identity?

AIMS

SONIA JACKETT & LISA MARKSTRÖM

NAME

ALNARP

RELATABILITY

This is Alnarp

NOTES

ALNARP:an island?/! One of the problems is that Alnarp is often seen as an ‘island’ is disconnected from it’s urban neighbours. Conversley however, the idea of Alnarp as an island is central to what identity the campus has.

THE ISLANDS IDENTITY: UKNOWN

MAKE KNOWN

Strengthen the core

Physically Alnarp is island-like, surrounded by fields and sea, with little connection to neighbouring towns Åkarp, Lomma, Burlov and Arlov. 86 N

86 N 85 N

85 N 84 N

84 N

83 N

THE PHANTOM ISLAND

A negative quality

83 N

82 N 82 N

81 N

QUALITIES OF THE SITE: PHANTOM ISLAND: the idea of an island A phantom island is a purported island that appeared on maps for a period of time (sometimes centuries) during recorded history, but was later removed after it was proven not to exist. Alikened to Alnarp, in the sense...does it exist?

HIDDEN

SHOW THEM Release to a wider sphere

81 N

EXCHANGE OF KNOWLEDGE: TREASURE ISLAND

A positive quality

TREASURE ISLAND: an island of riches Treasure Island is an adventure novel by Scottish author Robert Louis Stevenson, narrating a tale of “buccaneers and buried gold”. First published as a book on 23 May 1883. Like a this famous island, Alnarp has plenty of hidden treasures.

DOES NOT HAPPEN

Enable spaces for exchange

LOCAL ARCHIPELAGO: ISOLATED

ÖLAND

STOCKHOLM’S ARCHIPELAGO

Mentally + Physically

ÖLAND: an island connected

What Alnarp could be

STOCKHOLM ARCHIPELAGO: “No man is an island” John Donne

Öland is a Swedish island, physically connected to the mainland through a 6 km long bridge and an example of an island connected by a single, strong, material element. Alnarp’s connections are poor; one bus, the no.133 and few roads, paths and distant train stations. Mentally, Alnarp seems distant from neighbouring urban areas such as Malmö and Lund.

The Stockholm Archipelago is made up from approximately 30,000 islands and islets. Fourteen islands make up the City of Stockholm - seperate entities functioning as a whole. What can we learn from this type of connection?

CONNECT/SHARE

ACCESIBLE CONNECTIONS Create new connections

Our discussions always led us back to the idea of Alnarp as an Island. On the one hand, it was obvious to us that Alnarp needed to be better connected to its surroundings and make an impact in terms of local and regional scale; yet, the idea of Alnarp as an island is something also very central to its identity. The question was how to maintain a balance between these two things. Thus we developed a concept based on the Archipelago.


ALNARP’S ARCHIPELAGO A new strong central core is enhanced by outer intervention zones. The purpose of these areas is to connect the center of Alnarp with the surrounding landscape and the knowledge of the fields. We also wanted to pay respect to the existing forms, where the campus represents mass, and the fields are very much an open/flat landscape.


REGIONAL UNIVERSITY ARCHIPELAGO

ISLET/INTERVENTION ZONE TYPOLOGIES

The suggested archipelago islands are not all necessary designed interventions. They are more intervention zones and can represent an array of situations. For example the diagram below represents: 1. Field Experiments within one of the field lots 2. Designed platform, accesibility path leading to a specific intervention 3. Greenway allowing for spread of biodiversity through lot and beyond

Field experiments

Designed platform

Greenway

LOCAL COMMUNITY ARCHIPELAGO

Moreover we wanted to connect the students to the knowledge which is developed in the fields, as well as attract the surrounding communities to the campus. This idea of sharing knowledge through the archipelago means that Alnarp will function better on a campus, local and regional level.

Scania is well known for its rich soil, and the students at SLU are taught to value it. Yet, there are very few students who actually get to study and exlplore this landscape. Through creating access points where students can take part of and learn more from this asset, competence and knowledge from the different diciplines both within and outside of the university can be exchanged.


THE CAMPUS CORE

The idea of a compelling, well connected Alnarp comes from establishing a strong campus core. In the campus core we propose a new campus plaza which will function as new meeting point. This will bring more life and new activity into Alnarp, and it will be a place where researchers, visitors, students and the surrounding community can interact and exchange experiences and knowledge.

Aspen Forest and lecture space

new student housing

student housing area

Campus plaza

1:1 experimental gardens

intervention area

plaza

existing buildings

lecture space /

Student 1:1 experimental gardens

A:A

aspen forest

student housing

1:1 allotment

Barn/New studio spaces/ Café/etc.

Pedestrian path

1:1 experimental gardens

Alnarpsvägen

The maple greenspace

The campus Square

Restaurant/Café/Student housing

Section a:a

green space


THE EXHIBITION The course culimated in an Exhibition of our work in which we had to defend our design and principles to a jury. The exhibition also offered us a chance to create an artistic commentary on our methodology towards site specificity in the form of a large-scale conceptual model. Our piece, in which we decided to use film, is presented to the right.

ARCHIPELAGO (28 minutes) by Sonia Jackett and Lisa Markstrรถm The film is an interactive piece. First of all we wanted to show the qualities that we found in Alnarp. Secondly it is a comment on how we interact with landscape, both as an individuals and as designers. We encouraged the audience to walk into the film and explore what happened when one interacts with it. We wanted to ask questions. What effect does it have on the screen/ landscape depending on how close you are, where you stand, how you position yourself? All this effects what happens on the screen and to the landscape contained within. In terms of design, as a designer you can position yourself in different ways. Critically, this means that you can read different aspects of a site, or read the site in many different ways, this then alters how site specific your site design becomes...


The Tetley Food Hub & Brewery

Leeds, Yorkshire, UK

Urban regeneration

This major project was an intensive module taking in the full design cycle from urban design to detail level with construction documents and planting.


Main Entrances Open Green Space Service routes Food Boulevards

1

Bridgewater Place

Rills and Green Space 2 Aeroponics Units 3 Service Area 4

5 The Tetley Food Hub

6 New HS2 Train Terminal and transport node 7 Crown Point Centre 8

Bridge End Entrance

Public Events Space 11 and Ampitheatre Sculpture Park 12

9 Rills and Listed Buildings

Foraging Forest and 13 School Allotments

NGTrolleybus Stop 10

14 Orchard


The Old Tetley Warehouse will remain on site. A reminder of the site’s heritage, the structural giant will form a canopy for an indoor market - the hub for allotments, farmer’s and local shoppers. It will serve to draw people to the inner city and southern areas of Leeds while rejuvenating the Southbank. A learning academy, in partnership with the colleges and universities of Leeds will also be housed in the building, alongside any indoor growing that needs to be done - such as harvesting seeds during the colder months. The listed buildings are incorporated into the design and have an active role - for example the Old Lion pub will serve produce grown on site.


0

5

10

15

metres


FOOD BOULEVARDS H o w and wh ere wil l f ood be grown?

The idea of “Food Boulevards” comes from Jason Grimm’s Food Urbanism (2009). These are excessively wide streets that are used to grow crops and can be seen as a typology of Continuous Urban Productive Landscapes.

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8

The thoroughfares of the site would be used as Food Bouelevards, growing crops and reintroducing people to the production, cultivation and thus a knowledge of Food.

1 9 2 4

1. Informal Square 2. Secondary Food Boulevard (defined by users - more likely to stroll) 3. Theives’ Garden 4. Productive Area 5. Service/Access Paths 6. Primary Food Boulevard (defined by users - a main thoroughfare) 7. Green Space 8. Pickable fruit bushes and fruit trees. 9. Pop Up Cafe and seating area

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3

7

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10

25

50 metres


The images here show the view towards the Northeast of the focus area, down a food boulevard with the ‘theives gardens’ on either side. The 1 metre high ‘Theives Gardens’ feature an array of treats for people to pick - detering them from picking in the productive areas. In Spring/Summer Strawberries, Onions, Basil, Purple Sprouting Broccolii and Fennel will be availablet. In Autunmn/ Winter Cabbages, Onions and Perpetual Spinach protected by Polypropylene netting would be grown. The section to the right shows how the food boulevards would work.

0

5 metres


The Nature Chamber

Leeds, Yorkshire, UK

Artistic intervention in the city

As part of the Arts, Plants and Environment module I looked at land art, earth art and art that engaged with its surroundings. The aim of the brief was to be inspired by such art and create an intervention of our own in a local wood. This would then be reinterpreted within Leeds city centre to make an artistic statement and add value to an area otherwise deprived of green infrastructure.


Inspiration

Spiegelei by Jem Finer

Jim Finer’s Spiegelei at Yorkshire Sculpture Park (top right) made a distinct impression on me. The inverted camera obscura forces one to look at his/her surroundings differently and allows them to see an almost complete panorama of the area without really having to move.

Concept Sketeches

I was fascinated by everything in Adel Woods, from the micro of the lichen to the macro of the canopy of the trees. A kind of camera obscura, allowing one to see the low and the high of nature would be my intervention. A nature obscura.


Nature WoodlandObscura Intervention

By strategically placing small mirrors near each other, amongst a clearing, meant one would be able to see the macro of the leaves on branches yet without moving be able to the micro of the moss on the rocks. Nature Obscura allows one to stop, look, reflect and think about their experience and nature.


The Site

Leeds City Centre

From an analysis of the area, one can see there is very little green or nature, especially in contrast to the Brutalist concrete architecture of the Merrion Centre. The Nature Chamber would serve to alleviate the depressing aura of the area and become a reflective, tranquil spot in the middle of the city. As part of a subway system it would be a joy to walk through, avoiding the infamous Leeds ring road at surface level.


The Nature Chamber Intervention in the City How to transport the idea of my intervention and the experience of the woodland to the city? The same effect and experience is sought here in The Nature Chamber. Mirrors are placed within and on Birch trees, in order to transform the site into a part-camera obscura-part eternity chamber. The Nature Chamber can be seen as a commentary on current issues such as Ash Dieback and new planning minister Nick Boles’ attempt to build on green belt land. Birch trees were chosen for their ability to bolt when planted close together which, would make the street scene more visual and attract people to the installation. Their ephemeral qualities highlight the threat of nature loosing out in the ever-growing urban conquest.


+ Model Making, Sketching, Photography, MA Architectural History, Writing


MODEL EXPLORATION The THINKING EYES module (Alnarp Campus Strategy) encouraged us to formulate our own ideas about site specificity in design, as well as presenting us with an opportunity to explore famous designer’s and their approach. This was done through both traditional methods (design critique) and more practical and artistic ones, although always with an academic backdrop. The two models - one architectural and one conceptual represent different approachs to analysing the same site; The Glass Bubble in MalmÜ by Monika Gora.

A Place: Utopia?

1:500 model of the Western Harbour area in which the Glass Bubble is located.

The Glass Bubble is majestic, something one is drawn too. It is admired by those who pass by. The Glass Bubble, however, is also private property. One can imagine what it feels like to be inside - in the warmth - but an outsider can only see, or imagine what it is like inside this beautiful space.


Situat ing a V isitor’s Centre This 1: 500 model was created for part of design module where the main task was to site a visitors centre in a rural area. I made the model in order to better understand the topography in which the visitors centre would be located. This was so any views, sun paths, wind breaks, difficult slopes or easy access points could be considered more readily.

Thinking t hrough models... I also design through making models - they are often quite sketchy and collagist. Working in 3D space helps me to formulate ideas and grasp the spatial qualities of the site better.


SKETCHING


PENTAX SUPER ME

PHOTOGRAPHY


HOLGA 120N

I am an ethusiatic amateur photographer. More can be found online at my website www.soniajackett.com


Excerpt from MA Architectural Hi

MA Architectural History I hold a first degree in Architectural History from the University of Edinburgh, and studied History of Art as a minor for three years. For my third year major project, i honed my research and report writing skills as I undertook a historical study and research project on Abden House, Edinburgh on behalf of the Confucius Institute. Through the degree I was able to explore wider social, cultural, political and economic themes. My dissertation explored how the rising industrial classes at the turn of the century, sculpted a new, modern and bourgeois identity for themselves through architectural patronage.

MODULES First Year

Third Year

Architectural History Introduction History of Art Introduction Classical Art Ancient Roman History Ancient Greek History

Architecture and Structure Art and Science in the 20th Century Barcelona and Modernity Text and Theory in Western Architecture Abden House Research Project: An Exploration of Abden House

Second Year

Fourth Year

The Italian Renaissance City The City in France from Renaissance to Romanticism The Modern City: Glasgow German Expressionism Landscape Painting and Romanticism

Architecture and the Body 1550 - 1750 German 20th Century Architecture The Italian Renaissance Villa Themes in 20th Century Modern Architecture Architectural History Dissertation


istory Dissertation

Introduction Cliché as it is, the fin-de-siècle, 1900, represents one of the most intriguing moments in the history of architecture and the development of modernism. It is an era whereby our modern problematic paradigm of trying to reconcile tradition with modernity, especially with regards to architecture, can be seen to truly spring from. During the nineteenth-century, following such texts as Johann Bernhard Fischer von Erlach’s Entwurff einer historischen Architektur (A Plan of Civil and Historical Architecture, 1721) and the Recueil et parallèle des édifices de tout genre (Compendium and Parallel of Buildings of all Kinds, 1800) by Jean-Nicolas-Louis Durand, architecture had become associated with ‘revivalism’ whereby history was seen as a textbook from which to pick and choose. By the fin-de-siècle historicism as a method was fundamentally questioned and rejected as architects and society sought to engage with modernity. This modernity had been thrust upon society as industrialisation reached new heights; turning towns into metropolises, middle classes into bourgeoisie and culture into a commodity. Both Hill House (1902-1903) by Charles Rennie Mackintosh and Casa Amatller (1898-1900) by Josep Puig i Cadafalch express a respect for history and tradition yet articulate a desire to express modernity in terms of individuality. Thus when we are discussing a modern identity we are talking of a dualistic identity. An identity that is modern in the sense that it embraces the contemporary but has evolved from and pays respects to its origins....

...Underlying both Hill House and Casa Amatller was the fin-de-siècle zeitgeist of upheaval and change, manifested in a broad stream of cultural eclecticism, stimulated by theoreticians who were optimistic in their new architectural outlook. Indeed this modern spirit was expressed throughout Europe; it was called Jugendstil in Germany, Sezessionstil in Vienna and Art Nouveau in Britain. The question here however is not whether La Renaixença, Modernisme or the Glasgow Style are variants of Art Nouveau but how two different regions tried to resolve the same problems and challenges of modernisation, industrialisation and consumerism in society.

Fashioning Moder n Identities: The bourgeoisie in fin de siècle Glasgow and Barcelona


Landscape Architects Network

www.landarchs.com


Excerpts from articles written for www.landarchs.com

Writ ing “Landscape Architects Network aims to be the worlds brightest spot light for the profession of Landscape Architecture, acting as an online resource for students and professionals as well as hosting online publication to engage with the public and make Landscape Architecture accessible to all.� I have been writing for Landscape Architects Network since September 2012, to the right are some teasers from the site. For why I love writing for LAN please visit my profile at http://landarchs.com/sonia-jackett-writer/


THANK YOU SONIA JACKETT Portfolio of Works

soniajackett@gmail.com +44 78 335 73 331 (UK) www.soniajackett.com

Sonia Jackett Landscape Architecture Portfolio  
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