Have we reached a post-landscape condition? Have new designs, representations and physical forms been realized which provide for collective actions and alternative relations with where we live, work and visit? In Recovering Landscape, Corner describes his inspiration for advocating a ‘recovery’ of landscape as ‘less the pastoralism of previous landscape formations’ but instead the ‘yet-to-be disclosed potentials of landscape ideas and practices’. But as economic and political contexts shifted, during the global economic collapse and the subsequent recession, can we identify an emergence of alternative practices and landscape forms? Concerns for ecological restoration and programmatic approaches to landscapes are emphasized by Corner whose Field Operations designed the master-plan for New York’s Fresh Kills Park and realized the rehabilitation of the High Line as a public park. However, Corner describes that ‘massive process[es] of deindustrialization’ have placed new complex demands on land-use planning requiring the ‘accommodation of multiple, often irreconcilable conflicts’. Landscape projects that remediate and repurpose polluted post-industrial sites have gained currency in urban redevelopments, building on the work of land artists Such as Mel Chin, and landscape architects like Peter Latz. But while we can identify inventive approaches that decontaminate formerly abandoned landscapes, few contemporary landscapes or urban design projects have confronted their contribution to increasing land-values, displacement of remaining industries and aggressive gentrification. Environmental recovery of landscapes facilitates urban redevelopment, provides a foundation for spatially and aesthetically reproducing cities and furthers opportunities for economic returns for individuals and organizations that own brownfield sites. Projects improve ecological conditions but fail to address, and in many cases exacerbate, businesses displaced, jobs lost and individuals excluded from renewed urban areas. While in some cases, as Cosgrove claims of recent critical thinking, ‘landscape is approached as a spatial, environmental, and social concept rather than as a primarily aesthetic term’, prevailing landscape practices remain tied to economic priorities. And although Corner reminds us that landscape is inextricably ‘bound into the marketplace’ neither his writing nor his landscape practice provide clues for how these relations can be uncoupled or rethought.
The geographic and mapping fever of the last decades, rather than indicating (as has been suggested) a “geographic turn” or even a “geological turn” may instead be a symptom of deep anxiety about the waning agency of architects, urban designers, planners, and landscape architects. The search for a merging or hybridization of these disciplines, the attempts to integrate environmental and social sciences into design practice, and the loudly vocalized ambition of architects and landscape architects to reclaim the right to design infrastructure at a territorial scale–all raise at least two orders of problems. The first relates to the obvious need to address the ongoing process of redefinition of the interrelated notions of space, territory, border, and network, a process in which a few architectural theorists are already engaged. The second demands equally urgent investigations of the frontiers and agency of each design discipline. Questions may be formulated as follows: Is there a territory of architecture (or landscape architecture, or urban design)? And if so, what are its borders? Are the disciplines undergoing a process of deterritorialization? Is it advisable to suppress the frontiers between art, architecture, landscape architecture, urban design, engineering, physical sciences, environmental sciences, and social sciences? Is it plausible to think that all these sciences and disciplines are engaged in design practices, and that this is the bond that unites them? If this is the case, how would this coming together of the arts and the sciences under the banner of design differ, for example, from the 1960s’ frustrated efforts to build a discipline a of “environmental design”? Should the scope and meaning of the notion of design be expanded?
This is where landscape as an idea, an operative agenda, and a set of material dynamics offers potent ways forward. Landscape has the capacity to mark time, initiate transformation, adapt to ongoing inputs (whether physical, environmental, political, or bureaucratic), and engage multiplicity and indeterminacy in productive ways. In so doing, landscape as a mode of thinking and operating shares characteristics with systems ecology, which describes the environment as always in a state of change, constantly adapting to evolving circumstances and inputs. Ecological health is now defined more in terms of an organism’s or ecosystem’s ability to change and adapt rather than to embody a
particular idealized state or form. By extension, we might apply landscape and ecological thinking to Lerup’s metropolis-in-motion and discover new starting points for instigation and intervention that help to reimagine and reframe the 21st-century metropolis moving forward.
Retooling, then, is as much conceptual as it’s physical and operative. It invokes an imaginative rethinking of what constitutes the meitropolis 20-some years after Lerup. It entails speculation about design intervention that can physically reshape territory at both the site and urban scale. And it embraces time and indeterminacy in creative and productive ways, allowing for catalytic actions that play off and redirect, the dynamics of an extended metropolitan landscape and its formational systems-in-action.
Chris Reed, Rethinking a Reformulated Metropolis (2017)
When it first came into being, the word landscape had two meanings. It denoted an area, an extent of the earth’s surface with boundaries, a meaning that has persisted until the present day. But landscape referred also to the group that shaped that area through practices, rituals, and institutions. Like the modern ‘township,’ landscape in this original sense was both a physical space and a political community. And like political communities everywhere, landscapes were almost always marked by unequal degrees of power. Landscapes were, and remain, places of contest and conflict, of hard work and brute force, even when studiously concealed. To ignore this political dimension of any landscape is to miss a fundamental part of its essence.
So: recover the political dimension of landscape. Wherever you work, know who has influence, who lacks it and why. Take the measure of old rivalries. Understand power.
Perhaps politics has really taken notice of the landscape? Is the opposite also true? The crises accompanying periods of great change are often occasions for new moments of creativity. The time has come to adapt and initiate a dialogue that manages to involve the general public. The landscape involves the science and technique of relations; it is not only an object of contemplation and reaction, but also a discipline in its own right. In recently times, the relationship between the landscape and politics has grown schematic, ambiguous and evanescent. Successively, it is as if it foresaw the imminent coming of a moment of truth, a moment that would raise a question that is not only cultural, but with notable effects on social and economic, and thus eminently political values. The greatest difficulty was to admit the need for a new approach, that it was no longer possible to wait and that the time had come to act and take risks. Despite the anti-political nature of a vision of the landscape as a controlled and guaranteed consumer good, a new way of speaking about the landscape and politics gives precise meaning to these two terms. The problematic dimension of the landscape viewed as a «project» highlights the urgency for transformation, a dimension that demonstrates not only an elevated level of ductility, but also a usefulness, in many cases strategic, to the governance of phenomena in an explosive phase of becoming. The thesis, to date in no way to be taken for granted, is that the question of designing the landscape is a challenge, a political emergency to be confronted as a priority.
- Just as a landscape is a way in which people and place relate, making landscapes is unavoidably a political activity because implicit in the transformation people bring to a place is the way people are organized in order to do this. However, the set of representations used to create landscapes tends to eclipse the political dimension.
- Landscapes created through representation propose and legitimize the ways people and places are associated, which are susceptible to be used as instruments for convincing and propaganda for policies that were formulated prior to them.
- Metropolises come with the presumption (where the interest of institutions and landscape makers converge) that people are not capable of expressing themselves or relating to each other in them, that they are only the sum of unrelated individuals who do not know how to behave in the new landscapes of the city.
- Point 3 leads to the conviction of understanding public space as a place in which to adapt people to the new landscapes of the city through education. However, it is actually in the pursuit of this objective that the need is seen to erase the cultural baggage these people have, so that they can be taught to fit into the previously represented landscapes of the city’s large green spaces.
- The education project shown in Point 4 often produces political conflicts between people and the institution of public space, in which the landscape maker plays a role, no longer of educator, but of integrator of the many discourses of the people in them which are compatible with the one that institutions advocate.
- Some creators have thought about using the landscape not to mute or to educate, but on the contrary, to encourage people to express themselves. In such processes, the change in discourse changes the way in which we perceive landscapes.
- Paradoxically, the conversion of the city into an exhibition space for the urban spectacle opens spaces where new languages can become visible when the spectacle ages or deteriorates. The city of exhibition becomes volatile and even fragile if its discourse is not constantly nourished.
- While landscape has been used as an instrument of conviction and controlling discourse, a way of thinking is being formulated that tends towards the democratizing potential of landscape. This will lead to a new figure of landscape maker in a process which we will continue to study.
The city is a landscape; its soils and geology define its fundamental character. Our work and interests stem from understanding time and territory, the geology and wider landscape patterns, the river catchment with propositions for water sensitive urban design, the urban forest with how liveable the city is and how resilient the urban dweller feels. Our work ranges from strategic planning to forensic analysis of the below-ground condition, considering the soil’s biological complexity and its capacity for yield and absorption. Collaborations enable our practice to reach widely into the marginal territories that inform our work; the poetry and science of soils; the sound of geology; the value of shared grass roots knowledge; the biomimetics of spider sheet webs. Our profession concerns that which makes land a landscape, the people who inhabit it and the resilience of the environment and the individual that together create city communities in all their density and diversity. We seek an archaeological narrative and creative ways of how to stimulate the stewardship of the city’s natural capital.
Johanna Gibbons, Interview (2015)
Floods. Droughts. Cyclones (hurricanes and typhoons). Tornados. Tsunamis. Wildfires. Volcanic eruptions. Landslides. Earthquakes. World news brings the calamities of natural disasters from all corners of the planet close to home via newspapers, television, laptops, tablets, and smartphones. Meanwhile, the travesties of outright man-made disasters through armed conflict continue to flare across continents and threaten global security. Both are devastating, bring death and wreak havoc on the built and natural environment. The Norwegian Refugee Council Internal Displacement Monitoring Centre (NRC-IDMC) reported that in 2013, 22 million people were driven from their homes through a combination of mega and small natural disasters_three times more than through war and conflict in the same period. The risk of such disasters is also rising, outpacing population growth and even rapid urbanization. Global population has doubled since the 1970s and urban concentrations have tripled since that time, particularly in vulnerable countries. IDMC director, Alfredo Zamudio, claimed that ‘most disasters are as much man-made as they are natural. Better urban planning, flood defenses, and building standards could mitigate much of their impact’. (…)
Clearly, the profession has an increasingly important role to play. Preparedness for impending disasters and the reduction of environmental risk is well within the purview of design. Landscape architects can work across scales to build resilience into landscapes and territories before disasters can happen, and develop various projects that mitigate risks and adapt to vulnerability and exposure.
1. Use a local problem to invent a generic solution. Though landscape architecture tends to be a custom job, it can still offer solutions for footloose phenomena. 2. Use a global challenge to solve a local problem. Global problems can have a major influence in landscape design. 3. Think big in small scale projects. Design solution often emerge in the bigger picture. 4. Think small and simple in big scale projects. On large scale and long term, it’s hardly possible to foresee the results of a design intervention. Still it’s vital to show how the future might look like. 5. Design total landscapes. If possible, ‘total design’ is very powerful and can overcome apparent contradictions. 6. Don’t design everything. The more you design, the less freedom there is left. 7. Aim for pure nature. Designed nature might never be ‘pure’ but can be overwhelmingly abundant, rich, exciting and fertile. 8. Make devices to experience nature. People need devices to experience nature; they bring binoculars, kites, bike, etc. Landscape architects should develop unique devices to enable that experience. 9. Trigger senses. Like most media, this book only shows the visual side of landscapes, while an intense landscape experience depends on all senses. 10. Make sense. Landscape architecture is about realizing ideas.
Aesthetics are rarely explicitly addressed in conjunction with ethics in the body of literature examining recent landscape architectural research. This seems strange given that, if ‘ecology’ is added to ‘aesthetics’ and ‘ethics’, the classic tripartite definition of the discipline is formulated, and most would agree that this constitutes the unique significance and substance of what we do. (…)
The apparent neglect of research that explicitly addresses aesthetics and ethics together may have several reasons. One aspect is that research paradigms, as well as conventions for working in professional practice, will typically narrow the focus and therefore the methodologies of study or practice. Though often challenged, such crude divisions appear to persist and obstruct the critical development of landscape architectural praxis at all levels. The integrative breadth of landscape architecture is hard to formulate within narrow research and disciplinary specialisms, so when these limitations are overcome landscape theory takes a leap forward. Another aspect contributing to the neglect of detailed aesthetic studies may be the lack of a tradition of philosophical discourse in landscape architecture, coupled with the fact that aesthetics as method, construct, practice, experience and the means toward critical judgment is notoriously hard to define with any rigor. The difficulty in both defining and conveying accurately the nature and significance of aesthetic experience, and in addition, the elusiveness of aesthetic judgment and its tendency to go with the flow of contemporary politics, social taste, and cultural transitions, often means that aesthetics are conveyed tangentially and metaphorically, and sometimes not at all. Many academics are deterred from such intangible topics and tacit approaches, especially the younger in the pursuit of PhDs to whom natural and social science appear to offer greater rigor because they are more amenable to explicit forms of knowledge.
Landscape architects develop ideas for changing places and landscapes with the intention of improving their design, making them better to use and more able to meet ecological requirements. Their work includes comprehensive and sustainable planning of the environment as it is lived in, and reconciling the different demands for creating open spaces capable of facing the future. The design process as an essential part of landscape architects’ activities includes both finding ideas and also presenting them visually. Landscape design is first and foremost a problem-solving strategy for open areas and open spaces. Images, sketches, plans and other drawings as well as models are produced, using a variety of techniques, with the aim to convey concrete planning intentions or possible consequences of developments that can occur under certain conditions. A written explanation is usually provided to support the strategies presented, but this could never be an adequate substitute for a visual presentation. As visual presentations are universally understood, their significance and statements largely make sense without words, a great advantage in a globalized world.
Plans and images also remain -and this is perhaps particularly true today because so many possibilities are available- unique objects, each with its own justification. Even though they are prepared in large numbers for any planning process, each one has its own statement to make, and is potentially interesting, exciting, harmonious, aesthetic or simply beautiful to look at. Even though the large numbers of visual presentations might suggest something different, landscape architects work economically: images are not prepared for their own sake, but because of the statement that each one makes.