Radicant Design

Radicant design can make do with these sites. Instead of creating an oeuvre, radicant design evolves along with continuous inquiries, interventions and evaluations into a dialogue. This evolution and the related design processes are as much part of the work as the various elements, persons. materials, events, memories and atmospheres. The work cannot be described as a classical form; it is a progressing form. its authorship is blurred: the classical framework of designers. clients and public no longer fits — all are co—creators. Not that these evolutive and cooperative work modes would be unfamiliar to landscape architects — on the contrary, but they didn’t propel 20th century landscape discourses. Let’s do so now with Bourriaud. who calls the ethical mode of altermodernity ‘translation’ and its aesthetical expression the ‘journey-form’. Performative aspects are easily part of a journey-form, as the Seljord Lake Sites project shows – a forgotten place where both the legends of old and the international students’ building activities form the landscape architectural work, to say nothing of the experience of being on the (wondrous) ways that link these minimalistic interventions. The work takes place rather than form.

Lisa Diedrich, Why we shape space (2012)


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Atelier le Balto, Avantgarden (2012)

Radicant Design


Mosbach’s unique education in the life sciences that was precursor to her training in landscape informs and nourishes her aesthetic approach. The ground at Louvre-Lens is designed as a sensitive surface.
The intention is to expose this surface to variations in time, playing with relationships between materials through the processes of conlagion, superimposition, and coverings. It is about drawing the ground via flows and traversing different environments in the park.
An existing wood at the edge of the site yields to a large clearing of meadow. which then becomes a mix of hard planted surfaces near the building. The ground is locally perforated to allow water to infiltrate; it folds over to become seating at the entrance to the museum: it protects the building from the intrusion of vehicles and it dips to accommodate a pool. Around the building, desirable mom exists as the first pioneer stratum, collecting
atmospheric dust and preparing for successive ecological cycles. For Mosbach, the way the park responds to temporal and ecological dynamics is multidimensional and becomes a new heritage for the site.

Thierry Kandjee & Sarah Hunt, The Invisible Made Present (2013)

ml_Louvre_Lens_Sanaa_2_09_1200Louvre-Lens by SANAA and Imrey Culbert03Louvre-Lens-By-SANAA-59-Hisao-Suzuki Louvre Lens By SanaaCatherine Mosbach, Louvre-Lens Museum Park (2012)



A timescape conception of large parks leads to a recognition of uncertain sites -spaces where matter, flow, and waste know no boundaries -and to a different conception of consumer society.

Elisabeth K.Meyer, Uncertain Parks: Disturbed Sites, Citizens and Risk Society. (2007)

The processes at work in the world produce landscapes where everything is in a constantly dynamic state. The competition for resources, the interaction of organisms with each other and with inorganic, physical processes, the cycles of carbon, nitrogen and water, together with a wide range of weathering and erosion activities, combine to drive the engine of the biosphere fuelled by the energy of the sun and of nuclear reactions deep in the earth. Out of this endlessly shifting cycle of growth and decay, a myriad of patterns is apparent, evolving at various rates into an uncertain future. Humans are part of this world and contribute to the patterns and processes to varying degrees.

This uncertainty is an important concept, as experience indicates that everything is determined by possibilities and probabilities: the likelihood of a fire burning a forest, of an avalanche burying some animals, of a Volcano erupting and covering an area with hot ash or a hard winter killing a late hatched brood of baby birds. Some of the events that alter the evolution of landscape are more predictable than others, in the sense that they are significantly more likely than unlikely to occur. Some are unexpected, only because we have not experienced them before. Others follow regular, or nearly regular cycles. Few are completely random.

Simon Bell,  Landscape. Pattern, Perception and Process. (1999)



Vista, Haarlemermeer Polder (2010-2060)



The drawing presented here for a park in Greenwich interests me highly as a unique landscape drawing. It, in a convincing way, depicts time and  evolution. The development of an urban forest is the main theme in the project. The drawing does not simply explain the development of the forest. It mainly states that there are several stages of maturity which have an individual quality in terms of design. This drawing is important as it denies the idea that a landscape project can be represented by one drawing which shows the project in an unknown year in the future, in its supposed final state. Desvigne here, combining plan and section shows different moments in time as being independent optimal design conditions. In doing so, the designer is forced to be more precise about what happens over time: how big are the trees in certain stages; which configurations might come true by thinning the trees?  Aprt from that, the drawing has a convincing beauty which has always been present in the French drawing tradition. Desvigne himself became known eariy for drawing with his work on theoretical gardens, “Les jardins elementaires”. Starting from here Desvigne became one of the international stars — in itself an interesting new phenomenon in recent landscape architecture.

Noël van Doreen, Speaking about Drawing (2012)

5 2 3Michel Desvigne & Christine Dalnoky, Greenwich Peninsula (1999)



Halprin_Score_Seminary_South_Foutain  halprin halprin secuencia In order to design for movement a whole new system of conceptualizing most be undertaken. Our present systems of design and planning are inevitabily limited by our techniques of conceptulizing and our methods of symbolizing ideas. We know only how to delineate static objects, and so is all we do.

Lawrence Halprin, Cities (1963)




A comparison with the speech act will allow us to go further and not limit ourselves to the critique of graphic representations alone, looking from the shores of legibility toward an inaccessible beyond. The act of walking is to the urban system what the speech act is to language or to the statements uttered. At the most elementary level, it has a triple “enunciative” function: it is a process of appropriation of the topo­graphical system on the part of the pedestrian (just as the speaker appropriates and takes on the language); it is a spatial acting-out of the place (just as the speech act is an acoustic acting-out of language); and it implies relations among differentiated positions, that is, among prag­matic “contracts” in the form of movements (just as verbal enunciation is an “allocution,” “posits another opposite” the speaker and puts con­ tracts between interlocutors into action).  It thus seems possible to give a preliminary definition of walking as a space of enunciation. (…) The modalities of pedestrian enunciation which a plane representation on a map brings out could be analyzed. (…) Walking affirms, suspects, tries out, transgresses, respects, etc., the trajectories it “speaks.”

Michel de Certeau, The Practice of Everyday Life (1980)