+NOWLTON 3CHOOL OF !RCHITECTURE
3OURCE "OOKS IN
,ANDSCAPE !RCHITECTURE
+EN 3MITH
,ANDSCAPE !RCHITECT
5RBAN 0ROJECTS
*ANE !MIDON 3ERIES %DITOR
0RINCETON !RCHITECTURAL 0RESS .EW 9ORK
:6<9*,)662:05(9*/0;,*;<9,!
-ORPHOSIS$IAMOND 2ANCH (IGH 3CHOOL
4HE ,IGHT #ONSTRUCTION 2EADER
"ERNARD 4SCHUMI:ÏNITH DE 2OUEN
5. 3TUDIO%RASMUS "RIDGE
3TEVEN (OLL3IMMONS (ALL
:6<9*,)662:053(5+:*(7,(9*/0;,*;<9,!
-ICHAEL 6AN 6ALKENBURGH!LLEGHENY 2IVERFRONT 0ARK
0UBLISHED BY
%DITING .ICOLA "EDNAREK
0RINCETON !RCHITECTURAL 0RESS
$ESIGN *AN (AUX
%AST 3EVENTH 3TREET
.EW 9ORK .EW 9ORK 3PECIAL THANKS TO .ETTIE !LJIAN $OROTHY "ALL *ANET "EHNING
-EGAN #AREY 0ENNY 9UEN 0IK #HU 2USSELL &ERNANDEZ
&OR A FREE CATALOG OF BOOKS CALL #LARE *ACOBSON *OHN +ING -ARK ,AMSTER .ANCY %KLUND
6ISIT OUR WEB SITE AT WWWPAPRESSCOM
,ATER ,INDA ,EE +ATHARINE -YERS ,AUREN .ELSON -OLLY
2OUZIE *ANE 3HEINMAN 3COTT 4ENNENT *ENNIFER 4HOMPSON
¥ 0RINCETON !RCHITECTURAL 0RESS
0AUL 7AGNER *OSEPH 7ESTON AND $EB 7OOD OF 0RINCETON
!LL RIGHTS RESERVED
!RCHITECTURAL 0RESS ˆ+EVIN # ,IPPERT PUBLISHER
0RINTED AND BOUND IN #HINA
&IRST EDITION
,IBRARY OF #ONGRESS #ATALOGING IN 0UBLICATION $ATA
.O PART OF THIS BOOK MAY BE USED OR REPRODUCED IN ANY
+EN 3MITH ,ANDSCAPE !RCHITECT URBAN PROJECTS *ANE !MIDON
MANNER WITHOUT WRITTEN PERMISSION FROM THE PUBLISHER
EDITOR
EXCEPT IN THE CONTEXT OF REVIEWS
P CM ˆ 3OURCE BOOKS IN LANDSCAPE ARCHITECTURE
)NCLUDES BIBLIOGRAPHICAL REFERENCES
%VERY REASONABLE ATTEMPT HAS BEEN MADE TO IDENTIFY OWNERS OF
COPYRIGHT %RRORS OR OMISSIONS WILL BE CORRECTED IN SUBSEQUENT
EDITIONS
)3". 8 ALK PAPER
3MITH +EN ˆ)NTERVIEWS ,ANDSCAPE ARCHITECTSˆ
.EW 9ORK 3TATE ˆ.EW 9ORKˆ)NTERVIEWS ,ANDSCAPE
ARCHITECTUREˆ.EW 9ORK 3TATE ˆ.EW 9ORK ) 3MITH +EN
4HE SEMINARS AND PUBLICATIONS FOR THIS SERIES ARE MADE POSSIBLE
n )) !MIDON *ANE ))) +EN 3MITH ,ANDSCAPE !RCHITECT
BY THE GENEROUS SUPPORT OF $EE$EE "3,! +NOWLTON
&IRM )6 3ERIES
3CHOOL OF !RCHITECTURE AND (ERB 'LIMCHER
3"3+ ˆDC
#ONTENTS
!CKNOWLEDGMENTS
&OREWORD
0ETER 2EED
$ATA AND #HRONOLOGY
#ONVERSATIONS WITH +EN 3MITH
#OMPILED AND EDITED BY *ANE !MIDON
4HE -USEUM OF -ODERN !RT 2OOF 'ARDEN
%AST 2IVER &ERRY ,ANDINGS
03 +EN 3MITH ,ANDSCAPE AS #ULTURAL #RITICISM
.INA 2APPAPORT
#REDITS
"IBLIOGRAPHY
"IOGRAPHIES
!CKNOWLEDGMENTS
+EN 3MITH AND HIS OFlCE 7ORKSHOP +EN 3MITH ,ANDSCAPE !RCHITECT +3,! PROVED EARLY TO BE A PRO
VOCATIVE AND PRODUCTIVE SUBJECT FOR THE SECOND 3OURCE "OOK IN ,ANDSCAPE !RCHITECTURE )N THE
+NOWLTON 3CHOOL OF !RCHITECTURE WAS FORTUNATE TO HOST +EN 3MITHS INSTALLATION OF THREE $UMPSTER
'ARDENS ON THE /HIO 3TATE 5NIVERSITY CAMPUS THE PROJECT NOT ONLY CAUSED BOTH JOY AND CONSTERNATION
WITHIN THE UNIVERSITY AUDIENCE BUT INDICATED THE VALUE OF PROVISIONAL LANDSCAPES WHEN WORD WAS RECEIVED
THAT THE UNIVERSITY PRESIDENT HAD LOOKED DOWN FROM HER WINDOW ONTO $UMPSTER PLANTED IN SCARLET
CELOSIA AND GREY ARTEMISIA AND PROCLAIMED THE PROJECT A SUCCESS
3MITHS ARTICULATE PRESENTATION OF IDEAS CASTS QUESTIONS TOWARD THE MAKING OF CONTEMPORARY URBAN
LANDSCAPES QUESTIONS WHOSE ANSWERING FEEDS THE PERPETUAL FRESHNESS OF +3,! DESIGN -UCH APPRECIATION
IS OWED TO +EN FOR HIS GARDENS FOR HIS GENEROUS TIME AND ENERGIES SPENT IN THE 'LIMCHER SEMINARS AND
FOR HIS THOUGHTFUL CONTRIBUTIONS TO THIS PUBLICATION
4HE CRITICAL VALUE OF THIS BOOK IS MUCH INCREASED BY THE PARTICIPATION OF 0ETER 2EED AND .INA
2APPAPORT 4HANKS ALSO TO THE STUDENTS WHO JOINED IN THE SEMINAR *EFF !NDERSON -ICHAEL $ENISON ,IN
'OEPFERT "RIAN 'RIFlTH 4IM (ESS +RIS ,UCIUS *ILL -C+AIN 'ABRIELA 0ATOCCHI #HERYL 3OMERFELDT AND
ESPECIALLY *ASON "RABBS FOR HIS VIDEOGRAPHY -ATT /GBORN WAS A CHAMPION TRANSCRIBER
4HE 3OURCE "OOKS IN ,ANDSCAPE !RCHITECTURE WOULD NOT BE POSSIBLE WITHOUT THE GENEROUS PATRONAGE OF
$EE$EE AND (ERB 'LIMCHER AND THE SUPPORT OF MANY AT THE +NOWLTON 3CHOOL OF !RCHITECTURE 3PECIlCALLY
THE ENCOURAGEMENT OF $IRECTOR 2OBERT ,IVESEY IS ESSENTIAL TO THE PROGRAM ) AM THANKFUL FOR ADVICE OFFERED
BY COLLEAGUES AND FOR THE LOGISTICAL HELP OF +EN 3MITHS STUDIO IN PARTICULAR 3ENIOR !SSOCIATE %LIZABETH
!SAWA 0RISCILLA -C'EEHON SHARED INSIGHTFUL COMMENTS INTO THE WORK OF +EN 3MITH &INALLY THE EDITORIAL
GUIDANCE OF .ICOLA "EDNAREK AND +EVIN ,IPPERT AT 0RINCETON !RCHITECTURAL 0RESS IS VERY MUCH APPRECIATED
3OURCE "OOKS
IN ,ANDSCAPE
!RCHITECTURE
3OURCE "OOKS IN ,ANDSCAPE !RCHITECTURE PROVIDE CONCISE INVESTIGATIONS INTO CONTEMPORARY DESIGNED LAND
SCAPES BY LOOKING BEHIND THE CURTAIN AND BEYOND THE SCRIPT TO TRACE INTENTIONALITY AND RESULTS /NE GOAL IS
TO OFFER UNVARNISHED STORIES OF PLACE MAKING ! SECOND GOAL IS TO CATCH EMERGING AND ESTABLISHED DESIGNERS
AS FACETS OF THEIR PROCESS MATURE FROM TENTATIVE TRIAL INTO DElNITIVE TECHNIQUE
%ACH 3OURCE "OOK PRESENTS ONE PROJECT OR GROUP OF RELATED WORKS THAT ARE SIGNIlCANT TO THE PRACTICE AND
STUDY OF LANDSCAPE ARCHITECTURE TODAY )T IS OUR HOPE THAT READERS GAIN A SENSE OF THE PROJECT FROM START TO
lNISH INCLUDING CRUCIAL EARLY CONCEPTS THAT PERSIST INTO BUILT FORM AS WELL AS THE IDEAS AND METHODS THAT
ARE SHED ALONG THE WAY $ESIGN PROCESS SITE DYNAMICS MATERIALS RESEARCH AND TEAM ROLES ARE EXPLORED IN
DIALOGUE FORMAT AND DOCUMENTED IN PHOTOGRAPHS DRAWINGS DIAGRAMS AND MODELS %ACH 3OURCE "OOK IS
INTRODUCED WITH A PROJECT DATA AND CHRONOLOGY SECTION AND CONCLUDES WITH AN ESSAY BY AN INVITED CRITIC
4HIS SERIES WAS CONCEIVED BY 2OBERT ,IVESEY AT THE !USTIN % +NOWLTON 3CHOOL OF !RCHITECTURE AND PAR
ALLELS THE 3OURCE "OOKS IN !RCHITECTURE %ACH MONOGRAPH IS A SYNTHESIS OF A SINGLE 'LIMCHER $ISTINGUISHED
6ISITING 0ROFESSORSHIP 3TRUCTURED AS A SERIES OF DISCUSSION BASED SEMINARS TO PROMOTE CRITICAL INQUIRY INTO
CONTEMPORARY DESIGNED LANDSCAPES THE 'LIMCHER PROFESSORSHIPS GIVE STUDENTS DIRECT SUSTAINED ACCESS TO
LEADING VOICES IN PRACTICE 3TUDENTS WHO PARTICIPATE IN THE SEMINARS PLAY AN INSTRUMENTAL ROLE IN CONTRIBUT
ING TO DISCUSSIONS TRANSCRIBING RECORDED MATERIAL AND EDITING CONTENT FOR THE 3OURCE "OOKS 4HE SEMINARS
AND 3OURCE "OOKS ARE MADE POSSIBLE BY A FUND ESTABLISHED BY $EE$EE AND (ERB 'LIMCHER
&OREWORD
) HAD GOOD NEWS AND BAD NEWS FOR +EN 3MITH WHEN ) CALLED HIM IN 4HE -USEUM OF -ODERN !RT
-O-! WANTED TO COMMISSION A BEAUTIFUL AND IMAGINATIVE LANDSCAPE ATOP THE ROOF OF ITS NEW GALLERY
BUILDING IN MIDTOWN -ANHATTAN DESIGNED BY 9OSHIO 4ANIGUCHI 4HAT WAS THE GOOD NEWS "UT THE PROJECT
CAME WITH A LONG LIST OF RESTRICTIONS THAT COULD HARDLY BE ATTRACTIVE TO A LANDSCAPE ARCHITECT LIVE PLANTS
WERE STRONGLY DISCOURAGED THE NEED FOR WATER WAS TO BE MINIMIZED OR ELIMINATED ALTOGETHER THE HEIGHT
OF THE LANDSCAPE COULD NOT EXCEED ABOUT THREE FEET THE ACCEPTABLE ROOF LOAD WAS MINIMAL BLACK AND
WHITE STONES ROOF BALLAST HAD ALREADY BEEN PURCHASED AND IDEALLY SHOULD BE INCORPORATED IN THE NEW
DESIGN AND THE BUDGET WAS SLIM "ESIDES THERE WAS NO PUBLIC ACCESS TO THE ROOF GARDEN )N FACT MUSEUM
GOERS WOULD NEVER SEE THE ROOF ONLY PEOPLE IN THE SURROUNDING BUILDINGS NOTABLY RESIDENTS OF THE ADJA
CENT -USEUM 4OWER CONDOMINIUM WOULD ENJOY THE VIEW FROM ABOVE 4HIS WAS A WORK TO BE LOOKED AT
NOT WALKED THROUGH !FTER EXPLAINING THIS LITANY OF RESTRICTIONS THERE WAS A PAUSE ON THE PHONE FOLLOWED
BY 3MITHS SOMEWHAT CAUTIOUS REPLY h7ELL )LL SEE WHAT ) CAN DOv
3MITHS PAST PROJECTS SUCH AS HIS 'LOWING 4OPIARY 'ARDEN AND THE 03 SCHOOLYARD SUGGESTED THAT
HE WAS AN IDEAL CANDIDATE TO TAKE ON THE MUSEUMS ROOF GARDEN (IS WORK DEMONSTRATED A REMARKABLE
ABILITY TO CONFRONT THE COMMON REALITY OF MANY URBAN SITESˆHARDSCAPES AND LOW BUDGETSˆAND PRODUCE
UNCONVENTIONAL DESIGNS THAT ARE HYBRIDS BETWEEN LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL ART (IS
APPROACH STRETCHES THE CONVENTIONAL DElNITION OF LANDSCAPE IN RESPONSE TO A SPECIlC PROGRAM THAT ITSELF
SUGGESTS A FOCUS ON AESTHETIC OR PRACTICAL ISSUES MORE THAN ECOLOGICAL PROCESSES 3MITHS IDEAS ARE BOLD
EVOCATIVE AND SOMETIMES HUMOROUS AND IN SOME RESPECTS SHARE A SENSIBILITY WITH OTHER DESIGNERS PAR
TICULARLY -ARTHA 3CHWARTZ WITH WHOM 3MITH PREVIOUSLY WORKED
)N HIS lRST PROPOSAL FOR THE ROOF GARDEN 3MITH THREW CAUTION TO THE WIND &IELDS OF ORDINARY COLORFUL
PINWHEEL DAISIES ARE hPLANTEDv IN A GRID OF mUORESCENT GREEN 06# PIPEˆ!NDY 7ARHOL MEETS *OHN 7ATERS
MEETS +MART 4HE IMAGE OF SIX THOUSAND WHIRLING DAISIES ARRANGED IN GREAT WASHES OF COLOR WAS HUMOROUS
IRREVERENT AND POTENTIALLY VERY BEAUTIFUL ESPECIALLY WHEN VIEWED FROM AN OPTIMAL DISTANCE 4HE NEIGH
BORING RESIDENTS HOWEVER WERE NOT CONVINCED THAT KITSCH WOULD BE ELEVATED TO THE STATUS OF ART
3OME WEEKS LATER 3MITH SUBMITTED A NEW PROPOSAL WHICH EXPLORED IDEAS OF CAMOUmAGE AND CONCEAL
MENT USING REAL AND PLASTIC STONES PLASTIC SHRUBS AND GRASS CRUSHED GLASS AND BRICK 4HESE ELEMENTS
COULD BE ARRANGED IN SEVERAL WAYS 3CHEMES VARIED FROM A RECTILINEAR GEOMETRY THAT ECHOES THE -IESIAN
GRID OF 0HILIP *OHNSONS !BBY !LDRICH 2OCKEFELLER 3CULPTURE 'ARDEN SEVERAL STORIES BELOW TO AN
ORGANIC FREE FORM THAT IMITATES CAMOUmAGE PATTERNS AND RECALLS THE IDIOSYNCRATIC DESIGNS OF THE RENOWNED
"RAZILIAN LANDSCAPE ARCHITECT 2OBERTO "URLE -ARX SUCH AS HIS ROOF GARDEN FOR THE -INISTRY OF %DUCATION
BUILDING IN 2IO DE *ANEIRO n 4HE CAMOUmAGE GARDEN PREVAILEDˆBEAUTIFUL IN ITS OWN RIGHT AND
STANDING IN CONTRAST TO THE CONTROLLED ORTHOGONAL GEOMETRY OF *OHNSONS GARDEN AND 4ANIGUCHIS ARCHITEC
TURE 3EVERAL BLOCKS AWAY AT 4IMES 3QUARE THE ROOF OF THE 53 !RMED &ORCES 2ECRUITING 3TATION A SMALL
ONE STORY PAVILION DESIGNED BY !RCHITECTURAL 2ESEARCH /FlCE IS PAINTED IN MILITARY CAMOUmAGE
PATTERN (ERE THE ROOF DECORATION DOES NOT CONCEAL THE STRUCTURE BUT IS TANTAMOUNT TO A BILLBOARD
ADVERTISING THE ACTIVITIES WITHIN THE BUILDING 3MITHS ROOF GARDEN NEITHER CONCEALS NOR IS INTENDED TO
EVOKE MILITARY ASSOCIATIONS "UT BECAUSE OF ITS UNCONVENTIONALITY AND BOLD CONTRAST WITH THE SURROUNDING
ENVIRONMENT IT TOO CALLS ATTENTION TO THE INSTITUTION WITHIN HOPEFULLY TO THE DELIGHT AND CURIOSITY OF
THOSE WHO SEE IT
9<5505./,(+:
-69,>69+
2ATHER THAN COVER ITS ROOF IN ORDINARY STONE BALLAST THE MUSEUM SEIZED AN OPPORTUNITY FOR A MORE
CREATIVE SOLUTION !S SUCH THE ROOF GARDEN PROJECT IS NOT UNLIKE -O-!S EXHIBITION PROGRAMS THAT PRESENT
EMERGING TALENT AND FOSTER EXPERIMENTATION 4HE MUSEUMS PROJECT SERIES BEGUN IN WAS CONCEIVED
AS A FORUM FOR NEW ARTISTS AND HAS BEEN CENTRAL TO THE ROLE OF CONTEMPORARY ART AT -O-! 3IMILARLY THE
9OUNG !RCHITECTS 0ROGRAM WHICH TAKES PLACE EVERY SUMMER IN 03 S COURTYARD AND IS NOW IN ITS lFTH
YEAR HAS RESULTED IN ASTONISHINGLY INNOVATIVE TEMPORARY STRUCTURES -O-!S 3CULPTURE 'ARDEN HAS ALSO
BEEN THE SETTING FOR ARCHITECTURAL PROJECTS MOST RECENTLY 3HIGERU "ANS lRST WORK IN THE 5NITED 3TATES
0APER !RCH A MONUMENTAL LATTICE ROOF MADE OF PAPER TUBES
3MITHS ROOF GARDEN ALTHOUGH LOCATED OUTSIDE THE PARAMETERS OF A PUBLIC GALLERY IS INTENDED TO BE
NO LESS A COMPELLING WORK !ND AS EVIDENCED BY THE THREE PROJECTS PRESENTED IN THIS MONOGRAPH lNDING
SOLUTIONS OUTSIDE CONVENTIONAL PARAMETERS IS JUST WHERE +EN 3MITHS WORK WANTS TO BE
0ETER 2EED
#URATOR 4HE -USEUM OF -ODERN !RT
9<5505./,(+:
-69,>69+
(WYPS
/N INVITATION BY -O-! +EN 3MITH
SUBMITS MATERIALS FOR UNSPECIlED
PURPOSE
4HE -USEUM OF
-ODERN !RT 2OOF
'ARDEN
,HYS`5V]LTILY
3MITH MEETS WITH MUSEUM STAFF AND
CURATORS TO DISCUSS PARAMETERS OF THE
ROOF PROJECT
*30,5;!
+LJLTILY
4HE -USEUM OF -ODERN !RT
3MITH DEVELOPS 0HOTOSHOP STUDIES FOR
TWO ALTERNATE CONCEPTS THAT EXPLORE
+(;(!
mOWERS AS SUBJECT MATTER AND WRITES
.ORTH ROOF SQUARE FEET
DESCRIPTION OF THE &IELD $AISIES !
5V]LTILY
3OUTH ROOF SQUARE FEET
MODEL IS MADE OF THE ASSEMBLY PRO
4HE DESIGN IS APPROVED AND
$ECEPTION BECOMES THE PRIMARY
POSAL AND A MOCK UP IS FABRICATED
-ATERIAL PALETTE
ON THE -O-! ROOFTOP ! 1UICKTIME
:\TTLY
SCHEME -ATERIALS DETAILING AND
ARTIlCIAL BOXWOOD INCHES
VIDEO IS MADE AND THE IDEAS ARE PRE
3MITH DEVELOPS CAMOUmAGE CONCEPTS
PRICING RESEARCH PROCEED WITH DESIGN
SENTED TO -O-! CURATORS
-ATERIALS AND DETAILING RESEARCH
DEVELOPMENT
HEIGHT
MOCK UPS ARE DONE IN +3,! STUDIO
SHEETS $URAGRATE MOLDED
1HU\HY`
INCH SQUARE MESH
0ROJECT IS PRESENTED TO -USEUM
:LW[LTILY
#HALK LINE MOCK UP IS DONE ON ROOF
4OWER CONDOMINIUM BOARD FOR
&OUR CAMOUmAGE DESIGN CONCEPTS
TO TEST OUT THE HORIZONTAL GEOMETRY
GREY 06# mANGE PIECES FOR
APPROVAL !T END OF THE MONTH WORD
ARE PRESENTED TO -O-! CURATORS AND
OF THE SCHEME AT FULL SIZE )NITIAL BIDS
BOXWOOD ASSEMBLY
IS RECEIVED THAT THE &IELD $AISIES CON
STAFF h)MITATIONv AND h$ECEPTIONv
REVEAL THAT THE PROJECT IS SUBSTAN
CEPT IS REJECTED BY THE CONDOMINIUM
ARE SELECTED FOR PRESENTATION TO
TIALLY OVER BUDGET 6ALUE ENGINEERING
HEADERS PAINTED "ENJAMIN -OORE
BOARD -EETINGS WITH 0ETER 2EED AND
CONDOMINIUM BOARD ! MOCK UP
BEGINS "Y *UNE THE PROJECT IS RE BID
(ILLSBORO BEIGE
OTHER -O-! STAFF ENSUE TO DISCUSS
IS PLACED ON THE -O-! ROOF IN
FOR A THIRD TIME AND A lNAL COST ESTI
NEXT STEPS
ADVANCE
MATE IS ACCEPTED IN 3EPTEMBER
GREY 06# PIPE SEGMENTS AND
LINEAR FEET #.# CUT FOAM
ARTIlCIAL ROCKS BLACK
ARTIlCIAL ROCKS WHITE
ONE POUND BAGS RECYCLED TUM
BLED GLASS AGGREGATE CLEAR
lFTY POUND BAGS WHITE MARBLE
CHIPS INCH DIAMETER
FORTY POUND BAGS RECYCLED BLACK
RUBBER MULCH INCH CHIPS
1HU\HY`
lBERGLASS GRATING INCH THICK
$ATA AND
#HRONOLOGY
5V]LTILY
.EW 9ORK 4IMES COLUMNIST !NNE
2AVER WRITES AN ADVANCE REVIEW OF
THE -O-! ROOF GARDEN DESIGN h!
2OOFTOP 'ARDEN 7ITH 3YNTHETIC
%AST 2IVER &ERRY
,ANDINGS
'REENv
*30,5;!
1HU\HY`
#ONSTRUCTION COMMENCES
.EW 9ORK #ITY %CONOMIC
$EVELOPMENT #ORPORATION
.EW 9ORK #ITY $EPARTMENT OF
-LIY\HY`
#ONSTRUCTION REACHES POINT OF SUB
STANTIAL COMPLETION WITH COMPLETED
4RANSPORTATION
.EW 9ORK #ITY $EPARTMENT OF
0ARKS AND 2ECREATION
PUNCH LIST 4HE PREVIOUS DAY THE .EW
-HSS
3MITH IS NOTIlED THAT HIS OFlCE HAS
BEEN PLACED ON A SHORTLIST OF DESIGN
9ORK 0OST PUBLISHES A PHOTO OF THE
+(;(!
CONSULTANTS FOR A NEW FERRY LAND
-LIY\HY`4HYJO
GARDEN ENTITLED h)TS !RT IlCIALv 4HREE
4OTAL PROJECT COVERAGE ACRES
ING PROJECT ON THE %AST 2IVER +3,!
#AMOUmAGE SCHEMES EXHIBITED AT
DAYS LATER 0ETER 2EEDS -O-! SHOW
(ARVARD 5NIVERSITY 'RADUATE 3CHOOL
h'ROUNDSWELL #ONSTRUCTING THE
OF $ESIGN
#ONTEMPORARY ,ANDSCAPEv OPENS
WITH APPROXIMATELY SQUARE
FOUR OTHER DESIGN TEAMS AND IS
4HE ROOFTOP GARDEN IS REPRESENTED IN
FEET OF MARSH PLANTERS
SELECTED FOR THE COMMISSION
:LW[LTILY6J[VILY
THE EXHIBITION BUT PUBLIC ACCESS IS
+3,! STAFF VISITS #.# SHOP TO VIEW
NOT AND NEVER WILL BE ALLOWED
DIVIDED INTO FOUR SITES
4HIRTY FOURTH 3TREET SITE ACRES
TEAMS UP WITH +ENNEDY 6IOLICH
!RCHITECTURE IN A COMPETITION AGAINST
3IZE OF MARSH PLANTERS FEET BY FEET IN NINE MODULES
MOCK UP DIGITAL lLES FOR #.# CUT
1HU\HY`1\UL
3MITH PREPARES PLANS FOR TEMPORARY
FOAM HEADERS AND lBERGLASS GRATING
(WYPS4H`
-ARSH PLANTER ELEMENTS
LANDING AT %AST 3IXTY SEVENTH 3TREET
ARE ISSUED WITH lNAL CONSTRUCTION
0ETER -AUSS OF %STO PHOTOGRAPHS THE
PUMP
WITH *ERSEY BARRIERS CRIB WALL PLANT
DOCUMENTS
PROJECT
SALTWATER IRRIGATION CHANNEL
ERS AND TAXODIUM BOSQUE PLANTING
SALTWATER SCUPPERS
FRESHWATER POP UP SPRAY IRRIGATION
3(%,4%2
SYSTEMS
IVA FRUTESCENS MARSH ELDER OR
HIGH TIDE BUSH
2)0!2)!. 0,!.4).'3
/. 3425#452%
/0%. 4/ 7!4%2
&%229
SPARTINA ALTERNIFOLIA SMOOTH
CORD GRASS
6J[VILY
4H`
0ROJECT SUBMITTED TO .EW 9ORK #ITY
3MITH RECEIVES CALL FROM 2OBIN (OOD
&INE !RT #OMMISSION FOR PROJECT
&OUNDATION ABOUT A POSSIBLE SCHOOL
APPROVAL
YARD PROJECT IN 1UEENS
+LJLTILY
03 !PPROVAL RECEIVED
3MITH MAKES lRST SITE VISIT TO SEE THE
*30,5;!
4HYJO
PROJECT
4HE 2OBIN (OOD &OUNDATION
CONSTRUCTION DOCUMENTS DELIV
1\UL
(\N\Z[
ERED &OLLOWING THE INITIAL COST ESTI
+(;(!
3MITH PRESENTS BOOKLET OF 0HOTOSHOP
+3,! PRESENTS SCALE MODEL AND
MATE VALUE ENGINEERING BEGINS
3ITE SQUARE FEET EXCLUDING
hBEFORE AND AFTERv IMAGERY ILLUS
BUILDING FOOTPRINTS
3MITHS 0HOTOSHOP DIAGRAMS FOR NEW
TRATING lVE LOW COST PROTOTYPE
MARSH PLANTER BOX SCHEME 3OON
6J[VILY
AFTER 3MITH DEVELOPS THE FOLDED
CONSTRUCTION DOCUMENTS
3ITE COMPONENTS
PROJECT MANAGER AT THE 2OBIN (OOD
GEOMETRY PARTI IN A PHOTOMONTAGE
DELIVERED
CUSTOM MODIlED DUMPSTERS
&OUNDATION 2ECEIVES A CALL WITHIN
SCHOOLYARD IMPROVEMENTS TO THE
CUBIC YARDS
7VZ[:LW[LTILY
(WYPS
&OLLOWING THE TERRORIST ATTACKS ON THE
4HE PROJECT IS OUT FOR lNAL BIDS 4HE
7ORLD 4RADE #ENTER THE PROJECT GOES
MARSH PLANTERS ARE LISTED AS AN h!DD
ON HOLD FOR SIX MONTHS
!LTERNATEv FOR BIDDING
FEET INCHES BY FEET
SQUARE FEET ,EARNING 'ARDEN
1\S`6J[VILY
$ESIGN DEVELOPMENT AND CONSTRUC
TION DRAWINGS ARE PREPARED
SQUARE FEET WOOD CHIP PATH
LOGS
TYPES OF PERENNIALS AND ANNUALS
TOTAL PLANTED
TYPES OF SHRUBS TOTAL PLANTED
TYPES OF TREES TOTAL PLANTED
+(;((5+*/965636.@
HOURS h#LIENT LOVES ITv
SQUARE FEET NYLON SCRIM AT
,EARNING 'ARDEN ELEMENTS
1\UL
,HYS`(WYPS
3MITH SUPERVISES SOIL PLACEMENT
BERM LAYOUT AND SCRIM INSTALLATION
+3,! COMPLETES lNAL BERM GRADING
PLANS AND WORKS WITH THE .EW 9ORK
2ESTORATION 0ROJECT TO PREPARE THE SITE
AND STAKE OUT THE BIRD AND BUTTERmY
1HU\HY`-LIY\HY`
GARDEN
:\TTLY
0LANTING PLANS FOR BIRD AND BUTTERmY
GARDEN ARE PREPARED
3H[L(WYPS
0AUL 7ARCHOL PHOTOGRAPHS THE SITE
,OGS AND PLANTS ARE DELIVERED TO THE
4HYJO
SITE /N %ARTH $AY VOLUNTEERS FROM
(\N\Z[:LW[LTILY
3MITH SELECTS SPECIMEN LOGS FOR THE
THE 4IMBERLAND #ORPORATION DO
-ETROPOLIS MAGAZINE PUBLISHES THE
GARDEN
INITIAL PLANTINGS !LL +3,! STAFF ARE
PROJECT h'ARDEN 3POTv
5V]LTILY
ON SITE TO SUPERVISE THE VOLUNTEER
0AINTED GRAPHICS ELEMENT OF PROJECT
4HYJO
EFFORTS THROUGHOUT THE PLANTING AREA
6J[VILY
IS COMPLETED AND !LBERT 6EC‡ERKA OF
-OCK UP OF DUMPSTER PLANTER IS
!DDITIONAL PLANTINGS ARE INSTALLED
0ROJECT RECEIVES AN !3,! -ERIT
%34/ PHOTOGRAPHS THE SITE
CREATED IN 7EST "ABYLON .EW 9ORK
THROUGH -AY
!WARD
#ONVERSATIONS
WITH +EN 3MITH
#OMPILED AND EDITED BY *ANE !MIDON
*ANE !MIDON 7HATS IMPORTANT NOW IN YOUR
THE UNDERLYING QUALITIES OF MY WORK THAT ALLOW ITS
WORK AND HOW DOES THIS RELATE TO THE DEVELOP
OTHER ASPECTSˆTHE FORMAL QUALITIES AND THE COM
MENT OF YOUR PRACTICE
MENTARY ON CONTEMPORARY CULTUREˆTO COME TO
BEAR ON THE PROJECTS WHETHER THEY ARE SMALL GAR
+EN 3MITH 4HERE ARE SEVERAL THREADS THAT ) THINK
DENS OR URBAN SPACES OR COMPLEX LARGER SITES SUCH
ARE VERY IMPORTANT &IRST IF YOU WANT TO PRACTICE
AS REHABILITATING A LANDlLL /BVIOUSLY YOU CANT
LANDSCAPE ARCHITECTURE SERIOUSLY YOU MUST HAVE A
DESIGN A LANDlLL ON THE BASIS OF IRONYˆYOU MUST
COMMITMENT TO PUBLIC SPACE 9OU SHOULD ALSO BE
DEAL WITH THOSE OTHER ISSUES OF ECOLOGY AND SOCIAL
COMMITTED TO ENVIRONMENTALISM AND ALTHOUGH
SPACE AND HISTORY
THE LATTER IS NOT IMMEDIATELY OBVIOUS IN MOST
OF MY PROJECTS ITS IMPLICIT IN MY THINKING ABOUT
*! 7HAT ARE THE ROOTS OF THE MINIMALIST AND
LANDSCAPE !ND lNALLY YOU MUST HAVE A COM
ICONIC TENDENCIES IN YOUR WORK AS WELL AS THE
MITMENT TO HISTORY A RESPECT FOR HISTORY WHICH
OTHER THREADS YOU MENTION $OES A MULTIPLICITY
) HOPE IS ALSO IMPLICIT IN MY WORK 4HESE THREE
OF READINGS OBSCURE A CRITICAL STANCE AS MUCH
SOCIAL AGENDAS IF YOU WILL ARE CRUCIAL TO A CRITICAL
AS ENRICH IT
PRACTICE "ECAUSE MY DESIGNS ARE OFTEN BASED ON
MINIMALISM ICONS AND IRONY ) FEEL ITS EVEN
+3 )M COMFORTABLE WITH AN OPEN INTERPRETATION
MORE ESSENTIAL NOT TO GLOSS OVER THE SERIOUSNESS
OF MY PROJECTS ) LIKE THAT THERES A CERTAIN INHERENT
OF MY PRACTICE AND THE NON IRONIC ASPECTS THAT
ABSTRACTNESS AT THE CENTER OF A PROJECTS CONTENT SO
UNDERPIN IT ! SENSITIVITY FOR PUBLIC SPACE ENVI
THE UNDERSTANDING OF IT CAN SHIFT AND IT CAN HAVE
RONMENTALISM AND COMMITMENT TO HISTORY ARE
MULTIPLE MEANINGS ) THINK THATS WHAT MAKES
/PYP`H3HUKMPSS7HYRJVTWL[P[PVU2LU:TP[OPU
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LANDSCAPE WORK OVER TIME 4AKE #ENTRAL 0ARK FOR
DESIGN TEAM -ARTHAS SIDE OF THE OFlCE WAS OFTEN
EXAMPLE -Y READING OF THE PARK IS THAT ONCE YOU
REFERRED TO AS THE hPLAY PENv BUT THERE WAS A SERI
STRIP AWAY THE WELL WORN NARRATIVE OF MITIGATING
OUS EXCHANGE OF IDEAS BETWEEN BOTH SIDES OF THE
THE URBAN ILLS AT THE CORE ITS BASICALLY ABSTRACT
OFlCE AND ) LEARNED TREMENDOUSLY FROM BOTH 0ETE
CONTENTˆA GREAT EMPTINESS AT THE HEART OF THE CITY
AND -ARTHA 5NDERSTANDING THEIR DIFFERENT STRATE
#ENTRAL 0ARK HAS SURVIVED BECAUSE PEOPLE CAN PROJ
GIESˆ-ARTHAS IN YOUR FACE APPROACH AND 0ETES
ECT ON IT NEW AND EVOLVING MEANINGˆEACH GENERA
MORE SUBTLE BUT CALCULATED DESIGN STRATEGIESˆPRO
TION CAN lND WHAT IT NEEDS AND THE PARKS CONTENT
VIDED ME WITH A GOOD SET OF BOOK ENDS FOR MY
CAN SHIFT WITH THE TIMES AND WITH CULTURAL CHANGES
OWN PRACTICE 4HE IMPORTANCE OF HISTORY BECAME
4HIS IS ALSO TRUE OF *APANESE GARDENS SUCH AS
CLEAR TO ME WHILE WORKING IN THEIR OFlCE BECAUSE
2YOAN *I IN +YOTO OR PLACES LIKE 7ALTER $E -ARIAS
THEIR WORK WAS ROOTED IN CULTURAL PRECEDENTS IN
,IGHTNING &IELD WHERE THE LEVEL OF ABSTRACTNESS
UNDERSTANDING THAT WE ARE PART OF A CONTINUUM
ALLOWS AN OPENNESS OF INTERPRETATION AND MEANING
AND THAT THERE IS A DEEP WELL OF DESIGN HISTORY AND
)N MY THINKING ABOUT LANDSCAPE ) LEARNED
TRADITIONS TO DRAW UPON IN INNOVATING CONTEMPO
FROM BOTH 0ETER 7ALKERS MINIMALISM AND -ARTHA
3CHWARTZS POP APPROACH ) WAS HIRED BY -ARTHA
RARY DESIGN
4HE EMPHASIS OF THEIR OFlCE WAS ON REINVIGO
RIGHT OUT OF GRADUATE SCHOOL AT (ARVARD WHERE )
RATING THE ART OF LANDSCAPE ARCHITECTURE 7HEN
WAS A STUDENT OF 0ETER 7ALKER 0ETE AND -ARTHA
) MOVED TO .EW 9ORK #ITY TO OPEN MY OWN OFlCE
WERE PARTNERS AT THE TIME AND ) WAS BASICALLY
) FOUND IT NECESSARY TO EMPHASIZE PUBLIC SPACE
-ARTHAS ENTIRE STAFF AT lRST WHILE 0ETE HAD A SUB
AND THE SOCIAL ASPECTS OF DESIGN AS PART OF THE ART
STANTIAL AMOUNT OF PROJECTS AND A SOLID STAFF AND
OF MY PRACTICE !ND INCREASINGLY ECOLOGY AND
*65=,9:(;065:
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ENVIRONMENTALISM ARE GROWING AS AN ARTISTIC
+3 ) TEND TO DEVELOP IDEAS IN THE OFlCE THAT ARE
INSTRUMENT IN MY DESIGN WORK %NVIRONMENTALISM
THEN EXPLORED IN VARIOUS PROJECTS IN DIFFERENT WAYS
IS PROBABLY SOMETHING THAT IS GENERATIONAL )T HAS A
UNDER DIFFERENT CIRCUMSTANCES 4HE LINEAGE OF CER
STRONGER CURRENT TODAY THAN TWENTY YEARS AGO
TAIN IDEAS CAN BE TRACED FROM PROJECT TO PROJECT
"Y THE S THE PROFESSION HAD SET UP A DICHOTO
&OR EXAMPLE A FEW YEARS AGO ) BECAME INTERESTED
MY BETWEEN ENVIRONMENTAL PLANNING AND FORM
IN THE IDEA OF CONTAINERS ) PROPOSED USING TRASH
OR SPACE DRIVEN DESIGN !T SOME POINT YOU REALIZE
AND CONSTRUCTION DUMPSTERS IN A WAY SIMILAR TO
THAT THIS IS A RIDICULOUS AND COUNTERPRODUCTIVE
CONVENTIONAL mOWER BOXES BUT LARGER IN SIZE AND
DICHOTOMY AND THAT ITS MUCH MORE SUBSTANTIVE TO
SCOPE THIS DEVELOPED INTO THE CONTAINER CONCEPTS
COMBINE ALL ELEMENTSˆTO DO WORK THATS ENVIRON
AT 03 1UEENS 0LAZA AND IN THE INSTALLATION
MENTALLY SENSITIVE AND ARTISTICALLY STRONG IN TERMS
OF DUMPSTER GARDENS AT THE /HIO 3TATE 5NIVERSITY
OF ITS MEDIUM AS WELL AS SOCIALLY RESPONSIBLE IN ITS
4HE MARSH PLANTERS IN THE %AST 2IVER PROJECT ARE A
USE OF PUBLIC SPACE AND SUSTAINABILITY
VARIATION ON THIS INTEREST IN THE CONTAINER AS IS THE
‹ COLLECTION BOX IDEA ) USED AT 9ORKVILLE 0ARK
*! "UT CAN YOU REALLY HAVE IT ALL +EN
!NOTHER IDEA DEALS WITH THE CONCEPT OF VERTI
CAL GREENˆTHE NOTION THAT LANDSCAPE CAN OCCUPY
+3 ) DONT KNOW )M lNDING OUT
OR CO HABIT WITH URBAN INFRASTRUCTURE IN A VERTICAL
OR STRUCTURED WAY 4HIS GOES BACK TO THE QUESTION
*! (OW DOES A PROJECT GET BORN IN YOUR OFlCEˆ
OF HOW YOU lND SPACE TO MAKE LANDSCAPE IN HIGHLY
WHATS THE PATTERN OF INTERACTION BETWEEN YOU
BUILT URBAN AREAS ) EXPERIMENTED WITH THIS IDEA AT
CLIENTS YOUR STUDIO TEAM
THE 4IME 7ARNER #ENTER AT #OLUMBUS #IRCLE WHERE
*65=,9:(;065:
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) DESIGNED A FOLDED STAINLESS STEEL hTOPIARY WALLv
THAT IS PLANTED TO CREATE A VERTICAL LANDSCAPE AND
PRIATION AND FOUND OBJECTS 4HE DUMPSTERS ARE
AT A MUSEUM IN 1UEENS WHERE ) PROPOSED A TOPIARY
CERTAINLY A MANIFESTATION OF THIS 0ART OF THIS IS
CURTAIN !T THE MUSEUM PROJECT PHOTOGRAPHING
ALSO MY INTEREST IN USING CONTEMPORARY MATERIALS
THE SITE GAVE ME THE IDEA OF CREATING A KIND OF THE
THAT ARE INTENDED FOR OTHER USES 4HE !LUMINUM
ATRICAL CURTAIN ALONG ONE EDGE WITH mUID FOLDS THAT
'ARDEN WHERE ) USED FACTORY GRATING STRUCTURAL
COULD BE PLANTED WITH VINES )N ANOTHER CURRENT
MARINE CHANNELS AND HEAVY CONSTRUCTION TIMBER
PROJECT ALSO IN 1UEENS ) HAVE PROPOSED A SERIES OF
IS AN EXAMPLE -Y INTEREST IN FOUND OBJECTS AND
LARGE BILLBOARD STRUCTURES FOR THE TOP OF SEVERAL LOW
THEIR TRANSFORMATION IS EXPLORED IN THE (OTEL %DEN
RISE BUILDINGS THAT WOULD BE PLANTED WITH VINES
INSTALLATION FOR .EST MAGAZINE AND IN THE -O-!
A KIND OF GREEN SIGNAGE IF YOU WILL 2ELATED TO THE
ROOF GARDEN 4HE ROOF GARDEN TAKES THIS ASPECT OF
IDEA OF VERTICAL GREEN IS MY CURRENT INTEREST IN
APPROPRIATION TO A NEW LEVEL OF SIMULATION
PLEATS A KIND OF FOLDING THAT ARTICULATES FORM /NE
!NOTHER MAJOR THREAD IN MY WORK IS APPRO
)N TERMS OF HOW WE WORK AS A STUDIO ) TEND
OF THE lRST PROJECTS OF THIS TYPE IS A SMALL URBAN
TO START OUT WITH AN INITIAL IDEA THAT ) WANT TO
COURTYARD IN -ANHATTAN WHICH IS GOING TO HAVE A
EXPLORE ARTISTICALLY AND TO WHICH THE PROJECT IS
FOLDED FORM TOPIARY SCREEN CONSTRUCTED OF AN ARMA
SUITED 4YPICALLY ) THINK BEFORE ) BEGIN TO DRAW )
TURE WITH STAINLESS STEEL MESH PANELS AND VINES )
LIKE USING 0HOTOSHOP IN EARLY DESIGN STAGES AS A
USED PLEATS IN THE (IRIYA LANDlLL PROJECT IN 4EL !VIV
SKETCHING TOOL TO MAKE MONTAGES AND DIAGRAMS OF
AND THE %AST 2IVER &ERRY ,ANDINGS PROJECT ALSO HAS A
INITIAL CONCEPTS ) MOSTLY DO THESE STUDIES MYSELF
FOLDING FORMˆORIGAMI FOLDING IN THIS CASEˆAS DOES
BECAUSE THEY ALLOW ME TO DEVELOP IDEAS AND A
THE 4IME 7ARNER PROJECT
LINEAGE OF THOUGHT ) OFTEN USE A COMBINATION OF
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'OOGLE DOWNLOADS AND MY OWN IMAGE AND REFER
OWN WORK )M INTERESTED IN DEVELOPING A KIND
ENCE COLLECTION IN GENERATING CONCEPT IMAGES
OF RANDOMNESS THAT IS ROOTED IN GEOMETRY &OR AN
)TS PRETTY COMMON FOR ME TO START OUT WITH THESE
INTERIOR WALL IN THE NEW CAFÏ AT THE #ORNERSTONE
0HOTOSHOP SKETCHES BEFORE THE OFlCE DOES ANY
'ARDEN &ESTIVAL IN 3ONOMA ) CAME UP WITH THE
KIND OF #!$ WORK /FTEN ) GO FROM THESE STUDIES
IDEA OF hWALLmOWERSvˆARTIlCIAL mOWERS THAT ARE
DIRECTLY TO MODEL AND THEN lNALLY TO #!$ PRODUC
PINNED TO THE WALL ACCORDING TO AN INVISIBLE GRID
TION )M A COMMITTED MODEL BUILDER %VEN THOUGH
)TS A BIT OF A 3OL ,EWITT NOTION THAT THE mOWERS CAN
) DONT USUALLY HAVE THE LUXURY OF BUILDING COM
OCCUPY THE CENTER OF THE GRID ONE OF FOUR SIDES
PLETE MODELS MYSELF ANY MORE ) STILL LIKE TO WORK
OR ONE OF FOUR CORNERSˆTHERE ARE NINE POSSIBLE
WITH SMALL STUDY MODELS TO HELP ME UNDERSTAND
POSITIONS AND A LIMITED RANGE OF mOWER CHOICES )
THE FORM OF SOMETHING )M THINKING ABOUT AND
CLIPPED THE IMAGES OF mOWERS FROM ANOTHER PROJECT
MODELS ARE CONSTRUCTED THROUGHOUT THE DESIGN
) HAD IN MY COMPUTER TO TEST OUT THE GRID PALETTE
PROCESSˆEVENTUALLY EVEN AT FULL SIZE TO TEST OUT
PULLING A mOWER PICKING AN UNUSED POSITION
FORM AND SCALE OF FEATURES ) AM PROTOTYPING
AND APPLYING IT UNTIL THE lELD WAS EXHAUSTED THEN
STARTING THE PROCESS OVER AGAIN AND AGAIN UNTIL
*! 7HATS YOUR TAKE ON SYSTEMATIC RANDOMNESS
THE ENTIRE WALL WAS COMPLETE )N THE lNAL INSTALLA
TION THE GRID IS GONE BUT YOU CAN SENSE IT WHEN
+3 )M INTERESTED IN PROCESS AND HOW PROCESS CAN
YOU LOOK AT THE RANDOM PATTERNING )TS LIKE WHEN
BE A GENERATOR OF FORM )M A FAN OF MINIMALIST
YOU TOUCH POISON IVY AND GET THESE LINES OF WELTS
MUSIC FOR EXAMPLE WHERE PROCESS AND STRUCTURE
ON YOUR SKIN 9OU CAN READ THE LINES AS GEOMETRIC
ARE USED TO CREATE AN EXPERIENTIAL ART FORM )N MY
FORMS BUT BEHIND THE OVERT GEOMETRY THERE IS THIS
*65=,9:(;065:
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OTHER DYNAMICˆTHE PATTERN EXISTS BETWEEN GEOM
PRODUCTSˆWITH THE COUTURE LINE BEING THE MOST
ETRY AND THAT OTHER FORCE 9OUR EYE WANTS TO RECOG
IMPORTANT LINE OF PRODUCTION ARTISTICALLY SPEAKING
NIZE AN ORDER BUT YOU CANT QUITE PIN IT DOWN
"UT THE FASHION HOUSE ALSO HAS READY TO WEAR AND
BRIDGE LINES PERFUMES AND ACCESSORIES AND OTHER
*! 9OU INITIALLY GAINED PUBLICITY IN DESIGN
PRODUCTS THAT EXTEND THE IDEAS DEVELOPED FOR THE
CIRCLES FOR YOUR SMALLER SCALE PROVISIONAL
COUTURE LINE IN DIFFERENT BUT STILL ARTISTICALLY SIGNIl
INSTALLATIONS SUCH AS THE 'LOWING 4OPIARY
CANT DIRECTIONS %ARLY IN MY OFlCES HISTORY ) USED
'ARDEN -UTANT 'ARDENS OR THE &IFTH !VENUE
TO TALK ABOUT THIS ABOUT HAVING DIFFERENT KINDS OF
#HANDELIER PROPOSAL )N DISCUSSIONS IN PRODUCT LINES THERE ARE THE ART INSTALLATIONS THE
YOU STRESSED THE SUBVERSIVE NATURE OF TEMPORARY
PUBLIC PROJECTS AND THE RESIDENTIAL WORK ) WAS
WORK AS A PRIMARY INTEREST 4ODAY YOU ARE WORK
NEVER INTERESTED IN ESTABLISHING THE KIND OF OFlCE
ING ON LARGE SCALE hPERMANENTv LANDSCAPES AND
THAT FOCUSES ONLY ON ONE SINGULAR THING )NSTEAD )
YOU LIST PUBLIC SPACE HISTORY AND ENVIRONMEN
WANTED TO DEVELOP A GENERAL PRACTICE THAT ALLOWS A
TALISM AS MANDATES FOR SUCCESS $O SMALL TEM
WIDE RANGE OF WORK
PORARY WORKS STILL MATTER IN YOUR PRACTICE
!T lRST IT WAS DIFlCULT TO GET LARGER PUBLIC
PROJECTS BECAUSE NOBODY WAS GOING TO TRUST SOME
+3 )VE ALWAYS THOUGHT OF THE PROVISIONAL PROJ
BODY WITH LITTLE OR NO EXPERIENCE IN THIS AREA "UT
ECTS AS A KIND OF RESEARCH AND DEVELOPMENT TOOL )
NOW )M AT A POINT WHERE ) HAVE THE OPPORTUNITY
LIKE TO COMPARE THIS TO THE WORKINGS OF A FASHION
TO DO MORE LARGE SCALE WORK )N MY PRACTICE
HOUSE SUCH AS #HRISTIAN $IOR OR *EAN 0AUL 'AULTIER
THERES A LINK BETWEEN STRATEGY AND CONCEPT AND
! FASHION HOUSE CONSISTS OF A WHOLE RANGE OF
MATERIALITY AND DETAIL -ISSING THAT LINK IS ONE OF
*65=,9:(;065:
THE FUNDAMENTAL PROBLEMS WITH A LOT OF LANDSCAPE
POST INDUSTRIAL ERA THAT hDID NOT EXIST AS PUB
ARCHITECTURE PRACTICES THERE ARE PEOPLE WHO DO
LIC SPACE HALF A GENERATION AGOv )N THE SAME
ONLY THEORETICAL AND CONCEPTUAL WORK AND NEVER
WAY THAT WE LOOK BACK TO %LIZABETH +ASSLERS
GET ANYTHING BUILT AND THERE ARE PEOPLE WHO ARE
-O-! PUBLICATION -ODERN 'ARDENS AND
REALLY GOOD AT BUILDING AND DETAILING BUT DONT
THE ,ANDSCAPE AS A SIGNAL THAT MODERNISM HAD
HAVE ANY IDEAS !ND THEN THERE ARE THE CRITICAL
COALESCED INTO A DOMINANT POSTWAR PARADIGM
PRACTICES AND A FEW GOOD lRMS IN THE COUNTRY THAT
WHAT DOES AN EXHIBITION SUCH AS h'ROUNDSWELLv
ARE ENGAGED AT BOTH LEVELS -Y AMBITION IS TO CRE
SAY TO YOU AS A LANDSCAPE ARCHITECT AND HOW
ATE WORK THAT IS CONCEPTUALLY GROUNDED AND MATE
WILL YOUR WORK BE POSITIONED IN THE COMING
RIALLY RIGOROUS WITH A STRONG CONNECTION BETWEEN
DECADES OF POST PRODUCTIVE SITES
IDEA AND DESIGN FORM AND MATERIAL RESOLUTION )
THINK THAT THE EXPERIMENTATION WITH AND RISK TAK
+3 4HE h'ROUNDSWELLv EXHIBITION IS A KIND OF
ING INVOLVED WITH THE TEMPORARY OR PROVISIONAL
SUMMARY OF THE DOMINANT IDEAS TO EMERGE IN
PROJECTS IS ESSENTIAL IN TESTING AND DEVELOPING IDEAS
LANDSCAPE ARCHITECTURE AT THE END OF THE TWENTIETH
THAT CAN COME TO BEAR IN THE EXECUTION OF LARGER
CENTURY AND THE BEGINNING OF THIS NEW CENTURY )T
AND MORE COMPLEX BUILT PROJECTS
MARKS A TRANSITION IN THE PRODUCTION OF LANDSCAPE
SPACE FROM MODERN TO POSTMODERN )T IS REALLY NO
*! 4HE h'ROUNDSWELLv SHOW AT -O-! OPENED
LONGER FEASIBLEˆECONOMICALLY SOCIALLY OR ENVI
IN &EBRUARY OF )T DOCUMENTS THE PROFES
RONMENTALLYˆTO CONTINUE WITH THE EXPLOITATION
SIONS CURRENT OCCUPATION WITH IN CURATOR 0ETER
OF RAW SPACE THAT TYPIlED A LOT OF THE MODERN
2EEDS WORDS hNEW URBAN LANDSCAPESv OF THE
ERA PRODUCTION 4ODAY THE MOST INTERESTING AND
*65=,9:(;065:
RESPONSIBLE WORK IS OCCURRING IN THE MARGINS OF
BROAD CONCEPTUAL IDEAS ) THINK THE SAME IS TRUE
LEFTOVER AND RECLAIMED SPACE 4HIS INCLUDES WORK
FOR A WHOLE YOUNGER GENERATION OF DESIGNERS
ING WITHIN THE CONSTRAINTS OF EXISTING URBAN FABRIC
) LIKE TO WORK A PROBLEM CONCEPTUALLY FROM BOTH
RECOVERING DEFUNCT MANUFACTURING AREAS DERELICT
ENDS TO SEE WHERE THE SOLUTION lNDS RESOLUTION
WATERFRONTS AND MARGINAL URBAN FRINGE AREAS
IN THE MIDDLE
CREATING NEW PUBLIC USES IN THE SUBSIDIARY SPACES
THAT OCCUR ALONGSIDE INFRASTRUCTURE RETHINKING
SMALL LEFTOVER URBAN SPACES FOR NEW SOCIAL USES
AND RECLAIMING ENVIRONMENTALLY DAMAGED SPACES
SUCH AS BROWNlELDS 4HE DIFlCULTY OF WORKING
WITH THESE TYPES OF SPACES LIES IN CREATING NEW
DESIGN APPROACHES THAT RESPOND TO NEW PROGRAM
MATIC DEMANDS CHALLENGING ENVIRONMENTAL CON
DITIONS AND THE REALITIES OF CONTEMPORARY LIFE )
THINK THE WORK IN THE -O-! SHOW IS A RESPONSE
TO THIS CHANGING lELD OF LANDSCAPE DESIGN )N MY
OWN WORK ) HAVE EXPERIMENTED WITH NEW DESIGN
METHODOLOGIES ) AM AS INTERESTED IN INDUCTIVE
hBOTTOM UPv DESIGN APPROACHES THAT FAVOR CONTEXT
AND OPPORTUNISTIC TACTICS AS ) AM IN LARGER STRATEGIC
hTOP DOWNv APPROACHES THAT FAVOR SYSTEMS AND
*65=,9:(;065:
4HE -USEUM
OF -ODERN !RT
2OOF 'ARDEN
.EW 9ORK .EW 9ORK
)N -O-! CURATOR 0ETER 2EED ASKED +EN 3MITH
HAD RIGHT OF REFUSAL AND INDEED ARE THE PRIMARY
TO PROPOSE AN hIMAGINATIVEv ROOFSCAPE INSTALLATION
AUDIENCE FOR THE ROOFTOP SITE 7HAT DID YOU
FOR THE NEW GALLERY ADDITION BY ARCHITECT 9OSHIO
LEARN FROM THE lRST SCHEMES FAILURE AND HOW DID
4ANIGUCHI .EVER TO BE ACCESSIBLE TO THE GENERAL
THAT GUIDE YOUR IDEAS FOR THE SECOND SCHEME
PUBLIC THE SQUARE FOOT GARDEN SITTING SIX
FLOORS ABOVE STREET LEVEL WAS DESTINED TO FUNCTION
+3 4HE lRST SCHEME THAT ) CAME UP WITH WAS A
MORE AS ONE OF THE MUSEUMS COLLECTED WORKS OF
GRID OF SPINNING DAISIES AN OPTICAL lELD OF PLASTIC
MODERN AND CONTEMPORARY ART THAN AS AN INHABIT
mOWERS THAT REACTED TO WIND MOVEMENT 4HE IDEA
ABLE LANDSCAPE .UMEROUS DESIGN CONSIDERATIONS
WAS MAYBE TOO OBVIOUS ) THINK THE -USEUM
INCLUDED WEIGHT RESTRICTIONS ZERO TOLERANCE FOR IRRI
4OWERS RESIDENTIAL CO OP BOARD DIDNT LIKE ITS OVERT
GATION NO ELEMENTS ABOVE THREE FEET IN HEIGHT AND
NATURE 3O FOR THE NEXT PROPOSAL ) THOUGHT THAT A
A LOW BUDGET 3MITHS FIRST PROPOSAL WAS DISALLOWED
STUDY OF CAMOUmAGE WOULD BE A GOOD STARTING POINT
SENDING THE DESIGNER BACK TO THE DRAWING BOARD TO
FOR GETTING AN INTERESTING SCHEME UNDER THE RADAR
DEVISE A FINAL SCHEME OF A CONTEXTUALLY ALERT PAT
AS IT WERE
TERNED SURFACE CONDITION
*! )S IT PROBLEMATIC IF THE DESIGN SUCCEEDS TO
*! 9OUR lRST SCHEME FOR THE -O-! ROOFTOP
THE POINT THAT ITS RENDERED INVISIBLE IE IF A
WAS A SUCCESS ON THE LECTURE CIRCUIT AND IN ITS
VIEWER MISSES THE POINT $OES THE TERM CAMOU
EVENTUAL INSTALLATION AT THE #ORNERSTONE 'ARDEN
mAGE NEED TO BE USED EXPLICITLY IN RELATION TO THE
&ESTIVAL IN 3ONOMA #ALIFORNIA "UT IT WAS
PROJECT
REJECTED BY -O-!S RESIDENTIAL NEIGHBORS WHO
;OLMSV^LYTV[PMPUTVKLYUHY[
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9<5505./,(+:
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PUJOKPHTL[LYKHPZ`WPU^OLLSH[[HJOLK[VWPWLZJHMMVSKPUNIHZL
INCH DIAMETER $AISY 0INWHEEL ATTACHED TO PIPE SCAFFOLDING BASE
:JHMMVSKPUN[`WL[\ILHUKJV\WSLYSH[[PJL
3CAFFOLDING TYPE TUBE AND COUPLER LATTICE
STANDARD GALVANIZED PIPES PAINTED BRIGHT GREEN WITH STANDARD COUPLERS
Z[HUKHYKNHS]HUPaLKWPWLZWHPU[LKIYPNO[NYLLU^P[OZ[HUKHYKJV\WSLYZ
9VVMIHSSHZ[YVJR
2OOF "ALLAST 2OCK
INCH OC TYP
INCH STEM
+3 ) THINK ITS HARDLY INVISIBLE 7HEN ) PRESENTED
AS A STUDENT ) READ THE OLD 0ENCIL 0OINTS ARTICLES BY
THE PROJECT FOR APPROVAL ) DIDNT HAMMER THE
$AN +ILEY *AMES 2OSE AND 'ARRETT %CKBO )N THE
POINT HOME ) DIDNT START OFF BY SAYING hTHIS IS
SAME BOUND VOLUME OF THE MAGAZINE THERE WAS
ABOUT CAMOUmAGE v WHICH WOULD ACTUALLY HAVE
AN ARTICLE ON THE ART AND THEORY AND TECHNIQUES OF
BEEN QUITE COUNTERPRODUCTIVE ) TALKED ABOUT THE
CAMOUmAGE )T WAS GEARED TOWARD ARCHITECTS AND
GARDEN IN DIFFERENT TERMS BUT MY PRESENTATION
TALKED ABOUT HOW YOU COULD CAMOUmAGE BUILDINGS
ACKNOWLEDGED WHAT IT WAS ABOUT AND HOW IT WAS
FOR REASONS OF NATIONAL SECURITY ) ALWAYS THOUGHT
OPERATING 4HE DESIGN IS ABOUT SIMULATION )N FACT
THAT CAMOUmAGE WAS AN INTERESTING QUALITY AND DID
CREATING A LANDSCAPE GARDEN ON A ROOFTOP IS INHER
MY lRST CAMOUmAGE STUDIES DURING THE LATE S
ENTLY AN ACT OF SIMULATION ) AM VERY INTERESTED IN
)T WAS AN IDEA THAT ) HAD PLAYED WITH BUT HAD
HOW CAMOUmAGE SIMULATES LANDSCAPE AND IN THIS
NEVER GOTTEN TO THE POINT OF EXECUTING
GARDEN THE LANDSCAPE SIMULATES CAMOUmAGE SIMU
LATING LANDSCAPE
4HERE IS A WHOLE SERIES OF DIFFERENT CAMOUmAGE
*! $OES THE MAKING OF A CONSTRUCTED LANDSCAPE
ALWAYS IMPLY THE ARTIlCE OF SIMULATION 3OME
STRATEGIES THAT WERE DEVELOPED AT A CRITICAL MOMENT
WOULD SAY THAT ALL ACTS OF DESIGN CAMOUmAGE
OF THE LATE S AND EARLY SˆCOINCIDING WITH
TRUTH WHILE OTHERS SAY ITS A BRINGING FORTH AN
7ORLD 7AR )) 0EOPLE THEN WERE VERY INTERESTED
AGENT OF CLARIlCATION AND AMPLIlCATION
IN THE NOTION OF CAMOUmAGEˆSCIENTISTS AS WELL AS
DESIGNERS AND ARTISTS )N THE ARCHITECTURE MAGAZINES
+3 4HE HISTORY OF GARDEN DESIGN IS lLLED WITH
OF THE TIME THERE WAS A CRITICAL DISCUSSION ABOUT
EXAMPLES OF SIMULATION AND CAMOUmAGE #ENTRAL
THE ROLE OF CAMOUmAGE IN DEFENSE ) REMEMBER THAT
0ARK FOR EXAMPLE IS A LARGE SCALE GARDEN THAT
9<5505./,(+:
464(966-.(9+,5
ARTISTICALLY SIMULATES VISUAL AND SPATIAL ASPECTS OF
$ECEPTION CAMOUmAGE IS A METHOD THAT DOES NOT
AN IDEALIZED PRE INDUSTRIAL ARCADIA AND DISGUISES A
ATTEMPT TO COMPLETELY HIDE THE SUBJECT BUT TO
LARGE TERRITORY OF THE -ANHATTAN GRID WITH IMITATED
CHANGE ITS APPEARANCE ENOUGH THAT IT RESEMBLES
NATURE #ONTEMPORARY LANDSCAPE DESIGN OFTEN DEALS
SOMETHING OF A DIFFERENT OR INNOCUOUS NATURE 4HE
WITH THE FUNDAMENTAL ISSUE OF AMELIORATING OR
PRINCIPLE IS EMPLOYED TO DECEIVE THE BOMBARDIER
COVERING UP THE IMPACTS OF THE CONSTRUCTED ENVI
WHO IS LOOKING FOR A POWERHOUSE AND lNDS ONLY AN
RONMENT 0RACTITIONERS REFER TO THIS AS hREMEDIA
hAPARTMENT HOUSEv WITH AWNINGS AND SHRUBS $ECOY
TION v hSHRUBBING IT UP v hCONTEXTUALIZATION v OR
CAMOUmAGE IS ACHIEVED THROUGH THE CONSTRUCTION OF
SIMPLY hNATURALIZINGv 4HIS PRACTICE OF LANDSCAPING
DUMMY OBJECTS IN CONJUNCTION WITH THE CONCEAL
AS CAMOUmAGE IS A COMMON BUT CRITICALLY UNRECOG
MENT OF REAL ONES SO THAT ENEMY BOMBERS WILL BE
NIZED ASPECT OF SIMULATION IN THE LANDSCAPE ARCHI
ATTRACTED TO FALSE TARGETS #ONFUSION IS THE LEAST USED
TECTURE PROFESSION
CAMOUmAGE PROCEDURE AND CONSISTS OF CONCEALING
&OUR BASIC CAMOUmAGE STRATEGIES WERE IDENTIlED
BY !RCHITECT AND %NGINEER MAGAZINE IN IMITA
SENTING A MULTIPLICITY OF POTENTIAL OR ILLOGICAL TARGETS
TION DECEPTION DECOY AND CONFUSION )MITATION
THAT CONFUSE ACCURATE DETERMINATION
CAMOUmAGE IS THE MOST COMMON AND WIDELY USED
THE SUBJECT BY IMPAIRING VISION OR JUDGMENT BY PRE
)N CONTEMPORARY URBAN LIFE hCAMOUmAGEv IS
TECHNIQUE )T IS THE BLENDING IN WITH SURROUNDING
IRONICALLY USED TO BOTH BLEND IN AND STAND OUT 4HE
TERRITORY SO THAT THE SUBJECT IS INDISTINGUISHABLE
-O-! PROJECT TAKES THE ART OF CAMOUmAGE AND THE
FROM ITS SETTING 7HETHER IT IS IN THE COUNTRY OR
ARTIlCE OF SIMULATION A STEP FURTHER BY USING THE
CITY DESERT OR FOREST SUMMER OR WINTER THE SUBJECT
SIMULATION ITSELF AS A SOURCE FOR DESIGN SPECULATION
APPEARS TO BE PART OF THE SURROUNDING LANDSCAPE
/NE MIGHT THINK OF THIS AS THE SIMULATION OF A
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SIMULATION OR USING IMITATED NATURE TO GENERATE A
EMPLOYING RECTILINEAR FORMS THAT HAVE THE SHAPE OF
NEW NATURE
SKYLIGHTS VENTS OR ELEVATOR SHAFTSˆTHE SORT OF PLAT
2OOF GARDENS ARE INHERENTLY ARTIlCIAL ENVIRON
FORMS YOU lND ON THE TOP OF BUILDINGS THAT BLEND
MENTS 4HEY HAVE LIMITATIONS OF WEIGHT LOADING
INTO THE URBAN LANDSCAPE 3O OUR lRST SCHEME WAS
THERE ARE ISSUES OF HOW TO ANCHOR ELEMENTS AND
VERY RECTILINEARˆA KIND OF 0ETER 7ALKER SCHEME
PROTECT THE WATERPROOF MEMBRANE AS WELL AS ENVI
4HE SECOND STRATEGY IS BASED ON DECEPTION IN
RONMENTAL ISSUES OF WIND ACCESS TO LIGHT AND GEN
THIS CASE MAKING THE ROOFTOP LOOK LIKE SOMETHING IT
ERALLY HARSH CONDITIONS FOR LIVING PLANTS INCLUDING
ISNT AS OPPOSED TO BLENDING IN ) USED CURVILINEAR
LIMITED MAINTENANCE AND CARE 3IMULTANEOUSLY THE
FORMS TO IMITATE #ENTRAL 0ARK WHICH IS JUST A FEW
DESIGN OF THESE SPACES IS OFTEN DRIVEN BY THE DESIRE
BLOCKS NORTH OF THE BUILDING ) APPLIED THE ICONIC
TO IMPOSE THE IMAGERY OF IMITATED NATURE ONTO
CAMOUmAGE PATTERN YOU lND IN MILITARY CLOTHING TO
THESE BUILT CONSTRUCTIONS
MAKE REFERENCE TO /LMSTEDS LANDSCAPING
$ECOY IS THE THIRD APPROACH THE ONE WHERE
*! $ESCRIBE YOUR FOUR DESIGN PROPOSALS FOR THE
YOU BASICALLY THROW THE VIEWER OFF TRACK BY BUILDING
ROOFTOP ACCORDING TO THE CATEGORIES OF IMITATION
A DUMMY TARGET &OR THAT SCHEME ) CREATED A FOLDED
DECEPTION DECOY AND CONFUSION
LANDSCAPE THAT WAS NEITHER BUILDING NOR NATUREˆIT
WAS JUST A FALSE THING UP THERE A RED HERRING
+3 4HE MOST COMMON CAMOUmAGE STRATEGY IS IMITA
4HE FOURTH STRATEGY WAS CONFUSION )N THE
TION )F YOU HAVE A BUILDING SITTING IN THE MIDDLE OF
MAGAZINE ARTICLE THIS APPROACH WAS DESCRIBED AS
THE WOODS YOU IMITATE THE WOODS TO BLEND IN &OR A
BUILDING lRES OR SOMETHING ELSE TO OBSCURE THE
BUILDING IN MIDTOWN -ANHATTAN IMITATION MEANS
VISION OF THE PILOTS ) INTERPRETED IT AS JUST DOING
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BE CLEAR WHAT THE HELL IT WAS 4HIS SCHEME HAD
ARTIlCIAL AND ICONIC
GREAT BIG DAISY SHAPES mOATING ON THE ROOF LIKE
MUTANT GIANT LILY PADS
*! 4HE CLIENT SELL WAS MORE SUCCESSFUL THE
SECOND TIME AROUNDˆWHY
*! 4HERE SEEMS TO BE A CONSISTENT USE OF FAUX
PLANTS ROCKS AND PAVING TEXTURES THAT IGNORES
+3 ) CREATED GRAPHICS AND A QUARTER SCALE MODEL
THE PHENOMENOLOGICAL POTENTIAL AND INHERENT
OF EACH SCHEME LATER THESE WERE ON DISPLAY IN A
MUTABILITY OF LANDSCAPE MEDIAˆCHARACTERISTICS
SMALL EXHIBITION AT THE (ARVARD 'RADUATE 3CHOOL
THAT COULD PLAY INTO IDEAS OF DECEPTION CON
OF $ESIGN AND PRESENTED THEM TO THE MUSEUM )
FUSION AND SO ON (OW DOES INVESTIGATION OF
MET WITH 4ERENCE 2ILEY 0ETER 2EED 'LENN ,OWRY
MATERIALITY ENTER INTO THESE SCHEMES
AND OTHERS AND WE AGREED THAT WE WOULD TAKE TWO
OF THE SCHEMES TO THE CO OP BOARD TO PRESENT THE
+3 4HE MATERIALS HAVE SHIFTED A LITTLE BIT BUT BASI
RECTILINEAR ONE AND THE CURVILINEAR ONEˆIMITATION
CALLY ALL FOUR OF THE SCHEMES ) PRESENTED INVOLVED
AND DECEPTION
ARTIlCIAL ROCKS ARTIlCIAL SHRUBS AND THREE COLORS
) PUSHED FOR THOSE TWO ALTHOUGH ) ALSO LIKED
OF GROUND MATERIAL WHITE BLACK AND CRUSHED
THE CONFUSION SCHEME "UT ) THOUGHT THAT THE
GLASS 4HE PALETTE REMAINED CONSISTENT IN THE FOUR
IMITATION AND DECEPTION APPROACHES WERE THE
SCHEMES !LTHOUGH THE DESIGN WAS MORE ABOUT THE
MOST TRUE TO THE IDEA OF CAMOUmAGE THAT WE WERE
FORM AND CONTENT THAN MATERIALITY THE MATERIALS
DEVELOPING ) WAS LEANING TOWARD THE CURVILINEAR
DO HAVE CONTENT AND TO EMPHASIZE THE SIMULATION
SCHEME ALTHOUGH DURING OUR MEETING WITH -O-!
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THERE WERE CONCERNS ABOUT THE CURVILINEAR DESIGN
ARTICULATED GROUND PLANE MORE OF A CHALLENGE TO
BEING DIFlCULT TO BUILD 4HE RECTILINEAR ONE WOULD
PREVAILING SITE AESTHETICS
BE SIMPLER TO CONSTRUCT AND EVERYONE THOUGHT IT
MIGHT ALSO BE MORE PALATABLE TO THE BOARD MEM
+3 )T HAS A WHOLE SERIES OF LEVELS THAT ARE INTEREST
BERS OF THE RESIDENTIAL CO OP BECAUSE ITS INHERENTLY
ING BECAUSE SO MUCH OF LANDSCAPE ARCHITECTURE IS
MORE CONSERVATIVE 0EOPLE UNDERSTAND MINIMALIST
UNCRITICALLY INVOLVED IN CAMOUmAGING 7ERE A
GEOMETRY AND CERTAINLY IT WAS MORE IN KEEPING
PROFESSION OF SHRUBBING THINGS UP COVERING UP
WITH THE 4ANIGUCHI BUILDING "UT THAT WAS EXACTLY
MISTAKES HIDING AND SMOOTHING THINGS AND
WHY ) PREFERRED THE CURVILINEAR SCHEME ) THOUGHT
CONTEXTUALIZING THEM 5SUALLY THE CAMOUmAGING
THAT IT WAS MORE INTERESTINGLY SUBVERSIVE ABOUT
EFFORTS WITHIN THE PROFESSION ARE INVISIBLE 4HIS
CAMOUmAGE BECAUSE IT PLAYS A REVERSE GAME OF
SCHEME ACKNOWLEDGES THE ISSUE OF CAMOUmAGE
DECEPTION RATHER THAN SIMPLE IMITATION
AND USES IT CRITICALLY AS A VISIBLE ELEMENT "UT NOT
EVERYONE WANTS TO HEAR ABOUT THAT
*! -ANY CRITICS COMPLAIN THAT THE CURVILINEAR
) STARTED THE PRESENTATION TO THE CO OP BOARD
IS A DEFAULT PARTI A LIMITING PLANIMETRIC INTER
BY TALKING ABOUT THE ROOF AS A KIND OF *APANESE
PRETATION OF A ROMANTIC PASTORAL LEGACY "UT
GARDEN 0ART OF THE PROGRAM STATED THAT WE
REALLY SINCE THE S WEVE ENDURED A REGIME OF
COULDNT HAVE ANY LIVE PLANTS WE COULDNT HAVE
MINIMALIST GEOMETRIES AND AGGRESSIVE FORMALISM
ANY IRRIGATION WE COULDNT HAVE ANY SUBSTANTIAL
THAT OVERLOOKS THE lGURAL POWER OF SITE SPECIlC
WEIGHT WE COULDNT HAVE ANY PHYSICAL ATTACH
CONTINUOUS TOPOLOGIES (OW IS THE CURVILINEAR
MENTS 4HERE WERE ALSO ISSUES OF A LIMITED BUDGET
SCHEME AND ITS IMPLICATION OF A TWO DIMENSIONAL
AND LITTLE OR NO MAINTENANCE "ASICALLY THINGS
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OR CHANGE YOUR INTERPRETATION OF DECEPTION BY
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DESIGN
IT 4HE BIGGEST HURDLE WAS THE SYNTHETIC PALETTE OF
THE GARDEN
) HAD BUILT A SMALL MOCK UP ON THE ROOFTOP
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ING AND THE BASES ARE COMPUTER NUMERICALLY CUT
WHICH EVERYONE COULD LOOK DOWN AT 3O INSTEAD OF
INTO PIECES THAT lT TOGETHER ON THE ROOF ) SPECI
BRINGING AN ARTIlCIAL SHRUB INTO THE MEETING THE
lED 06# PIPES THAT GO INTO 06# mANGES WHICH ARE
MATERIALS WERE JUDGED FROM A DISTANCE OF FORTY OR
BOLTED TO THE lBERGLASS GRATING TO PROVIDE STEMS
lFTY FEET THE ACTUAL VIEWING DISTANCE &ROM THAT
FOR THE SHRUBS 4HESE ASSEMBLIES ARE HEAVY ENOUGH
PERSPECTIVE YOU ACTUALLY CANT TELL THE DIFFERENCE
THAT THEY CAN JUST REST ON THE ROOF /RIGINALLY )
BETWEEN AN ARTIlCIAL BOXWOOD AND A REAL ONE AND
HAD PLANNED TO PLACE THE SHRUBS AT A DISTANCE OF
IN FACT THREE YEARS OUT THE ARTIlCIAL BOXWOODS ARE
TWENTY FOUR INCHES FROM EACH OTHER BUT THIS WAS
GOING TO LOOK BETTER THAN A DEAD BOXWOOD HERE
EVENTUALLY ADJUSTED TO THIRTY OR THIRTY SIX INCHES
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NATURAL MATERIAL ALTHOUGH IT COULD BE CALLED INTO
PLANTS WERE MORE EXPENSIVE THAN LIVE PLANTS 4HIS
QUESTION WHETHER THIS MATERIAL IS ACTUALLY NATURAL
ADJUSTMENT SAVED BUT A STUDY ALSO SHOWED
OR NOT AT THIS POINT 4HE BLUE SURFACE IS CRUSHED
THAT THE NEW SPACING ACTUALLY WORKED BETTER )N A
GLASS WHICH COULD ALSO BE CONSIDERED A NATURAL
REAL LANDSCAPE WITH REAL PLANTS YOU WOULD WANT
MATERIAL )T ALSO CALLS INTO QUESTION WHATS AUTHEN
THE SHRUBS TO BE PLACED CLOSE TO EACH OTHER SO THAT
TIC AND WHATS SIMULATED
THEY CAN GROW TOGETHER AS A MASS BUT HERE HAV
3OME OF THE CHANGES ) MADE TO THE ORIGINAL
ING THE SHRUBS READ AS INDIVIDUAL ELEMENTS WORKED
SCHEME HAPPENED TO CUT COSTS &OR EXAMPLE THE
BECAUSE IT MADE THE DESIGN MORE SYNTHETIC
HEADERS WERE GOING TO BE BRICK IN ORDER TO RELATE TO
4HE ARTIlCIAL ROCKS ) USED ARE A BRAND THAT
THE HISTORIC CONTEXT BY CHOOSING THE SAME MATERIAL
PEOPLE IN THE SUBURBS USE TO HIDE THEIR UTILITIES
0HILIP *OHNSON USED BUT INSTEAD ) ENDED UP USING
"ASICALLY THEYRE CAMOUmAGING ELEMENTS IN THE
#.# MILLED STRUCTURAL 3TYROFOAM )N HISTORIC PRES
LANDSCAPE !CROSS THE ROOFTOP ) LAID A SERIES OF RUN
ERVATION WORK A LOT OF DETAILING SUCH AS CORNICES
NERS TO WHICH THE ROCKS WERE BOLTED 0LACED OVER
IS MADE OUT OF THIS MATERIAL USUALLY WITH A lNISH
THE RUNNERS IS A THIN LAYER OF GROUND COVER 4HE
THAT LOOKS LIKE LIMESTONE OR ANOTHER STONE (ERE IT
BLACK GROUND COVER WAS ORIGINALLY -EXICAN BLACK
IS TREATED WITH A SPRAY ON HARDENING SURFACE THATS
PEBBLES BECAUSE THAT WAS WHAT 4ANIGUCHIS OFlCE
REALLY STRONG AND PAINTED THE COLOR OF BRICK !LL
HAD SPECIlED BUT TO SAVE MONEY ) DECIDED TO USE
THE SHAPES IN THE CURVILINEAR PLAN ARE TRANSLATED
GROUND TIRESˆRECYCLED RUBBER A MATERIAL RECOM
ARCS TANGENTS AND STRAIGHT LINES TAKEN FROM A
MENDED BY THE LANDSCAPE CONTRACTOR 4HE WHITE
CAMOUmAGE PATTERN THAT WAS TRACED FROM A PAIR OF
SURFACE MADE OF CRUSHED WHITE STONE IS THE ONLY
HIP HOP SKATE BOARDER PANTS ) WANTED TO MAKE THE
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CAMOUmAGE A LITTLE MORE SYNTHETIC SO ) REDUCED THE
DOWN MADE THE PROJECT CONCEPTUALLY STRONGER 4HE
PATTERN TO A KIND OF ROADWAY ENGINEERING 4HERE
WHOLE PROCESS OF BEING FORCED TO GO BACK TO THE
ARE THREE DIFFERENT CURVE RADII AND THREE DIFFERENT
CLIENT WITH A COMPLETELY NEW IDEA AFTER THE lRST
LINE SEGMENT AND INTERSECTION CONDITIONS 4O TRANS
DESIGN WAS REJECTED AND WORK THROUGH THE ISSUES
FER THE PATTERN ONTO THE ROOF IT WAS DIVIDED INTO A
OF THE REJECTED PROPOSAL RESULTED IN A BETTER DESIGN
SERIES OF SIMPLE UNITS WHICH WERE FACTORY CUT FROM
CONCEPT !ND WHILE )M NOT A BIG FAN OF VALUE
STANDARD SHEET SIZES INTO A PALETTE OF PARTS NUM
ENGINEERING IN THIS CASE IT CLARIlED THE MATERIAL
BERED AT THE FACTORY PUT TOGETHER ON SITE AND
PALETTE AND MADE THE PROJECT STRONGER CONCEPTUALLY
GLUED DOWN
AND MATERIALLY
!S ) WAS CONCERNED ABOUT THE INTEGRITY OF THE
CURVILINEAR FORMS MY OFlCE STAFF AND ) MOCKED UP
*! )N RETROSPECT WHAT GOT SACRIlCED WHEN YOU
ABOUT A lFTH OF THE AREA ON ONE SIDE OF THE ROOF
LET GO OF THE lRST PROPOSAL THE SPINNING DAISIES
WITH CHALK AND STRING LINES )N HALF A DAY WE LAID
OUT THE GEOMETRY OF ONE SUBSTANTIAL AREA OF THE
+3 4HE -O-! TEAM LOVED THE lRST SCHEME 4ERRY
DESIGN SO WE COULD SEE HOW THE FORMS lT AND GET
2ILEY LIKED IT BECAUSE IT USED AN ICONIC ELEMENT
A SENSE OF THE SCALE 7E LOOKED DOWN AT IT FROM
TAKEN OUT OF CONTEXT 0ETER 2EED LIKED IT BECAUSE
THE TOWER WHICH WAS KIND OF REASSURING 7E ALSO
IT HOVERED BETWEEN POP ART AND MINIMALISM
DISCOVERED WE HAD SOME DIMENSIONING ISSUES IN
7HEN 0ETER TALKS ABOUT LANDSCAPE ARCHITECTURE
THE ROOFTOP LAYOUT WHICH NEEDED TO BE CORRECTED
HIS APPROACH IS TO SPEAK ABOUT LANDSCAPE DESIGN
4HESE LITTLE ADJUSTMENTS AND IN SOME WAYS ALSO
RELATIVE TO THE TUG BETWEEN SURREALISM AND CUBISM
THE THINGS WE HAD TO DO TO BRING THE BUDGET
) DONT KNOW IF THOSE QUITE TRANSLATE TO POP ART AND
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!ND ON ANOTHER LEVEL THE DESIGN WAS PURELY MINI
MALIST AS THE BIG BLOCKS OF COLOR MADE UP A MINI
MAL COLOR lELD THAT UNDERLIES THE OPERATIVE LEVEL OF
THE SPINNING AND TURNING OBJECTS IN THE WIND "UT
IN THE END ) THINK THE DECEPTIONCAMOUmAGE GAR
DEN HOVERS IN THE SAME WAY IN THIS CASE BETWEEN A
KIND OF UTILITARIAN INDUSTRIAL DESIGN APPROPRIATION
STRATEGY AND *APANESE GARDEN ABSTRACTION
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,ANDINGS
.EW 9ORK .EW 9ORK
)N THE CITY OF .EW 9ORK SELECTED lVE DESIGN lRMS
PRACTICES WERE ON THE LIST ) WAS THE ONLY LANDSCAPE
TO SUBMIT PROPOSALS FOR THE %AST 2IVER WATERFRONT
ARCHITECT ) KNEW &RANO 6IOLICH AND 3HEILA +ENNEDY
ALONGSIDE THE SIX FERRY LANDINGS INCLUDING 4HIRTY FOURTH
FROM TEACHING AT THE (ARVARD 'RADUATE 3CHOOL OF
3TREET IN -IDTOWN 4HE AREA OF INTERVENTION WAS A
$ESIGN AND ONE DAY &RANO CALLED ME UP TO ASK
NINETY FOOT LONG STRIP OF SEAWALL AND A TWENTY FOOT
WHETHER ) WAS INTERESTED IN JOINING FORCES ) REALLY
WIDE RIGHT OF WAY OWNED BY THE CITY 4HE PROGRAM WAS
RESPECTED THEIR WORK 3O WE BECAME A COLLABORATIVE
TO CREATE A PEDESTRIAN ENVIRONMENT THAT WOULD EXTEND
TEAM AND BASICALLY PICKED OFF THE COMPETITION THAT
EXISTING RIVERSIDE CIRCULATION THROUGH THE SITE )N RELA
WAY +ENNEDY 6IOLICHS DESIGNS FOR BUILDINGS AND
TION TO A BRIDGED WALKWAY DESIGNED BY ARCHITECTS 3HEILA
STRUCTURES ARE BASED ON A KIND OF SYSTEMS APPROACH
+ENNEDY AND &RANO 6IOLICH +EN 3MITH DEVELOPED AN
THEY THINK ABOUT OCCUPYING SURFACES IN TERMS OF
URBAN ECOLOGICAL SYSTEM THAT REVIVES ATAVISTIC PLANT
MOVEMENT )N THEIR SCHEME FOR THE PROJECT THERE
INGSˆGRASSES THAT ONCE PROSPERED ALONG THE SLOPED
IS A SYSTEM OF FURNISHINGSˆALL UTILIZABLE IN SOME
BANKS OF THE RIVERˆWITHIN A CONSTRUCTED NATURE OF
WAYˆTHAT MOVE THROUGH THE SITE AND A SYSTEM OF
FOLDED UNMISTAKABLY CONTEMPORARY PLANTERS
CANOPIES WHICH PROVIDE PROTECTION )N RESPONSE )
STARTED TO THINK ABOUT THE LANDSCAPE AS A SYSTEM AS
*! $ESCRIBE HOW YOU GOT INVOLVED WITH THIS
AN ECOLOGICAL SYSTEM CONSISTING OF INDIVIDUAL PLANT
PROJECT
ERS THAT MIGHT RECLAIM THE RIPARIAN EDGE OF THE RIVER
+3 4HE CITY PICKED lVE lRMS THAT WERE INVITED TO
4HEY NEVER ONCE SAID h.O YOU SHOULD BE DOING
SUBMIT PROPOSALS "ESIDES ME THE ARCHITECTURAL lRM
IT THIS WAYv 7E BASICALLY DEVELOPED OUR OWN
+ENNEDY 6IOLICH AND THREE OTHER ARCHITECTURAL
IDEAS IN A COMMON VOCABULARY AND PROGRAM 4HE
+ENNEDY AND 6IOLICH WERE GREAT TO WORK WITH
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SUBSTRUCTURE WAS DESIGNED BY ENGINEERS SO WE BOTH
AND ENVIRONMENTAL ISSUES "UT WHILE WE CAN GET
RESPONDED TO A STRUCTURAL ARMATURE WITH +ENNEDY
PERMITS TO BUILD PLATFORMS FOR PEOPLE TO WALK ON
6IOLICHS BUILDINGS OFTENTIMES SITTING ON PIERS
AND FOR BOATS TO TIE UP TO THE RIPARIAN PLANTINGS
4HEY WERE WORKING WITH A SERIES OF ORGANIC FORMS
WHICH ACTUALLY DO SOME GOOD IN TERMS OF VISIBILITY
ON THEIR ROOF STRUCTURES 4HESE ARE FOLDED SURFACES
AND COMMUNICATE THE IMPORTANCE AND LOSS OF
AND WHILE MY OWN FOLDED FORMS ARE MUCH MORE
THE RIPARIAN ENVIRONMENT ARE THE PIECES THAT ARE
ANGULAR THAN THEIRS THE COMBINED DESIGN RESULTS IN
GETTING MOST CRITIQUED )TS VERY FRUSTRATING 7E STILL
A DIALOGUE OF FOLDED OR WARPED FORMS
DONT HAVE ALL THE APPROVALS NECESSARY TO CONSTRUCT
THE MARSH PLANTERS AND THIS PART OF THE PROJECT IS
*! 4HIS HIGH PROlLE PROJECT HAS SOME REAL LIMI
TATIONS IN TERMS OF WHAT YOU AS THE LANDSCAPE
IN DANGER OF BEING DELETED )T JUST BREAKS MY HEART
) STARTED WORK ON THIS PROJECT IN WITH
ARCHITECT CAN ACHIEVE $ESCRIBE THE SITE ISSUES
SOME VERY SIMPLE 0HOTOSHOP STUDIES !T THE BEGIN
YOU ARE DEALING WITH
NING THERE WAS A SET OF FORMS THAT CARRIED INTO THE
WATER !S THE PROJECT MOVED FORWARD MY STAFF DID A
+3 4HE PROJECT UNDERWENT SEVERE VALUE ENGINEERING
LOT OF RESEARCH ON SOILS DRAINAGE AND OTHER ASPECTS
IN WHICH A LOT OF MY DESIGN WAS CUT 7E ALSO HAD
OF RIVER ECOSYSTEMS 4HE STRUCTURE EVOLVED FROM AN
SOME DIFlCULTY GETTING ENVIRONMENTAL APPROVAL
ORIGINAL DESIGN OF SLOPED PLANTERS MADE OF WOOD
) lND IT IRONIC THAT THE RIPARIAN MARSH PLANTERS
PILES EXPECTING WE WOULD HAVE PIER CONSTRUCTION
WHICH DO THE MOST ENVIRONMENTAL GOOD ARE SO DIFl
WITH WOOD PILES TO ONE OF STEEL ( PILES ONCE THE
CULT TO GET APPROVED )T IS THE PART OF MY PROJECT THAT
ENGINEER DECIDED THAT STEEL MADE THE MOST SENSE
MOST SPEAKS TO THE LOSS OF THE NATURAL RIPARIAN EDGE
STRUCTURALLY AND ECONOMICALLY
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CURRENTS WOULD JUST SCOUR THEM AWAY 4HE PLANTERS
IN COMMON WITH THE PLEATING OF THE (IRIYA
ARE ACTUALLY NECESSARY TO PROTECT THE GRASS )N THE
LANDlLL PROJECT ALTHOUGH THE SCALES ARE VASTLY
GIVEN SPACE THERE WASNT ENOUGH ROOM TO CREATE A
DIFFERENT
TRUE GRADATED SLOPE THAT WOULD SUPPORT THE RANGE
OF LOW MARSH HIGH MARSH AND UPLAND BORDER
+3 9ES THIS SIMILARITY REmECTS MY MOVE TOWARD
)NSTEAD AS A SCULPTURAL NOTION ) DEVELOPED A FOLD
VERTICAL GREEN AND FOLDING FORMS #REATING A TOPOG
ING STRUCTURE THAT HAS ELEVATED AREAS AND LOWER
RAPHY WAS IMPORTANT TO ME BECAUSE THE PROJECT
ONES !N IRRIGATION SYSTEM PUMPS RIVER WATER INTO
WAS ABOUT REPAIRING AN EDGE AND THE RIPARIAN EDGE
THE PLANTED BOXES A KIND OF ARTIlCIAL TIDE WHICH
IS INHERENTLY A GRADED SLOPE )N THE %AST 2IVER THE
RESULTS IN A DIFFERENTIATION OF PLANT SELECTION SORTING
TIDAL mUCTUATION IS ABOUT SIX FEET BETWEEN HIGH AND
ITSELF OUT WITHIN THE PLANTERS .ECESSARILY THE LOWER
LOW TIDE )N A NATURAL CONDITION THE RIVERS GRADATED
AREAS WHERE MORE MOISTURE GATHERS HAVE A GREATER
SLOPE DISSIPATES THE ENERGY OF THE RIVERS MOVEMENT
POPULATION OF MUSSELS AND THINGS LIKE THAT !T HIGH
ALLOWING TIDAL PLANT COMMUNITIES OF PRIMARILY SPAR
TIDE THESE AREAS WILL GET mOODED
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*! 4HE PLANTING BOXES MAKE WHAT USED TO BE
TION OF SEA WALLS AND TODAYS CURRENTS WOULD NOT
A NATURAL CONDITIONˆVEGETATED SHORELINEˆPOS
ALLOW THESE TYPES OF COMMUNITIES TO EXIST WITHOUT
SIBLE AGAIN BUT IN A MANNER THAT REmECTS THE
SOME KIND OF PROTECTIVE STRUCTURE 3IMPLY PLANT
ENGINEERED CONDITION )S THERE SOME INHERENT
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WRONG DOING IN THIS 4HE FRESHWATER IRRIGATION
WORK IN THIS ALTERED ENVIRONMENT BECAUSE THE RIVER
NEEDED FOR THE SPARTINA GRASSES AND FOREIGN
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FORTIlED PLANTING SOILS WILL ENTER INTO THE RIVER
PLANTER BOXES ARE DESIGNED TO RECEIVE ONLY LIMITED
SYSTEM AND ONE COULD IMAGINE IF THIS
TIDAL mUSHING IN ORDER TO PROTECT THE PLANTINGS
PROJECT SERVED AS A MODEL FOR MILES OF SHORELINE
FROM THE DAMAGE OF STRONG CURRENTS 3UPPLEMENTAL
THE RIVER WATERS NUTRIENT BALANCE WOULD BE
WATER IS PUMPED FROM THE RIVER AND DISTRIBUTED
DISTURBED
THROUGH A SYSTEM OF OPEN TROUGHS AND SPOUTS TO
PROVIDE AN ARTIlCIAL TIDAL INmUX OF BRACKISH WATER
+3 7ELL THIS PROJECT IS INTENDED FOR A STRETCH OF
AND NUTRIENTS 4HERE IS ALSO AN AUXILIARY BACK UP
RIVER THAT IS ALREADY IRREPARABLY OUT OF BALANCE
SYSTEM OF FRESH WATER IN CASE THERE IS A PROBLEM
)T ADDRESSES THE ISSUE OF HOW WE RESPOND TO AN
WITH THE BRACKISH WATER SYSTEM ) DESIGNED THE
ALTERED RIPARIAN ENVIRONMENT AND HOW WE CAN
LATTER TO BE A VISIBLE COMPONENT OF THE PLANTERS
CREATE AN AWARENESS OF THE PROBLEM "ECAUSE OF
)TS PART OF OUR ATTEMPT TO EXPOSE THE STRUCTURE OF
THE RIVERS BULKHEAD WALLS AND ALTERED CURRENTS IT
WHAT WE CREATED TO REVEAL THE SYSTEMS THAT PROPA
IS IMPOSSIBLE TO GROW A RIPARIAN MARSH IN NATU
GATE AND SUSTAIN THE PLANTS ) WANTED TO SHOW THE
RAL CONDITIONS HERE SO ) RESORTED TO DESIGNING A
MECHANICS AND THE COMPLEXITY OF THE MATERIALS
PLANTER SYSTEM THAT WOULD ALLOW BRINGING BACK THE
AND SYSTEMS SO THEY BECOME AN ACCESSIBLE PART OF
3PARTINA COMMUNITY UNDER CONTROLLED AND PROTECT
UNDERSTANDING THE LANDSCAPE )M NOT INTERESTED IN
ED CONDITIONS 4HE PLANTER BOX IS A VERY PRACTICAL
COVERING UP AND DENYING THESE THINGS
SOLUTION BUT TO MAKE IT WORK IN THE ALTERED ECOL
OGY OF THE %AST 2IVER IT IS NECESSARY TO INTRODUCE
*! $O YOU IDENTIFY THIS CONCERN WITH REVEALING
IRRIGATION USING BOTH BRACKISH WATER AND A BACK UP
STRUCTURE AND FUNCTION AS A MODERNIST STRAIN IN
SYSTEM OF FRESH WATER TO SUPPORT THE PLANTINGS 4HE
YOUR WORK
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+3 9ES "ASICALLY YOU HAVE THE FORM OF THE FUNC
ARTIlCIALITY OF THE RIVER ENVIRONMENT THAT WEVE
TION "UT )M ALSO INTERESTED IN THE OVERLAP BETWEEN
CREATED IN CONTEMPORARY CITIES "UT ) THINK THERE
STRUCTURE AND THE SYMBOLIC )F YOU LOOK AT THE
IS A SENSE OF AWE AND WONDER IN BEING PLACED IN
3EAGRAM "UILDING THE COLUMNS ON THE OUTSIDE DO
A SITUATION WHERE YOURE OVER AND SURROUNDED BY
PROVIDE THE NECESSARY SUPPORT FOR THE CURTAIN WALL
WATER AND CLOSE UP TO A hPRIMORDIALv MARSH GRASS
BUT THEYRE ALSO PURELY SYMBOLIC 4HE USE OF THE )
COMMUNITYˆYOU CAN ALMOST TOUCH AND SMELL THE
BEAM IS BOTH A DECORATIVE AND A STRUCTURAL ELEMENT
MARSH AND HEAR THE GURGLING OF THE BIVALVES 7HILE
ITS NOT A TRUE MARSH OBVIOUSLY YOU DO GET A SENSE
*! !T WHAT MOMENT IN THE %AST 2IVER PROJECT
OF THE VEGETATION BETWEEN YOU AND THE OPEN WATER
DOES PERCEPTION SHIFT FROM AWARENESS OF THE
AND THIS STARTS TO SET UP THE KIND OF EXPERIENCE
URBAN CONDITIONˆTHE ENGINEERED RIVER WAY THE
YOU WOULD HAVE IN A NATURAL SITUATION 4HE NOTION
ARCHITECTURAL PROMENADEˆTO NOTICING THE
OF URBAN ECOLOGY IS ENGAGED BY THE CONTEMPORARY
VITAL DETAIL OF WATER CURRENT BARNACLE CRUSTING
CONDITION OF THE WATERS EDGE 4HIS EXPERIENCE IS
TIDAL mUX
ROOTED IN THE PRAGMATICS OF THE PLACE AND IN WHAT
IT TAKES TO MAKE THIS MATERIAL STRUCTURALLY SOUND
+3 4HERE ARE TEN MARSH BOXES /N A BRIDGE NEXT TO
4HE DESIGN ACCOMPLISHES THIS IN A SYMBOLIC WAY
THEM DESIGNED BY +ENNEDY 6IOLICH IS A PUBLIC
THAT SPEAKS TO THE LOSS OF THE NATURAL ENVIRONMENT
WALKWAY AND AT BOTH ENDS OF THE WALKWAY IS THE
AND CREATES A PHENOMENAL EXPERIENCE
SEAWALL 7HEN YOURE ON THE BRIDGE YOURE ACTUALLY
IN AND OVER THE WATER YOU SEE THE WATER BETWEEN
THE SEAWALL AND THE BRIDGE SO YOU ARE AWARE OF THE
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03 1UEENS .EW 9ORK
03 IS A PRO BONO DESIGN PROJECT COMMISSIONED BY
AND BIRDS AND THE MOVABLE MINI DUMPSTERS USED FOR
THE 2OBIN (OOD &OUNDATION AS PART OF THE SUCCESSFUL
TEACHING AND EXPERIMENTAL PLANTINGS
h,IBRARY )NITIATIVE v A PROGRAM THAT ENGAGES LEADING
ARCHITECTS TO BUILD LIBRARIES IN THE CITYS NEEDIEST NEIGH
*! .OW THAT YOUR SCHEME FOR 03 HAS BEEN IN
BORHOODS )T IS THE lRST LANDSCAPE PROJECT SUPPORTED BY
PLACE FOR OVER TWO YEARS WHAT BIGGER ISSUES HAVE
THE FOUNDATION +EN 3MITHS SCHOOLYARD SCHEME OFFERS
EMERGED FROM THIS PROJECT TO IMPACT YOUR OTHER
A BALANCE OF PRAGMATISM AND PRIDE FEATURING LOW COST
WORK
FUNCTIONAL AND KID ORIENTED SOLUTIONS TO TYPICAL CONDI
TIONS SUCH AS BOUNDARY DElNITION EXCESSIVE ASPHALT
+3 03 IS THE LARGEST ELEMENTARY SCHOOL IN .EW
PAVING AND THE NEED FOR PLAY SPACE TO BE BALANCED
9ORK #ITY )N WE COMPLETED THE PROJECTˆWE
WITH OPPORTUNITIES FOR OUTDOOR LEARNING &IVE PROTOTYPE
HAD lNISHED ALL DESIGN COLLABORATED WITH THE FAB
ELEMENTS WERE DEVELOPED AND THEN MODIlED TO ADDRESS
RICATORS AND VOLUNTEER GROUPS INSTALLED THE PLANT
SPECIlC CHARACTERISTICS OF THE 03 SITE )N PHASE ONE
INGS lNISHED PAINTING AND PUT UP THE CLOUD SCRIM
GRAPHICS WERE PAINTED ON THE ASPHALT PAVING AND ON
7E HAD SET UP ALL ELEMENTS OF OUR DESIGN BUT THE
THE WALLS OF THE hTEMPORARYv CLASSROOMS NOW TWENTY
BIG UNKNOWN WAS HOW THE STUDENTS AND TEACHERS
YEARS OLD ,ATER A CLOUD SCRIM WAS STRETCHED ACROSS
WOULD ACTUALLY USE THE LANDSCAPE &OR EXAMPLE WE
THE SCHOOLYARDS CHAIN LINK FENCE RAISING THE EYE TO
WERENT SURE HOW THE LEARNING GARDENS A SERIES OF
AN ALWAYS BLUE SKY PERIMETER ! CURTAINED SPACE FOR
PLANTED DUMPSTERS WOULD DEVELOP INTO MORE THAN
READING WAS PROPOSED AND MODULAR SEATING MADE OUT
JUST SOMETHING THAT WAS INSTALLED 4HERE NEEDED TO
OF STANDARD PIPE SEGMENTS WAS FABRICATED 4HE TWO ELE
BE SOME MECHANISM THAT INTEGRATED THE GARDEN AND
MENTS MOST POPULAR ARE THE LINEAR GARDEN FOR BUTTERmIES
ITS PIECES INTO THE SCHOOL LIFE 7HEN ) VISITED 03 9<5505./,(+:
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! GRAPHIC PANEL OF SIGN MATERIAL WOULD BE LAYERED OVER
THE TOP PORTION OF THE TALL SCHOOL YARD FENCE TO CREATE
A STRONG IMAGE FOR THE SCHOOL AND VISUALLY BUFFER THE
ELEVATED TRAIN
0RODUCT SYSTEMS FOR THIS APPLICATION INCLUDE
0RINTED -ESH &ABRIC USED FOR 4IMES 3QUARE ADVERTISING
2EFLECTIVE 0AILLETTES USED FOR CAR WASH SIGNAGE
9<5505./,(+:
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! GARDEN OF SMALL PLANTINGS COULD BE DEVELOPED
BY FILLING COMMON DUMPSTERS LIKE THOSE USED BY
THE "OARD OF %DUCATION WITH SOIL AND PLANTS
4HE $UMPSTERS COULD BE PAINTED IN GRAPHIC
COLORS 3HORT DUMPSTERS SHOULD BE SELECTED
TO REFLECT A CHILDgS HEIGHT ! WATER FAUCET SHOULD
BE LOCATED NEARBY FOR MAINTENANCE
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06# DRAINAGE PIPE COMMONLY USED IN CONSTRUCTION
WOULD BE CONFIGURED TO CREATE A DIVERSE SETTING OF
MODULAR AND PORTABLE SEATING ELEMENTS
4HIS LIGHTWEIGHT AND DURABLE SYSTEM OF STANDARD
COMPONENTS INCLUDE PIPE SECTIONS END CAPS AND A
VARIETY OF FITTINGS AND COUPLERS RANGING IN SIZES FROM
TO DIAMETER
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9<5505./,(+:
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! GRAPHIC CARPET COULD BE CREATED IN THE SCHOOL
YARD USING PAINT LIKE THAT USED BY THE $/4
4HE CARPET COULD IDENTIFY SPECIFIC USE AREAS OR
GIVE AN OVERALL IDENTITY AND SENSE OF PLACE TO THE
WHOLE SITE 2EFLECTIVE GLASS BEADS LIKE THOSE
USED IN CITY CROSSWALKS COULD GIVE SPARKLE
AND LIFE TO PARTICULAR AREAS OF THE GRAPHIC PATTERN
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9<5505./,(+:
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!N OUTDOOR CURTAIN OF CONSTRUCTION NETTING WOULD
BE USED TO ENCLOSE A READING SPACE
4HE TRANSPARENCY OF THE CURTAIN MATERIAL WOULD
CREATE AN AREA WHICH IS BOTH SPATIALLY DEFINED AND
VISIBLY OPEN "Y MOVING THE CURTAIN THE SPACE
COULD BE TRANSFORMED FOR DIFFERNECT TYPES OF ACTIVITY
7SHJL[VYLHKWYV[V[`WL
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ABOUT TWO MONTHS AGO ) DISCOVERED THAT THE ENTIRE
+3 ) THINK EVERYTHING IS PRETTY WELL INTEGRATED
SCHOOL HAD MADE THE LEARNING GARDEN THE FOCUS OF
7ELL KNOW IN A FEW MORE YEARS IF CERTAIN PARTS
THEIR STUDIES FOR THE SPRING SEMESTER 4HE ART CLASSES
DONT lT INTO THE GENERAL SCHEME &OR EXAMPLE
THE SCIENCE CLASSESˆEVERY TEACHER WAS DOING THINGS
WEVE HAD SOME PROBLEMS WITH THE WIND CATCHING
THAT INVOLVED THE LEARNING GARDEN )T JUST BLEW ME
THE CLOUD SCRIM )T HAS TO BE RETIED ONCE OR TWICE
AWAY )T MADE A BIG IMPACT
A YEAR WHEN WE HAVE ESPECIALLY STRONG WINDS 4HE
4HIS PROJECT WAS REALLY AN ESSAY FOR ME BECAUSE
SCRIM IS INHERENTLY THE MOST TEMPORAL PART OF THE
IN CERTAIN SOCIALLY ORIENTED SCHOOLS AND THEORIES OF
LANDSCAPE BECAUSE THE MATERIAL ITSELF HAS ONLY A
PUBLIC SPACES THERE IS THIS SENSE THAT YOU CANT HAVE
SHELF LIFE OF lVE YEARS OR SO )T IS COMMERCIALLY
GOOD DESIGN AND SOCIAL RESPONSIBILITY AT THE SAME
INKJET PRINTED AND COMES IN BIG ROLLS SO IT CAN
TIME )TS THE SAME KIND OF SPECIOUS ARGUMENT AS SAY
EASILY BE REPLICATED AND REPLACED 7HETHER OR NOT
ING YOU CANT HAVE GOOD DESIGN AND ENVIRONMENTAL
THE SCHOOL WILL CHOOSE TO DO SO ) DONT KNOW )TS
RESPONSIVENESS AT THE SAME TIME 03 WAS MY
THE MOST EPHEMERAL PIECE IN THE DESIGN THE LEAST
ESSAY ON HOW YOU CAN HAVE SOCIAL RESPONSIBILITY AND
ENDURING IN SOME WAYS BUT IT WAS ALSO THE ONE
COMMUNITY SERVICE WITHIN SOMETHING THAT IS A GOOD
THAT MADE THE BIGGEST SPLASH IN TERMS OF TOTALLY
DESIGN SUPPORTED BY A STRONG VISUAL VOCABULARY
READJUSTING THE PERCEPTION OF THE PLACE )TS THE ELE
MENT THAT WILL REQUIRE THE MOST COMMITMENT TO
*! !RE THERE PIECES OF THAT STRONG VISUAL VOCABU
REPLACE )TS SIMILAR TO THE *APANESE GARDEN AT )SE
LARY THAT ARE ELBOWING OUT ADDITIONAL PROGRAM
WHERE THEY REBUILD THE TEMPLE EVERY TWENTY YEARS
4HE CRITIC IN ME SEES THE POLKA DOTS AS GRATU
!LL PUBLIC SPACE INVOLVES A RITUAL OF RENEWAL )TS THE
ITOUS THE KID IN ME SEES PRIME TERRITORY
RITUAL OF SWEEPING THE PAVEMENT OR PICKING UP THE
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TRASH 2ENEWING THE SCRIM HAS A LONGER TEMPORAL
WITH STUDENTS WHO GAVE ME A LIST OF THINGS THEY
TIME FRAME THAN SWEEPING AND A SHORTER ONE THAN
WANTED TO SEE IN THE GARDEN /NE STUDENT WANTED
REBUILDING A TEMPLE BUT ESSENTIALLY ITS ALL THE SAME
ROSES SO )VE ADDED ROSES AND SOMEBODY ELSE WANT
RITUAL OF CONTINUITY
ED A BIRD BATH )TS TOUGH TO DESIGN A GARDEN FOR AN
4HE TEACHERS SPRAY PAINTED NUMBERS ON THE
ACADEMIC CALENDAR WHICH IS WITH ITS LONG BREAK
DUMPSTERS AND EACH CLASS SIGNS UP FOR ONE DUMP
IN THE SUMMER EXACTLY THE OPPOSITE OF WHEN THE
STER GARDEN 4HERE IS A FAIR AMOUNT OF COMPETITION
PLANTS WANT TO GROW
BETWEEN CLASSES AS THE STUDENTS ADOPT THE GARDENS
4HIS IS A GARDEN THE KIDS SEE EVERY DAY WHEN
AND TAKE OVER THE PLANTING AND WEEDING )N THE
THEY COME TO SCHOOL )TS VISIBLE FROM THE CLASS
SUMMER THE GARDENS ARE MAINTAINED BY THE .EW
ROOMS AND FROM THE STREET ON THREE SIDES 4HERE ARE
9ORK 2ESTORATION 0ROJECT BUT EVENTUALLY THE SCHOOL
CERTAIN AREAS WHERE YOU ACTUALLY PASS THROUGH ITˆIF
WILL TAKE OVER
YOU ENTER FROM THE WEST SIDE OF THE SCHOOLYARD YOU
7HEN ) REVIEWED THE PROJECT A COUPLE OF
WALK THROUGH IT ON YOUR WAY TO THE SCHOOL !ND AS
MONTHS AGO ) FOUND A FEW BARE SPOTS IN THE BIRD
PART OF THE OVERALL ENVIRONMENT OF THE SCHOOLYARD
AND BUTTERmY GARDEN BUT MOST EVERYTHING ELSE DID
ITS PART OF THE STUDENTS DAILY LIFE
WELL 4HERE WERE AREAS THAT NEEDED TO BE REPLANTED
AND ) REALIZED THAT THERE WAS NOT ENOUGH OF A WIN
*! (AS THERE BEEN ANY VANDALISM
TER BONE STRUCTURE ) HAD PLANTED CERTAIN SHRUBS
INCLUDING ILEX AND JUNIPERS BUT IT NOW BECAME
+3 .O 4HERE USED TO BE A LOT OF VANDALISM AT THE
CLEAR THAT THERE WERENT QUITE ENOUGH 3O ) DECIDED
SCHOOLˆGRAFlTI MOSTLYˆAND WHILE ) DO BELIEVE THAT
WE NEEDED TO DO A SUPPLEMENTAL PLANTING ) MET
DESIGN CAN MAKE A DIFFERENCE ) WOULD NEVER HAVE
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7:
PROMISED THE SCHOOL THAT MY GARDEN WOULD SOLVE
A GRAFlTI OR VANDALISM PROBLEM "UT THE BUILDING
;OPZWOV[V^HZ[HRLUMVSSV^PUNJVTWSL[PVUVM[OLZJOVVS`HYK
NYHWOPJZPU
ENGINEERS AND THE SUPERINTENDENTS HAVE TOLD ME
THAT THERE HAS BEEN ALMOST NO VANDALISM OR GRAF
lTI SINCE THE GARDEN WENT IN WHICH IS JUST AMAZ
ING )TS NOT JUST THE STUDENTS BUT ALSO THE PARENTS
WHO REALLY LOVE THIS GARDEN )TS AN IMPORTANT ELE
MENT OF THE COMMUNITY NOW AND COMMUNITIES
HAVE CERTAIN MEANS OF ENFORCING SOCIAL NORMS )F
SOMETHING ISNT ACCEPTABLE WITHIN THE COMMUNITY
PEOPLE LET EACH OTHER KNOW THAT
9<5505./,(+:
7:
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7:
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7:
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+EN 3MITH
,ANDSCAPE AS
#ULTURAL #RITICISM
.INA 2APPAPORT
)N THE WORK OF +EN 3MITH LANDSCAPE ARCHITECTURE IS
REMOVE PEOPLE FROM THE EVERYDAY (IS CREATIONS ARE
A REINVIGORATED THREE DIMENSIONAL ART FORM 3MITH
INSPIRED BY SIXTEENTH CENTURY )TALIAN DESIGNERS WHO
IS DEVOTED BOTH TO MODERN LANDSCAPE AESTHETICSˆ
MANIPULATED SPACE TO FORM PLEASURE GARDENSˆSUCH
AS SEEN IN PROJECTS BY !MERICAN LANDSCAPE ARCHI
AS THOSE AT 4IVOLIS 6ILLA D%STEˆWITH FAUX LAKES
TECTS $AN +ILEY Ÿ 0AUL &RIEDBERG B
MINIATURE WATERFALLS AND PERSPECTIVE TRICKS TO
AND 2OBERT :ION B ˆAND TO THE
ENHANCE THE GARDENS SCALE )NVENTING LANDSCAPE IS
EXPRESSION OF A CONTEMPORARY URBAN PLACE THAT
SOMETHING THAT LANDSCAPE ARCHITECTS HAVE ALWAYS
ENGAGES THE PUBLIC THROUGH THE ARTISTIC AND INVEN
DONE AND HAVE ALWAYS BEEN ASKED TO DO AND THIS
TIVE USE OF NATURAL AND ARTIlCIAL MATERIALS &ROM
OFTEN ENCOURAGES AN ARTISTRY THAT 3MITH EXPRESSES
THE MODERNISTS 3MITH LEARNED HOW TO ARTICULATE
BY TRYING TO REVEAL BOTH NATURES NATURE AND OUR
THE DIFFERENCES BETWEEN HARDSCAPES AND SOFTSCAPES
NATURE IN THE WORLD (E PERCEIVES GARDENS IN FRAG
TO EXPOSE STRUCTURE TO EMPHASIZE THE CONTRAST
MENTED CONTEMPORARY CITIES AS FRAMES FOR COM
BETWEEN URBAN FORESTS AND OPEN SPACES AND TO
MUNICATING IDEAS THAT BALANCE CULTURE AND NATURE
FORMULATE HIS IDEA OF A SUBLIME CONSTRUCTED NATURE
ARTIlCE AND NATURE AND ART AND NATURE EVERY URBAN
THAT ENHANCES URBAN EXPERIENCE 3MITH ALSO OFFERS
ELEMENT IS A KIND OF GARDEN THAT OFFERS AN OPPORTU
AN IRONIC VIEW OF CONTEMPORARY CULTURE IMBUING
NITY TO REWEAVE THE CITY FABRIC 3MITHS WORK AT ITS
HIS WORKS WITH CONTENT IN A SUBTLE MANIPULATION OF
MOST RElNED AND THOUGHT PROVOKING HAS AN IRONY
FORM MATERIAL AND TEXTURE THAT ENCOURAGES OBSERV
TO IT A CRITICAL EDGE THAT AS ,INDA (UTCHINSON
ERS TO PERCEIVE THEIR ENVIRONMENT IN A NEW WAY
NOTES OF VISUAL ARTS IS hA PROCESS OF COMMUNICA
&OR 3MITH THE GARDEN IS lRST A PLACE OF SEPARA
TION AS EXPERIENCED IN WALLED VILLA GARDENS THAT
TION THAT ENTAILS TWO OR MORE MEANINGS BEING
PLAYED OFF ONE AGAINST THE OTHER 4HE IRONY IS IN
9<5505./,(+:
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‹
THE DIFFERENCE IRONY MAKES THE DIFFERENCE )T PLAYS
3MITHS APPROACH IS CHARACTERIZED BY ITS
BETWEEN MEANINGS IN A SPACE THAT IS ALWAYS AFFEC
COMPLEMENTARY NATURES IT IS BOTH THE APPROACH
TIVELY CHARGED THAT ALWAYS HAS A CRITICAL EDGEv
OF A CREATIVE ARTIST WHO HAS A VARIED PALETTE AND
4HIS PLAY IS SEEN IN 3MITHS JUXTAPOSITION OF
UNCONVENTIONAL GARDEN MATERIALS REUSE OF EVERY
AND HIS INDICATIVE LOVE FOR TRUTHFUL DETAIL ALLOW
DAY OBJECTS AND TRANSFORMATIONS OF ONE FORM INTO
3MITH TO DETERMINE HOW EVERYDAY MATERIALS AND
ANOTHER 4HE DESIGN FOR -O-!S CAMOUmAGE ROOF
THEIR PERFORMANCE CAN BE EMPLOYED TO REVEAL
GARDEN IS AN EXAMPLE OF THIS COMMENTARY 3MITHS
THE CONTENT BEHIND THE LANDSCAPE IN THE MAKING
ROOFTOP INSTALLATION RAISES QUESTIONS ABOUT WHAT IS
.OT THAT THE NUTS AND BOLTS ARE SHOWN BUT THE
REAL IN AN URBAN GARDEN MADE OF ARTIlCIAL MATERIALS
WAY THE PIECES ARE PUT TOGETHER IS DEMYSTIlED AND
SUCH AS PLASTIC TREES AND GLASS SHARDS A FAUX SCAPE
VISIBLE ALTHOUGH OTHER CEREBRAL GAMES MAY BE
THAT IS COLORFUL YEAR ROUND AND VISIBLE ONLY TO
BEING PLAYED RESIDENTS OF THE ADJACENT HIGH RISE 4HE GARDEN IS A
THAT OF A PRAGMATIC CRAFTSMAN 4HIS PRAGMATISM
&OR 3MITH CLIENT AND PROGRAM PARAMETERS ARE
CAMOUmAGE BOTH OF THE BUILDING AND OF NATUREˆ
PART OF THE DESIGN CHALLENGE AND THE PUZZLE THAT
THERE IS NO REAL NATURE AND THE mAT ROOF NOW HAS
HIS WORK HAS TO lT WITHIN (IS WORK IS A STRATEGIC
A DÏCOR 4HE UNINHABITABLE ROOFSCAPE IS FOR DISPLAY
EXPRESSION OF HIS PREOCCUPATION WITH THE PUBLIC
ONLY NOT FOR PHYSICAL EXPERIENCE IT IS SIMILAR TO
AGENCIES OR CLIENTS FOR WHOM HE IS DESIGNING
LOOKING AT A PAINTING ON A WALL &ROM A DISTANCE
&OR THE RENOVATION OF THE ,EVER (OUSE 0LAZA IN
ONE CANNOT EVEN DISCERN WHAT KIND OF MATERIALS ARE
.EW 9ORK 3MITH RESEARCHED THE ORIGINAL SCHEMES
USED ONE SEES ONLY RELATIVELY INERT COLOR PATTERN
IN THE .OGUCHI ARCHIVES AND WITH LANDSCAPE
AND FORM
ARCHITECT 'AVIN +EENEY RECREATED THE ORIGINAL
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9<5505./,(+:
DESIGN CONCEPTS WHILE UPGRADING THE PLAZA FOR
3MITHS PROJECTS BEGIN AS TEMPORARY INSTALLATIONS
CONTEMPORARY NEEDS )N THE IMPROVEMENT PROJECT
/FTEN MADE OF DISPOSABLE MATERIALS THEY GIVE HIM
FOR ,AWRENCE (ALPRINS DILAPIDATED -ANHATTAN
THE FREEDOM TO EXPERIMENT AND INVESTIGATE MORE
3QUARE 0ARK IN 2OCHESTER .EW 9ORK THE
COMPLEX IDEAS FOR FUTURE PERMANENT STRUCTURES 4HE
WORK WAS PHASED SO THAT THE DISUSED AREAS OF THE
TEMPORARY NATURE OF THESE DESIGNS EMPHASIZES THE
FOUNTAIN AND THE STAGE CAN BE REVITALIZED WHILE
WEIGHTY ELEMENT OF TIME IN LANDSCAPE ARCHITECTURE
THE REMAINDER OF THE PARK IS ONLY MINIMALLY REDE
IN RELATION TO BOTH NATURAL AND ARTIlCIAL MATERIALS
SIGNED UNTIL THE CITY OBTAINS FURTHER FUNDING
7HILE THE ARTIlCIAL ELEMENTS IN 3MITHS WORKS CAN
!T THE SAME TIME AS AN ARTIST 3MITH REIN
4HIS ALLOWS THE DESIGNER MORE CONTROL OVER THE
ART FORM IMBUING IT WITH ALLUSIONS TO CULTURE
PALETTE )N CONTRAST THE NATURAL LANDSCAPE IS PRE
$RAWING A PARALLEL BETWEEN FASHION AS A CULTURAL
DICTABLE BUT NOT STABLE )T IS RENDERED TEMPORARY BY
PHENOMENON AND LANDSCAPE ARCHITECTURE HE SAYS
ITS CONSTANT PROCESS OF CHANGE WHILE THE ARTIlCIAL
BOTH ARE hARTIlCIAL CONSTRUCTIONS THAT lT AN ORGANIC
LANDSCAPE IS TEMPORARY BECAUSE IT IS DISPOSABLE &OR
BODY THAT MOVES AND mUCTUATES )T IS AN IDEOLOGI
EXAMPLE THE SYNTHETIC MATERIALS OF THE -O-! ROOF
CAL EXPRESSION MAKING OR REVEALING THE BODY OR IN
GARDEN NEED ONLY LAST THE LIFE OF THE ROOF CONTRAC
THE CASE OF LANDSCAPEˆTHE CITYv 3MITH NOTES THAT
TORS GUARANTEE
FASHION WAS SEEN AS A REGRESSIVE ART FORM UNTIL CRIT
BE REMOVED THEY DO NOT DIE OR CHANGE QUICKLY
VIGORATES LANDSCAPE ARCHITECTURE AS A CONCEPTUAL
!LTHOUGH 3MITH DOES NOT PROMOTE ENVIRON
ICS SUCH AS 2ICHARD -ARTIN EVALUATED IT AS A FORM
MENTALISM PER SE HE IS AN ENVIRONMENTALIST IN
OF CULTURAL EXPRESSION AND HE FEELS THAT THIS IS HOW
SUBTLE WAYS WHILE NOT MAKING A MORAL DISTINCTION
THE PUBLIC VIEWS LANDSCAPE DESIGN AS WELL -ANY OF
OF IT &OR HIM THE ENVIRONMENT IS SOMETHING TO BE
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RESPECTED AND UNDERSTOOD AS A GIVEN &OR THE %AST
2IVER &ERRY ,ANDINGS FOR EXAMPLE 3MITH SELECTED
NATURAL GRASSES TO BE PLANTED IN mOATING CONTAIN
ERSˆHINTING AT WHAT WAS ONCE THERE AS WELL AS AT
WHAT COULD BE IF THERE WAS NO RETAINING WALL AT THE
RIVERS EDGE
3MITHS DESIGN APPROACH REINTEGRATES OFTEN
OBSCURE AND FRAGMENTED SITES INTO THE PUBLIC
REALM IN CELEBRATORY WAYS AS HE TRANSFORMS THEM
INTO SOMETHING BEYOND THE NORM (IS CONCEPTUAL
STRATEGIES ADAPT TO THE LOCAL CONDITIONS AND SPECIlC
SITES IN AN INDUCTIVE METHOD BY lRST APPRECIATING
WHAT IS THERE (IS ARTISTIC AND INVENTIVE YET PRACTI
CAL APPROACH ENVIRONMENTAL SENSITIVITY AND BROAD
ARTIlCIAL AND NATURAL MATERIAL PALETTE INTERTWINE TO
MAKE SPACES THAT TRANSFORM DAILY LIFE AND ENGAGE
THE PUBLIC
,INDA (UTCHINSON )RONYS %DGE ,ONDON AND .EW 9ORK
2OUTLEDGE 9<5505./,(+:
#REDITS
4HE PROJECTS IN THIS MONOGRAPH
RESULT FROM A TEAM EFFORT IN
4HE -USEUM OF -ODERN
!RT 2OOF 'ARDEN
%AST 2IVER &ERRRY
,ANDINGS
(9*/0;,*;
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4HE -USEUM OF -ODERN !RT
.EW 9ORK #ITY %CONOMIC
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$EVELOPMENT #ORPORATION
- ' -C,AREN 0#
+ENNEDY 6IOLICH !RCHITECTURE
MY OFlCE )D LIKE TO ESPE
CIALLY THANK %LIZABETH !SAWA
3ENIOR !SSOCIATE WHO HAS BEEN
INVOLVED IN ALL OF THESE WORKS
3(5+:*(7,(9*/0;,*;
.EW 9ORK #ITY $EPARTMENT OF
AND PLAYS AN IMPORTANT ROLE
+EN 3MITH ,ANDSCAPE !RCHITECT
4RANSPORTATION
*65:;9<*;0654(5(.,9:
.EW 9ORK #ITY $EPARTMENT OF
(UDSON -ERIDIAN #ONSTRUCTION
0ARKS AND 2ECREATION
'ROUP
IN THE OPERATION OF THE OFlCE
4HE PROJECT MANAGERS PLAYED
+,:0.5;,(4
4OBIAS !RMBORST
A SIGNIlCANT ROLE IN THE DESIGN
%LIZABETH !SAWA
3(5+:*(7,(9*/0;,*;
4,7
OF EACH PROJECT !LEX &ELSON FOR
$AVID (AMERMAN
+EN 3MITH ,ANDSCAPE !RCHITECT
,AKHANI *ORDAN %NGINEERING
2OCIO ,ASTRAS
+,:0.5;,(4
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+EN 3MITH
4OBIAS !RMBORST
#OSENTINI !SSOCIATES
AND 4OBIAS !RMBORST AND -ATT
!NNIE 7EINMAYR
%LIZABETH !SAWA
,ANDIS FOR THE -O-! 2OOF
*UDITH 7ONG
(EIKE "ERGDOLT
#HRISTIAN :IMMERMANN
9OONCHUL #HO
THE %AST 2IVER &ERRY ,ANDINGS
!NNIE 7EINMAYR FOR 03 'ARDEN
+EN 3MITH
-ATT ,ANDIS
!LEX &ELSON
3(5+:*(7,*65;9(*;69
2UTH (ARTMANN
4OWN AND 'ARDENS
2OCIO ,ASTRAS -ONTANA
+EN 3MITH
$AN 7ILLNER
9<5505./,(+:
03 .9(7/0*+,:0.5
04(.,*9,+0;:
0ENTAGRAM
!LL IMAGES ARE BY +EN 3MITH
*30,5;
2OBIN (OOD &OUNDATION
,ANDSCAPE !RCHITECT UNLESS
5<9:,9@
OTHERWISE NOTED
"ISSETT .URSERY #ORPORATION
0AGES LEFT TOP AND BOTTOM
6>5,9
LEFT LEFT BOTTOM
.EW 9ORK #ITY $EPARTMENT OF
9,*3(04,+36.:<7730,9
%DUCATION 03 'ENIE #ALIBAR
#ITI,OG
CURRENT PRINCIPAL #ATHY :ARBIS
FORMER PRINCIPAL
7ILLNER
0AGES MIDDLE TOP AND
+<47:;,94(5<-(*;<9,9
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n 3(5+:*(7,(9*/0;,*;
+EN 3MITH ,ANDSCAPE !RCHITECT
BOTTOM ¥ $ANIEL
¥ 0ETER -AUSS%STO
+(--6+037961,*;
*669+05(;065
+,:0.5;,(4
.EW 9ORKERS FOR 0ARKS4HE 5RBAN
4OBIAS !RMBORST
#ENTER
%LIZABETH !SAWA
0AGES LEFT TOP AND BOTTOM
¥ !LBERT
6EC‡ERKA%STO
0AGES RIGHT TOP AND BOTTOM
!LEX &ELSON
(++0;065(3*65;90)<;69:
!LICE -AHIN
4HE !UDUBON 3OCIETY
+EN 3MITH
#LEAR #HANNEL3PECTACOLOR
!NNIE 7EINMAYR
$ANIELLE AND $AVID 'ANEK
*UDITH 7ONG
-AUREEN 'IBBONS
-IMI AND 0ETER (AAS
*65;9(*;69
/VERBROOK &OUNDATION
4HE .EW 9ORK 2ESTORATION 0ROJECT
0ETER 0ETERSON
¥ 0AUL 7ARCHOL
0AGES ¥ .ATHANIEL
'OLDBERG
0AGE TOP ¥ "ETSY 0INOVER
3CHIFF
0AGE RIGHT ¥ *OHN "ACH
3IGN#RAFT
4IMBERLAND #ORPORATION
9<5505./,(+:
"IBLIOGRAPHY
0ETER 2EED 'ROUNDSWELL
!NN 2AVER h! 2OOF 4OP 'ARDEN
-AGAZINE !RCHITECTURE -AY
,ESLIE 3HERR h-ANHATTAN
#ONSTRUCTING THE #ONTEMPORARY
7ITH 3YNTHETIC 'REENv 4HE .EW
4AKEOVER v ,EVER (OUSE )$ 4HE
,ANDSCAPE .EW 9ORK 4HE -USEUM
9ORK 4IMES .OVEMBER OF -ODERN !RT "ARBARA (OFFMAN h)TS !RT IlCIALv
)NTERNATIONAL $ESIGN -AGAZINE
,AURA 3TARR h!YALON 0ARKˆ
!PRIL 4OBY -USGRAVE h/UT OF THE "LUEv
%XTREME 3ITES 4HE 'REENING OF THE
'ARDENS )LLUSTRATED /CTOBER "ROWNlELDv !$ -AGAZINE -ARCH
3UZANNE 3TEPHENS h0ROJECTS
!PRIL ,EVER (OUSEv !RCHITECTURAL 2ECORD
.EW 9ORK 0OST &EBRUARY +EN 3MITH h2AILYARD 0ARK 3ANTA
-ARCH !LLEN &REEMAN h"IG $OTS ,ITTLE
&E .EW -EXICOv $IALOGUE
$AVID #OLEMAN h/UT IN THE
$UMPSTERSv ,ANDSCAPE !RCHITECTURE
!RCHITECTURE $ESIGN #ULTURE
'ARDEN A 2EPUTATION "LOOMSv
3UZANNE 3TEPHENS h#OMMENTARY
-AGAZINE &EBRUARY 4AIWAN 3PECIAL )SSUE ON ,ANDSCAPE
4HE .EW 9ORK 4IMES *ULY #OLLABORATIONS AT THE 74#v
!RCHITECTURE 3EPTEMBER +ENNETH (ELPHAND h(ORTUS
!RCHITECTURAL 2ECORD -ARCH 3HARON -C(UGH h.EW ,IFE FOR
,UDENSv ,ANDSCAPE !RCHITECTURE
+AREN % 3TEEN h'ARDEN 3POTv
A 4ROUBLED 0LAZAv #OMPETITIONS
+IM 3ORVIG h#OMPETING FOR
-AGAZINE &EBRUARY -ETROPOLIS -AGAZINE !UGUST
-AGAZINE 6OL .O 3UMMER
3ANTA &ES )DENTITYv ,ANDSCAPE
3EPTEMBER !RCHITECTURE -AGAZINE -ARCH
,ANDSCAPE !RCHITECTURE -AGAZINE
$EBORAH "ISHOP h,ANDSCAPE
$EBRA 'IBSON h,! !LUMNUS A
*ANUARY !RCHITECTURE ˆ!LUMINUM
&ORCE -AJEURE IN $ESIGN #IRCLESv
!NNE 2AVER h4HIS 3TOP TH
'ARDENv $WELL -AGAZINE *ULY
$ESIGN .EWS )OWA 3TATE 5NIVERSITY
&LOOR 2AIN &ORESTv 4HE .EW 9ORK
!UGUST 3PRING 4IMES &EBRUARY -AKING 0OSTWAR ,ANDSCAPES 6ISIBLE
+EN 3MITH 7EST &IELD
#ARRIE 'EYER h3TOP AND 3MELL THE
,ISA 3PECKHARDT h2IVERFRONT
7ASHINGTON $# 3PACEMAKER
/PERATIONS $)24 3TUDIO h7HY
$UMPSTERSv 4HE ,ANTERN /HIO
2EVIVALv ,ANDSCAPE !RCHITECTURE
0RESS .OT ! 0ARKv 4HE .EW 9ORK 4IMES
3TATE 5NIVERSITY -AY -AGAZINE *ANUARY !LLEN &REEMAN h0ROVING 'ROUNDv
#HARLES "IRNBAUM ED 0RESERVING
-ODERN ,ANDSCAPE !RCHITECTURE ))
9<5505./,(+:
2UTH ,A &ERLA h,ET -E 'UESS 9OU
+IM 3ORVIG h2AILYARD 2EMAKE IN
*AMES 'RAYSON 4RULOVE h2ETREAT
-ELISSA $AVIS h3LEEK -ODERNITYv
-UST "E AN !RCHITECTv 4HE .EW
3ANTA &Ev #OMPETITIONS -AGAZINE
0OOLv 4HE .EW !MERICAN
'ARDEN $ESIGN -AGAZINE -AY
9ORK 4IMES &EBRUARY 6OL .O &ALL 3WIMMING 0OOL #ONNECTICUT
7HITNEY 0RESS (ERBERT -USCHAMP h"ALANCING
$AVID $UNLAP h0LAN #HOSEN FOR
2EASON AND %MOTION IN 4RADE
2EDESIGN OF A 0LAZA AT 7ATER
h$EBATE /VER 7ORLD 4RADE #ENTER
,ISA 3PECKHARDT h)N 4HE 0UBLIC
%YEv ,ANDSCAPE !RCHITECTURE
4OWERS 6OIDv 4HE .EW 9ORK 4IMES
3TREETv 4HE .EW 9ORK 4IMES -EMORIALv #"3 %VENING .EWS -AGAZINE -AY &EBRUARY 3EPTEMBER $ECEMBER (ERBERT -USCHAMP h! 'OAL FOR
%DWARD 7YATT h$ESIGN 4EAMS ARE
4ERENCE 2ILEY ET AL h7HAT
#HEAPv 7ALL 3TREET *OURNAL 'ROUND :ERO &INDING AN 5RBAN
3ELECTED FOR .EW 0LANS FOR TO "UILDv 4HE .EW 9ORK 4IMES
!PRIL 0OETRYv 4HE .EW 9ORK 4IMES 3ITEv 4HE .EW 9ORK 4IMES -AGAZINE .OVEMBER *ANUARY 3EPTEMBER $ANIELLE 2EED h'ARDENING ON THE
+EN 3MITH h!LUMINUM 'ARDENv
3TEPHANIE #ASH h.OGUCHI 'ARDEN
0AGES 0AYSAGES .O *ANUARY
#HERILYN h,IVv 7RIGHT h! 6ISUAL
,ISA 2OCHON h5P FROM THE !SHESv
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!RCHITECTURE -AGAZINE !PRIL !RCHITECTURE -AGAZINE $ECEMBER
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"ULLETIN !UTUMN -AGAZINE .OVEMBER #ANADIAN !RCHITECT !UGUST 9<5505./,(+:
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"IOGRAPHIES
1(5,(40+65 IS A LANDSCAPE DESIGNER CRITIC AND LEC
TURER CURRENTLY TEACHING IN THE ,ANDSCAPE 3ECTION OF THE
+NOWLTON 3CHOOL OF !RCHITECTURE (ER PUBLISHED WORK
INCLUDES $AN +ILEY !MERICAS -ASTER ,ANDSCAPE !RCHITECT
2ADICAL ,ANDSCAPES AND -OVING (ORIZONS 4HE ,ANDSCAPE
!RCHITECTURE OF +ATHRYN 'USTAFSON AND 0ARTNERS 2ECENT
PRESENTATIONS INCLUDE DISCUSSIONS OF MODERN AND CON
TEMPORARY LANDSCAPE ARCHITECTURE AT THE .ETHERLANDS
!RCHITECTURE )NSTITUTE THE 2OYAL )NSTITUTE OF "RITISH
!RCHITECTURE AND THE 7EXNER !RT #ENTER
505(9(77(769; IS AN ARCHITECTURAL CRITIC CURATOR AND
EDUCATOR BASED IN .EW 9ORK 3HE IS PUBLICATIONS EDITOR
AT 9ALE 3CHOOL OF !RCHITECTURE WHERE SHE IS THE EDITOR OF
THE BIANNUAL PUBLICATION #ONSTRUCTS EXHIBITION CATALOGS
AND STUDIO BOOKS 3HE IS A FELLOW OF THE $ESIGN 4RUST
FOR 0UBLIC 3PACE FOR h,ONG )SLAND #ITY #ONNECTING THE
!RTS v AN ARTS IDENTITY AND URBAN DESIGN PROJECT 3HE HAS
CONTRIBUTED ARTICLES TO !RCHITECTURE !RCHITECTURAL 2ECORD
$EUTSCHE "AUZEITUNG &UTURE !NTERIOR -ETROPOLIS 0RAXIS AND
4EC !T #ITY #OLLEGE SHE IS ADJUNCT PROFESSOR TEACHING
SEMINARS ON THE POST INDUSTRIAL FACTORY AND ON INNOVATIVE
ENGINEERS 3HE IS CO CHAIR OF THE .EW 9ORK4RI STATE
CHAPTER OF $OCOMOMO53
9<5505./,(+: