Archive for the ‘Gardens’ Category


Afterburn / Civilian Projects

Once again, the jury for the International Garden Festival, has picked some intriguing contemporary garden projects. Six new landscapes will appear during the festival, which is held at Reford Gardens, next to the Les Jardins de Métis in Quebec, from May through September. Nearly 300 proposals were submitted by 700 designers from 30 countries.

Afterburn by Civilian Projects, a Brooklyn-based art and architecture studio, features charred trees outlined in a grid formation (see image above). Civilian Projects describe the work as a “post-apocalyptic experience that allows visitors to see how nature renews by itself after a fire and how she manages to heal damaged landscapes.” One team member, Ksenia Kagner, is from landscape architecture firm James Corner Field Operations.

For Cone Garden, a team of designers from Livescape, which hails from Seoul, South Korea, have stuck orange construction cones upside-down into the earth. The cones will be filled with soil, becoming planters. Some cones will become seating. Others will “transit messages to passers-by.” For these designers, the cones represent “the never-ending construction, de-construction, and re-construction of our environment.”


Cone Garden / Livescape

Canadian artists and designers Julia Jamrozik and Coryn Kempster have created Line Garden, a responsive environment that will change based on user movement through the space. The garden features police tape, twined into new patterns. The team enjoys investigating “everyday urban situations and re-presenting them to be experienced anew.”


Line Garden / Julia Jamrozik and Coryn Kempster

In Méristème, a plant cell is blown up into a geodesic-dome-like formation people can enter. The piece is meant to remind us of the importance of plant life to human society. This installation was created by Châssi, a team from Montreal, Canada.


Méristème / Châssi

Orange Secret by landscape architecture firm Nomad Studio from New York City is meant to play with our perception of open and closed spaces. A wooden wall provides a slit for viewing the garden, which prominently features all plants that bloom orange.


Orange Secret / Nomad Studio

Lastly, the excellent Rotunda by Spanish designers at City Laboratory, will feature a black steel basin meant to slowly collect water, leaves, pollen over the summer. This accumulation will provide food for birds and insects, leading to the development of “new life in the garden.”


Rotunda / City Laboratory

Since the festival started in 2000, 140 gardens have been exhibited at Les Jardins de Métis in Quebec. Check out these new ones from May 31 to September 28. See more images at DesignBoom.

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Botanist and garden designer Patrick Blanc, who usually stays just a few stories off the ground with his densely-planted vertical gardens, is now moving higher and higher. Working with starchitect Jean Nouvel, Blanc has been sheathing two 380-feet-tall buildings in green. What once looked like a fanciful graduate school student’s thesis has now become reality: vertical gardens are now climbing up skyscrapers, too.

One Central Park, a residential tower in Sydney expected to open this winter, has plants and vines climbing up its glass facade. Blanc told Dezeen: “The building, together with my vertical garden, will be an architectural work floating in the air, with plants growing on the walls – it will create a very special result that will be very new to Sydney.”

The greenery is meant to extend the nearby park onto the buildings, creating a verdant district. According to The Architect’s Newspaper, “the lush green tapestry of the structure’s facade will be entwined with the foliage of the adjacent park in order to replicate the natural cliffs of the Blue Mountains, which are located in the Western part of Sydney.”

Some 190 native Australian species and 160 non-natives will cover more than 1,200 square feet from the 2nd to 33rd floors, or some 50 percent of the building’s exterior. The Architect’s Newspaper said this is possible because Blanc has perfected the use of “synthetic moss instead of soil for the growing medium.”

tells us that the building is specially designed to redirect light to parts of the vertical gardens. “The tallest tower features a large cantilever. On the underneath, there is a heliostat of motorised mirrors that direct sunlight down onto the surrounding gardens. After nightfall, the cantilever is used as a canvas for a LED light installation by artist Yann Kersalé.”

Those lucky enough to snag one of 624 apartments will be able to descend to the ground levels, where there are stores, restaurants, and some office space.

By using plants and natural sunlight throughout, the building cuts energy use and therefore greenhouse gas emissions.

Nouvel and Blanc are also now teaming up on another green skyscraper in Kuala Lumpur, Malaysia, which appears to be even taller and more ambitious.

Fast forward sometime in the near future: Hopefully, this model has spread fast — not just for wealthy renters and owners, but for all urban tower dwellers.

Image credits: Atelier Jean Nouvel

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Selling English Gardens to the AmericansThe Guardian, 11/21/13
“It’s all hands on deck setting up the show stand at the conference center. Each company sent their work out to the U.S. weeks before and the crates needed unpacking and putting on display, similar to a mini-Chelsea Flower show stand. We had also arranged to get plants from a local nursery to plant in the Italian Terrace pots to further beautify the exhibit. By lunchtime it was looking pretty amazing.”

Green Urbanism is the Future! Well, MaybePlanetizen, 11/24/13
“My guess is the glossy, beautifully photographed images showing built work designed by professionals attract the most attention. But for me, even though I appreciate design eye candy as much as anyone, my focus inevitably shifts to the planning and analysis category and, in particular, the student work, because it is here, in the unrealized work, that we catch a glimpse of where things are headed or, perhaps, should be headed.”

Landscape Architects “Could Enable Paradigm Shift” in Green Infrastructure Alternative to Thames Super SewerLandscape Institute, 11/24/13
“Following the recent successful adoption of green infrastructure (GI) measures in the U.S. city of Philadelphia, the ‘Clean Thames Now and Always’ campaign is proposing a similar combination of GI solutions, including porous asphalt on roads, living roofs and SuDs, as a cheaper and more effective alternative to the tunnel. And landscape architects, says the campaign’s founder Christian Sarrasin, ‘would be the enablers of this paradigm shift.’”

The Thanksgiving LandscapeMetropolis Magazine, 11/25/13
“As we prepare to sit down and stuff our collective faces, let’s take a little time to fill our brains before we fill our bellies. In preparation for the marathon shopping day that is Black Friday, Americans will spend Thursday carbo-loading with stuffing, biscuits, and pie alongside traditional turkey, gravy, and cranberry sauce. So, gather ’round the table, and feel free to share these Thanksgiving facts and figures with your family and friends.”

New York City’s Largest Solar Energy Installation to be built at Freshkills ParkWorld Landscape Architecture, 11/30/13
“The Mayor of New York recently announced that the city will install the largest solar energy installation in New York City at Freshkills Parks. The installation is set to power 2,000 homes and will increase the City’s current renewable energy capacity by 50 percent. The Administration is moving forward with steps to officially map an additional 1,500 acres of Freshkills into parkland, officially bringing the total for Freshkills Park to 2,200 acres and bringing total parkland in New York City to more than 30,000 acres for the first time in history.”

These articles were compiled by Phil Stamper, ASLA Public Relations and Communications Coordinator

Image credit: Pumpkins ready for harvest / Roemer pumpkin patch 

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Throughout October, the University of Virginia School of Architecture community got to see photographs of the landscape architecture of Reed Hilderbrand, touch samples of materials used in their projects, and grab post-card copies of their site plans. An exhibition of their work culminated in a lecture by founding partners, Douglas Reed, FASLA, and Gary Hilderbrand, FASLA, on their design philosophy.

Rather than being cloistered in an enclosed gallery space, the exhibit occupied the open, eastern hallway of the architecture school where it encouraged daily encounters between students and the firm’s work. It was clear from Reed and Hilderbrand’s talk that both believe places of cultural significance shape fledgling designers and the type of work they ultimately produce.

Each designer situated the firm’s work within his own personal biography and the landscape in which he was raised. In discussing his youth in Louisiana, Reed drew upon Jens Jensen’s belief that we are always longing to return to the “landscape of home.” His experience growing up in a landscape of extreme flatness — contrasted with Hilderbrand’s childhood in the rolling Hudson River Valley — plays a significant role in his unique understanding of the conditions of the ground. Together, they believe “a site’s history and the particular character of its ground – its shape, soil, moisture, vegetative cover – are what motivates meaningful form in our projects.”

While Reed and Hilderbrand may call upon their particular conceptions of home in their design philosophy, they also spoke of the importance of travel. Hilderbrand attributed his year in Rome as a Rome Prize recipient as the primary inspiration him to come together with Reed to found Reed Hilderbrand. Getting to intimately know the landscapes of Rome, not as a tourist, but as an extended visitor with the time and the freedom to “see and return,” made him want to build great places. “Seeing great things is both humbling and inspiring, ” said Hilderbrand.

In their first project together, the Leventritt Garden at the Arnold Arboretum in Boston, their design drew upon not only a deep understanding of the conditions of the site, but also an experiential knowledge of Roman terraces, resulting in an “organic parterre” distinct from, yet perfectly suited to the rest of the Arboretum.

The success of this first project stemmed from their ability to grasp the site’s unique assets, while drawing on a vast inner library of places seen over years of travel.

In Reed Hilderbrand’s work at Bennington College, their reading of a set of disjointed site systems from previous eras of development, including an overlay of campus architecture of disparate styles, propelled the partners to bring cohesion to the campus. As Reed says, in this case “we realized that the larger regional context – the panorama of mountains,” with the elevated plateau of the college campus serving as a viewing platform, drew the campus plan together.

While it was inspiring to see images of Reed Hilderbrand’s work in the everyday environment of the school and in the pages of their new monograph, Visible | Invisible: Landscape Works of Reed Hilderbrand, the magnitude of their effect became more apparent after hearing them reflect upon their work. The elegant detailing, subtle sculpting of the ground, and the clearly distinctive quality of the work, are stunning and motivating.

This guest post is by Rachel Vassar, Master’s of Landscape Architecture Candidate, University of Virginia

Image credits: (1) Visible / Invisible, Metropolis Books, (2) Leventritt Garden / Andrea Jones, (3) Leventritt Garden Plan / Reed Hildebrand, (4) Bennington College plan / Reed Hilderbrand, (5) Bennington College / Michael Moran.

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At the 100-year anniversary of the birth of Mies Van Der Rohe in the mid-80s, there were tons of news stories, books, and conferences about the legacy of that great architect. But Charles Birnbaum, FASLA, head of the Cultural Landscape Foundation (TCLF), said nothing would have been done for famed Modern landscape architect Dan Kiley on his 100th, unless he and his organization had stepped up to honor him. At the opening of a new photography exhibition on the work of Kiley at the Boston Architectural College (BAC), Birnbaum said Kiley was only second to Frederick Law Olmsted in terms of the number of his landscapes that have been added to the national register of historic places.

In this exhibition, we see 27 of his 1,000 works of landscape architecture. The vast majority are in the U.S. but one remarkable landscape, L’Esplanade du Charles De Gaulle, leads up to La Defense in Paris. Newly-commissioned photographs were taken by some of the best landscape photographers, including Alan Ward, FASLA, who is also a partner at Sasaki Associates.

Birnbaum said it was important to document these landscapes so they don’t “die silent deaths.” He added that writing about Kiley is crucial to “making his legacy visible. It’s really a case of publish or perish.”

For Cornelia Oberlander, FASLA, the grand-dame of Canadian landscape architecture and a Kiley firm alumna, the Esplanade in Paris shows “how he brought the grandiose nature of structure into the landscape.” Pointing at a photo of the project, she said, “that’s Paris. It’s brilliant.”

She said Kiley was inspired by 17th century French landscape designer Andre Le Notre, who laid out gardens with structural forms like grids and allees.  For her, Kiley’s legacy is taking that French structure and applying it to Modern landscapes everywhere. She said his genius was using a Modern approach to create a “classical feeling.”

Oberlander’s favorite Kiley landscape is the Miller Garden in Columbus, Indiana, which is viewed as his residential masterpiece. She said “this shows a new way of thinking, a new way of living in the garden.”

Gary Hilderbrand, FASLA, principal of Reed Hilderbrand, believes the best word to characterize Kiley is “itinerant,” given his constant travels across the U.S. creating so many works of landscape. He said Kiley was “deeply committed to landscape architecture.”

While he said cultures change – so most landscapes will not even last a hundred years – many of Kiley’s landscapes should live on, at least in some form. One he highlighted was the Jefferson National Expansion Memorial in St. Louis, home to the famous arch by Saarinen. “The origins of that design need to remain in some form.”

His favorite Kiley work is Fountain Place in Dallas, which he has to visit every time he goes to that city. “It’s otherworldy.”



And how does he sum up Kiley’s legacy? “Kiley’s work transcends his era.” His landscapes go beyond Modernism. “There is an essential quality.”

Explore all the Kiley projects and photos online or buy a gallery guide.

Image credits: (1) Patterns / Roger Foley, (2-3) L’Esplanade du Charles de Gaulle / David Bacher, (4) Miller Garden / Millicent Harvey, (5) Jefferson National Expansion Memorial / David Johnson, (6) Fountain Place / Alan Ward.

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Private Gardens of the Hudson Valley
is a new book about American gardens of the northeast by Jane Garmey, a noted garden writer born in England and now living in New York and Norfolk, Connecticut. The 28 gardens featured are found in private estates to the east of the Hudson River, an area whose famed scenery Garmey appropriately describes as “inherently dramatic.” She has selected gardens whose creators, a mix of garden designers by profession and others who have made it a passionate occupation, primarily seek to create a private paradise while enhancing the remarkable qualities of the existing landscape.

Garmey chose the properties according to the following criteria: “I find myself drawn to gardens with age and maturity, and especially to those that strongly reflect the sensibility of their owners.” As her descriptions and the accompanying photographs reveal, the properties, ranging from 50 to 500 acres, display a range of gardens. Garmey emphasizes the use of trees and plants — and their unique qualities of texture and color and their capacity to transform and define space. She also strongly notes the element of time. Many of the gardens are lifelong projects that are slowly developing and always changing.

Several of the gardens are in keeping with the tradition of the older properties they occupy. Some property owners, admirers of 18th Century English garden design, have taken cues from famous places like Stourhead and Stowe. Several of the gardens feature planting designs that enhance the existing landscape and appear effortless and natural. Their spatial configurations encourage meandering walks punctuated by views of expansive vistas. Some even include classical temples, statues, and follies.

These elements are especially visible at Altamont, a 500 acre property in Millbrook with a vast parkland that includes streams, marshland, forest, and a succession of lakes and ponds. The formal garden adjacent to the house has four-walled areas planted with different themes. A ha-ha creates a seamless transition from the formal garden to the surrounding landscape.

A few of the gardens are located on properties with modern additions. A similar grandeur is achieved with landscaping suited to that aesthetic. In these cases, the property owners have sought to complement as well as soften the style and scale of the architecture. For a geometric house in Clinton Corners, plantings reinforce the garden’s rectilinear quality while muting its overall effect. Eunymous blankets the terraced garden and masses of bamboo help to partition space and create privacy. A maze-garden houses a sculpture collection within arborvitae hedging that humanizes the space and softens the surrounding metal walls. Beyond the cultivated area, a 360-degree view captures the expanse of wilderness, delineated from the property by only a boundary of stone walls.


Garden features express the unique sensibilities of their creators. Transitional spaces between the cultivated grounds and the larger landscape are important elements. Many of the properties employ methods to de-emphasize this transition, utilizing a ha-ha or a discreet fencing element to create the separation. One property in Amenia, however, accentuates the change with an engaging progression of enclosed spaces defined by stone walls and hedges that distinguish between the formal garden and the wilderness beyond.

In one exceptional property in Millerton, the owner constructed a rock garden made from 60 tons of stone from a bluestone quarry near Albany. The garden is planted with thyme, euphorbia, sedums, and various other plants using a Japanese technique of repeating the same arrangement of colors and plants varied across different scales.

Also, nearly all of the properties include a productive aspect, such as an orchard or kitchen garden. A 200 acre property in Rhinebeck houses a remarkable version. The property owner, Amy Goldman, is an advocate of heirloom fruits and vegetables. She has devoted one acre to an enclosed productive garden that serves as a laboratory for her research on different varieties. She hand-pollinates squashes and grows 20 different kinds of watermelon. At the time of publication, she had plans to cultivate 250 varieties of peppers from both the old and new world for research on a book.

Each garden in Garmey’s selection displays a unique appeal. The unifying principle among them is that they have been joyfully created, which is apparent in their perceived effortless. An important detail to note, however, is that despite the ease of their appearance, achieving their stature is no small feat. As Garmey notes, “In England, the English have gardens. Americans, as I have now learned, make theirs.”

While the English countryside enjoys mild weather and a gentle grade, the Hudson valley at times presents an intractable canvas. The 360-view for the house in Clinton Corners necessitated the clearing of 200 acres of steeply wooded land. Likewise, on a property in Craryville, the owner spent several years clearing the dense woods above a rock ledge measuring 180 by 45 feet. Today, it’s a primary feature of the garden showcasing lichen, moss, sedums, and birch trees.

Regardless of their intensiveness, the gardens are clearly worth the effort for those who create them. As the book demonstrates, these places are personal expressions, some decades in the making, of passionate interest and individual taste. In Private Gardens of the Hudson Valley, Garmey’s selection captures these unique expressions against a remarkable backdrop.

Explore the book.

This guest post is by Shannon Leahy, former ASLA summer intern and recent Master’s of Landscape Architecture graduate, University of Pennsylvania.

Image credits: Monacelli Press

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The Cooper-Hewitt National Design Museum is well-known for its national design awards. Just this year, Margie Ruddick, ASLA, took home the prize for landscape architecture. But the museum also awards a People’s Design Award. This year, a pool of 20 finalists selected by the museum emphasizes “how innovative design can make a difference in our everyday lives.” The general public is asked to vote for their top pick by October 11.

Clearly our favorite to win is by Los Angeles-based landscape planner, Mia Lehrer, FASLA, who designed the Natural Gardens at the Natural History Museum of Los Angeles County, an ecological laboratory. This space was created so that visitors could interact with local wildlife. “Butterflies, hummingbirds and other natural life make their home among the garden’s local plants, creating a window into the natural world.”

Lehrer told us that “the museum has a unique opportunity to take its mission to its front yard, where it can connect Angelinos to nature in the heart of the city and the museum’s collections and research.” She added, “it’s a place where scientists and educators from the Natural History Museum can also research and share the valuable knowledge they collect.”

She explained how the design is meant to enable visitors to meet species found in the city. “The fencing, seating, shade, drainage are expressed in such a way that visitors can understand the layers and value what creative design brings to urban nature.”

Reused urban materials are incorporated wherever possible. “Rebar is used to create a palm arbor and hummingbird feeder stands. Butterfly hedges are created from a framework of chain link fencing covered in flowering vines.”

Lehrer said the Nature Garden is important because it’s really a centerpiece in the museum’s broader educational efforts. “Garden exploration tours include bird walks and bug hunts. Scientists and educators set up a bee hotel, malaise trap, and critter cam video at the pond. Photos of butterflies, spiders, and zombie flies found throughout the region can then be uploaded to the museum Citizen Science program.”

Vote for Los Angeles’ Nature Garden by October 11.

Image credit: Mia Lehrer + Associates

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Over the past 15 years, the Young Architects’ Program, which is sponsored by the Museum of Modern Art (MoMA) and MoMA PS 1, has generated cutting-edge designs for parks, buildings, and public art. In four cities — New York City, Istanbul, Santiago, and Rome — winners of their design competitions have created some of the most fascinating landscape architecture and architecture around. In the past few years, winners have become even more ambitious, moving ideas from concept to reality. The scale has become more impressive, too, with a move from smaller temporary art installations to full-blown public parks.

Last years’ winner for the Santiago competition, The Garden of Forking Paths, by Beals & Lyon, a Santiago-based architecture firm, actually just got built. The 1,500-square-meter garden features a pair of bright-yellow pavilions nestled within a newly planted cornfield at the highest point of Santiago de Chile’s Parque Araucano. The park’s name is the same as one of Jorge Luis Borges’ short stories. In the Argentinian master’s story, a book called The Garden of Forking Paths is actually an “infinite labyrinth” in which people travel backwards and forward in time.

The labyrinth is made real in this garden. According to Icon magazine, the “architects borrowed a layout from the labyrinth at the garden of Versailles, recreating its spatial character by building timber paths above ground level but lost to the outside world within the specially planted field of maize.”

Alejandro Beals said: “We didn’t want to design a pavilion or folly, an isolated object to be looked at from the outside, but rather, an immersive environment.”

While the two pavilions, which are made of planks from recycled scaffolding, are both bright yellow, they have different vibes. One space offers a pool and deck chairs, with billowing curtains surround the space.

The other, an “aromatic orchard,” contains a flower garden under a “stretched fabric tunnel.” Other spaces include a music room and “banqueting room.”

Icon magazine tells us: “The entire strategy was to create a non-commercial, not fully defined environment in which people could get lost and perhaps have their attitude towards the spaces of the city refreshed. In this, the circuitousness of pathways, the ambiguity of the spaces, the isolation within the cornfield, combined with the intensified sounds and smells, all together were intended to heighten the sensory experience of the visitor, and as Beals puts it, to ‘promote a new rhythm that also allows you to perceive its surroundings in different and more intense ways’.” That effect will only increase once the maize grows in; it will be the same color as the pavilions.

See lots more images and explore previous winners of the Young Professionals Program.

Image credits: Beals & Lyon architects

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One of America’s most influential landscape architects, James van Sweden, FASLA, co-founder of Oehme van Sweden, died last week at age 78 from complications from Parkinson’s disease. Both a designer and prolific author, van Sweden is credited with changing the look and feel of the American landscape, introducing the “New American Garden” aesthetic, which included perennials and wild grasses. His influential gardens go beyond surface aesthetics though and had deeper impact. His free-flowing, grass-filled gardens led the way to today’s broader movement of more sustainable, ecologically-sound landscapes.

In a thoughtful obituary, Washington Post garden critic Adrian Higgins wrote that when Oehme and van Sweden first started their firm together back in 1975, they soon became internationally known for their “radically different approach to landscape design — replacing staid evergreen hedging, bedding annuals and groomed lawns with broad sweeps of long, flowering perennials and ornamental grasses. The vision was a rejection of passive vegetative architecture in favor of the bold massing of grasses and perennials that placed the observer in the midst of a living tapestry. The result was a garden that actively responded to light, wind and seasonal change.”

Many of van Sweden’s most famous work was created in the D.C. area, where Oehme van Sweden is based. Over the past few decades, he and his firm created memorable landscapes for the Federal Reserve, the National World War II Memorial, the Martin Luther King Memorial, the International Center embassy campus for the U.S. Department of State, and the Francis Scott Key Memorial Park, all in Washington D.C.

Beyond the high-profile public and institutional work, he did residential gardens at all scales — from the private urban garden to the rural estate. As Higgins notes, van Sweden advocated for transforming spaces, no matter how urban or small, into prairie and meadow. The object, van Sweden wrote, was “to lead the eye deeper into a scene which is not completely revealed.” Gardens of any size could create “natural exuberance.”

According to Oehme van Sweden, he won numerous awards over his career. “Honors include the Massachusetts Horticultural Society’s prestigious George Robert White Medal of Honor, awarded to him and Mr. Oehme in recognition of efforts to advance interest in horticulture; the Thomas Roland Gold Medal, the University of Michigan’s Distinguished Alumni Award; the American Horticultural Society’s Landscape Design Award; and The American Society of Landscape Architects’ Design Medal. In 2011, he shared the Longhouse Landscape Award with Mr. Oehme and Firm Partners Sheila Brady, Lisa Delplace and Eric Groft.”

van Sweden’s most recent books include The Artful Garden: Creative Inspiration for Landscape Design (2011), Architecture in the Garden (2003), and Gardening with Nature (1997).

Read Adrian Higgins’ obituary and check out The Cultural Landscape Foundation’s in-depth oral history with van Sweden.

Image credit: (1) James van Sweden, FASLA. Oehme van Sweden, (2-5) Federal Reserve, Washington, D.C. / copyright Roger Foley. Oehme van Sweden

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A new international ideas competition from the Hans Christian Andersen House of Fairy Tales in Odense, Denmark, hopes to create a new place that can “match the poetry” of famed children’s book author Hans Christian Andersen. The goal is to create a new a building and a garden that will welcome people into Andersen’s world. Odense City Museums and the Odense city government invite all types of design professionals, artists, and communicators to create a comprehensive concept that will take the current disjointed facilities and make a global attraction. The winning design will take home 100,000 euros.

One of Odense’s main attractions is the little yellow corner house where Hans Christian Andersen was born. But for the sponsors of the competition, that little house doesn’t match the stature of the man who wrote The Little Mermaid, The Ugly Duckling, The Princess and the Pea, and other children’s classics.

Torben Grøngaard Jeppesen, museum director, Odense City Museums, said: “The House of Fairy Tales should reflect the international renown of Andersen, and its architecture should be of the very best quality. The garden should be a unique urban space that serves as a place of inspiration, immersion, surprise and play and invites local residents and visitors to the House of Fairy Tales to come in to experience this. The aspiration is to create a strong whole that fits into the surroundings in an elegant and respectful way.”

The concept needs to place this new destination into the broader urban context. The competition site is located in Odense’s city center, which is apparently undergoing a total overhaul. A four-lane highway is being torn down, and old neighborhoods bisected in the 1960s will be re-sown together. “New green neighborhoods with housing, workplaces and commercial and cultural facilities will be created.”

Jørgen Clausen, chief executive, City of Odense, said: “The vision of a more coherent city center is a unique basis for development of a House of Fairy Tales and an adjacent garden. Both will be distinctive elements in the historic part of Odense.”

See a video of the location:

Once the idea has been settled upon through this competition, the sponsors will organize a subsequent design competition to create more detailed designs. That design competition will be “restricted,” most likely to the finalists from the ideas competition.

Submissions are due by November 29, 2013. Learn more.

Image credit: Hans Christian Andersen / Anne Grahame Johnstone

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