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Archive for the ‘Landscape Architecture’ Category

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WATERFRONToronto / Quadrangle Architects, aLLDesign, Janet Rosenburg & Studio

New City Design Can Help Reclaim a Lost Way of Life – China Daily, 3/18/15
“When landscape architect Sean O’Malley finds himself on a site for the first time, he looks for what stands out, what defines the place. This could often mean a mountain, a river, a system of wetlands. Whatever it is that defines the landscape’s character. Case in point: the Shunde New City Plan, located at the Pearl River Delta, and hour-and-a-half ferry ride from Hong Kong and the second-largest bird migration delta and estuary in Southeast Asia”

Give Hong Kong’s New Towns Character, Says Architecture Academic The South China Morning Post, 3/23/15
“A landscape architecture academic has demanded new towns are given ‘character’ to avoid replicating developments from the 1970s. Assistant professor Vincci Mak Wing-sze, of the University of Hong Kong, unveiled alternative designs for the new towns after she asked her final year undergraduate students to come up with more creative ideas.”

5 Proposals Reimagine Toronto Ferry Terminal and Waterfront ParkArch Daily, 3/24/15
“Waterfront Toronto has unveiled five proposals for the Jack Layton Ferry Terminal and Harbor Square Park design competition. The finalists were tasked with transforming Toronto’s waterfront by revitalizing the existing ferry terminal and park through an extensive gradually-implemented master plan”

How Good Old American Marketing Saved the National Parks – National Geographic, 3/24/15
“When President Ulysses S. Grant signed the bill creating Yellowstone in 1872, he established the first national park anywhere in the world. But 40 years later, the parks that exemplified ‘America’s best idea’ were a mess.”

Landscape Architect Kate Orff Takes the Helm Of Columbia’s Urban Design Program – Fast Co. Design, 3/31/15
“Landscape architect Kate Orff, ASLA, has been selected as the next director of Columbia University’s urban design program, within the school’s Graduate School of Architecture, Planning, and Preservation.”

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Each year at the ASLA Annual Meeting, some of the world’s top landscape architects and designers explain themselves in front of an audience of hundreds. These designers give in-depth presentations, explaining the logic behind their designs and their latest projects. Now, ASLA has made these presentations available online for free. From the ASLA 2014 Annual Meeting in Denver, you can watch more than 6 hours of videos by:

Balmori Associates (see above)

This New York-based practice is recognized internationally for designing sustainable master plans, waterfront parks, public spaces, and gardens. The firm’s approach is rooted in the exploration of the boundaries between nature and structure through landscape. BAL / LAB, the incubator office, focuses on green roofs, floating islands, temporary landscapes, forms of representation, and zero-waste cities.

Watch Diana Balmori, FASLA, Javier Campana, Noemie Lafaurie-Debany, and Theodore Hoerr, ASLA, Balmori Associates; moderated by Mario Nievera, ASLA, Nievera Williams Design.

Biohabitats

Landscape architects hold more power than ever to foster biodiversity and resilience and tell a compelling story of the landscape and our place in it. By embracing scientific principles and allowing them to inform our work, Biohabitats aims to create robust, dynamic landscapes that go beyond improving quality of life.

Watch Keith Bowers, FASLA, Claudia Browne, Jennifer Dowdell, ASLA, and Chris Streb, Biohabitats; moderated by Susan Jacobson, FASLA, Morton Arboretum.

Confluence

Since their founding in 1998, Confluence has become one of the largest landscape architecture and planning firms in the Midwest. Principals gave an overview of the firm, its leadership approach, and their strategies behind design-service delivery and client-type diversification. They discuss “Midwest Nice” and the associated challenges.

Watch Brian Clark, ASLA, Lyle Pudwill, ASLA, and Jill Boetger, ASLA, Confluence; moderated by Patrick Coughey, FASLA, Wimmer Yamada and Caughey.

!melk

!melk is a dynamic, internationally-recognized landscape architecture and urban design firm specializing in the creation of highly experiential public spaces as well as large-scale urban interventions. Founder Jerry van Eyck, ASLA, addresses his firm’s growing reputation for a refined focus on context, identity, strong narrative, pragmatism, and detail.

Watch Jerry van Eyck, ASLA, Emily Bauer, Assoc. ASLA, and Ian Hampson, ASLA, !melk; moderated by Mia Lehrer, FASLA, Mia Lehrer + Associates.

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Catherine Park, St. Petersburg, Russia / Asergeev

The International Federation of Landscape Architects (IFLA) and the Association of Landscape Architects of Russia (ALAROS) has launched a design competition that seeks to identify “superior environmental designs” by landscape architecture students worldwide. The competition is open to individuals or teams of students in undergraduate and graduate programs.

According to the organizers, “students are invited to present their ideas for the application of innovative, sustainable solutions in contemporary landscape issues. The competition encourages students to explore both urban and rural green-blue infrastructure and suggest scenarios for the sustainable development of human habitats.” Students can select any site in the world, at any scale.

The top-three winners, which will be announced at the IFLA World Congress in St. Petersburg, Russia, June 10-12, will take home $7,000 in prizes. Winning boards will also be exhibited at the conference.

Submissions are due May 8. Entry fees range from $10 to $50, depending on the country of the educational institution. The fees are calculated based on purchasing power indexes to ensure students are charged an “equitable amount.”

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Wet Matter / Harvard Graduate School of Design

Wet Matter, Harvard Design Magazine’s latest issue, asks us to reconsider our oceans, which cover the vast majority of our planet. Edited by Pierre Bélanger, ASLA, associate professor of landscape architecture at Harvard University Graduate School of Design, the issue brings together a range of fields and an array of lenses to “unlearn our binary, dichotomous relationship with the ocean,” as the magazine’s editor-in-chief Jennifer Sigler writes in the opening remarks. How?, she asks. With an eye to the oceanic, not defined as “not land” — but a matter to be investigated on its own terms. Below are brief summaries of some of the articles in this rich compendium:

In The Other 71 Percent, Bélanger stares what he considers “the glaring blind spot in the Western imagination” straight in the eye. He urges the reader to take the oceanic turn: recalibrating our attention away from the space race and back to the earth’s oceans to better understand how we are shaping and shaped by this “vast logistical landscape.” By recognizing the oceans, the other 71 percent of the planet, as a key dimension of climate change, Bélanger challenges “the dry, closed, terrestrial frameworks that shape today’s industrial, corporate, and economic patterns” to imagine an alternate and more fluid future.

CUNY professor Catherine Seagitt Nordenson reads the ocean by its flora. She begins her piece, The Bottom of the Bay, Or How to Know the Seaweeds, by claiming “to know the seaweeds is to know the ocean.” Protista, these “brackish-water dwellers,” display no roots, stems, or leaves, present an illuminating, telescopic view of an otherwise elusive, dark territory– the benthic zone. Collecting seaweed for study is a “local enterprise,” requiring “actual immersion into the waters of the littoral ocean.” From the literal bottom up, Nordenson’s article suggests that “benthic thinking rescales the oceanic, reinserting the body.”

In Destination Whatever: Touring the Cruise Industry of the Caribbean, Martin Delgado, Zuanna Koltowska, Félix Madrazo, and Sofia Saavedra with Supersudaca warn us that indulging our delusional expectations of a perfectly familiar yet still “exotic” vacation destination in the very bowels and on the decks of a cruise ship may lead to a “terrorism of tourism.” The cruise industry has transformed piers, “once perceived as extensions of land” into extensions of the ship, a new “fictional territory” that tethers the cruise ship to the port town by only a provisional string. As the “distance between travelers and islanders grows at an alarming rate,” they forewarn us of a grim future in which “floating fantasies” may become “economic albatrosses, en route to somewhere other than paradise.”

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Costa Maya, Quintana Roo, Mexico, 2013 / Supersudaca: Martin Delgado, Zuzanna Koltowska, Félix Madrazo & Sofia Saavedra

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Day at sea on the Carnival Valor, 2007 / Supersudaca: Martin Delgado, Zuzanna Koltowska, Félix Madrazo & Sofia Saavedra

Architect Hilary Sample and engineer Bryon Stigge trace both ancient and new approaches for inhabiting coastal regions. Building Soft suggests that by capitalizing on the ebbs and flows rather than resisting environmental dynamics, “these ‘soft’ construction techniques are constantly operating and responding to alternating calendars of climatic and oceanic forces.” Jacking, leaking, weakening, slipping, and swapping make up the “collective lexicon of spatial interventions” emphasizing “slow systems, soft structures, and weak infrastructures.” This photo essay depicts stilts, flotation structures, permeable exteriors, relocation, flexible materials, and wet proofing to reform both architectural and cultural attitudes of “building strong.”

German sociologist Ulrich Beck, who just died in January, makes a compelling argument in How Climate Change Might Save the World: Metamorphosis. He turns the question of whether climate change has “the potential to alter the political order of the world” around by claiming that “climate has already altered our ‘being’ in the world–the way we think about the world and engage in politics.” Through seven theses, Beck explains why we should focus on “what is now emerging–future structures, norms, and new beginnings” rather than be tempted by “a supermarkets of apocalyptic scenarios,” falling back on an old “nation-state perspective” that separates the decision makers from those most affected. Beck urges us to break out of this imperialistic structure and to instead adopt a “cosmopolitan perspective,” which recognizes “the world city” as “becoming the main cosmopolitan actor” in addressing global issues.

University of Pennsylvania landscape architecture professor Anuradha Mathur, ASLA, and her design partner Dilip da Cunha call into question the line between land and sea. Through both historical references and a contemporary case study, Sundarbans: A Space of Imagination addresses the “chasm between the incommensurable natures of earth and ocean.” Tracing the term “ocean” back the ancients, Mathur and da Cunha discover Oceanus, “the watery element that escapes the disciplines of geometry.” A lyrical description of the source of all rivers and seas is replaced by a map, an arrangement of points and lines. Using the Sundarbans at the mouth of the Ganges as an example, with its “field-like condition being far too complex to mark and hold with points and lines of geometry,” the authors create a new design approach that considers “a temporal and material appreciation of ocean,” including all the “states and cycles of hydrology.”

In Interplay, Yale University architecture professor Keller Easterling, author of the ingenious book Extrastatecraft: The Power of Infrastructure Space, proposes a radically new approach to coastal planning. Calling on urban planners, landscape architects, and environmentalists to use site analysis as a way of rating properties for their more qualitative indicators, Easterling imagines an index to supplement the “bureaucratic layers of jargon” of banks, insurance companies, and real estate firms in which the “many of the physical, volumetric, and climatic attributes of a property are ironically called ‘intangibles.’” Recovering from hurricanes may necessitate a more innovative approach, “a parallel market of spatial variables could offer more tangible risks and rewards.”

Ballast Water follows “alien, invasive stowaways” into the hidden compartments of cargo ships. Author Rose George explains the practice of filling compartments around the hull of ships mostly empty of cargo as a necessary defense. To stay afloat, cargo ship’s bowels are filled like a Trojan horse, carrying along seawater, species, and bacteria (“7,000 alien invasive species are also imported every hour”), disrupting local habitat, and occasionally causing pathogenic effects or infectious disease. Adequate testing standards and ballast water management systems lag behind the “mobility and fluidity” of the sea’s organisms.

For University of Florida architecture professor Charlie Hailey, “‘Inland’ is a multivalent term.” In Camps, Corridors, and Clouds: Inland Ways to the Ocean, he addresses how Internet access can pave a “way to the ocean” for Somali refugees at Dadaab, an “archipelago of five camps, constituting the world’s largest refugee settlement.” For a place defined by as “geographically landlocked, politically adrift, and economically blockaded,” a new network cloud and telecommunications corridor enables new digital interactivity, “allowing it to become not just a surrogate state but an inland camp with its own inherent possibilities for livelihood.”

Rebecca Gomperts, founder of Women on Waves and Women on Web, shows how to use international waters and the Internet to provide safe abortions to women around the world in Bodies, Boats, and Borders. “The idea of the ship was the basis of the organization.” Furthermore, “the ocean is a space of solidarity,” enabling the organization to exploit international law in their efforts to provide “life-saving treatment” to women in countries where abortion is illegal.

In Oan Bubbles: Fact or Fiction?, <smythsmuths 22012143> surprises the reader as a small booklet inserted into the center of the magazine. An excerpt from Sundogz by Mark von Schlegell, forthcoming from Semiotext(e) 2015, this piece of science fiction tells of a future astro-marine world, “an artificial anti-bubble of Earthside Ocean,” “a hydro-ecology” realized by an international panel of scientists, “spacer amateurs,” and fishing unions.

With the assistance of Jean and John Comaroff, both anthropology professors at Harvard University, Bélanger identifies man-made tidal swimming pools along the shores of the KwaZulu-Natal coast in South Africa as democratic structures in a place otherwise governed by the 1947 Law of Apartheid. Between the Tides of Apartheid recognizes the intertidal pools as “marginal spaces constantly in flux…attracting a cultural diversity rarely seen in South African cities or the interior hinterlands.” Bélanger explains how through informality and low-tech infrastructure, “beaches and pools edified a non-state, or extra-state, manifest as spaces of political others.”

Wet Matter concludes with Flotsam: A Visualization of Swimmers, Sinkers, and Spills in the Urban Ocean, a contribution from Colombian architect Luis Callejas with Martin Pavlinic, a designer at MASS Studio. Each of the 35 silhouetted items in the I Spy-arrangement corresponds to an index of oceanic items, characters, terms, and stories. From Mobro 4000, a notorious waste-loaded barge, to Laura Dekker, the youngest sailor to circumnavigate the world on her own, the index juxtaposes the unlikely bedfellows of an urban ocean.

Purchase a copy of Wet Matter. 

This guest post is by Lara Mehling, Student ASLA, Master’s of Landscape Architecture candidate, Harvard University Graduate School of Design

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A runner crosses the Rosemont Bridge as the sun rises over downtown in Buffalo Bayou Park in Houston / The Dallas Morning News

Buffalo Bayou Park in Houston / The Dallas Morning News

What Dallas Can Learn From Houston’s Buffalo Bayou for the Trinity River ProjectThe Dallas Morning News, 3/1/15
“How do you transform the flood plain of a neglected urban waterway into a grand public park and metropolitan gateway? Dallas has been struggling with this challenge for more than 20 years, making incremental progress on the Trinity River corridor while debating whether to burden it with a toll road. Houston has spent that same time successfully remaking a 10-mile stretch of the Buffalo Bayou into precisely the kind of urban amenity Dallasites have long imagined for themselves.”

Stunningly Beautiful Private Gardens of Paris  – Fox News, 3/5/15
“Paris has many famous, beautiful public gardens and even more exquisite private ones tucked behind the walls of its private houses and on the terraces and rooftops of its apartment buildings. A selection of these come beautifully to light in In & Out of Paris: Gardens of Secret Delights, a new book written by Zahid Sardar and photographed by Marion Brenner.”

A Plan to Turn Melbourne’s Elizabeth Street into a Rainforest Canal WA Today, 3/7/15
“The man who turned Melbourne’s neglected and decrepit laneways into a globally renowned attraction has another radical idea to improve the city. His proposal: rip up Elizabeth Street, currently a pretty tired and uninspiring CBD thoroughfare, and incorporate and revitalize the hidden waterway under it that runs down to the Yarra River.”

Google Plan for Mountain View Campus Shuns Walls, Roofs, Reality The San Francisco Chronicle, 3/7/15
“Google’s proposal comes with a laudable list of proposed community and environmental benefits. The design team is earnest, with a strong contingent of local firms who know the terrain, such as landscape architect CMG and Sherwood Design Engineers.”

What the New Memorial Park Could Look Like The Houston Business Journal, 3/11/15
“The master plan for Memorial Park is complete, and, if approved, Houston’s largest park will get a major makeover. The project would potentially cost $200 million over the next two decades, Sarah Newbery, project manager for the Uptown Tax Increment Reinvestment Zone, told the Houston Business Journal.”

Q&A with Landscape Architect Martha SchwartzNewsweek, 3/11/15
“The profession has grown immensely. It is the fastest-growing design profession in the U.S. Many schools of landscape architecture have opened. The field is booming.”

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A drone’s view of Raleigh, North Carolina / Jordan Petersen

“The conscious remolding of the large-scale physical environmental imageability is a new one. We can now make completely new landscapes in a brief time…Designers are already at grips with the question of how to form the total scene so that it is easy for the human observer to identify its parts and to structure the whole.” – Kevin Lynch, Image of the City, 1959.

The Federal Aviation Administration (FAA) recently released long-awaited guidelines for commercial Unmanned Aerial Vehicle (UAV) or drones. Despite many skeptics’ earlier expectations of stringent laws that would essentially ground the drone industry in the United States, these proposed regulations, which include height restrictions and licensing requirements, are pragmatic and will undoubtedly lead to growth and innovation. The announcement has unleashed a wave of predictions about the future of the technology, which has already proven valuable in agriculture, environmental conservation, retail, 3-D surveying, search-and-rescue, and law enforcement. It’s clear drones will soon become ubiquitous. As critical as drones will become to contemporary life, there has been little discussion about their potential to impact on landscape architecture and urban planning.

These small but complex machines will increasingly become a vital part of the landscape architect and planner’s toolkit; they will re-shape the “imageability” of our cities, enabling a higher level of legibility in visual communication. Much of this will be accomplished by the most familiar tool carried by civilian drones: the camera. Aerial imagery is, of course, nothing new. Innovative minds invented camera-equipped kites and balloons as far back as the late 1800s. Manned aircraft have used strategic aerial photography since the first World War, and satellites have been capturing views of Earth and beyond since the 1940s. However, the recent introduction of widespread UAV technology is important to landscape architects because it provides increased accessibility and versatility. While the technology was nearly unattainable a few years ago, anyone can now purchase a ready-to-fly, GPS-stabilized, camera-equipped drone for the price of a cheap TV, effectively leveling the playing field in aerial imagery. Furthermore, the dexterity of the aircraft allows for a nearly infinite number of angles, scales, and elevations, all in real time, often capturing video or still-imagery that has been previously elusive.

Tinkerers, DIYers, and hobbyists have already obtained stunning footage that displays the engaging power of the technology. Drones can be seen cruising above the tree canopy of Manhattan’s streets, surveying the urban tundra of snowy Chicago, and even unearthing the beauty of Chernobyl’s decay. The first New York City Drone Film Festival, sponsored by NBC, displayed a range of spectacular entries to a mass audience. The United Arab Emirates (UAE)-based Drones for Good competition recently featured many innovative uses for drones that may soon benefit the environmental and urban planning sectors.

UAV technology enables landscape architects and planners to examine the existing social and environmental conditions of sites. We can document accurate circulation through transit corridors and shifting urban and demographic patterns, as well as topographical and hydrologic changes and environmental degradation.

Perhaps the most powerful use of the technology will be as a tool for both city and community governments and design and planning firms to aid in the public participation process. Used in conjunction with more traditional forms of media for community engagement, UAV imagery can help bridge the gap between two-dimensional, temporally-devoid satellite imagery and the more prosaic ground-based conventional camera.

A simple 5-minute fly-over video of an urban neighborhood at multiple elevations (displayed through an analog or digital forum), may reveal both empirical and experiential observations – the diversity of housing types, the voids of underutilized open space, the buzz of traffic patterns, the flow of natural systems, the nodes of community activity, or the light cast over the neighborhood at sunset.

Conceptual overlays of proposed conditions or site analysis can then be integrated into the three-dimensional aerial video, adding a new level of spatial and temporal dynamics to the design process. Drones equipped with LiDAR (Light Detection and Ranging) scanners are producing three-dimensional representations of natural and built environments with amazing accuracy, while software such as Autodesk’s 123D Catch allows drone imagery to be stitched together to create a photo-realistic 3D model.

These techniques will make complex problems more understandable to the public and thus evoke more comprehensive feedback. This will, as Kevin Lynch stated more than a half-century ago, help “form the total scene, so that it’s easy for the human observer to identify its parts and structure the whole.”

Landscape architects and urban planners should applaud the new FAA regulations. They are a milestone in encouraging the innovation of a tool that will lead to a more democratic era of public participation in landscape and urban design.

This guest post is by Jordan M. Petersen, ASLA, designer, ColeJenest & Stone, and founder and CEO, Lift Aerial Marketing, LLC.

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Chrysanthemums grow at the base of Mount Hariya, a former landfill / Latz+Partners

Chrysanthemums grow at the base of Mount Hariya, a former landfill / Latz+Partners

The “Mountain of Crap,” the nickname for Hiriya landfill, and Freshkills share more than just evocative names. They are also two of the most outstanding examples of landscape transformation, in this case, urban landfills that have become parks – Ariel Sharon Park, outside of Tel Aviv, Israel and Freshkills Park, in Staten Island, New York.

Both were the wastelands of their respective cities. They began receiving garbage over 60 years ago, and closed at nearly the same time – Hiriya in 1999 and Freshkills in 2001. When complete, Ariel Sharon Park – like Freshkills – will be roughly three times the size of Central Park. The two parks signed a “twin parks” agreement last year to share information and plan cooperatively. Leaders from both parks will also present at April’s Greater & Greener Urban Parks Conference in San Francisco.

While much is known about Freshkills, less is known about the history of Ariel Sharon Park, at least in the U.S. Hiriya landfill is some 200-feet-high given because it sits on 25 million tons of waste. The landfill is located directly under the flight paths to Tel Aviv’s Ben-Gurion Airport. As massive flocks of birds swarming Hiriya caused a few too many close-misses and toxic runoff leached into streams adjacent to the landfill, public outcry to close the landfill grew.

By its final year of operation in 1998, Hiriya was receiving 3,000 tons of household waste per day. In 1999, it became a transfer station, and rehabilitation plans began in 2001. But even as park development move forward, the site continues waste operations. Municipal and agricultural waste is sorted and transferred at a large recycling center that captures methane from organic waste in anaerobic biogas digesters. The facility captures enough methane to power the entire recycling facility and sell back excess electricity to the Tel Aviv grid.

Anaerobic Biogas Digesters / Chris Tackett

Anaerobic Biogas Digesters / Chris Tackett

As much as 80 percent of incoming waste is reportedly recycled or reused by the Arrow Bio management company.

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Waste transfer & recycling station / Yoshi Silverstein

An environmental education center near the recycling facilities features landfill-derived art from sponsored competitions alongside other interpretive resources.

Landfill art in the environmental education center / Yoshi Silverstein

Landfill art in the environmental education center / Yoshi Silverstein

As a first step, landscape architect Peter Latz, who is famous for Landscape Park Duisborg-Nord in Germany, designed an innovative “bio-plastic” layer covered with gravel and a meter of soil to protect wildflowers and vegetation from the underlying methane and other contaminants. Rainwater collection pools between the bio-plastic and soil layers will provide a source for the irrigation system for trees.

"Mount" Hariya Landfill / Latz+Partners

“Mount” Hariya Landfill / Latz+Partners

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Water collection pool during construction / Yoshi Silverstein

Because it lies in the Ben-Gurion flyway and is in the center of the road connecting Tel Aviv to Jerusalem and the road connecting Tel Aviv to Haifa, the area is ill-suited for housing, even without the landfill. So in addition to the mountain capping the landfill itself, surrounding agricultural fields and waterways are being developed as wildlife habitat with man-made ponds, which will be accessible via bike and walking trails.

Pergola with views of Tel Aviv / Jessica Steinberg-Times of Israel

Pergola with views of Tel Aviv / Jessica Steinberg-Times of Israel

The paths winding through orchards, agricultural terraces, and native plantings will be laid on beds of recycled material. A lake and re-directed water systems will help alleviate flooding issues for South Tel Aviv and Holon, and a promenade and 50,000-seat amphitheater will draw people. Laura Starr, ASLA, Starr Whitehouse Landscape Architects, led the initial international planning and design charette to create a vision for the park.

See a brief video outlining this vision:

Hiriya took its name from the former Arab village, al-Hariya, whose residents were evacuated prior to the 1948 Arab-Israeli War. While its counterpart, Jaffa Landfill Park, designed by Braudo-Maoz Landscape Architecture of Tel Aviv, Israel, used the removal of a landfill and reconstruction of a seashore to ameliorate a painful past and serve as a springboard for social discourse, it’s unclear whether designs for the park include any official acknowledgement of Hiriya’s pre-landfill history.

What cannot be hidden is Hiriya’s mountain of crap. If all goes as planned, though, it will serve as a beacon for environmental restoration.

Yoshi Silverstein, Associate ASLA, is founder of Mitsui Design.

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Zorlu Center playground / © IJreka

Since its founding nearly 20 years ago, Carve Landscape Architecture in the Netherlands has become one of the most interesting landscape architecture firms creating adventure-filled playgrounds. Their projects are immediately recognizable, with their use of bold colors, architectural forms, and incorporation of challenging obstacles, including steep-looking climbing objects and chutes and slides. Their embrace of strong forms and color and adventurous play makes the typical American playground, which has been made so safe out of the fear of lawsuits, look rather bland and tame in comparison. Their playgrounds are like parkour courses for kids, of all ages. Increasingly international, they’ve moved beyond the Netherlands to create exciting new projects in Turkey and Singapore.

In Istanbul, Turkey, Carve partnered with mutlti-disciplinary design firm WATG last year to create Zorlu Center playground, the largest in Istanbul. The result is a play space like no other, with a purple palette running throughout.

Carve and WATG created zones for different age groups, orchestrating a progression moving from simpler (and safer) zones for younger children to more challenging ones for older children. These zones are inspired by natural landforms, as Carve describes creating “hills, valleys, and mountains.” Using the best biophilic design principles, within the zones, there are both refuges, places where kids can hide out, and also prospects, like a net-filled climbing tower. And to the side of this adventure wonderland is a terrace where parents can socialize while also keeping an eye out.

The entry zone is for the youngest children. At Landezine, Carve explains: “The entrance area has gentle hills to climb on, slide down, and explore. On these hills, play-shapes host numerous elements for the smaller children, like trampolines, spinners, climbing nets, hammocks, and a slide.”

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Zorlu Center playground / © IJreka

At the next stage, the hills become a valley. “Here, a hidden world can be explored: a bridge, giant netting structure, and a family slide, ready to be used by a whole bunch of children at the same time. The site is embraced by a natural landform, keeping children safe in the play area.”

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Zorlu Center playground / © IJreka

And then the valleys become mountains. Rows of walls become opportunities for climbing, running, and sliding. “Together these walls act like a giant coulisse, which changes shape depending from one’s angle. It is an adventure to play here: a labyrinthian system of tunnels, sliding walls, ‘birds nests’ and lookout points and narrow alleys. Once you’re inside the mountain, there are numerous ways to get up to the highest point. The giant slide from the valley-landscape crawls up the hill, connecting both parts of the playground. In a roller-coaster slide of seconds, you’re in the heart of the playground again!”

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Zorlu Center playground / © IJreka

At its height are two towers. The three-story tower, which is only accessible via the mountain range, includes a slide that takes kids back to the center of the playground. And the top of the second, a four-story tower, can only be reached via climbing nets within. What kid wouldn’t want to play here?

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Zorlu Center playground / © IJreka

In Singapore last year, Carve created Interlace, a smaller bright-blue playground, modeled after the OMA-designed apartment blocks where most of the kids in the neighborhood live. “While most playgrounds are a contrast to their surroundings – in color, shape, and activity – the new Interlace playground is the mini-version of the surrounding residences.”

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Interlace / Tucky’s Photography

Within the blocks, there are kid-sized spaces that house a maze. “The ‘closed’ facade gives children the thrill of being invisible, while the perforations actually ensure looking both inside and outside. Also, the perforated facades allow for shading and a continuous wind breeze, creating a cool climate inside the boxes, while stretching the borders of the conception of inside-outside.”

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Interlace / Tucky’s Photography

And it’s worth highlighting Osdorp Oever, a playground Carve built in Amsterdam in 2013 that features a bright Dutch orange “climbing parkour” set between trees, with four “cocoons,” crossing points in the pathway.

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Osdorp Oever / Carve

At 15-feet off the ground, these pods are both “lounge hangout and lookout point.”

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Osdorp Oever / Carve

Check out Carve’s other projects.

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A’Beckett Square / © John Gollings

Typically, pop-up parks tend to be fairly small — just a thousand square feet, if that — but a few noteworthy ones show temporary places can be super-sized, too. In Melbourne, Australia, RMIT University turned a 30,000-square-foot parking lot into a vibrant community space for a game of pick-up basketball or just hanging out. Designed by Peter Elliott Architecture + Urban Design, A’Beckett Urban Square shows the amazing potential of really any empty urban parking lot. At a cost of $1.2 million Australian dollars ($970,000 U.S.), the park is not cheap, but still less than a more fully-realized, permanent park.

The designers told Landezine RMIT students and local residents can now take advantage of a multi-use sports court set up for basketball and volleyball and surrounded by spectator seating.

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A’Beckett Square / © John Gollings

Around the perimeter, there are ping-pong tables, BBQs, and bike parking. Colors help differentiate the sports zone from the areas designed for hanging out.  Throughout, WiFi is available, another draw.

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A’Beckett Square / © John Gollings

To keep the costs down, there aren’t any trees — but the design team bring a sense of green in other ways. One part of the pop-up park has astroturf dotted with planters filled with small trees and bushes.

And along two walls, the university commissioned a work by Melbourne artist Ash Keating meant to evoke an “urban forest and desert landscape.” Two panels of green paint represent the forest, while another red and orange panel, the desert. To not contaminate the environment, Keating used airless spray from “pressurized, paint-filled fire extinguishers.”

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A’Beckett Square / © John Gollings

Peter Elliot Architecture + Urban Design wrote: “Typically ‘pop-ups’ occupy leftover and underutilised spaces through the use of recycled materials and the clever adaption of everyday found objects. They are often gritty spaces that are curated rather than designed. A’Beckett Urban Square was conceived as a piece of urban theatre carved out of the surrounding city. The design approach was purposefully lean, developing upon the idea of a temporary and demountable installation.”

Pop-up parks are also getting bigger in the U.S. though, too. In Washington, D.C., the no-frills but still appealing Half Street Fairgrounds, which is modeled after the Dekalb Market in Brooklyn, New York, and started as a spill-over space for Washington Nationals games, is now home to Truckeroo, a food truck festival and musical events. This space, which also started out as a parking lot, is really just a place to hang out though, without the full range of features that A’Beckett Urban Square has.

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Half Street Fairgrounds / Move for Hunger

And in Philadelphia, there’s the Spruce Street Harbor Park, which is an estimated 7,000 square feet.

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Spruce Street Harbor Market / Jump Philly

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Spruce Street Harbor Park / Gallery Hip

An urban beach with hammocks, it really takes advantage of its Delaware River setting. It’s also home to food trucks galore.

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The Greenway would help make the Brooklyn waterfront more resilient - We Design / The Architect's Newspaper

The Greenway would help make the Brooklyn waterfront more resilient – We Design / The Architect’s Newspaper

Rethinking the WaterfrontThe Architect’s Newspaper, 2/17/15
“Earlier this month Brooklyn Borough president Eric Adams announced the release of Stormwater Infrastructure Design Guidelines, which have the potential to generate exemplary landscape design and benefit all of New York City. The Design Guidelines propose to integrate green infrastructure techniques with a 14-mile continuous corridor for bicycles and pedestrians along the Brooklyn waterfront.”

Plan for Obama Library in Chicago Must Respect Frederick Law Olmsted ParksThe Chicago Tribune, 2/21/15
“Maybe it’s time to erect temporary, ‘proceed with caution’ signs at the entrances to Chicago’s Jackson and Washington parks. The signs would be directed not at drivers, but at President Barack and Michelle Obama, Mayor Rahm Emanuel and the Barack Obama Foundation.”

Survey Open to Help Residents Choose St. Pete Pier DesignThe St. Petersburg Tribune, 2/23/15
“For the next two weeks, city residents may join in a survey to rank the seven remaining proposals to redesign the Pier and the iconic inverted pyramid that has anchored its far end since 1973. The Pier Selection Committee will use the survey rankings and send the top three design choices to Mayor Rick Kriseman and the City Council for final selection.”

Tour Philly’s Future Reading Viaduct with the Designers Behind the Visionary Linear ParkThe Architect’s Newspaper, 2/23/15
“We begin with a tour of Philadelphia’s Reading Viaduct, an abandoned rail line that advocates hope to transform into an elevated park, a grittier take on Manhattan’s celebrated High Line. With the city and state pledging millions toward the project, the Viaduct park is moving closer to reality.”

Canadian “Freezeway” Could Let Residents Skate to WorkBBC, 2/23/15
“With an average temperature of -12C (9.5F) in the heart of winter, and home to seven city-owned outdoor skating rinks, Edmonton, Alberta is no stranger to the cold. Unlike other cities in the US and Canada that have banned activities such as tobogganing because of insurance costs, Edmonton has no such laws.”

“Lost Gardens” of New England Unearths Forgotten GemsThe CT Post, 2/25/15
“New England’s great gardens always have been linked to the value of the land from which they spring. Many have been subdivided for building and housing developments or paved over for parking lots. The region’s rich garden-design history is the subject of ‘Lost Gardens of New England,’ a traveling exhibition from the nonprofit Historic New England preservation organization.”

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