The Cultural Landscape Foundation (TCLF) announced Julie Bargmann has won the inaugural Cornelia Hahn Oberlander International Landscape Architecture Prize for her innovative work that regenerates neglected, often polluted, communities. The biennial award of $100,000 will include two years of public engagement focused on Bargmann’s work and the state of contemporary landscape architecture. The prize is named after German-born Canadian landscape architect Cornelia Hahn Oberlander, FASLA, who passed away from complications from Covid-19 earlier this year at age 99. TCLF states that the prize is bestowed on a recipient who is “exceptionally talented, creative, courageous, and visionary” and has “a significant body of built work that exemplifies the art of landscape architecture.”
The Oberlander Prize jury said Bargmann, professor of landscape architecture at the University of Virginia and founder of D.I.R.T. (Dump It Right There) Studio, has been “a provocateur, a critical practitioner, and a public intellectual. She embodies the kind of activism required of landscape architects in an era of severe environmental challenges and persistent social inequities.” She is known for her work regenerating “contaminated, neglected, and forgotten urban and post-industrial sites.”
In her own words: “unearthing the raw ingredients of design from waste and wastelands defines my life’s work.” And this passion has driven her to “seek a larger canvas, namely, post-industrial cities and regions. There exists massive potential and sublime beauty in places that may seem, at first blush, to be trashed. Sites, neighborhoods, entire cities—they are full of energy waiting to be recognized, released, and given new form.”
TCLF states that Bargmann’s aesthetic approach is “strongly influenced by the work and writings of Robert Smithson, the American artist known for his land art installations including Spiral Jetty, and the American artist Eva Hesse. Bargmann describes her approach as ‘rigorous intuition or intuitive rigor.'”
Bargmann and D.I.R.T. are known for leading conceptual landscape designs that guide multi-disciplinary collaborations with architects, historians, engineers, hydro-geologists, artists, and the communities with which she engages.
A few of Bargmann’s key projects:
For the Vintondale Reclamation Park in Vintondale, Pennsylvania, which was completed in 2002, Bargmann collaborated with historic preservationist T. Allan Comp, hydrologist Bob Deason, and sculptor Stacy Levy on a 35-acre site in coal country designed as a “natural filtration system” that addresses polluted mine runoff. Entitled Acid Mine Drainage and Art: Testing the Waters, this “model of bioremediation” helped Bargmann win the 2001 National Design Award from the Smithsonian Cooper-Hewitt Museum. She explains that “Vintondale is the project that I feel launched D.I.R.T. and still defines its trajectory.”
Her work on the Urban Outfitters Headquarters at the U.S. Navy Yard in Philadelphia, Pennsylvania won Bargmann an ASLA Professional Award in 2014. According to TLCF, the project “became a model for the artistic and ecologically sound reuse of materials, including concrete chunks nicknamed ‘Barney and Betty Rubble,’ as well as brick, rusted metal, and other materials.” The project shows that reusing materials is not only beautiful but also reduces greenhouse gas emissions. Reusing concrete and buried train tracks saves the tons of embodied carbon emissions in these materials and avoids creating new materials that generate more emissions. A greater focus on reused and recycled landscapes is needed in the age of the climate crisis. The ASLA awards jury also noted that the “site perviousness was increased by about 800 percent.” For this project, Bargmann worked with architects at Meyer Scherer & Rockcastle, engineers with Advanced GeoServices, Corp., and environmental engineers with Blue Wing Environmental.
And in 2019, in Detroit, Michigan, Bargmann designed the 8,000-square-foot Core City Park in partnership with developer Philip Kafka of Prince Concepts, architect Ishtiaq Rafiuddin, and project manager Randy Pardy. The park is another ingenious model of artful reuse — almost all design elements were unearthed from the site, including “pieces of a demolished late-19th century fire station, the walls of a bank vault, and other excavated artifacts.” TCLF also calls the park an urban woodland, with tree groves that “allow visitors to break away from the city without leaving it.”
Stay tuned for upcoming public programs organized by John Beardsley, Oberlander Prize curator at TCLF and former director of garden and landscape studies at Dumbarton Oaks.