15 of the Best Instagram Accounts for Landscape Architects

Instagram is a great way to get inspired, but there are over 500 million active accounts, so who should you follow? For landscape architects, fresh ideas can be found from following other landscape architects, but also those outside the field: artists, technologists, illustrators, and designers. Here are a few of my favorite Instagram accounts, which offer unique imagery and perspectives.

Please use the comments section to let us know other Instagram accounts you enjoy.

Aerial Aesthetics

Drone photographers (see above) are just starting to test the medium. Aerial Aesthetics provides a steady stream of some of the best images this technology has to offer.

Beeple

EASY LIFE #c4d #cinema4d #3d #gold

A photo posted by beeple (@beeple_crap) on

The worst thing you can say about Beeple, AKA Mike Winkleman is that some of his work is derivative. But that’s inevitable when you’ve created a new piece of art everyday for the last 3,400 days and counting. Beeple’s “every days” have inspired many. Some of his recent work shows a fascination with vast, arid landscapes.

Curiosity Rover

The best Instagram account to follow for photos of the gorgeous Martian landscape is NASA’s, whose Curiosity Rover is currently exploring the base of Mt. Sharp, an 18,000 foot peak rising up out of a 96 mile-wide crater.

Gmunk

Like a Hot #InfraMunk Oven 🌈😎🌈

A photo posted by Bradley G Munkowitz (@gmunk) on

Bradley Munkowitz, AKA Gmunk, is a boundary-pushing digital artist, videographer, and photographer. His current series of infrared landscape photos is breathtaking, and he also has a great eye for patterns, textures, and materials.

Inhabitat Design

This account offers eco-architecture renderings and interior design photos, with some great landscape design mixed in.

Landscape Architecture

A good compilation of images of modern and classic landscape design.

Master Landscapers Association

Sydney Park Reuse Project Wins Top Design Award | @cityofsydney largest environmental projects to date, Sydney Park Water Re-Use Project, has received the annual Museum of Applied Arts and Sciences (MAAS) Design Award, adding to its accolades since its official opening by the Lord Mayor in July 2015. The Museum of Applied Arts and Sciences museum showcases excellence and innovation in technology, engineering, design and science. Since 1992, the MAAS Design Award recognises the important role for design in harnessing the challenges of science and technology – the winner selected from all categories of the annual Good Design Awards. The Sydney Park Water Re-Use Project is an intersection of design, art, science and ecology, an outcome achieved by the collaboration landscape architects Turf Design Studio and Environmental Partnership (TDEP), Alluvium (water and environment), Dragonfly Environmental (ecology) Turpin + Crawford Studio (public art) and LNA Member @designlandscapes (landscape construction and storm water harvesting) source credits The Urban Developer @theurbandeveloper #sydney #urbandesign #environmental #sustainability #rainwaterharvesting #reuseproject #landscapedesign #parks #communityparks #landscapearchitecture #gabionwalls #lnamember #awardwinning #turfdesignstudio #tdep

A photo posted by Master Landscapers Association (@lna_landscapers_association) on

Master Landscapers Association offers some examples of modern landscape design that most people may not otherwise come across. Plenty of Australian flora and construction process photos, too.

Night Photography

Nighttime photography is extremely challenging, but offers great creative opportunities. The Night Photography account consolidates the most creative, dramatic nighttime shots into one feed, giving many perspectives on life in the dark.

Oehme van Sweden

Oehme van Sweden is one of the few landscape architecture firms to curate a compelling Instagram account. Vivid photos of plantings, works in progress, life around the office, and a fairly regular output of new content, make this feed stand out.

Katie Orlinsky

Photojournalist Katie Orlinsky captures everyday life, focusing on marginalized communities. Her recent series of photos from Alaska shows how integral the land and sea are to everyday life.

Pangaea Express

Eric Arneson, who curates Pangaea Express, is a landscape designer who uses Instagram well. A great mix of process photos, drawing details, photos from the field, final renderings, and all with a good dose of experimentation.

Konsta Punkka

~ Good old squirrel hood. Have a good one ✌🏻️

A photo posted by Konsta Punkka (@kpunkka) on

Finnish photographer Konsta Punkka describes himself as the squirrel whisperer. His photos of Scandinavian wildlife are startling because of the close proximity of his subjects. His photos of the landscape are equally striking.

Urban Nation Berlin

There are some great Instagram feeds featuring street art. The Museum for Urban Contemporary Art curates one of the better ones. Edgy, often disturbing murals and installations.

Danielle Villisana

Morning makeup. #wakeup #makeup #window #reflection #women #riseandshine #lima #peru

A photo posted by Danielle Villasana (@davillasana) on

Another photojournalist, Danielle Villisana, offers snapshots of life from global cities.

Tyson Wheatley

A photo posted by tyson wheatley (@twheat) on

There are plenty of great professional photographers on Instagram. Tyson Wheatley’s account stands out for his incredible compositional skills and use of light.

Also, be sure to check out American Society of Landscape Architects (ASLA)’s account, too.

The Mesmerizing “Liquid Shard” Brings Pershing Square Back to Life

The moribund Pershing Square Park in downtown Los Angeles briefly came back to life over the past few weeks, thanks to artist Patrick Hearn’s monumental and mesmerizing Liquid Shard, which is made of holographic mylar and monofilament and spans some 15,000 square feet. Riding invisible wind currents, the piece undulates along a span 15 feet high to the top of the park’s tower, at 150 feet high.

According to Hearn, “the inspiration comes from observing nature and the feeling that we are only aware on a very surface level of what is really going on around us. Unexpected things are revealed in time-lapse or hyper-spectrum photography that fascinate me. Like fractals recurring progressively, we feel the currents of air on our skin but do not see the larger movements.”

The video above also shows the incredible capabilities of video-enabled drones. A technology largely unavailable even a few years ago, video-enabled drones now allow artists and designers of all kinds to tell new stories about the places they have created. The value for landscape architects is clear.

As the temporary installation Liquid Shard comes down, Paris-based landscape architecture firm Agence Ter soon start their work redesigning the unloved park. According to The Architect’s Newspaper, “the French landscape firm’s approach is notable for the ‘town square’ approach taken to the site, where a large canopy located at the western edge of the park will house cafés and other amenities that open onto a grassy knoll at the center of the park.”

Los Angeles city council officials hope the new park will open by 2019.

The Case for Austerity

austere-gardens-cover.jpg

If abundance and variety characterize most gardens, then an austere garden is one marked by subtlety and restraint. Respectable qualities, especially in a society that aspires to opulence. But these same qualities make austerity much trickier to identify and thus admire. Marc Treib, professor emeritus of architecture at the University of California at Berkeley, suggests in his latest book, Austere Gardens: Thoughts on Landscape, Restraint, & Attending, that we must attune our senses to recognize austerity and its value.

“Experiential richness does not depend on complex form or an abundance of elements. It is how we look, and what we want to see, that makes a garden,” Treib writes. Decouple ornamentation from beauty and austerity will have its day. Treib’s book is a vision of what that day might look like, with examples of austerity from the past and present, from art, architecture, and landscape design. Japanese gardens make several appearances (Treib has studied them extensively), but so do peat quarries in the UK, an experimental forest in Sweden, and Salgina bridge in Switzerland.

These varied examples of austere works beg the question, how does Treib define austerity? You might get a different answer depending on which page you flip to. “State less, imply more.” “Simplicity, reduction, and compression.” “Restriction in means.” These are all true, of course, but only constitute individual aspects of austerity. One might say, “You’ll know it when you see it.” The challenge Treib sets himself is attuning readers’ eyes to it.

Austere Gardens begins with a description of the musical score 4’ 33” by composer John Cage. The score is performed in front of an audience, although it requires no instrument, just the periodic disruption of silence. The performer relinquishes control to the audience. Shuffling of feet, heavy respiration: ambient noise comes to the fore. Silence becomes music and austerity delivers riches.

4’ 33” possesses an effortlessness common to many of Treib’s examples of austere works. Tactical mowing, cutting, digging, and occluding are economical strokes with outsized impact. Treib gives as an example the construction fence, hiding from passersby what lies beyond. “What has been screened, withheld, or removed often stimulates greater intrigue.” Closure and revelation. Achieving more with less can be interpreted several ways.

austere-gardens-1
Tactical mowing adds color to a path in a German meadow. // Image Credit: Oro Editions

Patience is essential to appreciating austerity, writes Treib. “Without taking the time to look, perceive, and perhaps to think, any rewards may be meager.” Even the mundane, perhaps especially the mundane, deserves a prolonged gaze. The austere beauty we’re witnessing, Treib tells us, may be intentional, inadvertent, or the result of time and its effects.

The essay’s organization will frustrate some readers who desire more structure. It is, as the title implies, a series of thoughts. One can read it in a sitting, feel refreshed by its ideas, and then wonder, “What was the overarching point?” A call for austerity and all that implies, certainly. And yet an absence can be felt after putting down Austere Gardens, the sense of a lesson left incomplete. In a way, the essay practices what it preaches, leaving room for the reader to close the circle.

A Universe of Interactive Art in Tokyo

In a leap for interactive art environments, Team Lab, a collaborative of Japanese artists, has put together a fascinating and bizarre collection of works in a 3,000-square-meter space in Tokyo. The pieces are truly responsive: visitors impact and shape the ever-changing works in real-time.

In the Dance of Koi and People – Infinity, visitors wade up to their calves through a shallow pool surrounded by mirrors, which creates the effect of being in an infinite space. As visitors walk through the water, underwater lights that mimic koi fish dart by.

The Dance of Koi - Infinity / Team Lab
The Dance of Koi and People- Infinity / Team Lab
The Dance of Koi and People- Infinity / Team Lab
The Dance of Koi and People- Infinity / Team Lab

According to the artists, the “trajectory of the koi is determined by the presence of people, and these trajectories trace lines on the surface of the water.” The even-more amazing part: “When the koi collide with people, they turn into flowers and scatter.”

The Dance of Koi and People- Infinity / Team Lab
The Dance of Koi and People- Infinity / Team Lab

This art work is derived by an algorithm in real time; it’s not a “pre-recorded animation nor on a loop.” It’s a work of continuous interaction and constant change.

In Wander Through the Crystal Universe, visitors interact with a giant pointillist sculpture in which “the particles of light are digitally controlled, and change based on the viewer’s interactivity with the work.” As visitors move, light shifts; as more visitors enter, light accumulates. Visitors can also use their smart phones to chose colors and shapes that will be included in the evolving piece.

In Floating in the Falling Universe of Flowers, visitors enable seasonal change. As visitors walk through, “flowers are born, they grow, bud, bloom, and, in time, the petals fall, and the flowers wither and die. The cycle of birth and death continues for perpetuity.” The piece also enables visitors to select butterflies with their smart phones and send them off into the surrounding “flower universe.”

And, lastly, Soft Black Hole, creates a dark space that plays with “the borders of floors, walls, and ceilings,” creating perhaps a startling version of a space you may find in a contemporary Korean spa. As visitors get into the space, their body weight shifts the environment, and so visitors impact the space of other visitors. “Your body changes the space, and the space changes the bodies of others.”

Soft Black Hole / Team Lab
Soft Black Hole / Team Lab

If in Tokyo, visit DMM.Planets before August 31.

Summer Book Recommendations from Landscape Architects

The Book of Night Women
The Book of Night Women / Riverhead Books

It’s almost August, but there’s still plenty of time left to dive into some quality summer reading. We asked a few landscape architects to share books they’ve been enjoying. Check out their suggestions:

Diane Jones Allen, ASLA, principal at DesignJones, LLC

The Book of Night Women by Marlon James
“I have just finished reading The Book of Night Women this past 4th of July. This book is written by Marlon James, who won the 2015 Man Booker Prize for his book A Brief History of Seven Killings. The Book of Night Women is a beautiful and lyrically-painful narrative about the lives and landscape of slavery on a Jamaican sugar plantation. If you are passionate about Faulkner and Morrison, then you will relish this book.”

Gerdo Aquino, FASLA, firmwide CEO at SWA Group

Ghettoside by Jill Leovy

Ghettoside
Ghettoside / Spiegel & Grau

“A book that grew out of Los Angeles Times’ Jill Leovy’s reports on homicide and working the police beat from 2001 to 2012, Ghettoside takes the reader deep into the communities of south Los Angeles to understand why homicide rates are some of the highest in the country. Weaving together Los Angeles and U.S. history, perspectives from veteran LAPD detectives, scholars, and most importantly those living in Compton, Watts, and adjacent neighborhoods, Ghettoside provides a compelling piece that couldn’t be more timely and fiercely urgent as this country continues to face issues of race and violence, and the consequences of ignoring them.”

California by Kevin Starr
“Everything you wanted to know about California from a great historian. Starr gathers together everything that is most important, most fascinating, and most revealing about America’s 31st State.”

The Bathroom by Jean-Philippe Toussaint
“A playful and perplexing book that centers on a young Parisian researcher who lives inside his bathroom. As he sits in his tub meditating on existence, the people around him further enable his peculiar lifestyle, supporting his eccentric quest for immobility. But then a not-to-be missed opportunity arises and his stable world turns upside down.”

Shannon Nichol, FASLA, founding principal at Gustafson Guthrie Nichol

A State of Change: Forgotten Landscapes of California by Laura Cunningham

a state of change
A State of Change / Heyday Books

“For the last twenty years, Laura Cunningham has been melding her scientific training – rigorously cataloguing species from her field work in California’s cities and roadsides – with her obvious artistic talent and intuition, painting fluent watercolors of the vanished places that she can now, naturally, picture in her mind. This book feels like her explorer-journal, each hard-earned page built up as she explores and documents a new landscape or vista found in a shockingly familiar, urbanized place that we thought we already knew.

This book is a modern-day reassurance that the age of exploration – and the age of the artist-naturalist – is not over. Perhaps, instead, our era, in which we separate science and art, facts and intuition, may be giving way to a more nuanced one that picks up where the explorer-naturalists left off.”

Martha Schwartz, FASLA, partner at Martha Schwartz Partners

The Collapse of Western Civilization by Naomi Oreskes and Erik Conway

collapse
The Collapse of Western Civilization / Columbia University Press

“The Collapse of Western Civilization is essential reading for anyone truly interested in sustainability and the global environment.”

Anne Whiston Spirn, FASLA, professor of landscape architecture and planning, MIT

Toward an Urban Ecology by Kate Orff, ASLA

The Time of the Force Majeure by Helen and Newton Harrison

orff
Towards an Urban Ecology / The Monacelli Press

“Two brilliant new books are a call to action on urban ecology and climate change, with landscape as the principal medium. Kate Orff’s Toward an Urban Ecology is a presentation of ground-breaking projects by Scape, and the principles and strategies that underlie their success. In The Time of the Force Majeure, artists Newton and Helen Harrison describe their work on climate change, ecological design, and community engagement over the past five decades. The Harrisons design virtually every aspect of every project to ‘bring forth a new state of mind’ in themselves and their audience, and they employ ingenious strategies to accomplish this transformation. Human societies cannot successfully mitigate and adapt to the stresses of climate change without a new state of mind, and landscape architects and artists have an essential role to play. The Harrisons have been demonstrating this fact for more than forty years, Kate Orff and Scape more recently. Both books are required reading for landscape architects.”

Through Many Lenses: The Works of Capability Brown

Chatsworth / Gary Rogers, cropped.
Chatsworth (Cropped) / copyright Gary Rogers

This year is the 300th anniversary of famed English landscape architect Lancelot “Capability” Brown’s birth. To celebrate, the Landscape Foundation and Building Center in London have put together Lens on a Landscape Genius, an exhibition of 100 photographs, depicting some of the 150 landscapes of Brown’s that still exist, out of the 250 he planned or designed in the 18th century.

Compton Verney (cropped) / copyright James Kerr
Compton Verney (cropped) / copyright James Kerr

Brown is viewed as the quintessential English landscape architect, “as deeply embedded in the English character as the paintings of Turner and the poetry of Wordsworth.” He is known for projects of an immense scale: vast estates, including the Hampton Court Palace Gardens, Blenheim Palace, and the landscape of Highclere Castle, known today on television as Downtown Abbey. At many of these grand estates, he removed formal gardens and replaced them with undulating grasslands and constructed hills and serpentine rivers.

Highclere (cropped) / Allan Pollok-Morris
Highclere (cropped) / Allan Pollok-Morris

Brown created elegant, seemingly-simple landscapes that hid deeper complexity. On the website of the foundation that promotes the preservation of his work, they write: “His designs appear seamless owing to his use of the sunk fence or ‘ha-ha’ to confuse the eye into believing that different pieces of parkland, though managed and stocked quite differently, were one. His expansive lakes, at different levels and apparently unconnected, formed a single body of water as if a river through the landscape, that like the parkland itself, ran on indefinitely. This effortless coherence is taken for granted today.”

Dawn at Gatton Park (cropped) / copyright James Bruce
Dawn at Gatton Park (cropped) / copyright Matthew Bruce

While he was highly sought after in his life time, becoming the master gardener for Hampton Court, his reputation declined immediately after his death. His Picturesque style, which would influence Frederick Law Olmsted and others, fell out of favor in the face of Romanticism and later Modernism. His work was viewed as the anti-thesis of the geometric, formal works of French landscape architect André Le Nôtre, but both were long seen as out of style. His style, now known as the English Picturesque, has seen a resurgence though. This year, The Telegraph calls him “the world’s most famous landscape gardener.”

Deer on Rutting Stand (cropped) / copyright Derek Saint Romaine
Deer on Rutting Stand (cropped) / copyright Derek St. Romaine

The exhibition includes noteworthy UK-based landscape photographers such as: Andrew Lawson, Joe Cornish, Andrea Jones, Allan Pollok-Morris, Gary Rogers, Derek St. Romaine, Matthew Bruce,  Gareth Davies, James Kerr, Archie Miles, Gavin Kingcome, Simon Warner, Jacqui Hurst, Stephen Studd, James Smith, and, lastly, Steffie Shields, who has also just published a book of her photographs of his landscapes: Moving Heaven and Earth: Capability Brown’s Gift of Landscape.

If in London, go see the exhibition before it closes on October 27.

Interview with Toody Maher on Co-Designing Parks with the Community

Toody Maher / SF Gate
Toody Maher / SF Gate


Toody Maher is the founder and executive director of Pogo Park. She is an artist, inventor, and entrepreneur and lives in the San Francisco Bay Area, California.

In the Iron Triangle in Richmond, California, which is one of the poorest and most violent neighborhoods in the country, you’ve created an exciting model, which combines community development, child development, play, and parks. What are the essential elements of a Pogo Park?

Any public space can be transformed into a Pogo Park. In essence, a Pogo Park is an amazing place, a magical place for children to play. There are five key elements. First of all, a Pogo Park must be staffed. You need someone there who clean the park, welcome folks as they come in, and make it a safe and welcoming gathering place for the community. Second, there needs to be an office there. The third is a rich play environment. We have to get away from plastic, static play equipment. Experts on play talk about how kids need loose parts and environments they can manipulate, so they can build their own things and explore. The key feature of a Pogo Park is a super-rich play environment. The fourth element is just basic amenities — a place to sit in the shade, a bathroom, and running water. And the last is to make it a hub of the community. We have the book mobile, farmer’s market, and visits from the National Park Service who want to show the kids a ranger tour. We’re just the place. We are the community hub.

If you’re knowledgeable about Christopher Alexander’s book, A Pattern Language, that’s the Bible for us. There’s certain things that you can do that are essential, but you can do it 500 or 5,000 ways.

The community were co-designers of Elm Playlot and Harbor-8 Park. How did this work?

To give you some background: Elm Playlot was an existing park for 70 years, but it failed. The city has renovated it three times, and the latest in 2009 cost $300,000. We begged the city not to do it, but they went ahead because they had a grant. Within a week, somebody tried to burn it down.

Pogo Park started with a core team of eight: the Elm Playlot Action Committee (EPAC). The first person I met was Carmen Lee, who lives right next door to the park. I just went around knocking on doors and meeting folks. There were people who wouldn’t open the door. I would show up each day and they wouldn’t even say hello. From 2009 to 2016 the composition of EPAC has changed. It went from eight to six to ten to twelve to fourteen to seven. All of the members have deep ties to the Iron Triangle: they were born there, they live there. But the members of the same core team who started at the beginning have been through all seven years of the project.

What’s great is the power of incremental change. We avoided the usual process: the park fails, then you helicopter in, and, in one week’s time, there’s a new park, and then the mayor comes, and you cut the ribbon, and the moment that everyone leaves — the moment the 76-piece marching back leaves — the whole thing goes back to what it was, so nothing is really transformed. As some residents say, you can’t put a mink coat on a skunk. By coming in and putting this thing down, it doesn’t mean lives are going to change. Transformation needs to be deeper.

EPAC started working with the residents to reclaim the park. Before we got our $2 million state park grant to redo the park, I told the team about Burning Man in the Nevada desert, how folks build this mini city in a week. I said: “let’s do Burning Man in the Iron Triangle!” We went to Home Depot and bought a $2,000 3-foot fence and built a fence around Elm Playlot to claim the boundary. We came in each day and cleaned the park, so it was super clean. We brought in a shipping container we got from the Port of Richmond and built a little office inside the shipping container we could open each day. We put out our play materials and made our enriched play space. We rented a porta potty, which we covered in beautiful plants and artwork. And if somebody needed to go to the bathroom, they’d come up to somebody on our staff and we would let them in. Folks would come just to go to the bathroom, because the porta potty was tricked out. We bought the house next to the park for $50,000. And got a $300 fridge off Craigslist and became an official distribution point for the school free summer lunches. We served 9,000 meals one summer. We got into the space and claimed it.

Going back to how to involve the community: Elm Playlot came alive because people from the neighborhood went and worked there each day. They cleaned it, built things, or served as staff. As folks drive by, they could see something was changing. Everybody started to come by because they were like, “What you all doing next? Oh, this so great.” One thing I learned: If the community makes the changes themselves, then the change is deeper and felt more widely.

Elm Playlot / KQED, Nancy DeVille
Elm Playlot / KQED, Nancy DeVille

It wasn’t just like there was a one-week charrette. We did a five year one! As the great park designer, Susan Goltsman, FASLA, with MIG in Berkeley, said: “Great playgrounds are in a constant state of change.” They can’t just be static. To be alive, parks need to evolve. Pogo Park has been a living charrette.

Elm Playlot / Pogo Park
Elm Playlot / Pogo Park

How did the process of 3-D prototyping the park design work? And why do you think it was better than the typical approach with charrettes, maps, renderings?

The real language needed to communicate design is the opposite of what you need to understand a landscape architecture plan on paper. With a 3-D model, you get to see what’s coming in life size. You’re actually experiencing it. If we want to put a tree somewhere, we’ll just go out and buy a tree in a five gallon bucket and put it there, so people can actually say, “Oh, a tree’s there.” They can walk around and see spaces.

I’ve noticed that when I’m dealing with some landscape architects and designers, they come out with the dimensions of what something should be right away. They’ll say, “Oh, well, why don’t we put the door at three feet and this at two feet.” And they work all by numbers. But our approach is: “Do not impose a number.” First of all, mark it, and when it feels right, measure. That is the measurement that goes on the paper. So many times when design is done on paper, it looks good on paper, because it’s all math. But when you build it, there’s so many little things that were off. The spacing is usually off. The only way you can really get spacing is to do it.

Pogo Park involved the community in the actual construction of the park, paying neighbors of the park to build it. How did the process of co-developing the park with the community work?

We have put over $1 million in wages and contracts into the Iron Triangle. Everyone expects people who are poor and have no job to come in and volunteer. Everywhere I went, people said: “Oh, Toody, you and your volunteers.” No. Everyone was paid for their contribution.

We were also blessed to partner with Scientific Art Studio, which happens to have a 2-acre fabrication studio six blocks from our park in the Iron Triangle, to build the park. The guy who runs it — Ron Holthuysen — is a world famous designer of children’s play spaces. He’s the bomb. He just did a $3.5 million new playground for the San Francisco Zoo. His belief is that children must be free to run wild and to explore.

Ron helped us figure out how to work with a playground safety inspector. We were building custom-made, artisanal play elements. Every step of the way we made sure we conformed with the safety regulations. He set up a studio for us in his studio where he acted as our training wheels, empowering local people to do it for themselves.

It was this holy trinity. First, we had community residents. Second, we had the city of Richmond, which is very entrepreneurial and forward thinking. They gave us the green light to do this radical thing: to try and build a park with the community by hand. And, third, we had Ron from Scientific Arts. However, the residents were the most powerful force. All we did was create a system where someone could think up an idea and then just do it. Residents started getting into it, saying things like: “Well, we should put a bench there.” So then we would just go to Ron’s shop and build a bench and bring it back. Residents started gaining a lot of confidence by thinking, doing.

Play element construction / Pogo Park
Play element construction / Pogo Park

The numbers who have been employed with Pogo Park over the past decade is around 110-120 community residents. We’ve had probably another 250 who come and work for two weeks. But we primarily pour our money into our core staff. We have 10 people on the community resident team now that work between 15 hours a week and full-time. And they’re paid between $16 and $22 an hour. Those working full-time have full health, dental, and vision benefits. All of these people have never had insurance before. Pogo Park has definitely helped transform the lives of the key folks on our team. And we now have $1.5 million in contracts to design and build more parks in Richmond, too.

Park construction / Pogo Park
Park construction / Pogo Park

About 25 percent of our team does cleaning and maintenance. It’s a lot of work, because you’re cleaning not only the park, but also the streets around the park. When people come into our block, they can just feel it, because the streets are all clean, and there’s all these trees planted. I mean we clean up. Last year, we had 15,000 kids sign in at our sites. And these kids play hard, so things get broken. You have to replace the wooden planks and other things. When things break things, we take them to a work shop where we have a team. Our maintenance team can also build things.

About 50 percent are employed in running the park. We have a park host who comes in somebody who comes into the office every day. They put out all the play stuff and open up the bathrooms. They’re the ones scheduling all the programs Monday through Saturday. The other 25 percent does outreach and design for The Yellow Brick Road, plants trees, plant trees, and individual and group skills training. They train community members on how to use email, resolve conflicts, speak in public, etc.

How do you generate deep community buy in and involvement where others have failed?

We just show up every day and keep showing up. Most folks come into a community for a year or two and then leave. And then things go back to what they were. So the community doesn’t trust new initiatives, because they too will leave. It’s taken us nine years of work in this neighborhood, showing up Monday through Friday and not leaving, to gain that trust.

Some 7,500 neighborhood kids use Elm Playlot and Harbor-8 Parks annually. What do these places try to do about works and what doesn’t in terms of play? And, specifically, what’s needed to create a safe, welcoming playground in a neighborhood that has a lot of crime?

If you go into any of these neighborhoods, the first thing is you have got to staff the park. What makes it safe is there’s someone who’s there watching out to make sure the park is clean, safe, and welcoming. Second, parks must be “bespoke,” custom made for the particular neighborhood, so they can then be woven into the fabric of the neighborhood. The park has got to have soul. Most of these new plastic playgrounds that are plopped in from a catalogue just don’t have soul.

Harbor 8 Park playground / Pogo Park
Harbor 8 Park playground / Pogo Park

The design of the playground has to be generated from the inside out. The community has to be involved and figure out how it’s going to weave into the neighborhood. Children’s play is very complicated. It’s the mother’s breast milk of healthy development. Parks departments typically put in static play equipment that’s only good for physical play. You go up a ladder and slide down the slide and then go on the swing. But there’s all kinds of play: cognitive play, linguistic play, and imaginative, creative play. We have to create playgrounds that meet all the play needs of kids, not just physical needs. That’s why we say Pogo Park is an enriched play environment.

How have the new parks helped resolve community conflict and build inter-community trust? And what do you think still needs to happen?

Parks provide a community space for every human being on the planet. We’re social beings and gravitate toward public spaces where we can be with other people. Just claiming and holding this space, it becomes a sacred watering hole for the community. That has helped build the trust of the community, because it’s a place where people can actually connect in a real way with other residents and families.

You can’t just put the bones of the park down. You can’t just come into a neighborhood like the Iron Triangle and just plop something down and leave. You have bones but you also have to spirit. The spirit is programming, which makes the park come to life.

Now you’re rethinking another form of community space, streets. A project now in the works is the Yellow Brick Road, a “safe, green and clean” route for walking and biking that connects neighborhood schools, parks, transportation, shopping. Pogo Park organized another preview of a full scale 3-D prototype for the community to try out. What is your approach for designing, building, and maintaining this Yellow Brick Road?

Yellow Brick Road rendering / Pogo Park
Yellow Brick Road rendering / Pogo Park

We used the same 3-D modeling language we used for the parks, but translated it into the streets. We had to slow down traffic on the corners of the park, as we had some 15,000 people sign into the park last year, including thousands of kids. We worked with some of the top transportation engineers to design a new roundabout. We figured out what the dimensions needed to be and then mocked up a 3-D roundabout model. In the middle of the roundabout there is a hand-carved, eight-foot-tall totem pole the Pogo Park community team carved. Over two days, we let the neighborhood, police, and fire fighters actually drive through it.

We’ve spoken to others who have done 3-D models out of the street, but they never opened theirs to actual traffic. Neighbors could see what is going to be built rather than see it on a piece of paper. They could then add their thoughts right away. The community team, who are people the neighborhood knows, facilitated. Many neighbors, police, and fire fighters came up and thanked us so much for this. The 3-D models really got the community and city involved in a new way. We received a grant from the California department of transportation, and the Yellow Brick Road opened in January.

Yellow Brick Road demonstration / Richmond Confidential
Yellow Brick Road demonstration / Richmond Confidential
Yellow Brick Road / Pogo Park
Yellow Brick Road totem pole and roundabout / Pogo Park
Yellow Brick Road opening, January 2016 / Kaboom.org
Yellow Brick Road opening, January 2016 / Kaboom.org

Christo’s Floating Piers

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The piers emanate from Sulzano and Monte Isola, looping around the lsland of San Paolo / Christo and Jeanne-Claude

For 16 days last month, visitors to Italy’s Lake Iseo were greeted by The Floating Piers, an installation designed by the Bulgarian-American artist Christo. The work, a system of floating, saffron-draped floating piers, allowed visitors to tour the lake on foot. An estimated 40,000 people walked the 4.5 kilometer-route each day, which ran through the town and onto the lake, from Sulzano to Monte Isola, and looping around the lsland of San Paolo.

Christo, who claims his work deals with the themes of temporality and nomadism, argued the piers were only one aspect of the project. The other aspects were the lake, the surrounding terrain, and “the sun, the rain, the wind.”

First conceived of by Christo and his now-deceased partner Jeanne-Claude in 1970, the project got legs in 2014 when Christo identified the lake 100 kilometers east of Milan as a suitably inspiring site. Other sites Christo considered were Tokyo Bay and the Rio de la Plata in Buenos Aires.

It took a team of engineers, construction workers, and deep-sea divers 22 months to configure and install the project at Lake Iseo. Much of that time was spent engineering the cloth. According to Christo’s web site, Clandestine tests took place in Germany to address the project’s more nebulous questions: “What color should the fabric take on when wet? When dry? When sunlit? And how many extra meters of cloth would produce just the right amount of ruffles?”

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The piers at night / Christo and Jeanne-Claude

All told, 100,000 square meters of the gold fabric was fitted to 4.5 kilometers of walkway. The floating docks were 53-feet wide and composed of over 200,000 high-density polyethylene cubes. The fabric was water-proof, stain resistant, and underlain with felt, giving shoeless visitors an extra thrill. Critics of the project have derided Christo for his flagrant use of materials. But he insists the materials were conscientiously disposed of — they were recycled at the conclusion of the piece.

The Floating Pier / Wolfgang volz © christo
The Floating Pier / Wolfgang volz © christo

The installation likely fulfilled, or came close to fulfilling, the dream of its visitors to walk on water, experiencing the lake as they never had. Visitors have likened it to traipsing on a water bed. Without having walked it, the photos of crisp gold lines drawn on the lake are breathtaking in their own right. Not evident in many of the pictures: the boat hands, life guards, and monitors who were present to help avert any problems.

The Floating Pier / Wolfgang Volz © christo
The Floating Pier / Wolfgang Volz © christo

The Floating Piers bears the hallmarks of the best Christo and Jeanne-Claude installations: Fabric seemingly absconded from a fine linen closet and set in an unexpected location; amid rolling hills for instance, or draped over a cliff face.

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An early drawing by Christo / Christo and Jeanne-Claude

Perhaps Christo and Jeanne-Claude’s most recognizable project to date is The Gates, which was installed in Central Park in 2005. Like The Floating Piers, The Gates also used vibrant, gold-colored fabric to guide visitors along a path.

“I know these projects are totally irrational, totally useless,” Christo told The New York Times. “The world can live without them, nobody needs them, only me and Jeanne-Claude. She always made the point that they exist because we like to have them, and if others like them, it’s only a bonus.”

Sale of Christo’s original artwork is expected to cover the $16.8 million project costs.

See more images at DesignBoom and Christo’s web site.

Pierre Bélanger Examines the Mining Industry at Venice Biennale

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A visitor to Extraction watches a video displayed in the ground / copyright Laurian Ghinitoiu, via Arch Daily

One of the first national architecture pavilions to be curated by a landscape architect debuted last month at the Venice Architecture Biennale. The Canadian exhibit, entitled Extraction, is curated by landscape architect Pierre Bélanger, ASLA, who is also associate professor at Harvard University. Ryerson University ecologist and landscape planner Nina-Marie Lister, Hon. ASLA, also worked on the project, along with architecture firm Rvtr, design firm Opsys, and the multimedia firm Studio Blackwell.

Extraction examines Canada’s role in extracting the resources that fuel our cities. “Canada has become a global resource empire. The preeminent extraction nation on the planet,” Bélanger said, citing its 20,000 mining projects now underway.

Visitors to the exhibit are invited to look through a hole in the ground, where they see a solid-gold survey stake planted at the intersection of the English, French, and Canadian pavilions. Beyond the stake, a video plays, displaying the history of Canada’s resource extraction through 800 images from 800 contributors in 800 seconds.

Bélanger and his team were initially warned that visitors to the exhibit would begrudge prostrating themselves to view the film, so “we milled a beautiful ½-inch surface of Corian that we keep clean and made a pillow for people to kneel on as a way to engage the project. Many people started laying down on the ground and relaxing.”

A visitor to Extraction watches a video displayed in the ground / copyright Laurian Ghinitoiu, via Arch Daily
A visitor to Extraction watches a video displayed in the ground / copyright Laurian Ghinitoiu, via Arch Daily

Architect Bruce Kuwabara told Bélanger that Extraction “engages us in questions of responsibility and ethics in the face of an overwhelming challenge — to reset the relationships of power so we might create a more transparent and equitable world.”

Bélanger explained that most Biennale visitors suffer from “interior exhibition fatigue,” and that the fresh air and natural light were in part responsible for the large crowds Extraction has drawn. Furthermore, “we specifically under-designed the project and augmented the texture and interaction in order to engage the senses in ways that appeal to a much larger audience than drawings, models, or writings on the wall.”

He added: “exhibitions at the Biennale are expected to be about the celebration of national architecture, located inside of a national building belonging to a specific nation. Our involvement as landscape architects, ecologists, planners, and urbanists makes it unique.”

Indeed, the Venice Biennale is a valuable opportunity to share landscape architecture as well. “The basic element of land — in all its political, ecological, social, and technological dimensions — is often overlooked. We need to make land relevant to pressing questions and critical matters of urbanism and a very large audience of professionals and the public.”

Extraction will be on display in Venice through November 27 and then proceed onto a Canadian tour through 2017. A book of essays concerning Extraction is also in the works, co-edited by Bélanger and Lister. Learn more online or by following the project on twitter @1partperbillion.

Parks + Community = Innovation

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Parks Without Borders – Before / NYC Parks and Recreation
Parks Without Borders / NYC Parks and Recreation
Parks Without Borders  – After / NYC Parks and Recreation

How can communities become more deeply involved in the process of creating parks? How can parks reflect communities’ best vision of themselves? Exciting projects that answer these questions were discussed at the Trust for Public Land’s recent conference on the “nature of communities.”

Communities’ desire for improved park access can result in simple yet effective innovations. Mitchell Silver, the new parks and recreation commissioner in New York City, is piloting a new approach — Parks Without Borders — that aims to remove physical barriers, like chain-link fences, from the city’s parks. The parks and recreation department asked residents which parks would benefit most from improved accessibility. Some 6,000 New Yorkers responded with 692 parks and then 8 parks in all boroughs were selected to test the concept. In these pilots, the parks department will soon test out more accessible entrances, signage, and edges, and better incorporate park-adjacent spaces into parks. As Silver explained, Frederick Law Olmsted, designer of Central Park, said that “the sidewalk next to the park is actually the outer edge of the park.” 150 years later the NYC parks department is taking these words to heart to remove barriers to parks in communities that want greater openness and equity.

Once communities empower themselves, they can also create parks that no designer could make. For Adrian Benepe, Hon. ASLA, former NYC parks and recreation commissioner and now a senior executive at the Trust for Public Land, “cooperative, community-based processes can lead to new and rejuvenated parks” that break down barriers and also reflect local arts and culture. As an example, he pointed the QueensWay in Queens, New York, “the people’s High Line,” which will eventually run through the most “diverse community on the planet,” where some 100 different ethnic groups will line the route. Trust for Public Land, DLANDstudio Architecture & Landscape Architecture, and others are working with the Friends of the QueensWay and the communities to turn 3.5 miles of abandoned railroad track into a “cultural greenway, in addition to a system of green infrastructure.

QueensWay plan / Friends of QueensWay
QueensWay plan / Friends of QueensWay

In Richmond, California, a poor community of about 15,000 just north of Oakland, there is a high level of gun violence; “in fact, it’s the 7th most dangerous community in the U.S,” said Toody Maher, the founder of Pogo Park. The city plopped down $300,000 worth of playground equipment in a local park, which locals then “tagged” with spray paint and tried to burn down. Where others would throw up their hands, Maher saw an opportunity to design a new park with the community. “We realized we needed to build the park from the inside out. Instead of just hiring a landscape architect, the community built a 3D model, actually measuring out in the space what they wanted. ” With a $2 million grant from the state parks department, Maher and the Pogo Park neighborhood steering committee hired neighbors of the park to build it, even hiring local graffiti artists to become park artists. “Pogo Park is community-designed, built, and installed. It’s now a green oasis that radiates change out. Everyone wants to live near the park.”

Pogo Park / Richie Unterberger
Pogo Park / Richie Unterberger

Jennifer Toy, ASLA, co-founder of Kounkuey Design Initiative (KDI), walked us through another bottom-up community park project in North Shore, California, farm country in the Coachella Valley. Toy spent about a year just listening in the community, a 3,400-person ghost town “on the periphery of the periphery,” a place at the edge of the shrinking Salton Sea, which reeks of decaying fish. While the town received some financing to create a small 1/8-acre park, Toy learned that park didn’t meet their needs, so the community and her team co-developed a plan for a 5-acre park over the course of some 150 open meetings over multiple years. The result of all this community building is a park design that features “a shaded pavilion, a restroom/bike shop building, soccer field, skate plaza, sport court, playground, walking paths, and native plantings.” The park is expected to open later this year.

North Shore design concept / KDI
North Shore design concept / KDI

Lastly, artists can also act as agents of innovation in communities and get people to see themselves in a new light. Streets, another form of public space, can become linear parks that connect people. Seitu Jones, an artist based in St. Paul, Minnesota, creates artistic interventions around the food system. He believes any artist working in a community “must leave it more beautiful than they found it.” With Create, which launched in 2015, Jones made St. Paul more beautiful by creating a temporary half-mile-long public space in the middle of a street, featuring a half-mile-long table with healthy foods. It took some two years for Jones to reach out to all the communities, bring them to the table, and get the approvals to shut down the street.

Create, St. Paul / Walker Art Center
Create, St. Paul / Walker Art Center

Jones brought diverse communities “who had forgotten how to cook” together to learn and share.