Pulsating Public Art Brings New Life to Dilworth Park

Pulse, a new work by artist Janet Echelman, may be the stickiest public art ever conceived. Sticky is a term used by web developers to explain compelling design elements that bring users back again and again. In the case of Pulse found in Dilworth Park, at the western edge of Philadelphia City Hall, you wait there — and also return later — because you are uncertain when the sculpture made of light and mist will appear and, once it does, each sequence of color and motion is unique. Later, you realize the blast of atomized water and light actually marks the arrival in real-time of the red line subway pulling into the central transit station just beneath the park.

Dilworth Park / Sahar Coston Hardy

Dilworth Park opened in 2015 after a two-year, $55-million revamp by landscape architects at OLIN and architects at KieranTimberlake, as part of an effort led by the Center City District. The new park — perhaps really more a plaza — was designed to be a flexible event space, with fountains, a small lawn, restaurant, and moveable tables and chairs set within lush gardens. But the park itself was designed from the beginning to incorporate the work of Janet Echelman. As Susan Weiler, FASLA, partner at OLIN explained, “there was a consensus decision to integrate Pulse into the project, which removed the potential of it not being installed later.”

Dilworth Park, Philadelphia / KierenTimberlake

Echelman is known for deeply researching a site where her works will be installed. This research adds depth and meaning to her enigmatic, enveloping works. Echelman said two elements of Philadelphia history inspired her: water and transportation.

Philadelphia’s industrial and manufacturing success was only made possible by the Schuykill and Delaware Rivers that flank its sides. “So I decided water needed to be used as a material.”

Transportation has also been critical to Philly’s development. “In the 1960s, they tore down the old Penn railroad but from vintage photographs, you can see trains running on steam.”

Furthermore, just below Dilworth Park is a central transit hub for the subway — a key node in the city’s circulatory system. “I wanted to reveal through a simple gesture above ground what was happening below ground.”

Pulse actually pulsates with mist — mimicking the steam trains of old, but also to express “the pulse of the city.” Echelman didn’t want the pulsations, which only appear when the red line train pulls in below, to be predictable, but “fun and playful.” Indeed, when I visited kids were lined up on the pathways between fountains waiting for the explosions of steam to envelope them and would joyfully scream when it did happen.

The light that infuses the pulsating mist is made of three different colors — a predominant color that is tied to the subway line’s color and two undertone colors — that are programmed via computer algorithm to never be exactly alike. Thirteen different pulsations are sequenced that way, too. The result is that each combination of pulsation and color is unique.

Dilworth Park / Melvin Epps

“God bless Olin for protecting the artwork.” By working Pulse into the final construction documents, the landscape architects prevented the artwork from being value engineered out at some later stage. Pulse was purposefully embedded into the entire park’s complex water and energy systems.

Weiler said the project was a “huge collaboration” between Echelman, OLIN, CMS Collaborative (the fountain designers), and Arup (the lighting designers). In Palm Springs, California, the team evaluated full-scale mock-ups of the art work, tinkering to make sure the system would work in a highly-trafficked area amid Philly’s rugged environment.

There was a multi-year lag in building Pulse because when the park opened, “there wasn’t money for the art,” Weiler said. Philadelphia-based philanthropists and foundations stepped in to make it happen.

Susan Weiler with OLIN enjoys the art / Melvin Epps

The artful illumination of the red line is just the beginning. A similar art work for the orange line will soon cut through the length of the park, and one for the blue line will run perpendicular to the west entrance of Philadelphia City Hall. Also, worth noting: the center court of City Hall will soon be revamped by WRT.

Resilient Design for Low-Income Communities

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Resilience for All / Island Press

In her new book Resilience for All: Striving for Equity through Community-Driven Design, author Barbara Brown Wilson seeks to confront the failings of traditional planning and design practices in vulnerable low-income communities. While others have pursued landscape-based solutions to this issue — think community gardens — Brown suggests there is a larger role for landscape architecture and urban design in resilient, equitable community development.

The communities featured in Resilience for All struggle with many of the same afflictions: environmental injustice, neglect, and lack of resources. These are vulnerable communities that face high exposure to economic and environmental shocks and disinvestment. Landscape and urban design improvements are relatively cheap, widely-accessible method of addressing these issues. Green infrastructure and streetscape improvements figure prominently in the book’s many case studies.

Importantly, Brown believes there is a fundamental relationship between ecological and social systems that, when leveraged, benefit both communities and their environments.

Consider the case of Cully, a low-income, ethnically diverse neighborhood in Portland, Oregon, that suffers from flooding streets, a lack of sidewalks, and languishing parks. Gentrification is also making its inroads.

Ordinarily, progress on the infrastructure front might invite gentrification. But a neighborhood coalition of community members and non-profits has made a point of linking infrastructure goals with wealth-building and anti-displacement goals. This means new parks associated with new affordable housing, construction on these projects performed by community members, and training provided by community organizations. This holistic approach has led to notable successes by Cully’s residents.

As Brown writes, green infrastructure improvements provide economic and health benefits; it’s logical to ensure those benefits serve communities directly and in as many ways as possible. It’s what Brown calls “green infrastructure as antipoverty strategy.”

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Cully residents at work in the community garden / Barbara Brown Wilson

Resilience for All shows community development progress comes in phases, with one success usually priming the next.

In the neighborhood of Denby in Detroit, the local high school worked with non-profits to introduce urban planning and city improvements into the senior class curriculum. Students, concerned with local crime, initially set their sights on getting a nearby abandoned apartment building torn down. They aggregated resident organizations into the Denby Neighborhood Alliance and adopted a vision to target blight on a larger scale. They and thousands of volunteers combined efforts to board up vacant homes and reduce blight on more than 300 city blocks and used this cleanup effort to install wayfinding artwork and planter boxes to mark new safe routes to Skinner Playfield, their revitalized school playground.

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“Safe Routes to School” planter box at Skinner Playfield. / Barbara Brown Wilson

Landscape improvements did not come to these communities without considerable effort and without help from a network of friendly actors. And the projects often operate on a humble scale.

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Skinner Playfield network map. This diagram shows the variety of organizations Denby high school students worked with to achieve their desired outcomes. / Barbara Brown Wilson

Each case in Resilience for All represents innovation and progress for the communities and is fleshed out by a mix of empirical research and Brown’s own analysis to paint a picture of what worked, what didn’t, and how those lessons might be absorbed and applied elsewhere. Resilience for All is also bookended by two useful sections: a brief history of community-driven design and an encapsulation of the case studies’ lessons.

Resilience for All is a useful handbook for landscape architect’s wondering how their skill sets might apply to community-led planning and design. It demonstrates how landscape can be a powerful resource for vulnerable communities. And it also shows how communities can positively impact landscapes.

Charles-Joseph Minard: A Legacy of Beautiful Data-based Maps

The Minard System: The Complete Statistical Graphics of Charles-Joseph Minard / Princeton Architectural Press

Edward Tufte, the world’s best known information designer, said Charles-Joseph Minard’s statistical map of Napolean’s 1812 invasion and then retreat from Russia was the greatest information graphic ever made.

Hannibal’s March over the Alps and Napoleon’s Russian campaign / The Minard System, The collection of the École Nationale des Ponts et Chaussées. Princeton Architectural Press

In a delightful new book, The Minard System: The Complete Statistical Graphics of Charles-Joseph Minard, author Sandra Rendgen uncovers the man who made the graphic as well as his many data visualization innovations.

Born in Dijon, France in 1871, Minard spent his career as a civil engineer, with much of it as an inspector of transportation infrastructure. It’s only in retirement that he was able to delve into his passion for the visual representations of statistics.

Minard’s engineering education and career deeply informed his approach to statistical maps. He had a “general appreciation of fact-based scientific practice, which tends to value empirical evidence over abstract reasoning and intuition.” His graphics were driven by the desire to best enable the “systematic gathering and evaluation of facts.”

But for a man so interested in scientific precision, there is also real beauty to his visualizations, with their “clean and minimalist aesthetics.” Rendgen argues that experts know a Minard visualization when they see one: “Not only are they refined in every detail of their rendering, including the lines, the dotting, the hachure, and the concise labeling, they also have a very ‘modern’ appeal to them.” He was then not only a engineer and statistician but also a designer.

Transport of mineral fuels in France, 1845-1860 / The Minard System, The collection of the École Nationale des Ponts et Chaussées. Princeton Architectural Press

Before Facebook created the Like button, Minard perfected a number of essential and elegant infographic elements that are now core to our global visual vocabulary.

For example, starting in 1845, Minard perfected the use of proportional circles on maps to indicate the amount of certain goods or populations in any given place.

Maritime ports in France, 1857 by Charles-Joseph Minard / The Minard System, The collection of the École Nationale des Ponts et Chaussées. Princeton Architectural Press

Minard is also know for his simplistic yet also precise “flow maps” that indicate overall traffic volumes of goods or people over territories. Minard expected his detail-minded viewers to carefully examine his maps, perhaps even with a ruler, so he drew the flow intervals or widths to be exact to the millimeter. For example, in the graphic below, Minard visualized the tremendous decline in cotton imports (the blue band) from the U.S. to Europe during the American Civil War to the tons.

European cotton imports, 1858 / The Minard System, The collection of the École Nationale des Ponts et Chaussées. Princeton Architectural Press
European cotton imports, 1862 / The Minard System, The collection of the École Nationale des Ponts et Chaussées. Princeton Architectural Press

The flow maps had to be both accurate and easy-to-understand: they were designed to help traffic engineers “predict demand on existing or projected routes,” or policymakers understand the bigger picture and make necessary policy, tax, or regulatory changes.

As Minard honed his craft over the years, Rendgen says his work only improved. “He gradually developed an understanding of the intricacies of integrating many different flows into one coherent representation and continually worked on avoiding clutter in his multi-flow representations.”

During his lifetime, Minard’s visual innovations were immediately and widely copied because they were so intuitive. His legacy is found in nearly every data visualization we see today. And the Minard system is perhaps needed more than ever before — to wade through the ever-growing sea of data and see clearly what it all means.

Glenstone Slows You Down

Glenstone / Jared Green

Emily and Mitchell Rales, the founders of Glenstone, one of the largest privately-owned museums in the U.S., want you to slow down.

As you get out of the car park at their expanded museum in Potomac, Maryland, you embark on a 10-minute journey along a gravel path, over a small creek, and between two large hills. Walking the path becomes an act of meditation, but also a journey of discovery as you come across surreal bits of hyper-nature.

Glenstone / Jared Green

After a few minutes the new pavilions designed by architect Thomas Phifer emerge into view.

Glenstone pavilions / Iwan Baan

The crunch of the pale grey gravel, the charismatic trees set in swaying meadow grasses — mostly little blue stem and purple top — are all designed to slow your heart rate and heighten your senses.

At the preview of the expanded museum, which is set within a 230-acre landscape, Emily Rales explained that it’s only when you are most attuned to your environment can you really take in the post-World War II artworks in their monumental new concrete pavilions.

Visitors descend stairs or an elevator to get to the main level of the pavilions where most of the modern and contemporary paintings and sculptures are found.

Pieces include a phrygian cap by African American sculptor Martin Puryear, a calendar of icons by Lygia Pape, an expansive Rothko painting, and epic site-specific installations by land artist Michael Heizer.

Phrygian cap by African American sculptor Martin Puryear / Ron Amstutz

Collapse, one of Heizer’s works, called for the special configuration of an entire wing. Only six people are allowed to experience the piece at the same time — a 16-feet-deep hole partially filled up with rusted steel beams, set in a small ocean of rust-colored gravel, which creates a Martian monochromatic landscape.

Michael Heizer installation / Jared Green

But the building is not only a portal to the art, it’s an entry into a whole other landscape: a water garden.

Glenstone / Iwan Baan

Adam Greenspan, ASLA, principal at PWP Landscape Architecture, who has been working on Glenstone for the past 15 years, said the “center pool is the culminating moment.”

The entire landscape has prepared you for this. “We designed the site as a holistic experience — from the region to the site. We knitted it all together.”

The landscape that leads you to the building was molded from the soils dug up to make way for the pavilions. Hundreds of tons of soil were sculpted into hills. Some 8,000 trees were planted. There are now 40 acres of meadows within the sweeping estate. The early agricultural landscape has been transformed.

Some of the 8,000 trees planted amid the 40-acre meadow at Glenstone / Jared Green

There is an underlying Japanese influence to the landscape and architectural design with the use of minimal gestures for maximum impact. Greenspan said the water garden is really “Ryoan-ji a couple of steps removed.” (Ryoan-Ji is one of the most famous Zen Buddhist gardens in Kyoto). The water garden itself is partially inspired by an Iris garden found in Hakone. “It’s similar in scale and size.”

Glenstone / Jared Green

However, the water courtyard at Glenstone also differs in some notable ways from its Japanese inspirations. PWP Landscape Architecture put the plants on a grid, which provides an underlying geometrical depth to the space. They did this for not only aesthetic reasons but also for practical ones.

The squares found within the grid enable the landscape architects to create areas of different soil depths, so they can contain and define the different plant life. “Irises need 4 inches of water or less; pickerelweed needs 8-10 inches; but water lilies need 8 feet of water.” Each get their own squares.

Glenstone / Jared Green

Within the modular approach, plants can also easily be re-arranged depending on how well they are doing in one micro-climate or another. “We have a living system that can move.”

Up and out amid the hills again, you may notice that meadow grasses seamlessly extend into a green roof that covers part of the buildings. And that the glass banisters purposefully minimize the difference between building and landscape.

Glenstone / Jared Green

Beyond these banisters, you come across an awing site-specific work by Heizer, called Compression Line, opposing ditches set in his rust-metal gravel.

Michael Heizer installation at Glenstone / Jared Green

Trails off the main building take you to large works by Richard Sierra, Jeff Koons, and Tony Smith, as well as the first part of Rales’ museum, which opened across a pond from their home in 2006.

Atop of a hill on one of those trails, an arching Sierra entitled Contour 290 looms and then storms into full view. A matted-grass and dirt path takes you to right up to the piece, creating a journey to a more elemental realm.

Richard Serra artwork at Glenstone / Jared Green

As you spend more time at Glenstone, you may think the art, building, and landscape must be explored again in a different season or sky. Emily Rales’ call for deeper awareness lingers: “we want you to notice the changing light.”

Trolls Invade Morton Arboretum

Rocky Bardur troll dislikes cars / Thomas Dambo

Trolls live in caves, rocks, or mountains. They live long lives, are very strong, but are known to be slow and somewhat dim-witted. They aren’t fond of humans and have even been known to eat a few.

In Morton Arboretum in northern Illinois, six wooden trolls have taken over, thanks to the inventive Danish artist Thomas Dambo. Each is about 30-feet-tall, except for a reclining one that is 60-feet long, and made of recycled wood. These installations are part of Troll Hunt, an inspired exhibition that will take families on nature walks in search of these dangerous creatures.

Troll snack / Thomas Dambo
Troll snack / Thomas Dambo

Visitors can take a hike along a 6-7 mile route through the 1,700-acre arboretum to find all six trolls, drive or bike to them, or take a “troll tram ride.” There’s a fun troll hunt map that only adds to the sense of adventure.

Chip Sullivan, FASLA, a professor of landscape architecture at the University of California at Berkeley, has called for bringing mythology back to our landscapes, to imbue them with deeper meaning that can connect us to stories from the past.

Wood troll / Thomas Dambo

Through thousands of years of Norse mythology and Scandinavian folklore, trolls have been seen as powerful supernatural beings who are capable of great mischief.

Troll trap / Thomas Dambo
Troll net / Thomas Dambo

They have been stirring our imagination for centuries — and in Morton Arboretum the myth is so much fun.

In Madrid, a Green Circle in a Square

To mark the 400th anniversary of Madrid’s Plaza Mayor, which was built during the reign of Phillip III, urban artist SpY temporarily transformed this hard urban place into a turf-covered green space. Over four days, some 100,000 Spaniards and tourists came to sit and chat on the circular lawn, simply named Cesped or Grass.

Cesped / SpY

According to Design Boom, the circle spans some 3,500 square meters, with a diameter of 70 meters. It’s a surprising new form for a space once used by Spanish Inquisitors to torture and execute heretics.

Cesped / SpY

SpY has done other intriguing projects using urban nature as a canvas. Grow in Besançon, France, involved pruning climbing vines into a circle. For SpY, these works demonstrate “an artist’s route through urban space.”

Grow / SpY

And SpY also playfully subverts security infrastructure. In another inventive project, Labyrinth in Ordes, Spain, the artist turned the steel barricades now-ubiquitous in cities into a fun puzzle. A parking lot temporarily became a maze kids can enjoy.

Labyrinth / SpY
Labyrinth / SpY

Ordinary materials plus design equals big impact.

Andy Warhol: “Land Really Is the Best Art”

Warhol: Flowers in the Factory / Marie Selby Botanical Gardens

In a new exhibition featuring the nature-inspired art work of pop master Andy Warhol, the Marie Selby Botanical Gardens in Sarasota Bay, Florida, brings back the “flower power” of the 60s, but with a fresh take. Warhol: Flowers in the Factory gives visitors a new look at Warhol’s enduring fascination with nature through a display of paintings, archival photography, and a unique collection of plants.

According to the Botanical Gardens, Warhol made some 10,000 images of flowers over the course of his career.

Warhol with Flower, 1964. Iris print / The Andy Warhol Museum, Pittsburgh; Gift of Jay Reeg, 2011.3.1. © Dennis Hopper, Courtesy of The Hopper Art Trust.

Four of the artist’s most well-known silkscreens, simply named Flowers, are now on display and inspired a horticultural riff on his work.

Flowers, c. 1967 / © 2017 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

The Gardens write: “Over the years the blooms recreated in the Flowers series have been misidentified as anemones, nasturtium, and pansies. They actually represent hibiscus.” Those hibiscus are found in the bright, fun flower installations seen in the photo at top.

Beyond the hibiscus, epiphytes like bromeliads and orchids, which are the primary focus on the Selby Botanical Gardens’ collection and conservation efforts, have been organized into repetitive patterns inspired by Warhol’s work.

Bromeliad in a square pattern / Marie Selby Botanical Gardens
Orchids / Marie Selby Botanical Gardens

The displays by the horticulturalists are meant to “emphasize the seriality and modular design of Warhol’s work. Like many landscape architects, Warhol was inspired by the repetition of shapes and bright pops of color.”

The Marie Selby Botanical Gardens is the only botanical garden in the world dedicated to the study of epiphytes, those beautiful, delicate, and strange plants that live in tree canopies and survive on air, rain, and debris.

The exhibition is open until June 30, 2018.

Also, learn more about Selby’s new master plan developed by landscape architecture firm OLIN last year, which will expand the green space in the 15-acre gardens by 50 percent and create a new demonstration site for green roof technologies for the 200,000-plus visitors who come every year.

Best Books of 2017

Drawdown / Penguin Press

Whether you are looking for a unique book to give as a gift or just one for yourself to delve into, we have some options. Here’s THE DIRT‘s top 10 books of 2017, our picks for the best on the environment, cities, and landscape:

Drawdown: The Most Comprehensive Plan Ever Proposed to Reverse Global Warming (Penguin Press, 2017)
Author and environmental activist Paul Hawken assembled hundreds of experts around the world to rank the potential positive impacts of 100 substantive climate solutions. One of the most accessible and informative books on climate change, Drawdown makes clear the vital role of landscape architecture, architecture, and urban planning in finding a way to reduce greenhouse gas emissions. Hawken and his coalition consider complete streets and bicycle infrastructure, walkable cities, green roofs, composting systems, and net-zero buildings as critically important. Other top solutions — like educating girls in developing countries and silvopasture — will cause you to think more about the relationships between population, agriculture, and sustainability.

Be Seated (Applied Research and Design Publishing, 2017)
In his new book, Laurie Olin, FASLA, founder of the landscape architecture firm OLIN and this year’s Vincent Scully Prize winner, brings to life his deep interest in outdoor seating. As he describes: “My interest in public outdoor seating in parks and plazas revolves around two poles: one is related to the fascination that Emerson and other philosophers have shown regarding aspects of the quotidian in our lives and experience, its pressures and benefits; the other is the utility of public seating in guiding our conduct as citizens.” Scattered throughout are evocative sketches and water-colors and well-curated images. If you enjoy trying to figure out what makes a public space great, you’ll love this book.

The Color of Law: A Forgotten History of How Our Government Segregated America (Liveright, 2017)
Richard Rothstein, an authority on housing policy, “explodes the myth that America’s cities came to be racially divided through de facto segregation―that is, through individual prejudices, income differences, or the actions of private institutions like banks and real estate agencies. Rather, The Color of Law incontrovertibly makes clear that it was de jure segregation―the laws and policy decisions passed by local, state, and federal governments―that actually promoted the discriminatory patterns that continue to this day.” As American cities continue to address the legacy of segregation while also dealing with widespread gentrification, this new look at urban history is invaluable.

Extreme Cities: The Peril and Promise of Urban Life in the Age of Climate Change (Verso, 2017)
Ashley Dawson, a professor of English at the City University of New York, argues that mega-cities, which are most often found on coasts, are “ground zero for climate change,” given they are home to our largest populations, highly vulnerable, and also contribute the most to greenhouse gas emissions. Reviewing Extreme Cities, author McKenzie Wark writes: “Dawson shows how social movements have combined action on disaster relief with forms of equitable common life to produce models for radical adaptation from which we can all learn. This is a brilliant summation of what we know and what we can do to build a new kind of city in the ruins of the old.”

Handbook of Biophilic City Planning & Design (Island Press, 2017)
University of Virginia professor Tim Beatley’s new book presents everything he has discovered on what he calls “biophilic urban planning and design” — strategies that both boost biodiversity and foster deeper human connections with nature in cities. He brings together the established science, the important case studies, and innovative code and design practices from around the world in one place. Even if you think you already know a lot about how best to incorporate nature into cities, there will be some interesting new facets in this book for you to explore. (Read the full review).

Movement and Meaning: The Landscapes of Hoerr Schaudt (The Monacelli Press, 2017)
This book highlights the depth of work created by landscape architects Doug Hoerr, FASLA, and the late Peter Schaudt, FASLA. From private gardens to lush civic spaces, Movement and Meaning chronicles the major works by the Chicago-based studio, from inception to final installation. The sheer variety of images, drawings, and photography make this book an absorbing overview. (Read the full review).

The New Landscape Declaration: A Call to Action for the Twenty-First Century (Rare Bird Books, 2017)
Last year, on the eve of its 50th anniversary, the Landscape Architecture Foundation (LAF) brought together 700 landscape architects, designers, and planners in a symposium in Philadelphia to forge a New Landscape Declaration. LAF now offers in handy book form 33 speeches that “reflect on the last half-century and present bold ideas for the what the discipline should achieve in the future.” Those ideas are meant to “underscore the need to diversify, innovate, and create a bold culture of leadership, advocacy, and activism.” (Read more about the declaration and symposium).

Paradoxes of Green: Landscapes of a City-State (University of California Press, 2017)
This new book by Gareth Doherty, ASLA, director of the masters in landscape architecture program at Harvard University Graduate School of Design, is a successful hybrid of landscape writing and ethnography focused on the island nation of Bahrain. It presents a portrait of Bahrainis’ rich and evolving relationship with their landscape as well as a model for future studies. (Read the full review).

Transmaterial Next: A Catalog of Materials That Define Our Future (Princeton Architectural Press, 2017)
While we have all experienced the effects of the information technology revolution now underway, we may be less aware of the impact of the new “materials revolution,” argues University of Minnesota professor Blaine Brownell in his new book. Building materials are being transformed to respond to our planetary environmental crisis, lower costs and boost efficiency, and provide new media for creative expression. Given the serious problems facing the Earth, the scale of the ambition is heartening. (Read the full review).

Wise Trees (Harry N. Abrams, 2017)
Landscape photographers Diane Cook and Len Jenshel offer gorgeous full-page photographs of 50-plus wise, old trees, which are accompanied by a brief story about the spiritual and cultural life inspired by each of these natural wonders. With the help of grants from the Expedition Council of the National Geographic Society, the photographers spent two years traveling across five continents to capture these historic specimens.

Also, worth knowing: buying these books through THE DIRT or ASLA’s online bookstore benefits ASLA educational programs. And if you are based near Washington, D.C. we also recommend checking out the National Building Museum’s fantastic book store.

Landscape Architecture in the News Highlights (November 1 – 15)

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Tech Deck in Mountain View, California / Bionic

Young Landscape Architect Works to Shape the Future San Diego Downtown News, 11/3/17
“Growing up in Tempe, Arizona, Magnusson was influenced by Frank Lloyd Wright’s architecture, and had opportunities to explore several of his commercial, institutional and residential projects.”

Michael Maltzan Architecture to Expand ArtCenter College of Design The Architect’s Newspaper, 11/3/17
“ArtCenter College of Design has unveiled renderings of a new, two-phase master plan created by Michael Maltzan Architecture that aims to reposition the college as an expansive, urban campus connected by pedestrianized open spaces, new housing, and student amenities.”

Lines Are Drawn Over Design for a National World War I MemorialThe New York Times, 11/8/17
“When it was built in 1981 as part of an architectural revival of Pennsylvania Avenue, Pershing Park was a downtown oasis of tree line and water fountain steps from the White House. In the years since, the park has fallen into disrepair and has become a haven for homeless people and pigeons.”

It’s All About the Details for Landscape Architect Kathryn Gustafson The Vancouver Sun, 11/10/17
“This year the Robson Square lecture hall was packed to hear renowned American landscape architect Kathryn Gustafson, and she did not disappoint.”

Bionic Forges Lush Landscapes and Public Spaces in the Dense Bay Area Curbed, 11/15/17
“Wilson is changing the shape and texture of some of California’s most beloved landscapes and outdoor public areas in ways that are surprising, unconventional, and delightful.”

New Public Light Art Brings Technology into the Public Realm

New technologies have enabled light artists to conceive public works that would have been impossible just a decade ago. These works create new opportunities for landscape architects and designers who seek to bring the dynamism of digital light into the public realm. As broadband and smart phones become ubiquitous, technology and LEDs may become more prominent in the public realm. Our public spaces may evolve to reflect our increasingly technological nature.

In Accumulation, which runs through a cycle of patterns that explore concepts such as “rise, flow, accumulation, dimension, light, and overlap,” artist Minha Yang used LED and algorithms to create a mesmerizing entry gateway for a hotel in Seoul, South Korea (see video above).

For the 2017 Oastrale Biennale of Contemporary Art in Dresden, calligraphy graffiti artist Said Dokins partnered with photographer Leonardo Luna, visual artist Andrea Hilger, and others to create a brilliant temporary installation Heliographies of Memories in which calligraphy appears to be written by hand in light. An elaborate set of projectors traced the text in the air in Dresden’s public spaces.

Heliographies of Memories / Said Dokins, Leonardo Luna, Andrea Hilger

And, lastly, the stunning and alien Light Barrier, created by South Korea artist pair Kimchi and Chips uses eight architectural projectors, split into 630 sub-projectors that create a projection akin to a “field of fog,” graphic objects that “animate through space as well as time.” According to the artists, the projection helps bring the audience into a “new field of existence.”

Light Barrier was commissioned by the Asia Culture Center in Gwangju, a city in southwest South Korea, and is displayed there.