In its new exhibition Peter Cook: City Landscapes, Louisiana Museum of Modern Art showcases drawings by the influential architect, best known for his architectural theories and visionary concepts. Curated by Kjeld Kjeldsen and Mette Marie Kallehauge, the event is part of the exhibition series Louisiana on Paper, which presented the work of various artists over the years and is now debuting its first show featuring drawings by an architect.
The Cultural Landscape Foundation - TCLF has awarded Julie Bargmann, founder of landscape architecture firm D.I.R.T. Studio, with the first ever Cornelia Hahn Oberlander International Landscape Architecture Prize, a distinguished award bestowed on designers who are “exceptionally talented, creative, courageous, and visionary, with a significant body of built work that exemplifies the art of landscape architecture.”
Since before the first industrial revolution, sociologists, historians, and urban planners have been addressing the relationship between the city and the countryside, but this debate has become more pressing nowadays with the spread of megacities, typically with a population of more than 10 million people. With more and more people living in urban areas, it is imperative to think of solutions for food production within cities, thereby making cities more independent from rural areas, which have historically been responsible for the supply of food to the entire planet.
The idea that cities will become self-sufficient in food production in the near future is both unrealistic and naive. Nevertheless, small initiatives such as urban gardens, either at home or public gardens run by the community, might be a good starting point for a much bigger change in the future. Or perhaps they simply represent a desire to return to one's roots and achieve a slightly slower lifestyle.
Álvaro Siza's latest project in Portugal is a 16-meter high watchtower built with a lightweight steel structure featuring photovoltaic panels on the roof. This project is very different from most of Siza's works, both in terms of scale and materials. The watchtower is located in Serra das Talhadas, in the municipality of Proença-a-Nova, and is part of a larger project comprising several structures dedicated to ecotourism in the area, including the still unbuilt Miradouro do Zebro.
Humans possess an innate tendency to seek connections with nature, regardless of the physical or geographical conditions in which we find ourselves. As we become increasingly detached from the wilderness, we develop means and strategies to bring nature back into our daily lives, even if only for a few moments.
There are many ways of domesticating nature, as seen throughout the history of mankind, through fascinating structures that challenge technical limitations, such as vertical indoor gardens.
Juan Miró, co-founder of Miró Rivera Architects reflects in an opinion piece on the value of American cities. Stating that "when we idealize cities like Copenhagen, we risk losing focus of the fundamental historical differences between the urban trajectories of European and American cities", the architect and educator draws a timeline of events and urban transformations, in order to explain why it would be more relevant to look on the inside when planning U.S cities, rather than taking examples from the outside.
Designed by Heatherwick Studio, together with landscape architecture firm MNLA, the long-awaited Little Island project is New York’s newest major public space, showcasing a richly-planted piece of topography above the Hudson River. The design featuring a public park and performance venues reinvents the pier typology into an undulating artificial landscape. After surpassing many hurdles, the eight years in the making project is now open to the public, and the bold design is set to become an icon in New York.
The Kuwait Pavilion at the Venice Architecture Biennale 2021 tackles notions of discovery, interpretation, and projection of the hinterland, contextualizing the nation’s imminent growth. The exhibition titled Space Wars and curated by curators Asaiel Al Saeed, Aseel AlYaqoub, Saphiya Abu Al-Maati, and Yousef Awaad brings the hinterland within the architectural discourse, highlighting the nation’s functional staging ground.
Israel’s Pavilion for the 17th Venice Architecture Biennale highlights the impact of intensive mechanized agriculture on landscapes and ecosystems, as well as the disruption caused to local communities. Titled Land. Milk. Honey and curated by an interdisciplinary team comprising Dan Hasson, Iddo Ginat, Rachel Gottesman, Yonatan Cohen and Tamar Novick, the exhibition portrays the fundamental changes experienced by the region through the stories of local animals, constructing a history of the 20th-century development.
“No, I’m not homeless. I’m just houseless. Not the same thing, right?" Questioning the notion of home and house, Nomadland tells the story of a sixty-year-old woman who loses everything during the great recession, leaving her hometown after the collapse of the sole industry that supported the rural settlement and the death of her husband. She decides consequently to embark on a journey and experience life as a modern-day nomad, setting off in her van through the vast landscape of the American West.
American 19th-century sanitation engineer George E. Waring, Jr. was a miasmaist. He believed in the miasma theory, which holds that toxic vapors traveled through damp soil, rotted vegetation, and pools of standing water. These toxic vapors were understood to emanate from the Earth and interact with the atmosphere and cause disease in American cities.
According to Catherine Seavitt Nordenson, ASLA, a professor of landscape architecture at the Bernard & Anne Spitzer School of Architecture at the City College of New York, Waring was a “marginal figure,” but he had interesting ideas about how to “modify the climate to improve health.” In a virtual lecture hosted by the Harvard Graduate School of Design, Seavitt Nordenson said Waring was incorrect about the mechanisms for spreading disease —he didn’t understand the concept of vectors, like mosquitoes— but his drainage and sanitation solutions were “surprisingly successful.” A year into the coronavirus pandemic, it’s worth revisiting Waring’s ideas about the connections between the Earth, atmosphere, disease — and the maintenance of public spaces.
In 1968, the small town of Gibellina in Sicily was flattened by the colossal Belice earthquake, a magnitude 5.5 quake that killed hundreds and left 100,000 homeless. Planners were unable to rebuild Gibellina at its original site, so the new city—Gibellina Nuova—was constructed 11 kilometers (7 miles) away instead. In anticipation of the design and construction of Gibellina Nuova, and in the wake of the Belice earthquake tragedy, the mayor of Gibellina called on several artists to submit proposals for projects to decorate the new city. One of the artists was the prolific “polymaterialist” Italian painter and sculptor Alberto Burri (1915-1995).
The International Placemaking Week, presented by Project for Public Spaces (PPS) is an inspiring and engaging event designed as a global gathering of placemakers from different sectors to discuss thoughts and share strategies in order to push forward the concept of placemaking in the host city and on an international level. Previous editions took place in Vancouver in 2016, Amsterdam in 2017, and Chattanooga, Tennessee in 2019.
PPS, the nonprofit organization behind the Placemaking Week, helps people create and sustain public spaces that build strong communities. In 1999, they elaborated “How to turn a place around”, a book that defined the placemaking movement, creating a guideline of 11 principles to follow in order to create vibrant community spaces.
A “floodscape” could be seen as a contradiction in terms: Flood spreads wherever gravity leads it, covering the familiar topography with a dark, gray, and uniform blanket. In that regard, flood is amorphous, as it can distort and temporarily erase forms and features from the visible landscape—nothing that could be described as a “scape” in the sense of articulated and meaningful scenery.
But when the boundaries of a flood are not just defined by the quantity or the velocity of water but also by landforms and structures carefully designed and placed to influence and shape the “disaster,” the result can be considered as a landscape, physically and culturally defined by flood.
With the exception of some areas, within the three principal regions of Peru--coastal, mountain, and rainforest--the climate is characterized as tropical or subtropical and the differences in summer and winter temperatures is minimal, rarely reaching beyond 15 °C and 27 °C. This mild climate has thinned the line between exterior and interior spaces, a fact evident in the region's architecture.
.jpg?1572496110 "© Jomar Brangança")
