West 8 Founded in 1987 by Adriaan Geuze, West 8 is an urban planning and landscape architecture frm based in the Rotterdam, Netherlands. Part of the Dutch wave of architects that have gained major international recognition for innovative design approaches and urban solutions in the past few decades, West 8 currently has offces in both their native Holland and New York City. + Landscape Design Eastern Scheldt Storm Surge Barrier1991-1992 | Zeeland, Netherlands | 41 800 sqm | Installation- dark and light coloured mussels attract black and white birds respectively- viewed from the vehicular perspective-tidalmovementwashesawaythemusselsandcapturestheideaofanuncontrollable nature- contrast between austere utility of the barrier and the ephemeral installation+ Toronto Central Waterfront 2007-2009 | Toronto, Canada | 1760 sqm | Waterfront- an effort to rejuvenate the Toronto waterfront by creating a continuous water edge promenade connected by a series of pedestrian bridges- the timber wave decks rise up and down playfully to refect the contours of the Canadian lakefront shoreline- the rising curves create ledges for seating, different vantage points from which to admire the lakefront and thus different experiences of the city + Schouwburgplein1991-1996 | Rotterdam, Netherlands | 9 150 sqm | Plaza- an open plaza that replaced an unused parking lot, situated in a dense city center- revolves around different programmatic uses, which govern material choice- the square is also programmed around the times of day, instructing the plan- mechanical lights are implemented to awaken the spaces at night- on a raised platform to act as stage for the city+ Miami Beach Soundscape2011 | Miami Beach, U.S.A | 23 700 sqm | Landscaped Garden- landscaped garden with media and vegetative installations that responds to site context (New World Symphony Building)- natural palm vegetation used to protect against hurricanes- focused on creating an intimate, shady, and soft park that can be comfortably enjoyed by occupants+ Expo .021998-2002 | Yverdon-les-Bains, Switzerland | 185 000 sqm | Pavilions- pavilions house exhibition spaces, media installations, and concessions for Expo 02- the idea of transplanting dutch fower landscapes and hills on the site- artifcial dunes, bombardment of fowers, and psychedelic patterns play on visitors senses- landscape and structure were designed to be dismantled within one year+ Garden of 10,000 Bridges2010 - 2011 | XiAn, China | area unknown | Landscaped Garden- temporary installation designed for the 2011 XiAn International Horticulture Exhibition- concrete bridges installed in a landscaped bamboo forest- explores notions of poetry and narratives with a winding path through nature- consisting of a variety of bridges of different height and spans, the circulation raises and lowers the occupants in order for them to explore and observe the landscape from various vantage pointsARCH 425: P1James Corner Field OperationsPart 2: Representation and CreativityPart 3: Landscape Urbanism and PracticeJiyeon Kim, Michelle Piotrowski, Victor Poon, Liwei Wang, Janice Woo, Jennifer Yong-In a timeline of Corner's career in landscape architecture, there is a clear reflection of his stance that writing and designing are intertwined modes of working-Influence and education from McHarg-Writing was prompted by the divided state of landscape architecture in the late 80's between environmentalists and artists-Essays, collected in "The Landscape Imagination", show his interest in the larger impacts and discourse of the fieldPart 1: Background and Teory-Cultural, ecological remediation where disconnected void in the city is transformed into vital piece of urban fabric-Model for new park typology for expectation of 80+ returned decommisioned military sites-Poetic nature expressed through five themed zones within park that addresses history of Korea and the siteBUSAN CITIZENS PARK Busan, South Korea-23 city block-long elevated park constructed of a reclaimed railway on the West Side of Manhattan-Captures the charm of self-sowing plants overtaking an industrial relic-Built in three episodic phases, including plains, pits, flyovers, ramps, etc., each of a different character- Corner advocates eidetic representations that leave not only a visual impression, but express a broad range of ideas-Discusses drawing in three distinctly different types: Projection, Notation and Representation-He develops a mapping style that is a composite montage, allowing for a multiplicity of issues to be layered and read at once.-Was extremely interested in aerial images and representation from above, as well as the consequences of this new technology.HIGH LINE New York City, New York-Complex includes renovation of 19th century heritage factory plus addition of 5 new buildings-Includes a series of public parks, gardens, sports fields organized by function and laid out as a series of strips-Proposal maintains some of the existing industrial elements of the factory site, such as cranes and gantry towersDOMINO SUGAR FACTORYBrooklyn, New York-Master plan for a new city on 18 square-km of reclaimed land-Five sub-districts defined by water fingers that filter stormwater, create parkland, organize development-One monument and transit/commercial hub in each district, with retail, residential, infrastructure, mixed use, and civic programmesQIANHAI WATER CITYShenzhen, China2014201420162020SEQUENCE / TIMEREMEDIATION / RECOVERYMULTI-DISCIPLINARY WORKTianjin Wetland ParkTe Tianjin Wetland Park is a stormwater runof basin and soil remediation project in the dense urban fabric of the city of Tianjin on the former site of a contaminated garbage dump. Inspired by local adaptive communities of plants, the project uses cells of diferent sizes and depths to curate the optimal qualities for diferent local plantings to thrive resulting in a low maintenance design. Te pedestrian interventions are quite minimal and consist of a network of paths and numerous observation points dotted across the park, constructed from reclaimed railway ties. Since opening, independent sources have measured a decrease in noise levels in the park, return to neutral pH of the soil, and an increase in the number of wildlife species.Qunli Stormwater ParkQunli stormwater park is a park at the scale of Chinese urban development. Built before the onslaught of rapid urban boom, the park represents the last vestige of wetland in the area. Tese wetlands function as stormwater storage, so that the water systems of Qunli are not overburdened. A ring park surrounds the wetland. Te cut and fll construction of this park creates fltering ponds for the stormwater and a heterogeneous landscape for the residents of the area.Zhongshan Shipyard ParkTe Zhongshan Shipyard Park succeeds in aspects of preservation of vegetation, the protection of old banyan trees along the river side, the reuse of rails, the decoration of water towers, and the creation of the red box.Turenscape successfully creates a network of paths through a park that considers all parts of a functional renewal scheme. All elements including the recycled water tower, new planters, pavers and docks are carefully designed and well executed. Paths and urban interventions allow the park to merge into the urban fabric quite seamlessly - with program including the tea house bringing in visitors, Water elements merge via the inlet from the sea that fuctuates along with ocean tides allowing the park to respond to the context.Kongjian Yu is a practicing Landscape architect in China. He is the founder, director and professor at the College of Architecture and Landscape Architecture at Peking University, and the lead designer at Turenscape. Turenscape is a practice that does architecture, landscape architecture and urbanism in China. It has over 600 employees, and has gained national and international recognition for its work in China. When Konjian Yu presents his work, he does so under the title of the Art of Survival. He develops a New Vernacular, a strategy that attempts to mediate between the traditional Chinese Garden and the traditional farmland, creating a combination of aesthetic and function to address Chinas pressing issues of pollution and depleting clean water supply. Tis strategy includes four strategies:1. Address the relevant issues of survival 2. For the people, the common and ordinary 3. Use modern technology and materials 4. An integration of contemporary art and ecologyTurenscape as a frm addresses three objectives: ecological targets, giving sites cultural relevance, and the communication of the New Vernacular.Te Floating GardensTe Floating Gardens succeed in creating a park that infuses a need for food and drainage control in a country that generally builds quick with little regard for consequence. Trough a clear layering strategy the park redefnes the urban wetland as a place of communal pleasure and recreation - one that fnds balance in form and function.Shenyang Architectural University CampusTe Shenyang Architectural University Campus in Liaoning Province is a model for new hybrid landscapes. In relocating to a suburban campus the landscaping strategy takes advantage of the regional rice felds, which creates a dialog between sustainable development and agriculture. Te rice felds not only beneft the school but also engage the surrounding community, which links the spirit of the site to the present.Red Ribbon ParkTo protect the natural habitat along the river while creating new opportunities for recreation & environmental education. Te solution is the Red Ribbon.Te Minimum InterventionMost contemporary designed landscapes are too costly both fnancially and environmentally, especially in China. Use natural processes & services, but with a minimal intervention to have a maximum impact. Te project demonstrates and harmonious marriage of art and ecology.TURENSCAPENatalie Bellefeur|Monty de Luna|Stephane Gaulin-Brown|Evelyn Hofmann|Jack Lipson|Lia TramontiniCLAUDE CORMIER Early studies inAgronomy(agricultural science and technology) at the University of Guelph 1982StudiedLandscape Architectureat the University of Toronto 1986 and completedMasters of History & Theory of Design ,Harvard GSD 1995 ARTIFICIAL BUT NOT FAKE The experience takes precedence over traditional concepts of garden, creating genuine experiences using manufactured objects. Landscape is represented, not replicated, by drawing inspiration from art and technology. It is the evolution of our visual culture in which Claude Cormier challenges our preconceptions of the types of objects that can carry the experiences achieved in landscape urbanism. 3P PHILOSOPHY The success of a projects relies on achieving two of three;people ,project interest, andprofit. PINK BALLS The Pink Balls is an seasonal installation located in Montral on Rue Sainte Catherine Est. The project is composed of 170 000 pink plastic balls suspended at 6.5 m for a full kilometer. The project came about from a request by the city of Montral to improve the social conditions of Sainte Catherine Street and the Gay Village. The result was an installation that involved the entire community and gave a new identity to the Gay Village in Montral. The repercussions can be seen in the social media and public interactions with the installation. It has become an icon for the city of Montral and a popular tourist attraction. The project successfully achieves the 3P philosophy of the firm by by revolving many of the social problems of the Sainte Catherine Street and revitalizing the quarter. SUGAR BEACHSugar Beach is a contrived beach that acts as an urban escape without the cost and automobile constraints. Set between the vertical city and horizontal lake, it responds to the industrial past of the site and links to the greater Toronto Waterfront Revitalization. Inspired by the 1884 painting by Georges Seurat, Bathers atAsnires, the project attracts different city dweller, workers and visitors to retreat and be idle. The strong aesthetic has become an icon for the waterfront and well loved public space that holds many formal and informal gatherings. TOM I, II, II The temporary installation has been re-imagined each year on the Avenue du Musee using TOMs (Temporary Overlay Markers) attached to the asphalt.. The concept of the series is to bring the landscape into the city,and has become increasingly complexin reference, conception, and execution.TOM I: Pointillism, field of daisies, 3500 yellow/white TOMs TOM II: Impressionism, Field of Poppies by Van Gogh, 6000 red/green/white TOMs TOM III: Geometry and perspectival games, Faberge egg, 10 000 yellow/blue/white/black/red/orange/purple TOMs BLUE STICK GARDEN The Blue Stick garden was stated to be the expression of the evolution of our visual culture, from impressionistic brushstroke to digital outputs. The Blue Sticks are the pixelated product of an image of the iconic Blue Poppy of the Metis Garden in Quebec. The installation, originally installed at Les Jardins de Metis in 2000, the Blue Sticks have travelled to 4 other sites; Canada Blooms in Toronto, Hestercombe Gardens in Somerset UK, Flora International in Montreal, and returning to Villa Estevan as a permanent garden.The Blue sticks represent an artificial interpretation of the floral, but produce a chromatic experience that challenges our preconceptions of what landscape is. The 3500 sticks are painted blue on three sides and orange on the fourth. As perception and time progress through the project, the experience of peering through the stems of the blue sticks produces a similar effect of that of real tall plants, as well as perception of the changing colour.. LIPSTICK FOREST Lipstick Forest was an installation project displayed at the Palais des congrs de Montral from 1999 to 2002. The project features 52 pink concrete trees sculpted by local concrete sculptors. This installation symbolizes the idea of nature living in harmony with the city centre, the concrete trees were inspired by the trees lining Montrals Parc Avenue and were painted lipstick pink to celebrate the citys flourishing cosmetic industry and manifest Montreals inexhaustible joie de vivre. These trees were deliberately constructed out of concrete, instead of trucking in real trees and fighting against the local climate to keep them alive, as a way of conveying the reality of nature in our contemporary world. Andrew Cole, Christina Liu, Eveline Lam, Louis-Pierre Belec, Sheng Wu Diana BalmoriArch 425: Project 1Evan Brock, Mona Dai, Jeremy Jeong, Christina Robev, Andjela Tatarovic, Sheelah ToltonNostalgia for natures past & utopian ideas of societys future are unproductive and irrelevant; one must look at the present-moment real-world juxtaposition of natural landscape & human progress, and work to integrate them holistically and effectively.Projects:ARC Wildlife Crossing, Long Island Green CityLandscape is both shaped by, and a shaper of political and social forces.One can read in a landscape, the assumptions and values of its surrounding society.Projects:Sejong City Master PlanLandscape in the modern city must integrate with the urban context and nature.The city must derive its form from the processes of nature.Projects:Sejong Master PlanThe artist and designer can use their craft to form a unique bond between nature and art.Together they create something more compelling than either on their own.Projects:Making Circles: Metis Garden FestivalLandscape can be used to repair our relationships between ourselves, others and nature, in spaces lacking nature and place.Projects:Bilbao Riverfront, New York Floating LandscapesEverything around us is constantly changing: we are surrounded by systems of interacting components. Landscape asserts this constant fuidity present in life.Projects:Botanical Research Institute of Texasnostalgia vs realitylandscape as artlandscape & cityconstant changesoci etal forcesSITE opportunitiesUrbanprojectsfeaturemorehardscapingduetolessamount ofsiteavailable.Hargreavesestablishesconnectionsbetween denseurbansituationsbycreatingplaceswithstreetfurniture, waterfeatures,steppedterracesandvegetation.Incertain conditions,heusesexpressivelandformsandsculptural elements to relate his compositions back to the history of the site. Hargreavesbalancesecologicalrejuvenationandpublic recreationinhiswaterfrontprojects.InRenaissancePark Hargreaves turns a post-industrial site into a water remediation parkwhichisabletoeducatevisitorsandinstillasenseof ecological responsibility. In South Pointe Park Hargreaves uses berms to separate program and planting areas, creating a lively publics space which can be utilized by a diverse group of users.Hargreaves, George. Landscape Alchemy: The Work of Hargreaves Associates. Pt. Reyes Station, CA: ORO Editions, 2009. Print.HargreavesAssociates.-Projects.N.p.,n.d.Web.15June2015. http://www.hargreaves.com/projects/index.phpIn Hargreaves early projects, he begins to tie his site moves to elements which would be otherwise un-experienced. In Byxbee Park,Hargreavesreferencesthelandfllbelowwithpoles that are meant to signal the movement of the garbage under theclaycap.Inadditiontothis,chevronspointtoairtraffc pathsthatexistabovethesite.InCrissyField,Hargreaves referencesthesiteshistorybyre-creatingasaltmarsh,and preservingthemilitarycomponentsonthesite.Inhisearly work,Hargreavesalsobeginstoestablishhisvocabularyof berms, strong angular paths, and relationship to water.GEORGE HARGREAVESARCH 425JCAMERONPARKINMARIOARNONETRISTANROBERTON PAVEL TSOLOV KRISTIN ALLISON HANEEN DALLA-ALIKATHRYN GUSTAFSONGUSTAF S ONPORT ER, LONDON GUSTAF S ONGUT HRI ENI CHOL , S EATT L E LURIE GARDEN - CHICAGO A garden roof atop an underground parkade, the design provides a sculptural, continuously changing landscape where varying perspectives offer new views. Key Themes - History of Chicago - Changing landscape - Fabricated topography (south sloping)DIANA, PRINCESS OF WHALES MEMORIAL - LONDON A monumnent that is inclusive like Dianas personality, which generated the projects concenpt of Reaching out/Letting in. Key Themes - Water interactivity - Sculpted landscape - Dynamic experienceNEW OLD MARKET SQUARE - NOTTINGHAM The winning proposal in a competition to redesign the oldest Market Square in the UK. The competition brief called for an safe, accessible, integrated and revitalized space to the currently under-performing city square. Key Themes - Water interactivity - Community Engagement - Connection to History of SIteBAY EAST, GARDENS BY THE BAY - SINGAPORE One of three distinct waterfront areas designed with the goal of transforming Singapore from a garden city to a city in a garden. Key Themes - Water interactivity - The relationship between the human body and the plant world - Sustainability and reclamationPIKE-PINE RENAISSANCE - SEATTLE Revitalization of an area at the heart of downtown Seattle, with objectives at three different layers of streetscape: Light, Middle, and Deep. Key Themes - Enhance attractiveness and urban/pedestrian experience - Increase connection to the Waterfront - Major transportation and public space improvementsCULTUURPARK WESTERGASFABRIEK - AMSTERDAM Design of a public park as part of a new cultural center on the regenerated site of a 19th century gasworks Key Themes - Water interactivity - The changing relationship between people and the environment - Sustainability and reclamationYunyue (Tonks) Chen | Cynthia Eng| Elizabeth LaingMonica Lalas | Shu Pui Lui | Yue (Chelsea) Qiuredeployment of found or recycled objects and off-the-shelf materialsreplacement of the natural with the artifcialprojects have incorporated artifcial fowers, fake rocks, plastic boxwoods and shrubscopy-paste elementsinterest in shifting systems of order, and organizaing systems altered by random selectionengagement at various scales and distancesinfuenced by Pop art: bright colours, hard edges, graphic qualityillustrated versus the picturesqueAppropriationSimulationSeriality and RepetitionPublic InterfaceGraphic ExpressionGrew up in Iowa in the 1960s and 1970sInfuenced by Pop art in the 70sCompleted undergraduate studies in Iowa State University in 1976Trained as an apprentice for sculptor Paul Shao Graduated from GSD Landscape Architecture in 1986Worked in the offce of Peter Walker and Martha SchwartzStarted his own offce in New York in 1992Founded a new offce Ken Smith Workshop in California in 2005work with multiple city departments to enhance Lower Manhattan waterfront accessibility for recreational purposesplanning embraced existing infrastructure, the FDR highwayadaptive kit-of-parts strategy to engage public interactionspavement design inspired by the rippling effect of watervariations of railing and seating anticipate diverse use and shape experienceused camoufage and simulation as design strategies to build an inaccessible roof that is visible to adjacent high rise buildingsemployed plastic rocks and plants on the surfaces of the roof to minimize maintenanceinspired by Japanese dry Zen gardens with a relatively fat garden of white gravelmaterials used were recycled black rubber, crushed glass, sculptural stones and artifcial boxwood plantsa large-scale fower scrim for the front of the Cooper Hewitt National Design Museumover-sized fower shapes fabricated from brightly colored varieties of erosion control fabrics typically used for landscape constructionthree-dimensional silk fowers ornament the fower cut-outs, which were attached on a scrim of safety orange construction fencinginvestigates cultural interest in artifcial fowers and in designs simulation of nature as an art form a small scale permanent project for an accessible garden in a tall, narrow roomuses repeated wall-hung tropical potted plantings in addition to shade tolerant ivya mirror wall visually enlarges the narrow spacerubber gravel used as a foor covering for its moisture tolerancefaux-antler light fxtures draw visual interest upward to the glass rooftwo-month installation in Liberty Plaza in Manhattans fnancial district during winter holiday seasoncollaborated with Jim Conti, lighting designerthe large cone-shaped topiary lanterns formed an artifcial garden space and calming soundscape located in the midst of a crowded urban settingthe artifcially constructed landscape, replaces the traditional more natural landscape as a place to relax in the heart of the citygarden redesigned for elderly client who has a passion for artterraced garden covered with crushed stone and glass, shredded rubber, and xeric plants, which require minimum maintenancegreat backdrop for art displayturns water harvesting system into aesthetic elementdesign showcases railway artifacts clearly, but is frmly grounded in landscape architectureuses a new design vocabulary to do things like they ft into a rail yardlinear features are a departure from traditional Santa Fes curvilinear forms, but Smith uses this linearity to refect history of railwayspaces serve multiple uses and public furniture is built directly into the landscapebuilt on the site of former El Taro Marine corps air stationan open space corridor replaces the north-south runway of the air baseagricultural past of the site is refected in the felds and gardens of the strategypark connects a chain of land reserves from the mountains to the seacommunities are linked using riding, hiking, and walking trailsartifcial lake and canyon will change the now fat landscapematerials are salvaged, recycled, and waste-neutralwater is managed using porous pavement and infltration devicesGlowing Topiary GardenThemes BackgroundNew York, USA | 1997New York, USA | 2006New York, USA | 2005New York, USA | 2005Southern California, USA | 2013New York, USA | 2010-presentCity of Santa Fe, USA | 2008Orange County, USA | 2007-presentWallfowersFirehouse Atrium Vertical GardenMoMA Roof GardenPacifc Coast ResidenceEast River Waterfront EsplanadeSanta Fe Railyard ParkOrange County Great ParkMCLEOD TAILINGS | Geraldton | 1998EXCHANGE SQUARE | Manchester | 2000CENTRAL PARK MONTE LAA | Vienna | 2002MESA ART CENTER | Mesa | 2005MASSAR DISCOVERY CENTER | Damascus | 2008TheMonteLaaCentralParksuccessfullymitigatestheissue ofshiftingpopulations,negotiatingcontinuouslytransforming, diverse,andmixed-useneighbourhoods.Thelinearparkis anurbaninfillprojectthatcreatesacompactcity,bridging twoexistingneighbourhoodsthroughanextensiveparceling andbreakdownofspacesthataccommodatesawiderangeof demographics and their respective activities. With the Mesa Arts Center, Schwartz is given an opportunity to work with a city that is like a blank slate. Mesa, Arizona suffers fromasprawlinggridthatisaresultoftheautomobileera. MarthaSchwartzsdesignbringstogethershade,vegetation, andflowingwaterintheatricalinterplaytocreateanoasis-like conditioninthisArizonacity.TheArtsCenterhopestobethe spark that can fuel the generation of a city center in a place of nonexistent urbanism.MarthaSchwartzdesignofthepublicrealmfortheMassar ChildrensDiscoverycentreispivotaltotheculturaland educational identity of Damascus. The design carries the theme of a cultural corridor with a rich journey through the site, feeding in and out of the discovery centre, whose design is based on the Damascus Rose.Exchange Square, located in Manchester, England, is a project which aims to revitalize a dying city centre by creating a new cultural and commercial hub, providing a destination for people from all over the city. The projects success can be attributed to successful connection between the old and the new portions of thecity,creationofflexibleinfrastructureandemphasizingthe citys industrial past within the modern context. The McLeod Tailings project in Geraldton, Ontario successfully utilized the waste products of gold mining, an economic driver, to address the economic void that the town inherited as a result of the depleted resource. By applying a strategy of cut and fill to simply change the form of the valueless tailings, the project has been able to generate interest in the historic site and sustain the population of Geraldton.With beginnings as a visual art enthusiast, her work of provocative gardendesignsisstillviewedonmanyaspectsaslandscape popart.Brightcolours,irrelevanthumour,strongimagination, unusual materials, limited range of plants, and surreal scale of objects create a source of surprise in her work, mitigating against themoreconventionaldesignvaluesthatsheuses:controlled rigour, practicality, orderly methodology with artistic intentions. Her work aspires to add value by using the economy, the culture, and the history of her sites as tools. MARTHA SCHWARTZTrimira Garach, Safira Lakhani, Paniz Moayeri, Maryia Sakharevich, Snehanjali Sumanth, Ronald Tang1 5 10 20m 2TEMPORALITYMICHAEL VAN VAULKENBURGHAPPROACH:It is my conviction that landscape design is both personally expressive and socially motivated. Inspiration for imagery arises from these and other, unsuspected sources: dreams, feeting thoughts, memories.ICE WALLSCORKTOWN COMMON TORONTO, ON. 2013.-Remediates industrial land-Integrates fooding into scheme with wet and dry sections-95% native plant species, inspired by Ontario landscapesMINNEAPOLIS, MN. 1989.-Regionalism-Native plants chosen to simulate a mid-western prairie-Controlled burning encourages regenerationCAMBRIDGE, MA. 1988-2009. -Temporary installation-Irrigation of water down chain link fence creates ice forms that thicken or thin depending on temporal conditions of siteTORONTO, ON. ONGOING.-Remediates industrial land-Reshapes Don River to naturalize fow of water-Integrates into existing city fabricPITTSBURGH, PA. 1998.-Urban contextualism-Scissoring: city+river+highway-Willfully wild vs. intentionally urbane-Use of local blue stone and reedsNew York City, NY. ONGOING.-Hypernature-Urban oasis and community park is created using regional materials and exaggerating their natural formsNew York City, NY. 2009.-Urban contextualism-Master plan links varying public amenities and programmes-Water features encourages interaction with coastGENERAL MILLSBROOKLYN BRIDGE PARK TEARDROP PARKLOWER DON LANDS ALLEGHENY RIVERFRONTPETER WALKERBanks | Brown | Cocuz | Verkley | WillmsARCH 425 | 2015.06.08TODOS SANTOS PLAZA1987-1989Concord, CAAn expose on the nature of Concords community; an ironic landscape which reacts to the lack of com-munity in suburban life.BACKGROUND INFORMATIONPeter walker is an infuential landscape architect who has produced many signifcant projects around the world. His landscapes often integrate closely with the work of architects and artists, resulting in ambiguous distinctions between building and landscape, sculpture and garden, natural and con-structed. Many of his designs play rigid geometries and natural forms or objects against each other: the natural is present, but does not pretend to be untouched by man.The result is often pleasantly contradictory. Recurrent themes are experimentations in horizontality, grid variations, and careful-ly-confgured surface patterns. A minimalistic approach to plant material prompts the viewer to understand natural cycles.SELECTED PROJECTSThree of these projects are selected from a particularly experimental period. The most recent, from 2011, is notable because of its symbolic signifcance and its involvement with other prominent architects.TANNER FOUNTAIN1984Cambridge, MAAn investigation into rigid organizations of natural objects and the phenome-nology of water and stone.BURNETT PARK1983Fort Worth, TXA combination of park and plaza via highly-controlled horizontality and geome-try.WTC MEMORIAL2011New York, NYA large-scale place of con-templation and remem-brance which makes use of repetitious plantings and landscape elements.PIET OUDOLF> born 27 October 1944 in Haarlem, The Netherlands> nurseryman, garden designer: employs a naturalistic approach, pioneer of the new perennial movement > begins designs with bubble diagram plans, spray paint plans to scale in order to plant accordinglyDesign Approach //Formconcerned with individual plant structures themselves as well as amongst a multiplicityLayeringemploys different heights and shapes of plants in order create a hierarchy in the way plants are viewed, becomes a dense blending of different speciesSeasonalityeach plant dies and is reborn, each is chosen for transformation through time and considered in allseasonsDynamicsmovement, mood, and rhythmic spatial qualities of groupingsScale transforms an individual object into a togetherness and an overall conceptOudolf Personal Garden // Hummelo, The Netherlands // 1982-present // 10,000 sqm > isolated personal garden for experimentation> nursery to develop own plants at small-scale production> constantly changing due to seasonality and inspiration striking> culmination of personal design values, trials for conceptual ideasDream Park // Enkoping, Sweden // 1996 // 4000 sqm> species suitable to the climatic conditions> idea of monocultural blocks of plantings, from hedges to perennialsCounty Cork Garden // West Cork, Ireland // 2006 // 5500 sqm> expansive, windy site with shallow sandy wet soil > sturdy, wind-resilient plants, low to ground, clumps of grasses catch wind> a garden meant to be visitedBerne Park // Essen, Germany // 2010 // 3000 sqm> collaboration with Gross Max> designed and sited to promote troubled neighbourhood> manifestation of layered technique> spiral route through rhythm of structured plantsLurie Garden // Chicago, USA // 2004 // 10,000 sqm> collaboration with set designer, Robert Israel & landscape architect, Gutherie Nichol Ltd.> aimed to create two distinct moods within the framework of Guthrie Nichols scheme> began as a plant list, generated by seasonality and dynamics, organised and placedaccording to parti High Line // New York City, USA // 2009-2010 // 11,000 sqm> collaboration with Diller Scofdio & Renfro and James Corner Field Operations resulted in morearchitecturally designed planting> sustainability was a key design factor when choosing plants.> inspiration drawn from existing conditions and plant life that was found pre-restoration> relatively large scale becomes more intimate by dividing it into sections based on the existing urban conditions and the resulting 'micro-climates