I recently learned about Rachel and Stephen Kaplan’s concept, “soft fascination.” According to the Kaplans, environmental psychologists, “Experiencing environments that encourage soft fascination provides opportunities to think through situations and make decisions; to reflect on prior experiences and make sense of them; and to develop ideas that can be implemented in the workplace or in personal life.” The environments they mention can usually be found in nature. This is precisely what artist and designer Michele Oka Doner does. She immerses herself in the natural world and comes back with questions and answers that fuel her creations. Case in point is her new design for a landmark pavilion in the recently incorporated City of Doral, in Miami-Dade County.

Pavillion Elevation. Rendering by Local Office Landscape Architecture

A Miami Beach native whose inspiration is heavily influenced by her city’s abundance of nature, be it from the ocean or the flora, Oka Doner has left her mark on her home town, in projects like “Walk on the Beach,” the mile long floor installation that greets passengers at Miami International Airport.

When Armando Codina who, with his daughter Ana, is developing the Downtown Doral project, went looking for something that would make a statement about the new independent municipality, he was searching something that “would give it a heart.” Having chosen Oka Doner, he says, “She was the natural artist to do something special in our new city, so the selection was easy,” Codina explains. “Michele is a world-renowned artist whose roots are very much a part of the history of Miami–Dade, having grown up in Miami Beach,” he adds. Read more…

I am intrigued by the human resilience angle that Eric Klinenberg uses in making the case for better urban design in his New Yorker article, Adaptation: How can cities be “climate-proofed?” In it he discusses disaster preparedness in general and describes several large-scale engineering solutions to climate change, solutions that are of necessity government backed. He also writes about the role a resilient civil society can play in increasing an individual’s chance of survival in a disaster. A professor of sociology, public policy, and media, culture, and communications at New York University, Klinenberg writes, “Whether they come from governments or from civil society, the best techniques for safeguarding our cities don’t just mitigate disaster damage; they also strengthen the networks that promote health and prosperity during ordinary times.” He mentions Robert J. Sampson, a sociologist at Harvard, who “has been measuring the strength of social ties, mutual assistance, and nonprofit organizations in Chicago communities for nearly two decades. He has found that the benefits of living in a neighborhood with a robust social infrastructure are significant during ordinary times as well as during disasters.”
He adds that “Alonzo Plough, the director of emergency preparedness and response for the County of Los Angeles, says, ‘But it’s not just engineering that matters. It’s social capital. And what this movement is bringing to the fore is that the social infrastructure matters, too.’”

Enter the urban designer and landscape architect. How social infrastructures are enhanced by landscape infrastructure and open space is the focus of studies by the Landscape and Human Health Laboratory at the University of Illinois, and the subject of an earlier social impact design blog post.

We have an opportunity here step up to the plate and play an important role in enhancing and creating the social capital that makes our communities and our society resilient. While I love and value aesthetics and believe fervently that beauty matters, our work as urban designers and landscape architects is more than a matter of creating artful places. We can, and should, learn to design to increase social connectedness. What would that look like?

For me, this brings us to questions of morality, and of shared societal values. Shared societal values are one of the ways that a group can create cohesion and a sense of mutual responsibility. The lack of a shared moral system tears down the sense of social connectedness. In the entry on morality Wikipedia says “The phenomenon of ‘reciprocity‘ in nature is seen by evolutionary biologists as one way to begin to understand human morality.” Reciprocity as in the Golden Rule; remember that “quaint” idea? Read more…

Walking down a busy street, we rarely think about the interconnected series of stormwater pipes, train tunnels, electrical conduit, water lines, and tree roots that lie just inches beneath our feet—a “web of spaghetti,” as we call it. Typically, these common infrastructure components are out of sight and out of mind, yet they play a significant role in landscape design, particularly in urban settings.

A tangled web of utilities is exposed during a recent streetscape project in Lower Manhattan.  Photo courtesy  Mathews Nielsen

In our previous post, POPS for the People…and the Developer, we described the benefits of privately owned public spaces (POPS) and the requirements associated with incorporating their designs into the city’s fabric. The New York City Department of Parks and Recreation (DPR) has published similar guidelines for streetscape plantings, including plant spacing as it relates to other built elements, infrastructure, and utilities. For example, a typical street tree pit would optimally be five feet by ten feet in size. The minimum horizontal distance from the edge of the tree pit as noted in the guidelines is four to six feet from any built obstruction (building, railing, stoop, etc.), three feet from a hydrant, five feet from a parking meter, and two feet from a gas or water valve. What happens when they prohibit any kind of planting or subsurface improvements? This was our challenge when planning future improvements for a small gathering space within Fox Square, a major crossroads in Brooklyn.

Existing conditions of Fox Square. Photo courtesy Mathews Nielsen

Fox Square proves the point we like to make: Some of the smallest sites can be the most challenging. At a mere 10,000 square feet, the site was selected for redevelopment as a part of the New York City Department of Transportation’s (NYCDOT) public plaza program in conjunction with the Downtown Brooklyn Partnership. Through community outreach and conversations with the New York City Economic Development Corporation (NYCEDC) and city agencies, it was determined that the primary goals of the redesign were to create a safe pedestrian environment by buffering them from existing traffic on Flatbush Avenue, discouraging jaywalking, and providing places to sit and gather. Read more…

In the age of ecology and sustainability, landscape architecture, like other design professions, is in the process of finding new areas of exploration, new types of work, and a more diverse group of clients that require renewed research and learning. Gary Hilderbrand’s erudite and accessible essay, in a new book on his firm, is an inspiring guide through a modernist’s commitment to rationality and abstraction while it shows a deep understanding of and respect for the immense variety and unpredictability of the profession’s pre-eminent material, Nature. Combining skill with hope, the firm has created and is in the process of creating, some of our most memorable, yet sometimes invisible landscapes, thus the name of the book, Visible/Invisible: Landscape Works of Reed Hilderbrand, newly published by Metropolis Books. In addition to Gary’s enlightened view of his profession, we hear from such notable figures as Peter Walker and the photographer, Millicent Harvey, among others. But it’s Hilderbrand’s own words that make us want to see, examine, marvel at, and appreciate what his firm is doing. “The landscape is bigger than we are,” he writes. “We alter its substance and its processes, and it grows back at us with force. We can’t see exactly how, but we know it will. We come to embrace a certain image. Is it right?” —SSS

In the early morning light of a photograph taken by Alan Ward in the summer of 2010, a canopy of cedar elms hovers over a pavilion, a swimming pool, and gently graded lawn terraces. The image was made on the bank of Upper Bachman Creek in Dallas, Texas, on a 6-acre property where Philip Johnson designed a house in 1964 for Henry S. and Patricia Beck. When Doug Reed and I first visited this site in 2003, the spatial power of these trees was barely visible. Fully engulfed in a tangle of two species of Ligustrum—one shrublike, growing up to 12 feet in height, the other with 3-inch trunks reaching nearly 20 feet—the land was virtually impenetrable. For perhaps two decades, an aging Mrs. Beck had neglected portions of her property east of the creek and benignly allowed nature to run its course. More than a hundred volunteer cedar elms and a handful of other trees, including several Texas live oaks and a single giant cottonwood, had formed a canopy that merged with comparably overgrown woodlands on either side of the parcel. We saw a degraded, illegible landscape.

Mrs. Beck sold the property in 2002 to a young Dallas family of four, and the new owners committed to a massive project to rescue and reinhabit Johnson’s house and to recover health and functionality for the landscape. Over a seven-year period, we transformed this patch of emergent forest through a set of operations and practices whose evidence is sometimes visible but often obscured. Recapturing a space for family life and for the display of sculpture necessitated significant disturbance and successive rehabilitation efforts: removing dozens of the poorest trees and preserving the most viable; opening up the canopy to improve light and air; eliminating invasive plant species; correcting drainage and soil structure; reinforcing and replanting the stream bank; and establishing several kinds of grassland and prairie and groundcover crops. Read more…

Japanese architect Sou Fujimoto will be designing this year’s Serpentine Gallery Pavilion, came the recent announcement. This prestigious commission is given once a year to an international architect who has not completed a building in England. In the past it has been given to major names such as Zaha Hadid, Frank Gehry, and Oscar Niemeyer. Fujimoto will be the thirteenth commission for the pavilion, and at age 41, is the youngest architect to ever receive this honor.

Fujimoto’s design is for a semi-transparent ring that shelters visitors from the elements and forms a visually engaging backdrop. The ring itself is constructed from a lattice formation of thin steel poles that form an irregular, helter-skelter geometry. Fujimoto has stated that his intent is to encourage visitors to interact with the landscape, by emphasizing the transparency of the design, and the cloud-like qualities of the structure. The 350 square-foot space will also include seating areas and a café for visitors. The pavilion will be built for three months on the Serpentine Gallery’s lawn in Kensington, London, after which it will be dismantled like its twelve predecessors.

The pavilion’s unusual design fits in neatly as an extension of Fujimoto’s recent work. His firm, Sou Fujimoto Architects, has lately been maintaining a high profile with several bold experiments in residential architecture, like his recent House NA. Each room of this nearly entirely transparent house is at a different elevation, and connected by ladders or stairs to the adjacent rooms. 2008’s Final Wooden House was another experiment in multiple levels and dynamic use of space. The house is a box formed out of wooden blocks that are stacked to create an irregular, undulating floor plan. Floors from certain areas become seating for other areas of the house, and the use of each space changes according to the perspective of the inhabitant.

Fujimoto’s latest design is an exciting continuation of his experimental approach to architecture. The pavilion will be on display from June 8 through October 20 of this year.

Brian Bruegge is an undergraduate student at Fordham University, majoring in communications and media studies, and history. He also studies visual arts and environmental policy, and has previously written for several other websites and publications on a range of topics.

The public’s role in the long-term success of any landscape project cannot be overstated. After all, it’s people who use these spaces; they are the true arbiters of a well-designed space over time. To create a successful open public space requires a strategic framework that is mutually beneficial for both developers and the public. To help this effort along, the New York City Department of City Planning (DCP) has established a zoning incentive program: Privately Owned Public Spaces, or POPS.

The primary goal of POPS is to unite function with aesthetics—to create public spaces that provide respite in the city’s dense urban fabric. In exchange for additional floor area or relief from setback restrictions the program requires a developer to provide user-friendly amenities to increase the experiential qualities of the open spaces adjacent to their properties. These spaces must meet stringent design standards to create public plazas that are open, inviting, accessible and safe.

Setting the standard for POPS, though not one itself, Manhattan’s 1967 Paley Park is a timeless landscape rich with public amenities like moveable seating, canopy trees for shade, green walls/planted areas, and water features (as permitted obstructions). Today’s zoning regulations encourage developers to build on these successes and provide public spaces that offer a variety of seating, vegetation, lighting, artwork, cafes, and other amenities. While typically located outdoors like the iconic Paley Park, POPS can sometimes be found in unique settings like lobbies, subway entrances, atriums, and building arcades.

I recently worked with fellow Green Team member Terrie Brightman on a POPS recertification permit for 2 Gold Street (Mathews Nielsen was the original designer in 2008). This time, the new process asked us to meet POPS requirements while pursuing strong and unique designs for these spaces.

The pavement extends to the street, uniting the the plaza with what would become a sidewalk.  Photo: Mathews Nielsen Landscape Architctects

Circulation is a key aspect of POPS design. The stipulations for clear paths are stringent, with limited walkway obstructions that are meant to ease the pedestrian right of way. At 2 Gold Street, several circulation patterns are integral to the plaza’s design. The pavement extends to the street curbs and facilitates pedestrian movement into it, without hindering circulation at the site’s edges.

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Palms reflecting on Glade Lake

As much as I have enjoyed New York and its famous urbanity in the years since I moved here, a recent visit to Miami (where I moved from) reminded me of the softening powers of nature. It’s easy to forget this primeval presence when we’re underground or walking in crowded canyons of grey stone and brown brick buildings.  By contrast, in Miami, I am soothed as I go about my day and catch a glimpse of unobstructed skies and expansive bay and ocean views, and the reinvigorating presence of lush flora year around and everywhere. On my last day there I went by the Fairchild Tropical Botanic Garden to get a good dose of that green paradise, hoping it would last for me through end of winter. The Fairchild does not disappoint!

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What is “Geodesign” exactly?

Geodesign is a term dubbed by Redlands, California-based Esri to describe the confluence of geography and design, applying technologies from geographic information systems and other complementary approaches to tackle big world problems such as sustainability, ecology, and building tomorrow’s cities.

Bran Ferren

Bran Ferren, co-founder of Applied Minds LLC and keynote speaker for the opening session at the Geodesign Summit held at Esri’s Redlands, California Campus, set the tone for the event this past January.

The Geodesign Summit, in existence since 2009, is one of those conferences that explores a concept that is still at the “shiny object curiosity stage,” not yet something very usable, according to Ferren. It is a way to try to begin to build the cities of the future, using technologies such as geographic information, planning, building information modeling and much more.

So in trying to retrofit and build tomorrow’s cities, considerations should be made to create “cities that feel good about themselves as they will perform better than cities that don’t feel good about themselves,” Ferren added.

Most of those charged with building and designing the 3D city or city of the future are not talking about how the city itself “feels” but rather, does it have all the physical components that will address the needs of the inhabitants? In another talk it was brought out that Geodesign professionals may think of themselves as “therapists”, as well as designers, as they consider how cities are modeled.

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I have mixed feelings about the sea of mail that inundates us around the holidays. Having worked with architecture firms for many years, I’ve had the card versus email greeting debate time and again (and, admittedly, landed on both sides over the years). But once in a while, I receive a card that reminds me what thought and intentionality can do for the “hard copy” format.

KieranTimberlake’s annual message of good wishes is a five panel, fold out card. On the one side there are elegant, muted-hue diagrams from five of the firm’s green roof projects, illustrating how the vegetation has evolved over time. The Middlebury College Atwater Commons project, for instance, is shown in 2003 and 2012; the other depictions vary in duration. All prompt careful study.

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Any environment that encourages walking is a place that works. We may be walking up or down stairs or to and from meeting rooms. It doesn’t matter why we’re walking, as long as we do. Interiors designed to encourage getting up and moving around may have open, central staircases that link floors together or cafeterias that are located within walking distance from workspaces.

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