+NOWLTON 3CHOOL OF !

RCHITECTURE +EN 3MITH

3OURCE "OOKS IN
,ANDSCAPE !RCHITECTURE ,ANDSCAPE !RCHITECT
 5RBAN 0ROJECTS
*ANE !MIDON 3ERIES %DITOR

0RINCETON !RCHITECTURAL 0RESS .EW 9ORK

:6<9*,)662:05(9*/0;,*;<9,!
-ORPHOSIS$IAMOND 2ANCH (IGH 3CHOOL
4HE ,IGHT #ONSTRUCTION 2EADER
"ERNARD 4SCHUMI:ÏNITH DE 2OUEN
5. 3TUDIO%RASMUS "RIDGE
3TEVEN (OLL3IMMONS (ALL

:6<9*,)662:053(5+:*(7,(9*/0;,*;<9,!
-ICHAEL 6AN 6ALKENBURGH!LLEGHENY 2IVERFRONT 0ARK

0UBLISHED BY %DITING .ICOLA "EDNAREK

0RINCETON !RCHITECTURAL 0RESS $ESIGN *AN (AUX
 %AST 3EVENTH 3TREET
.EW 9ORK .EW 9ORK  3PECIAL THANKS TO .ETTIE !LJIAN $OROTHY "ALL *ANET "EHNING
-EGAN #AREY 0ENNY 9UEN 0IK #HU 2USSELL &ERNANDEZ
&OR A FREE CATALOG OF BOOKS CALL  #LARE *ACOBSON *OHN +ING -ARK ,AMSTER .ANCY %KLUND
6ISIT OUR WEB SITE AT WWWPAPRESSCOM ,ATER ,INDA ,EE +ATHARINE -YERS ,AUREN .ELSON -OLLY
2OUZIE *ANE 3HEINMAN 3COTT 4ENNENT *ENNIFER 4HOMPSON
¥  0RINCETON !RCHITECTURAL 0RESS 0AUL 7AGNER *OSEPH 7ESTON AND $EB 7OOD OF 0RINCETON
!LL RIGHTS RESERVED !RCHITECTURAL 0RESS ˆ+EVIN # ,IPPERT PUBLISHER
0RINTED AND BOUND IN #HINA
          &IRST EDITION
,IBRARY OF #ONGRESS #ATALOGING IN 0UBLICATION $ATA
.O PART OF THIS BOOK MAY BE USED OR REPRODUCED IN ANY +EN 3MITH ,ANDSCAPE !RCHITECT  URBAN PROJECTS  *ANE !MIDON
MANNER WITHOUT WRITTEN PERMISSION FROM THE PUBLISHER  EDITOR
EXCEPT IN THE CONTEXT OF REVIEWS P CM ˆ 3OURCE BOOKS IN LANDSCAPE ARCHITECTURE
)NCLUDES BIBLIOGRAPHICAL REFERENCES
%VERY REASONABLE ATTEMPT HAS BEEN MADE TO IDENTIFY OWNERS OF )3".    8 ALK PAPER
COPYRIGHT %RRORS OR OMISSIONS WILL BE CORRECTED IN SUBSEQUENT  3MITH +EN ˆ)NTERVIEWS  ,ANDSCAPE ARCHITECTSˆ
EDITIONS .EW 9ORK 3TATE ˆ.EW 9ORKˆ)NTERVIEWS  ,ANDSCAPE
ARCHITECTUREˆ.EW 9ORK 3TATE ˆ.EW 9ORK ) 3MITH +EN
4HE SEMINARS AND PUBLICATIONS FOR THIS SERIES ARE MADE POSSIBLE n )) !MIDON *ANE ))) +EN 3MITH ,ANDSCAPE !RCHITECT
BY THE GENEROUS SUPPORT OF $EE$EE "3,!  +NOWLTON &IRM )6 3ERIES
3CHOOL OF !RCHITECTURE AND (ERB 'LIMCHER 3"3+ 
ˆDC

#ONTENTS

!CKNOWLEDGMENTS 

&OREWORD 0ETER 2EED 

$ATA AND #HRONOLOGY 

#ONVERSATIONS WITH +EN 3MITH 

#OMPILED AND EDITED BY *ANE !MIDON

4HE -USEUM OF -ODERN !RT 2OOF 'ARDEN 

%AST 2IVER &ERRY ,ANDINGS 

03  

+EN 3MITH ,ANDSCAPE AS #ULTURAL #RITICISM .INA 2APPAPORT 

#REDITS 

"IBLIOGRAPHY 

"IOGRAPHIES 
 !CKNOWLEDGMENTS

+EN 3MITH AND HIS OFlCE 7ORKSHOP +EN 3MITH ,ANDSCAPE !RCHITECT +3,! PROVED EARLY TO BE A PRO
VOCATIVE AND PRODUCTIVE SUBJECT FOR THE SECOND 3OURCE "OOK IN ,ANDSCAPE !RCHITECTURE )N  THE
+NOWLTON 3CHOOL OF !RCHITECTURE WAS FORTUNATE TO HOST +EN 3MITHS INSTALLATION OF THREE $UMPSTER
'ARDENS ON THE /HIO 3TATE 5NIVERSITY CAMPUS THE PROJECT NOT ONLY CAUSED BOTH JOY AND CONSTERNATION
WITHIN THE UNIVERSITY AUDIENCE BUT INDICATED THE VALUE OF PROVISIONAL LANDSCAPES WHEN WORD WAS RECEIVED
THAT THE UNIVERSITY PRESIDENT HAD LOOKED DOWN FROM HER WINDOW ONTO $UMPSTER  PLANTED IN SCARLET
CELOSIA AND GREY ARTEMISIA AND PROCLAIMED THE PROJECT A SUCCESS
3MITHS ARTICULATE PRESENTATION OF IDEAS CASTS QUESTIONS TOWARD THE MAKING OF CONTEMPORARY URBAN
LANDSCAPES QUESTIONS WHOSE ANSWERING FEEDS THE PERPETUAL FRESHNESS OF +3,! DESIGN -UCH APPRECIATION
IS OWED TO +EN FOR HIS GARDENS FOR HIS GENEROUS TIME AND ENERGIES SPENT IN THE 'LIMCHER SEMINARS AND
FOR HIS THOUGHTFUL CONTRIBUTIONS TO THIS PUBLICATION
4HE CRITICAL VALUE OF THIS BOOK IS MUCH INCREASED BY THE PARTICIPATION OF 0ETER 2EED AND .INA
2APPAPORT 4HANKS ALSO TO THE STUDENTS WHO JOINED IN THE SEMINAR *EFF !NDERSON -ICHAEL $ENISON ,IN
'OEPFERT "RIAN 'RIFlTH 4IM (ESS +RIS ,UCIUS *ILL -C+AIN 'ABRIELA 0ATOCCHI #HERYL 3OMERFELDT AND
ESPECIALLY *ASON "RABBS FOR HIS VIDEOGRAPHY -ATT /GBORN WAS A CHAMPION TRANSCRIBER
4HE 3OURCE "OOKS IN ,ANDSCAPE !RCHITECTURE WOULD NOT BE POSSIBLE WITHOUT THE GENEROUS PATRONAGE OF
$EE$EE AND (ERB 'LIMCHER AND THE SUPPORT OF MANY AT THE +NOWLTON 3CHOOL OF !RCHITECTURE 3PECIlCALLY
THE ENCOURAGEMENT OF $IRECTOR 2OBERT ,IVESEY IS ESSENTIAL TO THE PROGRAM ) AM THANKFUL FOR ADVICE OFFERED
BY COLLEAGUES AND FOR THE LOGISTICAL HELP OF +EN 3MITHS STUDIO IN PARTICULAR 3ENIOR !SSOCIATE %LIZABETH
!SAWA 0RISCILLA -C'EEHON SHARED INSIGHTFUL COMMENTS INTO THE WORK OF +EN 3MITH &INALLY THE EDITORIAL
GUIDANCE OF .ICOLA "EDNAREK AND +EVIN ,IPPERT AT 0RINCETON !RCHITECTURAL 0RESS IS VERY MUCH APPRECIATED


 3OURCE "OOKS
IN ,ANDSCAPE
!RCHITECTURE

3OURCE "OOKS IN ,ANDSCAPE !RCHITECTURE PROVIDE CONCISE INVESTIGATIONS INTO CONTEMPORARY DESIGNED LAND
SCAPES BY LOOKING BEHIND THE CURTAIN AND BEYOND THE SCRIPT TO TRACE INTENTIONALITY AND RESULTS /NE GOAL IS
TO OFFER UNVARNISHED STORIES OF PLACE MAKING ! SECOND GOAL IS TO CATCH EMERGING AND ESTABLISHED DESIGNERS
AS FACETS OF THEIR PROCESS MATURE FROM TENTATIVE TRIAL INTO DElNITIVE TECHNIQUE
%ACH 3OURCE "OOK PRESENTS ONE PROJECT OR GROUP OF RELATED WORKS THAT ARE SIGNIlCANT TO THE PRACTICE AND
STUDY OF LANDSCAPE ARCHITECTURE TODAY )T IS OUR HOPE THAT READERS GAIN A SENSE OF THE PROJECT FROM START TO
lNISH INCLUDING CRUCIAL EARLY CONCEPTS THAT PERSIST INTO BUILT FORM AS WELL AS THE IDEAS AND METHODS THAT
ARE SHED ALONG THE WAY $ESIGN PROCESS SITE DYNAMICS MATERIALS RESEARCH AND TEAM ROLES ARE EXPLORED IN
DIALOGUE FORMAT AND DOCUMENTED IN PHOTOGRAPHS DRAWINGS DIAGRAMS AND MODELS %ACH 3OURCE "OOK IS
INTRODUCED WITH A PROJECT DATA AND CHRONOLOGY SECTION AND CONCLUDES WITH AN ESSAY BY AN INVITED CRITIC
4HIS SERIES WAS CONCEIVED BY 2OBERT ,IVESEY AT THE !USTIN % +NOWLTON 3CHOOL OF !RCHITECTURE AND PAR
ALLELS THE 3OURCE "OOKS IN !RCHITECTURE %ACH MONOGRAPH IS A SYNTHESIS OF A SINGLE 'LIMCHER $ISTINGUISHED
6ISITING 0ROFESSORSHIP 3TRUCTURED AS A SERIES OF DISCUSSION BASED SEMINARS TO PROMOTE CRITICAL INQUIRY INTO
CONTEMPORARY DESIGNED LANDSCAPES THE 'LIMCHER PROFESSORSHIPS GIVE STUDENTS DIRECT SUSTAINED ACCESS TO
LEADING VOICES IN PRACTICE 3TUDENTS WHO PARTICIPATE IN THE SEMINARS PLAY AN INSTRUMENTAL ROLE IN CONTRIBUT
ING TO DISCUSSIONS TRANSCRIBING RECORDED MATERIAL AND EDITING CONTENT FOR THE 3OURCE "OOKS 4HE SEMINARS
AND 3OURCE "OOKS ARE MADE POSSIBLE BY A FUND ESTABLISHED BY $EE$EE AND (ERB 'LIMCHER


 &OREWORD

) HAD GOOD NEWS AND BAD NEWS FOR +EN 3MITH WHEN ) CALLED HIM IN  4HE -USEUM OF -ODERN !RT
-O-! WANTED TO COMMISSION A BEAUTIFUL AND IMAGINATIVE LANDSCAPE ATOP THE ROOF OF ITS NEW GALLERY
BUILDING IN MIDTOWN -ANHATTAN DESIGNED BY 9OSHIO 4ANIGUCHI 4HAT WAS THE GOOD NEWS "UT THE PROJECT
CAME WITH A LONG LIST OF RESTRICTIONS THAT COULD HARDLY BE ATTRACTIVE TO A LANDSCAPE ARCHITECT LIVE PLANTS
WERE STRONGLY DISCOURAGED THE NEED FOR WATER WAS TO BE MINIMIZED OR ELIMINATED ALTOGETHER THE HEIGHT
OF THE LANDSCAPE COULD NOT EXCEED ABOUT THREE FEET THE ACCEPTABLE ROOF LOAD WAS MINIMAL BLACK AND
WHITE STONES ROOF BALLAST HAD ALREADY BEEN PURCHASED AND IDEALLY SHOULD BE INCORPORATED IN THE NEW
DESIGN AND THE BUDGET WAS SLIM "ESIDES THERE WAS NO PUBLIC ACCESS TO THE ROOF GARDEN )N FACT MUSEUM
GOERS WOULD NEVER SEE THE ROOF ONLY PEOPLE IN THE SURROUNDING BUILDINGS NOTABLY RESIDENTS OF THE ADJA
CENT -USEUM 4OWER CONDOMINIUM WOULD ENJOY THE VIEW FROM ABOVE 4HIS WAS A WORK TO BE LOOKED AT
NOT WALKED THROUGH !FTER EXPLAINING THIS LITANY OF RESTRICTIONS THERE WAS A PAUSE ON THE PHONE FOLLOWED
BY 3MITHS SOMEWHAT CAUTIOUS REPLY h7ELL )LL SEE WHAT ) CAN DOv
3MITHS PAST PROJECTS SUCH AS HIS 'LOWING 4OPIARY 'ARDEN AND THE 03  SCHOOLYARD SUGGESTED THAT
HE WAS AN IDEAL CANDIDATE TO TAKE ON THE MUSEUMS ROOF GARDEN (IS WORK DEMONSTRATED A REMARKABLE
ABILITY TO CONFRONT THE COMMON REALITY OF MANY URBAN SITESˆHARDSCAPES AND LOW BUDGETSˆAND PRODUCE
UNCONVENTIONAL DESIGNS THAT ARE HYBRIDS BETWEEN LANDSCAPE ARCHITECTURE AND ENVIRONMENTAL ART (IS
APPROACH STRETCHES THE CONVENTIONAL DElNITION OF LANDSCAPE IN RESPONSE TO A SPECIlC PROGRAM THAT ITSELF
SUGGESTS A FOCUS ON AESTHETIC OR PRACTICAL ISSUES MORE THAN ECOLOGICAL PROCESSES 3MITHS IDEAS ARE BOLD
EVOCATIVE AND SOMETIMES HUMOROUS AND IN SOME RESPECTS SHARE A SENSIBILITY WITH OTHER DESIGNERS PAR
TICULARLY -ARTHA 3CHWARTZ WITH WHOM 3MITH PREVIOUSLY WORKED


 )N HIS lRST PROPOSAL FOR THE ROOF GARDEN 3MITH THREW CAUTION TO THE WIND &IELDS OF ORDINARY COLORFUL
PINWHEEL DAISIES ARE hPLANTEDv IN A GRID OF mUORESCENT GREEN 06# PIPEˆ!NDY 7ARHOL MEETS *OHN 7ATERS
MEETS +MART 4HE IMAGE OF SIX THOUSAND WHIRLING DAISIES ARRANGED IN GREAT WASHES OF COLOR WAS HUMOROUS
IRREVERENT AND POTENTIALLY VERY BEAUTIFUL ESPECIALLY WHEN VIEWED FROM AN OPTIMAL DISTANCE 4HE NEIGH
BORING RESIDENTS HOWEVER WERE NOT CONVINCED THAT KITSCH WOULD BE ELEVATED TO THE STATUS OF ART
3OME WEEKS LATER 3MITH SUBMITTED A NEW PROPOSAL WHICH EXPLORED IDEAS OF CAMOUmAGE AND CONCEAL
MENT USING REAL AND PLASTIC STONES PLASTIC SHRUBS AND GRASS CRUSHED GLASS AND BRICK 4HESE ELEMENTS
COULD BE ARRANGED IN SEVERAL WAYS 3CHEMES VARIED FROM A RECTILINEAR GEOMETRY THAT ECHOES THE -IESIAN
GRID OF 0HILIP *OHNSONS !BBY !LDRICH 2OCKEFELLER 3CULPTURE 'ARDEN  SEVERAL STORIES BELOW TO AN
ORGANIC FREE FORM THAT IMITATES CAMOUmAGE PATTERNS AND RECALLS THE IDIOSYNCRATIC DESIGNS OF THE RENOWNED
"RAZILIAN LANDSCAPE ARCHITECT 2OBERTO "URLE -ARX SUCH AS HIS ROOF GARDEN FOR THE -INISTRY OF %DUCATION
BUILDING IN 2IO DE *ANEIRO n  4HE CAMOUmAGE GARDEN PREVAILEDˆBEAUTIFUL IN ITS OWN RIGHT AND
STANDING IN CONTRAST TO THE CONTROLLED ORTHOGONAL GEOMETRY OF *OHNSONS GARDEN AND 4ANIGUCHIS ARCHITEC
TURE 3EVERAL BLOCKS AWAY AT 4IMES 3QUARE THE ROOF OF THE 53 !RMED &ORCES 2ECRUITING 3TATION A SMALL
ONE STORY PAVILION DESIGNED BY !RCHITECTURAL 2ESEARCH /FlCE  IS PAINTED IN MILITARY CAMOUmAGE
PATTERN (ERE THE ROOF DECORATION DOES NOT CONCEAL THE STRUCTURE BUT IS TANTAMOUNT TO A BILLBOARD
ADVERTISING THE ACTIVITIES WITHIN THE BUILDING 3MITHS ROOF GARDEN NEITHER CONCEALS NOR IS INTENDED TO
EVOKE MILITARY ASSOCIATIONS "UT BECAUSE OF ITS UNCONVENTIONALITY AND BOLD CONTRAST WITH THE SURROUNDING
ENVIRONMENT IT TOO CALLS ATTENTION TO THE INSTITUTION WITHIN HOPEFULLY TO THE DELIGHT AND CURIOSITY OF
THOSE WHO SEE IT

 9<5505./,(+:
-69,>69+
 2ATHER THAN COVER ITS ROOF IN ORDINARY STONE BALLAST THE MUSEUM SEIZED AN OPPORTUNITY FOR A MORE
CREATIVE SOLUTION !S SUCH THE ROOF GARDEN PROJECT IS NOT UNLIKE -O-!S EXHIBITION PROGRAMS THAT PRESENT
EMERGING TALENT AND FOSTER EXPERIMENTATION 4HE MUSEUMS PROJECT SERIES BEGUN IN  WAS CONCEIVED
AS A FORUM FOR NEW ARTISTS AND HAS BEEN CENTRAL TO THE ROLE OF CONTEMPORARY ART AT -O-! 3IMILARLY THE
9OUNG !RCHITECTS 0ROGRAM WHICH TAKES PLACE EVERY SUMMER IN 03 S COURTYARD AND IS NOW IN ITS lFTH
YEAR HAS RESULTED IN ASTONISHINGLY INNOVATIVE TEMPORARY STRUCTURES -O-!S 3CULPTURE 'ARDEN HAS ALSO
BEEN THE SETTING FOR ARCHITECTURAL PROJECTS MOST RECENTLY 3HIGERU "ANS lRST WORK IN THE 5NITED 3TATES
0APER !RCH  A MONUMENTAL LATTICE ROOF MADE OF PAPER TUBES
3MITHS ROOF GARDEN ALTHOUGH LOCATED OUTSIDE THE PARAMETERS OF A PUBLIC GALLERY IS INTENDED TO BE
NO LESS A COMPELLING WORK !ND AS EVIDENCED BY THE THREE PROJECTS PRESENTED IN THIS MONOGRAPH lNDING
SOLUTIONS OUTSIDE CONVENTIONAL PARAMETERS IS JUST WHERE +EN 3MITHS WORK WANTS TO BE

0ETER 2EED
#URATOR 4HE -USEUM OF -ODERN !RT

9<5505./,(+:
-69,>69+
 (WYPS
/N INVITATION BY -O-! +EN 3MITH
SUBMITS MATERIALS FOR UNSPECIlED
PURPOSE

,HYS`5V]LTILY
4HE -USEUM OF
3MITH MEETS WITH MUSEUM STAFF AND
-ODERN !RT 2OOF CURATORS TO DISCUSS PARAMETERS OF THE
'ARDEN ROOF PROJECT

*30,5;! +LJLTILY
4HE -USEUM OF -ODERN !RT 3MITH DEVELOPS 0HOTOSHOP STUDIES FOR
TWO ALTERNATE CONCEPTS THAT EXPLORE
+(;(! mOWERS AS SUBJECT MATTER AND WRITES
.ORTH ROOF   SQUARE FEET DESCRIPTION OF THE &IELD $AISIES ! 5V]LTILY
3OUTH ROOF   SQUARE FEET MODEL IS MADE OF THE ASSEMBLY PRO 4HE DESIGN IS APPROVED AND
POSAL AND A MOCK UP IS FABRICATED $ECEPTION BECOMES THE PRIMARY
-ATERIAL PALETTE ON THE -O-! ROOFTOP ! 1UICKTIME :\TTLY SCHEME -ATERIALS DETAILING AND
 ARTIlCIAL BOXWOOD  INCHES VIDEO IS MADE AND THE IDEAS ARE PRE 3MITH DEVELOPS CAMOUmAGE CONCEPTS PRICING RESEARCH PROCEED WITH DESIGN
HEIGHT SENTED TO -O-! CURATORS -ATERIALS AND DETAILING RESEARCH DEVELOPMENT
 SHEETS $URAGRATE MOLDED MOCK UPS ARE DONE IN +3,! STUDIO
lBERGLASS GRATING  INCH THICK 1HU\HY` 1HU\HY`
 INCH SQUARE MESH 0ROJECT IS PRESENTED TO -USEUM :LW[LTILY #HALK LINE MOCK UP IS DONE ON ROOF
 GREY 06# PIPE SEGMENTS AND 4OWER CONDOMINIUM BOARD FOR &OUR CAMOUmAGE DESIGN CONCEPTS TO TEST OUT THE HORIZONTAL GEOMETRY
  GREY 06# mANGE PIECES FOR APPROVAL !T END OF THE MONTH WORD ARE PRESENTED TO -O-! CURATORS AND OF THE SCHEME AT FULL SIZE )NITIAL BIDS
BOXWOOD ASSEMBLY IS RECEIVED THAT THE &IELD $AISIES CON STAFF h)MITATIONv AND h$ECEPTIONv REVEAL THAT THE PROJECT IS SUBSTAN
  LINEAR FEET #.# CUT FOAM CEPT IS REJECTED BY THE CONDOMINIUM ARE SELECTED FOR PRESENTATION TO TIALLY OVER BUDGET 6ALUE ENGINEERING
HEADERS PAINTED "ENJAMIN -OORE BOARD -EETINGS WITH 0ETER 2EED AND CONDOMINIUM BOARD ! MOCK UP BEGINS "Y *UNE THE PROJECT IS RE BID
(ILLSBORO BEIGE OTHER -O-! STAFF ENSUE TO DISCUSS IS PLACED ON THE -O-! ROOF IN FOR A THIRD TIME AND A lNAL COST ESTI
 ARTIlCIAL ROCKS BLACK NEXT STEPS ADVANCE MATE IS ACCEPTED IN 3EPTEMBER
 ARTIlCIAL ROCKS WHITE
 ONE POUND BAGS RECYCLED TUM
BLED GLASS AGGREGATE  CLEAR
 lFTY POUND BAGS WHITE MARBLE
CHIPS  INCH DIAMETER
 FORTY POUND BAGS RECYCLED BLACK
RUBBER MULCH  INCH CHIPS


 $ATA AND
#HRONOLOGY

5V]LTILY
.EW 9ORK 4IMES COLUMNIST !NNE
2AVER WRITES AN ADVANCE REVIEW OF
THE -O-! ROOF GARDEN DESIGN h! %AST 2IVER &ERRY
2OOFTOP 'ARDEN 7ITH 3YNTHETIC ,ANDINGS
'REENv
*30,5;!
1HU\HY` .EW 9ORK #ITY %CONOMIC
#ONSTRUCTION COMMENCES $EVELOPMENT #ORPORATION
.EW 9ORK #ITY $EPARTMENT OF 
-LIY\HY` 4RANSPORTATION
#ONSTRUCTION REACHES POINT OF SUB .EW 9ORK #ITY $EPARTMENT OF -HSS
STANTIAL COMPLETION WITH COMPLETED 0ARKS AND 2ECREATION 3MITH IS NOTIlED THAT HIS OFlCE HAS
PUNCH LIST 4HE PREVIOUS DAY THE .EW BEEN PLACED ON A SHORTLIST OF DESIGN
9ORK 0OST PUBLISHES A PHOTO OF THE +(;(! CONSULTANTS FOR A NEW FERRY LAND
-LIY\HY`4HYJO GARDEN ENTITLED h)TS !RT IlCIALv 4HREE 4OTAL PROJECT COVERAGE  ACRES ING PROJECT ON THE %AST 2IVER +3,!
#AMOUmAGE SCHEMES EXHIBITED AT DAYS LATER 0ETER 2EEDS -O-! SHOW DIVIDED INTO FOUR SITES TEAMS UP WITH +ENNEDY  6IOLICH
(ARVARD 5NIVERSITY 'RADUATE 3CHOOL h'ROUNDSWELL #ONSTRUCTING THE 4HIRTY FOURTH 3TREET SITE  ACRES !RCHITECTURE IN A COMPETITION AGAINST
OF $ESIGN #ONTEMPORARY ,ANDSCAPEv OPENS WITH APPROXIMATELY   SQUARE FOUR OTHER DESIGN TEAMS AND IS
4HE ROOFTOP GARDEN IS REPRESENTED IN FEET OF MARSH PLANTERS SELECTED FOR THE COMMISSION
:LW[LTILY6J[VILY THE EXHIBITION BUT PUBLIC ACCESS IS 3IZE OF MARSH PLANTERS  FEET BY 
+3,! STAFF VISITS #.# SHOP TO VIEW NOT AND NEVER WILL BE ALLOWED FEET IN NINE MODULES 1HU\HY`1\UL
MOCK UP DIGITAL lLES FOR #.# CUT 3MITH PREPARES PLANS FOR TEMPORARY
FOAM HEADERS AND lBERGLASS GRATING (WYPS4H` -ARSH PLANTER ELEMENTS LANDING AT %AST 3IXTY SEVENTH 3TREET
ARE ISSUED WITH lNAL CONSTRUCTION 0ETER -AUSS OF %STO PHOTOGRAPHS THE  PUMP WITH *ERSEY BARRIERS CRIB WALL PLANT
DOCUMENTS PROJECT  SALTWATER IRRIGATION CHANNEL ERS AND TAXODIUM BOSQUE PLANTING
 SALTWATER SCUPPERS
 FRESHWATER POP UP SPRAY IRRIGATION
3(%,4%2

SYSTEMS
 IVA FRUTESCENS MARSH ELDER OR 2)0!2)!. 0,!.4).'3
/. 3425#452%

HIGH TIDE BUSH

/0%. 4/ 7!4%2 &%229

 SPARTINA ALTERNIFOLIA SMOOTH

CORD GRASS


 

6J[VILY 4H`
0ROJECT SUBMITTED TO .EW 9ORK #ITY 3MITH RECEIVES CALL FROM 2OBIN (OOD
&INE !RT #OMMISSION FOR PROJECT &OUNDATION ABOUT A POSSIBLE SCHOOL
APPROVAL YARD PROJECT IN 1UEENS

+LJLTILY 03  1\UL

!PPROVAL RECEIVED 3MITH MAKES lRST SITE VISIT TO SEE THE
*30,5;! PROJECT
4HYJO 4HE 2OBIN (OOD &OUNDATION
 CONSTRUCTION DOCUMENTS DELIV 1\UL
(\N\Z[ ERED &OLLOWING THE INITIAL COST ESTI +(;(! 3MITH PRESENTS BOOKLET OF 0HOTOSHOP
+3,! PRESENTS SCALE MODEL AND MATE VALUE ENGINEERING BEGINS 3ITE   SQUARE FEET EXCLUDING hBEFORE AND AFTERv IMAGERY ILLUS
3MITHS 0HOTOSHOP DIAGRAMS FOR NEW BUILDING FOOTPRINTS TRATING lVE LOW COST PROTOTYPE
MARSH PLANTER BOX SCHEME 3OON 6J[VILY SCHOOLYARD IMPROVEMENTS TO THE
AFTER 3MITH DEVELOPS THE FOLDED  CONSTRUCTION DOCUMENTS 3ITE COMPONENTS PROJECT MANAGER AT THE 2OBIN (OOD
GEOMETRY PARTI IN A PHOTOMONTAGE DELIVERED  CUSTOM MODIlED DUMPSTERS &OUNDATION 2ECEIVES A CALL WITHIN
 CUBIC YARDS HOURS h#LIENT LOVES ITv
7VZ[:LW[LTILY (WYPS   SQUARE FEET NYLON SCRIM AT
&OLLOWING THE TERRORIST ATTACKS ON THE 4HE PROJECT IS OUT FOR lNAL BIDS 4HE  FEET  INCHES BY  FEET 1\S`6J[VILY
7ORLD 4RADE #ENTER THE PROJECT GOES MARSH PLANTERS ARE LISTED AS AN h!DD   SQUARE FEET ,EARNING 'ARDEN $ESIGN DEVELOPMENT AND CONSTRUC
ON HOLD FOR SIX MONTHS !LTERNATEv FOR BIDDING TION DRAWINGS ARE PREPARED
,EARNING 'ARDEN ELEMENTS
 SQUARE FEET WOOD CHIP PATH
 LOGS
 TYPES OF PERENNIALS AND ANNUALS
  TOTAL PLANTED
 TYPES OF SHRUBS  TOTAL PLANTED
 TYPES OF TREES  TOTAL PLANTED

 +(;((5+*/965636.@
 ,HYS`(WYPS
3MITH SUPERVISES SOIL PLACEMENT
BERM LAYOUT AND SCRIM INSTALLATION
+3,! COMPLETES lNAL BERM GRADING
PLANS AND WORKS WITH THE .EW 9ORK
2ESTORATION 0ROJECT TO PREPARE THE SITE
AND STAKE OUT THE BIRD AND BUTTERmY
1HU\HY`-LIY\HY` GARDEN
0LANTING PLANS FOR BIRD AND BUTTERmY :\TTLY
GARDEN ARE PREPARED 3H[L(WYPS 0AUL 7ARCHOL PHOTOGRAPHS THE SITE
,OGS AND PLANTS ARE DELIVERED TO THE
4HYJO SITE /N %ARTH $AY VOLUNTEERS FROM (\N\Z[:LW[LTILY
3MITH SELECTS SPECIMEN LOGS FOR THE THE 4IMBERLAND #ORPORATION DO -ETROPOLIS MAGAZINE PUBLISHES THE
GARDEN INITIAL PLANTINGS !LL +3,! STAFF ARE PROJECT h'ARDEN 3POTv
5V]LTILY ON SITE TO SUPERVISE THE VOLUNTEER
0AINTED GRAPHICS ELEMENT OF PROJECT  4HYJO EFFORTS THROUGHOUT THE PLANTING AREA 6J[VILY
IS COMPLETED AND !LBERT 6EC‡ERKA OF -OCK UP OF DUMPSTER PLANTER IS !DDITIONAL PLANTINGS ARE INSTALLED 0ROJECT RECEIVES AN !3,! -ERIT
%34/ PHOTOGRAPHS THE SITE CREATED IN 7EST "ABYLON .EW 9ORK THROUGH -AY !WARD


 #ONVERSATIONS
WITH +EN 3MITH
#OMPILED AND EDITED BY *ANE !MIDON

*ANE !MIDON 7HATS IMPORTANT NOW IN YOUR THE UNDERLYING QUALITIES OF MY WORK THAT ALLOW ITS
WORK AND HOW DOES THIS RELATE TO THE DEVELOP OTHER ASPECTSˆTHE FORMAL QUALITIES AND THE COM
MENT OF YOUR PRACTICE MENTARY ON CONTEMPORARY CULTUREˆTO COME TO
BEAR ON THE PROJECTS WHETHER THEY ARE SMALL GAR
+EN 3MITH 4HERE ARE SEVERAL THREADS THAT ) THINK DENS OR URBAN SPACES OR COMPLEX LARGER SITES SUCH
ARE VERY IMPORTANT &IRST IF YOU WANT TO PRACTICE AS REHABILITATING A LANDlLL /BVIOUSLY YOU CANT
LANDSCAPE ARCHITECTURE SERIOUSLY YOU MUST HAVE A DESIGN A LANDlLL ON THE BASIS OF IRONYˆYOU MUST
COMMITMENT TO PUBLIC SPACE 9OU SHOULD ALSO BE DEAL WITH THOSE OTHER ISSUES OF ECOLOGY AND SOCIAL
COMMITTED TO ENVIRONMENTALISM AND ALTHOUGH SPACE AND HISTORY
THE LATTER IS NOT IMMEDIATELY OBVIOUS IN MOST
OF MY PROJECTS ITS IMPLICIT IN MY THINKING ABOUT *! 7HAT ARE THE ROOTS OF THE MINIMALIST AND
LANDSCAPE !ND lNALLY YOU MUST HAVE A COM ICONIC TENDENCIES IN YOUR WORK AS WELL AS THE
MITMENT TO HISTORY A RESPECT FOR HISTORY WHICH OTHER THREADS YOU MENTION $OES A MULTIPLICITY
) HOPE IS ALSO IMPLICIT IN MY WORK 4HESE THREE OF READINGS OBSCURE A CRITICAL STANCE AS MUCH
SOCIAL AGENDAS IF YOU WILL ARE CRUCIAL TO A CRITICAL AS ENRICH IT
PRACTICE "ECAUSE MY DESIGNS ARE OFTEN BASED ON
MINIMALISM ICONS AND IRONY ) FEEL ITS EVEN +3 )M COMFORTABLE WITH AN OPEN INTERPRETATION
MORE ESSENTIAL NOT TO GLOSS OVER THE SERIOUSNESS OF MY PROJECTS ) LIKE THAT THERES A CERTAIN INHERENT
OF MY PRACTICE AND THE NON IRONIC ASPECTS THAT ABSTRACTNESS AT THE CENTER OF A PROJECTS CONTENT SO
UNDERPIN IT ! SENSITIVITY FOR PUBLIC SPACE ENVI THE UNDERSTANDING OF IT CAN SHIFT AND IT CAN HAVE
RONMENTALISM AND COMMITMENT TO HISTORY ARE MULTIPLE MEANINGS ) THINK THATS WHAT MAKES


/PYP`H3HUKMPSS7HYRJVTWL[P[PVU2LU:TP[OPU
JVSSHIVYH[PVU^P[O4PLYSL<RLSLZ"1\SPL)HYNTHUU
+09;:[\KPV"HUK3H\YH:[HYY:HYH[VNH(ZZVJPH[LZ
;LS(]P]

LANDSCAPE WORK OVER TIME 4AKE #ENTRAL 0ARK FOR DESIGN TEAM -ARTHAS SIDE OF THE OFlCE WAS OFTEN
EXAMPLE -Y READING OF THE PARK IS THAT ONCE YOU REFERRED TO AS THE hPLAY PENv BUT THERE WAS A SERI
STRIP AWAY THE WELL WORN NARRATIVE OF MITIGATING OUS EXCHANGE OF IDEAS BETWEEN BOTH SIDES OF THE
THE URBAN ILLS AT THE CORE ITS BASICALLY ABSTRACT OFlCE AND ) LEARNED TREMENDOUSLY FROM BOTH 0ETE
CONTENTˆA GREAT EMPTINESS AT THE HEART OF THE CITY AND -ARTHA 5NDERSTANDING THEIR DIFFERENT STRATE
#ENTRAL 0ARK HAS SURVIVED BECAUSE PEOPLE CAN PROJ GIESˆ-ARTHAS IN YOUR FACE APPROACH AND 0ETES
ECT ON IT NEW AND EVOLVING MEANINGˆEACH GENERA MORE SUBTLE BUT CALCULATED DESIGN STRATEGIESˆPRO
TION CAN lND WHAT IT NEEDS AND THE PARKS CONTENT VIDED ME WITH A GOOD SET OF BOOK ENDS FOR MY
CAN SHIFT WITH THE TIMES AND WITH CULTURAL CHANGES OWN PRACTICE 4HE IMPORTANCE OF HISTORY BECAME
4HIS IS ALSO TRUE OF *APANESE GARDENS SUCH AS CLEAR TO ME WHILE WORKING IN THEIR OFlCE BECAUSE
2YOAN *I IN +YOTO OR PLACES LIKE 7ALTER $E -ARIAS THEIR WORK WAS ROOTED IN CULTURAL PRECEDENTS IN
,IGHTNING &IELD WHERE THE LEVEL OF ABSTRACTNESS UNDERSTANDING THAT WE ARE PART OF A CONTINUUM
ALLOWS AN OPENNESS OF INTERPRETATION AND MEANING AND THAT THERE IS A DEEP WELL OF DESIGN HISTORY AND
)N MY THINKING ABOUT LANDSCAPE ) LEARNED TRADITIONS TO DRAW UPON IN INNOVATING CONTEMPO
FROM BOTH 0ETER 7ALKERS MINIMALISM AND -ARTHA RARY DESIGN
3CHWARTZS POP APPROACH ) WAS HIRED BY -ARTHA 4HE EMPHASIS OF THEIR OFlCE WAS ON REINVIGO
RIGHT OUT OF GRADUATE SCHOOL AT (ARVARD WHERE ) RATING THE ART OF LANDSCAPE ARCHITECTURE 7HEN
WAS A STUDENT OF 0ETER 7ALKER 0ETE AND -ARTHA ) MOVED TO .EW 9ORK #ITY TO OPEN MY OWN OFlCE
WERE PARTNERS AT THE TIME AND ) WAS BASICALLY ) FOUND IT NECESSARY TO EMPHASIZE PUBLIC SPACE
-ARTHAS ENTIRE STAFF AT lRST WHILE 0ETE HAD A SUB AND THE SOCIAL ASPECTS OF DESIGN AS PART OF THE ART
STANTIAL AMOUNT OF PROJECTS AND A SOLID STAFF AND OF MY PRACTICE !ND INCREASINGLY ECOLOGY AND

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ENVIRONMENTALISM ARE GROWING AS AN ARTISTIC +3 ) TEND TO DEVELOP IDEAS IN THE OFlCE THAT ARE
INSTRUMENT IN MY DESIGN WORK %NVIRONMENTALISM THEN EXPLORED IN VARIOUS PROJECTS IN DIFFERENT WAYS
IS PROBABLY SOMETHING THAT IS GENERATIONAL )T HAS A UNDER DIFFERENT CIRCUMSTANCES 4HE LINEAGE OF CER
STRONGER CURRENT TODAY THAN TWENTY YEARS AGO TAIN IDEAS CAN BE TRACED FROM PROJECT TO PROJECT
"Y THE S THE PROFESSION HAD SET UP A DICHOTO &OR EXAMPLE A FEW YEARS AGO ) BECAME INTERESTED
MY BETWEEN ENVIRONMENTAL PLANNING AND FORM IN THE IDEA OF CONTAINERS ) PROPOSED USING TRASH
OR SPACE DRIVEN DESIGN !T SOME POINT YOU REALIZE AND CONSTRUCTION DUMPSTERS IN A WAY SIMILAR TO
THAT THIS IS A RIDICULOUS AND COUNTERPRODUCTIVE CONVENTIONAL mOWER BOXES BUT LARGER IN SIZE AND
DICHOTOMY AND THAT ITS MUCH MORE SUBSTANTIVE TO SCOPE THIS DEVELOPED INTO THE CONTAINER CONCEPTS
COMBINE ALL ELEMENTSˆTO DO WORK THATS ENVIRON AT 03  1UEENS 0LAZA AND IN THE INSTALLATION
MENTALLY SENSITIVE AND ARTISTICALLY STRONG IN TERMS OF DUMPSTER GARDENS AT THE /HIO 3TATE 5NIVERSITY
OF ITS MEDIUM AS WELL AS SOCIALLY RESPONSIBLE IN ITS 4HE MARSH PLANTERS IN THE %AST 2IVER PROJECT ARE A
USE OF PUBLIC SPACE AND SUSTAINABILITY VARIATION ON THIS INTEREST IN THE CONTAINER AS IS THE
COLLECTION BOX IDEA ) USED AT 9ORKVILLE 0ARK
*! "UT CAN YOU REALLY HAVE IT ALL +EN !NOTHER IDEA DEALS WITH THE CONCEPT OF VERTI
CAL GREENˆTHE NOTION THAT LANDSCAPE CAN OCCUPY
+3 ) DONT KNOW )M lNDING OUT OR CO HABIT WITH URBAN INFRASTRUCTURE IN A VERTICAL
OR STRUCTURED WAY 4HIS GOES BACK TO THE QUESTION
*! (OW DOES A PROJECT GET BORN IN YOUR OFlCEˆ OF HOW YOU lND SPACE TO MAKE LANDSCAPE IN HIGHLY
WHATS THE PATTERN OF INTERACTION BETWEEN YOU BUILT URBAN AREAS ) EXPERIMENTED WITH THIS IDEA AT
CLIENTS YOUR STUDIO TEAM THE 4IME 7ARNER #ENTER AT #OLUMBUS #IRCLE WHERE

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) DESIGNED A FOLDED STAINLESS STEEL hTOPIARY WALLv !NOTHER MAJOR THREAD IN MY WORK IS APPRO
THAT IS PLANTED TO CREATE A VERTICAL LANDSCAPE AND PRIATION AND FOUND OBJECTS 4HE DUMPSTERS ARE
AT A MUSEUM IN 1UEENS WHERE ) PROPOSED A TOPIARY CERTAINLY A MANIFESTATION OF THIS 0ART OF THIS IS
CURTAIN !T THE MUSEUM PROJECT PHOTOGRAPHING ALSO MY INTEREST IN USING CONTEMPORARY MATERIALS
THE SITE GAVE ME THE IDEA OF CREATING A KIND OF THE THAT ARE INTENDED FOR OTHER USES 4HE !LUMINUM
ATRICAL CURTAIN ALONG ONE EDGE WITH mUID FOLDS THAT 'ARDEN WHERE ) USED FACTORY GRATING STRUCTURAL
COULD BE PLANTED WITH VINES )N ANOTHER CURRENT MARINE CHANNELS AND HEAVY CONSTRUCTION TIMBER
PROJECT ALSO IN 1UEENS ) HAVE PROPOSED A SERIES OF IS AN EXAMPLE -Y INTEREST IN FOUND OBJECTS AND
LARGE BILLBOARD STRUCTURES FOR THE TOP OF SEVERAL LOW THEIR TRANSFORMATION IS EXPLORED IN THE (OTEL %DEN
RISE BUILDINGS THAT WOULD BE PLANTED WITH VINES INSTALLATION FOR .EST MAGAZINE AND IN THE -O-!
A KIND OF GREEN SIGNAGE IF YOU WILL 2ELATED TO THE ROOF GARDEN 4HE ROOF GARDEN TAKES THIS ASPECT OF
IDEA OF VERTICAL GREEN IS MY CURRENT INTEREST IN APPROPRIATION TO A NEW LEVEL OF SIMULATION
PLEATS A KIND OF FOLDING THAT ARTICULATES FORM /NE )N TERMS OF HOW WE WORK AS A STUDIO ) TEND
OF THE lRST PROJECTS OF THIS TYPE IS A SMALL URBAN TO START OUT WITH AN INITIAL IDEA THAT ) WANT TO
COURTYARD IN -ANHATTAN WHICH IS GOING TO HAVE A EXPLORE ARTISTICALLY AND TO WHICH THE PROJECT IS
FOLDED FORM TOPIARY SCREEN CONSTRUCTED OF AN ARMA SUITED 4YPICALLY ) THINK BEFORE ) BEGIN TO DRAW )
TURE WITH STAINLESS STEEL MESH PANELS AND VINES ) LIKE USING 0HOTOSHOP IN EARLY DESIGN STAGES AS A
USED PLEATS IN THE (IRIYA LANDlLL PROJECT IN 4EL !VIV SKETCHING TOOL TO MAKE MONTAGES AND DIAGRAMS OF
AND THE %AST 2IVER &ERRY ,ANDINGS PROJECT ALSO HAS A INITIAL CONCEPTS ) MOSTLY DO THESE STUDIES MYSELF
FOLDING FORMˆORIGAMI FOLDING IN THIS CASEˆAS DOES BECAUSE THEY ALLOW ME TO DEVELOP IDEAS AND A
THE 4IME 7ARNER PROJECT LINEAGE OF THOUGHT ) OFTEN USE A COMBINATION OF

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'OOGLE DOWNLOADS AND MY OWN IMAGE AND REFER OWN WORK )M INTERESTED IN DEVELOPING A KIND
ENCE COLLECTION IN GENERATING CONCEPT IMAGES OF RANDOMNESS THAT IS ROOTED IN GEOMETRY &OR AN
)TS PRETTY COMMON FOR ME TO START OUT WITH THESE INTERIOR WALL IN THE NEW CAFÏ AT THE #ORNERSTONE
0HOTOSHOP SKETCHES BEFORE THE OFlCE DOES ANY 'ARDEN &ESTIVAL IN 3ONOMA ) CAME UP WITH THE
KIND OF #!$ WORK /FTEN ) GO FROM THESE STUDIES IDEA OF hWALLmOWERSvˆARTIlCIAL mOWERS THAT ARE
DIRECTLY TO MODEL AND THEN lNALLY TO #!$ PRODUC PINNED TO THE WALL ACCORDING TO AN INVISIBLE GRID
TION )M A COMMITTED MODEL BUILDER %VEN THOUGH )TS A BIT OF A 3OL ,EWITT NOTION THAT THE mOWERS CAN
) DONT USUALLY HAVE THE LUXURY OF BUILDING COM OCCUPY THE CENTER OF THE GRID ONE OF FOUR SIDES
PLETE MODELS MYSELF ANY MORE ) STILL LIKE TO WORK OR ONE OF FOUR CORNERSˆTHERE ARE NINE POSSIBLE
WITH SMALL STUDY MODELS TO HELP ME UNDERSTAND POSITIONS AND A LIMITED RANGE OF mOWER CHOICES )
THE FORM OF SOMETHING )M THINKING ABOUT AND CLIPPED THE IMAGES OF mOWERS FROM ANOTHER PROJECT
MODELS ARE CONSTRUCTED THROUGHOUT THE DESIGN ) HAD IN MY COMPUTER TO TEST OUT THE GRID PALETTE
PROCESSˆEVENTUALLY EVEN AT FULL SIZE TO TEST OUT PULLING A mOWER PICKING AN UNUSED POSITION
FORM AND SCALE OF FEATURES ) AM PROTOTYPING AND APPLYING IT UNTIL THE lELD WAS EXHAUSTED THEN
STARTING THE PROCESS OVER AGAIN AND AGAIN UNTIL
*! 7HATS YOUR TAKE ON SYSTEMATIC RANDOMNESS THE ENTIRE WALL WAS COMPLETE )N THE lNAL INSTALLA
TION THE GRID IS GONE BUT YOU CAN SENSE IT WHEN
+3 )M INTERESTED IN PROCESS AND HOW PROCESS CAN YOU LOOK AT THE RANDOM PATTERNING )TS LIKE WHEN
BE A GENERATOR OF FORM )M A FAN OF MINIMALIST YOU TOUCH POISON IVY AND GET THESE LINES OF WELTS
MUSIC FOR EXAMPLE WHERE PROCESS AND STRUCTURE ON YOUR SKIN 9OU CAN READ THE LINES AS GEOMETRIC
ARE USED TO CREATE AN EXPERIENTIAL ART FORM )N MY FORMS BUT BEHIND THE OVERT GEOMETRY THERE IS THIS

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OTHER DYNAMICˆTHE PATTERN EXISTS BETWEEN GEOM PRODUCTSˆWITH THE COUTURE LINE BEING THE MOST
ETRY AND THAT OTHER FORCE 9OUR EYE WANTS TO RECOG IMPORTANT LINE OF PRODUCTION ARTISTICALLY SPEAKING
NIZE AN ORDER BUT YOU CANT QUITE PIN IT DOWN "UT THE FASHION HOUSE ALSO HAS READY TO WEAR AND
BRIDGE LINES PERFUMES AND ACCESSORIES AND OTHER
*! 9OU INITIALLY GAINED PUBLICITY IN DESIGN PRODUCTS THAT EXTEND THE IDEAS DEVELOPED FOR THE
CIRCLES FOR YOUR SMALLER SCALE PROVISIONAL COUTURE LINE IN DIFFERENT BUT STILL ARTISTICALLY SIGNIl
INSTALLATIONS SUCH AS THE 'LOWING 4OPIARY CANT DIRECTIONS %ARLY IN MY OFlCES HISTORY ) USED
'ARDEN -UTANT 'ARDENS OR THE &IFTH !VENUE TO TALK ABOUT THIS ABOUT HAVING DIFFERENT KINDS OF
#HANDELIER PROPOSAL )N DISCUSSIONS IN  PRODUCT LINES THERE ARE THE ART INSTALLATIONS THE
YOU STRESSED THE SUBVERSIVE NATURE OF TEMPORARY PUBLIC PROJECTS AND THE RESIDENTIAL WORK ) WAS
WORK AS A PRIMARY INTEREST 4ODAY YOU ARE WORK NEVER INTERESTED IN ESTABLISHING THE KIND OF OFlCE
ING ON LARGE SCALE hPERMANENTv LANDSCAPES AND THAT FOCUSES ONLY ON ONE SINGULAR THING )NSTEAD )
YOU LIST PUBLIC SPACE HISTORY AND ENVIRONMEN WANTED TO DEVELOP A GENERAL PRACTICE THAT ALLOWS A
TALISM AS MANDATES FOR SUCCESS $O SMALL TEM WIDE RANGE OF WORK
PORARY WORKS STILL MATTER IN YOUR PRACTICE !T lRST IT WAS DIFlCULT TO GET LARGER PUBLIC
PROJECTS BECAUSE NOBODY WAS GOING TO TRUST SOME
+3 )VE ALWAYS THOUGHT OF THE PROVISIONAL PROJ BODY WITH LITTLE OR NO EXPERIENCE IN THIS AREA "UT
ECTS AS A KIND OF RESEARCH AND DEVELOPMENT TOOL ) NOW )M AT A POINT WHERE ) HAVE THE OPPORTUNITY
LIKE TO COMPARE THIS TO THE WORKINGS OF A FASHION TO DO MORE LARGE SCALE WORK )N MY PRACTICE
HOUSE SUCH AS #HRISTIAN $IOR OR *EAN 0AUL 'AULTIER THERES A LINK BETWEEN STRATEGY AND CONCEPT AND
! FASHION HOUSE CONSISTS OF A WHOLE RANGE OF MATERIALITY AND DETAIL -ISSING THAT LINK IS ONE OF

*65=,9:(;065: 
 THE FUNDAMENTAL PROBLEMS WITH A LOT OF LANDSCAPE POST INDUSTRIAL ERA THAT hDID NOT EXIST AS PUB
ARCHITECTURE PRACTICES THERE ARE PEOPLE WHO DO LIC SPACE HALF A GENERATION AGOv )N THE SAME
ONLY THEORETICAL AND CONCEPTUAL WORK AND NEVER WAY THAT WE LOOK BACK TO %LIZABETH +ASSLERS
GET ANYTHING BUILT AND THERE ARE PEOPLE WHO ARE  -O-! PUBLICATION -ODERN 'ARDENS AND
REALLY GOOD AT BUILDING AND DETAILING BUT DONT THE ,ANDSCAPE AS A SIGNAL THAT MODERNISM HAD
HAVE ANY IDEAS !ND THEN THERE ARE THE CRITICAL COALESCED INTO A DOMINANT POSTWAR PARADIGM
PRACTICES AND A FEW GOOD lRMS IN THE COUNTRY THAT WHAT DOES AN EXHIBITION SUCH AS h'ROUNDSWELLv
ARE ENGAGED AT BOTH LEVELS -Y AMBITION IS TO CRE SAY TO YOU AS A LANDSCAPE ARCHITECT AND HOW
ATE WORK THAT IS CONCEPTUALLY GROUNDED AND MATE WILL YOUR WORK BE POSITIONED IN THE COMING
RIALLY RIGOROUS WITH A STRONG CONNECTION BETWEEN DECADES OF POST PRODUCTIVE SITES
IDEA AND DESIGN FORM AND MATERIAL RESOLUTION )
THINK THAT THE EXPERIMENTATION WITH AND RISK TAK +3 4HE h'ROUNDSWELLv EXHIBITION IS A KIND OF
ING INVOLVED WITH THE TEMPORARY OR PROVISIONAL SUMMARY OF THE DOMINANT IDEAS TO EMERGE IN
PROJECTS IS ESSENTIAL IN TESTING AND DEVELOPING IDEAS LANDSCAPE ARCHITECTURE AT THE END OF THE TWENTIETH
THAT CAN COME TO BEAR IN THE EXECUTION OF LARGER CENTURY AND THE BEGINNING OF THIS NEW CENTURY )T
AND MORE COMPLEX BUILT PROJECTS MARKS A TRANSITION IN THE PRODUCTION OF LANDSCAPE
SPACE FROM MODERN TO POSTMODERN )T IS REALLY NO
*! 4HE h'ROUNDSWELLv SHOW AT -O-! OPENED LONGER FEASIBLEˆECONOMICALLY SOCIALLY OR ENVI
IN &EBRUARY OF  )T DOCUMENTS THE PROFES RONMENTALLYˆTO CONTINUE WITH THE EXPLOITATION
SIONS CURRENT OCCUPATION WITH IN CURATOR 0ETER OF RAW SPACE THAT TYPIlED A LOT OF THE MODERN
2EEDS WORDS hNEW URBAN LANDSCAPESv OF THE ERA PRODUCTION 4ODAY THE MOST INTERESTING AND

 *65=,9:(;065:
RESPONSIBLE WORK IS OCCURRING IN THE MARGINS OF BROAD CONCEPTUAL IDEAS ) THINK THE SAME IS TRUE
LEFTOVER AND RECLAIMED SPACE 4HIS INCLUDES WORK FOR A WHOLE YOUNGER GENERATION OF DESIGNERS
ING WITHIN THE CONSTRAINTS OF EXISTING URBAN FABRIC ) LIKE TO WORK A PROBLEM CONCEPTUALLY FROM BOTH
RECOVERING DEFUNCT MANUFACTURING AREAS DERELICT ENDS TO SEE WHERE THE SOLUTION lNDS RESOLUTION
WATERFRONTS AND MARGINAL URBAN FRINGE AREAS IN THE MIDDLE
CREATING NEW PUBLIC USES IN THE SUBSIDIARY SPACES
THAT OCCUR ALONGSIDE INFRASTRUCTURE RETHINKING
SMALL LEFTOVER URBAN SPACES FOR NEW SOCIAL USES
AND RECLAIMING ENVIRONMENTALLY DAMAGED SPACES
SUCH AS BROWNlELDS 4HE DIFlCULTY OF WORKING
WITH THESE TYPES OF SPACES LIES IN CREATING NEW
DESIGN APPROACHES THAT RESPOND TO NEW PROGRAM
MATIC DEMANDS CHALLENGING ENVIRONMENTAL CON
DITIONS AND THE REALITIES OF CONTEMPORARY LIFE )
THINK THE WORK IN THE -O-! SHOW IS A RESPONSE
TO THIS CHANGING lELD OF LANDSCAPE DESIGN )N MY
OWN WORK ) HAVE EXPERIMENTED WITH NEW DESIGN
METHODOLOGIES ) AM AS INTERESTED IN INDUCTIVE
hBOTTOM UPv DESIGN APPROACHES THAT FAVOR CONTEXT
AND OPPORTUNISTIC TACTICS AS ) AM IN LARGER STRATEGIC
hTOP DOWNv APPROACHES THAT FAVOR SYSTEMS AND
 *65=,9:(;065:
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OF -ODERN !RT
2OOF 'ARDEN
.EW 9ORK .EW 9ORK

)N  -O-! CURATOR 0ETER 2EED ASKED +EN 3MITH HAD RIGHT OF REFUSAL AND INDEED ARE THE PRIMARY
TO PROPOSE AN hIMAGINATIVEv ROOFSCAPE INSTALLATION AUDIENCE FOR THE ROOFTOP SITE 7HAT DID YOU
FOR THE NEW GALLERY ADDITION BY ARCHITECT 9OSHIO LEARN FROM THE lRST SCHEMES FAILURE AND HOW DID
4ANIGUCHI .EVER TO BE ACCESSIBLE TO THE GENERAL THAT GUIDE YOUR IDEAS FOR THE SECOND SCHEME
PUBLIC THE   SQUARE FOOT GARDEN SITTING SIX
FLOORS ABOVE STREET LEVEL WAS DESTINED TO FUNCTION +3 4HE lRST SCHEME THAT ) CAME UP WITH WAS A
MORE AS ONE OF THE MUSEUMS COLLECTED WORKS OF GRID OF SPINNING DAISIES AN OPTICAL lELD OF PLASTIC
MODERN AND CONTEMPORARY ART THAN AS AN INHABIT mOWERS THAT REACTED TO WIND MOVEMENT 4HE IDEA
ABLE LANDSCAPE .UMEROUS DESIGN CONSIDERATIONS WAS MAYBE TOO OBVIOUS ) THINK THE -USEUM
INCLUDED WEIGHT RESTRICTIONS ZERO TOLERANCE FOR IRRI 4OWERS RESIDENTIAL CO OP BOARD DIDNT LIKE ITS OVERT
GATION NO ELEMENTS ABOVE THREE FEET IN HEIGHT AND NATURE 3O FOR THE NEXT PROPOSAL ) THOUGHT THAT A
A LOW BUDGET 3MITHS FIRST PROPOSAL WAS DISALLOWED STUDY OF CAMOUmAGE WOULD BE A GOOD STARTING POINT
SENDING THE DESIGNER BACK TO THE DRAWING BOARD TO FOR GETTING AN INTERESTING SCHEME UNDER THE RADAR
DEVISE A FINAL SCHEME OF A CONTEXTUALLY ALERT PAT AS IT WERE
TERNED SURFACE CONDITION
*! )S IT PROBLEMATIC IF THE DESIGN SUCCEEDS TO
*! 9OUR lRST SCHEME FOR THE -O-! ROOFTOP THE POINT THAT ITS RENDERED INVISIBLE IE IF A
WAS A SUCCESS ON THE LECTURE CIRCUIT AND IN ITS VIEWER MISSES THE POINT $OES THE TERM CAMOU
EVENTUAL INSTALLATION AT THE #ORNERSTONE 'ARDEN mAGE NEED TO BE USED EXPLICITLY IN RELATION TO THE
&ESTIVAL IN 3ONOMA #ALIFORNIA "UT IT WAS PROJECT
REJECTED BY -O-!S RESIDENTIAL NEIGHBORS WHO


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+3 ) THINK ITS HARDLY INVISIBLE 7HEN ) PRESENTED AS A STUDENT ) READ THE OLD 0ENCIL 0OINTS ARTICLES BY
THE PROJECT FOR APPROVAL ) DIDNT HAMMER THE $AN +ILEY *AMES 2OSE AND 'ARRETT %CKBO )N THE
POINT HOME ) DIDNT START OFF BY SAYING hTHIS IS SAME BOUND VOLUME OF THE MAGAZINE THERE WAS
ABOUT CAMOUmAGE v WHICH WOULD ACTUALLY HAVE AN ARTICLE ON THE ART AND THEORY AND TECHNIQUES OF
BEEN QUITE COUNTERPRODUCTIVE ) TALKED ABOUT THE CAMOUmAGE )T WAS GEARED TOWARD ARCHITECTS AND
GARDEN IN DIFFERENT TERMS BUT MY PRESENTATION TALKED ABOUT HOW YOU COULD CAMOUmAGE BUILDINGS
ACKNOWLEDGED WHAT IT WAS ABOUT AND HOW IT WAS FOR REASONS OF NATIONAL SECURITY ) ALWAYS THOUGHT
OPERATING 4HE DESIGN IS ABOUT SIMULATION )N FACT THAT CAMOUmAGE WAS AN INTERESTING QUALITY AND DID
CREATING A LANDSCAPE GARDEN ON A ROOFTOP IS INHER MY lRST CAMOUmAGE STUDIES DURING THE LATE S
ENTLY AN ACT OF SIMULATION ) AM VERY INTERESTED IN )T WAS AN IDEA THAT ) HAD PLAYED WITH BUT HAD
HOW CAMOUmAGE SIMULATES LANDSCAPE AND IN THIS NEVER GOTTEN TO THE POINT OF EXECUTING
GARDEN THE LANDSCAPE SIMULATES CAMOUmAGE SIMU
LATING LANDSCAPE *! $OES THE MAKING OF A CONSTRUCTED LANDSCAPE
4HERE IS A WHOLE SERIES OF DIFFERENT CAMOUmAGE ALWAYS IMPLY THE ARTIlCE OF SIMULATION 3OME
STRATEGIES THAT WERE DEVELOPED AT A CRITICAL MOMENT WOULD SAY THAT ALL ACTS OF DESIGN CAMOUmAGE
OF THE LATE S AND EARLY SˆCOINCIDING WITH TRUTH WHILE OTHERS SAY ITS A BRINGING FORTH AN
7ORLD 7AR )) 0EOPLE THEN WERE VERY INTERESTED AGENT OF CLARIlCATION AND AMPLIlCATION
IN THE NOTION OF CAMOUmAGEˆSCIENTISTS AS WELL AS
DESIGNERS AND ARTISTS )N THE ARCHITECTURE MAGAZINES +3 4HE HISTORY OF GARDEN DESIGN IS lLLED WITH
OF THE TIME THERE WAS A CRITICAL DISCUSSION ABOUT EXAMPLES OF SIMULATION AND CAMOUmAGE #ENTRAL
THE ROLE OF CAMOUmAGE IN DEFENSE ) REMEMBER THAT 0ARK FOR EXAMPLE IS A LARGE SCALE GARDEN THAT

9<5505./,(+:
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 ARTISTICALLY SIMULATES VISUAL AND SPATIAL ASPECTS OF $ECEPTION CAMOUmAGE IS A METHOD THAT DOES NOT
AN IDEALIZED PRE INDUSTRIAL ARCADIA AND DISGUISES A ATTEMPT TO COMPLETELY HIDE THE SUBJECT BUT TO
LARGE TERRITORY OF THE -ANHATTAN GRID WITH IMITATED CHANGE ITS APPEARANCE ENOUGH THAT IT RESEMBLES
NATURE #ONTEMPORARY LANDSCAPE DESIGN OFTEN DEALS SOMETHING OF A DIFFERENT OR INNOCUOUS NATURE 4HE
WITH THE FUNDAMENTAL ISSUE OF AMELIORATING OR PRINCIPLE IS EMPLOYED TO DECEIVE THE BOMBARDIER
COVERING UP THE IMPACTS OF THE CONSTRUCTED ENVI WHO IS LOOKING FOR A POWERHOUSE AND lNDS ONLY AN
RONMENT 0RACTITIONERS REFER TO THIS AS hREMEDIA hAPARTMENT HOUSEv WITH AWNINGS AND SHRUBS $ECOY
TION v hSHRUBBING IT UP v hCONTEXTUALIZATION v OR CAMOUmAGE IS ACHIEVED THROUGH THE CONSTRUCTION OF
SIMPLY hNATURALIZINGv 4HIS PRACTICE OF LANDSCAPING DUMMY OBJECTS IN CONJUNCTION WITH THE CONCEAL
AS CAMOUmAGE IS A COMMON BUT CRITICALLY UNRECOG MENT OF REAL ONES SO THAT ENEMY BOMBERS WILL BE
NIZED ASPECT OF SIMULATION IN THE LANDSCAPE ARCHI ATTRACTED TO FALSE TARGETS #ONFUSION IS THE LEAST USED
TECTURE PROFESSION CAMOUmAGE PROCEDURE AND CONSISTS OF CONCEALING
&OUR BASIC CAMOUmAGE STRATEGIES WERE IDENTIlED THE SUBJECT BY IMPAIRING VISION OR JUDGMENT BY PRE
BY !RCHITECT AND %NGINEER MAGAZINE IN  IMITA SENTING A MULTIPLICITY OF POTENTIAL OR ILLOGICAL TARGETS
TION DECEPTION DECOY AND CONFUSION )MITATION THAT CONFUSE ACCURATE DETERMINATION
CAMOUmAGE IS THE MOST COMMON AND WIDELY USED )N CONTEMPORARY URBAN LIFE hCAMOUmAGEv IS
TECHNIQUE )T IS THE BLENDING IN WITH SURROUNDING IRONICALLY USED TO BOTH BLEND IN AND STAND OUT 4HE
TERRITORY SO THAT THE SUBJECT IS INDISTINGUISHABLE -O-! PROJECT TAKES THE ART OF CAMOUmAGE AND THE
FROM ITS SETTING 7HETHER IT IS IN THE COUNTRY OR ARTIlCE OF SIMULATION A STEP FURTHER BY USING THE
CITY DESERT OR FOREST SUMMER OR WINTER THE SUBJECT SIMULATION ITSELF AS A SOURCE FOR DESIGN SPECULATION
APPEARS TO BE PART OF THE SURROUNDING LANDSCAPE /NE MIGHT THINK OF THIS AS THE SIMULATION OF A

 464(966-.(9+,5
SIMULATION OR USING IMITATED NATURE TO GENERATE A EMPLOYING RECTILINEAR FORMS THAT HAVE THE SHAPE OF
NEW NATURE SKYLIGHTS VENTS OR ELEVATOR SHAFTSˆTHE SORT OF PLAT
2OOF GARDENS ARE INHERENTLY ARTIlCIAL ENVIRON FORMS YOU lND ON THE TOP OF BUILDINGS THAT BLEND
MENTS 4HEY HAVE LIMITATIONS OF WEIGHT LOADING INTO THE URBAN LANDSCAPE 3O OUR lRST SCHEME WAS
THERE ARE ISSUES OF HOW TO ANCHOR ELEMENTS AND VERY RECTILINEARˆA KIND OF 0ETER 7ALKER SCHEME
PROTECT THE WATERPROOF MEMBRANE AS WELL AS ENVI 4HE SECOND STRATEGY IS BASED ON DECEPTION IN
RONMENTAL ISSUES OF WIND ACCESS TO LIGHT AND GEN THIS CASE MAKING THE ROOFTOP LOOK LIKE SOMETHING IT
ERALLY HARSH CONDITIONS FOR LIVING PLANTS INCLUDING ISNT AS OPPOSED TO BLENDING IN ) USED CURVILINEAR
LIMITED MAINTENANCE AND CARE 3IMULTANEOUSLY THE FORMS TO IMITATE #ENTRAL 0ARK WHICH IS JUST A FEW
DESIGN OF THESE SPACES IS OFTEN DRIVEN BY THE DESIRE BLOCKS NORTH OF THE BUILDING ) APPLIED THE ICONIC
TO IMPOSE THE IMAGERY OF IMITATED NATURE ONTO CAMOUmAGE PATTERN YOU lND IN MILITARY CLOTHING TO
THESE BUILT CONSTRUCTIONS MAKE REFERENCE TO /LMSTEDS LANDSCAPING
$ECOY IS THE THIRD APPROACH THE ONE WHERE
*! $ESCRIBE YOUR FOUR DESIGN PROPOSALS FOR THE YOU BASICALLY THROW THE VIEWER OFF TRACK BY BUILDING
ROOFTOP ACCORDING TO THE CATEGORIES OF IMITATION A DUMMY TARGET &OR THAT SCHEME ) CREATED A FOLDED
DECEPTION DECOY AND CONFUSION LANDSCAPE THAT WAS NEITHER BUILDING NOR NATUREˆIT
WAS JUST A FALSE THING UP THERE A RED HERRING
+3 4HE MOST COMMON CAMOUmAGE STRATEGY IS IMITA 4HE FOURTH STRATEGY WAS CONFUSION )N THE
TION )F YOU HAVE A BUILDING SITTING IN THE MIDDLE OF MAGAZINE ARTICLE THIS APPROACH WAS DESCRIBED AS
THE WOODS YOU IMITATE THE WOODS TO BLEND IN &OR A BUILDING lRES OR SOMETHING ELSE TO OBSCURE THE
BUILDING IN MIDTOWN -ANHATTAN IMITATION MEANS VISION OF THE PILOTS ) INTERPRETED IT AS JUST DOING

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BE CLEAR WHAT THE HELL IT WAS 4HIS SCHEME HAD ARTIlCIAL AND ICONIC
GREAT BIG DAISY SHAPES mOATING ON THE ROOF LIKE
MUTANT GIANT LILY PADS *! 4HE CLIENT SELL WAS MORE SUCCESSFUL THE
SECOND TIME AROUNDˆWHY
*! 4HERE SEEMS TO BE A CONSISTENT USE OF FAUX
PLANTS ROCKS AND PAVING TEXTURES THAT IGNORES +3 ) CREATED GRAPHICS AND A QUARTER SCALE MODEL
THE PHENOMENOLOGICAL POTENTIAL AND INHERENT OF EACH SCHEME LATER THESE WERE ON DISPLAY IN A
MUTABILITY OF LANDSCAPE MEDIAˆCHARACTERISTICS SMALL EXHIBITION AT THE (ARVARD 'RADUATE 3CHOOL
THAT COULD PLAY INTO IDEAS OF DECEPTION CON OF $ESIGN AND PRESENTED THEM TO THE MUSEUM )
FUSION AND SO ON (OW DOES INVESTIGATION OF MET WITH 4ERENCE 2ILEY 0ETER 2EED 'LENN ,OWRY
MATERIALITY ENTER INTO THESE SCHEMES AND OTHERS AND WE AGREED THAT WE WOULD TAKE TWO
OF THE SCHEMES TO THE CO OP BOARD TO PRESENT THE
+3 4HE MATERIALS HAVE SHIFTED A LITTLE BIT BUT BASI RECTILINEAR ONE AND THE CURVILINEAR ONEˆIMITATION
CALLY ALL FOUR OF THE SCHEMES ) PRESENTED INVOLVED AND DECEPTION
ARTIlCIAL ROCKS ARTIlCIAL SHRUBS AND THREE COLORS ) PUSHED FOR THOSE TWO ALTHOUGH ) ALSO LIKED
OF GROUND MATERIAL WHITE BLACK AND CRUSHED THE CONFUSION SCHEME "UT ) THOUGHT THAT THE
GLASS  4HE PALETTE REMAINED CONSISTENT IN THE FOUR IMITATION AND DECEPTION APPROACHES WERE THE
SCHEMES !LTHOUGH THE DESIGN WAS MORE ABOUT THE MOST TRUE TO THE IDEA OF CAMOUmAGE THAT WE WERE
FORM AND CONTENT THAN MATERIALITY THE MATERIALS DEVELOPING ) WAS LEANING TOWARD THE CURVILINEAR
DO HAVE CONTENT AND TO EMPHASIZE THE SIMULATION SCHEME ALTHOUGH DURING OUR MEETING WITH -O-!

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 THERE WERE CONCERNS ABOUT THE CURVILINEAR DESIGN ARTICULATED GROUND PLANE MORE OF A CHALLENGE TO
BEING DIFlCULT TO BUILD 4HE RECTILINEAR ONE WOULD PREVAILING SITE AESTHETICS
BE SIMPLER TO CONSTRUCT AND EVERYONE THOUGHT IT
MIGHT ALSO BE MORE PALATABLE TO THE BOARD MEM +3 )T HAS A WHOLE SERIES OF LEVELS THAT ARE INTEREST
BERS OF THE RESIDENTIAL CO OP BECAUSE ITS INHERENTLY ING BECAUSE SO MUCH OF LANDSCAPE ARCHITECTURE IS
MORE CONSERVATIVE 0EOPLE UNDERSTAND MINIMALIST UNCRITICALLY INVOLVED IN CAMOUmAGING 7ERE A
GEOMETRY AND CERTAINLY IT WAS MORE IN KEEPING PROFESSION OF SHRUBBING THINGS UP COVERING UP
WITH THE 4ANIGUCHI BUILDING "UT THAT WAS EXACTLY MISTAKES HIDING AND SMOOTHING THINGS AND
WHY ) PREFERRED THE CURVILINEAR SCHEME ) THOUGHT CONTEXTUALIZING THEM 5SUALLY THE CAMOUmAGING
THAT IT WAS MORE INTERESTINGLY SUBVERSIVE ABOUT EFFORTS WITHIN THE PROFESSION ARE INVISIBLE 4HIS
CAMOUmAGE BECAUSE IT PLAYS A REVERSE GAME OF SCHEME ACKNOWLEDGES THE ISSUE OF CAMOUmAGE
DECEPTION RATHER THAN SIMPLE IMITATION AND USES IT CRITICALLY AS A VISIBLE ELEMENT "UT NOT
EVERYONE WANTS TO HEAR ABOUT THAT
*! -ANY CRITICS COMPLAIN THAT THE CURVILINEAR ) STARTED THE PRESENTATION TO THE CO OP BOARD
IS A DEFAULT PARTI A LIMITING PLANIMETRIC INTER BY TALKING ABOUT THE ROOF AS A KIND OF *APANESE
PRETATION OF A ROMANTIC PASTORAL LEGACY "UT GARDEN 0ART OF THE PROGRAM STATED THAT WE
REALLY SINCE THE S WEVE ENDURED A REGIME OF COULDNT HAVE ANY LIVE PLANTS WE COULDNT HAVE
MINIMALIST GEOMETRIES AND AGGRESSIVE FORMALISM ANY IRRIGATION WE COULDNT HAVE ANY SUBSTANTIAL
THAT OVERLOOKS THE lGURAL POWER OF SITE SPECIlC WEIGHT WE COULDNT HAVE ANY PHYSICAL ATTACH
CONTINUOUS TOPOLOGIES (OW IS THE CURVILINEAR MENTS 4HERE WERE ALSO ISSUES OF A LIMITED BUDGET
SCHEME AND ITS IMPLICATION OF A TWO DIMENSIONAL AND LITTLE OR NO MAINTENANCE "ASICALLY THINGS

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INHERENTLY A DRY GARDEN SIMILAR TO THE *APANESE ING IN THE GARDEN BECAUSE OF LIMITED MAINTENANCE
:EN GARDEN WHICH IS AN ABSTRACTION OF NATURE IN LIMITED SOIL AND THE ENVIRONMENTAL CONDITIONS
SOME WAY ) CONTINUED BY TALKING ABOUT THE TWO
SCHEMES THAT WE WERE GOING TO PRESENT A RECTILIN *! 4HE SCHEME CHANGED SOME BETWEEN THAT
EAR GEOMETRY AND A CURVILINEAR GEOMETRY SHOWING MEETING WHERE YOU PRESENTED THE INITIAL CON
THEM THE GARDENS ON TOP OF 2OCKEFELLER #ENTER AS CEPT AND THE lNAL INSTALLATION (OW DID VALUE
AN EXAMPLE OF A CLASSICAL RECTILINEAR GEOMETRY GAR ENGINEERING EFFECT SPECIlC CONSTRUCTION DETAILS
DEN AND .OGUCHIS WORK AT 5.%3#/ IN 0ARIS AS AN OR CHANGE YOUR INTERPRETATION OF DECEPTION BY
EXAMPLE OF CURVILINEAR MODERN WORK 4HEY LOVED DESIGN
IT 4HE BIGGEST HURDLE WAS THE SYNTHETIC PALETTE OF
THE GARDEN +3 4HE SHRUB MASSES ARE MADE OF lBERGLASS GRAT
) HAD BUILT A SMALL MOCK UP ON THE ROOFTOP ING AND THE BASES ARE COMPUTER NUMERICALLY CUT
WHICH EVERYONE COULD LOOK DOWN AT 3O INSTEAD OF INTO PIECES THAT lT TOGETHER ON THE ROOF ) SPECI
BRINGING AN ARTIlCIAL SHRUB INTO THE MEETING THE lED 06# PIPES THAT GO INTO 06# mANGES WHICH ARE
MATERIALS WERE JUDGED FROM A DISTANCE OF FORTY OR BOLTED TO THE lBERGLASS GRATING TO PROVIDE STEMS
lFTY FEET THE ACTUAL VIEWING DISTANCE &ROM THAT FOR THE SHRUBS 4HESE ASSEMBLIES ARE HEAVY ENOUGH
PERSPECTIVE YOU ACTUALLY CANT TELL THE DIFFERENCE THAT THEY CAN JUST REST ON THE ROOF /RIGINALLY )
BETWEEN AN ARTIlCIAL BOXWOOD AND A REAL ONE AND HAD PLANNED TO PLACE THE SHRUBS AT A DISTANCE OF
IN FACT THREE YEARS OUT THE ARTIlCIAL BOXWOODS ARE TWENTY FOUR INCHES FROM EACH OTHER BUT THIS WAS
GOING TO LOOK BETTER THAN A DEAD BOXWOOD HERE EVENTUALLY ADJUSTED TO THIRTY OR THIRTY SIX INCHES

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TO SAVE MONEYˆIRONICALLY THE ARTIlCIAL BOXWOOD NATURAL MATERIAL ALTHOUGH IT COULD BE CALLED INTO
PLANTS WERE MORE EXPENSIVE THAN LIVE PLANTS 4HIS QUESTION WHETHER THIS MATERIAL IS ACTUALLY NATURAL
ADJUSTMENT SAVED   BUT A STUDY ALSO SHOWED OR NOT AT THIS POINT 4HE BLUE SURFACE IS CRUSHED
THAT THE NEW SPACING ACTUALLY WORKED BETTER )N A GLASS WHICH COULD ALSO BE CONSIDERED A NATURAL
REAL LANDSCAPE WITH REAL PLANTS YOU WOULD WANT MATERIAL )T ALSO CALLS INTO QUESTION WHATS AUTHEN
THE SHRUBS TO BE PLACED CLOSE TO EACH OTHER SO THAT TIC AND WHATS SIMULATED
THEY CAN GROW TOGETHER AS A MASS BUT HERE HAV 3OME OF THE CHANGES ) MADE TO THE ORIGINAL
ING THE SHRUBS READ AS INDIVIDUAL ELEMENTS WORKED SCHEME HAPPENED TO CUT COSTS &OR EXAMPLE THE
BECAUSE IT MADE THE DESIGN MORE SYNTHETIC HEADERS WERE GOING TO BE BRICK IN ORDER TO RELATE TO
4HE ARTIlCIAL ROCKS ) USED ARE A BRAND THAT THE HISTORIC CONTEXT BY CHOOSING THE SAME MATERIAL
PEOPLE IN THE SUBURBS USE TO HIDE THEIR UTILITIES 0HILIP *OHNSON USED BUT INSTEAD ) ENDED UP USING
"ASICALLY THEYRE CAMOUmAGING ELEMENTS IN THE #.# MILLED STRUCTURAL 3TYROFOAM )N HISTORIC PRES
LANDSCAPE !CROSS THE ROOFTOP ) LAID A SERIES OF RUN ERVATION WORK A LOT OF DETAILING SUCH AS CORNICES
NERS TO WHICH THE ROCKS WERE BOLTED 0LACED OVER IS MADE OUT OF THIS MATERIAL USUALLY WITH A lNISH
THE RUNNERS IS A THIN LAYER OF GROUND COVER 4HE THAT LOOKS LIKE LIMESTONE OR ANOTHER STONE (ERE IT
BLACK GROUND COVER WAS ORIGINALLY -EXICAN BLACK IS TREATED WITH A SPRAY ON HARDENING SURFACE THATS
PEBBLES BECAUSE THAT WAS WHAT 4ANIGUCHIS OFlCE REALLY STRONG AND PAINTED THE COLOR OF BRICK !LL
HAD SPECIlED BUT TO SAVE MONEY ) DECIDED TO USE THE SHAPES IN THE CURVILINEAR PLAN ARE TRANSLATED
GROUND TIRESˆRECYCLED RUBBER A MATERIAL RECOM ARCS TANGENTS AND STRAIGHT LINES TAKEN FROM A
MENDED BY THE LANDSCAPE CONTRACTOR 4HE WHITE CAMOUmAGE PATTERN THAT WAS TRACED FROM A PAIR OF
SURFACE MADE OF CRUSHED WHITE STONE IS THE ONLY HIP HOP SKATE BOARDER PANTS ) WANTED TO MAKE THE

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CAMOUmAGE A LITTLE MORE SYNTHETIC SO ) REDUCED THE DOWN MADE THE PROJECT CONCEPTUALLY STRONGER 4HE
PATTERN TO A KIND OF ROADWAY ENGINEERING 4HERE WHOLE PROCESS OF BEING FORCED TO GO BACK TO THE
ARE THREE DIFFERENT CURVE RADII AND THREE DIFFERENT CLIENT WITH A COMPLETELY NEW IDEA AFTER THE lRST
LINE SEGMENT AND INTERSECTION CONDITIONS 4O TRANS DESIGN WAS REJECTED AND WORK THROUGH THE ISSUES
FER THE PATTERN ONTO THE ROOF IT WAS DIVIDED INTO A OF THE REJECTED PROPOSAL RESULTED IN A BETTER DESIGN
SERIES OF SIMPLE UNITS WHICH WERE FACTORY CUT FROM CONCEPT !ND WHILE )M NOT A BIG FAN OF VALUE
STANDARD SHEET SIZES INTO A PALETTE OF PARTS NUM ENGINEERING IN THIS CASE IT CLARIlED THE MATERIAL
BERED AT THE FACTORY PUT TOGETHER ON SITE AND PALETTE AND MADE THE PROJECT STRONGER CONCEPTUALLY
GLUED DOWN AND MATERIALLY
!S ) WAS CONCERNED ABOUT THE INTEGRITY OF THE
CURVILINEAR FORMS MY OFlCE STAFF AND ) MOCKED UP *! )N RETROSPECT WHAT GOT SACRIlCED WHEN YOU
ABOUT A lFTH OF THE AREA ON ONE SIDE OF THE ROOF LET GO OF THE lRST PROPOSAL THE SPINNING DAISIES
WITH CHALK AND STRING LINES )N HALF A DAY WE LAID
OUT THE GEOMETRY OF ONE SUBSTANTIAL AREA OF THE +3 4HE -O-! TEAM LOVED THE lRST SCHEME 4ERRY
DESIGN SO WE COULD SEE HOW THE FORMS lT AND GET 2ILEY LIKED IT BECAUSE IT USED AN ICONIC ELEMENT
A SENSE OF THE SCALE 7E LOOKED DOWN AT IT FROM TAKEN OUT OF CONTEXT 0ETER 2EED LIKED IT BECAUSE
THE TOWER WHICH WAS KIND OF REASSURING 7E ALSO IT HOVERED BETWEEN POP ART AND MINIMALISM
DISCOVERED WE HAD SOME DIMENSIONING ISSUES IN 7HEN 0ETER TALKS ABOUT LANDSCAPE ARCHITECTURE
THE ROOFTOP LAYOUT WHICH NEEDED TO BE CORRECTED HIS APPROACH IS TO SPEAK ABOUT LANDSCAPE DESIGN
4HESE LITTLE ADJUSTMENTS AND IN SOME WAYS ALSO RELATIVE TO THE TUG BETWEEN SURREALISM AND CUBISM
THE THINGS WE HAD TO DO TO BRING THE BUDGET ) DONT KNOW IF THOSE QUITE TRANSLATE TO POP ART AND

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THAT ON ONE LEVEL THE SCHEME WAS POP BECAUSE

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!ND ON ANOTHER LEVEL THE DESIGN WAS PURELY MINI
MALIST AS THE BIG BLOCKS OF COLOR MADE UP A MINI
MAL COLOR lELD THAT UNDERLIES THE OPERATIVE LEVEL OF
THE SPINNING AND TURNING OBJECTS IN THE WIND "UT
IN THE END ) THINK THE DECEPTIONCAMOUmAGE GAR
DEN HOVERS IN THE SAME WAY IN THIS CASE BETWEEN A
KIND OF UTILITARIAN INDUSTRIAL DESIGN APPROPRIATION
STRATEGY AND *APANESE GARDEN ABSTRACTION

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,ANDINGS
.EW 9ORK .EW 9ORK

)N  THE CITY OF .EW 9ORK SELECTED lVE DESIGN lRMS PRACTICES WERE ON THE LIST ) WAS THE ONLY LANDSCAPE
TO SUBMIT PROPOSALS FOR THE %AST 2IVER WATERFRONT ARCHITECT ) KNEW &RANO 6IOLICH AND 3HEILA +ENNEDY
ALONGSIDE THE SIX FERRY LANDINGS INCLUDING 4HIRTY FOURTH FROM TEACHING AT THE (ARVARD 'RADUATE 3CHOOL OF
3TREET IN -IDTOWN 4HE AREA OF INTERVENTION WAS A $ESIGN AND ONE DAY &RANO CALLED ME UP TO ASK
NINETY FOOT LONG STRIP OF SEAWALL AND A TWENTY FOOT WHETHER ) WAS INTERESTED IN JOINING FORCES ) REALLY
WIDE RIGHT OF WAY OWNED BY THE CITY 4HE PROGRAM WAS RESPECTED THEIR WORK 3O WE BECAME A COLLABORATIVE
TO CREATE A PEDESTRIAN ENVIRONMENT THAT WOULD EXTEND TEAM AND BASICALLY PICKED OFF THE COMPETITION THAT
EXISTING RIVERSIDE CIRCULATION THROUGH THE SITE )N RELA WAY +ENNEDY  6IOLICHS DESIGNS FOR BUILDINGS AND
TION TO A BRIDGED WALKWAY DESIGNED BY ARCHITECTS 3HEILA STRUCTURES ARE BASED ON A KIND OF SYSTEMS APPROACH
+ENNEDY AND &RANO 6IOLICH +EN 3MITH DEVELOPED AN THEY THINK ABOUT OCCUPYING SURFACES IN TERMS OF
URBAN ECOLOGICAL SYSTEM THAT REVIVES ATAVISTIC PLANT MOVEMENT )N THEIR SCHEME FOR THE PROJECT THERE
INGSˆGRASSES THAT ONCE PROSPERED ALONG THE SLOPED IS A SYSTEM OF FURNISHINGSˆALL UTILIZABLE IN SOME
BANKS OF THE RIVERˆWITHIN A CONSTRUCTED NATURE OF WAYˆTHAT MOVE THROUGH THE SITE AND A SYSTEM OF
FOLDED UNMISTAKABLY CONTEMPORARY PLANTERS CANOPIES WHICH PROVIDE PROTECTION )N RESPONSE )
STARTED TO THINK ABOUT THE LANDSCAPE AS A SYSTEM AS
*! $ESCRIBE HOW YOU GOT INVOLVED WITH THIS AN ECOLOGICAL SYSTEM CONSISTING OF INDIVIDUAL PLANT
PROJECT ERS THAT MIGHT RECLAIM THE RIPARIAN EDGE OF THE RIVER
+ENNEDY AND 6IOLICH WERE GREAT TO WORK WITH
+3 4HE CITY PICKED lVE lRMS THAT WERE INVITED TO 4HEY NEVER ONCE SAID h.O YOU SHOULD BE DOING
SUBMIT PROPOSALS "ESIDES ME THE ARCHITECTURAL lRM IT THIS WAYv 7E BASICALLY DEVELOPED OUR OWN
+ENNEDY  6IOLICH AND THREE OTHER ARCHITECTURAL IDEAS IN A COMMON VOCABULARY AND PROGRAM 4HE


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RESPONDED TO A STRUCTURAL ARMATURE WITH +ENNEDY PERMITS TO BUILD PLATFORMS FOR PEOPLE TO WALK ON
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IN COMMON WITH THE PLEATING OF THE (IRIYA ARE ACTUALLY NECESSARY TO PROTECT THE GRASS )N THE
LANDlLL PROJECT ALTHOUGH THE SCALES ARE VASTLY GIVEN SPACE THERE WASNT ENOUGH ROOM TO CREATE A
DIFFERENT TRUE GRADATED SLOPE THAT WOULD SUPPORT THE RANGE
OF LOW MARSH HIGH MARSH AND UPLAND BORDER
+3 9ES THIS SIMILARITY REmECTS MY MOVE TOWARD )NSTEAD AS A SCULPTURAL NOTION ) DEVELOPED A FOLD
VERTICAL GREEN AND FOLDING FORMS #REATING A TOPOG ING STRUCTURE THAT HAS ELEVATED AREAS AND LOWER
RAPHY WAS IMPORTANT TO ME BECAUSE THE PROJECT ONES !N IRRIGATION SYSTEM PUMPS RIVER WATER INTO
WAS ABOUT REPAIRING AN EDGE AND THE RIPARIAN EDGE THE PLANTED BOXES A KIND OF ARTIlCIAL TIDE WHICH
IS INHERENTLY A GRADED SLOPE )N THE %AST 2IVER THE RESULTS IN A DIFFERENTIATION OF PLANT SELECTION SORTING
TIDAL mUCTUATION IS ABOUT SIX FEET BETWEEN HIGH AND ITSELF OUT WITHIN THE PLANTERS .ECESSARILY THE LOWER
LOW TIDE )N A NATURAL CONDITION THE RIVERS GRADATED AREAS WHERE MORE MOISTURE GATHERS HAVE A GREATER
SLOPE DISSIPATES THE ENERGY OF THE RIVERS MOVEMENT POPULATION OF MUSSELS AND THINGS LIKE THAT !T HIGH
ALLOWING TIDAL PLANT COMMUNITIES OF PRIMARILY SPAR TIDE THESE AREAS WILL GET mOODED
TINA GRASS TO THRIVE 4HE ECOLOGY OF THE %AST 2IVER
HAS BEEN ALTERED THROUGH LAND lLLING AND CONSTRUC *! 4HE PLANTING BOXES MAKE WHAT USED TO BE
TION OF SEA WALLS AND TODAYS CURRENTS WOULD NOT A NATURAL CONDITIONˆVEGETATED SHORELINEˆPOS
ALLOW THESE TYPES OF COMMUNITIES TO EXIST WITHOUT SIBLE AGAIN BUT IN A MANNER THAT REmECTS THE
SOME KIND OF PROTECTIVE STRUCTURE 3IMPLY PLANT ENGINEERED CONDITION )S THERE SOME INHERENT
ING SPARTINA GRASS IN A SLOPE ON THE RIVER WOULDNT WRONG DOING IN THIS 4HE FRESHWATER IRRIGATION
WORK IN THIS ALTERED ENVIRONMENT BECAUSE THE RIVER NEEDED FOR THE SPARTINA GRASSES AND FOREIGN

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FORTIlED PLANTING SOILS WILL ENTER INTO THE RIVER PLANTER BOXES ARE DESIGNED TO RECEIVE ONLY LIMITED
SYSTEM AND ONE COULD IMAGINE IF THIS TIDAL mUSHING IN ORDER TO PROTECT THE PLANTINGS
PROJECT SERVED AS A MODEL FOR MILES OF SHORELINE FROM THE DAMAGE OF STRONG CURRENTS 3UPPLEMENTAL
THE RIVER WATERS NUTRIENT BALANCE WOULD BE WATER IS PUMPED FROM THE RIVER AND DISTRIBUTED
DISTURBED THROUGH A SYSTEM OF OPEN TROUGHS AND SPOUTS TO
PROVIDE AN ARTIlCIAL TIDAL INmUX OF BRACKISH WATER
+3 7ELL THIS PROJECT IS INTENDED FOR A STRETCH OF AND NUTRIENTS 4HERE IS ALSO AN AUXILIARY BACK UP
RIVER THAT IS ALREADY IRREPARABLY OUT OF BALANCE SYSTEM OF FRESH WATER IN CASE THERE IS A PROBLEM
)T ADDRESSES THE ISSUE OF HOW WE RESPOND TO AN WITH THE BRACKISH WATER SYSTEM ) DESIGNED THE
ALTERED RIPARIAN ENVIRONMENT AND HOW WE CAN LATTER TO BE A VISIBLE COMPONENT OF THE PLANTERS
CREATE AN AWARENESS OF THE PROBLEM "ECAUSE OF )TS PART OF OUR ATTEMPT TO EXPOSE THE STRUCTURE OF
THE RIVERS BULKHEAD WALLS AND ALTERED CURRENTS IT WHAT WE CREATED TO REVEAL THE SYSTEMS THAT PROPA
IS IMPOSSIBLE TO GROW A RIPARIAN MARSH IN NATU GATE AND SUSTAIN THE PLANTS ) WANTED TO SHOW THE
RAL CONDITIONS HERE SO ) RESORTED TO DESIGNING A MECHANICS AND THE COMPLEXITY OF THE MATERIALS
PLANTER SYSTEM THAT WOULD ALLOW BRINGING BACK THE AND SYSTEMS SO THEY BECOME AN ACCESSIBLE PART OF
3PARTINA COMMUNITY UNDER CONTROLLED AND PROTECT UNDERSTANDING THE LANDSCAPE )M NOT INTERESTED IN
ED CONDITIONS 4HE PLANTER BOX IS A VERY PRACTICAL COVERING UP AND DENYING THESE THINGS
SOLUTION BUT TO MAKE IT WORK IN THE ALTERED ECOL
OGY OF THE %AST 2IVER IT IS NECESSARY TO INTRODUCE *! $O YOU IDENTIFY THIS CONCERN WITH REVEALING
IRRIGATION USING BOTH BRACKISH WATER AND A BACK UP STRUCTURE AND FUNCTION AS A MODERNIST STRAIN IN
SYSTEM OF FRESH WATER TO SUPPORT THE PLANTINGS 4HE YOUR WORK

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+3 9ES "ASICALLY YOU HAVE THE FORM OF THE FUNC ARTIlCIALITY OF THE RIVER ENVIRONMENT THAT WEVE
TION "UT )M ALSO INTERESTED IN THE OVERLAP BETWEEN CREATED IN CONTEMPORARY CITIES "UT ) THINK THERE
STRUCTURE AND THE SYMBOLIC )F YOU LOOK AT THE IS A SENSE OF AWE AND WONDER IN BEING PLACED IN
3EAGRAM "UILDING THE COLUMNS ON THE OUTSIDE DO A SITUATION WHERE YOURE OVER AND SURROUNDED BY
PROVIDE THE NECESSARY SUPPORT FOR THE CURTAIN WALL WATER AND CLOSE UP TO A hPRIMORDIALv MARSH GRASS
BUT THEYRE ALSO PURELY SYMBOLIC 4HE USE OF THE ) COMMUNITYˆYOU CAN ALMOST TOUCH AND SMELL THE
BEAM IS BOTH A DECORATIVE AND A STRUCTURAL ELEMENT MARSH AND HEAR THE GURGLING OF THE BIVALVES 7HILE
ITS NOT A TRUE MARSH OBVIOUSLY YOU DO GET A SENSE
*! !T WHAT MOMENT IN THE %AST 2IVER PROJECT OF THE VEGETATION BETWEEN YOU AND THE OPEN WATER
DOES PERCEPTION SHIFT FROM AWARENESS OF THE AND THIS STARTS TO SET UP THE KIND OF EXPERIENCE
URBAN CONDITIONˆTHE ENGINEERED RIVER WAY THE YOU WOULD HAVE IN A NATURAL SITUATION 4HE NOTION
ARCHITECTURAL PROMENADEˆTO NOTICING THE OF URBAN ECOLOGY IS ENGAGED BY THE CONTEMPORARY
VITAL DETAIL OF WATER CURRENT BARNACLE CRUSTING CONDITION OF THE WATERS EDGE 4HIS EXPERIENCE IS
TIDAL mUX ROOTED IN THE PRAGMATICS OF THE PLACE AND IN WHAT
IT TAKES TO MAKE THIS MATERIAL STRUCTURALLY SOUND
+3 4HERE ARE TEN MARSH BOXES /N A BRIDGE NEXT TO 4HE DESIGN ACCOMPLISHES THIS IN A SYMBOLIC WAY
THEM DESIGNED BY +ENNEDY  6IOLICH IS A PUBLIC THAT SPEAKS TO THE LOSS OF THE NATURAL ENVIRONMENT
WALKWAY AND AT BOTH ENDS OF THE WALKWAY IS THE AND CREATES A PHENOMENAL EXPERIENCE
SEAWALL 7HEN YOURE ON THE BRIDGE YOURE ACTUALLY
IN AND OVER THE WATER YOU SEE THE WATER BETWEEN
THE SEAWALL AND THE BRIDGE SO YOU ARE AWARE OF THE

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 03 
1UEENS .EW 9ORK

03  IS A PRO BONO DESIGN PROJECT COMMISSIONED BY AND BIRDS AND THE MOVABLE MINI DUMPSTERS USED FOR
THE 2OBIN (OOD &OUNDATION AS PART OF THE SUCCESSFUL TEACHING AND EXPERIMENTAL PLANTINGS
h,IBRARY )NITIATIVE v A PROGRAM THAT ENGAGES LEADING
ARCHITECTS TO BUILD LIBRARIES IN THE CITYS NEEDIEST NEIGH *! .OW THAT YOUR SCHEME FOR 03  HAS BEEN IN
BORHOODS )T IS THE lRST LANDSCAPE PROJECT SUPPORTED BY PLACE FOR OVER TWO YEARS WHAT BIGGER ISSUES HAVE
THE FOUNDATION +EN 3MITHS SCHOOLYARD SCHEME OFFERS EMERGED FROM THIS PROJECT TO IMPACT YOUR OTHER
A BALANCE OF PRAGMATISM AND PRIDE FEATURING LOW COST WORK
FUNCTIONAL AND KID ORIENTED SOLUTIONS TO TYPICAL CONDI
TIONS SUCH AS BOUNDARY DElNITION EXCESSIVE ASPHALT +3 03  IS THE LARGEST ELEMENTARY SCHOOL IN .EW
PAVING AND THE NEED FOR PLAY SPACE TO BE BALANCED 9ORK #ITY )N  WE COMPLETED THE PROJECTˆWE
WITH OPPORTUNITIES FOR OUTDOOR LEARNING &IVE PROTOTYPE HAD lNISHED ALL DESIGN COLLABORATED WITH THE FAB
ELEMENTS WERE DEVELOPED AND THEN MODIlED TO ADDRESS RICATORS AND VOLUNTEER GROUPS INSTALLED THE PLANT
SPECIlC CHARACTERISTICS OF THE 03  SITE )N PHASE ONE INGS lNISHED PAINTING AND PUT UP THE CLOUD SCRIM
GRAPHICS WERE PAINTED ON THE ASPHALT PAVING AND ON 7E HAD SET UP ALL ELEMENTS OF OUR DESIGN BUT THE
THE WALLS OF THE hTEMPORARYv CLASSROOMS NOW TWENTY BIG UNKNOWN WAS HOW THE STUDENTS AND TEACHERS
YEARS OLD  ,ATER A CLOUD SCRIM WAS STRETCHED ACROSS WOULD ACTUALLY USE THE LANDSCAPE &OR EXAMPLE WE
THE SCHOOLYARDS CHAIN LINK FENCE RAISING THE EYE TO WERENT SURE HOW THE LEARNING GARDENS A SERIES OF
AN ALWAYS BLUE SKY PERIMETER ! CURTAINED SPACE FOR PLANTED DUMPSTERS WOULD DEVELOP INTO MORE THAN
READING WAS PROPOSED AND MODULAR SEATING MADE OUT JUST SOMETHING THAT WAS INSTALLED 4HERE NEEDED TO
OF STANDARD PIPE SEGMENTS WAS FABRICATED 4HE TWO ELE BE SOME MECHANISM THAT INTEGRATED THE GARDEN AND
MENTS MOST POPULAR ARE THE LINEAR GARDEN FOR BUTTERmIES ITS PIECES INTO THE SCHOOL LIFE 7HEN ) VISITED 03 

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-P]LWYV[V[`WLLSLTLU[Z^LYLKL]LSVWLKHUKTVKPMPLK[V
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7:
! GRAPHIC PANEL OF SIGN MATERIAL WOULD BE LAYERED OVER
THE TOP PORTION OF THE TALL SCHOOL YARD FENCE TO CREATE
A STRONG IMAGE FOR THE SCHOOL AND VISUALLY BUFFER THE
ELEVATED TRAIN
0RODUCT SYSTEMS FOR THIS APPLICATION INCLUDE
 0RINTED -ESH &ABRIC USED FOR 4IMES 3QUARE ADVERTISING
 2EFLECTIVE 0AILLETTES USED FOR CAR WASH SIGNAGE

9<5505./,(+:
7: 
 ! GARDEN OF SMALL PLANTINGS COULD BE DEVELOPED
BY FILLING COMMON DUMPSTERS LIKE THOSE USED BY
THE "OARD OF %DUCATION WITH SOIL AND PLANTS

4HE $UMPSTERS COULD BE PAINTED IN GRAPHIC

COLORS 3HORT DUMPSTERS SHOULD BE SELECTED
TO REFLECT A CHILDgS HEIGHT ! WATER FAUCET SHOULD
BE LOCATED NEARBY FOR MAINTENANCE

:JOVVS`HYKWSHU[PUNZWYV[V[`WL

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06# DRAINAGE PIPE COMMONLY USED IN CONSTRUCTION
WOULD BE CONFIGURED TO CREATE A DIVERSE SETTING OF
MODULAR AND PORTABLE SEATING ELEMENTS

4HIS LIGHTWEIGHT AND DURABLE SYSTEM OF STANDARD

COMPONENTS INCLUDE PIPE SECTIONS END CAPS AND A
VARIETY OF FITTINGS AND COUPLERS RANGING IN SIZES FROM
 TO  DIAMETER

:JOVVS`HYKTVK\SHYZLH[PUNWYV[V[`WL

9<5505./,(+:
7: 
 ! GRAPHIC CARPET COULD BE CREATED IN THE SCHOOL
YARD USING PAINT LIKE THAT USED BY THE $/4
4HE CARPET COULD IDENTIFY SPECIFIC USE AREAS OR
GIVE AN OVERALL IDENTITY AND SENSE OF PLACE TO THE
WHOLE SITE 2EFLECTIVE GLASS BEADS LIKE THOSE
USED IN CITY CROSSWALKS COULD GIVE SPARKLE
AND LIFE TO PARTICULAR AREAS OF THE GRAPHIC PATTERN

7H]PUNHUK^HSSZNYHWOPJZWYV[V[`WL

 9<5505./,(+:
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!N OUTDOOR CURTAIN OF CONSTRUCTION NETTING WOULD
BE USED TO ENCLOSE A READING SPACE

4HE TRANSPARENCY OF THE CURTAIN MATERIAL WOULD

CREATE AN AREA WHICH IS BOTH SPATIALLY DEFINED AND
VISIBLY OPEN "Y MOVING THE CURTAIN THE SPACE
COULD BE TRANSFORMED FOR DIFFERNECT TYPES OF ACTIVITY

7SHJL[VYLHKWYV[V[`WL

9<5505./,(+:
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ABOUT TWO MONTHS AGO ) DISCOVERED THAT THE ENTIRE +3 ) THINK EVERYTHING IS PRETTY WELL INTEGRATED
SCHOOL HAD MADE THE LEARNING GARDEN THE FOCUS OF 7ELL KNOW IN A FEW MORE YEARS IF CERTAIN PARTS
THEIR STUDIES FOR THE SPRING SEMESTER 4HE ART CLASSES DONT lT INTO THE GENERAL SCHEME &OR EXAMPLE
THE SCIENCE CLASSESˆEVERY TEACHER WAS DOING THINGS WEVE HAD SOME PROBLEMS WITH THE WIND CATCHING
THAT INVOLVED THE LEARNING GARDEN )T JUST BLEW ME THE CLOUD SCRIM )T HAS TO BE RETIED ONCE OR TWICE
AWAY )T MADE A BIG IMPACT A YEAR WHEN WE HAVE ESPECIALLY STRONG WINDS 4HE
4HIS PROJECT WAS REALLY AN ESSAY FOR ME BECAUSE SCRIM IS INHERENTLY THE MOST TEMPORAL PART OF THE
IN CERTAIN SOCIALLY ORIENTED SCHOOLS AND THEORIES OF LANDSCAPE BECAUSE THE MATERIAL ITSELF HAS ONLY A
PUBLIC SPACES THERE IS THIS SENSE THAT YOU CANT HAVE SHELF LIFE OF lVE YEARS OR SO )T IS COMMERCIALLY
GOOD DESIGN AND SOCIAL RESPONSIBILITY AT THE SAME INKJET PRINTED AND COMES IN BIG ROLLS SO IT CAN
TIME )TS THE SAME KIND OF SPECIOUS ARGUMENT AS SAY EASILY BE REPLICATED AND REPLACED 7HETHER OR NOT
ING YOU CANT HAVE GOOD DESIGN AND ENVIRONMENTAL THE SCHOOL WILL CHOOSE TO DO SO ) DONT KNOW )TS
RESPONSIVENESS AT THE SAME TIME 03  WAS MY THE MOST EPHEMERAL PIECE IN THE DESIGN THE LEAST
ESSAY ON HOW YOU CAN HAVE SOCIAL RESPONSIBILITY AND ENDURING IN SOME WAYS BUT IT WAS ALSO THE ONE
COMMUNITY SERVICE WITHIN SOMETHING THAT IS A GOOD THAT MADE THE BIGGEST SPLASH IN TERMS OF TOTALLY
DESIGN SUPPORTED BY A STRONG VISUAL VOCABULARY READJUSTING THE PERCEPTION OF THE PLACE )TS THE ELE
MENT THAT WILL REQUIRE THE MOST COMMITMENT TO
*! !RE THERE PIECES OF THAT STRONG VISUAL VOCABU REPLACE )TS SIMILAR TO THE *APANESE GARDEN AT )SE
LARY THAT ARE ELBOWING OUT ADDITIONAL PROGRAM WHERE THEY REBUILD THE TEMPLE EVERY TWENTY YEARS
4HE CRITIC IN ME SEES THE POLKA DOTS AS GRATU !LL PUBLIC SPACE INVOLVES A RITUAL OF RENEWAL )TS THE
ITOUS THE KID IN ME SEES PRIME TERRITORY RITUAL OF SWEEPING THE PAVEMENT OR PICKING UP THE

 9<5505./,(+:
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 TRASH 2ENEWING THE SCRIM HAS A LONGER TEMPORAL WITH STUDENTS WHO GAVE ME A LIST OF THINGS THEY
TIME FRAME THAN SWEEPING AND A SHORTER ONE THAN WANTED TO SEE IN THE GARDEN /NE STUDENT WANTED
REBUILDING A TEMPLE BUT ESSENTIALLY ITS ALL THE SAME ROSES SO )VE ADDED ROSES AND SOMEBODY ELSE WANT
RITUAL OF CONTINUITY ED A BIRD BATH )TS TOUGH TO DESIGN A GARDEN FOR AN
4HE TEACHERS SPRAY PAINTED NUMBERS ON THE ACADEMIC CALENDAR WHICH IS WITH ITS LONG BREAK
DUMPSTERS AND EACH CLASS SIGNS UP FOR ONE DUMP IN THE SUMMER EXACTLY THE OPPOSITE OF WHEN THE
STER GARDEN 4HERE IS A FAIR AMOUNT OF COMPETITION PLANTS WANT TO GROW
BETWEEN CLASSES AS THE STUDENTS ADOPT THE GARDENS 4HIS IS A GARDEN THE KIDS SEE EVERY DAY WHEN
AND TAKE OVER THE PLANTING AND WEEDING )N THE THEY COME TO SCHOOL )TS VISIBLE FROM THE CLASS
SUMMER THE GARDENS ARE MAINTAINED BY THE .EW ROOMS AND FROM THE STREET ON THREE SIDES 4HERE ARE
9ORK 2ESTORATION 0ROJECT BUT EVENTUALLY THE SCHOOL CERTAIN AREAS WHERE YOU ACTUALLY PASS THROUGH ITˆIF
WILL TAKE OVER YOU ENTER FROM THE WEST SIDE OF THE SCHOOLYARD YOU
7HEN ) REVIEWED THE PROJECT A COUPLE OF WALK THROUGH IT ON YOUR WAY TO THE SCHOOL !ND AS
MONTHS AGO ) FOUND A FEW BARE SPOTS IN THE BIRD PART OF THE OVERALL ENVIRONMENT OF THE SCHOOLYARD
AND BUTTERmY GARDEN BUT MOST EVERYTHING ELSE DID ITS PART OF THE STUDENTS DAILY LIFE
WELL 4HERE WERE AREAS THAT NEEDED TO BE REPLANTED
AND ) REALIZED THAT THERE WAS NOT ENOUGH OF A WIN *! (AS THERE BEEN ANY VANDALISM
TER BONE STRUCTURE ) HAD PLANTED CERTAIN SHRUBS
INCLUDING ILEX AND JUNIPERS BUT IT NOW BECAME +3 .O 4HERE USED TO BE A LOT OF VANDALISM AT THE
CLEAR THAT THERE WERENT QUITE ENOUGH 3O ) DECIDED SCHOOLˆGRAFlTI MOSTLYˆAND WHILE ) DO BELIEVE THAT
WE NEEDED TO DO A SUPPLEMENTAL PLANTING ) MET DESIGN CAN MAKE A DIFFERENCE ) WOULD NEVER HAVE

 9<5505./,(+:
7:
PROMISED THE SCHOOL THAT MY GARDEN WOULD SOLVE ;OPZWOV[V^HZ[HRLUMVSSV^PUNJVTWSL[PVUVM[OLZJOVVS`HYK
NYHWOPJZPU
A GRAFlTI OR VANDALISM PROBLEM "UT THE BUILDING
ENGINEERS AND THE SUPERINTENDENTS HAVE TOLD ME
THAT THERE HAS BEEN ALMOST NO VANDALISM OR GRAF
lTI SINCE THE GARDEN WENT IN WHICH IS JUST AMAZ
ING )TS NOT JUST THE STUDENTS BUT ALSO THE PARENTS
WHO REALLY LOVE THIS GARDEN )TS AN IMPORTANT ELE
MENT OF THE COMMUNITY NOW AND COMMUNITIES
HAVE CERTAIN MEANS OF ENFORCING SOCIAL NORMS )F
SOMETHING ISNT ACCEPTABLE WITHIN THE COMMUNITY
PEOPLE LET EACH OTHER KNOW THAT

9<5505./,(+:
7: 
 9<5505./,(+:
9<5505./,(+: 
9<5505./,(+:
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 9<5505./,(+:
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 9<5505./,(+:
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 +EN 3MITH
,ANDSCAPE AS
#ULTURAL #RITICISM
.INA 2APPAPORT

)N THE WORK OF +EN 3MITH LANDSCAPE ARCHITECTURE IS REMOVE PEOPLE FROM THE EVERYDAY (IS CREATIONS ARE
A REINVIGORATED THREE DIMENSIONAL ART FORM 3MITH INSPIRED BY SIXTEENTH CENTURY )TALIAN DESIGNERS WHO
IS DEVOTED BOTH TO MODERN LANDSCAPE AESTHETICSˆ MANIPULATED SPACE TO FORM PLEASURE GARDENSˆSUCH
AS SEEN IN PROJECTS BY !MERICAN LANDSCAPE ARCHI AS THOSE AT 4IVOLIS 6ILLA D%STEˆWITH FAUX LAKES
TECTS $AN +ILEY Ÿ 0AUL &RIEDBERG B MINIATURE WATERFALLS AND PERSPECTIVE TRICKS TO
 AND 2OBERT :ION B  ˆAND TO THE ENHANCE THE GARDENS SCALE )NVENTING LANDSCAPE IS
EXPRESSION OF A CONTEMPORARY URBAN PLACE THAT SOMETHING THAT LANDSCAPE ARCHITECTS HAVE ALWAYS
ENGAGES THE PUBLIC THROUGH THE ARTISTIC AND INVEN DONE AND HAVE ALWAYS BEEN ASKED TO DO AND THIS
TIVE USE OF NATURAL AND ARTIlCIAL MATERIALS &ROM OFTEN ENCOURAGES AN ARTISTRY THAT 3MITH EXPRESSES
THE MODERNISTS 3MITH LEARNED HOW TO ARTICULATE BY TRYING TO REVEAL BOTH NATURES NATURE AND OUR
THE DIFFERENCES BETWEEN HARDSCAPES AND SOFTSCAPES NATURE IN THE WORLD (E PERCEIVES GARDENS IN FRAG
TO EXPOSE STRUCTURE TO EMPHASIZE THE CONTRAST MENTED CONTEMPORARY CITIES AS FRAMES FOR COM
BETWEEN URBAN FORESTS AND OPEN SPACES AND TO MUNICATING IDEAS THAT BALANCE CULTURE AND NATURE
FORMULATE HIS IDEA OF A SUBLIME CONSTRUCTED NATURE ARTIlCE AND NATURE AND ART AND NATURE EVERY URBAN
THAT ENHANCES URBAN EXPERIENCE 3MITH ALSO OFFERS ELEMENT IS A KIND OF GARDEN THAT OFFERS AN OPPORTU
AN IRONIC VIEW OF CONTEMPORARY CULTURE IMBUING NITY TO REWEAVE THE CITY FABRIC 3MITHS WORK AT ITS
HIS WORKS WITH CONTENT IN A SUBTLE MANIPULATION OF MOST RElNED AND THOUGHT PROVOKING HAS AN IRONY
FORM MATERIAL AND TEXTURE THAT ENCOURAGES OBSERV TO IT A CRITICAL EDGE THAT AS ,INDA (UTCHINSON
ERS TO PERCEIVE THEIR ENVIRONMENT IN A NEW WAY NOTES OF VISUAL ARTS IS hA PROCESS OF COMMUNICA
&OR 3MITH THE GARDEN IS lRST A PLACE OF SEPARA TION THAT ENTAILS TWO OR MORE MEANINGS BEING
TION AS EXPERIENCED IN WALLED VILLA GARDENS THAT PLAYED OFF ONE AGAINST THE OTHER 4HE IRONY IS IN

9<5505./,(+: 
;67(5+6776:0;,!3L]LY/V\ZL5L^@VYR*P[`
SHUKZJHWLYLZ[VYH[PVU ‹

THE DIFFERENCE IRONY MAKES THE DIFFERENCE )T PLAYS 3MITHS APPROACH IS CHARACTERIZED BY ITS
BETWEEN MEANINGS IN A SPACE THAT IS ALWAYS AFFEC COMPLEMENTARY NATURES IT IS BOTH THE APPROACH
TIVELY CHARGED THAT ALWAYS HAS A CRITICAL EDGEv OF A CREATIVE ARTIST WHO HAS A VARIED PALETTE AND
4HIS PLAY IS SEEN IN 3MITHS JUXTAPOSITION OF THAT OF A PRAGMATIC CRAFTSMAN 4HIS PRAGMATISM
UNCONVENTIONAL GARDEN MATERIALS REUSE OF EVERY AND HIS INDICATIVE LOVE FOR TRUTHFUL DETAIL ALLOW
DAY OBJECTS AND TRANSFORMATIONS OF ONE FORM INTO 3MITH TO DETERMINE HOW EVERYDAY MATERIALS AND
ANOTHER 4HE DESIGN FOR -O-!S CAMOUmAGE ROOF THEIR PERFORMANCE CAN BE EMPLOYED TO REVEAL
GARDEN IS AN EXAMPLE OF THIS COMMENTARY 3MITHS THE CONTENT BEHIND THE LANDSCAPE IN THE MAKING
ROOFTOP INSTALLATION RAISES QUESTIONS ABOUT WHAT IS .OT THAT THE NUTS AND BOLTS ARE SHOWN BUT THE
REAL IN AN URBAN GARDEN MADE OF ARTIlCIAL MATERIALS WAY THE PIECES ARE PUT TOGETHER IS DEMYSTIlED AND
SUCH AS PLASTIC TREES AND GLASS SHARDS A FAUX SCAPE VISIBLE ALTHOUGH OTHER CEREBRAL GAMES MAY BE
THAT IS COLORFUL YEAR ROUND AND VISIBLE ONLY TO BEING PLAYED 
RESIDENTS OF THE ADJACENT HIGH RISE 4HE GARDEN IS A &OR 3MITH CLIENT AND PROGRAM PARAMETERS ARE
CAMOUmAGE BOTH OF THE BUILDING AND OF NATUREˆ PART OF THE DESIGN CHALLENGE AND THE PUZZLE THAT
THERE IS NO REAL NATURE AND THE mAT ROOF NOW HAS HIS WORK HAS TO lT WITHIN (IS WORK IS A STRATEGIC
A DÏCOR 4HE UNINHABITABLE ROOFSCAPE IS FOR DISPLAY EXPRESSION OF HIS PREOCCUPATION WITH THE PUBLIC
ONLY NOT FOR PHYSICAL EXPERIENCE IT IS SIMILAR TO AGENCIES OR CLIENTS FOR WHOM HE IS DESIGNING
LOOKING AT A PAINTING ON A WALL &ROM A DISTANCE &OR THE RENOVATION OF THE ,EVER (OUSE 0LAZA IN
ONE CANNOT EVEN DISCERN WHAT KIND OF MATERIALS ARE .EW 9ORK 3MITH RESEARCHED THE ORIGINAL SCHEMES
USED ONE SEES ONLY RELATIVELY INERT COLOR PATTERN IN THE .OGUCHI ARCHIVES AND WITH LANDSCAPE
AND FORM ARCHITECT 'AVIN +EENEY RECREATED THE ORIGINAL

 9<5505./,(+:
9<5505./,(+: 
 DESIGN CONCEPTS WHILE UPGRADING THE PLAZA FOR 3MITHS PROJECTS BEGIN AS TEMPORARY INSTALLATIONS
CONTEMPORARY NEEDS )N THE IMPROVEMENT PROJECT /FTEN MADE OF DISPOSABLE MATERIALS THEY GIVE HIM
FOR ,AWRENCE (ALPRINS DILAPIDATED -ANHATTAN THE FREEDOM TO EXPERIMENT AND INVESTIGATE MORE
3QUARE 0ARK  IN 2OCHESTER .EW 9ORK THE COMPLEX IDEAS FOR FUTURE PERMANENT STRUCTURES 4HE
WORK WAS PHASED SO THAT THE DISUSED AREAS OF THE TEMPORARY NATURE OF THESE DESIGNS EMPHASIZES THE
FOUNTAIN AND THE STAGE CAN BE REVITALIZED WHILE WEIGHTY ELEMENT OF TIME IN LANDSCAPE ARCHITECTURE
THE REMAINDER OF THE PARK IS ONLY MINIMALLY REDE IN RELATION TO BOTH NATURAL AND ARTIlCIAL MATERIALS
SIGNED UNTIL THE CITY OBTAINS FURTHER FUNDING 7HILE THE ARTIlCIAL ELEMENTS IN 3MITHS WORKS CAN
!T THE SAME TIME AS AN ARTIST 3MITH REIN BE REMOVED THEY DO NOT DIE OR CHANGE QUICKLY
VIGORATES LANDSCAPE ARCHITECTURE AS A CONCEPTUAL 4HIS ALLOWS THE DESIGNER MORE CONTROL OVER THE
ART FORM IMBUING IT WITH ALLUSIONS TO CULTURE PALETTE )N CONTRAST THE NATURAL LANDSCAPE IS PRE
$RAWING A PARALLEL BETWEEN FASHION AS A CULTURAL DICTABLE BUT NOT STABLE )T IS RENDERED TEMPORARY BY
PHENOMENON AND LANDSCAPE ARCHITECTURE HE SAYS ITS CONSTANT PROCESS OF CHANGE WHILE THE ARTIlCIAL
BOTH ARE hARTIlCIAL CONSTRUCTIONS THAT lT AN ORGANIC LANDSCAPE IS TEMPORARY BECAUSE IT IS DISPOSABLE &OR
BODY THAT MOVES AND mUCTUATES     )T IS AN IDEOLOGI EXAMPLE THE SYNTHETIC MATERIALS OF THE -O-! ROOF
CAL EXPRESSION MAKING OR REVEALING THE BODY OR IN GARDEN NEED ONLY LAST THE LIFE OF THE ROOF CONTRAC
THE CASE OF LANDSCAPEˆTHE CITYv 3MITH NOTES THAT TORS GUARANTEE
FASHION WAS SEEN AS A REGRESSIVE ART FORM UNTIL CRIT !LTHOUGH 3MITH DOES NOT PROMOTE ENVIRON
ICS SUCH AS 2ICHARD -ARTIN EVALUATED IT AS A FORM MENTALISM PER SE HE IS AN ENVIRONMENTALIST IN
OF CULTURAL EXPRESSION AND HE FEELS THAT THIS IS HOW SUBTLE WAYS WHILE NOT MAKING A MORAL DISTINCTION
THE PUBLIC VIEWS LANDSCAPE DESIGN AS WELL -ANY OF OF IT &OR HIM THE ENVIRONMENT IS SOMETHING TO BE

 9<5505./,(+:
RESPECTED AND UNDERSTOOD AS A GIVEN &OR THE %AST
2IVER &ERRY ,ANDINGS FOR EXAMPLE 3MITH SELECTED
NATURAL GRASSES TO BE PLANTED IN mOATING CONTAIN
ERSˆHINTING AT WHAT WAS ONCE THERE AS WELL AS AT
WHAT COULD BE IF THERE WAS NO RETAINING WALL AT THE
RIVERS EDGE
3MITHS DESIGN APPROACH REINTEGRATES OFTEN
OBSCURE AND FRAGMENTED SITES INTO THE PUBLIC
REALM IN CELEBRATORY WAYS AS HE TRANSFORMS THEM
INTO SOMETHING BEYOND THE NORM (IS CONCEPTUAL
STRATEGIES ADAPT TO THE LOCAL CONDITIONS AND SPECIlC
SITES IN AN INDUCTIVE METHOD BY lRST APPRECIATING
WHAT IS THERE (IS ARTISTIC AND INVENTIVE YET PRACTI
CAL APPROACH ENVIRONMENTAL SENSITIVITY AND BROAD
ARTIlCIAL AND NATURAL MATERIAL PALETTE INTERTWINE TO
MAKE SPACES THAT TRANSFORM DAILY LIFE AND ENGAGE
THE PUBLIC

 ,INDA (UTCHINSON )RONYS %DGE ,ONDON AND .EW 9ORK

2OUTLEDGE  

9<5505./,(+: 
 #REDITS

4HE PROJECTS IN THIS MONOGRAPH 4HE -USEUM OF -ODERN %AST 2IVER &ERRRY (9*/0;,*;
RESULT FROM A TEAM EFFORT IN !RT 2OOF 'ARDEN ,ANDINGS +ENNEDY  6IOLICH !RCHITECTURE
MY OFlCE )D LIKE TO ESPE
*30,5; *30,5; 4(905,:;9<*;<9(3
CIALLY THANK %LIZABETH !SAWA
4HE -USEUM OF -ODERN !RT .EW 9ORK #ITY %CONOMIC ,5.05,,9:
3ENIOR !SSOCIATE WHO HAS BEEN $EVELOPMENT #ORPORATION - ' -C,AREN 0#
INVOLVED IN ALL OF THESE WORKS 3(5+:*(7,(9*/0;,*; .EW 9ORK #ITY $EPARTMENT OF
AND PLAYS AN IMPORTANT ROLE +EN 3MITH ,ANDSCAPE !RCHITECT 4RANSPORTATION *65:;9<*;0654(5(.,9:
.EW 9ORK #ITY $EPARTMENT OF (UDSON -ERIDIAN #ONSTRUCTION
IN THE OPERATION OF THE OFlCE
+,:0.5;,(4 0ARKS AND 2ECREATION 'ROUP
4HE PROJECT MANAGERS PLAYED 4OBIAS !RMBORST
A SIGNIlCANT ROLE IN THE DESIGN %LIZABETH !SAWA 3(5+:*(7,(9*/0;,*; 4,7
OF EACH PROJECT !LEX &ELSON FOR $AVID (AMERMAN +EN 3MITH ,ANDSCAPE !RCHITECT ,AKHANI  *ORDAN %NGINEERING
-ATT ,ANDIS
THE %AST 2IVER &ERRY ,ANDINGS
2OCIO ,ASTRAS +,:0.5;,(4 :,*<90;@
!NNIE 7EINMAYR FOR 03  +EN 3MITH 4OBIAS !RMBORST #OSENTINI !SSOCIATES
AND 4OBIAS !RMBORST AND -ATT !NNIE 7EINMAYR %LIZABETH !SAWA
,ANDIS FOR THE -O-! 2OOF *UDITH 7ONG (EIKE "ERGDOLT 
#HRISTIAN :IMMERMANN 9OONCHUL #HO
'ARDEN
!LEX &ELSON
+EN 3MITH
3(5+:*(7,*65;9(*;69 2UTH (ARTMANN
4OWN AND 'ARDENS 2OCIO ,ASTRAS -ONTANA
+EN 3MITH
$AN 7ILLNER

 9<5505./,(+:
03  .9(7/0*+,:0.5 04(.,*9,+0;:
0ENTAGRAM !LL IMAGES ARE BY +EN 3MITH
*30,5; ,ANDSCAPE !RCHITECT UNLESS
2OBIN (OOD &OUNDATION 5<9:,9@ OTHERWISE NOTED
"ISSETT .URSERY #ORPORATION 0AGES  LEFT TOP AND BOTTOM
6>5,9  LEFT   LEFT  BOTTOM
.EW 9ORK #ITY $EPARTMENT OF 9,*3(04,+36.:<7730,9   BOTTOM  ¥ $ANIEL
%DUCATION 03 'ENIE #ALIBAR #ITI,OG 7ILLNER
CURRENT PRINCIPAL #ATHY :ARBIS 0AGES  MIDDLE TOP AND
FORMER PRINCIPAL +<47:;,94(5<-(*;<9,9 BOTTOM  BOTTOM  
* # )NDUSTRIES    n  
3(5+:*(7,(9*/0;,*; ¥ 0ETER -AUSS%STO
+EN 3MITH ,ANDSCAPE !RCHITECT +(--6+037961,*; 0AGES  LEFT TOP AND BOTTOM
*669+05(;065      ¥ !LBERT
+,:0.5;,(4 .EW 9ORKERS FOR 0ARKS4HE 5RBAN 6EC‡ERKA%STO
4OBIAS !RMBORST #ENTER 0AGES  RIGHT TOP AND BOTTOM
%LIZABETH !SAWA       
!LEX &ELSON (++0;065(3*65;90)<;69:   ¥ 0AUL 7ARCHOL
!LICE -AHIN 4HE !UDUBON 3OCIETY 0AGES   ¥ .ATHANIEL
+EN 3MITH #LEAR #HANNEL3PECTACOLOR 'OLDBERG
!NNIE 7EINMAYR $ANIELLE AND $AVID 'ANEK 0AGE  TOP  ¥ "ETSY 0INOVER
*UDITH 7ONG -AUREEN 'IBBONS 3CHIFF
-IMI AND 0ETER (AAS 0AGE  RIGHT  ¥ *OHN "ACH
*65;9(*;69 /VERBROOK &OUNDATION
4HE .EW 9ORK 2ESTORATION 0ROJECT 0ETER 0ETERSON
3IGN#RAFT
4IMBERLAND #ORPORATION
9<5505./,(+: 
 "IBLIOGRAPHY

0ETER 2EED 'ROUNDSWELL !NN 2AVER h! 2OOF 4OP 'ARDEN -AGAZINE !RCHITECTURE  -AY ,ESLIE 3HERR h-ANHATTAN
#ONSTRUCTING THE #ONTEMPORARY 7ITH 3YNTHETIC 'REENv 4HE .EW    4AKEOVER v ,EVER (OUSE )$ 4HE
,ANDSCAPE .EW 9ORK 4HE -USEUM 9ORK 4IMES  .OVEMBER  )NTERNATIONAL $ESIGN -AGAZINE
OF -ODERN !RT  ,AURA 3TARR h!YALON 0ARKˆ !PRIL  
4OBY -USGRAVE h/UT OF THE "LUEv %XTREME 3ITES 4HE 'REENING OF THE
"ARBARA (OFFMAN h)TS !RT IlCIALv 'ARDENS )LLUSTRATED /CTOBER   "ROWNlELDv !$ -AGAZINE -ARCH 3UZANNE 3TEPHENS h0ROJECTS
.EW 9ORK 0OST  &EBRUARY  !PRIL   ,EVER (OUSEv !RCHITECTURAL 2ECORD
+EN 3MITH h2AILYARD 0ARK 3ANTA -ARCH  
!LLEN &REEMAN h"IG $OTS ,ITTLE &E .EW -EXICOv $IALOGUE $AVID #OLEMAN h/UT IN THE
$UMPSTERSv ,ANDSCAPE !RCHITECTURE !RCHITECTURE $ESIGN #ULTURE 'ARDEN A 2EPUTATION "LOOMSv 3UZANNE 3TEPHENS h#OMMENTARY
-AGAZINE &EBRUARY   4AIWAN 3PECIAL )SSUE ON ,ANDSCAPE 4HE .EW 9ORK 4IMES  *ULY  #OLLABORATIONS AT THE 74#v
!RCHITECTURE 3EPTEMBER   !RCHITECTURAL 2ECORD -ARCH  
+ENNETH (ELPHAND h(ORTUS 3HARON -C(UGH h.EW ,IFE FOR
,UDENSv ,ANDSCAPE !RCHITECTURE +AREN % 3TEEN h'ARDEN 3POTv A 4ROUBLED 0LAZAv #OMPETITIONS +IM 3ORVIG h#OMPETING FOR
-AGAZINE &EBRUARY   -ETROPOLIS -AGAZINE !UGUST -AGAZINE 6OL  .O  3UMMER 3ANTA &ES )DENTITYv ,ANDSCAPE
3EPTEMBER     !RCHITECTURE -AGAZINE -ARCH
!LLEN &REEMAN h0ROVING 'ROUNDv  
,ANDSCAPE !RCHITECTURE -AGAZINE $EBORAH "ISHOP h,ANDSCAPE $EBRA 'IBSON h,! !LUMNUS A
*ANUARY   !RCHITECTURE ˆ!LUMINUM &ORCE -AJEURE IN $ESIGN #IRCLESv !NNE 2AVER h4HIS 3TOP TH
'ARDENv $WELL -AGAZINE *ULY $ESIGN .EWS )OWA 3TATE 5NIVERSITY &LOOR 2AIN &ORESTv 4HE .EW 9ORK
#HARLES "IRNBAUM ED 0RESERVING !UGUST   3PRING   4IMES  &EBRUARY 
-ODERN ,ANDSCAPE !RCHITECTURE ))
-AKING 0OSTWAR ,ANDSCAPES 6ISIBLE +EN 3MITH 7EST  &IELD #ARRIE 'EYER h3TOP AND 3MELL THE ,ISA 3PECKHARDT h2IVERFRONT
7ASHINGTON $# 3PACEMAKER /PERATIONS $)24 3TUDIO h7HY $UMPSTERSv 4HE ,ANTERN /HIO 2EVIVALv ,ANDSCAPE !RCHITECTURE
0RESS  .OT ! 0ARKv 4HE .EW 9ORK 4IMES 3TATE 5NIVERSITY  -AY   -AGAZINE *ANUARY  

 9<5505./,(+:
2UTH ,A &ERLA h,ET -E 'UESS 9OU +IM 3ORVIG h2AILYARD 2EMAKE IN *AMES 'RAYSON 4RULOVE h2ETREAT -ELISSA $AVIS h3LEEK -ODERNITYv
-UST "E AN !RCHITECTv 4HE .EW 3ANTA &Ev #OMPETITIONS -AGAZINE 0OOLv 4HE .EW !MERICAN 'ARDEN $ESIGN -AGAZINE -AY
9ORK 4IMES  &EBRUARY  6OL .O  &ALL   3WIMMING 0OOL #ONNECTICUT  
7HITNEY 0RESS 
(ERBERT -USCHAMP h"ALANCING $AVID $UNLAP h0LAN #HOSEN FOR ,ISA 3PECKHARDT h)N 4HE 0UBLIC
2EASON AND %MOTION IN 4RADE 2EDESIGN OF A 0LAZA AT  7ATER h$EBATE /VER 7ORLD 4RADE #ENTER %YEv ,ANDSCAPE !RCHITECTURE
4OWERS 6OIDv 4HE .EW 9ORK 4IMES 3TREETv 4HE .EW 9ORK 4IMES  -EMORIALv #"3 %VENING .EWS  -AGAZINE -AY 
 &EBRUARY  3EPTEMBER  $ECEMBER 
$ANIELLE 2EED h'ARDENING ON THE
(ERBERT -USCHAMP h! 'OAL FOR %DWARD 7YATT h$ESIGN 4EAMS ARE 4ERENCE 2ILEY ET AL h7HAT #HEAPv 7ALL 3TREET *OURNAL 
'ROUND :ERO &INDING AN 5RBAN 3ELECTED FOR .EW 0LANS FOR  TO "UILDv 4HE .EW 9ORK 4IMES !PRIL 
0OETRYv 4HE .EW 9ORK 4IMES  3ITEv 4HE .EW 9ORK 4IMES  -AGAZINE  .OVEMBER 
*ANUARY  3EPTEMBER  +EN 3MITH h!LUMINUM 'ARDENv
3TEPHANIE #ASH h.OGUCHI 'ARDEN 0AGES 0AYSAGES .O  *ANUARY
#HERILYN h,IVv 7RIGHT h! 6ISUAL ,ISA 2OCHON h5P FROM THE !SHESv FOR ,EVER (OUSEv !RT )N !MERICA  
%XPLOSION IN (ARLEMv 4HE 4HE 'LOBE AND -AIL #ANADA  -ARCH  
)NTERNATIONAL 2EVIEW OF !FRICAN !PRIL  $AVID #OLMAN h TO 7ATCH 4HE
!MERICAN !RT  +EN 3MITH h7HAT .EW 9ORK $ESIGN 7ORLD IN v (OUSE 
:OE 2YAN h$UMPSTER 'ARDENS .EEDS .OWv 4HE !RCHITECTURAL 'ARDEN -AGAZINE *ANUARY  
0ATRICK &RANK h%NVIRONMENTAL $ESIGNING 1UEENS 0LAZAv 6AN !LEN ,EAGUE OF .EW 9ORK 3PRING
$ESIGNv !RTFORMS !N )NTRODUCTION 2EPORT  *ANUARY   3UMMER   'AVIN +EENEY h)DIOSYNCRATIC
TO THE 6ISUAL !RTS 5PPER 3ADDLE 0UBLIC /PEN 3PACEv /N 4HE .ATURE
2IVER .* 0RENTICE (ALL  *ANE !MIDON 2ADICAL ,ANDSCAPES -ARC +RISTAL h4HINK )T 9OURSELFv /F 4HINGS #ONTEMPORARY !MERICAN
,ONDON 4HAMES AND (UDSON $WELL -AGAZINE *UNE   ,ANDSCAPE !RCHITECTURE "ASEL
!NNE 2AVER h4HE 0LACES (ELL 'O  "IRKHAUSER 
4O 'REEN THE #ITYv 4HE .EW 9ORK
4IMES  .OVEMBER 
9<5505./,(+: 
 *AMES 'RAYSON 4RULOVE *OSEPH (OLTZMAN h1UESTION OF !RTSv 0RESERVING -ODERN ,ANDSCAPE %LAINE ,OUIE h4HE !RT OF THE
h!LUMINUM 'ARDENv 0OCKET $ECENCYv%VERY 2OOM 4ELLS ! 3TORY !RCHITECTURE 0ROCEEDINGS OF THE 7AVE (IRSUTEv 4HE .EW 9ORK 4IMES 
'ARDENS "IG )DEAS FOR 3MALL 3PACES .EST -AGAZINE  3UMMER  (ILL #ONFERENCE 7ASHINGTON $# !UGUST 
.EW 9ORK -ORROW 0RESS  3PACEMAKER 0RESS 
'AVIN +EENEY h! 0ARADISICAL .EW +OJI !IKAWA h,INKAGES WITH 5RBAN
$AVID #OLMAN h'ARDEN 'OES 0OP 0LAZAv /CULUS -AGAZINE 3UMMER -ARY *ANE 0OOL AND "ETSY 0INOVER !CTIVITYv 3PACE $ESIGN -AGAZINE
'ARDEN $AISIESv 'ARDEN $ESIGN   3CHIFF h'ARDENS OF ,IGHTv 'ARDENS ,ANDSCAPE #REATION 4ODAY
-AGAZINE /CTOBER   IN THE #ITY .EW 9ORK IN "LOOM .EW 4HE #HALLENGES OF ,ANDSCAPE
!NN 2AVER h! 3LIVER OF 0ARADISE 9ORK !BRAMS 0RESS  !RCHITECTS )SSUE *UNE  
+EN 3MITH AND !LICE !DAMS h! "LOOMS IN (ARLEMv 4HE .EW 9ORK
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 "IOGRAPHIES

1(5,(40+65 IS A LANDSCAPE DESIGNER CRITIC AND LEC

TURER CURRENTLY TEACHING IN THE ,ANDSCAPE 3ECTION OF THE
+NOWLTON 3CHOOL OF !RCHITECTURE (ER PUBLISHED WORK
INCLUDES $AN +ILEY !MERICAS -ASTER ,ANDSCAPE !RCHITECT
2ADICAL ,ANDSCAPES AND -OVING (ORIZONS 4HE ,ANDSCAPE
!RCHITECTURE OF +ATHRYN 'USTAFSON AND 0ARTNERS 2ECENT
PRESENTATIONS INCLUDE DISCUSSIONS OF MODERN AND CON
TEMPORARY LANDSCAPE ARCHITECTURE AT THE .ETHERLANDS
!RCHITECTURE )NSTITUTE THE 2OYAL )NSTITUTE OF "RITISH
!RCHITECTURE AND THE 7EXNER !RT #ENTER

505(9(77(769; IS AN ARCHITECTURAL CRITIC CURATOR AND

EDUCATOR BASED IN .EW 9ORK 3HE IS PUBLICATIONS EDITOR
AT 9ALE 3CHOOL OF !RCHITECTURE WHERE SHE IS THE EDITOR OF
THE BIANNUAL PUBLICATION #ONSTRUCTS EXHIBITION CATALOGS
AND STUDIO BOOKS 3HE IS A FELLOW OF THE $ESIGN 4RUST
FOR 0UBLIC 3PACE FOR h,ONG )SLAND #ITY #ONNECTING THE
!RTS v AN ARTS IDENTITY AND URBAN DESIGN PROJECT 3HE HAS
CONTRIBUTED ARTICLES TO !RCHITECTURE !RCHITECTURAL 2ECORD
$EUTSCHE "AUZEITUNG &UTURE !NTERIOR -ETROPOLIS 0RAXIS AND
4EC !T #ITY #OLLEGE SHE IS ADJUNCT PROFESSOR TEACHING
SEMINARS ON THE POST INDUSTRIAL FACTORY AND ON INNOVATIVE
ENGINEERS 3HE IS CO CHAIR OF THE .EW 9ORK4RI STATE
CHAPTER OF $OCOMOMO53

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