Village green

For a communal garden in Copenhagen, Stig L. Andersson uses grasses of varying texture and height, creating a new view or spatial experience from every angle. The idea of vegetation texture being an important constituent of planting design is pervasive. Gardening books tell aspiring designers that "colour, texture and form" are the central aspects of planting arrangements. While these elements contribute to this language, they have tended to limit the language of planting to a singular, two dimensional paradigm, where planting is designed in static elevation. This has developed from a perennial-border approach demonstrated by the early 20th century garden designer Gertrude Jekyll, where the viewer is parallel to the bed, and the planting is layered to address this view. If one were to characterise the difference between a garden design and a landscape architectural approach, the latter would seem self-conscious in its use of space, movement and vision.

The response to dryness in Australia

The drought Australia now faces is leading to shifts in the perception of the continent, of Australians and the world. The ideals of lush green landscapes are making way for landscape designs in which dryness is a quality of the design. On a map of the world, Australia is enormous, and seems empty because development is concentrated around its edges. Its heart must be red, in the cultural projections of the world from images of Uluru, 'the rock', set in a flat desert with no relief. Of course the country is not really all desert - surely? - with low shrubs pretty much throughout. Inhabitation seems to cling to the edges where teh continent feels microclimatic effects from the adjacent oceans and edging mountain ranges, which screen the population from the real state of the environment - dry, harsh, amazing and unique. Australia is rightly proud of this harsh difference from its edges, but prefers the harshness to be 'out there'. At the moment however, the country is pretty much universally in drought, and the contrast between green and brown, that it has celebrated, even built its identity around, is disappearing to become brown throughout. Without the browning of Australia, some areas, such as tropical Queensland, are having their designed public landscapes and gardens revealed as an elaborate mythology, a landscape fraud.

Prags Boulevard in Copenhagen : from run-down strip to boulevard

Prags Boulevard will form a 2km long pedestrian spine running east-west between the historic cities of Copenhagen and Amager. It is located on a some-what run down site, which accommodated illicit functions such as casual drug use and drinking, as well as sheds for squatters. The renovation of this site by the city of Copenhagen forms part of the Holmbladsgade renovation project, and a two-phase competition was held in 2001 to develop a green area and meeting place, transforming it into a place that residents would want to visit rather than avoid. The designer, local landscape architect Kristine Jensens recognises that though the site is linear it ‘has no traffic importance’, though as she notes ‘we like the project because it runs straight east west from the city pulse to the water of Oresund’. In developing the project, she has attempted to allow it to ‘run parallel’ to its existing illicit uses, using a ‘light touch’ of insertions. While it would be hard to describe the project as truly light in its touch (graphically, it is a very bold scheme), there is no doubt that it is parallel: in terms of use it runs alongside rather than against existing uses; in terms of its type it’s all about length, like a boulevard, although it clearly differs from a boulevard in other respects.

4th Biennal Europea De Paisatge Barcelona, Spain March 22-26, 2006

Between the 22nd and the 26th of March 2006, Barcelona hosted the 4th Biennal Europea de Paisatge (European Biennial of Landscape Architecture). It comprised a day of presentations for the Rosa Barba Prize for European Landscape Architecture, a day long symposium, and a half day discussion on IBA park projects. Approximately 300 people attended, including sizable groups from Barcelona, France, The Netherlands, Denmark, and Germany. Only three participants from English speaking countries were present, despite simultaneous translation into English throughout.

Cate Consandine

The interpretation of evidence dominates contemporary television crime shows. Inanimate objects and disparate facts are made to speak; technology and expert opinion wring out their stories. In examining these dead pieces of evidence, the investigators search for patterns, discovering living perpetrators and fugitives. Psychology comes in where the evidence is interpreted; the investigators try to think through perpetrators' minds and presumably perverse rationales. Objects are examined. Banal things become precious, put into bags, marked, date- and time-stamped, and stepped around carefully. After a crime, the objects involved are different. After a crime show, our gaze is different; everything is potentially incriminating, perverse. Bags without people don't make sense. Under this gaze, objects acquire a psychology. When we look at a crime scene, the evidence violates us. The work of Melbourne artist Cate Consandine is about objects and how they occupy the space that they occupy. In her practice as a sculptor and throughout her studies at the Victorian College of the Arts, the Sydney College of the Arts, and now Monash, her work has cultivated violent ambiguity. Consandine's work extends across a range of different media, particularly vidoe, objects and spaces. Like a crime show, it activates a particular type of inquisition from the viewer.

Versatility with flatness

In 2001 the large multinational, though US-born, landscape architecture practice EDAW bought out a small Melbourne-based practice, Paterson & Pettus (P&P), established by Garth Patersona nd Anne T Pettus, who left behind a body of refined landscape projects, mostly accompanying buildings by respected Melbourne architects.

Transactions with chance in the garden

This paper discusses change and chance in order to develop a language that can then be used to discuss change in the garden. In the process, it puts forward the idea that to garden is to meddle with the teleonomy of the plants, their “will” to grow as they should. Different design conceptions of change are discussed, particularly the relation of style to design, suggesting that there is the possibility for a material language that both the discourses of gardening and landscape architecture shares that could negotiate this breach. A model or “transactions” between gardener and garden is put forward to begin to get to grips with the particular methods of “working at a remove”, that is, curating conditions rather than designing objects. The paper finally proposes that landscape architecture has to move away from a paranoid engagement with specifiable objects, to one where the designer grooms conditions and sensibilities, and gets out of the office.

Critical opinion : the Docklands Precinct

Every one and their dog has done a Docklands design studio at university if they were educated in Melbourne. And all designers have an opinion on the idea of Docklands and its potential in the future, but few, apart from the Docklands authority themselves, have a handle on what's going on there now and what constitutes its qualities.

Love at first sight : Sanja Pahoki

I am a landscape architect, a non-photographer, and in reviewing this exhibition, it seems that in a critical discourse on photography the nature of the view and its relation to the observer (presumably the camera) is inevitably a key focus of creative inquiry, in an epistemological sense. In conducting such a review, of 'self-portraits' by 'female photographers' in relation to 'the landscape', one cannot help but ask what priority this critique should allocate to each of these conceptual agendas, quite apart from the simple formal quality of the individual pieces themselves. Analytically, each could form the axes of a matrix that might allow for a number of quite different permutations and therefore differently conclusive commentaries on the others: the view vs landscape; the view vs sexuality; the self-portrait vs the landscape picture. All of these would be productive in their own right and each is alluded to in the works themselves and in the narrative of the catalogue. Considering this range of possible permutations, this show is certainly rich and this richness sits well with the relative formal saturation of the images themselves.

Critical matters

This year, as it has been during most of the years that I can remember, AILA's various state awards have been controversial (depending on who you talk to). In at least one state, after only a small number of awards have been handed out, the local chapter is thinking of modifying the awards to (presumably) bring them into synch with the values of local member practices. In almost every case when an awards-related complaint has been made, the judges have been seen as the problem. After all, the judges make the determination so they must have poor judgement.

Eco-retrofitting with building integrated living systems

Building integrated living systems (BILS), such as green roofs and living walls, could mitigate many of the challenges presented by climate change and biodiversity protection. However, few if any such systems have been constructed, and current tools for evaluating them are limited, especially under Australian subtropical conditions. BILS are difficult to assess, because living systems interact with complex, changing and site-specific social and environmental conditions. Our past research in design for eco-services has confirmed the need for better means of assessing the ecological values of BILS - let alone better models for assessing their thermal and hydrological performance. To address this problem, a research project is being developed jointly by researchers at the Central Queensland University (CQ University) and the Queensland University of Technology (QUT), along with industry collaborators. A mathematical model under development at CQ University will be applied and tested to determine its potential for predicting their complex, dynamic behaviour in different contexts. However, the paper focuses on the work at QUT. The QUT school of design is generating designs for living walls and roofs that provide a range of ecosystem goods and services, or ‘eco-services’, for a variety of micro-climates and functional contexts. The research at QUT aims to develop appropriate designs, virtual prototypes and quantitative methods for assessing the potential multiple benefits of BILS in subtropical climates. It is anticipated that the CQ University model for predicting thermal behaviour of living systems will provide a platform for the integration of ecological criteria and indicators. QUT will also explore means to predict and measure the value of eco-services provided by the systems, which is still largely uncharted territory. This research is ultimately intended to facilitate the eco-retrofitting of cities to increase natural capital and urban resource security - an essential component of sustainability. The talk will present the latest range of multifunctional, eco-productive living walls, roofs and urban space frames and their eco-services.

Eco-retrofitting - from managerialism to design

As all environmental problems are caused by human systems of design, sustainability can be seen as a design problem. Given the massive energy and material flows through the built environment, sustainability simply cannot be achieved without the re-design of our urban areas. ‘Eco-retrofitting’, as used here, means modifying buildings and/or urban areas to create net positive social and environmental impacts – both on site and off site. While this has probably not been achieved anywhere as yet, myriad but untapped eco-solutions are already available which could be up-scaled to the urban level. It is now well established that eco-retrofitting buildings and cities with appropriate design technology can pay for itself through lower health costs, productivity increases and resource savings. Good design would also mean happier human and ecological communities at a much lower cost over time. In fact, good design could increase life quality and the life support services of nature while creating sustainable‘economic’growth. The impediments are largely institutional and intellectual, which can be encapsulated in the term ‘managerial’. There are, however, also systems design solutions to the managerial obstacles that seem to be stalling the transition to sustainable systems designs. Given the sustainability imperative, then, why is the adoption of better management systems so slow? The oral presentation will show examples of ways in which built environment design can create environments that not only reduce the ongoing damage of past design, but could theoretically generate net positive social and ecological outcomes over their life cycle. These illustrations show that eco-retrofitting could cost society less than doing nothing - especially given the ongoing renovations of buildings - but for managerial hurdles. The paper outlines on how traditional managerial approaches stand in the way of ‘design for ecosystem services’, and list some management solutions that have long been identified, but are not yet widely adopted. Given the pervasive nature of these impediments and their alternatives, they are presented by way of examples. A sampling of eco-retrofitting solutions are also listed to show that ecoretrofitting is a win-win-win solution that stands ready to be implemented by people having management skills and/or positions of influence.

Sandstone and rust : designing the qualities of Sydney harbour

Landscape architecture is built from place. What place is depends how one reads a site, which then determines what qualities are engaged with, and how they are engaged with, by design. Sydney Harbour is one of the most celebrated and distinctive harbours in the world. The qualities of the indigenous, pre-European landscape have been referred to regularly in the history of Australian landscape architecture as a source of inspiration for a truly Australian language of landscape design. A range of different models of such an Australian language have been proposed and tested on landscape design sites on Sydney Harbour, models that are in a discourse both with the specific landscape and with local landscape architecture theory and practice, particularly in relation to ideas of ‘appropriateness’ in Australian landscape architecture. This essay examines arguments from the 1970s that proposed a ‘palette’ approach to appropriateness, along with a key project from that period, Long Nose Point Park, that demonstrates this approach. The essay will then discuss three recent projects on the Harbour and demonstrate that these projects transcend the ‘palette’ approach by engaging with specific relationships on their sites (a ‘relationships’ approach) that are tied to the cultural occupation of Sydney Harbour. Along the way, the reader will be introduced to the key figures and history of landscape architecture in Australia, and to the geography of Sydney Harbour with its various ecologies and milieus