Posts Tagged ‘pavilion’

BY NATE BERG

A view of the park’s two lakes, with the city in the distance. Photo courtesy Bundesgartenschau Heilbronn.

An urban-scale garden exhibition in Germany became an opportunity to re-envision a riverside industrial site.

 

For more than half a century, the historic center of the southwestern German city of Heilbronn looked out across the waters of the Neckar River onto 80 gray acres of railyards and warehouses. As its industrial activity shifted and concentrated, the need for such large swaths of land diminished and much of this logistics landscape lay fallow.

“For urban planners, this was like a gold mine,” says Oliver Toellner. He’s a landscape architect and urban planner, and for the past 10 years he’s been transforming this large industrial plot into a new park and urban district for 3,500 residents and 1,000 jobs. (more…)

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BY ZACH MORTICE

The Kua Bay Residence is a simple pitched roof pavilion that works as an enticing collector of ocean views. Photo by Marion Brenner, Affiliate ASLA.

More than half of the world’s anchialine ponds are located on Hawai‘i, also known as the Big Island. They’re formed when fresh water flows downward toward the ocean through porous volcanic rock and mixes with salt water pushed inland by wave action. Where the shoreline dips below sea level with sizable crevices, pools of water are exposed at the surface. It’s a brackish mix, though the salinity can vary, as can the depth and size of anchialine ponds. Some can be more than a dozen acres wide; others are smaller than a bathtub. These pools were vital to native Hawaiians, who would harvest shrimp (such as the ‘ōpae‘ula red shrimp) for food or bait, or use larger ponds closer to shore with higher salinity levels as fishponds. Freshwater ponds were used for drinking water and bathing.

Anchialine pools are characteristic of the landscape of the Big Island, the site of the Kua Bay Residence, and were a source of inspiration for its landscape architect, Ron Lutsko Jr., ASLA, of San Francisco-based Lutsko Associates Landscape. Like the pools themselves, the project has an intimate connection to water defined by the rock-face crevices at its border, and it offers cloistered shelter for local and native species amid an otherwise beautifully barren landscape. The project is a recipient of both a Northern California ASLA award and, most recently, a 2019 ASLA Professional Award. (more…)

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BY TIMOTHY A. SCHULER

Public food forests grow as cities look for new ways to feed their people.

FROM THE MARCH 2019 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

It was the stand of pecan trees that first drew Mario Cambardella to the seven-acre property along Browns Mill Road in Atlanta. Looking up at the four giant pecan trees, Atlanta’s urban agriculture director decided that this was the place to test out the concept of a municipal food forest. “Then,” he says, “I dug deeper into the site and found another pecan orchard. There were tons of black walnut. There was mulberry.” Cambardella realized that the site already was a food forest. Instead of having to plant one, a team could sculpt what was already there. (more…)

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BY ZACH MORTICE

Weathermen consists of five snowman figures set on the iced-over Red River. Photo by Jaemee Studio.

There’s something unmistakably structural about a snowman: the tripartite column, the sequential progression of base, torso, and head. It might be every cold-weather kid’s first lesson in engineering and construction. It is also the inspiration for Jaemee Studio’s entry for Winnipeg’s annual Warming Huts design competition.

Weathermen consists of five snowman figures set on the frozen Red River; the largest few are hollow and big enough for a small group of people to huddle inside. They are among several warming huts to be commissioned for Winnipeg’s annual competition, which began in 2009. In addition to others, Weathermen joins Huttie, a “psychedelic funhouse” hut, in offering a whimsical vision of winter recreation in the city’s downtown. (more…)

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The things our art director, Chris McGee, hated to leave out of the current issue of LAM.

Image courtesy of the Rising Up team, BLA4, University of Guelph.

From “Quiet Riot” by Brian Barth, in the July 2018 issue, about a beach pavilion by University of Guelph landscape architecture students that puts the issue of urbanization on floodplains front and center.

“Puzzle pieces.”

–CHRIS MCGEE, LAM ART DIRECTOR

As always, you can buy this issue of Landscape Architecture Magazine at more than 700 bookstores, including many university stores and independents, as well as at Barnes & Noble. You can also buy single digital issues for only $5.25 at Zinio or order single copies of the print issue from ASLA. Annual subscriptions for LAM are a thrifty $59 for print and $44.25 for digital. Our subscription page has more information on subscription options.

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As part of an ongoing effort to make content more accessible, LAM will be making select stories available to readers in Spanish. For a full list of translated articles, please click here.

Click above for a full PDF of the translated text with English text available below.

BY ZACH MORTICE / PHOTOGRAPHY BY SAHAR COSTON-HARDY

FROM THE DECEMBER 2017 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

New Yorkers avoid Times Square, and Chicagoans stay away from Navy Pier. It’s an ironclad rule. The public spaces that are most popular are there to attract tourists. Locals don’t go there.

In Chicago, going to Navy Pier had been something like a grudging civic responsibility you accept when you have out-of-town guests. It’s always been the most meta of Chicago’s architectural landmarks—essentially a large viewing platform, at more than half a mile long, for the city’s epic skyline, the finest way to see it all without a boat. But best to keep your eyes on the horizon, and not look at the motley collection of cotton candy vendors and garish signs that crowded the waterfront.

But today Navy Pier is looking and acting more like an authentic part of the city, for locals and tourists alike. A renovation by James Corner Field Operations has turned it from a tourist mall to a (more…)

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BY ZACH MORTICE

The completed Manitoga pavilion. Photo by Vivian Linares.

On a ridgeline next to a rock quarry pond at the campus of Manitoga, the home and studio of the industrial designer Russel Wright, there’s a whirling, biomorphic mass of modular figures—not quite human and not quite animal, but distinctly organic. They’re organized into a rough, habitable dome, holding each other aloft, tiptoe to fingertip. It’s a wide-eyed exploration of the architectural pavilion’s status as a fertile middle ground between sculpture and architecture.

This pavilion, part of Manitoga’s artist residency program, was designed and built by (more…)

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