As explained on the video about Greenwich Park, Henry VIII and Elizabeth I were rowed from Whitehall Palace to Greenwich Palace in a royal barge. So keeping Gloriana in Greenwich is a really great idea. The Gloriana is a 94-foot-long (29 m) royal barge which was privately commissioned as a tribute to Queen Elizabeth II. The project to build Gloriana was initiated by Lord Sterling, who liked the idea of a waterborne tribute to the Queen for her Diamond Jubilee in 2012. The Greenwich Park video has a short clip of the Gloriana passing some suburban houses. She would look much better traveling between Whitehall and Greenwich – preferably with wealthy tourists paying a fortune for each trip. It costs £2,800 for a ceremony in the London Eye. How about £10,000 for a couple of hours on Gloriana? I would see it as a contribution to London’s urban design.
This video review of the QE Olympic 2012 Park, by Robert Holden and Tom Turner, comprises a discussion on 29th June and video footage taken on 29th and 30th June. Mainly a review of the master planning, the two landscape architects spent too little time on the park’s often-very-good detailed design. Our fundamental point is that ‘the landscape planning is much better than the landscape design’. The landscape planning includes the opening up of the River Lea in the northern section of the park, the habitat-creation strategy and the park’s excellent links with its hinterland. The landscape design is dominated by vast pedestrian concourses which will be busy during events but will resemble unused airport runways on every other occasion. There is some good garden-type planting but it has not been used to make ‘gardens': it is used more like strips of planting beside highways.
The designers were EDAW/Aecom, LDA Design with George Hargreaves.
The traffic lanes in Oxford Street have been narrowing for 40 years, with the sidewalks being widened and regularly re-paved. Use of the street by private vehicles is restricted and use by diesel-powered commercial vehicles is increasing. Last week the Evening Standard reported that ‘Traders today said urgent action was needed to slash traffic levels after a report revealed Oxford Street has the highest levels of a toxic pollutant in the world. The mayor is facing demands to reduce the build-up of the “wall of buses” after a monitor installed by scientists showed high levels of nitrogen dioxide – linked with asthma and heart attacks.’
The solution should be ‘NO HALF MEASURES’. Creating a ‘good shopping landscape’ should be the 100% priority. This will require (1) pedestrian movement to be prioritized (2) electric vehicles only to be permitted (3) far more planting (4) the use of glazed canopies over sidewalks should be encouraged.
I am happy to point to Nanjing Road Shanghai 南京路 as an example of how Oxford Street should be managed.
The problem, of course, is what to do with the buses and taxis? My answer is that they should be progressively excluded from Central London, to be replaced by underground trains, small electric vehicles and bicycles. Taxis are likely to be electric powered before long – because a Chinese company is now making the black cabs and this is its plan. Buses carrying passengers on long-distance journeys should be excluded from the central zone. Travelers can use non-polluting vehicles to reach the fringe of the zone and then continue their journeys by other means. These policies are related to Colin Buchanan’s proposals for Traffic In Towns but modified in response to the increase in London’s population, the growth of cycling, the availability of electric vehicles, the need for fuel economy and a better understanding of the health risks arising from noxious pollution. The Wiki article on Oxford Street has attractive photographof the street in 1875 and its progressive debasement.
Zaha Hadid: ‘Personally, Robin Hood Gardens is one of my favourite projects.’
Richard Rogers: ‘It has heroic scale with beautiful human proportions and has a magical quality. It practically hugs the ground, yet it has also a majestic sense of scale, reminiscent of a Nash terrace.’
Simon Smithson: ‘I believe Robin Hood Gardens to be the most significant building completed by my parents. ‘
Tom Turner: ‘Sao Paolo could learn a lot from the Smithsons’ approach to planning urban landscape’
Here are 3 videos, by Alison and Peter Smithson, by Jonathan Glancey and by me. I am impressed by the Smithsons and in full agreement with Glancey that (1) I would not choose to live there (2) the scheme should not be demolished – as has been decided (3) it should become student housing, because it is so well suited to communal use. The Smithsons account of the scheme justifies slapping a preservation order on Robin Hood Gardens. The English Heritage commissioners were right about the building architecture being mediocre: the elevations are elegant but the roofs are leaking, the concrete is spalling so that the rebars are exposed, the stairways are pokey, the balconies are usable only for drying clothes (so the residents protect them with bird netting) and a ‘street in the air’ (often with hoodies) is not a nice thing to have outside your living room window. BUT the site planning is excellent. London’s ‘tower blocks’ are usually planned like tombstones in plots of grass. The Smithsons protected against noise and used their buildings, as in London’s Georgian Squares, to define and create outdoor space. I have never seen their hill well used but attribute this to its not being a safe protected space. I also agree with their comment, on the video, that using Robin Hood Gardens as a ‘sink estate’ was not wise. Both these mistakes can be attributed to the housing managers: Tower Hamlets Borough Council. So what should be done now? (1) keep the Smithsons excellent site planning (2) implement Glancey’s idea if it feasible – and convert the buildings for use by a student community (3) otherwise, replace their shoddy architecture with better buildings on the same footprint (4) manage the central space as a garden, instead of as a public park.
Alison Smithson has a strange manner and makes some strange remarks (eg ‘Any African state would have as good a chance of joining the Common Market as London’). But the two of them speak wisely about what should happen to London Docklands.
Jonathan Glancey presents a well-reasoned and well-balanced account of the design.
Very nice to see the Chelsea Fringe going from strength to strength. It began in London and this year it has events in in London, Brighton, Bristol, Vienna, Ljubljana, Turin, Kent, Norwich and online.
My only criticism is of the Chelsea Fringe website. The graphics are fine but it does not seem to have been user-tested. I find:
– the search facility far too complicated
– the search returns repetitive
– the website unhelpful for finding a group of events in a visitable geographical area
What the Fringe needs is a sponsor which could provide a user-friendly website. It could be great publicity for the firm.
This year, I was lucky to pick up a leaflet for the Nine Elms contribution to the Chelsea Fringe. It was a paper map with a list of events. Wonderful! But I would have been just as happy to download it as a pdf.
Londoner’s require a right to roam on London’s beaches and, wherever possible, a public access route along the entire foreshore.
The Port of London Authority PLA does not encourage access because it was set up to manage the port, commercially, for maritime shipping. It gives safety considerations as a reason for not spending money on public goods. But the Seven Sisters Country Park is a much more dangerous place and is managed for recreation, conservation and wildlife. My suggestion is to transfer the amenity responsibilities of the PLA to a Landscape Agency and to bring both bodies within the GLA Greater London Authority family of public authorities. Construction of the Thames Tideway Tunnel will make the water much cleaner and the beaches more desirable.
- the London Assembly report Access to the Thames Scrutiny of the Thames foreshore and path
- public access to the Thames beaches and foreshore
Modernism, said Charles Jencks, died with the demolition of the Pruitt-Igoe housing project in Chicago.
Post-modernism appears to be dying with the demolition of Marco Polo House in London (see video).
Post-postmodern (Post-POMO) design may arrive when designers recover the confidence to blend reason with beliefs eg in Vitruvius’ design objectives: design should be functional, multi-objective, sustainable and meaningful.
- There was something really good about modernism, because design should be functional.
- And there was something really good about postmodernism, because design should be multi-valent.
- But something will always be missing if design is based on reason alone: for Commodity, Firmness and Delight, designers must also hold beliefs.
PS of these three words, the most problematic is ‘Delight’. It suggests the type of pleasure you get from a pudding, like Raspberry Delight, rather than the more serious objectives which have led the development of the arts from century to century.
It is good to have
– scenic drama, with the route planned by a landscape architect
– emotional music, planned by a musical director and extending along the whole route
– a persuasive narrative, with speeches by children, activists and politicians
– good co-opration from the police
– jokes, fun and glamour
– good supporting information on a website, with facts, figures and international comparisons
And it’s good to reflect that ‘Power must be taken, it is never given’. (William Powell)
The 2013 London bicycle die-in was good on music and drama but not so good on speeches.
The 2014 POP Pedal On Parliament in Edinburgh was good in all respects.
Glasgow had the witty idea of blowing up the last of the Red Road Flats to celebrate the opening of the 2014 Commonwealth Games. There was an outcry, a petition and they decided not to do it. But the flats are still doomed and we have to keep asking ‘what went wrong’. Auberon Waugh (see quote below) blames the architectural profession. I see Sam Bunton & Associates as accessories to the ‘crime’ but believe the main responsibility lies with the client body: Glasgow Corporation. Instead of giving poor people ‘housing’ they should have given those people the money they needed to buy or rent accommodation. The socialist principle was well-intentioned but mistaken. I remember visiting Glasgow ‘estates’, like the Red Road, in the 1960s and finding the ‘landscape areas’ between the blocks strewn with broken glass. I do not know what they had been smashing but there must have been a lot of it. In recent years the blocks have been occupied by asylum seekers.
1 June 1985 The great joy of London Docklands Development may be that no-one will ever see it. A stretch of the desolate East End is being given over to whatever monstrosities the architects can devise – vast concrete prisons rising from a windswept cemented plain decorated with notices and litter bins. It might be specially designed as a recreation area for vandals in search of a telephone box, sex maniacs in search of a public lavatory. But it is a part of London where I have never been and I can’t honestly think of any reason why I should ever wish to go there. If architects could be persuaded to practice their filthy trade only in places like the the Isle of Dogs, then there might be some hope for the bit of England that survives. Another good policy to adopt towards architects is, if you meet anyone in a pub or at a party who says he is an architect, punch him in the face. [quote from Kiss Me, Chudleigh: the world according to Auberon Waugh by William Cook (2010)]
Had I happened upon this image on the web, I would have guessed it was in East Asia. So one wonders: will the Chinese be thinking about dynamiting places like this in a few decades time? I think they will, and some of the credit will belong to Michael Wolf’s work on the Architecture of Density.
Image courtesy Glasgowfoodie
Making an Olympic Village in the Lea Valley’s Queen Elizabeth Olympic Park was a delightful idea. I love to stroll along a village high street. At dawn one hears the cocks crow and sees the milkmaids setting off for work. The crooked old streets have banks of wild flowers. On a summer’s eve the children play and God, one thinks, must have been in a very good mood when he made this place. Poetry fills one’s heart as one rushes to put down a deposit.
Stands the Church clock at ten to three?
And is there honey still for tea?
Nestling amid the trees we see the manor-house, the
abode of the squire, an ancient dwelling-place of Tudor or
Jacobean design, surrounded by a moat, with a good terrace-
walk in front, and a formal garden with fountain and sun-
dial and beds in arabesque. It seems to look down upon
the village with a sort of protecting air. Near at hand are
some old farm-houses, nobly built, with no vain pretension
about them. Carefully thatched ricks and barns and stables
and cow-sheds stand around them.
[Peter Hampson Ditchfield]
Sweet Olympic! loveliest village of the plain,
Where health and plenty cheer’d the labouring swain,
Where smiling spring its earliest visit paid,
And parting summer’s lingering blooms delay’d:
Dear lovely bowers of innocence and ease,
Seats of my youth, when every sport could please,
How often have I loiter’d o’er thy green,
Where humble happiness endear’d each scene!
How often have I paus’d on every charm,
The shelter’d cot, the cultivated farm,
The never-failing brook, the busy mill,
The decent church that topt the neighbouring hill,
The hawthorn bush, with seats beneath the shade,
For talking age and whisp’ring lovers made!
The Village Life, and every care that reigns
O’er youthful peasants and declining swains;
What labour yields, and what, that labour past,
Age, in its hour of languor, finds at last;
What form the real Picture of the Poor,
Demand a song–the Muse can give no more.
Wonderful too that our present Chancellor of the Exchequer, the Right Honourable George Osborne MP, wants to give us our first Garden City for a hundred years at Ebbsfleet in Kent – so long famed as The Garden of England. I expect it will be just as wonderful as the Olympic Village – and maybe even as wonderful as the Ajman Garden City itself.
The British government loves villages so much that it wants to expand them all into towns and then into cities. The reason for this is that ‘expanding existing settlements’ is seen as better than ‘building new towns’.
‘Fresh calm lush green designer landscapes beckon you to lead a harmonious lifestyle at the garden city. The Garden City is a beautiful development, a delightful combination of three buildings, Almond, Jasmin and Mandarin. Nestled in a picturesque surrounding comprised of tree-, fruits- and flower-lined avenues The beauty and the grace of each flower type exude great confidence and reflect the true essence and exquisite quality of the tree, fruit and flower types after which they are named.’
I’ve solved the problem of why George Osborne envisages Ebbsfleet as a Garden City: he’s been to Dubai and seen the Ajman Garden City. He loved it with the adoration of a puppy. He wants Sunny Ebbsfeet to rival Dubai with its wonderful expanses of lawns embellished with wonderful expanses of charming roads and concrete slabs. The only features Ebbsfeet cannot rival are the intense heat, dust, glare and humidity. Never mind, the Chancellor can tell our state-owned banks to give starter loans for tanning parlours and tatoo artists. The UK economy will then boom with a slew of professional opportunities in skin cancer.
Please tell me it’s a spoof. The world cannot have clients fool-enough to build such a “”””Garden City””””. It cannot have designers bad-enough to produce the drawings. It cannot have buyers rich-enough to buy the property. But listen carefully: the voiceover is spoken in a near-human English marketing argot – but for the robot saying al-mond, insetad of aa-mond. So the Dubai video IS a prank by Gravesend kids doing robotics as a sixth form project. Ebbsfleet Garden City will, after all, be a place of semi-detached rose arbours where we can all enjoy harmonious lush green lifestyles.
Phew. What a relief.
See also Will Ebbsfleet be a Garden City a New Town or an overblown Housing Estate?
Jason Pomeroy The Skycourt and Skygarden: Greening the urban habitat Routledge 2013 ISBN-13: 978-0415636995
Jason Pomeroy studied architecture in England and now leads a design studio in Singapore. He has a special interst in above-ground greenspace and Singapore is a world-leading city in this respect: it is rich; it is very well run; it sees itself as a Garden City.
Over half the book is a really useful set of case studies, wisely categorized as Completed, Under Construction and On the Drawing Board. I am as full of admiration for the architects and clients who launched these projects as for the author who assembled and analyzed the details. Some, like the Marina Bay Sands Hotel in Singapore, look as good as the design drawings promised. Others show lush vegetation on the drawings and less vegetation on the photographs. The plants may grow – or they may be removed, because much of it is on balconies and residents like glazing such spaces to create extra indoor accommodation. This is common practice in China, South Korea and elsewhere.
The author’s definitions on page 41 are:
- Rooftop garden: ‘a landscaped environment built on the roof’
- Skygarden: ‘an open or enclosed landscaped open space that can be dispersed through the higher levels of the urban habitat or tall building’
- Skycourt: an enclosure ‘created by the void space being bordered by other buildings within the immediate urban context, or formed by its own internal facades’.
One can hardly expect satisfactory names and definitions for a new spatial typology – and I am unhappy with the above definitions. They use the verb ‘landscaped’ to mean ‘planted’, which is incorrect, while the author makes no reference to the involvement of landscape architects with the design of above-ground space. It is not enough for a space to be planted: each space should be well-planned and well-designed to fit its intended social use. Some of the spaces described as skycourts are what I would call balconies. Others are fashionably weird bites taken out of buildings which have many floors below and many above. In London, spaces like this are cold, windswept and unpleasant. In Madrid’s hot summers the Mirador ‘skycourt’ may be pleasant; in its cold winters the bites must be grim. In Singapore’s hot sticky climate the bites may be shady, breezy and delightful. But they will also require artificial irrigation. One needs to be skeptical about ‘green’ buildings: they can be ‘green’ in the sense of ‘vegetated’ without being ‘green’ in the sense of ‘sustainable’ – like Patrick Blanc’s green living walls. The design of every building should respond to the genius of every place.
In the absence of good evidence we should have no more trust in architects’ claims for buildings being sustainable than we have in politicians who describe their policies as ‘sustainable’. The technical term for both is ‘greenwash‘. For some of the Future Vision projects in Chapter 2 (see examples above) the technical term is ‘hogwash’. This is Greenwash-Hogwash Architecture (GHA)and I wish Pomeroy had been more critical of it. We are not going to get good green buildings (‘landscape architecture’, as we might call it) without thoughtful analysis of what is good and what is bad and what is awful.
Two real strength of Pomeroy’s book are his analytical diagrams and his systematic charting of the characteristics of above ground greenspace. City planners and urban designers should certainly be analytical and everyone who wants greener cities must read page 69. I won’t spill the details but it explains the legislative and financial principle which has encouraged Singapore’s architects to go green. It’s wonderful.
1) will it, like the real Garden Cities (Welwyn, Letchworth etc) be an idealistic private enterprise project with an emphasis on gardens, parks and landscape development? No.
2) will it, like the post-1946 New Towns, be a central government project, making money by buying land at agricultural prices and selling some of it at development land prices? We have not been told – but I doubt it.
3) will it be a subsidised housing project with few objectives except ‘get ‘em up in time for the next election’? Quite likely.
Now let’s consider the design aspects:
1) will it be a ‘city’ of houses with generous gardens and parks? I doubt it.
2) will it, like most contemporary residential projects in and around London, be a development of medium-rise residential blocks with no ground-level gardens, no green living walls and no roof gardens? Very probably.
So what should be done? I have no objection to using a development corporation to take the project out of local government control (until it is built) PROVIDING central government involvement is used to achieve public interest objectives. They should use development corporation powers to streamline and enhance the planning process. Then they should spend much of the promised £200m on green infrastructure. This would kick-start the project, as is desired, and achieve public goods comparable to those provided by the Garden Cities and the New Towns.
It is significant that the population of Ebbsfleet ‘Garden City’, at 15,000, will be the same as that of England’s best twentieth century housing development: Hampstead Garden Suburb. The Suburb (which is what Ebbsfleet should be called) was designed ‘on garden city lines’ using the transition concept developed on the great estates of the eighteenth and nineteen centuries.
In London, Graffiti, street art and murals are subject to borough control, not GLA control. Greenwich, my local council, suffers from the blinkers you would expect from 43 years of political control by the same party. So the policy is about ‘grafitti’ instead of ‘street art’. Here it is:
We aim to keep all council property free of graffiti, but we need your help. If you report a graffiti problem to us, we will deal with it.
How to report graffiti
You can report by mail, phone, email or online form using the details on the right.
If you can, please provide details about those responsible for the graffiti. We will try to make them, or their parents or guardians if applicable, to pay for the graffiti removal.
What happens next
Our cleaning team will inspect and remove offensive and racist graffiti within 24 hours. Other graffiti on the outsides of Council property will be removed within three working days.
Graffiti on private property
The team will also remove graffiti on private property, although there may be a charge for non-offensive graffiti.
We require signed permission from the owner before we remove any graffiti from private property.
In some cases – for instance, when it seriously affects you or causes great inconvenience – graffiti can be considered a type of anti-social behaviour.
Hackney was long considered the worst-run borough in London but has had more diverse political control in recent years and has undergone rapid trendification. Anyway, the above illustration is from Hackney and the policy is on Graffiti, street art and murals. One could regard it as enlightened, at least in comparison to Greenwich eg ‘We recognise that some people consider that street art makes a positive contribution to the urban environment. If your property has a piece of street art or mural on it, you must contact our Environmental Enforcement team to let us know that you would like to keep it.’ BUT the Hackney Hedgehog is on a building marked ‘to let’ so it was probably done without the owner’s permission. Does this make it graffiti and an act of vandalism attributable to migrants from Eastern Europe? The poor beastie looks a bit underfed. Or is it political activism by deep ecologists who want more more planning for nature in urban areas?
Ebenezer Howard proposed garden cities outside London. That’s fine but Central London should adopt the landscape policy of becoming a Roof Garden City. Property developers should be rewarded for providing green roof gardens and punished on those few occasions when they find reasons for not providing roof gardens and sustainable green roofs on new buildings. Visually, this is the single most important policy for making London a Green Roof City. As everyone knows, London is already the world’s Garden Capital. Now it should become the world’s Roof Garden Capital.
But I doubt if it will. British town planners are far too unimaginative – and Singapore’s planners are way out in front. As I ride my bike around London I often think ‘Why does the RTPI exist? What, in heaven’s name, do town planners DO? Why not dissolve the Royal Town Planning Institute?’ The answer, I think, is that most of their effort goes into a sometimes-useful attempt to stop landowners doing what they want to do. UK planners seem to have no positive achievements – except, perhaps, in helping developers evade planning restrictions dreamed up by their professional colleagues.
Thomas Mawson published an attractive book on Civic Art in 1911 and became a founder member of what is now the Royal Town Planning Institute in 1914. Then, in 1929, he became first president of what is now the Landscape Institute. Perhaps we need an agreed division of labour between the two professional institutes: the RTPI can stop developers from doing bad things and the Landscape Institute can encourage them to do good things.
Having proposed a Sky Park for the City of London, I was delighted to see a real Skypark on the Marina Bay Sands Hotel. ‘London talks and Singapore acts’. The Marina Bay Sands Hotel has 2,561 rooms and 55 floors. The SkyPark, 200m above ground level, is larger than three football pitches and has an observation deck, 250 trees and a 150m infinity swimming pool. It is a brilliant project by Las Vegas Sands and, I hope, a signpost to the future of urban form. See the Marina Bay Sands website for more details. I’d like to spend a few nights there, congratulating the hotel management for commissioning the project and then the city of Singpore for its policy of moving from ‘Garden City to Model Green City‘. But a design critic must also provide criticism:
- the garden/landscape design looks ‘OK but dull’. The designers have not risen to the challenge of such a fabulous opportunity, perhaps to re-create some of the rain forest of pre-colonial Singapore with stylised beaches running to the perimeter pool. I wouldn’t even object to a glowing Tarzan by Jeff Koons in the heart of the jungle – and nor would the kids of the guests.
- As built, SkyPark floats somewhere between the deck of a luxury cruise ship and the garden of a luxury hotel – and both are design categories which landscape designers neglect. What the SkyPark needed was a serious dreamland design to lift the imagination of guests, as well as the contents of their wallets. Moshe Safdie was the architect. He worked with five artists but, having written a book For everyone a garden probably sees himself as an expert on garden design. I do not doubt that, like Frank Lloyd Wright, Safdie has the ability to design gardens but as with all the arts, it takes time to develop expertise and one needs to love garden life and garden visiting to succeed. My belief is that Edwin Lutyens’ best gardens were designed in co-operation with Gertrude Jekyll and that Lutyens tended towards vacant formalism when working, like Safdie, on his own. Eero Saarinen had the great good sense to work with Dan Kiley.
- the Tropical Island shape of the SkyPark sits unhappily on its three towers. There is a dash of HG Wells’ War of the Worlds about it. Or an out-or-water oil rig. Looking up, one wonders if a Tsunami left a cruiseliner or a surfboard perched on the roofs of its three towers. The resort hotel may appear more sensitive to its context when more of Singapore’s buildings have SkyParks
- Safdie’s urban design, which I commend but which is not apparent from the photographs, was as follows: ‘A series of layered gardens provide ample green space throughout Marina Bay Sands, extending the tropical garden landscape from Marina City Park towards the Bayfront. The landscape network reinforces urban connections with the resort’s surroundings and every level of the district has green space that is accessible to the public. Generous pedestrian streets open to tropical plantings and water views. Half of the roofs of the hotel, convention center, shopping mall, and casino complex are planted with trees and gardens.
Top photographs courtesy Marina Bay Sands Hotel. Bottom photo courtesy Peter Morgan.
- go for the Baroque, as so many communist leaders did (left above)?
- spend on bling, as was done in Kiev? (below)
- keep the space clear, to facilitate future revolutions (right above)?
It was the ‘square’s’ name which made me wonder about the alternatives. ‘Maidan’, I assume, is a Persian word which, I guess, was brought to Kiev by the Tartars. They were a Turkic people and the Turks, as former nomads, learned much from the urban civilisation of Persia (just as the Persians, also formerly nomadic, learned from the urban civilisation of Mesopotamia). See photos of the Maidan in Isfahan – it was a space used for markets, games of polo and military displays. The present square dates from after the Tartar period and took its present form after the Second World War. In 1919 it was Soviet Square and in 1935 it became Kalinin Square. The present name came with independence in 1991. Please correct me if I am wrong but I think the bling (fountains, planters etc) appeared after the Orange Revolution of 2004. [Note: one can’t help wondering if the re-design proposal for Gezi Square is, in part, an idea for how to prevent public spaces being used by revolutionaries). If so, please could we know the designers’ names.
Should the Maidan be re-designed to take account of the latest revolution?
Still working on a landscape architecture manifesto, I was pleased to find Diana Balmori’s book A Landscape Manifesto (Yale University Press, 2010). She comes across in the above video as a thoughtful and likeable person. I also support the principles of her manifesto (see below) while thinking they could be shorter and clearer – her drawings and design work are strong in these respects (see, for example, Balmori’s Garden Climbs the Steps in Bilbao). The word ‘manifesto’ derives from the Latin manifestum, meaning clear or conspicuous. It came into English during the seventeenth century and the practice of issuing art and design manifestos became widespread in the 20th century. Let’s hope landscape architecture manifestos become widespread in the 21st century. Heidi Hohmann and Joern Langhorst got us off to a good start in 2004, with Landscape architecture: an apocalyptic manifesto, though its strength is in making the case for manifestos.
25 points: Diana Balmori’s Landscape Architecture Manifesto
1. Nostalgia for the past and utopian dreams for the future prevent us from looking at our present.
2. Nature is the flow of change within which humans exist. Evolution is its history. Ecology is our understanding of its present phase.
3. All things in nature are constantly changing. Landscape artists need to design to allow for change, while seeking a new course that enhances the coexistence of humans with the rest of nature.
4. Landscape forms encapsulate unseen assumptions. To expose them is to enter the economic and aesthetic struggles of our times.
5. Historical precedents do not support the common prejudice that human intervention is always harmful to the rest of nature.
6. Shifts are taking place before our eyes. Landscape artists and architects need to give them a name and make them visible. Aesthetic expertise is needed to enable the transforming relations between humans and the rest of nature to break through into public spaces.
7. High visibility, multiple alliances, and public support are critical to new landscape genres that portray our present.
8. Landscape—through new landscapes—enters the city and modifies our way of being in it.
9. New landscapes can become niches for species forced out of their original environment.
10. The new view of plants as groups of interrelated species modifying each other, rather than as separate and fixed, exemplifies fluidity—a main motif of landscape form.
11. Nostalgic images of nature are readily accepted, but they are like stage scenery for the wrong play.
12. In his History of the Modern Taste in Gardening (l780), Horace Walpole says William Kent “was the first to leap the fence and show that the whole of nature was a garden.” Today landscape “has leapt the fence” in the opposite direction, to the city, making it part of nature.
13. Existing urban spaces can be rescued from their current damaging interaction with nature.
14. Landscape artists can reveal the forces of nature underlying cities, creating a new urban identity from them.
15. Landscape can create meeting places where people can delight in unexpected forms and spaces, inventing why and how they are to be appreciated.
16. A landscape, like a moment, never happens twice. This lack of fixity is landscape’s asset.
17. We can heighten the desire for new interactions between humans and nature where it is least expected: in derelict spaces.
18. Emerging landscapes are becoming brand new actors on the political stage.
19. Landscape renders the city as constantly evolving in response to climate, geography, and history.
20. Landscape can show artistic intention without imposing a predetermined meaning.
21. Landscape can bridge the line between ourselves and other parts of nature—between ourselves and a river.
22. Landscape is becoming the main actor of the urban stage, not just a destination.
23. The edge between architecture and landscape can be porous.
24. Landscape can be like poetry, highly suggestive and open to multiple interpretations.
25. We must put the twenty-first century city in nature rather than put nature in the city. To put a city in nature will mean using engineered systems that function as those in nature and deriving form from them.
Landscape architecture: an apocalyptic manifesto, was the title of a landscape architecture manifesto published in 2004 by Heidi Hohmann and Joern Langhorst (and republished as ‘Landscape Architecture: A Terminal Case?’ in Landscape Architecture Magazine 95, no. 4 (April 2005): 26-45.). The original manifesto is still available as a pdf document. The Hohmann-Langhorst diagnosis was as excellent. Their prognosis was pessimistic and melancholic.
Having a nostalgic affection for manifestos, I responded with my own manifesto – and plan to mark its 10th anniversary with a revised version.
The above diagram, from the Hohmann-Langhorst article, shows the disciplines from which landscape architecture emerged and the disciplines into which they expected it to dissolve. Worldwide, this has definitely not been landscape architecture’s fate in the last decade. It has had a great many successes without, in my view, coming near to realising its full potential.
There is a great contrast between the two countries (Britain and America) which gave birth to landscape architecture as an organized profession. Landscape architecture is flourishing in the US and stagnant in the UK. It could be that the Hohmann-Langhorst article stimulated the US profession to examine its navel and engage in renewal and re-generation. In part, the regeneration has come from the body of theory known as Landscape Urbanism. Proponents have had many competition successes and advocates of New Urbanism feel themselves under threat. Andres Duany and Emily Talen have responded with a book on Landscape Urbanism and Its Discontents: Dissimulating the Sustainable City. The blurb to their book (which I have not yet read) states that ‘While there is significant overlap between Landscape Urbanism and the New Urbanism, the former has assumed prominence amongst most critical theorists, whereas the latter’s proponents are more practically oriented.’ This is despite the fact that Landscape Urbanists have done a poor job of explaining themselves. They should be grateful to Ian Thompson for his account of its Ten Tenets – and I hope his clarity will stimulate the much-needed revival of English landscape architecture. It is of interest that one of the landscape architects with the clearest vision of where the profession should be heading was born in the UK and works in the US – see this interview, in which Time Magazine describes James Corner as an Urban Dreamscaper.
The Oxford English Dictionary offers this useful definition of greenwash (n)
Pronunciation: Brit. /ˈɡriːnwɒʃ/ , U.S. /ˈɡrinˌwɔʃ/ , /ˈɡrinˌwɑʃ/
Etymology: < green adj. + wash n., after whitewash n.
Misleading publicity or propaganda disseminated by an organization, etc., so as to present an environmentally responsible public image; a public image of environmental responsibility promulgated by or for an organization, etc., regarded as being unfounded or intentionally misleading.
1987 D. Bellamy in Sanity Sept. 28/1 They create a lot of environmental ‘greenwash’, and thank god for it, because they create some very good nature reserves. But they’re also commissioning uneconomic nuclear power stations.
1989 Observer 5 Mar. 14/2 Six Ministers launched ‘Environment in Trust’, a clutch of pastel-shaded leaflets putting a greenwash over the Government’s environmental record.
1993 New Scientist 10 Apr. 22/2 While they can be useful, these sorts of standards are sometimes used quite cynically—as corporate greenwash.
2003 Managem. Today Jan. 45/2 Companies only report what they want to report, and it’s mostly greenwash and PR.