Confluence landscape architecture

Confluence landscape architecture

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  • Related story
  • Confluence Inspiration
  • Structuring Confluence: The Work of W Architecture and Landscape Architecture
  • Landscape Architecture Plans Revealed for Krause Gateway Center
  • Excavation Underway for The Alloy Block at 100 Flatbush Avenue in Downtown Brooklyn
  • Confluence: Portal to the Point
  • Department of
  • Find All School Now
  • Chicago’s Wolff Landscape Architecture To Join Confluence
WATCH RELATED VIDEO: Contemporary Theories of Landscape Architecture - Landscape Infrastructure

Related story

So … biennials, right? Staged every two years, these events ostensibly perform as premier high-end art exhibitions. Curated primarily to showcase new trends, they are exceedingly influential in determining who and what are vital to follow in the art world. As such, biennials bestow significant, if not outsized, cultural and economic capital on the selected artists and their work.

Of the more than biennials now staged worldwide, the first, and perhaps the most prestigious, is La Biennale di Venezia, a preeminent art event first staged inBy comparison, the first biennial in America was organized by Washington, D. In , the Venice Biennale added an architectural component. While more recent biennials include a category for architecture, the Tallinn, Lisbon, Shenzhen, Rotterdam, Oslo, New York, and Chicago biennials focus exclusively on it.

The point here is not about biennials per se, but to point out that they are primarily concerned with the art object. Thus the architecture included in any biennial is considered by association, if not by definition, as an art object, the type displayed in the bastions of the culturally elite: galleries, institutions, and museums. Bastions like the Chicago Cultural Center, where previous biennials were held. No matter their location, collections, and entry fees if any , the cultural centers of the world are not welcoming to every person; not everyone is comfortable in these spaces.

Thus the acquisition of good taste is a privilege to which not everyone has access. And there is less access to the tastemakers themselves—the museum directors, curators, critics, editors, agents, and academics. As for the possibility of becoming a tastemaker?

One might earn enough to acquire a Henry O. Tanner painting, but one must learn enough to appreciate it. The tastemakers create that knowledge, arguing that one must understand the context—the conflation of artist, peers, medium, technique, history, moment, labor, intent, etc. From their perspective, any artistic knowledge created without this understanding or their imprimatur is not knowledge at all, but simply ill-informed opinion.

There are no legitimate ways of knowing, seeing, or speaking about objects other than those created or controlled by the tastemakers. While this type of arbitrary, subjective authority is troublesome for art in all its forms, it is especially so when applied to architecture.

The first is that for architecture, there is no object without a site, a place, a location, terra firma. The forces that make a site available for work are unique, exceedingly more complex than the other art production. Unlike a lump of clay, block of stone, empty canvas, or blank page, a site is rarely a true tabula rasa. Sites have histories—and, hopefully, futures. Of course, one can display a model, an image, or some other method of viewing architecture in an exhibition. Still, these are just replicas, facsimiles, not the actual objects, and certainly not the objects in context.

Whether ignored or acknowledged, the dissociation of object from location available to other art is not available to architecture. Of course, the production of art is no stranger to the realm of patrons and commissioned work, but for the creation of a home, office, hotel, hospital, museum, etc. It must do and be something more.

Art can be produced without a patron and with no other thought than its own existence. Alas, architecture cannot. And this is why the edition of the CAB is so … something. This is a continuous biennial. The Chicago Architecture Decennial?

Millennial, maybe? By far. By now, the positivist claim that urban conditions are simply the unfortunate outcome of progress and growth has been revealed to be largely inaccurate. A plethora of books, studies, and reports too numerous to mention have shown that rather than an unfortunate confluence of forces too arbitrary to predict, such conditions were wholly predictable and, in fact, orchestrated with the blessing and assistance of local, state, and federal agencies, as well as financial institutions, all of which have a deep and abiding economic interest in the growth of cities.

They are sites of enormous capital accumulation and exchange because they concentrate more and more of our desire for work, income, social interaction, safety, leisure, educational opportunities. In other words, cities make money; maybe not so much for municipalities and the residents therein, but certainly for many types of financial and commercial interests. Yet despite their voracious accumulation of interests, cities have strained to manage and provide for each adequately.

In their rapaciousness, they have become victims of their own success. For the first time in human history, more people are now in urban areas than rural ones. Further relief came from the interstate network of highways, frequently planned and built through existing poor and marginalized communities, to make getting to and from those new enclaves quick and painless. Finally, low-cost loans for home purchases were made available—except, of course, to the now-displaced Black and brown communities—regardless of income.

These seemingly benign efforts contributed mightily to the conditions in cities today. Either isolated by disinvestment or displaced by gentrification, that concentration has forced municipalities to focus on providing the most for those that can pay for its services.

In an effort to keep property taxes within city borders, some places are rendered safe, pleasant, and livable. Not so much. In this scenario, places once accessible become less so. New spaces require permission to access. Permission comes with obedience. With obedience comes control. Soon, people simply police themselves. This is not laissez-faire. This is intentional. All of these moves in the public realm signal one overarching theme: Stay in your place, regardless of what it may mean to your health, education, economic and educational opportunities, or life expectancy.

In the process it creates a place ripe for architecture, often in the form of gentrification. Capitalism indeed abhors a vacuum, and when the ground has been cleared, the public is desperate, dissenters muted, and stragglers removed, sites are prepared for others to move into the hollowed-out carcasses of ravaged communities.

These migrants bring with them the resources hoarded generations before. Talk of austerity disappears, and talk of investment begins. The result is that new residents and families benefit from the suffering of those deprived, while those deprived are moved elsewhere to be deprived some more.

They rarely, if ever, reap the benefits of their agility, creativity, and resilience; and there are never any reparations for the theft. The sanctioned inequitable distribution of resources and its concomitant benefits have created the landscape you see today. Vast swaths of cities are in survival mode.

As Whitney Young Jr. It was carefully planned. Squeezed until they pop like Baltimore or St. Louis or emptied out like Cleveland or Detroit, what has happened in cities is as much a result of the profession abdicating its responsibilities to the public realm as it is any other. How, exactly, do you figure that? Design shapes the very environment in which we live, helping mold us into particular types of people who act in particular ways.

We manipulate, refine, and deploy space. We make it accessible or not, pleasing or not, egalitarian or not. Design prefigures material culture, shaping how people interact.

The form of a family home, for example, is inseparable from the nature, constitution, and practice of family life. We can create a space so off-putting that no amount of signage and cajoling will ever make it welcoming despite its public intention. Alternatively, we can make it so inviting, engaging, and life-affirming that no barrier can keep anyone out despite its private purpose. Design gives physical form to the ideological embodiment of a specific politic. Architects do this, and the best of us do it well.

But, of course, we do not do this alone. Most often, we do this at the behest of others, with the assistance of others, and through the permission of others. Yet when our skills are employed in the shared landscape, ultimately, we—and we alone—must defend their use. Still, by regularly studying issues including juvenile delinquency, race relations, and old-age pensions, they understood the power of space to elevate lives. So they made it their business to save the Chicago waterfront for public use, understanding the public to be just about everyone and that everyone needed space to live.

The lakefront, now one of the most spectacular things about Chicago, could have just as easily become a port, commercial wharf, or ceded to the railroads, all of which were discussed and, at various times, enthusiastically pressed. And we can enjoy the benefits of that vision and subsequent effort on any visit to the city, free of charge. The politics of Robert Moses is plain to see but difficult to support. The form of New York City and its relationship to its adjacent municipalities is clear enough.

Moses understood the power of space and place. His vision of the city and the public realm was less than egalitarian.

Indeed, there were those for whom space would be a given and others for whom it would be a premium. Space is life. The best of us know this and act accordingly. In other words, everyone. The less of us, maybe not so much. Urban environments large and small, flush and broke—all are pockmarked with spaces of prosperity and poverty. The worst simply have so many that despite their numbers, communities remain disconnected, unable to leverage even the smallest of things, united by their near-total irrelevance to forces that might be—should be—able to assist.

This coming-into-being narrative is indispensable to understanding and appreciating the works in The Available City , yet few critics have spent time considering it, and fewer still writing about it.

Confluence Inspiration

Confluence landscape architecture. Students were asked to design a new bus transfer station for the Wissahickon Gateway. Confluence led the site planning and landscape architecture design efforts as part of a multi-disciplinary team for this transormative project. The Standards Information Base captures the standards with which new architectures must comply, which may include industry standards, selected products and services from suppliers, or shared services Confluence - Landscape Architecture, Des Moines, Iowa. Project Partners: Confluence Landscape Architects. What can we do for you? Who We Are.

Designed by Lake|Flato, Matsys Design, and Rialto Studio, the park officially opened in Curving paved pathways lined with terraced planting beds.

Structuring Confluence: The Work of W Architecture and Landscape Architecture

This interview has been edited for brevity and clarity. Given that context, I thought it was really interesting that you first earned degrees in art history and painting before studying landscape architecture. Why did you become a landscape architect after studying art, and how does that background inform your work today? When I first transferred out of art school, I was interested in anthropology and philosophy. However, my art history thesis advisor knew that I wanted to be an artist and had no intention of growing up to be an art historian. He suggested that I could stay affiliated with the field and fulfill my desire to travel by becoming the technical illustrator for archaeologists and art historians. I was a technical illustrator for archaeological projects in Jordan, Syria, Turkey, and Cyprus. In Egypt, while sitting on a wall with a friend of mine, I decided I was going to stop drawing the past and start drawing the future. What do we really want to do?

Landscape Architecture Plans Revealed for Krause Gateway Center

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By: Michael Young am on December 16,

Excavation Underway for The Alloy Block at 100 Flatbush Avenue in Downtown Brooklyn

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Confluence: Portal to the Point

Students from more than one academic institution may participate on the same team if all the following criteria are met: 1. Innovative design thinking is key to producing architecture that meets human needs for both function and delight, adapts to climate change projections, continues to support the health and well-being of inhabitants despite natural and human-caused disasters Poster Competition. The team, which also included students in the College of Science, the College of Engineering and the Graduate College, placed second in the Campus Competitions. Architecture thesis, the ultimate yet the preliminary test of the student being molded as an architect, the initial years that contribute into forging a designer that eventually formulates a collaboration of all the wisdom accumulated over the academic years, the inventive years which birth the composition of the Landscape Architecture Scholarships. We seek to encourage young talent in bringing their path breaking ideas to the forefront on a global scale.

Confluence. Calgary, AB. Services provided on this project: Art Studio,; Lighting Design,. Art.

Department of

The Domus journey through Italy continues. This year we start from Sicily to collect a series of exemplary proposals for urban and territorial regeneration, demonstrating that it is always the bet of utopia to guide the winning choices. We collect a synthetic overview of some of the most interesting authors of Italian photography, who have placed the anthropized landscape at the center of their narrative. The works investigate the possibilities that photography can become a tool for exploring the environment, the vulnerability of the contemporary city and the future of a fiercely anthropized nature.

Find All School Now

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Located on a former construction storage yard approximately two miles south of downtown, this three-acre park is situated along the Mission Reach segment of the River Walk on a bluff overlooking the San Antonio River and San Pedro Creek. Curving paved pathways lined with terraced planting beds connect five distinct areas representing different regional ecosystems. The Estela Avery Education Center, a multi-purpose building topped with a green roof and powered by solar panels, is adjacent to the main pavilion. A small pedestrian bridge leads to the main pavilion over a sunken area where rainwater harvesting structures are buried. Taking full advantage of the site, the park hosts a variety of educational programs led by the San Antonio River Foundation SARF , which connects people to their surroundings while fostering environmental stewardship.

Confluence, which has an office in downtown Sioux Falls, has added locations in Fargo and Chicago. The landscape architecture, urban design and planning firm acquired Land Elements in Fargo and Wolff Landscape Architecture in Chicago.

Chicago’s Wolff Landscape Architecture To Join Confluence

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