by Natascha Seideneck
How much fiction have these imagined worlds? Natascha Seideneck has developed a work process that, in a way, approaches natural processes and cycles of formation, as well as human manipulation and transformation: physical and chemical reactions of the elements elaborated from the artistic process which, when photographed, lead us to different mutating topographies that span the spectrum between the formation, transformation and destruction of worlds.
by Eric Rannestad
The progressive approximation of science fiction and reality places us increasingly in a close situation between the imagined and the achieved. However, these visions of the near future, which keep being produced in movies, in novels or video games, are today more perceived with indifference than with reflective skepticism. This ‘spectacle’ condition continues to draw a collectively unreflected view of how we will occupy the world we live in, and who is included or excluded in the face of increasing mechanization of our existence. Eric Rannestad’s “Firmament Arch” invites us to imagine, to engage, and mostly to reflect on some of these future scenarios.
by Cristina Ataíde
A daily life spent mainly in urban and functional environments has caused a gradual detachment from the landscape. Thus, how to relate with it? What leads us to engage with some of its specific details? And how to activate bodily behaviors, or different ways and possibilities to act and to engage? “Follow the Red Line, please” explores all these possibilities from the words that form sentences — sentences that incite us to act, to experiment, to engage, to perform and to be part of the landscape.
by Melike Altınışık
Within the “morphogenesis” approach at the Achrome[scape] design, the form is rather than a final result of the format variables of the dynamic process products which form complexes in the form of individual cells. Cell and nature are components of a common dynamic process.
by Gabriel Orozco
The garden as a sculpture, the sculpture as a garden, or simply a garden. Nevertheless, as a garden, it continues to convoke moments for community life from the spatial organization of different elements present in the landscape.
by Anastasia Savinova
In “Landface” Series, Anastasia Savinova explores a different relationship between body and landscape. The dominance of vision is overlapped by all other senses and the body becomes the central place of this experience of being in the landscape, of being landscape.
by Ellie Davies
Using shapes inspired by insect eggs, shells, oceanic diatoms, sea anemones and corals, each ‘form’ is made from materials drawn from the surrounding area — like the cadis fly lava that builds an armoured case to protect and house itself — these forms are disguised or distinguished using seaweeds, river weed, moss, mares tail, bracken, heather, lichen, chalk dust and leaf litter.
by Hidemi Nishida
A time for a deep communication with the landscape, the environment, and the world. It elevates your gaze a little higher than normal, and this small difference gives you a fresh perspective.
by Landslag ehf.
Maximizing travelers’ time at the destination is tantamount to building a minimally invasive tourism culture that recognizes the vulnerability of the landscape and respects the boundaries created to protect it. By installing a staircase, which clearly illustrates to visitors that the volcano is an accessible site, the project deters tourism to other vulnerable, but unmarked, areas in the National Park and in Iceland more broadly. The staircase incubates respectful tourism behaviors while maximizing visitors’ enjoyment.
by Ellie Davies
(…) a more personal response to the landscape, an experience embedded in memory, history, storytelling, folk law and magic, to engage the viewer in a dialogue with the image and in a sense of the familiar, drawing on an awareness of how our perceptions of the natural world are shaped.
by VEGA landskab and Karin Lorentzen
At the waterside of Hvidovre, a small artificial beach has been upgraded to a new improved beach park, designed by VEGA landskab and sculptor Karin Lorentzen.
(…) The new project consists of an expansion of the beach, a new layout of the path system moving along the meadow, and a concrete edge between the beach and the meadow.
(…) These and other concerns are not new and have been present for many years, continuing to grow in the voices and perspectives that have been brought to the public’s eye by landscape architects, artists, architects, geographers, sociologists, anthropologists or philosophers. [read more]
by Ilkka Halso
Scaffoldings are covering objects of nature instead of houses and man-made objects. Trees, boulders, rock faces and fields are under repair.
by Lori Nix and Kathleen Gerber
Long ago man entered the landscape and forced nature to his will. Once grand, and emblematic of strength and prosperity, they now appear abused and in decay, and it is uncertain how they will continue to (de)evolve.
by Regan Rosburg
How does one have a funeral for habitat loss, let alone the death of our most treasured ideals and ethics? When we cannot mourn something (via ceremony, symbol, or symbolic act) we enter a state of melancholia. When that loss is related to the Earth, it is considered environmental melancholia.
Suggestion: Looking back to Christian Frei’s Space Tourists documentary, which not only celebrates its 10 years since its release, but
by 100Landschaftsarchitektur [Thilo Folkerts]
(…) any garden is about struggle, it is a fight about creating and achieving a certain order and then maintaining it – quite often at odds against nature.
The 2 hectare wilderness became home to a temporary wooden maze structure, with a permanent stone labyrinth, built with the community, at its centre.
by Monika Gora [GORA art&landscape ab]
By walking in the area, I transform the landscape into a physical experience. I make myself familiar with it, touch it and let it touch me. I turn myself into the touchstone. I find places near the beaten tack, to rest and experience myself in the landscape that surrounds me.
by Xavi Bou
Ornitographies is a balance between art and science; a nature-based dissemination project and a visual poetry exercise but above all, an invitation to perceive the world with the same curious and innocent look of the child we once were.
by Kathleen Vance
These works bring nature back into ones every day life and the hurried pace of each person’s travels can be slowed to a moment of respite for contemplation and reflection.