by Ryan Dewey
Fragments of a working process on the geological scale of the landscape, and of how human interference in the landscape, or the objects we leave behind as landmarks and memories of our existence, may again be swallowed up by long geological processes and forces.
Thus, the simulation through body and hands of the confrontation with these immeasurable geological forces also invites us to imagine and speculate about possible landscape scenarios while waiting for a next ice age: produced landscape patterns from the fragments of the history of civilization; or from the memories we usually transfer to the stone in the hope of becoming permanent and eternal.
by Karolin Schwab
Works such as “Cloud Catcher” compel us to consider our scale against the landscape, its natural processes and atmospheric phenomena. Not only the body’s relationship to the gigantic surroundings, but also the way the body moves and reacts through that specific landscape: the trail, the muscular effort, the body balance, the breathing, the sweat, and other bodily reactions along a 40 minutes path. In this sense, the project also catches public attention and acts as a source of motivation by engaging people on climbing and its pursuing.
by Planergruppe Oberhausen and B.A.S. Kopperschmidt & Moczalla
The “Landscape Therapeutic Park” project balances the landscape design approach with a set of installations that cover a broad spectrum of atmospheres and human reactions. By being placed carefully over the space, these installations break the landscape into smaller moments, as a narrative that amplifies the specificity of each one of these places.
by Hans Op de Beeck
“The Quiet View” installation explores a different way of experiencing the landscape: the manipulation and the interplay of scales and perspectives converge to create an imagined place.
Although with unsettling neutrality, this forms an environment from where we can dive into ourselves.
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 Ellie Davies
In “Another Green World” we are challenged to experience the unpredictability and excitement of new discoveries by creating new and imagined possibilities and encounters in the landscape.
by Hidemi Nishida
Sometimes, it’s the stranger things, found by chance (or not), that provide us another way of looking to what is already there… or to what has always been there. These are small gestures that can lead us to regain awareness of our place in the world.
by Ellie Davies
This work bring us a reflection about the idea of “nature” and “natural”. These are concepts that deeply influence how we look at the landscape, also justifying many decisions in landscape design. However, these concepts are produced from a large constellation of human and non-human processes. They are a product of culture.
by Ilkka Halso
“Restoration” questions the idea that the damage humans are producing in the landscape can be continually repairable from the technology we have achieved. In this way, the future of the relationship between extraction and progress, or between destruction and recovery, are questioned in the face of a scenario where recovery may be irreversible.
by Regan Rosburg
“Omega” provide us a symbolic and synthesized view on our plastic footprint produced and consumed over just a few minutes, forcing us to confront with a landscape where animal and vegetable species also live trapped in plastic.
by 100Landschaftsarchitektur [Thilo Folkerts]
“Cultiver la Mémoire” presents the garden as a process of engagement and memory related to the World Wars, but whose marks in the social fabric as well as in the landscape unquestionably call for the need for wider collective commitment.
“The Reason I Jump” explores the invisibilities and complexities of the human mind in the relationships between people with autism and the natural environment. In this way, the North Kelvin Meadow and Children’s Wood, in Glasgow, along with a scenographic installation serve as the backdrop for a theater production made from interpretations of a group of artists with autism.
by Monika Gora [GORA art&landscape ab]
“Touchstones” has crafted subtle transformations in the landscape, proposing different experiences between the body and the materiality of the surrounding elements.
by Kathleen Vance
“Traveling Landscapes” redefines land property, water rights, landscape contemplation and landscape reflection by sampling and miniaturizing the landscape in travel suitcases.