Notes
206 Notes to Pages x – x i Notes preface 1 Charles Waldheim, who coined the phrase “landscape urbanism,” founded a concentration of landscape urbanism (now defunct) within the school of architecture at the University of Illinois, Chicago. He is now chair of landscape architecture at Harvard Graduate School of Design. Mohsen Mostafavi, now dean of Harvard Graduate School of Design, was involved in founding the postgraduate certificate in landscape urbanism at the Architectural Association and is editor, with Ciro Najle, of Landscape Urbanism: A Manual for the Machinic Landscape (London: Architectural Association , 2003); though this version of landscape urbanism is quite distinct from its North American counterpart in methodology. Though there have been further efforts to expand the theoretical and historical terrain of Landscape Urbanism (see Dean Almy, ed., Center 14: On Landscape Urbanism [Austin: Center for American Architecture and Design, 2007]), its definition in the North American context is largely affiliated with the Harvard Graduate School of Design (because of Waldheim and Mostafavi) and the University of Pennsylvania, because of James Corner’s affiliation with the term. 2 Introduction to Hargreaves et al., Landscape Alchemy: The Work of Hargreaves Associates (Pt. Reyes Station, Calif.: ORO Editions, 2009), 6. This statement is true of the firm’s public projects. Some earlier corporate plazas or residential projects, of which it has designed only a handful, were not brownfield sites. 3 This scale has been unfavorably referred to as “decorative.” As noted by Charles Waldheim when referring to the work of West 8, landscape urbanism deemphasizes “the middle scale of decorative or architectural work and [favors] instead the largescale infrastructural diagram and the small-scale material condition.” See “Landscape as Urbanism,” in Waldheim, ed., The Landscape Urbanism Reader (New York: Princeton Architectural Press, 2006), 45. 4 This characterization of the work was described by George Hargreaves in an interview with the author, and is supported by a comparative reading of two collections of the firm’s work. The first collection was edited by Steve Hanson, who was Hargreaves ’s employee at the time. See Hanson, ed., “Hargreaves: Landscape Works,” Process Architecture 128 (January 1996). The latest compilation is Landscape Alchemy, a book-length monograph containing thirty-four projects. Both publications include essays by critics offering interpretations of the firm’s work. Unearthed_FINAL.indd 206 4/12/13 11:30 AM 207 Notes to Pages 1 – 4 introduction 1 Charles Jencks, The Language of Post-Modern Architecture (New York: Rizzoli, 1977), 9. 2 Elizabeth K. Meyer, “The Post–Earth Day Conundrum: Translating Environmental Values into Landscape Design,” in Michel Conan, ed., Environmentalism in Landscape Architecture (Washington, D.C.: Dumbarton Oaks, 2000). 3 This phrase “shift in sensibility” is borrowed from David Harvey (after Andreas Huyssen), who characterizes the shift from modernism to postmodernism as a change in sensibility. David Harvey, “Postmodernism,” in The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change (Cambridge: Basil Blackwell, 1992), 39. 4 Roland Barthes, “The Death of the Author,” in Image, Music, Text (New York: Hill and Wang, 1977), 142–148, and Umberto Eco, The Open Work (Cambridge, Mass.: Harvard University Press, 1989). 5 Rosalind E. Krauss, “Sculpture in the Expanded Field,” in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge, Mass.: MIT Press, 1985). As Krauss emphasizes in the introduction to her book, “method is what criticism is”; there is no understanding of a work outside method because any interpretations are in fact only a “product of what a given method allows one to ask or even to think of asking” (5). 6 Hargreaves’s major early influences were artists such as Robert Smithson and Richard Serra. See John Beardsley, “Poet of Landscape Process,” Landscape Architecture 85:12 (December 1995): 46–51, quote on 48. For an essay that discusses Hargreaves Associates ’ work directly in relation to notions of “textuality” and “contextuality,” see Rossana Vaccarino, “I paesaggi ri-fatti = Re-made landscapes,” Lotus international 87 (1995): 82−107. 7 See Meyer, “The Post–Earth Day Conundrum.” Also see Anne Whiston Spirn, “The Poetics of City and Nature: Towards a New Aesthetic for Urban Design,” Landscape Journal 7:10 (1988): 108−126; Catherine Howett, “Systems, Signs, Sensibilities: Sources for a New Landscape Aesthetic,” Landscape Journal 6:1 (1987): 1–12; and Robert Thayer, “Visual Ecology: Revitalizing the Aesthetics of Landscape Architecture ,” Landscape 20:2 (1976): 37–43. 8 For an explication of various practitioners who attempted to bridge this divide, including Hargreaves, Michael Van Valkenburgh, and Laurie Olin, see Meyer, “The Post...
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