Lecture: Thorbjörn Andersson - 10 Notions on Landscape Architecture

I thought of trying to tell you as somehow a story today which I hope you will find some some pieces in and while you were commenting on on the the public space right that whoa I always wanted to do public space because I grew up in the 70s which was a very political decayed in in Scandinavia and there we were kind of taught that your purpose in life is to try to make the world a little bit better than it is now even if it's just a tiny little bit and I found that public space the public realm parks and plazas and squares and and the streets is where we live our common life is where we meet each other and where we we we spend time each other if it's a good quality of those spaces which should certainly have hearing in Ljubljana expect that for most of the people here are tourists it looks like but that's another issue so that was something that I brought with me so I thought that landscape architect that would be a good profession and mmm I came to the to the school and I thought that this this is pretty easy you know that how it's a if my teachers just could tell me a few things that I would as guidelines then I'll stick to those and I'll be okay so don't take maximum one semester and then I'm I'm out there I thought so I told my teachers that if you could just give me ten of your best advice of how to design public space I would be satisfied by that and then they said well maybe not you know maybe this is more complicated than that maybe it needs some more reflection and I was very frustrated by this and then after the years in school I realized how right there were that it's it's not something that you can recommend you can't like this button that I found which says that most things look better when you put them in a circle that was the kind of guidelines that I was looking for and I realized later on that it's not really possible to do it like that it takes some more imagination take some more depth in-depth understanding and then when I started to work in practice and also teaching I got the same question back to myself as I won't put to my teachers that why don't you just tell tell the secrets you know and then were through you know then we could do whatever you you think it's a good recommendations so it kind of haunted me this idea about that why can't why isn't it possible just to pinpoint a few things that I learned about landscape architecture and I still think it's very difficult to do that or impossible probably but so I took the the challenge of trying to put words to ten different recommendations or notions about landscape architecture at least as I have learned them and if any of you would do the same you would probably would have coming up with ten different ones so that's the name of the game but I tried to do that and I would try to accept if I them with some project images as well so here we go the first notion that I thought of mentioning to you I have called big idea it's always good to have a main idea that will conduct your design and to keep that big idea in your mind and secondary ideas they should sub ordinate themselves to the big idea they should be there but they should be on another level they sue they should support the main idea and they should make the big idea stronger so if you have very many ideas and abundance of ideas it tends to blur the concept and to weaken the overall design so I have a couple of images to show you that this is the textile and fashion a CAD me in Sweden in a town called burrows and that the big idea here is to make a carpet of stone it borrows its pattern from textile techniques and to have that form the entrance to the school itself so the photographer stands on the second floor above the entrance so this marks the entrance of the floor and in the same time it gives you a idea of the identity of the space and of the school so that's the big idea so so to speak is it possible that I could have that light that I have just a few minutes ago down here okay nevermind then secondary ideas appear as these benches for instance where the students put out their samples of the work that they're doing is this okay they come up too bad is it okay still so they use this carpet the stone carpet almost like a catwalk and they use it to display their their their textile their their fashion work that they do at this goal and those benches sometimes work like podiums for that so that's that's a secondary idea but it's it's still the idea of the carpet which is the big idea oh we're getting it sound stone alumi al here okay the second project I thought of showing you about this big idea is at the learned Institute of Technology in southern Sweden so it's a campus park and at that campus park which today has not so much interest in the outdoors they wanted the client wanted something that would attract students and teachers and researchers and people working at the school and the only thing that they had oh it's getting better this is not now I can see what I'm saying or hear what I'm saying at least so what what is they're at the campus our two ponds and the ponds are basically old quarries for clay so they're very it spits as two holes with two lakes in it the water in it so it makes two lakes but since it was once a quarry the edges are very steep so it's not really accessible you can see it from above but you can't get down there so the big idea was here to try to make the edges of one of the ponds accessible for sitting down and the Sun walking up and down the staircases being here maybe even in the night time as we can see here and the social life in short to make it attractive enough for the people working and studying at the school to find an assembly point to put a meeting point a place of a public interest and we tried to make it's different on the Easter side which is quite steep like this and here you walk along staircases and you get all the way down to the water and on the other side which is the sunny side which is you can see in the background we didn't go all the way down to the water but you rather sit on the upper level which makes it also accessible for for people who have a function variation and it's more of a place to sit and to stay and to socialize where is the the site that we can see close up is more for for prominence and more for running up and down so to speak okay so that was the first notion the second notion I call listen to the site and this has to a great extent to do with the genius loci which you have probably heard about the spirit of the place that the even the garden architects in the 18th century in Great Britain they talked about the genius of the place to be able to see what lives here now what are the spirits here what are the meaning the site how can I develop that how can I get to know it so listening to the site means that the existing site that you're given as a landscape architect most of the time gives you valuable input that you can use in your design and that information is not always so easy to find it can be embedded it can be hidden it can be abstract it can be ambiguous in many ways and to interpret the site to be able to do that you need some understanding of the landscape it's required from you as a designer for me to get to learn the site to know the site and some of those qualities that are inherent to the site can include also ephemeral notion such as a memory or something about history or something about climates something about former use so one of the projects that I wanted to show you about that this one of this is probably my if you do if you may say my breakthrough project which is a part called the Danya Park in southern Sweden mullmer and it's located on landfill on contaminated mud there used to be a car factory here and it's by the water and the water is this trait that separates Denmark from Sweden so you can see Denmark from here it's in the horizon and there are some values here that are really makes the trick you know that's the designer on such a site the designer doesn't have to do very much if he is just smart enough to use what is already there and what is already there is the sky of course the horizon weather changes light changes and all those things that happens by the coast and we this was a competition and this we tried to make evident in the competition it was even such us that we built a palace all around the park to hide the contact with water but then again you could kind of see here that along this sloping path and at the endpoint their light comes in so already here we see that there's something on the other side and also the sky indicates but we don't see what it is it's hidden away but we can see those people sitting up there watching something and we realize when we get there we will see something different than what would do today and this is an old technique that the Japanese masters were really good at that they called hide and reveal so you hide away something to reveal it at the next step so that's a an old old trick that landscape architects have used in in all times and when you get there this is what you see so it's it's there for free you know it's a it's the genius of the sites it's in the water and the sky and the horizon and we try to give that a sonography to make it even more like a drama so you could go out on that little springboard like thing and be in the middle of the sky between the sky in the water and have a quite intense feeling of a being by the water and this is a picture probably taken in I don't know September October maybe and just a couple of weeks after it might look like this so as you all know by a coastal landscape things happens right with the wind and whither with a season needless to say and on the former image the the Straits was like as a silver mirror very flat and very calm and just a couple of weeks afterwards you have to you know to really concentrate yourself not to be thrown into into the ocean and this is also of course something which makes it worthwhile to go here maybe you don't bring your your your your picnic basket but it's it's a quite strong sensation to be at the coastal place when the the storm and the water is this violent so it tells us something about the powers of nature okay so the next project I wanted to show you that has to do with the listening to the site the genius loci it's Memorial Grove it's in boroughs in Sweden actually the same city as the textile and fashion University and this was a special commission because in Sweden more and more now the deceased the bodies are cremated and they're put anonymously under a turf and the morning people they come here and they try to remember and try to feel support in the in the in the landscape itself but you don't go to a particular stone or something like that and when we came here what you see the white stuff is the plains it's snow on them as it is when this picture was was taken and the Memorial Grove was supposed to be on a ridge with pine trees which is what you see here and we figured that this is quite hard to design at the drawing board or in the computer so we decided to do to reverse the process to go to the site and try to find places where the Memorial Grove should be and then we had a guy with one of those the digital no stakes and we got the data from him we would put put the places out with sticks in the ground and he would measure where the sticks happen to be and then we took it back to the drawing and designed it from there so we instead of beginning with the drawing we did the opposite and the idea here was because the train is so steep is that we would have cupboards drawers we could say like in a in a cupboard that you push out and then you get a terrace and that Terrace would be the place for morning it would also be the place for a bench and to put flowers and things like that what you do when you're at the cemetery so this is the basic idea and we also decided that instead of just having one place we would have five because sometimes it's really distracting if you're not alone or at least with just a few people sometimes it just gets too crowded and it disturbs your your-your-your morning work in short so this is what they all look like but they look a little bit different though so you can see the drawer that you pull out there's a sculpture there by an artist that participated there's a flower grill in the background and a bench and there's also a stone wall with with with stone tables you could say where the little plaque with the name of the grandmother or whatever it is is put so that's what it is in in short and this is the way we worked it with the stakes that were put on on the site so that we could carefully avoid taking down the pine trees that we liked the most and we could direct it towards the view this is also trying to learn the place and then the guy was a digital instrument he would give the data to us and we could design it down there on the drawing table and this is what it came about that's it is now this is a quite new project so it's just the first one that is being built and when that is full with those name plaques we could build a second or third and fourth and the fifth and it creates a view to what is beneath so to say and also the sculptor Paul sense and EDA we call it a licorice boat it's a it's a sculpture that just like a boat and the boat has several symbolic meanings as you all know about traveling to the other side of them but still it's a sort of a yuca mennick simple it's not tied to a certain religion or so and that the surface on the top of the boat was polished so it's almost looks like it's filled with water and you can also see there the stone wall and backward all the name plaques are okay so third notion and I called large-scale and that goes to say that the first conceptual sketches that you do if you do them by hand you know if you do them by digit all the first sketches it's not that easy but if you do them by hand they they gain from being in large-scale you know if you have a really big white paper in a scale one to two hundred or one two hundred almost it almost it's like a horror Bach way it's almost frightens you how much you have to design on this place really so it's much better starting out with a with a very small paper and ideas appear easier in large scale you also you scan away all the details that comes afterwards in the design phase so smaller scales are for for design work and design should come in the second phase and design should support the idea so you should always to my mind begin with the idea and then the design comes afterwards so large scales help avoid slipping into design when you actually should be working with ideas if you begin with with design work it's often you run into trouble you lose yourself in all the details so for instance this park which is called well it changed names called the sand Grande Park it's in the city of Karlstad in Sweden is done on a paper which is the size of a postcard probably which this gives the sketches and you could already hear kind of maybe see that it's about a peninsula that juts out in a river so it's surrounded by water on all sides so it's absolutely magnificent site it's hard to fail on a site like this and as it is it's a sand deposit that came about from the river coming from the north from from the upper side from the Norwegian border and leaving the sand little by little over many years and building up this pointed peninsula jutting out in the river so it was since it's sand deposit it was quite flat and had no vegetation almost it's almost like a desert in in northern Sweden so it didn't really have any recreational values so what we tried to do was to build up for it came out to be five actually ridges and those are the ones that you can see in the middle and the ridges are more than 100 meters long and they're higher towards their wider end so they're four or five meters high in that right-hand end and they're lower when they begin and this makes that you can't really see it's again this hydrant revealed thing you can't really see the end of the peninsula so when you walk to the north to the to the to the edge it develops and reveals itself the further you go you can only see to the sides because there's valleys in between but then of course you can walk up on the top of the of the ridge and have a better view so that's the basic idea we could say and as it happens so this was you know it's a digital interpretation that we tried to do so what also happens is that you have valleys and you have ridges and the valleys or each other Valley is a habitat of plants so there's a magnolia Valley there's a fern Valley and each other are an activity value so they contain just open space where you can have a little concert you could go with your your sled in the wintertime or you could just sit down and have a picnic or something like that maybe so this would be the fern Valley for instance for instance where you could feel the volume of the two ridges on both sides and you could walk in the valley and you can also walk on the M up to the tops of the crests and then you could walk all the way out to very tip and if you walk on the th at the water's edge you will also find these son decks and seating and places to sit by and to even to swim in the industry if you if you feel like that it's a the water is quite cold here but it happens so large-scale also is relevant to the next project which is a campus park in lumion which is really far north in sweden and we had a brook there little little river to work with and that river was dammed on the downside to the the to the left so we got a pond and this was already there when we came but apart from that there were no qualities really and there were grass slopes coming down to the river but there were no places to walk on no path pathways or no places to sit by on so we tried to a little bit like in loon the former one that you saw we were trying to establish a series of promenade promenade sand wooden decks in all kinds of directions and also connecting to the Students Union which is on on top and to the restaurant that is on the bottom so it's an important important link there that goes right across that little island that you can see so this was the very first sketch and when the digital the first digital drawing came out of there it looks pretty much the same but still the sketch was what God is coming into this idea so you could see the promenade walk knew coming going back and forth also sometimes going up to the ridge sometimes going down to the to the to the lake and you can see the connection between the Student Union on top and to the restaurant at the bottom so that was the project and there when it came about from inside the Students Union with the connection between the outdoors and the indoors and upon to the right and you can see that little island and the sick sack walk across the island and if we walk outside this is what it looks like and the decks work as gathering places for students and teachers and researchers and also for outdoor seminars it's not as cold as you might think actually this is probably end of September still it's quite quite nice to be outside by that Lake and also a month later when the leaves are beginning to come off the the trees it's still a good place to take prominence even if you maybe don't sit by and sit down so often okay so where are we now number four I think this is also something that the Japanese Masters in the 18th century mastered in and it's about something that we could call borrowed landscape and it means that the contained area of the project can actually be expanded don't be satisfied with what you have now try to see outside your your your project and what you can have there so that ways you can you can expand the limits of your site and you can bring in horizon views and distant features and that goes for the Danya Park in magma that we saw before of course and often to so many other projects as well so the old Japanese masters they really need to do this perfectly well and it even became a term of its own which was called shock a and shock a is also translated into borrowed landscapes so the first project that this is the only project that was not built that I'm showing you this was used to work for a semester at EPFL which is the school on the French french-speaking part in in the low Sun in Switzerland and they have a connection between the learning learning center there which was designed by sana that you might know of and the hotel where their research students and professors and visitors stay so it's and it's a quite quite boring promenade it's almost 100 meters long and so we tried to I did that together with us with architectural firm so we tried to divide the hotel into two and to open up this view towards the app so the the landscape comes into you and make this walk very much more interesting than it should be otherwise so that's also an example of this borrow landscape technique and this is another project it's called where big square it's in Stockholm in Sweden I'll come back to it later I have it a few times in these 10 oceans and the most important part of this square is the view which we see here and especially and at sunset it's really beautiful and it's really a place that attracts people so we made everything to try to give the focus to the distant view instead of the plaza itself okay number five I think it is I called an easy touch and it's especially if you if you get a site which has a beautiful intrinsic value itself maybe nature maybe landscape it's important to be careful not to take away those things that are already there so it's often beneficial I would say to avoid too heavy-handed moves in such a situation because then you will destroy for yourself you would make a trap for yourself and push away the qualities that are already there and I have one project exemplifying the and this is actually where Alfred Nobel with a Nobel Prize and he used to have his dynamite Factory you know he got his wealth from producing dynamite which is a little bit questionable but that's what he did and it sits at a bay which is called the winter bay his factory building where he had this and that Bay has a very strong presence of water and it's also along a valley and the valley has is quite steep and it has interesting vegetation on the sides so we tried to do as little as we could so we actually took away some trees and then the walk through the valley when it approaches the water we put in those really simple steps to indicate that this is a meadow or this is a place where where you could or you could be you could play around you can sit on the steps the Park Theatre arrives in the summertime and they put their benches here so it's an activity place in many ways and in the wintertime people don't play around here that much but still this quite simple addition which is quite minimal gives you a graphic experience of what the landscape can be when there's a little bit of snow cover on it okay so the next one I call generous sizes this is somehow a difficult one but you know when you talk to architects they often tell you that they talk about this Leonardo da Vinci person oh that sits in a circle on a square that Vitruvius derives from the TrueView somehow that the body is the measurement of everything you know you sit on a level of 45 centimeters above ground this is probably 120 or something like that so everything indoors relates to the body in the landscape it's different because every it's not about what you what you are but it's about what you see what you see with your eyes everything when you go outside has to be much much bigger so that is a good lesson I think and then I have a few projects showing you that and this is a panorama terrace which is in Stockholm in a suburb of Stockholm and it's a suburb that has housing and it relates to a recreational field but the there's a difference in level between the two and we our task was to try to make a way to arrive down on the green field from the upper level and the easiest way would be to do an Austrian ALP Road you know going in serpentine like that but we tried to make something a bit more interesting so we said that you you come from the from the from the left and you arrive to the terrace and there's a view there and then you take a sharp right and then you go down a sloping path and if you if you are not if you're not disabled or anything or you are in a hurry you can go on the other side where there's a staircase so that was the basic idea and then we did a model of this and we thought that actually I was skiing in the Alps and I saw a lift house which had this kind something like that it had this wooden cladding with planks that were joined in a Sept in a certain way so it created dark holes in between it and we thought that if we could copy that or make something similar it came out a little bit different and then inside this Terrace where it was just a void it's just empty we could have a very big light reflector then it would happen that in the evening the dark becomes light and the light that we see here becomes dark you see so it's reversed so that would be an interesting way of seeing this we thought also this explains a little bit about the the need for such a contact with the field because you can see the freeway coming on the top it actually used to separate the housing from the field so what we began with doing was putting that that highway in a tunnel and that was not my project that was somebody that did that before and that was the really good move because I could tell them the client that okay so this is not inexpensive what I'm doing here but it's just 1% of what it cost you to build that hold-down tunnel infrastructure is really expensive so this is what happened they built the tunnel um and with housing on top and the terrace is also on top and then you walk through the the pathway to the right and you come down to there to the field and we tried to play with materials so that the the sloping path is quite narrow and long but it's heavy and material and the terrace is quite condensed and it's lighting material and those two are put against each other so it's great contrast in materials and what the kind of experience that you get there also and when you arrive there in the evening this is the way it looks or the light comes out and there the planks get dark instead of as it used to be in the data okay so talking about light especially if you go north dusk is very important as an hour of the day when lots of things happening it's a rich part of the day shadows become much longer and you could spend a couple of hours here or just one hour and you can see a variety of experiences from from the natural lights so that's a very beneficial time to be in the park and we have tried to work with this many times and also to work with the natural light of course but also with artificial light with the light designers that are different values to the project and one of the projects that I wanted to show you is in the southern city in Sweden of course Crona where they used to be a key and we made a little place there which is a wooden deck with a sculpture by a participating artist and it fates faces north so it's a it's a good direction because you get the the last rays of the Sun in from the West and it mirrors mirrors in the in the surface of the the water and we try to add some artificial light to this natural light sensation as the facade lightening of the tower on the other side of the bay here but also this platform that juts out from the the wooden deck itself that we tried to make into a interesting place by having illumination from the inside that leaks out so that was also one way of doing that and also I wanted to show you this project which we talked about before which is this where big square where the view is the most important thing and also we have a hidden illumination inside this wooden wall to give it some character and give it some attraction and there's a very long 40 meter long bench there as you can see where you could sit and watch the spectacle when the Sun Goes Down this is another project called Hulya square which is in malmö in the south this was a place that lack the genius you could say there was not much to do there with the existing qualities it was just a clay field very windy so we tried to add some qualities and one of them was this water trough which is probably 12 meters long it's almost the length of this room and it has water in it and this image comes out almost as little abstract because it's like a glass of champagne we're just pour and pour so the water goes over the edge of this water trough and creates these light earning effects also this reflecting images from all the little lights that you can see in the sky so we we try to make something like a digital sky actually so there's three thousand LED diodes attached to those strings that goes goes up on top of the masts there okay number I don't know where we are seven or eight maybe eight that's okay and I call levels levels are many times seen as problems for a landscape designer and we try to even them out somehow so that they are not being an obstacle for us but I would say that levels can be used to dramatize design to make design more interesting and if you lack gradients levels you can actually manufacture them so this was a project that we did in bar so in Switzerland for the pharmaceutical industry Novartis and they wanted what they call a physic garden which is basically a pharmaceutical garden and I don't know if you've been to to Novartis it's a it's a quite special place it's a campus it's a research campus and they have probably the biggest collection of architecture and architects that you can find in the world and each architect gets a square which is 60 by 40 meters so there's Frank Gehry and tada Rondo and dinner and dinner and David Chipperfield and REM koolhaas and the Hertz are gonna Marin and all those architects have designed each one building but since I can't design buildings I was to design a garden and we thought about making a garden that represents what they do there they do drugs it's a pharmaceutical company and we wanted to show that the plant the single plant is something precious so we made a basin with a change in level which is 50 centimeters around there and that makes you see the plants from above so it's a little bit like a carpet or a beautiful painting or something like that that changes over time and you can walk around it and you could read at the edges that little zigzag thing are actually bars with the names of the plants on them there are bronze bars and if you're daring you could use those bridges that goes over the basin and come closer to the to the plants and there's a lot of more things to say about this project but I there that's another story so I I just wanted to use it to show you the idea with creating a change in level on a place that was absolutely flat so this is a detail where you can see the name Boris it's crocus Verna's the last one down there and the change in level that goes right at the edge where the green becomes gray and this was quite an interesting project where they actually they were really careful about things so - and they had a group of people that I had to explain what we're doing all the time and they would say no no no we can't do that and you would you should do this instead and we would they and I would have to try to explain everything to them but I had so little time I was there every three weeks and I had about 15 20 minutes to talk to them so I decided to let's build this garden as a mock-up so we built a third of the garden just with with sticks and under and cloth to begin with to get the the group the directive group to understand the scale of things which was pretty interesting actually okay so number eight maybe we are it's something that I called mine the edges if you go to urban space a plus or a square the edges is where people want to be urban life is to a great extent about see and be seen to people watching so the designers precautions along the edges prepare for such situations where you can sit at the perimeter and watch what happens in the middle of the square so the square that we visited once before where the extort in Stockholm with a view many of these notions they are you know they're reflecting in each other and reflected in several projects and this is that project with the pier you can see with the long bench and you can also see that the whole plaza basically is a why like that or a victory sign and the two edges are boards plank boards the lower one of course goes out in that pier the upper one forms some terraces as you can see and the middle of the plaza has two lawns grassy lawns but except that it's more or less kept open and that means that the edges are social places where you can sit and where you can watch what happens in the middle of the square so this is the pier seen from the other side and you see the square in there and the long bench on a sunny day I saw here in Ljubljana that the plecnik design bench is really long it's unusually long it's 5 or 6 meters something like that and I have noticed that the benches that we use all over Europe most of the time there are 2 meters and that means that if somebody sits there you don't really like to sit there yourself if you don't know that person that means that it takes one person per bench so we try always to design really long benches because that opens up for other possibilities you can sit in in small groups side by side like we saw this image the the group of four to the left don't know the group of two very well and that way it continues so it's socially a better idea we tried also to make these edges interesting in various ways as with the laburnum shrubs for instance that gives this a certain kind of quality in June when they flower in Sweden and also again the view is the important thing here so the whole Plus actually slopes 3% to gives you a direction an indicates where where is the main attraction of the square which is out towards the water ok so that was number 9 you're still awake this is going to be on the test afterwards you can't leave the building you need you need to repeat at least six out of ten okay so the last one is quite accurate in today's discussion I think because we talk a lot about sustainability but we don't really define it really well so I think it's a challenge for us as landscape designer but also other groups a professional group so what does it really mean to be sustainable how do we really give value to the world to the word sustainable you know if even courier services like DHL that flies little envelopes all over the world all the time say that they have green transports you know do we believe in that you know how do we relate to those kinds of things and one definition of not really definition but one way of see sustainability is probably reused to reuse things that we have used for a different purpose earlier and there's one project that I wanted to there's actually two in total that I wanted to show you in the first one is an industrial heritage landscape in norrköping which is in central Sweden and Northshore being used to be industrial area starting up already in the 17th century so for several hundred years it has been an industrial area for for for garments purposes and water production a paper production and all kinds of things and on one place there there is a long tube a steel tube that lies on a shelf and it used to be used as a container for oil it's about three and a half meters high actually and my client wanted to take it away because it didn't have any use and nobody could come up with something to use it for so we said that why don't we cut cut it open and you can walk inside it it's like a dinosaur so you walk inside the belly of the dinosaur and the opening cuts tase's to a waterfall there's a quite quite great waterfall there which you can't really see from any other place because it's tight spaces there and that would mean that this historical piece would be reused and have another use and also another meaning so that's the way that we figured it and this is the area the industrial area as such and actually the the tube you can't really see it here but it's right here and there's a river coming from the upper side it actually has a waterfall that you maybe see this sliver of white here is the waterfall coming down travels by and today this area is there's a museum there's a campus University campus there's a pop-up industries there's restaurants and it's they're also building housing so it's located very centrally in this city and the environment lets you think about what to do with it or to introduce new things and to make give this this place a new meaning so it's really reusing something that has been a closed world for 300 years because it has been this factory activity here so our idea was as I said to cut that open that tube and you can see the waterfall to the to the to the right there and this is the way it came about in real life so again we worked with the Lightning designer he put a little little faint light on the waterfall to make it become a little bit more icy and it's feeling but not like a Niagara you know with blue and green and ready yellow but quite subtle and then you could walk inside that tube and it's also furnished with seating and you can see that there's a floor of a great metal that you walk on so you still feel the form of the tube so it's it's a quite strong place to be at but it it doesn't have a use anymore but it it gives the the whole area a value that's a pretty place for two people for people to and to this it than to and to go okay so the last project it's another memorial growth and this is about reuse because the church the church as you can see on the upper right hand side sits on an upper level and the cemetery is also there and then what you see in the middle of the image is actually a ravine more or less that used to be there but didn't have use at all it was used to dump old garden rubbish you know twigs and trees and things and this was also a competition and we decided to try to make them make this into a memorial grove with the water a little pond artificial pond in the middle and with terraces outside that pond as you can see where the different asses are put so you have a faint idea of where your grandmother is lying maybe and in the competition was also a new building which is the Red Square there which was a congregant space for a building for them the choir singers practicing and youth activity for the congregation here so it's the reuse of a place which people didn't really notice before because it was just a ravine that nobody cared about so it came about to be this way you can see it from the upper side with the water surface and the terraces and we surrounded it with a with a wall so it's almost the opposite to the other cemetery the other memorial growth that I showed you which sits high with the views to the outside landscape and it sits low so it gives you a certain kind of enclosure which is also good for for the calmness and there you're not getting disturbed by the outer world so to speak and also in the in the evening we try to work with the artificial light and the natural light in a way that would enhance your experience so those are the ten actually and if I would ask you to each make your ten they would probably turn out very differently but I hope that these notions that I listed here has given you some maybe ideas maybe pleasure maybe interest that you can use students in your former career and for the professionals experience that we have here maybe two or three of these you recognize for from your your own activity so thank you again for having me here and thank you for listening thank you [Music] [Music] you [Music]

Channel: Landezine

Views: 8,004

Rating: 5 out of 5

Keywords: Landezine, Lecture, landscape architecture, Thorbjoern Andersson, landscape architect, Sweden, Stockholm

Id: hxvVlYX5StM

Length: 52min 54sec (3174 seconds)

Published: Tue Nov 05 2019