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https://landezine.com/low-res-landscape/

During the design, the architect offered his vision of how I would start the day, sit on a chair, and admire the view through the window—how the family would feel deeply connected with almost no doors. I was being sold an image of my future self.

None of it worked for me. It was too fixed, too prescriptive. If I were to eventually inhabit this pre-constructed stage, I imagined a deep discomfort—almost perversity—as if I were watching myself play the role scripted by the architect, dutifully pleased at having fulfilled the identity imposed upon me. The idea of becoming the figure from the render, actively participating in this preordained mode of dwelling, felt suffocating to the core.

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In Focus: Pilvi Takala | Frieze

"in Wallflower (2006), which she filmed in a traditional Finnish dancing club. Though the clubs are mostly popular with elderly couples, Takala arrived, unaccompanied, in a rippling floor-length ballroom gown. She sits alone all night until, finally, an old man asks her to dance, and leads her gracefully across the otherwise empty dance floor."

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Testing the Miyawaki Method in Our Urban Greenspaces – Natural England

Initially, the total cost to plant a plot using the Miyawaki method was higher compared to the comparison plots. This is because it’s a more resource heavy process, requiring around three times the number of trees to be planted. However, our findings so far show a significantly greater survival rate in the Miyawaki plots (an average of 79%) compared to the comparison plots (47%). This was achieved during a drought in summer 2022.

The average median cost of the Miyawaki method was £10 per survived tree, against £50 for standard practice planting methods. This is because a much higher proportion of the planted trees in the Miyawaki plots survived, compared to the control plots. Results have also shown much less cost variability per surviving tree in the Miyawaki plots, suggesting it’s easier to predict how much it will cost to get a number of trees surviving for the first three years using the Miyawaki method than typical techniques.

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Phytoremediation can only work at sites that are well suited for plant growth. This means that the concentration of pollutants cannot be toxic to the plants, and the pollution cannot be so deep in the soils or groundwater that plant roots cannot reach it. As a result, phytoremediation may be a good strategy for sites conducive to plant growth with shallow contamination, it may be a good secondary or tertiary phase in a treatment train for highly polluted sites, or it may not be a viable option for a site

https://clu-in.org/PRODUCTS/intern/Phytotce.htm

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Sylvan Art

Despite Olmsted's status as founding father of landscape architecture, he always had misgivings about the name. 'I am all the time bothered with the miserable nomenclature of L.A., he wrote to his partner Vaux in 1865, 'Landscape is not a good word, Architecture is not; the combination is not-Gardening is worse... The art is not gardening nor is it architecture. What I am doing here in California especially, is neither. It is sylvan art, fine art in distinction from Horticulture, Agriculture, or sylvan useful art... If you are bound to establish this new art, you don't want an old name for it.

Landscape architecture: a very short introduction.

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Robert Morris Untitled Earthwork (1979) – A Spiral Cage

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Geoffrey Jellicoe urban landscape design for Motopia housing – Landscape Architects LAA

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Artist Agnes Denes: ‘When I first started talking about ecological concepts, they were laughing at me’

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Strategies Against Sameness #2 — Landscape Architecture Platform | Landezine

"Political regimes, religions, other social structures, and economic systems, referred to by philosopher Jacques Lacan as the ‘Big Other’, have all been generating or instrumentalising utopias"

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Strategies Against Sameness #2 — Landscape Architecture Platform | Landezine

What's a Heterotopia?

"Heterotopias are “counter-spaces” that contrast with everyday spaces like homes, schools, workplaces, and streets. While common spaces conform to established norms, heterotopias disrupt and question these norms, introducing difference and complexity into our spatial experience. Foucault writes about heterotopia as spaces “that have the curious property of being in relation with all the other sites, but in such a way as to suspect, neutralise, or invert the set of relations that they happen to designate, mirror, or reflect.” These spaces take many forms, from cemeteries and museums to gardens, prisons, theatres, and asylums. Their diversity defies easy categorisation, highlighting their dynamic nature."

With relation to gardens they are spaces that are non-usual and cause you too recognise the concept of space. It's the architectural version of breaking the fourth wall

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Gas Works Park (Seattle) - HistoryLink.org

In October 1962, landscape architect Richard Haag (1923-2018), from Richard Haag Associates, Inc., submitted one of a handful of proposals for Lake Union Park. Haag's masterplan differed from others in that he planned to save and use the relics onsite rather than haul them to the landfill.

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Mary Miss’s 1977–1978 Perimeters/Pavilions/Decoys – SOCKS

"Toward the center of the field there is a slight mound, a swelling in the earth, which is the only warning given for the presence of the work. Closer to it, the large square face of the pit can be seen, as can the ends of the ladder that is needed to descend into the excavation. The work itself is thus entirely below grade: half atrium, half tunnel, the boundary between outside and in, a delicate structure of wooden posts and beams. The work, Perimeters, Pavilions, Decoys, 1978, by Mary Miss, is of course a sculpture or, more precisely, an earthwork." Rosalind Krauss, sculpture in the expanded field.

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On Trees and Beasts, or How Ideas of Nature Shape Our Spaces — Landscape Architecture Platform | Landezine

Nature is not really the stuff outside; it is in our heads, and our ideas of nature change over time. If we want to change our environmental future, we will have to change our minds first, and we could start by rethinking human exceptionalism.

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Palimpsestous Landscapes: Post-Industrial Parks — Landscape Architecture Platform | Landezine

Michael Friedrich writes that “landscape architects have created popular public spaces by layering the pastoral (wildflowers, water features) onto the post-industrial (steel, concrete), evoking nostalgia for a lost urban wilderness”. And he is right – we are all aware of the eye-candy derelict spaces offer and the popularity they can grow. We could add that what appeals the most in the post-industrial park is the sense of decay-over-progress and entropy revealed – they infuse the eeriness of the civilization burial site, where we can contemplate, play and explore.

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Global Change Biology | Environmental Change Journal | Wiley Online Library

https://onlinelibrary.wiley.com/doi/abs/10.1111/gcb.13401

Contrary to predictions, urban ponds supported similar numbers of invertebrate species and families compared to nonurban ponds. Similar gamma diversity was found between the two groups at both family and species taxonomic levels. The biological communities of urban ponds were markedly different to those of nonurban ponds, and the variability in urban pond community composition was greater than that in nonurban ponds, contrary to previous work showing homogenization of communities in urban areas.