“Winds are advertisements of all they touch, however much or little we may be able to read them; telling their wanderings ever by their accents alone.” – John Muir
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WLA #05 is the latest edition of our quarterly landscape architecture magazine includes built and unbuilt landscapes from around the world. It is great to see a wide range of projects from USA, New Zealand, Canada, UK, Italy and Guatemala. The contributing firms include Labics, Sasaki, SWA Group, MKSK, Taylor Cullity Lethlean And Wraight + Associates, OKRA, HM White, and NIP PAYSAGE.
The striking red Peace Bridge designed by Santiago Calatrava opened to the public with a community celebration on Saturday 24 March. The bridge design was unveiled in 2009 to varied opinions and created controvesy for its color, design and cost. Now that has faded into the background as the bridge has become a reality and opened to the public with many celebrating by crossing the bridge for the first time.
Launching the #04 edition of WLA Quarterly Landscape Architecture Magazine which includes projects from OLIN, Sasaki Associates, ACT, BDP, HASSELL, LOLA, Deltavormgroep and Piet Oudolf, Design Workshop and Sharp & Diamond Landscape Architecture with Cornelia Hahn Oberlander. The projects range from small scale designs to strategic master plan for a New Seven Wonders of the World.
The Canadian Museum of Civilization, designed by Canadian architect Douglas Cardinal and inaugurated in 1989, is comprised of two pavilions, their architecture a startling embodiment of the country’s distinguishing geographical features. The public display wing replicates the dramatic effect of the glaciers; the contours of the curatorial wing symbolize the majestic Canadian Shield; and the open Plaza simulates the vast Great Plains. The layout and sheer size of the Plaza were planned in such a way as to visually incorporate the Museum buildings and the Parliament Buildings perched across the Ottawa River. However, the Plaza’s lack of appeal had left it empty of visitors for much of the year. To remedy the situation, we extended the Museum’s original conceptual metaphor, bringing to life what had long remained latent: the swaying grasses of the Prairies.