The Emscher Art Trail (Emscherkunstweg) is a permanent collection of art in public spaces: 18 works of art that are accessible to everyone at any time and free of charge. Along the Emscher, a river in the Ruhr area, Germany, one will experience the unique transformation of the river, which significantly accompanies the structural change of the Ruhr region. The 19th artwork on the Emscherkunstweg in the city of Duisburg is “Neustadt” by Julius von Bismarck in collaboration with Marta Dyachenko. The city of demolished houses is a memory machine and utopia at the same time. Since the beginning of May 2021, the installation at Landschaftspark Duisburg-Nord is open to all.
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More than two years of planning and research went into the making of “Neustadt”. Von Bismarck, who lives in Berlin, asked Dyachenko, who is an architect and artist, to collaborate with him on the project. After researching the last twenty years of the history of construction, or rather of demolition, in the Ruhr region, they selected 23 no longer existing buildings that they wanted to bring back to life in the form of sculptural models. A stretch of green in the North Duisburg Landscape Park between the Alte Emscher (an arm of the Emscher River), the Grüner Pfad (Green Path) bike path, and the A42 autobahn will now be the home of the fictional city of buildings in a scale of 1:25.
Neustadt: a cross-section of local urban architecture
“Neustadt” is about city life on the Emscher River in the entire Ruhr area. The types of buildings and intended uses were not selected according to a strict system, but rather according to aesthetic and sculptural criteria with the goal of presenting a cross-section of local urban architecture. This means that a late 19th-century historicist apartment building from the city of Essen, Germany, can be found standing next to a residential complex from a model housing development in the city of Marl from 1965. Both of these are in the same neighborhood as models of residential prefab buildings testifying to the social history of the 1970s. Another building among others: the 16-story skyscraper nicknamed the “Weiße Riese” (White Giant) in Kamo-Lintfort, has an especially turbulent history and was finally torn down after standing empty for years to create space for something new.
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Reference to ecological issues
“Neustadt” is a “memory machine” that evokes memories beyond our personal experience. It also provokes questions about the development of the urban realm, such as: Why were these buildings demolished? Who gets to decide whether a work of architecture is worth keeping? Economic aspects clearly play an increasingly larger role. Who hasn’t heard the recurring argument that it costs less to construct a new building than to renovate an old one? What most people do not know, however, is that the construction sector is responsible for generating 38% of global carbon dioxide emissions today. Ecological issues are important to von Bismarck and Dyachenko, such as: How can we make construction more sustainable and urban planning more sensible, long-term, and/or flexible?
City of a future that never happened
Von Bismarck and Dyachenko elaborately transformed the buildings into sculptural models using concrete and steel, creating finely detailed ornamental window fixtures, wall reliefs, and countless tiny window panes made of acrylic glass. Although much attention was given to particulars, the artists’ goal was not to create exact, faithful renditions, but to make the buildings recognizable. In their eyes, the original buildings are “visions in concrete” that have been brought back to life in the “city of a future that never happened.” In time, the vegetation will spread into this fictional city, creating a shift in scale as weeds and plants begin to loom large like trees, although several buildings still stand taller than us even when shrunk. The new city of “old buildings” is a place to linger and reflect on the development of our immediate surroundings.
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Permanent collection of outstanding public artworks
The Emscherkunstweg is a cooperation between Urbane Künste Ruhr (Ruhr Urban Arts), the Emschergenossenschaft (Emscher River Basin Management), and the Regionalverband Ruhr (Ruhr Regional Association) under the patronage of Isabel Pfeiffer-Poensgen, Minister of Culture and Science of the State of North-Rhine Westphalia. The trail with sculptures along the path was born out of a temporary exhibition series called “Emscherkunst” (Emscher Art) and has evolved parallel to the transformation of the Emscher River by the Emschergenossenschaft. The goal of the Emscher Art Trail project is to establish a permanent collection of outstanding public artworks.
For more information click here.
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Text Credits: Emscherkunstweg, Urbane Künste Ruhr
The Lithuanian architectural office AFTER PARTY wins the 1st prize of the Turku Linnanniemi Area International Competition with its project submission for the redesign of the area around the medieval castle of Turku, which has been preserved until today and is located in the middle of the harbour traffic. The project is to be carried out in several phases, with the first phase to be completed in 2029, the 800th anniversary of Turku, and the entire master plan to be completed in 2049.
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Turku is a city and former capital on the southwest coast of Finland at the mouth of the Aura River. Linnanniemi – a gateway of Turku, squeezed between the city and one of the most prolific archipelago‘s in the world marks the point where both conditions should meet. Situated mostly on a land that was once the sea, the area of natural setting to the medieval castle turned into a grey territory for industry and transportation. This transformation left the area not only as just a transfer point but also vulnerable to the future posed threats of climate change.
Only by reintroducing nature as part of the story for Linnanniemi it can become the link connecting to the vast archipelago. At the same time extending the city programs to complement the impressive heritage will make the area a destination for its residents and tourists joining the city and the archipelago into a united narrative for the future of Turku. AFTER PARTY collaborated on this project with traffic consultants Sitowise and Finnish architect Santtu Hyvarinen./
Three Characters of Turku
The area of the masterplan comprises three strong themes: historical background with the medieval Turku castle, the Aura riverfront of vibrant, growing city and a busy harbour welcoming many visitors throughout the year. These three themes shape the three distinct characteristic zones of the area – as if three puzzle pieces interlocking together to link the city to the hundreds of islets around.
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Castle Park
By surrounding the existing castle park with a necklace of green public spaces, the park is stretched all the way to the waterfront, extending the two green corridors of the decommissioned railway line and the new development to the North, becoming a green backbone to the area. The expanded park gives back Turku castle the promi-nence it deserves, becomes the culmination of a densely populated surrounding areas, and at the same time naturally adapts to the climate risks of the future.
In order to expand the Castle Park, the program is efficiently densified in the neighbouring areas and spread through the masterplan allocating the majority of residential at the Maritime Neighbourhood while dedicating the Western part for office, hotel and services. The castle is surrounded by the necklace of public and active commercial functions.
Maritime Neighbourhood
The Maritime Neighbourhood to the East mixes living with city programs and Forum Marinum functions extending the vibrant riverfront to a shared zone for local community and city visitors.
Harbour City
Lastly the Western tip of the masterplan is dedicated to the active Harbour City which besides ensuring the efficient and diversified city and archipelago connections, also combines variety of services, turning the area from a transfer point into a destination – a true gateway of Turku with sustainability and innovation at its core.
Public Loop
The three zones are joined together through a sequence of diverse public spaces with the most prominent anchor functions attached, creating a loop of exuberant experience throughout the area. By introducing the new water connections the existing loops of the city are linked to the scenic archipelago, making Linnaniemi the place where city meets the sea.
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Diverse Water Connections and fighting Flood Risk
The optimised vehicle traffic system allows for most of the area to be freed from cars and become pedestrian friendly public space prioritising soft mobility and public transportation. The introduction of diverse water connections throughout the masterplan creates strong links to the archipelago with the culmination at the Harbour City where Ferry terminal and Water transport hub is located.
The flood risk for the low lying area of the masterplan is tackled with two main measures: creating a barrier from the sea at the waterfront edge by elevating the whole ground floor level of the buildings or introducing a raised border.
More frequent storms caused by climate change poses another flood risk. The intensified green spaces and landscape ponds of the park helps to absorb excess rainwater. While the central Harbour City water axis acts as a continuous open gutter and water storage system.
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Text Credits: AFTER PARTY.
The largest metropolis in Southern Brazil, Porto Alegre, is located at the junction of five different rivers. This junction forms the Guaíba River, which is also referred to as Guaíba Lake by locals. An area historically loved by both city dwellers and tourists has been brought back to life by the recent redesign of the waterfront.
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In the 1940s the city was hit by a devastating flood and a wall was built around most of the waterfront, obliterating the close connection with water and nature. Locals continued to visit and spontaneously use the remaining natural areas across from the water for gathering, resting and watching the sunset.
Based on the people’s instinctive behavior over the decades, the City Government of Porto Alegre started a conversion plan in 2011 to overcome the state of stagnation and decay of the site. The project was completely financed by the Development Bank of Latin America and the internationally famous Brazilian urban planner Jaime Lerner was commissioned for it.
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Oscar Coelho, the local project coordinator, says: “The project crystallized the natural vocation of the site. And it defined a consistent and comfortable ambiance to watch the sunset, with decks extending over the water and linear ergonomic benches in front of it, floating walkways, concrete spectator stands that follow the silhouette of the park and delineate sitting areas but also negotiate the existing elevation changes.”
Diverse and dynamic
The site’s topography and grading were essential data elements and the kick-off for the creation of a variety of spaces extending along the waterfront.
The existing change in elevation between the street and the water levels is 4.7 meters. This difference facilitated a diverse and dynamic project: by generating a stepped waterfront and an upper esplanade, the site now offers a wide range of park experiences, different perspectives and river views. At 2.5 meters above water level (the official local flood stage), a sturdy platform was defined as the site’s main pathway, the backslopes were stabilized with gabions and indigenous riparian plants were sowed.
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The landscape plan and planting list were thought out considering the diversity of levels and the strong necessity of a riparian habitat. In the upper esplanade, the incorporation of 100% native trees seeks to establish a green corridor, which can contribute to connecting the local fauna population.
Art as part of everyday life
The 2.5-meter level offers cafés, vendor stands and restrooms. Housed in a series of semi-buried constructions, these commercial spaces accentuate the linear park and follow the organic forms of decks, paths and over-water walkways.
Historical buildings and artistic installations were integrated into the renovated area, making art part of everyday life. A series of sports areas and fields round off the project. Once all three planned stages are completed, the waterfront will be an uninterrupted green strip in front of the city offering a wide range of public activities and areas.
A final touch of magic to the waterfront
The lighting plan extending along the first 300 meters of the upper esplanade provides a romantic and enchanting effect: when the sun sets over the horizon, thousands of tiny lights suddenly appear on the pavement. Referred to as “star-filled floor”, this segment has fiber optic lights integrated into the concrete, which turn on automatically when natural sunlight decreases. Adding a final touch of magic to the waterfront, these lights have become a new hallmark of the site and extend the range of possibilities by allowing locals to use the area at all hours.
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Location: Porto Alegre, Brazil
Date of completion: 2018
Project size: 5.70 hectares / Length of first stage: 1.3 kilometers/ Total length: 8 kilometers.
Designers: Jaime Lerner Arquitetos Associados (Curitiba, Brazil)
Project manager and Construction consultant: Fernando Canalli
Landscape and environment consultant: Carlos Oliveira Perna
Porto Alegre City Hall’s coordination / Construction management: Oscar Coelho
Design team: Architects Kawahara, Bechara, De Rossi, Daher, Guerra, Popp, Roorda.
Client: Porto Alegre City Hall (Prefeitura Municipal de Porto Alegre)
Construction works: Consórcio Orla Mais Alegre
Lighting: Luzurbana Engenharia
Usually a hydropower plant stands for river regulation and threatened river species. At the mouth of the Hagneck River into the Lake of Biel in Switzerland, the opposite can be found: The surroundings of a new plant provide a remarkable renatured delta-landscape, where man and nature can co-exist next to each other. Responsible for the design of the area of recreation and preservation is the Raymond Vogel Landschaften AG, which was rewarded with the American Architecture Prize for its concept.
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Human in harmony with nature
The idea behind the concept is to overcome the separation between human and nature. A small alluvial forest and an accessible delta-landscape were created. The design of the terrain provides a perfect view of the Lake, the St. Peter´s Island and the vineyards on the mountain ranges. Despite the nearby hydropower plant, visitors feel like they are part of the nature and realise the connection between them and their environment. To improve nature conservation special “bait flows” attract fish to go around the plant. Beside that fish passes were developed in a nature-oriented way.
Multifunctional Structure
The new Hydropower Plant Hagneck is replacing an older plant and provides compared to the old one 40 percent more renewable energy. In addition, the flood protection and fish migration improved significantly. The dam of the structure carries a national cycle path and walking trail, whereby the adjacent delta-landscape function as a natural resting area.
The Danish modern art museum Louisiana is known as a place where architecture, art and landscape are united into one. The museum is constructed as a succession of gallery spaces that are partly closed off from the surroundings and partly open to the meticulously kept sculpture garden with its stunning views of the Øresund Strait. The act of walking through the museum becomes the vehicle through which the exhibited art objects, the architecture, the garden and the sea enter into a symbiotic relationship and through which that very particular beauty, specific to this place, reveals itself.
Therefore, nothing seems a more obvious match than the Danish-Icelandic artist Olafur Eliasson and Louisiana. For more than two decades he has been preoccupied with investigating how we sense landscape through movement, and his work is characterised by a persistent interest in the particular beauty of Nordic landscapes. This is the famous artist’s first solo exhibition at Louisiana, and the museum presents it as being both ‘radical’ and ‘site-specific’. But can ‘radical’ and ‘site-specific’ come together under the auspices of an established museum institution such as Louisiana? Or, in other words, we may ask if the happy marriage of Louisiana and Eliasson cancels out critical potential that they both hesitantly pursue.
Riverbed – A Slow Moment Between the Earth and the Luminous Sky
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The exhibition entitled Riverbed is divided into three parts: a film installation, a so-called model room that has a large table with hand-made scale models of art projects from Eliasson’s oeuvre, and the main installation covering approximately one-quarter of the entire museum: Riverbed in the south wing.
We enter the exhibition by a narrow corridor with white-painted walls and roughly cut-out wood flooring, ridding ourselves of the locomotion and visual noise of the foyer and the museum shop. Yet, we also feel surprised by the cheap wood aesthetic that forms a contrast to the high-end materials otherwise used at Louisiana. Turning a corner, a grey, stony volcanic landscape finally reveals itself. Louisiana’s south wing has been filled with volcanic pebble stones, changing the sequence of rooms into in a curving landscape. A small stream trickles through it. The water is almost milky-white as if coloured by volcanic ash and, in some places, small puddles covered by a sticky, gross-looking, soap-bubbly foam residue are formed. The dry, crunching sound of stones being ground together beneath our feet is intense, sometimes mixing together with the softer sound of the trickling water. A bright ceiling light creates an extreme, uniform luminosity; light meets the darkness of the earth, but it also clearly makes this an artificial nature, a desert-like, even dystopian space. Our movement is slowed down. We stroll through the scenery, heads bent down when we move through doorways separating the gallery spaces.
We exit the exhibition by walking into a glazed corner room and are directly presented with one of the stunning views of the water for which Louisiana is so famous. Here, we are suddenly ‘back to normal’, finding relief in the open horizon of this meticulously framed view, but, despite the clarity of the aesthetic expression of the artwork, uncertain sure whether this rite de passage has changed us, or has even changed Louisiana, for that matter.
Escaping the Tyranny of Place?
For what is site-specific about the Riverbed? And what is radical? The founder of Louisiana Knud W. Jensen repeatedly used the term Genius Loci, to describe an approach where the local landscape form was understood as the main quality of the place and the guiding principle for the museum’s architecture. Eliasson’s Riverbed certainly does form a contrast to this narrative. It is not the local landscape with which it is in dialogue. Instead, a rather alien, non-organic landscape of stone and water has been transported into the pleasant location north of Copenhagen.
The notion of ‘tyranny of place’ is an idea introduced by professor of architecture and urbanism Mari Hvattum to describe how a special way of reading the ‘spirit of a place’ can suppress other perceptions. And one wonders if Eliasson can help us see Louisiana in a different way, I.e. as a place where a certain narrative about space-specificity has becomes stifled into a form of enjoyment of art that is consumed in picturesque and place-specific, feel-good environments. Instead of retelling the renowned narrative of Louisiana’s beautiful topography, Eliasson cuts us off from the surroundings and imports a different and rough beauty. This foreign and completely non-organic landscape is grey and matte to the point where we feel that it absorbs even the sound of our voices. We are overcome by a feeling of uncanniness . This is emphasised by the fact that the water is not clear, and that the foam in the little puddles makes it look like the water is somehow polluted. We are bereft of windows, of a horizon and of fresh air. And in this lack of orientation in a seemingly endless grey desert, our bodily senses are certainly heightened and our mind is challenged.
But the view of the stony landscape is meticulously framed and despite the unfamiliar practice of being able to move freely through and around the art work, it certainly does feel very much like Louisiana. Riverbed may be seen as an alternative to the place and comfort zone which Louisiana has come to be and which is so ingrained in our expectations of what may meet us there. The work itself, however, seems to succumb to another kind of genius-loci that makes it specifically Elisasson-esque. If we are transformed, we are guided back into the museum shop where we are urged to buy one of Eliasson’s newer art projects. The question about what was radical and how it really made us see things in new ways is still unanswered.
Copenhagen
Louisiana
Museum of Modern Art
Olafur Eliasson
Riverbed
until 4 January 2015
www.louisiana.dk
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West Point Foundry Preserve Park designed by Mathews Nielsen Landscape Architects was recently opened to the public. The park is located in the Village of Cold Spring, New York, on a dramatic 87-acre, forested site along the Hudson River. The $3.6-million sustainable park interprets the locale’s historic ruins while respecting and revealing its industrial and ecological history.
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Scenic Hudson, the largest environmental group focused on protecting and restoring the Hudson Valley, owns the preserve and commissioned Mathews Nielsen for the project, which was supported in part by a Preserve America grant.
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Listed on the National Register of Historic Places, West Point Foundry was created at the request of President James Madison to address national armaments production following the War of 1812. Operating between 1817 and 1911, it reached peak production during the Civil War and later contributed to America’s Industrial Revolution. Mathews Nielsen worked closely with a research team from Michigan Technological University’s Industrial History and Archaeology Program, sponsored by Scenic Hudson, to develop its sustainable design for the site’s park.
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Stimulating the mind and the senses, the park educates visitors about the foundry’s significance while showcasing the natural beauty of the surrounding wetlands and forest. Historic paths and rail lines have been reinterpreted to connect building ruins and provide ADA access. Displays educate visitors about the site’s past, and exhibits at Foundry Cove highlight the renewal of the preserve’s marsh as well as its abundant wildlife. The park is one of more than 35 that Scenic Hudson has created or enhanced along the river.
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Owner: Scenic Hudson
Lead Designer, Landscape Architecture and Interpretive Design: Mathews Nielsen Landscape Architects, PC
Engineering: GHD Consulting Engineers, LLC
Historic Stabilization: Li/Saltzman Architects, PC and Liam O’Hanlon Engineering, PC
Exhibit and Interpretive Design: C&G Partners, LLC
Survey: Badey and Watson Surveying and Engineering, PC
Traffic: Frederick P. Clark Associates
Archaeological Monitoring Report: Hartgen Archeological Associates, Inc.
Estimator: Slocum Consulting
Environmental: Ecosystems Strategies
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All images Elizabeth Felicella
