Hargreaves Associates’ Queen Elizabeth Olympic Park in London won the Rosa Barba International Landscape Prize at the International Biennial of Landscape Architecture in Barcelona on the 30th of September 2016 …
Hargreaves Associates’ Queen Elizabeth Olympic Park in London won the Rosa Barba International Landscape Prize at the International Biennial of Landscape Architecture in Barcelona on the 30th of September 2016. The project was selected from a shortlist of ten finalists.
The International Prize for University Projects in Schools of Architecture and Landscape went to the University of Virginia.
The winning project transformed more than 100 hectares of unattractive, derelict, post-industrial wasteland into a complex landscape that comprises various ambiences, offers grounds for numerous programmes, diverse habitats and features the most elaborate planting. Scope, range, complexity, orchestrating engineering, horticulture, ecology, economics, programming and beautiful design were the criteria explained in the jury statement and they indeed describe the project and the masterful skills by Hargreaves Associates. It also seems obvious that in terms of usability, where some post-Olympic landscapes have failed, Queen Elizabeth Park will succeed.
[edit, Wednesday Oct. 12th:
In this article we pointed out that this year’s president of the jury for Rosa Barba Prize was James Corner and that his firm Field Operations was involved in the winning project. We therefore questioned the ethics of the decision by the jury. It was later brought to our attention that Field Operations’ work for the South Park of the Queen Elizabeth Olympic Park is entirely unrelated to the work by Hargreaves Associates for the site. We will be glad to provide further details in the coming days so check back soon.]
This year’s obvious paradigm shift in what the Rosa Barba Prize represents was displeasing. If we look at the past winners (2006, 2008, 2010, 2012, 2014) we see a range of simple and poetic ideas, effortlessly translated into subtle, modest yet intelligent and powerful landscape interventions. It was about more than »massively transformative« – as James Corner stressed the most important criteria for selecting the Queen Elizabeth Olympic Park.
The Rosa Barba Prize was always a celebration of a curious and sensitive approach to landscape, dedicated to the playful revealing of layers of time, space, natural and social processes, the intimate monologue of the landscape architect concerning »to intervene or not to intervene?«, and the dialogue with the site. A process that gradually leads to a statement in landscape.
A change in criteria would have been expected when the Biennial shifted from European to International in 2014. The transition was however smooth and the jury, at the time presided over by Michael van Gessel, awarded the prize to North Wharf Promenade in Auckland, New Zealand by Taylor Cullity Lethlean. An industrial harbour area that had been transformed into a public landscape whilst maintaining the characteristics of the site by ‘curating’ and ‘translating’ Industrial elements that were found on site into a public space infrastructure.
It doesn’t come as a surprise that with this kind of approach the Rosa Barba Prize over the years gained the utmost respect and accumulated a vast pool of followers and supporters in the global community of landscape architects. They were present at the ceremony and they awarded the Renaturation of the river Aire with the Public Opinion Prize.
When James Corner announced the winner the applause began after a moment of hesitation, was polite and of a modest length and volume. A few minutes later the Public Opinion Prize winner was announced and the audience reacted in a considerably more ecstatic way, bringing the volume of the applause and loud cheers to the maximum.
It was later promised by the members of the Scientific Committee of the Biennial at the very end of the award giving ceremony that the next Rosa Barba Prize will again focus in interventions of a smaller scale. The promise was given in Catalan so perhaps the details were lost in translation, point being that scale also should not play the vital role. Rather, it should be the power of the statement, concept and the process that led to the intervention in landscape.
As an illustration I’d like to emphasise three projects from the shortlist of ten excellent finalists for the Rosa Barba Prize 2016 that managed to break or even redefine the rules and were exceptional in terms of the dialogue between the site, function and the designer.
H+N+S designed Buitenschot Park, a landscape that reduces the ground noise produced by planes at the nearby Schiphol airport, Amsterdam. The landscape is at the same time publicly accessible and functions as a park. The design approach for this landscape is all about experiment that resulted in a landscape as innovative infrastructure for noise reduction and a park for people.
The Renaturation of the River Aire is a poetic project that introduces a structure to be deliberately decomposed by a natural process while achieving the goal of the intervention. Instead of just drawing a new channel that would look like a natural stream, Atelier Descombes Rampini laid the grounds for the river to do the rest. The process is in focus, like an homage to the river and its force. Choosing grid now seems the only possible way to emphasise the decomposition and the contrast between anthropogenic form and the natural water stream. Remains of the grid will most likely be visible in landscape for a long time since not all rhombuses will decompose. The old channel was preserved and equipped with neatly designed features to host visitors: benches, pergola, foot-path, access to water etc. Probably one of the most beautiful examples of interaction between a river and a designer in recent years.
Louvre Lens Museum Park: Visitors come to museums to see works of art, science or remains of the past, in order to get inspired, filled with new knowledge or to reshape the margins of their understanding. Catherine Mosbach seized the opportunity to offer a landscape that engages this mindset and is able to explain the hidden stories this landscape inhabits.
This is indeed a museum-park where visitors can observe what landscape has to say about itself and the traces of human activity on the site. One can move about as one would at an exhibition; passing through an array of different objects, each expressing its own statement … Catherine Mosbach revealed the layers of the site’s memory with all its features and debris, and translated them into a language common to the building and its programme. Whether you like its appearance or not, the Louvre Lens Museum Park project is undoubtedly a strong conceptual landscape that reaches beyond practice by the book.
See all finalists here.