Public art and its economic value: Public art not only enlivens urban spaces, supports local artists and sparks conversation, it’s a relatively cheap way for cities to attract both visitors and money. Events such as Vivid Sydney and MONA in Hobart have proven to have a significant impact on the local economy, in terms of the increased revenue generated from more visitors, better productivity and free publicity that unique cultural events create. As Meg Bartholomew reports in the Guardian, city planners and property developers are taking notice of the potential that lies in an ‘experience-based economy’. Art that makes people feel good makes them linger – and spend. Aside from the economic benefits, public art helps to define a city’s identity (hello, Melbourne), enhances a city’s reputation, and can even …
In Profile: Damian Schultz
Street Furniture Australia chats to Damian Schultz, co-director at landscape and urban design firm Taylor Cullity Lethlean (T.C.L.) in Adelaide.
Tell us about your path to becoming a landscape architect.
I was very fortunate at the young age of around 12 years old to realise my passion for the built environment and design. I focused my school studies in art, design, physics, geography, woodwork, metalwork, plastics, agriculture and technical drawing, as well as maths and English, to prepare myself for a career path in architecture, landscape architecture, graphic or industrial design. Any part-time work I undertook was also related, working in hardware stores, paint shops or labouring (paving, landscaping or painting) to develop such skills I deemed appropriate.
I was privileged to enrol in Architectural Studies at university and then transfer mid-course to complete a degree in Landscape Architecture – I was one of the first graduates of this course at the University of Adelaide.
“I am influenced by the beautiful detailing of architecture and industrial design, environmental graphic design and illustration.”
What inspires you in your work?
I am passionate about the interface between structures and soft landscape, the idea of the collaboration of different professions working together and the specific detail of how allied professions all come together to create a unified and integrated outcome. I am influenced by the beautiful detailing of architecture and industrial design, environmental graphic design and illustration.
How broadly do you incorporate sustainable practices in your designs?
Sustainability is a core value of the way I think about design. I am privileged to be involved in a large diversity of projects that highlight the different ways to integrate sustainable practices in design, including:
- embedding water sensitive urban design principles into the outcomes;
- careful plant selection using low water hardy species;
- LED lighting selection;
- localised soil remediation and enhancement.
What are you excited to be working on at the moment?
I am currently involved in a large variety of projects that keep me passionate about my career. These include:
- a shopping centre redevelopment: designing a Town Mall with bespoke planters, seating and lighting pendants;
- undertaking the redevelopment of the Adelaide Festival Centre with ARM;
- Pedestrianisation of the central spine at Queensland University of Technology at Kelvin Grove with Wilson Architects and Henning Larsen Architects.
Do you engage in mentoring, or work with universities?
I have been involved in a variety of roles with universities and students studying landscape architecture. I was a guest lecturer for a number of years providing practical knowledge on construction and contract administration, and I am passionate in nurturing the next generation in this field. For the last 10 years I have been involved in mentoring students of Landscape Architecture in their final year, and guiding fourth-year students through a 12-week internship program in our studio.
What are your strengths as a landscape architect?
I have been fortunate to develop skills in all areas of landscape architecture, from spatial planning and detailed design to the complexities of project management. I thrive in collaboration and problem-solving during design development and construction to find solutions across multiple design and engineering disciplines.
What makes Adelaide a dynamic city to be working at the moment?
I have been fortunate to travel overseas and have first-hand realisation that Adelaide is a beautiful and vibrant city!
Significant investment in Adelaide Oval, Victoria Square, North Terrace, the Riverbank Precinct and former Royal Adelaide Hospital site is changing the structural focus of the city and will provide greater opportunities for the future.
Adelaide projects have sometimes seen conservative outcomes but, as the population evolves, the city plans are attempting to improve and highlight the best of South Australia. The city activation program has been successful in realising that great city places cater for both people and events, in both formal and informal ways.
What projects have you most enjoyed? What project/practices do you most admire?
I have been very fortunate to have worked on some amazingly diverse and memorable projects in my career. Some of these built projects include:
- Forest Gallery, Melbourne Museum;
- Tidbinbilla Redevelopment, ACT;
- Various national park infrastructure upgrades;
- North Terrace Redevelopment, Adelaide, SA;
- Victoria Square Redevelopment, Adelaide, SA;
- Bank Street Parklets, Adelaide, SA;
- Adelaide Botanic Gardens Wetland Redevelopment, Adelaide, SA;
- City Playspace, Hindmarsh Square Adelaide, SA;
- Adelaide Airport Plaza and water feature, Adelaide SA.
I love discovering smaller emerging practices or designers with a fresh way of thinking to partner or collaborate with to challenge my own approaches. Companies and projects that I admire include:
- West 8;
- The “Highline” by James Corner, Field Operations;
- Frank Lloyd Wright’s Fallingwater;
- Mies Van der Rohe, Barcellona Pavillion & Farnsworth House;
- Santiago Calatrava for the fusion of engineering, sculpture and architecture;
- Zaha Hadid, her general Fluid Design approach;
- Parkroyal by WOHA;
- Miller Garden, by Dan Kiley;
- Marina Linear Park by Martha Schwartz;
- Andrea Cochrane Landscape Architects.
- Sunshine Coast Architects, Clare Design & JMA;
- Donovan Hill Architects;
- Glenn Murcutt;
- Troppo Architects;
- David Lancashire Design.
Konstantin Dimopoulos is New Zealand–raised artist who has worked extensively in Melbourne, Australia and is currently based in Tennessee in the US. His successful environmental art installation The Blue Trees has been re-created around the world, including at Sydney’s Pirrama Park in 2016. StreetChat talks to him about activist art in urban spaces. The Blue Trees has been installed multiple times around the world. What have you observed from presenting the work to different cultures? I think that people around the world are basically the same. They all realise the huge issue that we have with global warming and the importance of rainforests and old growth forests to our survival as a species. Purveyors of water, consumers of carbon, treasure-houses of species – the world’s forests are ecological miracles. People want …
StreetChat is giving away one stylish Mixte bicycle from Papillionaire, valued at $599, to a lucky new subscriber. Choose your frame colour from navy, vermillion, olive, birdie, cream, white or black: Then get ready to cruise through parks and streetscapes on a classic European design. Simply sign up to StreetChat before October 31, 2017 for your chance to win. Terms and Conditions: Competition is open to new subscribers only. Winner will be announced via StreetChat in November. Street Furniture Australia will deliver directly to the winner. Already receiving StreetChat? Send to a friend! Share via Twitter: Sign up to StreetChat for a chance to win a Papillionaire bicycle: * indicates required Company Email * First Name * Last Name * Company * Phone Region * —ACTNSWNTQLDSATASVICWAI am not in Australia Preferred Bicycle …
Well travelled: Claire Broun, senior landscape architect with JMD Design in Sydney, takes StreetChat through designing for Copenhagen and Sydney. Tell us about yourself. What drew you to landscape architecture? My father is a fifth generation wheat farmer and my mother an artist. I grew up in an old homestead on a property in Western Australia’s wheatbelt. A flourishing garden surrounds the verandahs where, as a child, I would often forage for plants to dissect and draw. I realise now, looking back, that these environments, both within and beyond the garden fence, are fundamental to who I am today. I showed talent as an artist throughout high school and was enthusiastic about continuing my interest with studies at university. This, combined with a developing interest in the land, lead me to enrolling …
Nathalie Ward, director of Brisbane’s Lat27, shares with StreetChat her love of the craft, working locally and abroad, and creating a new home for the Ekka. Tell us about yourself. Why did you pursue landscape architecture? Four colleagues and I established Lat27 five years ago, looking to create a practice focused on contextually based design; hence our name. Over the past 20-plus years I have lived and worked in the UK, Hong Kong and Australia and am passionate about the role that design can play in revealing the story of a place and in creating places that are environmentally responsible and inspire people. Landscape architecture is deeply ingrained in my family. My great-grandfather and grandfather were both garden designers and artists, my father was a landscape architect, as is my brother. My earliest memories include nature walks …
SPECIAL FEATURE: Australian architect Darrel Conybeare joined the Eames office in Venice, California, in 1967, as a young graduate of the Architecture and Civic Design Masters program at the University of Pennsylvania. The next three years were beyond his greatest expectations … The design approach at Street Furniture Australia has been influenced by the Eames office, where Darrel Conybeare (shown), SFA co-director, worked for a number of years. I was amazed that I had won the job. In 1967, American architect Denise Scott Brown introduced me to Ray and Charles Eames after I had moved to California. My interview took place at 901 Washington Boulevard, Venice, California, the design home of their extraordinary practice. Ray and Charles described the nature of the job, and I explained my purpose in coming to America to …