James Corner is one of the premiere theorists and practitioners of landscape architecture, a field that emphasizes the design of outdoor and public spaces to achieve specific environmental, socio-behavioral, and aesthetic outcomes. The principal designer at James Corner Field Operations, a New York-based landscape architecture and urban design firm, Corner focuses on landscape urbanism, an amalgamation of a wide range of disciplines including landscape architecture, ecology, and urban design. Here, he discusses the creative process behind New York's now-iconic elevated park, The High Line, whose second section opened in June.
ONE OF THE MOST IMPORTANT THINGS about landscape architecture is the amount of attention you have to pay to the found conditions of any project. The famous 18th century British landscape architect Lancelot Brown coined the term "capability" in landscape architecture: He was always looking at what the capacity of a site was for relative modification and creative transformation. An effective design is always an original response, so much that a project isn't really about a design, or a style, or a look; it's about a unique, highly customized reaction to found conditions. A painter has just a canvas and a regular architect has just a site, and in many cases those sites aren't very complex. With landscape architecture, you're in a specific, unique environment. There's weather. There are seasons. There's soil ecology and chemistry. There are a whole slew of factors that mean, as a designer of a living space, you not only have to amplify existing conditions, but be creative and respond to what you find. You don't just fly in as a superstar designer and do your own thing. A lot of attention, a lot of learning has to happen when you start a new project in a new place, sensitizing yourself to what you find, so that the final product is something that grows out of a site.
Landscape architects often have a design signature; their work looks a certain way. I think my work is always unique because it's always influenced and informed by the site we're working on. My Fresh Kills Park project in Staten Island demanded an original response, and the High Line was a wonderful found object that required a very sensitive and original design concept. It's not a design that would transfer sensibly anywhere else.
With the High Line, we had this extraordinary artifact that in some ways was an ugly duckling, something with potential. At the turn of the century, it was derelict; the concrete and steel and tracks were obviously in disrepair, the rails rusted, the wood cracked. Most people at the time thought it should be torn down. But where some people saw dereliction, others saw inspiration. It was in the landscape running along those broken tracks. The photographs of Joel Sternfeld (fine-art color photography and publisher of Walking the High Line(2002), an anthology focusing on the railway) had a remarkable influence in allowing people to view this thing as something with potential rather than something to be skeptical of. Running for a mile and a half through the west side of Manhattan, there's a remarkable dialogue between nature and industry--or rather, post-industry--suspended 30 feet in the air.
"A Railroad Artifact, 30th Street, May 2000" Photo by Joel Sternfeld, from Walking the High Line (2002)
There were a few general design strategies we adapted in approaching the High Line. The first was to exercise restraint as designers, to not feel like you we had build a lot of stuff. You can simply let the structure reveal itself--or you can reveal the structure.
We focused a lot on how the paving and furnishing was designed. It's a singular, integrated system that's little like a concrete carpet running the entire length of the High Line. By opening the paving, we allow the plants to bleed through, almost as if the plants were colonizing the paved areas. There's a sort of blending or bleeding or suturing between the hard paving, the surface for people to stroll on, and the planting, the effects of planting taking advantage of micro-climates and local situations to flourish.
Initial blueprints for High Line thickets. Courtesy of James Corner Field Operations.
The completed thickets. Photograph by Paul Katcher/Flickr, courtesy of James Corner Field Operations.
The whole design of the paving is quite customized and unique. It's designed as a single, flexible surface, where each of the units is replicable across the entire structure. It's just like putting a plank down, and then another after it, much like how a railroad engineer would design a length of track. It's pragmatic and systematic while remaining quite flexible. Instead of a single path guiding people in a straight line, the nature of the paving allowed us to create something that bends and meander, and we get to bring people down the High Line in a meandering way.
This sequence of movement is designed -- choreographed, really -- to illustrate different panoramas in an ambulatory way. Its not about static shots, its about how moving through the city in an ambulant way allows interesting vistas and panoramas to unfold.
Planking schematics and designs for Section 1 of the High Line. Courtesy of James Corner Field Operations
A completed section of the High Line. Photograph by Iwan Baan, courtesy of James Corner Field Operations
The paving has tapered pieces that dive down into the planting beds and open up cracks. You get the illusion of this dialogue between hard inorganic surfaces and an organic, living landscapes beneath. The paving has open joints where rainwater leeches through the planting beds and is collected below. One of the real challenge of the High Line was being able to build a real landscape--something with shallow depth that's windy, hot and dry in the summer, susceptible to significant frost and cold in the winter. The High Line experiences extreme environments with only a bed of very shallow soil. Preserving and retaining water is crucial to keeping the entire ecosystem alive. In a sense, the entire structure was engineered to be self-sustaining, but as the Sternfeld photos show, the derelict railway was alive long before we arrived.
An early model of the High Line. Courtesy of James Corner Field Operations.
The paving, the furnishings, the railing, the lighting, and the planting...those elements remain consistent for 20 blocks on the High Line, all through Section 1. That consistency is important: it creates the effect of slowly strolling in a highly distinctive and original landscape. But then, in certain locations, we have punctuations in places that are designed to be social spaces for people to hang out. It's a singular pathway landscape, but there are a series of places that are much more intense and more unique and designed specifically for specific situations. At the square site up 10th Avenue, we created a large seating venue with a stage and window looking out onto the street. Or the sundeck on 14th Street--that's where the High Line takes a bend--you get great views southwest across the river. That's were we put the chaise lounges; we were aiming for a very dramatic stage setting. It's these punctual places--the 10th Avenue square, the giant sun lawn in Section 2, and the flyover steel catwalk that slices across 18th Street--it's really these episode places that become a stage set for social life to play out.
Pedestrians take in the city lights. Photograph by Iwan Baan, courtesy of James Corner Field Operations.
So why do people go up there? They stroll through the gardens, take in the views and vistas, but they also go up because there are other people up there. It's part of the spectacle of being among other people you don't know in the context of the city. The High Line as it's designed works because of people's desire to bring their friends and family up, to move with them in a somewhat dramatic, theatrical, episodic way, and be able to create stage sets where people can linger. These are very traditional landscape architectural tropes: journeys around the garden, journeys through a landscape. In many ways, the High Line is remarkably traditional, but it's also so much more intense because of its very linear landscape. The paths are designed to force people to people slow down, to stroll, to meander, so they're immersed in a certain rail-bed landscape of remarkable textures and colors and unusual forms. The High Line was designed as a living system. If it wasn't for people, you could have just left the High Line as it was. It's a garden in the sky, so very charming and romantic in so many ways.
Most people know how to help someone with a cut or a scrape. But what about a panic attack?
Here’s a thought experiment: You’re walking down the street with a friend when your companion falls and gashes her leg on the concrete. It’s bleeding; she’s in pain. It’s clear she’s going to need stitches. What do you do?
This one isn’t exactly a head-scratcher. You'd probably attempt to offer some sort of first-aid assistance until the bleeding stopped, or until she could get to medical help. Maybe you happen to have a Band-Aid on you, or a tissue to help her clean the wound, or a water bottle she can use to rinse it off. Maybe you pick her up and help her hobble towards transportation, or take her where she needs to go.
Here’s a harder one: What if, instead of an injured leg, that same friend has a panic attack?
Today’s empires are born on the web, and exert tremendous power in the material world.
Mark Zuckerberg hasn’t had the best week.
First, Facebook’s Free Basics platform was effectively banned in India. Then, a high-profile member of Facebook’s board of directors, the venture capitalist Marc Andreessen, sounded off about the decision to his nearly half-a-million Twitter followers with a stunning comment.
“Anti-colonialism has been economically catastrophic for the Indian people for decades,” Andreessen wrote. “Why stop now?”
After that, the Internet went nuts.
Andreessen deleted his tweet, apologized, and underscored that he is “100 percent opposed to colonialism” and “100 percent in favor of independence and freedom.” Zuckerberg, Facebook’s CEO, followed up with his own Facebook post to say Andreessen’s comment was “deeply upsetting” to him, and not representative of the way he thinks “at all.”
Ben Stiller’s follow-up to his own comedy classic is a downright bummer, no matter how many celebrity cameos it tries to cram in.
You don’t need to go to the theater to get the full experience of Zoolander 2. Simply get your hands on a copy of the original, watch it, and then yell a bunch of unfunny topical lines every time somebody tells a joke. That’s how it feels to watch Ben Stiller’s sequel to his 2001 spoof of the fashion industry: Zoolander 2 takes pains to reference every successful gag you remember from the original, and then embellish them in painful—often offensive, almost always outdated—fashion. It’s a film that has no real reason to exist, and it spends its entire running time reaffirming that fact.
The original Zoolander, to be fair, had no business being as funny as it was—it made fun of an industry that already seems to exist in a constant state of self-parody, and much of its humor relied on simple malapropisms and sight gags. But it was hilarious anyway as a candid snapshot of the fizzling-out of ’90s culture. Like almost any zeitgeist comedy, it belonged to a particular moment—and boy, should it have stayed there. With Zoolander 2, Stiller (who directed, co-wrote, and stars) tries to recapture the magic of 2001 by referencing its past glories with increasing desperation, perhaps to avoid the fact that he has nothing new to say about the fashion industry or celebrity culture 15 years laters.
Einstein’s gravitational waves rest on a genuinely radical idea.
After decades of anticipation, we have directly detected gravitational waves—ripples in spacetime traveling at the speed of light through the universe. Scientists at LIGO (the Laser Interferometic Gravitational-wave Observatory) have announced that they have measured waves coming from the inspiral of two massive black holes, providing a spectacular confirmation of Albert Einstein’s general theory of relativity, whose hundredth anniversary was celebrated just last year.
Finding gravitational waves indicates that Einstein was (once again) right, and opens a new window onto energetic events occurring around the universe. But there’s a deeper lesson, as well: a reminder of the central importance of locality, an idea that underlies much of modern physics.
The bureau successfully played the long game in both cases.
The story of law enforcement in the Oregon standoff is one of patience.
On the most obvious level, that was reflected in the 41 days that armed militia members occupied the Malheur National Wildlife Refuge near Burns. It took 25 days before the FBI and state police moved to arrest several leaders of the occupation and to barricade the refuge. It took another 15 days before the last of the final occupiers walked out, Thursday morning Oregon time.
Each of those cases involved patience as well: Officers massed on Highway 395 didn’t shoot LaVoy Finicum when he tried to ram past a barricade, nearly striking an FBI agent, though when he reached for a gun in his pocket they finally fired. Meanwhile, despite increasingly hysterical behavior from David Fry, the final occupier, officers waited him out until he emerged peacefully.
The revolution that ended the reign of beards occurred on September 30, 331 b.c., as Alexander the Great prepared for a decisive showdown with the Persian emperor for control of Asia. On that day, he ordered his men to shave. Yet from time immemorial in Greek culture, a smooth chin on a grown man had been taken as a sign of effeminacy or degeneracy. What can explain this unprecedented command? When the commander Parmenio asked the reason, according to the ancient historian Plutarch, Alexander replied, “Don’t you know that in battles there is nothing handier to grasp than a beard?” But there is ample cause to doubt Plutarch’s explanation. Stories of beard-pulling in battles were myth rather than history. Plutarch and later historians misunderstood the order because they neglected the most relevant fact, namely that Alexander had dared to do what no self-respecting Greek leader had ever done before: shave his face, likening himself to the demigod Heracles, rendered in painting and sculpture in the immortal splendor of youthful, beardless nudity. Alexander wished above all, as he told his generals before the battle, that each man would see himself as a crucial part of the mission. They would certainly see this more clearly if each of them looked more like their heroic commander.
By mining electronic medical records, scientists show the lasting legacy of prehistoric sex on modern humans’ health.
Modern humans originated in Africa, and started spreading around the world about 60,000 years ago. As they entered Asia and Europe, they encountered other groups of ancient humans that had already settled in these regions, such as Neanderthals. And sometimes, when these groups met, they had sex.
We know about these prehistoric liaisons because they left permanent marks on our genome. Even though Neanderthals are now extinct, every living person outside of Africa can trace between 1 and 5 percent of our DNA back to them. (I am 2.6 percent Neanderthal, if you were wondering, which pales in comparison to my colleague James Fallows at 5 percent.)
This lasting legacy was revealed in 2010 when the complete Neanderthal genome was published. Since then, researchers have been trying to figure out what, if anything, the Neanderthal sequences are doing in our own genome. Are they just passive hitchhikers, or did they bestow important adaptations on early humans? And are they affecting the health of modern ones?
When four American women were murdered during El Salvador’s dirty war, a young U.S. official and his unlikely partner risked their lives to solve the case.
On December 1, 1980, two American Catholic churchwomen—an Ursuline nun and a lay missionary—sat down to dinner with Robert White, the U.S. ambassador to El Salvador. They worked in rural areas ministering to El Salvador’s desperately impoverished peasants, and White admired their commitment and courage. The talk turned to the government’s brutal tactics for fighting the country’s left-wing guerrillas, in a dirty war waged by death squads that dumped bodies in the streets and an army that massacred civilians. The women were alarmed by the incoming Reagan administration’s plans for a closer relationship with the military-led government. Because of a curfew, the women spent the night at the ambassador’s residence. The next day, after breakfast with the ambassador’s wife, they drove to San Salvador’s international airport to pick up two colleagues who were flying back from a conference in Nicaragua. Within hours, all four women would be dead.
Jim Gilmore joins Chris Christie and Carly Fiorina, and leaves the race after a poor showing in New Hampshire.
Jim Gilmore’s candidacy this year was improbable—but even more improbable was the minor cult of personality that developed around it.
The former Virginia governor never had a chance. Not, like, in the sense of Lindsey Graham, a candidate with national standing but no path to the presidency. More in the George Pataki sense: a guy who had no real business in race, but was running anyway. Except that Gilmore made Pataki look like a juggernaut. Also, Pataki saw the writing on the wall and had the sense to drop out in late December. Gilmore soldiered on, and ended up as the last of the truly longshots to leave.
The result was that Gilmore turned into a sort of folk hero. Not for voters, mind you—he managed only 12 votes in Iowa and 125 in New Hampshire, and his campaign was funded largely by loans from himself. Because of his low support in the polls, Gilmore only made the cut for the very first kid’s-table debate in August, and then again for the undercard in late January. Other than that, he was shut out completely.
The number of American teens who excel at advanced math has surged. Why?
On a sultry evening last July, a tall, soft-spoken 17-year-old named David Stoner and nearly 600 other math whizzes from all over the world sat huddled in small groups around wicker bistro tables, talking in low voices and obsessively refreshing the browsers on their laptops. The air in the cavernous lobby of the Lotus Hotel Pang Suan Kaew in Chiang Mai, Thailand, was humid, recalls Stoner, whose light South Carolina accent warms his carefully chosen words. The tension in the room made it seem especially heavy, like the atmosphere at a high-stakes poker tournament.
Stoner and five teammates were representing the United States in the 56th International Mathematical Olympiad. They figured they’d done pretty well over the two days of competition. God knows, they’d trained hard. Stoner, like his teammates, had endured a grueling regime for more than a year—practicing tricky problems over breakfast before school and taking on more problems late into the evening after he completed the homework for his college-level math classes. Sometimes, he sketched out proofs on the large dry-erase board his dad had installed in his bedroom. Most nights, he put himself to sleep reading books like New Problems in Euclidean Geometry and An Introduction to Diophantine Equations.