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.
The Islamic State is no mere collection of psychopaths. It is a religious group with carefully considered beliefs, among them that it is a key agent of the coming apocalypse. Here’s what that means for its strategy—and for how to stop it.
What is the Islamic State?
Where did it come from, and what are its intentions? The simplicity of these questions can be deceiving, and few Western leaders seem to know the answers. In December, The New York Times published confidential comments by Major General Michael K. Nagata, the Special Operations commander for the United States in the Middle East, admitting that he had hardly begun figuring out the Islamic State’s appeal. “We have not defeated the idea,” he said. “We do not even understand the idea.” In the past year, President Obama has referred to the Islamic State, variously, as “not Islamic” and as al-Qaeda’s “jayvee team,” statements that reflected confusion about the group, and may have contributed to significant strategic errors.
A Chicago cop now faces murder charges—but will anyone hold his colleagues, his superiors, and elected officials accountable for their failures?
Thanks to clear video evidence, Chicago police officer Jason Van Dyke was charged this week with first-degree murder for shooting 17-year-old Laquan McDonald. Nevertheless, thousands of people took to the city’s streets on Friday in protest. And that is as it should be.
The needlessness of the killing is clear and unambiguous:
Yet that dash-cam footage was suppressed for more than a year by authorities citing an investigation. “There was no mystery, no dead-end leads to pursue, no ambiguity about who fired the shots,” Eric Zorn wrote in The Chicago Tribune. “Who was pursuing justice and the truth? What were they doing? Who were they talking to? With whom were they meeting? What were they trying to figure out for 400 days?”
As the public’s fear and loathing surge, the frontrunner’s durable candidacy has taken a dark turn.
MYRTLE BEACH, South Carolina—All politicians, if they are any good at their craft, know the truth about human nature.
Donald Trump is very good, and he knows it better than most.
Trump stands alone on a long platform, surrounded by a rapturous throng. Below and behind him—sitting on bleachers and standing on the floor—they fill this city’s cavernous, yellow-beige convention center by the thousands. As Trump will shortly point out, there are a lot of other Republican presidential candidates, but none of them get crowds anything like this.
Trump raises an orange-pink hand like a waiter holding a tray. “They are not coming in from Syria,” he says. “We’re sending them back!” The crowd surges, whistles, cheers. “So many bad things are happening—they have sections of Paris where the police are afraid to go,” he continues. “Look at Belgium, the whole place is closed down! We can’t let it happen here, folks.”
Why the ingrained expectation that women should desire to become parents is unhealthy
In 2008, Nebraska decriminalized child abandonment. The move was part of a "safe haven" law designed to address increased rates of infanticide in the state. Like other safe-haven laws, parents in Nebraska who felt unprepared to care for their babies could drop them off in a designated location without fear of arrest and prosecution. But legislators made a major logistical error: They failed to implement an age limitation for dropped-off children.
Within just weeks of the law passing, parents started dropping off their kids. But here's the rub: None of them were infants. A couple of months in, 36 children had been left in state hospitals and police stations. Twenty-two of the children were over 13 years old. A 51-year-old grandmother dropped off a 12-year-old boy. One father dropped off his entire family -- nine children from ages one to 17. Others drove from neighboring states to drop off their children once they heard that they could abandon them without repercussion.
The Nebraska state government, realizing the tremendous mistake it had made, held a special session of the legislature to rewrite the law in order to add an age limitation. Governor Dave Heineman said the change would "put the focus back on the original intent of these laws, which is saving newborn babies and exempting a parent from prosecution for child abandonment. It should also prevent those outside the state from bringing their children to Nebraska in an attempt to secure services."
Better-informed consumers are ditching the bowls of sugar that were once a triumph of 20th-century marketing.
Last year, General Mills launched a new product aimed at health-conscious customers: Cheerios Protein, a version of its popular cereal made with whole-grain oats and lentils. Early reviews were favorable. The cereal, Huffington Post reported, tasted mostly like regular Cheerios, although “it seemed like they were sweetened and flavored a little more aggressively.” Meanwhile, ads boasted that the cereal would offer “long-lasting energy” as opposed to a sugar crash.
But earlier this month, the Center for Science in the Public Interest sued General Mills, saying that there’s very little extra protein in Cheerios Protein compared to the original brand and an awful lot more sugar—17 times as much, in fact. So why would General Mills try to market a product as containing protein when it’s really a box fill of carbs and refined sugar?
It was widely seen as a counter-argument to claims that poor people are "to blame" for bad decisions and a rebuke to policies that withhold money from the poorest families unless they behave in a certain way. After all, if being poor leads to bad decision-making (as opposed to the other way around), then giving cash should alleviate the cognitive burdens of poverty, all on its own.
Sometimes, science doesn't stick without a proper anecdote, and "Why I Make Terrible Decisions," a comment published on Gawker's Kinja platform by a person in poverty, is a devastating illustration of the Science study. I've bolded what I found the most moving, insightful portions, but it's a moving and insightful testimony all the way through.
Students at Princeton University are protesting the ways it honors the former president, who once threw a civil-rights leader out of the White House.
The Black Justice League, in protests on Princeton University’s campus, has drawn wider attention to an inconvenient truth about the university’s ultimate star: Woodrow Wilson. The Virginia native was racist, a trait largely overshadowed by his works as Princeton’s president, as New Jersey’s governor, and, most notably, as the 28th president of the United States.
As president, Wilson oversaw unprecedented segregation in federal offices. It’s a shameful side to his legacy that came to a head one fall afternoon in 1914 when he threw the civil-rights leader William Monroe Trotter out of the Oval Office.
Trotter led a delegation of blacks to meet with the president on November 12, 1914 to discuss the surge of segregation in the country. Trotter, today largely forgotten, was a nationally prominent civil-rights leader and newspaper editor. In the early 1900s, he was often mentioned in the same breath as W.E.B. Du Bois and Booker T. Washington. But unlike Washington, Trotter, an 1895 graduate of Harvard, believed in direct protest actions. In fact, Trotter founded his Boston newspaper, The Guardian, as a vehicle to challenge Washington’s more conciliatory approach to civil rights.
The statesman understood something most diplomats don’t: history—and how to apply it.
In his new biography of Henry Kissinger, the historian Niall Ferguson recalls that halfway through what became an eight-year research project, he had an epiphany. Tracing the story of how a young man from Nazi Germany became America’s greatest living statesman, he discovered not only the essence of Kissinger’s statecraft, but the missing gene in modern American diplomacy: an understanding of history.
For Ferguson, it was a humbling revelation. As he confesses in the introduction to Kissinger: “In researching the life and times of Henry Kissinger, I have come to realize that my approach was unsubtle. In particular, I had missed the crucial importance in American foreign policy of the history deficit: The fact that key decision-makers know almost nothing not just of other countries’ pasts but also of their own. Worse, they often do not see what is wrong with their ignorance.”
In the name of emotional well-being, college students are increasingly demanding protection from words and ideas they don’t like. Here’s why that’s disastrous for education—and mental health.
Something strange is happening at America’s colleges and universities. A movement is arising, undirected and driven largely by students, to scrub campuses clean of words, ideas, and subjects that might cause discomfort or give offense. Last December, Jeannie Suk wrote in an online article for The New Yorker about law students asking her fellow professors at Harvard not to teach rape law—or, in one case, even use the word violate (as in “that violates the law”) lest it cause students distress. In February, Laura Kipnis, a professor at Northwestern University, wrote an essay in The Chronicle of Higher Education describing a new campus politics of sexual paranoia—and was then subjected to a long investigation after students who were offended by the article and by a tweet she’d sent filed Title IX complaints against her. In June, a professor protecting himself with a pseudonym wrote an essay for Vox describing how gingerly he now has to teach. “I’m a Liberal Professor, and My Liberal Students Terrify Me,” the headline said. A number of popular comedians, including Chris Rock, have stopped performing on college campuses (see Caitlin Flanagan’s article in this month’s issue). Jerry Seinfeld and Bill Maher have publicly condemned the oversensitivity of college students, saying too many of them can’t take a joke.
Can we predict romantic prospects just from looking at a face?
By the time you swear you're his, / Shivering and sighing. / And he vows his passion is/ Infinite, undying. / Lady, make a note of this — /One of you is lying. ― Dorothy Parker
Edward Royzman, a psychology professor at the University of Pennsylvania, asks me to list four qualities on a piece of paper: physical attractiveness, income, kindness, and fidelity. Then he gives me 200 virtual “date points” that I’m to distribute among the four traits. The more I allocate to each attribute, the more highly I supposedly value that quality in a mate.
This experiment, which Royzman sometimes runs with his college classes, is meant to inject scarcity into hypothetical dating decisions in order to force people to prioritize.