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.
A new anatomical understanding of how movement controls the body’s stress response system
Elite tennis players have an uncanny ability to clear their heads after making errors. They constantly move on and start fresh for the next point. They can’t afford to dwell on mistakes.
Peter Strick is not a professional tennis player. He’s a distinguished professor and chair of the department of neurobiology at the University of Pittsburgh Brain Institute. He’s the sort of person to dwell on mistakes, however small.
“My kids would tell me, dad, you ought to take up pilates. Do some yoga,” he said. “But I’d say, as far as I’m concerned, there's no scientific evidence that this is going to help me.”
Still, the meticulous skeptic espoused more of a tennis approach to dealing with stressful situations: Just teach yourself to move on. Of course there is evidence that ties practicing yoga to good health, but not the sort that convinced Strick. Studies show correlations between the two, but he needed a physiological mechanism to explain the relationship. Vague conjecture that yoga “decreases stress” wasn’t sufficient. How? Simply by distracting the mind?
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.
If Hillary Clinton beats Donald Trump, her party will have set a record in American politics.
If Donald Trump can’t erase Hillary Clinton’s lead in the presidential race, the Republican Party will cross an ominous milestone—and confront some agonizing choices. Democrats have won the popular vote in five of the six presidential elections since 1992. (In 2000, Al Gore won the popular vote but lost the Electoral College and the White House to George W. Bush.) If Clinton maintains her consistent advantage in national and swing-state polls through Election Day, that means Democrats will have won the popular vote in six of the past seven presidential campaigns.
Since the 1828 election of Andrew Jackson that historians consider the birth of the modern two-party system, no party has ever won the presidential popular vote six times over seven elections. Even the nation’s most successful political figures have fallen short of that standard.
The political commentator may be more committed to the Republican nominee’s platform than he is.
Donald Trump has just betrayed Ann Coulter. Which is a dangerous thing to do.
This week, Coulter released her new book, In Trump We Trust. As the title suggests, it’s a defense of Trump. But more than that, it’s a defense of Trumpism. Most Trump surrogates contort themselves to defend whatever The Donald says, no matter its ideological content. They’re like communist party functionaries. They get word from the ideologists on high, and regurgitate it as best they can.
Coulter is different. She’s an ideologist herself. She realized the potency of the immigration issue among conservatives before Trump did. On June 1 of last year, she released Adios America, which devotes six chapters to the subject of immigrants and rape. Two weeks later, Trump—having received an advanced copy—famously picked up the thread in his announcement speech.
A man who served the regime recounts his efforts to bring it down.
The theory of Jung Gwang Il’s work is essentially this: Tiny packets of information just might bring an end to decades of tyranny in his homeland. From his base in South Korea, he sends USB drives, SD cards, and other devices—loaded with Hollywood movies, South Korean television shows, and testimonials from North Korean defectors—across North Korea’s borders. His weapons against North Korea’s repressive, nuclear-armed regime are Skyfalland South Korean soaps. His battlefield is a country with no free press, virtually no internet (there’s an intranet), and minimal relations with much of the planet. Jung’s mission, in other words, is to funnel fragments of the outside world into the most information-starved nation on earth—and to thereby undermine a government for which he was once willing to sacrifice his life.
Donald Trump’s new campaign CEO, who is registered to vote at an empty house in Florida, may be as scandal-plagued as his predecessors.
Barely a week into the job, Donald Trump’s new campaign CEO is already facing harsh scrutiny over a 20-year-old domestic-violence charge and an allegation of voter-registration fraud.
On Thursday night, the New York Postand other outlets reported that Stephen Bannon was charged with misdemeanor domestic violence, battery, and dissuading a witness in 1996, after an altercation with his then-wife in Santa Monica, California. According to a police report, Bannon’s spouse said he pulled at her neck and wrist. A spokesman told Politico that Bannon was never questioned by police and pleaded not guilty. The charges were dropped around the time that the couple divorced later that year. In divorce proceedings, she outlined several vulgarities Bannon allegedly used.
Last night, in Time Capsule #88, I noted the deafening silence of Republican officialdom, after Hillary Clinton delivered her calmly devastating indictment of Donald Trump’s racist themes.
After this frontal attack on their own party’s chosen nominee, the rest of the GOP leadership said ... nothing. The cable-news Trump advocates were out in force, but senators? Governors? Previous candidates? Wise men and women of the party? Crickets.
A reader who is not a Trump supporter says there’s a logic to the plan:
I think you might be missing the GOP strategy here regarding Sec. Clinton’s bigotry speech, and the fact that no Republican came forward to defend Donald Trump. Republicans know that she spoke the truth—the indefensible truth about Donald Trump—and they want to squelch any discussion about it. That’s what they are doing.
Because they don’t want this speech on the airwaves, debated on panels, over several news cycles, with more and more of the dirty laundry getting debated in the mainstream news cycles, leading the Nightly News with dramatic music. Screaming headlines. Any any—ANY—statement by a Republican will trigger that discussion that no GOPer wants.
The mainstream news guys are sitting there at their email boxes, waiting, waiting, for statements, so they can write a piece on it. Benjy Sarlin mentioned it on Twitter, which you probably saw. [JF: I have now] And a couple of other journos, agreed.
But without some outraged statement from Ryan, Cruz, anybody, the mainstream journos have nothing to write about, there is no news cycle, no panels, no screaming headlines, no multi-news cycle. Just a Wow! Clinton gave a rough speech!” End of story. And that’s the strategy. Bury this story. And it’s working.
That’s how the GOP handles this kind of story. And it works just fine, every time. The mainstream journos can't find a both-sides hook, and they are nervous about this alt-right stuff anyway, so the story dies. Journos fear the brutality of GOP pushback. So it goes. Every. Time.
Contrast that with the non-story about the Clinton Foundation. Every GOPer was sending out a truckload of statements to keep that story going. Chuck Todd has stated in the past that he—they—have no choice but to write about whatever the GOP is upset about because they all put their shoulder to the wheel. And the GOP always has something for journos to write about. Controversy! And no fear of brutality from the Democrats. That’s how that goes.
The global education pioneer eases students into the classroom.
Heading into my first year of teaching in Helsinki I felt pretty nervous. One of my graduate-school professors—a former Massachusetts Teacher of the Year—had warned me that Finnish students were academically advanced, especially in math. Indeed, Finland’s students had excelled on international standardized tests like the PISA for more than a decade. But it wasn’t just those high-performing Finnish students that intimidated me. Their teachers did, too.
If I had chosen to pursue master’s-level training as an elementary-school teacher in Finland (instead of the United States), I would have applied to the small handful of teacher-training universities, where annual acceptance rates hover around 10 percent. These programs are so selective, claimed The Atlantic journalist Amanda Ripley in her book, The Smartest Kids in the World, they’re “on the order of MIT.” Furthermore, Finland’s classroom teacher-training programs require five years of coursework, practicum, and thesis writing. The Finnish version made my two-year master’s degree in elementary education, through a non-selective college in the Boston area, look quite humble.
City dwellers spend nearly every moment of every day awash in Wi-Fi signals. Homes, streets, businesses, and office buildings are constantly blasting wireless signals every which way for the benefit of nearby phones, tablets, laptops, wearables, and other connected paraphernalia.
When those devices connect to a router, they send requests for information—a weather forecast, the latest sports scores, a news article—and, in turn, receive that data, all over the air. As it communicates with the devices, the router is also gathering information about how its signals are traveling through the air, and whether they’re being disrupted by obstacles or interference. With that data, the router can make small adjustments to communicate more reliably with the devices it’s connected to.