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.
Sullivan: Now we’re getting somewhere. And I’m not just referring to all of the potential wars that so many of our Game of Thrones characters are trying to either stave off or set aflame. We’ll get to those in a moment. No, I’m talking about the long-simmering question that should be on every fan’s mind, the one that showrunners David Benioff and D.B. Weiss had to answer before George R. R. Martin would hand over his series so they could bring it to television
In her new book No One Understands You and What To Do About It, Heidi Grant Halvorson tells readers a story about her friend, Tim. When Tim started a new job as a manager, one of his top priorities was communicating to his team that he valued each member’s input. So at team meetings, as each member spoke up about whatever project they were working on, Tim made sure he put on his “active-listening face” to signal that he cared about what each person was saying.
But after meeting with him a few times, Tim’s team got a very different message from the one he intended to send. “After a few weeks of meetings,” Halvorson explains, “one team member finally summoned up the courage to ask him the question that had been on everyone’s mind.” That question was: “Tim, are you angry with us right now?” When Tim explained that he wasn’t at all angry—that he was just putting on his “active-listening face”—his colleague gently explained that his active-listening face looked a lot like his angry face.
Journalism is, at its core, a public service. This is why several days ago the reporters at Action 7 News in Albuquerque, New Mexico, decided to investigate just what, exactly, teems within the beards of the polity. They swabbed the whiskers of a handful of local men and took the results to Quest Diagnostics.
The results were the kind that medical labs don't leave on your answering machine:
Several of the beards that were tested contained a lot of normal bacteria, but some were comparable to toilets.
“Those are the types of things you'd find in (fecal matter),” Golobic said, referring to the tests.
Even though some of the bacteria won’t lead to illness, Golobic said it’s still a little concerning.
The Onion had a problem: It fell behind the times. The mock newspaper hadn’t printed an issue on actual paper since 2013, and in the period since, it never redesigned its website. As the media world changed—as the New York Times and the Washington Post adapted the ways they published stories online—The Onion lost a key satirical weapon. Visually, it no longer looked like many of the publications it parodied. And so, like it had done many times before, The Onion tagged along.
Every candidate in the 2016 race so far is an experienced politician. That changes Monday with the addition of two new candidates with little electoral experience: neurosurgeon Ben Carson and former executive Carly Fiorina. Both chose Monday to announce their presidential campaigns, and both face an uphill battle against the GOP establishment.
Carson has confirmed his run with reporters, but the big kickoff will be a rally in Detroit, his hometown, Monday afternoon. Fiorina, meanwhile, is eschewing a big launch in favor of an online rollout, and announced her campaign with a tweet early Monday morning.
The field is expected to grow again on Tuesday when Mike Huckabee—the former Arkansas governor who made a strong showing in 2008, placing third in the Republican primary—makes his decision about a run formal.
In 2008, I was elected governor of Delaware. In politics, timing is everything. You can be a fantastic candidate and run in a bad year for your party and get clobbered. You can be an absolute dud and run in the right year and get the brass ring. 2008 was a good year to be a Democrat.
But beyond the political benefit, my timing was awful. A month before I took office at the depths of the Great Recession, Chrysler closed its assembly plant in Newark, my hometown. A few months after my inauguration, General Motors shuttered its plant a few miles away. That fall, Valero closed its refinery. Those three employers had represented the best opportunities for high school graduates to get middle-class jobs for decades. Within a year, all were gone.
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.
The question that most people ask themselves as they walk into their boss's office to negotiate their salaries is likely some variant of "What am I going to say?" But according to hostage negotiator Chris Voss, that might be the least important thing to keep in mind when negotiating.
Voss, now an adjunct professor at Georgetown University's McDonough School of Business, spent 24 years at the FBI. It was as an FBI agent that he started to get interested in hostage negotiations. At the time, a supervisor told him to start by volunteering at a suicide hotline to gain the set of listening abilities that a hostage negotiator needs. By 1992, he was training at the FBI's school for negotiators, and from 2004 to 2007, he was the FBI's lead international hostage negotiator. After retirement, Voss founded The Black Swan Group to bring negotiation know-how to the business world.
Confronted with similar disparities, a set of countries around the world—Norway, Italy, Belgium, France, Iceland, and Germany—have resorted to the force of law, adopting quotas that require corporate boards to maintain particular levels of gender balance. The law in Norway goes so far as to authorize the state to dissolve firms that do not comply. In my new book, published this week, I offer an in-depth study of this turn to regulation.