Tuesday, 22 June 2021:
LILA 2021 jury completed the process of selecting winners out of 240 built projects. More than 400 products were considered for the product award. Editors of Landezine selected this year’s office award out of 171 submitted profiles and the honour award. Altogether, 13 awards and 5 special mentions were recognized.
Landezine thanks to all offices that submitted to LILA and especially invited jury members: Marianne Levinsen, Catherine Mosbach, Chloe J. Humphreys, Marti Franch and Andrew van Egmond.
With great pleasure, we announce LILA – Landezine International Landscape Awards 2021
The LILA Honour Award 2021 celebrates Snøhetta for its trans-disciplinary approach to the design process and specifically the ability to merge thinking about landscape and architecture. The results are often precious urban moments that host and inspire. Their designs appear as fitting consequences of advanced and multi-layered narratives.
From ancient myths to the latest cutting edge technology, Snøhetta’s creations radiate a unique and always different blend of knowledge, craftsmanship, generosity and passion.Read More
The editors of Landezine were charmed by the portfolio of simple and well-thought-out spaces. But what made us fall for the office completely were their writings that reveal a liberating spirit and refreshing attitude behind their actions. TERREMOTO has the power to effortlessly challenge the old certainties and recipes our profession is based on. The result are spaces that are simply generous and look incredibly comfortable. This is everyday landscape architecture at its best. Every community needs a TERREMOTO. And our global professional community needs TERREMOTO even more – in their manifesto they write:
“TERREMOTO mines the omnipotence of intentional inexactitude, and flirts openly with illegibility. We strive, in many cases, to do as little as possible. We revere the history of landscape architecture, but also kind of want to destroy it.”
“TERREMOTO believes that physical form is reason made visible, and thus philosophical subtexts and exploratory dialogues will eternally guide our work. Material daydreams, scientific walkabouts and the musical anarchy of horticulture, ecology, and art inform and inspire us.”
Epic! TERREMOTO 4ever!
Whereas the project consists of various programmes, in essence, it is divided into a green part, where park-like structures meet the street and adjacent buildings. The outstanding part of it is a paved dike that protects the city from the river when it floods. The dike is entirely designed as an open public space, built of cobblestone. A playful folding of polygons ensures a vast open space and a unique landscape experience. In times of high waters, the visitors will be able to observe the flooding of the riverbank and the consequent frolics between the river and the newly established topography.
The project is a poetic response to a palimpsest of natural and human-driven processes that shaped the site. One physical corpus was made by two different forces. The narrative states that the general perception of the artificial hill and the surrounding forest is a natural environment. They call it pseudo-nature.
Abstractly, it works because of the contrast between open and closed spaces, namely, an artificial forest with a forest ring and a clearing. The top of the hill is a small circular viewing platform made of polished concrete which references the geological structure of the moraine below the top of the hill. The viewing disc features fog-jets that produce an artificial cloud which acts as a poetic reference to flying, to being in the sky, to touching the sky. Entering the artificial cloud acts as a reference to moving through clouds when travelling by plane.
Beside the forest ring, the remaining forest area appears almost untouched, as it is under a nature conservation plan. Hence, maintenance is used as means of design. The project exposes many contradictions in our understanding of what is natural and what is artificial. It also provides a series of poetic ambiences and playful experiences on the hilltop.
The project comprises an extension of a cemetery built for the fallen soldiers of World War II, as well as other wars and missions of Dutch soldiers. The task was given to Karres en Brands who have already designed Nieuwe Ooster, a ground-breaking design that was influential some 15 years ago. Loenen may not be as innovative, yet it establishes a sequence of powerful atmosphere in an already beautiful context. Karres en Brands stated that they did not want to dominate the forest, but rather be a guest within it. Loenen cemetery is incredibly well-designed cemetery that spatial clarity and a peaceful setting for remembering or saying goodbye.
This post-industrial site deals with translating an old sugar factory into a user-friendly space that would at the same time reflect the previous spatial particularities. It is a very interesting response to questions about how abandoned structures can be redesigned and reused by visitors in this special milieu.
Cycling Through is an ongoing project in Limburg, Belgium, where three stages of the project are realised (Cycling Through Heathland, Cycling Through Trees, and Cycling Through Water) with further ‘Cycling Through the Underground’ still underway.
The project deals with the restructuring of the Limburg area, where coal mining was closed throughout the 1980s and 1990s. A new identity and strategy for the province were envisioned, namely cycling tourism, that would take visitors out in the landscape and emphasise both the natural and cultural/industrial heritage. The team at Tourism Limburg was inspired by the Norway Tourist Routes, specifically how they connect scenic places and design.
With its lush vegetation, Forest Garden approaches the site as hybridization between the ecosystem of plants, animals and humans. It is a delicate way of setting up clearings in the forest to take advantage of resources (productive gardens, natural pools, tree regeneration) without disturbing it. Studio Ome effectively used all topographical facts, existing plants, sunlight, and other natural forces to empower a variety of programmes, needs, and, above all, experiential richness. They obviously appreciate randomness and a more relaxed approach to planting. The decision to leave the paths in the garden as informal compacted earth paths, shows a humble approach to landscaping work, which the members of the jury felt demonstrated a truly sensitive understanding of providing ‘just enough’ to meet the brief. In essence, the project emphasizes how we can leave space for nature, which is an important message going forward. Forest Garden offers a wonderfully dense atmosphere and infinite possibilities for exploration and observation.
Hylla Cloufall succeeds beautifully in creating a unique landscape on a roof. The design intent shows a more relaxed approach which our profession should be more aware of. They write: »the traditional buildings in Yunnan are also built with great freedom: the old craftsmen had no specific design for strict planning. They might suddenly pile a stone mill into the wall, and they didn’t care whether the edges and surfaces were properly handled … It’s all about randomness, imagination, and carelessness.«
The way the design uses a limited material pallet in different ways for different areas is remarkable. The jury also recognized its sense of craftsmanship, an approach that is always more sustainable than the ‘fast’ solutions that are detrimental to our planet.
The power of this project lies in the rich sequence of diverse ambiences it presents within a highly contrasting and difficult existing conditions. The design approach is contemporary, yet references to a more traditional Chinese garden design are seamlessly interwoven into a new experience. Although the park seems detached from the residential buildings due to topographical constraints, it is placed alongside dense housing, offering residents easy access to quiet contemplative niches. With its strongly artificial appearance, it juxtaposes a rougher and more natural surrounding valley that had been damaged by a series of infrastructural interventions. The use of materials is impressive and works well with the various native plant choices – a more ‘foresty’ style outside the pavilion, and mosses within it. Offering such an experience is truly a generous gift to the residents.
H+N+S have, in their very own Dutch way, invented a new dike typology – innovative terrain modelling for more efficient and sustainable land use and simpler maintenance.
Guangzhou Ecological Belt is an ambitious plan to protect the crucial environmental dynamics of a river system from rapid urbanisation. At the same time, it treats the already urbanised parts of rivers with a social sensibility, offering sequences of relevant and resilient spaces.
The experiential nature of this project is admirable with the sense of immersion within the wetland habitat it creates, which is also beneficial for the user from an educational perspective, allowing observation and appreciation of a wetland habitat close at hand. At eye level, this stormwater facility merges with the surrounding hills, offering an inviting experience for the local community and other passers-by.
As any engaging playscape, Brettspiel welcomes young and old it can be many things at once. As both open and abstract, it encourages young explorers to make up games and invent rules. At the same time, visitors can find themselves in previously undiscovered situations and interacting with each other in new ways.
The outdoor spaces of Kalvebod Faelled School are an engaging and inviting environment for children. The project develops a design language to handle programme spaces around the building. The ‘intercellular’ concrete pavement encourages running and moving about. A convivial archipelago of different rooms produces a multi-faceted playscape, from prefabricated, manufactured equipment to vegetation and topography as more abstract means of play.
The project questions the restoration of the exterior spaces of a campus that has suffered from the degradation of time and the roots of large banyan trees. The design explores several modalities of porosity and hybridity between the inert and the living.
LILA 2021 jury recognized the terracotta planters by Belgian manufacturer Domani as outstanding achievements of traditional craftsmanship with a contemporary feel. With its materiality, Domani’s planters can bring a warm feel to a variety of intimate spaces.