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A R C HI T E C T UR E
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Landscape Urbanism / Motion / Spontaneous Vegetation autumn 2006
A
J OUR NA L
o f L A NDS C A P E
A R C HI T E C T UR E
autumn 06
Under the Sky
Nol van Dooren
Thoughts on the relevance
of landscape architecture
The Berlin Tilla-Durieux-Park and
Spreebogenpark examined in
the context of a unifying capital
54
Book Reviews
Lexicon
of garden and landscape architecture
Drosscape
Wasting Land in Urban America
Theory in Landscape Architecture
A Reader
Fieldwork
Landscape Architecture Europe
Only with Nature
Catalogue of the Third European
Landscape Biennial, 2003
66 -70
Notes 71
Submission Guidelines 74
Imprint 75
Editorial
4
Articles
Anne Marie Hallal
Barcelonas Fossar de les Moreres:
Disinterring the Heterotopic
6
Krystallia Kamvasinou
Reclaiming the Obsolete
in Transitional Landscapes:
Perception, Motion, Engagement
16
Pierre Donadieu
Landscape Urbanism in Europe:
From Brownfields to Sustainable
Urban Development
36
Norbert Khn
Intentions for the Unintentional
46
Thinking Eye
Jrg Rekittke & Philip Paar
Digital Botany
28


J OUR NA L
o f L A NDS C A P E
A R C HI T E C T UR E
29 Journal of Landscape Architecture / autumn 2006
by Jrg Rekittke and Philip Paar

Digital Botany T HI NK I NG E Y E
In 1503 Albrecht Drer painted the
renowned work of art Large Piece of Turf
using a mixed technique of pen drawing
and watercolour painting.
Inside the Large Piece of Turf, taken
from a 3-D animation of Albrecht
Drers painting Large Piece of Turf,
by Lenn3D and Jan Walter Schliep.
This is not a failed attempt of a digital
copy of the celebrated artwork of Drer,
but an analytical model that depicts
the distribution of the formative plant
species in the master craftsmans paint-
ing. Therefore, only identifiable plants
and plant positions are displayed. The
basis of the model is formed by a quasi
georeferenced planting plan. The digit-
al plants are not visualized as Drers
painting but generated with real photo
textures and realistic shades, rendered
with Cinema4D
Digital Botany

A L B E R T I NA WI E N
Should landscape architects and planners continue to
doodle with green crayons until Domesday?
Is it really acceptable for the representation of vege-
tation to remain little more than a pretty and decorative,
though unidentifiable, botanical metaphor even where
projects make use of otherwise highly detailed computer-
based design plans? Should we really leave the digital
modelling of vegetation to the designers of those perverse
Ego-Shooter-Games, and content ourselves with low-
resolution, two-dimensional billboard silhouettes?
Will vegetation collages, drawn up by our professional
colleagues, continue to consist only of shrubs and trees? As
students did we never hear mention of the term herb layer?
Is it not the case that the visual representation of veg-
etation and greenery merits special care, attention and
ingenu ity, as this is one of the few particularly unique
features of our profession?
For years, these questions have given us no respite. The
unique, fascinating and complex potential of vegetation
as a design element becomes overwhelmingly apparent as
soon as one tries to create digital models of vegetation, es-
pecially when the aim is to replicate as nearly as possible
the mosaic structure, distribution and forms of actual
na tural herb vegetation communities. A digital model-
ler must possess marked creative and aesthetic abilities, as
well as a high level of technical skill, if the results of such
attempts are to impress the critical observer as being true-
to-life and realistic.
At the same time, we remain painfully aware that im-
ages, which today appear convincing in their degree of
realism to viewers of this visual essay, will, within a rela-
tively short space of time, cause us all to smile ruefully and
mutter something about the stone age of computer evo-
lution. Nevertheless, we invite the reader to make critical
judgements about the images presented here and their val-
ue as landscape architectural tools. It has taken three years
of intensive interdisciplinary research to reach even this
initial stage. The title of the project Lenn3D was cho-
sen to reflect the fact that we view ourselves not as van-
guard smart alecs, but as researchers and inheritors of an
old and time-honoured profession. Our progress in creat-
ing digital visualisations of vegetation and plant life for
landscape planners and designers has, we think, much
to do with an unconventional research team comprising
experts drawn from diverse fields, including computer
graphics science, agricultural science and botanical science.
The result of this cooperative project is the prototype sys-
tem Lenn3D a GIS-data-based visualisation tool for the
interactive exploration of three-dimensional landscapes,
with potential for further development.
From 20022005, the German Federal Environmental
Foundation (DBU) funded this research project, which
included software development and testing in plan-
ning practice. Habitat and land-use data provide the
basis for Lenn3Ds vegetation modelling; the input of
further geographical data allows automatic generation
of plant distribution maps. Three-dimensional plant
models are assigned to the distribution map and posi-
tioned on the terrain model. The system provides inter-
active representational control of vegetation and land-
scapes in either photorealistic, sketchy or graphically
reduced style. It is generally agreed that photorealism
cannot always be the main aim of digital representa-
tions, because highly realistic representations often
cloud the issue in question producing the undesir-
able effect that one cannot address specifics, because
of the lack of any focus. Instead, we try to adhere to the
maxim that each specific task requires its own tailor-
made form of graphic representation. Digital tools
simply extend the repertoire of forms of visual expres-
sion. It is for this reason that we see ourselves as inher-
itors of our trade not as competitors. Existing meth-
ods of representation are not replaced by computerised
tools, they are enhanced by them.
38 Journal of Landscape Architecture / autumn 2006 39 Journal of Landscape Architecture / autumn 2006
practice experimented with in France during the 1980s in Rennes and
Orlans, and by several landscape architects (as Georges Samel and Gilles
Clment) is aimed at reducing the use of pesticides and fertilisers, and
diversifying the forms of public green spaces (from the most horticultur-
al to the most natural) (Aggeri 2004; Aggeri & Donadieu 2003). This approach
was again adopted within the framework of sustainable urban develop-
ment, namely in the technical departments for the management of the
parks and gardens of the city of Paris.
Basically, open spaces in city centres and peripheral areas are strate-
gic places for the intervention of the planner, generally the landscape ar-
chitect, whether or not she or he claims to practice landscape urbanism.
The planner, upon the request of the public authorities, thus contributes
to producing the green infrastructure of the urban and periurban space.
This infrastructure is produced by spontaneous ecological processes (eco-
logical successions) or technical processes (plantations and assisted green-
ing). It preserves the signs of the memory of the economic activity that has
ceased to be and remains in great part accessible to the urban public. Po-
tentially, since it is reversible, the green infrastructure is intended to be
used for new economic, cultural or social activities. However, the condi-
tions which would not impact (ecologically) the contribution to the lo-
cal, regional or national fabric provided by ecological corridors in which
this new mutation may be conducted, are rarely studied. This frequent ab-
sence of ecological values in the discourses and practices of landscape ar-
chitects in France is rather singular if one compares it with their neigh-
bours in Northern Europe where such values are present in the minds of
planners. This can be explained by looking back at the key period of the
1980s where the extension of urban wastelands led to State and local au-
thorities devising new policies.
2. The Emergence of Landscape Urbanism in France
The recent doctoral thesis by landscape architect Hlne Soulier (2006) clear-
ly demonstrates the role of public authorities, clients and landscape ar-
chitects in policies for the redevelopment of brownfield sites, namely in
Paris. I will borrow many elements from her work in the development of
this section.
The role of public institutions
In France, the 1980s were marked by the de-industrialisation of the natio-
nal territory. From 1984, the government defined fifteen centres for econo-
mic renewal in employment basins experiencing problems: in the mining
areas of the North and East as well as those in the Centre and Marseille.
Two institutions played a major role in accompanying the de-industrial-
isation process: DATAR (Dlgation lamnagement du territoire et laction
rgionale auprs du premier ministre Inter-ministerial delegation in charge
of regional planning) and IAURIF (Institut damnagement et durbanisme de
la rgion dIle-de-France Regional and Urban Planning Institute for the
Region of Ile-de-France). From 1979 to 1998 the latter published many ar-
ticles and reports on brownfield sites in the Ile-de-France region (Soulier
2006: 67). In these documents, the images conveyed by these brownfield
sites evoke a spectacle of desolation and death. Wastelands are places of
economic and social recession. They degrade the surrounding urban fab-
ric, which becomes less attractive and also loses its businesses and jobs.
Considered by DATAR and IAURIF as the consequences of industrial cri-
sis, brownfields are perceived, above all, as a threat to remaining econom-
ic activities and a source of distress for the inhabitants.
That is why, during the 1980s, public institutions changed their atti-
tude concerning urban wastelands. From being an urban waste product,
the wasteland becomes, namely for IAURIF, a place that holds promise
for the regeneration and redevelopment of the suburbs. It is at this stage
that the territorial dimension of the economic crisis becomes apparent in
France. The impact of the industrial crisis is not only economic and social.
The State cannot simply be content with measures aimed at outplacing
salaried employees and turn a blind eye to the visible traces of the crisis.
That is why IAURIF, with regional funding, proposed to subsidise studies
for the re-use of wastelands and the repurchasing by local authorities of
abandoned sites. However, DATAR insisted on the responsibility of com-
panies regarding the decontamination of abandoned sites.
Based on the idea that the landscape is the relation between a percep-
tion of the world and the visible world itself, DATAR acknowledged the
fact that the landscape regeneration of wasteland sites was the duty of
public authorities. First of all it is a question of solidarity and dignity.
tablish a structuring green fabric accompanied by an urban planning ap-
proach (Vigny 1995: 91) according to the greening techniques developed by
the Institut de dveloppement forestier (Guinaudeau 1987) and horticultur-
al engineer Jean-Claude Hardy (Fig. 2). The objective at Hagondange, Vil-
lerupt, Homcourt-Joeuf, Micheville and Pompey, where the demise of the
Lorraine steel industry had left visible traces, was to develop urban plans
with a green structuring fabric, but one which did not present too strong
a constraint so as to ensure a certain flexibility for future uses (Vigny 1995:
91). In Villerupt, the memory of the mine remains visible today in the form
of retaining walls that make the site look like a Vauban fortress and the
cutting faces which are colonised by birches and willows; ten years ago,
the cirque left by the former open-cut steel mine served as the setting for
a festival of Italian film.
The same ideas were later adopted by young French landscape archi-
tects who had studied with Jacques Sgard. Among these, Michel Desvigne
and Christine Dalnoky designed the tree planting in the brownfields of
the Millennium Dome in London (designed by Richard Rogers), as an in-
termediary nature intended to become a residential area later. Desvigne
gives the following definition of this concept: A living environment on a
geographic scale, which gives qualities to a territory to compose with lat-
er (Hugliez 2002: 338). The project involves overwhelming the site with
planted vegetation. Twelve thousand trees, planted in 1999, have produced
a forest landscape which may evoke the alluvial forest that could sponta-
neously grow in this place. Desvigne also used this ecological approach
to landscape management when he worked in the brownfields of Boston
with his students from Harvard Graduate School of Design. Taking as a
reference the works of the American landscape architect Frederic Law Olm-
sted, Desvigne and Dalnoky have worked towards defining the aesthetics
of transformation (Hugliez 2002: 338). Their approach is very close to that
of Sgard but they interpret their work in a more ecological manner.
In Italy, to the west of Milan, the Parco delle cave (Quarries Park) was
developed in a built-up area both for the rehabilitation of wetlands (Fig. 3)
and for recreational activities for urban dwellers (Fig. 4) since 1986. As the
site was essentially aquatic and wooded, there was no need to plant trees.
Moreover, planned uses were recreational and not for building.
In each of these cases, the notion of landscape urbanism was not used
it had not yet been formally invented (before 1997, the expression did
not even exist in English or in French). In France, the term paysagisme
damnagement was used to describe these practices, and which appeared
at the time of the creation of the Centre national dtudes et de recherches
du paysage (CNERP) in Trappes near Versailles in 1972. It replaced that of
architecture du paysage to indicate that the commission did not only con-
cern public parks and gardens. This newer expression also distinguishes
those who like Jacques Sgard in the Vosges and Bernard Fischesser with
Hughes Lambert in the Alps were making plans and conducting land-
scape studies on the scale of vast rural territories following the same ap-
proach to landscape planning as in the Netherlands.
Also in France, there is a further practice that could be considered as a
part of landscape urbanism in its public space management phase. This is
what specialists in urban green spaces call differentiated management (or
ecological or harmonious management). Inspired by the examples of sev-
eral towns and cities in the Netherlands, Germany and Switzerland, this
Landscape Urbanism in Europe Pierre Donadieu
modern rationalisation. The use of the word landscape is therefore no
longer defined solely within the geographical, historical, sociological or
ecological fields but also within that of human and cultural anthropology.
In this last field of knowledge, the meaning of the term landscape is also
explained by the distinctions that anthropologist Philippe Descola (2005)
makes between naturalist societies those of Western culture (with land-
scapes as defined by Berque) and the others (animist, totemic and analo-
gous) without a landscape.
The origins of landscape urbanism stemming from ecology, architec-
ture, landscape architecture and epistemology are to be found in varying de-
grees in the theories and practices of contemporary landscape architects.
In the work of the American landscape architect James Corner, who
succeeded Ian McHarg at the University of Pennsylvania, landscape urban-
ism prepares the open urban space for new activities that are known or as
yet unknown. Based on the ideas of Waldheim, Corner defines three stages
in the process of reclaiming an abandoned industrial site: first the mate-
rial disconnection of the site from the city, the demolition of the factories;
second, the natural (spontaneous plant dynamics) or artificial (plantations)
greening of the site. Thirdly, this then makes it possible to re-implant in
the plant matrix obtained, the economic, residential or environmental ac-
tivities that are judged relevant. Their stoppage will then lead to the same
scenario that alternates ecological processes with socioeconomic processes
within the same space. This type of practice integrates the relative uncer-
tainty in the arrival and the duration of human settlements. It plans for
the destruction of a landscape that is condemned when its economic prof-
itability or its social uses disappear, then, for the period of time pending
the return of a settlement, by greening the vacant site. In this regard, this
strategic choice that preserves the functional potential of the site and ena-
bles a rebirth of economic, social and cultural activities can be counted as
a part of the values of sustainable development.
In France, this type of practice has been known by landscape architects
since the 1980s under the form of the pre-greening of abandoned indus-
trial sites, either pending new uses, or to prepare them (a new residential
or business area, for example). There are many French landscape architects
today who have been asked by public authorities to work on brownfield
sites. Invited by the public planning authority of Lorraine in the East of
France from 1986, the landscape architect Jacques Sgard was asked to es-
Figure 4 Parco delle cave, West Milan/ Italy: fishing use Figure 3 Parco delle cave, West Milan/Italy: creation of wetlands
Figure 2 Greened mine face in Lorraine, France
C L. F. X. B OUC HA R D
48 Journal of Landscape Architecture / autumn 2006 49 Journal of Landscape Architecture / autumn 2006
Alternative Strategies: Intervening in the Spontaneous
The results above show that spontaneous vegetation does not offer the
same aesthetic value as traditional plantings. In addition, the uses of spon-
taneous vegetation for ornamental purposes in public or private areas are
largely misunderstood. Therefore, to use spontaneous vegetation for or-
namental purposes, a kind of enhancement or design work is necessary.
To intervene in spontaneous vegetation to improve it aesthetically may
seem as a contradiction: spontaneous means that which occurs by chance,
without conscious design intent. Intervention means well-intended de-
sign work and creates more or less sophisticated new types of plantings
that include some spontaneous vegetation. Essentially, there are four ways
of dealing with spontaneous vegetation:
1. Maintaining the current state (status quo) through appropriate meas-
ures (for example, maintaining a meadow by mowing);
2. Allowing succession to proceed naturally (no intervention takes place:
a new kind of wilderness will be created);
3. Effecting changes in succession through interventions (for example,
creating an open grove-like effect by removing branches and shrubs in
a mature stand);
4. Improving the aesthetic value by changing the species composition.
The first three approaches have an influence on vegetation structure and
may lead to kind of maturing or succession, but will not change species
composition directly. The authors approach is based on conscious and di-
rect changes of species composition (that of 4 above); this approach uses
plants that can clearly build a stable community under the given condi-
tions of a site and tries to transform the plant communities according to a
design perspective. The author is thus dealing with design using sponta-
neously occurring species and combining them with ornamental plants.
(Khn 2003b, c). These may be plants with conspicuous flowers, with large,
basal leaves and a striking form, or with a very fine texture that can serve
to enrich the existing vegetation.
The success of such measures depends on the ability of the introduced
species to coexist with the existing species in other words, whether they
can compete under the given conditions.
In a three-year-long field experiment, the ability of different species
to compete against a stand of Calamagrostis epigeios and Tanacetum vulga-
re under two different soil conditions (see Table 2) was tested. The three
tar get species, Aster amellus, Monarda fistulosa and Solidago canadensis were
planted separately and in competition with these two matrix species. Fig-
ure 3 shows the results.
The results of three representative species are shown as follows: As-
ter amellus could with competition only survive under poor conditions
(Site 1). But there were less flowering shoots. Best results were under rich
conditions (Site 2) without competition, such as the conditions in tradi-
tional flowerbeds. Therefore, Aster amellus is not recommended for enrich-
ing a spontaneous Artemisietea society but may survive in less vigorous
vegetation. In this case, many individual plantings would be necessary to
create a striking flower display.
Monarda fistulosa, an American prairie plant, was able to survive un-
der all conditions. But the number of shoots was apparently reduced with
competition. It grew better in rich soil, there the number of shoots was
Figure 1 Aesthetic view on a spontaneous growing stand
(1 x 1 m
2
) (Artemisio-Tanacetetum) (Abicht 2001, modified)
Figure 2 Aesthetic view on a spontaneous growing stand
(1 x 1 m
2
) (Agropyretea-intermedio-repentis community)
(Abicht 2001, modified)
Site Matrix (spontaneous) species
1
2
Calamagrostis epigeios
Tanacetum vulgare
Calamagrostis epigeios
Tanacetum vulgare
Target species Soil and nutrient supply
(average)
Aster amellus
Monarda fistulosa
Solidago canadensis
Aster amellus
Monarda fistulosa
Solidago canadensis
Sandy loam
pH 6.5
N 2.25 (kg/ha)
P 27.1 (mg/100g)
K 6.0 (mg/100g)
Sandy loam
pH 6.3
N 8.6 (kg/ha)
P 37.3 (mg/100g)
K 18.1 (mg/100g)
Use
Mown once a year
(winter)
Mown once a year
(winter)
Aster amellus
Monarda fistulosa
solidago canadensis
s
u
r
v
iv
in
g
r
a
t
e
Z
s
u
r
v
iv
in
g
r
a
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Z
s
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v
iv
in
g
r
a
t
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Z

Sprouts total Aster Amellus

poor; e. C. rich; e. C. poor; w. C. ritch; w. C.
1999 1,6 4,8 1,9 2,3
2000 3,6 8,4 2,5 6,3
2001 6,0 17,6 2,7 3,0
Survival total Aster Amellus
poor; e. C. rich; e. C. poor; w. C. ritch; w. C.
1999 71,1 97,4 80,0 86,7
2000 71,1 89,5 70,0 83,3
2001 60,5 89,5 56,7 26,7
Sprouts total Monarda Fistulosa
poor; e. C. rich; e.C. poor; w. C. rich; w. C.
1999 6,5 5,4 3,6 3,3
2000 7,7 15,5 3,9 7,7
2001 8,6 22,2 3,7 12,3
Survival total Monarda Fistulosa
poor; e. C. rich; e. C. poor; w. C. rich; w. C.
1999 100,0 95,0 100,0 100,0
2000 90,0 92,5 87,5 93,8
2001 85,0 85,0 68,8 87,5
Sprouts total Solidago
poor; e. C. rich; e. C. poor; w. C. Critch; w. C.
1999 1,2 2,8 1,8 1,6
2000 6,6 8,8 5,1 4,4
2001 15 20 9,3 8,8
Survival total Solidago
poor; e.C. rich; e.C. poor; w. C. ritch; w. C.
1999 90,0 97,5 75,0 75,0
2000 90,0 97,5 75,0 71,9
2001 90,0 97,5 71,9 68,8
Aster amellus

Monarda fistulosa
solidago canadensis
peer, e. C rich, e. C.
peer, w. C ritch, w. C.
n
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m
b
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r
o
f s
h
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s
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s

GROUND COVER
COLOUR
TEXTURE
03.05.2001 23.05.2001 20.06.2001 18.07.2001 22.08.2001
03.05.2001 24.05.2001 18.06.2001 20.07.2001 23.08.2001
GROUND COVER
COLOUR
TEXTURE
Table 2 Conditions of investigation sites at Berlin-Dahlem
(72 m NN; 589,2 mm precipitation) (Khn 2003)
Figure 3 Number of shoots and survival rate of Aster
amellus, Monarda fistulosa and Solidago canadensis in a
stand of Calamagrostis epigejos and Tanacetum vulgare
after 1, 2 and 3 years on two different sites.
(conditions: poor and rich; and with (w.C.)
and except competition (e.C.)).
Intentions for the Unintentional Norbert Khn
54 Journal of Landscape Architecture / autumn 2006 55 Journal of Landscape Architecture / autumn 2006
We all remember the fascinating events in Germany, 1989.
The wall fell; West and East Germany were unified again.
This called for the unification of the divided capital in ur-
banistic terms and thus applied above all to the devastated
zone along the former wall. Here, the dramatic consequenc-
es of Nazism, the Second World War and conflicting urban-
istic ideologies during the cold war had left an almost emp-
ty zone loaded with symbolism and full of traces of history.
This area was transformed at an incredible speed after 1989.
It made Berlin the stage for architecture.
My reflections on the way this zone developed are based
on a feeling that its transformation has two faces one of im-
pressive and remarkable projects and another of rather inco-
herent urban structure. In this article, two landscape archi-
tecture projects illustrate both the remarkable achievement
and the lack of coherence. The first is Tilla-Durieux-Park
near Potsdamer Platz; the second is Spreebogenpark between
Hauptbahnhof, the brand new main station and the govern-
mental quarter. These projects more or less mark the south-
ern and the northern edges of the transformation zone.
Nol van Dooren
Thoughts on the relevance of landscape
architecture: the Berlin Tilla-Durieux-Park
and Spreebogenpark examined in the context
of a unifying capital
After 1989, Berlin literally became one gigantic building site along the path of the former wall. The best ar-
chitects, urban planners and landscape architects were asked to transform this devastated zone into a new
city centre. The hectic building period has ended and now it is time to evaluate the results. In this article,
two very different landscape architecture projects are evaluated. Both projects are evaluated on their own
merits, reflecting on their beauty and craftsmanship, but the focus is on their use, their meaning and their
credibility in relation to the physical surroundings, and the ideological, historical and strategic motives
that determined the way this crucial zone of Berlin developed after 1989. A main point of debate is the scale
on which landscape architecture operated.
This aerial photograph offers a good overview of Spree-
bogenpark. In the north the brand new Hauptbahnhof;
in the south the strip of government buildings that
separates the Spreebogenpark from the the Platz der
Republik. This green space in front of the Reichstag
NAME OF THE OP ERATI ON
Design of the Spreebogenpark
S I TUATI ON
Berlin, Germany
CONTRACTI NG AUTHORI TY
DSK Bro Berlin;
Deutsche Stadt- und
Entwicklungsgesellschaft GmbH
P RI ME CONTRACTOR
Design by w+s Landschaftsarchitekten
Solothurn / Switzerland
Construction with
Gruppe F / Berlin, Germany
S TUDY DATI NG
Competition 1997
CONS TRUCTI ON DATI NG
2003-2005
S URF ACE
60,000 m
2
GL OBAL COS T
9.8 million Euros


Critique
Critique in this article, is meant as this particular form of cri-
tically evaluating a realized project [1]. Theory in design dis-
ciplines should be constructed and reconstructed from par-
ticular cases (Swaffield 2006). The learning mode in all design
disciplines implies evaluating realized projects. Projects are
partly based on solid theory often provided by other dis-
ciplines, such as vegetation or social sciences. On the other
hand, all landscape architecture projects have a high degree
of subjectivity. Critique is, in my opinion, a manner of look-
ing at things that takes into account this mix of theory-based
motives and subjective arguments. Therefore, the method
here fits into the category of design critics who adopt a the-
oretical foundation based within a subjectivist paradigm
(Swaffield 2006). That does not mean that a critique shouldnt
be transparent in its argumentation. The key elements of a
critique should be the questions: how is the pro ject done; why
is the project done that way; what can be learned for future
projects? Critique has a lot to do with describing and mak-
ing understandable. That implies as far as possible a non-
biased judgement; taking into account the motives of cli-
was designed by Ltzow 7, Berlin. In the first stage of
the competition the green space was seen as one, but
in the end different bureaus worked out parts of it.
NAME OF THE OP E RATI ON
Design of the Tilla-Durieux-Park
S I TUATI ON
Berlin, Germany
CONTRACTI NG AUTHORI TY
Senate Department for Urban Development
P RI ME CONTRACTOR
DS Landschapsarchitekten
Amsterdam / The Netherlands
Construction with
Thomas Dietrich / Berlin, Germany
S TUDY DATI NG
Competition 1995
BUI L DI NG DATI NG
2000 -2003
S URF ACE
25,000 m
2
GL OBAL COS T
2,250,000 Euros


Under The Sky
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