IN-PERSON Lisbon Livable Cities. Section A

Abstract

The past three decades have witnessed a significant evolution in graphic representation within landscape architecture, driven by technological advancements and the complexity of environmental challenges. This paper examines the pioneering visual modes and representational approaches of acclaimed landscape architects, James Corner of Field Operations, Adriaan Geuze of West 8, and Ken Smith of Ken Smith Workshop, highlighting how their graphic innovations have reshaped the aesthetics, communication, and pedagogy of the discipline. Their innovative techniques have enhanced how landscapes are conceptualized, designed, and understood, positioning representation as both a tool for storytelling and critical inquiry. James Corner’s early “map-drawings” integrated analytical data with artistic aesthetics, crafting layered spatial narratives. His projects like the High Line in New York City and the Camden High Line in London fuse mapping, abstract collage, and field sketches to envision urban renewal. West 8’s practice embraces the distortion of reality to provoke thought and engagement. The interplay between digital precision and artistic expression underpins their graphic methodology, resulting in images that are positioned in context and open to interpretation. This is seen in the Schouwburgplein, Rotterdam through its expression of the void. As digital tools like Photoshop emerged, Smith adapted his montage techniques to the digital realm. His use of layering, masking, and perspective manipulation demonstrates how traditional collage principles can be integrated into contemporary digital workflows. The influence of land artists like Robert Smithson, is evident in the graphic expression of Smith’s designs. These practitioners highlight the evolution of representation from a means of communication to a critical, expressive medium, shaping how landscapes are designed and perceived today.