On public environment design processes

Photo by Tobias Dahlin

Byggstudio (BS): Tell us about your role and what Landskapslaget is working with.

Anna Lebisch (AL): I work as a landscape architect. Both as task manager, handler and participant depending on the type of assignment and team. When I do not work like LA, I take assignments as an artist. (We also have architects, architects, urban designers, engineers here at the office and I who also work as an artist)

We do everything between heaven and earth: -) In early stages or late.

Squares, parks, streets, gc bridges, gc lanes, strategies such as public places, parks, etc. programs for new and existing residential areas, child impact assessment, walkways / green paths / connections, plant proposals, detailed plans, houses, furniture, lighting proposals, playgrounds, playgrounds, infrastructure projects such as roads, noise abatement deals, etc.

B: How does the composition of the working group usually work out when planning a park?

AL: As for the park, it is often the city / district who is commissioner.

It usually consists of landscape architects, (architects if it is to be rebuilt as is often done: – waterfalls, ecology, cultural environment, lighting, and all projectors such as VA, Electricity, Daywaters and All Wires, LSO (Management Coordinator), Construction, Geo , AMA editor, Bas-P, Street (if the park includes walking and cycling stretches or has busy parts), artist.

B: How do you come into contact with design / crafts in your process? When? Why?

AL: Sometimes it is the client / builder who asks for it and often goes through Stockholm konst, the public art agency of Stockholm. Sometimes we point to it ourselves and it can happen internally within the project without going through a formal process through Stockholm konst. Often it is about finding the right buyer who is interested in it. It often happens in the program phase if it is somewhat pronounced as a requirement from the beginning. Otherwise, it may happen in the system processing phase. It is an additional cost that requires cost estimation, etc. But it opens the opportunity to wonder more about what the site should convey. We will have more time to immerse ourselves in the project. Art can strengthen the community of those who will be staying there because it can engage the users more.

B: Do you collaborate with designers? How? Why? What experience do you have? What can a designer contribute (for perspective) to your types of projects (in a landscape project)?

AL: We are interested in working with art as a process. It can happen at all stages but the sooner the better. To include those who are staying or staying in an area. Working out of local values ​​is important. Sometimes we are able to get a group assignment through the project we already work in. For example it can be a specific element of the project that develops into art or it can be an art strategy to an area. It may be play equipment, fountain, a furniture, landscaping, etc.

I have experience from England to work with graphic designers in many of the projects, which has been very rewarding. However, not so much in Sweden personally unfortunately. We often work with lighting designers and ecologists to strengthen certain parts of the projects.

A designer / craftsman / builder can contribute a lot with knowledge transfer of what you do not have time to explore but are interested in. And as you know, enrich the result. It opens up for new ways of thinking and is inspiring.

B: How do you think it would affect such a process of collaborating more across the different professions earlier (architect / designer / perhaps artist)? What are the advantages / disadvantages?

AL: We have a lot of assignments with architects. As part of a larger team or as sub-consultants to them. Through experience, it is quite difficult to work with architectural assignments because we (as Landscape Architects) come in when the detailed plan is set or when the disposition is already made which can limit us. But you can also get into the detailed planning stage and you can influence much.

I personally like to work with several disciplines. The easiest way is to choose who you want to work for a specific project.

B: How could more collaborations happen? How to create conditions for it in public processes?

AL: We are working partly to try to enter it in the procurement phase already. To broaden the program to include this.

We can also insist that the project is in need of a collaborative process. You can invite other designers and discuss the project as an office (in the procurement phase). Have an open dialogue around it to see what else you can offer. It is more common to hook up with architectural offices and vice versa in competitions and procurements than to include designers / artists / theorists. We have previously collaborated with a cultural historian, eg. Colleagues in the office work partly at Ultuna and KTH and come in contact with students and professions there.

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