2019 ASLA COMMUNICATIONS AWARD OF HONOR: LA+ Interdisciplinary Journal of Landscape Architecture / University of Pennsylvania Stuart Weitzman School of Design

The world’s only interdisciplinary journal of landscape architecture.

Project Specs

“《LA+》在景观设计专业与众多其他学科之间建立了有力而富有挑战性的对话关系,其中包括来自文化、艺术、科学、历史、建筑以及自然环境领域的诸多学科。凭借其宏大的视野和令人赞叹的视觉风格,这本富有开创性的期刊将景观学的概念深深地根植于世界范围,促进了景观与其他领域的必要交流。独特的跨学科方法和优质的内容使其能够将理论与实践有效结合,不仅为专业论述树立了新的标准,更通过精美的图例和出类拔萃的制作水准为其多样化的读者群体给予了灵感。”
– 2019年评审委员会

“LA+ facilitates a robust and challenging dialogue between the landscape architecture profession and myriad other disciplines, including those from the worlds of culture, art, science, history, and the built and natural environments. With its panoply of perspectives and stunning visual style, this groundbreaking journal places the idea of landscape firmly in the world at large, fostering a necessary conversation that occurs in few other settings. Its uniquely interdisciplinary approach bridges theory and practice, establishing a record of editorial excellence that has raised the quality of discourse in the profession and beyond, while inspiring its diverse readership with beautiful graphics and outstanding production values.”
– 2019 Awards Jury

来自 ASLA 对gooood的分享。
LA+ Interdisciplinary Journal of Landscape Architecture | University of Pennsylvania Stuart Weitzman School of Design

 

项目概述
PROJECT STATEMENT

《LA+》(Landscape Architecture Plus)是全球唯一的跨学科景观设计期刊,由宾夕法尼亚大学景观设计系于2014年发行,其使命是通过对每期主题的多角度探讨来揭示景观设计与其他学科之间的联系并建立二者之间的协作。因而除了设计行业之外,还有大量来自不同领域的作者为之供稿,包括历史学家、艺术家、地理学家、人类学家、心理学家、规划师、科学家和哲学家等等。这种跨学科的模式不仅丰富了景观设计学本身,还有助于将景观设计学推广至其他领域的新读者群。《LA+》致力于呈现拥有全球性视角和文化多样性的内容,促使读者对景观设计领域以及景观设计师的角色建立更全面的认知。《LA+》目前已出版9期,还有4期即将面世,赢得了世界范围的广泛关注。《LA+》制作精良,可以通过订阅、实体书店和博物馆(如MoMA和Musée des Beaux-Arts)等多种渠道在全球获取。2019年,《LA+》开始推出电子版本。

LA+ (Landscape Architecture Plus) is the world’s only interdisciplinary journal of landscape architecture. Launched in 2014 by the Landscape Architecture Department at the University of Pennsylvania, the journal’s mission is to reveal connections and build collaborations between landscape architecture and other disciplines by exploring each issue’s theme from multiple perspectives.Therefore, in addition to the design professions, each issue includes works by a range of disciplinary authors, including historians, artists, geographers, anthropologists, psychologists, planners, scientists, and philosophers. This interdisciplinary approach not only enriches landscape architecture, it also introduces landscape architecture to new audiences in other fields. LA+ Journal is committed to content that promotes a global diversity of perspectives and cultures, and which encourages an expansive understanding of the field of landscape architecture and the role of landscape architects. With nine issues published and four in production, LA+ has gained a strong global following. LA+ is beautifully produced and is distributed internationally via subscription, and through bookshops and museums such as MoMA and the Musée des Beaux-Arts. This year, LA+ launches its digital publication.

▲《LA+》1-9期封面和封底一览,LA+ Interdisciplinary Journal of Landscape Architecture Covers: LA+ Journal issues 1 – 9 front and back covers

 

项目说明
PROJECT NARRATIVE

目的

《LA+》作为一本以景观设计为中心的跨学科期刊,其使命是“通过对每期主题的多角度探讨,揭示景观设计与其他学科之间的联系并建立二者之间的协作”。这样做的目的是鼓励景观设计师和城市设计师以更加多元的、来自其他领域和行业的方法去架构并解决与景观学相关的问题,同时将景观设计学更广泛地推广至学术界和其他专业的读者群。在每期内容中,《LA+》都会邀请来自相关领域的当代思想家撰写文章,其讨论的内容涉及景观设计实践的空间和规模、景观设计师使用的技术和工具,以及景观设计师所服务的人群与社区。

例如,在《 LA+ WILD》一期中,进化生物学家Timothy Mousseau和Anders Møller强调了核灾难对景观带来的后果;科学作家Emma Marris则探讨了在社区基础上保护非原生动物的可能性。在《LA+ PLEASURE》一期中,设计哲学家Mark Kingwell将对城市的解读化为对情境主义者的颂赞;神经科学家Morten Kringelbach与艺术家Annie Cattrell建立了史无前例的合作,描摹了能够为人脑带来愉悦的建筑。在《LA+ TYRANNY》一期中,地理学家Matthew Gandy讨论了人工照明如何改变城市;符号学家Patrizia Violi通过纪念场所的设计剖析了社区对创伤事件的应对方式。在《LA+ SIMULATION》一期中,科学史学家Paul Edwards向读者阐释了气候建模;艺术家Mark Nystrom则通过能够量化天气数据的艺术作品来捕捉不断变化的环境中所隐藏的种种规律。在《LA+ IDENTITY》一期中,环境人文领域的著名作家Ursula Heise探究了“场所精神”在今天如何逐步被“地球精神”所取代;哲学家Ed Casey研究了人造场所的复杂定义。在《LA+ RISK》一期中,未来学家Andrew Zolli概述了使行星变化可见且可操作性的新卫星技术的发展;城市地理学家Jon Coaffee讨论了气候变化和安全风险背景下的弹性化城市设计。在最新一期的《LA+ TIME》中,景观生态学家Erle Ellis发表了一篇关于“设计在高度改造的人类世生态系统中的作用”的论文;著名人类学家Tim Ingold针对表演艺术家Tehching Hseih多年以来将艺术、时间与空间连接起来的创作生涯进行了深度思考。简而言之,《LA+》的内容早已超越了设计者与设计者之间的对话。

《LA+》还作为景观设计领域内外的文化平台引发针对各个主题的探讨,并借助国际设计竞赛(LA+ IMAGINATION和LA+ ICONOCLAST)等引人瞩目的事件来促进交流和对话,期刊的内容也完全向各领域的专业人士和学生开放。最终,通过一贯严谨、语言平实的文章以及激发思考的图解,《LA+》对学术界和景观设计专业的知识自满和正统观念发起了挑战。

受众

《LA+》有意地将自身定位于正统学术期刊与行业杂志之间,从而能够同时适用于景观、建筑、规划和城市设计行业的“反思实践者”,以及专家和学生群体。得益于其跨学科的性质,《LA+》能够将景观设计的主题推向相较于普通期刊更广大的受众。来自其他领域的众多思想家的文章为每期内容带来了新的声音,反过来也将景观设计引入了其他的学科。

作为一本高度可视化的期刊,《LA+》包含了来自业内领先思想家和设计者的前沿论点和图例,从而能够吸引更加广阔的受众,在大众书店、杂志摊乃至以设计为主导的论坛/机构、书店和图书馆中都占有一席之地。

信息

《LA+》以公开和潜移默化的两种形式传达了几点重要的信息。首先,该刊大范围地促进了人们对景观设计作为与当代文化息息相关的论点媒介的认知。第二,通过从多个角度探索特定话题和时事话题,并始终回到“如何塑造我们的景观”这一基础性的问题,《LA+》得以将理论与事实合二为一。第三,作为一本以国际性和跨学科性为头衔的期刊,《LA+》积极地借助其内容和作者来提高全球观点和文化的多样性。最后,通过专业的编者和与每期多达20位作者的密切合作,《LA+》不遗余力地强调写作的重要性,即使是在以设计为主的学科当中。

影响力和有效性

尽管我们会定期收到积极的反馈,尤其是景观师和设计师们的赞赏,但《LA+》的实际影响力其实很难估量。当然,《LA+》已经在多家著名博物馆和机构书店(包括纽约的现代艺术博物馆、伦敦的英国皇家建筑师协会、华盛顿的国家建筑博物馆、温哥华美术馆以及蒙特利尔美术博物馆)、全世界的书店以及北美、亚洲、澳洲、英国和欧洲的许多设计院校的图书馆赢得了一席之地。《LA+》的文章会不时地出现在教学大纲内,并被各类出版物加以引用,从而表明了其在学术圈内的影响力。能够持续吸引来自不同领域的知名和热门作者,是衡量期刊质量、影响力和有效性的标准之一。举例来说,为《LA+》撰写过文章的作者包括Tim Ingold, Ursula Heise, Timothy Morton, Andrew Zolli, Matthew Gandy, Emma Marris, Stefan Rahmstorf, David Waltner-Toews和Mark Kingwell等人。同时,《LA+》也在社交媒体上活跃发展,并且受到了《纽约时报》《Hyperallergic》《Fast Company》《Places》等多家设计类刊物和线上论坛的关注。《LA+》曾举办过两次公开的国际设计竞赛,并收到了来自全球各地的数百个参赛作品,并邀请了杰出的跨学科评审团进行评选。另一件能够证明其期刊效力的事实是,《LA+》获得了北美、欧洲、中国和澳大利亚的20多家领先设计公司的资金支持。不仅如此,《LA+》还扮演着教学工具的角色:每期的设计和制作(包括原创图例)均作为研究生的研讨内容进行,从而为学生们提供了独特且有益的教学经验。

通过文字与图例并茂的内容,《LA+》为景观设计期刊树立了新的高标准。在数字时代,制作高质量的纸质期刊可谓是一种出于信念而心甘情愿去完成的工作,尤其是在该刊物还坚持“无广告政策”的情况下。《LA+》是对景观学科及景观行业的未来的一项非盈利却高成本的投资,因此,我们要向宾夕法尼亚大学和我们的各位赞助方表示诚挚谢意,正是他们让《LA+》成为可能。

发行

《LA+》的印刷量为2000本,目前已向全球的个人、机构、商业书店和博物馆书店开放订阅,并在邦诺、亚马逊、Booktopia、Book Depository以及Alibris等各大国际电商进行线上出售。为了响应学生、参赛人员和社交媒体关注者的要求,《LA+》还于2019年秋季推出电子版,使每期新刊和所有往期刊物都可以在线获取,其中包括《LA+》第1至8期的所有内容。

 

▲ Laurie Olin绘制的《LA+》封底插画,LA+ back cover sketches by Laurie Olin

 

▲《LA+》书脊一览,针对1-9期内容分别选择了历史上的著名画作,LA+ Journal spines: LA+ Journal issues 1 – 9 spines feature historic painting masterworks chosen for each issue’s theme

 

▲《LA+ WILD》(第一期)内页展示,以“野生”为主题。LA+ WILD: Selected spreads from LA+ Journal issue #1 on the theme WILD

 

▲《LA+ PLEASURE》(第二期)内页展示,以“愉悦”为主题。LA+ PLEASURE: Selected spreads from LA+ Journal issue #2 on the theme PLEASURE

 

▲《LA+ TYRANNY》(第三期)内页展示,以“暴政”为主题。LA+ TYRANNY: Selected spreads from LA+ Journal issue #3 on the theme TYRANNY

 

▲《LA+ SIMULATION》(第四期)内页展示,以“模拟”为主题。LA+ SIMULATION: Selected spreads from LA+ Journal issue #4 on the theme SIMULATION

 

▲《LA+ IDENTITY》(第五期)内页展示,以“身份认同”为主题。LA+ IDENTITY: Selected spreads from LA+ Journal issue #5 on the theme IDENTITY

 

▲《LA+ RISK》(第六期)内页展示,以“风险”为主题。LA+ RISK: Selected spreads from LA+ Journal issue #6 on the theme RISK

 

▲《LA+ RISK》(第七期)内页展示,以“想象力”为主题,并对LA+ IMAGINATION国际设计竞赛进行了记录。LA+ IMAGINATION: Selected spreads from LA+ Journal issue #7 documenting the LA+ IMAGINATION international design competition

 

▲《LA+ TIME》(第八期)内页展示,以“时间”为主题。LA+ TIME: Selected spreads from LA+ Journal issue #8 on the theme TIME

 

▲《LA+ DESIGN》(第九期)内页展示,以“设计”为主题。LA+ DESIGN: Selected spreads from LA+ Journal issue #9 on the theme DESIGN

 

▲2017年举办的LA+ IMAGINATION国际设计竞赛,要求参赛者在全世界任意一个地方设计一座岛屿。竞赛共收到了来自30个国家的131份参赛作品,由杰出的跨学科评审团进行评选。LA+ IMAGINATION Design Competition 2017: The LA+ IMAGINATION design ideas competition asked entrants to design an island, anywhere in the world. It received 131 entries from 30 countries, judged by an eminent interdisciplinary jury.

 

▲2018年举办的LA+ ICONOCLAST国际设计竞赛,要求设计师重新构想纽约中央公园的标志性景观。竞赛共收到了来自31个国家的382位参赛者提交的193项设计,由杰出的跨学科评审团进行评选。LA+ ICONOCLAST Design Competition 2018: The LA+ ICONOCLAST design ideas competition challenged designers to reimagine the most iconic work of landscape architecture, New York City’s Central Park. 382 entrants from 31 countries submitted 193 designs for judging by an eminent interdisciplinary jury.

 

▲《LA+》的一些重要数据。LA+ Journal vital statistics

 

PROJECT NARRATIVE

PURPOSE

LA+ (Landscape Architecture Plus) Interdisciplinary Journal of Landscape Architecture’s mission is to “reveal connections and build collaborations between landscape architecture and other disciplines by exploring each issue’s theme from multiple perspectives.” The purpose of this is to encourage landscape architects and urban designers to become aware of the diverse ways in which other disciplines and professions frame and approach landscape-related issues, and to simultaneously champion and broadcast landscape architecture to a broad academic and professional constituency. In each issue LA+ commissions a number of essays by contemporary thinkers in other fields who have relevant things to say about the spaces and scales in which landscape architects practice, the technologies and tools that landscape architects use, and the people and communities that landscape architects design for.

For example, in LA+ WILD, evolutionary biologists Timothy Mousseau and Anders Møller addressed the landscape-scale consequences of nuclear disaster, while science writer Emma Marris considered the viability of community-based preservation of non-native fauna. In LA+ PLEASURE, design philosopher Mark Kingwell contemplated a reading of the city as a paean to the Situationists, while neuroscientist Morten Kringelbach mapped the architecture of pleasure in the brain through an extraordinary collaboration with artist Annie Cattrell. In LA+ TYRANNY, geographer Matthew Gandy discussed how the introduction of artificial illumination changed cities, while semiotician Patrizia Violi examined how communities respond to traumatic events through designed memorials. In LA+ SIMULATION, science historian Paul Edwards explained climate modeling, and artist Mark Nystrom captured the hidden patterns of our ever-changing environment through artworks that dimensionalize weather data.

In LA+ IDENTITY, renowned author in environmental humanities, Ursula Heise, explored how the notion of “sense of place” must now give way to “sense of planet,” and philosopher Ed Casey examined the complex identity of built place. In LA+ RISK, futurist Andrew Zolli outlined the development of new satellite technology that makes planetary change visible and actionable, and urban geographer Jon Coaffee discussed resilient urban design in the context of climate change and security risks. And in our latest issue, LA+ TIME, landscape ecologist Erle Ellis offered a polemic on design’s role in the highly modified ecosystems of the Anthropocene, while celebrated anthropologist Tim Ingold reflected on performance artist Tehching Hseih’s career of multiple year-long performances linking art, time, and space. In short, LA+ expands the conversation beyond designers just talking to other designers.

LA+ Journal also serves as a cultural platform within and beyond landscape architecture, not only generating conversation around each issue, but also through high profile events such as international design competitions (see, LA+ IMAGINATION and LA+ ICONOCLAST), which the journal conducts and which are open to professionals and students from any discipline. Finally, through its consistently rigorous, jargon-free articles and its thought-provoking graphics, the journal challenges intellectual complacency and orthodoxy in both the academy and the profession of landscape architecture.

AUDIENCE

By intentionally positioning itself in between orthodox academic journals at one end of the spectrum and trade journals at the other, LA+ occupies a niche suited to the reflective practitioner, as well as to students and academics in landscape architecture, architecture, planning, and urban design. Because of its interdisciplinary nature, LA+ conveys landscape architectural issues to a more diverse audience than design journals typically reach. By including articles from contemporary thinkers in other fields, each issue introduces new voices to landscape architects, and also introduces landscape architecture to these other featured disciplines.

As a highly visual journal with cutting edge graphics and essays of varying lengths by leading thinkers and designers, LA+ also appeals to a broader audience, and as a result has gained a position in general bookstores and some newsstands, as well as more design-oriented forums/institutional bookstores and libraries.

MESSAGE

Overtly and subliminally, LA+ conveys several important messages. Firstly, the journal encourages an expansive understanding of landscape architecture as a broadly relevant and topical medium of contemporary culture. Second, by exploring specific and topical themes from multiple perspectives and always returning to the fundamental question of how we shape our landscapes, the journal links theory to praxis. Third, as an international and interdisciplinary title, LA+ actively seeks through its content and authors to promote a global diversity of perspectives and cultures. Finally, through its professional editing and close collaboration with up to 20 authors for each issue, LA+ goes to great lengths to emphasize that writing matters, even in disciplines known mainly for design.

IMPACT AND EFFECTIVENESS

The exact impact of the journal is hard to gauge, though we do receive regular messages conveying appreciation of the publication, particularly from landscape architects and designers. Certainly, LA+ has earned a place in prominent museum and institutional bookstores (among them, the Museum of Modern Art in New York City, the Royal Institute of British Architects in London, the National Building Museum in Washington DC, the Vancouver Art Gallery, and the Montreal Museum of Fine Arts), as well as in bookstores worldwide, and in many design school libraries in North America, Asia, Australia, the United Kingdom, and Europe. Articles from LA+ are periodically cited in academic syllabi and referenced in other publications demonstrating an impact in academic circles. One measure of the journal’s quality, impact, and effectiveness is that it continues to attract eminent and sought-after authors in many fields. For example, Tim Ingold, Ursula Heise, Timothy Morton, Andrew Zolli, Matthew Gandy, Emma Marris, Stefan Rahmstorf, David Waltner-Toews, and Mark Kingwell have all written for LA+. The journal is cultivating a lively presence on social media and has received press in The New York Times, Hyperallergic, Fast Company, Places, as well as design-based print and online forums in a number of countries. The two open international design ideas competitions LA+ Journal has conducted have received hundreds of entries from all around the world and featured eminent interdisciplinary juries. Another measure of the journal’s effectiveness is that it receives the ongoing imprimatur and financial support of over 20 leading design firms in North America, Europe, China, and Australia. It is also noteworthy that LA+ is an educational tool; that is, the process of designing and producing each issue—including the creation of original graphic content—is conducted as a graduate seminar. This gives students a unique and useful educational experience.

Finally, through both its written and graphic content, LA+ brings a new level of sophistication to landscape architectural publishing. Producing a high-quality print journal in a digital age is a labor of love, particularly where the journal has a “no advertising” policy. LA+ is a non-profit (but high cost) investment in the future of the discipline and profession of landscape architecture, and we are indebted to the University of Pennsylvania and our patrons for making the journal possible.

DISTRIBUTION

LA+ Journal has a print run of 2000, and is distributed globally to individual and institutional subscribers, and to commercial and museum bookstores and international online vendors (for example, Barnes and Noble, Amazon Worldwide, Booktopia Australia, Book Depository, Alibris) by publisher, ORO Editions. In response to demand from students, competition entrants, and social media followers, we are preparing to launch LA+ digitally this fall so that each new issue and the full complement of back issues is available online. Issues 1 to 8 of LA+ Journal are included with this submission.

More: ASLA ; University of Pennsylvania Stuart Weitzman School of Design

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