A New Vision for Public Art and Functional Landscape Design

242 A New Vision for Public Art and Functional Landscape Design

Young Imm Kang Song

Abstract

This article explores how Johanson’s ecological Keywords public art and landscape design addresses public art, landscape design, art and design, current social issues and community necessi- ecological art, community art, environmental ties. It also examines how her designs may education, Patricia Johanson serve as a communication tool for the surrounding society, and how her public art may provide new perspectives for community members, scientists, artists, engineers, architects and government officials in shaping the future of their communities. The purpose of this study was to inspire art and design students in thinking about their future projects. This phenomenological case study highlights Johanson’s works as a model for these students. Further- more, it discusses some educational implications as seen among university students who first studied Johanson’s works and then designed their own public art projects.

BW148 jade 33.2_text_AW03.indd 242 11/07/2014 12:06 Introduction learned from the projects and went on to create 243 ‘Biological evolution – like much contemporary their own public art works. Young Imm art – is based on time, process, and chance. Kang Song Both art and science have moved away from Review of literature concepts of self-sufficient isolated entities Humans have come to be an extraordinarily toward open-ended ideas of natural related- destructive force, over-consuming resources ness, organization, and systems’ (Johanson and severely altering the physical landscape 2002, 1). If this assessment of evolution is true, (Turner et al. 1991). By changing habitats and then the relationship between ecological public ecosystems, the composition of species inhab- art and landscape design is shifting into a more iting an area becomes transformed (McKinney ‘open-ended’ partnership. This shift has 2002). Alberti (2003, 172) stated: ‘The greatest perhaps come about from the work of ecologi- challenge for ecology in the coming decades is cal artists like Patricia Johanson. Her work has to fully and productively integrate the complex- for many years brought together both science ity and global scale of human activity into and art, and has suggested a new perspective ecological research.’ Now, a decade later, more and a new vision for public art designers. people than ever are indeed acknowledging Artist Patricia Johanson was born in New the intricacy of humans’ devastating relations York City and currently lives in a farmhouse in with the earth with their ecological research to Buskirk, New York, near the Green Mountain try to find solutions. This is an effort that needs National Forest and not far from the Mohawk a multidimensional approach, incorporating Trail. With a background in fine arts, Johanson scientists, engineers, politicians, architects began her foray into ecologically and socially and artists. Green landscape design, which aware landscape design in 1969 when the strives to minimise harm to natural ecosys- magazine House & Garden invited her to design tems, is one example of this effort. ‘There is an a garden. She sketched about 150 garden enormous untapped potential for such things designs that emphasised her vision for function- as the design of roads that are less harmful to ality and practical value in combination with animal migration, of buildings that kill fewer aesthetics, instead of art-for-art’s sake. This birds, and of landscaping that promotes native approach became the foundation for her large- species conservation’ (McKinney 2003. 1132). scale landscape designs. Johanson specifies These types of innovative approaches four goals for her ecological public art designs: acknowledge and address human needs while (1) the aesthetic experience, (2) the functionality also prioritising the needs of the ecosystem for preserving ecosystems, (3) its usefulness for that surround them. humans, and (4) to facilitate wildlife food chains. Promoting environmental awareness and Since the 1960s, Patricia Johanson has been working to protect the environment are multidi- interested in creating multifunctional ecological mensional processes. While scientists develop public art as a way of public landscaping. new ideas and inventions to protect the environ- She firmly believes that artists should seriously ment, artists simultaneously develop new consider the ecological survival and aesthetic approaches to affect people’s conscience and implications in designing or shaping public raise their environmental awareness. Some of landscapes. these artists are environmental artists (Song This article explores Johanson’s works as a 2009). Beginning with the environmental art lens through which one may understand current movement of the 1960s, some artists began to social and community issues. It describes the engage more actively in these trends. ways in which her works may have helped vari- What was the environmental art move- ous community members see their own society ment? According to Clive Adams, Director of with new perspectives. It also discusses how the Centre for Contemporary Art and the Natu- university students who studied her works ral World:

BW148 jade 33.2_text_AW03.indd 243 11/07/2014 12:06 244 During the political and social upheavals of the and Tree Chaining exercises in Eco-Logic, Sulli- Young Imm 1960s, a group of artists in the United States and van County, New York in 1968. In the same year, Kang Song Europe increasingly questioned the restriction of Patricia Johanson installed a 1,600 ft long work painting and experimented with radical new ways along the railroad in Buskirk, New York that was of responding to the environment and its ecology. a light-responsive artwork. The next year, Rather than paint the landscape, their experiences Haacke created Grass Grows in response to his were realized by sculpting the land itself, by photo own 1965 manifesto in Ithaca, New York. graphic sequences and in sculpture made from In the meantime, Alan Sonfist and Betty natural materials. (Adams 2002, 3) Beaumont sought to heighten the public’s awareness of the state of environmental pollu- There are several ways to define ecological and tion. In 1969, Sonfist monitored and posted environmental art. Greenmuseum.org defines results of air quality of various locations through- ecological art as ‘artwork created by artists out New York City. Beaumont documented the concerned with the state of our environment clean-up of the worst oil spill to date in the coun- worldwide, and with their local situation’ (green- try, in Santa Barbara, California. That same year, museum 2003, 4). They argue that ‘artists inter- Johanson produced hundreds of innovative pret nature and create artworks to inform us designs for ecologically integrated gardens. The about nature and its processes or about environ- movement carried on throughout the early mental problems we face’ (greenmuseum 2003, 1970s as well, with Haacke creating Bowery 4). Some researchers have also defined ecologi- Seeds to attract airborne seeds in New York cal art as restorative art that promotes aware- City, and Robert Smithson constructing Spiral ness, engagement and activism around major Hill/Broken Circle in Emmen, the Netherlands. environmental issues (Blandy et al.1998; Today, many artists understand that the crea- Cembalest 1991). Other researchers emphasise tion of ecological public art is an effective tool the relational approach of ecological art in terms that helps a community collectively identify and of integrating art with nature. In particular, resolve local environmental issues and foster Barbara Matlisky (1992, 57) asserts that ‘ecolog- connectedness through stewardship (Anderson ical art does not isolate and interpret aspects of 2000; Erzen2005; Taylor 2002). There are many nature but rather integrates them into a total reasons why ecological public art is able to network of relationships’. increase people’s awareness and interest about Since the environmental art movements of environmental issues. In particular, site-specific the 1960s, artists have been creating artworks installations invite the viewer to begin a dialogue that draw viewers into thinking beyond their about various local environmental issues. Public daily observations of the earth in action and to art is a gateway for community members to the larger natural forces that exist (Boetzkes rethink various local issues and take ownership 2007; Gablik 1995; Matilsky 1992). According to of an area (Gablik 1991; Spaid 2002; Weintraub Sue Spaid’s (2002) book entitled Ecovention: 1996). Because ecological public art is inher- Current Art to Transform Ecologies, several ently designed for widespread viewing, it can artists from the 1960s began to undertake spark dialogues from various stakeholders and projects that sought to physically transform the locations in the community. environment. One of the earliest artists to do so Both artists and students of art and design was Joseph Beuys, who proposed in 1962 that can play an important role in creating functional people take ‘action’ to partake in a clean-up ecosystems for the local wildlife and useful effort of the Elbe River in Hamburg, Germany. In spaces for people by participating in landscape 1965, Hans Haacke wrote a manifesto that design: called for ‘time-based, dynamic, natural, inde- terminate art’, after which Agnes Denes Given the present understanding of the role art performed Haiku Poetry Burial, Rice Planting can play in the public realm, an artist may be

BW148 jade 33.2_text_AW03.indd 244 11/07/2014 12:06 hired to decorate a site such as a landfill closure. Research methodology 245 And with a small shift in thinking, artists could This research draws upon a variety of data Young Imm simultaneously create habitat and make the site collected through qualitative research methods. Kang Song available to different constituencies or species. To explore Patricia Johanson’s inner percep- What if, through the creativity of artists, landfill, tions and thoughts about her projects, I airports, sewers and highways could become conducted a phenomenological case study parks, playgrounds, restored ecosystems and based on the theoretical frameworks of Mousta- recreational facilities? (Kelly 2006, 104) kas’s phenomenology (1994) and Stake’s case study (1995). In-depth interviews and field Research purpose and questions observations provided primary sources of data. The purpose of this study was to inspire art and In particular, interviews were conducted using a design students in thinking about their future semi-structured interview framework, in which projects. This phenomenological case study the artist elaborated on how she uses art to highlights Johanson’s works as a model for restore a damaged ecosystem, craft a new these students. This study was designed to public place, elicit meaning from nature and explore the process behind Johanson’s ecologi- convey a particular message to visitors. The cal public art and landscape design, from her interviews also captured the artist’s intentions intentions to the execution of her artistic expres- and motivations behind the creation of ecologi- sion, including the challenges of executing cal public art projects. Over a period of six years, large-scale projects in collaboration with profes- I interviewed Johanson by email, phone and in sionals from various disciplines. Through this person. In particular, I examined themes, goals research, Johanson’s projects are examined for and metaphoric symbols found among Johan- ways that offer new perspectives in thinking son’s works and other ecological public art about the environment, biodiversity and local projects. Furthermore, contextual research and communities, in addition to fostering interdisci- existing literature provided secondary sources plinary ideas and connections that are some- of data. times overlooked. The specific research ques- Separately, I created sketches, drawings and tions were as follows: paintings that were inspired by my interactions with Johanson and her artworks. These sources (1) How does Johanson use her ecological of data captured my reflective thoughts about public art and landscape design to address Johanson’s works. concerns regarding wildlife and a deteriorating In addition, part of a university art and ecosystem and to support coexistence education course’s curriculum was adapted in between nature and humans? order to explore the possible educational (2) What action steps did Johanson take, and implications of Johanson’s works. A detailed what messages can we glean from these? methodology is presented below in the (3) How do these works provide ideas for section on student works. students of various disciplines – such as design, For analysing the data, I used Delament’s visual art, architecture, art education and envi- (2002) structure. These various data were coded ronmental education – for future projects? and indexed by hand. I chose this phenomeno- (4) What are some of the challenges that accom- logical approach (Bruyn 1966; Moustakas 1994) pany collaborating with individuals from various to gain a deeper understanding of ‘truth’ as disciplines, such as artists, architects, scien- Johanson perceives it and to explore her tists, engineers and government officials? How thoughts and perceptions about her works. can these hurdles be overcome? What can students learn from Johanson’s attempts to Patricia Johanson’s works manoeuvre and negotiate these situations? The following section discusses three of Johan- son’s large-scale public landscape projects

BW148 jade 33.2_text_AW03.indd 245 11/07/2014 12:06 246 from 1981 to 2009. Through an examination of Young Imm Johanson’s work, we can see how artists can Kang Song help combine community space, public art and functional infrastructure to help restore the ecosystem and provide a recreational space for humans, animals and wildlife.

Fair Park Lagoon, Dallas, Texas (1981–6) The Fair Park Lagoon (Figure 1) is an example of wetlands and habitat restoration, a freshwater pond, aquatic ecosystems, storm water management and a municipal flood basin. When ronmental conditions that are vital to its survival, Johanson was invited to design Fair Park Lagoon as well as to provide public education and enter- in 1981, the lagoon had many environmental tainment by involving the public in the process degradation problems such as an eroded shore- of nurturing these gardens. After a few months line, murky water and flooding. Another major of study about the area, she decided to convert challenge was algal bloom, caused by the run- the lagoon located in the middle of the largest off of fertilizer from the lawn surrounding the park in Dallas into microhabitats for the local lagoon. Additionally, Johanson explains, ‘There wildlife, where people could directly interact were few birds, no waterfowl, and hardly any with nature. To nourish its sustainability, she plants, animals, or fish – in fact the Dallas used wetland plants to clean the water and Museum of Natural History had declared the worked to prevent erosion along the shoreline. site biologically dead’ (Johanson to author, Finally, Johanson determined ‘biological 2010). Johanson always spends a few months at restoration’ to be the key element in the design the site of a project to discover the significance of Fair Park Lagoon. After she decided what she of the place and gain ideas for the design. Johan- wanted the art to accomplish, Johanson chose son believes that ‘each place has a unique set of two Texas plants as images for the sculptures in conditions, and we need an intimate under- the lagoon. These specific plants were chosen standing of what it has been, is now, and will because they had local relevance, and their become in the future, in order to create a design forms could be twisted and turned to create that is more than a willful act’ (Kelly 2006, 19). sculptural paths, bridges, seating and micro- First, Johanson started developing a list of habitats, where people could focus on the life of concerns about the place, and began thinking of the lagoon. In Figure 2, leaves of the Sagittaria ideas for creating functioning ecosystems, such platyphylla become animal islands and seating as how to line the shoreline with cypress trees to along the shore, while the twisted roots serve as help control bank erosion, and how to create paths over water and prevent erosion. Many paths over water which would allow people to turtles, fish and birds live in the spaces between become immersed in the life of the lagoon. She the sculptures. In Figure 3, the form of the Texas also studied the food and nesting habits of fern, Pteris multifida, provides a network of different local species to determine which type paths, bridges and islands that frames small- of environment would best attract wildlife. scale water landscapes and nesting birds. Johanson believes ‘it is most important to Through this work, Johanson allows people develop a sound project that fulfills real needs to connect directly with a real living ecosystem taking into account not only functional and – the functional flood basin. She incorporates an human issues, but also the living world as a educational agenda, through which she fosters whole’ (Wu 2010, 199). Recognising that each public popularity of the place while allowing it to landscape has its own unique character and life, flourish and continue to develop ecologically. Johanson intended to support the kind of envi- ‘What emerged … was a paradigm shift from

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Opposite page: Figure 1 Fair Park Lagoon by Patricia Johanson, 1981–6, photo courtesy of the artist This page: Figure 2 Sagittaria platyphylla – Shoreline Stabilization by Patricia Johanson, 1982 Figure 3 Pteris multifida (Bridge) – Plan of Arches by Patricia Johanson, 1982

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the idea of representation to a process of contin- before she could proceed. There were also ual transformation that would have allowed art to major liability concerns because the water in the become part of living processes of productivity lagoon was approximately 17 ft deep and acci- of the land itself as well as its inhabitants’ dental drowning was a potential issue. Fortu- (Araeen 2009, 682). This is an important idea for nately, Johanson developed a design that artmaking – shifting from trying to represent allowed the water on either side of the paths to something to trying to enable a process of trans- be only two feet deep and thus the city agreed formation. As she expected, ‘The neighbor- to assume any liability from the project. The hood’s children have become very emotionally design has ultimately been highly successful attached to the environment through exploring and even when a few people crowded the paths every niche of the Fair Park Lagoon – looking for at the dedication and slipped into the water, they insects, fish, birds, and plants at every corner’ were easily able to get out without any harm. (Song 2010, 76) (Figure 4). She is not aware of any serious accidents that Fair Park Lagoon brings many benefits to have occurred as a result of the project, but people, animals and wildlife that live in the area. safety is something that must always be First and foremost it provides a safe ecosystem accounted for in public projects. for the species living in the area through a series of carefully planned microhabitats that are Endangered Garden, San Francisco, cleansed through natural processes. Addition- California (1987–97) ally, it has greatly expanded the biodiversity of Endangered Garden (Figure 5) is an example of a the area by using sculptures to carve out many habitat restoration for endangered butterflies small habitats in which plants thrive and animals and shellfish, a marsh restoration and an urban can breed and raise families. The installation has sewage infrastructure. This project also demon- brought about an important change for people strates how public ecological art can serve a as well, by creating a place in which they can feel positive function for both the ecosystem and the in harmony with natural systems. A site with public. When a new pump station and holding floodwater problems has turned into a public tank for sewage and excess rainwater were amenity that all community members can enjoy. being built as part of a sewer project in San Fran- It also provides an unusual natural oasis in the cisco, she was invited to be a designer. In devel- midst of an urban setting in which residents oping ideas, Johanson spent many months have the opportunity to see an ecosystem at conducting research on the locality and work in their own community. consulted many experts on shellfish restoration Johanson faced many challenges in bringing and endangered species. Through this process, the Fair Park Lagoon project to fruition. It was a she discovered the rich history of the Ohlone highly unusual undertaking at the time and she Indians who had inhabited the area for thou- had to address many questions about safety, sands of years. Consequently, Johanson ‘linked architectural standards and building codes her design to Native American culture by creat-

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ing birdbaths shaped like petroglyphs and focus is the bay itself. ... [The project] fosters an carved rainwater channels’ (Matilsky 1992, 64) environmental ethic regarding the value of even Furthermore, she learned that many endan- the smallest living things by making visible the gered species had lived there as well. tiniest animals of the bay. (Matilsky 1992, 64) After contemplating how it would be possible to develop a sewer site into a public park, The completion of Endangered Garden also and how it might be possible to recreate the served the function of welcoming back several habitat of endangered species in a way that nearly extirpated species by recreating their could educate the public about the environment habitats. Simultaneously, it served the function and provide public space for people, she of a site for environmental education. Johanson decided to bury most of the sewer underground also designed the head of the garter snake as a and to transform its surface into a baywalk that twenty-foot high sculptural earth mound that Opposite page: is accessible to the public. This baywalk now would block the strong winds, making it easier Figure 4 stands 30-feet wide and one-third of a mile long for butterflies to fly. As intended, the area is now Fair Park Lagoon by Patricia Johanson, in the shape of the endangered native San Fran- abundant in beautiful butterflies once again. 1981–6, photo cisco garter snake (Figure 6). Even the design of Also it has become a vast public space for courtesy of the artist the paving and the benches along the baywalk picnics, ballgames and recreation. A small Figure 5 are similar to the black, yellow and red patterns sculpture within the body of the garter snake Endangered Garden by Patricia Johanson, of the endangered native snake. Along with this form called Ribbon Worm-Tide Pools provides a 1987–97, photo restoration, ecological aesthetics (Gobster pathway and tidal steps, down to a beach. This courtesy of the artist 1999) have been established as the baywalk work was created not only to provide an This page: winds around a series of habitat gardens. Here aesthetic experience but also to allow people to Figure 6 come into close contact with plants, animals Endangered Garden: the visitor discovers a variety of images, intimate and the water so that they could directly appreci- Site Plan 1/4, San Francisco, California, spaces, and patterns that correspond to different ate them through interaction (Johanson 1989). by Patricia habitats and public uses. ... However the central As visitors stroll along the base of the baywalk, Johanson, 1988

BW148 jade 33.2_text_AW03.indd 249 11/07/2014 12:06 250 they are able to see the biologically diverse habi- who attended public hearings and spoke in favor Young Imm tats that surround them. At low tide, they see of the art, restored habitat and trail components Kang Song members of invertebrate populations, such as that the project would yield. Finally, they were worms, snails, clams, barnacles, mussels and able to reach a compromise that satisfied the shrimp, and many kinds of algae. One may also concerns of the various stakeholders. Ulti- notice that the area is rich in birds. This baywalk mately, after sharing her vision and design with is now part of the Bay Circuit Trail, so many the nearby communities, Johanson observed; people walk, jog and bike along the path. Many ‘People were really enthusiastic, and loved the people pause to take a closer look at the birds or idea that the public might actually be able to use to watch the waterfowl feed in the marsh. these infrastructure projects.’ It highlighted Now, Endangered Garden is part of a Califor- Quraeshi’s explanation (2008, 271) of the artist’s nia state park, and most visitors fail to realise role: ‘to catalyze family and citizen responsibility that there is a sewer below the very path along – to help community members expose and which they are walking. The Endangered Garden define issues so that they could begin to devise ‘proposes a new aesthetic for designers: to solutions’. This illustrates the importance of envision solutions that are as creative, func- considering and reflecting the community’s tional, and biologically productive as nature needs in creating public art projects. herself’ (Johanson to author, 2010). Endangered Garden brings many benefits to the animals, Petaluma Wetlands Park and Ellis Creek plants and people of the Bay area. It has provided Water Recycling Facility, Petaluma, a creative response to a pressing urban infra- California (2000–9) structure need. Instead of just creating a sewer The Petaluma Wetlands Park and Ellis Creek treatment area that would generally be disliked Water Recycling Facility project (Figure 7) is an and avoided by the community, Johanson example of a multi-purpose landscape that helped to create an area with many additional combines art, ecology and functional infrastruc- public uses including the trail on top of the ture. It demonstrates that engineering projects sewer. These installations are cost effective and can expand beyond their original objective, and multi-purpose and help provide access to the include a multitude of functions, including public local beaches. Additionally, the area has now recreation, agriculture, wildlife, educational become a protected habitat for endangered programmes and economic development. The butterflies including host plants for larva and ‘art’ in Petaluma is not ‘added on’. It is the pattern nectar for adults. It has also restored the native by which sewage is processed, habitats are marshes and associated fauna and provided restored and people navigate the trails (Johan- additional areas for feeding shorebirds. son to author, 2010). The project is situated in Endangered Garden also faced many chal- Petaluma, California, and it includes 272 acres of lenges in its design and implementation and tidal marsh and mudflat, oxidation ponds, unfortunately not all features were built due to sewage treatment wetlands, and polishing budgetary cuts during the project. The greatest ponds that remove heavy metals from the water. challenge was a political one because many The main goals of this large and complicated local residents were opposed to the idea of project are to treat human sewage, create recy- having a public sewer adjacent to the Bay. Addi- cled water and to restore the ecosystem tionally, the engineers of the project were through the creation of a public park. Johanson opposed to the buried design that Johanson has always demonstrated an interest in proposed. She was able to overcome these ‘enmeshing human needs within the large challenges by becoming a co-designer of the patterns and purposes of nature’ (Johanson to project and thus having decision-making author- author, 2010). In this Ellis Creek project, she ity in the project. Also, she was able to obtain the unified ‘art, infrastructure, ecological nature, support of many California state park rangers and the public landscape’ into one image

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(Johanson to author, 2010). This image was that and urban infrastructure embedded within living of the endangered Salt Marsh Harvest Mouse nature. As a result, her work was able to benefit (Figure 8). The image of the salt marsh harvest the area by transforming it ‘in ways that enhance mouse was selected to coincide with the not only the natural potential of the earth itself sewage treatment train, and the zones of but also the collective creativity of the life of all wetland plants that cleanse the water. Three its inhabitants’ (Araeen 2009, 684). miles of public trails and other interpretive sites Additionally, the project is being used as a trace this mouse’s pattern. In addition, the four teaching site by the local public schools, and ponds that occupy the 30 acres at the center of tourists have come to see the local wildlife and the wetland park embody the image of this stay at a hotel recently built nearby. The recycled harvest mouse (Figure 8). As a result of restoring water is even being sold to local farmers and is this ecosystem, the habitat islands that occupy extremely popular. each of the sewage treatment cells provide a Like other innovative ecological art installa- nesting place for birds. At the same time, they tions, local engineers and city officials were not direct the flow of the water in the basin. The initially confident that the wetlands approach most remarkable aspect of this area is ‘the diver- was the best one to choose for sewage process- sity of ecosystems that occurs within a relatively ing. They were convinced that mechanical small area – tidal sloughs, brackish marsh, systems were somehow more reliable than mudflats, riparian corridors, and uplands – natural systems. Through a series of public pres- combined with positive human interventions, entations, Johanson was able to convince them agricultural fields, freshwater ponds, and storm and community members that through this This page: water purification systems’ (Johanson to author, project they would get an effective sewage 2010). People can see some of the recycled processing facility while also creating a public Figure 7 Ellis Creek Water water this facility produces in the reservoir at the park, more than three miles of trails, and a place Recycling Facility, end of the mouse’s tail. in which wildlife, tourism and agriculture could Petaluma, California, Through the creation of Petaluma Wetlands all thrive. The project ultimately garnered strong 2000–9, Photo courtesy of the artist Park, Johanson provided multidimensional community support and has since been highly Figure 8 benefits for humans and the environment. The successful. Mouse Interpretive park deals with sewage, recycled water, urban Signage Plan, Ellis agriculture, ecological communities and endan- Challenges Creek Water Recycling Facility, gered species, as well as providing numerous Johanson reports having encountered several Petaluma, California, educational programmes. It is an example of art challenges in the process of creating her by Patricia Johanson

BW148 jade 33.2_text_AW03.indd 251 11/07/2014 12:06 252 projects. Many of these challenges have arisen essential to ensure that she is able to weigh in Young Imm from the projects’ interdisciplinary nature, which on key decisions and ensure that the actual Kang Song usually requires extensive collaboration with implementation adheres to her design and partners. Johanson has had few problems in vision. working with scientists, since she meticulously Finally, language barriers may present researches her topic first and then consults another challenge, particularly when working in them for additional advice. Typically, they foreign countries. Johanson states that it is very provide her with additional expertise about local important for the artist to identify a translator conditions and are generally very enthusiastic who is familiar with the concepts and terms of about her work. Working with engineers has ecology, art and design. Otherwise, deeper been more challenging, however, because they meaning and ideas may be filtered through a tend to have very specialised training in a partic- translator in a way that they become lost. Being ular kind of engineering, such as roads or aware of and understanding these kinds of chal- sewage. As a result, some tend to be very lenges in advance will help art and design precise and want to do things in a traditional students better prepare for their future projects. manner that they can control, rather than using natural and organic processes. Students’ works According to Johanson, she has learned to To explore the possible educational implications prioritise utility and efficiency in her projects so of Johanson’s works, a section of a course that they will perform as well as traditionally curriculum was designed to expose students to engineered projects, even though they are her works, provide an opportunity for discussing designed using very different processes. She them, and explore how their perceptions of their states that working with government officials is own relationships with the environment, local also challenging because the length of the polit- community and art might change after they ical cycle is often shorter than the length of a each designed a public art piece. This curricu- public art project. Large-scale projects usually lum was delivered to art major and non-art major take many years to complete, during which students in an art and education course. Four- previously elected officials may no longer be in teen university students participated in the office, and new officials may no longer share hands-on activity, in which groups of two their predecessors’ understanding of the students designed a public art piece after view- project’s significance. Budget cuts throughout ing and interpreting Johanson’s works. In addi- the life of a project also threaten a project; often tion to examining the educational implications the first suggestion of what to eliminate from a of Johanson’s works, this activity sought to help project are the art, habitat and public amenities students develop the skills of critically examin- that she values so highly. ing community public art projects. This would Other challenges also include the fact that enable students to get involved, speak up and the process of constructing public ecological art suggest ideas when there is a new project being projects is very time-intensive, which involves constructed in their own schools or communi- both long-term planning and detailed day-to-day ties. This type of process involvement is empha- supervision. When Johanson commits to a sised and encouraged by Johanson as the project, she must attend every meeting and artist’s responsibility (Kelly 1992). follow up on the small details for the entire This activity was the last of four main activi- length of a project. She sees this as an important ties that were assigned in the course. Each role because creating a huge public ecological activity built on the previous one, such that the art and landscape design is ‘a big responsibility final activity was a culmination of the earlier for the artist – both to the public and to the integ- ones. The first activity asked students to rity of the project and its message’ (Kelly 1992, research and deliver a presentation about an 24). Participating in each step of the process is artist who works for the public and the environ-

BW148 jade 33.2_text_AW03.indd 252 11/07/2014 12:06 ment. Specifically, students were asked to for humans and would facilitate the wildlife’s 253 consult various sources to find information food chain. Young Imm about the artist’s background and his or her Leed and Wong envisioned that the Car Port Kang Song works. In addition, students were asked to would help keep snow off cars during the winter. convey their reactions to the artist’s works and In addition to serving a functional purpose, it their interpretation of the artist’s meaning provided a space to house a rooftop garden that behind the works. This activity sought to famil- would encourage connections to nature, beau- iarise students with concepts about art, design tify the school community and be used as a and the environment. For the second activity, backdrop to the ‘outdoor pebble classrooms’. students were asked to use these materials and With the outdoor pebble classrooms, educators information to create a presentation in the form can provide new types of learning from which of a movie clip or visual artwork. This activity young students may learn ‘new ways of seeing, aimed to encourage students to organise their hearing, feeling and moving’ (Greene 2001, 7). ideas about the artist’s works and to connect Students Lauren Alverson and Carolyn Swan- them with their own ideas. For the third activity, hal looked into the courtyard space of the Berk- the class as a whole chose one artist to study lee College of Music in Boston. They judged this collectively in greater depth. In one particular space to be a nice outdoor area, but one that year of this course being offered, students lacked a relationship with the music school, did chose to explore Johanson and her works not draw in community members and could further. Lastly, for the fourth activity, students thus use a redesign. They wanted to bring in a were to design a project of their own that musical theme, so they added a long, colourful addressed a problem in their own respective bench designed to look like a musical scale. communities. In doing so, they were asked to They made the place more desirable for redesign a public space, such as a public school- students and the public to mingle and congre- yard, playground, parking lot, local riverbank or gate. They added aesthetically appealing community park. Students were also encour- awnings, water features, bird feeders and bird- aged to think about how this design could houses to attract local wildlife. Alverson and address some practical concerns in addition to Swanhal wanted to attract more community interacting with a public space. members to recognise this area as a natural, For the final project, much like Johanson, serene and calming place. students started by doing some research to Students Joan Miller and Sandra Germain identify a specific area and then investigating redesigned a preschool playground. Their inten- the location, space and related issues of the tion was to bring children back to nature and surrounding community. Also, students tried to introduce it to them in a more relaxed and inno- find symbols and metaphors from their local cent way. They used mainly natural and recycled cultures in an attempt to create a design with materials to construct the playground equip- greater meaning and significance. In what ment. In particular, they hoped that the call for follows, students describe and discuss the the donation of recycled materials would significance of each of their public art pieces. capture the community’s attention and lead to Students Robin Leed and Alice Wong said: the involvement of many community members ‘Too often, urban schools have very limited for this redesign project. Miller and Germain space. They do not have the option to expand said they were careful to consider both the outwards. We had the plan to build a “Car Port” ecological and aesthetic implications of rede- structure over a school’s parking lot.’ They signing the playground, much like Johanson did described that they were inspired by Johanson’s in her designing or shaping of public landscapes. goals for her ecological public art, and that they Students Kristen Cuttone and Ashley sought to create an art work that would provide McPherson researched the empty space an aesthetic experience for children, be useful between a subway station and an adjacent

BW148 jade 33.2_text_AW03.indd 253 11/07/2014 12:06 254 building. This particular location was a dark, in their own design projects. This was natural Young Imm dingy and dirty area both during the day and at because arts-based experiences ‘encourage Kang Song night that was not an inviting space at all. contemplative, reflective thought, which can Cuttone and McPherson decided to redesign extend environmental awareness, an essential it with stepping-stones on grass, a rock foun- basis for environmental understanding’ (Adams tain on the wall and a wooden bench. They 1991, 21). also installed a ‘Solar Tower Charging Station’ By observing the students and their works, it that would use solar energy to supply electric- was evident that scholars of art education can ity to outlets that can be used by passersby influence not only art and design students but who want to take a moment to sit down and also many others to view public artists’ works enjoy the outdoors. Cuttone and McPherson and think about issues like community involve- hoped to incorporate some plants that would ment, the local environment, public safety and also bring some of the wildlife back to the area. the aesthetic appeal of public art. Public ecolog- Such design practice encourages students to ical art exposes viewers to new ways of seeing, think about the creation of public art as both a feeling and thinking about local issues. This can socially constructive and intellectual pursuit lead to greater awareness of, and motivation to (Green 1999). act on behalf of, their communities. Students Ronja Geilen and Nicole Yokum redesigned a community park by incorporating Conclusion a garden and a pond. In particular, this pond was These research findings demonstrate how to have a natural purification system by using important it is carefully to research the surround- moss. This was decided upon because, according landscapes and local housing structures in ing to their research, some types of moss have addition to the local history and culture when an efficient purification function. Furthermore, designing a project. This is because every place the pond was to be used to water the garden has a unique cultural backdrop. In addition, it is and the grass. useful to hold meetings for community One student, Timothy Hourihan, designed a members to voice their opinions in an open growing and living wind spire. He said: discussion. This gives the site a special importance and guarantees its use when the project is This art piece will not only be something unique done. It is also important to consult with all to look at, but it is also a living, sustainable constituencies, and to patiently work with the energy resource that not only creates energy remarks that each constituency brings. People but also provides oxygen and habitat within its like to be heard and like to be consulted about micro-ecosystem. While I think my project is their own place. It is important for the artist to very simple in its mechanical and biological have the patience and the willingness to listen stages, I do think its structure could be a and work with many people. Through this precursor to advance concepts within art and process, it is possible to build relationships with technology. and foster the interest of community members. When a public artist researches, understands The students in this course were not all students and applies the symbols and metaphors that are majoring in visual art or design. Several were captured in their local culture and cultural herit- majoring in environmental science, elementary age, together they can create artworks that teacher education, community art education or embody greater meaning and significance. human development. Despite the variety of For a successful collaboration in creating backgrounds, they were able to view and public art projects, artists (including art and discuss Johanson’s work, understand the design students) must be involved in the important role of public art, and try to address process from the very beginning of the proposal current local issues and community necessities stage. They must anticipate and plan for chal-

BW148 jade 33.2_text_AW03.indd 254 11/07/2014 12:06 lenges in each stage of the process and be able Young Imm Kang Song is an associate profes- 255 clearly to articulate the benefits of their work to sor in the Creative Arts in Learning Division, Young Imm all stakeholders. Artists must extricate them- Graduate School of Education at Lesley Univer- Kang Song selves from the idea that their role is to beautify sity in Cambridge, Massachusetts, USA. Her an infrastructure project or to add a symbolic art teaching and research focus on environmental sculpture in front of another project. Even with a art, public art, new media art and multicultural slight shift in such thoughts, public landscaping education. Dr Song is particularly interested in may come to involve and serve an entirely differ- using theory and practice to bridge art and ent constituency from what we have generally design with other subjects, and has been an seen so far. active presenter at art, education, humanities, Already in the 1960s, Johanson believed that social sciences and environment-related confer- these kinds of projects would be needed in the ences. Dr. Song is the author of articles that future. Even in her collegiate years, Johanson have been published in various international had a strong calling for art and design and wrote journals. As an artist, she has held exhibitions as in a college essay that ‘The world itself would be a painter and photographer. Contact address: designed as a work of art.’ This kind of active 29 Everett Street, Cambridge, MA 02138, USA. thinking about the future of the discipline is Email: [email protected] something that may be important for current art and design students to engage in. Johanson believes that ‘the new wholeness and harmony lies not in design perfection but in our ability to bring competing populations, interests, and points of view together harmoniously in the real world’ (Johanson to author, 2010). Her artworks have the power to stimulate a new vision within art and design students to design or create functional, self-sufficient and inclusive landscapes that are capable of supporting life as well as cultivating human understanding.

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