The regions here are very small and specific and it takes a long time working in this area to understand these microclimates. I think I do my best work in the Bay Area, because I think we all do the work in the region that we’re the most comfortable with, where we understand the nuances. If you are in San Francisco, you have a climate that is very marine influenced, and very cool in the summer and never really warm in the winter, so you have some opportunities/challenges in terms of plant material. In an hour’s drive from San Francisco, the temperature can vary by 30 degrees on a given day. In the Sunset zones, there are probably five planting zones within the region near the Bay Area. The climate zones in this book are more specific than the USDA zones. A reference book for landscape architects in the west is the Sunset Western Garden Book. I grew up on the East Coast, and so it took me a number of years to really understand the climate here, which is very complex. What are the challenges involved in working with the microclimates in the region? Do you consider yourself a regional landscape architect foremost? Much of your work is in San Francisco Bay area. Edges are done with plantings and spaces are defined by a minimum of structure. That’s very much they way I see my work as a landscape architect – a more diaphanous or permeable quality. Spaces such as these and the work of another Minimalist artist Fred Sandback are defined by suggestions of structure. Sandback used colored string to compose space in a gallery. They redefined the spatial constructs of modern architecture during a time that considered space over mass a defining quality.Īnother big influence on my work would be Minimalist artists such as Robert Irwin, who reinterpret our perception of space. The edges become diaphanous, the spaces ephemeral. The gardens they designed in the 1930’s were really a reinvention of space. One source of inspiration is the work of early modernist landscape architects: Dan Kiley, Garrett Eckbo, and James Rose. Structural Engineer: Endrestudio, Emeryville, Calif.Ĭonsultant: Anticlockwise Arts, Oakland, Calif.In a recent book on your work from Princeton Architectural Press, Mary Myers writes, “Like Luis Barragán, Andrea Cochran is able to convey a forceful sense of volumetric space.” Please describe your unique approach to space in your landscapes. Andrea Cochran Landscape Architecture, San Francisco Bothman Construction, Santa Clara, Calif.Īrchitects: Endrestudio, Emeryville, Calif. Owners: The Trust for Public Land, San Francisco City of San Francisco Recreation and Parks, San Francisco The poles glow, flicker and dance, joining in the hum and buzz of an evening at the Civic Center. "Learning while playing through real-life 3D structural diagrams! I will not see playgrounds the same way again." -judge Filo CastoreĪt night the park’s focus shifts to the nearly 70 “pixel poles”- stainless steel posts with built-in LED display caps that are centrally controlled and fully programmable. To facilitate this, a bolted splice connection was designed that could be used with a range of curvatures for each structure. The pieces were fabricated and powder coated offsite and assembled on an aggressive schedule. In this way, the forces are resolved through form rather than solely relying on strength of materials. The structures emerged through a synthesis of parametric form exploration, circulation strategy, and fundamental geometric principles. The Helen Diller Civic Center Playground, a design collaboration between Andrea Cochran Landscape Architects and Endrestudio Architects & Engineers, features three expressive steel play structures that were inspired by the often mercurial weather patterns of San Francisco: Fog Valley lopes slowly along the ground, Lenticular Cloud creates a layered world of blue mesh nets, and Sky Punch spirals up above the park in an open helical sweep. Award Category: Sculpture/Installation/Non-Building Structure
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