New York-based studio Agency—Agency has collaborated with local studio SHEEEP to design stormwater gardens underneath an expressway in Toronto.

Located two blocks east of The Bentway park, a rehabilitated stretch of greenspace underneath Toronto's Gardiner Expressway, the Staging Grounds installation will funnel and cleanse rainwater from the expressway using a passive filtration system.

"It's a privilege working with The Bentway on Staging Grounds to think creatively about the city's infrastructure and to centre the design of water in the public's daily experience," said Agency—Agency director Tei Carpenter.

The installation will feature a system of re-routed downspouts that funnel stormwater and melted snow into circular planters located at the base of the expressway's support columns in order to mitigate local flooding.

An initial stormwater filter placed at the top of each planter will perform passive filtration before the water runs into a circular garden container below.

Native plants such as milkweed, Agastache and yarrow will further absorb excess water, as well as salt.

A secondary shallow overflow garden located at the base of the stormwater garden will collect additional run-off and be populated by volunteer species – plants that grow without deliberate planting.

Visitors will access the installation through a series of interconnected, elevated paths that span a 20,000-square-foot (1,858 square metres) site, which is a satellite laboratory of The Bentway, a 1-mile-long (1.75 kilometre) multi-use trail along Toronto's waterfront.

"We're really excited to share this project with the city and to see how an underutilized part of our infrastructure can be actively and passively used throughout the year," said SHEEEP founding director Reza Nik.

Urban design and landscape studio Public Work led the design of the park alongside design advisors Greenberg Consultants.

The first phase opened in 2018 and features year-round activities and public art commissions, including a 220-metre long ice skating path.

The Staging Grounds installation will remain on display until the city's Gardiner Expressway Rehabilitation Strategy commences in the area, which aims to keep the entire expressway safe and operable for traffic and pedestrians alike.

As of March 2021, phase two of The Bentway moved forward with a redesign of a wooden pedestrian footbridge.

Imagery is courtesy Agency—Agency and SHEEEP

Staging Grounds will be on display starting September 2023 until late 2025 in Toronto, Canada. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world. 

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Artist Olafur Eliasson and architect Sebastian Behmann's firm Studio Other Spaces has designed five buildings and seven pavilions within the Meles Zenawi Memorial Park in Addis Ababa, Ethiopia.

Created in memory of the country's former prime minister, the buildings in the 65-hectare park, located directly to the north of the city, were developed over a decade by Studio Other Spaces.

Described by the studio as an "anti-monument" they were built for the Meles Zenawi Foundation to commemorate the life of Meles Zenawi, who was the president of Ethiopia from 1991 to 1995 and then prime minister until his death in 2012.

"Meles Zenawi Memorial Park is not a singular form to be passively observed by onlookers, but rather an expansive, multifaceted landscape where visitors are invited to actively co-produce its purpose and meaning," explained the studio.

Within the park, which was designed in collaboration with landscape architecture studio Vogt,  Studio Other Spaces created a series of round structures that contain an events space, guesthouse, office, research centre and library.

Alongside these buildings, seven round pavilions connected by a path that runs through the landscape were erected as spaces to explore and reflect.

"By designing a socially horizontal space, we have expanded the meaning of the word 'memorial' beyond the memory of a single leader to include the many memories of the countless people, whether from the cities or countryside, whether old or young, rich or poor, who make up the country of Ethiopia and who themselves have lived its history," said the studio.

"The hope is that the memorial park can accommodate the many, often complex feelings and reflections around Meles Zenawi's legacy, from celebration and optimism to grief and reckoning."

While sharing the same basic rounded form, each of the buildings has a different plan and utilises direct materials to create a varied visual appearance with the guesthouse, library and office set alongside each other.

The single-storey guesthouse has a central circular courtyard and is surrounded by colourful freestanding walls positioned in concentric rings.

Traditional plastering techniques adopted from the old city of Harar were used on the walls, which involved plastering many layers on top of each other to create a rough texture.

Near it, Studio Other Spaces designed the office building as a spiral, with a core spiral walkway and external walkway wrapping glazed workspaces and meeting rooms.

"The building's transparency and flowing sequence of spaces express the openness, introspection, and cooperation that drive the foundation's work," said the studio.

Completing the trio, the library building has a spiral form that expands towards the top, intended as a "gesture to the library's possible expansion and the constant growth potential of knowledge". 

A spiral staircase with deep steps at the centre of the building provides a social space to sit and read, lit from above by an opening in the roof terrace.

"While the closed, solid exterior suggests the introverted nature of the building's use for reading and study, a patio at the upper end of the spiral provides an expansive panorama and space for outdoor recreation," explained Studio Other Spaces.

Set slightly below the guesthouse, library and office, the research centre contains five circular ground floor spaces, which contain four workspaces and a spiral staircase, that conjoin at first floor level to form the main research space.

It has a sculptural form decorated with stone-clad walls, which follow a gradient pattern of grey stones at the bottom of the walls changing to ochre-coloured stone at the top.

"The building's unorthodox design creates a striking presence within the landscape and, in a way comparable to how sculpture defines space, frames the public terraces cascading out from beneath it," said Studio Other Spaces.

Separate from the other buildings, the events space was created to host conferences and exhibitions.

Its curved concrete walls have a ribbed texture created by using bamboo formwork and it was topped with a rooftop terrace that has views across the city.

Connected by a trail, the seven pavilions were designed to represent stages of Meles Zenawi's personal and political life, based on the themes of education, debate, struggle, transition and constitution.

"Stretching along seven commemorative stations on the western side of the park, a memorial trail traces the childhood, education, and services of Meles Zenawi, aimed at representing the upbringing and political circumstances of his generation and what it could have meant to grow up in Ethiopia during this period," said Studio Other Spaces.

Now the Meles Zenawi Memorial Park is complete Studio Other Spaces are concerned that the landscape will not continue to be used as a community space as it was intended.

"The ongoing political upheaval in Ethiopia means there is no way to be sure if the park will fulfil its original vision as a cultural institution and peace project," said the studio.

"After a decade of collaboration and creation, it is possible that the project will fall into disuse, or will be repurposed altogether to serve other, less civic-minded interests," it continued.

"The hardware is all there, but what remains to be deployed is the software needed to activate the park – the community, minds, and scholarship that the project is intended for."

Founded in Berlin in 2014, the studio has completed a number of public spaces and design projects worldwide, including a conical glass pavilion for a Californian winery and an installation at the 2021 Venice Architecture Biennale displaying fungi and trees.

The photography is by Michael Tsegaye courtesy of Studio Other Spaces unless stated.

Project credits:

Design collaborators: Fasil Giorghis Architects and Kidus Hailesilassie
Contractor: Varnero
Stonework: Quartet Art Studio
Landscape design: Vogt

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In the face of climate change, Britain's lawned parks should be replaced with urban forests to help control city temperatures and keep green spaces green during hot summers, writes Phineas Harper.

Successive heatwaves have turned England's formerly green and pleasant land into an arid patchwork of yellow and brown. As the UK government declares droughts following the driest months since records began in 1836, it's clear the tradition of lush mown lawns and bucolic grassy parks is no longer viable in the face of global heating.

To reduce ground temperatures and keep urban green spaces habitable and verdant even in 40-degree summers, a radical shift in landscape design is needed.

The tradition of lush mown lawns and bucolic grassy parks is no longer viable

Many British urban parks are modelled on the garden designs of past aristocrats. Picturesque lawns dotted with trees, architectural follies and the odd lake were popular among the 18th- and 19th-century super-rich, who employed influential landscape architects to create manicured imitations of the agrarian countryside.

As social reformers gradually founded urban parks, they created municipal versions of the wealthy's grand gardens, adding public facilities like drinking fountains and flat playing fields for sport. Though its design was rooted in genteel tastes, the grassy British public park with its wide open lawns thrived in the UK's mild climate, damp enough to sustain thick mown grass year-round.

Writing in 1935, Danish architect Steen Eiler Rasmussen praised Britain's parks, which he felt had become unique among European cities. For Rasmussen, while the UK's urban squares were functional, they were never the inclusive mixing pot of the continental esplanade or piazza, but in parks he found "an emancipated outdoor life, to which all classes have access". "No one is nowadays too good to play with balls or to kick a football in one of the numerous parks," he observed.

Yet today, Europe's worst drought for 500 years and successive heatwaves have baked green spaces across much of England to barren wildernesses with bone dry playing fields and crispy dead grass, making bleak landscapes for recreation or relaxing. The mild weather that once sustained the expansive green lawns of landscape garden-inspired public parks is gone and local authorities, landscape professionals and park goers must face the fact that urban green space will only remain green in the future by ending the British obsession with mown grass.

A typical mown lawn needs 10 litres of water per square metre per week in dry weather to stay healthy. At the scale of parks or other large urban green spaces such as golf courses this exorbitant water consumption is enormous, putting huge pressure on limited water supplies. Activists in France have even poured cement into golf course holes to protest their water use.

Urban green space will only remain green in the future by ending the British obsession with mown grass

Mown grass is not only extremely thirsty, it is often terrible for biodiversity. According to Adam Hunt of landscape architecture studio Urquhart & Hunt, "Many large expanses of grassland, especially public parks and cultivated fields, are effectively green deserts with very limited biodiversity." Research by conservation charity Plantlife confirms that even a well-watered mown lawn supports 10 times fewer bees and other pollinating insects than less aggressively managed green spaces of equivalent size.

Yet even as our emaciated grassy parks have turned yellow, most of their urban trees have remained green, leafy and lush. Unlike mown grass which has shallow roots, mature trees are able to tap moisture deep underground. Trees can also soak up vast amounts of liquid in wet seasons and hold it through months of dry weather. A single healthy tree can hold thousands of gallons of water.

Not only do trees stay green in dry weather, research published last year shows that trees can bring down urban temperatures by between 8 and 12 degrees Celsius, providing shade and reducing local evaporation. Which is why the only green blades of grass left in otherwise singed parks tend to be under tree canopies.

Despite the advantages of plentiful trees, most UK parks have been planted with far fewer than there is space for. London's Royal Parks such Hyde Park and Regent's Park, for example, contain on average only 84 trees per hectare (about 8 trees every 1000 square metres) while many less well-funded green spaces have fewer still. This low ratio of trees-to-open-space means that with increasingly dry summers, large swathes of ground will be baked hard as they are exposed to the full force of the sun's rays for longer.

British parks could retain plenty of space for frisbee, football and picnics while supporting 75 million new trees

Rather than continuing to model British parks on the lawn-heavy landscape gardens of long-dead aristocrats, a far better strategy would be to massively increase the number of trees in urban green spaces – turning big open lawns to small urban forests. There are roughly 150,000 hectares of urban green spaces in Britain. If we generously assume that these have roughly as many trees per hectare as the Royal Parks, there is easily capacity for at least a further 227 million urban trees to be planted across Britain's towns and cities.

Hunt proposes that a simple formula of one-third trees, one-third scrubland and one-third uncultivated pasture would produce far more sustainable and biodiverse green spaces than acres of mown grass. If this strategy were adopted, British parks could retain plenty of space for frisbee, football and picnics while supporting 75 million new trees – a combined forest capable of sequestering nearly two million tonnes of carbon dioxide a year as well as cooling our urban centres.

Reforesting would not only keep green spaces greener in extreme heat but could fend off floods too. Robert Thompson at the University of Reading has demonstrated that dry ground hardly absorbs water, meaning heavy rains after droughts can cause severe flooding. Tree roots, however, improve water infiltration by 157 per cent, helping soak up downpours quickly and alleviating flood risks. Even in wet seasons, urban trees help prevent flooding by reducing surface water runoff by 80 per cent compared to hard surfaces like asphalt.

For decades British municipal parks have been modelled on centuries-old aristocratic tastes. Innovators of the past successfully reinvented the English landscape garden tradition, turning rolling lawns from spaces of power and status into municipal facilities for all. To ensure British parks continue to provide hospitable green space for a comfortable and convivial outdoor life in the face of a changing climate, they must now be reinvented again. It's time to turn our scorched parks into urban forests.

Phineas Harper is director of Open City and formerly deputy director of the Architecture Foundation. He is author of the Architecture Sketchbook (2015) and People's History of Woodcraft Folk (2016).

The photography is by Tom Ravenscroft.

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A disused power plant and its neglected surroundings in Shenzhen, China, have been transformed into a wetland park masterplanned by Hong Kong-based landscape studio eLandscript.

Haoxiang Lake Park, which has been shortlisted in the landscape project category of Dezeen Awards 2021, combines the ecological management of a stormwater retention pond with a new bridge, pedestrian walkways, an exhibition hall and a cafe.

Located in the Shajing neighbourhood, the park will act as the venue for the Oyster Culture Festival, celebrating the historic importance of oysters to the culture and customs of the area.

"An 850-metre pedestrian loop reconnects the riverside spaces, and collides with the site in different areas to create landscape anchor points, such as the Rainbow Bridge, Sluice Overlook and the Flora Trellis Café," explained the studio.

eLandscript collaborated with various practices for the plan's different elements, which connect several banks created by the four rivers that feed into the lake with series of paths and elevated promenades.

The Rainbow Bridge, which crosses two rivers to the north of the site, was completed by German practice Schlaich Bergermann Partner. Its sweeping, 238-metre long form is created using steel box girders.

The Flora Trellis Cafe to the south of the site was designed by LAAB Architects, and features glass curtain walls sheltered by a white rhombus-coffered canopy.

ARCity were the collaborators for the regeneration of the former power plant, which has become the Oyster Culture Centre, including the creation of an adjacent play area, the Oyster Shell Water Maze, and a nearby educational wetland.

The ruins of the power plant's original 1980s structure has been retained left exposed, with new steel and glass forms inserted to enable the space to be used for local activities and exhibitions.

"These flexible regeneration methods bring positive environmental impacts, solve the growing community's demand for open space and the social problems brought about by the rapid development of the city," said the practice.

After carrying out flooding analysis, a 600-metre revetment retaining wall surrounding the lake has been transformed into a planted gabion wall, topped with reeds to create new banks that can be safely submerged during flooding.

At the park's entrance to the south, a traditional oyster-shell wall technique has been used to define the boundary of the site where it meeds the road, alongside a paved plaza leading towards the café.

Increasingly, urban wetlands projects are being considered as a means to combat more regular flooding as a result of climate change.

In New Orleans, Waggonner & Ball recently revealed plans for a 25-acre wetland park on the site of a former convent, which will be able to naturally absorb and store some 6.5 million gallons of water.

Other projects shortlisted in the landscape project category of Dezeen Awards 2021 include an alpine garden designed by Z'scape with meandering wooden paths and ancient trees.

Qidi Design Group were also shortlisted for its landscaped garden with curving paths and bridges.

The photography is by Tianpei Zeng.

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Children can play, hide and climb inside a series of sculptural spheres in a playground in Vårbergstoppen, Stockholm designed by Swedish architecture studio AndrénFogelström.

AndrénFogelström has decorated Vårbergstoppen, a park on a hill on the outskirts of Stockholm, with several colourful spheres.

The studio worked with landscape architecture practice Land Arkitektur to update the park, in a bid to counteract some of the urbanisation occurring in the park's suburban location.

"We wanted to make something exciting and unusual to inspire kids as well as adults to explore," studio founders Moa Andrén and Tove Fogelström told Dezeen.

"The idea came from a client who was inspired by the steep hill and the thought was that great balls would roll down the slope, almost as if a giant was throwing them," they continued.

A large orange sphere constructed out of perforated metal sheets sits at the top of the hill.

AndrénFogelström cut the metal into individual hexagons, before welding them together into the spherical structure.

The architects spent a long time working out how to make the structure look as though it were about to roll down the hill.

"It was an immense task during construction to make them fit together, and the structural engineer had a great deal of work just managing how to mark the pieces during the construction," AndrénFogelström said.

"It is a self-bearing construction where the parts support each other in the spheric form. It appears to be rolling down but is safely anchored to the ground," the architects explained.

Children and adults can enter the sphere through a circular opening to rest on its stepped wooden benches. At night, the sphere is lit by several small floor lights. Cables to the lights are threaded through the legs.

In the winter, the architects imagine that people will use the sphere as a starting point for sledging down the hill.

Three smaller spheres, which are positioned inside the playground at the foot of the hill, were made for younger children to play on and climb.

One sphere has a slide, another one has a little bench. All have small holes for peeking out of while playing.

Each of the spheres, which the studio thinks of as "little worlds," is made from wood which has been treated with linseed oil to increase its durability.

The frames, which stand on a block of concrete underneath the ground, are all made of steel.

Vårbergstoppen's unique geographical history also informed the architect's design choices. Swedish city landscape architect Holger Blom created Vårbergstoppen as an artificial hill in the 1960s.

The architects drew on the circular shapes Blom used, in an effort to honour his creation.

"The landscape was clearly designed, as the landscape architect who made the park in the 60s worked with forming the masses in geometric forms; the most significant one is a circular crater with a diameter of 100 meters," the studio said.

Other playgrounds that make use of playful, sculptural structures include The Folds by Atelier Scale in China which encourages children to explore in a more tactile way than usual.

Architecture office Studio Dlux created a multicoloured playground for children at a school in Curitiba that features curved mounds with tunnels for schoolchildren to climb through.

Photography is by Clément Morin unless stated otherwise.

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Professional basketball player Kofi Josephs and Birmingham graffiti artist Zuke have given a basketball court in Summerfield Park, Birmingham, a colourful refresh.

To mark the ticket ballot opening for the Birmingham 2022 Commonwealth Games on 14 July, athlete Josephs collaborated with local artist Zuke on the refurbishment of a local basketball court.

Alongside promoting the Games, the designers wanted the court to encourage more local people to play basketball and engage with the installation.

Vibrant colours such as bright yellow and sky blue were used to create an enticing and playful court. The same colour palette was used for the wider Birmingham 2022 Commonwealth Games logo and branding.

"If kids see some shit that’s as colourful as this basketball court, it's going to attract them," Josephs told Dezeen.

"They’re going to want to have a look and once you’re on there it’s easier to play. It’s going to draw in kids and stop kids from being on the street."

The court also features a mural with geometric shapes and swirling lines designed by Zuke.

The court's Birmingham location was used to inform the design, which "represents the city in a lot of ways".

"There’s a crown on there because we've got The Jewellery Quarter in Birmingham," Josephs explained.

"It's on concrete as well and we’re a hard-nosed city; we like to work hard, we like getting stuck in. We’re colourful, we’re diverse."

"We wanted to highlight the city and the different colours are my interpretation of the city" he continued.

Josephs and Zuke initially worked on the project together virtually by sending each other designs and ideas via WhatsApp.

"I'm in Manchester and he's in Birmingham so we were talking on WhatsApp," Joseph said.

"We just hit it off. We both had the same idea around wanting to do something to represent the city and were just bouncing ideas off each other."

Despite creating the designs individually, Zuke and Josephs worked on establishing a uniform style.

"We both wanted to ensure the same style altogether because it's one city. It’s meant to represent the differences but at the same time, we’re all one," Josephs said.

Although the court is meant to act as a colourful celebration of the city, the designers are also aware of the harsher realities of inner-city life around Summerfield Park.

"Obviously there is a lot of gang stuff around here so we want to make it a little bit more inclusive so all kids have something," said Josephs.

The court is now open for people to play basketball on and will remain so after the Games.

"It is now a landmark within the park, open for everyone to use and leaves a lasting legacy of the Games in the heart of the West Midlands community," the Birmingham 2022 Commonwealth Games stated.

"The revamped space aims to inspire participation in the sport."

Colourful basketball courts have been cropping up around the world. Designer Yinka Ilori 3D-printed a multicoloured court in the financial district of London. Over in Belgium, artist Katrien Vanderlinden painted colourful shapes on a basketball court in Aalst.

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Landscape architecture studio Narchitektura has used 40 grey sandstone slabs to create a memorial park on the site of a former synagogue in Oświęcim, the Polish city where the Auschwitz concentration camp was located.

Named The Great Synagogue Memorial Park, the memorial stands on the site of Oświęcim's Great Synagogue, which was burnt down by the Nazi party in 1939 during Germany's occupation of Poland.

"The main idea behind the memorial park comes from an archival photo taken just after the demolition of the Great Synagogue in Oświęcim by the Nazis at the beginning of world war two," said Narchitektura founder Bartosz Haduch.

"This black and white image shows enormous rubble of bricks and stones," he told Dezeen. "We wanted to interpret this old photograph with contemporary means and forms."

The park was created to be a place of reflection as one of several interventions designed by Narchitektura that draw attention to the city's Jewish heritage.

Before the second world war, around half of the city's population was Jewish and the Great Synagogue was one of 20 synagogues in the city.

During the Nazi occupation, Oświęcim became the site of the Auschwitz concentration camp, where almost one million Jews were killed during the Holocaust.

As part of the wider project, Narchitektura renovated the city's one remaining synagogue, which now also contains the Auschwitz Jewish Center, and designed a series of informational exhibition stands for the city's public spaces.

"Initially, the client wanted us to design just another exhibition stand in a park, but when we saw this beautiful site, we asked: 'why don't we design all this space for you?'," explained Haduch.

"We wanted to create a peaceful isolated space within nature that would evoke the feeling of being inside a temple. The existing trees form a natural "vault" over the memorial park."

A stone outline of the former synagogue marks the edge of the park, which contains several mature trees.

Within this space, the studio created a series of pathways made from 40 grey sandstone slabs that have numerous irregular cuts across their surfaces.

According to the studio, these cuts "illustrate the concept of the paths of life of a multicultural community that once coexisted in this place".

The sandstone slabs were recycled from a quarry where they had been used as bases for cutting other pieces of stone.

"I found these grey sandstone slabs by accident almost a decade ago while visiting a quarry," said Haduch.

"These stone plates served as the basis for cutting out smaller formats, hence the dense irregular mesh pattern on their surface. I was delighted by the graphic design created by the machines, without any prior plan or project," he continued.

"I really like this kind of "architecture without architects" concept and immediately thought that this material would be an excellent choice."

The park also includes a triangular exhibition stand containing information about the former synagogue made from Corten steel and several Corten steel benches.

A replica of a chandelier that was found during archaeological works at the site was hung above a reflecting pool.

Overall, Haduch hopes that the park is an appropriate memorial space for the people of Oświęcim and those visiting the town and the nearby Auschwitz concentration camp.

"This modest landscape project is an attempt to find an appropriate way to preserve the memory of the past," he said.

"We wanted to create a peaceful, intimate and inspiring public space opening onto the boulevards of the Soła river," he continued.

"We tried to create a monument that is almost invisible and that gradually blends into the surrounding nature."

Photography is by Piotr Strycharski and Bartosz Haduch.

Project credits:

Authors: Narchitektura / Bartosz Haduch, Łukasz Marjański
Collaboration: Imaginga Studio / Magdalena Poprawska
Landscape architecture: Narchitektura / Bartosz Haduch
Structural engineer: Maria Koczur
Electrical design: Robert Haponik
Client: Auschwitz Jewish Center

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A+Awards: designed as a series of interconnected voids, this house in Singapore by local firm Park+Associates Architects won a 2016 Architizer A+Award.

The Greja House comprises a cuboid volume surrounded by white mesh, which sits above a transparent ground floor.

It was laid out as open volumes that flow into each other horizontally and vertically, rather than as a home divided up by walls.

The mesh wraps around the upper floors to provide privacy while allowing in light.

"This matrix of borderless spaces is a white translucent box," said Park+Associates Architects. "Functionally, it acts as a screen that brings filtered daylight into the house while maintaining a degree of privacy."

"Architecturally, it creates a permeable skin that not only dissolves the boundary between inside and outside but also defines the visual character of the house," the architects added.

Entrance to the family home is through a tunnel-like walkway formed by thin vertical slats on one side and above, with wider-spaced columns on the other side.

This leads under the raised screen, past a tree the grows up behind the mesh, to the double-height living area.

Here, three of the four walls are almost entirely glazed at ground level.

Towards the back is a wood-panelled kitchen, where a staircase with matching treads gently spirals up to the first and second floors.

A bedroom, bathroom and utility room are tucked at the back, while a long thin garden runs the length of the property.

Upstairs, the master suite includes a series of interlinked spaces that move from a lounge area to the bedroom, then a walk-in closet and finally a bathroom.

Up another level are two further bedrooms with their own washroom facilities and storage spaces.

"The three-dimensional tapestry of this semi-detached house creates spaces that actively open up domestic dialogue, increasing the opportunities for more interactions – enriching the daily activities of its inhabitants," the architects said.

Completed in 2014, the Greja House was a winner in the Private House category at the 2016 A+Awards.

Organised by Architizer, the awards promote and celebrate the year's best projects and products.

Their stated mission is to nurture the appreciation of meaningful architecture in the world and champion its potential for a positive impact on everyday life. Find out more about the A+Awards ›

Photography is by E Hendricks.

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