David August Williston is a name little known today, even in the world of landscape architecture. But according to Dr. Douglas Williams, Student ASLA, Ph.D graduate from the University of Illinois at Champaign-Urbana, he is one of the trail blazers of the field. One of the first African American landscape architects, Williston designed some of the major campuses of historically African American colleges like Booker T. Washington’s Tuskeegee Institute and Howard University in Washington, D.C. In his lifetime, he never experienced full integration, having passed away in 1962 at the age of 94, but managed to accomplish a lasting legacy of built work.
In a talk at Howard University’s School of Architecture, Williams wondered why Williston is so little celebrated. In part, he blames the lack of diversity in core landscape architecture texts, like the Landscape of Man, published in 1970, and Landscape Design, in 2001. “Where are the black people in these texts?”
Referring to Outliers: The Story of Success by Malcolm Gladwell, which argues that geniuses are less isolated phenomena than important nodes in deep and rich social networks, Williams argued that Williston also collaborated widely. He tried to imagine Williston’s African American contemporaries, many of whom remain unknown. He tried to imagine how Williston was able to create an entirely African American system to achieve his landscape designs in the segregated deep South. And he tried to imagine how Williston, without access to white-owned nurseries, could have sought out native plants in the woods and cultivated them on his own. (Williston was one of the first African Americans to earn a bachelor’s degree in horticulture from Cornell University; there, his love of plants grew into a considerable expertise on plant propagation and cultivation.)
Williston taught horticulture to African American college students while also serving as a campus landscape architect for numerous historically black colleges. He spent 20 years at Booker T. Washington’s Tuskegee Institute, where he also worked with African American architect Robert R. Taylor to lay out the physical campus. According to The Cultural Landscape Foundation, he then settled in Washington, D.C. at the onset of the Great Depression, where he started his own firm. He designed the expansion of Howard University, and numerous other colleges, working well into his early 90s.
Williams’ hope is to completely digitize Williston’s archives and make them accessible online for future researchers, using them as a basis to create 3-D models of now-lost planting schemes, so more people can experience a Williston landscape.
ESKIS Landscape architects: This project concerns the updating of the community esplanade in the town of Calvisson. This space, when not providing parking spaces, was used until recently as a gathering place for cultural events with the installation of a temporary arena. City hall has not organized such events for several years and as a […]
This project is a finalist for Rosa Barba Prize and will be presented at the International Biennial of Landscape Architecture in Barcelona on 29th of September, 2016. SWA Group: A two-mile-long river island in the heart of a city is sculpted, shaped, and forested to provide a refuge for wildlife and people. Utilizing the seasonal […]
In a leap for interactive art environments, Team Lab, a collaborative of Japanese artists, has put together a fascinating and bizarre collection of works in a 3,000-square-meter space in Tokyo. The pieces are truly responsive: visitors impact and shape the ever-changing works in real-time.
In the Dance of Koi and People – Infinity, visitors wade up to their calves through a shallow pool surrounded by mirrors, which creates the effect of being in an infinite space. As visitors walk through the water, underwater lights that mimic koi fish dart by.
According to the artists, the “trajectory of the koi is determined by the presence of people, and these trajectories trace lines on the surface of the water.” The even-more amazing part: “When the koi collide with people, they turn into flowers and scatter.”
This art work is derived by an algorithm in real time; it’s not a “pre-recorded animation nor on a loop.” It’s a work of continuous interaction and constant change.
In Wander Through the Crystal Universe, visitors interact with a giant pointillist sculpture in which “the particles of light are digitally controlled, and change based on the viewer’s interactivity with the work.” As visitors move, light shifts; as more visitors enter, light accumulates. Visitors can also use their smart phones to chose colors and shapes that will be included in the evolving piece.
In Floating in the Falling Universe of Flowers, visitors enable seasonal change. As visitors walk through, “flowers are born, they grow, bud, bloom, and, in time, the petals fall, and the flowers wither and die. The cycle of birth and death continues for perpetuity.” The piece also enables visitors to select butterflies with their smart phones and send them off into the surrounding “flower universe.”
And, lastly, Soft Black Hole, creates a dark space that plays with “the borders of floors, walls, and ceilings,” creating perhaps a startling version of a space you may find in a contemporary Korean spa. As visitors get into the space, their body weight shifts the environment, and so visitors impact the space of other visitors. “Your body changes the space, and the space changes the bodies of others.”