The Collages and Montages of James Corner, Ken Smith, and Adriaan Geuze

Joyce Tong; Nadia Amoroso

doi:doi:10.11648/j.larp.20251001.11

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The Collages and Montages of James Corner, Ken Smith, and Adriaan Geuze

Joyce Tong, Nadia Amoroso^*

Published in Landscape Architecture and Regional Planning (Volume 10, Issue 1)

Received: 24 February 2025 Accepted: 5 March 2025 Published: 26 March 2025

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Abstract

The past three decades have seen a significant evolution in graphic representation within landscape architecture, driven by technological advancements and the complexity of environmental challenges. This paper examines the pioneering visual modes and representational approaches of acclaimed landscape architects, James Corner of Field Operations, Adriaan Geuze of West 8, and Ken Smith of Ken Smith Workshop, highlighting how their graphic innovations have reshaped the aesthetics, communication, and pedagogy of the discipline. Their innovative techniques have enhanced how landscapes are conceptualized, designed, and understood, positioning representation as both a tool for storytelling and critical inquiry. James Corner's early "map-drawings" integrated analytical data with artistic aesthetics, crafting layered spatial narratives. His projects like the High Line in New York City and the Camden High Line in London fuse mapping, abstract collage, and field sketches to envision urban renewal. As digital tools like Photoshop emerged, Ken Smith adapted his montage techniques to the digital realm. His use of layering, masking, and perspective manipulation demonstrates how traditional collage principles can be integrated into contemporary digital workflows. West 8’s practice embraces the distortion of reality to provoke thought and engagement. The interplay between digital precision and artistic expression underpins their graphic methodology, resulting in images that are positioned in context and open to interpretation. This is seen in the Schouwburgplein, Rotterdam through its expression of the void. These practitioners emphasize the evolution of representation from a simple means of communication to a critical and expressive medium that shapes how landscapes are designed and perceived today.

Published in	Landscape Architecture and Regional Planning (Volume 10, Issue 1)
DOI	10.11648/j.larp.20251001.11
Page(s)	1-15
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2025. Published by Science Publishing Group

Keywords

Visual Communication in Landscape Architecture, Graphic Communication, James Corner, Ken Smith, Adriaan Geuze, Field Operations, West 8, Collage

References

[1]	N. Nitavska and A. Mengots, "Digital Tools in Landscape Architecture," Landscape Architecture and Art, vol. 11, no. 11, pp. 42–50, Feb. 25, 2018. Accessed: May 20, 2019. https://doi.org/10.22616/j.landarchart.2017.11.05
[2]	E. Meyer, "January 2007 – Landscape Theory," Landscape Theory, 2007. Available: https://landscapetheory1.wordpress.com/2007/01/ Accessed: Jan. 23, 2025.
[3]	S. Bell, Landscape Pattern, Perception and Process, 2nd ed. Routledge, 2012.
[4]	“Adriaan Geuze \| ReSITE.” ReSITE, 2024, www.resite.org/speakers/adriaan-geuze Accessed 23 Jan. 2025.
[5]	R. Weller, "Between hermeneutics and datascapes: A critical appreciation of emergent landscape design theory and praxis through the writings of James Corner 1990-2000 (Part one)," Landscape Review. Available: https://doi.org/10.34900/lr.v7i1.92
[6]	A. Blum, "The Long View: James Corner & Landscape’s Post-industrial Potential," Metropolis, Aug. 11, 2021. Available: https://metropolismag.com/projects/the-long-view-james-corner-landscape-postindustrial-potential/ Accessed: Jan. 23, 2025.
[7]	J. Czerniak, Large Parks. New York, NY, USA: Princeton Architectural Press, 2007.
[8]	A. MacLean and J. Corner, Taking Measures across America. New Haven, Connecticut, USA: Yale University Press, 1996.
[9]	K. Smith, "Non-sites and Simulacra," in Representing Landscapes: One Hundred Years of Visual Communication, N. Amoroso and M. Holland, Eds. 2022, pp. 170–176.
[10]	American Society of Landscape Architects, "ASLA 2009 Professional Design Award – The Museum of Modern Art Roof Garden," ASLA, 2009. [Online]. Available: https://www.asla.org/2009awards/050.html [Accessed: 21-Feb-2025].
[11]	A. Freytag, “Back to form: Landscape architecture and representation in Europe after the sixties,” in Composite Landscapes: Photomontage and Landscape Architecture, C. Waldheim and A. Hansen, Eds. 2014. [Online]. Available: https://www.academia.edu/38129498/Back_to_Form_Landscape_Architecture_and_Representation_in_Europe_after_the_Sixties [Accessed: Jan. 23, 2025].
[12]	I. Lomholt, "Lincoln Park Miami Beach: Florida landscape - e-architect," e-architect, Apr. 27, 2020. Available: https://www.e-architect.com/miami/lincoln-park-miami-beach
[13]	H. Stoilas, "Artist interview: Bill Fontana: Miami Sound Machine," The Art Newspaper - International Art News and Events, Sep. 28, 2021. Available: https://www.theartnewspaper.com/2018/12/09/bill-fontana-miami-sound-machine
[14]	A. Geuze, "Landscape designer Adriaan Geuze on the healing power of nature," CLADmag, 2017. [Online]. Available: https://www.cladglobal.com/architecture-design-features?codeid=32487 [Accessed: 21-Feb-2025].
[15]	J. Corner, "Discussion with James Corner," Email, Jan. 2025.
[16]	K. Smith, “Discussion with Ken Smith,’ Email, Jan, 2025.
[17]	Cantrell, B., & Mekies, A. (Eds.). (2018). Codify: Parametric and Computational Design in Landscape Architecture. Routledge. https://doi.org/10.4324/9781315647791

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Tong, J., Amoroso, N. (2025). The Collages and Montages of James Corner, Ken Smith, and Adriaan Geuze. Landscape Architecture and Regional Planning, 10(1), 1-15. https://doi.org/10.11648/j.larp.20251001.11

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Tong, J.; Amoroso, N. The Collages and Montages of James Corner, Ken Smith, and Adriaan Geuze. Landsc. Archit. Reg. Plan. 2025, 10(1), 1-15. doi: 10.11648/j.larp.20251001.11

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AMA Style

Tong J, Amoroso N. The Collages and Montages of James Corner, Ken Smith, and Adriaan Geuze. Landsc Archit Reg Plan. 2025;10(1):1-15. doi: 10.11648/j.larp.20251001.11

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@article{10.11648/j.larp.20251001.11,
  author = {Joyce Tong and Nadia Amoroso},
  title = {The Collages and Montages of James Corner, Ken Smith, and Adriaan Geuze},
  journal = {Landscape Architecture and Regional Planning},
  volume = {10},
  number = {1},
  pages = {1-15},
  doi = {10.11648/j.larp.20251001.11},
  url = {https://doi.org/10.11648/j.larp.20251001.11},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.larp.20251001.11},
  abstract = {The past three decades have seen a significant evolution in graphic representation within landscape architecture, driven by technological advancements and the complexity of environmental challenges. This paper examines the pioneering visual modes and representational approaches of acclaimed landscape architects, James Corner of Field Operations, Adriaan Geuze of West 8, and Ken Smith of Ken Smith Workshop, highlighting how their graphic innovations have reshaped the aesthetics, communication, and pedagogy of the discipline. Their innovative techniques have enhanced how landscapes are conceptualized, designed, and understood, positioning representation as both a tool for storytelling and critical inquiry. James Corner's early "map-drawings" integrated analytical data with artistic aesthetics, crafting layered spatial narratives. His projects like the High Line in New York City and the Camden High Line in London fuse mapping, abstract collage, and field sketches to envision urban renewal. As digital tools like Photoshop emerged, Ken Smith adapted his montage techniques to the digital realm. His use of layering, masking, and perspective manipulation demonstrates how traditional collage principles can be integrated into contemporary digital workflows. West 8’s practice embraces the distortion of reality to provoke thought and engagement. The interplay between digital precision and artistic expression underpins their graphic methodology, resulting in images that are positioned in context and open to interpretation. This is seen in the Schouwburgplein, Rotterdam through its expression of the void. These practitioners emphasize the evolution of representation from a simple means of communication to a critical and expressive medium that shapes how landscapes are designed and perceived today.},
 year = {2025}
}

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TY  - JOUR
T1  - The Collages and Montages of James Corner, Ken Smith, and Adriaan Geuze
AU  - Joyce Tong
AU  - Nadia Amoroso
Y1  - 2025/03/26
PY  - 2025
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DO  - 10.11648/j.larp.20251001.11
T2  - Landscape Architecture and Regional Planning
JF  - Landscape Architecture and Regional Planning
JO  - Landscape Architecture and Regional Planning
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AB  - The past three decades have seen a significant evolution in graphic representation within landscape architecture, driven by technological advancements and the complexity of environmental challenges. This paper examines the pioneering visual modes and representational approaches of acclaimed landscape architects, James Corner of Field Operations, Adriaan Geuze of West 8, and Ken Smith of Ken Smith Workshop, highlighting how their graphic innovations have reshaped the aesthetics, communication, and pedagogy of the discipline. Their innovative techniques have enhanced how landscapes are conceptualized, designed, and understood, positioning representation as both a tool for storytelling and critical inquiry. James Corner's early "map-drawings" integrated analytical data with artistic aesthetics, crafting layered spatial narratives. His projects like the High Line in New York City and the Camden High Line in London fuse mapping, abstract collage, and field sketches to envision urban renewal. As digital tools like Photoshop emerged, Ken Smith adapted his montage techniques to the digital realm. His use of layering, masking, and perspective manipulation demonstrates how traditional collage principles can be integrated into contemporary digital workflows. West 8’s practice embraces the distortion of reality to provoke thought and engagement. The interplay between digital precision and artistic expression underpins their graphic methodology, resulting in images that are positioned in context and open to interpretation. This is seen in the Schouwburgplein, Rotterdam through its expression of the void. These practitioners emphasize the evolution of representation from a simple means of communication to a critical and expressive medium that shapes how landscapes are designed and perceived today.
VL  - 10
IS  - 1
ER  -

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Author Information

Joyce Tong

Landscape Architecture, University of Guelph, Guelph, Canada

Contact Email
Nadia Amoroso

Landscape Architecture, University of Guelph, Guelph, Canada

Contact Email

http://orcid.org/0000-0002-0163-0245

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APA Style

Tong, J., Amoroso, N. (2025). The Collages and Montages of James Corner, Ken Smith, and Adriaan Geuze. Landscape Architecture and Regional Planning, 10(1), 1-15. https://doi.org/10.11648/j.larp.20251001.11

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ACS Style

Tong, J.; Amoroso, N. The Collages and Montages of James Corner, Ken Smith, and Adriaan Geuze. Landsc. Archit. Reg. Plan. 2025, 10(1), 1-15. doi: 10.11648/j.larp.20251001.11

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AMA Style

Tong J, Amoroso N. The Collages and Montages of James Corner, Ken Smith, and Adriaan Geuze. Landsc Archit Reg Plan. 2025;10(1):1-15. doi: 10.11648/j.larp.20251001.11

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@article{10.11648/j.larp.20251001.11,
  author = {Joyce Tong and Nadia Amoroso},
  title = {The Collages and Montages of James Corner, Ken Smith, and Adriaan Geuze},
  journal = {Landscape Architecture and Regional Planning},
  volume = {10},
  number = {1},
  pages = {1-15},
  doi = {10.11648/j.larp.20251001.11},
  url = {https://doi.org/10.11648/j.larp.20251001.11},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.larp.20251001.11},
  abstract = {The past three decades have seen a significant evolution in graphic representation within landscape architecture, driven by technological advancements and the complexity of environmental challenges. This paper examines the pioneering visual modes and representational approaches of acclaimed landscape architects, James Corner of Field Operations, Adriaan Geuze of West 8, and Ken Smith of Ken Smith Workshop, highlighting how their graphic innovations have reshaped the aesthetics, communication, and pedagogy of the discipline. Their innovative techniques have enhanced how landscapes are conceptualized, designed, and understood, positioning representation as both a tool for storytelling and critical inquiry. James Corner's early "map-drawings" integrated analytical data with artistic aesthetics, crafting layered spatial narratives. His projects like the High Line in New York City and the Camden High Line in London fuse mapping, abstract collage, and field sketches to envision urban renewal. As digital tools like Photoshop emerged, Ken Smith adapted his montage techniques to the digital realm. His use of layering, masking, and perspective manipulation demonstrates how traditional collage principles can be integrated into contemporary digital workflows. West 8’s practice embraces the distortion of reality to provoke thought and engagement. The interplay between digital precision and artistic expression underpins their graphic methodology, resulting in images that are positioned in context and open to interpretation. This is seen in the Schouwburgplein, Rotterdam through its expression of the void. These practitioners emphasize the evolution of representation from a simple means of communication to a critical and expressive medium that shapes how landscapes are designed and perceived today.},
 year = {2025}
}

Copy | Download

TY  - JOUR
T1  - The Collages and Montages of James Corner, Ken Smith, and Adriaan Geuze
AU  - Joyce Tong
AU  - Nadia Amoroso
Y1  - 2025/03/26
PY  - 2025
N1  - https://doi.org/10.11648/j.larp.20251001.11
DO  - 10.11648/j.larp.20251001.11
T2  - Landscape Architecture and Regional Planning
JF  - Landscape Architecture and Regional Planning
JO  - Landscape Architecture and Regional Planning
SP  - 1
EP  - 15
PB  - Science Publishing Group
SN  - 2637-4374
UR  - https://doi.org/10.11648/j.larp.20251001.11
AB  - The past three decades have seen a significant evolution in graphic representation within landscape architecture, driven by technological advancements and the complexity of environmental challenges. This paper examines the pioneering visual modes and representational approaches of acclaimed landscape architects, James Corner of Field Operations, Adriaan Geuze of West 8, and Ken Smith of Ken Smith Workshop, highlighting how their graphic innovations have reshaped the aesthetics, communication, and pedagogy of the discipline. Their innovative techniques have enhanced how landscapes are conceptualized, designed, and understood, positioning representation as both a tool for storytelling and critical inquiry. James Corner's early "map-drawings" integrated analytical data with artistic aesthetics, crafting layered spatial narratives. His projects like the High Line in New York City and the Camden High Line in London fuse mapping, abstract collage, and field sketches to envision urban renewal. As digital tools like Photoshop emerged, Ken Smith adapted his montage techniques to the digital realm. His use of layering, masking, and perspective manipulation demonstrates how traditional collage principles can be integrated into contemporary digital workflows. West 8’s practice embraces the distortion of reality to provoke thought and engagement. The interplay between digital precision and artistic expression underpins their graphic methodology, resulting in images that are positioned in context and open to interpretation. This is seen in the Schouwburgplein, Rotterdam through its expression of the void. These practitioners emphasize the evolution of representation from a simple means of communication to a critical and expressive medium that shapes how landscapes are designed and perceived today.
VL  - 10
IS  - 1
ER  -

Copy | Download