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practice. Although these kinds of field studies are an inevitable outcome of our collective interests in botany, geology and cultural landscapes, they are useful for informing decision-making throughout design processes. They’re also loads of fun. Wind-blasted coastal turfs might seem to be exposed and drought-prone, until one registers the path of water sliding between the bedrock and soil layers. Similarly, micro-topography within swamps leads to a wide range of hydrological scenarios and habitats – many of which don’t match assumptions founded on broad definitions. One of New Zealand’s greatest botanists, Leonard Cockayne, consciously questioned the veracity of conforming with supposedly ‘true’ habitats, which might only represent the current picture for various species. In line with that, he would place wetland species in dry locations just to see what would happen. Similarly, observation of plant communities helps to expand one’s view of plants’ capabilities. Time spent within environments allows staff to bring direct experience and shared knowledge when discussing landform, planting associations, or potential relationships between vegetation and built forms (including ground planes). We are, after all, not interested in developing an echo chamber within our studio.
Philip Smith is the founder and lead designer of O2 Landscapes; an Auckland-based practice that works throughout New Zealand. Research plays a major role within O2 Landscapes’ work (whether related to botany, geology or built environments), and conservation of New Zealand’s threatened native flora is a matter of considerable importance for the practice. Philip lectured within the landscape architecture department at Victoria University of Wellington for 10 years (primarily on planting design), and is the author of ‘Vernacular : The Everyday Landscape of New Zealand’ (with David Straight). He has also written extensively for landscape publications, including Landscape Architecture New Zealand magazine.