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The Performative Ground: Rediscovering The

Deep Section
by Stephanie Carlisle and Nicholas Pevzner

Published in Scenario 02: Performance

Spring 2012

Depth n.

1. a dimension taken through an object or body of material, usually downward from

an upper surface, horizontally inward from an outer surface, or from top to bottom
of something regarded as one of several layers.
2. the quality of being deep; deepness.
3. complexity or obscurity, as of a subject: a question of great depth.
4. gravity; seriousness.
5. intensity of color or darkness
6. emotional profundity: the depth of someone’s feelings.
7. an unfathomable abyss

Oyster-tecture, MoMA Rising Currents Exhibition. © SCAPE / Landscape

Architecture, 2010.

Introduction
Deep Urbanism is a reading of the city that acknowledges the complex ecological and
biogeochemical processes taking place above, below and within the urban ground. In
the city, nothing can simply be placed on the surface; the composition of the urban
ground requires that structures inevitably extend deep into a complex mix of disturbed
soil horizons, construction rubble, pipes, subways, utilities. The most innocent-looking
walkway may sit on 30-foot piles driven deep into silty soil; small hillocks might be
braced with highly engineered geotextiles. A simple meadow may require the complete

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reconstruction of a “natural” soil profile; a sunken garden may require drainage
infrastructure and thousands of pounds of concrete to keep the water table at bay.
Much of the action of landscape is deep underground, buried in space or time.

With more and more landscape projects today being built over infrastructure, over
unstable soils, or even atop capped landfills, it is critical for landscape architects to
deepen their understanding of complex site dynamics. While the visual action of
landscape happens above ground, landscape architecture’s intelligence, technical
problem solving and performative attributes often occur beneath the surface. However,
landscape’s increased emphasis on highly graphic and conceptual plans has led to the
de-emphasizing of depth and its associated behaviors and qualities, resulting in a
shallow section.

The sentiments of deep urbanism recently surfaced in the 2010 “Rising Currents”
exhibition at the Museum of Modern Art, where sectional drawings received a
prominent showing as wall-length murals. This project brought together five
interdisciplinary teams of architects, landscape architects and engineers to tackle the
complex challenge of reimaging New York’s coastline and harbor in light of the pressing
issues of climate-driven storm surge and sea-level rise, pollution and degraded coastal
habitat. The long and detailed section became the dominant drawing for many of the
teams due to its unique ability to address these issues and the underlying processes at
play, in time and space, with more nuance and dynamism than conventional plans and
perspectives could achieve.

While landscape plans and perspectives have achieved high levels of graphic refinement
over the last decade, helping to increase the visibility of landscape architecture,
sectional representation has lagged, not receiving the same level of graphic exploration
and experimentation. Developing a fluency with “deep sections,” or sectional
representation techniques that make visible the wide range of site complexity while
providing a critical tool for interdisciplinary collaboration and design exploration, can
be a start of a shift towards a deeper grounding in how landscapes perform.

Sectional axonometric: structural and landscape systems, Hudson River Park. MVVA,
2011. [left]
Section perspective: Salon de Pinos, Madrid Rio. West 8, 2006-2011. [right]

Section of Grand Central Terminal. Scientific American, 1912

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The Layered City: Urban Depth

For landscape architecture projects to perform and persist over time, landscape
architects need to not only design the benches, plantings, and pathways on the surface
of the ground, but to have a deep understanding of the site’s underlying substrate, of
the flows of water, traffic, and nutrients, of the architectural and infrastructural context
of the site. No longer are these elements a disconnected pre-condition of a project,
relegated to the purview of engineers or transportation planners, but an intimate part of
the newly expanded scope of landscape. The urban landscape includes the actual
ground on which the city is built and through which course its urban ecological flows
and processes.

These ideas were well understood by the architects and engineers at the turn of the
mid-nineteenth century who designed and built much of the conveyance infrastructure
that lies beneath the feet of city dwellers today. The deep section draws inspiration from
architects of the time—who argued fiercely for a better-performing city with wider
streets, modern sewage, and faster new transportation systems—and architects of the
1910s and 1920s reveling in the complex newly infrastructural section of the modern
metropolis.

European architects like Idelphons Cerda, in his search for a rational, scientific
urbanism, and Adolphe Alphand, in his search for the ideal Haussmannian boulevard,
drew new types of sections, through the street and its associated infrastructure. Cerda’s
formulation of a new “ism”—urbanism—underscores the moment of excitement about
the city that the Enlightenment was bringing to architecture.[1] Observing the young
gridded cities of the Americas, here was an architect developing a philosophy of city-
making and infrastructure in order to prepare for the radical expansion of the urban
territory out from the old medieval urban cores. A decade later, Adolphe Alphand was
experimenting with crafting new optimized sewered, planted, and traffic-separated
streets through the existing medieval urban fabric of Paris. Alphond included street
sections in his 1867-73 Les Promenades de Paris; as Jacqueline Tatom describes in her
essay “Urban Highways and the Reluctant Public Realm,” Alphand’s representation of
Haussmann’s Paris “reveals a programmatic richness that is enhanced by a careful
exploration of the existing city.” [2] These urban sections acknowledge both the urban
flows above ground and below it.

Infrastructural conditions of the present and future street, The Cities of the
Future. Eugène Hénard, 1910.

In the 19th century, these were not considered interdisciplinary drawings; disciplinary
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boundaries between architecture, engineering, urban design and landscape had not yet
hardened. Architects of the time understood that these elements were intimately
connected, and that in order for the distinct elements of the project to be in
conversation with each other, they needed to all appear on the same drawing.

In the first decades of the 20th Century, this urbanistic excitement continued, with
exuberant sections exploring the multiple infrastructural levels of the layered city. A
famous section drawing from the time, published in the Scientific American in 1912,
shows New York’s Grand Central carved away to reveal all the flows coming together in
this urban node. The city was being changed, mechanized, modernized, and urban
society was fully engaged with these changes as they were taking place.

Modern architects continued to draw prototypical urban sections throughout the 20th
Century, with influential urban sections being developed by Le Corbusier,
Hilbersheimer, and later Paul Rudolph. But as disciplines such as civil engineering
became codified and the below-grade infrastructure moved out of architects’ purview,
architectural interests shifted upwards. The information below ground, or below the
architectural foundation, faded from view, its memory relegated to the white emptiness
of poché.

The use of poché –the hatched or shaded space inside the cutline–in sectional drawings
indicates material or space which does not need to be considered. In architectural
drawings, poché traditionally represents the space inside the wall, indicating areas not
experienced or deemed superfluous to the focus of the drawing. In Nolli’s architectural
mapping of public space of Rome, the city’s building fabric was represented as poché
while the streets, plazas, and select architectural interiors were represented as an
interconnected public “figure” within the larger field of urban fabric. Architectural
drawings routinely represent the ground, and everything below the cutline or outside of
the building foundation as poché, implying that this material is beyond the scope of the
project.

Drawings are always partial views. The omission of information provides clarity and
legibility of the design problem being worked out or expressed on the page. If we
understand drawings to be a critical space for construction and exploration of
architectural questions, then the designation of material, zones or properties as poché is
a clear expression of the limits of the designer’s inquiry. When the properties relegated
to poché matter deeply, then this omission should be cause for concern.

in-depth adj.

1. carefully worked out, detailed and thorough: an in-depth study

2. thorough, extensive or profound: an in-depth analysis of the problem.

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Programmatic sections, Parc de la Villette, competition entry. Office for

Metropolitan Architecture,1983.

Iconic/Graphic: The Shallow Section & The

Programmed Surface
Half a century later, in the wake of decades of disastrous urban renewal projects and
ongoing suburban explosion– architects, urban designers and landscape architects
again sought a new mode for understanding the goals and guiding principles of
contemporary city making. In the 1970’s and 80s, the popularization of the
environmental movement, urban ecology and systems theory created a paradigm shift
in our understanding of the complexity and dynamism of the urban fabric.[3] Again,
descriptions of urban environments became infused with a language of flows and flux—
this time not just the high-speed movement of the automobile and train, but also the
varied and invisible flows of water and waste, migratory birds and hydroflurocarbons.

A new generation of architects and landscape architects were suddenly asked to operate
on a landscape that was neither wholly natural nor machinic[4]. While this may have
been a critical moment for a return to a critical understanding of subtle depth and
process, instead design moved in the opposite direction, casting its vote for a simplified
and ambiguous clarity.

Movements are born from a leader and an image. While the environmental movement
galvanized around Rachel Carson and dying birds, landscape architecture inherited
Rem Koolhaas and Parc de la Villette. OMA’s proposal for the Parc de la Villette
competition remains a seminal project for contemporary landscape architecture,
presenting a conceptual approach to landscape process and heralding the era of a new
drawing style, the diagrammatic plan. The competition took at its foundation two
critical challenges of the time—an artificial flatness of the post-industrial landscape and
the heroic nature of large-scale land development.

The conceptual foundation of OMA’s submission is a celebration of program, whose

diagrammatic clarity relies on the de-emphasizing of natural processes and their
replacement with a field of architectural objects—some of which happen to be trees:[5]

“Nature—whether the thematic/discovery gardens, or “real” nature—will also be

treated as program. Blocks or screens of trees and the various gardens will act like
different planes of a stage set: they will convey the illusion of different landscapes,
of depth, without offering, in passing, the substance.”[6]

OMA’s radical emphasis on program is a means of coping with, and perhaps mirroring,
the impermanence and dynamic nature of cities. The project—conceptually and literally
—exists purely above ground, and all elements that do not add to the construction of a
visual experience are rendered mute. Sectionally, the park is built up (never down) in a
series of theoretical and literal layers. The existing site, even the soil is characterized as
“sterile” [7] and a tabula rasa condition is assumed. All fertility, all interest is imported.
The weight of that effort is marked by topography—making all effect, all effort visible.

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Koolhaas’ La Villette proposal is important to note, not for its failings, but for its
conceptual strength and its graphic clarity—which proved capable of captivating
landscape architecture and architecture for nearly two decades. The technique and
polemic freed landscape architects to sell proposals through manipulation of program,
rather than just physical elements, broadening the field of what was considered
landscape and providing landscape architecture practitioners the agency to operate
across large swaths of the urban fabric. By the late 90’s, however, the iconic
diagrammatic flatness of landscape proposals had run its course, as evidenced by the
demise of OMA’s winning Tree City competition proposal for Downsview Park.

Thirty years after La Villette, landscape architects and architects are still struggling with
the flatness that came with the diagrammatic, ungrounded approach to landscape.
Academic and professional exploration of folded and thickened surfaces within the city
exhibit a desire to counteract this purported flatness of landscape, in order to express a
more didactically complex reading of the urban surface. Topo-mimetic building projects
such as FOA’s Yokohama Ferry Terminal, however, rely on a formal representation of
landscape as a proxy for the desired complexity and dynamic processes of material
sites.

Of course, scientific and experiential understandings of landscape patterns and

processes challenge a purely formal rendering of landscape or architecture as “an
abstract surface.”[8] In interpreting the “thickened ground”[9] of the urban landscape
as an architectural condition of horizontally expansive (if programmatically complex)
buildings, such explorations ignore and negate the significant biochemical, geological,
hydrological, or ecological complexity of urban ground.

Slope planting strategy, “Lifescape,” Fresh Kills competition proposal. James

Corner/Field Operations et al., 2005.

While the “thick 2-D” of the architcturalized urban section is capable of

reproducing moments of drama, its reliance on the treatment of landscape as a
metaphor ultimately exposes the thinness and immaterial nature of such projects.[10]
Urbanism, of course, operates in four dimensions– existing fully in space and time.

While architects continue to struggle to express depth and dynamic performance

through largely formal and narrative devices, contemporary landscape architects have
re-embraced process and a hyperconnected view of nature through a re-engagement
with the urban ground and its messy complexity. In this view, site conditions and
contexts are treated not as a disconnected engineering problem, but as integral to the
design strategy. In the projects and writings of landscape urbanism, we see once again
an excitement for the crafting of a better-performing city, where an expanded scope of
landscape architecture now includes the project of city-making, both above- and below-
ground.

beyond one’s depth , out of one’s depth idiom

1. in water deeper than one is tall

2. beyond the range of one’s competence or understanding

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Early concept sections, North Grant Park. Michael Van Valkenburgh Associates, 2011.

Drawing Deep Urbanism

If a Deep Urbanism is a reading of the city as a complex system composed of
interconnected layers of social and biogeochemical processes, then the deep section is
its primary graphic device for communicating a synthetic view. The deep section is an
essential representational tool in expressing and addressing design challenges
holistically—allowing varied processes to become visible and be explored relationally,
rather than analytically. The deep section breaks away from reliance on the visual and
apparent—creating space for the visualization of the processes of urban nature more
readily than do plans and perspectives. The deep section also brings infrastructure,
hidden both underground and in plain sight, to the forefront, expanding our
understanding of the pre-conditions of projects and the boundaries of our
interventions.

By extracting select elements from their usual places in spreadsheets and reports, and
placing them together on the page, the designer is able to spatialize these processes or
materials, while creating a dialectical tension between parameters that are usually
relegated to different disciplines. Through a deep section, subsurface hydrology may be
understood in relation to above-ground planting patterns, and below-ground structural
capacity can communicate with above-ground topography and landform’s
programmatic potential, all on one drawing.

Thirteen years before La Villette jolted landscape towards program and plan, Ian
McHarg challenged landscape architects to learn the lessons of dynamic landscape
systems, so that they might create more environmentally responsible projects. As
ecology popularized discussion of flows, process, and systems of disturbance rather
than equilibrium, McHarg opened the door to sectional explorations of process by
focusing on dynamic landscapes such as shifting sand dunes and representing their
behavior through sectional diagrams.[11] McHarg explained and popularized the use of
diagrammatic sections during his tenure at the University of Pennsylvania during the
1960’s, 70’s, and 80’s.

A generation of McHarg’s students has continued to experiment with and adapt these
techniques in order to explore a diversity of landscape dynamics. From McHarg’s
original explorations, we can trace three primary types of deep section—the landscape
transect, the structural section and the sequential section—each providing a critical
method for the toolkit of deep urbanism. Each technique represents a field of concerns
and drawing practices, some borrowed from other disciplines and others rooted in
landscape architecture practice.

Ian McHarg’s Dune Community Types, from Sea and Survival, 1969

Landscape transects explore the interconnection between vegetation on the surface

and the soil and hydrological behavior below ground. Transects drawn by ecologists are

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rooted in a methodology of sampling across a target site, represented in the

composition of vegetative gradients which index shifts in the properties of soil and
hydrology. Landscape architects can build on this technique in order to explore a wider
range of conditions, many of which are specific to the constructed ecology of urban
landscapes. Rather than cataloging found conditions, a deep landscape transect might
start from the intended vegetation patterns of a landscape design and move down to
describe the requisite soil horizons, drainage or irrigation regimes, and biological
conditions necessary to support that vegetative community, acting as a generative tool
for establishing proper growing conditions. It may need to incorporate elements of our
second sectional lineage, structural and construction sections.

Whereas ecological transects are full of gradients, structural and construction

sections, describe the actual dimensions, notations, and relations needed for building
a landscape. Their principal tool is the measured line. This sectional typology makes a
clear shift from description to prescription; hard lines in this type of representation are
essential—at the very least lines of dimension and lines of movement. The structural
section engages the spatial and temporal realities of acting on a heavily constructed
ground, responding to the need to describe coordination among utilities, the work of
various trades, structural loads, or relational properties of materials. Rather than
emphasizing the fluid and dynamic properties of landscape, the structural or
construction section embraces the conceptual and practical benefits of measurement
and spatial precision.

(Infra)structural sections, New Urban Ground. ARO and dlandstudio’s

competition entry for Rising Currents Exhibition, 2010.

With ARO and dlandstudio’s Rising Currents entry, “New Urban Ground” for Lower
Manhattan, we see an example of a deep (infra)structural section, where multiple flows
(water, sewage, data, power, traffic) are managed through a smart and precise
recalibration of the street and urban edge, re-thinking how the city can perform
through optimized street details. The proposal argues that a re-consideration of street
design can lead to a hydrologically better-performing city in an age of sea level rise and
increased storm surge potential. These sections comment on the existing mess of
utilities that lie below typical New York streets, and propose a new street section where

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utilities are reorganized into neat new ducts, livability has expanded with asphalt giving
way to grass in the porous pavement, and the attenuating quality of a soft coastal edge
to dissipate the destructive effect of storm surge has been carefully considered.

Sequential sections make use of multiple sectional cuts to express depth across
space or time in order to show a narrative progression. On the surface, these sections
often focus on the visible and spatial conditions of interiority, light, or landscape
experience, but they can also be cut through time. For example, several notable projects
have explored the processes of plant succession as a dynamic progression in order to
explain the relationship between initial moves (i.e. creating furrows, planting seedlings
in hedgerows, overplanting with the intent of later thinning out) and eventual
outcomes. Field Operations used this technique to explain their planting strategy for
Fresh Kills, illustrating the “successional development of ‘thicket’ planting on slopes
into mature, multi-aged, stratified woodland,” while Michael Van Valkenburgh
Associates used a similar approach to explain the spatial implications of pruning and
maintenance in shaping their “successional hedgerows” for Brooklyn Bridge Park.
STOSS LU borrows from Field Operations’ graphic convention and pushes it further to
explain the relationship between forest succession and the creation of programmatic
diversity through targeted landscape interventions such as the introduction of furrows,
fences, and boardwalks.

Successional Hedgerow Development, Brooklyn Bridge Park.

MVVA, Graphic by Mike Smith and Matthew Urbanski.

Physical operations: Minimal incisions and constructions that spark change,

Mount Tabor Resevoir. stossLU, 2003.

In deepening these three examples, we might draw on our understanding that in

addition to above-ground vegetation and biomass changes over time, shifting soil
characteristics and root growth are also important factors to consider in the appropriate
care of plant communities. A deep section approach might overlay information of
below-ground dynamics in order to express the connections or synergies between
aspects of maintenance activities (i.e. both the pruning of plants above ground and the
addition of soil amendments, microorganisms or subsurface irrigation).

Sequential sections can also be used to move the viewer through space rather than time.
As with the example below, this more experimental approach to sectional exploration
seeks to move away from the dominance of the surface of plan in order to explore flows
in three dimensions. Work from Anuradha Mathur and Dilip da Cunha’s Mumbai
studios at the University of Pennsylvania has used the sequential section to trace a
narrative progression through streets, waterways, rail lines and other infrastructural
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routes. Specific spatial conditions are represented in each individual section, while the
entire progression of section cuts becomes a place to map flows and relationships.

Like the other deep sections typologies listed above, the sequential section remains a
narrative and critical drawing—one which reserves the privilege of picking and choosing
which pieces of information or spatial moments are important to render on the page.
Sequential sections offer considerable flexibility and freedom to test design
interventions and critically explore relationships without the need for an even coding or
development of the plan.

Sequential sections through maidan edges, Filter/Collector: Anchoring the Edge in

Mumbai’s Maidans. Nicholas Pevzner, 2009

In his introduction to Recovering Landscape, James Corner argues that it is less the
formal characteristics of landscape, than the agency of landscape that is critically
important for intervening in cultural convention. The focus, he argues, should be on
“how it works and what it does” rather than what a landscape looks like.[12] Whereas
other forms of architectural representation may better communicate the formal or
aesthetic concerns of a project—whether a project is “naturalistic, rectilinear,
curvilinear, formal, or informal”—sectional drawings cut right past the plan aesthetic.
Able to be drawn quickly and early in the design process, sections offer a powerful
generative, communicative and analytical tool. The deep section designates a physical
space in which a project’s unknowns, goals and constraints can be drawn and tested.
The “deep section” holds out promise as the graphic platform for convening the
interdisciplinary conversation necessary to solve the complex and layered challenges of
contemporary urban landscape projects within a medium that is native to landscape

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architecture.

Nicholas Pevzner is a designer at Michael Van Valkenburgh

Associates in New York City. His work explores the role that
infrastructural landscape moves can play in structuring and
sustaining healthy cities. Nicholas received his Bachelor of
Architecture from the Cooper Union in New York in 2005. He
later received his Master of Landscape Architecture from the
University of Pennsylvania in 2009, where he has also been a
visiting lecturer and critic in landscape architecture. He is a co-editor of this issue.

Stephanie Carlisle is a designer and environmental researcher

at KieranTimberlake Architects in Philadelphia. Her research
focuses on the relationship between the built and natural
environment and employs interdisciplinary design
methodologies and data-driven modeling to study complex
urban systems. Stephanie holds a Master of Architecture from
the Yale School of Architecture and a Master of Environmental
Management from the Yale School of Forestry and Environmental Studies. She is a co-
editor of this issue.

[1] David Grahame Shane. Recombinant Urbanism (Hoboken: Wiley Press, 2005) p208

[2] Jaqueline Tatom. “Urban Highways and the Reluctant Public Realm,” from the Landscape Urbanism Reader.
Charles Waldheim ed. (New York: Princeton Architectural Press, 2006) p 185

[3] Fritjof Capra. The Web of Life: A New Scientific Understanding of living Systems (New York: Anchor Books,
1996)

[4] Reyner Banham. Theory and Design in the First Machine Age (Cambridge: The MIT Press, 1980)

[5] Sébastian Marot. “Sub-Urbanism / Super-Urbanism: From Central Park to La Villette,” AA Files 53 (2005): 25

[6] Rem Koolaas, S,M,L,XL. (New York: Monacelli Press, 1995): 923

[7] Ibid.

[8] Stan Allen. “Mat Urbanism: The Thick 2-D,” in CASE #2: Le Corbusier’s Venice Hospital and the Revival of the
Mat Building, ed. Hashim Sarkis (Munich: Prestel, 2001): 124

[8] Alex Wall. “Programming the Urban Surface,” in Recovering Landscape, ed., James Corner (New York: Princeton
Architectural Press, 1999): 237

[8] Eduardo Rico, “Deep Ground Project: Thickened Ground Concept,” AALU LAndscape Urbanism, March 3, 2008,
accessed March 1, 2012, http://aa-landscape-urbanism.blogspot.com/2008/03/thickened-ground.html.

[10] Stan Allen. “Mat Urbanism: The Thick 2-D.”

[11] Ian McHarg. Design with Nature. (Garden City, NY: Natural History Press, 1969)

[12] James Corner, “Introduction,” in Recovering Landscape: Essays in Contemporary Landscape Architecture, ed.
James Corner (New York: Princeton Architectural Press, 1999): 4

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