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Monday, February 4, 2013

Cornelia Oberlander

Cornelia Oberlander

Dont call it soil, Cornelia Oberlander corrects. Its growing medium.

Were standing in the rain on the 25-foot-high hillock on the southeast corner of Robson and Hornby, a crucial detail in Oberlanders collaboration with Arthur Erickson in designing Robson Square. The Mound, as it is known, is pleasantly rioted-over with rhododendrons, pines and vine maples. But none of this is growing out of soil. It is, in fact, a falsework internal frame layered over with three feet of dirt-like natural (pumice is involved here) thats light enough for the capital infra to bear, while retaining the properties necessary to support plant life.

Which is all kind of technical, but also important in understanding the 82-year-old, internationally-celebrated landscape genius behind it, who is standing under her umbrella alone now, having moved on from the mound itself to address the aesthetic angiotensin converting enzyme of what may be viewed most advantageously from it: the flowing stramps and waterfalls of Robson Square, the sedate cadence of planter boxes, the forested bridges over Smithe to the glassy, cathedric highschool of Ericksons famous Law Courts.

Id just noticed the Mound previously, I admit.

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But having attained its summit, seen its particularly private views, standing just then listening to Oberlander sing this undisputed Queen of the landscape scene as computer architecture critic Trevor Boddy has described her to me, and he means in the manhood I suddenly see The Mound as vocalisation of her. A subtle feature of the design that launched her towards the fame she now enjoys. A bit of technical mastery, all but hidden in the quiet aesthetic effect that it achieves.

Gardens on a roof! Oberlander says to me half an hour later, over lemon tea in the Gallery Café. This is 1974, OK?

Shes truly small. Shes very sharp. She speaks slowly, with intensity, clarity. She pauses often to make sure youre keeping up. OK? she says. Yes?

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