Longtime associates M. Paul Friedberg, FASLA, and Jackie Ferrara, Sculptor, respond to LASN in a written interview direct from New York. Their answers focus on their collaborative style, citing numerous built projects and the prestigious Phoenix Canal Competition that they recently won.

"Art is not objectified. Art becomes an integral part of the environment, and it is not possible to distinguish the scene between the artist and the Landscape Architect's work."

LASN: Paul, why would you want to collaborate with a sculptor? Jackie, as an artist creating outdoor sculpture, why would you want to work with a Landscape Architect?

MPF: It's part of our tradition - the idea of collaboration is not new. It has existed throughout the history of garden design. With a few exceptions, gardens have always been the product of landscape architects, sculptors, and sometimes architects. Today the process is basically the same, except the result is different in the manner in which art is seen or not seen in the final product. Art is not objectified. Art becomes an integral part of the environment, and it is not possible to distinguish the scene between the artist and the Landscape Architect's work. To some, this loss of distinction is threatening. The best justification for collaboration is the product, the result of fusing two different attitudes and sensibilities derived from different sources and objectives.

JF: A honing process occurs in successful collaborations which encourages the best of each individual to emerge. A combined intellect, aesthetic, and sensitivity begins to operate. The layering and interaction of the collaborators' responses can be fascinating. The

potential for unexpected and new approaches is enormous.

LASN: Describe your collaboration, in process, method, and media.

What do you do to enhance the creative design process?

MPF: The process depends on personality. We, when possible, like to start without any preconceptions - with a so-called blank sheet. Then the process gets messy, ideas are offered and, in the face of the other's honesty, you find yourself suffering rejection, warding off humiliation, resisting anger until something mutually satisfying and interesting begins to manifest itself. It's not a process for the meek, thin-skinned, or pro-fragile egos - especially with my partner, Jackie.

JF: I do not believe there is a specific program for collaboration. Certainly it is crucial that the collaborators truly like each other's work. For the Silver Springs project, Paul and I worked only at his office; whereas for Sawyer Park we only worked at my studio. In every instance it is understood that we must agree on every aspect including form, function, materials, all details, lighting, seating, planting, even the presentation.

LASN: Describe your Phoenix Canal Competition winner. How did you meet design criteria and evolve the winning entry? Also, Lenox Vest Pocket Park, built in Silver Spring, MD, resulted from your joint effort. Describe the design/implementation, noting materials used, and community factors.

MPF: The process is basically the same for most of our recent work. Except in Lenox Park, a realized project, nothing is left to the imagination. It's no longer about supposition. Success and failure are indubitably documented. Phoenix, as yet, has not become a physical reality, and therefore has not been tested.

JF: I hope the users are happy with the result of Lenox Park.

MPF Summary:

Collaboration is a process that I willingly and enthusiastically seek out. I am stimulated by the way the artist processes information and by their conclusions. I don't perceive collaboration as competitive but rather a complementary process, where my approach to space, aggression, composition, and social purpose are constantly being refocused by the addition of alternative realities. Nothing is static. I always seem to tread new ground - going places where I haven't been.