Catherine Mosbach

Catherine Mosbach is DPLG landscaper. After a career in biology, physics and chemistry at the Université de Strasbourg Louis Pasteur, she joined the Nationale Supérieur de Paysage de Versailles, where she follows the teaching of Michel Corajoud. Upon leaving school, she created the magazine Pages Paysages with Marc Claramunt, Vincent Tricaud and Pascale Jacotot. To answer to a commission from the Ministry of the Environment on the representation of the Vauban landscape-relief landscape, she is doing a DEA in History and Civilization at EHESS. Her practice reveals a taste for the experimental in the broad sense. Her emblematic projects include the Bordeaux Botanical Garden, the Louvre Lens Park and Gateway Park in Taiwan.

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Catherine Mosbach

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Design of the biosphere

How can we create a dialogue between architecture and landscape? In this interview, the landscaper Catherine Mosbach details how her work of representing natural environments abolishes the distance between the public and the object observed.

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Article

Design of the Biosphere

Catherine Mosbach

Article

Design of the Biosphere

How can we move beyond man’s position of dominance over nature? In what way can the living be articulated so as to improve the city? How can we create a dialogue between architecture and landscape? The work of the landscaper Catherine Mosbach represents natural environments—through the recomposition of layers of landscape—collapsing any distance between the public and the object being observed. She recreates environments in the city by playing with a set of parameters including plants but also topography, hygrometry, soils, and environmental pollution, in such a way as to counterbalance urban extremes and create islands of coolness and comfort, but also to provide paths and spaces for sociability. Within this approach, landscape and technology become complementary levers. The landscaper’s drawing must allow the hosting of events by giving up full control. In a similar fashion, architecture can no longer be so attached to the monumental envelope—form and frontier—so as to provide refined interfaces with the landscape, create porosities, and welcome transitions between the inside and the outside.

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