The 13th Veronica Rudge Green Prize in Urban Design recognizes the High Line as exemplar for the complex coordination of creative professionals, philanthropists, and policy makers by deeply committed community advocates.
The 13th Veronica Rudge Green Prize in Urban Design recognizes the High Line as exemplar for the complex coordination of creative professionals, philanthropists, and policy makers by deeply committed community advocates. The Green Prize also recognizes Friends of the High Line for their unwavering commitment to improving the public realm through design excellence and for their capacity to continually reinvent the High Line in ways that support more inclusive public spaces — both in New York and across the globe.
The opening of the High Line in 2009 was neither the park’s first nor final achievement. Originally conceived in the early 20th century, the elevated rail was a response to public outcry over rail–related fatalities at street level. Over time, the High Line became increasingly peripheral to New Yorkers, if they noticed it at all, seen more as a decaying behemoth, a platform for vice, and a hindrance to progress than for its potential as a transformative public asset. Nearly ten years after the first section opened, the High Line’s re–emergence as a beloved and celebrated public space not only has transformed a neighborhood, it also has influenced how we approach and understand urban design on a global scale.
The evolving nature of cities situates the practice of urban design within much longer trajectories of urbanization than can be fully expressed or understood by a singular site, agent, or process. The High Line exists simultaneously as material, infrastructural, and object–based, and immaterial, agency–driven, and processes–oriented. Its influence extends far beyond the physical, temporal, and geographical space it occupies. Projects like the High Line can come into being only through an expanded practice of design — one that interweaves politics, policy, and public process into the design of the built environment. This exhibition explores these intersections of activism and infrastructure, unpacking the social, natural, and formal design components that make the High Line an exceptional urban design project.
– Stephen Gray and Caroline Filice Smith, Co–curators
Prize Selection Committee
- Diane Davis, Committee Chair
- Stephen Gray
- Jeannette Kuo
- Paola Vigano
- Charles Waldheim
Curation and Exhibition Design
- Stephen Gray, Co-curator
- Caroline Filice Smith, Co-curator
- Forrest Jessee, Exhibition Designer
- Dan Borelli, Director of Exhibitions
- David Zimmerman-Stuart, Exhibitions Coordinator
- Mariana Paisana, Research and Graphics
- Mohsen Mostafavi, Dean and Alexander and Victoria Wiley Professor of Design
- Patricia Roberts, Executive Dean
- Ken Stewart, Assistant Dean and Director of Communications and Public Programs
- Paige Johnston, Manager of Public Programs
- Iwan Baan
- Joel Sternfeld
- Adam Ganser, Vice President for Planning and Design, Friends of the High Line
- Anna Hippee, Planning and Design Coordinator, Friends of the High Line
- Lisa Tziona Switkin, Senior Principal, James Corner Field Operations
- Margaret Jankowsky, Director of Marketing and Business Development, James Corner Field Operations
- Matthew Johnson, Principal, DS+R
- Trevor Lamphier, DS+R
- Stephen Gray
- Studio Rainwater
- Ronee Saroff
About The Prize
The Veronica Rudge Green Prize in Urban Design recognizes exemplary urban design projects that demonstrate a humane and worthwhile direction for the design of urban environments.
Awarded biennially, the Veronica Rudge Green Prize in Urban Design is the foremost award recognizing achievement in this field. Established in 1986 on the occasion of Harvard University’s 350th anniversary and the 50th anniversary of the Harvard Graduate School of Design, the prize recognizes exemplary urban design projects realized anywhere in the world in the past 10 years. Nominations for the prize are received from the GSD’s extensive network of academics and urban design professionals. Projects must be more than one building or an open space, and are evaluated in terms of their contributions to the public realm and to quality of urban life.