This 2.5-acre rectangular park anchors the southern end of the Network. The north corner contains a musical clock tower, adorned with rich mosaics. The center is a large lawn edged by profusely flowering vine-covered pergolas. The southern end of the park contains benches set within paved terraces, and a sunken trapezoidal fountain.
Schematic drawings illustrate that Halprin articulated the locations for what he referred to as “art opportunities.” This culminated in installations by Lita Albuquerque, Adrian Saxe, Raul Guerrero, Gwynn Murrill, Tony Berlant, and Ralph McIntosh.
Grand Hope Park has benefited from the stewardship of the Fashion Institute of Design and Merchandising (FIDM), an institution focused on good design. The Halprin design appears to be well maintained, with no visible alterations that impact the original design intent.
While the staff at FIDM are aware (and appreciative) of Halprin’s involvement, he does not appear to be mentioned on their website or in on-site interpretation at the park. Furthermore, as the southernmost landscape within the Network (several blocks away from Crocker Court, Bunker Hill Steps, and the Maguire Gardens), Grand Hope Park appears to be the most disconnected from the original Network of open spaces. On-site interpretation and signage that connects the park to both Halprin and the larger Network should be considered.
Alan Ward, FASLA
Ward, a principal at Sasaki in Boston, Massachusetts, is a planner, designer, author, and photographer. His photographs have appeared in more than 200 books and magazines and have been in numerous exhibitions, including the award-winning exhibition Built Landscapes: Gardens of the Northeast. His most recent exhibition Luminous Landscapes, debuted at the National Building Museum in 2016. Ward’s recent landscape design work includes the rehabilitation of the landscape at the Lincoln Memorial in Washington, D.C.