Starting from the environmental movement, traditional land art has evolved, on the one hand, into climate art and, on the other, influenced the construction of morphology. “The principles of land building,” according to architect and theorist Stan Allen, “offer a new lens with which to re-examine phenomena as diverse as the megastructure of the 1960s, the current fascination with green building, artificial ski slopes or the vast multi-use stadiums being built today." These principles include inhabiting the landscape, which much contemporary architecture has incorporated into its design. However, unlike the wild terrains of land art, such as the salt lake of Spiral Jetty or the vast desert of Double Negative, contemporary architecture has incorporated land art principles into densely populated urban typologies, of which the following two projects serve as significant examples.3.3. 1 CASE STUDY 1: THE HIGHLINE FIGURE 3.3. THE HIGH LINE (Image by NYC Parks) The High Line [see Figure 3.3] is a park built on an abandoned railroad track in downtown New York City and is one of the most influential works today regarding the integration of landscape and architecture . Just look at the design team to see the interdisciplinary physical manifestation: landscape architect James Corner, architects Diller, Scofidio and Renfro, artist Olafur Eliasson and garden designer Piet Oudolf. They incorporated their interdisciplinarity into the project, stating: “Our agri-tecture strategy combines organic and building materials in a blend of shifting proportions that welcomes the wild, the cultivated, the intimate and the hyper-social.” The formation of the High Line is deeply rooted in the principles of land art. Like Robert Smithson's Spiral... center of paper... the designers of the High Line have created not just views, but an experience. The idea that the High Line is "perpetually unfinished" is also a principle evolved by the artists of the land. However, while land artists typically incorporated constant change through site entropy, the High Line is incomplete in its ability to continue to change through growth. The park is installed in three progressive parts. In this way, it is strengthening its dynamic qualities both through the large-scale growth of the infrastructure as each new part is installed, and through the small-scale growth of the High Line's flora as the plants take root. In some elements, the High Line plays on the erosion of land art works by creating growth through entropy, which forces the viewer to appreciate both time and the natural processes of the surrounding environment. said James Corner,