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DEC 2016 / VOL 106 NO 12 US $7 CAN $9

LANDSCAPE ARCHITECTURE MAGAZINE

THE CLARK

Reed Hilderbrand defines the view

THE LAWN ON D Sasaki’s pop-up sticks in Boston

FARMLAND SECURITY More is always more economical

LAWRENCE HALPRIN TCLF celebrates a centenary

THE MAGAZINE OF THE AMERICAN SOCIETY OF LANDSCAPE ARCHITECTS

LeNotre Rectangle GFRC Planter, Campania Signature Collection, Shown in Pietra Vecchia (PV)

one resource

FOR

D E S I G N | P R O D U C T S | M AT E R I A L S | AVA I L A B I L I T Y

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Planters

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Fountains

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Ta b l e s

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Benches

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Pottery

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Accents

Tara Allentuck Elena Alves WELCOME to Airiel Barrientos Mary Cadwallender Austin Chase Lauren DelbridgeBLACKSBURG 2016 Sara Harrell Alex Jones Nick Henry Jill Miller Joe Niland Sevda Ozturk Sari Nick Proctor Aline Soares Souza de Souza Carlin Tacey Sherry Wang Cen Zhong Fred Besancon Jean-Pierre Casillas Marlise Eguchi Ryan Goodstein Ngan Han Byron Hubbard Britton Jones Oliver Kiley Chad Lothamer Jeffrey Mis Jenny Qualls Andrea Sandoval Michael Saltarella Eduardo Santamaria Khyati Saraf Matthew Strange Annie Varma Lisa Delplace Paul Kissinger Terry Clements Kona Gray Jennifer Low Kirt Martin

XTREME LA Identify broad goals and objectives for a future-oriented, planning-based approach to housing development in Blacksburg that can KHOS WRZQ RIĂ€FLDOV envision how a mixed-use, livable, walkable and sustainable community might look and work.

Landscape Forms thanks those who made the 2016 event in Blacksburg, VA a resounding success: Landscape Architecture Foundation

Terry Clements, Professor and Head of the Landscape Architecture Program, and the School of Architecture + Design at Virginia Polytechnic Institute and State University for hosting the event Lisa Delplace, Principal/CEO Oehme van Sweden, and Paul Kissinger, Principal EDSA, for expert leadership The Landscape Architecture Foundation for its ongoing support Thirty-four outstanding young landscape architecture professionals and students for grace under pressure and great work

THANK YOUVIRGINIA TECH Engaging future leaders.

Supporting the landscape architecture profession.

Xtreme LA (Extreme Landscape Architecture) 2016 was the eighth in a series of charrettes created and funded by Landscape Forms. These events bring a critical mass of creative power to an important landscape architecture challenge in a targeted community. In less than 48 hours a team of the best and brightest young landscape architecture professionals and students assess, conceptualize, design and present proposals for smart sustainable solutions that are gifted to the community.

Thank you and sincere wishes for future success to all Xtreme LA participants from all of us at Landscape Forms.

DESIGN. CULTURE. CRAFT.

LANDSCAPE ARCHITECTURE MAGAZINE

THE MAGAZINE OF THE AMERICAN SOCIETY OF LANDSCAPE ARCHITECTS

LAM 10 INSIDE 14 LAND MATTERS

44 TECH

Expanded Horizons

New federal rules on drone use should bring certainty to landscape architects as they learn to master the devices for various kinds of site surveillance.

BY KEVAN WILLIAMS

16 LETTERS

FOREGROUND 20 NOW For an informal settlement in Cambodia, student designers create a new street and social space; Minot, North Dakota, prepares for its next perfect storm; sediment trapped behind dams could help restore San Francisco Bay wetlands, and more.

52 GOODS

Quick Escape

Residential fixtures and materials for a sense of elsewhere.

BY KATARINA KATSMA, ASLA

EDITED BY TIMOTHY A. SCHULER

36 INTERVIEW A recent graduate, Brandon Cornejo, Student ASLA, discusses his project to cover cities in epiphytes, which won an ASLA Student Award this year.

BY KATARINA KATSMA, ASLA

4 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

FREDERICK CHARLES/FCHARLES.COM

Living on Air

“ WE HAD THIS VERY PRIMITIVE NOTION AS KIDS THAT LAND EQUALED MONEY.” —CHRIS CASHEN, P. 60

FEATURES 60 A FOODSHED MOMENT The more farms that remain operating in the Hudson River Valley, the more affordable it is for them all to stay in business, so a scenic land trust, with help from the state, is pushing to preserve upstate agricultural lands that hold the best fresh food supply for New York City.

BY ANNE RAVER

76 CALL AND RESPONSE Reed Hilderbrand’s redesign of the Clark Art Institute in Massachusetts has been a continuing conversation.

BY JENNIFER REUT

102 PLAYDATE ON D STREET Sasaki and its client conceived of the Lawn on D in South Boston as a trial project, and then it took off beyond anyone’s expectations.

BY ELIZABETH S. PADJEN

120 ANGLES ENTANGLED Green space or gallery? It’s both.

After 10 years, Seattle’s Olympic Sculpture Park has come of age.

BY FRED A. BERNSTEIN

THE BACK 132 SOUL TO SOULS At the centenary of Lawrence Halprin’s birth, the Cultural Landscape Foundation opens an engrossing exhibition of his life’s work.

BY BRADFORD MCKEE

142 BOOKS

All That And More

A review of Is Landscape…? Essays on the Identity of Landscape, edited by Gareth Doherty and Charles Waldheim.

BY SARAH COWLES

262 ADVERTISER INDEX 263 ADVERTISERS BY PRODUCT CATEGORY 272 BACKSTORY

Thinking Ahead

SWA Group’s XL project is a think tank for landscape architecture.

BY MAGGIE ZACKOWITZ

SPECIAL ADVERTISING SECTION PD-1 LAM 2017 PRODUCT DIRECTORY More than 80 pages of product information for specifiers about the latest in furnishings, containers, lighting, irrigation, green roofs, living walls, park and playground equipment, structures, technology, and much more.

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THE MAGAZINE OF THE AMERICAN SOCIETY OF LANDSCAPE ARCHITECTS

EDITOR Bradford McKee / bmckee@asla.org

The Clark Art Institute in Williamstown, Massachusetts, by Reed Hilderbrand Landscape Architecture, page 76.

ADVERTISING SALES

202-216-2335 SENIOR SALES MANAGER Daryl Brach / dbrach@asla.org SALES MANAGER Gregg Boersma / gboersma@asla.org SALES MANAGER Kathleen Thomas / kthomas@asla.org PRODUCTION

MANAGING EDITOR Maggie Zackowitz / mzackowitz@asla.org

PRODUCTION MANAGER Sarah Berger / sberger@asla.org

ART DIRECTOR Christopher McGee / cmcgee@asla.org

MARKETING

SENIOR EDITOR Jennifer Reut / jreut@asla.org ON THE COVER

PUBLISHER Michael D. O’Brien / mobrien@asla.org

ASSOCIATE EDITOR Lisa Schultz / lschultz@asla.org WRITER/EDITOR Katarina Katsma, ASLA / kkatsma@asla.org CONTRIBUTING EDITORS Adam Regn Arvidson, FASLA; Brian Barth; Jane Roy Brown; Ryan Deane, ASLA; Daniel Jost; Jonathan Lerner; Jane Margolies; Bill Marken, Honorary ASLA; Zach Mortice; Anne Raver; William S. Saunders; Timothy A. Schuler; Daniel Tal, ASLA; Alex Ulam; James R. Urban, FASLA; Lisa Owens Viani PLEASE E-MAIL COMMENTS TO THE APPROPRIATE STAFF MEMBER OR SEND VIA U.S. MAIL TO 636 EYE STREET NW, WASHINGTON, DC 20001–3736.

EDITORIAL ADVISORY COMMITTEE Sara Hage, ASLA / Chair Michael S. Stanley, ASLA / Vice President, Communications Travis Beck, ASLA Kofi Boone, ASLA Joni Emmons, Student ASLA Diana Fernandez, ASLA Deb Guenther, FASLA Richard S. Hawks, FASLA Joan Honeyman, ASLA Eric Kramer, ASLA Kenia Medina, Associate ASLA Falon Mihalic, Associate ASLA Heidi Bielenberg Pollman, ASLA Biff Sturgess, ASLA Marq Truscott, FASLA EDITORIAL Tel: 202-216-2366 / Fax: 202-898-0062

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BACK ISSUES 888-999-ASLA (2752) Landscape Architecture Magazine (ISSN 0023-8031) is published monthly by the American Society of Landscape Architects, 636 Eye Street NW, Washington, DC 200013736. Periodical postage paid at Washington, D.C., and additional mailing offices. Postmaster: Send address changes to Landscape Architecture Magazine, 636 Eye Street NW, Washington, DC 20001-3736. Publications Mail Agreement No. 41024518. Return undeliverable Canadian addresses to PO Box 503 RPO, West Beaver Creek, Richmond Hill, ON L4B 4R6. Copyright 2016 ASLA. Subscriptions: $59/year; international: $99/year; students: $50/year; digital: $44.25/year; single copies: $7.

Landscape Architecture Magazine seeks to support a healthy planet through environmentally conscious production and distribution of the magazine. This is printed on FSC® certified paper using vegetable inks, co-mailing, and recyclable polywrap to protect the magazine from damage during distribution, significantly reducing the number of copies printed each month. The magazine is also available in digital format through www.asla.org/lam/zinio or by calling 1-888-999-ASLA.

ASLA BOARD OF TRUSTEES PRESIDENT Vaughn B. Rinner, FASLA PRESIDENT-ELECT Gregory A. Miller, FASLA IMMEDIATE PAST PRESIDENT Chad D. Danos, FASLA VICE PRESIDENTS David M. Cutter, ASLA Robin L. Gyorgyfalvy, FASLA Wendy Miller, FASLA Thomas Mroz Jr., ASLA Michael S. Stanley, ASLA Vanessa Warren, ASLA EXECUTIVE VICE PRESIDENT Nancy C. Somerville, Honorary ASLA SECRETARY Curtis A. Millay, ASLA TREASURER Michael D. O’Brien TRUSTEES Aaron A. Allan, ASLA Brian E. Bainnson, ASLA W. Phillips Barlow, ASLA Robert D. Berg, ASLA Shannon Blakeman, ASLA Gary A. Brown, FASLA Perry Cardoza, ASLA Matthew O. Carlile, ASLA David H. Contag, ASLA Scott V. Emmelkamp, ASLA William T. Eubanks III, FASLA Melissa M. Evans, ASLA David V. Ferris Jr., ASLA Robert E. Ford, ASLA David Gorden, ASLA David A. Harris, ASLA Lucy B. Joyce, ASLA Jennifer Judge, ASLA Ron M. Kagawa, ASLA Roger J. Kennedy, ASLA Mark M. Kimerer, ASLA Joel N. Kurokawa, ASLA Brian J. LaHaie, ASLA Lucille C. Lanier, FASLA Curtis LaPierre, ASLA Dalton M. LaVoie, ASLA Robert Loftis, ASLA Jeanne M. Lukenda, ASLA Timothy W. Maloney, ASLA Eugenia M. Martin, FASLA Timothy W. May, ASLA Bradley McCauley, ASLA Douglas C. McCord, ASLA Ann Milovsoroff, FASLA Jon M. Milstead, ASLA Cleve Larry Mizell, ASLA Dennis R. Nola, ASLA April Philips, FASLA Jeff Pugh, ASLA John D. Roters, ASLA John P. Royster, FASLA Stephen W. Schrader Jr., ASLA Adrian L. Smith, ASLA Susanne Smith Meyer, ASLA Ellen C. Stewart, ASLA Mark A. Steyaert Jr., ASLA Adam A. Supplee, ASLA John A. Swintosky, ASLA Nicholas Tufaro, ASLA LAF REPRESENTATIVES Barbara L. Deutsch, FASLA Kona A. Gray, ASLA NATIONAL ASSOCIATE REPRESENTATIVE Carlos Flores, Associate ASLA NATIONAL STUDENT REPRESENTATIVE Joni Emmons, Student ASLA PARLIAMENTARIAN Kay Williams, FASLA

8 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

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INSIDE

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CONTRIBUTORS SARAH COWLES (“All That and More,”

page 142) is an associate professor of practice at the School of Architecture at the University of Southern California in Los Angeles. You can reach her at ruderalacademy@gmail.com.

“Whenever I come across the word ‘deploy’ in essays on landscape urbanism, I find myself imagining columns of weaponized snakes, snails, and spores crossing precisely sculpted terrains.”

ELIZABETH S. PADJEN (“Playdate on D Street,” page 102) is a fellow of the American Institute of Architects and the founding editor of ArchitectureBoston magazine. You can reach her at epadjen@comcast.net.

“Who woulda thunk it? An enormous government agency with no experience with parks or open space wrangled a small group of super-smart people and came up with one of the most popular—and provocative—public spaces around.”

page 60) writes about the natural environment and is creating a habitat garden with native plants in Warren, Rhode Island.

She can be reached at raverview@me.com.

“This story resonates for urban/suburban communities all over the country. If they don’t help preserve the farmland that provides them with fresh, local food, the land will be developed or bought as country estates and taken out of production.”

GOT A STORY? At LAM, we don’t know what we don’t know.

If you have a story, project, obsession, or simply an area of interest you’d like to see covered, tell us! Send it to lam@asla.org.

Visit LAM online at landscapearchitecturemagazine.org.

Follow us on Twitter @landarchmag and on Facebook, www.facebook.com/ landscapearchitecturemagazine.

LAM is available in digital format through landscapearchitecturemagazine.org/ subscribe or by calling 1-888-999-ASLA.

10 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

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LAM

LAND MATTERS

/

GET READY T

here can scarcely be any overstating the threat the Trump presidency poses to the interests of the landscape architecture community, which center ardently on the welfare of human society and ecology and the planet. If design is the sum of all constraints, as Charles and Ray Eames said, this presidency will be the greatest constraint many of us will work under in our lifetimes, on the order of anathema to everything landscape architecture has ever stood for. We have to get right to work and be very canny about it, or the Trump administration, along with a Congress controlled by some of the most venal people ever to lodge themselves into American politics, will be a disaster well beyond the many ways we can name even now.

During the campaign, Trump’s positions on public policy, such as they were—and fairly obscured by endless evidence of his career as a liar, a swindler, a bully, a bigot, and a sexual predator—did not, to me, warrant detailed study. They weren’t policies in any developed sense. (OK, there was the child-care one, but what was that?) They consisted largely of frequent impulsive eruptions calculated only to produce outrage among his disaffected rabble and people of greater composure, though different strains of outrage, for sure. However masterful he is at plucking a populace, in terms of governance I kept thinking of the line about the French revanchist and anti-Semite Paul Déroulède, who was said to have “the political vision of a child.”

If you heard what I heard during Trump’s acceptance speech at the Republican National Convention this summer, you got a gothic harangue of wild paranoia and vengeance. It was pure Tarantino. I found myself fantasizing that Ronald Reagan would appear in the form of a fireball to relay a few words from God. No, what got my attention most then and since is the Republican Party platform. The section on natural resources begins on page 17. On oil drilling: “[W]e support the opening of public lands and the outer continental shelf to exploration.”

On President Obama’s Clean Power Plan: “We will do away with it altogether.” On coal: “The Democratic Party does not understand that coal is an abundant, clean, affordable, reliable domestic energy resource.” On the Keystone XL pipeline: “After

14 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

years of delay, the President killed it to satisfy environmental extremists. We intend to finish that pipeline and others.” On climate change: “Climate change is far from this nation’s most pressing national security issue.” On the U.S. Environmental Protection Agency: “We propose to shift responsibility for environmental regulation from the federal bureaucracy to the states and to transform the EPA into an independent bipartisan commission.... We will enforce the original intent of the Clean Water Act, not it’s [sic] distortion by EPA regulations. We will likewise forbid the EPA to regulate carbon dioxide, something never envisioned when Congress passed the Clean Air Act.” On the 640 million acres of public lands in the federal portfolio: “Congress shall immediately pass universal legislation providing for a timely and orderly mechanism requiring the federal government to convey certain federally controlled public lands to states.” And on the tentative progress made toward reversing climate change: “We reject the agendas of both the Kyoto Protocol and the Paris Agreement….”

With notable consistency, Trump himself has expressed hatred for the EPA. In March, he promised to “get rid of [EPA] in almost every form. We are going to have little tidbits left, but we are going to take a tremendous amount out.” Among the people named as most likely to be appointed EPA administrator, Trump has only to figure out the most hostile. And he is reported to be already looking at ways to extract the United States from the Paris Agreement.

This is the least of it for now. As I write this tonight, a prominent anti-Semite, Stephen Bannon, is being named a White House strategist. We know our obligation. I am proud to be part of ASLA because its vision is this: Leading the design and stewardship of land and communities. We know that in fulfilling it we stand against self-interests and conflicted interests.

The job description just got bigger for us all.

BRADFORD MCKEE EDITOR

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LAM

LETTERS

/

THE LANDSCAPE OF LUXURY

I

cannot be the only one who noticed the placement of the article on housing the homeless across from advertisements for extremely high-end products (“The Homeless Want More Than Housing,” LAM, October). This juxtaposition highlighted a troublesome schism that I see existing within the profession: offering design solutions for social and environmental issues while perpetuating the perception of landscape architectural service as a luxury commodity and promoting commodities that are often environmentally destructive. I enjoy and value LAM,

but the overwhelming focus on these types of advertisers has troubled me for some time. While I recognize the need for ad revenue, allowing this type of advertising to dominate a professional publication does a disservice to the large portion of landscape architects who do not work in the high-end market and who design projects that result in social and environmental good. I would hope that we could have better representation.

Thank you.

Editor’s Response: We appreciate the concern you raise. LAM’s editorial policies, approved by the ASLA Board of Trustees in 2009, purposefully keep the placements of editorial content and advertising largely blind to each other. Exceptions include avoid-

ing adjacencies between stories and ads that could appear to promote a particular product, that could embarrass an advertiser, or that could create confusion among readers between editorial and advertising content.

TANA BIGELOW SAUGERTIES, NEW YORK

—B.M.

READING MATTERS

I

wasn’t sure to whom I should address my note, as it truly is a thank you to everyone who works with and produces LAM. I am just finishing the June 2016 issue— they sit, piled on my coffee table, until I have a moment to dive in and catch up. The problem is that there is so much fantastic, inspiring content that it takes me forever to get through them, as I don’t want to miss a word. And then, every couple of pages, I find myself having to jot things down, draw something, or plan something. I honestly get so inspired by every issue that I have to read them when I have the creative energy and mind-set!

Thank you, thank you, thank you.... I am looking forward to the slowing of the seasons so I have a little more time to read.

SUBMIT

RITA HIGGINS WILDER DESIGNS STUDIO NANTUCKET, MASSACHUSETTS

LAM welcomes letters from readers.

Letters may be edited and condensed.

Please e-mail comments to LAMletters @asla.org or send via U.S. mail to:

CORRECTION

The name of Ayaka Matthews was misspelled in a photo caption on page 92 in the “Life and Limb” article in our October 2016 issue.

We regret the error.

16 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

AMERICAN SOCIETY OF LANDSCAPE ARCHITECTS 636 EYE STREET NW WASHINGTON, DC 20001–3736

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COURTESY OF LEVY PARK CONSERVANCY

FOREGROUND

LEVY PARK

In Houston, a Natalye Appel pavilion for a James Burnett park, in NOW, page 20.

FOREGROUND

/

NOW

EDITED BY TIMOTHY A. SCHULER

LEFT

Before, residents had no place to meet.

Families adjacent to the street contributed labor and materials.

BELOW LEFT

A retractable awning shades the new street, which doubles as a gathering space.

(IUCI) to design and build a new street and flexible meeting space in Pongro Senchey, which occupies a public road on the southwest side of the city. It is a narrow, ramshackle neighborhood often just one corrugated metal structure wide. Although the poverty here is acute, a new city representative had been elected and was promising to support the community. For the first time in 15 years, residents were not under threat of being relocated.

ON THE OUTSKIRTS OF PHNOM PENH, DESIGNERS JUGGLE PUBLIC SPACE AND MOTOR VEHICLES.

BY TIMOTHY A. SCHULER

20 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

the other side of a concrete wall were the garment factories where several of the women worked, and Hamilton, a graduate student in landscape architecture at the University of Washington (UW), reflected on her earlier career path: fashion design. “The fashion industry is driving those garment factories, and I was so glad that I was there visiting the community that lives between the garment factories,” she says.

Through workshops and other activities, IUCI and the students helped the community identify its biggest needs: first, a place to gather; second, improved pedestrian and veHamilton was one of six landscape architec- hicular access throughout the settleture students who spent the past spring working ment. The UW team worked alongwith the Informal Urban Communities Initiative side architecture students from the

COURTESY BEN SPENCER

Hamilton, Student ASLA, sat with the A SEAT IN THE J ess women from Pongro Senchey, a settlement on outskirts of Phnom Penh, Cambodia, sewing STREET the canvas into what appeared to be pillowcases. On

That was the good news. The bad news was that the city was gobbling up the surrounding wetlands, exacerbating the flooding that already plagued the area. “During the rainy season, the neighborhood was completely inundated,” says Ben Spencer, a cofounder of IUCI and an associate professor of landscape architecture at UW. “If a rainstorm came, they could have water up to their waists for several days.”

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FOREGROUND

/NOW

LEFT

Lined with coconut coir, the canvas planters were the product of sewing workshops—an effort to give local women marketable skills.

“THEY WANTED A MORE BEAUTIFUL COMMUNITY.”

—BEN SPENCER

Royal University of Fine Arts in Phnom Penh to design an eight-foot-wide street that, along one 30-foot stretch, transforms into a public venue. A retractable canopy provides shelter from Cambodia’s harsh sun and pounding rains, and deployable furniture can be folded up so as not to impede access.

A drainpipe below the street should provide some relief from the flooding, but Spencer says residents were as concerned with aesthetics.

“They wanted a more beautiful community,” he says. “That’s always really affirming as a designer, that it’s not just about the nuts and bolts; it’s about a synthetic process that combines the functional aspects of a road and a drainpipe with

22 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

Which is where Hamilton’s canvas hanging planters come in. Quilted into an elegant, modular hanging garden, the planters beautify a wall originally built to hem residents in, providing vegetation that helps cool the gathering space. More important, the team used the project to teach several women how to sew, a skill that could help them get jobs. Spencer says that although Pongro Senchey appears unique, its constraints are “common to the billion people who live in informal urban settlements around the world.

Thinking about how we can take a three-meter-wide strip and turn it into a park that can allow vehicles to go through it is something you could apply worldwide.”

TIMOTHY A. SCHULER, EDITOR OF NOW, CAN BE REACHED AT TIMOTHYASCHULER@GMAIL. COM AND ON TWITTER @TIMOTHY_SCHULER.

COURTESY BEN SPENCER

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FOREGROUND

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A 500 YEAR MINOT AFTER A “SUPERSTORM” OF ITS OWN, MINOT, NORTH DAKOTA, LOOKS TO THE LANDSCAPE FOR RELIEF.

TOP RIGHT

A 500-year flood in June 2011 overtopped levees in Minot, North Dakota.

INSET

Debris piled up along a riverbank and railroad bridge shows the height of the water.

n June 2011, nearly a third of Minot, North Dakota’s 43,000 residents were evacuated in a flood that dwarfed any other since local record keeping on the Souris River began in 1881. It was what you might call a Superstorm Sandy problem—all the wrong weather conditions happening at once: unusually high rainfall in 2010; record snowfall that winter; a cold spring, resulting in late but massive snowmelt that stretched area reservoirs beyond capacity; and then two months of unrelenting showers, capped by a huge rainstorm upstream in Saskatchewan, where up to seven inches of rain fell in some areas.

Donna Bye, ASLA, who was the sole member of Minot’s planning department at the time, had five feet of water mixed with raw sewage in her living room. She says a 25-year, $1 billion floodprotection plan developed in the following year— with expensive remedies like raising the heights

24 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

of levees and floodwalls—did little to comfort those living in flood-prone parts of town. “Cost is a severe factor in what will be built and how long it will take, and how much longer people have to live with the anxiety of, ‘Will this come again?’”

The National Disaster Resilience Competition, announced by the U.S. Department of Housing and Urban Development in June 2015, offered an opportunity to devise a multilayered, landscape-oriented approach that could provide more immediate protection with a more reasonable price tag. Bye was named Minot’s Chief Resilience Officer and charged with coordinating the application process. In January 2016, Minot was awarded $74.3 million for projects such as buying out the most vulnerable neighborhoods to create a series of flood-absorbing conservation areas as part of a vastly expanded green space system.

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EDUCATION SERVICES/CIVIC/EMERGENCY COMMERCIAL/SHOPPING 2011 FLOODED AREA

The Souris River flowed at more than five times the rate that Minot’s levee system was designed to handle, inundating a large swath of the city.

working in the larger, mostly Canadian watershed in which the Souris River is a tributary, and a partner on the City of Minot’s National Disaster Resilience Competition application—says working within a transnational watershed adds a few political wrinkles to the process, but it’s all the more reason “to follow the Golden Rule: Do unto others downstream as you would have those upstream do unto you.”

Bye currently is taking a sabbatical to spend more time with her family—and contemplating a career move back to landscape architecture, she says— and she is concerned that the city’s new green spaces “will just be green” without someone spearheading a concerted design effort to make Wanda McFadyen, the executive director of the them parklike, she says. “I think there is an opAssiniboine River Basin Initiative—a coalition portunity to get this done at a different level.”

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ABOVE

“The goal of the resilience effort,” Bye says, “is to bring people back down to the river in a way where they are enjoying it instead of fearing it, as they have for the last few years.” Among the city’s priorities is reducing the water coming downstream from the agricultural landscape to the north, which is complicated by the international boundary. Farmers in the region traditionally have sought to drain their fields as rapidly as possible using ditches and underground drain tiles, but a new GIS-based modeling tool, currently under development, could help assess the cost-benefit metrics of using farmland like a sponge. Building retention ponds on farms, for instance, may provide benefits in times of both flood and drought.

FOREGROUND

/NOW ILLUSTRATIVE MASTER PLAN

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HOUSTON’S LEVY PARK IS THE LATEST TO BENEFIT FROM PRIVATE INVESTMENT.

BY ALLYN WEST

ABOVE

A new public park by the Office of James Burnett in Houston will be mostly dependent on funds from adjacent development.

As the executive director of the Upper Kirby Management District, a quasigovernmental body that oversees the reinvestment of local property taxes, Brewster bought the land around Levy Park in 1997. In 2009, she had those apartments and office buildings demolished. But she searched for years for a new tenant until Midway Companies agreed in 2014 to build a 15-story office complex and a 270unit multifamily residential building on either side of the park, and to sign a 99-year ground lease.

The Office of James Burnett (OJB) was hired

by Brewster in 2014. OJB redesigned the dog park, relocated the community garden, added a 22,000-square-foot activity lawn, a slightly smaller event lawn, and an 8,600-square-foot rain garden that serves as city-required stormwater detention.

They found room for an exuberant playground, a restaurant, and a farmers’ market. The firm also worked with the Houston architect Natalye Appel on a pavilion for the conservancy’s offices whose poured-in-place concrete roof dips and bows like one of the branches of the site’s preserved mature live oaks. An elevated steel-framed boardwalk, also

by Appel, will lift visitors up into those trees.

The lease will provide much of the revenue to cover the operating costs of the reimagined Levy Park, scheduled to open this fall, making it one of the many parks in the United States funded by public–private partnerships and managed

28 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

by a dedicated nonprofit conservancy, in this case the Levy Park Conservancy, formed by the Upper Kirby Management District. “By and large, public–private partnerships have been a godsend for urban parks throughout America,” says Charles Birnbaum, FASLA, president and CEO of the Cultural Landscape Foundation. “They’ve shown the public how a park should be maintained and programmed. They’ve taught us that we should expect more of our municipalities.” And, he says, “they’re elevating the art of landscape architecture.”

N

Skeptics, though, worry about the ways such arrangements can exert control over public spaces or divert resources from others across a city park system. “The more our society is dependent on this funding model, the further we seem to get from providing equitable accessibility to higher-quality open space,” says Keiji Asakura, FASLA, a principal at the Houston-based landscape architecture and planning firm Asakura Robinson. “And decision making gets further away from the democratic model.”

Here, the ambition is that such a reinvigorated urban space will become both a destination in and of itself and will drive further development in Upper Kirby—just like other “signature parks,” especially downtown Houston’s Discovery Green, by Hargreaves Associates. The management district is sitting on an adjacent piece of land that likely won’t be vacant for long. If Levy Park represents an era in which parks are seen not only as places for recreation but also as amenities that anchor redevelopment, it reaffirms the challenge cities continue to face in providing all communities the public spaces they need.

OJB LANDSCAPE ARCHITECTURE

THE LEASE WE CAN DO

idden a few miles west of downtown Houston in the affluent Upper Kirby neighborhood, the six-acre Levy Park had its heyday in the 1960s. In recent years, despite a modest renovation in the 2000s that added a dog park, picnic tables, and a community garden, the park has languished behind condemned office buildings and what Jamie Brewster calls “run-down” apartments, which blocked views of it from Richmond Avenue, one of Houston’s major east–west thoroughfares.

FOREGROUND

/NOW TALES OF TWO TRAILS A SMALL TOWN IN OREGON LANDS ON THE ROUTE OF THE COUNTRY’S FIRST NATIONAL GEOLOGIC TRAIL.

A ABOVE

Cast in bronze and concrete, the bones of prehistoric megafauna line the new path.

BELOW

The 0.75-mile path completes a much larger trail network.

t a time when multiuse trail projects are popping up around the country, the new greenway in Tualatin, Oregon, stands out, if not for its length (it’s just three-quarters of a mile) then at least for its theming. Designed by Cardno with Alta Planning + Design, the shared-use path features a stripe of blue glass to represent the end of the last Ice Age and black granite bands that mark, to scale, major historical events (such as the eruptions of Mount Saint Helens). Scattered along the route are glacial erratics and the bones, tusks, and mandibles of prehistoric megafauna, cast in concrete and bronze.

Age Floods National Geologic Trail, which will stretch from Montana to the Pacific, passing through Idaho, Washington, and Oregon as it traces the path of the floodwaters that geologists believe carved much of the landscape of the northwestern United States.

For the past 15 years, the National Park Service has been working with state parks, research institutes, museums, and private landowners to Call it an outdoor natural history museum, or, plan the interstate trail, which will more accurately, call it a miniature geologic trail, educate travelers about the Ice Age the extremely little brother of the 3,400-mile Ice Floods, a series of unfathomably

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FOREGROUND

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ICE AGE FLOODS NATIONAL GEOLOGIC TRAIL CONNECTING TRAIL LOOP & SPUR TRAIL AREA IMPACTED BY ICE AGE FLOODS

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Now under development, the country’s first national geologic trail will be 3,400 miles long.

BELOW

An elevated boardwalk in Tualatin will protect sensitive wetlands.

large floods caused by the bursting of glacial dams some 17,000 years ago. Currently in development, the national geologic trail—the first of its kind—will consist of a network of existing roads and future footpaths that will connect many of the region’s geologic wonders: the scablands of eastern Washington, the rhythmites of the Willamette Valley, and—as of February 2016— Tualatin, a small town of 25,000 people tucked away 10 miles south of Portland.

“The efforts Tualatin has made qualified it to be a location along the trail,” says Dan Foster, the superintendent of Lake Roosevelt National Recreation Area and the Ice Age Floods trail. Foster worked with Tualatin’s community services director, Paul Hennon, on the city’s new pathway.

He says communities often attempt to lure tourists by latching onto a particular period in history but that Tualatin has been uniquely commit-

32 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

ted to creatively and accurately interpreting the Ice Age Floods.

The path offers more than a travel through time, says Bruce Powers, ASLA, who served as Cardno’s lead landscape architect on the project before leaving to start Powers Landscape Architecture. It is the final segment of a 4.7-mile greenway, providing longabsent connectivity that helped the project win a national award from the American Planning Association in 2016. The trail promotes health and wellness through the use of alternative transportation and increased access to nature, but it also provides a much safer route across Interstate 5, which previously required the use of an intimidating pedestrian bridge that Hennon describes as “horrible.”

As trail projects go, he says, “this one was vital.”

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BRINGING BACK THE BAYLANDS WHERE HAS ALL THE SEDIMENT GONE?

T

hanks to a severe shortage of sediment, the tidal marshes of the San Francisco Bay are disappearing, taking with them a vital ecosystem and an important defense against sealevel rise. In response, in June 2016, voters approved a parcel tax that will generate $500 million over the next 20 years for wetland restoration. And yet the sediment hasn’t vanished; it’s a prisoner of the state’s highly altered hydrologic system. “There’s this incredible resource that’s just sitting behind this constellation of dams,” says Landscape Metrics principal Matthew Seibert.

This summer, as a part of DredgeFest California, Seibert worked with the Dredge Research Collaborative and workshop participants to visualize this “hidden sediment reserve.” Based on data published in the journal Water Resources Research in 2009, the team created an interactive map showing where—and when—California’s sediment was diverted, as well as the cost of removing that sediment, which far exceeds the expected $500 million in tax revenue. Seibert is optimistic, however, especially as the economics of climate change become increasingly apparent: “The Baylands have an amazing capacity for flood mitigation that I don’t feel is quantified economically yet, or valued as it should be.”

For an interactive version of this map, visit landscapemetrics.com/dredge.

34 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

LANDSCAPE METRICS AND THE DREDGE RESEARCH COLLABORATIVE

FOREGROUND

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 35

FOREGROUND

/

INTERVIEW

LIVING ON AIR

CLOCKWISE FROM LEFT

Brandon Cornejo, Student ASLA, is a recent graduate of California Polytechnic State University in San Luis Obispo; Andy’s Orchids in Encinitas, California, has a diverse selection of orchids; fern growth on the last day of the experiment; the orchid nursery has become a conservatory for biodiversity.

AN OBSESSION WITH EPIPHYTES LEADS TO AN ASLA STUDENT AWARD.

BY KATARINA KATSMA, ASLA

randon Cornejo, Student ASLA, wants to use epiphytes—plants that grow on other plants or materials and derive their nutrients from the air—to green the world. His project, “Feasibility Study of the Integration of Epiphytes in Designed Landscapes,” won the Award of Excellence in Research in the 2016 ASLA Student Awards. It measured whether rabbit’s foot fern (Davallia fejeensis), a type of epiphyte, could

36 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

grow on building materials typical to the urban environment. With just a few cuttings, Cornejo was able to find that this plant group has the potential to cover much of the city if you turn it loose.

work with epiphytes influenced the work that you’re doing now?

It’s funny because I interviewed and said, “Oh, I’m part of a bromeliad society.” Bromeliads are a huge group of epiphytes. Right now This interview has been edited and there’s actually a problem in Micondensed. ami Beach because of Zika and its relationship with mosquitoes and You’re currently working at Raymond their relationship with bromeliads.

Jungles, Inc. in Miami. Has your A lot of media in South Florida have

COURTESY BRANDON CORNEJO, STUDENT ASLA

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FOREGROUND

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A LOWERMAINTENANCE APPROACH TO LIVING WALLS.

An epiphyte species braced on a palm in Miami.

38 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

How do you see the use of epiphytes in landscape architecture?

I’m annoyed with the idea of green walls.

The idea of having to put soil and engineer ways to put soil where soil really doesn’t naturally occur— I think there are other ways. Just look at how plants grow and where these plants are from—a lot of these plants grow on the sides of mountains where there’s no soil.

I think that’s a more natural solution. I’m a big proponent of vines.

Vines are actually better for use in

COURTESY BRANDON CORNEJO, STUDENT ASLA

TOP

incorrectly portrayed bromeliads as breeding grounds for Aedes aegypti.

Aedes aegypti and Aedes albopictus are the two mosquitoes known for spreading Zika. I’m doing research for Raymond to prove that there are two other native species of mosquitoes that outcompete Aedes. The Miami Beach Botanical Garden actually ripped out all of its bromeliads because of this frenzy and misdirection by the media and by local officials. I recently gave a presentation at the Miami Beach Botanical Garden about the mosquito, Zika, and bromeliad relationship. unusual forms. I grew up in Southern California, and I didn’t really People are blaming a single plant travel that much. One way I travspecies or a single plant genus when eled through high school was vireally there’s research showing that cariously through plants. I really only 1 percent of all the mosquitoes got into epiphytes. I went to school that breed out of bromeliads are at Cal Poly San Luis Obispo. That’s Zika-carrying. There are more is- central California, and it had good sues with managing water here in proximity to Santa Barbara. Every Miami than flora. year, Santa Barbara has an orchid show in which people from around What gave you the original idea to the world come to sell, showcase, look into epiphytes as a possible de- and share orchids. I was inspired sign medium? by that. In Southern California there is a nursery called Rainforest Flora I’ve always been interested in that grows air plants. There’s so plants, especially plants with very much diversity in that genre.

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urban environments where there is some soil. But a lot more vines grow really fast and cover more quickly than epiphytes.

things is slow. Just acquiring some of the seeds—you don’t really buy seeds of epiphytes commonly. Obviously the nurseries that grow Tillandsia or air plants aren’t going to give me seeds. This was such a surprise to me when the cutting actually showed leaves. Because instead of just seedling reproduction, which I thought would be the only way, vegetative reproduction is possible too in certain species.

Do you see this as the more natural approach to greening the vegetative environment?

In certain locations. They rely a lot on water. In places without a lot of water you’re probably not going to see as much greenery. In places like Miami, where epiphytes just naturally grow on the sides of palm trees, this would totally work. We don’t have to spend all this money for extra beefing up beams to hold up all the soil and the water weight that’s associated with soil. We can just grow plants that naturally grow on air.

TOP

By the last day of Cornejo’s experiment, he had successfully grown rabbit’s foot fern on every test material.

way to be expansive where they can be. The habitat of Spanish moss is expanding because of global warming. As places get less cold during the winter, we see occurrences of Spanish moss happening farther north of where they typically would be.

What surprised you the most from What about colder climates with less working on this project? water? Are there alternative plants or methods?

I didn’t think I was going to be able to see [plant growth] in the short amount Some epiphytes fill larger habitats, of time I had, but it happened. I was and some are very specific. By look- pretty shocked. There were other ing into which epiphytes do better plants that I thought of using, but over greater ranges, I think that’s a the germination of some of these

40 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

What kind of potential do you think this medium holds for the future?

I think as human developments increase and we are taking away habitats, I think our urban environments can become conservatories for biodiversity.

Where rain forests are being cut down for agriculture, landscape architecture can intervene and create artificial surfaces for epiphytes to grow on, creating canopy habitat for organisms that would otherwise be affected by what we put on the land.

COURTESY BRANDON CORNEJO, STUDENT ASLA

FOREGROUND

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TECH

EXPANDED HORIZONS UPDATED RULES CLARIFY DRONE FLIGHTS.

BY KEVAN WILLIAMS

ABOVE AND LEFT

D

avid Rubin, ASLA, of Land Collective has a new drone. “Everything is run off an iPhone or an iPad,” he says. The firm spent less than $1,000. “We’re using it as an imaging tool,” he says. “It’s a new device for us, and we’re trying to find its greatest relevancy within the studio, and right now that’s tracking the seasonal change and the changes attributed to construction.”

The affordability of this new aerial technology—made possible by the same innovations in processing, batteries, and wireless that have led to the ubiquity of smartphones and tablets—has allowed many landscape architects to begin identifying new methods for data gathering and visualization. It’s also led to an explosion in recreational use. But until just recently, an unclear regulatory environment has stifled the field.

44 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

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According to estimates from the Federal Aviation Administration’s annual Aerospace Forecast, drone sales— including both small recreational drones and larger units subject to registration—could reach seven million annually by 2020. “Drones could far outnumber manned aircraft operating in the nation’s airspace,” says Alison Duquette, with the Federal Aviation Administration (FAA) Office of Communications.

Safely accommodating potentially hundreds of thousands of small aircraft in the sky, mostly operated by newcomers to airspace, was a major prompt for new drone regulations, which took effect on August 29.

“The proliferation of small and relatively inexpensive UAS [unmanned aircraft systems] presents a real challenge: To successfully integrate unmanned aircraft into our airspace, we must integrate these new operators into our aviation safety culture,” Duquette says.

than 55 pounds—do two major things. First, they set standards for UAS registration and safe operation, such as setting an altitude limit of 400 feet and requiring a visual line of sight when flying. Second, they create requirements for pilot certification for “nonhobbyist” operations, an area with huge potential. According to the FAA, commercial applications of drone technology could “generate more than $82 billion for the U.S. economy and create more than 100,000 new jobs over the next 10 years.” As of this October, more than 16,000 pilots have been certified by the FAA, and more than 580,000 individuals have registered their drones.

privately owned sites where they had clients’ permission, and using drones in a more experimental, rather than explicitly commercial and billable, capacity—strategies of unclear effectiveness to comply with the then-hazy rules.

Landscape architects aren’t the only ones who have been exploring this new tool. With the new regulations in place, there are many avenues that may move from experimental or niche applications to a more common service. Duquette identifies a number of applications the ABOVE FAA considered when developing A drone was used its rule, including power line and to help calculate pipeline inspection in hilly terrain, the volume of this aiding mountain rescue operations, dirt mound on a Before these new rules, to operate crop monitoring and inspection, and construction site. legally, commercial pilots sought wildlife nesting area evaluations.

After the pile was shot from all angles, exemptions from the FAA’s existing a measurement was rules, a confusing process that left Thomas Terry, a recent graduate then extracted from firms like Rubin’s with an unclear of Utah State University’s bacha 3-D point cloud road map for legal operation. Some elor of landscape architecture promodel derived from landscape architects I spoke with gram, has been involved in bringing the photos. This image shows a 2-D map of the The new regulations, which apply talked about flying on their own drones into the classroom, both as a pile with contour lines. to small UAS—those weighing less time, as hobbyists, flying only over student and as part of a drone services

46 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

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start-up. The application of drones in landscape architecture has strong opportunities in surveying and visualization, he says. “A firm could have highly accurate topographical data as well as an up-to-date, high-resolution base map for a site in a matter of hours. Better survey data means designs that better fit the landscape,” Terry says. Drones can be equipped to use LiDAR, infrared, and other imaging technologies to generate not only topographic data, but also additional layers of information such as ground cover and vegetation type.

The main hang-up right now, Terry says, is making the survey data legal, for things like plats and property descriptions. “Certifying drone-based surveys is difficult at this point, but as society catches up to the tech, that will change,” he says.

field and very quickly acquire aerial images that would provide additional perspective on a site being planned, document construction progress, or provide postconstruction shots for marketing. Both still images and video enhance each of these possibilities.

But some landscape architects are integrating drones into their existing visualization work flow to produce more powerful images.

David Lepage, of Nelson Byrd Woltz Landscape Architects, explains how his firm worked with various subconsultants who use drones to produce renderings for its Cornwall Park TOP AND OPPOSITE project in Auckland, New Zealand.

Working with MIR, They started by collaborating with a a renderer, Nelson rendering company. “We send them Byrd Woltz identified preferred angles and something, and they have a bunch altitudes for aerial of ideas, and they may come back renderings of its with something you didn’t think of, proposal for Cornwall When it comes to visualization, a but you go, ‘Wow, that’s really cool,’” Park, which were then variety of possibilities emerge. Most Lepage says. The rendering company provided to a drone operator for use on site. easily, a designer could go out into the then “actually gave coordinates to the

48 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

drone photographer, and said, ‘Hey, can you go to this altitude, to this spot, and can you get this shot, with this kind of lens?’” he explains.

Nelson Byrd Woltz is looking to integrate drones directly into its practice. Lepage regards site photos and informational photography as roles for an in-house drone. “But having worked with the drone operator, he was so good at what he did, it was worth the money.... He was a superb pilot,” Lepage says, comparing the drone operator the firm hired to a professional (ground-based) photographer who might be hired to shoot a site for marketing images. The costs are comparable, and specialists have access to higher-end equipment, postproduction capabilities, and efficiency.

Taylor Jacobsen, a cofounder of United Aerial, Inc., a Dallas company that provides UAS services, has attempted to serve both of those needs. “Some

SKY HIGH CREATIVE MEDIA FOR NELSON BYRD WOLTZ LANDSCAPE ARCHITECTS

FOREGROUND

MIR FOR NELSON BYRD WOLTZ LANDSCAPE ARCHITECTS

companies are looking to do what we call a drone enterprise where they take on the actual piloting themselves. We come in and help them out, and build their regulations and training,” Jacobsen says. “Other companies say, ‘You guys are the experts.

We don’t want to touch this technology. We’ve lost money. You guys just be our contractor for this aerial data collection.”

For smaller firms, developing a drone enterprise may be a more limited operation, an occasional function taken on by some members of the firm. But Jacobsen says he’s had interest from larger architecture and engineering firms, where there may be greater opportunity to devote staff time to drone operation. Jacobsen considers drone use as much more than just taking pictures—it also means managing and operating equipment, software, and data—and he predicts that many firms will see

more value in working with special- provide a tangible illustration of the ists like him than in trying to take all economic potential that the FAA preof this on themselves. dicted. Says Terry: “Those students will be in high demand as profesMost of the momentum for the adop- sionals start using the technology.” tion of the technology has come from younger staff, whom he describes as The FAA’s regulations are really just “drone evangelists.” But for wide- the first step for this technology, and spread adoption to occur, it will take they are already evolving in light of broader support and understanding the new uses being put forward by at higher levels of these companies. early adopters. For instance, in May, That’s starting to change, thanks in the FAA issued a memo clarifying part to the newly adopted FAA regula- the role of drones in the classroom. tions. “A lot of companies, including The new interpretation would allow design firms, have all been looking students like Terry to be considered to take in this technology, but they’ve hobbyists, and fly drones as part of had legal departments saying no, you their course work without being cercan’t touch it,” Jacobsen says. “What tified, with the goal of facilitating we’re seeing now is a true adoption of further innovation in the field. the technology in the design world.”

To keep up with changing needs and For professionals who have taken technology, the FAA will solicit input it upon themselves to learn drone from industry leaders, researchers, technology, and students who have and other stakeholders with a newly chosen to integrate it into their studio established Drone Advisory Comwork, the prospects look good. They mittee. “Our next step is operations

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 49

/TECH

over people,” Duquette says. The published rules prohibit flying over “any persons not directly participating in the operation.” But for landscape architects in particular, that could provide useful data.

“We haven’t yet used the drone to observe how people use spaces, but that is ultimately the intent,” says Michael Grove, ASLA, of Sasaki.

TOP

A drone photo shows Houston’s Memorial Park, which has been damaged by drought.

BOTTOM

This rendering, built upon a drone photo, shows a revitalized park.

50 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

“One thought is to send the drone up for 20 minutes or so at different times of day on an existing site to understand where people access it, how they move through it, where they congregate,” suggesting a 21st-century version of William H. Whyte’s studies of New York crowds.

But people might not be ready for that, regardless of the rules, if some of their other experiences flying at

urban sites are any indication. “If anything,” he says, “one downside is that it attracts so much attention that it is difficult to get an accurate picture of how a space is really being used, as people tend to gather to watch the drone fly above them.”

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A FOODSHED MOMENT PRESERVING FARMLAND IS NOT ENOUGH IF IT DOESN’T STAY IN THE HANDS OF FARMERS.

BY ANNE RAVER/PHOTOGRAPHY BY FREDERICK CHARLES

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 61

A

GORGEOUS OCTOBER MORNING IN THE HUDSON VALLEY AND PEOPLE ARE OUT LEAF PEEPING, BUT NOT CHRIS CASHEN, A FARMER. Every week, on the outskirts of Hudson, 120 miles north of New York City, Cashen and his crew load about 1,300 pounds of organic vegetables— baby bok choy, salad greens, Japanese turnips, sweet potatoes, Tuscan kale—onto a truck headed for a food pantry hub in Long Island City.

A few miles south, Ken Migliorelli zigzags over the potholed roads between his hilly orchard in Tivoli and the flat sandy fields of his cropland in Red Hook. A Valentine’s Day freeze took out all his stone fruit this year—no peaches, nectarines, or cherries—and a hard frost in May reduced his apple crop by 30 percent.

The hot, dry summer meant they had to irrigate from the nearby But Migliorelli, who manages 1,000 creek, but the vegetables are beauti- acres of vegetables, fruits, hay, and ful and tasty. grains (there is a brewery here), and

62 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

supplies 24 farmers’ markets in the city, knows the power of diversity.

Depending on the time of year, 130 different kinds of fruits and vegetables fill the Migliorelli stands, including the same strain of broccoli raab his grandfather, Angelo, brought as seeds from Italy in 1933.

and a registered lobbyist, wants to save 5,000 more. New York loses a farm every three and a half days, according to the American Farmland Trust; in 25 years, it has lost half a million acres. And farmers are an aging population.

marshes of southern Florida turn into malls and subdivisions, came to Scenic Hudson Land Trust in 1990 to develop a plan that would preserve clusters of the Hudson Valley’s most valuable farms first, then go after the rest. “A third of the highest-priority farms over 10 years would cost about $250 million,” says Rosenberg. “That means $25 million a year for 10 years.”

It would cost about $720 million to preserve nine more clusters of the most productive farms—614 to be precise, totaling 163,673 acres—within 150 miles of New York City.

Lindsey Lusher Shute is the director and cofounder of the National Young Farmers Coalition, based in Hudson.

“In the next 20 years, 70 percent of the nation’s farmland will change hands,” she says. “And the Hudson Valley is under incredible pressure These farms and about 400 others with second-home buyers looking have been preserved with the help for land.”

Just where to get the money, of of land trusts over the past 30 years. course, is the big question. And a Steve Rosenberg, the executive di- Rosenberg, a former real estate at- 2013 report by Scenic Hudson, Securrector of Scenic Hudson Land Trust torney who grew up watching the ing Fresh, Local Food for New York City In Copake, at Walt’s Dairy, David Kiernan milks 168 cows—a fraction of the herd of 400 registered Holsteins on this farm. That milk is on the grocery shelf within 36 hours.

ABOVE

Walt Kiernan feeds the “girls,” just a few of his 400 registered Holsteins.

OPPOSITE TOP

The Kiernans’ easement, at Walt’s Dairy in Copake, protects 357 acres— and the view.

OPPOSITE BOTTOM

Three generations run Walt’s Dairy; Bill Kiernan, left, grandsons Wally and Tim, and Walt are key members of the team.

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 63

and the Hudson Valley: A Foodshed Conservation Plan for the Region, suggests the public and private sources of money that need to be organized under one umbrella.

ABOVE

Jeremias Taquez, with just-picked cauliflower and red cabbage.

OPPOSITE

The Cashens leased this 60-acre field and spent three years bringing it to organic standards. A complicated easement has helped them afford to buy the land.

The plan presents startling statistics.

Although local land trusts and other groups have collectively saved more than 81,000 acres, 89 percent of the region’s farmland remains unprotected. About 4,355 farms totaling 485,286 productive acres could still be sold at any time for development.

The plan points out the disconnect: thousands of farmers upstate and the hungry city below. Food policy experts estimate the city’s annual unmet need for fresh local food is close to $1 billion.

64 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

Rosenberg didn’t invent the word “foodshed,” of course. It was first introduced by W. P. Hedden, in his 1929 book, How Great Cities Are Fed, when much of Gotham’s food was trundled into the city by rail, and a labor strike loomed. Now, the threats are climate change and terrorism. Rosenberg often draws the parallel between the Hudson Valley as a watershed and a foodshed.

“The city has invested for 20 years in securing the land around its reservoirs to conserve clean drinking water,” he says. “If it’s interested in having a secure supply of fresh local food, as the largest stakeholder, it should be securing the farms it comes from.”

The analogy certainly resonates with farmers. “It’s brilliant,” says Cashen, who grows 50 different kinds of vegetables on the 180-acre farm in Claverack that his grandparents bought as a country home in 1948 for $28,000. “The same logic that drives New York to protect the Catskill watershed should drive it to protect the foodshed that feeds the city.”

When Rosenberg first arrived 25 years ago, Scenic Hudson Land Trust was focused on the Hudson River. The group, founded in the 1960s, had defeated General Electric’s plan to build a giant hydroelectric plant at the foot of Storm King Mountain, and its landmark

DOLLY HOLMES, MAP

court case launched the modern-day environmental movement. Scenic Hudson had gone on to preserve 25,000 acres of land, mostly along the Hudson River. But Rosenberg widened that view to the region’s farmland, which, after all, is 20 percent of its land base, and the key to its cultural history and growing ecotourism.

Since 1992, Scenic Hudson has protected 100 family farms, or 13,000 acres of productive land, most within 150 miles of New York City. Rosenberg has increasingly immersed himself in the politics of food, as inseparable from preservation not only of farmland, but of farmers struggling to make ends meet.

Two seminal reports in 2010 posed major questions about New York City’s broken food system. The first came out of the NYC Food & Climate Summit, held in December 2009 at New York University.

Rock stars in food policy, including Anna Lappé, a cofounder of the Small Planet Institute; the nutritionist Marion Nestle; and the Just Food activist Karen Washington, to name a few, examined the elephant in the room, hardly mentioned at the UN Climate Change Conference being held that same week in Copenhagen: the industrial food system, which belches out one-third of the greenhouse gases that warm the planet.

N

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 65

ABOVE

Kale and red cabbage flourish in the Cashens’ field, and 1,500 sugar maples in their woods.

INSET

Sap is siphoned from 1,800 taps.

FoodNYC: A Blueprint for a Sustainable Food System, the report that followed in February 2010, from then Manhattan Borough President Scott Stringer’s office, noted the city’s dependence on produce flown in from California and China, its food deserts and hungry people, its rates of obesity, diabetes, and asthma. And it looked outside the city, at New York’s seven million acres of farmland,

66 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

its farmers struggling to find local ington State, and drink apple juice markets and forced to sell cheap to from China, for example, when New wholesalers.

York State is the nation’s secondlargest apple producer? The city Another report quickly followed: boasts more than 120 farmers’ marFoodWorks, A Vision to Improve kets and 100 community-supported NYC’s Food System, from the office of agriculture programs, or CSAs, but Christine C. Quinn, then speaker of 1.4 million city residents can’t afford the New York City Council, pointed to buy nutritious food and three milout the ludicrous realities. Why do lion residents live in food deserts. At New Yorkers eat apples from Wash- the same time, the city’s budget for

the Hunts Point cooperative. Cuomo has pledged $15 million for the 120,000-square-foot hub, which will include a wholesale farmers’ market, cold-storage capacity, and space for local food businesses.

institutional meals is second only to two years, those farmers will finally the U.S. military. have their own wholesale marketplace in the Bronx.

For years, distribution has been a major hurdle. Local farmers can’t In early August, Governor Andrew find a place at the Hunts Point Ter- Cuomo, city officials, and GrowNYC, minal Market, which sprawls over the nonprofit group that runs the 100 acres in the Bronx, with an an- city’s 50-plus greenmarkets, annual $2.4 billion in sales of fruits nounced plans to build a separate, and vegetables—mostly grown $20 million Greenmarket Regional across the country or world. But in Food Hub on a three-acre site near

The hub will now serve as a pipeline between local farms and the urban table. It also motivates the state and city “to make sure those farms are secure,” says Rosenberg. “So they don’t make all these investments and then turn around and say, ‘Where are the farms?’”

As Rosenberg made his rounds as a lobbyist, he kept coming up against an information gap. “I would go up to Albany and they would ask me

ABOVE

Eduardo Saban, from Guatemala, loads vegetables at 4:00 a.m. in a truck headed for Brooklyn.

INSET

Not enough maple syrup this year: A warm March shut down the sap flow.

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 67

these really straightforward questions,” said Rosenberg one fall morning at his office in Poughkeepsie. “‘How many farms are there in this foodshed? How many acres? Where are they located? What’s it going to cost? How would you prioritize them?’ Nobody had the answers.”

In 2012, with a grant from the Doris Duke Charitable Foundation, Rosenberg’s staff set out to find the answers. They combed through county tax and land records, and maps of agricultural districts. They verified the possible farms with aerial photos, to make sure they were actually being farmed, or hadn’t turned into golf courses. Using GIS, they mapped the farms already preserved, which revealed contiguous easements, the gaps of unprotected farms among them, and the vast areas where none

68 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

had protection. The staff also assessed the soils and productivity of each farm, prioritizing which farms should be saved first, and how to rally the forces to do it.

Other land trusts, including the 30-year-old Columbia Land Conservancy, which has preserved 10,000 acres of agricultural lands (and 16,000 acres of forests, wetlands, and other areas), have focused on the most valuable farms within their particular counties—not the entire valley. And maybe it took Rosenberg, the new kid on the block, to state the obvious.

“The report is useful for raising awareness for people in the city that there’s something called the foodshed and we don’t live on the moon, that there’s a connection between

farms that are up here and down there,” says Marissa Codey, the Columbia Land Conservancy’s director of conservation programs. “When you go to Union Square, half the farmers are from up here. If you protect farms in Columbia County, you are protecting people in the city.”

Scenic Hudson has taken “a critical mass approach to farmland protection,” says Rosenberg, who acknowledges the group’s sizable endowment makes that possible. Reader’s Digest money—Scenic Hudson’s 2014 Annual Report cites $161.9 million in its Lila Acheson and DeWitt Wallace Hudson Valley Land Preservation Endowment—funds about $2 million a year in farm protection projects. That capital is used to leverage investments from other key stakeholders, from so-called slow money investors—who invest in small farms and local enterprises based on sustainability and social justice—to city, state, and federal funds.

“They provided a lot of funds for farms that we otherwise wouldn’t have protected,” says Codey, speaking of Scenic Hudson. “They are a great partner.” Previous collaborations between the two land trusts have protected 21 working farms, or 2,600 acres of productive land. Now, Rosenberg says, Scenic Hudson is committing about $2.5 million of its own resources on 15 project proposals, “a number of which are in partnership with other land trusts, which we hope will leverage more than $13 million.”

Rosenberg’s critical mass approach has loosened funds in government coffers. In May, Governor Cuomo announced $20 million in grants to buy easements on 28 farms, totaling 5,600 acres, through the Hudson Valley Agricultural Enhancement Program. His press office noted that “60 percent of that land has been designated by Scenic Hudson as a priority to protect in the Hudson Valley/NYC foodshed.”

ABOVE

Chris and Katie Cashen met on his family farm.

LEFT

Fall vegetables, including carrots and red cabbage, are loaded up for the city.

OPPOSITE

Nitrogen nodules on red clover roots enrich the soil.

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 69

The foodshed plan spurred Daniel R. Garodnick, chair of the city’s economic development committee, into action: “They put forth some very thoughtful proposals here, which is why we are taking them so seriously.

It didn’t take much for me to recognize that they were clearly right and that they needed a local champion.”

ABOVE

Ken Migliorelli’s fall greens, including chard and kale, supply 24 farmers’ markets in New York City.

In April 2015, Garodnick wrote a letter, signed by 14 city council members, to Mayor Bill de Blasio urging the administration to invest at least $5 million a year to “conserve the farmland in its regional foodshed.”

The letter was supported by dozens of groups, including Just Food, the city-based social justice group that has lately linked farmers to food

70 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

pantries and subsidized CSAs; Slow Food NYC; the Regional Plan Association; and chef/restaurant owners Dan Barber, Mario Batali, and David Bouley.

And Rosenberg’s tireless lobbying has had an effect.

“We’ve learned a lot of this from Scenic Hudson, and had ongoing discussions with them on how to shape this “It would be a precedent-setting en- plan,” Garodnick said. “We want to terprise,” said Garodnick more than link our regional farms to New Yorka year and a half later. “We’ve done ers who severely lack fresh produce.” similar things for the watershed, but never for the foodshed.”

In the meantime, land trusts have broadened their missions from In September, the mayor’s office was simply preserving farmland to contaking a hard look at his proposal necting farmers to direct markets, to include $5 million for farm pres- through groups such as Just Food ervation in the city’s budget. “It’s a and GrowNYC. high priority for this year,” Garodnick said. “We’re talking with the Just Food made the difference for the de Blasio administration, looking to Cashens, in 2004, when they were hammer out the details.” having trouble making ends meet. “We

were not going into the city,” said Chris Cashen, driving through a field full of dark green kale and row after row of celeriac. “We had a very small CSA at the farm. But essentially, we were wholesaling. Prices that were promised were not honored. It was the typical ebb and flow of a commodity.”

Now, the Cashens sell their produce directly, through Local Produce Link,

New York City’s Greenmarket essentially lifted the Migliorelli clan out of debt. Ken Migliorelli tells how his father, Rocco, peddled vegetables from a cart, when Pelham Parkway was mostly pig farms. By the time Co-op City was rising over Interstate 95, the family left the Bronx for the Hudson Valley. By 1976, they were growing run jointly by Just Food and United vegetables again, in Red Hook. But Way. “We’re essentially contracted most of their business was wholesale.

by United Way and are providing about 40,000 pounds per year of “We didn’t make any money,” says fresh produce to four food pantries in Migliorelli. “Then, somebody told Long Island City,” Cashen says. Just us about the farmers’ markets in the Food also introduced the Cashens city, and we started. June 12, 1982, to a group in Brooklyn and another was our first market in Tompkins in Long Island City that wanted to Square. At the end of 1982, we endstart CSAs; now they sell about 1,000 ed up in the black for the first time CSA shares around the city. since 1975.”

CLOCKWISE FROM TOP LEFT

Ken Migliorelli manages 1,000 acres of crops, including 350 acres of vegetables and 200 acres of fruit.

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 71

Land trusts are also using new conservation tools to keep farms in farmers’ hands. Conservation easements, in which landowners sell or donate their development rights to a land trust, generally reduce the value of the property by 40 to 60 percent of its full market value, and restrict its use to agriculture or simply open space.

TOP LEFT

Every box can hold 800 pounds of apples.

BOTTOM LEFT

Carrots grow sweeter with the frost.

The process has worked well for farmers who use the much-needed capital to reduce debt or expand their operation. But lately, secondhome buyers flocking to the bucolic Hudson Valley have been buying up these preserved lands and taking them out of production.

72 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

Even if they rent part of the land to farmers, the lack of security and the inability to make capital investments make this at best only a temporary solution for those working the land.

And young farmers without access to inherited land can’t afford to buy preserved farmland, unless additional easements further reduce the price to what farmers can afford and also restrict the sale of the land to working farmers. Land trusts have begun working together on these affordability options, or preemptive purchase rights, as they are also called, to keep farmland in the hands of farmers, not estate buyers. But it’s not happening fast enough, given the number of farms up for sale, says Lindsey Shute, of the National Young Farm-

ers Coalition, who farms with her husband, Ben. “The idea of the working farm easement has been very slow to roll out in the Hudson Valley,” she says. “Affordability hasn’t gotten any better for young farmers trying to purchase.”

The coalition’s 2013 national survey of more than 200 land conservation professionals found that a quarter of the farms protected by their programs were out of production— because the easements were sold to nonfarmers.

The Shutes started growing organic vegetables in 2004, on land rented from a dairy farmer, until

he died and “the property went for millions,” Shute says. “We rented another property, wonderful soil, but we couldn’t make capital improvements, and there was nothing in Red Hook for under a million.”

Finally, in 2012, the Shutes were lucky enough to buy 70 acres, at agricultural value, from a friend who on the same day sold her development rights to the Scenic Hudson Land Trust. Now their organic operation, Hearty Roots Farm, supports 25 acres of vegetables, 900 laying hens, and 15 pigs. The Shutes supply a CSA in Red Hook, as well as seven CSAs in the city, all with subsidized shares.

Longtime farmers, even those with preserved land, are facing the same

steep prices if they need to purchase “We realized that ‘Gosh, this regenmore land to expand production. erative thing of a farm being every year a source of livelihood and ocChris Cashen, one of nine children, cupation and income would be much was only 15 when his parents do- better than a one-time sale.’” nated the development rights to the Farm at Miller’s Crossing. Bound Fast forward to 1999, when Chris for college, and eventually law wanted to marry a young market school, he found the concept hard gardener, Katie Smith, and they to grasp, at first. needed land to expand. They eventually bought the family farm “at a very “We had this very primitive notion generous price” from his parents, says as kids, that land equaled money,” Cashen. Their success led them to he says. “That we had this farm to rent 30 more acres from a struggling sell and some day we would have an dairy farmer, and it took them three inheritance that was worth a lot of more years to bring the soil up to money and this would be great.” But organic standards. By the time the discussions around the kitchen table farmer sold his land—more than 400 with Chuck Matthei, the founder and acres to an investment developer—the then director of Equity Trust, helped Cashens were renting 60 acres that them see the land in a different way. were crucial to their operation.

ABOVE LEFT

Migliorelli’s 200-acre fruit farm, purchased in 2002, produces apples, pears, apricots, plums, and cherries.

ABOVE RIGHT

A field of brussels sprouts, ready by Thanksgiving.

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 73

“Suddenly, the threat of development was real to me,” Cashen says. “My farm was safe. But the land that I had come to depend on was under that threat that I didn’t ever feel on my own land.”

ABOVE

Ken Migliorelli preserved his first 132-acre farm in 1995.

OPPOSITE

“To preserve these prime farmlands for future generations is a necessity,” Migliorelli says.

But young farmers are still struggling. New York State’s $20 million for Hudson Valley farmland pays only for the purchase of development rights. “Which is a huge disappointment for us, because if it’s just going to protect land from developThe new owner agreed to rent to ment, that is not sufficient to keep the Cashens, until the development farmers in the valley,” Shute says. broke ground, but when the plans never materialized, he needed a It’s a bumpy landscape. return on his investment. He was willing to discuss alternatives to put- Migliorelli preserved his family’s ting the land on the market, how- 132-acre farmstead in 1995. It was ever. So three different land trusts— one of seven farms in Red Hook, in Columbia Land Conservancy, Sce- Dutchess County, that Scenic Hudnic Hudson, and Equity Trust—have son preserved all at once, totaling forged a conservation easement that about 1,000 acres, in its first critical will allow the Cashens to buy 69 acres mass approach to land protection. at agricultural value, while preserving “We zeroed in on Red Hook, because about 330 acres of the old dairy farm. that’s where there was the greatest farmer receptivity,” Rosenberg says.

A slice of New York State’s recent infu- But the process took years. sion of $20 million to protect Hudson Valley farmland, as well as match- “Some people who were new to this ing funds from Scenic Hudson, will concept didn’t like hearing about purchase the development rights on it. They didn’t want anything to inthe property, so the seller will receive fringe on their right to develop,” Mimarket value. gliorelli says. “But to me, to preserve

74 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

these prime farmlands for future generations is a necessity.” Dutchess County adopted its first Agricultural and Farmland Protection Plan in 1998. In 2003, Red Hook approved a $3.5 million bond initiative for the purchase of development rights; in 2007, it passed a Community Preservation Act, which allows the use of a transfer tax on real estate to fund easements.

By now, Red Hook has protected 60 percent of its farmland. Migliorelli drives around the flat sandy fields where he grows all that food for New York City. “When Hurricane Irene hit and dumped 17 inches of rain in the area, there were farms that lost 100 percent of their crop.

I had 80 to 90 percent of a crop, because the soils here have good drainage. That would have been all developed in that real estate boom after 9/11.”

ANNE RAVER WRITES ABOUT THE ENVIRONMENT, INCLUDING GARDENING AND FARMING, WILDLIFE HABITATS, AND LANDSCAPE DESIGN.

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 75

SOUTH TERRACE

Reed Hilderbrand’s new landscape for the Clark Art Institute was many years in the making.

76 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

CALL AND RESPONSE

REED HILDERBRAND’S LONG GAME IN THE BERKSHIRES PAYS OFF.

© JEFF GOLDBERG/ESTO

BY JENNIFER REUT

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 77

ABOVE LEFT

Concept sketch of the water feature and surrounding planting and circulation by Gary Hilderbrand, FASLA. ABOVE RIGHT

The low profile and stepped pools of the Clark Center unfold against the Berkshires’ ridgeline.

ARY HILDERBRAND, FASLA, remembers the interview with Tadao Ando. “We had just moved into our new office in Watertown, and we were going to have this interview and we didn’t even have a door on the building yet. We had plywood with a padlock,” he says. “Ando, who just doesn’t speak English in front of people, said only one thing and he said it twice: ‘We don’t usually work with landscape architects. We usually do it ourselves.’”

The interview, in 2001, was the beginning of a relationship that would span more than a decade, and result in the redesign of the landscape of the Clark Art Institute in Williamstown, Massachusetts (pop. 7,754), an art museum and research center in the heart of the rural Berkshires. Ando had been hired to design the new visitor center

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building by Michael Conforti, then the ambitious director of the Clark (he retired in 2015), as part of a building program that would overhaul the institution’s program and profile. Ando made it clear that the client, not he, was requiring a landscape architect on the project, but that his associate knew and admired Reed Hilderbrand, the firm Hilderbrand cofounded with Doug Reed, FASLA. There were correspondences on the approach to architecture and landscape. They were hired.

The Sterling and Francine Clark Museum building is a white, marble-clad neoclassical box, a bit of a retrograde oddity for 1955, but less so when you recall that the enthusiasm for colonial revival was really peaking in the mid-1950s. In the 1970s, the institution affixed a large Dakota Mahogany granite building by Pietro Belluschi and the Architects Collaborative to its side, now called the Manton Research Center. It’s an odd juxtaposition, and one that the Clark Museum always seemed uneasy with, but it is very solidly there, a massive red block to be reckoned with.

COURTESY REED HILDERBRAND, LEFT; © JEFF GOLDBERG/ESTO, RIGHT

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© JEFF GOLDBERG/ESTO, TOP; COURTESY REED HILDERBRAND, BOTTOM

The landscape setting, 140 acres, was primarily that—a setting seen through a window—though that wasn’t inappropriate for a collection that was heavy in 18th and 19th century painting that was itself embedded in a way of representing landscape.

The museum building itself was domestic in scale, fronting South Street, the main road into Williamstown, like a crisp white doily, and hid its ugly bits—the parking lot and plant building—in the back. The landscape was the backyard, a rolling set of hills, meadow, and woodland that stretched out toward the mountain ranges.

relationship between nature and art, inherited from its long history of second homes for wealthy art lovers, some of whom established art and performance venues in the area. It still gets a lot of intellectual and cultural runoff from Boston and New York City, tourists and transplants who come to see the foliage and BELOW visit the Massachusetts Museum of Contemporary Beka Sturges, ASLA, Art, Jacob’s Pillow, and the dozens of thriving per- and Gary Hilderbrand, formance and fine arts companies that thrive in the FASLA, in 2007. valleys around the Taconic Range. Its reach as an idea extends far outside the The Berkshires is a storied place, particularly if you happened to northeast corner of the country. be of a certain age and class or went to college somewhere in New England, or just listened to James Taylor in the backseat of your “It became very clear to Doug and me parents’ car. It has a power to evoke something that people want that the Clark, essentially, is a part of to hold onto and take care of, and that power extends far outside a very sophisticated community that its geographic boundaries in western Massachusetts. There are really loves its place in the world. In dozens of charismatic towns, and the region enjoys a baked-in some ways, they see their world as

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ABOVE LEFT

The Clark’s parking lot and plant blocked access to and interest in Stone Hill.

ABOVE RIGHT

Early iterations of the Clark Center reference a large body of water.

OPPOSITE

A long process of design calculation achieved the desired rapport between the architecture and the water feature.

Conforti, who ran the Clark Art Institute for 20 years, understood the way the idea of the Berkshires thrived in the greater world when he raised money for the building campaign that would reinvigorate the Clark and take it from a cozy institution with reputable holdings in European and American art to something that played on a global stage. The vision for the new Clark Art Institute included programming that would require a new visitor center and conservation laboratory, and then there were the two existing buildings that needed extensive renovating—the original Clark Museum and the Manton Research Center—as well as a new landscape design for the museum’s 140-acre site. The capital campaign driven by Conforti ultimately raised $145 million (the expansion project’s total cost was $170 million), most of which was raised from outside the Berkshires, though half of the donors had ties to the area. Before he retired, Conforti had increased the Clark’s endowment from $128 million to $357 million. It’s a telling figure that speaks as much to the region’s star quality as it

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Williamstown locals, who live with the ebb and flow of student life from Williams College, had strong feelings, which they were eager to share, about their town and the land that the Clark Art Institute occupies, particularly the Stone Hill meadow, which had always been seen as a part of the town common. And then there are the scholars, short- and long-term beneficiaries of the programs that Conforti has built up over his tenure at the Clark, who have helped establish the institute’s reputation as a serious center for art history scholarship. The new building program would have to take these users into account, along with thinking about the new programmatic areas, research, conservation, library space, and exhibitions and storage for the collection.

Eric Kramer, ASLA, a principal at Reed Hilderbrand, came onto the project a few years after Reed Hilderbrand was hired. Kramer says the investment from multiple audiences was always present.

“We thought about the visitors who are here for an hour or two, the staff who are here every day, and the neighbors who are here all the time. They use it differently, at different intensities in different ways, but we try to respond to each of those.”

Begun in 2001, the redesign of the Clark has unspooled, off and on, over 16 years, and has required the collaboration of no fewer

ALEX MACLEAN, LEFT; TADAO ANDO ARCHITECT & ASSOCIATES, RIGHT

inviolate and they all see themselves as stewards does to Conforti’s persuasive powers, but the attention also of it,” Hilderbrand says. attracted expectations.

JAMES EWING/OTTO

than five design firms: Tadao Ando Architect & Associates, Selldorf Architects, Gensler, wHY, and Reed Hilderbrand Landscape Architecture. A 2001 master plan by Cooper Robertson identified opportunities, though not the specifics for new buildings, and Conforti assembled the design team, hiring first the nearly mythic Japanese architect Tadao Ando for the Clark’s new buildings. Gensler then came on as the project’s U.S. architect. The landscape architecture firm was next. For Reed Hilderbrand, the scope of the project expanded and changed significantly over the years since that first interview, eventually comprising the landscape architecture master plan for all 140 acres, which included a redesigned vehicular and pedestrian circulation system, site design for buildings and circulation, a comprehensive water system, and a sustainable landscape management plan.

The master plan called for the removal of the parking pad and plant behind the museum that blocked the access to the landscape. In its place there would be a new building designed

by Ando, which would house the visitor center and restaurant, exhibition space, art conservation lab, and conference facilities.

That building is the Clark Center, opened in 2014, but without part of its program—the conservation lab, which was split off into a separate building, also designed by Ando.

Ando’s Clark Center building is long and low, with a walkway that extends east to the Clark Museum, attaching to it like a

benevolent glass and concrete tentacle. In plan, it is two linked pavilions intersected by a low red granite wall, called the “7 wall” for its slicing form.

Set on a cross axis from the older buildings, it sets up an enclosure around a body of water. The Clark Center building is the portal through which visitors come into the museum complex, and it brings them in through an entrance sequence that is both self-effacing and monumental. It is one of the places where landscape design and architecture are most intimately intertwined.

Visitors approach the building from the main road or the new parking lot, following a path along the 7 wall, and they slip, rather than arrive, into the main visitor reception areas. It’s almost disorientingly subtle, and it’s an experience that’s a million miles away from the interminable stairs and dwarfing neoclassical portals that were favored by 19th century museums, or the two-dimensional selfie sets constructed to lure 21st century museumgoers. It’s also a move used in other Ando buildings, and the most controversial part of the design that has, on the whole, been rapturously received. Roberta Smith, in the New York Times, held up the new Clark as an example for ↘

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SITE PLAN 1 MUSEUM BUILDING (1955) 2 MANTON RESEARCH CENTER (1973)

7 5

3 CLARK CENTER (2014)

17 6

4 TICKET BOOTH 5 LUNDER CENTER AT STONE HILL (2008) 6 ENTRY DRIVE 7 PARKING 8 ENTRY COURT 9 SOUTH TERRACE 10 TERRACED POOLS 11 SCHOW POND 12 TERRACED LAWN 13 SOUTH LAWN 14 TRAILHEAD 15 LOWER MEADOW AND WETLAND 16 STONE HILL MEADOW 17 TERRACED MEADOW

19 WOODLAND PERIMETER TRAIL

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COURTESY REED HILDERBRAND

18 STONE BENCH TRAIL

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8

9 4

10

12

3

7

19

14

13

2 1

6

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7 14 6

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Entry to the Clark Center is understated, an Ando signature.

BOTTOM

A line of willows punctuates the design’s multiple overlapping horizontal planes.

OPPOSITE

A vibrant maple at the end of the stepped pools draws attention in the late fall.

→ other institutions, stating that museum directors and trustees “should schedule a visit to the Clark sooner rather than later,” but noted that the approach to the complex “can feel a bit daunting.”

Other critics have been less guarded, referring to the entrance, as Alexandra Lange did, as “minimalist pinball flippers.”

Entry through the Clark Center affords the closest the architecture comes to a heart-stopping moment. As the building opens up through a curtain of glass walls that carry light to the subter-

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ranean level below, visitors see for the first time the pristine, inky planes of a tripartite pool stepping almost imperceptibly down the landscape.

This first view is framed by two meticulously detailed vertical concrete slabs, and it’s hard not to appreciate the architect’s facility with scale and materials as planes meet at pleasing right angles everywhere you look, describing and dismantling your sight lines. At this pause in the passage through the building, the architecture presents the landscape in a frame, taking the idea of the window and disassembling and re-forming it.

Beka Sturges, ASLA, an associate principal at Reed Hilderbrand who has made a study of Japanese architecture and culture, likens it to the “hide and reveal” of traditional Japanese design, which is incorporated into the site ↘

MILLICENT HARVEY, TOP; © JEFF GOLDBERG/ESTO, BOTTOM

LEFT

TUCKER BLAIR/THE CLARK

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—ERIC KRAMER, ASLA

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MILLICENT HARVEY

“ THE POOLS WERE REALLY DECORATIVE, AND NOW THEY’RE ABSOLUTELY INTEGRATED INTO THE WAY WATER ON CAMPUS WORKS.”

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MILLICENT HARVEY, TOP; JAMES EWING/OTTO, BOTTOM

GRANITE CASCADE WEIR PLAN

COURTESY REED HILDERBRAND

3 D GRADING MODEL

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GRANITE CASCADE WEIR PLAN DETAIL

GRANITE CASCADE WEIR SECTION

COURTESY REED HILDERBRAND

LANDFORM DAM SECTION

CLOCKWISE FROM TOP LEFT

Mock-ups and models helped reямБne the function; Dan Euser of Dan Euser Waterarchitecture Inc. atop a plywood mock-up of the cascades.

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INTEGRATED CAMPUS HYDROLOGY

CAMPUS STORMWATER

WATER RE USE SYSTEM INPUTS

WATER RE USE SYSTEM INFRASTRUCTURE

WATER RE USE SYSTEM OUTPUTS

CONVEY SURFACE FLOWS

DISPERSE

GEOTHERMAL WELLS

PUMP AND CISTERN

IRRIGATION

CONVEY PIPE

INFILTRATE GALLEYS

STORMWATER

CONVEY PIPE IN

TOILET FLUSHING

DETAIN AND TREAT RAIN GARDEN

INFILTRATE PAVING

FOUNDATION DRAIN

CONVEY PIPE OUT

HEATING AND COOLING

DETAIN AND TREAT LEVEL SPREADER

INFILTRATE MEADOW

→ design and architecture at the Clark. “It’s much

more about rewarding discovery and delaying gratification. You want to be opening up the view or the expanse, you want to create a new understanding of the place, but you don’t want it to be immediate, so in some ways, what is a little bit weird about the wall at the Clark Center when you enter, is the denial. It’s literally an assertion of ‘no,’ which a lot of people don’t like, actually, but it’s very intentional.”

marriage that somehow worked out. Drawing it all together is the wide set of descending pools separated by granite weirs that come to an end like an exclamation point before a maple tree, most likely a legacy from Francine and Sterling’s day. The deck is a platform for taking in what might only have come from a decade of give and take between the design teams—a composition that invites disparate architectures into dialogue with the landscape.

For their part, the long process allowed Reed Hilderbrand to see the architect’s talent unfolding in real time. “There’s a Once you step out of the building, the balance very big body of work built around a limited vocabulary, but shifts again. There is a broad deck of gridded a vocabulary that’s beautifully exploited time and again and Wausau custom precast concrete pavers that runs specific to each situation by and large,” Hilderbrand says. wide along the length of the building. To the right, the red granite of the 7 wall wraps low around the The sequence through the visitor center is dramatic, but building, walking the eye out and up onto Stone Hilderbrand says the experience of stepping out of what was Hill. To the left, the Clark Museum building and once the back of the museum building is more essential to the Manton Research Center appear, if not more the project’s success. “When you go through the museum harmonious, then at least collegial, an arranged sequence and you come back out, and then you go through

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COURTESY REED HILDERBRAND, TOP

N

COURTESY REED HILDERBRAND, TOP; JAMES EWING/OTTO, BOTTOM

COMPREHENSIVE WATER SYSTEM

the glass doors and you’re standing on this new terrace, which used to be the loading dock of the building, and you’re given another whole view of this amazing landscape, I think that’s where the relationship between seeing a body of landscape painting and being in a great landscape comes together for practically every visitor.”

Such a successful design necessarily conceals the protracted negotiation that was required to arrive there. The relationship between the Clark’s strong-minded client and the Pritzker Prize-winning Japanese architect involved a good deal of give and take, something it seems neither party was predisposed to. If you are interested in understanding how this played out, there’s a documentary, The New Clark: Bringing the Ando Experience to the Berkshires, that chronicles the long design process. The design team from Reed Hilderbrand is there, and you can witness several

LEFT

Plantings around Schow Pond, a protected part of the wetlands around the Clark property.

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The proposal for the new landscape included pedestrian circulation and trails (yellow) that connected the site (green dotted line) to the town and region.

RIGHT

Trails cross the streambeds around the site, providing opportunities rather than obstacles.

OPPOSITE

New pedestrian bridges allow visitors into the landscape while protecting the understory.

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7 wall be of the same red-toned granite as the Manton rather than Ando’s preferred concrete (a decision most of the design team disagreed with at the time)—doesn’t get mentioned.

Conforti won that round.

The project’s fitful progress over 12-plus years allowed a number of changes to the design’s original conception that resulted in a deeper, more textured approach to the landscape design as well as to the architecture. The original program for the COURTESY REED HILDERBRAND, TOP; ALAN WARD, BOTTOM

TOP

scenes of delicious tension between Ando and Conforti and a particularly charged scene between a dismissive Ando and the unflappable Annabelle Selldorf, who was hired to redesign the museum and research center interiors. There are frequent scenes of Ando grumbling at length about the amount of “discussion” that is expected. Oddly, for all its design drama, the most significant design conflict—the insistence by Conforti that the

MILLICENT HARVEY

Clark Center included a conservation lab, and when this idea proved unworkable, an off-site location was pursued. When that fell through, the Lunder Center at Stone Hill, as it is now called, was sited in a woodland south of the main complex, a lighthouse that draws people up into the landscape.

The recession in 2008 slowed Reed Hilderband’s work for a time, and when it started up again in 2009, there was an increased imperative to include sustainable practices in the landscape design, precepts that are now integral to the management of water and the stewardship of the site. All along the years, through the exchange of designs, the construction obstacles and language barriers, the meetings and winter site visits, trudging through the frosty New England crust, molded the relationship between the design teams. “By that time we’d worked long enough with Ando’s office that they really trusted us,” Sturges says. “That’s one of the positives of working with a team for that long.” The key moment was the pool.

The pool was a signal element that appeared in Ando’s early designs, and it accomplished several things immediately. It reoriented the museum complex toward the Berkshire land-

scape that had been little more than a backdrop, organized the buildings around a central feature, and provided a kind of dramatic contrast with concrete, his favored material, that was familiar from his design of the Modern Art Museum in Fort Worth, Texas, but also evoked Louis Kahn’s National Assembly Building of Bangladesh in Dhaka. It was a big statement. But in its early conception it was overly large and inert. In addition, the flat plane of water was mostly ornamental and reflective, and worse, the single pool also didn’t fit the topography of the site and would require an enormous wall for support. The pool had to change, both in form and purpose, to fit the landscape form and satisfy imperatives about sustainability and environmental responsibility that had intensified significantly between 2001 and 2014. “I think when he realized that we could understand his intentions and maybe elaborate them and fit them to the site, he got very comfortable with us. Then there was just a long process of trust,” Hilderbrand says. ↘

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APPLE ASPEN BIRCH IRONWOOD

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UPLAND

BUCKTHORN BUTTERNUT CHERRY ELM HACKBERRY LOCUST MAPLE PINE RED OAK SWEET GUM TAMARACK WHITE OAK

ASH BEECH CEDAR HEMLOCK HOP HORNBEAM SHAGBARK HICKORY

LOWLAND

ASH BEECH CEDAR HEMLOCK HOP HORNBEAM SHAGBARK HICKORY

BUCKTHORN BUTTERNUT CHERRY ELM HACKBERRY LOCUST MAPLE PINE RED OAK SWEET GUM TAMARACK WHITE OAK

EDGE

UPLAND

2,690 TREES

LOWLAND

2006 AFTER REMOVAL

3,371 TREES

EDGE

2005 TREE SURVEY

APPLE ASPEN BIRCH IRONWOOD

COURTESY REED HILDERBRAND

WOODLAND MANAGEMENT

2007 AFTER REMOVAL

2008 ESTABLISHMENT

+671 TREES

3,361 TREES

UPLAND

APPLE ASPEN BIRCH IRONWOOD

LOWLAND

LOWLAND

BUCKTHORN BUTTERNUT CHERRY ELM HACKBERRY LOCUST MAPLE PINE RED OAK SWEET GUM TAMARACK WHITE OAK

ASH BEECH CEDAR HEMLOCK HOP HORNBEAM SHAGBARK HICKORY BUCKTHORN BUTTERNUT CHERRY ELM HACKBERRY LOCUST MAPLE PINE RED OAK SWEET GUM TAMARACK WHITE OAK

EDGE

UPLAND

ASH BEECH CEDAR HEMLOCK HOP HORNBEAM SHAGBARK HICKORY

EDGE

COURTESY REED HILDERBRAND

1 TREE

APPLE ASPEN BIRCH IRONWOOD

20 TREES

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RIGHT

Grading around the Lunder Center was highly refined.

BELOW

are you bothering?” she says. Reed Hilderbrand built models and simulators with the firm Dan Euser Waterarchitecture until they figured out the right combination of scale, temperature, and force. “Significant amounts of water are required to operate this, and actually the cost of paying for water is really not sustainable. If you’re going to do something like this, you should try and figure out how to make it self-regulating,” Sturges says.

→

The design of the pools and the weirs had to be precisely calibrated in terms of volume, depth, and the power required to keep the water moving and assure water quality. “One of the other really awesome things in terms of the hide and reveal thing is that you don’t hear the water until you get there,” Sturges says. “We had to bring out a way to keep the power and the scale and minimize the amount of energy required to send water and make it cascade. At this scale, if you don’t have some visible water and sound, why

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The valley where the buildings sit is low, and the groundwater is high, and the displacement that the building was going to generate, along with the local conservation commission’s urging to care for the ecological systems, put pressure on the design team to focus on the water. When the Clark Center evolved from two pavilions to a single two-story building with 63 percent of its mass belowground, the high water table required a significant engineering adjustment to pump the groundwater out through a foundation drain. But where would it go? The management of stormwater around the building, trails, and the new parking areas, and the protection and restoration of the wetland areas of the site, could all potentially be affected by the

COURTESY REED HILDERBRAND, TOP; © JEFF GOLDBERG/ESTO, BOTTOM

The lower terrace of grasses allows clear sight lines from the top-level conservation studios.

ALEX MACLEAN

displacement of groundwater from the Clark Center, and Reed Hilderbrand saw an opportunity to tie everything together in one system. “Could you start to connect irrigation and the cooling tower and the water feature, the toilets, custodial, and make it all work together with the groundwater, the rain, and with only potable water as a backup?” Sturges says.

moving the stormwater infrastructure out of the ground and in sight allowed the connection to be made between the building complex and the landscape. “The wetland system was seen as sort of a constraint, and not something they could interpret or understand,” Kramer says. But that changed after the Lunder Center was built, and They began to run simulations, trying to understand what the the two trails and bridges over the streambeds inputs might be, how the rainfall might affect them, and when opened up the possibility of extending the ideas and how they might be used. There were more models, more of the museum complex into the landscape. simulations, more analysis, and more tests before the Clark gave Reed Hilderbrand the go-ahead to design the system. There are echoes of the Clark Center in the LunThe pools are now one feature in a comprehensive geothermal der Center. “It’s the same parti of a bar and two water management system that includes stormwater, displaced pavilions and a 7 with a pass-through,” Kramer groundwater, irrigation, and graywater. A large underground observes, but it is smaller and has a lightness reservoir sits between the terrace and the wall next to the pools, on the land, despite being built into a hill. Mewhere the collected water is stored for use in the irrigation and ticulous board-formed concrete and cedar planks graywater systems. clad the puzzle box of porches and south-lit conservation studios. There are terraces above and Removing the old plant and the parking brought the adjacent below the building for parking and fire access, wetlands into play. Preserving and enhancing the stream that and the lower terrace conceals the stormwater runs through the site near what was once the parking lot, and management.

ABOVE

The Lunder Center was the first building to be completed, but was not part of the project’s original scope.

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Hilderbrand acknowledges that grading has become something of a Reed Hilderbrand signature, perhaps nowhere better on display than at the Clark, where he says they had a particularly adept grading operator, but it figures into both the practical functioning of the site and the design experience. “It’s always been such a crucial part of what we do because, above all, we shape the ground,” Hilderbrand says. “We do it right up to buildings, we do it in streets, we do it on campus, we do it at art museums, and we do it with real care. There’s a whole set of functional aspects to shaping the ground, including making sure water runs downhill and it runs to a good place and it drains well and it recharges and all of that. A lot of what you’re seeing is driven by a hyperconscious effort to control all of the rainfall and to make sure that it gets back where it should go: treated into the streams or infiltrated into the aquifer.

“The second part of that is something that we take equally as seriously, which is that the visual aspects of a singular gradient over a long visual run, or the visual aspects of a steep slope rising up to a level plane, are just as important for us,” he says. “I would say we’re maniacal about earthwork and about grading.

No matter how big the project, I think we always do 100 grad-

TUCKER BLAIR/THE CLARK, TOP AND BOTTOM LEFT; CHARLES MAYER PHOTOGRAPHY, BOTTOM RIGHT

After clearing the trees from the site, mixed groves of birch and aspen were planted in carefully articulated sweeps along the cusp of woodland to suggest a meadow’s edge. The suggestion of Vogt’s design for the Tate Modern in London informed the design. It feels very happened upon, but it’s one of the places where Hilderbrand’s design philosophy —restraint, editing, and amplification—is most artfully on display. The long, shaggy grasses and young trees are evocative, but it’s the grading and molding of the landforms up to and around the site that catch your attention. Shaping the topography is something of a marquee talent of Reed Hilderbrand, and Kramer likens the play of ground forms to those below at the Clark Center.

“They’re quite crisp. They’re precise and almost architectural in a place which is otherwise sort of like a rolling woodland, and to us, in a little bit of the way the pools do down below, they negotiate an architectural expression of the 7 wall, which is a projection, and a terracing, and the slope of the hill.”

CLOCKWISE FROM BELOW

New trail and vehicle circulation relies on hide and reveal; viewing platforms float over the pools; use of the meadow and trails in winter is very active.

PLANT LIST CANOPY TREES

Acer rubrum (Red maple) Acer saccharum (Sugar maple) Carya ovata (Shagbark hickory) Celtis occidentalis (Common hackberry) Fagus grandifolia (American beech) Liquidambar styraciflua (Sweet gum) Nyssa sylvatica (Black gum) Ostrya virginiana (Hop hornbeam) Quercus alba (White oak) Quercus bicolor (Swamp white oak) Salix alba (White willow) Ulmus americana ‘Princeton’ (Princeton elm) UNDERSTORY TREES

Amelanchier canadensis (Canadian serviceberry) Carpinus caroliniana (American hornbeam) Cornus alterniflora (Alternateleaf dogwood) Cornus florida (Flowering dogwood) Halesia tetraptera (Mountain silverbell) Ilex opaca (American holly) Sassafras albidum (Sassafras) THICKET TREES

Betula papyrifera (Paper birch) Betula populifolia (Gray birch) Populus tremuloides (Quaking aspen) GROUND COVER, GRASSES, AND MEADOW PLANTINGS

CHARLES MAYER PHOTOGRAPHY

ing studies. Then we’re very conscious of how important it is to be in the field with an eye on the grading in order to achieve it.”

With so much highly finished design happening around the buildings, it is easy to overlook the rest of the site, which has had its trail systems enhanced significantly, redesigned, and extended to provide connectivity to the town and the region.

Hilderbrand says the Clark grounds were always seen as a kind of semipublic space, and people followed informal paths to the top of the Stone Hill meadow for the view or skied through them. Because of that, he says, “It was an easy idea to propose extending the trail network and to start thinking about the Clark not only as a common, but as a trailhead.” Community handwringing—over the removal of trees, the ecology of the site, the press of new visitors, and the loss of the landscape as a public amenity—was one of the things that slowed the construction down, so the improvements in connectivity and access for the local community were not afterthoughts.

With the new design, the museum has chosen to embrace an always-open ethos that has turned it into a public park. “That very public nature of the place comes, in a way, to define it. The real

Agrostis alba (Redtop) Agrostis perennans (Upland bentgrass) Agrostis stolonifera (Creeping bentgrass) Andropogon virginicus (Broomsedge bluestem) Bouteloua curtipendula (Sideoats grama) Bouteloua gracilis (Blue grama) Calamagrostis canadensis (Bluejoint) Cyperus esculentus (Yellow nutsedge) Elymus hystrix (Eastern bottlebrush grass) Elymus riparius (Riverbank wild rye) Elymus virginicus (Virginia wild rye) Festuca ovina (Sheep fescue) Festuca rubra (Red fescue) Gillenia trifoliata (Bowman’s root) Lolium perenne (Perennial ryegrass) Lolium perenne ssp. multiflorum (Italian ryegrass) Lotus corniculatus (Bird’s-foot trefoil) Poa pratensis (Kentucky bluegrass) Schedonorus arundinaceus (Tall fescue) Schizachyrium scoparium (Little bluestem) Trifolium repens (White clover) Tripsacum dactyloides (Eastern gama grass)

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pearance of an amiable herd of cows that snuffle and switch indifferently around Thomas Schütte’s Crystal, an installation outside the museum on loan from the artist. The redesign has opened up the meadow as new possible exhibition space for art, and the cows are no accident. The Clark allows a local farmer to herd them on the land in the late afternoon. They draw attention upward as well as any neon sign. There are still traces of the old field boundaries—a line of oaks references the old hedgerow, and the cow fences were moved back and set below a berm mostly out of sight. At the bottom, in a swale between the buildings and the beginning of the rise, there are new plantThe steep open meadow on Stone Hill that over- ings that are coming along. At the old Clark, there had been a looks the museum complex is popular for the fence around this area that recalled a wetland petting zoo and prospect it provides, and for the semiregular ap- spoke volumes about the anxiety that landscape can provoke.

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TUCKER BLAIR/THE CLARK

capstone on that is that the doors at the museum entry and at the link to the museum are operating 24 hours a day. You can actually pass through the building at night and go out and sit on the terrace over the pools,” Hilderbrand says. This eliminated the problem of the new building’s creating a barrier traversing the north–south access and made a statement that the new Clark was not just about attracting visitors to the Berkshires but about knitting the institution into the town as part of its public sphere.

project could be seen in some ways as a big set of practice reforms for how an institution manages its assets, manages its property,” he says.

That can be hard in a place that doesn’t like change, and can take a back and forth over several years. “It became very clear to us in our first meetings that we were going to be managing change in a community that liked things the way they were,” Hilderbrand says. “We had to basically educate people around the idea that landscape is constant change and that what they think they are holding onto isn’t always what they really see or what they really have in their midst.”

TUCKER BLAIR/THE CLARK, LEFT; HELEN HAN, RIGHT

Project Credits

Hilderbrand sees this as one of the biggest changes they’ve overseen at the Clark. “When we arrived there, they were mowing vast amounts of lawn and they were managing their trees the way traditional arborist companies do, which is to sell commercial fertilizers and lots of herbicides and pesticides,” he says. A young grounds manager, Matt Noyes, was instrumental in taking on the approach Reed Hilderbrand advocated—building the soil using organic practices, and capturing the right moisture regimen for the site’s different requirements. They planted more than 1,000 trees, by Hilderbrand’s count.

“The look and feel of the Clark now with tall grasses, and wet swells in the parking lot, and pervious paving, and a water system that’s so gigantic, but which is so multifunctional—I think the

LANDSCAPE ARCHITECT REED HILDERBRAND LLC LANDSCAPE ARCHITECTURE, CAMBRIDGE, MASSACHUSETTS. DESIGN ARCHITECT TADAO ANDO ARCHITECT & ASSOCIATES, OSAKA, JAPAN; SELLDORF ARCHITECTS, NEW YORK. ARCHITECT OF RECORD GENSLER, NEW YORK. PROJECT MANAGER ZUBATKIN OWNER REPRESENTATION, NEW YORK. OWNER’S REPRESENTATIVE THE RISE GROUP (NOW ARCADIS), CHICAGO (LEIF SELKREGG).

STRUCTURAL ENGINEER BUROHAPPOLD ENGINEERING, NEW YORK. CONSULTING ENGINEERS ARUP, NEW YORK. MEP ENGINEER ALTIERI SEBOR WIEBER, NORWALK, CONNECTICUT. CIVIL ENGINEER GUNTLOW & ASSOCIATES, WILLIAMSTOWN, MASSACHUSETTS. ELEVATOR CONSULTANT JENKINS & HUNTINGTON, NEW YORK. SECURITY CONSULTANT LAYNE CONSULTANTS INTERNATIONAL, DENVER. WATERPROOFING JAMES R. GAINFORT CONSULTING ARCHITECTS, NEW YORK. FOUNTAIN DESIGN DAN EUSER WATERARCHITECTURE, TORONTO. PROGRAM LORD CULTURAL RESOURCES, TORONTO. COST ESTIMATOR STUART-LYNN COMPANY, NEW YORK.

ABOVE

Cows graze and linger near Thomas Schutte’s Crystal on Stone Hill meadow.

OPPOSITE

The prospect from Stone Hill meadow affords a view of the Taconic Range and Williamstown.

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W

ITH THE ADVENT of adult coloring books, you had to know that adult playgrounds wouldn’t be far behind.

The project that pretty much defines the type is Boston’s Lawn on D, the winner of a 2015 ASLA Professional Honor Award. Its presence in the city seems fitting, as Boston already serves as a comprehensive field guide to public open space, including elusive species such as garden cemeteries, arboretums, urban beaches, and skateboard parks.

But the Lawn on D is something different.

Conceived as a temporary experimental space, this 2.7-acre site could have a profound effect on the next generation of urban parks.

SURPRISING THINGS HAPPEN WHEN A BIG PUBLIC AGENCY DECIDES TO DO SOMETHING SCRAPPY.

BY ELIZABETH S. PADJEN / PHOTOGRAPHY BY SAHAR COSTON-HARDY

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I TOP

The main tent (at left) includes food and bar service. The smaller tent adjacent to the convention center was added this year for private events.

INSET

The Lawn offers respite as well as fun and games.

OPPOSITE

Painted asphalt denotes activity zones.

t’s a schoolyard. Anyone who has ever seen a New York City neighborhood playground will recognize it immediately. Flat. Asphalt paving.

A fence. A swing set. People playing games. Others hanging back, watching. A couple of authority figures discreetly monitoring the action, ready to jump in if things get out of hand.

A big building looming behind it all.

The Lawn on D takes that basic model and amps it up into the realm of urban cool. The fence is not galvanized chain link but black metal mesh—the first hint that a designer has been here. There is, of course, the eponymous patch of green, which is actually both synthetic turf and the real stuff.

Asphalt paving has never looked so good, painted bright orange, green, and blue to establish pathways and create patterns that might inspire some spontaneous millennial version of hopscotch.

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Slick new lighting is suspended overhead—no cobra heads, and no acorn lamps, either.

The schoolyard games have also been bumped up a few notches. Anyone in need of working off a little energy has the choice of ping-pong, bocce, cornhole, or Jenga—nothing that will promote roughhousing or that will require a shower before heading back to the office. The more laid-back crowd can pull up Adirondack chairs.

And the swing set—oh, the swing set. Designed and fabricated by the Boston architects Höweler + Yoon, it’s a usable art installation and, as such, has a title: Swing Time. Great loops of translucent polyethylene hang from a frame; embedded within them are LEDs, microcontrollers, and accelerometers, so they glow and change color as they move. Good luck finding a seat on one; this is Boston’s proclaimed selfie capital.

Dividing asphalt and turf is an enormous open tent, the sort you might rent for a street fair. Inside, you’ll find a food line and tables that appear to have been shipped directly from that New York school’s cafeteria.

It’s cheap. It’s modest. It’s ambitious. It’s owned by a behemoth of a public agency, but it’s one of the coolest spaces in the city.

No one knew it would turn out this way.

I

n 2010, plans were afoot to expand the Boston Convention & Exhibition Center (BCEC), already one of the largest buildings in New England.

At stake was not only the competitive viability of the convention center itself, but also the economic future of a large swath of the Innovation District— much of it still parking lots and the gritty industrial landscape you associate with movies featuring gangsters speaking in bad Boston accents.

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TOP

The original master plan for the convention center included a major expansion, hotels, and parking.

RIGHT

A selfie on Swing Time.

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rethinking in response to new challenges and changing conditions.

Davis began to assemble a team that he describes as “the best and brightest.” Sasaki was hired as the lead consultant, with principals Fred Merrill as planner and principal in charge, and Gina Ford, ASLA, as landscape architect. Tim Love, an architect and planner at Utile known for an uncanny ability to devise urban-design strategies grounded in market reality, became a major subconsultant.

Soon, another subconsultant joined the team as a public-programming adviser: HR&A, which had prepared the economic feasibility study for the High Line in Manhattan.

UTILE, TOP AND OPPOSITE TOP; SASAKI, OPPOSITE BOTTOM

“This was not just about making a giant building even bigger,” says Howard Davis, who at the time was the director of capital projects for the Massachusetts Convention Center Authority (MCCA). More cities were vying for convention business, but at the same time, convention attendees were changing: They were no longer content to sit in dark rooms from 9 to 5, sipping bad coffee from urns in equally dismal hallways.

In order to compete, the MCCA knew it needed a destination district, and that its focus would be D Street, the only direct connector between Boston’s inner harbor and the South Boston neighborhood beyond, known as “Southie.” A draft master plan was in the files, in need of

BOSTON CONTEXT PLAN The new expansion would extend south of the original convention center, which meant that it would need its own “front door” on D Street. In the meantime, some sort of walkway connection was needed between the original building and two new hotels already in the works on the opposite side of the street.

You can’t build a billion-dollar project without the neighbors noticing—in this case, the residents of Southie, known for their political prowess and long memories. A decade before, they had negotiated concessions from the MCCA as most of the rest of the city looked on in wonderment, given the distance between Southie and the actual convention center site. Now some of those same people were showing up for round two, wondering when they were going to get their promised park.

The “park,” Davis reminded them, was never a park but was an “event space” that would be open to the public. And indeed, an extensive search through pre-electronic records proved him right.

The new master plan designated a large parcel for that purpose at the intersection of the original convention center and the expansion, abutting the walkway. There was only one problem: No one knew what to do with it.

N

The issue was that there was no real precedent for the kind of space they had in mind. Davis convened multiple brainstorming sessions. By now, the team had grown to include Chris Wangro, known for his genius at programming public spaces. The ideas were creative, but there was no consensus. People couldn’t even agree on the best size for the space. And without consensus, Davis

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N

ABOVE

A concept diagram for the vacant lot (shown in photo) shows the connector (in blue) linking the convention center and proposed hotels.

LEFT

One key to the Lawn’s success is its flexibility.

OPPOSITE

The final plan maintains the “planted frame” that unites different elements of the space.

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SASAKI, TOP LEFT AND RIGHT; CHRISTIAN PHILLIPS PHOTOGRAPHY, BOTTOM

knew that committing funds to a permanent pub- you don’t know what you’re doing.” Instead, Davis lic event space posed an enormous risk. called the proposal “an eyes-wide-open experiment,” meaning that the team would try out difDavis approached Jim Rooney, the executive direc- ferent concepts based on experience and educated tor of the MCCA, with a proposal. The idea was guesses, documenting successes and failures and to ask the board for a relatively modest amount learning how both the public and convention atof money to develop the hotel walkway and an tendees responded. The lessons would then be adjacent 2.7-acre site (just north of the actual des- transferred to the eventual design and developignated event space) as a trial. “I don’t like the word ment of the permanent site. And in the meantime, ‘experiment,’” says Davis. “It sometimes suggests the site would start to generate buzz, both for the

N

SASAKI

existing convention center and for the new district. Rooney was immediately in sync; perhaps more remarkably, the board was, too. It approved $1.5 million for construction and $1.4 million for programming the first year (not including other operating costs).

“It was the fastest little construction project I’ve ever been part of, and one of the least expensive,” says Ford. Design work began in December 2013, documents were delivered in April 2014, and construction was completed by August of that same year. “Fast and cheap” became the guideline, as the team continued to work collaboratively in order to minimize time lag from decisions otherwise made in isolation. Public bathrooms, they decided, weren’t necessary, as the convention center facilities were nearby. The tent structure could be rented. When the work threatened to run over budget, the team reconvened, slashing costs by “descoping,” with moves such as taking out half the lighting fixtures and cutting the planting. Because the project was temporary, some corners could be cut in construction details (with the MCCA board’s

understanding that the project, as built, would not hold up well after a couple of years).

Simultaneously, HR&A and Chris Wangro were lining up the arts, music, and programming mix that would define the space. Wangro dove deep into Boston’s cultural scene to identify events and participants that would give the space a distinctly Boston feel, in line with the MCCA’s mission to promote both convention space and the city itself. Identity and branding became a focus of discussions, as the team recognized that obvious, self-conscious branding would turn off the millennials whose burgeoning presence in the Innovation District was considered a key to success. After a brief flirtation with “Lab on D,” the new space became “the Lawn on D.” It opened on August 15, 2014, and it was a hit.

There was no signage, no onsite calendar of events.

There was no need. From the beginning, social media was part of the Lawn’s essence, boosted no doubt by the immediate success of Swing Time, which Love calls “big Instagram bait.” But the

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Lawn’s managers kept the good media times rolling with Wangro’s program picks: concerts, movies, food trucks, themed weekends, a midwinter festival (featuring a ski hill, fire pits, and an ice labyrinth), not to mention the sheer spectacle of giant inflatable rabbits (a temporary installation called Intrude by the Australian artist Amanda Parer) and “Pentalum,” an inflatable maze.

as it approached its designated end in the fall of 2015. But clouds were forming on the MCCA’s horizon. Governor Charlie Baker had taken office the previous January and, facing significant budget challenges, soon announced that he had decided to “pause” the BCEC expansion. Politicians understood “pause” as a euphemism for “kill.” In the following months, some senior staff left and the governor replaced some board With attendance reaching 230,000 people over members. By the end of the season, it was clear its 18-month life, it was hard to imagine that the that there would be no permanent event space to Lawn could ever be considered temporary, even which the Lawn might migrate. Even worse, with

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BELOW

The glowing hoops of Swing Time become the park’s focus at night.

OPPOSITE

Lighting and color create liveliness even on quiet evenings.

a large annual budget of more than $2 million sion. Last spring, Citizens Bank stepped up with a in a cost-cutting environment, the Lawn itself $250,000 sponsorship. In return, they have built was in jeopardy. an ATM kiosk near one entry and have received naming rights of sorts: The MCCA website ofHope came a few months later with a proposal ficially refers to the space as “The Lawn on D from Johanna Storella, the MCCA’s chief strategy Powered by Citizens Bank.” officer (who subsequently lost her own position in a round of budget cuts). The Lawn, she sug- The beloved food trucks have been exiled owing gested, could become self-sustaining over a period to a contract with a local restaurant group that of three years through a combination of tactics provides food and beverages with a beer and wine including sponsorships and increased rental rev- license; the MCCA receives 15 percent of the gross. enue. The 2016 season would be the test.

Food and beverages, together with free games, are now available during special events in addition o, is this story going to be an obituary?” to prime time: Fridays, weekends, and “bonus” Thursday afternoons and evenings.

Katie Hawkes, the operations manager for the Lawn on D, chuckles. “No. It’s not an obituary. With the addition of a small private-events tent The Lawn will live.” accommodating up to 350 people, more than 80 private events have been scheduled this season, Under the new operating model proposed by including some contracted for use of the entire Storella, revenues are healthy and, rumors to the Lawn. Rates range between $17,000 and $25,000 contrary, there are no plans to charge for admis- for the whole site. The private tent goes for

“S

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TOP

Swing Time provides an open transition between the lawn and the games area near the food tent.

OPPOSITE

Visitors settle in with surprising comfort.

$4,000 to $5,000 for the day, which includes shared access to the public space. “It’s like renting the cabana at the pool,” Hawkes says. Other sponsors have contributed as well, such as the fitness club Equinox, which runs occasional classes at the Lawn. As this story went to press, the Boston Herald reported that the $2.3 million loss in 2015 has been cut to a projected $250,000 to $350,000 loss this year.

Programming has changed somewhat as well, and is now managed in-house. Most noticeable is the absence of the edgy installations. Who doesn’t miss the ginormous bunnies? But with that loss has come some gains. Popular craft brew nights, for example, are sponsored in conjunction with the food and beverage provider. Family events continue to be a huge draw. And for some private events, organizers provide their own attractions— in one case, adult bouncy houses.

It has been a year of regrouping. Sasaki was brought back earlier in the year to help with capital improvements, most made necessary by the temporary nature of the original work, such as drainage and paving. (The designation of $500,000 for capital improvements was seen as an early signal that the MCCA was showing longterm support for the Lawn.) Synthetic turf was installed around the cornhole boards and under the swings, where maintaining grass was impossible. “Our relationship with our landscaper has evolved,” Hawkes says. With problems including broken sprinkler heads and damage from staking, her staff has created new client guidelines for private events. Even the swings have been refabricated. The original welded flat-sheet polypropylene was replaced with rotomolded LDPE (low-density polyethylene) for greater durability.

The bright-orange custom ping-pong tables have been replaced with gray, more rugged versions made by Cornilleau. The tents, previously rented, are now owned outright. Just this past August, the bocce courts were relocated from the center of the Lawn, replaced by a sand court at one side because of wear on the grass.

T

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he Lawn is touted, and largely designed, as a magnet for millennials escaping offices in the Innovation District. And so it is a shock to discover that it is also a magnet for people who live in the outback—as in Maine, New Hampshire, and the outer Boston ’burbs. On a sunny Friday, the Lawn is hosting an eclectic but unusually cheerful crowd. It has that effect on people.

As part of a regular Friday series, students from the Berklee College of Music are performing in the tent, but no one seems to want to sit inside. There’s a group lying on their backs in the middle of the lawn in a starburst pattern; the swings are fully occupied. High school students on a field trip from Maine have decided to spend the day here (so much for exposure to the city’s historical and cultural landmarks). Two young women from Hudson, Massachusetts (population 19,000), have driven more than 35 miles just to hang out. One woman drives 15 miles from Waltham every few weeks. She has learned that if she arrives by 11:00 a.m., she can get cheap on-street parking.

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A group has spilled out from the private-event tent. They’re playing bocce (later on, they’ll be running three-legged races), wearing T-shirts saying “Be an Asset Not a Liability,” with the exception of one guy in a button-down oxford, who is obviously already an Asset. At another bocce court, a group of five little boys is playing everything but bocce. Beyond them, a row of baby carriages lines one edge of the low grassy berm surrounding the lawn, which Ford calls “the planted frame.” Two young mothers with

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infants sit on the grass under a tree, one nursing.

They are on maternity leave and have walked over from their homes in Southie. They are clearly up-market professionals, and their presence suggests that Southie residents were right to worry about an existential threat to their neighborhood all those years ago. Southie simply misidentified the source of the threat: It was not the convention center, but the millions of square feet of new office space beyond, filled with well-paid workers clamoring for housing.

nials. “I like the diversity,” one offers. “You get all ages, right up to 40.”

What no one mentions up front is the obvious answer: alcohol. Nowhere else can you hang out in a public park in the city with a beer or glass of wine. Tim Love is blunt: “I’m convinced that without the alcohol, it never would have worked.”

Two twentysomething guys are sitting in Adirondack chairs sipping beer. One is the anonymous author of the “Only in Boston” Twitter account, @OnlyInBOS, with more than 200,000 followers at last count. He and his friend are perhaps the best example of how nimble you have to be to stay ahead of millennials. Instead of buying lunch at the concession in the tent, they used the Caviar app to order lobster club sandwiches and calamari, delivered curbside. Total bill: $63.

JOHN HORNER PHOTOGRAPHY

ABOVE

Swing Time’s canopy structure includes photovoltaic cells that power LED lights in the swings.

OPPOSITE

The swings encourage playfulness and interaction.

Why does it all work? “All the luxury of your porch plus insane people-watching,” says Ford. Hawkes extends the porch analogy. “People in the city don’t have backyards, and it’s a place to bring their family, have some fun, have a drink and eat some food, and just hang outside.” She adds that the biggest draws are events that are family oriented but that also translate to millennials.

But if you ask the visitors, one of the first answers you hear is, “It’s safe.” Visitors also mention the range of ages and the presence of families, which seems to be welcomed even by younger millen-

Taking in the scene on this Friday afternoon is one couple, a true anomaly. They appear to be in their 60s. They live near Dartmouth College in New Hampshire and drive two hours to a pied-àterre nearby. They are Lawn regulars. Most urban retirees fetch up in Back Bay or downtown; these two revel in their outlier status. They are known as the old couple in the neighborhood and get instant recognition from the bartender at the local restaurant. They are clearly in love with the city, and it is perhaps that romance that sparks the wife’s observation. She sees the Lawn as a continuation of the tradition of private gated garden parks: “It’s like Louisburg Square.”

The comment is not a criticism, but she’s on to something, one of the underlying tensions of the Lawn. It is both public and private. Sometimes it’s maddeningly private.

O

n a gorgeous summer day, the Lawn is empty, and the gates are locked. The swings sway slightly, as if occupied by fun-loving ghosts. Signs say “Closed for Private Event.” A man in shirtsleeves wanders over from the Westin Hotel that is adjacent to the Lawn. He grasps the fence and tries to peer in. The expression on his face could be described as forlorn but is more likely just plain confused.

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Of course, a true public park rarely closes for the season, let alone a day. The Lawn is too big, too visible, and too important to be offline for six months as a neighborhood tries to take root around it—not to mention its lack of availability for the midwinter conventioneers ranging back and forth like caged bears with cell phones as they gaze at the park outside.

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But it’s still early days in the life of the park. Greater access might be something that can be worked out once financial security is more certain. Public programming is an insatiable fiscal beast, however, and it is not hard to imagine scenarios that will demand even greater privatization.

Once upon a time, public parks required no programming at all. We have other well-known public lawns, such as the Boston Common and the Mall in Washington, D.C., that continue to thrive under the do-it-yourself approach to outdoor entertainment. Certainly no one has suggested a need for rebranding them: The Lawn on Beacon?

The Lawn @ the Mall? The Lawn on D, however, is grounded in a different cultural moment.

EVAN RICHMAN PHOTOGRAPHY

Hawkes acknowledges the frustration. “One of the biggest takeaways we had from the first season was that the public thinks of it as a park that’s available all the time,” she says. She works to schedule events for less busy times, and the marketing team focuses on communicating closures through the website and social media.

KIKI LAROUGE, TOP LEFT; JUSTIN KNIGHT, BOTTOM RIGHT

Grumpy baby boomers will no doubt point to the Lawn as the obvious response to a generation brought up on playdates and helicopter parenting—a controlled infantilizing of the urban environment. Ford concedes a generational influence in the park’s dependence upon social media, and especially in the cultural tendency to measure success by selfies. But she also sees it as a natural outgrowth of recent design responses to the Great Recession, which put the brakes on the proliferation of expensive, highly designed megaprojects such as Millennium Park in Chicago.

The lack of capital investment gave rise to tactical urbanism—inexpensive, often temporary initiaTOP The new bocce court tives that drew their strength from the sharing was relocated because economy (evidenced by Airbnb), pop-up culture, of wear on the turf. and social media. “Now you have the economy coming back,” she says, “and you have entities INSET LED lights in the swings like the MCCA creating projects based on a very different context for tactical urbanism. People are respond to movement by the users. reinvesting again and learning from the guerrilla stuff that was happening in the last decade.”

OPPOSITE

Evening events and private parties draw after-hours visitors to the district.

when the Harvard Club of Boston lists a “Pop-Up Night” in its regular events calendar—code for a young members’ cocktail party.

Love pushes Ford’s point even further, disputing the common characterization of the Lawn as an example of tactical urbanism. “It has all the trappings of pop-up,” he acknowledges, “but it’s just the opposite. You could call it curated open space.”

He points to the years of planning, the careful programming, the budget, and the absence of spontaneity. The Lawn, he suggests, isn’t even in Indeed, there is ample evidence that tactical ur- the same genus as most public parks, which are not banism has devolved from strategy to style. “Pop- programmed, minimally maintained, flexible, and, up” itself has become almost meaningless, as in effect, held in trust for occasional spontaneous

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RIGHT

The Lawn provides a buffer between the convention center and a growing neighborhood of apartments and hotels.

use by the public. “The motivations here are 100 percent commercial,” he says. “It adds value to the convention center portfolio, it cemented the deal with the hotels, and it generates good PR. But PR is different from why a city has a park system.”

It’s not hard to identify the challenges facing the Lawn—and they are not all financial. One is the cycle familiar to most designers, who know all too well the accretion of small decisions and apparently minor changes once a project is handed off to staff and maintenance contractors. There’s a fine line between the pop-up aesthetic and the just plain banal: the plop dots of Home Depot hydrangeas, rose bushes, and gumdrop boxwoods.

Chasing millennials is like chasing clouds, exhausting and perhaps fruitless. This is a generation exquisitely attuned to manipulation. Those brightly colored Adirondack chairs? Let’s give them one more year, at best. Irony doesn’t bear up under commodification. The Museum of Fine Arts has just installed a dozen plastic Adirondacks outside its entrance, the equivalent of grandparents on Facebook.

And, of course, there will be competition, as other entities fiddle with the Lawn formula and find ways to skirt the alcohol laws. The Lawn’s location has no inherent magic, and other contenders will be only an Uber away. The MCCA will need to work hard to stay ahead of its own curve, or let the Lawn slide into a second life as an exercise pen for bleary conventioneers and hotel guests.

Even so, it’s hard to imagine that the concept of the adult playground will go away anytime soon.

Beer and bouncy houses are just too compelling.

Only one question remains: When’s recess?

ELIZABETH S. PADJEN IS AN ARCHITECT AND FORMER EDITOR OF ARCHITECTUREBOSTON MAGAZINE.

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ANGLES ENTANGLED AFTER 10 YEARS, SEATTLE’S OLYMPIC SCULPTURE PARK IS AS MUCH NEIGHBORHOOD GREEN SPACE AS OUTDOOR GALLERY.

BY FRED A. BERNSTEIN

I

N 2006, the artist Mark Dion had a fallen 60foot western hemlock trunk transported to a small, custom-built greenhouse in Seattle’s Olympic Sculpture Park. Since January 2007, when the park opened, visitors have watched the log sprout masses of ferns and moss as it decays.

Park employees—who, with input from Dion, decide what to trim and what to leave alone—are part conservators, part gardeners, part God.

permanent installations by Richard Serra, Mark di Suvero, Louise Bourgeois, and others, as well as temporary displays. “All surfaces—turf, meadows, planting beds, hardscape—can accept art, and do,” says Julie Parrett, ASLA, a landscape architect who worked on the creation of the park and now serves as its landscape curator. Art curators charged with protecting the valuable sculptures, who might prefer to see them in climate-controlled rooms, have to put up with the unpredictability of plants growing In fact, the greenhouse is a microcosm of the park, close to the sculptures. “We used 95 percent native which also mixes art and nature. A branch of the Se- plants, and native plants can sometimes misbeattle Art Museum, it is dotted with 20 monumental have,” Parrett says. sculptures as well as 85,000 plants maintained with almost no chemical herbicides, pesticides, or fertiliz- On the side of Mother Nature is Mimi Gardner ers. The landscape plan by WERK Charles Anderson Gates, who on a recent afternoon surveyed a Landscape Architecture called for representations meadow with plenty of imperfections, includof typical Pacific Northwest environments— ing bald spots (the meadows are not irrigated, from mountainside to beach. That made it ambi- and some patches burn out each summer) and tious enough without the need to accommodate clumps of wildflowers past their prime. “I like

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OPPOSITE

Echo, by Jaume Plensa, stands guard at the park’s western edge.

BENJAMIN BENSCHNEIDER

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 121

RIGHT

Richard Serra’s Cor-Ten steel Wake (in the foreground) was the first piece installed at Seattle’s Olympic Sculpture Park.

Green space or gallery? More and more, Gates and others see the sculptures as a means to an end: a badly-needed urban park. “As the city gets denser,” she says, “the open space is ever more essential.”

With condo buildings all around it, the park gets an estimated 300,000 visitors a year, not all of them drawn by art. Dogs (on leashes) are ubiquitous, and their urine has killed grass. The head gardener, Bobby McCullough, has responded by applying fish compost to affected areas, increasing irrigation, and occasionally fencing off patches of lawn for necessary downtime. Parrett says that, to its credit, the museum is committed to “adaptive management”—observing what is working and not working, and responding accordingly. Its commitment is evidenced, she said, by its decision to employ full-time on-site gardeners (and to increase their hours as invasive plants, such as horsetail, began proliferating) and to conduct annual reviews of the condition of the park, actively overseen by museum management and trustees.

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BENJAMIN BENSCHNEIDER

the messiness,” said Gates, who, as director of the Seattle Art Museum from 1994 to 2009, conceived the park as a place to show sculptures too large for the museum. But messiness has its limits; as Gates spoke, trees were being trimmed to keep from endangering people or sculptures.

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LEFT AND BELOW

Weiss/Manfredi’s concept sketch and computer rendering for the park’s Elliott Avenue bridge, which zigzags down to the water’s edge.

OPPOSITE

When the museum bought the 8.5-acre site for $20 million, it was a defunct fuel storage facility in the final stages of an environmental cleanup.

Descending steeply from the gentrifying Belltown neighborhood to the city’s waterfront, it was sliced by a four-lane roadway and active railroad tracks. During an invited competition, the New York architects Marion Weiss, Affiliate ASLA, and Michael Manfredi, Affiliate ASLA, proposed creating a continuous terrain that zigzagged down the hill. Without that type of intervention, says Marion Weiss, “It would have been three parks and two bridges,” instead of what it became: “one park that would begin at the city and wander to the water’s edge.”

Jon Shirley, who with his late wife, Mary, was the park’s biggest donor, says the zigzag was worth every penny. The park cost $40 million to build.

“Of course it could have been done cheaper,”

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WEISS/MANFREDI ARCHITECTURE/LANDSCAPE/URBANISM

A crowd of condos surrounds the PACCAR Pavilion, the Olympic Sculpture Park’s enclosed exhibition space.

BENJAMIN BENSCHNEIDER

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 125

Marc Dion’s fallen log is part of a mixed media installation called the Neukom Vivarium.

OPPOSITE TOP

On the Mimi Gardner Gates Bridge, Teresita Fernández’s Seattle Cloud Cover consists of color photographs sandwiched between layers of glass.

OPPOSITE BOTTOM

Alexander Calder’s Eagle must be repainted every few years to stay bright.

Shirley says. “But Weiss/Manfredi made the bridges disappear. It’s brilliant.” Indeed, the park has won numerous architecture awards and become (along with the High Line) the progenitor of a new generation of public spaces that make the most of infrastructural entanglements.

was built, and now head of Point32, a project management company in Seattle, to conduct a five-year assessment of the park’s condition. One conclusion was that the park would benefit from a “landscape curator” to address ongoing issues—a role Parrett assumed. Weiss and Manfredi were brought back in to make a few tweaks, mostly where people had been taking shortcuts around the zigzag’s acute angles. One patch of trampled grass was replaced by a concrete chevron, and a vulnerable flower bed was raised behind a new V-shaped retaining wall.

The Shirleys (he is a former president of Microsoft) not only paid much of the cost of the park, which they chose to name for the Olympic Mountains, but also gave the museum $20 million for upkeep. Some was spent on repairs in the early years. “At one point, there was a small drainage problem,” says the hands-on benefactor. “We had But the maintenance of the artworks has, if to get two or three engineering firms to come out, anything, been trickier than the maintenance until we found one that knew what to do.” of the park itself. Waterborne salt makes the air corrosive. The bright red Alexander Calder The Shirleys’ endowment allowed a commit- Eagle, donated by the Shirleys, has to be retee that included Chris Rogers, the museum’s painted every few years; other pieces have wax director of capital projects at the time the park or acrylic coatings that are inspected often and

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PAUL MACAPIA , LEFT

LEFT

BENJAMIN BENSCHNEIDER

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 127

And yet the gifts keep coming. Shirley, who is 78, has bequeathed seven pieces from his personal collection, including a Claes Oldenburg safety pin, to the museum; their locations in the park have already been chosen. But does a park with an Oldenburg typewriter eraser need a second pop-art implement? Other sculptures, from other bequests, will also end up in the park. Could this “art system” someday have too much art? Accord-

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ing to museum spokesperson Rachel Eggers, “Ultimately, we will run out of space. The limit is not determined by the number of sculptures but by the aesthetics. Each work has to look stellar, and the relationships between sculptures have to be strong.”

Fair enough. But the park may be approaching that limit. Visitors should be allowed to enjoy Weiss/ Manfredi’s architecture, landscapes by Charles Anderson, FASLA, and views that include Mount Rainier and Seattle’s iconic Space Needle without feeling hemmed in by sculptures. True, the park was created by an art museum. But the museum needs to recognize that to many residents, the key word in “Olympic Sculpture Park” is “park.”

FRED A. BERNSTEIN, A WRITER BASED IN BROOKLYN, LAST WROTE FOR LAM ABOUT THE PARK PROMOTER AND CONSULTANT DANIEL BIEDERMAN.

ABOVE

Louise Bourgeois’s fountain, Father and Son, competes with the real water views.

OPPOSITE

One tree in the park— Roxy Paine’s 50-foothigh, stainless steel Split—is tended by curators, not arborists.

BENJAMIN BENSCHNEIDER

replaced annually. Then there is intentional, or accidental, vandalism. Visitors have climbed on Tony Smith’s Stinger, damaging its matte black surface, and carved their names on Richard Serra’s rusty-metal Wake. Signs warn visitors to stay off the sculptures. Not surprisingly, new gifts to the park are now expected to include money for upkeep. “We learned, and now we are frank with the donors,” Shirley says. “We can’t just say ‘thank you’ and accept the gift.”

“ALL SURFACES TURF, MEADOWS, PLANTING BEDS, HARDSCAPE CAN ACCEPT ART, AND DO.”

BENJAMIN BENSCHNEIDER

—JULIE PARRET T, ASL A

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 129

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THE BACK

MATT FLYNN/© SMITHSONIAN INSTITUTION

BY THE PEOPLE: DESIGNING A BETTER AMERICA

Cooper Hewitt, Smithsonian Design Museum, New York To February 26, 2017

The Cooper Hewitt, Smithsonian Design Museum quietly reopened a er a major redesign a few years ago—and that’s a shame. As the only U.S. museum devoted exclusively to design, the Cooper Hewitt’s engaging and ambitious new programming deserves to be much better known. By the People is the first exhibit in the museum’s series on socially responsible design to focus on the United States and its neighbors, and the show’s 60 projects offer a refreshing context for the work of landscape architects as designers. The Greenprint project (pictured here), by Hood Design (which also did the museum’s new garden) with Studio for Spatial Practice, Arup, and a consortium

of local partners for Pittsburgh’s Hill District, is one of many with landscape architects on the team. The show situates the landscape-driven work of Coen + Partners, Sasaki, PFS Studio, Detroit Future City, and the Arid Lands Institute, among others, alongside that of hybrid urban design firms and industrial and graphic designers, rather than sidelining it in a room with ecological or environmentally focused projects.

The show is a chance to see an array of small- and large-scale interventions that address problems of equity, poverty, and resource scarcity, and to recognize how vital landscape architecture has become to generating solutions to these problems.

FREEWAY PARK, 1969–1976, SEATTLE

LANDSLIDE 2016

SOUL TO SOULS

BY BRADFORD MCKEE

E

For a complete description of each project, go to www.tclf.org.

The opening exhibition runs at the National Building Museum in Washington, D.C., through April 16, 2017. Landscape Architecture Magazine is an official media sponsor of the exhibition.

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AARON LEITZ

VEN IN ABSENCE, Lawrence Halprin remains among the greatest advocates of poetic expression in the public realm. His designs draw together the city’s deepest bass notes and its merry fluidity in hypnotic arrangements that turn idiosyncratic vision into a shared civic hymnal. This year is the centenary of Halprin’s birth, and for the occasion, the Cultural Landscape Foundation has produced the traveling exhibition, Landslide: The Landscape Architecture of Lawrence Halprin, which opened at the National Building Museum in Washington, D.C., in early November. The exhibition contains Halprin’s best-known achievements, such as the Portland Open Space Sequence in Oregon, Freeway Park in Seattle, the Sea Ranch in Northern California, the Franklin Delano Roosevelt Memorial in Washington, D.C., and Ghirardelli Square in San Francisco. It also illuminates major plazas in Jerusalem— Haas Promenade and Hebrew University—as well as residential gardens in California. The projects are viewed freshly through the lenses of superb landscape photographers such as Marion Brenner, Affiliate ASLA; Millicent Harvey; Roger Foley; Jeremy Bittermann; Aaron Leitz; and others. The strength and endurance of Halprin’s work argues for investment in real, timeless intelligence to create city spaces, to let art do the talking, and to do all we can to keep this work alive.

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 133

ROGER FOLEY

FRANKLIN DELANO ROOSEVELT MEMORIAL, 1974–1997, WASHINGTON, D.C.

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REN DODGE

LEHMAN GARDEN, 1960–1962, KENTFIELD, CALIFORNIA

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PHILLIP BOND

YOSEMITE FALLS CORRIDOR, 2002–2005, YOSEMITE NATIONAL PARK, CALIFORNIA

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TOM FOX

HALPRIN RESIDENCE, 1950s–1980s, KENTFIELD, CALIFORNIA

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SAXON HOLT

THE SEA RANCH, 1963–1998, SEA RANCH, CALIFORNIA

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JEREMY BITTERMANN

PORTLAND OPEN SPACE SEQUENCE, 1965–1970, PORTLAND, OREGON

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BOOKS ALL THAT AND MORE IS LANDSCAPE…? ESSAYS ON THE IDENTITY OF LANDSCAPE EDITED BY GARETH DOHERTY AND CHARLES WALDHEIM; LONDON AND NEW YORK: ROUTLEDGE, 2016; 366 PAGES, $66.95.

REVIEWED BY SARAH COWLES

K

atharina Grosse’s psychylustro (City of Philadelphia Mural Arts project, 2014) is a hot mess. Psychylustro is an affront to landscape. Psychylustro is the proverbial territorial pissing.

Psychylustro lacks a subject, leans on no conventions, has no explicit allegories, no heroes, no references, no hierarchy, no sentiment, no message, no nostalgia, no optimism. Psychylustro invades your commute; it fills your rail car with an atmosphere of lurid green, then orange, then pink. To break down psychylustro: psych! (to psychologically trick someone), psyche (the inner self ), psych-e (psychedelic, glorious, inchoate colors, daydreams, trippy alternative consciousness), psych-illustro (the illustration of the psyche, psychedelic illustration).

Psychylustro is a landscape; to paraphrase Anthony Elms, it is a landscape painting, and a landscape painting. It is photography, urbanism, topography, architecture, infrastructure, ecology. It is futuristic, it is contemporary, and it is troubling. The work slices edges of categories raw and open.

Psychylustro—as a landscape work, though technically a work of public art, a “mural”—is a hardy foil for Is Landscape…?’s straight man. As several perspectives in said volume replay previously published material (by Garrett Eckbo; Nina-Marie Lister, Honorary ASLA; David Leatherbarrow; and Pierre Bélanger, ASLA), this reviewer will assume you’ve fulfilled your prerequisites, and will continue to interpret the perverse psychylustro vis-à-vis the framework laid by Charles Waldheim, Honorary ASLA, and Gareth Doherty, ASLA.

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Grosse’s psychylustro covers ground, vegetation, and architecture with paint, dematerializing any distinctions between what’s what, resulting in a seamless topography of color (to answer Leatherbarrow: “Is Landscape Architecture?”). Her paint splashes against anything in its path: It does not begin and end neatly (Vittoria Di Palma: “Is Landscape Painting?”). Psychylustro is sited within a segment of the busy Northeast Corridor (Bélanger: “Is Landscape Infrastructure?”), viewed, experienced (Kathryn Moore, International ASLA: “Is Landscape Philosophy?”), and photographed (Robin Kelsey: “Is Landscape Photography?”) by rail passengers and trespassers. The work disturbs and focuses alternate perspectives on urban ecology (Lister: “Is Landscape Ecology?”)—the movements of psychylustro’s painters, with their canisters and jets, mimic those of people who spray herbicide along rail corridors.

The indiscriminate painting of railway vegetation—though using polite, water-based, low-VOC paint—jostles how we discriminate against certain species. Psychylustro doesn’t care for your position on native versus non: Already these invasives—or the resilient ruderals—have endured the (beautifying? insulting?) treatment, and rebounded the next year.

In their introduction to Is Landscape…? Waldheim and Doherty state that landscape “might be better read in relation to its cognate terms across expanded disciplinary and professional fields.” The volume’s categories roughly center on three themes: representation, practice, and history and theory, and opens with a reprise of Eckbo’s seminal 1983 essay “Is Landscape Architecture?” Eckbo’s essay hints at the foundations

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RIGHT AND BELOW

Hooligan work: For psychylustro (commissioned in 2014 by the City of Philadelphia Mural Arts project), Katharina Grosse covered several sites along the Amtrak rail corridor outside Philadelphia with bright colors.

Essays on representation (“Is Landscape Literature?” by Doherty; “Is Landscape Painting?” by Di Palma; “Is Landscape Photography?” by Kelsey) discuss the relationships between landscape as a site of culture and the subject of culture, each recursively inflecting and influencing the other. These essays—carefully researched and richly illustrated—offer a jumping-off point for further investigation by students and scholars. However, the authors neglect to extend their arguments to include contemporary examples of representation in painting, literature, and photography. This reflects an editorial conservatism that does not recognize the range of new media and representational methods that might broaden perspectives on landscape thinking.

of landscape urbanism. He poses seven questions that recalibrate thinking on the relationships between landscape and architecture, including: What are the aesthetics and sensual interactions between landscape and architecture? Can figure and ground swap and swing? Can we democratize the principles of integrated landscapes, such as chateaux and estates, and apply them to urban settings? Are we overlooking spaces ripe for designed landscapes?

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Of the essays related to practice, Udo Weilacher (“Is Landscape Gardening?”) and Niall Kirkwood, FASLA (“Is Landscape Technology?”) present several novel threads of inquiry into the reciprocity between the paired subjects. Kirkwood’s essay focuses on techne, examining how landscape (construction) technologies can articulate and aestheticize hidden processes.

He cites the challenges of engineering new landscape technologies that are adapted to open-ended ecological processes. He discusses how landscape architects now cover ground that was once “the domains of engineering, ecology, or regional planning.” Using three cases—for flood management in the

PSYCHYLUSTRO © 2014 KATHARINA GROSSE. NORTHEAST RAIL CORRIDOR BETWEEN 30TH STREET STATION AND NORTH PHILADELPHIA STATION. PHOTO BY STEVE WEINIK FOR MURAL ARTS PHILADELPHIA, TOP; PSYCHYLUSTRO © 2014 KATHARINA GROSSE. NORTHEAST RAIL CORRIDOR BETWEEN 30TH STREET STATION AND NORTH PHILADELPHIA STATION. PHOTO BY MICHAEL REALI FOR MURAL ARTS PHILADELPHIA, BOTTOM

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ABOVE

Making landscape tangible, a composite drawing for the High Speed 2 rail corridor in the UK by Kathryn Moore, International ASLA, promotes “an iconic landscape vision that should be a catalyst for wider social and economic transformation.”

Netherlands, informal settlements in Kenya, and landfill remediation in Israel—he demonstrates how applied landscape technologies simultaneously perform, create new social spaces, retrofit single-use landscapes, and instill new aesthetic identities for overlooked or marginal spaces. This chapter is another example of a missed opportunity—in this case, I grew impatient for conversation between Lister and Kirkwood on the relationship between landscape technology and novel ecological systems thinking.

Weilacher believes it is time to recover the garden as a progressive means to smuggle design intention into the ambitions of landscape urbanism, by positing the garden as a site of meditation and personal and ecological transformation. Of his six principles of garden thinking, most intriguing is his call for

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renewed investigation of gardening’s role in “inventiveness and experimentation.” Whereas most landscape architecture educational programs are strong in the inventiveness department, there is little in the way of progressive material experimentation in landscape design, with the exception of notable programs at Technical University of Munich and the landscape laboratories constructed by Roland Gustavsson and colleagues at the Swedish University of Agricultural Sciences.

Essays by Kathryn Moore and Rachael DeLue bring fresh perspectives on landscape philosophy and theory. Moore begins by stating that landscape has an uneasy relationship with philosophy. She argues that landscape is “being badly let down by” philosophy. She names two threats to holistic thinking about sustainable landscapes. There is the sense-datum

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WALDHEIM AND DOHERTY SEEK TO “DISTURB AND DEVELOP RECEIVED UNDERSTANDINGS OF LANDSCAPE ARCHITECTURE.”

Rachel DeLue’s essay on theory posits William Bartram’s The Great AlachuaSavana, in East Florida as a document teeming with “life and possibility.”

Waldheim and Doherty wish to “disturb and develop received understandings of landscape architecture,” perhaps to pry away associations or better articulate associations with nature.

Nature, it seems, is that first romance that landscape can’t get over, even in its second arranged marriage to urbanism.

As mentioned previously, the edited volume is lacking an additional editorial device that might instigate provocative, let alone polarizing, discussions of these relationships. Though Waldheim and Doherty grew the volume from a seminar at Rachael DeLue (“Is Landscape Theory?”) begins with a dis- Harvard’s Graduate School of Design, it is left to the reader to cussion of William Bartram’s The Great Alachua-Savana, in work from home to fashion a productive dialogue between East Florida, a pen and ink drawing that is both a scene and the authors. an inventory of prairie and marsh, and several botanical illustrations of the same era, to propose that landscape itself Many have commented on landscape’s identity crisis; the may have a perspective worth unpacking. She outlines that we volume’s subtitle, “Essays on the Identity of Landscape,” hints tend to answer “yes” to “Is Landscape Theory?” through two that it will do nothing to remedy the crisis but season it with

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AMERICAN PHILOSOPHICAL SOCIETY

ABOVE

model that posits an interface between the senses and the thinking brain (“a disastrous idea that has haunted western civilization since the seventeenth century”) and the tendencies toward technocratic quantification of landscape—a “disastrous combination of cost effectiveness, functionality, and the lowest common denominator has fostered a simplistic and damaging impulse to categorize, measure, and delineate the landscape to within an inch of its life.” The quantitative approach toward landscape has stripped questions of aesthetics and poetry from the field. Her case studies, illustrated with lively hybrid analogdigital images, propose an alternative landscape along the high-speed rail corridor that links London with Birmingham (the HS2) that can reinvigorate the forgotten landscape of the Thames and Blythe River valleys.

models—“theory causes landscape” and “landscape causes theory,” echoing the setup of the chapters on representation. Yet she then asks us to erase the dichotomy between landscape and theory, stating that “landscape either creates or is caused by theory, or both, but it never really is theory, it is only ever posited in relation to theory …the two terms…remain ever distinct,” which would refute the “yes” answer. She boldly suggests that if landscape might indeed “be” theory, it would be asocial or ahistorical, to situate the “seeing” in the landscape itself. This notion, of an “operational model…one that emphasized the processes, procedures, and instrumentalities particular to a given landscape” expands themes of the self-organizing authorship—and knowledge—of landscape itself as discussed in recent essays by Elizabeth Meyer, FASLA, and Katherine E. Bennett.

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specificity. It doesn’t help the crisis that landscape’s subject- accountings of landscape’s –ables (“Is Landscape Life?” by and object-hood are constantly in flux. Mohsen Mostafavi, Catharine Ward Thompson; “Is Landscape Planning?” by the dean of the Harvard Graduate School of Design and an Frederick Steiner, FASLA). In the foreword, Mostafavi comarchitect, argues in the foreword to the book, “landscape has ments that “it is vital to argue to some degree for the autonomy had a harder time defining its disciplinary condition than of the discipline of landscape by defining landscape relative to have most other fields.” For Mostafavi, our landscape subject landscape”: In other words, to ask, “Is landscape landscape?”— is anthropomorphized and unsure. In the book’s introduc- a question that might lead us back to psychylustro. The –ables tion, Doherty and Waldheim can’t be applied to psychylustro: It builds set out to “problematize upon landscapes’ inevitability, and LESS ATTENTION HAS BEEN that’s why we should pay attention to it. landscape’s promiscuity, while prolonging reflection PAID TO LANDSCAPE’S upon its flexible fecundity.”

As a richly illustrated and annotated MULTIFORM AND VARIOUS Here we find landscape as a volume, Is Landscape…? is of signifiCOGNATE FIELDS. sexualized subject tediously cant value to students and researchers trapped in the Madonna/ who wish to dig deeper, and for those whore paradox. In Waldheim’s chapter (“Is Landscape Urban- leading topical seminars on any of the covered subjects. ism?”) landscape was once a “moribund field of intellectual Though it is easy to play the “Is Landscape” Mad Lib, there inquiry” (landscape as reformable subject, or an intellectual are glaring omissions of contemporary voices and topics: brownfield awaiting redevelopment?) only recently rescued, geography, feminist or queer theory, and emerging and nonresuscitated, reclaimed, and presented as an alternative model Western authors. of urbanism. By calling attention only to the 14 subjective “cognates,” we are naturally left asking who wasn’t invited.

Given that many of the essays have appeared in other publications, the editors missed an opportunity to introduce new Landscape architecture, like architecture, is an art of prac- voices and perspectives to these subjects. As a colleague ticed relationships among function, aesthetics, habitation, remarked, it is an unfortunate doubling down on hegemony. and meaning (you can add terms or subtract from these, Mostafavi, in calling out landscape’s continued pining for naand keep the gist). Landscape practices include landscape ture (covert or overt), pushes for a renewed “attention…to the design, planning, interpretation and curation, and land art, artifice of landscape—the highly artificial, highly deliberate, in addition to any number of land use practices—logging, highly constructed” (case in point: psychylustro). This keying mining, agriculture—that support human habitation. Critics up of landscape practice could lead landscape practice into and practitioners have spent the past 60-odd years advocating new critical territory. for landscape as something thicker and richer than simply architecture’s other.

I came to study landscape in the invigorating initial years of landscape’s “recovery.” This cohort has invested time and Yet unlike architecture, landscape is nothing if not inevitable. ingenuity into guiding those theories into practice, building We can name it, curate it, interpret it, analyze it, rearrange and intelligent landscape works worldwide. Many have embraced, design it, level it, diminish it, but we can’t destroy it (witness and criticized, the perspectives introduced by the authors gaththe brisk business in films set in postapocalyptic landscapes). ered in this volume, in both critical writing and practice. It’s Too often landscape (subject: the voices of the discipline), to be long past time to provide a venue for their voices and visions. taken seriously by its frenemies in architecture, planning, and ecology, has relied on the crutches of the –ables: sustainable, SARAH COWLES IS AN ARTIST WHOSE MEDIUM IS DESIGN AND SUBJECT IS justifiable, quantifiable, etc., in lieu of an autonomous dialogue LANDSCAPE. SHE IS AN ASSOCIATE PROFESSOR OF PRACTICE AT THE SCHOOL OF of critique. Unfortunately several essays in this collection are ARCHITECTURE AT THE UNIVERSITY OF SOUTHERN CALIFORNIA IN LOS ANGELES.

150 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

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BOOKS OF INTEREST

THE DESIGN PROCESS JUST MIGHT SAVE THE WORLD.

CAN A CITY BE SUSTAINABLE?

OVERVIEW

BY THE WORLDWATCH INSTITUTE; WASHINGTON, D.C.: ISLAND PRESS, 2016; 446 PAGES, $25.

BY BENJAMIN GRANT; EMERYVILLE, CALIFORNIA: TEN SPEED PRESS, 2016; 288 PAGES, $40.

More than half the people in the world now live in cities, and that number is growing—by 2050, the global urban population alone is expected to reach 6.3 billion. This book, the latest in the Worldwatch Institute’s “State of the World” series, covers critical issues related to that growth with chapters on topics of ongoing urban concern such as sprawl, climate, biodiversity, and social justice. Cities covered in the book’s case studies include Melbourne, Australia; Barcelona, Spain; Vancouver, Canada; Durban, South Africa; Shanghai, and more.

The aerial becomes art in Overview, a collection of more than 200 stunning landscape photographs stitched together from high-resolution satellite images. Though it’s easy to get lost in the beauty and detail of the pictures, it is their curation into chapters that tells the real story: Seen from above, places where we farm, store waste, live, play, and derive power gain a new perspective (and not just the literal one). This is a coffee table book with a kick.

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DESIGNING OUR WAY TO A BETTER WORLD

BY THOMAS FISHER; MINNEAPOLIS: UNIVERSITY OF MINNESOTA PRESS, 2016; 248 PAGES, $29.95.

The design process just might save the world, argues the author Thomas Fisher—director of the University of Minnesota’s Metropolitan Design Center and former dean of its College of Design. Many problems, he says, are the result of poorly designed systems: health care, education, and politics are just a few. It’s time to rethink, he says. “We can improve the performance of such systems. We first need to recognize them as designed, and second, we need to subject them to the same level of scrutiny that we apply to physical design.”

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LANDSCAPE ARCHITECTURE MAGAZINE

THE MAGAZINE OF THE AMERICAN SOCIETY OF LANDSCAPE ARCHITECTS

2017

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Empex Productions Ltd.

PD-24

ACO Polymer Products Inc.

PD-4

Goric Marketing Group Inc.

PD-25

Iron Age Designs

PD-5

Grand Slam Safety, LLC

PD-26

Ironsmith, Inc.

PD-6

Landscape Structures, Inc.

PD-27

Presto Geosystems

PD-7

Percussion Play

PD-28

PAVING/SURFACING/MASONRY STONE/

FENCES/GATES/WALLS Ameristar Fence Products

PD-8

METALS

Enduris

PD-9

Abbotsford Concrete Products, Inc.

PD-29

Acker-Stone Industries Inc.

PD-30

Anchor Wall Systems

PD-31

Architectural Ceramics

PD-32

Fe Industries Inc.

PD-10

GREEN ROOFS/LIVING WALLS American Hydrotech, Inc.

PD-11

Barkman Concrete

PD-33

greenscreen

PD-12

Belgard Hardscapes

PD-34

Genest Concrete

PD-35

Hanover Architectural Products, Inc.

PD-36

LIGHTING Cast Lighting LLC

PD-13

Invisible Structures, Inc.

PD-37

Sternberg Lighting

PD-14

L. M. Scofield Company

PD-38

Pine River Group - Kebony

PD-39

Soil Retention Products

PD-40

LUMBER/DECKING/EDGING Bison Innovative Products by UCP

PD-15

Stepstone, Inc.

PD-41

HandyDeck Systems Inc.

PD-16

Tri-State Stone Co. for Carderock

PD-42

Permaloc Aluminum Edging

PD-17

Unilock, Ltd.

PD-43

Sure-Loc Aluminum Edging

PD-18

Wausau Tile

PD-44

Tiger Deck

PD-19 PLANTERS/SCULPTURES/GARDEN

OUTDOOR FURNITURE

ACCESSORIES

Solus Décor, Inc.

PD-20

Campania International, Inc.

PD-45

Westminster Teak

PD-21

Form and Fiber

PD-46

Greenform LLC

PD-47

HADDONSTONE

PD-48

Italian Terrace Collection Ltd.

PD-49

Planters Unlimited by Hooks & Lattice

PD-50

Terracast Products LLC

PD-51

Tournesol Siteworks/Planter Technology

PD-52

OUTDOOR KITCHENS Fisher & Paykel Appliances, Inc.

PD-22

PARKS AND RECREATION Berliner Play Equipment Corporation

PD-2 / LANDSCAPE ARCHITECTURE MAGAZINE

2017 PRODUCT DIRECTORY

PD-23

SPECIAL ADVERTISING SECTION

PRODUCT DIRECTORY INDEX PLANTS/SOILS/PLANTING MATERIALS

Poligon, A Product of PorterCorp.

PD-82

Bartlett Tree Expert Company

PD-53

Trellis Structures

PD-83

Citygreen Systems

PD-54

Walpole Outdoors LLC

PD-84

Ernst Conservation Seeds

PD-55

Spring Meadow Nursery Inc. (Proven Winners) PD-56

WATER MANAGEMENT AND AMENITIES

Vitamin Institute

Brentwood Industries, Inc.

PD-85

Roman Fountains

PD-86

STREET FURNISHINGS AND SITE

Vortex Aquatics Structures International

PD-87

AMENITIES

Waterplay Solutions Corp.

PD-88

PD-57

ANOVA

PD-58

Architectural Pottery

PD-59

BRP by Bison, LLC

PD-60

Calpipe Industries Inc.

PD-61

Canaan Site Furnishings

PD-62

Columbia Cascade Company

PD-63

DeepStream Designs

PD-64

DuMor, Inc.

PD-65

EJ

PD-66

Equiparc

PD-67

Forms+Surfaces

PD-68

Goodwin International

PD-69

Infratech

PD-70

Keystone Ridge Designs, Inc.

PD-71

Kornegay Design

PD-72

Landscape Forms

PD-73

Serge Ferrari North America

PD-74

Sitecra

PD-75

Sitescapes, Inc.

PD-76

Victor Stanley, Inc.

PD-77

Wishbone Site Furnishings Ltd.

PD-78

STRUCTURES Custom Canopies Inc.

PD-79

Gothic Arch Greenhouses

PD-80

InďŹ nity Canopy

PD-81

SPECIAL ADVERTISING SECTION

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-3

Drainage and Erosion

ACO Polymer Products, Inc. T: 520-421-9988 F: 520-421-9899 825 W. Beechcraft Street jrevis@aco-online.com Casa Grande, AZ 85122 www.acodrain.us

ABOUT

PRODUCTS

ACO Polymer Products, Inc. introduced the concept of modular trench drains to North America over 30 years ago. Today, ACO manufactures a range of drainage and landscape products from polymer concrete, stainless steel, mild steel, cast iron, fiberglass, and molded plastics. As the market leader, ACO USA is constantly innovating to bring new products to the market. ACO has a fully established R&D department responsible for continuous development, quality and testing to ensure ACO products continue to lead the market.

• ACO Drain – modular commercial trench drains with variety of grates.

• ACO Infrastructure – surface drainage systems for roads, bridges and airports.

• ACO StormBrixx – underground stormwater storage systems.

• ACO Self – residential drainage systems and other products.

• ACO Building Drainage – stainless steel modular & hygienically designed drainage.

PD-4 / LANDSCAPE ARCHITECTURE MAGAZINE

2017 PRODUCT DIRECTORY

SPECIAL ADVERTISING SECTION

T: 206-276-0925 F: 206-257-0318 info@ironagegrates.com www.ironagegrates.com

ABOUT

PRODUCTS

Iron Age Designs provides decorative drain grates, tree grates and other architectural castings — both standard and custom — for public spaces and residential use. Made in the USA, our artfully designed trench and catch basin grates are engineered to fit the most widely used drain bodies on the market today, including ABT,® ACO,® NDS® and Zurn.® Iron Age trench and catch basin grates can be specified during the project planning phase, or retro-fitted into existing installations, adding an ornamental element to any hardscape environment.

Iron Age’s designer cast iron products include: • Trench Grates, available in both straight and custom radius • Catch Basin Grates • Tree Grates • Site Furnishings We also offer custom architectural castings in aluminum and bronze.

All grates are ADA compliant, and heel-proof options are also available.

SPECIAL ADVERTISING SECTION

PERFORMANCE

Durable as they are beautiful, Iron Age grates are designed to last a lifetime. Cast metal ages gracefully

and never needs upkeep. Most of our grates are rated for vehicular traffic, and heavy-duty options are available.

Drainage and Erosion

Iron Age Designs 2104 SW 152nd Street Suite #4 Burien, WA 98166

S U S TA I N A B I L I T Y

Iron Age Designs’ cast metal products contain a minimum of 80% recycled materials, and are 100% recyclable. To bypass the bright orange oxidation phase of raw iron, we offer an eco-friendly finish using recycled vegetable oil.

Manufacturing in various locations around the US allows for potential LEED credits for local production.

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-5

Drainage and Erosion

IRONSMITH 41-701 Corporate Way #3 Palm Desert, CA 92260

ABOUT

IRONSMITH has been supplying standard and custom tree grates, trench grates, bollards, and site furnishings across the country for over three decades. IRONSMITH is also the sole provider of the Paver-Grate™ Paver Suspension System that provides unique options for helping people and trees to share the built environment.

T: 790-776-5077 F: 760-776-5080 sales@ironsmith.biz www.ironsmith.biz

Paver-Grate System™. Trench grates are available in both straight and custom radius to meet your design needs.

S U S TA I N A B I L I T Y

All IRONSMITH cast products are available in gray iron, aluminum, or bronze and are made from 100% recycled materials.

PRODUCTS

Tree grates, tree guards, trench grates, bollards, and the exclusive

PD-6 / LANDSCAPE ARCHITECTURE MAGAZINE

2017 PRODUCT DIRECTORY

SPECIAL ADVERTISING SECTION

T: 800-548-3424 F: 920-738-1222 info@prestogeo.com www.prestogeo.com

ABOUT

PRODUCTS

Presto’s Geoblock® porous pavement system is a series of strong, rigid pavers designed to handle the most demanding turf protection and vehicle loads while protecting grass. The Geoblock system offers unparalleled load distribution, resistance to torsional stresses, and contributions to green building credits. Available in two units: 20-in x 40-in (.5m x 1 m) x 1.2-in (30 mm) and 2-in (50 mm) deep. Applications include emergency and utility access lanes, occasional use parking areas, shoulders, and trails/greenways.

• Strong tab connection between paver units offers best in class load transfer.

• Deeper cells protect vegetative root zone from damage caused by wheel loads.

• Permeable design offers 87% open surface, reduces stormwater runoff.

• Requires less base materials than most porous pavement systems reducing overall installation costs.

SPECIAL ADVERTISING SECTION

DESIGN RESOURCES

• Presto’s SPECMaker® Tool to build fast 3-part specifications

• ARCAT.com specifications, CAD details and BIM models • CADDetails.com specifications and ACD details PERFORMANCE

The Geoblock system performs to an H/HS-20 loading with minimal base requirements compared to rolled systems. A large overall unit size and 4-sided interlocking design maximizes load transfer and distribution.

Offers highest resistance to torsional loads caused by turning vehicles. Thirty years of reliable turf protection.

S U S TA I N A B I L I T Y

The Geoblock system is made from recycled polyethylene and contributes to LEED® green building credits for reducing site disturbance, reducing stormwater runoff, reducing the heat island effect and containing recycled material content. The system’s topsoil infill and topsoil/aggregrate base offer high stormwater infiltration rates and an excellent growing medium for vegetation— grass grows faster and stays healthier.

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-7

Drainage and Erosion

Presto Geosystems 670 N. Perkins Street Appleton, WI 54914

Fences / Gates / Walls

Ameristar Perimeter Security USA Inc. 1555 N. Mingo Road Tulsa, OK 74116

ABOUT

PRODUCTS

Ameristar Fence Products, based in Tulsa, Oklahoma, is the largest ornamental fence manufacturer in the world. From its beginnings 30 years ago, Ameristar concentrated on enhancing the aesthetic appearance of modern fence products, promoting ease of installation, while increasing strength and durability. Pursuing this focus, Ameristar designed and built a new, environmentally friendly, high-production facility.

This resulted in the creation of the highest-quality residential, commercial, industrial, and security fences in today’s marketplace.

• Montage II® Fusion-Welded Steel Fences – in heights up to 8’ provide an attractive alternative where budget constraints apply.

• Gate Systems – combining superior gates with reliable access controls for a total entry solution.

• Commercial Bollards – retractable bollards are ideal for limiting access without impacting the aesthetic appeal of the area.

PD-8 / LANDSCAPE ARCHITECTURE MAGAZINE

PERFORMANCE

Montage II® industrial fencing has an E-coat maintenance–free finish, recycled pre-galvanized steel and

2017 PRODUCT DIRECTORY

a 20–year warranty. Montage II® keeps true to the Old World look of wrought-iron fence with absolutely none of the expensive and regular maintenance demanded by oldfashioned wrought iron.

T: 800-321-8724 mktg@ameristarfence.com www.ameristarfence.com

air emissions, storm water runoff and wastewater discharge

S U S TA I N A B I L I T Y

Montage® product standards: • Produced from 100% domestic steel • Produced from steel containing up to 97% recycled content • Packaging material contains a minimum of 66% recycled content • Coating process reduces emissions of harmful gases • Ameristar constantly monitors

SPECIAL ADVERTISING SECTION

T: 888-329-7428 F: 877-778-3366 customerservice@ enduris.com www.enduris.com

ABOUT

PVC fencing, Endeck capped cellular PVC decking, Enduris PVC fencing, and Enrail boxed PVC railing.

Enduris products are available in a wide array of complementary styles and colors.

Enduris, headquartered in Jacksonville, Florida, has been manufacturing and distributing professional quality PVC and Cellular PVC fence, deck, and railing products since 1998.

Enduris products are available nationwide through a network of distributing fence fabricators and installers and are backed by some of the strongest warranties in the industry.

PRODUCTS

The Enduris family of products includes Endwood capped cellular

SPECIAL ADVERTISING SECTION

PERFORMANCE

All Enduris products are manufactured in the USA with top– quality, durable, inorganic materials which will maintain their good looks with very little maintenance, even in the harshest environments.

Designed to outperform wood and composite materials, Enduris products offer long–lasting, resilient

styles to enhance and beautify your homes.

Fences / Gates / Walls

Enduris 7167 Old Kings Road North Jacksonville, FL 32219

S U S TA I N A B I L I T Y

Because our PVC vinyl products are designed to last a lifetime, there is less waste ending up in landfills.

Additionally, Enduris PVC products are 100% recyclable. Even a er years of use, the Enduris family of products can be recycled at any point in the life cycle.

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-9

Fe Industries, Inc. 373 Hayward Avenue Mt. Vernon, NY 10552

T: 914-668-4500 www.feindustriesny.com

Emmegi fences are made from ASTM A-36 electrofused steel grating. Our steel fencing is highly vandal resistant and climb proof.

Sandblasting, galvanizing and painting assure superior corrosion resistance with an extended, maintenance free, lifespan.

and finish against cracking, peeling, chipping. Packaging contains recycled content.

Fences / Gates / Walls

DISTRIBUTOR OF EMMEGI ARCHITECTURAL FENCING

ABOUT

PRODUCTS

Emmegi architectural fences and gates are made from open steel grating panels designed for vertical applications.The panels have a pleasing, grid like, geometry with square or rectangular openings.

Emmegi grills afford open views, excellent light transmission and air flow through the panels. Emmegi fences have a unique, dynamic appearance when compared to traditional fencing on the market.

Our clean, sleek, sculptural lines compliment every design style, modern to industrial. Emmegi panels are available in unspliced lengths up to 19’.

• Steel grating fence & railings • Louver fence & privacy screening • Perforated sheet fencing • Wire mesh fencing Emmegi fencing is perfect for parks, waterfronts, public plazas, pedestrian traffic areas, landscape fencing, environmental preserves, sport facilities, athletic fields, private residences, public buildings, refuse enclosures, security fences, green walls, pergola roofs and wall screens.

PD-10 / LANDSCAPE ARCHITECTURE MAGAZINE

PERFORMANCE

Emmegi Fences have superior strength and durability over chain link and aluminum fences because

2017 PRODUCT DIRECTORY

S U S TA I N A B I L I T Y

Emmegi fences are made from recycled steel. Our fence and louvers are manufactured in compliance with ISO 9001 and ISO 1401 standards, and are designed to last a lifetime. They require no special handling or maintenance.

We guarantee our workmanship

SPECIAL ADVERTISING SECTION

T: 800-877-6125 info@hydrotechusa.com www.hydrotechusa.com

ABOUT

decks, plazas, vertical foundations, reflecting pools, and other structures in over 45 countries.

American Hydrotech, Inc.®, is a recognized leader in the development, production, and distribution of premium waterproofing and roofing products.

Headquartered in Chicago, Illinois, the company was founded in 1977 a er acquiring the United States distribution rights for Monolithic Membrane 6125®, a unique waterproofing membrane developed in the early 1960s by Uniroyal Ltd. The membrane has been installed worldwide on over 2 billion square feet of roof

SPECIAL ADVERTISING SECTION

insulation/ballast board for Protected Membrane Roof applications

PRODUCTS

PERFORMANCE

• Garden Roof® Assembly, vegetated roofs (extensive & intensive) • Architectural finish pavers as part of the Ultimate Assembly® • Hydrodrain®, a family of drainage composites • Hydroflex®, protection materials • STYROFOAM® brand insulation products • Hydroguard®, a lightweight

MM6125® has many unique features that make it the best choice for vegetated roof applications…

• There are no seams to fail; the membrane is completely monolithic • Bonded directly to the substrate — restricts lateral water movement if damaged • Can be installed on substrates with little or no slope

• Easy to detail all critical penetrations S U S TA I N A B I L I T Y

Hydrotech has systems and alliances that reflect our commitment to environmental sustainability. Hydrotech has also introduced some of the industry’s most sustainable waterproofing assemblies. For instance, our MM6125®EV (environmental grade) is a hot-applied rubberized asphalt that can be formulated with up to 25% post–consumer recycled content.

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-11

Green Roofs / Living Walls

American Hydrotech, Inc. 303 East Ohio Street Chicago, IL 60611

Green Roofs / Living Walls

ABOUT

Made in the USA with 20 years of experience and over 7000 installations, greenscreen® leads the world in green facade technology. Technical information is power in design, and we provide tools and resources to make informed green facade wall decisions. Resources include an updated catalog, project PDFs, CEUs, Guidelines for Green Facade Plant Selection, Guidelines for Plant Installation and Maintenance, BIM and SketchUp models. greenscreen® has the project expertise that you need to educate

PD-12 / LANDSCAPE ARCHITECTURE MAGAZINE

your clients/owners about green facade walls. Additional resources: www.greenscreen.com.

PRODUCTS

The lightweight greenscreen® modular trellis panel is the building block of the green facade. The 14-gauge, recycled steel, powder coated, wire panels can be wall mounted, freestanding, or horizontal in countless configurations, including shapes and columns.

A complete attachment system meets demanding engineering requirements.

2017 PRODUCT DIRECTORY

greenscreen® 1743 S. La Cienega Blvd.

Los Angeles, CA 90035

T: 800-450-3494 sales@greenscreen.com www.greenscreen.com

PERFORMANCE

complete a third party–verified Life Cycle Assessment (LCA) report and model. The LCA methodology followed ISO 14040/14044 guidelines and can be used with our Sustainable Sites Initiative Review and Recycled Content Declaration.

greenscreen® panels, attachments and accessories with a powder coat finish are designed to provide a superior resistance to environmental exposure and wear and tear damage. Because orders are customized, it is important to engage our project managers early in the design process to ensure mounting details are coordinated to site conditions.

S U S TA I N A B I L I T Y

Sustainability is at the heart of everything that we do at greenscreen®, the first green wall manufacturer to

SPECIAL ADVERTISING SECTION

T: 973-423-2303 F: 973-423-2304 communications@ cast-lighting.com www.cast-lighting.com

ABOUT

• Classic Series: The hybrid series, available in halogen or integrated and modular LED technology.

• Impressionist Series: Greater flexibility in overall design, fully integrated LED technology, and dimming capabilities.

CAST Lighting, LLC. delivers Solid fixtures with Solid Technology and Solid Support. Our Landscape and Perimeter Outdoor Lighting Solutions are built to withstand the test of time with the latest LED innovations and Solid fixture components. Discover the CAST difference with your next outdoor lighting project.

PRODUCTS

• Cra sman Series: Budget friendly, integrated LED fixtures available in solid sand cast bronze or silver eurometal.

SPECIAL ADVERTISING SECTION

Lighting

CAST Lighting, LLC. 1120-A Goffle Road Hawthorne, NJ 07506

PERFORMANCE

Our LED integrated technology is LM-79 tested for all fixtures, UL/ CSA/RoHS recognized, IP66 rated, and FCC Class A Conducted and Radiated Emissions Compliant.

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-13

Lighting

Sternberg Lighting 555 Lawrence Avenue Roselle, IL 60172

T: 847-588-3400 info@sternberg lighting.com www.sternberg lighting.com

ABOUT

Sternberg Lighting designs and builds decorative and functional outdoor pole mounted luminaires that meet design standards for traditional and contemporary environments. Sternberg uses the latest in solid state technology in its products. Sternberg Lighting serves the municipal, landscape, higher education, and commercial markets, providing eďŹƒcient and cost-eective lighting solutions to the outdoor market. Since 1923, Sternberg has maintained its position as a leader in the street lighting industry by utilizing the latest technological advancements.

PD-14 / LANDSCAPE ARCHITECTURE MAGAZINE

2017 PRODUCT DIRECTORY

SPECIAL ADVERTISING SECTION

T: 303-892-0400 cecile@bisonip.com www.bisonip.com

Lumber / Decking / Edging

Bison Innovative Products 2395 West 4th Avenue Denver, CO 80223

ABOUT

From multi-family, mixed-use, government facilities, healthcare and more — Bison Innovative Products offer the design flexibility to create versatile, unique outdoor spaces. Since 1994, Bison has led the industry in the design and manufacture of adjustable pedestals and hardwood deck tiles that create beautiful roo op environments. Bison’s modular deck system allows decks to be installed quickly and easily without damaging expensive roofing systems.

SPECIAL ADVERTISING SECTION

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-15

Lumber / Decking / Edging

HandyDeck Inc 1807 14th St, Level 2, NW Washington, DC 20009

ABOUT

PRODUCTS

PERFORMANCE

HandyDeck is a national supplier of Italian porcelain pavers, Ipe wood deck tiles and pedestal systems for creating exceptional outdoor patios and roo op decks. From our warehouses in MD and CA, we supply over 30 colors of porcelain pavers in wood, stone, cement and rustic styles. With projects ranging from residential patios to elevated roo op decks, commercial plazas and municipal landscaping projects, HandyDeck has played a leading role in establishing porcelain pavers as the material of choice among landscape professionals.

Our family of decking products includes porcelain pavers, Ipe structural tiles, pedestal systems and interlocking deck tiles.

Porcelain pavers are increasingly used in commercial and residential paving projects as they are lighter, more weather resistant and offer more options, more colors, and more style than concrete or stone.

Our porcelain paver range includes structural pavers for pedestal supported decks, ‘DeckWay’ 96” x 12” planks which simulate natural wood decking and ‘Xterra’ slab pavers, for on-grade applications.

With a load capacity of 2000 lbs, porcelain pavers are specifically designed for pedestal decking applications, but can be used in most high pedestrian traffic applications or simply placed over compacted sand or gravel. Since porcelain is impermeable to water, it is highly resistant to staining, mold and mildew and is completely resistant to freeze/thaw cracking.

Fire resistance, slip resistance, rapid water shedding and very low maintenance are additional features making porcelain ideal for both commercial and residential use.

PD-16 / LANDSCAPE ARCHITECTURE MAGAZINE

2017 PRODUCT DIRECTORY

T: 866-206-8316 tileinfo@handydeck.com www.handydeck.com

SPECIAL ADVERTISING SECTION

T: 800-356-9660 F: 616-399-9770 info@permaloc.com www.permaloc.com

ABOUT

PRODUCTS

Permaloc Corporation is the world’s leading manufacturer of highperformance landscape edging and restraint systems. For over 30 years, Permaloc has remained at the forefront of the industry by providing unmatched quality, breakthrough products, and world-class customer service. The company takes pride in its ability to lead the industry in new product releases, basing those designs on a constant, ongoing conversation with the leading landscape architects, designers, and contractors practicing around the world.

Permaloc utilizes its deep-rooted knowledge of the landscaping industry, mixes it with solid manufacturing principles, and creates edging and restraint systems known worldwide as application-driven, performancebased products that provide a quick and easy installation, while offering the highest level of visual aesthetics.

SPECIAL ADVERTISING SECTION

PERFORMANCE

Permaloc’s quality edging and restraint systems are engineered to last the lifetime of the project.

Our high-quality aluminum products will not rust, rot or break down in the landscape, and will hold up against the demands of professional maintenance equipment.

lifetime of a project, adding to the sustainable benefits.

S U S TA I N A B I L I T Y

Permaloc Corporation has dedicated itself to creating products that are environmentally friendly and beneficial to sustainable design.

Our LEED® approved products utilize post-consumer recycled material, and each product is 100% recyclable. Each product is designed and engineered to last the

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-17

Lumber / Decking / Edging

Permaloc Corporation 13505 Barry Street Holland, MI 49424

Lumber / Decking / Edging

Sure-loc Edging, Inc. 494 E. 64th Street Holland, MI 49423

ABOUT

Sure-loc Edging Inc. was founded in 1992 when owner Roger Blauwkamp saw the need in the market for, and designed, an aluminum edging that didn’t have overlapping joints and had end stake adapters that would allow for staking at any point. Since then our company has expanded our product line to offer a complete line of landscape edging.

PRODUCTS

• Crisp Edge 1/8” aluminum edging • Sure-Edge 3/16” aluminum edging • E-Z Edge 1/8” aluminum edging • 14 gauge steel edging

PD-18 / LANDSCAPE ARCHITECTURE MAGAZINE

• 1/8” steel edging • 3/16” steel edging • 1/4” steel edging • Elite Edge plastic edging • Edge-Flex plastic edging • Hi-Test plastic edging • Heavy duty or flexible plastic paver restraints • 6 varieties of aluminum paver restrains PERFORMANCE

Our aluminum and steel products are manufactured in the U.S.A. from recycled materials and are recognized globally for our quality materials and unique features ensuring lifetime performance.

2017 PRODUCT DIRECTORY

T: 800-787-3562 F: 616-392-5134 info@surelocedging.com www.surelocedging.com

Our edging installs with ease without overlapping joints due to our dual stake locking system and has end stake adapters that allow for staking at any point.

S U S TA I N A B I L I T Y

Sure-loc Aluminum Edging is nontoxic, made from recycled material with excellent corrosion resistance and high thermal conductivity.

It will not rust, rot or become brittle. Lifetime performance and environmental safety is ensured.

SPECIAL ADVERTISING SECTION

T: 503-625-1747 F: 503-625-7342 bob@tigerdeck.com www.tigerdeck.com

ABOUT

PRODUCTS

TigerDeck® is a complete hardwood decking system unlike any other.

We package naturally strong Astronium spp (Tigerwood) with BlackTalon® Universal Deck Fasteners to give you hardwood decking that is durable, easy to install, beautiful, and low maintenance. Graded in the USA, TigerDeck® lasts 2-3 times longer than redwood, cedar, or treated wood and is naturally rot and insect resistant. TigerDeck® stands behind every product we sell with a 25year limited warranty.

• Decking • Porch • Paneling • Flooring • Hand rail • Balusters • Posts • Fascia • Siding • Special order products • BlackTalon® Universal Deck Fasteners

SPECIAL ADVERTISING SECTION

PERFORMANCE

TigerDeck® is kiln dried (8%) to

minimize shrinkage and maximize stability and performance. It is comparable in strength and durability to Ipe, yet finishes smoother with no raised grain issues. The BlackTalon® hidden fastening system compliments the profile design of deck boards to minimize surface penetrations while holding deck boards firmly.

sustainable forestry operations.

It is available as FSC® certified, and TigerDeck® has chain of custody certification.

S U S TA I N A B I L I T Y

Astronium spp is one of the most common and fast–growing species found from Southern Mexico to Argentina and is harvested from

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-19

Lumber / Decking / Edging

TigerDeck, LLC P.O. Box 830 Wilsonville, OR 97070

Outdoor Furniture

T: 604-255-2472 Solus Decor Inc. F: 604-255-2472 109 Braid Street brad.carpenter@ Building C solusdecor.com New Westminster V5L 5H4 www.solusdecor.com Canada

ABOUT

PRODUCTS

As a designer of fire pits and water features with 20 years experience, Solus has been in the business of designing and casting the world’s premiere ultra high performance cast concrete products. Made for the extreme climes of Canada our high performance fire pits offer certifications in Canada (CSA), the US (ANSI) and Europe (CE) with concrete tested to rigid ASTM standards. Solus water features are a new addition to the Solus line of products with a thin elegant profile, are free standing and self circulating.

We offer a range of sizes and shapes to suit most design situations. All firepits come with different fuel options including bio fuel, manual LP or NG plus electronic ignition with adjustable flame. The water features are multi-sized hemispheres that are easy to install and operate.

Products are made in the same inimitable Solus concrete.

PD-20 / LANDSCAPE ARCHITECTURE MAGAZINE

PERFORMANCE

The Solus fire pits are ultra high performance concrete (lab tested to

2017 PRODUCT DIRECTORY

70 MPa - 10,000 psi) with brass and stainless parts to withstand the test of time. Solus fire pits are certified as an entire appliance (not just the burner) and tested to the extremes of multiple certifications. With the best warranties in the business, consider Solus.

finishing. For a full story on Solus sustainability visit www.solusdecor. com/locations/sustainability

S U S TA I N A B I L I T Y

Sustainability is at the core of Solus’ business. From the drawing board all Solus products are considered in an effort to reduce our global foot print. From utilizing a variety of recyled materials to hand

SPECIAL ADVERTISING SECTION

T: 888-592-8325 F: 419-831-2276 sales@westminster teak.com www.westminster teak.com

ABOUT

more for some of the biggest brands both in the U.S. and Europe, including Driade, Harrods of London, Marks & Spencer, Tectona, Williams-Sonoma Home, Pottery Barn, Crate & Barrel, Colin Cowie, and Smith & Hawken.

Westminster Teak is a factoryowned manufacturer and distributor of luxury outdoor furniture in teak, all-weather wicker, sling, aluminum and stainless steel, direct from the source. Our unique position as a factory-owned distributor allows us to leverage our strengths in manufacturing by providing you with high standards in quality and service, irrespective of project size.

As testimony to the capacity and exceptional quality of our products, our factory has, over the past 15 years, produced in part or

SPECIAL ADVERTISING SECTION

PERFORMANCE

Apart from being rated “Best Overall” for Quality and Service

by The Wall Street Journal, we’ve furnished some of the most wellknown hotels, resorts, museums, and private clubs of the world.

We have also graced the finest of homes across the country,

including Camp David for the White House!

S U S TA I N A B I L I T Y

All the teak used in the manufacture of our furniture is SVLK certified from sustainably harvested plantations under the strict management of the Indonesian Ministry of Forestry.

Our factory was the first to join Nusa Hijau, the Indonesian Chapter of the Global Forest Trade Network (GFTN), an initiative of WWF®(World Wildlife Fund).

These initiatives were created to eliminate illegal logging, improve

the management of threatened forests, and promote biodiversity and the livelihoods of the people that depend on them.

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Outdoor Furniture

Westminster Teak, Inc. Like Oak, FL Santa Ana, CA

Outdoor Kitchens

DCS by Fisher & Paykel 695 Town Center Drive Suite 180 Costa Mesa, CA 92626

ABOUT

PRODUCTS

Building on a heritage of commercial-quality appliances, DCS has pioneered a new category in outdoor cooking since the 1980’s.

The range has been conceived as a complete professional outdoor kitchen, the heart of which is the Grill. DCS Outdoor products are engineered to deliver the functionality and power demanded by a professional chef and are handfinished to perfection to complement the quality of your premium outdoor kitchen. DCS Outdoor products are built to withstand the demands of the serious cook and the extremes of Mother Nature.

As the heart of your outdoor kitchen, the DCS Grill has been developed in conjunction with a comprehensive range of side burner, refrigeration, and storage products to complete the professional outdoor kitchen in your backyard. Constructed from 304 stainless steel, DCS Grills are built to last!

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T: 949-790-8900 wilson.hawkins@ fisherpaykel.com www.dcsappliances.com

lasts a lifetime and performance that is consistent. “Professional is something close to our hearts, because its where we started in professional kitchens.”

PERFORMANCE

You don’t have to be a professional chef to cook like one. Professional means different things to different people. For DCS its about design that delivers, construction that

2017 PRODUCT DIRECTORY

SPECIAL ADVERTISING SECTION

T: 864-627-1092 F: 864-627-1178 info@berlinerplayequipment.com www.berlinerplayequipment.com

ABOUT

and invaluable fun for kids of all ages. Climbing, swinging, and balancing encourages agility, coordination, strength, and achievement in a playful environment.

Founded in 1865 as a company producing steel cables for the elevator industry, Berliner was the first company ever to develop commercial playground equipment based on steel-reinforced ropes in 1971. In more than 40 years, Berliner has established its name as the world’s leading manufacturer of net climbers. The North American headquarters are based out of Greenville, SC. PRODUCTS

The innovation and uniqueness of Berliner’s living playgrounds ensures interactive, challenging,

SPECIAL ADVERTISING SECTION

PERFORMANCE

For more than four decades Berliner has been contributing its exciting products to playgrounds around the world. The state-ofthe-art technology, combined with the usage of uncompromising materials, ensures durability next to none with many of the first structures installed in the ‘70s still in use.

Parks and Recreation

Berliner Seilfabrik Play Equipment Corporation 48 Brookfield Oaks Drive Suite D Greenville, SC 29607

S U S TA I N A B I L I T Y

Our production has been PVCfree for more than a decade. Over 90 percent of our products and materials are recyclable. All of our products meet and exceed the regulations for lead in paint, lead in substrate, and phthalates to protect both our kids and the environment.

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Parks and Recreation

Empex Watertoys 250 Cochrane Drive Markham, ON L3R 8E5 Canada

ABOUT

Since 1986, Empex Watertoys® of Toronto, Canada, has manufactured creative interactive water toys and spray features for water playgrounds and spray parks internationally in campgrounds, municipal parks, water parks, amusement parks, family entertainment centers, day camps, summer camps, golf courses, and resorts.

PRODUCTS

Empex Products are robust, tactile, and safe for child interaction. The product line is a series of water play categories, presenting an

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architectural presentation of water in different themes: • Aquatoys • Aquatons • Aquadeks • Aquajetz • Aquanetics • Aquatippers • Aquazoo • Aquamar • Aquamotivs • Aquacircus • Aquatropica • Aqualab PERFORMANCE

Fabricated from composite and specialty plastics, Empex products

2017 PRODUCT DIRECTORY

T: 1-905-649-5047 F: 1-905-649-1757 wt@watertoys.com www.watertoys.com

offer a lifetime warranty against corrosion. Lighter than metal, they do not require elaborate foundations and are well suited to retrofitting to an existing water source. Empex Watertoys are not affected by pool water using chlorine generators.

S U S TA I N A B I L I T Y

Empex uses only recyclable food-grade materials that have a lifespan of 20 years. The design of the products is intended to keep the product contemporary for many years, reducing the need to replace or update the items.

SPECIAL ADVERTISING SECTION

T: 617-744-0772 info@goric.com www.goric.com

ABOUT

PRODUCTS

S U S TA I N A B I L I T Y

Goric is the exclusive distributor for several manufacturers of playground equipment for public spaces.

Innovation, play value and aesthetic appeal combined with high quality and longevity of the equipment, as well as compatibility to current American and Canadian safety standards determine our choice of the equipment that we are bringing to the marketplace. Find more products and technical information on our website, www.goric.com. We value the longterm success with our clients and are dedicated to partnering with them from start to ďŹ nish.

Goric is known for sculptural Play Points, spinners and other moving equipment, hill slides, interactive water play, sensory and sound elements, rubber tiles and accessories. We also feature unique items such as the Carve Wallholla, Pearls and the K&K towers.

Each of our manufacturers go to great lengths to conserve energy, purchase electricity from renewable sources, eliminate waste and use sustainable locally sourced raw materials. Find more on our website.

SPECIAL ADVERTISING SECTION

Parks and Recreation

Goric 464 Common Street #148 Belmont, MA 02478

PERFORMANCE

It is of utmost importance to us and our manufacturers that the highest quality materials are used to create the beautiful playground equipment that we oer.

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Parks and Recreation

Grand Slam Safety, LLC 9793 Bridge Street P.O. Box 35 Croghan, NY 13327

ABOUT

PRODUCTS

Maximize safety. Maximize play.

Designed for safety and playability, SPECTO Fencing Systems offer the highest level of versatility. SPECTO can reduce wasted space near and around playing areas, while also allowing for multisport fields, with a permanent foundation system and easily removable panels.

SPECTO is an innovative answer to prevalent sports fencing concerns with an emphasis on safety, quality design and materials, and service.

When you’re looking for a modern fencing solution, SPECTO is a clear choice.

Grand Slam Safety LLC offers comprehensive fencing systems for indoor and outdoor facilities, customized to field measurements and uses. Available SPECTO systems: • Baseball/so ball outfield fencing system • Indoor field containment system • Sport netting curtain system • Batting cage system • Backstop system

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T: 315-301-4039 F: 315-301-4031 info@grandslam safety.com www.grandslam safety.com

durable vinylcoated mesh panels, and customizable sports netting, SPECTO Fencing Systems balance player safety, field versatility, spectator viewing, and facility maximization. All SPECTO Fencing Systems have a 10 year limited warranty.

PERFORMANCE

Constructed of high-grade, powdercoated steel components,

2017 PRODUCT DIRECTORY

SPECIAL ADVERTISING SECTION

T: 888-438-6574 info@playlsi.com www.playlsi.com

ABOUT

PRODUCTS

Landscape Structures is the leading manufacturer of commercial playground equipment in the world. The employee-owned company creates a better world by encouraging outdoor activities that develops healthy kids, families, and communities. Landscape Structures designs better playgrounds that welcome all ages and abilities, become signature gathering spaces for communities, and offer the most innovative play experiences. The company’s mission is to enhance children’s lives by fostering and creating inspiring play experiences while honoring the environment.

From traditional to signature, Landscape Structures creates playgrounds that attract visitors from afar. Innovative playground products like Rhapsody® Outdoor Musical Instruments, Smart Play® and Netplex™ play structures offer a visually appealing look, and when added to designs create play spaces that become fun, artful, and iconic spaces.

SPECIAL ADVERTISING SECTION

PERFORMANCE

Landscape Structures ensures consistency, safety, and durability in every playground product that leaves its doors. The company’s

goal is that every piece of equipment is built to last through this generation of children and on to the next. Landscape Structures’ precision manufacturing means safe and high-quality equipment built to last for years.

Parks and Recreation

Landscape Structures Inc. 601 7th Street South Delano, MN 55328

S U S TA I N A B I L I T Y

Since Landscape Structures opened its doors in 1971, it has focused on creating inspiring play experiences while honoring the environment.

Through the company’s culture of lean manufacturing, its employee owners are committed to manufacturing high-quality, sustainable playground products that last for generations.

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Parks and Recreation

Percussion Play The Courtyard Petersfield GB United Kingdom

ABOUT

PRODUCTS

Percussion Play produce outdoor musical instruments specifically designed for challenging environments; playgrounds, parks, trails, schools, church & elder centers. Working with landscape architects and play specialists, we’ve built our reputation on the excellence of our service and quality of our musical instruments, shipped daily across the world. We believe that outdoor musical play ticks all the right boxes offering cognitive, emotional and physical play opportunities and ensure each instrument we design delivers in sound, appearance and durability.

Our range of outdoor percussion instruments include Drums, Chimes, Bells, Xylophones, Marimbas, Aerophones and Metallophones. No prior musical knowledge is required and players of all ages can express themselves in an unstructured and creative way all year round. Providing a great way to keep the arts alive in the community and make music fun.

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PERFORMANCE

Instruments are constructed of durable, easily cared-for materials to avoid the worst effects of the elements, vandalism and to avoid

2017 PRODUCT DIRECTORY

T: +1-866-882-9170 F: +44-1730-235181 info@percussionplay.com www.percussionplay.com

costly or long term maintenance.

Where possible, instruments are designed to be played simply by using hands, where beaters are required, we’ve engineered them as one complete piece coated stainless steel cables.

S U S TA I N A B I L I T Y

We design our outdoor musical instruments using a mix of materials, choosing the best possible to create the right look, sound, durability and price. Where possible we source recycled materials.

SPECIAL ADVERTISING SECTION

T: 604-852-4967 F: 604-852-4819 anders.acp@paving stones.com www.pavingstones.com

ABOUT

Slabs & Segmental Retaining Wall Systems. Our AquaPave® paver is a Permeable On-Site Stormwater Source Control System; it is an important first step to reduce excess stormwater. The latest addition to our product line, the Aristokrat Series, is a 2cm HydraPressed Porcelain Slab.

Abbotsford Concrete Products Ltd. has been an innovative industry leader in the manufacturing of Interlocking Pavingstones and Segmental Retaining Wall Systems for more than a quarter of a century. Our state of the art manufacturing facility ensures that you receive the best products, which meet or exceed strict ASTM or CSA Standards.

PRODUCTS

ACP manufactures Interlocking Paving Stones, HydraPressed

SPECIAL ADVERTISING SECTION

PERFORMANCE

Our exclusive PermaFinish™, two layer, unified manufacturing process will ensure that your residential or commercial paving stone project will maintain its

texture, a more intense color, and a superior abrasion resistant wearing surface than out-dated manufacturing processes.

Paving / Surfacing / Masonry Stone / Metals

Abbotsford Concrete Products 3422 McCallum Road Abbotsford Canada

S U S TA I N A B I L I T Y

We are committed to producing our products with environmental stewardship & community responsibility as a first priority. Our production processes use recycled water, energy efficient methods & low impact ingredients such as ECOCEM®, in the fabrication of our products.

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Paving / Surfacing / Masonry Stone / Metals

Acker-Stone 13296 Temescal Canyon Road Corona, CA 92883

ABOUT

PRODUCTS

In the mid 1980s, Acker-Stone played a significant role in developing the interlocking paving stone market in the U.S. Through the introduction of innovative manufacturing techniques and ongoing product refinements, the company continues to lead the industry with the development of new and enduring paving stones.

Our long history of design and engineering excellence combine with your unique vision to build an inspired, welcoming personal retreat.

We invite you to create enduring beauty with a level of quality and consistency you can depend on.

• Pavers: Aviano, Paseo, Siena Embossed, Antique Kobble, Holland I, Combo Classic • Permeable Pavers: Aqua-Via I, Aqua-Via II, Aqua-Via Trio, • Palazzo: 12x12, 12x24, 18x18, 24x24 • Linear Paving Stones: 3x9, 3x18, 3x24, 4x12, 4x20, 4x24, 6x24, 6x30 • Slabs: Aviano Grande, Paseo Grande, Lido Stone, 8x16, 12x24, 15x25, 15x30, 16.5x25, 18x18, 24x24

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T: 800-258-2353 F: 951-674-0477 info@ackerstone.com www.ackerstone.com

represents the best management practices for controlling stormwater runoff. Our Aqua-Via Series is an environmentally-friendly permeable paver system that allows rainwater runoff to drain back into the soil naturally, filtering pollutants while replenishing groundwater reserves.

S U S TA I N A B I L I T Y

Today, it’s all about environmental consciousness. Permeable pavers

2017 PRODUCT DIRECTORY

SPECIAL ADVERTISING SECTION

T: 952-933-8855 info@anchorwall.com www.anchorwall.com

ABOUT

any outdoor environment. Our products are made from natural materials and are available in a wide array of styles, shapes and textures.

Anchor Wall Systems develops attractive, durable, easy-to install retaining and free-standing wall systems. We license our designs, which are backed by extensive research, testing and marketing support, to manufacturers who then market to contractors and homeowners through local landscaping supply dealers and big-box retailers. The end result is anything that can be imagined — innovative, lasting landscapes and environmentally sound walls that complement

SPECIAL ADVERTISING SECTION

PRODUCTS

Anchor Wall Systems works with manufacturer licensees in the U.S. and more than 20 other countries to create retaining and freestanding wall systems. We hold more than 120 U.S. patents and numerous international patents. Brands such as Diamond, Vertica, Landmark and Highland Stone are just a few of the products contractors prefer.

PERFORMANCE

Anchor Wall Systems continues to lead the hardscapes industry with expertly engineered building products that inspire contractors and homeowners to build something beautiful.

our employees, communities, suppliers and customers.

S U S TA I N A B I L I T Y

Anchor Wall Systems is committed to protecting the environment by implementing an ongoing evaluation process to provide responsible design and business practices. This is being accomplished by partnering with

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Paving / Surfacing / Masonry Stone / Metals

Anchor Wall Systems 5959 Baker Road Suite 390 Minnetonka, MN 55345

Paving / Surfacing / Masonry Stone / Metals

Architectural Ceramics 800 E Gude Drive Suite F Rockville, MD 20850

ABOUT

PRODUCTS

Architectural Ceramics, deemed “where the architects and designers shop” by Washingtonian Magazine, is a comprehensive tile and stone company servicing the design industry, including, but not limited to, the homeowner, designer, builder, contractor, and landscape architect. Established in 1983, Architectural Ceramics is a familyowned and operated corporation.

Our employees take great pride in their expertise and enjoy working with clients through every stage of their projects to ensure the creation and fulfillment of a unique and striking space.

Architectural Ceramics is excited to announce a NEW outdoor porcelain tile paver, Garden 2CM™. These pavers look like wood or slate, rather than the regular drab cement paver, yet meet all the requirements of outdoor installations. They can be dry laid onto grass, gravel, bare earth and sand like a typical paver, or with a raised pedestal system.

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PERFORMANCE

These tiles are twice as thick as your average tile, and are actually made out of porcelain, affording it all the same benefits — being frostresistant, skid-resistant, durable,

2017 PRODUCT DIRECTORY

T: 301-251-3555 sales@architectural ceramics.com www.architectural ceramics.com

easy to clean, and Garden 2cm™ has an incredibly high breakage load (up to 2,000 pounds).

S U S TA I N A B I L I T Y

Garden 2CM™ comes in three different sizes, and 3 different colors consisting of wood-look and slate-look tiles. The 16x48 woodlook pavers contains 70% recycled content and are greenguard certified.

Find more details online here: http://www.architecturalceramics. com/products/garden-2cm

SPECIAL ADVERTISING SECTION

T: 1-800-342-2879 F: 1-204-663-4854 winnipeg@barkman concrete.com www.barkman concrete.com

ABOUT

Steinbach and Winnipeg, Manitoba, Calgary, Alberta, and Vancouver, British Columbia.

Since 1948, barkman has manufactured precast concrete products for residential and commercial installations across North America. We offer the most diverse, quality–tested precast concrete products in Canada, specifically engineered to exceed your needs in every application.

Our product lines come in the form of hardscapes, site furnishings, trenching products, agriculture products, retaining wall systems, skate parks, and other specialty products. We have offices in

SPECIAL ADVERTISING SECTION

PRODUCTS

barkman products are designed with easy installation and durability in mind, and are ideal for almost any application where visual aesthetics are paramount. barkman’s wide selection of precast concrete products are all available in a range of colors and styles, ensuring that whatever look you want to achieve, you’ll find it in a barkman product.

PERFORMANCE

At barkman we are committed to product quality and customer satisfaction. All barkman products are guaranteed to meet or exceed the Canadian Standards Association (CSA) standards. We use only superior–grade materials and employ stringent quality control measures throughout the manufacturing process to ensure a quality product every time.

are our products excellent choices for people concerned about the environment, we employ environmental best practices throughout our manufacturing and operations whenever possible.

Our key commercial products can contribute to achieving LEED® points, helping to create a sustainable planet.

S U S TA I N A B I L I T Y

barkman is committed to being Earth’s good stewards. Not only

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LANDSCAPE ARCHITECTURE MAGAZINE / PD-33

Paving / Surfacing / Masonry Stone / Metals

Barkman Concrete Ltd. 901 Gateway Road Winnipeg, MB R2K 3L1 Canada

Paving / Surfacing / Masonry Stone / Metals

Belgard 900 Ashwood Parkway Suite 600 Atlanta, GA 30338

ABOUT

PRODUCTS

Belgard, part of Oldcastle® Architectural, offers a complete collection of paver and wall products for outdoor living spaces, walkways, driveways, parking areas and retaining walls.

Available in a range of styles, premium Belgard products have been found in America’s finest homes and award-winning commercial and retail properties since 1995. For more information visit Belgard.com or call 1-877-Belgard (235-4273).

Belgard represents the widest offering of pavers, wall systems, accessories and outdoor living elements. Brands that are offered are in our portfolio are: Belgard, Anchor, Elements, Techniseal and more.

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PERFORMANCE

Since 1995, our locally made and nationally backed products have transformed thousands of residential and commercial properties across North America.

2017 PRODUCT DIRECTORY

T: 877-235-4273 F: 770-804-3369 info@belgard commercial.com www.belgard.com

Every day, our network of trained and certified contractors and dealers helps customers to envision their creative journey and realize their outdoor dreams.

S U S TA I N A B I L I T Y

Belgard is committed to the health and safety of our products, environment, people and community. We invest in the research and development of environmentally responsible products, practices and technologies.

SPECIAL ADVERTISING SECTION

T: 800-649-4773 F: 207-490-5076 info@genest-concrete.com www.genestconcrete.com

ABOUT

PRODUCTS

Genest began manufacturing paving stones in 1988. Today, we remain a Maine-based, familyowned business with a mission of offering high-quality products, exceptional service and outstanding value. Through our research and development capabilities, we continue to explore what’s next, new and innovative — ensuring that design professionals have access to the latest designs and materials.

With Genest’s superbly cra ed pavers, your project is guaranteed to deliver on what matters most, a quality product with beautiful results that reflect your vision.

Discover the strength, functionality and beauty in the shapes of Genest paving stones. Our wide assortment includes permeable paving stones for low impact development design, traditional pavers that add an urban feel to downtown plazas and extralarge format pavers for heavy duty traffic loads. Genest products offer superior design solutions.

SPECIAL ADVERTISING SECTION

PERFORMANCE

Genest’s manufacturing technology produces paving stones that withstand severe New England weather and continue to perform as designed, year a er year. To ensure

products not only meet, but exceed industry standards, they undergo rigorous testing by a dedicated staff of certified concrete technicians.

Paving / Surfacing / Masonry Stone / Metals

Genest 36 Wilson Street Sanford, ME 04073

S U S TA I N A B I L I T Y

Genest is committed to sustainable manufacturing to minimize negative environmental impacts.

Products utilize recycled products and use locally extracted and resourced materials. Our permeable pavers give back to the environment by reducing stormwater runoff, filtering pollutants and reducing the urban heat island. LEED points can be earned.

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-35

Paving / Surfacing / Masonry Stone / Metals

Hanover Architectural Products 5000 Hanover Road Hanover, PA 17331

ABOUT

PRODUCTS

Hanover® Architectural Products strives to provide the highest quality concrete paving materials in the industry. Since 1971, Hanover® has participated in the development of unit pavers, as they became an integral part of architectural design. From small hand held brick to larger scaled pavers, no other company can offer the complete selection of pavers, bricks and walling that Hanover® can.

Hanover’s reputation stands strong with superior quality products and exceptional customer service.

• Prest® Pavers on-grade • Granite pavers • Roof and plaza pavers • Permeable paving units • Prest® brick • Asphalt block • RockCurb® • Garden and landscape walls • Reconstructed stone wall panels

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PERFORMANCE

Hanover® manufactures high quality products which perform to required specifications. High compressive strength and density

2017 PRODUCT DIRECTORY

T: 800-426-4242 info@hanoverpavers.com www.hanoverpavers.com

give Hanover’s products the durability and low water absorption of natural stone.

S U S TA I N A B I L I T Y

In response to the increasing demand for environmentally friendly products, Hanover® provides several product lines with environmental benefits – Permeable Pavers, Green Roof Pavers, Pavers with Recycled Content and Asphalt Block with Recycled Content.

Hanover® Products facilitate the process of earning SS Credits and obtaining LEED Certification.

SPECIAL ADVERTISING SECTION

T: 303-233-8383 sales@invisible structures.com www.invisible structures.com

ABOUT

drainage layer • Slopetame2 erosion control system • Beachrings2 portable boardwalk system

Invisible Structures, Inc. offers a suite of products to develop a sustainable site — porous paving, erosion control, drainage, stormwater management, and more. Made from recycled plastics, these products protect and enhance the environment.

PRODUCTS

• Grasspave2 grass porous paving • Gravelpave2 gravel porous paving • Rainstore3 underground stormwater storage for detention, retention, and harvesting • Draincore2 geocomposite

SPECIAL ADVERTISING SECTION

PERFORMANCE

• 15,940 psi compressive strength, ADA compliant (Gravelpave2 and Grasspave2) • H-20 bridge loading, 94% void space, stackable to 7.9 (Rainstore3) • 42 gallon per minute per foot width (Draincore2) • 1 to 1 slope use and connecting rolls (Slopetame2)

• Flexible and reusable (Beachrings2)

Paving / Surfacing / Masonry Stone / Metals

Invisible Structures 1600 Jackson Street Suite 310 Golden, CO 80401

S U S TA I N A B I L I T Y

• Filters polluted automobile drips • Reduces stormwater run-off • Air-conditioning effect (GP2 only) • Reduces non-point source pollution • Airborne dust capture & retention (GP2) • Tree growth within parking lot • Reduces erosion and soil migration • Urban heat island mitigation • Recharges groundwater • Made from recycled materials

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-37

Paving / Surfacing / Masonry Stone / Metals

L. M. Scofield Company 4155 Scofield Road Douglasville, GA 30134

ABOUT

PRODUCTS

Scofield is the oldest and most trusted name in architectural coloring, texturing and performance. For 100 years we’ve set the standard by pioneering and developing engineered systems that bring consistency and sustainability to your project.

We have a successful history of partnering with, and educating, landscape architects. Scofield is the most specified concrete color manufacturer in the industry.

• CHROMIX Admixtures for ColorConditioned Concrete • LITHOCHROME Color Hardener • LITHOCHROME Antiquing Release • SOLACHROME High-SRI Concrete System • LITHOTEX Pavecra ers • Revive Exterior Concrete Stain • LITHOCHROME Chemstain Classic • LITHOCHROME Tintura Stain

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2017 PRODUCT DIRECTORY

T: 800-800-9900 info@scofield.com www.scofield.com

SPECIAL ADVERTISING SECTION

T: 855-230-5656 info@kebony.us www.kebony.us

ABOUT

PRODUCTS

Kebony is the only sustainable alternative to tropical hardwood and other modified woods when beauty and performance are essential.

Developed in Norway, the Kebony® technology is an environmentally friendly, patented process that enhances the properties of sustainable so wood with a bio-based liquid. The process permanently modifies the wood cell walls, giving Kebony premium hardwood characteristics and a rich brown color. Kebony is highly durable and requires minimum maintenance, bringing low lifestyle costs.

Ideal for exterior applications that demand high performance and a refined look, Kebony is available in Clear and Character grade. Kebony has proven to be the best choice for a variety of applications including decking, cladding, roofing, furniture, flooring, design projects and more.

SPECIAL ADVERTISING SECTION

PERFORMANCE

The Kebony® technology modifies wood by forming stable, lockedin furan polymers in the wood cell walls. These increase the dimensional stability, as well as durability and hardness, of the wood. A er exposure to sun and

rain the wood develops a natural silver-gray patina. Performance is maintained, while beauty is enhanced.

Paving / Surfacing / Masonry Stone / Metals

Kebony 812 S Riverside Avenue St Clair, MI 48079

S U S TA I N A B I L I T Y

The Kebony® technology is an environmentally friendly, patented process, which enhances the properties of sustainable so wood with a plant-derived waste product.

Through environmentally conscious practices, Kebony provides the market with a durable, natural wood product while giving the environment the respect it deserves and vitally needs.

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-39

Paving / Surfacing / Masonry Stone / Metals

ABOUT

Soil Retention has been manufacturing and distributing Plantable concrete systems® utilized by architects, developers, contractors, engineers, and homeowners, since 1987. Soil Retention’s products DRIVABLE GRASS®, VERDURA®, and ENVIROFLEX® offer solutions for projects requiring high standards for strength, durability, design, and performance. Awardwinning projects like the Sanford Consortium for Regenerative Medicine in La Jolla, The Charmer

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in San Diego, and Lambert Ranch in Irvine used Soil Retention’s products.

PRODUCTS

Soil Retention’s products include DRIVABLE GRASS®, a permeable, flexible and plantable pavement system that is environmentally friendly and a beautiful alternative to poured concrete and asphalt; VERDURA®, a plantable retaining wall system for walls up to 60 feet high; and ENVIROFLEX®, an articulating concrete block (ACB) for erosion control.

2017 PRODUCT DIRECTORY

Soil Retention 2501 State Street Carlsbad, CA 92008

T: 760-966-6090 F: 760-966-6099 sales@soilretention.com www.soilretention.com

PERFORMANCE

land and/or watershed by using conservation-based techniques including stormwater containment, biofiltration, infiltration, and storage, offering opportunities for Low Impact Development (LID).

LEED® credits and potential point contributions can be gained with our Plantable concrete systems.

Soil Retention has been installing VERDURA® walls for over 28 years with zero failures! Built to last, DRIVABLE GRASS® offers the same strength and durability as conventional pavers, but can be used for a broad variety of applications because DRIVABLE GRASS® can flex and conform to irregular ground surfaces.

S U S TA I N A B I L I T Y

Soil Retention’s products can integrate the built environment into the natural ecology of the

SPECIAL ADVERTISING SECTION

T: 800-572-9029 F: 310-217-1424 sales@stepstoneinc.com www.stepstoneinc.com

ABOUT

PRODUCTS

For 50 years Stepstone, Inc. has worked with end users, builders and designers to create large scale pavers, stair tread systems, wall caps and pool coping to help make every project a success. Our handmade wet cast production system is readily adapted to meet new product demands. Over the years we’ve transformed creative ideas into new products and our commitment to innovation and collaboration with landscape architects continues. We will help you build your vision in concrete!

CalArc Products: • Narrow Modular Pavers

by Stepstone® • Large Scale CalArc Pavers • CalArc Pavers • Sonorastone® Pavers • Roof Pavers • Drydeck® Pavers • Lightweight Roof Pavers • Veneer • Garden Steps • Steptreads • Long Span Steptreads • Pool Coping, Wall Cap, and Radiuses in Classic and Square Edge Styles

SPECIAL ADVERTISING SECTION

• Designer Shapes – Waves, Hexagonal, and More!

PERFORMANCE

Handcra ing creates elegant finishes and a wide range of colors.

Our concrete is engineered to be durable and require minimal maintenance. Contact one of our architectural sales consultants to define your options and clarify your performance expectations.

Manufacturing waste is crushed and screened. Use of fly-ash as a cement replacement is available in almost all products.

S U S TA I N A B I L I T Y

Stepstone, Inc. reclaims and recycles wastewater from our manufacturing process.

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Paving / Surfacing / Masonry Stone / Metals

Stepstone, Inc. 13238 S. Figueroa Street Los Angeles, CA 90061

Paving / Surfacing / Masonry Stone / Metals

Tri-State Stone & Building Supply, Inc. 8200 Seven Locks Road P.O. Box 34300 Bethesda, MD 20827

ABOUT

PRODUCTS

Carderock Stone is a mica-schist quartzite building stone quarried by Tri-State Stone & Building Supply, Inc. from the same location since 1926. Its unique seam structure allows it to be worked into many different installation styles. The vibrant blues, browns, grays, and greens create an aesthetically pleasing color palette. The unique color range, durability, and ease of use have made Carderock Stone a favorite of architects, designers, masons, and homeowners for generations.

Carderock Stone is available in two stacking wallstone grades, three full thickness veneers including a sawn ashlar, three thin veneers, a tumbled landscape grade, a landscape aggregate, steppers, and landscape boulders. Tri-State Stone & Building Supply, Inc. is also a fullservice stone dealer with over 100 other types of stone.

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PERFORMANCE

Carderock Stone is a durable, as well as beautiful, building stone.

There are no freeze/thaw concerns.

2017 PRODUCT DIRECTORY

T: 301-365-2100 F: 301-365-5524 wprunka@carderock.com www.carderock.com

Its many grades and workability allow its incorporation into any design from rustic to formal.

Any project will benefit from the incorporation of Carderock Stone.

S U S TA I N A B I L I T Y

Natural stone is the best building material available. It never needs painting or replacement. It is the only building material that gets more beautiful with age. It can be reclaimed and reused. Nothing evokes a sense of classic style and permanence like natural stone — Carderock Stone.

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T: 800-864-5625 800-UNILOCK customerservice@ unilock.com www.unilock.com

ABOUT

PRODUCTS

Designers and architects trust Unilock to bring their vision to life. Unilock introduced pavers to North America and continues to be the style and trend leader in the hardscape industry. The Unilock palette of exclusive textures, colors, styles and wide array of customizable solutions will allow you to showcase your creativity.

Combined with the most advanced manufacturing technologies in the industry, delivering exceptional strength, beauty and resilience, you are assured that your projects will look great for years to come.

Unilock’s extensive collection of sizes, shapes, unique textures and color options offer endless design solutions for your unique projects.

From traditional unit paving, to linear planks and large format pavers, for heavy duty, traditional and permeable applications, retaining walls and garden walls, there is a product for every situation and aesthetic.

SPECIAL ADVERTISING SECTION

PERFORMANCE

Unilock has the most advanced manufacturing technologies in the industry. Our EnduraColor™ Plus

products promise long-lasting beauty through a proprietary blend of exclusive and superior ingredients, creating ultra-realistic surface textures and unique style options that are exceptionally durable. It sets a new standard for everlasting beauty.

aligning, structural unit pavers with joint spacing that is ADA compliant ensuring you can design without compromise.

S U S TA I N A B I L I T Y

More than 25 years ago, Unilock introduced the first permeable unit paver to North America and now has an extensive collection of styles, sizes, colors and architectural finishes available.

Our permeable pavers are self-

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-43

Paving / Surfacing / Masonry Stone / Metals

Unilock Boston, Chicago, Detroit, New York, Buffalo, Philadelphia, Cleveland, Milwaukee, Toronto

Paving / Surfacing / Masonry Stone / Metals

ABOUT

PRODUCTS

At Tectura Designs, we help the world’s leading architects and designers bring their unique visions to life. Our cutting-edge products — showcased around the globe, from Mount Rushmore to Times Square — have been made in America for more than six decades. That time-honored work established a commitment to quality and cra smanship that lives on today in everything we do, as each product is made by skilled cra smen at our facilities in the heart of the Midwest with the same impeccable quality.

Our concrete and metal site furnishings feature bold, durable designs. Hydraulically pressed pavers are made extra-tough in endless textures and styles. Custom precast concrete streetscapes and other installations instantly elevate outdoor spaces. Our custom precast terrazzo and terrazzo tile offer beautiful solutions for floors and stairs.

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PERFORMANCE

Tectura Designs’ products are cra ed to meet the industry’s most

2017 PRODUCT DIRECTORY

Wausau Tile Inc. P.O. Box 1520 Wausau, WI 54402-1520

T: 715-359-3121 F: 715-355-4627 ysmith@wausautile.com www.wausautile.com

stringent standards, including certification by the Precast Concrete Institute. Our commitment to quality and attention to detail provides performance that stands the test of time — trusted by the U.S. State Department, professional sports facilities, and more.

of waste to landfills each year through innovative processes that reuse plastic, cardboard, paper, aluminum, packaging foam, wood pallets, and more.

S U S TA I N A B I L I T Y

We cut down on waste by using millions of pounds of recycled materials — glass and porcelain aggregates, plastic and rubber components, and more. We avoid sending millions of pounds

SPECIAL ADVERTISING SECTION

T: 215-541-4330 F: 215-541-4628 projects@campania international.com www.campania international.com/projects

ABOUT

PRODUCTS

PERFORMANCE

For over 30 years, Campania has offered landscape and design professionals an extensive collection of planters, fountains, and outdoor accents. Our exclusive line of cast stone and GFRC products are manufactured with pride in the USA. We also source an exclusive range of planters and garden accents in a wide variety of traditional and lightweight materials. Our warehouse in Pennsylvania contains over 2,000 product designs available, in stock, and ready to ship.

• High–density cast stone - Planters and pedestals - Fountains - Tables and benches - Birdbaths, statuary, and accents • GFRC Planters • Lightweight planters - Lite® fiberglass composite - Natural fiber cement - High Density Polyethylene (HDPE) • Iron planters and pedestals • Glazed and terra–cotta pottery planters • Glazed pottery fountains

Campania’s products are well suited for commercial, hospitality, and residential projects.

• Our high-density cast stone is rated to 7000 psi • Our glazed and terra–cotta pottery is high fired up to 1000° centigrade, ensuring frost resistance and durability • Our products are tested against freeze-thaw conditions to ensure durability

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materials and can qualify for LEED® MR 5.1 and MR 5.2 credits.

Our planters are packaged with 95% recyclable material, including cardboard and 100% reusable natural wood excelsior.

S U S TA I N A B I L I T Y

Campania’s cast stone products are manufactured with locally sourced

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-45

Planters / Sculptures / Garden Accessories

Campania International 2452 Quakertown Road Suite 100 Pennsburg, PA 18073

Planters / Sculptures / Garden Accessories

Form and Fiber, Inc. 3824 Cedar Springs Road #195 Dallas, TX 75219

ABOUT

PRODUCTS

Form and Fiber Inc. grew out of the belief that landscape architects should be more involved in the design and creation of site furnishings for exterior environments. This belief cultivated a desire to offer new alternatives and levels of customization for commercial site furnishings. Having a background in landscape architecture, a love for industrial design and desire for modern furnishings, Form and Fiber provides concrete and steel products that meld classic features with fresh, modern interpretation.

We call it, simply, inspired design.

All concrete products are hand cast, utilizing a proprietary mix, and have a naturally pitted finish. Preweathered Cor-Ten® steel planters include Essentials, Cypress, and Box Series, as well as bottomless planter frames. Products are suitable for urban, retail, residential, and commercial applications.

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T: 888-314-8852 F: 888-289-8505 info@formandfiber.com www.formandfiber.com

available in 12 ga, 10 ga, 1/4”, 3/8”, and 1/2” thicknesses. Interior and exterior sealants are included for all products for added protection.

PERFORMANCE

Form and Fiber’s concrete products are cast 2.5-3” thick, incorporate fiberglass fibers for added strength and durability, and achieve a minimum 5,000 psi in the first 2 weeks of curing. Steel products are

2017 PRODUCT DIRECTORY

SPECIAL ADVERTISING SECTION

T: 310-331-1665 F: 310-331-1533 felix@green-form.com www.green-form.com

ABOUT

furniture. Each product is hand crafted in Switzerland and adheres to strict design and production standards. Anthracite (a dark charcoal gray) and cement gray are our standard colors, but we also offer a wide range of RAL custom colors.

Greenform products are the perfect solution for the modern outdoors. Our unique planters and site furnishings are designed for year-round use. All products are made of natural, durable, recyclable fiber cement. Your plants will love our containers’ natural compounds allowing them to breathe, and you will love Greenform products for their portability, longevity, and clean lines that go everywhere.

PRODUCTS

Well-known European designers are the basis for our line of award-winning planters and

SPECIAL ADVERTISING SECTION

PERFORMANCE

Planters / Sculptures / Garden Accessories

Greenform llc.

12900 Prairie Avenue Hawthorne, CA 90250

S U S TA I N A B I L I T Y

Our product consists of natural ingredients: cement, powdered limestone, recycled cellulose fibers, air, and water. We use low–VOC pigment for our colorants. We employ low–impact manufacturing practices, and our product is 100% recyclable.

All products are designed for outdoor use and durability. The fiber cement material withstands all types of weather and is guaranteed frost–proof. It resists heat, rain, and snow while still being light and fire resistant. Decay and corrosion cannot harm it.

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-47

Planters / Sculptures / Garden Accessories

ABOUT

PRODUCTS

Haddonstone is the world’s leading manufacturer of fine landscape ornaments and architectural cast stone, with offices in both England and Colorado, where the company’s U.S. mold making and production facility has been located since 1996.

The company has a comprehensive 216-page catalog as well as an informative new website where CAD drawings and technical sheets can be downloaded. The company’s designs are suitable for use in projects ranging from the smallest courtyard to the largest landscape.

Standard designs in traditional, classical and contemporary styles include: planters, fountains, statues, sundials, birdbaths, obelisks, garden furniture, finials, balustrades, columns, pergolas, gate piers, pier caps and copings, plaques, paving, steps, and landscape follies. Custom–made stone, for restoration or new build projects, is a speciality.

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PERFORMANCE

Haddonstone offers three types of cast stone: dry-cast Haddonstone,

2017 PRODUCT DIRECTORY

Haddonstone (USA) Ltd 32207 United Avenue Pueblo, CO 81001

T: 719-948-4554 F: 719-948-4285 stone@haddonstone.com www.haddonstone.com

wet-cast TecStone, and GRFCbased TecLite. The material used in every design exceeds the compressive cube strength of the UKCSA and all relevant U.K., European, and U.S. standards.

The materials are regularly tested in Haddonstone’s laboratories and by recognized independent laboratories.

make a significant impact on the environment. In 2014, the Green Organization awarded Haddonstone the International Green Apple Award (Building Materials) for Environmental Best Practice and Sustainable Development. This is the third time the company has been awarded this accolade.

S U S TA I N A B I L I T Y

Haddonstone is committed to an Environmental & Sustainability Management System, ensuring that work activity processes do not

SPECIAL ADVERTISING SECTION

T: 203-615-4028 info@italian-terrace.com www.italian-terrace.com

ABOUT

PRODUCTS

Italian Terrace designs and produces exceptional handcra ed terracotta vases, oil jars, statuary and plaques. Made from a blend of superior Italian clay, traditional hand press methods and high temperature ďŹ ring result in pots mellow in color, weathered in texture and durable in strength.

The Italian Terrace brand is synonymous with quality and style and its vases and jars are chosen time and again by world class designers for prestigious estates and homes around the world.

Stock is available from our warehouse in Connecticut or can be despatched direct from our workshop in Italy. To view our range please visit our website at www.italian-terrace.com or get in touch via email or phone to request a brochure.

SPECIAL ADVERTISING SECTION

Planters / Sculptures / Garden Accessories

The Italian Terrace Collection Ltd 34 Warwick Avenue Stratford, CT 06615

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-49

Planters / Sculptures / Garden Accessories

ABOUT

Planters Unlimited delivers exceptional commercial grade fiberglass, cellular PVC, wood, and stainless steel planters in endless sizes, shapes, and colors.

Specializing in cutting-edge applications, we also manufacture superior GFRC planters, making revolutionary advances in cast stone technology. Located in Carlsbad, California, Planters Unlimited is known as an innovator.

“Bringing your vision to reality” is more than a catchphrase with us; it’s a fact. We’ve successfully served architects, landscape architects,

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plantscapers, interior designers, and contractors with impeccable customer service for decades.

PRODUCTS

Offering diverse products with countless choices in material, shape, size, color and finishes, all planters are made to exact specifications. Ancillary items include water reservoirs, saucers, custom logos, casters, false bottoms and lighting. We also offer hanging baskets and brackets, dock boxes, custom artificial hedges, topiaries, bamboo, and trees.

2017 PRODUCT DIRECTORY

Planters Unlimited 6056 Corte Del Cedro Carlsbad, CA 92011

T: 760-598-9888 sales@planters unlimited.com www.planters unlimited.com

PERFORMANCE

practices. Outcomes include: fiberglass and PVC planters’ extended use, resulting in fewer replacements; fiberglass planters that mimic wood reducing wood use; and many of our wooden planters are constructed from recycled or reclaimed wood.

All materials used in our planters are manufactured for longevity.

Planters Unlimited fiberglass is lightweight, durable, and unaffected by freeze/thaw cycles. Our leading composite PVC mimics the look of wood yet won’t rot, mildew, split, or warp. Our Armorecoat finish is authentic metal, available in aluminum, bronze, copper, and Cor-Ten. S U S TA I N A B I L I T Y

Reducing waste, reusing materials, and conserving energy are at the forefront of our sustainability

SPECIAL ADVERTISING SECTION

T: 305-895-9525 F: 305-895-7879 lblondin@terracast products.com www.terracast products.com

ABOUT

PRODUCTS

Terracast Products is an American owned and operated company.

We use environmentally friendly materials and practices. One of our environmentally friendly materials is the unique resinblend that we use to create our eco-friendly products. As the leading manufacturer and vendor of Roto-Molded planter planters and the only manufacturer of our proprietary, true composite PolySteel™ lamp posts in the world, we are committed to the health and well being of the economy, the planet, and the future.

Terracast Products manufactures architectural grade decorative planters and light poles. Both lines are made from our environmentally friendly resin which produces very durable, relatively lightweight products. The planter line offers over 30 styles, in over 100 sizes.

Planters are available in 33 colors, of which 7 are of granite design.

SPECIAL ADVERTISING SECTION

PERFORMANCE

Terracast Products are rotomolded from Linear Low Density Polyethylene resins that offer a unique combination of lightweight

yet durable products. The planters are used in pedestrian plazas as decorative barriers from vehicular traffic. The light poles are impervious to sun, rain, and salt for years of low maintenance performance.

using some of the original molds used by our founders 30+ years ago. That’s green!

S U S TA I N A B I L I T Y

At TerraCast®, our resin is up to 100% post-consumer recycled materials. The ovens we use to “cook” our molds to make our products are heated with natural gas and our cooling chambers use reclaimed water. We take such good care of them that we are still

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-51

Planters / Sculptures / Garden Accessories

Terracast Products 4400 NW 19th Avenue Unit K Pompano Beach, FL 33064

Planters / Sculptures / Garden Accessories

ABOUT

PRODUCTS

Tournesol Siteworks is the connection between landscape + architecture. As a manufacturer of products for commercial landscapes for over 30 years, we have become the premier solution provider of products for rooftops, terraces, streetscapes, public institutions and hospitality projects nationwide. Tournesol makes a complete range of pots and planters, self-watering irrigation, and site furnishings, as well as turnkey commercial fountains and security planter barriers.

• The widest range of commercial-quality lightweight pots, planters, hanging planters and planter screens • Exterior and interior living wall and trellis systems • Roo op patio systems: adjustable paver pedestals, Boulevard thermally-modified wood tiles, and decking • Site furnishings in a range of materials • Turnkey fountains up to 40’ dia.

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PERFORMANCE

Our project management

2017 PRODUCT DIRECTORY

Tournesol Siteworks 2930 Faber Street Union City, CA 94587

T: 800-542-2282 F: 800-542-2282 info@tournesolsite works.com www.tournesolsite works.com

capabilities, including extensive custom engineering support, have made us into the go-to large project provider in the industry.

We’ve been able to solve specifiers’ problems with a range of innovative materials, creating complete solutions for roof decks, terraces, and public spaces.

offers durability, longevity (25+ years rot and decay resistance) that no other domestic hardwoods can offer.

S U S TA I N A B I L I T Y

Our Boulevard thermallymodified wood offers the first real sustainable domestic alternative to imported ipe and other South American hardwoods. Made from sustainable FSC® hardwoods, it

SPECIAL ADVERTISING SECTION

T: 877-227-8538 BartlettTreeExperts@ Bartlett.com www.bartlett.com

ABOUT

disease management, fertilization and soil management, cabling and bracing, tree lightning protection systems, and tree/stump removal.

In addition, our services include tree preservation on development sites, tree risk assessment and complete tree inventory, and tree management plan development using the latest technology.

Bartlett Tree Experts was founded in 1907 by Francis A. Bartlett and is the world’s leading scientific tree and shrub care company. The organization’s current chairman, Robert A. Bartlett Jr., represents the third generation of Bartlett family management. Bartlett has locations in 26 U.S. states, Canada, Ireland, and Great Britain. Its corporate offices are located in Stamford, Connecticut.

PRODUCTS

Bartlett cares for and preserves the health of trees and shrubs.

We focus on pruning, pest and

SPECIAL ADVERTISING SECTION

PERFORMANCE

Bartlett is rooted in a scientific approach to the products and services we provide to clients. Our research staff ensures that we offer clients tree care that has science behind the stated results. We are

also driven by client service and realize that the most important part of tree care is our clients.

Plants / Soils / Planting Materials

Bartlett Tree Experts 1290 E. Main Street Stamford, CT 06902

S U S TA I N A B I L I T Y

Bartlett has led the sustainability movement as early as the 1970s and was the first firm to bring Integrated Pest Management principles into operational practice.

Our commitment to sustainable practices continues today with the use of beneficial insects and environmentally friendly materials and, most recently, the use of biochar to improve growing conditions.

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-53

Plants / Soils / Planting Materials

Citygreen Systems LLC 515 S Flower Street Los Angeles, CA 90071

ABOUT

PRODUCTS

At Citygreen, we love trees. In fact, we think they hold the key to better cities — and a better world.

Informed by years of comprehensive research and development, our urban landscape solutions offer the very best in cutting-edge technical design. Not only are they the strongest available by far, our structural modules are also the greenest — made from 100% recycled plastic — evidence of our commitment to the environment.

We want sustainable green space to be within reach of every person, every day — and we’re on a mission to make it happen.

Groundbreaking green infrastructure products for landscape architects, arboriculturists, urban foresters, urban planners, developers, engineers, and local government authorities.

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PERFORMANCE

Stratavault© and Stratacell© structural modules are the strongest available by a very large factor, making them suitable for use under high-traffic surfaces, including areas frequented by heavy machinery such as excavation equipment and cranes.

In fact, one Stratavault module

2017 PRODUCT DIRECTORY

T: 888-999-3990 F: 888-999-3990 ben.gooden@city green.com www.citygreen.com

alone can support the weight of a 10 ton truck!

S U S TA I N A B I L I T Y

Stratavault© and Stratacell© structural modules are made from 100% recycled plastic. We take plastic waste, granulate it, formulate it to exacting standards, and then injection mould it into incredibly strong modules — providing a huge environmental benefit.

SPECIAL ADVERTISING SECTION

T: 800-873-3321 F: 814-336-5191 sales@ernstseed.com www.ernstseed.com

Plants / Soils / Planting Materials

Ernst Conservation Seeds 8884 Mercer Pike Meadville, PA 16335

ABOUT

Founded in 1964, Ernst Conservation Seeds grows, processes and sells over 400 species of native and naturalized seeds and bioengineering materials for sustainable landscaping, ecological restoration, beautification, reclamation, conservation, and pollinator habitat.

The company identifies, collects and propagates new species and regional ecotypes that meet its clients’ unique needs, from eastern Canada to the southeastern United States.

SPECIAL ADVERTISING SECTION

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-55

Plants / Soils / Planting Materials

Proven Winners® ColorChoice® Flowering Shrubs 12601 120th Avenue Grand Haven, MI 49417

ABOUT

PERFORMANCE

Proven Winners® ColorChoice® is the brand name of Spring Meadow Nursery, Inc., a market leader in flowering shrubs, potted liners, and starter plants, and located in Grand Haven, Michigan.

The four varieties pictured: • Sugar Shack® Buttonbush Cephalanthus • Yuki Cherry Blossom™ Deutzia • Kodiak® Black Bush Honeysuckle Diervilla • North Pole® Arborvitae Thuja are durable, reliable, low maintenance shrubs that perform well in the landscape.

PRODUCTS

Proven Winners® ColorChoice® Flowering Shrubs offers over 240 varieties of shrubs, including: • Incrediball® hydrangea • Lo & Behold® butterfly bush • Bloomerang® reblooming lilac • ‘Sweet Summer Love’ clematis For more information, visit www.

ProvenWinners-Shrubs.com.

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T: 517-881-9656 mark@springmeadow nursery.com www.provenwinnersshrubs.com

of plant attributes are available including fine foliage, drought tolerance, deer resistance, multiseason interest, and showy blooms.

S U S TA I N A B I L I T Y

Proven Winners® ColorChoice® Flowering Shrubs provides high quality shrubs perfect for a wide range of landscape projects. With over 240 varieties, a wide variety

2017 PRODUCT DIRECTORY

SPECIAL ADVERTISING SECTION

F: 818-766-8482 Vitamin Institute info@superthrive.com 12610 Saticoy Street South www.superthrive.com North Hollywood, CA 91605

PRODUCT

SUPERthrive®’s non-toxic vitamin solution has been used to invigorate all variety of greenery from orchards, sports fields, and tree farms to residential lawns and gardens since 1939. SUPERthrive® encourages the natural building blocks that plants make for themselves under optimum

SPECIAL ADVERTISING SECTION

conditions. The timeless formula can be integrated into a variety of growing regimens, including hydroponics and hydroseeding.

With such versatility and superior performance, SUPERthrive® truly remains “the original vitamin solution.”

Plants / Soils / Planting Materials

ABOUT

What’s new? Now this highly concentrated formula is available in two new sizes — 2.5 gallon and 5 gallon pails — making it even more convenient and economical to apply to larger scale growing needs.

S U S TA I N A B I L I T Y

SUPERthrive® is essential during dry months. By improving vigor, plants and trees require less frequent watering while maintaining continued health.

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-57

Street Furnishings and Site Amenities

ABOUT

Since 1970, ANOVA® has been a leader and innovator in site furnishings that enhance the beauty and comfort of public spaces.

We were the first to introduce aggregate panels. In the 1990s, we patented coating technologies that yield superior performance and durability. Today, we continue to push the boundaries of design and manufacturing to create first-quality products that provide value to our customers and elevate the life of our communities.

Anova creates first and lasting impressions, building places that

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engage, inspire and will sustain over time.

PRODUCTS

Anova’s portfolio of products spans modern, classic, traditional and natural collections of benches, tables, trash receptacles, bike racks, and planters. You will find comfortable and ergonomic products in exciting new forms that blend beauty with industry-leading performance.

PERFORMANCE

Many Anova furnishings feature the patented Fusion Advantage™

2017 PRODUCT DIRECTORY

ANOVA 211 N. Lindbergh Blvd.

St. Louis, MO 63141

T: 314-535-5005 sue@anova furnishings.com www.anova furnishings.com

technology for unsurpassed durability. This finish carries a 7-year warranty against rusting, fading, peeling, chipping, cracking, mold and mildew and a limited 20year structural warranty.

• Utilizing recycled materials • Offering items that contribute to LEED certification

S U S TA I N A B I L I T Y

Public spaces are not just our business — they are our responsibility. Anova looks for new ways to meet and exceed our customers’ expectations for high quality, environmentally friendly products by: • Adopting sustainable processes and materials, such as bamboo

SPECIAL ADVERTISING SECTION

T: 714-895-3359 F: 714-898-5109 carolyn@archpot.com www.archpot.com

ABOUT

PRODUCTS

Architectural Pottery is a leading manufacturer of high quality Glass Fiber Reinforced Concrete Fire Tables, Landscape Containers and Water Bowls. For over 20 years we have been developing and refining our casting and finishing techniques to deliver a distinctively unique and durable product. Containers to fit any style project with unlimited design possibilities — made to order and custom design concrete site furnishings. Made in Orange County, California, with shipping worldwide.

GFRC Fire Tables, Fire Bowls, Fire/ Water Bowls with CSA certified burner systems and Flame Monitoring Technology. GFRC Landscape Containers featuring The Legacy Series and The Geo Series with 70 sizes up to 72”. GFRC Water Bowls, Trash/Recycle Containers, Cast Sandstone Collection and The Frank Lloyd Wright Collection.

SPECIAL ADVERTISING SECTION

PERFORMANCE

• Cast in Fiber-Crete, a proprietary lightweight Glass Fiber Reinforced Concrete mix offering durability

and freeze/thaw protection • Featuring Perma Spec Artistic Finishes with U.V. resistant and anti-graffiti properties • Outdoor/Indoor, Commercial/ Residential and Ground Level/ Roo op applications

of the waste cycle and are low maintenance — no harsh cleaners required.

S U S TA I N A B I L I T Y

95% of the materials used in our proprietary GFRC mix are all natural. Sun-cured finishing with low/no VOC techniques eliminate ovens, saving power and cutting emissions. Long lasting product lifetime helps keep items out

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LANDSCAPE ARCHITECTURE MAGAZINE / PD-59

Street Furnishings and Site Amenities

Architectural Pottery 15161 Van Buren Street Midway City, CA 92655

Street Furnishings and Site Amenities

BRP by bison LLC 603 L Street Lincoln, NE 68508

ABOUT

PRODUCTS

BRP’s lifetime warranty site furnishings have graced some of the most beautiful public spaces for 20+ years. Our creative design, attention to quality and durability, and simple but elegant lines have been the hallmarks of our product line. Our benches, receptacles, and bike racks are 100% recyclable steel, manufactured in the Midwest and shipped fully assembled.

Design collections include vertical slat, horizontal rod, horizontal slat, customizable, and recycled content rebar. New additions include picnic seating plus steel signs and silhouettes.

BRP by bison offers commercialquality powder coated and stainless steel recyclable steel outdoor furniture including benches, bike racks, planters, litter/recycling receptacles, weathered steel silhouettes, and bollards. Colorful “lollipop” colors, tables and chairs, and child-size benches complete the line.

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PERFORMANCE

Our entire product line carries a Lifetime Functional Warranty, and our low-maintenance, durable finishes carry a 10-year warranty.

BRP by bison’s employees believe

2017 PRODUCT DIRECTORY

T: 888-438-5311 F: 888-438-5312 sales@brpbybison.com www.brpbybison.com

in good, old-fashioned common sense and a Midwestern work ethic that encourages innovative thinking that o en leads to engineering improvements and new products.

S U S TA I N A B I L I T Y

All BRP by bison site furnishings are 100% recyclable and are constructed of 95% recycled steel/ iron scrap with low-emitting powder coated finishes. Products including ash and recycling receptacles, seating, and bike racks can contribute to LEED certification, and most major Midwestern cities fall within a 500-mile radius of our factory.

SPECIAL ADVERTISING SECTION

T: 877-283-8518 F: 310-885-1899 info@calpipebollards.com www.calpipebollards.com

ABOUT

lighted, high security/ASTM F265607/M-Rated, or shallow mount bollards in retractable, removable, or embedded styles. Our bollard experts will work with you to determine the exact bollard needed for your application.

With the industry’s broadest range and largest selection of bollards manufactured in the USA, Calpipe Security Bollards meets the aesthetic and functional requirements for a wide range of security, architectural, and landscaping installations. CSB collaborates with project managers and national architectural firms from conceptualization to installation and provides customdesigned bollards to fit your needs.

PRODUCTS

Calpipe Security Bollards offers an extensive range of products from

SPECIAL ADVERTISING SECTION

PERFORMANCE

Our impact-tested and fieldcertified products have been utilized in commercial, industrial, high security, government, military and retail environments. With thousands of bollards to date installed in the US and abroad, we offer experience and expertise from the early stages of design

and specification through final installation.

Street Furnishings and Site Amenities

Calpipe Security Bollards 19440 S. Dominguez Hills Drive Rancho Dominguez, CA 90220

S U S TA I N A B I L I T Y

Calpipe Security Bollards is committed to minimizing their carbon footprint by constantly implementing new environmentally sustainable practices. Our stainless steel bollards are %100 recyclable.

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-61

Street Furnishings and Site Amenities

Canaan Site Furnishings Unit 3, 140 Bentley Street Markham Canada

metal benches, recycled plastic benches to crowd control barriers, sign stands, bike racks, and floor caution signs.

ABOUT

Since 2006, as Canada’s premier source for site furnishings, Canaan offers quality site furniture for public and private spaces across North America. To realize the dream spaces our customers envisioned, Canaan strives to create every piece of furniture with timeless designs and meticulous cra smanship.

PERFORMANCE

PRODUCTS

Our products are made with the finest available materials and modern manufacturing techniques, ranging from waste containers, recycling bins, cigarette receptacles,

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T: 905-305-6638 F: 905-305-6638 sales@canaansf.com www.canaansite furnishings.com

Canaan promises aesthetics, functionality and sustainability in every detail of our site furnishing products. All of our products are manufactured with top quality materials and state of the art workmanship. Canaan strives to exceed customer expectations by continuously improving our site furnishing products.

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T: 800-547-1940 F: 503-223-4530 asla@timberform.com www.timberform.com

ABOUT

for help with unique solutions “For Signature Projects.”

The “Playground Revolution” was initiated by TimberForm designs nearly 50 years ago.

Since its beginning, Columbia Cascade Company has expanded product selection. It encompasses hundreds of wood, metal, and recycled plastic components. In addition to creative playground equipment, the company produces a selection of site furnishings in 20 design families plus bicycle security solutions and outdoor fitness systems. Online catalogs include bid document drawings and specifications. Call or e-mail the company’s design headquarters

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PRODUCTS

The company produces a wide selection of steel, timber, and recycled plastic playground and outdoor fitness systems. Popular playground separates include long, one-piece, stainless-steel embankment slide chutes.

Also offered are benches, litter containers, tables and chairs as well as a wide selection of artful and stylish bicycle racks and lockers. All site amenities can be specified with Buy America compliant steel.

PERFORMANCE

Columbia Cascade products are designed to last. Schedule 40 steel pipe is standard versus thin-walled tubing used by others. All “colored” metal is finished with lead-free powder coating. The tough, 6-mil coating offers lasting performance far superior to liquid finishes. All metal components are offered in over 200 designer colors.

consumer recycled material. Plastic timbers are made from 100% post-consumer HDPE. Timber is obtained from North American sources that adhere to strict and ecologically sound sustained-yield practices.

S U S TA I N A B I L I T Y

Columbia Cascade has long been committed to manufacturing durable and beautiful eco-friendly products. Steel, aluminum, and cast iron used contain 80-100% post-

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Street Furnishings and Site Amenities

Columbia Cascade Company 1300 SW Sixth Avenue Suite 310 Portland, OR 97201

Street Furnishings and Site Amenities

ABOUT

PRODUCTS

DeepStream Designs’ cra smen create planters, bins, benches, wall systems, and custom hotel fixtures with a timeless design.

Our products are engineered and constructed using the principles of sustainable design to endure for generations, reducing the impact on the earth’s resources, and providing the lowest cost of ownership over time. Customization is standard, and we will work with you to create planters and receptacles that fit your projects.

Our lightweight, modular planters were created for rooftops and terraces, but add durable beauty throughout your projects. Custom sizes available in individual planters and multi-section runs.

Our recycling and trash bins are designed for use in key locations where you want to make a great impression, in low-profile and high-volume sizes.

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PERFORMANCE

Our products are built to last, with

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DeepStream Designs, Inc. 2699 Tigertail Avenue #54 Miami, FL 33133

T: 305-857-0466 F: 305-854-3218 dsdmiami@gmail.com www.deepstream designs.com

a lifetime structural warranty.

Our Core Replacement Program will replace any component of our products in case of damage or an unacceptable degradation in finish at manufacturer’s cost.

refinished, rather than thrown away.

When our products are no longer needed, their parts can be recycled.

S U S TA I N A B I L I T Y

Our products are built from primary materials that will last a lifetime.

A combination of thoughtful design, quality materials, and careful cra smanship creates products that are environmentally friendly because they can be repaired and

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T: 717-436-2106 F: 717-436-9839 sales@dumor.com www.dumor.com

ABOUT

space attractive and functional.

Choose from our more traditional designs or from our more recent contemporary designs.

DuMor Inc., a proud U.S. manufacturer of site furnishings, was founded over 30 years ago based on the steadfast belief in providing the best quality product.

This tradition of attention to quality, along with DuMor’s commitment to providing superior customer service, continues today and makes DuMor one of the leading names in the site furnishings industry.

PRODUCTS

DuMor Inc. manufactures a full line of top-quality site furnishings with the style to make any outdoor

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Street Furnishings and Site Amenities

DuMor Inc. P.O. Box 142 Mifflintown, PA 17059

S U S TA I N A B I L I T Y

DuMor recognizes the importance of using recycled material in our entire product line. Our products are composed of three primary materials: steel, recycled plastic and sustainably harvested wood, all of which possess eco-friendly attributes. We utilize pre- and postconsumer recycled materials in all of our products.

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Street Furnishings and Site Amenities

EJ 301 Spring Street East Jordan, MI 49727

ABOUT

PRODUCTS

EJ is the leader in design, manufacture and distribution of quality infrastructure solutions — including architecturally appealing streetscape products. These products adorn the streets of some of America’s greatest cities, and feature cast iron tree grates with matching tree guards. Contact your local EJ Sales Representative from one of our 23 stocking branch locations to find out how our products complement your next hardscape project.

Full line of infrastructure products includes: • Tree grates • Tree guards • Trench grates • Catch basins and curb inlets • Manhole frames and covers • Detectable warning plates • Aluminum access hatches

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PERFORMANCE

EJ tree grates are ADA compliant and encourage healthy tree growth.

Plan and your streetscape will

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T: 800-626-4653 us.sales@ejco.com www.ejco.com

remain beautiful for decades with our expandable tree openings.

Customize your tree grate with logos or light ports. Security bolting is available.

S U S TA I N A B I L I T Y

EJ cast iron products are made in the USA and contain a minimum of 85% recycled materials. Hundreds of tons per day of reusable metals are recycled from automotive, agricultural, or household sources to produce castings for your infrastructure.

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T: 1-800-363-9264 F: 1-866-346-2538 info@equiparc.com www.equiparc.com

ABOUT

PRODUCTS

Enlivening everyday life…

For more than 30 years, Equiparc has been helping to make public spaces more beautiful by manufacturing street furniture that goes way beyond functionality.

We offer a variety of site furnishings by reputable designers as well as customized products specifically made for your projects. Involved in a number of prestigious sites including the Promenade SamuelDe Champlain in Quebec City and the Rotary Play Garden in San Jose, Equiparc site furniture has become a gold standard throughout North America.

Sharing our commitment to conceive stunning and inviting public spaces, Equiparc partners with the best designers to create site furniture that will help you achieve the finest urban environments. We continuously update our designs and range of products so that our benches, tables, waste and recycling receptacles, planters and bike racks enhance every site, enlivening everyday life.

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PERFORMANCE

Equiparc has built a great reputation and expertise by

collaborating closely with the best professionals in landscape architecture, industrial and urban design. We only use the highest density wood species, aluminum, hot dipped galvanized steel, powder coated paint, and stainless steel anchors as well as ultra-resistant recycled plastic. Our knowledge concerning the level of resistance of materials enables you to give life to your ideas with the certainty of a remarkable and durable result.

(FSC certified suppliers) and plastics made from 100% postconsumer products. It is also with utmost respect for the environment that Equiparc uses durable materials which require little to no maintenance.

S U S TA I N A B I L I T Y

Aware of the importance of future generations, Equiparc uses woods from sustainably managed forests

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Street Furnishings and Site Amenities

Equiparc 1001 James-Brodie Saint-Jean-sur-Richelieu CANADA J2X 0C1

Street Furnishings and Site Amenities

ABOUT

PRODUCTS

Forms+Surfaces is a leading designer and manufacturer of site furniture and lighting used in public spaces worldwide. You’ll find our products in city centers, corporate campuses, parks, airports, universities and healthcare facilities. More than the sum of our product lines, we’re an integrated resource with the passion and expertise to help our clients achieve success. No matter the size or scope of a job, we embrace our role as an innovative, responsive partner that landscape professionals rely on and trust.

From benches, bike racks, and litter and recycling receptacles, to lighting, sunshades, and chairs, our products invite creativity and provide real-world solutions for public spaces of all kinds. Choose designs from a single family. Or mix products from multiple groups.

You can easily create a unified look while meeting diverse needs.

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PERFORMANCE

Solid construction, corrosionresistant materials, and highperformance finishes contribute to our products’ ability to stand

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Forms+Surfaces 30 Pine Street Pittsburgh, PA 15223

T: 800-451-0410 F: 412-781-7840 marketing@ forms-surfaces.com www.forms-surfaces.com

up to the long-term challenges of today’s public spaces. We design our products to be as durable as they are beautiful; specify Forms+Surfaces, and you get quality that lasts a lifetime, and designs that will endure.

a knowledgeable sustainability team to help our customers meet sustainability standards worldwide.

S U S TA I N A B I L I T Y

Our products emphasize stainless steel, aluminum, FSC certified woods, low- and no-VOC finishes, and high recycled content and recyclability. We have a comprehensive system to provide reliable, auditable environmental impact data to our clients, and

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T: 714-241-0942 F: 714-241-1874 sales@goodwin international.com www.goodwin international.com

ABOUT

PERFORMANCE

Goodwin International has been importing exceptional quality garden ornaments since 1984, and continues to work with the same families and factories that use designs passed down for generations.

Excellent customer service, quality products, preferred vendor on many commercial and private projects.

Large selection of pottery and garden ornaments in stock.

PRODUCTS

• Italian terra cotta • Vicenza stone garden ornaments • French Anduze Vases • Greek Pottery • Gladdin McBean pottery • Stoneworks cast planters

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Street Furnishings and Site Amenities

Goodwin International Inc. 3121 South Oak Street Santa Ana, CA 92707

S U S TA I N A B I L I T Y

Goodwin International makes every effort to be environmentally conscience with our commitment to safety and health. Our line of products is of 100% natural materials.

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Street Furnishings and Site Amenities

Infratech 15700 South Figueroa Street Gardena, CA 90248

ABOUT

PRODUCTS

Whether you’re working on a destination resort, hip new restaurant, upscale hotel or premium residential design project, Infratech can make your property more inviting than ever. Our products enhance the comfort of your space while complementing the integrity of your design.

Our heaters are 93 % energy efficient, emit zero emissions and are proudly made in the USA. We support them with excellent customer service and the most extensive warranties in our industry.

Whether dining alfresco, hosting a courtyard party, enjoying an intimate evening on the terrace or relaxing at home, outdoor venues come in all shapes and sizes.

This is why Infratech offers the widest range of heaters, installation options, color choices and control capabilities to create comfortable spaces.

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PERFORMANCE

Infratech has been the leader in infrared heating technology for more than 50 years. With our all electric heating solutions you heat

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T: 800-421-9455 F: 310-523-3674

people and objects, not the air.

As a result, not only are our product energy efficient, but inexpensive and simple to operate.

S U S TA I N A B I L I T Y

Our heaters are 93% efficient, made from recyclable materials, emit zero emissions and operate silently.

Once the heaters are installed your clients will have virtually no maintenance or cumbersome tanks to refill.

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T: 800-284-8208 F: 724-284-1253 sales@keystoneridge designs.com www.keystoneridge designs.com

ABOUT

full range of unique and inspired site amenities to suit any landscape environment including benches, litter receptacles, bike racks, tables sets, recycling containers, planters, ash urns and bollards. From timeless, classic designs to contemporary, innovative solutions, we offer a diverse collection of patented, powder-coated steel designs and customizable alternatives.

Keystone Ridge Designs, Inc. is a team of people dedicated to making public spaces more beautiful and functional with the addition of site furnishings. Our mantra is to deliver excellence in all that we do, from the manufacturing of our quality benches, bike racks, litter receptacles, and more, to our exceptional customer service.

We are a company guided by core values of how to do business, how to treat people and how to make great products.

PRODUCTS

Keystone Ridge Designs offers a

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PERFORMANCE

Keystone Ridge Designs products are distinctive not only in design but also in their quality, durability and on-site performance. Our site furnishings are hand-cra ed

in the USA with complete weldseams, commercial-grade recycled materials and our trademarked Keyshield® finish that protects each piece from chipping, cracking and UVA damage.

Street Furnishings and Site Amenities

Keystone Ridge Designs, Inc. 670 Mercer Road Butler, PA 16001

S U S TA I N A B I L I T Y

Keystone Ridge Designs remains aware of the issues that face the environment and we strive to be conscious of how our designs and manufacturing processes can contribute to a greener community.

From products that innately support LEED® building initiatives, to the use of recycled materials, we constantly maintain sustainability initiatives.

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Street Furnishings and Site Amenities

Kornegay Design 212 S. 18th Street Phoenix, AZ 85034

ABOUT

PRODUCTS

Kornegay Design products combine timeless design, quality cra smanship and enduring structural integrity. Rooted in a soulful affinity with the landscape and inspired by a lifetime of dramatic architectural imagery, designer Larry Kornegay offers distinctly original cast concrete and wood site furnishings. Our steadfast commitment to quality and customer service has made Kornegay Design a stand-alone favorite among architects and landscape architects for fine site furnishings.

Beautifully designed and cra ed, Kornegay Design’s cast concrete landscape containers, trash receptacles and seating options offer an aesthetic solution to fill the practical needs of exterior placemaking. Custom design by Larry Kornegay is always available.

We offer a wide range of integral color options as well as custom colors.

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PERFORMANCE

Made to withstand extreme weather environments and heavy pedestrian traffic, Kornegay Design

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T: 877-252-6323 info@kornegaydesign.com www.kornegaydesign.com

products combine timeless design with enduring structural integrity.

S U S TA I N A B I L I T Y

We use a by-hand casting and mold filling process that requires less water and electricity, resulting in minimal waste. 98% of the materials in our standard concrete mix are extracted within a 500-miles radius of our central Phoenix facility. The architecturally elegant Maple-Pile Series is constructed of thermally modified FSC Certified red maple.

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T: 800-430-6205 F: 269-381-3455 michelleo@landscape forms.com www.landscape forms.com

ABOUT

seating, shelters and signage, to bike racks and bollards, litter receptacles and LED lights. Our solutions are evidence — and experience — based and address the needs of our customers and emerging issues in the landscape.

Landscape Forms is the industry leader in integrated solutions of high-design site furniture and advanced LED lighting. For more than 45 years we have produced site furnishings that help designers and other clients achieve beautiful, functional environments that enhance the experience of outdoor space. Our secret is simple. Design, Culture and Cra drive everything we do.

PRODUCTS

Landscape Forms solutions include a wide range of elements from

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PERFORMANCE

Your complete satisfaction and future business are our goals.

Standing behind our products has been a cornerstone of our commitment to quality and service.

Our products will satisfactorily perform their intended function for many years. It is experience and

skill, precision and pride that drive the signature cra of our product.

Street Furnishings and Site Amenities

Landscape Forms 7800 E. Michigan Avenue Kalamazoo, MI 49048

S U S TA I N A B I L I T Y

With our roots in the landscape and a stated purpose to “Enrich Outdoor Spaces,” Landscape Forms has a special relationship to the natural environment. We have always been mindful that as we design and manufacture products that are acted upon by the environment, as we act upon it in turn.

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ABOUT

There is no limit to your design ideas with the lightness and flexibility of Serge Ferrari composite materials. Serge Ferrari is the manufacturer of high performance textiles used globally for solar protection, furniture upholstery and sling, building façades, tent structures and much more. For the last 40 years, Serge Ferrari has been at the forefront of fluid design and construction with its cutting edge technologies.

PRODUCTS

Serge Ferrari’s wide range of fabrics, with a variety of aesthetic

and performance characteristics, enable designers complete freedom in design: open weave or waterproof, opaque or translucent, and in a wide range of colors and textures, even printable. The Soltis®, Precontraint®, Stam®, Batyline® and Stamskin® products have been used worldwide.

PERFORMANCE

Serge Ferrari manufactures dimensionally-stable fabrics with its exclusive and patented Precontraint® technology.

This process keeps the fabric under tension during the entire manufacturing process to create

T: 954-942-3600 F: 954-942-5555 marketing.us@serge ferrari.com www.sergeferrari.com

a fabric that is very strong yet lightweight, ensuring exceptional long-term durability and color retention.

S U S TA I N A B I L I T Y

Durable materials enable a longer project life-span, ultimately reducing waste and the depletion of natural resources. Serge Ferrari’s commitment to sustainability goes one step further with its exclusive Texyloop® recycling. Serge Ferrari has collected 7 million square meters of end-of-life fabrics and is recycling them into new raw materials.

INTERNATIONAL TENSION STRUCTURES, SCOTTSDALE, AZ

J. MILLER CANVAS, SANTA ANA, CA

Street Furnishings and Site Amenities

Serge Ferrari North America 1460 SW 6th Court Pompano Beach, FL 33069

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T: 800-937-0203 wel@rosenwach group.com www.site-craft.com

ABOUT

PRODUCTS

Sitecraft has been the architect’s choice for five generations. Along the way, we’ve distinguished ourselves as craftsmen who have mastered cutting curves out of solid wood. We’ve built on this mastery to include custom designs in wood, metal, and recycled plastic, which results in an unmatched repertoire that not only complements but defines your site.

Premium materials, handcrafted attention to detail found only in the finest bench–made furniture, and enduring quality are the signature of Sitecraft.

Sitecra offers a variety of site furnishings including straight and curved benches, planters, and site accents. We offer our products in a variety of woods and a high-density wood substitute called Greenwood.

Sitecra can help you find the material that works best for your site. You envision it, and Sitecra can make it happen.

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PERFORMANCE

Sitecra stands behind all its products. We believe that the best product is one that is easy to maintain. We only work with the

best materials. When designing your site, we can help you pick materials that will not only look beautiful but will withstand the use for years to come.

Street Furnishings and Site Amenities

Sitecraft 43-02 Ditmars Blvd.

Astoria, NY 11105

S U S TA I N A B I L I T Y

Sitecra believes that sustainability is important. We work with suppliers who put sustainability as a priority. We offer FSC® certified and reclaimed lumber as an option for most of our wood products.

Sitecra seeks to meet the needs of today’s customers while keeping in mind the needs of tomorrow’s customers.

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Street Furnishings and Site Amenities

SiteScapes Inc. P.O. Box 22326 Lincoln, NE 68542

ABOUT

PRODUCTS

A leading designer and manufacturer of steel and powdercoated furniture, SiteScapes has been offering high quality site furnishings since 2001. Since its beginnings, SiteScapes has been determined to provide high quality products at affordable prices with a focus on reliable customer service.

Dedicated to remaining current in the marketplace, SiteScapes works hard to produce innovative, durable, functional and attractive site furniture. All of SiteScapes furniture collections are rugged and designed to weather the rigors of any urban environment.

SiteScapes’s product catalog includes many styles and aesthetics. Furniture designs span modern and contemporary pieces to historic and heritage products.

Products include park benches, trash receptacles, recycling bins, planters, bike racks, tables, chairs, tree grates and guards and more.

SiteScapes can also design and produce custom products.

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PERFORMANCE

SiteScapes is dedicated to providing a comprehensive line of durable, steel site furnishings and offers a 20 year structural warranty on all

2017 PRODUCT DIRECTORY

T: 888-331-9464 F: 402-421-9479 info@sitescapesonline.com www.sitescapesonline.com

products. SiteScapes products offer unlimited design flexibility for design and landscape professionals, while providing quick and easy installation for contractors, maintenance crews, or municipal personnel.

S U S TA I N A B I L I T Y

SiteScapes strives to make all of its products as sustainable as possible, by using environmentally friendly production methods, and designing durable, low maintenance site furnishings. SiteScapes products utilize 99% post consumer recycled steel for all steel bar product and 70% recycled steel sheet for all laser cut products.

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T: 800-368-2573 F: 410-257-7579 sales@victorstanley.com www.victorstanley.com

ABOUT

and cost efficiencies across the country. Relay also conveys system temperature, weight, location via GPS and collection status, in realtime and historically, for planning, scheduling, and routing collections more efficiently — an estimated 20-40% reduction in collection expenses.

Victor Stanley, a leader in quality site furnishings, helps you bring your visions to life. From benches and litter receptacles to bike racks and planters, we meticulously design, engineer, and manufacture every detail to ensure our site furnishings will withstand the test of time. Founded over 50 years ago, we help create a place for people to gather, live life, and make timeless moments.

PRODUCTS

Victor Stanley Relay™ Sensor and Service, which continuously monitors fill level, is boosting time

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PERFORMANCE

An all-in-one solution, Relay features fully integrated sensors within new and existing Victor Stanley litter receptacles and recycling stations, wireless communications, and dedicated web portal for access to container

conditions. Relay uses technology, sensors and web services which we designed, built, and own, so you can rely on our product.

Street Furnishings and Site Amenities

Victor Stanley 2103 Brickhouse Road Dunkirk, MD 20754

S U S TA I N A B I L I T Y

Victor Stanley Relay™ monitors the fill levels and weights of all containers, so that they can be collected at the optimal time.

This service saves on collection expenses and ensures resources are allocated efficiently, while reducing fuel costs, carbon footprints, and unsightly overflowing waste.

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Street Furnishings and Site Amenities

Wishbone Site Furnishings T: 1-866-626-0476 210-27090 Gloucester Way sales@wishboneltd.com Langley, BC V4W 3Y5 www.wishboneltd.com Canada

ABOUT

PRODUCTS

Wishbone Site Furnishings is a proud North American manufacturer raising the bar on innovation and design while maintaining practicality and functionality in site furnishings since 1995. We build exceptional products, provide incomparable service, and deliver outstanding value. Our products delight customers and users alike, not just when they are new, but even a er many years of active service.

Longevity and ease of maintenance are as important to our designs as style and uniqueness.

Wishbone’s product catalog includes many different styles and designs, from classic to contemporary. Benches, picnic tables, coffee tables, bike racks, bollards, recycling stations, waste receptacles, planters, and more.

We also work with many clients on custom designs. Our products are municipal grade and are designed to fit all environments.

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PERFORMANCE

Wishbone products are backed with a 10 year limited warranty.

By managing all stages of

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manufacturing we ensure the absolute highest quality, from our castings to our powder coating process. Made to withstand all weather conditions and heavy usage, our products are extremely functional and durable.

100% recycled car and truck rims.

At end of their life cycle, products can be recycled again.

S U S TA I N A B I L I T Y

We believe great products do not need to come at the expense of the environment. All Wishbone products are made from recycled or sustainable materials. We use 100% co-mingled recycled plastic planks, and our foundry produces aluminum castings that come from

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T: 818-993-8448 F: 818-993-9678 contact@customshade canopies.com www.customshade canopies.com

ABOUT

sails, canopies and umbrellas for an array of commercial applications.

Our custom tension shade systems will significantly lower temperatures, providing up to 98% shade and up to 98% UV protection.

• Shade Sails • Shade Canopies • Umbrellas • Retractable Umbrellas • DSA Approved Canopies • Custom Designs

Established in 1994, Custom Canopies is THE leading manufacturer of quality shade canopies, sails and umbrellas for commercial applications.

We’re dedicated to bringing our customers’ visions to life through the use of our cutting edge technology and engineeredmade materials, which we ship across the U.S. From concept to implementation, you can design and build confidently with Custom Canopies as your partner.

PRODUCTS

Custom Canopies makes shade

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PERFORMANCE

Our products are built to last with a 20-year steel and 10-year fabric warranty. Our canopies and sails are created by industry leading

designers and engineers who possess the special expertise and experience demanded by architects and required by all IBC, local and government building codes and standards.

Structures

Custom Canopies, Inc. 9939 Canoga Avenue Unit D Chatsworth, CA 91311

S U S TA I N A B I L I T Y

Custom Canopies is committed to enhancing our outdoor recreational environments with durable, long life-cycle products. All of our HDPE fabric is 100% recyclable and is backed by a 10-year warranty. Our powder coated steel posts and frames are warranted for 20 years.

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Structures

Gothic Arch Greenhouses Inc. P.O. Box 1564 Mobile, AL 36633-1564

T: 251-471-5238 F: 251-471-5238 bsierke@gothicarch greenhouses.net www.gothicarch greenhouses.com

ABOUT

At Gothic Arch Greenhouses, our mission is to design, develop, and manufacture the best environmentally-specific Conservatories, Greenhouses, Sunrooms, Pool Enclosures, and Skylights in the world. We analyze our customers’ expectations and combine their ideas with our technology to create the ideal environment. Our architectural innovations have the ultimate goal of creating long-lasting structures, which are the perfect balance of design and function.

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T: 844-422-6679 F: 844-422-6679 sales@infinitycanopy.com www.infinitycanopy.com

ABOUT

either direction or in the middle • Add vertical panels to either or both ends for additional shade and privacy • Control the flatness and bellowing of each panel • Lock individual panels in place or remove panels for open space • Add & remove sections and panels to create new designs

Infinity Canopy is the most dynamic and versatile shade system in the world. Its patented modular design allows it to adapt to any space, be configured in one or multiple colors, and change within minutes to create new designs and patterns.

Unlike other canopies that are made of one long piece of fabric, Infinity Canopy is comprised of individual fabric panels that connect together to create shade sections of any length in one or multiple colors.

PRODUCTS

Product Features: • Open and close the canopy from

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PERFORMANCE

Infinity Canopy is made with the highest quality marine grade stainless steel and anodized aluminum that last for decades in the harshest conditions. The fabric panels are made with awning

grade solution died acrylic and mesh by Sunbrella and other high performance outdoor fabrics that maintain their beauty for years.

Structures

Infinity Canopy 12121 Wilshire Blvd.

Suite 1012 Los Angeles, CA 90025

S U S TA I N A B I L I T Y

Unlike ordinary shade products that have a limited life span and must be replaced completely at some point, Infinity Canopy can be repaired onsite with replacement parts and individual shade panels to last for decades with minimal cost and effort. The canopy hardware lasts for decades allowing the canopy to be renewed with new fabric panels.

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Structures

Poligon 4240 136th Avenue Holland, MI 49424

ABOUT

Poligon is the leader in the design, engineering, and manufacturing of open-air shade structures.

From your first ideas to completed installation, Poligon’s streamlined process makes creating the perfect structure for your site easy and efficient. Poligon offers endless options to suit your site-specific requirements along with the best precision-cut components and reliable engineered construction.

Every structure is protected in our

T: 616-399-1963 jengra@portercorp.com www.poligon.com

Poli-5000 powder coat for many years of superior durability. Expect the best.

PRODUCTS

Poligon’s open-air shade structures can stand alone or be incorporated into existing structures and designs.

We offer pavilions, trellises, amphitheaters, walkway covers, entrance canopies, and countless other options only limited by your imagination.

design by VIRIDIS Design Group

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T: 888-285-4624 F: 978-630-8725 sales@trellis structures.com www.trellis structures.com

ABOUT

ship across the country, providing complete drawings and installation instructions.

Trellis Structures produces high quality western red cedar pergolas, arbors and trellises. We offer complete design services or will build to your specifications.

O en consulted prior to the bidding process to help resolve issues involving custom pergola applications, we are interested in working with you to ensure a successful outcome for your commercial and residential projects. Our services include: design collaboration, 3–D computer modeling, and fabrication. We

SPECIAL ADVERTISING SECTION

PRODUCTS

Along with our line of arbors and trellises, we produce a variety of custom pergolas for hotels, shopping malls, municipalities and private homes. The custom projects have ranged from contemporary roo op pergolas to classic columned pergolas. Our structures can incorporate shade cloth or acrylic roofs in a large variety of styles.

PERFORMANCE

Our products are designed to meet each client’s specific needs.

The structures are engineered with site, geographic and code requirements in mind, using the finest natural materials available.

We manufacture with clear, vertical grain western red cedar, kiln dried.

This quality of wood fiber ensures longevity, stability, a beautiful even grain, and an overall uniform appearance, whether the wood is stained or le to grey naturally.

They are designed to meet functional requirements, whether

for shade, a specific vine support or a particular aesthetic.

S U S TA I N A B I L I T Y

Our choice of material is western red cedar, sustainably harvested from responsibly managed forests.

Cedar is a renewable resource. It is a recyclable, nontoxic material.

The low embodied energy of cedar (it takes little energy to produce) and the longevity of the material contribute significantly to its high rating for sustainable, low– impact usage.

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-83

Structures

Trellis Structures, Inc. 25 North Main Street P.O. Box 408 E. Templeton, MA 01438-0408

Structures

ABOUT

PRODUCTS

Walpole Outdoors was founded in Massachusetts in 1933. The original wood of choice was northern white cedar. Products are now also offered in several woods, metal, and in AZEK cellular PVC. This low maintenance material has the look and feel of natural wood, yet won’t rot, split, or warp. Walpole is the nation’s largest and most experienced cellular PVC fabricator.

Other innovations include inline coating of factory finish stain or paint. Walpole has stores and authorized partnerships nationwide.

Walpole Outdoors handcra s more than 40 standard fence styles, pergola kits, and custom pergolas in AZEK cellular PVC or wood, with or without a retractable canopy.

Other products include gates, lattice and trellis, outdoor structures, furniture, small buildings, mail posts and mailboxes, lantern posts, window boxes, planters, and planter boxes.

PD-84 / LANDSCAPE ARCHITECTURE MAGAZINE

PERFORMANCE

Working from drawings or photographs, Walpole will replicate

2017 PRODUCT DIRECTORY

Walpole Outdoors 767 East Street, Rt 27 Walpole, MA 02081

T: 800-343-6948 F: 508-668-7301 sales@walpole woodworkers.com www.walpole woodworkers.com

historical fences, finials, and railings. Completed handcra ed projects include the Ocean House, Watch Hill, RI, and the Linden House, Washington, DC. Walpole has appeared on public television’s This Old House and our experience includes schools, colleges, restaurants, and assisted living facilities.

PVC products. This low maintenance material has excellent moisture, rot, and termite resistance. Our outdoor products save on long-term care, repair, replacement, and are designed to last.

S U S TA I N A B I L I T Y

Today’s customers, who value their time relaxing and entertaining in their own back yards, are drawn to Walpole’s handcra ed AZEK cellular

SPECIAL ADVERTISING SECTION

T: 610-374-5109 stormtank@brentw.com www.brentwood industries.com/stormtank

ABOUT

PRODUCTS

Brentwood is a leading manufacturer and supplier of engineered systems for the water, wastewater, and stormwater industries with a focus on plastics innovation. Brentwood’s StormTank is the only multi-solution product line in the stormwater industry capable of providing you with product and service options that have been designed to address your specific project applications.

By partnering with you to evaluate each project, we’re able to determine the best, most costeffective solution for your site.

StormTank systems are ideal for rainwater harvesting, bioretention, and infiltration applications. There are load-rated options for use under parking lots and athletic fields as well as non-load-bearing systems that are used under landscaped areas. Additionally, the Urban Root System promotes tree growth by creating void space for root development.

SPECIAL ADVERTISING SECTION

PERFORMANCE

Advanced quality initiatives with material, part, and process testing ensure consistent strength

and structural performance of the StormTank stormwater management systems. Our flagship product, the StormTank Module, has undergone full-scale, thirdparty installation tests to ensure long-term performance, as well.

potential for debris and oil discharge, preventing pollutants from exiting the system.

S U S TA I N A B I L I T Y

Unmanaged stormwater runoff can carry pollutants to waterways, cause flooding, and erode natural areas. StormTank systems manage runoff to naturally infiltrate into the ground or store it for reuse.

Additionally, the StormTank Shield pretreatment device reduces

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-85

Water Management and Amenities

Brentwood Industries, Inc. 621 Brentwood Drive Reading, PA 19611

Water Management and Amenities

ABOUT

For over 55 years, Roman Fountains has been a pioneering leader in the architectural water feature industry.

We are your one-stop resource for all of your fountain requirements — from concept to completion. With specialized focus on mechanical, electrical, and plumbing, we ensure that your fountain will perform the way it was designed.

DESIGN

Developing a water feature concept can be a complex process but we aim to make it an enjoyable experience for our clients. Roman Fountains has a full library of

PD-86 / LANDSCAPE ARCHITECTURE MAGAZINE

photos and rendering capabilities to help you envision your fountain concept. We will guide you through nozzle selection, lighting choices, and mechanical/electrical location.

During this process, we can address the functionality of the fountain, any safety concerns, budgets, code requirements, utility information, and project schedule. We also offer specifications, cut-sheets, or formal design services in which we will prepare detailed installation drawings, and/or spray effect mock-ups in one of our test tanks.

PRODUCTS

Roman Fountains is an original

2017 PRODUCT DIRECTORY

Roman Fountains 9875 Medlock Bridge Parkway, Suite 250 Johns Creek, GA 30022

T: 877-794-1802 F: 770-300-0074 info@romanfountains.com www.romanfountains.com

equipment manufacturer offering a full line of traditional and interactive nozzles, spray rings, water wall distribution troughs, pre-engineered fountain kits, pool fittings, water level control systems, submersible LED lighting, fountain pumps, filtration, water treatment systems, UL control panels, display and filter pump skids, and ETLlisted direct burial vaults.

consumption. All pump and electrical assemblies are tested and photographed before shipping.

PERFORMANCE

Products and systems are designed and manufactured to strict ISO 9001 quality assurance standards to maximize system performance and minimize energy and resource

S U S TA I N A B I L I T Y

LEED® “green build” benefits with Roman Fountains products and systems include water use reduction, incorporating recirculation systems, promoting water efficient landscaping, providing thermal comfort at the site by reducing the heat island effect, providing ambient noise abatement in urban environments, and optimizing system efficiency and sustainability using energy– efficient products.

SPECIAL ADVERTISING SECTION

T: 514-694-3868 info@vortex-intl.com www.vortex-intl.com

ABOUT

PRODUCTS

With more than 6,000 installations in 35 countries, in public, commercial and entertainment settings, Vortex Aquatic Structures International Inc. is the world leader in aquatic play landscapes and entertainment. Vortex International partners with Landscape Architects to design imaginative, durable aquatic play and water feature solutions that create everlasting memories. Our ongoing mission is to develop fun, safe and reliable products for families and children of all ages and abilities.

Vortex contemporary designs bring play to any landscape or environment. Solutions include our zero-depth Splashpad®, low water flow Spraypoint®, Poolplay™ & Elevations™ for more dramatic installations, and our new Water Journey™, inspired by nature’s flowing streams. We’ll create a dynamic, educational and accessible play area for the whole family.

SPECIAL ADVERTISING SECTION

PERFORMANCE

Advanced water management system options offer various ways

to reuse and recycle water while maintaining fun. Activators ensure that water only flows when users are present and all features are designed with inclusive play in mind. All materials are selected based on durability and quality; features undergo a rigorous inhouse testing procedure.

water and energy consumption.

All solutions are built with durable, recyclable materials, and offer the best operating efficiency and highest standards of water quality in the industry.

S U S TA I N A B I L I T Y

From our manufacturing facility to the aquatic play area, Vortex takes environmental responsibility seriously. Our advanced water management systems help reduce

2017 PRODUCT DIRECTORY

LANDSCAPE ARCHITECTURE MAGAZINE / PD-87

Water Management and Amenities

Vortex Aquatic Structures International 328 Avro Street Point-Claire, Quebec H9R 5W5 Canada

Water Management and Amenities

ABOUT

PRODUCTS

At Waterplay™ we’re passionate about play. With thousands of installations across the world, we’re excited to be a part of the movement toward a healthier, happier, global community by offering innovative play solutions designed for developing minds, thrill seekers, budding explorers, and the young at heart.

Contact us today to experience #theWaterplayDifference and join our movement to connect the world through play.

From freestanding play features designed to splash and spray, to activity towers, architecturallyinspired urban features, and water management solutions, Waterplay’s full suite of products will ensure your next project pushes play outside the bounds of everyday fun and into a world of discovery.

PD-88 / LANDSCAPE ARCHITECTURE MAGAZINE

PERFORMANCE

Waterplay products are manufactured and built to the highest industry standards using

2017 PRODUCT DIRECTORY

Waterplay Solutions Corp.

1451 b Ellis Street Kelowna, BC V1Y 2A3 Canada

T: +1-250-712-3393 info@waterplay.com www.waterplay.com

strong, durable materials and finishings. We are committed to providing a safe, inclusive play environment for all ages and abilities through smart, interactive design and with strict adherence to ASTM and ADA recommendations and standards.

encouraging play spaces that are designed to control water use through activation, sequencing, and water management best practices.

S U S TA I N A B I L I T Y

Waterplay is ISO certified for environmental management processes (14001:2004). We are committed to designing products with low flow rates and

SPECIAL ADVERTISING SECTION

THANK YOU to ASLAโ s Corporate Members

Acker-Stone Industries Amereq, Inc. American Granite Curb Producer ANOVA AquaMaster Fountain and Aerators Architectural Ceramics Artistic Pavers Manufacturing Associated Energy Systems Auroralight, Inc. Ball Horticultural Company Bluestar Landscape Braen Supply Inc Brandon Industries Brentwood Industries Campania International Canaan Site Furnishings Carl Stahl DecorCable Cast Lighting, LLC Chicago Botanic Garden ChromaScape, Inc. Coldspring Collier Metal Speacilities Country Casual Teak Danver Outdoor Kitchens Dasso 'URVW /DQGVFDSH 'X0RU ,QF

EJ emuamericas, llc Enduris Equiparc esri Fisher & Paykel - DCS Appliances )RFXV ,QGXVWULHV ,QF Genesis 3 Design Group Goric Marketing Group, Inc. *HQVXQ &DVXDO /LYLQJ Greenblue Solutions Gunn Sales, Inc Gutierrez Studios +DQG\'HFN ,QF Hearth Products Controls HessAmerica Hunter Industries Interlocking Concrete Pavement ,QWHUQDWLRQDO *UHHQYLHZ /DQGVFDSH 'HVLJQ /LPLWHG ,QYLVLEOH 6WUXFWXUHV ,QF ,URQ $JH 'HVLJQ ,URQVPLWK ,QF ,VDEHOOD 6WHZDUW *DUGQHU 0XVHXP .DIND *UDQLWH //& .DODPD]RR 2XWGRRU *RXUPHW

Key Soft Solutions Kornegay Design, LLC / 0 6FRรฐHOG &RPSDQ\ Landscape Forms Leatzow Insurance Leedcape Planning and Design Live Earth Products, Inc. Liveroof, LLC Living Earth MacLean Power, LLC McGuire and Hester Mirimichi Green Express, LLC Moon Visions Lighting Musco Lighting Mycorrhizal Applications, Inc. 1DWXUDO 3DYLQJ 86$ 1HWDรฐP 86$ NiteLites Outdoor Lighting O&G Industries, Inc. Oasis Landscape Architects Oceanside Glasstile Ohio Gratings, Inc. Oldcastle, Inc. Outdoor Craftsmen Outdoor Environments Group, LLC Pine Hall Brick Company, Inc. PlayCore Playworld Midstates Playworld Systems, Inc. QCP 5DLQ %LUG &RUSRUDWLRQ 5HDG &XVWRP 6RLOV 5RPDQ )RXQWDLQV 6$/8'$ +,// ,1& 6(' /DQGVFDSH $UFKLWHFWV /WG 6KDQJKDL ;LDQ 'DL $UFKLWHFWXUDO 6LHUUD 2XWGRRU 'HVLJQV &DUGLQDO 6\VWHPV ,QF 6LWH2QH /DQGVFDSH 6XSSO\ 6RORPRQ &RORUV 6235(0$ 6RXWKHUQ /LYLQJ 3ODQW &ROOHFWLRQ 3ODQW 'HYHORSPHQW 6HUYLFHV ,QF

Sternberg Lighting Inc. Streetlife BV Sub-Zero Group Inc. Summerhill Landscapes Inc. Sunbrella Sure-Loc Edging, Inc. SYNLawn Stresscrete Group/King Luminaire 7KH ,QGLDQD /LPHVWRQH &RPSDQ\ 7KH 2XWGRRU *UHDW 5RRP &RPSDQ\ Thornton Tomsasetti Tri-State & Building Supply/ Carderock Stone 8QLORFN ValleyCrest - Santa Ana Vectorworks by Nemetschek Victor Stanley Village Nurseries Wholesale, LLC Vortex Aquatic Structures WAC Lighting Walpole Outdoors LLC Waterplay Solutions Corporation WATERTRONICS Wausau Tile, Inc. Whitacre Greer Williams Stone Co. Inc.

Interested in joining this exclusive group? Email advertising@asla.org or call 202-216-23 5.

EDUCATIONAL – ADVER TISEMENT

THE FUTURE CONTINUING EDUC ATION L E A R N I N G O B J EC T I V E S 1. Discuss innovations and futuristic objectives for using shade structures constructed with fabric in commercial architecture. Ó° Ý« > Ü Ã >`i structures made of fabric can add both appealing design and functionality to building structures. ΰ iw i Ì i Li iwÌà v à >`i structures for personal health and UV protection.

4. Discuss how the use of ÌiÝÌ ià à >`i ÃÌÀÕVÌÕÀià can positively impact thermal performance and i iÀ}Þ ivwV i VÞ°

A CONTINUING EDUC ATION PRE V IE W SPONSORED BY SUNBRELL A ®

1 AIA LU/HS W HOUR (#AEC 889) OR 1 GBCI CE HOUR (#AEC 889)

5. List LEED credits to which awnings and solar shades can contribute directly.

Learn more about the future of shade by completing this continuing education course at sunbrella.com/fosceu To receive credit for this course, you must read the entire article available on ce.architecturalrecord.com and pass the free test.

Conceived as an iconic shade structure for the popular Miami Design District, Quasicrystals was awarded the grand prize in the Building Shade category of the Óä£È ÕÌÕÀi v - >`i V «iÌ Ì °

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EDUCATIONAL – ADVER TISEMENT

OF SHADE

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COMPONENTS I N S U S TA I N A B L E ARCHITECTUR AL DESIGN

Increasingly, shade structures begin the design conversation. This is particularly so in commercial buildings, those in sunny climates, those which will inhabit a warming planet (this one), and by architects looking for new ways to create built environments in harmony with nature’s forces. The future includes a conscious intention toward shade structures.

T H E E VO L U T I O N O F S H A D I N G FA B R I C S In order to appreciate the future of shade and position oneself on the leading edge of this movement, it helps to review the past, the long history of using fabrics as architectural add-ons, and how the practice has evolved.

Prior to the 1960s, most awnings and shading fabrics were made of cotton canvas, which the sun broke down quickly. In 1961, the owners of one of the oldest, most respected fabric brands decided to change the nature of shading materials the company had been making since the 1880s. They replaced cotton Ü Ì >VÀÞ V wLiÀà > ` «Ài iÝÌÀÕà « } i Ìà > ` vviÀi` > Õ i>À` v Ü>ÀÀ> ÌÞ v wÛi Þi>Àð / iÞ ÜiÀi `ÕLLi` º«iÀv À > Vi v>LÀ Vð» In the 1970s, performance fabrics got the attention of boaters, and the outdoor vÕÀ à }à `ÕÃÌÀÞ iÝ« `i` Ü Ì Ì iÃi iÜ] } >ÃÌ } ÞiÌ « >L i v>LÀ Vð £ nn] 7 LiV> i Ì i wÀÃÌ V>À LÀ> ` Ì >` «Ì Ì Ã V «> ޽à v>LÀ Và v À Ìà convertible models.

Hanging Parasol Garden combines sun shading, illumination, water collection and climbing plants into one innovative shade system.

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By the early 2000s, as the green building movement gained momentum with the U.S. Green Building Council’s LEED rating program, more attention was paid to the sustainable nature of performance fabrics. As high-performing shade fabrics last longer, people use less fabric and thus generate less waste as compared to other fabrics that might fade, lose strength or give in to mildew and atmospheric chemicals. In fact, some fabrics can be recycled through > Õv>VÌÕÀiÀ ÀiVÞV } «À }À> Ã] Ài`ÕV } «>VÌ > `w ð S I G N AG E A N D B R A N D I N G W I T H FA B R I C S As the use of shading fabric continues its trajectory in modern architecture, its use as a business branding strategy spans the decades. Historically, a print canvas canopy over a cigar shop or beauty parlor signaled the establishment’s presence to passersby. While that design practice continues today, modern corporate branding with fabric is often spectacular, with enormous printed banners moving in the breeze. They are a signal to passersby and even passing aircraft that business or cultural events are happening there. The colors of the shading fabric convey their own branding message, tying into the corporate, V «> Þ] i`ÕV>Ì > ] À «À wÌ À}> â>Ì ½Ã `i Ì ÌÞ° E X PA N D I N G S PAC E Shading strategies in corporate, cultural and residential settings create copious amounts of added space for meetings, gatherings, meals and leisure. While Ì i V ÃÌ v Ü> à > ` > À v V Õ ` Li «À L Ì Ûi] > ` ÃÌ i Þ iÝVii` } > particular lot’s allowable square footage of structure, the addition of shaded ºÀ û LiV ià > « Ãà L i Ü>Þ Ì iÝ«> ` Ì i > Õ Ì v ÕÃ>L i ë>Vi° >LÀ V i V ÃÕÀià V iÀV > ë>Vià ÃÕV >à ÀiÃÌ>ÕÀ> Ìà V> i « L ÃÌ «À wÌà LÞ increasing the amount of outdoor seating available year round.

S H A D E S T R U C T U R E S F O R H E A LT H A N D U V P R OT EC T I O N Protection from the sun has always been important to humanity, but never so much as it is in modern times, with holes in the ozone layer and the unprecedented speed at which our planet is warming. Whereas natural climate change occurs gradually, giving organisms the opportunity to evolve their own protections, the speed of this man-induced climate change requires man-made protections. `i> Þ] Üi ` ½Ì Ü> Ì ÃÕ } Ì Ì Li Ì Ì> Þ º » À º vv]» > ` Ì >Ì Ã Ü iÀi UV-resistant shading fabric (as well as shade itself) comes into play.

>À` * > > à > ivwV i Ì] i>ÃÞ Ì >ÃÃi L i y>Ì «>V ÃÞÃÌi `ià } i` Ì «À Û `i immediate shelter in disaster relief zones.

Ƃ, ", Ƃ "1/ / 1/1, " - Ƃ 9 COMPLETING THIS CONTINUING EDUC ATION

"1,- Ƃ/ -1 , Ƃ ° " É "- 1

• 1100+ courses offered • 200+ registered providers • 20+ subject areas

Visit laces.asla.org to find providers, courses, and registration information.

ASLA Honor Award, City/Park Hybridized by SWA Group (Image by SWA Group)

Earn Professional Development Hours (PDH)

Attract the Best and Brightest Designer

Project Manager

Educator

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JOBLINK Office Administrator

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Post and manage job listings to recruit top quality candidates in the landscape architecture industry. Search resumes listed by students and professionals with an array of experience. More than 10,000 unique prospects search JobLink each week making it easier to find the best candidates for your firm.

www.asla.org/joblink

CIRCLE 337 ON READER SERVICE CARD

Formerly Aquatic Recreation Company

We’ve got new designs on water

250 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

952.445.5135 877.632.0503 aquatix.playlsi.com ©2016 Landscape Structures Inc.

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 251

ACTIVITY TOWERS endless ways to play.

Waterplay® LV FRPPLWWHG WR PDNLQJ WKH ZRUOG D EHWWHU SODFH E\ R΍HULQJ LQQRYDWLYH aquatic play solutions to the global community. Contact us today to experience 7KH:DWHUSOD\'L΍HUHQFH DQG MRLQ RXU PRYHPHQW WR FRQQHFW WKH ZRUOG WKURXJK SOD\

American Made Since 1999

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Decorative, Safety and High Security models Fixed, Removable, Retractable, Lighted AND MORE Standard footing or shallow mount options Manufactured in carbon steel and stainless steel Crash tested and field rated, ASTM, PAS68, K4 and K12

252 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

calpipebollards.com

877-283-8518

www.iapsf.com 800.426.6471

PLANTERS TRASH RECYCLING FURNITURE

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 253

Introducing a system that puts the Protection in Protected Bike Lanes.

Modular components – Rails, Curbs, Planters, PediStills™ –

“Urban biking just feels better when something’s between me and the cars.”

that physically separate bike lanes from tra c lanes to enhance safety, comfort, and local aesthetic.

Durable, a ordable, easy to install/remove/replace.

Meet minimal-to-robust project needs for new or retro t PBL’s.

Allow seamless expansion/upgrade of existing bike lanes.

DEZIGNLINE™

For a better biking experience.

DezignLine.com 612-850-0760 info@DezignLine.com

lightweight fiber cement

310.331.1665 green-form.com

254 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

Improving Water Quality from Above and Below...

Otterbine AERATING FOUNTAINS OFFERING BOTH FUNCTION AND BEAUTY these surface spray aerators are engineered to provide results, and are supported by a 5-year warranty and Pattern Guarantee. Widely used throughout the world, Otterbine’s Aerating Fountains improve and maintain water quality in ponds and lakes by controlling algae and eliminating odors while providing attractive fountain-like displays. LED light systems available!

To learn more call us at 1-800-237-8837 or visit us online at www.otterbine.com/aerating_fountains

T” E-Id R U n

Aerating Fountains

by Otterbine®

CT r Po “PnI You INE APP I

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Where concrete and imagination meet.

Hanover® has participated in the development of concrete pavers for over 40 years, as they became an integral part of architectural design. From green roofs and rooftop pools to on-grade entrance ways and driveways, Hanover® can provide the highest quality unit paver for your next project.

Project Shown: Campus West, Syracuse, NY Product Shown: Permeable 4 1/2” x 9”

www.hanoverpavers.com • 800.426.4242 Contact Hanover® to find your local representative.

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 255

California Landscape Contractors Association

CONTINUE YOUR EDUCATION

LANDSCAPE INDUSTRY SHOW

February 1-2, 2017 Ontario Convention Center

Experience the only West Coast show by green industry professionals, for green industry professionals.

ls and parking r demonstrations • Easy access to hote Focused, affordable seminars • On-floo s contacts industry experts • Make new busines Explore new products • Interact with Pre-register to attend for FREE or $5 at

Browse an archive of webinars

the door.

Source: asla

JOIN US IN ONTARIO! clca.org/lis or (916) 830-2780

providing information on new and evolving practices and products. The ASLA Online Learning Series provides convenient and affordable distance-learning opportunities and offers LA CES-approved Professional Development Hours (PDH). Presentations are recorded and made available Locust Tree Grate

for on-demand viewing.

Custom elliptical design

DECORATIVE CASTINGS AND CUSTOM DESIGNS www.asla.org/OnlineLearning

Trench, Catch Basin & Tree Grates | Site Furnishings | Custom Castings

877-418-3568 www.ironagegrates.com Recycled/Recyclable Material. Made in the U.S.A.

256 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

HALS:

PRESERVATION THROUGH DOCUMENTATION

The mission of the Historic

The nationally recognized

American Landscapes Survey

SPECIFICATIONS CONSULTANT

(HALS) is to document our country’s dynamic cultural landscapes. In collaboration

for Landscape Architects

Reed Hilderbrand, LLC & Alan Ward

with the National Park Service and the Library of Congress, ASLA offers resources to guide members through the documentation process.

Ź College and corporate campuses, sports complexes,waterfront developments, and national memorials to world-class resorts, entertainment complexes, private residences, and more

www.asla.org/HALS

Ź 2XWOLQH 6SHFLƓFDWLRQV WKURXJK FRPSOHWH 3URMHFW 0DQXDOV Rico Associates | Vincent P. Rico, RLA, CCS, CSI, SCIP Ř YULFROD#DRO FRP Ř ODQGVFDSHVSHFLƓFDWLRQV FRP

Celebrating 25 years of Professional Practice

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 257

QUALITY • CRAFTSMANSHIP • PERFECTION

LOVE TO CLIMB? LOVE TO TURN? Global Motion™ brings it all together. This patent-pending freestanding rotating climber packs in plenty of fun—climbing, turning, running, gathering and socializing. Bring a whole realm of activity to your playground. Learn more at playlsi.com/global-motion. ©2016 Landscape Structures Inc.

MOST DEPENDABLE FOUNTAINS, INC.™ The one water source trusted for over 25 years.

www.MostDependable.com

800-552-6331

)V[[SL -PSSLYZ +YPURPUN -V\U[HPUZ 7L[ -V\U[HPUZ 6\[KVVY :OV^LYZ 4VYL

258 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

Since 2006, Canaan have been offering quality site furniture for public and private spaces across North America. We develop premium solutions that enhance the functionality and aesthetics of outdoor environments.

1.877.305.6638 info@canaansf.com canaansitefurnishings.com

Discover why Kichler has been the industry standard in LED landscape lighting for more than 25 years.

INTRODUCING THE

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Engineered smarter – so you look better.

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15

YEAR LIMITED WARRANTY

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Warranty subject to change without notice.

Visit www.kichler.com for full warranty and limitations.

qline-qcp.com

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View our full line of integrated products at kichler.com/landscape

LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016 / 259

Franklin Delano Roosevelt Memorial, Lawrence Halprin. Photos by Roger Foley. Courtesy of the Cultural Landscape Foundation.

The Landscape Architecture of Lawrence Halprin Through April 16 at the National Building Museum Celebrate influential landscape architect Lawrence Halprin’s centennial. See more than 50 newly commissioned photographs of iconic projects and original drawings, sketches, models, and other artifacts from the Halprin Archive, exhibited together for the first time.

401 F Street NW • Washington, DC 20001 • www.nbm.org

SIGN ON AND JOIN US IN THIS CALL TO ACTION LAFOUNDATION.ORG/DECLARATION

Landscape Architecture Foundation On June 10-11, 2016, over 700 landscape architects with a shared concern for the future were assembled by the Landscape Architecture Foundation (LAF) at the University of Pennsylvania in Philadelphia. Inspired by LAF’s 1966 Declaration of Concern, we crafted a new vision for landscape architecture for the 21st century.

This is our call to action.

THE NEW LANDSCAPE DECLARATION Across borders and beyond walls, from city centers to the last wilderness, humanity’s common ground is the landscape itself. Food, water, oxygen – everything that sustains us comes from and returns to the landscape.

What we do to our landscapes we ultimately do to ourselves. The profession charged with designing this common ground is landscape architecture.

After centuries of mistakenly believing we could exploit nature without consequence, we have now entered ER EKI SJ I\XVIQI GPMQEXI GLERKI QEVOIH F] VMWMRK WIEW VIWSYVGI HITPIXMSR HIWIVXMƏGEXMSR ERH unprecedented rates of species extinction. Set against the global phenomena of accelerating GSRWYQTXMSR YVFERM^EXMSR ERH MRIUYMX] XLIWI MRƐYIRGIW HMWTVSTSVXMSREXIP] EJJIGX XLI TSSV and will impact everyone, everywhere.

Simultaneously, there is profound hope for the future. As we begin to understand the true complexity and holistic nature of the earth system and as we begin to appreciate humanity’s role as integral to its stability and productivity, we can build a new identity for society as a constructive part of nature.

The urgent challenge before us is to redesign our communities in the context of their bioregional landscapes enabling them to adapt to climate change and mitigate its root causes. As designers versed in both environmental and cultural systems, landscape architects are uniquely positioned to bring related professions together into new alliances to address complex social and ecological problems. Landscape architects bring different and often competing interests together so as to give artistic physical form and integrated function to the ideals of equity, sustainability, resiliency and democracy.

As landscape architects we vow to create places that serve the higher purpose of social and ecological justice for all peoples and all species. We vow to create places that nourish our deepest needs for communion with the natural world and with one another. We vow to serve the health and well-being of all communities.

8S JYPƏPP XLIWI TVSQMWIW [I [MPP [SVO XS WXVIRKXLIR ERH HMZIVWMJ] SYV KPSFEP GETEGMX] EW E TVSJIWWMSR ;I will work to cultivate a bold culture of inclusive leadership, advocacy and activism in our ranks. We will work to raise awareness of landscape architecture’s vital contribution. We will work to support research and champion new practices that result in design innovation and policy transformation.

We pledge our services. We seek commitment and action from those who share our concern.

THE BACK

/ADVERTISER INDEX

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249 154 11 256 252, 264 C2-1, 270 258 251 51, 267 41 269, 270 265 145, 265 270 151 267 58, 265 269 33, 269 130 9, 266 270 153, 266 6 147, 268 270 268 254 17, 266 269 29 255 43, 266 253 264 13, 264 256, 264 155, 264 7, 259 25, 266 248 261 2-3, 15, 45, 267 21, 258 156, 265 258 260 37 42 55 255 C4 267 259 253, 268 271 259 257 251 47 266 265 143 267 258 39 271 246-247 267 149 268 12, 265 250 27, 269 269 268, C3 257 270 252 57 31

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THE BACK

/

BACKSTORY

THINKING AHEAD SWA GROUP’S XL LAB HAS DESIGNS ON THE FUTURE.

BY MAGGIE ZACKOWITZ

all it the nonproject project.

XL: Experiments in Landscape and Urbanism is the new landscape architecture think tank at SWA Group, and it’s a way, says the designer Anya Domlesky, Associate ASLA, to “experiment with ideas and preposition the firm to work on projects that don’t quite yet exist.” XL co-leads Domlesky and Emily Schlickman, Associate ASLA, who is also a designer, were inspired earlier this year while working on a competition in Portland, Oregon. “It got us thinking about how to do research at SWA and focus on innovation in a non-project-oriented space,” Domlesky says.

ABOVE

SWA Group’s Anya Domlesky (at left) and Emily Schlickman (right) do fieldwork for “Mega Margin,” an XL project addressing both climate change and housing shortages in the San Francisco Bay Area.

The pair first did their homework, surveying different companies in allied fields as well as landscape architecture. “We thought it was interesting that a number of architecture firms, like LMA and KieranTimberlake, actually had this separate kind of research, innovation, and experimentation arm,” Domlesky says.

“But there really isn’t a precedent in landscape, and we felt like there should be.”

272 / LANDSCAPE ARCHITECTURE MAGAZINE DEC 2016

They discovered that other firms’ research, if it does occur, is mostly specific to one project in one condition.

Firms also often rely on research that comes out of academia. Domlesky believes that research performed in a practice context can offer insights that academic research cannot, as well as make it easier to address larger, complex issues such as climate change, developments in technology, and possible future conditions.

“We don’t necessarily want to be confined to the gardenesque type of projects,” she explains. “We want to work on larger urban scales, bigger problems—whether they’re social or they have to do with these longterm changes like sea-level rise, or how a city adapts over time to new populations.” One example: XL’s plan to deal with the San Francisco Bay Area’s dual problems of sealevel rise and housing scarcity. Titled “Mega Margin,” their proposal calls for an inundation-friendly bayside buffer zone that serves as a recreational space when not underwater.

Housing in areas prone to floods is

moved to higher ground, where the new construction maintains a much higher resident density.

A recent morning found the Sausalitobased Schlickman and Domlesky in San Diego, demonstrating the use of immersive environments to colleagues there. “These are tools that are developing. They’re traditionally used for the gaming industry and increasingly in real estate, but we wanted to see how we could use them. We did everything from environments that you can view on your phone or desktop to Google Cardboard. And then we had two headsets that people were sketching in, and walking around in their own models and sort of teleporting. So it was about trying out the tools.”

XL—funded by SWA’s Patrick T. Curran Fellowship, which honors a late designer at the firm—is actually a side job for the pair. “We would love for it to be our full-time gig,” says Domlesky, “but at the moment we are sort of splitting our time between this and built work.”

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