Landscape architecture 2009 04 by nata

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LAND MATTERS

RIPRAP

115

117

LETTERS

126

A bright spot in the British wndscape, the White House lawn provideJ food for thought, reccJSlon·ready dnign, skaten pool their rCJotlTCCJ, and learning about kwdsctJpc preservation. Edited by linda Mcintyre DESIGN 1 32

Retwl1 on Invesunenl A Colorado project proveJ the economic wille 0/public kndscapes. By Kim 5Drvlg

ECOLOGY

142

Paradise Put in P lace of a Parking Lot Lmi.lcape architeds help a univenity restore PacijicCoas! wi'fLmds. By Claire Latan.

ART IN THE

158 Ar, as Medicine

LANDSCAPE

Artwork makes fora unique pathway at TI'XI1J Tech Univcrsity'r medical.lchool. By Elizabeth Lynch CAMPUS PROFILE

164

Design for Cities New )nrk's CCNY opens doors to urban li/e lind ecology. By Frank Edge.ton Ma.tin

ON THE COYER

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VISUAL RESOURCES

174

Wildfire in Yellowstone Then and Now Documenhng challge in a viluaify dramatic Iand.lca{Je. By John C. Ellsworth, FAlLA

II very amtemporary plaZJl froll'-~ a hi~toric facade. By Mark Hinshaw

RESEARCH 180

Resea.n;h D esign Connections Studies examine landscapes that tell their own stories, designing safer rotaries, and mapping A1V tratis with GIS. 8y Sally Augustin altd Jean Marie Cackowskl-Campbell, AILA

102

Water Less This seaside garden in Soulhem w/Jjomia offen lessons for Southern Ca/Jjomians looking 10 lower waler use in their gardens. By Daniel Jost. Associate ASLA

110

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19. SI11dem Projects,

STUDENT WORKS

Penultimate Plaza

Chilean Stvle Low-impact de.lig"nlhuifd projectJ take advalltage 0/ di~carded lumher and hand labo,. By Jlmena Martlgnonl BOOKS 1118 DISPLAY

INDEX

1120

BUYER路S GUIDE INDEX 1121 PRODUCT PROFILES CRITIC

AT LARGE

1132

113.

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Should aRiver Run Under It? NVIRONMENTAL ARTISTS CHRISTO and Jeanne-Claude wane ro cover up a white-water river in che Rocky Mounrains with 5.9 miles of silvered darh. Should chI' people of Colomdo let them do it? T hat's right: The environmental art duo who brought us Rmmmg Fence in California and The Gales in New York City now have their eyes on Bighorn Sheâ&#x201A;Źp Canyon, a stretch of the Arkansas River known for its wildlife, fishing, and white-water rafting. You can view their concept drnwings at UlWIlW I!mheritl(!'Y.org. T he projeer will cover the Arkansas River with 5 .9 miles' worth of "fibrillared {Xllypropylene fabric coated with vaporized aluminum on

both sides." These translucent canopies will hover eight to 25 feet above the water and reach almost bank to bank.

Some Coloradans who live nearche canyon are up in annsabout rhe project and have formed agroupcalled ROAR (Rags Over the Arkansas River). T hey charge that the influx of hundreds of thousands of tourists will create a traffic nightmare on the two-lane canyon road; that the drilling required to fasten the panels will permanently deface the riverbanks; that bighorn sheep, elk , deer, and other wildlife will be kep t from their drinking water; and that eagles and sjXJrtS fishermen won't be able to fish the river. And, al thoug h the panels will only be in place for two weeks, Christo admits tha t installation and removal will disrupt the area for two to three years. Although I'm a fan of good environ mental art, I'm going to side widl ROAR on this one. Some of Christo and Jeanne-Claude's work- most recently, The Gafes in Central Park- has been wide-

Iy praised. Many landscape architects who visited it said that The Gates framed Frederick Law Ol mstecl's master work in a way that lel them see it with new eyes. Ot'Ct' fhe Rit'Ct' seems to be doing quite the opposite -it actually cot'Ct's liP the river. Does anyone, even Christo, think that 5.9 miles of silvered fabri c is anywhere near as beautiful as a free-flowing mountain river? Then there's the question of what to do with all those miles of fibrillated jXJlypropylene fabric after the project closes. We're told it will be recycled, but what does "recycling" mean for these extravaganzas? After The Gates was dismantled, the orange vinyl from which dle 7,503 gates were made was refashioned into tiny orange rulers. I happen to be the recipient of one. I have no idea how I'd ever use it. Is that meaningful recycling? Conceived in the early 1990s or before, Over the Ritter is a conceptual and environmental dinosaur, a relic from rile days when some land artists and desig ners aspired to create iconic arc withoue regard to its environmental cose. As the W'ashi1lgtof/ Post said of Ot't'r lhe Rn't'r; "T here's a sense that this kind of 1970s-era 'environmental arc' has more links to heavy industry- to old-fashioned well drilling and dam building- than to some more recent arc that's been made with genuine ecolog ical feeling." As ocher, better artists strive to create a greener future , what should environmental art look like?

0f7 \V\ ~f~ J. W illia m "'B ill" T hompson, FASLA Ed ito r I blhompson@asla.org

APRil ZOO9 Landscape Architecture

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LETTERS Would You Pray in This Garden? I-lECOMfo,l拢NTS IN Land Matters(Febm-

Tary) reveal a narrow view of prayer and an

for prayer even in these imperfect places. In fan, what bener place for a prayer garden? CATliERINE MAliAN, FASlA, AN D

even narrower view of the place of spi ritual

SCon RYKIEl , FASlA

spaces in our urban environment. To sug-

Balfimore

gest that prayer can only take place alone, in a sol itary space, misses the essential message ofChrisrianiry, which exhortS us all to "bear witness" to the message of the gospels. \'\fhat better place co bear witness than a busy srreer in downcown Baltimore, a city whose street corners are sometimes openair drug markets Of refuges for the home-

less? \'Vhat beerer way co reach OUt ro other flliths and cmdirions, one of the hallmarks of Pope John Paul's legacy, chan to shed welcome sunlight onto rhe beautiful fucade of rhe long-obscured Unitarian Church? TIlis

is the prayer that rhe new John Pau l ll Prayer Garden invites [Q Baltimore. ll1ereare many ways co "emer into rhine inner chamber," as Matthew's gospel suggestS, but the nocion that you need a "soli cary spot for all but the most perfunctory prayer" is sim ply not true. TIle words uttered by a mother whose child is wheeled inco surgery- is chat nO{ prayer? The murmurs of our soldiers as they enter an enemy ne ighborhood- is that not prayer? Do these words nO{ qualify because they were not uttered in a proper setting? T he John Paul II Prayer Garden offers a variety of opportunities for prayer. Some may find prayer in a quiet moment on the bench during a busy day; for ochers, it may mean an opportunity to share John Paul's story with a child; for others it may mean finding the hand of God In the blooming flowe rs in the heart of the city. Perfect sites are rarely available in our messy, busy, and sometimes violent urban environmen ts. Fortunately, landscape architects are able [Q bring their skills co all sites, including this one in Baltimore, and create spaces

Thetlfllhors were the Iml(ucape architects for the Johll Pa,,11! Pra)"er Gardel/. HEN JESUS SAID TO "pray to thy Father in secret," the context needs co be understood. Religious leaders of Jesus's time would puff themselves up by praying in a dramatic fashion on street comers to arrracr attention. Jesus knew their hearts and was condemning them for not really praying. Prayer occurs whenever you have an internal dialogue with God,eirher in solitude or cofJXlrately. Prayer can occur while you are sitting quietly, driving, working, or surfing. T his FJ.ll, I attended a 12-hour prayer evenc furour scate and narion. 路nlOusands of people joined in prayer at Qualcomm Stadium (home of the San Diego Chargers). I recenrly met someone who artends Sunday services in a bar. Al though the prayer garden in Baltimore may not be conducive co quiet meditation or contemplation, any venue is fitting for prayer.

TIMjACHLEWSKI, ASI.A Sail Diego

OUR USE OF Matthew 6:6 was great, al-

though most readers don't speak King James English. H ere's the same passage from The Message (www.bihiegatt/lla)'.com):

Here's what I wa'" )"011 to do: Filld a qllieJ, J"fc/llded place so ),011 U;(!/I't be tempted to role-play before God. JIISt be there as simply alld hollestI)' as yOIl call mal/age. The locus will shift from )'0" to God, al/d)'011 will begill to sense his grace. I've found that most any place full of natural beaury is grear for doing JUSt thar. A simple walk in the woocls can't be beat! BRAD SMITII, ASlA

Melbourne. Florida

AM A MASTER'S CANDIDATE in landscape architecture. My thesis topic is designing spiritual spaces. My thesis question is: Is there a universality of physical elemenrs or array of elements chat generates emotions or feel ings of spirituality in individuals regardless of culture, age, or rheology? In many ways, the crux of your question and issues wirh the Balrimore Pope John Paul n Prayer Garden is very close to my thesis question. \'Vou!d I pray in this garden? T he answer is NO. All the issues you cite make one wonder- what were chey thinking? As to outdoor spaces I have found conducive to meditacion or prayer, I like a space that feels a little rem()(e, that is quiet, that is sunny on cold days and shady on hot days, and chat is not as manicured (a little mossy and soft around the edges).

" What better place for aprayer garden? "

BARB ARA DENAHAN, STUDENT ASLA

'fix Uniz'I:I"Jity 0/ Florida

MOVED TO BALTIMORE partly because of its historic, de nse urban fabric. \'Vhat's unfortunate is tha t the new Prayer Garden ignores this character and [he surrounding texture of the Mount Vernon neighborhood. Indeed , Balrimore's Archdiocese fought a long legal battle to demolish the

H . ll 20 GI

llndscape Archihc tu re

117

LETTERS lOO-year-old Rochambeau apartments on the site. T his thin tower, characteristic of severn! in the area, framed Charles Streff and added co the neighborhood's fine-grained pedestrian charaner. 111e old building did not block views of the cicy Basilica, but it did screen Ollt the new parking garage that now overpowers chI' garden. I've walked by the garden several times and never seen anyone visiting it, let alone praying the re. On my way to services at

"I've walked by the garden several times and never seen anyone visiting n, let alone praying there." the First Unitarian Church across chI' street, however, an usher cold me chuc, because of chI' garden's void, [he Unitarians are much more visible to chI' city around them. Stretched across checolumns of their portico is a banner chat reads: "Civil Marriage is a Civil Right." \'Vith an accidencal prominence, this message of inclusion looms over Pope John Paul's sratue and che garden. h goes w show that landscape archicects should always consider the unintended consequences of their work. FRANK EDGERTON MARTIN

Baltimore

conducive to meditation or prnyer, I like narural settings without odler people in them. \'Vhether in a garden, a s(Xlt in the wcxxls, or on a bench in an arboretum, I fee l most com fortable closing my eyes and going inw an alcered scace, knowing few or no people will be passing by.

OR OUTDOOR SPACES

LISA E. BAILEY, ASLA Maynard. MaJJarhUJefIJ

A MEDlTATJVE EXPERIENCE I fitvor narurallandscapes-Steen·s Mountain·s Kiger Gorge in eastern Oregon or the Marin Headlands, Mr. Tamalpais,or Monterey Bay in C11ifornia. Closer to home, my favorite contemplative sites are Japanese OR

AMERICAN sotlllY Of llMOStlPf AICHlUm 636 m Slim NW. WASHINGTON. DC 100013736 101-898-1444 •fIX 101-898-1185 • 18 1 lilndscapeArcbihcture APR IL 20 DI

gardens or the wilder, more natural wetlands of Oaks Bottom Wildlife Refuge. M IK E HOUCK , H ONORARY ASlA

Porfltmd, Oregoo

Response to the landscape Architect Who Advo~ted "Drill Baby Drill" WAS AMUSED BY the lener (February) castigating the "very liberal"' landscape architects who "need to o!Xn their eyes and see what is goi ng on with people."' I had never thought of advocacy of America's g reat natural heritage, smart g rowth, and renewed urbanism as liberal monopoljes, although it may seem that way after the past eight years. Oil will continue to play an important role while we rejoin other countries in seeking to develop urgently needed sources of alternative clean energy. Having pursued geological engineering and worked in oil fields as an undergraduate, r know we can drill foranotherdrop; we JUSt don't have to destroy our wilderness legacy in the process. For anyone who missed it, mindless "drill baby drill"' attitudes lost last November.

GEORG E HAZEl.RIGG, AS LA

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would make it appear as if landscape arch itects, a small, dedicated g roup with policies on protecting the environment, are bringing this COUntry's economy and energy exploration to a halt. If only we had that much power. \'Ve are but a small voice against powerful , organized interest groups-for example, the Wise Use movement, which is supported by key interests from oil, cool, mining, timber, chemicals, and agribusiness. To better Wlderstand our underdog situation regarding protecting the environment, I quote from Roben E Kennedy Jr."s Crimes A gaifIJt Natllre: " As Wise Usefounderand timber industry Aack Ron Arnold PUt it, ·Our gool is to destroy, to erndicate the environmental movement. \'Ve want you to be able to exploit the environment for private .gain, absolutely. ··· Tt may be time for us to go back to ASLA·s DeclaratiOIl 011 E!I1!irollmfllt alld Development as well as ASLA·s Ix>licies on public aff.'Lirs. Here I believe you will find very clear JXllicies regarding what ASLA and its members stand for and support as professionals regarding the environment. ·· Members

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LETTERS should actively engage in shaping decisions, att itudes, and values that support human health, environmcntal prmecrion, and sustainable development." When I place fASLA behind my name and 111Ompson putsASLA behind hers, IS it with the samecommitmem to rhe policies and canons of ASLA? J don't want this debate to become one of liberal against conservative but of asking about our profession's commitment co the env ironment. So, co be fai r co Thompson and the debate she has begun, , ask that readers examine ASLA's policy on Publ ic Lands and Forests. {PDf available at /(Jwmasla.orgIGwfAffairs COI/le1/ts.aspx?fyj1e=pllblic.) 111en answer the

question: Are T hompson's views in line with our policies and principles, or has she strayed from the fold? FRANK C. CLEMENTS, FASLA \'(IiJru(QII. fIIillois

Editor's Nole: The Dec/aratiM Oil E,wiroll1/lem and Developmtll/ has becn SflperSeded by ASI.A 's Code of E,wirolimelllal Ethics (www.asla.orgl Leaclershiphandbook.aspx?id=4308&ltem IdString =eOfa05764_34_ 120_ 4308).

Kudos for "Influential Ideas"

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ANDSCAPE PLANNfNG: A H istory of Influential Ideas" (February) by the omniscient Carl Steinicz, Honorary ASLA, was an excellent read, and I will certainly recommend it as a primer in our H istory of Designed Environments course for Students of Landscape + Urbanism. I am sure that many read ers would be inclined [Q suggest their own additions to any such register of seminal figures in the history of the discipline. My own would probably include J aneJacobs and Geoffrey J ellicoe. I would note, however, that although Rousseau's body was originally buried at Ermenonville-in what is now, perhaps ironically, called ParcJean-Jacques Rousseau - it was re-interred at the Pantheon in Paris in 1794. Meanwhile, reproductions of the Rousseau isle-a memorial surrounded by a circle of "tower" Lombardy poplars-were created in parks across Europe, including the recently replanted version at the captivating Dessau-Worl itz Garden Realm in

eastern Germany, also Justifiably mentioned by Steinitz. ALAN TATE UlliI'ffJily ofi\fanitoba

ENJOYED CARL STEINITZ'S excellent ';Landscape Plann ing: A H isroryof lnfluent ial ldeas." T he notables thar he meotionedcenainly enriched and expanded the realm of our profession . I would suggest thar one mOJ"(" could be added: Robert Morris Copeland. Copeland is probably beSt known as Hornce Cleveland's early panner in Bosron. Copeland was also a pioneering

"I am sure that many readers would suggest their own additions to any such register of seminal figures in the history of the discipline." visionary in landscape planning at the metropolitan scale. In 1869, Copeland outlined a visionary city and metropolitan park in his pamphlet The Most Beautiful CifY ill

America: Essay and Plan ffJt" the lmprovemcm of the City of Boston, which incl uded a large foldout map of the city and outlying areas. J. B. Jackson, whom Steinitz notes in his article, identified Copeland's proposal as a pioneering city planning effOrt. "Copeland," Jackson wrote in his book American Space, "was the first to use the phrase 'city plan' and ...consequently we indirectly owe to him the phrases 'city planner' and 'city planning.' ... Much more significant was the new meaning heatrached rothe word 'plan': the continuing spatial organization or reorganization of a whole community for its bener functioning in the future." Copeland's popular book Country Life, long out of print, is being republ ished this year as parr of ASLA's Centennial Reprint Series by the Library of American L'Indscape H istOry. T he new introduction for the hook further illuminates the role of Copeland as a primary link between scientifi c 拢'1rming and the founding of the modern profession oflandscape architecture.

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LETTERS

MUST TAKE EXCEPTION and some of-

fense with the article's not mentioning (or even having a passing reference (0) one of the futhers of the A merican landscape architecture profession- Jens J ensen. DAVID WrCK1IAM, ASLA

Lake Mm)', F/()Yida

lutiors Talk Back to Book Reviewers HANKS TO LYN N DU PUIS for reviewing our Desiglllllg SflStailloble FrJreJl Lalld(February). J have only cwo quibbles with the review. First is Lynn's interpretation that "this book . .. IS based on very large-scale forese planning Ulith I(lggillg as a design reqllirement" (emphasis mine). Where did we write that logging isadesign requirement? Our cenrral argument is {hac ifhumans are going roalrerforesc landscapes through logging, then this is best done in the COntext of an integrated, largescale, long-range plan. But we never said logging was a "requirement" fur doing a design. Logging in conservation reserves or na-

T scapes

"landscape architects in forest planning are few and far between. The reason boils down to our image as only being concerned with aesthetics."

IMfRICIN SOCIH! Of IINOSCIPf IRCHIHClS 636 mSlim NW, WISHIM6lON, OC 10001-3136 1018981444 •fiX 1018981185· 22 1 lilndscape Architecture APR IL 20 DI

ture parks is sometimes used as a tool to shape or reshape landscape pattern and structure, often in conjunction with prescribed fire to help get natural processes back in sync with historic cond itions. Ie is never considered a "requirement,"' but it may be the best pmctical tool available. Second quibble: l ynn writes: " ... the authors repeatedly push large-patch logging as an important factor for the design to be sustainable, which in my opinion is an industry-driven idea of what constitutes sustainability."' \Vhoa there, lynn. The authors did not "push" large-patch logging. We only pushed mlng dellgn as a tool for sorting Ollt /xm; and where to 1Ildlldge landscape pattem and JtrtlCtllre. Some forest types lend themselves to large-patch openings, while others do nor.

Ponderosa pine forests and woodlands of the interior mountain West, fur example, are inappropriate places fur large-patch dearing, while lodgepole pine Of northern boreal fOrests are places where this is appropriate. T his has to do with natural disturbance dynam ics. Plantatioo forests managed to maximize timber production are also obvious candidates fOf large-patch dearing, and we have one chapter dedicated to this. \'Qe agrr-t-there is a lot more work to do. Landscape architeusdeeplyengaged in forest planning and management are few and far between, and there is a lot of resistance to incorporating our profession into chis field, TIle reason boils down co our i mage as only being concerned with aesthetics. Our hope is rlmt in advocating an imegmced design approoch chac includes but is not dominated by aesthetic considerations, we will have advanced the idea a bit and helped open che door for others. D EAN APOSTOL

Porflalld, Oregon

A/l.1 WRITING IN RESPONSE TO che review (January)ofSceven L Cantor's book,Green Roofs ill SlISfaillaWe IAlldscape Desigll. Virgi nia Russell evidently possesses scrong opinions and a negatiw atcitude, buc one wonders if she has actually read the ixx:lk. ManyofRussell'scomplaintsare unfounded, and che informacion she cices as lacking was, in facc, incorporated in these chapters should one actually read them. For instance, the case stodies in chapcers four and five, abouc 45 examples, are the heart of the ix>ok and cover more than 150 pages. Russell mentions only one of chese projects dismissively. T hroughout her review, she gives misleading descriptions of its content. She emphasizes "chrifty" covemge on planes in chapcer three, without mentioning that chere are complete plant lists for each of the 21 case studies from throughout Noreh America in chapter five. Did she overlook them? She claims thac the growing medium, one of the most important elements of the green roof, is only brieAy described in the first chapter. However, that sect ion alone consists of approximately 2,200 words, the equivalent of 10 double-spaced pages. Furchermore, in the case studies in chapter five chere is a sepamte section on the growing medium of each green roof and much other detailed information .

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LETTERS She complains that the design process described in chapter two is not an integrative process of whole building design, when, in fact, that is emphasized repeatedly. 111econeluding paragraph of that chapter emphasizc""S again that green roof design demands an integrated approach. Did she overlook this or simply OUt read the text? She criticizes the two sustainable design projects cited in chapter six because their green roofs were nor complete at the time of publication, but rhe opening paragraph in that section indicates that they represent myriad ways that sustainabiJity can influence architecture and aestherics. She implies that there is no other reference to sustainability in the entire book. Chapter one gives rhree different definitions; rhe Introduction to chaprer five, the major case studies, describes the format of that chaprer and indicates that there is a secrion for each case study that includes information on sustainability elemenrs, where applicable. Ar leasr 15 major examples are given in this chap ter alone, from projects in which sustainable design was a goal from rhe beginning to those in which specific sustainable design goals were achieved. She insists thar rhe book should have a separate chapter on habitat restoration and implies {har rhere is a shortage of informacion on (his topic when, in chapters four and five, there are detailed case studies of at least 10 habitat restoration projects. T he reader is left to quesrion why Landscape Architectllre should provide a platform for a narrow-minded critic who appears not to have actually read the book to pillory an author who has written a pivotal book. CAROLYN SOLOWAY Deratl/f, Georgia

Virginia Russell, FASLA, responds: Reit asSllmi. dear redders, I did dl!f)rJltr the whole book /;&:allJe iff titleprollli1fd answers, bllt aldJ, J still htltl(J qlleitions like, '路What is the carbon footprint of ext",ded shale?" My original rel/iew was edited for space by the editors at Llndscape Architecture; the aI/thor 0/ the letter /lJ()1//d not hdll(J relished the deleted text, evell thollgh it uJOl/ldhat'f!pr()/led that I readall oJthcchapters. It is perhaps alllllifortlilldle coincidellce that 24 1 lilndscape Architecture APR IL 20 DI

J was reddillg two good bookJ- abollt sl/stalllaNIity, Meg Ca/kim's Materials for Sustainable Sites (2009) alld Fred Pearce's Confessions of an Eco-Sinner: Tracking Down the Sources of My Swff (2008), at the tUlU that' begall writillg Illy ret'iew. Thou two books set the bar

pretty high. There's too TIIuch "C/ap YOllr hallds ifyOlI belitl~ TIl l.>egetated roofi.''' OIltthere, alld Lord help the general pllblic iftbey (alld u.e) are ill mformed aoolltthe redlitieJ ofsfljtamable lalldscape deJigli [rOTII sky to ground. If the title of the !xJok had beer, "AI/other Good Book aoo," Greel/ RoojS," 1 UJOItld ha/.eagnxd I paidfor my {JURI ropy (which was prillled m Sillgapore alld Ilot 01/ recycled paper), alld' doll't regret addillg il to fit)' green roof library. bIll it's I/ot what it says it is. The leller is right aoom ol/e thm!!,: I d{J hare a lIegatill( alt/flIM. I'm a jllllk)'ard eWg when' Mull greel/u'ash,

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Is Sustainable Affordable? AM A SENIOR IN landscape architecture at the University of Rhode Island. T his past semester, J had a class in green design solutions. My thoughts kept going back to your question (land Matters, January) that challenges our abi lity to PUt green, affordable, and beautiful all in one space. I g rew up in Serbia and Croatia at times when those countries were still economically challenged, mosc1y due to the civil war. T he lack of monetary resources resulted in low-tech solutions, which may have been a blessing. Most households had been producing f<XXI on their own, keeping livestock and vegetable gardens. Even in the cities, people found ways to behave in more environmentally responsible ways without actually striving for "susminability." A hose bib and a watering can were used instead of any kind of irrigation system. TIle heat was on in buildings 50 percent fewer hours than in our high-tech world. Electricity was used mostly for light, but not extensively since people followed {he natural cycle of sleep. T hey also built in accordance with the sun's position throughout the day. Our ancestors knew much better how to live with nature, accepting its laws. \'{1e cannot go back to some previous lifestyle or all become mrmers. H owever, their model can serve as an inspiration and resource of id eas [hat can be adapted [Q our modern lifestyle.

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LIGHT BRIGHT

"Painting" lVith

POlVered-up "Plants"" G l{Jwing ground (()lJer illumindtes winter at UK's Eden Project, OMPLETED IN 200 1 by British architect Nicholas Grimshaw, the Eden Project's transparent geodesic domes stand in a former opencase mine in Cornwall in ehe south of England. This futuristic landscape was lit up over the winter by a vibrant 路'raft of light:' as artist Bruce Munro described it, illuminating agreen rooftop nestling be-

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cween dletr:msparenc bubblelike Rain Forest and Medieerr:mean biomes. Munro used some 6,000 acrylic stems co creace the Field of Light, powered by fiber-optic cables radiating from colorchanging projectors. Steel stakes support che acrylic stems copped by two-and-ahalf-inch glass balls. Arranging the seems was "like painting a picture," says Munro, "or planting a flower bed. " Set up on a sloping grassy area of around cwo thirds of an acre , the lighework is "simple scuff," says Munro, who used Christmas lights in a prototype. Born and educated in the United Kingdom, the now 40-something Munro

moved to Australia in the mid- 1980s, setting up a Sydney-based firm to build light sculptures. Moved by the light and landscapeof cheoucback on a road trip, Munro returned to the UK with the idea of creating an installation. His current ambition is to rake ehe Field of Light back co Auscralia, co sec it up near Uluru or Ayers Rock, and be "happy," he says, '"to pUt it in the middle of nowhere, with just 10 pe0ple passing ic" Munro isn 't looking to make high art. "If you can make something that makes people smile:' he says, "chat's quite a successful experiment."

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Plenry, according co crusading gardeners and food activists including writer Michael Pollan and resmurameuse A lICe \'Vaters. Local organic food , the thinking goes, is less expensive, healthier, and easier on the

Earth. Pollan has suggested turning over five acres of the \X1hite H ouse grounds to an organic vegetable garden, an idea supported by Waters and other foodies. There's precedent for putting the First L'Indscape to work. During World War I, then-President Woodrow Wilson brought in a flock of sheep to graze on the White House lawn as cheap maintenance (and perhaps organic fertilization). More recently, at the behest of Waters, the Clintons added a small vegetable garden on the White House roof that cominues (Q provide produce for fami ly meals. But support fora moreamhitious approach might be reaching cricical mass. Roger Doiron, founder of the nonprofit Kitchen Gardeners International , has also been pushing for a vegetable ploe ac the White House, and he took thecrusade hig htech with a multimedia campaign he calls "Eae ehe View." He has prevailed on gardeners and furmers' marker funs co sign an onlineperirion fora White Housevinory garden, COntua che Obamas direaly, and join a Facelx>ok group devmed (Q rhe cause. A

month in the hope that, eyen if the gig doesn't lead to a full路time job, the experience would bolster his resume. Another has taken a more old-fashioned approach: John Morefield, yictim of two recent layoffs, set up a booth at SeaHle's 8al-

lard farmers' market offering architecture ad路 yice, is la lucy yan Pelt, for fiYe cents. "One nickel turns into one conYersation, turns into one design job, turns into a local contractor who hires a local painter who buys from a 10cal supplier," he told a local reporter.

VICTORY GARDEN

Fired Up, Ready to Grow Frxxi actiIliJfJ lobby for all organic garden at the White

HE ECONOMY is raking a nosedive, obesicy is rampant, and poison peanut burrer and jalapeno peppers have sickened thou-

sands over the pase year. \'{fhat does all of chis have rada with rhe \'7hice House lawn ?

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Brotlm', Can You Spare Some New Conslruclion? Architects respond to the dOWl/INn/. HE TANKING ECONOMY

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fessions hard, and new work has IIftn hard to come by. Worried landscape architects might want to keep an eye on their architect colleagues, some of whom have responded with resource路 ful strategies. The American Institute of Architects went straight to the client of last resort, the federal

government, seeking $100 billion-a substantial chunk of the owerall stimulus package-

for new construction and building modernization projects that happen to require considerable design manpower in a short time frame. But indiyidual architects haye also been proactive. One seeking a project management or project architect position in New York of路 fered on craigslist to work without pay for a

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RIP RAP similar but more old-school petition effort was led by 20-something farmers Daniel Bowman Simon and Casey Gustowarow.

They spent rhe late summer and fall traveling the nation in an old school bus stocked with spices and sporting a g rt"(;n roof and collected more than 10,000 sig natures. Whcrher rhe new administration will dig the idea remains co be seen. Doiron

was hoping fOf anion in the first 100 days, timing that makes sense for planting in \Vashing con's relat ively mild climate. He

was hopeful when Landscape Architectllre chc--cked in. "I ['(:rnain optimistic that the Obamas will do this, because they're going to

be looking for small , symbohc actions

that can leve rag e the resources of th e American people to creacc positive change in their own lives and communities, "

Brush Up Yom Historv National Presenldtion lmtifllte offers series 0/seminars 011 landscape presenldtion. HE NATIONAL PRESERVATION INSTTTLfTE INPII

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landscape preservation. Those who attend

wiliitam the basics of historic and cultural landscapes, including designed, vernacular, and ethnographic landscapes as well as his路 toric sites; reltvanllaws and regulation" and presenation planning and documenlation.

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The seminars will be held April 7-8 in Austin, Texas; May 6-7 in Richmond, Virginia; October 14-15 in Anchorage, Alas路 ka; and November 5-6 in Honolulu. Registration costs 5425, or 5375 if done six weeks in advance. For more information or to register, contact NPI at 703路765-0100 or info@npi.org.

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N THE BRlWANT GLARE ofSouehem and sacellice images co scope oue likely Califomia and Arizona, ehe in-ground venues. Though most grown-ups evince swimming pool is a cornersrone of che litde sympathy for the skaters' undertaksuburban good life, Buccough eimes have ings, many boarders show noreworchy encerprise. Cleaning ouc come co ehese sun-drenched idylls, and rampanc foreclochese fecid pits is hard work, sure rntes mean thousands of and skaters cake co chern POOL PARIY erscwhile scatus symbols wich gas-powered pumps, have become moribund burpush brooms, and plenty of dens, stagnant reminders of elbow grease. wealth's frequem folly, By In an informal survey of Califomia realrors,all seemed some escimaces, abandoned pools in California number reluctant to say anything in the tens of chousands, chac casc a less-chan-bri!!ianc foseering a minor plague of lighc on che scace of che marBackyard stafJ.tS rncs, rnccoons, and mosquiket. Nevertheless, Fresnocall be j1eeting to larvae. area realtor Andrea Mazzei Buc one seccor"s crisis is mera feels chat (he problem- if another faction's opporrunithere is one-will abate as ojJom/osures. ty: Enter the skateOOarders. the legislature catches up For board-oound suburban to {he crippled market. youch, improvising skaceparks in dor- "Everything's going to change shortly," mant swimming pools is as much part of she told Ll11tiscape Architecture. ''I'm sure the culcure as two-tone Vans and Thrashthat they're going to mandace that either er magazine. Skating these impromptu che banks, che realtors, or che sellers wi!! oowls is a trndition that stretches back co have to take responsibility to clean up the the sport's infancy, but the upsurge in property Until chen, skateboarders wi!! probaforeclosures has brought an embarrassmentofopportunity. And today'sgueril- bly continue to grind hard core wherevla skaters wield online tools that their er [hey can, happily skating over the ash1980s forbearers could only dream of, uses of another family's broken dreams. - JOSHUA GRAY ing realty web sites to trnck foreclosures

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AColorado project proves the economic value of public lalldscapes. By Kim Sorvig T IS WrnELV BELIEVED rhat good landscape design rmnslates into economic benefits for the cI ient-bue how many landscape archirects get rhe chance to prove it? In terms of hard numbers and real proof, not many. Fewer still get to work with a public client for mOrt than 25 years and, at dle end, have the agency {"aBer ro sign up for anmher quarter century, 111(1t, howf'\'er, is a capsule description of an unusual onh'Oing project in Estes Park, Colorado. Design Srudios West (DSW)ofDenverand Hearh Construction of Fon Collins ha. . e been working as a (eam on rhe Estes Park Ri\"erwalk and Streetscape since 1983. The project

32 l llndiuP. Archltechlr. APR IL laD l

And what stare wouldn't renew a proj-

ect fhat invested $20 million bur increased revenue by more than $50 million withour raising (ax rates? "T he hallmark," says Don Brandes, ASLA, DSW's president, "is that rhe municipality doesn't view landscape improvements as public works expenses-they are an investment in an economic engine." With a 250 percent rerum on investment in real dollars di-

rectly att ributable to rhe landscape project, he makes a compelling case for [he value of place and placemaking. It's a case that many landscape professionals will want [Q analyze, because it is pan of a (fend d 13t looks [Q livable places and landscapes for financial

won both the President's Design Excellence Award and the Land Stewardsh ip Award from the COlorado ....su. in late 2007, and ir won state approval forconrinuoo funding a few months later.

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DESIGN The original concept plan shows fiver walk and streetsc:ape improvements completed over iI 25-yeaT period: IAI Performance Park (not pictured, just off phm!; ~!ยง;:- IBI kayak course; lei Riverspointe; IDI Wiest Plaza; lEI Conflnence Riverfront; IFI Riverside Plaza; IGI Barclay Plaza; ilnd IHI Big Thompson Riverfront. The lawn Lake flood inundated Estes Park in 1982. bottom, causing major damage but triggering awareness of riven as anets in need of inrestment.

ike moS{ good

stories, it scartS with a disaster.

On July 15, 1982, the

sing le movie theater in the

town of Estes Park was playing III Starch 0/ Noah'J Ark.

No film could have been more prophet ic. By the end of char day, 75 percemof the town's busi-

nesses were closed, in the middle of tourist season, up ro their coullrercops in mud deposited by a flash flood of biblical proportions. Estes has a history of serious floods. The town is the gateway to Rocky Moumain National Park and has (WO rivers running throug h ir. At least cwice since che town's founding in 1860, flash floods up to 25 feet deep had been recorded. The worst flood on record had been just six years earliercars had been rolled into huge mecal marbles, {Qurisr cabins and campers were swept away, and 139 people were killed. Despice chis warning (and Nacive American lore t hac spoke of other g reat floods), by 1982 people had rebuilt in the flood-

plain. Memories are shorr where land development is concerned. Upstream, a different kind of land-use lunacy prevailed: For che benefic of a dozen farmers on the eastern plains , the Park Service had permiued a poorly built reservoir called L'Iwn lake wit hin park boundaries. The collapse of its overfilled and unde rinspected earth dam sem some 36 million cubic fee t of water down on Estes Park, carryi ng boulders the size of houses 34 1 lilndscape Architecture

APR I L 20 DI

and mud that buried 177 busmesses . It's remarkable chat only three lives were lost. Several enrrepreneurs pm up sig ns advertising free mud. Enter the landscape architects, riding stallions and wearing white hacs. In theafCermath of che Lawn Lake flood , the Fort Collins office ofEDAW under Herb Schaal, FASLA, prepared a mascer plan for the town. Brandes calls it ""che documenc that enabled the formation of EPURA"che Esces Park Urban Renewal Auchority. By 1983, Esces Park desperately needed renewaL Besides floods of the liteml sort, it had been washed out and worn down by floods of tourists bound for Rocky Mountain National Park. Although the valley's namesake Estes family had tried raising beeffor the Denver market , by 1867 tmnsport COStS had driven them out of ranching. The homesteaders sold the valley for a wagon and a pairof oxen , and from chac day onward , ic was landscape amenities that created the local economy. Longs Peak dominates the green "park'" valley and by 1868 had been climbed by no less than John Wesley Powell; photos of the Estes area were presented alongside images of Yellows tone's wonders and promoted by Denver newspapers. H ostelries sprang up; for a brief period, a land scam by an Irish lord turned Estes Park into a

The completed river walk, right, relinks the main street and shops to the ri짜er and has cilptivated Rocky Mountain Miltionill Park visitors, who used to pass through without lingering, as well ilS locills, bottom.

private hunting preserve. Then, in L903, inventor F O. StanLey came to town, seeking a high dry cure for tubercuLosis. \With him he brought two basic prerequisites of courism: The Stanley Steamer, a high corque, high-clearance forerunne r of (he sporr utility vehicle, which was the only way to drive the horrible canyon roads of the period; and another Stanley invention , a dry-plate photog raphic method, which helped launch Kodak at the dawn of the vacation snapshot era. The g reat Scan ley Hotel remains a main feature of Estes Park's tourist economy today. Championed by a local naturalist, the surrounding mountains became Rocky Mouncain National Park in 1915, with

Trail Ridge Rood as a feature attraction. Tourism , though, is a two-edged business. In Stanley's day, the "Estes Park Trail" newspaper advercised shops "wherequality is always paramounc and prices are on a par" with New York City, By the 1950s, however, Estes Park was an overcrowded place of rubber comahawks and conon candy, tacky T-shirrs, and saltwater taffy, a thousand miles from any ocean. "To be perfectly honest," says \'Vil Smith, executive director ofEPURA, "visicors tolerated the town to get co the park."

"\'Ve 'd pile in the family car," recalls John Lanterman, a landscape architecture professor at the University ofG:Jlorado and former DSW principal. "Coming up from Boulder, you'd crest the ridge and see how beautiful it was , and then you were in Trinket Town. Once you got past that, you could go up into the National Park and see some amazing things." \'Vhat is it about nacural grandeur that inspires (he worst in commercial schlock? \'Vhecher it's (he vast ocean at Atlantic City, New Jersey, or Brighton Beach , New York, or the mountains at Yosemite or Estes Park, humans seem to respond tooverwhelming nacural power by installing video arcades, casinos, and sugar-based distractions. As for the river, "Ie's a classic American story," says lanterman , "curning our backs on the riverways. \'Ve neglected them, made them a dumping ground for junk cars, old refrigerators on their sides- the river in Estes was an alley at best. k s interesting to make up stories about what Estes Park might have been without the floodthat pulled the trigger for them." Smith agrees: "It's not too many decades since the river, in places, was nearly an open sewer. \'Vhat brought Estes Park back- both from the flood and from being a threadbare, congested tourist tra p--was landscape H . ll 20 GI llndseape

Archihcture

135

improvements. EPURA and OSW started small, installing a life-size bronze of the native bighorn sheep at the entrance co the town, set on boulders amid alpine flowers. Miniatures of the sculpture were sold for initial fund-rnising, and the designers began changing the screetscape. Old-timers remember the main drag through town as a garish trnffic jam, where cars backed up as they waited to emer the national park. OSW added street trees and rnised planters, crosswalks, benches, and coherent signage. Visitor surveys began to report people stopping and staying, not just passing through. As the streetscape evolved, the focus of design work shifted to creating a river walk. Tooay there are severnl miles of trai ls and promenades, mostly paved in local red or cream flagstone and doned with existing boulders. Where the Big Thompson and Fall rivers meet, Confluence Park provides space for public events, picnicking, splashing in the river, and plazas where local restaurnnts and businesses have seating. 36 1 lilndscape Architecture APR IL 20 DI

Farther west an amphitheater, bllilt of the same flagscone with a stee l canopy over the stage, fits into riverside cliffs and overlooks a kayak run. The individual features, however, are not what makes this protect remarkable. Both the design and construction are high quality, but deliberately a bit low key, echoing both "national park scyle" and other river walks. (San Antonio landscape architect James Keeter, FASLA, who designed that city's well-known riverside restoration, collaborated with OSWon Estes,) What is truly outstanding about this project is how it was accomplished: an un-

usual methoo offunding (and one chac explicitly shows the economic benefits of the landscape work), long-term consiscency as an overriding concern, and close teamwork within the development team and the community. EPURA's charter is explicit: It invests public money in landscape improvements in a carefully defined zone. That zone's sales taxes are benchmarked ac the level before the landscape work, and any increase in revenues (discounted for legislated changes in the cax race) belongs to EPURA to reinvest. By the time it came up for renewal in 2008, this methoo had invested an average of $805 ,000 annually and generated tWO and a half times that much in increased sales-tax revenue. By creating an environment where people wanted to be,

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The kayak run, top and ..bore, attracts both participants and spectators, plus special events, adding another layer of economic , alue to the river amenity. Shops gained outdoor seating along stabilized riverbanks, beloM'.

the street and river scape projects procluced a remarkable economic return. "We hooked up with DSW and I-Ieath," says Smith, "when they were JUSt gerring started." DSW had done some valleywide planning and had worked on renovating dIe Smnley Hotel. Both DSW and Heath had to bid competitively fOr continued involvement, but as Smith notes, "\Vhen you've got a reliable firm that has tremed you well and fuirly, why would you change it to save a nickel- which you won't anyhow?"· In the earliest stages of the project, DSW designer Russell Moore established several key design ideas with community help. "We invited the whole community to come in and play planner;' recalls Smith. Square pavers oflocal red flagstone, oriented toward Longs Peak, became a thematic element that ties phases together across the decades. The "rustic" style of national park 3s l lilndscape Architecture APR IL 20 DI

design provided some inspiration, although the gateway community can·t compete directly with the park and is disrinct-

ly more urbane. Consistent design basics, adapted to each new phase, unify streetscape and amphitheater, riverside walkways and shop-front plazas. An important part of the design brief was to restore the river, stabilize its banks, and reveal it to visitors; people "used to discover it by accident ifm all,·' according {O Smith. That·s where Heath Construction got its foothold, as an engineering firm With experience not in landscape work as such bm in structural streambank and bridge design, says principal Randy DeMario. Wct:kly meetings with DSW, Heath, and other consultams were critical to the work, which mosdy takes place in the wimer, when the river (as well as the Rood of tourists) is down. DSW·s Bob Eck, ASLA, came up with the concept of putting "reveals" (shadow lines) into streambank retaining walls to show the hundredyear Rood and the level of the Lawn Lake disaster. Brandes says, "\Ve learned so much from Heach about technical reliabilityand maintainabi lity. r can't cell you how many other communities we come into as consultants on a project's chird phase, and they say the first phase design was grear, but we didn·t have che machinery to change the streetlights, or the pe0ple to winterize the irrigation, or we underestimated the trash pickup issue. Public comracrs too often segment the

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work- "the comracmr is SO isolated he doesn'ceven know the hisrory," notes DeMario. "DSW did a great job of breaking down those mental barriers." Landscape architecrs, says Brandes, 路路need ro feel less insecure about gening rhe right people around the cable: contracrors, police, fire, special-events managers." This collaborative attitude is critical, not only with the design/ build team, but with the community. "\'{1hatever you're contemplating with a riverfront or downtown," Brandes tells civic groups, "do it for your residents. They' ll invite relatives and friends; visitation will grow. I'm nor big on creating a wow facror or a hook." This concept-creating places that people want ro live in and relying on the value of place co attract new residents, entrepreneurs, appropriate businesses, and visitors- has a name. It's been cermed "amenity migration" by lawrence Moss, ASLA, who has authored a Ixx:lk by thac title and organized several conferences on che subject (llIW1lwfIlmitymigratiol1.org). In essence, amenity economies are based on inherent and holistic qualities of landscapes-the beauty ofa national park or a state reserve, outdoor recreation possibilities, wildlife, or bird-watching-as well as the social amenities of rural and small -town locations . T hese coincide with many of the concepts of \'{Ialkable Cities and New Urbanism, a mix of bus iness and residence, clean industries, telecommuting, and web marketing.

Place-based. amenity . economics IS an increasin~y viable alternative, and one in which landscape arcMects could playa major role. The economic crisis that we face today is direccly related co unsustainable land development, whether sprawling suburbs that have pushed mortgage debt beyond cheactual value of the land or mineral development that devours and pollutes the land while claiming to be 111dispensable to national security or commerce. Place-based amenity economics is an increasingly viable alternative, and one in wh ich landscape architects could playa major role if they became familiar with the concept. "nle landscapes that we create can either contribute to amenity-based economies, as the Estes project shows, or risk being literally undermined by a focus on removable resources. This issue remains under the radar for many landscape and planning professionals, but conflicts between residential development and mining are increasing. "Extractive ind ustry" such as mining, timber, big agricul ture,

and petroleum has ruled the \'{fest for a century or more. Advocates of these ind ustries insist that they are the golden goose that no legislature dares risk killing. Yet throughout the New \'{fest, amenity economies already actually outstrip extractive ind ustry by a focror of nearly LO to one. In the /lve major energy-producing states studied by Headwaters Economics (lIIww. headwaterJwrwT/lla.org), oil and gas production supportS less than 3 percent of actual income, although those industries chum ro supply much larger amounts of state tax revenue. Reliance on a single industry, especially one that constantly swings from boom co busc, is a risky stracegy. Amenity econom ies, based on the long-term draw of healthy and attractive places, already surpass mining revenue for most staces--and without the destructive risks of pollution and unreclaimed surfi:tce lands. As the Estes resulcs document , treating the creation of place-specific amenicies as an investment is a powerful economic strategy. Granced, the Tax Increment Fund ing chat EPURA has used so successfully to link landscape improvements co a community economic base mighc noc work everywhere. Still, attractiveness to long-term residents (some of whom stare businesses and creace a second layer of economic benefits) can be creaced in many ways and, as Don Brandes points OUt, is noc JUSt about tourism. To capitalize on local landscape accrnccions requires several chings: - a clear focus on long-term community - a collaborntive approoch to design and construct ion - a willingness on the pare of polit ical agencies to use inwnrive methods of funding such investments Given the Obama administration's commitment co job creation through rebuilding of infrastructure, sustainable energy, and community economics, landscape archicects should be studying ameniryfocused projects like Estes Park hard. T he housing crisis may turn out to be a beneficial flood, washing away some unsustainable development but triggering new ways of using the landscape boch profitably and suscainably.

Kim S()I'l)ig is tlltllUllCtljJe alrhitect, design critic, alld envirollmental author who residM ill Sallta Fe, Nel/! Mexico.

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TANDING ON THE BOARDWALK

amid vernal pools and fragrant coastal sage scrub overlooking the Pacinc at rhe UniversicyofCalifornia 5ama Barbara (UCSB), it is difficult

to imagine this landscape as any thing else. A steady trickle of bicyclists and runners passes by, and a young woman sings loud-

ly over her guitar while draped across a nearby bench. Swdems ascend the beach stairs on the way to rhe Manzanita Village dormitories. A network of boardwalk paths, landings, and decomposed granite pathways connects Manzanita Village to the beach, to the lagoon, ro adjacenr Isla Vista, and to the Coastal Route Bikeway. Coastal sage scrub surrounds a mosaic of grasslands and wedands creacing a pillow of prickly plantings benveen rhe bluffs and thedormitoriesofManzanira Village. This natural transition to the ocean is known as Lagoon Park. In 2002, while initiating construction in Manz.'mica Village on what was a grav~ el parking lot, workers discovered tarwet'd, 42 1 lilndscape Architecture APR IL 20 DI

Landscape architects help a ulliversity restore Pacific Coast wetlands. By Claire Lalane a native plant indicating wetlands, which halted [he permitt ing process. This degraded site had been dramatically leveled during \'Vorld \'Var rr for use as a milicary base. All of [he topsoil had been removed, and very few nat ive plants reestablished themselves. Inadequate drainage was part ially responsible for allowing the tarwet'd to establish itself in a small, low-quality wetland. Aerial photos and adjacent site analyses decermined chat this area could support the reestablishment of some nat ive riparian plant communities. T he California Coascal Conservancy requi red t he university to protect a buffer zone around this small wetlands area. So the university brough t in Wayne Ferren, an expert in wetland Yegecarion. The university is home to the Cheadle Center for Biodiversity and Ecological Restora tion (CCBER), and Ferren, its former director,

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plan dlat was completed in 1995. 11le plan's major feature was that ("\,("ryarea on campus in need of mitih'ation would be linked [0 a

project nearby [hat would fund its res[Qrd[ion . So when [he need for mitigation arose in Lagoon Park, fundi ng was available.

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TIlis project was unique because it was an emergency. The university needed dormitories builr as soon as possible because of rapidly rising construction costs. Still , one potential problem was the aesthetics of the proposed restoration. Uni\'ersity representatives feared the landscape would appear scruffy. "\'Ve had seen whar campus restoration project s looked like," reca lls Charles Haines, resource planning coordinator for the uniwrsity. He hoped for a space thar looked as dlOUgh nature had created it, but

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with somewhat organized masses of planes, T he aesthetics of this project were very important since it was rig hr between Manzanita Village and the lagoon and coastal bluffs, so the universiry needed to bring in a landscape architect. T hough Katherine Spitz Associates designed the Manzanim Village landscape, the university brought Susan Van Atm, ASLA, on board for dle Lagoon Park mitigation project because of her experience with restoration work Van Arm pursued a first career in environmental impact assessment

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The boardwalk design, all images this page, allows water, wildlife, and air to flow through the pathways and directs people along their desired routes with路 out negatively affecting sensitive habitats.

ECOLOGY and coastal planning afrerearning her bachelor's d egree in environmental studies in 1977. Her desire to have a more creative role in environmental planning led her to landscape architecture- she earned her IISLA frum Cal Poly San Luis ObislX> in L983 and two years lattr opened her own firm. Van Ana's background in environmental planning tpves her a unique perspective on rescoracion projects. She has both a deep

knowledge of native plams and plam communities and an appreciation of the biolo-

gist's point of view. T he Glifornia Coastal Commission required thac a neurral third-parry biologist be involved. That biologist was nervous about trying to re-create habitat. Van Ana

One of the project goals lVas to manage surface lUnoff from the adjacent dormitory huildings and lawns.

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understood this view because her first degree had trained her to see what was there-nor the potential of what could be. "\'{1e were trained to think about why we should leave things alone," she says. But as a landscape architect, Van Atta saw that this gravel parking lot could again become a thriving native habitat. And, she says, "\'{1hen J told them J would make it beautiful, th is was the best se!!ing (Xlint for the Ul1lVerslty One of Van Atta's primary observations was the wetlands' location between the dormitory buildings and the beach. "As a landscape architect J knew we could have trails co guide ci rculation, because we knew people would go through rhe area anyway, and we needed to accommcx:late them,'Âˇ Van Atta says. Van Atta's team studied how students moved through the space and where the viewpoints were arranged along the bluffs. T hey planned trails to follow the si te's nat-

ural "desire lines," the pathways students were already [aking. \'\Iith a network of boardwalks connecting the dorm i[Ories [0 the bluffs and the lagoon, Van Ana's concept included res[Ored wetlands (which stay We[ year-round), vernal marshes (which Stay wet almost all year),and a vernal pool (a small pool wet during a brief pan of the year- an impor[ant and rare California habitat), all surrounded with a buffer of scratchy coastal sage scrub to help keep people out. T he Coastal Commission approved the plan , Van Ana says, "because we came from a place of respecting rhe habi[at.·' According [0 Ferren, the team was permitted co grade nearly the entire area and add ropsoil and native plams from local seed banks [0 reestablish healthy habitats. Van Atta said rhe drainage plan was designed to follow the site's namral flow patterns. One of rhe establ ished projecr goals was co manage the surface runoff from the 00jacentdormitory buildings and lawns. T he runoff from rhe dorm icory roofs is collected in bioswales through rhe counyard lawns designed by Spiez. Runoff from 75 percenr of the Manzanita Vi llage sire is rreated rhrough bioswales and rhe werlands. At the time, managing stormwarer wirh natural systems was not common. Van Atta went to the beSt source she could find for creative solurions (hat would appeal to the project's civil engineer: a ei\'il engineering textbook. She found what she was looking for. A ··dual conveyal1ce system'· now directs the lower flows of runoff down a naturalized waterway co the lagoon, while higher runoff volumes are directed belowground once the first flush of pollution is treated by the network of bioswales and wetlands. This project required a conrinuous dialogue between the client, the biologist, the civil engineer, and the landscape architect co evolve a tiered rreatment system. Runoff is directed through 1,300 feet of bios wales, into bogs and in and out of 34 basins, all wirh native plants taking up the nutrients. \'\Ihere several bioswales came together directing a large volume of runoff during storm events to rhe lagoon, the engineer had plans to take the water belowground co prevent erosion. Van Aua was convinced they could manage the most polluted '·first flush" of storm water during major rain

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events and all smaller rain evenrs aboveground. And according ro Van Ana, Ferren really did not want it ro be concrete. The selection of the plant palette was also a highly collaborative process. Ferren helped with the plant palette for the bioswales in Spitz's dormitory courtyard

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landscapes. Van Atta's team designed everything around the wetlands. Carol Bornstein, a horticulturist with the Santa Barbara Botanic Garden, was interning with Van Ana Associates one summer and collaborated on the planting plan during construction documentation. The original plaming plan was gardenlike, Van Atta says, "but the biologists didn't follow the plan .... {Ferren] mixed it up." T his is the one area where the biologist and landscape architect diverged in approach. Van Ana promised Haines thar the plaming design would Ix: beautiful as well as environmentally functional. She had designed rh e plantings co be in slightly larger masses than they would find themselves in nature, and sh(" considered the ornamental value of plants chosen for the area along the edges. Ferren propagated native seedlings

The planting plan is the one area where the biologist and landscape architect diverged in approach. from local seed banks and planted them in a more varied manner. While Ferren did nor follow Van Atta's exact planting plan, he kept che areas planted with palettes following her concept. For instance, che site is divided into plane communicies including coastal sage scrub, coastal prairie, vernal marshes, and a vernal pool, according co Van Acta's plan. Racher chan large drifts of colorful sages, monkey Rowers, and lupines, plants were interspersed with each other co allow for a Darwinian "survival of the finest" approach common co restoracion projects. The effect is more homogenous than Van Acca had planned. Ferren's team harvested native plane seeds from local seed banks and raised 80,000 native plants for installation. They also colleered inoculant from nearby vernal pools when it was time co establish lagoon Park's vernal pool. Lisa Stratton, director of ecosystem management, and Janet Myers, restoration

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52 1 lilndscape Archihcture APR IL 20 DI

Van Atta's planting plan featured gardenlike arrangements of native plants along the path· ways and smoothed out the edges of the biologist's delineated wetlaoos, abore and inset. Tern· porary educational signs, be/ow, will be replaced with pennanent guides to nati,e habitats.

"T he manpower in restoration," says Stratton, "isgrowing plants, planting, and weed control. Then every now and then you have to weed a few things." Ir (ook tWO years to plant rhe site, and once most things established themselves, the spray irrigation system used to establish the green fence was shut off. The irrigat ion was only necessary during the first one or two growing seasons to establish the first 15 feet of planting off the pathways as a way to protect the more sensitive habitats. CCBER has been monitoring the stormwater quality and the habitat quality. The bioswales collect all of the rain from a oneinch storm event and reduce the nutrient levels. The major pollUtant sources are seagull guana from the dormitory roofs and ferrilizers from the courtyard lawns. Ferren said that initial measurements showed a 90 percent reduction in nitrates and an 85 per· cent reduct ion in phosphorusafrer 30 d'lys in the wetlands. He noted, however, that the bios wales nei'd regular maintenance that involves cutting plants a few inches

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The pathways support pedestrians, runners , and cyclists,

abore, left, and below, from the unit-ersity and surrounding communities. The distinctly beautiful and rare yemal pool habitat, bottom, attracts both people and wildlife.

aboveground and preventing thatch buildup so that the bioswale remains a nutrient sink and not a nutrient source. T he removed plants can then be composted and used elsewhere on site as fertilizer. Haines noted another project successa significanc increase in bird activity. \'Vhen lagoon Park opened, the local birding blogs exploded with sightings of native birds new to the area. Stratton agreed, saying CCBER has taken counts of rhe bird population and noted a great increase in native birds in the area. "I love campus work because rhe landscape enhances the learning experience. This is a living lab,"' Van Atta says. TIle project is also successful in attaining the dient's goals for a beautiful aesthetic 54 1 lilndscape Architecture APR IL 20 DI

ECOLOGY and allowing access through the site. According to H aines, onc of UCSB"s goals was to

avoid fencing the site. Generally CCI3ER

works with landscape architects only on grounds adjacem to a bui lding. T his proj-

ect is unique fOf allowing acc("SS through a restoration Site.

5rratwn says, "T he landscape architect

perspective on human use ofa site has been reaJlyeffenivc here." And Hainesagrees. "I think {the walkways and landings} were

'I.The landscape

architect perspective on human use of a site has been really effective here.))

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one ching chac was really quite successful about the project. Susan had a great feel for how chac would cum oue." A "green fence" planced wich /socoma mfllziesii, or goldenbush, keeps scudents ouc of che coastal sage scrub border wich ics prickly cexture. T he plant's aggressive nature, however, is a challenge to the concept design in places. "\v/e had visions for a prairie grassland in this area, but the /J(l((Jllld was so effective, it kept invading, so we are cutting it back to allow che grasses to come up," Scracton says. "We do a combo of Aame weeding <torching the young seedlings) and have actually cried dust bust ing the seeds out of there to remove che seed bank." Stratton also manages an intern training program for srudems, who learn about native plant communicies and how tomaimain chern as well as how co conduct research on the site. With all of the project's successes, there were some valuable lessons learned as well. \'{1hen asked what they would do differently if they could start the project over ah'1lin, each team member had come away with a different perspective.

As the projecr landscape architect, Van An a says, "I would have been more d emanding about themed gardens in highvisibility areas." She would have preferred the garden qual ity that she had proposed to draw people's attention to the lx"Uutyof a plant community they do not und erstand. "What I am really trying toachieve is getting more peop le to lov{' and appreciate {the native habimt1," Haines usually finds plenty of things he would do differently, but with this project there was not a lor he would have changed. A couple of material elements did not work as they hoped: T he lagoon stai rway's recycled lumber material is nor holding up well in the salt air, and the mandated emergency vehicle turnaround's plastic ring system planted with yarrow did nor stay in t he ground. O therwise, he would have liked more areas fOf demonstration. 'T he imerconnecti vicy im p roved (he success of chis plan ," Haines says. And (he fact chat this different management strategy for water made so much sense environmentally, he says, "absolueely change<] our perspective in housing." T heir next residential project was even larger, and ehe design creOles 100 percent of the stormwater runoff III wetlands.

Claire Latane practices umdicape architecture wifh EPT Design ill Pa5ddClla, Cali/willa, and ti'LlChes a sfIliwdi3igll sllldi(JtlICal Poly Pmll()fld. Van Atta Associates Inc., Santa Barbara, California (Susan Van Atra, ASLA, principal; Gui llermo G onzalez, senior associate; lane GocxIkind, ASLA; Bethany Clough, ASLA; Jack Kiesel). Blackbird Architects, Santa Barbara, California (Ken Radekey, principal; Yianni DouEs). Santa Barbara Botanic Garden (Carol Bornstein, horticulturist). Plant propagation and planting: \X1ayne Ferren, Museum of Systematics and Ecology (now CCBER), Santa Barbara, California. ARCHI-

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Landscape Arcbitecture

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5s l llndiuP. Archltechlr. APR IL laD l

(krafts'man), n, 1 One who performs with In the manual arts and crafts,

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Usinl model s, .bor., rigttt, and kID" kff, Jason Hod,U, ASLA, perlormed s~tial design studies of tree canopy, plant mllsing. and serial vision targeted at engaging pedHtn..ns. The simple material paleHe included water路 wise plants, local l tone, and drip irrigation. below right and opposite.

Kirkland wanred rocreme"a SHong conne([ion , both physical and symbolic. betwetn the two rnc-diOl.I school buildings:' 111e foundation of his work, a six-foot-wide red granite path, funcrions as a canvas for "an engraving [oOa parrem of [he DNA helix," Additional engravings offl.ora and muna form what Kirkland calls a "library of life," with "images tlmr are local, regional, continental, and glol:xU, connecring El Paso with the greater world." A concrere border frames the granire on each side, expand ing its width and setring ir off from surrounding shrubbery, Kirkland describes the large sculptural focal poinrs of EIIII/etrantbin as "four car\'ed granite sculprures inhabir[ingJ the garden rooms along the parh," The central elements, Porral and Mind, are closely related archways made of yellow and red granite. 60 I Llndacap. Archltechlr.

APR I L

laD l

The pathway, under construction abore, traverses and subdivides an approxi-

thac symbolize "che search for the rig ht diagnosis and treatment." Mind is engraved with "a floral pattern, recalling the colorful Hispanic culture of the reg ion," and it also depias ·'simple tools from daily life: a trowel, toys, household icems, and office supplies." The keyholes are engraved wich "images from science" thac underscore Kirkland's message: "Oust} as the head suggests knowing pacients as unique individuals, the keyholes suggest thac understanding of science is the key to medicine," The El Paso campus is currently open to staff and visitors, and officials plan co open che facility co students in full 2009. Visitors, students, and researchers will appreciate Ellllferwmbio as a reflection of che medical practice, as well as a vibrant artwork rooted in its surroundings.

mately two-acre central campus green space. The sunken areas created by the

Elizabeth LYlich is all editorial assistant with

path on either side of the land bridge,

Sculpture magazine.

left, receiYe stormwater runoff from ad·

jacent buildings while doubling as out· door open space for students, faculty, and staff. During construction, sculptures were hoisted, top right, over the western basin

and into place by a crane.

l l le outer contour of Portal echoes the arch of the medical school's main entmnceway, and its inner comour fonns a "profile of a human head." l l le shape refers to Spanish Mission architecture as well as to the "journey from student to physician." Mind "is also a portal," according to Kirkland. "1lle form is the {XlSitive head cut out of Portal . . . {and the negative space of the pass.'1geway 62 1 liIMdscape Architecture APR IL 20 DI

Hodges, left, and artist Larry Kirk· land, right, stand at the completed EI fnterumbia, right.

is] the shape of a keyhole .. · Sited on i:xxh ends of the pathway, "the third and fourth sculptures are black grani te keyholes " with '·windows in the shape of keys"

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landscape architecture originated as a city-building profession . Ie on ly makes sense chat at least one landscape architecture program should exf.X>Se students to the nation 's largest and most com plex city. And what better place to study American c ities than at 140[h Street and Broadway, just a couple of blocks from the subway ? "nle City College of New York (CCNY) is possibly the most diverse inst itution of higher education in the coun try and also its most urban. In this immense city and region of more than 1') million people, CCNY

offers the only professional landscape architecture degree program. Founded as the "Urban Landscape Archi tecture" program in 1972 by M. Paul

Friedberg, CCNY recently shifted from 6 4 1 lilndscape Architecture APR IL 20 DI

Ull-

NewYork's CC\il

opens doors to Ul'ban life and ecology.

By Frank Edgerton Martin Photography by Bruce Katz dergmduare accreditation roan MLA as its professional degree. Now in its third year as a graduate program , CCNY is one of the most stimulating sen ings in which to study urban design in the world . Because most landscape archi tecture programs grew up at land gram colleges in small towns such as College Station, Texas; Ames, Iowa; and Davis, Cali fornia, the

profession tends to reach with rural and suburban casestudies. Yet landscape architecture's seminal practitioners, including \'{farren Mann ing, the Olmsteds, and John Nolen, often designed urban parks, neighborhoods, watersysrems, and public spaces in their prncrices. Only later did "urban design" become a field of its own. h 's surprising, t hen, dlat New York City

did not have a landscape arch itecture program until 1972 when Friedberg began teaching. Those were idealistic years with Mayor Lindsey's efforts to bring parks to more neighborhocxls and the growing emphasis on community-based governance and design . \Vi th his work on adventure playgrounds at such projectS as the J acob R iis Houses in Manhanan 's l ower East Side, Friedberg had become widely published and, like L nvrence Halprin, FASLA,

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Discussion guides iI class at the City College Architectural Center, left, iI public: outreach center that brings studenb to real-world projects. Participants include Peter Gisolfi, ASLA, chair of the school and iI senior professor in the program, abolle, ilnd Lee Weintraub,

U.SLA, senior professor in the program ilnd fonner director of the undergraduate program, below left. Model making at all scales is

emphasized for urban design projects, bottom.

on rhe \'{fest Coase, celebrarecl as a new kind of city landscape archi-

cect. As he tells the scory, the idea of a program at CCNY grew out of an ASLA initiative in rhe lace 1%Os co diversify the chen large-

ly white and male profession. 111e national organization held a conference our of which social activist members such as the lace psychologist and landscape architect Karl Linn advocated significant ourreach to the peXH and to minority groups. Friedberg claims that Linn was so progressive that his radicalism frightened some of the leadership. T hey tumed to Friedberg for ideas. He pointed out the obvious fact that chere were virtUally no landscape architecture programs in cities. Soon, hecalled a friend who was a dean at CCNY to pitch [he idea, and the program was born. Len Hopper, FASLA, was a second-year architectUre student when Friedberg came to [he school to show slides of his work and introduce the new urban landscape program. "Sitting in on the presentation and seeing the work he was doing in the urban environment, with hundreds of people enjoying major outdoor spaces, I knew right 66 1 lilndscape Architecture

APR I L 20 DI

away rhar rhis was whar I wanted to do,"' Hopper 5.'lys. Over 30 years Hopper rose to become chief!andscapearchirect for the New York City Housing Authority. Like many of his fellow graduates, Hopper has worked extensively in the public realm on issues concerning recreation and security. Indeed, much of dle history of landscape architecture in New York over rhe pase 35 years has its roors ae CCNY. Hopper notes rhar "there are very few firms that do not have

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In the Faculty's Words urrently, City College's graduate program in landscape architecture has four full-time faculty members. Here are thoughts from some of them on their program and learning in Hew York:

"Students learn not only to carry ideas they haYe been tallght into practice bllt how to evolve new ideas through practice." -Denise Hoffman Brandt, ASLA

"I have followed the old Hebrew sage who said about 2,000 years ago that when one is involved in teaching and learning, one is rewarded in this world by haYing a rich life and contentment in the afterlife." - Ach.-a Benlinberg Stein, FASLA Fac ulty and stud ents ta ke pa rt in a seco nd -year studio presentation, .bo.-e. The topic is th e Hastin gs Wate rfront (Brownfield I Restoration, a project seekin g to improve the waterfront of a Hudson Valley town north of New York City. Achva Benzin berg Stein, FASLA, head of the landscape architecture prog ram, listens and reads t he bac kgroun d and design mate rials und er re ,iew. A second -yea r stud ent, right, presents her solut ion for th e Hastings waterfront.

ae least one CCNY graduate working in their office, and many are in higher (X>Sitions." Hopper still serves as an adjunct professor at CC/\'Y, teaching some of the technology sequence. Lee \'V'eintmub, FASLA, was also an architecture student who joined the landscape program's first class. He recalls his first impression of Friedberg and how his work had "a social edge." "G rowing up in the Bronx," he recalls, "my contact with landscape architecture was my schoolyard and my stoop. So you can imagine how compelling Friedberg's new ideas were." A former head of the program, Weintraub remains a full- time faculty member with an active outside practice(sre "T he Park IKEA Built," Landi[djJe Architectllre, November). 6 s l liindSClIpe Arcbitecture

HR l L 20 DI

"We've always focllsed on community engagement, treating Ollr constituents with dignity, and training our students to do thaL This is a taproot that goes back to Paul Friedberg. Now with the MLA program, we are adding a layer of en,ironmental sensiti,ily to community projects that makes them even richer. - Lee Weintraub, FASLA

leh ehe eransieion to graduate-level teaching and a population sh ife back lntocities and older suburbs, CCNY's landscape architecture p rogram is, in many ways, being reborn with the idealism of its early years. "It's really a profound moment," observes George Ranalli , dean of archi tecture, urban design, and landscape architecture. '" \Y/e feel strongly that we are an urban school and New York Ci ty is the laboratory of our research ."

O ne unmistakable fo rce in ehe program's rebirth and renewed outreach is Achva Benzinberg Seein, I'ASLA, head of CCNY's landscape archieecture program and its Architectural Center. A native of Israel, Stein studied landscape architecture ae the Universiey of California, Berkeley, during the rise of the free speech movement and stayed in ehe Bay Area CO work in some of the earliest community design ceneers in the country. lacer, Stein accended Harvard for an MLA, where she studied wi th Lewis Mumford and Kevin Lynch. Over the pase 20 years, she taught ae ehe U n iversi ey of Southern California and North Carolina Staee. As the focus of ou t reach ac t ivi t ies, CCNY's Architectural Center, Stein claims, is one of the few places in New York where urban designers, architects, and landscape architects work together on projects ranging from small community gardens to large-scale planning . T heir clients are often communi ty redevelopment organiza-

hoods actually want one's design help, advice, or service. Every landscape architecture program in the country that brings student volunteers into community projects should ask, ·'Who really benefits?·· Are faculty and students JUSt providing simplistic solutions without market-based realities? "At Berkeley,'· Stein S<'Iys jokingly, '·we used to say, 'the helping hand strikes again!'" She adds that "when you do someone a favor, it·s a mess. \'Vh en you t ruly participate, it works." By "parricipating," she means not posing in the role of arrogant consultant or noble community service worker who has all the answers. It means truly Iisrening and talking with dients, whether they are paying a fee Of not.

The Hastings Studio examined the hydrology, soils, geologic history, and topogrilphy of the bluff landscape of the Hudson Valley surrounding the town. In this photo, a student presents with a Iilrge-scale relief model. In the background, anillysis drawings of the entire town inform the design recommendations for the waterfront.

(ions and neighborhood improvement districts. Faculty and students work on projects such as agreenway in Q ueens and the revitalization of the storefronts along Amsterdam Avenue in their own Harlem neighborhood. Some projectS are broadscale neighborhood site analysis reporrs while others are more purely design-based efforts that lead to construction drawings for a plaza or the renovation of a public space such as Montefiori Park near the campus. One recent projen, "l ibrary Lane," will create a new urban plaza as parr of t he development of a new city library in Harlem .

The idea of ··service learning" has been fashionable for the past 10 years for both high school and college students. Yet, there is also a kind of elite assumption (hac small communities and cicy neighbor-

CNY now has abouc 35 graduate studentS spread over three years. TIlt goa.llS to grow to about 70 students. As wich many programs, the graduate students tend to have a range of professional experience. When asked about the careers they left, chey provide some interesti ng responses. For

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Landscape Arcbitecture 169

Reflecting the diversity and specialization of New York City, the students come from alt walks of life and fields such as entertainment and museum design.

example, during my visir, J met students who left careers as a Broadway actor, a producer for CBS News, a professional musician, a director of planr propagation for a

70 I liIPdscape Architecture APR IL 20 DI

major botanic garden, a designer for New York's Museum of Jewish Heritage, and even a derecrive for New York's Police Deparrment with a background in philosophy.

Where else bue In New York might you find such a group? Kelli Rudnick, Student ASLA, a third-year student from California, explains that she was drawn {O landscape arcllltecture and New York because of their broad possib ilities and questions. "1 smdied film and worked in film and in rheater ... {and] became dissatisfied with the self-centered aspects of the entertainment field." Like many of the studenrs, she PUt a loe of rhought into her career change and acted from a desire to shape space. '"' made a commitment to take a walk every day. Aftef a whde I noticed that 1 was moving trees, pathways, and even buildings in my mind. , starred to study landscape design

C:onzalo Cruz, oULA, adjultCl . "islanl professor, works with a student in t he second-year studiu·..., . . entry for t he Bromr Concu urse Cumpetition.

and quickly realized J was interested in publ ic landscapes." Adrian Hayes, Student ASLA, is a native of Texas who worked in the Austin music

scene and inrerned at the lady Bird J ohnson \'7ildflower Center before moving to N ew York for school. Hayes and his wife (a law srudeln)are both homesick for Texas-

iced rea, barbecue, and rhe open sky. "Bur I'm srarring ro be able co see rhe ciry differently now," he says of dw concrete street canyons rhar he's lIved with for more than rwo years. "\'lhat I love abom rhar is the rich canvas it presents for a person trying co consider the existence of urban ecologies." " I can'c think of a city chac has more co offer fo r desIgn education," says Peter G isolfi, who manages to reach full-time and run his own architecture and landsGlpe archirectureoffice in Hastings-on-H udson, JUSt upriver from the ciry. Gisolfi talks of rhe remarkable geolog ical location of New York Ciry at the convergence of g lacial advances and retreats. T his large-scale thinking encourages students to think of New York not JUSt as aciry buras a reg ion of interconnecred moraines, rivers, and aqueducts extend ing well into upsrate. It also explains why many of rhe ciry's parks and reservoirs lie where they do. At most design prog rams, G isolfi observes, "School is the center of life. Not here." Indeed , most of the g raduate studenrs have lives and families all over the

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LiJndscap~Arc"il~ctur~

171

CAMPUS PROFILE

GLANCE

The CilYCoUege of \ ew York School of Architecture, Urban Design, and Landscape Architecture

cicy, from Inwood at the northern tip of Manhattan to Forest Hills in Queens. There is virtually no on-campus housing.

The subway is the main commuting mode. The downside of this is that there is less of

35 (projected to grow to 70 with tw(ntlldio grollps of 10-12 stlldents for etHh ofthree yCdrs ofthe MtA track)

Number of students:

the all-nighter studio culture that YOli find at many programs whereonc's dorm is JUSt

a few minuets away. 13m it's also clear that

4 4--8 (wries by semester)

Full-time facutty:

by the third year, the students know one

Part·time faculty:

another- their personalities, families, problems, and backgrounds-very well. [n

Degree offered: MIA

$3,750 per selllester (New York state residellt) • $9,990 (Ollt of state resident) Accredited: Yo

Tuition:

a program of roughly 12 students per year, such fumilylike intimacy is inevitable.

Yet some students candidly pointour chat chere is [00 little collaboration and shared wisdom with students in architecture and urban design. Even though several faculty

[each in overlapping degree cracks, their

nize that there is a need for greater disciplinary collabomrion, as is already happening ac rhe school's Archirecruml Center.

students have few shared studios. One reason given is that archircnure students have a rigorous lise of course requirements (har precludes many elecrives. 11le fuculey recog-

osrOfCCNYS 11M students plan [0 live and work in ciries for rhe rese of eheir careers. Some of them, such as Texan

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Adrian Hayes, see New York as an inspira· cion for work elsewhere. \Xlhen asked whac lessons New York mighr have for Texas, Hayes says he hopes chat he can rerum ehere one day with new tools for growth manage· ment and regional planning. ""J rhink one of rhe big lessons is co value rhe land you

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72 1 lilndscape Architecture APR IL 20 DI

A third-ye ar student works on the Community Assistance Project in Harlem, opposite, Claire Napawan, adiunct assistant professor, talks with a student about the Bronx Concoul"$e Competition in the SHond-year spriug studio, left.

have ... before ir becomes serious. The chings I've seen done in ciny lictle spaces in New York City, where space is at such a premium, serve as examples of how space can and should be used more responsibly."

Thirty-five years afrer he srarced ceaching ar CCNY, Friedberg mighc be glad to hear a non- New Yorker and future land scapearchircct makerhis claim. In 1972, ic was an almost radical idea for a landscape

architect to design durable and dense social places in streets and pocket parks. In brick adventure playgrounds, where was the pastoral ideal of lawns and flowers? In hardsurface plazas, where was the "real Anwrica" of Main Streets and rolling farms? For Friedberg and rhe generations ofstudents who followed him at CCNY, their America is New York City. T hus, as Friedberg says, ir makes far more sense to shape "space that accepts the city and the people who live rhere on rheirown terms.路'

Frank Edgertoll /liartill is a lalldscape historlall, call/pllS plal/ller, a I/d reglllar rollfriblltor t(l

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LiJndscap~Arc"it~ctur~ 1 73

ic's been more than 20 years since the great wIldfires in Yellowstone National Park chac caprured che arcencion of (he nacion. From rhe 1880s to 1972, Yellowstone National Park had a managemenc policy commonly referred [Q as "no burn." These were che heydays of Smokey che Bear and "Only you can prewnt forest fires!" when all wildfires, regardless of ignition source, were considered bad and had to be suppressed. But [he "no bum" policy had resulted in a buildup of fuels in the park, espec ially on the forest floor. T he change from a lOU-year policy of "no burn" to 16 yearsof"!et bum" set the smge. That summer chere was essentially no rain in July and August, d-.e relative humidity hovered around 6 percent, [he winds gusted to 70 T l\.IAY BE HARD TO BELIEVE

7 4 1 lilndscape Architecture APR IL 20 DI

Documentin/:)u chanue in a visually.' dramatic landscape. By John C. Ellsworth, FASlA /:)

miles per hour,and many lightning strikes scarted fires outside park boundaries. By August 20, 1988, now infamous in wildfire management history as '"Black Saturday," more than 150,{)(X) acres burned in one day, whipped by the fierce winds. By the end of the fire season almosc 795,{)(X) acres, or 36 percent of Yellowstone路s 2.2 million acres, had burned to one degree or an()(her. Well, ir does seem like 20 years ago to me. My research interesr in visual resources, or "scenic beauty,"' on public lands cakes me back co Yellowstone every summer to conduct repeat photOgraphy from many "phoro points'" around the park, so I have

been couminS dow n each and every year. T he decision to undertake this research projecc came about in an unexpected fashion. r was in Yellowstone in October 1988, JUSt after the wildfires had been extinguished (by the early fall rain and snow, nor by the 9,500 firefighte rs, che $141 million , rhe 800 n1l1es of fire line, or the one mi ll ion ga llons of fire retardant dropped from 1 I 7 aircraft). I was there on a faculry retreat. W/e were tOuring the park, and I was raking photographs lefe and righe as we drove around ehe weseern half of rhe park. I had no thought ar the rime of undertaking a research projecr and

WlSIAlIESOURCES cenainly not a 20-plus-year one. However, I returned to Yellowswne the next summer and nmiced how vegetation and animals WCfe starring to come back in some areas yCt not in ochers. [ soon recognized I had the makings of

a long-term research proje""Cr based on my original photographs. Real izing that observation of an interesting phenomenon is rhe first step

in classic scientific method research , [ drove back [0 my home In Logan, Utah, gathered up and organized all my slide photographs from chat first year, chen immediately drove right back co Yellowstone and Started to seek

our my locations fo r as many of those 1988 phoros as possible. Of course, this \Vasa major challenge because when ' took rhe first photographs [ wasn't chinking about research . J had no noces indicating [he locations, and chere was no GPS (gloool positioning system) at that time. , persevered and was able ro reestablish more rhan 50 of rhose points. I have continued this sysrematic repeat phorography every year since. TIle result? From rhe viewpoint of a professional landscape archirect and academic researcher, more rhan 1,000 repeac phorographic images documenting the recovery of the scenic resources of Yellowstone National Park. Through {he years, I have pared down t he number of repeat photos ro abouc 2S chat I use on a consisrent basis, because rhey are the best ones to illustrate rhe variety of landscapes and conditions that represent che recovery of the park's diverse scenic resources. I made careful and derailed handwritten notes, later transcribed to digital text, aoouc che location of each photo point. A cypical directive from my notes reads, "Drive into Yellowstone from rhe \'ifest Entrance; proceed 14.3 miles to che overlook on che left. Park in the middle of che lot; walk along che edge to che trash can. Turn toward rhe river and walk chree paces, kneel down, locate the correct view by referencing the print of the original photograph taken in 1988, frame rhe shoe, and click." Of course, chose directions worked very well until 200 3, when the Park Service decided to relocate the crash can. T hat was the year I decided to record the GPS locations of my photo points, but in practice I've never used the GPS because after 15 years of going back to the same places, I could return to them blindfolded now. 76 1 lilndscape Architecture APR IL 20 DI

klred had collapsed. re.eali., the landscape's toJIOpaplly and new kldcepo_ pine trefl start-

:~:~i~:;~::j~:,,~generation is rela-

Why Scenery After Wildfire Matter.

Somecimes, you'll he-arpeople refer co an excensively bumed area as a "scorched wasceland. '" I tend nO[ co use those kinds of terms anymore. A reasonable understanding of fire ecology tells us thac when a forest burns there are benefits as well as some negative impaccs,shorrand long eerm. For example, locIgeJXlle pine, che dominant foresc species

in Yellowstone, re<:Juires rhe heat of fire co open ies serocinouscones, releasing che seeds. The images selected for the ongoing repeat-photography research have distinct foreground, middle g round , and background. Generally, in che foreground you wil l see river, stream, or meadow. In the middle g round are ridges, ofeen low mountain ranges and forescs. The back-

ground is composed of the more distant mountain ranges and the overarching sky. Buildi ngs, roads, and other humanbuilt features elicit special reactions, so chose are absent from the images as much as possible. Photographs were selected based on those basic criteria along with others so that there would be some consistency among them. I display the images to people, taking incoconsideration respondents' differences in demographics, education, knowledge and understand ing of fire ecology, and familiarity with the Yellowstone landscape. Preference evaluations afe correlated with these variables, and from this we can starr to understand more abollC how these faCtors affeer whether people "like'" a parcicular percentage of burned area over another, whether their knowledge and understanding of fire ecology influences their preference, or how much cime muse pass after a wild fire for people to accept the change in various landscapes. 'nle scenery in Yel lowscone and oeller nacional parks is, co various degrees, managed.

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LiJndscap~Arc"it~ctur~ 1 77

VISUAL RESOURCES Every visitor sees this in the eaRfu! alignment of roads; the location and design of visirors' cemers, campgrounds, viewpoints, and rest areas; and the delicate balance of pristine ver-

sus developed landscapes. From almost a half century of research

by landscape architects, natural scientists, and environmental psychologists, we know chac scenery is subject co abuse, deg radation, or enhancement and has its own carrying capacicy. Knowledge about [he relationship of fire and scenery can lead to g()(X\ management. Our research suggestS chat for most people, ehe immediate visual effecrsof wildfire are overwhelming, and even if they undersrand chac wildfire is parr of the regeneration and [he natural cycle of landscape, ie's scil l very difficu lt to accepr. Moreover, "ecosystem recovery" afcer fire is not the same as "scenery recovery:' N atural processes may require many years for steep, southfacing slopes to reesrablish mature forest. H owever, for the typical visitor to Yellowstone (who travels the park for less than one day and sometimes leaves the comfort of the automobile only fora restroom break), with or wit hout an understanding of fire ecology, the visual consequences of that long process may be disapJXlinting. It's often not until much of the vegetation has started to recover that people begin to realize, "OK, it's becoming a forest again. Yellowstone is back." Fire, and especially wildfire, in the landscape seldom elicits a JXlsitive reaction. We educate visitors about grizzlies and dle dangers inherent in travers i ng geyser basins, bur it is not yet esrablished if similar no'Sults can be achieved for understanding the relationship of wildfire and scenery. \'qe're addressing other questions, such as how much burned area within a viewshed is acceptable. Migll[ some amount of burned viewshed be prefera ble to completely unburned? Using Photoshop, we can manipulate the images to show various amounts of the viewshed burned, then survey people's preferences. In one 1992 study, 78 1 lilndscape Architecture

APR I L 20 DI

In 1988 the deViistation of the wildfires is brought into close focus in the foreground view, abore, along with the smell and feel of recently burned timber. 8y 1998 the forest was reborn, abore right, with the promise of renewal on every visitor's mind. In 2003, opposite, the visual evidence of the wildfires of 15 years ago is almost all gone. The ,isitor perceives a 'enlant landscape full of life and growth, with limited visual access to the landscape spatial structure beyond.

g raduate student Robert King prepared images showing fou r conditions of the visible forest: no burn, 10,60, and 100 percenrof the visible area burned. By asig nificant margin , people preferred to see 10 percent of the visible area burned, even when compared to no burn. \'{1e believe there is some visual interest and variety, some intrigue and curiosiry piqued in pe0ple by small areas of burn. It's as if they're saying, " Hmm , something's happened here. It's not threatening ordisturbing yet. Ic looks like the landscape is still healthy and intact, and che visible burn is interesting." H owever, 60 percent or more of the visible area burned was noc well received. 111ere are implications here for fire management in national parks. \'{1e know chat some burn is necessary for the ecosystem. Perhaps we should manage most areas for moderate to extreme burn but allow only minimal burn in highly scenic areas at any one time. Should the National Park Service proactively burn areas slightly to achieve

scenery goals in concert with ecosystem goals? Should scenery enhancemenc rake precedence in some areas and direct fire management? Should we undertake longcerm research to cest this idea? \'qe also want to understand people's reanions as an area recovers over cime. In five years afcer a significant fire, is che vegetacion recovery sufficient that most people accept the visual conSC<juences, or will it take 10,20, or more years? That may vary if the area is mosc1y meadow or primarily forest, or jf it's a geyser basin. Meadows recover quickly, usually in the first year. Porests require more time, especially on sceep slopes wit h chin soils and exposed rock, and on south-facing slopes that receive more sun and heac and retain less soil moisture. In the first decade after che wildfires many people were surprised to see utility poles and lines, maintenance roods, and other Park Service feacures chat were invisible before the fires. Many people think, "Well, a geyser basin is already very scenic, so no one wanes burned area destroying che scenic beauty." However, sometimes che visual power of the geyser basin itselfis so strong that people don'c pay much actention co the surroundings. \'qhen you are one of the hundreds or sometimes thousands of people wacching O ld Paithful go off, you can see theforesced ridge behind. Does ic marcer co you if the forest has burned recently? Professional analysis is a big parr of my research. O ver the past 20 years, I have displayed the images and discussed the impli-

cations with dozens of groups, from the local Rotary Club ro international conferences of landscape arc hitects. As my professional colleagues know, landscape architects often look at the world differenc1y. \Ve recognize and consider spacial definicion, legibility,

and depth, as well as mystery, complexity, prospect, and refuge. In the ongoing research analysis, I try to understand the relationshipof these professional insights to the preference responses of everyday people. People often ask me, "Any surprises for you through the years?" TIle biggest surprise was in the first few years after the wildfires. Many people wefe very concerned that Yellowstone had burned toacrisp, it would never recover, and they would nevef want to visi t it. T hey would say, "Well, I Wish I had gone om there before it al l burned up." Now, more than 20 years later, it's theoPIX>site. People are talking about Yellowstone's amazing recovery, especially those who have visited the park several times since the fires. I was hiking in Yellowstone with King a few years after the 1988 wildfires. Most of the trees in the area were standing dead, intact but with scorched and blackened bark. \Ve stopped to gather a litc1e anecdotal evidence from anO(her hiker, ask ing how he felt about the aftermath of the wildfires. H is response was immediate and ro thepoine "I prefer trees." \Ve were stand ing in crees, all

burned, all still standing, but fOf him they were no longer trees, nO( a forese As I write this, it's very early spring in Yellowstone, the snow stil l lying heavy on the landscape. T he people will arrive soon with their cars and RVs, along with plenty of seasonal park rangers to guide and direct them. T he wildfires will come again, too. And I'll be there, taking another series of repeat photographs on the 21st anniversary of the great wildfires of 1988.

Johll C. EIIJ"IIxffth, "i\SLA, lJ" a proft.r5or in the dCpartfllCIif oflal/dscape architectllre alld envirollmellfal plalll/illg at Utah Stale UII/versily, as /all as presidellt alld seni(ff landscape archilecl U/ith EllsU/lJI1h alld Associates. He 1M; recend mpport for his research m }~elloU/SIOlle from lhe Natiollal Park Senllcc. RESOURCES â&#x20AC;˘ "Preference and Fire Mosaics in Yellowsrone National Park," Master's Thesis, by Robert A. King, DeparrmemofLandscape Architecture and Environmencal Planning, Utah State University, ! 992.

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LiJndscap~Arc"it~ctur~ 1 79

ANDSCAPE ARCHITECTURE, in part-

nership with the web-based newslener and daily blog Research Design COIlIlert;ollS, uses this column to rtJXlIT currene research of interest to landscape architects from a wide array of disciplines. We welcome your comments, suggestions abom future topics, and studies you have encountered in your own practice.

Using Stories to Educate Botanical Garden Vis~ors

ESEARCt-iERS Li-Shin Chang, Richard Bisgrove, and Ming-Yi Liao recently fOllnd that landscape narratives-that is, srories chat lead visitors through landscapes in bomnical gardens- increase learning among children in bocanica! gardens. One important outcome of rhe research is chac botanical gardens with narratives can be even more effective cools "[0 support conservation ofbiodiversicy," [he auchors write. Elemenmry schoolchildren from Taiwan, nine to 10 years old, participated in the scudy, which evaluated how much they remembered about each of five themes associated with potencial narrative landscapes in che Heng-Chun Tropical Botanic Garden. A narrative landscape, the authors explain, ·'is".composed of explicit or implicit elemems or settings that can help che narration of specific stories or information. ft mayor may flOr have a particular theme." 'nle authors ci te the example of che Eden Project in the United Kingdom: ·' In che Humid Tropics Biome at Eden there are narrative e1emems such as the huge bow of a cargo ship standing on the roUte to Crop and Cultivation Display, indicating the prosperous trade for economically important plancs and products." In this study, sometimes the pocential narrative displays included props or artwork, and in other cases the narrative incorporaced nacural elements. After viewing videotapes of each narrative, the children answered multiple-choice questions that tested what they remembered about che landscape. T he children learned more when they were eXIX>Sed ro images of the areas 80 I lilndscape Architecture APR IL 20 DI

RESEARCH DESIGN CONNECTIONS Btlldies examine landscapes that tell clleir own stories, designing safer rotaries, and mapping ATV trails with CTS. By Sally Augustin Jean Marie Cackowski·Campbell, ASLA with narratives. The children also found botanical garden areas with narracives more desirable and attractive. Source

• ··fmproving Educational Functions in Botanic Gardens by Employing Landscape Narratives," by Li-Shin Chang, Richard Bisgrove, and Ming-Yi Liao; L:mdscLlpeand Urban Planning, vol. 86, 2008.

Making Rotaries Safer for Bicyclists And Pedestrians

ESEARCH H AS CLEARLY SHOWN

that rotaries (also known as roundabouts) increase driver s.1fety but are flot as

advantageous for bicyclists or pedestrians. After a review of the literature on this ropic, Essam Dabbourand Said Easa present a design alternative [Q conventional ways of routing riders and pedestrians chrough r0taries, as well as a related model and a conceptual application ro support it. Planners can use this model [Q analyze the COStS and benefits of rotary redesign projects. Modern rotaries- that is, those built since the 195()s- are distinguished from older ones by three characteristics: - Entering vehicles must yield [Q traffic already in the rotary. - Vehicles must travel in a circular path. - It is noc possible for vehicles to shoot in a straight line from one side of the rotary to the other.

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111ese m(Xjern rotaries help move more vehicles more efficiently through an area without compromising safety. Research has shown chat chey ·Ti}mprove the 5.'lfety of motorized vehicles by dramatically reducing che number of conflict points and therefore reducing the high-speed angle collisions, which resulted in an overall decrease 111 seTlOUS II1Junes and fatalit ies." Bicyclists and pedestrians interact differently with rotaries than cars do, and eheir experiences are Far less JX>Sieive than chose of motor vehicle drivers, due to both design and traffic rules. In fact, more accidents involving bicycles and pedestrians occur ae rotaries ehan ae oeher kinds of street intersections. For pedestrians with visual impairments, in particular, rotaries pose a navigational nightmare. The researchers have found, however, chat removing bicycle lanes from rotary traffic and adding pedestrian craffic signals make rotaries safe for all modes of travel. Currently, planners deal with bicycle lanes near rotaries in a couple of ways. Some build bicycle lanes directly along the edge

of the roeary itself, which alTers little protection for bicyclists, and many carbicycle collisions ensue. As a result, some planners elect to end bicycle lanes before a roeary begins, which confuses bicycl ists and has predictable negative repercusSions. Dabbour and Easa propose an aleernative solucion, which is tocreate what they call ··bicycle bypass lanes.·· T hese lanes form a ring around the rotary, much as a ribbon of gases surrounds Sarurn, and are dedicated to bicycle and pedestrian traveL An expanse of land separaces the bicycle bypass lanes from the roeary. T his in-becween space mighe be developed for any number of uses, from parkland co reeail Stores, and can take any shape based on the land available. T he important concepts are to create cravel-ways exclusi\'ely for bicycles and pedestrians and to distance t hem from rotary traffic. \'Vhen bicyclists and pedestrians in the ring lanes need to cross roods leading into the rotary, the authors suggest installing conventional street-crossing signals thac ··can be manually activated by pedestrians

Bicyclists and pedestrians in teract di fferentl y with rota ri es than cars do, and th eir experiences are far less positive than th ose of Illotor vehicle dri vers.

(especially those with vision impai rmems) or by cyclists approaching the intersection." T he crossing signal can also be act ivated electronically by devices that detect cycl ists approaching the intersection. Planners must plot enough distance between where the cars exit the rotary and the crossing signal so that the queuing lane into the rotary is long enough to prevent traffic from backing up into the rotary. T he researchers recommend installing traffic signals ro independently regulate vehicles entering and exiting the rotary at any point and physical barriers to prevent pedestrians from crossing the street along the strecch of rood where cars queue up co wait fo r bikes and walkers to cross. Dabbour and Easa present a detai led mooel thac planners can use rodetermine whether the COSt ofsuch proposed design changes can be JlIstified at a panindar rotary. Th(yaddan imporrantcave"at: Althoug h this design will reduce bicycle-pedestrian-car col lisions in the rotary, accidents are bound to increase where the bicycle lanes cross traffic approaching the rotary uncil riders, walkers, and d rivers get used to these new street crossings. The researchers also discuss ways co calculate the annual s.'wings from bike bypass lanes based on che average COSt of a collision and including initial construction and ongoing operation. T hey describe a simulacion that indicates the value of the proposed bicycle bypass lanes. In addition to directly increasing safety ac rotaries, the researchers stace, U{alnother advantage of the new treatment is that it provides continuity for bicycle lanes when approaching roundabouts, and therefore prevents possible confusion by cyclists. The proposed treatment m ight be most suitable for multi lane roundabouts where the safety of cyclists has been found to deteriorate substantially. 111e impact of the treatment on traffic flow was found co be negligible for typical bicycle volumes on Noreh Ameri can roods .... Ideally, the proposed treatment would be desirable in areas where the overall traffic volume is low to mcxlerate with a high proportion of bicycle \'oIOOle (e.g., near educational institutions)."

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LiJndscap~Arc"it~ctur~ 1 83

Fabricating more cellular vinyl ~~in hous~e;,..i'i . iTiiiTITiT.1

RESEARCH

Said Easa; Cal/adial/jollrnal oIeivil f llgiliM /liS: vol. 35 , 2008.

GIS Can locate Optimal Rollles For ATV Trails

TEPHANIE SNYDER AND her col -

leagues show chac geographic infor-

mation systems (GIS) can be used to streamline [he design of recreational

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trails for all-rennin vehicles (ATVs). Designing trails that ATV riders favor is important, because if they enjoy panicular trails , they are more likely co Stay on them, potent ially reducing damage CO the environment and conflicts with other people out enjoying nature. The authors also note that appropriate (and separate) trails provide ··interest, challenge, experience, and safety" for ATV riders. 1111' researchers demonstrate how to incorporate environmental factors and rider preferences into the trail-design process using the Least-Cost-Path algorithm. 111is tool calculates the route by factoring in '·trail impacts and benefits associated with water l:xxlits, slope, land ownership, noise, trail separation, views, and rider preferences for vegetation types and loop trails." Although recreation planners have used GIS to design recreation tmils before, the

authors note that ··GIS tools have not been widely used to assist in trail layout and planning for ATVs, ormocorized recreation in general, but offer significant potential co do so through their ability co analyze complicated setS of spatial dara and criteria and co generate optimal paths .. In a case srudy, the researchers used GIS co plot ATV trails in a Minnesorastate forest. This process generated new information, which, when combined with generally accepted trail-desig n practices, yields the following criteria for ATV trails: Soil s: Well-drained , fine-textured loom or clay loam, or rocky soil Slopes: benveen 5 percent and IS percent Wate r: IS co 30 meters from water l:xxlies, minimizing the number of stream and wetland crossings P rivate land: minimize travel on privately owned land Focusgroups with ATV riders in MinnesOta revealed that they prefer trails with (a) scenic overlooks and vistas; (b) travel throug h forestland , then meadows, then agricultural land, in that order; (c) more deciduous or hardwood trees as opIXlsed to conifers; and (d ) loops. The researchers found that "{tJhe use of a GIS and least-Cost-Path algorithm offers a structured but flexible approach to ATV trail location .. that allows desig n-

Designing trails that ATV riders fa\"Or is important, because if they enjoy particular trails, they are more Likely to stay on them, potentially reducing damage to the enrironmcnt and conflicts with oth er people. ers to automate rhe usual trial-and-error process of choosing a route. "The method allows for [he incorporation and consid er-

ation of all of the standard ATV trail design

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~tyle

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• "Ecological Criteria, Participant Preferences, and Location Models: A GIS Approach Toward ATV Trail P lanning," by Seephanie Snyder, Jay \'qhicmore, Ingrid Schneider, and Dennis Becker; Applied Geography, vol. 28, 2008.

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Sally AlIglISfill, ROC's smior alitor, is an mvironmental ps}'chologist.JwlI Marie CacklJWJkiCampbell, ASLA, is the publisher oJRDC al/d ha.r an !lILA degree 1m", OhioState UIlIt't'r.fity. RESEARCH DESIGN CONNECTfONS is a Sllbscription-based newsletter, blog, and web site (11'11'11'. ResearcbDe5ignConnedion5.coml providing urrent information on pe-ople and place research, ROCe.plores the ways physical uvironments can be designed to reduce stress, increase creati¥ity, impron hea"", increase SlIfeiy, and SlIpport pe-ople's welfare. To emp.....size the link between cllrrent research and de· sign solutions, ROC gathB information from hanl·ta-accHs academic saureH and presents it in slraig"Horwani prost, tables, and photos. ROC is published in print and online fOllr times a year. MembeB of ASUI can subscribe at a 20 pereent SlIvings. For more infoonation orto subscribe, go to www.ResurcbDesipConnections. com!subscriW,sI'.IItml.

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A ~ . I L , an L<lndscap~Arc"it~ctur~ 185

Church at Truchas, New Mexico

SKETCH DIARIES

Four landscape architects tell how they sketch and why.

IIAT IS TilE PLACE OF on-the-spot sketching in today's digitally driven practice? LanmwjIe Architectllre put out a call for landscape architects who still carry sketchbooks with them and selected the four on these pages. We asked them to tell us about their self-motivated sketching (as

86 1 lilndscape Architecture APR IL 20 DI

opposed to concept sketches done for cliems). \'{tho were their main teachers or inspiration for outdoor drawing? \'{then and how often do they typically sketch the landscape? How long does a typical sketch take? \X1hat materials do they use and what is their technique? Finally, how do their sketches affect their design work?

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AIN TEACHERS/INSPIRATION for landscape drawing: my dad, who was accomplished in oil painting; Dave Hollman, who taught visual design at the Harvard Graduate School of Design; and sketches by Laurie Olin, FASLA. Olin·s book Act"(1fs theOjJel1 Fieldhad a profound effect on my drawing/sketching style. T"m still looking to invent ways to suggest plant/foliage texture and tree forms. / ~-....

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T<··~5 ~~. ~ When and where I draw: I most every time T"m offfrom work (vacations, trips, family reunions). Next week I"m off to 1:105, New Mexico, for a week of sketching and reading. I try to

draw at least once a month; if noopporrunity is present to '"get away,·· I will take a lunch hourand sketch at the desk. I also keep a pad by the phone to dexxlle (anything- textures, patterns, forms).

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I try to capture what conveys "sense of place" and human scale in the landscape or, simp~ put, "genius loci." Subjcct m atter: I oy co caprure whae con-

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veys "senseof place" and human scale in (lie landscape or, simply put, "genius loci," Technique: J use pen and ink, sometimes adding colored pencil. r rake some artistic license to simplifY the subject and articulate distinguishing fcamres. A typical sketch takes from 20 co 30 minutes (in the winter sometimes less depending on the outdoor temperature), Favorite m aterials: I have a favorite pen

or two, both extra-fine and fine-nib Pelikan pens with black ink; a bound 8\t2-by- l linch journal; and sometimes a smaller fiveby-eight-inch leather-bound journal. Sketching as a discipline helps me co prioritize the order of what is being seen. In capturing the essence of a subjen, the problem is usually trying to capture too much. Sketching has helped me a great deal in presentation and design drawings for projects by emphasizing the important elements and conveying the design intenL In a sense it'sabout edi ting what you see-what you really see.

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LiJndscap~Arc"it~ctur~ 1 89

EDITOR'S CHOICE

Technique: I fuvorquick gesture drawings, ]ex>se and expressive. Sometimes I do an "idealized" place based on what I've seen on agiven day or days. Drawing times vary from 10 seconds to 15 minutes. I haven't the patience fOf anything longer anymore. Materials: - graphite media: soft pencils (9-8), grease pencil, charcoal, crayon - liquid media: marker, pen - drawing surface: tracing paper, newsprint, various ocher papers - pads: loose papers in a portfolio (don "r like journals)

A marker on (hmp tracing paper prOOuces watercolorlike quality and subtle colors. [ heat mount a tracing

pa]X:f drawing original

to foam

core.

, ,,

Woman on a

Venetian canal

Venetian towers, Italy

Dean Abbott

University of Minnesota

SEE DRAWING AS an integral

part of my creative process. A quote by Carlo Scarpa sums it up nicely for me: "1 draw so that 1 may see." H and drawing allows one to see places/subjects more deeply, more com pletely, more wholly. Main teacher: BillJohnson, FASLA Subject matter: T he drawings shown here are not oftypicallandscape archi tectural subjens. They reflect my longtime interest in the social aspects of what we do as designers. People and their interaction with their physical environment, as well as with other people, have always interested me more as a way to gain insight into placemaking. 90 I lilndscape Architecture

APR I L 20 DI

! City of Angles:

A residential

neighborhood in Venice

A Venetian street

. ' . Il 20 GI landscape Archihcture

I 91

EDITOR'S CHOICE

ings for mccals, wood, srone,

Clendaloug!t, Ireland

or concrete elements. J do nor impose deadlines or rime limits on sketches . T he elements themselves or those around me impose those limits. If! am sketching on a bus, then the length of the bus stop becomes the parameter of the sketch, and the

lesson learned IS to qUIckly analyze the content In a mage

(oem" F,~" you m",e ""

,h,

crmeal elements to form and set those down on the page, then the second most Critical, and so on Before you know It the bus IS movmg and the sketch IS what It IS AndthatsokayThesketchesmyourbook .... ~ are rur your eyes. T hey do not need to be perfect or complete (just see the ones [ have included, reluctantly, for your review- far from perfect, but adequate for my intentions in the field). Sometimes the limitof a sketch is determined by my patient family. I was sketching on a rare trip to Ireland when I became aware that I had tested the patience of my family and needed to end the drawings. TIlat, tOO, is okay. I suggest sketching with what you have available. It does not need to be an investment. If you like the process, the materials will evolve. I sketch on a bound book with pages that have tooth adequate to hold ink. I will move between sizes of book regular-

Shawn T.

Kelly~

ASLA

University of Wisconsin

YSKETCHBOOKSSTARTEDingrad-

uare school at rhe University of Ari-

zona, at the direction of Bill H avens, FASLA. Bill encournged all his swdents [Q keep a sketchlx>ok and develop [he way of chinking and seeing chat translates from your head through your hand onto paper.

He was a gende guide into what has become a passion for me. At times this has been my prime relaxation, which is like a working holiday, I suppose. My travel sketches are made when J am on vacation or at a place I want to remember. \'{1hen viewed later on, chey remind me of rhe place or time when they were drawn. Often these drawings are just hints of a detail or perhaps an emire

92 1 lilndscape Architecture APR IL 20 DI

panorama. This loose category of drawings may include sketches done while sranding in a long linear those made from the window seat of a bus or airplane. These drawings reappear, at least in part, in future derails or in the illustrations that accompany a concepmal plan. As a landscape architect, I am constantly seeing things that interest me-how people stand in lines, how elements in the landscape work (or do not), and the forms of cities, woods, prairies, and sky. I am curious about things thar surround us, or should surround us, and they find their

~~~~l~~~~~~I~~~~;~~:~:

rimes I become frustrated that way into my sketches. Some- for projcertain elements are unavailable ects or could evolve into a better form, so I will sketch prototypes thar are patterns fur later developmem. If nmhing else , these sketches become a record of thought, captured in lines and notes. Sometimes they become the format for pnxluction draw-

..,,'i::

.~~

j Bridge, Central Park, New York

ANY ~HAPF.:, ANY SntE "uu"""SF.:ATlNG. BUCKET SEAT PACKAGES UNMATCHED DU ItABI LITY

DIAMOND Iy, from pocker size to briefcase size. Most Important, you wama book chac you will cake with you. r typically use a fountain pen with permanent ink. I am noc sure if it is being sustainable or cheap, but J like [he abiliey to refill my pens so I don't have to dispose of chern. J have cried felt-tip pens and like them, but the trick is finding a pen chac will not bleed through che pages of your book and effectively h~Llve dl(' number of sketches in it. Some of my scudents like to work with pencil, but they need a fixative ro keep [he sketches from wearing off rhe sheet. Anything is okay to sketch with, because it is really all about what you like. I(sketching is fun coda, chen you will find time to do more sketching. If you enjoy the materials you use to draw with, chen rhe experience will be better. I typically fill a sketchbook every three to six months. Lately, I write presentations in them along with sketches and random dx)Ughts. Everything is legal in your book, since it is yours only. These books become a visual diary, and they can reveal your evolution as a designer. As long as you remember that these books are for your use, there is no bad sketch. I believe {hat sketching is critical for designers. The need will always be there for those who want to capture, analyze, and refine what they see. Photos are flat, even when done well , and that dimensionality reads in sketches. Layers of content are available for later distillation when a sketch is done by a designer. And it路s fun!

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A ~ . ' L , an LiJndscap~Arc"it~ctur~ 1 93

mediately attracted to this professlOn studying rhe outdoor environment. As a small ch ild I was always interested in both pencil and ink sketching and watercolor painting. While working my way through college I was able to make money by doing renderings and sketches and colored concept plans, which gave me a head stan in getting a job in the profession when I graduated. As a professional landscape architect, I've taken the Mike Linn workshop. I've also taken professional an classes at the Watercolor Society in San Diego and workshops in landscape sketching and painting from Rex Brandt and his wife, Joan Irving, in laguna Beach . W hen and w here I sketch: \Xlhd e every year I YOW to do more sketching and painting, it seems thar throughout the past 20 to 25 years it has primarily been during vacations or weekJong bicycle trips that I rake rhe time to wind down by skerching alongside rhe road or in a ciry cafe. Actually, it gives me an excuse to slow down . Many rimes while on vacation, r will Stop and sketch for 10, 15,20 minutes. Ar (he most, I'lJ spend twO hours on a sketch, bur very few take more than a couple of hours. I don't try for studio quality. r JUSt want to get ir down on paper. I can always rake it home and improve on it. I guess you could call it my way of joumaling. I always PUt the name of the place and (he date on (he sketch, no matter how insignificant rhe subject. And it's often those rhat bring up rhe most memories. For example, when dle light is right in a beauriful hill cown north of Rome, it's hard co bear a little outdoor cafe with a glass of wine after your lunch to sit and sketch. In fact, r have talked my wife into staying

EDITOR'S CHOICE

Calle Aldama, Sail Miguel de Allende,

Nick DeLorenzo , ASLA

Many times while on vacation, I will stop and sketch for 10, 15, 20 minutes.

San Diego

WAS RA ISED in a large Italian family

of artists. My father, a shoe designer, and my grandfather, a master plastererl sculptor on many of the cathedrals in southern Italy and Sicily, gave me a keen interest in the art of drawing and design. I stumbled into landscape archi tecture through my art background and was im94 1 lilndscape Architecture

APR I L 20 DI

Orcas Island, Pacific: Northwest

nem ink pen or an India ink qlldl-tYI)f l)fn . I also carry a smal l travel pack ofwatercolors, and sometimes I will add color to the sketches, either as a full watercolor with no line work or using the watercolor to enhance the color elements of a pen and ink sketch. TakIng t he time to study an object while trying to draw it has improved my design ability significantly, and because I often draw architectural dements in detail, it tends to show in my work.

Middle Bridge,

there with me by giving her lessons in sketching. We end up spending the afcernoon just sicting and sketching cogether, Materials: Because my sketches and watercolors are usually done when I trove! , I've tried over the years to make my materials as convenienc as possible rather than having them slow me down, I usually carry a small co medium-size sketchbook, usually 5 by 7 or 8 by 10 inches, and a good quality paper meant for pen and ink or penci l sketching. They have to fit either in my briefcase, in my bicycle panniers, or in a backpack. T he most important thing is to have them with me when the inspiration hits, or when I have the extra 15 or 20 minutes and happen co encounter a scene that sti rs my creative juices. I seek convenience rather than quality, even if it means the rendering is looser or rougher. I tend to use mostly a fine-point, permanent ink pen. Sometimes I have actually used quill pens and India ink, which I like the best, but they are a linledumsy to carry around, so most of the time I use one of the regular permanent ink pens with a fine tip. I will sometimes use a soft pencil such as an HB ; however, I've found over the years that the smearing of the graphite doesn 't age as well as using a dark l)frma-

D :f)

H . ll 20 GI

llndscape Archihcture

195

LO\\'-impact desigll/build projects take ad vall tage of discarded lumber alld halld Jabor. By Jimena Martignoni Photography by Cristobal Palma ilE CENTRAL VAUEY OF 0 litE

ties between rhe Andes and (he

Coastal Cordillera moum:ain ranges.

This valley, mosdy known for i[S rural sening and an economy based on agriculture, especially wine produaion, also encompasses the Likes Disu ict, a spectacular (Ourist area. For the past 10 years the Universidad de Taka's architecture fuculty has been interested in understanding this region and in making the landscape ime,gral to

96 l llndiuP. Archltechlr. APR IL laD l

the process of making architecture. O ne expression of this interest is that students must design and build their tinal projects within the region. Two of those projectS stand out because of the manner in whICh t hey were conceived and built and, especially, ho w they were placed on the landscape: one, a lookout for tourists in the area of the Villarrica volcano, and the ocher, a series of landmarks on a hiking trail across the central valley. From the Heights

Finished early in 2007, chis project near the small town ofPinohllacho is situated on one of the hills that face, in one direction, the spectacular Villarrica volcano, and in the opposite direction, two lakes and native woods of araucarias and

The design in Pinohullcho is made of two pieces. One, this page, is a platform that overlooks lakes and woods, and the other,

opposite, is II box that fac:es the Villarriu volcano. The box is used as a refuge for wild pig hunting in the summer and to store wood in the winter.

southern beech. These great views of the local landscape inspired the construction of (WO lookouts that are connected by an orthogonal path marked with logs. 1111' site belongs to a local fumily who had been involved with the loca1logging industry fordecades and who sought to find a different use for partof their land. Tired of indiscriminate logging practices and fucing a devastated area, rhey were looking for an activity that would attract tourisrs. They created a place for ziplining in rhe (reI' ClIlopy and, at the top of the site, decided to install a lookout and res t area for hikers. Rodrigo Sheward, the srudent, knew this fumily, rhe wonderful sire, and their needs, so he made the proposal. No r.,\culty members acred as intermediaries. The university as ks rhe students to be in charge nor JUSt of design bur alsooffunding and conS[I1.laion.

Funding came from a foundation established between the European Union and rhe govern ment of eh iIe for development pro;ecr.s in small towns. 1111' protect was built w ith an eye to sustainabi lity in methods and materials. Sheward proposed to bui ld the project with wood chat would be rut and modeled our of the abandoned tree trunks on site. H e built the project with the furher and sons of the family, with some help from local workers. T hey dragged the robuSt p ieces of wood, some weighing up to 880 pounds, up the mountain with oxen. The resulting d esign includes a rough-hewn 280-square-foor placfo rm wich a bench on its far edge. The site pilln, center, shofl the position of the pieces, "A" bein, the box lind "8" the pilltfonn; the field thllt extends between them iSlI crop lIrell. Vis itors lowe to climb tlte box, tOl', to enjoy the ,relit wisus from the root. The photos left Ind right show the construction process.

9s l l lndiuP. Arc hltechlr. APR IL laD l

â&#x20AC;˘!

Hikers rest on the wooden deck or sit on the bench while enjoying rhe breathtaking vistas. The otherelemenc of the design is positione<1 at a 9O-degree angle /Tom lhe platform and is reached via a 265-footlong pach made oflogs. T his second piece is a boxlike 17 -foot-high construction [hac frames che view of the volcano. The box has cwo wooden walls, one of which is perforated with five narrow vertical windows

thac were added once construction was finished because che box creates an ideal blind for hunting wild pigs. A series of steps, simple woOOen pieces of differenc sizes, leads co che roof. People love co hike up {here co have a broader perspective of {he land and the discant mountains.

Six Landmarks Across Mountains And Fields

A series of sculptural landmarks located along an 85mile-long hiking route across the Coastal Cordillera was completed in September 2008. The student designers-Osvaldo Veliz Navarro, Marcelo Valdes Munoz, and Ronald Hernandez Ramos- used established pedestrian routes that cross the rural landscape of Chile as a conceptual base. To find the best pedestrian route that connected the coastal mountains with the pacific Ocean, follow ing the east- west d irection of natural watersheds in Chi le and their consequent human settlement, the students did many survey expeditions before choosing the location of the landmarks they would build. H . ll 20 GI

llndscape Archihcture 199

TIle rhree srudenrs began by contacting seven municipalities; in the end rhey worked with three. T hey made all the contacts by themselves; this "graduating projecc" is a one-year process, pare of which is rhat they have to deal with all these implementation issues, including funding. One factor that made connections easier: Veliz lives in this area and knew the local people quite well, his father being a local agricultural producer. Some of the municipalit ies became troublesome because some of the local authorities in charge

100 I lilnd&ClpeArchitecture A'. 'L IOn

wanted to use this project for political ends, but in rhe end the studencs brought all three around to the same objecrive. Like Sheward, the three students would build their landmarks using scrap rimber. T hey used wood CUts wirh the permission oflocallogging companies, which regularly d iscard pieces of wocxl under 20 inches long. The size of the scraps defined the three-dimensional structure of the landmarks, generating a basic triangular mooule that repeats up to six times, in difTerenr positions, to create larger modules. This

light structure allows (he surrounding landscapes and vistas to "penetrate" che constructions that, ar the same time, appear as markers along rhe hiker's itinerary. Each landmark includes a curvilinear figure that provides an ergonomic surface for siuing or lying down. This kidneyshaped elemem establishes a marked con{fast with (he geometrical pare of the design and varies subtly with each landmark. " \'{le tried to get deep into the thought of how a person moves and behaves and how they occupy the space when relaxing,"'

V~lizsays. "\'{Ie wanted to think the way a chair designer thinks, and we decided that an 'enveloping curve' would be the best option inside this stntcmre." 111e spotS where the six landmarks were placed were chosen for differen t reasons, either aesthetic-such as the presence of high viewpoints from where views are more spectacularora water reservoir where people ,get together during the weekends-or functional ones such as road intersections or towns. Only one of the landmarks is located in a suburban area, in a small plaza where locals llsually gather; for this reason, the sUldem designers added a number of wooden benches around the piece.

Getting all the necessary permits and collaboration from local authorities for the six landmarks involved three different municipalities located in two different regions of Chile. These municipalities took care of material transportation COSts. 11lt' students built every piece with the help of only a few workers whom the municipalities provided. They bUIlt a small temporary workshop where they constructed tile six frameworks and carried them in trucks to every one of the sites. T hey spent almost one day in situ pouring rhe supporting bases in concrete and bolting rhe pieces in place. T hey directed the construction process because the workers wefe not speCIalized crafrsmen. The students built and carried the structures to the sites with help the,. obtained from the three invol,ed municipalities. The only curvilinear element of e'ery landÂˇ

m." ;~.:::=~~ a ItIace to lit allCll rest.

The landscape between the si x landmarks and the design of the landmarks [hemselvesdon't vary much, so [he circuit can sometimes be perceived asa little monO[Qnous if one drives from one S[QP to the next. However, if one is hiking along rhe route at a slow pace and discovering the landmarks while moving ac ross the vast land scape of arid mountains and green valleys, [hey appear as human-scaled elements on which [Q rest , climb, or daydream in the middle of nowhere.

};lJIena Mart;gnon;;s an ;,ulependmt landscape architect and refl'Llrcher ;,/ Buenos A;res, Argent;lla. Resources

â&#x20AC;˘ T he students' blogs: http://proytxto-Ialld fIlark.blogspot.cofll and hItP:!!P;'lOhlidCho.

blogspot.colJI. A'R IL 20n

LilnllscapeArchihclure 1 101

By MARK HINSHAW PHOTOGRAPHY BY BRUCE DAMONTE FTER DECADES OF DEVELQPME, T, San Francisco's Verba Buena disrria is finally all but complete. Dozens

of blocks south of Market Street have been transformed from parking lots and dreary apartmenr blocks, decrepit

warehouses, and mwdry taverns into a virtual city with gl isten ing arts venues, a vast underground convencion cencer, movie theaters, gardens, terraces, and ch ild-friendly play spaces. For all the past horrors of urban renewal in other cities, this long-term public project has yielded generally

good results. 1 103

''.. .". •• ." " " " " "

San Francisco's Yerba Buena cliS11'ict is finally all but complete. In recent years the change of pace has seemed exponential with whole

new commercial, residential, harel, and public buildinss popping up as hig h-profile architectural icons. Bur one area has been snail-paced slow-

the redevelopment of properties between M ission Streer and Market

Street that would serve ro visually and symbolically connect Verba Buena widl the core of the downtown. Tooofren, segments would be left not quire The public pin. creates II crisp, tailored

fo!'Koun, .bo~~, with low terraces that define space. and pe-destrian circulation. In the photo .t right, the Contemporary Jewish Museum (AI.nehor'S the north edge; Verba Buena Garden. 181 is located across Mission Street to tne south; and I future

museum of Medean culture leI will com· plete the Issem~ of buildingslnII spaces.

Cotttemporary Jewish Museum

.--

SI. Patrick's Church

-. .

-----

------.--

b I

Medcan Heritage Museum

....

MISSION STREET

complete, with plywood and chain-link fencPatterns and surfaces delineate exceptions, these have since been cleared away, ing still keeping connections severed. a gradual sloping path that climbs revealing a real gem. Coming upon its ordered, Bur now, with the completion of several to the museum eight feet abowe masonry facade is akin to discovering a treasure public spaces and buildings, it's almost as if the in an archaeological dig.111e sense of wonder is the grade of Mission Street. best was saved until last. Only one parcel- for Cliff Lowe worked with adwocates heightened by both the angular addition as well for accessibility to ensure a route a future Mexican Heritage Museum that has as the space surrounding it, giving the new/old, been slow to get funding - remains incomstaid/quirky composition a chance to breathe. that seems natural to ali users. plete. But just recently dle spectacular ConThe ensemble of new and old buildings, temporary Jewish Museum opened. Designed by Daniel Libes- which includes the modest but distinctive Sf. Patrick's Church, is kind,a twisted blue sculptural form literally smashes into an old, perhaps the best part of the Yerba Buena redevelopment area. Over Beaux-Arts-style former power substation. time, so many highly differentiated buildings and spaces have been Designed by San Francisco architect Willis Polk and built in jammed imo the district that it's almost a cacophony of forms. Jessie Square and, to a lesser extem, Yerba Buena Lme, which 1907, the Jessie Sm""t't Power Substation had been hidden behind a slew of largely nondescript buildings for decades. With a few flanks it, create a low-profile tabula that binds the various pieces 1 105

lOgerher. 111e \'ery lasr piea is yet lO come-a Mexican museum that will fonn the('3Sr edh't! of the SJXlceand complete the compo-sition. \'Vhen rhe Mexican museum was fiT$tconcei,路ed, there was anOlhcr, verydifferem design for rhe square. lr drew from more traditional sources, was formal in arrangement, and included a collection of large palm rrees. The owner--rhe $.1n Francisco Redevelopment Agency--decided a more contemporary and regionally 106 1

suitable approach lO rhe space was appropriate lO serve as a shared from door for rhe collection of differem venues. nl(' agency wanted the space meally reconsidered. The new design is more open and employs simple planes, surmees, and a geometry dmr relies upon o\'erlapping parrems and textures. It also displays a remarkable resrraim with subtle moves and arrangements of primarily horizontal elements. With deft

The plaza caps a multistory underground parking garage. simplicity, rhe space is bothquiecIy dignified and sociable. Handel Architects, along with Cliff l owe, ASlA- boch of San Francisco----were responsible for

rhe underS[ated design of rhe square. Lowe worked collaboratively with the architects toensure accessibility, to weave planting areas with hardscape, and [Q work

with the adjacent church to ensure that its concerns were addressed. The design ream wanted to keep things simple, clean, and low so as nor [Q compete with the bold existing and new structures. A series of platfOrms gradually step up from dle street to the door of the Contemporary

Jewish Museum. According to Glenn Rescalvo of Handel Archicfns, one of the challenges was how [Q create a gradual transition up a grade difference of eiglu feet beÂŁ\veen the sidewalk on Mission Street and the Contemporary Jewish Museum. T he design team wanted toavoid having a separate

ramp lOr handicapped access bur

w create gemle slopes [hat would be usable by all. TIle roureoftravel from rhe street zigzags around low waterfalls, pools, and planes of grass. Backless wood benches allow people w choose {() view [he museum or to look toward the parklike Verba Buena Gardens, site of rhe 2007 ASLA Annual Meeting, Aanked by its own set of major public venues across M ission Street w the south. Cafe seating ar rhe top level offers an overlook of [he space. T he first objective was to create a pleasant forecourt that did not compete with the visually prominent facades framing it. T he second involved the fact tha t the plaza caps the top of a multiswry underground parking garage, presenting limi tations on any planting that would require

asignificant depth of soil. Lowe was brought into Jessie Square is part of a network so cighcthata fmaionofan inch madeadifference in what could be accomplished. the project partly because of his experience with of pathways and public SPilces planting on roof decks. Another issue, of course, that link the downtown core 111e space interacts visually with the Martin was the risky presence of water over a garage, Luther King Memorial on the opposi te side of around Union Square in the discreating the potential for leaks. Special waterproof tance with Ihe many public destiMission. The memorial's crashing waterfalls and pools are a countefJXIint to the relative serenity of membmnes, drains, and flashing details were carenations in Verba Buena, such as fully coordinated with the structural system of the Ihe MOKone Convention Cenler. Jessie Square. U nfortunately, the connection be.garage to ensure that water would not penet rate tween the two spaces has nor been enhanced; a the sumce. One of the challenges for Lowe was that he had to work narrow, midblock crosswalk offers rhe most minimal route of diwith ah>arage structure that had bet>n previously intended for a dif- rec t travel. Two des tinations of such cultural import deserve more ferent plaza design on top of it. Sometimes the available space was to link them than a pair of painted lines. Despite the massive in-

"8 1

Cafe tables spill Ollt from the museum and overlook the stair路 stepped pool lined with small stones, left. The combination of grassy terraces, seating, and moviug water, below, attracts people both day aud night.

vestment over time in the redevelopment area with all its various building types and public spaces, little has been done to create a sense of a coherent district through the streetscape. According to Lowe, issues of disabled accessibility continue to shape the space, resulting in modificat ions even after construction. A series of terraced pads paved in stone allowed nondisabled people to step directly up to the main entrance of the museum, bypassing the meandering route. 11lis was seen as potentially discriminatory, and the lowest pad next to the sidewalk was removed, creating an awkward route that dead-ends in a newly planted lawn area. Moreover, the terraces stepped up only a few inches each, leading officials [Q require diagonal, yeUow and black warning strips to be affixed to the leading edge. These modifications, while not 拢'\tal to the integrity of the design, present a visually awkward condition.

A few ()(her detai Is detr.ICt &om the otherwise relined design. A series of slender, matchsticklike rorcheres are grouped in several rows. nlei r oddly random heights COntrast with the serenely ordered com{XlSirion. Bur worse, the installation of stone insets inro the walkway was of exceedingly poor quality, with groUt sloppily squished into tile joints. Such a restrained design requires derails that are tailored and precise. Jessie Square does appear to be a popular place, with people lingering both on the benches and at the tables of the cafe, which spills OUt from the museum. Lovers can beobserved embracing. People take In thedramatic juxtaposition of the contemporary and rhe classic, the austere and rheornamenced. Old and new sing to one another with humor, delight, and dignity.

Mark HillShaw is director ofurban deiign for !...tUN Architects ill Smttie alld is a frequent contributor to Landscape Architecture. PROJECT CREDITS Client: San Francisco Redevelopment Agency (SFRA). Desigu team: H andel Architects LLP, San Francisco. land路 scape architects: Cliff Lowe and Associates , San Francisco (jeanene Hill; Cliff Lowe, principal). Structural engiueers: upping Mar and Associates, Berkeley, California. Plumbing eugineer: ~ Engineers, San Francisco. Lightiugengineer: Silverman & Light, Emeryville, Cali-

fornia. Water feature consultant: Goepp Associates, Novato, California. Waterpl'OOfingconsultaut: Simpson Gumpertz & H eger Inc., San Francisco. General contractor: Plant Construction, San Francisco.

This seaside garden in SOl/thern California offers lessons/or Somhern Cali/ornians looking to lower water lISe in their gardens. PHOTOGRAPHY BY JACK COYIER

,u l

S W E DRIVE aOSER to

the Lunada Bay residence, the scenery is nothing short ofbrcathtaking. T he ciry of Palos Verdes Estates, a bedroom community 30 miles south of Los Angeles, features long stretches of road where you can look our over the Pacific Ocean . T hese views are an enduring legacy of the Ol msted Brothers firm, which p lanned this city in the 19LOs. Today, 28 percent of its land remains dedicated as public open space, including four m Ill'S of shoreline. We turn off the main drug, and the ocean suddenly disappears from view. \Xlithin momems, we have arrived at the residence. At first glance, it seems that we could be in any suburban neighborhood in Southern Glifornia. TIle street is flanked by Mediterranean-style houses-most built in the 1950s and 1960s-with lush plamings and large from lawns. But {he bland suburban fucade is deceiving. Some of these houses are sitting on the edge of a 200-fOOt bluff, and juSt beyond their fences, hedges, and walls there are magnificent views of the ocean below. TIle Lunada Bay residence is one of the newer homes in the neighoorhood. Designed by Studio 9-0ne-2 Architects, it was built in 2002 on the footprint of an earlier residence. By the time ARTECHO Architecture and Lmdscape Archicecture was called in to design che landscape, the plans for the new house were already under way and there was not much left of the original landscape to work with. It was basically a blank slace, explains Pamela Palmer, che lead designer for che projecc. A line of glass, underlaid with ARTECHO, based in Venice, California, fiber-optic lighting, mimics a ronnel. It pierces through two has worked on a variety of projeccs including schools and commercial developsets of boxy shrubs in the ments, but the backbone of che business is backyard of the Lunada Bay high-end residemial work. The firm pracresidence, opposite. The land{ices chroughouc California-as fur north scape architects at ARTECHO as Mendocino and as far souch as Rancho designed a barrier rail with transparent glass panels, Santa Fe. Much of thac work is right on below, to preserve the magnificent ocean view.

1 111

the coast, like the Lunada Bay residence. Palmer worked closely with the owners and the architects to develop a landscape that showcases the site路s ocean views. 11,e ownSecondary driveway ers of the property had a number of f"t(juests. 111ey wanted places to sit, eat, and barbecue outside. 11ley wanted a spa and a place they could have a And due to their busy work schedules, it was important that they could make the most of the garden when they are free-even when it is sunbaked or foggy, or there's a cool wind off the ocean. 111e owners also had some ideas about plantings. They wanted some red and white flowers- the colors of thei r favorite soccer team-and generally they warned the garden to look "green and lush," says Palmer. T hey showed hera photograph of plantings in Beverly Hills dominated by lawn and ferns. For years, this SOrt of irrigation-intensive plancing has been common in Southern Glirurnia, despite the fact that many commun ities here, including Palos Verdes Estates, pull a largeporrion

_ _I!J:L Driveway and parking court

':~:;:~L----+~~ r

with light line Reflecting pool

'~~~+-----t;--tt C""yo", H gates

nre.

Small amounts of water and limited planting areas are used to great effect at the Lunada Bay residence, right. The gates opening onto the courtyard, below, glow like lanterns when th e space is lit at night.

Entry sites

:f--~~...jll-

Fireplace with water feature

~'-'--R-----t-H- Water channel

\~..-J--------I~tt- Front door

Lounging area

Ocean terrace

lbll1t-

!~~~ii~iiaf

Spa/water feature Sunset light line seating area

of their water from the Colorado River- the same droughtstricken watershed that suppl ies Las Vegas and other cities in the Southwest. Additionally, using irrigation-intensive planes near the edge of the bluff could encoumge erosion-a significanr concern on a site like this. Sensitive to these issues, ARTEel tO worked with the owners to cut down the number of water-intensive plants and co select plantS that require less irrigation while still having that lush, green character they craved. \"'{fhile the Lunada Bay residence is not exacrly a xeriscape, it requires less water than most of its neighbors and is a step in the right direction. Small amounts of water and limited planrings are used to great effect. The design is both functional and poetic. Fire, water, and light are used to create a garden that has subtly different moods and, despite its small size, can be experienced in many differenr ways and in many different conditions. Water Featured

As you walk through the entry gate and up the driveway toward the courtyard, small water features and a line of wavy blue g lass, underlaid with fiber-optic ligh ting, create a sort of procession

T he low-flow water&![s, positioned on either side of the firefrom the driveway into the courtyard and co the front doors, place, provide subtle whi te noise, and the water particles they through which you first glimpse the ocean. In the rear yard, the strong visual connection to the ocean is pre- shear remove dirt and dus t particles from the air. 'T here is a very served using [ow p[antingsand a barrier rail with transparent glass small amount of water, bur it's doing a lot of work," says Palmer, panels. Bur while the visual connection ro the ocean is strong, there as we look at these features . is no physical connection- no way to get down to the shore-so ARTECHO located the spa the clients had requested in the rtar ARTECHOsprinkled waterelemenrs throughom the garden ropro- yard, JUSt outside the master bedroom. "Most spas are kind of eyesores," assertS Palmer. "W/e vide this experience. "I've looked a [or at the gartry ro make them into a beautifu[ object- a centerpiece."' dens ofSpain, Imq, Imn, and India," says Palmer, studying "the T he spa is a cube with a ci rcular opening, covered with icy idea of the paradise gardenwhere shadow, light, and small blue tile. It has a number of amounrsofwaterareused roendifferem modes; when it's nor [iven a space." And the inl1uffice being used as a spa, it doubles is evident at the l unada Bay as a reflecting pool or a founresidence. T he water fearures tain with water spilling over its sides. It can even function used here, with perhaps one exception, are designed to maxias a seacing wall when the spa m ire one's abi! ity ro experience is in reflection jXXJ[ mode. If the runnel is the waterthe water while minimizing the amount of wacer used. efficient version of a reflecting ARTECHO designed the spa to double pool, chen a spa mighc be che wacer-efficienc nlrl:e water elemenrsare in checourcyard: tWO as a fountain, alHJt'e, and a reflecting version of a swimming pool. So many people small waterfalls near theemry gates and a runnel pool, below. Most of the water along its cencm[ axis. The runnel, used ffequencbuild large swimming pools and chen never features, like the runnel in the use them for swimming- chey JUSt use them [y in Islamicgardens, isa narrow reflecting pool. Here, ic reflects the leaves of che palms on eicher courtyard, opposite top, are designed to cake a dip. A pool che size of a spa would to maximize the experience while side, fires set in the fireplace nearby, and the sky. seem ro suit thei r needs. T he thermostac could limiting the amount of water be adjusted based on the season. n le runnel is only able to reflect a small parr of consumed. The reflectin g pool each object, and chis adds a sense of myscery that \'(lhile mosc of che wacer used at the lunaat the entrance to the courtyard, mosc cradicional reflecting pools don't provide. da Bay residence seems co serve a strong pur_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _....,; "c,":;,;; " site bottom right, is the U"ceptlon. That retleding pool and the spa can Ite lit up in interesting wars, I1ppt1site IHJttqm left and abot'e.

pose, bringing an experience that only water can bring, the one exception to that rule is the water feature with the largest surface area. A reAecting pool juSt outside th e courtyard- facing the driveway- is beautifully designed, bur it is hard to believe that it is experienced very often by the pe0ple who own the landscape. (They were unavailable to be interviewed for this aniele.) It is not in an area designed for sitting; it is merely a place to pass by as you enter the house-and that路s assuming you enter through the front door. Like the large fountains that are sometimes used at the entrances to subdivisions, it is merely designed ro impress visitors. Wh ile the !"eAecting pool's size and location may not be desirable from a water conservation standpoint, its derailing is actually quite impressive. At night, the pool glows with hundreds of small points oflight. T hese "stars'路 within the rt"Aecting pool were the inspiration of John Gannon, the electrician and lighting designer for the project. He created this effect by using end-emiccing fiber-optic lighting inserted into small holes drilled in che limestone base of (he pool. Artistic lighting is found throughout the site. On the spa, the base of the cube and the water glow. But it is the wavy glass light lines that create the most dramatic effea. In (he rear yard, the light line slices through cwo groups of shrubs, trimmed as boxes; it is not

merely a light source but pan of a larger land sculpture. Plantings

Convincing property owners to use a more water-wise planting palette can be difficult, especially in places like Southern California where there is a long tradition of lush, green planting. '路 Initially, when people ralked about drought-tolerant gardens, they had a certain Image of those gardens that scared people,路' explains Palmer. Few were wi lling to sacrifice their lawns for cactuS, prickly gray shrubs, and gravel. But there is a lot of middle ground between the plantings in Beverly H ills and the wastelands of the Mojaye Desert, and there art" many strategies for lowering water use in the landscape. The most obvious strategy is curting down on the amount of lawn in the landscape----only using it when no other ground cover wil l ser\'e the same function. At the l unada Bay residence, only one small area is planted with lawn, an overAow parking space thar provides access to (he utility area. (or Another strategy used by ARTECHQ is selecting plants that satisfy their

PLANT LIST TREES

Butia capitata IJelly palm/pindo palm Howea fqrestiaoil Kentia palm

Chamaera s bumilis [uro ean fan palm Erflhrina I sIkes;; Coral tree SHRUBS Baccharis pilU/aris I Dwarf coyote brush

'Pigeon Point' Carissa matratarpa Nalal plum

Dod/mati! riscosa'Saraloga' j Purple hopbush

P"d,lcarpus gracih'or 1Fern pine Westringia (rulima I Coast rosemary 'WynJabbie Cern' Camellia sasanqua'Yuletide' I Camelia CameJ/iasas3nqua'Mine-No-Yuki' 1Carnelia

dients' desi res while consuming less water. \X1hen the owners of the Lunada Bay residence showed up with phOfos of wa ter~in tensive plants, ARTECI-IO coun tered with phOfographs of plants that would use less water than their original choices, yet would sti ll satisfy their desire fur green, lush plantings. ' nstead of using birch (Betllla spp.) and elm (Ulmus spp.), they suggested a coral tree (Erythrilld x JykeJii), which requires only occasional sookings and has the red flowers the owners asked for. Rather than using a wCf-ping fig (FiClIJ benjafllflld) for screening walls, they used Mexican weeping bamboo (Olatfd aClITIl/lldta), and white~flowered natal plums (CariJJa flldl"nXarpa) and agaves replace azaleas as accent plants. \X1here there was no substitution that satisfied the dient, ARTECI-IO used small amounts of water~intensive plantings to high effect. A row of papyrus (C)'{ier1lJ pafr)'rfIJ) is used as an accent against a blank wall at the front entrance

Gardenia 8ugl1sta'Wbite Gem' Gardenia HJmenflcallis (esulis I Spider lily lorlJpetalum cbineflSe I Chinese fringe flower 'Sizzling Pink' BAMBOOS AND GRASSES

Bambusa muftiplex I Hedge bamboo 'Alfonse Kart'

Dlalea acuminata IMexican weeping bamboo subsp. aneclfum

Semiarundinaria fastuosa I Narihira bamboo FERNS

C,albea tllIJPeri I Australian treefern C,peros pap1f1JS I Pawus Dicks/mia antarctica Tasmanian treefem Num"hra adiantff"rmis Leatherleaf fern CYCADS

C,cas rer/1luta 1Sago palm EncephaJart/1s altensleinii I Prickly cycad SUCCULENTS

Agare attenuata 'Nova' I Agave Seneci" mandraliscae I Blue finger VINES

g"ugainrillea 'San Diego Red' I BougaillYillea g"ugainriHea 'Crimson Jewel' I BougaillYiliea GROUND COVERS

Tracilemspermum jasmin"ides Star jasmine Dym"Rdia margareue Dymondia Imperata c,h"ndrica'Rubra' I Japanese blood grass PERENNIA L S

Saffia leucantha I Compact Mexican 'Sanla Barbara' bush sage

Artemisia s&hmidtiana1 Angel's hair 'Silver Mound'

Salria cJmlaJIdii Clmland sage Sabia meJlifera 'Terra Seca' Black sage OphkJp"gon japonieus I Mondo grass

Iris'Supetslilioll' I Bearded iris Heuchera briz"ides 'Firefly' I Scarlel coralbells

An outdoo r dining room, tu cked away on the east side of the house wh ere it is protected from the wi nd and the afternoo n sun, also has a small water featu re. A small massing of fern s satisfied the clients' des ire for these water路 intensi楼e plants.

116 1

co the courtyard, and a small massing of Firm members from ARTECHO demonstrate a U)ll'It!palosverdes.((if/l!hOlllfsassociatioll! ferns is locared in a shady, prorected bed sunken fire pit in the rear ya rd where you histmy.htm next to the dining area- a place rhat recan sit and watch the sunset. The glass • FiberOprics in A rchitecl1lral Lighting: Alethceives regular use. These water-intensive barrier rail shields this area from the wind, ods, Design. and Applicatio1l.f, by Gersil N ewplants are placed on a different irrigarion mark Kay; N ew York: McGraw-Hill ProSO it is a good place to sit on a cool breeZ)' fessional, 1998. zone than the moredrought-tolemnt plants. night. Playing on the idea of a runnel, ARTECHQ also cur down on rhe area of ARTECHO created a gas-fed fi re line. • Fiber Optic Lighting: A Gllide for 5P«ijim planting beds, maximizing rhe amount of (2nd Edieion), by Russell L. D eveau; Lilusable space and minimizing the number of plants that will need burn, Georgia: Fairmont P ress, 2000. co be irrigated. In rhe coureyard, ehe narrow beds of Mexican weeping bamboo effectively screen ehe walls and green ehespace. PROJECT CREDITS Landscape architecture: ARTECHQ Architecture On bmh sides of dle driveway, feathery fern pines (Pod«arplls gra- and landscape Architecture, Venice, California (Pamela Palmer, rilior) play this role, creating a space that is actually quite attrac- ASLA, principal in charge/leaddesigner; Miriam Rainvil le; Daniel Lopez; Pascale Vaquetee; Andrew O . \'{filcox, ASLA ; Perla Arquieive and could easily be used for entertaining irsel( T he Lunada Bay residence uses a subsurface, drip irrigation eta, ASLA; Valeria Markowicz, intern; Tavi Peretula, ASLA, promosystem. Flags show when the system is on. Toward the edge of the tion; Marisol Metcalfe, promotion). Architect: Stud io 9-0ne-2 Arbluff, no irrigation is used at all. N ative salvia thriveon the mois- chi tects, H ermosa Beach, California (P at K illen). General cure in the air and small amounts of water wicked through the soil CGntractor/landscape hardscape: Zigrang Construction, Rol ling H ills from the adjacent landscape. Estates, California (lim Zigrang). Concrete: Dave Shaw Concrete T hese plantings remind us that the Lunada Bay residence isn't and Block, Palos Verdes Estates, California (Dave Shaw). Mason: ehe lase word in water-wise design. H owever, ir seems co be a step Ruggeri Marble and Granite, \'qilmingcon, California (Robert forward. The gardener, Andrew Mercado, who visits for three Ruggeri). Water features: J. Q uinn Construction Ine., H arbor City, hours each week, assures me that the water use is quite low com- California( J ohn Q uinn). Uglrting: Gannon Electric Light, San Pepared to many of the mher sites he works on . Imagine if every res- dro, C11ifornia (John Gannon). Steel fabrication: Art Metal ine., idence in Los Angeles County took a few steps in this direction. Gardena, California (J im GrLesek). lITigation design: J R Irrigat ion, lake Mead might be a li trle higher. Los Angeles <Jesse RCKJue). landscape contractor (planting and inigalion): H &H L1ndscaping (Thomas H uerta), Nursel}ttrees: Instant Resources J ungle International, Santa Ana, C1lifornia (And y Blanton). Gap• \'{fater Educat ion Foundation, IllWW.water-ed.org!waterJources! graded soils (palms in courtyard): Earthworks Soil Amendments Inc., R iverside, Cal ifornia. Maintenance: A Plus Lmdscape, Culver City, de/all/t.asp • H istory of the Palos Verdes H ome O wners Assoc iat ion, California (Andrew Mercado) .

1117

BOOKS Materials for Sustainable Sites, by t\1eg Calkim, ASLllj Hoboken, New J e rsey: J o hn Wiley & Sons, 2009; 452 pages, $64. Reyiewed by Virginia Russell, FASlA I-IIS BOOK IS II SERIOUS REFERENCE MANUAL, comparable

in scope, depth, and indispensability co Time Stll'tr Stalldards for ulIIdscape Architecfllre (Harris and Dines, 1998). It is divided inco twO sensible parts: The first part is an in-depth scrutiny in

four chapters of [he cools and methods for determining sustainable metrics, sourcing, and sIX"Cifying; the second part is a series of chapters for each of nine material genera. The majority of rhe book's photos are black and white-and rhel'('aren'r many of chern, with only an eighc-

page colleccion of color photos of selen installations- but readers can ream Calkins's book with Lit'illg 5YJte1w: Im/(JIult/1t ,\ f dferidls and Twno/(i-

gieJ lor Landscape A rchdÂŤtllrt (Margol is and Robinson, 2007) for full-color inspiration. Nearly every page has diagrams, cables of definitions and comparisons, and lists of guidelines. TIle appendixes are cables of the materials' embodied energy, embodied carbon, and health and environmencal impacts. In the first chapter, key principles of sustainable materials are ouc1ined, as defined by Calkins. TIle boundaries of her definicion of sus_ tainable" are permeable; she includes convenrional materials such as asphalt when used in the most efficient and innovative methods and mixtures, unril the day when a comparable renewable material becomes available, TIlis pragmacism in her approoch- w be smart about using what we haw at hand- is a relieffrom extremism. Calkins does n(){ neglect the third leg of the stool; when economic and environmental implications are discussed, social equity, usually in terms of human health, is given integrated coverage. Another chapter describes the impact of construction materials, not just in the materials themselves, but also in their extraction, prcxluccion, distribution, and so on, so that the reader fully appreciates the magnitude of an impact spectrum. The breadth of this chapter's citations from international reports and fie lds like industrial design is impressive, current, and, fur some readers, an unnecessary or perhaps unpleasant expedition into just how bad off we are on this planet. Calkins tilts the evidence in a productiw way, wward alternative policies, principles, ideologies, and practices. This review of alternative approaches is followed in the next chapter by descriptions of the methcxls for evaluating environmental and health impacts, specifically life cycle assessment (LCA), sustainabili ty assessment, em bcxlied energy analysis, and emU

lIS 1 LandsClpeArehiteehlre A'R IL 20 01

bodied carbon. C1.lkins describes the strengths and weaknesses of each methcxl. This chapter goes deeper into LeA, citing two tools: BUilding for Environmental and Economic Sustainability (BEES), and the Athena Sustainable Materials Institute's Environmental Impact Estimarorand EcoCakulatorfor Assemblies. I would have liked to see a walk-rhrough that used one of the tools to evaluate at least one of the sustainable materials in the book, like a more sustainable recipe fOf asphalt versus the traditional recipe taken through BEES. Knowing that these tools eXist IS useful, but demonstrating the ir application would be enlightening. T here is a chapcer for designers. Calkins COntrastS the process for design and sIX"Cification of new materials against the process for reclaimed materials and addresses the processes for each life cycle phase of materials, including designing for disassembly and other approaches co reuse. T he second part of the book, with separate chapters for nine materials (concrete, earthen materials, brick masonry, asphalt pavement, aggregates and scone, wood and wood products, meca!s, plastics and rubber, and biobased materials), includes photos of the materials in various scages of manufacture or installation, conscruccion derails, and an overview of che impact spectrum for each material. Calkins makes no pretense that this book is exhaustive. This said, perhaps vegecated roof materials can be included in the next edition. Calkins's background in both architecture and landscapearchitecture may explain why these chapters include extensive coverage of building architecture materials, which one might regret fur distmcting from landscape architecture materials. For example, in a chapter on earthen materials, rammed earth, adobe bricks, and cob are discussecl at length in the context of their use fur structures. T heir use in landscape applications is limited, although Calkins assures us that leftover rammed earth material can be used as soil cement for paving, and there is a lengthy treatment of the considerations for using adobe bricks in site walls. TIlis coverage Straddles professional boundaries and will appeal co readers outside the communityoflandscapearchitects. The integmted design process required of sustainable design obliges professionals to be aware of the materials and methcxls as well as the expertise of varied disciplines. A case study of this integrated design approach, blending professions and materials, could be used ro conclude this book, effectively putting all of the essentials into one carry-on bag. T he timing of this book's publication is ideal, being aligned with the launch of the Sustainable Si tes Initiative, to which Calkins has contributed expertise. Materials lor SlIStdiflab/e Sites

will be the constant companion oflandscape architects and related professionals who want both inspiration and credibJe information abou t the susminable palette of our an.

J'WJ£\'JU lIJ)JY ... GOODBYE EARTH , HELLO MOON ,

by Gabri el Mell and Emily Rylander; Portland, Maine; Warren Machine Company, 2008;

Virginia RIIHdl, FASLA, is an aJIistant profmor at the s[h()()1 ofarchitectllre and plan~ /illig at the UlIiversily of New Mexico,

32 page s, $16.95. SAN FRANCISCO"OASEO LANDSCAPE ARCHITECTS Gabriel Mell and Emily Rylander wrote and Ill us trated this charming

Computer Graphics for landscape Arehitecb: An Int roducUon, byj oJe Bllitra~ go, ASLt\, alld Ashley Calabria, ASLt\; Florence, Kentucky: Delmar Cengage Learning, 2009; 272 pages, S86,95,

chlldren 's book chroni c ling a mass migr ation , led by a group

01 di sgruntled pengUins,

Reviewed by Madis Pihlak ANDSCAPE ARCHITECTS NEED more digimJ media books like this. Au[O~ CAD undergoes a major revision every 12 months. Goog le's SketchUp Pro adds major ft:amres on a similar time scale. Landscape architects who aren't dig~ itally enabled full fimher beh ind every year wirh the continuing transition [0 dig~ iral media. They need dearly written books demystifying drafting and image editing software so they can learn the most up~to-date graphic software programs. This book is a simple one~stop~shopping introduction [0 the four most com~ mon computer graphic programs used by the majoriry of landscape archirects. Still, one book thar gets you srarted with AumCAD, Phoroshop, InDesign, and SketchUp is a tall order. T he way this book copes with the complexity is to use simple case study projectS, which continue throughout rhe book. Each chapter begins wirh a simple learning objective. TIle end of each chapter has a shorr deflni~ tion of terms, but not all of the deflnitions are as dear as rhey should be for the novice software user. DWG is nO( just an "abbreviation of drawing" but is also rhe all~imporrant native AuroCAD file for~ mac. Knowing what DWG means is important to be able to move dle AutoCAD files into Phocoshop. AutoCAD, SketchUp, and InDesign all have one chapter devoted to chern. Photoshop has cwo chapters, one about importing an AuroCAD file into Photoshop and the next aboUt Phocoshop image manipulation issues. T he Photoshop chapters are perhaps the greatest weakness of rhe ix>ok. TIle \'ersion of Photos hop covered is tWO \'ersions out of date. Software change is the perennial problem with sonware-oriented ix>oks, but most software books are only one version out of date, not two. T he Jast chapter summarizes file exchange among the selected programs. Examples of scudent work are also provided in this last chapter. Unfortunately, some of the student work is not up to publication standards. A more selective group of student work would have been more convincing for landscape architects skepcical about digiral media possibilities. One distraction is the frequent use of the title of professor for both authors. In future editions of the book the text should focus on gening the reader co understand the complex software commands, noton the authors' academic titles. T his book addresses a very imponant topic in a straightforward manner that will not confuse even the most com puter-phobic landscape architect. The simple approach of the book is the greatest reason for landscape architects to buy it and ap~ ply these new skills to their practice.

01 animals from the de spoiled Earth to the more pri stine moon , Th e detailed, whim sic a l drawings and lald ·back theme 01 c ons ervation with a dash 01 adventure w ill a ppeal to adults as well as their kid s.

... PLANNING THE URBAN FOREST; ECOLOGY, ECONOMY, AND COMMUNITY DEVELOPMENT,

edited by James C. Schwab; Chicago: American Plannln, Association, 2009; 154 pales, 560. THIS REPORT BY THE American Plannln,

forestry programs In cities and I~ _" .. ',~ I ,I_I •• " ,

~~---'-

- ..

~.,

;,I>' • "

_---,.

1 . /j,

towns across the United States. It Is heavy on policy Issues and aimed at landscape architects, arborlsts, and bureaucrats working In the public sector to manage or

•

expand the urban forest.

However, It could have been Improved by providing example s of dla,rams that cities and counties can use to make their laws clearer.

... ORNAMENTAL GRASSES; WOLFGANG OE H M E AND TH E N EW AMERICAN GARDEN,

by Stelen Leppert; London: France s Lincoln limited , 2009; 144 pages , $45, THE TITLE OF THIS BOOK Is mis leading, It's not primarily about ornam ental gra ss es but Is rather a flattering (to put It mildly) biography of Wolfgan g Oehme , FASLA, who us e s such gras s es, among other plants, In his garden des igns, Read e rs who are not put off by the

~ vanlty~

portrayal of

Oehme may glean some useful Information about the

Madis Pihlak is all aJwaafe professor of landscape arrhitf£tllre, architatuN, and the ill~ ferdiJ[iplinary digital studio program at Penn State.

0' urban

Association provides case studies

~ N ew

American Gardens " de signed by

Oe hme, Van Sweden & Associates.

A.Rll 2 0 0t

LandsupeArehlteehre

1 119

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CRITIC AT LARGE (COlllllllled[rom Page 136) couns ... even public an- are crammed together as visual shonhand for endless leisure. They are landscape as signage, a placeholder for the jX>ssibilities of a park. But could we then imagine that Korea's urban landscape subcontractors have been applying the lessons of graphic design [Q eheir creations, as if toa poster or magazine spread? The spaces between ornamental planters are carefully kemed, the edges of flower beds masterfully shaped through ragging to create an "organic" appearance-each element ordered and constrained by a Tschicholdian grid. Or perhaps chese parks are the work of one visionary landscape designer, a passionate disciple of Edward Tufte. His goal is the uleimate park info-

g raphic, and he diligently recombines ponds, benches, and pagodas co achieve ever greater data density that allows fOf ever more sophisticated landscape analyses, TIle published results will become ehe canonical park design text for a generaeion, changing public policy as effectively as John Snow's landmark cholera outbreak map of London once did.

Finally, I'm reminded of the Royal Horcicultural Society's model gardens at \'\fisley. W isley, an otherwise unremarkable village in Surrey, is home toan educational garden , meam to fulfill the Society's remit "to show to the public the beSt kinds of plams to grow.'" Behind the scenes at Wisley, fields are devoted co trials of diffi cule, delicaee, or entirely new kinds of

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134 l l ilnd&ClpeArchitecture A'. 'L IOn

offurure, unrealized landscapes elsewhere. Like Park's parks, they are primarily designed to be read rather than sensed or experienced, and they are deliberately exhaustive in their approach, with each rather small plot designed to show all appropriate elements of, for instance, a sub-alpine rock garden. Which leads me to wonder if Park 's photos have inadvertemly documemed an experimental array of urban tCSt gardens, new spatial formats for high-density leisure in their beta phase. Aowers, vegetables, and fruit for "garden or ornamemal use." Teams of horticulcurists parrner with botanists, entomologists, and pathologists to determine the correct details, cultivation, and advice for each group of plams, with high-performing plams winning an Award of Garden Merit (AGM)- the gardening equivalent of a Good Housekeeping Seal.

AGM-winning plants are then arranged in model gardens at \'\fisley, co which the publ ic is invited co learn the ideal varietals, patterns, and conditions for a garden on chalky soil, say, or a poorly drained lor. TIlese model gardens are not accually intended co be the private backyards they resemble; instead they are parr instruction manual, parr shop window, parr proCOtype

Nicola Twilley (hctp:lltwiccer.com /nicola twilley) is a writer based in San Francisco, with rearlt publicattom 111 Volume aI/d Owell magazines, as well as the Journal of Space and Cui cure. Reprinted with permission from BLDG

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_~. 'l 210S landsnpeArcbitecture 1 135

OREAN PHOT(x:;RAPI-IER Hosang

Park 's series, A Squa re, consists of bird's-eye views of [he small , overlandscaped parks that seem to accompany modern apartment cowers all over [he world. As Park explains, these "parks" are coo small to serve their ostensible pUfJXlse: as open space for recreation and places "co make discussions or take a Test." In the United Kingdom and [he United Scates, they are included in new construction projects to fulfill che leerer of

136 l lilnd&ClpeArchitecture A'. 'L

20 01

A photographer uses his photographs to make a point about smaJJ parks. By Nicola Twilley Photography by Hosang Park planning regulations (if not [he spirir}-a coken Band -Aid of "narure" applied to high-densitydevelopmenr. As Park points out , their presence in Korea is both a reassurance and an investmem: the trees, paths, and water features , no matter how arrifi-

cial, push up properry prices by providing an implicit guarantee of "rhe environmental benefits of a place where they belong." Park's parks are photographed from above- which seems, in fact , to be the view for which they were designed. As two-dimensional compositions of curved paths, colored paving, and rhythmically spaced rocks or rrees, they resemble pleasing, if sterile, designs for wrapping paper or IKEA rugs. It is telling that they are also completely empty. Park explains that he took these photos while he was living on the 13th floor of Jugong Apartment in Chang-dong, Seoul. He and his hundreds of neighbors experienced their park as a patch of eye candy- visual respite from the concrete and tarmac of their surroundings. Its cornucopia of ameni t ies---c limbing frames, foumains, seesaws and swing sets, pagooas, grass, ornamental rocks, meandering paths, trees and flower beds, benches, ponds, basketball (C on/;'Illed 011 Page 134)

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other U.s. arid (OrJ(Jdi<ln IJIltenTs pe ncin9).

Side-door litter receptacles are perfect when durability and ease of function are of primary importance. We hove two modern foctories in Moryland with more than 200,000 square feet (18,500 square meters) of manufacturing space. Mony thousortds of installations of our slreet furniture products (including litter receptacles, benches, tables, planters, ash urns, bike rocks, etc.) con be found throughout the USA and Canada. We also export 10 more than twenty other countries. We use domestic electric furnace

steel which is at least 98% recycled and we extrude our own recycled plastic slots. By controlling all aspects 01 the design ol'ld productiol'l process, we are able to integrate cOl'ltemporary al'ld classical desigl'ls with superior strel'lgth, durobility, fUl'lctionolity, comlort and aesthetic appeal. We are confident that our products will enhance the value and appearance of your projects. We look lorward to applying our 47 years 01 manulacturing excellence to your site furnishing requirements. Contact us for a free copy 01 our NEW 128.page catalog. Toll Free: ].800·368·2573 lUSH Canodal I lei: 30) -855·8300 I Dunkirk, /riO 20754 USA I sales@~i(/orstanley.(om I www.victorstanlev.com

STANLEY, IN ~ ~ ~115 VICTOR -Manflfactflrers ofQllalihj SIll' FllrrJishmgs since 1962eff\C," n> ON R"AO(R SoRVlCE CARO OR 00 TO HTIP, _ 0 >tOT'MS COM23492 222