Landscape architecture 2009 06 by nata

CONTENTS JUNE VO~UME

2009

,t .

NU".'1E1t 11

LAND MATTERS

113

LETTERS 115

RIPRAP

118

Taking vacations to a flew level, self rc/erential sculpture in Central Park,

kudos for a pair 0/ landscape archifects, and the (much) younger generation tackles urhan de_Iign_ Edited by Linda Mcintyre GREEN BUILDING 124

Wet Pa rk Mercer Slough demonstrates the valueo!preserving wetlands in the city. By Mark Hin"'aw

132

ICONS REVISITED

An Endangered TTeril-age TIJ(' days may be numbered/or Halprin'!- Heritage Park.

WWreI/CC

By Michal G. Tlncup, AILA COMMUNICATION 140

T he Dirt on Bloaain a

'''' "

How can bhgs change the way we communicate about landscape architecture? 8y Daniel J08t, A.LA

RESIDENTIAL DESIGN 154

Cothie Hen·eat A romantic backyard pavilion is large enough to entertain a crowd, yet cozy enough for private contemplation. By Barbafa MettlE PRACTICE 15B

TWill Survive TIJese six land~cape architects are surviving or even thriving de~pitc tlJe rece.IJIrJ/l , Wlhat ieHons do they have to offer others? Edited by Daniel Jost, ... , .....

ON THE COVER Sk~lcbn ofTu!u"" Mn:iro, .nd g ",,,,.1"1 in

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21LandsupeArchltedure

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PLANNING 1 70

A New Na lional Lands('ape Agenda Tbe Omnibus Public Land Mtll/tlgemt'l/t Act 0/2009 isjuJt tI beginning. By Frederick R. Stelne •• ' ... n .... end Robe.t D. Ye.o DRAWING 1 7.

Skl'lcllI" fmlll the Road A seasnned sketcher man'S his technique 0/ trawl sketching toquickJy ((/ptur(! tlx feeling 0/space. Sy C •• I Stelnlb, Hono.ery .I..LA

Design Within Constraints A new park in Santiago hIdes a highway a/ld forges a vimal link with the Son Cristobal MOllntaim. By Jlmena Martlgnonl

Baltimore's Grounds for Art Two sculptllre gardens at the Baltimore Museum 0/ Art are "rodent gems. By Frank Edgerton Martin

41Lanlllcap.Archltectur. IU.[ ZOO I

1100

PRODUCT PROFILES

1102

DISPLAY

[ 104

AD INDEX

BUYER ' S GUIDE INDEX 1105 PERSPECTIVE 1116

Pub lic P laces Are More Lmporlillli T hill] EvpL' Landscape architects need toadlJOCate for public spaces in troubled times. 8y Joy Wolljo.pe.

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E L EMEN TS arc S IMPL E . ..

THE MAGAZINE OF THE AMERICAN SOCIETY OF LANDSCAPE ARCHITECTS

J. William Thompson , FA SLA I /,t/I!IIIJI'UIII @tlslu .org

EDITOR

MANAGING

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Li sa Speck hardt I IspeckllUrdr @t1slfl.org

EDITOR

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Lisa Se hult:;: I Isc/iull::;@lI .dtl. org

EDITOR

CONTRIBUTING

EDITORS

Jane Hoy Brown; Lake Douglas , ASLA Diane Hellek son , ASLA; Peter Ja(:ohs , FAS LA Frank Edger·ton Mar'tin; Linda I\1c:lnt yl"t: James L. S ipes, ASLA; Kim Sun ig James Udwn , FASLA

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F"eder'iek H. Stei ne l', F,\SLA , Ch air Thomas H. Tavdla , F,\ SLA, Vice President, Communication Bdall Bma, ASLA T. Ca r·ter· Cr'awrord , ASLA David C utter, ASLA Barhara Faga , FASLA Miehael M. Jame s, ASLA Todd D. Johnson, F'A SLA Jordan Jones, Student ASLA Bianea E. Koenig, ASLA F"ank Lewis , ASLA Nanc!)' S. MeLean , AS LA Seou O. Heese, ASLA Step hani e A. Rolley, FASLi\ Ronald B. Saw hill , ASLA Tara N. Saw)'t:':r, ASLA EDITORIAL :

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EARS AGO, I happened to be present when L'lwrence H alprin,

FASLA, stood up and advocated for che design ofhis FOR Memorial beforerhe Fine ArrsCommissian in Washington, D.C. "I wantthis to be a memorial chat goes deep inside peo-

p le," Halprin wId rhe commissioners, 'ta/" hundreds oiJ'&m into theIII/lire." I wish more landscape architects aspired to that kind oflongevity for their work. T he prevailing notion tha t a landscape has a life expectancy of only a few decades is, to me, deplorable. That's why ic's doubly sad when a Halprin landscape that has been around only 30 years or so faces an uncertain fate. Halprin's latest at-risk

project is Heritage Park in Fort Worth, Texas (see "An Endangered Heritage," page 32). This walled modernise plaza has been deteri-

omring for years. Ies omdoor moms, framed by concrete walls, were designed as a contemplative refuge from the nearby downtown, bur many in Fort \'\forth 5.1.W them as places a visitor could be cornered. Then the cicy allowed a big ~rking snuaure to be built next door, isolating the plaza from downtow n . T his aa of disconnection set the stage for homeless encampmenrs in the outdoor rooms. W hen the concrete chipped, the city dido't repair it. Finally, the orphaned plaza was fenced and its Iconic fountains tllmed of( [n response to preservationists' pleas, the city is studying the de terioration to determine the COSt of restoration. Somehow J sense that the "study" could be a prelude to the wrecking ball. Remarkably, a walled, modernist plaza bui lt abou t the same rime as H alprin's is still in mint condition halfway across thecoun-

rry(see "Baltimore'sGrounds for Art," page 92). Designed by the late George Parton, a Philadelphia-based landscape arc hitect, rhe \'\funzburger Garden sits at rhe entrance to the Baltimore Museum of Art (BMA). It displays world-class sculpture in a series of outdoor galleries, again framed by concrete walls. An lovers can walk among the Henry Moores, Rodins, Noguchis, and other sculptures that punctuate its outdoor rooms. What factors predispose one buil t landscape to early decay and another to thriving decade after decade? In these two cases, the key seems to be COflllecWflfSj based on institutional support. T he BMA plaza is firmly tied to its museum. It is open only during museum hours and, even during those times, is securely fenced. 111e fam ily that endowed the garden left a fund for maintenance. At Heritage Plaza, by contrast, any connection was broken when the city allowed the parking garage to isolate it from downtown. Not every built landscape can en joy such a supportive parent as the B/l.I A. Somearecursecl with a "deadbeardad" likethecicyofFoTt \'\forth. But can the BMA plaza offer any lessons so rhat landscape architects may design more loved onts and fewerorphans?

J. W ill iam "Bill" Tho m pson, FASLA Editor / bthompJOrJ@aila.(ffg

GREEN

LETTERS Can aGarden Heal SexAbuse Victims?

DON'T SEE HOW building a garden can create closure for sex abuse vic tims ("Becoming Unbroken ," March). They and

their families are in pain, and I don't set' how they can go back to a place where they've been Victimized. They don't wam to bring back nightmares. T he garden is really a place wher(' rhe church can precend co have reconciled its wrongdoing and make everything apologetic in the eyes of those who pass by. In the end, the victims aTC still hurring.

from upsetting already troubled bighorn sheep populations to the potential for the installation to be ripped down by the wind and cause a huge dam . Additionally, as William Thompson, FASLA, pointed out (Land Matters , April), the group Rags Over the Arkansas R iver (ROAR) has formed as a voice for concerned ci tizens upset at the amount of environmental issues this installation could cause. It should not be de nied that their work causes prolific publ ic awareness of the environment, has bttn responsible for major

D ANIEL LAI K EJ MO K, STUDENT ASlA MtA CAND IDATE

Unit'f!rsily 0/ Glldph, Ontario

What Should "Environmental Art" Looklike?

H ILE I WAS AN UNDERGRADUATE

studying arc hisrory, J was exposed to Chrisco and J eanne-Claude and their "environmenral arr." T he only ching "environmenral" about their arc is chac chey are using the landscape as their canvas. O cher than a few works, including The Gatef and \f/rapped Reichstag, their work has always appeared ro be insensicive ro che actual environment. "Surrounding" islands (SlIrroulJded lsbllds) in pink fubric and wrapping a shoreline Of/rapped COtw) in erosion-control fabric cannot be good for t he marine and coastal ecosyscems that we re affected by this so-called art; miles of curtains lming hillsides (Val/ey C"rtaill) and confining trees Of/rapped Trees) , even for just a few weeks, causes ecological impacts. 'l11eir art should really be labeled "texti le art " because it is their use offabrics as their art istic medium that defines their work. T hough Christo and Jeanne-Clau de claim that the Audubon Society and rhe Sierra Club have sided with them in the past, it seems that th is would be due ro the public awareness of the environment that their works create. The Sierra Club does not seem to be siding wi th the artists for the Over the Rit'Cf installation. Members are concerned by the potential environmental degradation that this project could cause,

The only thing 'environmental' about Christo and JeanneClaude's art is that they are using the landscape as their canvas. , ,

"land art" or "site-specific arc." Land art is actually grand-scaled outdoor installations with the ecosystem a casual victim of the artwork. Si te-specific art responds to its surroundiflh'S, may even highlight unique perspectives, but is generallyabstrnct sculpture. Perhaps the label "environmental art" should be reserved for describing the overarching theme of an artist's works and not the type of art he or she pnxluccs. T his would include uncountable artists through the ages coming from a wide variety of disciplines. In my opinion, environmental anists include Ansel Adams (a photographer), Joseph Turner (a watercolorisr), Myoung Ho Lee (a photographer), and Hayao Miyazaki (a filmmaker). Like many mher environmental art ists they challenged our perceived relationship with the environment, studied an area throug hout an age showing how that environment changed, or even enlightened their aud ience ro the wonders chat are a part of our environment, all wichout making che environment a casualty of their work. LOREY STINTON, ASSOCIATE ASLA

t\l,mrie, Indiana cleanups (rons of garbage were cleaned up in order to install S"rf(llllukd Mallds), and creates unique perspectives of boch manmade and natural formations. Personally, though, I find the sketches Christo produces of the proposed installations much more appealing chan the actual installations. Exceptions to this opinion include The Gates.: I attribute that to my perception thac The Gates were not causing a negacive environmental impact. In fact , when I look at the documentation of Christo and Jeanne-Claude's ins tallat ions, the ac tual installations unnerve me, while the sketches allow me to ponder the alternative perspect ive and to reflect upon the landscape. It would seem that they are going for that reflect ion in their installations, but the actual installations seem cold and invasive upon the landscape. So what should "environmental art'路 look like? Isn't that term a misnomer? Most arc deemed ';environmental arc" IS actually

IRiwr

AM A !'.[EMBER of the board of directors of ROAR, che g roup opposing Over the because of its potential for adverse effecls on safety, the environment, and the local economy. Your April Land Matters on the proposed project summarizes our concerns very well and adds its own pithy observations. \'V'o uld you give our kudos to che artist who created the graph ic chac accompanies your commentary? It路s a winner! ELLEN T. B AU DER

Salida. Colorado

ORN AND RA ISE D IN COLORAOO, I have tosidewith ROAR . Coloradans have almost always come to the rescue when they have seen large potential environmental damage to the state's natural resources. It is time for a new definicion of "en VIronmental arL路' I won 't presume to offer a definition, but the debate should begin to redefine this genre in light of today's

LETTERS en v ironmental challenges . For now, though, let's not impose rhis indusrrialbased work on our few remaining beauriful natural landscapes. P HIL P UZICK, AS LA

Manassas, Virginia

lips on Getting lilrough the Recession EADING THE "Brother, Can You Spare Some New Construcrion?'" article in rhe Apri l 2009 Ripmpcolumn made me rhink of a few sugg estions for my fell ow landscape architects who have been affected by this economy. T here are two thing s that help keep me busy, expand my network of contacts, expand my skill set , and assist in finding additional paid work. T he first is that I find a project/g roup for whom I can do some volunteer design work. It's not every day that they happen , so you have to keep yOUT eye open fOT groups purring rogeeher a project. They'll usually be mentioned in local magazines, radio, TV, and news papers. Several years ago, I created a set of consrruction documencs for a healing garden for the Valley Medical hospical in Renron, \Washington. I'd never done a healing garden , so it allowed me to expand my skill sec. A couple years prior to thae, I did some design work for the Conage L'lke Elementary School. Some parems and teachers gor together and requested some drawings so they could solicie donations . My current volunreer project is some low-impact developmem design work for the Kitsap County Conservation Diserict bui ldings and site. T he second thing I did was pretty simple; I joined ASUr.. In doing so, I found out aboue a recent charrette sponsored by WAStA and the Naeional Park Service fOr the Sinclair Inlet near Bremerton, \Washington. Bue since most people reading this mah'Uzine are already ASLA members, I'd suggest char ehey gee involved wi th their local chapeer. T he healing garden and outdoor classroom projec ts are shown prominencly in my portfolio, and you can be sure that rhe Sinclair Inlee project will also go in my portfolio.

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U?oodint1ille. \'(!ashinglon

Repair the National Mall? Now's Not the lime

N ANSWER TO YOUR QUESTION (Lmd

Man ers, March) regarding whether the

government should grant $200 mi llion from the economic stimulus package to pay for the National Mall>s upkf't'p, I must ag~ with the resulting vo te of Congress: no. It's not that I don>t care abom the mall. Every time J visi t the mall I appreciate its

"\X'itb many higbly skilled citizens rulahle to find decent-payillg work, the restoration of the National Mall is a 1uxmy. ,', simple, majestic beauty, but I also see lots of things chat need co be fixed. I'd like co see the mall continue co be one of the greatest

works of landscape architecture, noc merely because it is located in Washington, D .C, bue because it is a work of goo:! design.

Bue r also realize thac we need to make sure chat the citizens of the United Srates are well raken care of. \'qich many highly

skilled ci t izens unable co find decempaying work, the resmration of the N ational Mall is a luxury. Funding a full restoration during this time in American history would be, in my opin ion, a political blunder. J EFFREY D. WILLI AMS, STU DENT AS LA VIRGINIA TECH \XIAAC

Alexandria, Virginia CIRCLE 95 00 AEMJER s.EIMCIE CAOO OR GO m HTTPJIINFOJlOTIMS.COM'l3049<-95

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Beyond dle Canopy Bed

REEIIOIJSES COME IN MANY shapes and sizes, the air, by rope ladder or across a rope bridge atbut Swedish architects T ham & Videgard tached roa neighboring tree, and they can cl imb a ladder up the tree trunk to reach a roof terrace. Hansson's recycled aluminum and mirrored glass cubes look more like something from a sciTo protect the pine tree hosts and avian fellow Trretop offer tourists fi movie than a Tarzan Aick. Designed for a hotel guests, the structures will be held in place by "meta holiday that's liP, liP, dient near the village of Harads in northern Sweal rin!,'S around the trunk, with no damage to the and away. trees, no perforation," says the firm's cofounder and den, the treehouses will each provide a compact getaway for two people. parmer Marrin Videgard Hansson, and the glass At 13 feet high, wide,and d('('p, the rubes will s[Xlrt a plywood will have a transparent ultraviolet colorro make it visible to birds. interior fitted with a double bed, kitchenette, bath, and living T he architects firs t considered using "materials that people ofroom. Guests will enter and leave the shiny lodgings, 20 feet up in ten bring when they climb a mountain or camp in nature, like

moo

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ls l landsupe ArehitechHe IUNl ZOot

JUh

landscape structures-

WHERE INNOVATION COMES TO LIFE EVOS;M our unique playsystem for kids 5 to 12+ years old, now has a companion for kids ages 2 to 5 called Weevos:M Evos and Weevos together offer age-appropriate challenges that flex kids' muscles and st retch their imaginations What's more, we build each with environmental ly preferable materia ls and practices. To learn more about how Evos and Weevos enhance children's lives while honoring the environment, visit playlsi.com/ ad/evos-weevos. BETTER PLAYGROUNDS. BETTER 速2009 liIfldscape Structure.

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The cubes, left, were designed t o prot ect the

host trees llnd visiting bi rds. In addition t o a cozy living s pace, right, they will offer guests specta cular views from

a roof terrac e.

Gore-Tex, Kevlar," says Bolle 111am, but instead they opted for a design that is "nor vernacular. The lOCus is contextual," he says . "These mirror

boxes afe high-tech, liglHwe iglH, and very simple stru((ures. At the same time (rhey are)disappearing, blending in with nature."

If all goes well, the first six mirrored cabins will be completed by rhe end of the year, and ecotourisrs seeking seclusion behind the reflections of the forest will be in a prime spot to watch for bears, foxes, elks, and reindeer roaming over rhe forest floor. -

ROB ERT SUCH

META MORPH

AWARD CORNER

Sculpture at HumanScaJe

LAs Honored far Contemporary and ClaJsical Design

SfaflleJ;l1 Cellfral Park imfallatioll dOIl't qllite

NANE COEN, ASLA, principal and founder

of Coen + Partners of Minneapolis and

hew to heroic tradition. HRISTIAN JANKOWSKI'S

New York City, was selected by the Architectural League of New York as one of 2009's Emerging Voices. The honor, to recognize and encourage prominent young designers, is usually bestowed on architects. Coen, who discussed his finn's work in a March lecture at the league, is one of only 10 landscape architects spotlighted in the award's 27.year histoIl.

Lit1illg

Sat/pll/rtf looked at first glance [ike traditional bronze tributes to wellknown figures such as ChI" Guevara. In fuet the dl ret' figures on view over the winter and early spring on Central Park's Doris C Freedman Plaza were based on three street performers Jankowski spotted in Barce lona, billing themselves as "Caes.,\f," Guevara, and a character inspired by Salvador Dali's Anthropomorphic Cabinet W'ankw: statues of people pretending to be statues. 111equirkiness of the figures, shown under the auspices of the Public Art Fund, pulled in JXlSsersby for a closer look. \'{then uluiswpt Architectllre checked out the installation on a ~1.(e wimer Saturday, a tocldler was trying to crawl onto ';Caesar's" lap.

20 I landsupe ArchitechHe JUNl

2001

The stat ues, at an often-bustling entrance to Central Pilrk, prompted som e double takes itS

onlookers took in their quirk,. qu alities.

The Institute of Classical Architecture and Classical America's 2009 Arthur Ross awards for Excellence in the Classical Tradition recognized Perf)' Guillot of New York for landscape architecture. The Library of American Landscape History in Amherst, Massachu5eHs, won an aWilrd for publishing and history.

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"Everywhere you go in Italy, dle most common sign you'll see is NO FOOTBALL ALLOWED. Honestly, you'd think p laying football was the most dangerous thing a child could do!" In Coriandoline, children are al~ lowed to play in all the communal areas, including garages that dou~ ble as covered playground areas. With entrances that look like the mouths of giant monsters, the

CHILD'S PLAY

Soft on the lnside, Hard on the Outside From children'slamasy 10 living reality: the first hOllsing development designed by kids. NeE UPON A TIr.rE, (here was a construcrion cooperative in chI' small norch imiian town of Correggio. In 1990, its

members made a decision chac would radically change [he way rhey worked. Taking on a new name, Andria- inspired by an ideal cicy in lralo Calvi no's novel, 1lltIlsibleCitier- they tmnsformed it from a cooperative for abitdzioni (habitations) into a cooperative for abitam! (inhabitants). One of Andria's founding architects, Luciano Pamaleoni, says this was somedling of a revolution. "We had to learn ro liseen to the service users, in other words, families." Taking their logic one step fart he r, Andria decided that, since fam ilies comprise both adults and children, they would have to listen to chil~ dren as well as adults. And that's how the idea to build Coriando~ line was born . The firs t phase began in 1995 with a research project involving 700 chi ldren from 12 local nurs~ ery and elementary schools. Fifty teachers and two child psycholo~ gists worked together wJth a 22 1 landsupe ArehitechHe JUNl 2001

engJneers, surveyors, bU1lders, and carpen ~ rers talking to the c h il ~ dcen, rabng them on trips to learn about a r~ chicecmre, encouraging them to draw, and bui!d ~ ing models with them. Four years lacer che Afaflijesf(l oj Children's Liv~

Ing Needs was published , a discillation of rhe most popular needs and desires ex ~ pressed by rhose children as to how chey would like their ideal house to be. Essen ~ rial feamres ranged from "transparent," "hard outside," and "soft inside" to " play~ ful," "decor:J.ted," and "magicaL" Some of the requesrs were easier to meet than others. Pantalooni says the feature they devoted the most imporrance to in Corian~ doline's design was che concept of p lay.

The feature they devoted the most importance to in Coriandoline's design was the concept of play. garages are buried under hills plamed with a specially seleaed combina~ cion of plants to give them differenc~co l ored leaves and flowers and scents to sniff all year~round. Emphasis has also been given to color and decoration. The walls of the houses are vibrant shades ofblue, pink, orange, yellow, and green, wirh giam flowers , birds, buc~ rerflies, and smiling children painted by renowned Italian painter, illustrator, and set designer Emanuele Lunari. He died last year, but not before seeing his designs reproduced from the models to rhe real walls of the buildings. Even residents who don'r have children appreciate their design ideas. G ino Neviani, a single man who lives in one of che apartmencs , says the main reason he came to live in Coriandoline was because rhe neigh~ borhood is so quiet. H e's got 7tH) infant school pupils to thank for that: "Peaceful " was one of their top 10 essential requirements. -

D A NY MITZMAN

O riginally broadcast on The 5we \Ve'w III, Radio Nerherlarxls World~ wide; reprinted with permission .

N T H E EARLY PART of the 20th centU-

ry, Seaule took on iu own, small-scale version of digging rhe Panama CanaL Civic boosters were convinced (hat maritime commerce would be hugely enhanced byconnecring Lake Washington to LIke Union and rhen to Elliot Bay in Puger Sound. Twenty years kl,[cran inland waterway connected freshwater with saltwater and allowed seagoing ships ro come into sheltered harbors for maintenance, repair, and storage over rhe wincer seasons. Trouble was, Lake Washingron was higher chan sea level by dozens of feet. The system of canals and curs and locks [hat connected these lxxIies of water lowered rhe lake by as much as eight feet. 111is had rheeffecr of creat ing whole new shorelines of dry ground that were quickly covered with houses. In some shallow, barely navigable inletS, deep, peary soils were exposed. Although lowered, rhe 1C\'e1 of £IX' lake still fluctuates up to several feet seasonal ly, and these boSh'Y areas art periodically inundated with fresh lake water, This has allowed a rich variety of wedands-associated \"('geration to flourish in areas that wert entirtly below water 100 yc-ars ago. 24 I l.ndH.p.Arehlhehlr. JUNl 200.

Mercer Slough demollstl'ates the value of preserving wetlands in the city By Mark Hinshaw Mercer Slough on the east side of Lake \X!ashinsron was one of a number of these wet, marshy areas. On the west sideofSeatrle, a number of these wert used as landfills;

residents and businesses simply dumped their refuse into them O\"('f decades. 100ay rhese areas have severe problems ofdifferential serdement and medmne gas emission.

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The Environmental Educalion Cenler, designed by Jones & Jones, was carefully inserted into the tree canopy on Ihe east side of Ihe park, here. The park master plan by Jones & Jones, below, calls for a nel路 work of trails, interpretive signage, and places for blueberry fields with minimal parking so Ihal the natural setting remains intact.

This narrow finaer of b grass, peat, and water pokes a mile and a half into the heart of the city. However, because (he east side of the lake had wry

sparse settlement parrerns umil rhe 1950s, Mercer Slough continued to be a relatively intact wetland. T his d id not Stop developers from crying [Q fill the edges of {he slough for building sires. As recenrlyas [he 1980s, some parts were fi lled for construct ion until the city of Bellevue invoked regulations co hale any furcher encroachment. Today, instead of development , Mercer Slough is a 320-acre natural area, owned by the city and maintained as a part aries extensive park and greenbelt system, within a short distance of the highrise towers of Bellevue's rapidly growing downtown. Ten years ago the city commissioned Seattle-based Jones &Jones Architects and Landscape Architects co prepare a master plan for the park. The plan called for a seven- mile network of trails, canoe trails along the waterways, some wet land-dependent agriculture, wildlife habitat, and an interpretive center. T he overriding concept was to intrude upon the natural systems to the least extent possible. This narrow finger of grass , peat, and water pokes a mile and a half into the heart of the city. Con ifer trees sweep down from the uplands, tmnsitioning to deciduous crees and understory and framin g the lowlands with a grren edge. Blueberry fields- a rem nant of preWorld War II decades as an ag ricultural area- flank one side and still offer up a large yield each year. A wide seg ment of Interstate 90 slides over the south 26 1 landsupe ArehitechHe JUNl ZOot

Philip di Giacomo on Chang e • G:::>Io~a4o Yiard,scape,s l'>1a4e ~

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end- a discordant testimony to the era when rile bui lding of infrastructure d iscounted the value of wetlands. And before laws were adop ted to prevent the destruct ion of wetlands, a slice of the Mercer Slough was filled for a low-

slung office park of nondescript buildings. T he buildings wert' buil t on piles rammed deep into the peat, but rheasphalr parking lots surrounding them have slowly sunk

back into the soft soi l in a kind of revenge of natural forcts. A recent and sp lendid addition to the

Mercer Slough Narure Park is an environmental education cemer. Operated by rhe

Seaccle-based Pacific ScienceCencer, the new center offers classes on environmenml stewardship cochildrenand adults. Designed by J ones & Jones as a follow-up co their previ-

ous work, the complex of structures and walkways continues co express rhe idea of

2s l landsupe

ArehitechHe JUNl ZOot

"""""""

keeping disturbance of the land to a minimum. Perched up on taU posts, the cemer Sttms as if it floats above the site like a cluster offeather-light tree houses. Jones & Jones integrated a number of sllsrainability principles imo the design of the site. Surt.1.Ce water runoff is captured and directed into catchment areas topped by a splayed array of gabions. Some of the gabions are level with g rade. Others are re-

Perched up on tall posts, the center seems as if it floats above the site.

raining walls topped with cement slabs that serve as sea t ing. Accord ing to Mark J ohnson of Jones & Jones, "T he gabions are designed to collect and send water downward directly into the soils without anyconcemration of nmoff like a solid wall would cause. Any excess water thar has not infiltrated imo the soils is collened in swales downslope from the gab ions and is direned imoconstrLlcred wetlands before it reaches the slough ."' Johnson observes, "T his is not un like the benefits of a pervious hardscape with reduced storm water conveyance and decreased chance of erosion." Along the adjacent roadway, a wooden boardwalk sec on four-i nch helical piles substitutes for a sidewalk, which would have required extensive fill. (T he city !"(""<juired the boardwalk as a replacement for a bike trail that

The small buildings that make up the Enwironmental Education Center were slipped in between existing mature stands of trees.

had prev10usly existed nearby.) RunotTfollows the natural grade and finds its way to swales beneath the soaring walk. Instead of one singular structure, which wOllld have had a large footprint, the design team gave each part of the program for the

30 I landsupe Architechne JUNl ZOot

Environmental Education Center its own small building. T his allowed each to be slipped in between existing mature stands of trees. TIle buildings resembleacollenion of huts with mature trees branching out within inches of walls and overhanging roofs.

"111e struc[Ures are connected by wood-planked platforms that project om over the hillside. At several {Xlims, sections jut out past buildings allowing views down into the park and of towering buildings in the distance. A more literal tree house extends upward into the tree canopy. TIlf high perch seems rather precarious and, indeed, a locked floor hatch restricts unsupervised access . The complex includes a building containing a wet lab for research into plam and animal life associated with wet~1.nds. Students and researchers collect samples from the slough and conduct testS, In contrast to the other Structures, the wet-lab structure extends out from thesloping grade and carries grasses and light soil as part of a "green roof" design.

,· ••

A "flyin g bridge" allows visitors to hower in the tree canopy and look down on the wetlands" There is a soft"surfaced trail below"

Below the structures, pathways wind through the park, some allowing for shorr strolls and others allowing for much longer hikes that wind for miles around the perimeter. At points the pathway lies in t he shadow of a massive freeway overpass set on a series of 1:1t, round columns. Cars and tmcks noisily soar overhead, and detrims and oils from the passing vehicles form a sickly residue in the watery muck below. 111(" intrusion oflate-2Oth-cenrury highway building comrasts sharply with the natural systems of water, grasses, and soils-a more dramatic lesson in the former unden.'aluing of wetlands would be hard (0 nnd. Mercer Slough Namre Park, along with its soaring educational cemer, is a VIvid demonstration of the value of preserving and protecting our wetlands, especially in urban areas. It displays both the value of what was saved and the tragedy of what was lost.

Afark HlIIShaW is direrlor of tlrball desigll for I..AIN A rchileds ill Smlrlealld is a frequent ((111Iribtllor to Landscape Architecture. PROJECTCREDlTS Owner: City of Bellevue, De-

parrment of Parks and Community Services (Patrick Fomn, director; Ken Kroeger, project manager). Tenant: Pacinc Science Cemer, Seattle (Bryce Seidl, CEO; Darla Norris, CFO). .An:hitecture and landscape arch .. lecture: Jones & Jones, Seattle (johnpaul Jones, principal in charge; Mark Johnson, project manager/project architect ; Nate Cormier, ASIA, project landscape an::hitect; Stephanie Ingram, an::hitect; Wesley Simmonds, ASLA, landscape designer; Kevin Carl). Environmental pennitting: Vicki Morris Consulting Services, Seattle. Geotechnical design: Shannon and Wilson, Seattle. CMI mgt. neering: PACE Consulting Enginttrs, Seattle. Sbucturalengineemg: Lund and Everron Structuml Engineers, Seattle. MechanicaVpUnbing: Smntec, Seattle. EtectricaVcommunicatlons/ IigItiIg design: Spar! ing, Seattle. Cost estknating: Davis Langdon, Seatrle. ComnMssioningagent 111e Greenbusch Group, Seattle. Generalcon· tractor: Berschauer Phillips Construction Company,Searrle(jim Phillips, Al Bowen , Keith Michel, Tyler Parror). ConstructiongeotecmcalseIYices: Hayre McElroy, Redmond, \'V'ashingcon.

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Alli\SlFORT WORTH is gifted with

many celebrated public landscapes from rhe modern era, including Philip Johnson's Fort Worth Water Gardens (1974) and 'nlanks-Giving Square (1974); Daniel Ki ley's Dallas Museum of Art (1983) and Foumain Place (1986); and Peter Walker's Nasher Sculpture Center Garden (2005). Perhaps less familiar to most Texans is Heritage Plaza in downtown Forr \'Vorrh, the state's only significanr design by Presidential .Medal

of ArtS recipient Lawrence Halprin, I'ASlA. Heritage Plaza, located at rhe site of rhe city's original 5enJemenr overlooking rhe Trinity R iver, originated as a celebration of rhe U.S. bicentennial . TIl{' urban water park physically links rhe city's cemer [Q the river while symbolically (onneni ng Fon \'{tarrh (0 irs 1849 origins. City aur horiries ended water flow through Herimge Plaza's features in September 2007 and erc-cu·d perimeter f(onc32 1 l.ndH.p, Arehlhehlr'

JUNl 200.

The da)'s ma)' be II umbered for LaIVrence Halprin's Heritage Park . By Michal G. lineup, ASlA ing to cut off public access, disconcerting many Fort \'{forth residents, Due largely to deferred maintenance, Heritage Plaza has been in steady decline over the past deGlde with fountains gone dry, trees over-

grown, understory plantings dead or removed, and paving dete riorated or broken, BeGluse of its unc(ortain future, Heritage Plaza is among II sites listed on Preservation Texas's "Most Endangered Places 2009:' Since 2003, the nonprofit organization annually has developed a list ri places imperiled due [Q negro or threatened by possible destruction, adver.>(' development, or neglect. H iswric Fort \'{forth nominated H erifab't' PIa7n [Q be included in [his year's list as well as in 2008, The plightriHerifab'C Plaza also led t he Cultural Landscape Foundation to include it in landslides 2008: Marvels of Modernism, a photographic exhibition

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rhe Trinity River converge, JUSt llQr[h of the Tarrant County Court-

house and west of rhe Paddock Viaduct (the Main 5treft Brid!,'!').

The seating area in the western sedion of the piau is deteriorating, .bore. One of the pI.u.a'$ many water ieatUrH looks barren without wattr, I~. The nistinllite conditions are depicted in the AutOCAO drawing below.

\ spcxlighting 12 private aod public parks in danger of demolition or irreparable damage due [0 a variery of maors, In the late 1960s, rhe Forr WOITh Streams and Valleys Committee

commissioned L'lwrence Hal-

prin and Associates roclC\'elop the design (ora 1 12-acre Heritage Park to run along the T rinity R iver. The group asked H alprin (Q recognize

rhe ciry's significanr hisrory, iocrease dlC amount of public space downtown, and honor

the commiHee members' dedication (Q rhe hiS(Qricai and ecological treasures of Fort Worth.

Pan of rhe larger Heritage Park projCCt, Herirage Plaza is sired on a steep bluff whert

rhe West and Clear forks of 34 I l.ndH.p.Arehlhchlr.

IUN~

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l lle plaza site was selecr:ed for irs close proximi ty to the mi litary post of Fort Worth, establ ished by Major Ripley Arnold in ! ovembet- 1849. The imponance of the area was noted by landscapearchitect George Kessler in his 1909 plan for Fon \Vonh, and later studies of this area concurred that the site was central to the gcols of preserving views of the Trinity River and of connecting downtown Fort \Vonh to the river. Heritage Plaza was constructed circa 1977 at an approximate COSt of$ \.3 million. Halprin had previously prepared planning studies of the Trinity River in 1970 and was familiar with rhe site-specific issues. In 1976 in rhe Fort \'(Iorlh Slar-Telegram, Halpri n srared , "Next [0 dlC Trinity itself, rhe bluffs art Fon \'V'orth's greatest naruraJ assetS. 111eir physical form is an amphithearer 50 [080

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feet high and almost a mile long. They are well wooded and command fine views in se'Yeral directions." Halprin designed (he plaza as a series of square "rooms" surrounded bysewrallarge warer walls. TIle plaza, as with all of Halprin's besc work, is memorable fur its striking forms and sequences chac evoke mulcipie associacions and recall varied references. As Halprin wrore in 1995 in George F. Thompson's Landscape ill America, "My own way has been co design rhe ourward fonns of nature but emphasize the results of the processes of nature .... This act of transmuting che experience of the narural laodscape inco hwnan-made experience is, for me, the essence of the art of landscape design." Heritage Plaza is recognized alonboside Halprin's ()(her celeb raced projects, including the FDR Memorial in Washingcon, D.C.; Ghirardell i Square in San Francisco; and the Ira Keller Fountain in Portland, Oregon. Along with Charlottesville Mall in Virginia and F~way Park in $cattle, Heritage Plaza is one of th~ H alprin landscapes constructed to coincide with the celebMion of the nation's bicentennial. A water wall, top left and right, and a water channel, bottom left a nd right, are shown with the water flowing and after the water was tnrned off.

36 1 landsupe ArchitechHe

JUNl

ZOot

City authorities elided water flmy tlirou"h tJ Heritage Plaza's features in Septem bel' 2007, Tn addition , the plaza is a testamenr co Fort \Worth's long commitment co hiscoric preservarion, stemming from irs cicizens' dedication co the city 's heritage. Along

with the Forr Worth Streams and Valleys Committee , local patron R ut h Career Stevenson and the Amon G. Carrer Foundation were instrumental in ensuring the creation of H eritage Plaza. Tn fact , privare donations funded almosr 80 percent of rhe public projecr's construction cosrs. T he project and landscape arc hirect drew such arrention that among the dignitaries who arrended rhededication were Texas Governor Bill Clemencsand b.dy BirdJohnson, the former firsr lady of the Uniced Stares who was Halprin's client when he serwd as

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architects, landscape architects, interior designers, and preservationists gathered on February 5 for a reception in conjunction with the exhibition 's opening at the Design \'Xfithin Reach Swdios in Southlake, Texas.

Michal G. TiIlCllP, ASLA, is pri'Kipal ojSflldio Tillmp LmdscapeArchiteas fIl Arlillgtoll, TtXaS. Resource â&#x20AC;˘

â&#x20AC;˘ "Second Man Missing," by Kevin Sloan; Land.i[djle Archit/l[wre, April 2003.

live Oak Grove, top left, is the central space of the plaza, which features other garden rooms, alHJre and far left. DeS(:riptive grafitti, left, dec:orates a wall in the plaza. One of the water channels enli,ened the space when the water was flowing, bottom kft, but is dry now, bottom right.

a consultant to her Committee for a More Beautiful Capital. Today, Heritage Plaza remains an excellent example of modernist urban design. Moreover, it is re presentative of landscape architecture of the 1970s, a time when cities nationwide commissioned plans to reclaim urban areas and waterfronts for public enjoyment. The Texas H istorical Commission recentlydetermined that Heritage Plaza, although less than 50 years old, is eligible for listing in the National Register of Historic Places because it is recognized as a work of {"'Xceptional significance within H alprin's lxxly of work and among modernist landscapes. To celebrate Heritage Plaza's inclusion in the Cultural Llndscape Foundation's Landslides 2008: Marvels of Modernism list, mOTe than 100 local 3s l landsupe Arehitechne JUNl

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HAD ALWAYS BEEN ANTI-BLOG," re-

members Jason A. King, ASLA, of Portland, Oregon. Like many, he equated blogging with keeping an online jour-

fessionals with related degrees, and some provide a unique opportunity to hear opinions from people ourside the professionto hear from the people we serve.

nal; he didn't think rhe medium had

much to offer him professionally. But about two years ago, King's opinion

What benefits does blogging offer landscape architects?

changed dramatically. He was working on a design compe£irion and needed a way to manage all the ideas, images, and web Jinks he was gathering through his research. H e realized blogging would be the perfect way to organize himself while giv-

Blogging is more than JUSt a way of organizing your ideas. On a personal level, blogging can be an escape from the daily grind of working in an office. "My blog developed from a need to vent my passion for the optim istic, idealistic, and creative aspectS of landscape architecture that were often absent from the daily duries of running my business," says Christian Barnard,

ing him achancc [0 share his research with others. Today, King's Lalidsca{le+Urball;sm

Blog has readers around rhe world. In the past year, it has been viewed nearly 500,000 times. Bur it is only one of the many landscape architecture-themed blogs thar have sprouted up in recent years. There are blogs focusing on many d ifferent mcets of the profession, from garden design to parks, from sus rainability to playgrounds. Some of these blogs are managed by landscape architects, some are managed by pro-

THE DIRT ON BLOGGING How can blogs change the way we communicate about landscape architecture? By Daniel Jost, ASLA

who runs the Christian Barnard Lalldscape B/og. For Barnard, blogging is cathartic; his blog gives him someth ing that he can define and control completely. Adam E. Anderson, who runs the blog Design Under Sky, says he smrred his blog as a lab. "Many of the ideas are purely conceptual," he explains. "Bur as I write, they sometimes morph or spawn new directions that have the potential to materialize."' While most of Anderson's experiments are thOlight experiments, there are O(JIX>rtunities to pur blogging to a more scientific use. Roy-Fisher Associates' blog, Sprollt, aims to encourage sustainable design in its region and to brand itself as a fi rm that·s knowledgeable abour sustainability. "South Florida is behind the rest of the country because much of our population is parr-time and most of the design professionals are transplants from other parts of the COUntry," says Connie Roy-Fisher, ASLA. She was concerned that when technologies like green roofs were implemented, chey would not be sensitive to the region's unique climatic issueshot humid summers and scrong tropical

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CO 11110 NICATIO N winds-and this would discourage further applications of the new technologies.

So her firm has been testing technolog ies at its office. Scaff members placed a few g reen roof trays on top afcheir roofand planted them with different species to see what would g row. T he first experiments

were more anecdmal than scientific. \X1hen Glenn A. Acomb, ASLA, whodoes research on g ret'n roofs, found the firm 's blog, he {'mailed the staff about problems with their

merhooology. 13m the firm has taken these criticisms constructively and even posted Acomb's e-mail on its blog. Roy-Fisher Associates' experimentation hig hlights some of rhe streng ths ofblog s. If the firm had been conducting experiments internally without posting them on its blog, it may have never reali zed the flaws in its methods. Now rhe firm has received some feedback, and Staff will be able m improve rheirexperimenrs.

Additionally, their experiences show how blogs allow for the quick dissemination of information aoour very specialized topics. Even as specialized as u mdscapt A rchitecture is , it 's unlikely this mag azine would ever cover a small experiment that only applied to a few species of plants in a specific region. It wouldn't interest enoug h of our readers. Bm as a landscape architect working in that region, knowing about that experiment could be very valuable to you. Reg ional blogs have the potential to fill that hole. But of course it also reveals a map r issue with the medium. Since there is usually minimal (if any) editi ng and no peer review, hlogs may nO{ always provide credible information. "{My} blog actS as a part of my process, nO{ as an end result," says King ... ,

Dlogs allow for the quick dissemination of information about very specialized topics.

What Is a Blog?

HOUGH WE HEAR THE WORD "blog"

all the time these days, actually pinning down adefinirion is surprisingly hard, TIle rerm has been used to describe a broad [':lnge of web sites that evolved from the online journaling sites of the lare 1990s, 810gger.com's answer to the question is probably the most comprehensive, "A blog is a personal diary," it explains. "A daily pulpit. A collaborntive space. A political soapbox. A breaking-news ourlet. A collection oflinks. Your own private thoughts. Memos to the world. Your blog is whatever you want it to be .. What ties all these types of sites together is asimilar format. Unlike most web sites that connect from page to page using buttons that must be updated as more information is added, a blog is designed so you can make continuous entries or "posts" over time without having to reorganize the site. The posts are generally displayed in reverse chronological order, with the newest entries appearing at the top of the page. TIlese lXlStS may include any combination of text, photOS, sound, video, interactive polls, and links

42 1 landsup, Arehit,etllr' JUNl zo o.

mother web sires. Tn addition to the POStS themselves, there is usually some general information abom rhe person, company, or group rhat runs the blog, a list of links to other blogs (called a blogroll), and an archive thar allows you m see old entries by date or subject area. Another common feature is an area where readers can make public comments at the end of each post. Sometimes, these comment areas can act much like che "Ietters to the editor" section in a magazine or newspaper, but, if a topic is heaced, they may develop into a more intemctive forum where readers can have an ongoing convers.路1tion with one another. TIle person or group that manages the blog generally has the ability to moclerate these discussions. They can decide who is allowed to comment, and chey can remove spam and material chey feel is hateful or offensive.

would hope that readers would not judge the content as more than it really is-a particular stream of consciousness, barely edited, and often late-night musings. More complete ideas will show up in formal writing , competitions, speculative works, and, most often, my desig n solutions." Blogg ing can be a gteat way to gain exposure for yourself or your company. "Starting a blog was a continued effort to help my business's web site reach more potential dients:' says Rochelle Greayer, a landscape

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COIIIIUNICATION designer and wri ter whose blog, Stlldio g, was launched on her company's web site in July 2008. Since then her blog has grown exponentially, and in March, she had more than 1,000 K"aders each dayapproximately 30,000 readers that month. Part of the reason for her success is the sheer number of postS she makes; You can visit ASLA's blog, The Dirt, the blog is updated a few times daily. "I at http://dirt.llsia.org. have had a lot of opJX>rtunities fOr writing, as wel l as some design projens, come pie with similar interests. Bm it also from connections made through the means you will need to be more thoughtblog," Greayer says. She has been invited ful about what you write and JX>sr. Anyone, including your employer and your to write on other blogs, has written articles for a hospitality indLlStry newsletter, clients, will be able to SCf it. If people find and has recently been contacted about one of your postS and think it's particuwriting for a magazine. larly interesting, they can link to it and O thers like King and An derson have purposefully sepaChristian Barnard rated their blogging from the Landscape Blog companies they work for to free themselves to write about Christian Barnard, Victoria, British Columbia Address: Irttp://clrristillnbamardblog,bIogspot.com whatever they want withom having {O censor themselves. Focus: Land art, naturalistic plantings, urban agricuhure, garden design 'T his is very imJX>rtant co me," Sample posts: An inteniew with a landscape design· says Anderson . "[ don't want my office misrepresented for er in the United Kingdom, ,arioU$ concepts for Yertianything that I discuss becal farming, 10 cause [ don't ce nsor my avant·garden content. makers rou Greayer has found yet should know another benefit of blogBarnard on keepin g a blog: ging. "Creat ivity breeds creativity, and 1 find that "What started as writing about design has a cathartic response to mr daily frustrations, a soapbox for my made me not only a more philosophies and ideals, has transformed into an in· educated designer, but a more ,aluable source of connections and has led to sig· imaginatiwone Who can read your blog?

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Privacy controls allow bloggers to decide whether their blog will be publicly available. Some people limit their blogs to a small munber of people-friends or a group that's working together on a projen- while others can be found using search engines and read by anyone who's interested. Having a public blog creates opportunmes to connen to peo-

nificant personal and professional growth. People from across the globe ha,e contacted me to com· ment on the blog's content and mr commitment. Some of these spontaneous gestures have grown into valuable friendships. I have also been approached by working landscape architects, bloggers, magazine editors, and advertisers who have expressed interest in professional collaboration .... It greatly reaffirms mr original intent for the blog to know that other bloggers, designers, and larpeople hare ,iewed mr blog, seen value in it, and mi"ored mr optimism, hopes, and ideals. Mr Cilreer is now mowing into wholl)' unupecled territory."

COIIIIUNICATION share it with their friends, allowing the information to be spread vi rally.

You may even fi nd yourself quoted without permission elsewhere on the Net or in print media, as I rt'Cemlydid when I lX):Sced a query in a public forum on a social networking site.

Ofcol.lfSt', there is no guaramee that anyone will read what you write. To some extem it w ill depend on how inreresting YOUT posts arc and whether you are filling some previously un filled niche. Most hlogging platforms allow you [0 rnoniwr the eraffic on

YOUTblDg so you will be able [0 know how many people are reading it. How do I s tart?

"Starring a blog is relatively easy," says Anderson. "T here {are} a number of blagging platforms out there. Some,

Sprout! Roy·Fisher Associates, Southern Florida Address: http://sproutcastl.bhJgspot.com Focus: Sustainable design in Southern Florida and therapeutic healing gardens Sample posts: Staff notes on some roof plante" the, were using to experiment with plants in yarious soil media, a note from a professor telling them how ther could improve their experiments, com· mentary on the Florida Green lodge certification program's lack of a landscape component Roy-Fisher on the time commitment inyolyed with blo"ing: "We started Sprout as a result of a staff brainstorming session on how we could be more focused on quality sustainable design and brand ourselyes along the wa,. We were inspired b, a marketing comlHIny called Brains on Fire that has an incredibly creatiye web site and blog•••• I find it is yery challenging to keep up with the blog, let alone all our experiments, and run my office. If I were to keep the blog up the wa,I'd like, I would spend a minimum of 20 hou" a month. So far, I haren't been able to do that because of m, won. schedule."

like Blogger, are free and preccysimple

to use if you don't want a lot of cus[Omization." If you can use a word processor, you can probably blog without much trouble. Jus t choose a blog hosting site (see R esources), click on the button that says "Create a Blog" (or something like that), and follow the instruc t ions on the screen. To see how much effort it would take, I started blogs with both Bloggerand \'{!ordpress.com, rwo of the most iXlpular blog hosting sites. \Vhile I have experience using a variety of computer progmms and s0cial networking sites, I had never tried srarting a blog , but their directions were fairly stmightforward , and both rimes my blog was up and running in less than five minutes. It took more rime to come up with an orig inal name for each blog than anything else! Once YOll g et yOllr blog g 01ng, you'll wane to look through all your

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settings (particularly your privacy settings) before you post and make sure they are at the level you want. Then just post and repeat! If you would like your blog to appear as part of your personal or company web site, it is possible to set that up in the user settings of many of the mOSt commonly used webbased applications. It takes a little more tech savvy, bur you can also host a blog through your existing web site with a variety of free software available on the web. How c:an I find out about other landscape arc:hltec:ture blogs? How c:an others find out about my blog?

The most popular blog s will show up in general websc--arches on Goog le, Yahoo, and other search engines. There are also search engines like Technorari (See Resources) that specialize in finding blogs. Bue one of rhe best ways co

Design Under Sky Adam E. Anderson, Southern California Address: www.desjgnundersky.com Focus: A variety of subjects related to landscape ar·

chitecture with posts that are conceptual and imaginative Sample posts: The use of sound and interactive media to ener· gize the urban landscape, geospatial mapping, the land

art of Andy Goldsworthy, speculation on how teaming with unconventional creative minds-like The Flaming lips-might redefine what II landscape could be Anderson on blouing', place within the news media: "I don't think professional journalism will ever be

completely replaced by bloggers., in similar fashion that new design $OfhJare in the hands of laymen will never replace the need for architects. But bloggers have II freedom of specificity and don't face the same sort of editing that journalists can be hindered by. With so many topics, happenings. and ideas, there's no WilY even an online magazine can cover all this info. The unbelje,able attribute of blogs is their ability to 'fill in the cracks' of uncovered material."

find out about new blogs is by clicking through the blogroll on a blog that interests you. TIle blogroll is a list of "kindred" blogs that the person who runs a blog finds interesting. ~-fost blogging software will also have a dashboard, which allows you to follow other people·s blogs either publicly or privately through an RSS feed. When('Ver you decide to publicly follow other people's blogs, they can find out about you and your blogs. Many blogging platforms also allow you to find out when others have linked to content on your blog . This encourages conversation between bloggers and creates a sense of community. Can you make money from blogging?

Many blob'S try to make money through advertising. While it IS fuirly easy to put ads from Google Adsense and Amaron.com into your blog, very few people make a significant amount of money through this SOrt of adverrising unless

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CO 11110 NICATIO N they reach a very large audience. '" host advertising like Google Adsense," says Anderson. "$orne revenue comes from it, but it is very minimal."

Many of the blaggers interviewed for this story have been hesitant to add any advertising for fear that it would compromise

their message. But other blogs like Stlldiog that have a large readership are experimem-

A Valuable Teaching Tool

ing with more significant advertisingbanner ads and actually advertising within some posts. "I read a lot ofblogs," says Greayer, "and I find that on many of my favorite sites, the advertising is acrually a feature because the site editor has carefully chosen the advertisers to suit their readers. For Studio g, I want to SUPIx>rt small businesses so the landscape-related products {they make} can reach a global audience. Products advertised will always be garden related and something ' would consider buying for myself or a cliem." These sorts

What are some of the legal Issues I should c::onsider before I start my blog?

While blogging can fed likescmpbooking , it's legally a different sort of animal. In the

R u tgers University offers four degree paths: landscape architenure, land scape indusuy, environmental planning, and environmental geomat ics. \'{lhen I recruit potential students, they often find these labels unclear, so [ direct them to my blog, where they can separate the had previously tried creating an online pOStS by subject and see which one most bulletin board for class discussions, but excites them . I know that my blog getS that turned om [0 bore both my stupretty good traffic from web searches, so dents and me, so r didn't have high exI hope thac maybe one or twO potential pectations for blagging when J started. students stumble into us chat way, too. N or recognizing its potencial, I chose a I am constantly coming up with new name that wasn't distinct and an address ways to use my blog. N ow, when we have guest speakers, [ Often try to "livethat was hard to remember. But almost immediately I d iscovered that my blog blog" it, creating a small record of some key things they said. O neof {he most unwas gerring read by both students and strangers, and it was becoming a valuexpected and touching uses came when able creative outlet for me. the blog became a makeshift memorial Between laptops in studios and isite where classmates, friends, and fam iPhones at lunch, students are connected ly posted remembrances of a young alum who had passed away. with the Internet for much of their day. \'{lhi le I don'r necessarily want to increase Some advice for other professors intertheir time online, I would like to ested in blogging: You can't see them reading a little more about Places and Spaces lure scudents in by pretendDnid Tulloch, "'SUI, Rutgers University, New Jersey their chosen profession. I figure if ing to be cool (e.g., using my blog is easy to reach and reliAddress: http://epd372.biogspot.com cultural references and slang Focus: News and commentary ably distracting, maybe they'lI keep that aren't part of your norrelated to landscape architec路 mal communication style); coming back . O n the surface the content on tUre and environmental plan路 they are far too savvy for that. ning, posts specifically tailored Places and Spaces may seem a litrle A nickname has emerged for to Tulloch's dasses a web environment where a random. Occasionally, the blog beSample posts: A heavily iIIus路 comes a bulletin board where I stick college professor tries too trated post on Pare del Audia note for a specific class. I also post hard to create a fun online toris, notes from a presentaplace------the creepy tree house. announcements for public events tion by Stu Appel, ASUI, on his I think that my blog has or lectures that our students and work in DUNi, a quick note on professionals in New Jersey might worked because I treat it as a a news story about New Or路 find stimulat ing. But most of the natural outlet for my di verse leans that might be of interest academic interests. information is accessible toa wider to his students audience. I link to articles J find on

s AN EDUCATOR, I find blagging a useful way to spur discussion and encourage students to go beyond what rhey are required co learn for class. My blog, Places and Spaces, starred om as a casual experiment in December 2006. I

4s l landsuP'Archit'etllr, JUNl zo o.

the web and comment on issues affecting the profession . Some postS feature photos J have taken of places and events. One o f the ideas I've tried is having guests name their three favorite examples of landscape architecture; these entries provide photos and maps that show where these spaces are located. T he blog serves as a great foil for classroom conversations. When I am planning to talk in class about something controw:rsial, like New Urbanism oreminent domain, I use the blog to link to provocative articles on the subject. \X1hen J make these POStS a day or two before class, I can usually coum on a more energetic discussion. Unlike the textbook, which remains vitally important, the online items can be more fun and more readily invite criticism. T he blog is also helpful when I am recruiting new students. T he Environmental Planning and Design program at

of posts have the lX>temial to function similarly ro the innovative new products featured in the editorial areas of many shelter magazines. Greayer has even run contests on her blog, partnering with a book publisher ro give away free copies ofa new book to help it gamer publicity.

A Voice from Outside The Profession y DAY JOB liAS NOT HING to do

When ' started blogging , promised myself that I wouldn·t let it add stress to my life. , didn't (don't) need any more with playgrounds. J work in a labodeadline pressure. But that changes rmory, making and testing new nanowhen hundreds (okay, I"m into the thoustructures and nanodevices. But unlike sands range now) of people visit the blogs some sc iemis£s, I don"t like [0 think daily. I"ve just been in London, where ' found that' had actual fans of my garden about science outside work. I actually fed history blog, which is a new experience that turning my mind to other things for me. You begin to feel a responsibilihelps me generate new ideas. Most of my ty to the people who are so kind as to take leisure reading is about design, arch i recrure, and landscape. ' actually took a year an interest in your ideas. Because I hope off from the lab to get a master's degree that the P/ayscape.r blog senres as an inin honrden history from the Universi t y of spiration to improve the experiences of Bristol in the United Kingdom, and I children, there is an added sense of recontinue to write in that /ield, mosdyfor sponsibility, and inevi tably some presscholarl y ioumals. sure to keep posting comes with that. At [srarred blagging in January 2008, seethe moment, I think ' spend abou t six ing it as an online version of my "favori res" hours a week b logging . I don't want to folders except with more commentary, a add it up, really, and it tends to be done way ro keep track of things that interestin bits and pieces around other demands. ed me. In a rush of enthusiasm [ starred a Aside from the sense of responsibility, I number of blogs covering my currene keep it up because J really enjoy blogging. range of interests: garden history, church es on the web, through books, and in I didn't know J would enjoy it so much. It design, and intersections betwccn science archives, bm some are suggested by my enables me to discuss things for which I and art. It was tOO many to keep up with, readers, which is helpful. As the biog has have a limited audience within my own and interestingly, it is the science/art blog become bener known I am beginning to circle, who have heard me bang on about chac has really fallen by che wayside. hear from firms chat suggest their own playgrounds and garden history and the The playground blog scarted a bit lat- projects or equipment for inclusion. need for more thoughdl.d church architecer. My small church needed a new play- While I'm happy to consider such re- tu re more than they can bear. I've never ground, and in investigacing che options questS, , feel quite proteccive of the site's seen myself as a writer, so it has been en, did the standard thing and contacted contem, and ' only list things that 'find ridling to have people compliment not commercial suppliers of playground worthwhile. I consider myself a curator, JUSt my content but my writing. And for equipment. , was stunned to find OUt that in a way, consolidating all of these useful the playgrounds blog, I've been conraaed our minimum cost for a "'poles and plat- ideas and approaches inroa singlecollec- by people who let me know chat it has forms" set would be aOOm $25,<XlO; my tion for everyone to view. made an actual d ifference on the ground. budget was more like $1,000. Blogging is a truly egalitarian And the playground set didn't Playscapes, Garden History Girl form of journalism, , think. No Paige Johnson, Tulsa, Oklahoma even look like very much fun. qualifications are necessary; it·s Cursory Internet searches rumed chI" quality of your ideas that Addresses: http://phygrounddeslgns.bIDgspot.c&m, up loads of companies all supplymaners and that wins you a folhttp://gardenhistorygirl.blogspot.c&m ing basically the same things, and lowing. Blogs allow for a much Focus: Unique solutions to children's play in the land· scape, the history of garden design , thought there had to be better narrower focus than would be fiSample posts: A proposal approaches out there. More extennancially tenable in a sive research led to some really infor a new slide that a de· more costly medium signer is looking to mass novative approaches to play spaces like a magazine, and produce, a playground! designed by architects and anists they provide an easy hangout for teens at a way to gather togethand to play studies that showed high school in london, a that many commercial approacher a group of people es weren't in line with current rehistoric photo of a play· with common interground in New York from ests. They give people search about how children need to 1910, a playground that develop. Givenour limited funds, like me, who are outcan be used for teaching kids math, a historic English n· we decided to repurpose a couple side the traditional boundaries of tate called Stanway, a memorial to John F. Kennedy at of standard wooden climbing the profession, an opportunity to Runnymede, ,intage gardens and their gardeners Structures that had been donated. have a voice.

TIle monkey bars, for example, were installed upright as climbing ladders, one of the platfonns was set on topof an earthen hill, and swings and slides were added. I'm currently working on a toddler area using more earth fonns and stumps. It is interesting that PlaYSCdjleJ has become my most popular blog, with three times the traffic of the others. It seems to have really met a need, and for that J' m gmteful. I find the majority of the playgrounds I post through my own search-

Blogging is atruly egalitarian form of journalism. No qualifications are necessary; it's the quality of your ideas that matters.

CO II lID NICATION United Scates, bloggers must follow laws rel::mJ to copyright infringement and libel. TIlt'S!'

issues become more imrxmam ifyour

blog isaffiliaced with your company in some way, due to the greater liability it creates.

Libel should be easy to avoid. Just don'r make any statements offact that could tar-

nish rhe reputation of a person Of corporation without having evidence to back up your claim. It's fine to be cri tical and to write a negative opinion, but make sure noneofyollf "opinions" aTe acmally a false statement of f.1.CL For example, writing something like "It is my opinion that xyz Landscape Architecture bribed a local official to bear me our on a projece" is something that can be proven or disproven with certainty and may be libel if you cannot support your claim. Bur writing "XYI.. claims that its work is sustainable -what a bunch of grttnwashing" is more likely m be considered an opinion, since susrain-

Studiog Rochelle Greayer, Harvard, Mnsachusetts Address: http://greayer.com/studj(lg focus: Inf(lnnation pri· marily suited t(l garden designers working on res· idential projects or on projeds for hotels and spas. A good place to find interesting and unusual products for use in the landscape Sample pom: fabric walls that can be used for screening in the landscape, a garden created by a designer in India, highlights from a lighting designer's newly launched web site, photos of the flowers popping up in her own yard, drawings to win free stuff

ability is a relative concept, and how it is measurc--c\ is constantly changing. Tn practice, very few bloggers actually follow copyright laws exactly, especially when it comes to posting images. T here is little enforcement of copyright in the blog-

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50 I landsupe

Arehotechne JUNl ZOot

Greayer on how her blog has taken on a life of its own and become more than just an adwer· tising vehicle for her business: "I am con· stantly fascinated and excited by what other talented people are doing. so the blog has e¥olwed to become an inspira· tional place for other designers and hopefully for potential dients of any landscape professional. I really hope that Studio gwill help to promote a gar· den cuHure and passion for celebrating the outdoors in the United State5 and around the world (my daily readership comes from more than 150 countriesl. I am generally of the opinion that landscape design professionals do not get their due. Wrth StudhJ gt 1 hope to open consumers' eyes to greater possibilities and raise the bar for design expectations."

osphere today. JUSt as most of the people who shared pirated songs on Napster were never sued by a record company, there·s a good chance you'll never get sued for posting copyrighted material on your blog. According m many bloggers, posting pho-

tos of another landscape architect>s Landscape+Urbanism states Title 17 of the U.S. COOe (federJason A. King, ASLA, Portland, Oregon al law). Copyright protens the crework offhis or her web site will usuAddreu: http:/A.mJsc.~.mJurb.nism.blogspot.com ative product used to express the ally be seen as a compliment radler Focus: Integrating than a reason for action, as long as you idea- writing, images, ecological processes give the landscape architecc credit architectural works, into cities, primarily recordings, and so on. and link back to his or her site. And through vegitectureContrary to popular becomrary to popular belief, it is a hassle to sue people, so many people architecture with 'lege· lief, creative works are won't bother if they don·t think they tated rook and walls. copyrighted as soon as Sample posts: Video of a they are captured in a have much to gain. Nevenheless, it·s always a good idea green roof in Vancouver way that can be shared; it doesn>t matter if the to be cautious and ask belOre you post that's uuder construe· tion, pictures and commentary on a green wall project any creative works you don >t own, parcopyright is stated or not. Unless the that hasn't yet matured along with examples of other work has been placed in the public ticularly if there is a copyright symbol sites with mature green rook and walls, commentary displayed where you found it. Even if domain or is explicitly licensed to be on the winning entries in a skyscraper design compe· the copyright owner doesn't sue you, used in the way you are using it tition, a book review (many web sites now have buttons he or she may repon your infraction to King Oil the benefits of blogging: "(Blo"ing) has con· whoever hosts your site and shut your that will allow you to share content blog down if you repeatedly infringe nected me with other blo"ers, writers, and landscape on blogs), YOll should probably get architects around the world. These virtual and inforhis or her copyright. And as the medipermission to POSt it on YOllr blog. mal contacts have led to open dialogue and potential Now, there are provisions III the um becomes more popular, enforcecollaboration in the future." law that allow for the "fair use" of ment willlikdy increase. Copyright law is fairly complicatcopyrighted work for purposes of ed. However, there are certain parts of the of authorship extend co any idea, proce- Cflt1(Jsm, comment, news repornng, law that are pretty clear. "In no case does dure, process, system, method of opera- teachlllg, scholarslllp, or research, but copyright protection for an original work cion, concepc, principle, or discovery," chis is where things gee a little murky.

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JUN( 2 0 0.

Landstlpe Arthit'ttur, 1 51

COIlIlUNICATlON U.S. courts look at a number of factors when they dec ide whether the use of someone else's contem is fair use or not. T hese include: - "the purpose and character of use, including whether such use is of a commercial nature or is for nonprofi t educational purposes" - "the nature of the copyrighted work"

As you become amore prolific blogger, you will realize the importance of citing sources and the value of these laws to protect your content.

CIFlCLE I, ON READER SERVICE CARO OR GO TO HTTf> AlNFO.HOTlMS.

DID YOU KNOW?

CCIWl3<_,

·\SJ A represents morc than 16,()()() Imlfl~ hite('ts in the United States and abroad. Ifyoll aren"t a member. join the lea(ling professional organization dedi('ated to IU'ollloting and fm·theloing tht· art and seiellt'c of land~('apc an'hiteetul'e. Contact memiu]rsh i}J@asia.org AMERICAN SOClfIY Of lANDSCAPE ARCHITECTS for information. 636 EYE SlRffl NW, WASHIN6TON, DC 20001·3736 202·898·2444 •fAX 202·898·2285 • WWWASUDR6 52 1 landsupe

ArehitechHe JUNl ZOot

- "the amoum and substantiality of the portion used in relation to the copyrighted work as a whole" - "the effect of the use upon the potential market for or value of the copyrighted work " T hese factors are nor considered alone, but in tandem widl one anmher and the First Amendment to the Constitution. Just because you don't have any ads and you are using a blog for your own educational purposes doesn 't necessarily mean that you can post an emire article from a newspaper or magazine on your site, even if you provide a citation, since that could potentially drive traffic away from the originatOfof that contem. But you could qume part of the article tocommem on it or use a quote to suppon your Ix>im of view. Also, it is OK if you decrease the potential market value of a copyrighted work, such as a i:xx>k, by criticizing it, but you aren't allowed todecrease its value by distributing unlicensed copies. See the Resources seC{ion for resources on copyrights. And if you plan to use your blog to point people to articles that are elsewhere, if mig ht not hurt to check in on the Huffing ton POSf web site from time to

time and see how it handles this, because its site is one of the most egregious news aggregamrs. Of course, if you want a solid legal opinion, you should consult a lawyer. As you become a more prolific blogger, you will begin to realize the importance of citing sources and the value of these laws to protect your own content. "I have tried to reference the original content holder for every image and quote, both as a common courtesy as well as a way to link back to more complete comem," says King. "Once you have infOrmation picked from your site and used without attribution, you understand rhe importance of ciring sources to acknowledge the efforts of others. ,. Resources

For more information on copyrig ht, libel, and other legal issues surround ing blogs, c heck Out the foUo wing: • The Electronic Frontier r oundation's "S loggers' Legal Guide," wUlw,eff org/ imle.r/hloggers/legal/baMity/ovtrview . "Don'rGet All Hutty Aoollt the Huflingron POSt," by Jack Shafer, Siale, /(Jw1(}.slale, coml id/221625I • Stanford Universiry has a very interesting site with a number of case studies on what consti(Utes ('lir use: hup;/Ijaimse. stanford ed,,/Copyright _alld_Fair_ UiC Over t!iew/chapler919-r.hlml • The U.s. Copyright Office, www.ropy right.g(IIJ Some Other Po pular Blogs Focusing o n Land scape Architecture and Related Subjects: • City Parks Blog (The Trust for Public Land), hup:l/cit)pa rksblog.o'X • City Room (New York Times), http:lkity room. b!ogs.lIytimei. ami • The Dirt (ASLA), http://dirt.aJla.org • Interchange (Planet izen), www.planet izen. wmlinterchange • Making Places ( Project for Public Spaces), http://blog.PP1.org • Playborhood, http://playborhood.com • Pruned, http://Pflllled.b/OgJPOf.aJ111 • Streets Blog, www.streetsblog.org • Vulgare, WlllUJ.t'lllgare.nft Some Free Blog Hosting Sites: • Blogger, IIltvU'.Blogger.COfll • Live Journal, tVllltv.lit.'tjollnlal.rom • Word Press, 1I111J1/.!.llJordpress.rom Blog Search Eng ine: • Technorari, 1I1tl-'llJ,techll(ffall.com

AMERICA! SOCIETY OF IAIUSI:.IPF 636 mSIRHl !W. WASHI!610!. 101-898-1444 •FIX 101-898-1185 • JUNE 200t L.ndstlpe

Archit'dur, l s3

LMOST AS SOON AS she and her

husband moved into their 18 76 Newton, MasS.1Chusetts, Victorian

in 1991, laurel Farnsworth had an indoor/outdoor lap pool in mind for the backyard. Tom Farnsworth's resrK)fIse was a droll ''I'd rather hire a limo to take you to the Y " TIlt' backyard became one of those projects they would do "someday." As someday

stretched into more than a decade, the best they could say abom the nearly quarter acre of open and somewhat dusty land our the

back door was that it was low maintenance. Bur every wimer, they f.wtasized about a garage. [n summer, they imagined gardens and, fOf laurel, if flO[ a pool, Jx:rhaps a pond with trickling warer. Bm it was only in 2004, when a new neighbor terraced rhe steep land behind them , [hat they finally took action. "W/e felt exposed," says laureL "We had lost our

sense of privacy."

A romantic backyard pavilion is large enough to entertain a crowd , .yet cozy . enolwh 0 for private contemplation. By Barbara Meltz Photography by Peter Vanderwarker 54 1 landsupe

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TIley turned to architect lllOmas Huth ofHueh Archieeces in Newcon. Hueh specializes in residencial rescoraeion and had worked wieh ehe couple on their house, including rescoring a screened-in porch. Buile by the Reverend Francis liffil.l1Y of rhe Firsr Unitarian Church in Newcon, the house is one of only a handful of local Srick-sryle buildings-named for their flar, sricklike bands and ornamentaeion--surviving from rhar era. 'This particular house also had a strong Gothic influence rhar was added a bit later," says Huth. "lors of arches and quatrefoils:' Wharever he created in back needed ro reflecr and honor rhat. There was one other challenge. AIrhough ehe house is locared on an oue-ofrhe-way cul-de-sac, it's within earshot of rhe MassachuSfus Turnpike. No problem, said Lmrel: \Vouldn'r a pond wirh running water provide ambient white noise? Jusr steps from rhe house, rhe rhree-bay garage Huth designed has a heated walkway and apron and pleney of scorage. The overhead garage doors are mahogany and crafred co look as if they swing open. Anached but feeling cotally separare is rhe 12-by-34-foor pavilion, a protected outdoor living area rhat can comfortably seat 20 for dinner.

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'" Inserting this building OntO this piece ofland and making it look as if they grew together and belong with the house was a piece of trickery," Hurh says, adding that the structure reminds him of an old train station, "the kind that once doned suburban lines around here," That it's a pavilion and not a patio is what makes it a success. The rooAine not only provides definition and the privacy the Famsworrhs craved, it also creates a cocoonlike sense of calm and comfort. Not too tight a cocoon, though- not with a 14-foot, lO-inch cathedral cedar ceiling

that glows golden at night in soft light from Art'S and Crafts-style sconces and discreet uprights, not with the breeze that manages to waft through even on the hottest day, and certainly not with the verdant plantings (hat surround it. Designed by architect Karen Howard of Howard Garden Designs in \'Vest Newton, the naturalistic sening uses existing spruce trees to provide borders. Howard filled in with plantings such as wCllXl aster, rhododendron, and var-

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ArehitechHe JUNl ZOot

PLANT LIST WOODY PLANTS

Aescufus parrif/ofa BoHlebrush bu(;keye Amefanchitf X grandiflora

'Autumn Brilliance' Serviceberry Azalea Rim birch White'ringetree YeBowwood Summersweet Pagoda dogwood Flowering dogwood Yellowlwig dogwood Hawthorn Japanese cedar FothergiJla'Mouat Airy' Dwarf iotbergilla FotlJergilla ardenii'Ap alachia' Dwarf lolbe 'Ila Ha/esia urolina Silverben Hamamelis rirginiana Witchhazel H[tirall{ea atboremns 'Annabelle' Annabelle hydrangea /lex abra 'Shamrock' Inkberr Hex opaca American hall Ilex rerlicillata 'Jim Dand ' W'lIterberr /fex rerliciHala'Red Sprite' WinterberrJ JunipelVs rirginiana Eastern redcedar Magnolia rirgioial1a Magnolia Pieris floriJJunda Mountain andromeda Pinus strl1bus 'Fastigiata' Eastern white pine

halea 'Weston's Lemon Drop' Betula nigra 'Cully' Chionanthus rirginicus Cladrastis kenlukea (C.lulea) Clelhra alniflJfia'Hummingbird' Comus alternifo/ia CIJmus florida 'Cherollee Princess' CIJfflUS sericea 'Silver and Cold' Craiaegus riridis 'Winter King' CryptIJmeria 'Yoshino'

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Betweell the house and the pavilion. there's a lush swath of lawll.

iegated dogwood. Berwtt:fl lilt house and rhe pavilion, there's a lush swath of lawn, large enough for croquet or badminWIl . TIleI1 there's rhe pond. Bounded on one side by boulders char were on rhe propenY,:lr 16 feet by 8 feet it accommodates tWO small

Rh,d,dtlld"n 'Hutfs Red' Rhododudron St"ax americanus American snowbell Th_uia 9ttidenlaJis 'Nigra' Dar. Amerieaa arbollitae Vaccinium angustifolium Lowbush blueberry Vaccinium 'Blueero ' H' bush bklebe Vaccinium 'CoyilUigllbush blueberry Vaccinium 'Ear~blue ' Higllbush blueberry

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PERENNIALS Ajuga repens Badeweed Af/lIMf/l unadtnsis Caladia. aaellClne Atuneus difirus Bride's featilers ASiIIJIIIf unatienSII Cmdia. widgilger Asler dirariralus Wkite wood aster Caltba palustris Yelow 11.511 lIarigold eHIIUS rallldtnsis 8nellberry dopoocl 0'10ptttis gokJiana Coldie's woodlem HemeroraJlis 'Bright SUlISet' Daylily Hemmca'is 'ChKago .pache' Baymy HemerDCalis 'Happy Retlrns' Daylily Hemmcalis 'HWtriu' Daylily

Hemeroullis 'Ruffled Apricot' Iris rersicoJ" JeffersoNa dif!!!,lfa lobelia cardind·s MaUelUtja slnltbiopter1s MitdJllh repens Mitelh (1.' bl'a Osmunda tillnamomu Pat'era auru N,x st,/Dnifm'8Iu Ridge' I'bJSlstttia rit(iniana

waterfulls. As Laurel relaxes in the pavilion, she takes in rhe view with a sweep of her hanel. "I could sit here all day long," she says. "1l1is morning, [here was a frog in rhe JX>oo. TIle other day, I saw a humm ingbird." No, she can't go for a swim , bur it's her oosis JUSt rhe same.

Oay~IJ

Harlequin blueflag_ _ Twinleaf Cardina"lo.er Ostrich fern Partridteberty Twoleaf mitelll'ort Cillnamon fern Colden ragwort Creep"g phlOI

'Miss Milliners' Obedient plant PofJgonatJUlf cfmmufalum Sololno.'s stal PofJslicbum actoslitboides Ckrisbnas fm RwJbrdia "'tida'ColdsbltWI' BlICk-eyed StiR Spigrlia m~tiMld;ca Woodla.d pinboot SpitanihesHmta Marsh lady's tresses rurr'~ cortlif," 'Running Taptstry' Foamflower T,;'ium pandfflfJl1Jm White trilium Tro/ius laxus American dobeflower Verattum ~iridr Crm false .ellebore

Barbara f /\feltz. IJ rhe f(l/IlIdillg editor ofthe At Home m:tioIJ III the Boston Globe alld a freq!lent contributor to Design New England lIIagdzille, PROJECT CREDITS Landscape design: Howard Garden Designs, Newton, Massachuse[ts (Karen Howard), Architecture: Hmh Architens, Newton , Massachusetts (Thomas R. Huth), landscape contractor: Downing LmdscapeConsrruc[ion , Dover, Massachusen s (Michael Downing), Water garden: New England. Wa[ft' Gardens, Beverly, Massachusetts (Michael Parrdla),

JU N( 1001 Lu dsc'p e Arcblle c hn

I 57

I WILL SURVIVE These six landscape archnects are surviving or even thriving despite the recession. What lessons do they have to offer others? Edited by Daniel Jost, ASLA OM T AVEllA, FASLA, never expected to be laid off. H e was working for a

medium-sized multidisciplinary firm in Connenicut. Just three months earlier, he had been named as the director of design for the firm's five offices. But in November of last year, rhe company informed him that his (XlSirion had been terminated. "They decided that they were going to go back to a stronger engineering presence and less of a design presence," he remembers. "It was SOrt of a shock." Tavella was particularly su rprised because he had survived the last major recession, around 1989. " I was t he young, cheap kid," he recalls. "T his time I was old and expensive." Many people would spend the next day 5s l landsupe

ArehitechHII JUNl ZOot

feeling sorry for themselves, but not Tave!la. "1 didn't sit there and curl up in a ball and pout. I immediately packed up my stuff. They said I could take a couple of days, bm I packed up within an hour. I was home by one o'clock, calling contacts to let them know what happened and where they could reach me. 'The next day I filed for my {limited liabil ity company} license from the state of Connect icut and developed the web site for Tavella Design Group. For a $30 investment I had a web si te almost the same day through G oDaddy.com. 1also printed out business cards. " For a while, Tavella continued to pursue positions with other firms. " [ posted my resume on ASLA 's Joblink and got contact-

ed by a headhunter in the United Kingdom who had work in the United Arab Emirates, but there was nothing in this area and very limi ted work in New York City. TIle pickings were pretty slim." TIle New York positions soon evaporated as the recession spread, and Lwella wasn't interested in moving across the world. He grew lip in Connecticurand has spent his entire career, more than 25 years, working in southern New England . H e has a good reputation in the region for his municipal and campus-planning work and his advocacy of sustainable design. Wirh the supporr of his t:1.mlly, he dove headfirst into starring his own firm. 'Td thouglu about it before," he says, "bur [ was always too scared to do it. [ was making good money and I was in a pretty comfonab le place. I was never brave enough." Lucki ly, his wife, Kara, carries thei r health insurance so he didn 'r need to worry abollC that expense. "111e key to getting work was to continue to network within [he Connecticut area," recalls Tavella. "AlA Connecticut had a few functions I went to. The Construction Institute had a few functions. I kept on going to all these meetings, to guest speakers, and to trade shows. That was probably one of the best things I did. 路路It was absolutely amazing how many friends- arch itects, past che nts, and engineers-called me up [the week I was laid off). I had a number of projects come in really quickly that way. I gOt my first contract within three days-the University of Hartford Pertonning Arts Center addition. "Soon I had the contract for a parking lot in Middletown, Connecticut. It doesn't sound very sexy, but it's a nice-sized project. I was able to bring in a surveyor and a civil engineer, and they felrobligated once I gave them some work to give me some more, too. Tavella also networked by speaking at various functions and teaching a class on sustainable design . "One of the students was an engineer for a private school. Afrer rheclass, he came up to me and S<'Iid, T om, I know th is might sound sort of boring, bur I have a parking lot that [ would love to usc the sustainable design techniques on.

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, ACTICE Would you be interested?' It was on ly a $2,500 job- not very big. But I elida bang-up job,and it is leading to other work there." Calling up old friends working in large firms outside the

area has also been helpful . Tavella found work as the local contact for a big project by Saratoga Associates. He has also teamed up with other landscape archltens who have been laid off (0 make proposals on large pmjens. So far, Tavella hasn't had any problems with diems concerned about rhe stability of his young firm. "T hey say, 'YOLI have the experience,'" he says. '''T hat's all we're re-

ally hiring you for.' If I go for a project with a municipality they may throw that {issue] at me, but so (,1.f, we've been lucky." l:'lVei la has been so successful in getting projens that he has hired twO of his old

coworkers who were also laid off as comracr employees. 'The intent is in the next six to 12 months, as we get stabilized, to bring them both on as full-cime employees," he says. ''You'vegot to stay positive. TIle more positive you are, the more it exudes into your work. Ie breeds this atmosphere that people wanc to help you and hire you."

"MY W1LLlJ'IGNESS TO TRAVEL J-L-\S BEEN KEY TO KEEPING ElVU)LOYED. " Ed Flaherty, International ASLA LAID OFF NOVEMBER 2008 DUBAI VER TI lE 'YEAll'), I gradually became aware that regional recessions are part of the property development and construction industry, Every decade of my career has been affected by economic downturns out of my comroL Additionally, very large imerna tional projects are often contract-specific agfft'ments, meaning that at the end of construnion you may need to find another Job, Both of these realities taught me to do twO

60 I landsupe

ArehitechHe JUNl ZOot

While some may see mv career as nomadic, the places I've worked have strong connections. thinh'S: (I) sa\'e money for che gap in employment berween projects, and (2) always, always be looking for the nexc project. If you can't find a job and you are trying to support a family, you have two choices: Either start your own firm or move to where you can be paid for your skill set. It really is that simple, M y willingness to travel, whether to Los Angeles, Istanbul, or Kuwait City, has been key to keeping employed, These decisions have been very personal because not everyone's fiunily members may be interested in the cultural challenges of moving to another country or even moving across the United States, M ine have, I also have an innate interest in foreign cultures and their people's interact ions with plants and landscape that others might not share. I have lived in a lot of cities that are pedestrian based rather than auto based . I love the chal lenges of communication, the multicultural diversity of the project teams, and the completion of very large projects.

During the late I 970s, I was living in Boston and working as a horticultural assistant, mapping and labeling for the Arnold Arboretum, when our first child was born. \'{forking there was a great professional learning experience, but my desire for design work and the cost of raising a child had me looking for a job with a landscape architecture firm. My search went on for six months in a regional recession as I look at it. In the meantime, I learned that Southern California was short of landscape architectS, so I called some firms, and they were interested in interviewing me. I took a bus to Los Angeles at my own e;.qx:nse, had thfft' interviews, and {god three offers in one week. Liv1ng in a good West Los Angeles neighborhoOO was expensive. So, after getring my license, I eventually took an opportunity to manage design and consrfUnion fora new town inSaudi Ambia. During the 1980s, I worked four years in Saudi Arabia on a very large intemational project, the Yanbu New Town and Port on the Red Sea. Our company had 2,000 people there managing che work, As the priceofoil declined, the project schedule was stretched and our firm experienced periodic "reduccions in force," When my pink slip finally came, I began an imense search for work both inside and outside the United Scates, Finally, afcer nine months of aggressive job Imming , a previous colleague advised me {hat our company had needs in Istanbul. After the project finished in Istanbul and our son was nearing high school age, we felt it important to be in a situation that would provide a stable location for chose high school years. \'{fechose to live in Letchworth Garden City in the United Kingdom because we had found a school there that would provide the type of education we thought would be beneficial for our child. As it turned out, I was offered a job in Cambridge at a salary that was 10 percent below what our living costs were. TIley would not negotiate. 1 turned it down. And that turned out to be the last job offer I so'!w in the United Kingdom as they headed into a major real estate driven recession.

2009, and started working in midMarch 2009. It took me three months-that is pretty quick compared co past recession employment r Leave with grace. Awoid blaming others. The people you work with might help you get your searches. J am now working in Abu next job or the job after that. D habi because it still has finances r If possible, go around to your fellow employand needs people with my skill set. ees personally and tell them you enjoyed collaboMoving around so much has its rating with them and you're sorry you can't con· disadvantages. I have found it takes tinue to woft( with them. Exchange contact at least three years to start building information as quickly as possible. local confidence and solid network ... Use networking and job search web sites to contacts. Leaving anytime after that determine what companies are hiring. means you lose those contacts and ... Ask youfse" if you are willing to moye to find must stan a,gain in your new local work. Talk it over with your family. environment. However, it expands your list of international contacts, ... Ask ,GUfse" if JOII hawe the experience and connections necessary to start your own firm. which in the long run may have its ... Consider what skills you have that might be own benefi ts. useful to others: Could you market your drafting \'\1l1ile some may see my career as skills to an engineering firm or other landscape nomadic, the places I've worked have strong connections. I have exarchitects who need short-term help,! Could you wo'*· be a salesperson for a landscape supplier? Could perience work ing in Muslim and Arab cultures in both North Africa I did eventually find a reasonable one- mman detai ls and I moved on with as lit- and the Arabian Peninsula. And I have balyear international assignment and picked tledalliance or delay as Ix>ssible. G txXi-byes anced that with award-winning landscape up other internaeional bies and pieces as I to fellow employees should be a time of Ut- architecture across the United States, mostcould. I lived in ehe red for a couple of most professional dignity... not a time of in- ly in Californiaand Plorida. Al l of these reyears, bue ehe drought finally ended when dignation and fuu lt finding. T hese people gions are related by botanical and climatic previous colleagues offered me a posicion may be able to help you find your next job similarities. So in a sense there is a strong in pose-liberation Kuwaie in 1995. Those or the job after that. central th read in this nomad's tem. Networking is the key to finding a new temporary assignmenrs I found while in the United Kingdom provided ehe con- job. But to simply say ·'necworking" is tOO taces through which I found work for [he general for such a very imporcantefforc. You " CREATIl\lC A next five years, so, in a sense, turning down need to know, first of all, what you want to the Cambridge offer turned OUt to be [he do with your career in the near, medium, WEB Sfm COULD and long term. You need to know what you HELP PROSPECTIVE riglu decision. I was working in D ubai when this past must do to protect, support, and nurture EMPLOYERS FIT\l[) YOu." recession caught up with me. In Novem- yourfumily. Then you need to know which Tim Nickerson, ber 2008, tile 4,OOO-employee property de- places geographically and which companies Associate ASLA velopmenr company where I worked began can solve those basic needs. "nlose answers LAID OFF JANUARY 2009 a series of cuts that evenrually more chan will help refine your search. J scart by calkNASHUA, NEW HAMPSHIRE halved its staff. I had seen the handwriting ing with friends and colleagues who have on the wall and upgraded my job-hunting worked with me; chen J do web searches AST FAll WAS NOT A GOOD TIME co act ivi ties before I ever got a pink slip. and quickly make personal contacts when be looking for your first landscape arWhile I was given 60 days' notice by they look fruitful. Personal comacts are the chitecture job. I had gone back to school to contract, I was asked to leave that day. So, I key. Pen pal/Internet connections are sec- study landscape architecture after a numcleaned out my desk of all personal items, ond degree. I approach networking with a berof years in the high-tech sector performwhich in my opinion should never be very combination of targeted effort and my being technical training fOra financial systems much. Then-and this is very importantlief in kismet. Both are simultaneously es- software company. \'V'hen I began at the I went around the office (not bye-mail) and semial. I push out hard in my search for University of Massachusetts, Amherst a few personally met and shook hands with work. I do not wait. But while personally years ago, the market for landscape archieveryone I had worked with. I than k ed pushing, I never push the bounds of profes- tectS was strong, but by the ti me I graduateach one, including my boss, for having sional and civil decorum. Consummate pro- ed there were fewer jobs available. After had the oPIx>rtunity to cooperate and col- fessionalism must be observed at all times. contacting nearly 30 offices, I fina!iy landlaborate on these projens, and I told them This time, I mademmact in December ed a position at a smalliandsmpe architecI was sad not to continue. \Ve exchanged 2008, was interviewed in early February ture firm in Brookline, Massachusetts. My

What If You Get Laid Off?

)"ou market )"ourself as a skilled gardener to for· mer residential clients? ... Create a web site that showcases )"Our skills. ... Consider jobs in sectors of landscape archi· tecture that )"ou might not have considered in the past. Don't limit your search to companies that share your specialty; consider other areas where )"ou may be able to offer your skills. ... Don't limit )"our job search to companies that are posting positions, since many new positions are filled without ever being posted online or in a neW$paper. ... When searching for jobs and interviewing, highlight the skills that make )"ou stand out from a b"picallandscape architect • ... Cut your expenses to the INlre bone and pre· pare for a long search. lob searches often take six months or longer during a recession. ... Try to sta)" positive. The more positive )"ou are, the more people will be interested in ing with you.

I PIAtTlCE responsibilities were similar to o ther entry-

level professionals: CAD, rendering plans via Photoshop, and general office support. However, I was grateful fur the opJXlrtunity to work in my chosen field, and I was excited about the projects the firm was doing. Over the next few months, as I was learn-

ing my way around the office, becoming familiar with their smooards, and setting up meetings with some of my contac ts in somhem New Hampshire in hopes of generating some work for the firm, the slowdown hit us hard. During December, my

work was reduced co four days a week. One of the principals was honest with me regard-

ing the possibility of being laid off if some

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creating a web site. Creating and managing a web site is quite eas), nowada)'s thanks to software such as Adobe Dream· weaver......,.one who is familiar with a com· puter and PG" esses design skills shlM!ld be able to succeed. You do not need to create a site from scratch. Web site templates can be purchased online. Doing a Google search for "Dreamweaver template" returns sewer· al hundred thousand results. Many 01 the sites on the first lew pages offer affordable or ewen free templates. Free online tutori· als that teach you how to use Dreamweawer are also readily available. Df course, you will want to make sure people lind your web site. Thesitewizard.com has quite a bit 01 useful inlonnation on how 10 optimize your site for web searches as well as articles about the technical aspects 01 hosting and creating your site. Being aware of how search engines find web sites before)'1M! create yours is essential. ...fter being laid off, )'ou ma), not have all)' desire to continue your prole"ional or personal growth, but you must be valiant in that effort. Creating a web site will be a welcome distraction from sitting around, it will require)'Ou to organize )'Our life's work. and it could e¥efl lead to a new job as It did for me. -Tim Nicker. on, Associate ASLA

of the firm's proJXlSals were not accepted. On a Sunday in the beginning of January, r got the bad news on my voice mail. One of the principals wanted me to call him that night or before I left for work Monday morning. \Xfith a message like that r knew what was coming. Although they said that they did not wam to lose me, they could not afford to keep me. They told me that they would love to take me back in the event some of the work they were pursuing came in. That never happened. While losing a job is difficult in any situation, r was not entirely heartbroken. It was not my fuu lt, after all. I am confident that I would still be employed there if the nation's economy were more robust. \Xlhat troubled me was that there were few, ifany, jobs available in my new field. As anyone who has been unemployed for any amount of time Gln tell you, losing a jobean lead toa lack of motivation. I fell victim to that at first. I was about to investigate some mind less job JUSt roget by. T hen, I received an e-mail from Environmental Pools , a high-end designJbui!d finn in Chelmsfurd , MassachusectS, that specializes in U1Stom gunite pools. 111ecompany was looking at bringing a design professional in-house. Although it was not a market {hat I would have initially considered, r jumped at {he request. Had r JUSt replied to job postings, I would have never heard about {his job because the position was never posted anywhere. But r had created a professional web site, IllWW.timlllckmol1/a. rom, during my free time. Environmental Pools ' president found my website by searching on Google for "landscape architects Massachuset[S." He liked what he saw and asked me to interview. (He also interviewed a few people who posted their resumes on Craigslist.) After a two-hour interview, r left the office with a senseofoptimism. Having professional project management, marketing, and training experience in addition to my degree in landscape architecture and being technologically savvy seemed to appeal to him. After a few weeks, r was offered the position, and r accepted immediately. While the firm was only looking for a designer to work with clients, they have expanded my responsibilities to reflect my abilities. r have also been involved in some marketing efforts and the implementation of a new comprehensive customer and

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How Do I Network to Find Work? . - Call all your local business contacts and let them know what happened and where ther can reach you . . - Call up friends and acquaintances at large finns outside the area and see if they are trying to get any projects in your area. You mar be able to be brought

project management system. If you have ski lis that are unusual for a landscape architect, market them vigorously. See if you can come up with ways that your prospective employer can use them.

''"I'M LEARl,'lNG SOME OF THE SOFTWARE PROGRAMS THAT I HAVE TYPIGALLY DELEGATED TO .JUNIOR STAFF." Keith Wilson , ASLA

SENIOR LANDSCAPE ARCHITECT WITH LITTLE SENIORITY SACRAMENTO , CALIFORNIA

A LA N DSCAPE ARCH ITECT W I IO

graduated from college a little more than 10 years ago, this is the first slowdown I have seen in my career. Professionals like me really don·t know what co make of it all. \Vhen we came imo the profession, there was so much work out there that most of us complained we were tOO busy. Of course we had no idea that being slow is much worse. I feel fortunate to be employed at this poim, but I am prepared if that ends. I decided to make a job change during 2008 after spending nearly 10 years at one office . I knew the timing was bad . Seniority and longevity at one office are often factors in determining who will be laid off, but my input was rarely given the ear I felt it 64 1 landsupe ArchitechHe

JUNl ZOot

on as the local consultant. . - Once rou hawe worn out your business contacts, call friends and family and let them know you are looking for work . . - Anend trade shows and other meetings where local construction and design professionals will be /ASLA, AlA, UlI, U5GBC, local college programs, and so onl • .- If you are really knowledgeable about a certain topic, wolunteer to speak to local groups • . - Use computer netwol1dng services such as Face· book and Linked In to let people know you are look· ing for work. Post a message on your status. . - Ask friends if they would be willing to introduce you to other friends and business connections. .- If you hawe good writing skills, consider starting a blog or writing as a way of getting in touch with potential employers or clients. . - Join forces with other landscape architects and design professionals to make submittals for larger proposals.

deserved by ownership. I had felt thIS way for about two years prior to thar iXlim and cried many times ro effect change with no result. I decided (0 find a com pany that would support my input. Some things are more important than job security, even during tough economic times. It was a tough decision, but I still feel it was the right thing for me. The firse place I landed ended up being a poor march for me, and I spene another six months looking for a way OUt before finding my current job with Seantec Consulting. As a senior landscape architect with only aoour seven months of tenure, I know I need to be as diverse and capable as ever co scay employed. If you are in the habit of waiting for others co provide you with th ings to do, your job is at risk. If you are used co sitting at your desk and not networking with business contacts to develop new leads, your job is at risk. If you aren·t proactive about finding things co do that will benefit your office, your job is at risk. And ,ofcourse, if you have a tmck record of making repeated mistakes and needing to be closely monitored or managed, you have probably already lost your job. I am working closely with our marketing department, assisting with proposal and quahfication submittals. Stancec has offices throughout the Uni ted States and C'Inada, so I am using my connect ions to seek ou[ opportunities that my local office would not pursue and am sending them

on to managers at other offices that are betterpositioned co pursue them. I have even volunteered to travel co other locations to assist where they may need staff to meet aggressive dead lines. The faCt that I am licensed in more than one state has made it possible to help strategize on growing other offices that don't currencly have much landscape staff or the ability to aggressively seek out local work. Meanwhile, I have taken an honest look at my own skill set. It's no longer okay to be a senior landscape architect who relies on younger staff to fill in technical ability gaps. I am focused on becoming LEED accredited within the next couple of months, and rm learning some of the software programs that I have typ ically delegated to junior staff, like Photoshopand Sketch Up. I have been working on my own personal t ime, using study materials that Stantec makes available to its employees. Improving these skills will not only help me be a more flexible and valuable employee for my company, bur I will also be more preparc--d to survive on my own should I lose my Job.

"Olm TRAll\l]j\lG IN SO MAl'\JY DTFFERENT D1SGIPLll\l£S AWARDS us filiALLY GREAT BHAi\lGI-llNG our OPPORTU/lHTIES ." Chris Gustard, ASLA

LI" OFF II"'" 2009 SAN DIEGO

HAD BEEN WORKING

for the same land-

scape archi tecture firm since I graduated

with my BSLA from West Virginia University in the winter of 1998. At that time, there were only 12employees. By 2005, we had about 45 people on Staff, I had become licensed, and [ was managing juSt about all my own projectS from marketing and business development to concept design and managing preparation of construct ion drawings. 111ere was even some discussion

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of my becoming a partner down the road. Bue then the housing bubble burst. \When I was laid ofT on January 21, we

were alre-adydowll to 14 employees. By che end of [he Jay, tllcrewereonly five. Honestly, J did not chink they would let me go. I had tOO scrong a connection with rhe local

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design and development industry. r d done a great deal of work with the ASLA San D iego Chapter, a lot of marketing and business development for the firm, and I had completed several volunteer design projectS in the firm's name. H aving been therefor 10 years, I expected that they would have awarded me the respect of offering me a lower salary orat least giving a month·s norice before just shufRing me along with everyone else into a conference room and saying, '·Sorry, but everyone in this room is being laid off today." Fortunately, as I watched the local and national real estate ma rkets spiral downward, I had already realized that I needed a bacl"Up plan that had nothing to do with landscape archi tecture or the construct ion industry. So, nine months before I got laid off, I decided to get a second job. A good friend of mine had just started a restaurant called H aw t horn's in the N orth Park neighborhlXXl of San Diego. I went to h im and asked if! could polish up my skills as a server. I had worked in restaurants during high school and college, so he agreed. As of t h is writing, I continue to work at his CIRC1.E 151 ON READER SERVOCE CA.fUl 00 GO TO HTTP1I1NfO,HOTIMSCOIM'34$4· !51

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mcmE restaurant as a side job; however, the res[aU~ mnt industry is going through the same retractions as everyone else, so my hours remain quite minimal. Meanwhile, I nmicro another new restaurant doing tenant improvements right across the street from my condo downtown. I inquired about a posi-

tion there and found Out they were looking to

hire about 40 employees including

servers, so I decided to apply. 1111' owners indicated they had received more than 400 applications. Given my experience in the

nine months at Hawthorn's, they called two weeks later and offered me a full-time

server position, which I took. Looking back over this shon period of a year, the foresight [ had to get a foot back in rhe restaurant

industry rr-ally paid off. Bur even as I clung to the restaurant in-

dustry as a backup plan, most of my energy continued to be fOcused in my chosen field. As a former president of ASLA's San Diego

As [ I"atched the local and national real estate Illarkets spiral do\\mmrd, 1 had already realized that 1 needed a backup plan . Chapter, I felt well connected to many of the design firms in $.1n Diego whether it be landscape architecture or other design industry disciplines. The problem was that no design firms were hiring at my level. J had heard of a couple of firms that were "flirting"' with hiring people, but [did not want to waste my time or theirs. J have had my design consulting firm CGrx: L1ndscape Architecture set up for nearly seven years now, and after this layoff, I am so happy J worked out all the bugs of setting up a company ahead of time. My last firm did not have any i~ltes with employees doing small projectS on the side, which in my case were mostly residences here and there. Since having a consulting business license in [he city of San Diego only COStS about $40 a year, , decided to get that taken care of back in 2004. The federal governmenc encourages people co

start their own companies. You can write off just about all of the start -up expenses. After J got my business license J set up a separate bank account in my company's name. J nt"'Ver expected this side company rode...elop into a full-time job, as I assumed [ would Hick with working hard at myoid firm and eventually make partner, bur now that I was laid off, I figured I would really put this business license to use. It was only about five days after I was laid off that [ found some work for my company. A friend of mine forwarded a Craigslist advertisement from Ancient OliveTrees in San Francisco that was looking fora landscape architect to be thei r sales representative for San Diego and Orange County. [ figured ' had nothing to lose by resJXlnding to it. Theownercalled me two days later and said he was interested in me based on my involvement in ASLA and my

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connections to local design firms and contractors. He put me on a plane three days later, brought me to a house in Orinda where they were installing trees, and offered me a sales position that pays a mon thly stipend and commission. T he week after accepting the job, colleagues whom ] had worked with on several projects over the years approached me to sre if ] was interested in starting upa land scape archi tecture studio as part of thei r planning firm . While I was debatingarout whether to join them (eventually ] decided against it), ] was approached by a client for whom I had done a lot of work over the years, D. R. Honon. nlCY had heard I was laid off, and they were interested in talking to me about doing some consulting work for them . T hey needed someone ro work with the city of San Diego and their design consultants ro transfer maintenance ro t he city for some of the stt'Cerscape projectS that J had actually worked on while employed with my last fi rm. By the last week in February, I had secured a contract with them. Since then, r have secured design comraas

for a church expansion project in C1r1Sbad, California;a large residence in Poway, California; a hos pital expansion project ; and several other estates around San Diego. Maybe things aren't as grim as the news stories say, at least In dle landscape architecture field. Our training in so many different discipli nes awards us really great branching out opportuni ties. As of this writing, r am sti ll working many different jobs in addi tion ro my consulting and vo lunteer work. I'm trying ro replace a nearly six-figure S<1lary since the bills keep com ing, so r have ro work hard ro stay in the game! We'll see if I can hold up. I really don't have a choice .. .with the mortgage on my downtown condo. I would encourage people to get involved with their local ASLA chapter, the U,S. G reen Bui lding Council, Urban Land Institute, or local universities and get to know all the people in the area and in the local design industry, \'{then the market does come back, and we start ro see the light at the end of the runnel, the opJXlrtunity JUSt might be there waiting for you.

"WRlTlNC [NTHE LOCAL NEWSPAPER HAS HELPED ME CET MY NAlVlE OloT IN THE COMMUNlTY. " Michael Spencer, ASLA SMAll-fiRM OWNER, STill UPSIDE DOWN MOST MONTKS

NAPLES, FLORIDA

y J UN E OF LAST YEAR the handwri ting wason the wall. I knew that business would falloff dramatically, and I had no clue what ro do. At fi rst, J did nothi ng. "Heck," I thought, "I've been in Florida fo r almost 30 years and seen recessions come and go. It's JUSt the same thing all over agam. J was wrong. By Septembervolume was down 40 percem. By [X-cember, we were booking 10 percell( of normal expected [('Venues, and we had nothing in sight, except cominuing bank loans. \'{te have always been a small firm -

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•

Strategies for Employees Worried About Being Laid Off ..- Use your free time to polish up on skills you may hare delegated to olhers in the past such as plant knowledge or certain computer programs . ..- Make a list of Ihe connections you have and talk to your employer about getting in· volved in marketing . ..- "there is a lag in work, think about the ways you could help improve your office's ef· ficiency on future projecls (e.g., updating

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symbol libraries in CAOI and volunteer to take on these projects. ..- Cultivate a skill Ihat most people in your office don't have that makes you harder to replace. ..- "you have been putting off becoming licensed because you do nol need 10 stamp drawings at your finn, get licensed. Having a Ii· cense will make you more valuable to your finn alK! may be a deciding factor in whether Ihey choose 10 keep you or someone else. It will also give you more options if you get laid off. ..- Try to cut your personal expenses and pul aside some money.

to work, but nowadays there's a strong echo in the building. At the same time r started acti\'e!y blogging, mosrly driven by the poor design quality that I was seeing in local public works. I chose the address IlIww.badland swping.wfII. At first, I feared alienating my colleagues, but that isn't what happened. Sure, those directly responsible can be a little icy at ASLA meetin.b's, but the older guys-the Fellows-were all supponive. So, I keprplugging away. I was simply looking for a way to gain some exposure, really- to help raise the level of work and the level of the public's perception about our profession. As luck would have it, my blog was soon published on the web site of the local paper, the Naples Daily News. T he editorial page editor knew me because I had written some "Dear Editor" rants and encouraged me to send some writing samples co the At Home edicor. After a month or so she called me, asking if she could use some of my work in the print edition, In July of last year my first piece was primed, and

..- Consider getting a part·time job in an· other industry that would allow you to work at reduced hours for your current firm until things pick up again . ..- Save copies of your projects on a person· al jump drive and begin updaling your per· sonal portfolio. Be careful not to delete the original files in the process • ..- Make a lisl of your business contacts thai you can keep at home. ..- Consider what your options would be if you got laid off, and whal mighl be Ihe best option. Have you always wanted 10 go back 10 get your master's degree? ..- "you think you may want to start your own firm, begin researching what it would take . ..- Continue to network with other design professionals in your area to see how they are doing. ..- Always look for new opportunities. Scour Ihe web and talk to other design professionals 10 see what jobs are out there. If you have a strong feeling you are next in line 10 be laid off, slep up your job search and begin applying for other jobs. ..- Keep the number of personal items in your workplace to a minimum.

with very few exceptions (my work} has appeared each week since then. Naturally a prim piece has a different voice and audience than a blog would have. By that time, I realized that about the only people with money are the HOAs and that the column was an excellent way to reach them . I"m nO[ shy about using my own work [0 provide examples of good design. Columns focus on topics like helping an HOA determine when they need a landscape architect and what to do when hiring, how to use bulletproof plams thm need nearly no maimenance, and a recent trip to the Denver Botanical Garden. I try to make them humorous: A recemcolumn on "juvenile delinquents" talks abollt plams that look great for two years and then stan [0 "act out. " Soon, the phone Started to ring, and directly due ro the writing ' have picked up a fuiramountofwork with HOAs. Bur writing can also presenr challenges. \'Vhen an opportunity came up for some COntractS with the counry where we are located, I hesitated. I'd been writing and blogging widely on how poorly they handled multimillion-dollar planting improvements and didn'c want to compromise my position by working for them. I also wasn'c sure how they felt abouc my cricicism . I wenr (hrough the process and fuiled to make che short list. One wonders why, buc I never looked back. \Ve are still upside down most months, and your guess about when it will rurn around is as good as mine. But there is good news. Recendy, an old diem called me aixlut a new planning project. It surprised me, for sure, but as she said, it will take at least a year to get the project approved, and they will need product when things turn around. I am wrestling it through the Corps of Engineers and the South Florida \'Vater Management District now.

ClfICI...E 71 00 FlEAOER &EIMCIE CAOO OR GO m HTTPJrHfO.flOTIMS.COI.I'll494·7.

Resources

• ASlA Job Link, IIIIlfW.dJla.orgIlSGWeb. aJpx?loadU RL =joblin.

• "My \'Vay: Six landscape architects tell us about the ins, outs, ups, and downs of life as a sole practitioner;' edited by Linda McIntyre; ummeape ArthitiUllre, June 2008. • What CoI(ff LJ YOllr Parach"u? 2009: A

Prd£tica/ Malll/a/ /(ff.lab HlIliters alld Career Changers, by Richard Nelson Bolles; Berkeley, California: Ten Speed Press, 2008.

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ANEW NATIONAL LANDSCAPE AGENDA

The Omnib us Public Land Management Act of 2009 is just a beginning.

By Frederick R. Steiner,

FASLA,

N MARC H, T HE H OUSE AND SENATE

passed the sweeping Omnibus Public L-md Management Acr of2009, which was signed into law on March 30 by President Barack Ohama. Its 1,2 18 pages provide deferred maintenance fOf eight years of not-so-benign neglect by the George WI. Blish administration and even codify an important initiative establ1shed 10

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during the Clinton administration in the 1990s. T he act includes more than 150 measures that create more than two million acres of new wilderness areas, along with national parks, wild and scenic rivers, historic sites, scenic trails, and other protected public lands_ Although a weicome--and overdue anion, the new law does noc go far enough

co create a nationwide system of protected landscapes. Some states and regions benefit from new protected areas; many ochers do noc. \'{{hile the new act makes the N ational L1ndscape Conservation System, created through an executive order by the Climon administffirion, a permanenrentiry, rhe sys-

In 1987 a National Park Senice team led by Gle nn (ugster produced a national map, Potential Protected Landscapes, Local and State Landscape Consenation Areas, that documented state and local landsca pe consenation effolts under way in the continental United States, outlined here in dark green. Areas newly protected by the 2009 Omnibus Bill are highlighted in red.

dent and Congress provides the opportunity for the United Scates to renew its historic commitment to preservation of the nation's natuml, scenic, and historic landscapes. Preeedents for LargeSeakJ Landscape Protection

tern is limi ted to areas administered by the U.S. Bureau of l and Management (BLM). As a result , the reach of this national system is not national enough. Using the Omnibus Public L'Ind Management Act as a found'ltion, we suggest more comprehensive, bolder next steps. Even with this new law, America's natural, scenic, historic, and working landscapes are threatened. In the East, vast areas of the Central Appalachians are being destroyed

by mountaintop mining, and che greac coastal estuaries are threatened by pollution from low-densicy subdivisions. In the West, public lands are threatened by mining, dear-cutting, and overgrazing. Ourcoosts, barrier beaches, islands, and wetlands are threatened by vacation home development and sea-level rise. Across the country, sprawl has consumed millions of acres of prime agriculcuralland. Despite these threats, from the 1980s until the passage of the Omnibus _ "'" Public land Management Act in March, the federal government largely abandoned a leadership role in preserving natural, scenic, and historic landscapes or curbing suburban sprawl. As the O mnibus Bill illustrates, the accession to power of a new pro-t'nvironment presi-

Precedents exist in the late 20th century for the development of conservation networks. In the wake of the first Earth Day in 1970, the federal government enacted a series of laws designed to protect the envIronment and to preserve land and other nantral resources. \'{fithin this context, the heritage conservation movemenremerged, as did large-scale planning effortS, the Lake Tahoe Initiative, and renewed planning activity in the Adirondacks. The National Parks and Recreation Act of 1978 auchorized che creation of the nation's first urban national historical park in Lowell, Massachusetts, and two new 路路g reenline " parks- the New Jersey Pinelands National Re-serve and the Santa Monica Mountains Nacional Recreacion Area. Theone-million-acre Pinelands Reserve in Southern New Jersey was intended ac the cime to be the first in a national network of reserves chac would be procected chrough partnerships between federal and state initiatives. Revisions to the Wild and Scenic Rivers Act provided assistance to help protect important river corridors, including [he Ill inois & Michigan Canal National Heritage Corrido r (1984) and the Blackstone River Valley National Heritage Corridor (1986). Other reserves were established to protect large scenic and natural areas containing Ix:lth public and private lands. 'nlese include the lake Tahoe Regional Planning Agency Commission (1969), the Adirondack Park Agency (1971), the Martha路s Vineyard Commission (1974), the Columbia Gorge National Scenic Area (1986), and dle SawtOOfh National Scenic Area (1986). T he most ambitious land conservation initiative of this perioo emerged from the Alaska National Interest lands Conservation Act of 1980, which identified and proteered vast wilderness, park, and wildlife protection areas, including more than 4 3 million acres of new national JUN[ Uot L.ndstlpe Architecture

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T he environmental challenges now faced by the nation creace an urgency to restart the promising initiatives from our recent past. The renewed attention to theenvironment by the Obama administration offers hope. Establish Nationwide Priorities for Preservation

parks. It is ironic that no such effort has ever been undertaken to classifY and protect sim~ ilar resources and lands in the "lower 48." Sadly, after this high-water mark of the land conservation movement, the federal government vi rtually abandoned its lead~ ership role in landscape planning and land conservation when Ronald Reagan became president in 198 1. T his retrenchmentcon ~ 12 1 landsnpe

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T he next step is to assess what we have that merits protection. Also beginning in the 1970s, the late Ian McH arg advocated a national ecological inventory to identifY the best lands fOf both development and conservation. T he Environ ~ mental Protectio n Agency produced its EMAP system and, soon afterward, Secretary of che Interior Bruce Babbitt, Honorary ASLA, proposed a national biological sur~ vey modeled on the U .S. Geological Survey. Due to intense opposition from the Congress in the lace 1990s, the national biolog ical survey did nor occur, bue the U.S. Department of the Ineerior did initiate its GAP - ............... 1IounIIwr Analysis Program, a means for "asu"""'..... ~ sessing co what extent native ani• U...,.oI_ lloncIM_ • "'-I,", ~IICIIIMS mal and plant species are being protected." It identifies ehe "g aps" • EO ! _ between what is being protecced and whae should be. GAP analyses can be state, local, regional , or naThl Rl,lonal Plan lssoc:laUo. and Hli tional but are primarily conducted U.twln!ty of Plnnsyl,a.ia ldentifi14 26 lalMl· at the stace level and are coordinatscaPH a.d CO.1ltalll blarils ... it.abll for ed by dle United States Geological rl,ional prellrYllln tltI Nortfllan IMP' Survey's Biological Resources D ivire,ion, of ... k:h fl .. 1tIj0)' 101M dllJ'll of sion. This assessment program protection from de.. lo .... lnt. Thlir ana "III helped set che stage for passage of II adaptld from a map by Ute Appalachian the \Xfildlife Conservacion and Mountain Club. The landscapes are lhow. Restora[ion P rogram and State In juxtapolltion wit .. urba. izld land. W ildlife Grants Program in 2000. Under chis program, each state wildlife agency has developed a tinued under the presidencies of both "comprehensive wildlife conservation stra[George H . WI. and George W. Bush. Dur~ egy"' to guide conservation act ion and priing the Clinton administration, imJX>rtant ori[ize federal funding . isolated conservation efforts were begun, T he GAP mooe! suggests a framework such as for the Florid a Everglades, and for a more comprehensive assessmem of habitat conservation planning advanced as JX>[emial conservation areas. Such an asa means to implement the Endangered sessmem should have four components: Species An, but comprehensive, nation ~ - Geolog ical, Hydrolog ical, and Ecologwide efforts were put on hold. ical Prmecrion Areas

- Cultural Protection Areas - Resource Production P rotection Areas - Natural I-Iamrd ProteC[ion Areas T he first two of these should be obvious to landscape architects. Let's look at the latter two. Resource Production PrOlecrion Areas. These areas include regionally or nationally significant farmlands, ranches, forests, mines, and water resources. Sign ificant resources include essential products such as timber, minerals like sand and gravel, or the elements necessary for production such as prime-quality soil and water supplies. These resources can be renewable or nonrenewable. T he United States possesses some of the richc"Sr farmland in the world, yet the American Farmland Trust estimates that we are losing three acres offarmland an hour to developmem. An existing mapping tool that could be used in the survey is the U.S. Department of Agriculture's land Evaluation and Site Assessmem (LESA) system. LESA uses several well-establ ished USDA systems, such as the soil survey, to identify che besc agricultural lands. Drinking water protection is another imporcant issue. Sprawl poses significant threats to the supply and quality of our drinking water across the councry, in pla.ces as diverse as upstace New York and central Texas. Ac risk are boch surface and groundwater supplies. A 30 percent impervious surface cover deg rades che available supply; hence, maintaining a supp ly of clean drinking water is a powerful reason to proteC[ the lands surrounding watersheds. Natural Hazard Protection Areas. Areas prone to fire, geological hazards, floods, hurricanes, and avalanches may result in the loss oflife and property if developed. An example of an effort to prmeC[ such areas is the National Consortium to Map Gulf Coast Ecological Constraints (see "Rebuilding the Gulf Coast," LwdJCdjle Arrhif«lllre, April 2006). It was convened following the devastation to rhe Gulf Coast caused by Hurricane Katrina in 2005 . The consortium used existing data from federal, state, local, and private sources to map areas of societal, flood, hig h wind, and storm surge risk. H istorical hurricane patterns, economic impacts, and sea rise vulnerability were overlaid with social vulnerability £-u:tors to determine cumulative

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PLANNING risk at the Gulf Coast regional scales. In the 1970s, the Coastal Zone Management Act m ade noteworthy initial efforts to

protect the nation's coasdines. In light of potential sea-level rise and continued frenzied development along the coasts, a rftlewed initiative is necessary. A first step would be to

continue the relUrms needed fOr the national flood insurance and dis.'lSter recovery programs to remove incentives fur development

in flood-prone areas and use FEMA (Federal Emergency Management Agency) funds (0 buy om storm-damaged properties, panicularly in those areas that arc subject to repeared storm surges or are critical for WCtlands retreat. The areas of the greatest risk could be set aside as preserves, having the dual benefits of protecting human health, safety, and welfare as well as providing

wildlife habitat and coastal regeneration. T hese four assessments should be combined in a National l andscape Survey.

While an abundance of data exists about our national landscapes, acoordinated effort to analyze and synthesize this data islacking. \Vhile geographic information systems and remote sensing Imagery have advanced to a JXlint where an abundance of data exists abom our national landscapes, a coordinated effort to analyze and synthesize this data is lacking. T his should be a goal of the National L1.ndscape Survey. The effort should be coordinated by the federal government, enlist ing srate agencies and universities, and should result in a map of the most significant land and resources that merit protection. Jn addition, the survey should identifY new and JXlten-

tial opportunities for large-scale interregional connectivity, such as the Appalachian Highlands, the Yel!owstone-Yukon Ini t iative, the Colorado Conservation Partnership, or the lewis and Clark National Historic Trail. T he National L1ndscape Survey would provide a spatial representation and ranking of important landscapes requiring preservation and management na tionwide. Intuitively, the result would be the identification of the large landscapes worthy of protection . Conservat ion of these areas must involve a partnership that combines technical expertise, financial resources, regulatory powers, and JXlli tical engagement from all levels of government and the private sector. T he strategies for realizing a national network would also need to vary among regions to take into account differences in public land management and water law. T he National Landscape Survey would elms provide the basis for expand ing the National Landscape Conservation System beyond I3LM lands In the West and Alaska.

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Regional Preservation Strategies

Federal and state public lands are distributed differently across the nation. Many states in the \'<Iest are composed of high percentages of public land, encompassing the vast majority of the nation's 634 million acres--or nearly I million square miles--of public land. By contrast, Texas and much of the Northeastern United States have very little public land. \'{tater law also differs in the East and \'{fest. The coastlines and megaregions present s(X'Cial op(Xmunities for this national landscape conservation strategy. In the \'{fest, a crucial first step would be to revitalize national treasures in decline. Existing national parks need to be restored, their management systems improved, and funding increased. ChroniC underfunding of the National ParkService's operating and Glpital budgets for many years has left t he system with a multibillion-dollar backlog simply to maincain existing parks.TIlis has resulted in much deferred maintenance and shrinking staffs. Department of the Interior Secretary Ken Salazar's announcement on

New national parks and monuments should be created through redesignation of lands now controlled by the BLM or other federal agencies. April 23 that the National Park Service will invest $750 million in the nation路s parks is an important step in reversing the neglect under the Bush administration. Nearly 800 park projectS will !"("Ceive funds that will be used for construction, deferred mall1tenance, energy-efficient equipment replacement, trails, abandoned mine lands, and road maintenance. A huge next step would be to create new national parks and monuments through redesignation oflands now controlled by the I3LM or other federal agencies. National

parks generally receive a higher level of protection than other federal lands. A map prepared by Glenn Eugs ter and his National Park Service colleagues in 1987 (see pages 70 and 7 1) presents a good picrure of where those new parks could occur. Eugster and his team identified such areas as California's Owens Valley, Arizona路s Verde Valley, Louisiana路s Atchafalaya Basin, and Adams County in Ohio. Areas ad jacent to existing National Parks-many of them subject to vacation home, resort, and tourism developmentare especially vulnerable and need stronger protection. Efforts could also be expanded to engage so-called gateway communities in Joint efforts to meet park visitors' needs for lodging, food, and services while preserving the integ rity oflandscapes and the visitors' experiences. For instance, \'{filIiams, Arizona, which is the gateway to the Grand Canyon, is an overpriced eyesore and tourist trap. Plans to improve the quality of this trinket town's built environmenc and even create alternative gateways have been thwarted by polirically influemial local

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PLANNING businesses. Stronger leadership from the National Park Service would help improw the character of places like Williams. \'V'ilderness and roadless areas in []ation~ al forests and on BLM lands need (0 be restored and expanded. This would reduce the trend established during the George W. Bush administration, which eroded protection of foodless areas. Based on the National L-mdscape Survey, new national forests and w ildlife refuges should be created. New national scenic COfridors and preserves should be established around existing protected areas such as wild and scenic river corridors. 111t coordinated effurtS of the fedemJ government, twO srates, and several local governments (0 proteer rhe Columbia Gorge provide one example of such an undertaking. 111e Rio Grande and Sf. lawrence River valleys present simi lar oppommities at the international level. T he national survey will result in the identification of i mjXlrtant prairie preserve opjXlrrunities across the Great Plains where irrigated crop cultivation is no longer viable. In 1987, Deborah and Frank Popper PUt forth their initially controversial "Buffalo Commons" proposal co rerum much of the Great Plains to native flora and fauna. From initial skepticism from within the region, the concept has received wider acceptance. T he Great Plains Restoration Council identifies the Buffulo Commons as "a culcural and social movement for positive, restorative social and ecological change on the Great Plains." As a model and a metaphor, the concept is now matUre enough to investigate as a network of many "buffalo commons." Such a network would include restored prairie ecosystems imegrated into a comprehensive economic development program of business, solar, biomass, and wind power product ion, creating the potential for the plains to become a new Saudi Arabia of alternat ive energy. Two examples of places meriting preservation are the Flint Hills of Kansas and the Sand Hills ofNebraska. Both are landscapes of considerable rugged beauty and resilience. In the Easr, biodiversity, watersheds, and scenic and historic areas can be protected 16 1 landsupe

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through new national parks, new heritage areas, and new state and regional parks and preserves. In addition, the federal government needs to provide financial and technical expertise, while states impart management and regulatory jXlwers and incentives for local cooperation. A first step to protecting biodiversity, watersheds, and scenic and historic areas would be to revive the L'md and \'\1ater Conservation Fund and the Forest Legacy Program. These funding sources provide matching funds to the states and local government to undertake land conservation in keeping with federal priorities and guidance. Based on the National L mdscape $ur-

11 Emer~ng Megaregions: Arizona Sun Corridor, Cascadia, Front Range, Gulf Coast, Great Lakes, Northeast, Northern California, Piedmont Atlantic, Southern California, Southern Florida, Texas Triangle vey, a new generation of national parks, forests, orother national designation could be coupled with state-levelland-use regulatory commissions to protect large natural and scenic landscapes in the East. One model for this is in the Highlands region in New Jersey, where a Forest Service-led assessment process, the federal Highlands Conservation Act, and New Jersey's Highlands \'\1ater Protection Act are combinmg to protect more than 400,000 acres in a densely developed area. AnQ[her precedent is in the Long Island Sound, where assessments and plans created under the auspices of the federal Long Island Sound Study and funding from the Long Island Sound Stewardship Act are helping protect a system of more than 33 sites. Concurrently, a new generation offederal and state urban heritage parks is needed. Examples include the RioSalado in Phoenix

and Tempe, Arizona, the Trinity corridor in Fort \'\1orth and Dallas, Atlama's BeltLine, and Cleveland's Cuyahoga River Valley. 111is would be consistent with the leadership roles many cities are taking to regreen urban areas such as Houston's Buffu!o Bayouand New York's Fresh Kil!s ParkandJamaica Bay. Outside the cities, agricultural preserves should be created for highly productive ag ricultural lands threatened by suburban development. The Megaregions: A Network of Regional Reserves

Megaregions are networks of more than one metrojXllitan area, connected byeconomic, transportation, and environmental links. T he Regional Plan Association projectS thar by 2050, more than 70 percent of poplliation and e<onomic growth will occur in 11 megaregions across the United Stares. Because of rapid growth in these megaregions, the protection of open space and important resource lands is especially crucial. As a reslllt, the national strategy should promote nerworksof protected "regional reserves" in and adjoining the na{ion's 11 emerging megaregions, Based on the National b.ndscape Survey, regional reserves would protect large (100,000 acres or more) ecological, scenic, historic, recreational, agriculrural, and water supply systems through state-initiated, regional land-use regulatory programs. Drawing from the National bndscape Survey, landscape architects and planners will be able to identifY suitable candidate landscapes for preservation at the megaregion scale. For example, the Texas Triangle is formed by San Antonio and Houston at its base with Dallas- Fort \"X!orth at the apex. It is most likely that any national survey, such as the one proposed here, will identifY the Edwards Plateau and H ill Country on the west of the triangle and the Blackland Prairie and Coastal Plain on the east as significant landscapes. The Edwards Plateau and Hill Country area contains one of the richest aquifers in the nation and is a scenic landscape . T he Blackland P rairie and Coastal Plain area includes the richest mrmland in the state. T he Coastal Plain also includes shorelines important for recreation and vulnerable to hurricanes. In the Northeast megaregion, the University of Pennsylvania and the Regional

Plan Association have already identified 26 candidate landscapes and coastal estuaries that would appear suitable as regional preserves. Of these, only five (Adirondack Park, New Jersey Pinelands, Long Island Pine Barrens, New Jersey H ighlands, and Cape Cod) are protected through existing systems. Protecting our lands and na tural resources must become a national priority. \VIe must conserve and protect our most

Wilderness and road less areas in national forests and on BlM lands need to be restored and expanded.

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precious lands: first, through a National Landscape Survey, and second, through expanding the National Landscape Conservation System co ensure America's fueure. These landscapes hold a significant place in American hiscory; if we want future generations co enjoy their scenic beauty and safeguard resources, there must be federal action, coupled with state, regional, and local efforts.

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Frederick R Steiner, FASLA, is &un oft/xschool of architecfllre af fhe University of Texa$ at Amtin. Robert D. Yam iJ president of the I~e giollal P/an A1J(JCiation and professorofpractice at the UnNii!Ntty of pfl/mylvania.

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Resources

• btrtmtly dunOlt •

• America 20:;0, /mlIW.America2050.org • Cities ill the W'ildeme.H: A New Vision of Land Use ill America. by Bruce Babbitt, Honorary ASLA; \'<fashington, D.C.: Island Press, 200:; • Envision Central Texas, wfllw.envtJioll centra/texas.org • Envision Utah, UlUIw.envisiolllltah.org • Gret'nbelt Alliance, /1JlVUJ.grembelt.org • Open lands Project, /Ull.lW.opelilallm.org • Land Trust Alliance, Ulll.lw.lalldtrtlst a/liallce.org • Regional Plan Association, /Ull.lw.rpa.org • A Region at Risk. by Robert D. Yaro and Tony H iss; Washington, D.C.: Isla nd Press, 1996

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A seasoned sketcher shares his technique of travel sketching to quickl y capture tile feeling of space.

By Carl Steinitz, Honorary ASLA Y MAIN PURPOSE IN DRAWING is to rr-cord the event of being there. lh~se drawings, then , are a kind of visual diary. I date them and sometimes make notes on the back. I go through my drawings occasionally and gain pleasurr- from them and the memories attached, and J sometimes show them to people who arramazed that J can draw- it is not my primary reputation. I started sketching again in 1992, after not doing so since the mid-1960s. J don路t know why, other than being bored widl carrying a camera. Basically, it was for my own enjoyment and not for accurate representation. As a result, I developed a fust and personal style of sketching in black and white. I typically make between

two and four drawings a day when J am somewhere of interest, and J have made about a thous.'md drawings. Usually, J am trying to capture the space and the fed of the place as ~n from where I am. I certainly see the scene more vividly when drawing, as J need to pick my location to draw from and the vanishing point(s). I do edit the scene- normally no cars, no people, no W1res. I don't fOcus on the details, but I try to include important JUM[ 200 1 Lllldstllpe Artbite tlure

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I am l1')'ing to capture the space and the feel of the place as seen from where I anI. My materials are go,erned in part by mobility (after all, the)' hare replaced a small camera). I use an AS·size pad of 140pound acid·free watercolor paper that fits into my pocket. It should be in a side-bound pad (but not spiral-bound) $0 that double·width panoramas can be drawn. If wider drawings are needed, a thin roll of Scotch Magic Tape is a useful accessory. Most of my drawings are two sheets wide, but I hare made

panoramas as wide as eight sheets and with morin g vanishing points. My pens are black extra·fine office pens with nonpermanent ink. I frequently and purposely smear the ink with my fingers to gain a tone. I carry a small case with some pens, cut-down Chinese brushes, and some paper towels. Also in the case is a plastic bag. In it, I have a small vial of water· proof black ink, a plastic boUle with water (the boHles that airlines use for gin are idea!!, and a small two-section salad plate liberated from British Airways that I use as a paleUe with water in one part and a few drops of ink in the other.

ones. Sometimes I am nO{ drawing a single view, as I frequently move my vanishing poinr(s). T here are three places that I have draw n after crying (from quite different emotions): the walls of J erusalem, Bergen-Belsen, and Yosemite Valley. And there are several places that ' have drawn many times (they are challenging): Piazza San Marco in Venice, Ryoanji Temple in Kyoto,japan, and Piccadilly Circus in London. T here afC three stages co my drawings. T he first is a fredy drawn outli ne for the basic structure and proportions of the scene. JUM[ 200 1

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with, purposeful smearing or a conal hatching. Then (and sometimes later in rhe day) I rapidly shade rhe image with a few dilucedink washes. T he outline Stages usually rake around nvero 10 minucesasheec,and rhe ink washes rake another 10 to 20, plus dryingrhe whole rarely raking more chan 30 minutes. I don't rough in [he sketch with a pencil but stare immediately with my black, nonpermanent office pen. r start badly once in a while, but iff do J just turn rhe page and res tart. Mostly r just draw fast, and there are frequently some correnive lines in finished drawings. No one seems co mind.

My drawing technique has changed somewhat since 1992, but less chan one would expect, J have more control now, but control is not my only aim, J am more daring, having made several panoramas with multiple vanishing points, I have given "fust-drawing" workshops at H arvard and elsewhere, "Look, draw, don't worl)' about it," J tel! {he students, "Capture the place; don't aim for accumcy. Above all, don't worl)' about it; just enjoy it."

Car! Steinitz, Hon(ffary ASLA, iJ the AlexandRr andVict(ffia \Vtky Research Proff!jj(ff of Lmd.icajJe Architecture alld P1anlling at Har/ldrd Graduate School of Design.

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N C HIlL, THE CAPITAL CllY OF SANTIAGO has

com pleted rough ly half of a new, 67-acre green space-Parqlle Bi[enteIJdrio, or Bicentennial Park.

The rest of the park is slated to be finished in 20 L0, when the coun try will celebrate 200yearsofindependence from Spain. Teoooro Fernandez Larrai'iaga, a well-known Chilean archi tect, was awarded the project after winning a nationwide design competition. Fernandez has designed ocher parks in Santiago, notably Parque Ines de Suarez (1994). Before construction began In 2006, the site fOf Bicemennial Park was an irregular strip of undeveloped land in northeastern Santiago, fun ning nort h- south between the canalized Mapocho Riveron rhe west and a new landscaped avenue, rhe Aven ida Parque de las Americas, on the east. This eastern boundary froms an urban residential district, which enjoys west-facing views of the iconic San Cristobal Mountains. T hesite lies within the Vitacura municipality, one of Samiago's most prosperous districts, which comm issioned the design .

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Is.

Before the IXlrk was built, a 13- The overall plan of the first phase of the foot-high cOllCret:e retaining wall em- park, right, shows: IAI pools and wetland oonk(xi the river, obstructing visual vegetation, IBI cobblestone path, leI and physical access. Aftermrving OUt central esplanade, IDI east sycamore the park site, the city decided to path and promenade, lEI west new build a rood on a ribbon ofland be- rise with natives. IFI municipality tween thesiteand the river. 111is new building and terrace, and IG) new road, mlled the Costanern Sur, wilt road and river Inot shownl. The serve as a fuse t:me for a national high- sketches show the basins located way that runs JUSt west of (he river, at on the north edremity of the site, the fOOf of the San Cristobal ~-[oun .bove. and the relationship be· tains. 11lt road's locntion on {he east tween th e sycamore path. the side of rhe riwr, howC\'er, creates an esplanade, and the mou ntai ns even more pe rmanent barrier be- to the west. below. tween rhe river and the park si te. Construcrion is beginning this )'taf. To funher complimte maners, a new municipll office building, alsoche resulrofa public competition, was built in 2004 on rhetaS( side of the site. As pan of the design program , (he park had to include a paved area or pl:l2a chat would connect with it. 111is semipublic pl:l2a would form rhe roof ofan underground parkingh'3nl£e for rhe building. Cre.tlng. Rlver.lde Park, Without the River

'1l1ese were rhe conditions Fern{indez confronted when he smned thedesign. In Santiago, rhe principal public IXlrks take rhe form of grassy esplanades between the river and the urban edge, and most local residenrs associate (he word "park" with a tree-lined riverside corridor. In this case, however, the parkland edges would be bounded on both sides by roads,

----..

A series of steps, above, differthe sycamore path, slightly be-

yet the designer chose to emulate the local convention, creating a naturalistic, sloped ridge [Q buffer

low street level, and the pas-

the sight and sounds of rhe ex-

sages adjacent to the park. The

panding highway on rhe park's western edge. T his rolling green berm, planted with native trees

entiates the most public: part of

park's ground plane is about eight feet below the path. Native palms, teft, are planted

and palms, echoes rhe ripple of the

on the west edge of the park.

San Cristobal foothills behind it,

effectively "oorrowing" the moWlrain views so characteristic ofSanriago. To smooth out the elevation change between the top of the ridge and the park's ground plane, Fern.'indez mocleled a gradlLll slope that ranges from 5 percent to 12 percent. On the eastern side, the character of the park is more urban. 111e new sidewalk, which nms pamllel to Avenue Parque de las Americ-

as, Isageometrinulyaligned path plamed with an alJeeofsycamorc--s. At junctions wi th entrances and ramps. the trees are punctuated by homogeneous groups of ornamemal grasses. Paved for most of its length, the path includes portions surfaced with cobblestone and

The sinuous pedestrian and bike edged by low rock walls reminispillth, .bo~e and right, Irarels cent of the swne walls found in the upper part of the newly along Chilean agricultural valleys. created green rise; views A series of steps differentiate from this path are quite spectac路 the mOSt public parr of rhis path, ular. Irregularly shaped concrele where it borders the streer, and benches and intimate nooks are the passages adjacent ro rhe park, offel"t'cl on the central esplanadeT he path itselflies slightly below like area, opposite top. The street level, and rhe park's ground green ri se, planted with nati." plane is abour eighr feer below on the west edge, o.erlooks the the path. 1lle parh crosses a poved cenlral esplanade and the city overlook atop the new municipal behind, opposite bottom. building's underground facilit ies, which precede a rerraced, sroned ad [('raining wall from which the stair.; and ramps descend. T Ile wall resolves tlleeight-iOOt elevarion change between rhe padl and dle park below. Visitor.; can rake in views of the entire park from rhis el~'ated promenade and a balcony atop rhe paved overlook. This concept of terraces and viewing promenades is repeated throughout tile park, including rhe west hillsides, from which rhe

路路 1

city's mllest new rowers and the municipal building and plaza can be fully appreciated. An upper path traces the top of the planted berm, doubling as a bicycle trail; seen from the opposite urban path, the seemingly continuous plane of the artificial slopes and the mountains is broken on ly by bicycles moving slowly across the static, linear landscape. The space between the naruml and urban edges, respectively on the west and east sides of the site, is an open meadow- a place to saunter, lie on the grass, jog , picnic, play, and sunbathe. T his esplanadelike space offers some intimate nooks furnished with irregularly shaped concrete benches and some more typical wooden benches placed along the pedestrian paths. Partially enclosed by flowering shrubs, smal l trees, and grasses, these places provide a smaller-scale experience within this large expanse. In front of the main stairs that link the sycamore path with this meadow is a set of modern playgrounds whose blue rope structures are usually thronged with kids. It muld be argued that the lawn esplanade that extends along the park doesn't respond to the local cl imate condit ions ofSantiago, where rain is scarce. In times when sustainable design approaches are necessary, is it mrrect to create a European-style

18.

Part of the en t IUIth is sur1aced with cobblestone and edged by low rock walls, hen. The protect'. lighting, ~Io •• echoes the reddish·yellowish hues so typical of the light that corers the Andes ewell' day at dusk.

grassy park that consumes extra water and requires extra costs? T he designer responds chat once (he abundant native trees planted along the esplanade and on the slopes are fully grown, the lawn area will be reduced roa minimum, and irrigation costs won't be an issue. The paved plaz.'l for rhe municipal building, which covers the existing underground parking, was designed as a series of angular terraces that cover a 1,2-acre area, '111e terraces embrace the structure and extend outward (Oward the adjacent park lawn, creating a fine balance between green and paved areas throughout the park. 111e geometrical shapes define transitional elements such as steps, subtle slopes, and a linear fountai n along its longest edge, T his p laza/rooftop-the first of its kind in Chile, the designer says-successfully connects the building with the park. Part of the plaza is sheltered beneath dle high roofs of the new municipal building, creating space for semipublic activities, Dneof'the most intriguing feamres lies at the park's north end, Here, at ground level, a series of shallow, a<;.ymmetricaJ concrete basins hold placid water, Along the shore, zigzagging concrete walls form a crisp edge softened with papyrus, grasses, and ocher colorful wetland species, Swans and thick green carpetS of

.0 1

At the park's north end, some shallow, asymmetrical concrete basins hold placid water; the papyrus and water species, here, complete the broad planting pattern of the park. MosUy natiÂĽe shrubs and palms are planted on the west edge, below.

aquaeic planes compleee chis appealing place, usually a peaceful reseing spot for families, kids, and couples. Adjoining this water plaza at the northernmost part of the site is a restauram whose modern design was also the result of a competition won by renowned Chilean architect Smiljan Radic. Built after the park competition, it was required co fit within the park plan. The building's terraces also connect CO the park. So far, the park is a hit with residents of the Vitacuea disuicr and its neighboring municipalieies; the scale and location accommodate them easily, and now Samiago boasts another linear park along the embanked river in a less cemeal parr of the city.

Jimma t\fartignoni is an Argellfinf<JII arrhitfÂŁt, landswpearchited, and /retlalla writer focllsed on Latin American projects. She is the allthor of Latinscapes: Landscape as Raw Material and collaborates with specialized internatiollal magazintJ. PROJECT CREDITS Client MunicipaiityofVitacura. Designer: Arch1-

tect Teodoro Fernandez Larrai'iaga. Associate designers: Paulina Courard, Sebastian Hernandez, and Danilo Marrie. Fountains and waterfeatureS! Jose Luis Orellana, aquarnasrer.

All ORI'S ROUNDS fOR Rl

Two smlptttre gardens at the Baltimore Museum of A rt are modern gems. By Frank Edgerton Martin Photography by Walter P. Calahan

MERICANS ARE BLESSED W ITH arc museums

ICONS

Though not quite 30 years old, [he Janet and Alan where superb arc collections and modern land路 - ------ -------Wurtzburger Sculpture Garden (1 980), and its larger scape architecture converge. The Baltimore HC' \-i ~ il ('(.1 neighbor, the woo::led Ryda and Robert H , levi Sculprure Museum of An: (BMA) isa prominent example Garden (1988), should be considered "historic" works of of chac convergence, Sec next door to [he J ohns Hopkins design chac merit study and preservation. One of che marvelous University campus, [he B/'.IA is home ro [\vo sculpture gardens, qualities of dlis pairing is how complementary these two different one designed by che iaceGeorge E. Patron and the ocher by Sasa- gardens are. Ir can be argutxl rhar rhey each represent rwo major deki Associates- very different In character, yet both landmarks of sign parndigms of postwar landscape architecture: the shaping of JXlScwar modernism. formal and urbane spaces seen in [he work of Dan Kiley, M. Paul

/ I

W~lking through levi Carden'sg~te, one immedi~tely discovers alarger, deeper, and more wooded scene. rriedberg, and many others, along with rhe informed sensitivity [Q nature and mi-

croclimates found in the design process of Oehme van Sweden Associates.

etween 19Âť and 1973, the Wurtzburgers built a sculpture collen ion for display at their hilltop esmce in Baltimore-vi rtually all of which chey donated [Q rhe museum by rhe 19BOs. 111e couple collected sculprures chat expressed human perst"\'erance, and many of their sculptures celebrate rhe human figure. J ay Fisher, BMA"s deputy director of curamrial affitirs, explains chat early on , rhe BMA made the curatorial decision to exhibit the collection at human scale, JUSt as rhe Wurtwurgers had in their grounds. Thus rhe sculptures are either set at

•

J' •

,, ,, •

• Q I A conceptual plan by Sasaki, " ere, shows the relative scales and forms of the Wurtzburger Garden and (in colorl the later levi Garden. The strong perpendicular lines and wiewsheds are clear when one looks

d;",,;;i' l

•

., " f·.

ward the Baltimore Museum"of Art from the Wurtzburger Garden,

ground level or on four-inch pedestals. Landscape architect Panon of Philadelphia designed the garden to express d1is intimate experience of sculpture through a series of intimate galleries framed by cast-concrete walls of varying heights and walks paved wi th 18- by 36-inch rectangular blocks of uniformly em bluestone. Panon worked on severnl projects with celebrated architect Louis Kahn, a fellow

Philadelphian. Although not as famous as their collaboration at the Kimbell Art Museum in Fort \Xlorrh, Texas, Pattoo's serene sculpture ,g arden in Baltimore may be the fineS{ s urvi v lrlg example of hIS work and, perhaps influenced by Phil ip J ohnson 's sculpture garden at the Museum of Modern Art in New York,sut'Vlves as a high jXlim fOf landscape modernism,

1.5

Designed and built as parr of an early 1980s museum expansion, the \Vurrzburger Garden is directly ad jacent to rhe east end of the museum and can be entered from the museum's front door entry and drop-off courr, In the warmer months, the quiet OUtdoor rooms are animated at night with parries and omdoor dining that Rows OUt from the museum's restaurant on a terrace included in t he original design, At only a (hird of an acre, the Wurtzburger Garden has a much smaller footprim than the neighboring Levi Garden, Yet the garden fee ls large and complex, perhaps because figurative works by such noted sculptors as Henry Moore, Aristide Maillo!, Auguste Rodin, Isamu Noguchi, and Jacques l ipchitz are so different and yet perfectly scaled (Q their spaces. One can spend hours just walking, looking at the statues, and resting on the garden's benches. alking through levi Garden's gate, one immediately discovers a larger, deeper, and more wooded scene. "Ille ground plane drops far below the entry terrace to create a kind ofhaha effect. Set at the center of the entry terrace, the spiraling metal bands of Comtmetloll 140 by Jose de Rivera draw the eye into the t~ canopy while also brilliantly expressing the swalelikevolumeof the garden itself. The siting of this sculpture was one of the earliest decisions made by $.1saki, the donors, and rhe curarors. Its positioning remains one of the best entry icons to be found in any American sculpture garden . From theemry rerrace,agemly curving walk brings visitors along the garden's

northern slope down to its floor. Along the way, they can pause and gaze imo the garden's heart. Somewhat reminiscent of the woodland vistas of Sasaki's landmark John Deere headquarrers, the linn's vision for the Levi Garden heightens the sense of emering a woodland vale where works by mid-20th-century arrisrs are on display. The garden is a case study of the landscape architect's ability to grasp the spatial form inherent in a ravine site and to heighten irs sense as an oUtdoor room through the strategic siting of steps, vistas, and accessible paths weaving along the hillsides. TIle calculated opening of vistas and distant views of artworks was precisely what the Levis had in mind when they first assembled and exhibited the collection. The entire museum, its gardens, and the adjacem 16-acre \Vyman Park lie on the former \Vyman family estate that became part of Johns Hopkins University's Homewood campus. l ike much of Baltimore, the area is hilly and laced with ravines. It is also an expression of how landscape architects shaped this city during the 20th century. In their 1904 Report Upoll the Development of Public Groullds for Greater Baltimore, the Olmsted Brothers office set out a vision for the Baltimore park and parkway system that was second only to their work in Boston in size and complexity. The plan absorbed several former estates, including Wyman, into the new public open space network. Describing the valley that includes the BMA's two sculpture gardens and Wyman Park , the report states: "'With its old beech trees and bold topography, it is the fin est single passage of scenery III rhe

whole valley, and there are few spotS so near a large city chac equal it." Working with Sasaki Associates principal Don Olson, FASLA, Joseph Hibbard, ASLA, served as projeC[ landscape architect in all phases from masteT planning through construction. Twenty years

later, Hibbard still works at Sasaki. He remembers that their team made initial siting recommendarions for all of the levis' sculpcures, most of which were supported by the levis and the cura-

Steps, vistas, and accessible paths weave along the hillsides.

tors. He also recalls chat one of their greatest chal-

lenges was not to disturb the overstofy trees. No construction equipment was allowed on the lower floor of the garden. Indeed, Hibbard remembers that a large crane lifted the Calder and the Ellsworth Kelly 70 to 80 feet in the air over rhe tree canopy to set them gently into place. By the 1980s, Brad Pudner, BMA's director of landscapeessentially the curator of the museum's landscapes- held the politically delicate role of balancing the wishes of his employer and the donors, "The first thing the curamrs said to me was that the sculptures should reign supreme," But the donors and their children remembered the home landscapes from which the sculptures had come and they wanted a "garden" too. Pudner and Sasaki found a balance between exhibiting art and replanting the Levi Garden's understory with shrubs, bulbs, and perennials, Pudner's vision as a horticulturist includes bright flowering exotic shrubs that may seem a bit garish for some landscape architects. But from a stewardship perspective, the most importan t fact is that Pudnerand the I3MA curamrs understand rhe differing spatial design intents of the twO gardens. Planting designs afe re-

versible, but once the structural "bones" of modern gardens are lost, they are much harder m replace, The gardens have different "character-defining features" that must be presen'ed. For the \'{1urtzburger Garden , these are Patmn's perpendicular, room-defining cast-concrete walls, steps, and bluesm!'le paths. 'nle Levi Garden's woodland character is achieved through the quiet solidity of its entry retaining walls,cascading steps, and the volumeof rhe sunken garden itself. Alterations to any of these features would seriously impair each garden's distinctive sense of scale and character. This spring, before the beech canopy leafed out, the garden was already green with slopes of ivy and the beds of daffodils and other bulbs beloved by the Levis. Because of their short spring blooming seasons, Pudner always installs bulbs in beds with established summer "companion" perennials such as hostas, ferns, sweet woodruff, blue star, daisies, blackberry lilies, toad lilies, fall anemones, and irises. "During the summer, it's a whole different garden,"' he says. The most significant change is that both gardens are much darker under their canopies and, where openings occur, such as in the green lawn surrounding the C'lider at the heart of the Levi Garden, bright pools of sunlight stand out.

ike many modernist works of landscape architecture, the two gardens lie in the temporal purgatory of being neither "new" enough to be on rhe cutting edge nor old enough to be viewed as "historic.路路 As living environments, their original plantings can be subject to overgrowth and loss and their water features subject to failure. Another t:1.Ctor affecting landscapes from the recent past

•

Design Lessons from Three Decades ITH so MUCH MODERN·ERA landscape architecture threatened by

neglect, which can bNome an excuse for demolition, landscape architects should consider some of the common·sense IHsons the BMA staff has learned about paving and plant choices for

urban sculpture gardens. Seek Out the Most Durable Paving and Hard Surface Materials

All bluestone is not created equal. BMA's Director of Landscape Brad Pudner notes that the Wurtzburger Carden's blnestone plaza is made with higher quality thernla/bluestone, "which has had virtually no flaking, while other walkways where nonthermal stones were used have required more repairs and maintenance," Design for Winter Maintenance and De-ieing

When considering bluestone for public: sculpture gardens, determine if de·icing chemicals will need to be applied. The de· icing regime should be written directly into specifications or the management plan. In the BMA's case, staff are allowed to close the gardens alto· gether during icy times, an option that avoids chemical use and po. tentialliability issues. "We are able to close the sculpture gardens during inclement weather," Pudner sa,s, "but on our main museum entrances, we have to keep them accessible, and ewen the gentler de·icing products like magnesium chloride still cause deterioration of mortar joints, requiring ongoing maintenance costs." Study and Monitor Existing Tree Canopies

Ewen in small woodlands, the density of the tree canopy can be sur· prisingly varied. Pudner says, "I re-create sun/shade charts every few years at midmorning, noon, early afternoon, and late afternoon to de· tennine how tree canopies have changed over time. I've discovered that some sections of the garden that I thought were shady actually get a good deal of sun and vice versa. Some areas of the gardens were sun· ny 25 years ago but have become quite shady, and their understory sun·loving plants have declined. On the other hand, a f_ trees have been removed, opening up more sunlight and scorching their shadeloving understory plants." Rather than trying to maintain the garden as a static form, Pudner works around species that seem to be suc· ceeding while preserving the all·important primacy of the sculpture. Monitor Moisture Retention and Drainage

Many urban sculpture gardens such as at the IMA or the Walker Art Center in Minneapolis are located on lands that were too wet to ewer be developed with buildings. Ponding water is deadly both for most plant species and for the stability and long·term conservation of art. As part of the overall hydrology of the Jones Creek watershed, the lower section of the Levi Garden can be almost boglike during the spring. Pudner notes, "I've had great success with 'ris sibirka ISiberian iris!. Vernonia noreboracensis INew York ironweed!, Hibis· cus'Lord Baltimore' Ihardy hibiscus!, Astilbe 'Oeutschland' Iwhite false spiraea!. and Rudbeckia laciniata 'Autumn Sun' Iculleaf cone· flowerJ." He also closely watches storm ewents to correct drainage patterns and raise sculptures, if needed.

9. 1

is that few of the staff members from dl{' owner"s side were pres· em when the projects were built, and few landscape architects who may have worked on the design arestill act iw. Although til{' BMA gardel1S appear virmally as they did on [heir opening days during the Reagan era, dle challenge is to preserve rll{' gardens through the next generations of museum patrons, curators, and staff. \Xlill they remember the imJX>rtance of the designers who first shaped these spaces? When the levi Garden opened in 1988, the BMA held an exhibit on the history of Sasaki's work. Yet, when I visited in 2009, virtually none of the staff knew who designed the Levi Garden. In fact , the design offices may have completely lost track of the fact that they ever worked on the project-Sas.'1ki"s web site makes no mention of the levi Garden in its list of projects. T his forgetting can be very dangerous for the stewardship of modern landscapes. T he owners can lose any kind ofemotional investment in their creation (as, it can be argued, is now happening at Friedberg's Peavey Plaza in MinneaJXll is), and design offices, in the rush to stay current and competitive in their pract ice areas, can forget the quiet brilliance of their forebears . For this reason, ASLA and the Maryland chapter should work to add the BMA's scul pture gardens to the Historic American

PLANT LIST Located in lone 7, Baltimore has four distinct seasons and many wann sunny days in the winter when the gardens can be enjoyed. Pudner suggests the following species for use in similar lones:

WINTER INTEREST

_____---cc-~-,'Ev"'ergreell shrubs Came/hi 'a IlniU Camellia l/txl 'Nellie R. Stevell$' Nellie Stevens holl} MahtJllia bulei leatbetleaf mahollia Naot5na dllmestka'Harbor Dwarf' Harbgr dwarf undiaa Evergreen perennials Dr/llpteris elJthrosora Autumn fern He/kborus 'Brandywine' Brandywine lenten rose liriope spicala Creeping firiolle Sarcococca hookeriananr. humilis Dwarf sweetbol EARLY SPRING flOWERING BULBS I iI

LATE SPRING flOWERING BULBS

AHium (iga"leum 'Clobemaster' Clobemaster giant onion Alhum schubtrtii Ornamental onion Camassia feichtlinii Wild hyacinth SUMMER-flOWERING PERENNIALS FOR SUN

Landscape Survey and encourage the museum to nominate them to the National Register of Historic Places. T hey are now very much at their peak in terms of plantings and the integrity of hard surface materials. T hey are also well cared for and benefit from a maintenance endowment provided by the Levi and \'Quftzburger families that helps [Q fund staff positions and some new plantings each year. Yet , as has happened with so much of the work of Lawrence Halprin, FASLA, and Friedberg, tastes can change, and communities that know little of the history oflandscape archi tecture can be all too eager [Q erase their icons and the legacy of civicminded citizens from just a generation or two earlier. It·s important for the profession to protect landmarks of the recent past that are still young enough to be intact yet old enough to have mature character. Frank Edgerton Martin is a lanmwpe historian, [amp"s planner, and regular [ollfriblllor 10 Landscape Architecture. RESOURCE

• Baltimore Museum of An - This web site, wIIIUlarlbNla.org, includes history and audio tours of the two sculpture gardens.

Hibiscus 'lord Baltimore' Iris e"sata Iris silJirica leJICaothemum x supetbum 'Becky' Parda"caflda norrisii Rudbedh laciRiala 'Autumn Su.' Verooni~ fl(Jrebllractilsis

Hardl hibisGUS Japanese iris Siberian iris Shasta daisy Candy lily, blackberry li~ Aulllmn sua coUeaf coneflower New York ironweed

SUMMER PERENNIALS FOR SHAOE

Hostasp. Cah·um odoralum Po"stichum pII"blepharum DIJ~pteris elJlhrosora Sarcococca hookerianavar. humilis Astilbe 'Deutscbland'

Hosta, plantain lily Sweet woodruff. sweetscenled bedslraw Korean ImeHern Autumn fern Dwarf sweetbol White false spiraea

FALL FLOWERS & BERRIES

Anemllilt 'Honorine Jobert' White Japanese anemone Callicarpa dichotllma Beautyberry FALL FOLIAGE

Acer palmatum Acer rubrum Car/asp. Fagus graodifolia fminus SII.

Japanese maple Red maple Hickor} American beech Ash

I ••

BOOKS Materials and Their Applications in Landscape Design, by Rob W SOVillSki, ASLA; Hoboke n, New J ersey: Jo hn W iley & Sons, 2009; 192 p ages, 580. Reviewed by J. Brooks Breeden, FASLA N Mdteritlls alld Theil' ApplicatkmJ ill Landscape Desigll, Rob

Sovinski, ASLA, gives an overview of the materials palent'of

the landscape architect or designer. The hardcover lxlok is compact at juSt nine by six inches. Its emphasis is materials' general characteristics rather than when to choose which material and how to detail it. The chapters. cover stone aggregates, asphalr, brick, cast-in-place concrete, precast concrete, metal, scone, wood, and combinacions;each gives an overview

MATERIALS AND THEIR A PPLICATIONS IN LANDSCAPE DESIGN ROB W . SOVIN S KI , "'5 l ..,

of the characteristics of the material and some of its advantages

and drawbacks in use. This isan imroduccory [ext, not a reference book that one returns to repeatedly. Forexample, you willleam that common wood species used in landscape construction are southern pine, Douglas fir, western red cedar, pondetosa pine, redwood, and teak, but you won't be able to tell the difference berween Douglas fir and teak by sight because there are no illustrations of gtain and color at all. The chapter on brick is the strongest, with a lot of useful information about brick bonds and the appropriateness of a bond for a particular use, although not all I:xmds illustrated are named, Unfortunately, most of the images illustrating points made in the chapter text are rather lowcontrast grayscale photographs. The book does include a section of14 pages with six color images each. Sevetal of the color images are the same as grayscale images included in the chapter text. TIlen there is the matter of inconsistent depths of coverage: Some chapters show drawing standards and symbol representations; others do not. Still, the book is not intended to be a Time Saver Standards lor Landscape An-hitretIlYe. Whom is this book for? Initiall y, it looks as though it was intended for students, but the section im mediately following the preface is "A Note to Instructors," and each chapter finishes with several excellent suggestions for student exercises called "Learning Activities," Frank ly, it seems to be a better lecture and assignment guide (or an instructor than a reference volume for a student. It is easy to imagine the chapters as a semester of lectures for an intf(xluctory materials class in landscape architecture or landscape construction. As a faculty workbook and lecture guide it does a very good job. It could take three years off the development cycle of an intf(xluctory materials course. Were I teaching a course in materials I would buy the book, but I'd have to give serious thought as to whether I would require it as a student textbook. My major concern about requiring it is the cost. I don't understand why this half-size book shou ld have a g lossy hard cover and retai l for $80. For either a student text or a faculty guide, a paperback cover is fine and should lower the price whi le not decreasing the

100 Landscape Architectllre JUNl

toot

book's value as a text. H owever, an eleCtronic format such as a PDP file on CO-ROt.1 or as a download would be even better for this content.

I Brooks Breeden, f'ASLA, taught I"OllJtmctioll courseslrom 1971 "ntil his retirement from Ohio State in 2005; he C1(rremly resides in Sprillgfield, Virgillia, jllSt oNtside Washillg/OII, D.C. Plant-Driven Design: Creating Gardens That Honor Plants, Place, and Spirit, by Scott Ogdm and Lauren Springer Ogdm; Portland, Oregon: limber Press, 2008 ; 28 1 pages, 534.9 5. Reviewed by Linda Mcintyre

ilL

ANDSCA PE ARCHITECTS don't know enough about

plants." Who hasn't heard (or even uttered) this charge? While many devoted plantspeople in the profession put the lie to this generalization, in this ern of highly designed gardens that seek to be kitchens or living rooms--complete with stain less steel appliances, big-screen T Vs, upholstered furnirure, and outdoor carpets resting on expanses ofhardscapeit's hard to argue that plants often play only supporting roles, H usband-and-wife garden design team SCOtt Ogden and lauren Springer Ogden use this notion as a jumping-offpoint for their new book, Plallt-Drivell Design: CreatmgGardem That HOllOI' Plaflu, Place, and Spirit. Don't let that subtitle, or a few mushy路sounding chapter t itles such as " Plants as Heroes" and "Plants H onored," put you off. T his is not a New~Agey or Luddite celebration of nature untouched by the human hand. Instead it's an idiosyncratic ode to using plantS, not at the expense of dc"Sign, but as tools ro realize ambitious, dynamic, and context路 sensitive designs. Readers might expect a book abour plam-driven design to prt"dch about native species, plant communities, and regional ism. This one doesn'r. It does exhort the reader to observe and learn from plantS in the wild and the patterns they form and then

use plants' characteriStics- their habits, textures, and aggression in spreading, among others-to make his or her own desig ns more coher~ ent, inviting, and engaging. But the Ogdens, no purists, stress that while natute offers priceless lessons in planting design,slavish attempts at copying nature rarely work well in gardens . T hey knowledgeably discuss horriculruml derai ls such as how different types of soil affeCt p lants' habit and appearance. Yet they don't tread the usual parry line of soi l testing and amendment; in~ Stead they recommend searching for planes, native or nor, adapted to local soil conditions including whatever deficiencies are found on the site. Any de~ signet who has been frustrated by anempts to define, let alone source, native plants, or puzzled over a soi l test designed for agricultural fields, is likely to find this approach refreshing. What the opinionated authors thi nk doesn't work is described as fu lly as what they like, and they don't pull punches. Paved paths in public gatdens, for example, are dismissed as mon~ strositiesakin co roads in the woods, wheelchairs be damned. Readers might disagree with chis or ocher opinions, bur the strong point of view makes the lxlok a better read than most of its coffee-rable~worrhy brethren. T he Ogdens live, and primarily work, in centra l Texas and the Rocky Mountain foothills in north~ em Colorado. Their lxlok is beallti~ fu lly illustrated with phocographs of gardens and landscapes from around the world, including many from their own gardens, Even if some of the planes they discuss are unfam iIiar to those of us in other parts of the country, the photographs and informative captions effectively underscore the points made in the text, and unusually helpful plant lists, highlighting both aesthetic qualities such asa rosette~fonning habit and interplay with dif~ ferent kinds of light, and horticultural qualities such as drought tolerance, abound (though you' ll have co consult another reference fordetailed informa~ tion such as hardiness about most of the species discussed; the authors don't set a lot of score by the USDA and American Horticultural Society maps). While the Ogdens designed many of the gardens highlighted in the lxlok, no plans or sections are among the illustrations. Drawings would have en~ hanced descriptions of plant placement and challenges such as grade changc'S. PI(/,,!~Drwet/ DesigN has much co offer people who love plants and design in equal measure-a population that, despite conventional wisdom, I would bet includes many landscape archite(Ts.

\rhile nature offers priceless lessons in planting design , slavish atlempts at copvinO' . u nature ra rei .V work well in gardens.

... FOOTPRINT : OUR LANOS C APE IN FLU X, by Stuart Franklin; New York: Thames and Hudson , 2008; 144 pages, $60. THIS HARDCO VER COLLECTION of photograph s by Stuart Franklin offe rs a s obering look at Europe 's evo lvin g lands cap e In the wake of rapid environmental ch a nge, Th e book, which Inc lud es several ess ay s a s w e n as 99 s tunning full-c olor photos, documents th e changes In di sturbing d etail: the effect of pollution on trees and tundra, the extent of flood S and rising s ea levels, the sh rinking and receSSion of once-va st glaciers, Des pite the evidence of man' s hea v y footprint , Franklin finds re ason for optimism,

... PUBLI C ART NEW YOR K , by Jean Parker Phifer; New York: W, W, Norton & Company, 2009; 288 pages, $29,95, OON 'T MAKE YOUR NEXT TRIP to New York without this guidebook, Hands omely laid out with a color photograph for each artwork, eas y to cany, sturdy, and a good value for the money, It's a good way of finding your way through the <:Ity's treasure trove of outdoor art. The book Is organized by neighborhood, and maps are at the beginning of ea<:h <:hapter, making It a user-friendly walking guide to the <:Ity. ... MATHEMATICS FOR THE GREEN INOUSTRY: ESSENTIAL CALCULATIONS FOR HORTICULTURE AND LANDSCAPE PROFESSIONALS , by Mlchaell. Agnew. Na ncy H. Agnew, NIck E. Christians, a nd Ann Marie VanDerZanden; Hoboken, New Jersey: John Wiley & Sons, 2008; 398 pages, $55, A BOOK ABOUT MATH Is not likely to be something a lands<:ape ar<:hlte<:t will curl up to read on a beach vacation, but It can be a useful reference. A chapter on geometry may be use ful to design e rs who nee d to calculat e th e area and volume of diffe re ntly shaped planting beds or other features, and other chapters discuss the math Involve d In dete rmining landscape main-

Riprap editM' alld se/fprac/tlimed plaut lIerd U"da tllclntyre is tl former Landscape Architecture Skiff writer.

tenance costs or th e proper amount of fertilizer for an application, JUU lon

lendlClpeArchltecture 1 101

wishes [Q secure. T he sminless steel com{Xlnents consist of up [Q 95 percent recycled content and are fully recyclable. Requiring no harsh cleaners, the Bike Garden is low maintenance and is expected [Q have a long pn:xl.uct life cycle. T he Bike Garden can be cast in place or surfuce mounted. Stainless steel scn."'w s are included forsurfuce mount. For more informa tion, please visi t ulWW.! onllJ-JIIifacer.com or call 800-451-0410. Turf Tube REATED BY TH E landscape architects of

CUrban Earth Design, TurfTube is a g reen

This monU] fealmes an assortment of site amenities. Stone Forest Basalt Bench••

EW TO STONE FOREST's landscape collection is rhe Basalt Bench, a functional sculpture. Consisting of 100 percent basalt,

an extrusive volcanic rock, each bench is handmade by hammer and chisel, giving [he bench a distinctive look. Stone Forest gives the bench a sculptura l appearance

by working with the natural

shape of rhe basalt. The bench is carved from a single piece of stone. The sides of each bench are left with their own rough exterior, bur the [OP facet is polished, creating a smooth surface. T he benches are Fonns+Surfaces' Bike Garden is an organically inspired bike rack.

six to eight feet in leng t h and are also available in cusrom sizes.

For more information , pl ease visit or call 888-682-2987.

WUJUHtOllejorest .COIII

Form .... Surfac•• Bike Garden

NSPIRED BY ORGANIC forms and created by the bike-commuting designers of Forms+Surfuces, the Bike G arden is a new bike rack dmt offurs a high degree ofsecurity and aesthetics. With multiple locking {Xlints, the Bike Garden gives riders the option [Q lock the wheel , frome, or anything else the rider

line of indoor-omdoor furn iture. An L8inch-diameter steel rube is rapped with artificial turf, which smyscool even in direct sunlig ht, making it ideal furniture fOf desert environments. Turf Tube provides a deg ree of adaptability to its users. An optional removable lid allows it ra double as srarage space. Its {Xlrrabi lity means it can be used as indoor and omdoor furniture, Along with its adaptabiLity, Turf Tube aims [Q be g reen. The base is made from durable, Lightweig ht , galvani7.oo steel that won't rust. T he sections are actached with {XlP rivers instead of the toxic welding typically used in metal furnitUre. 111e rivets are easi ly removed if a parr shouLd need replacing, extending Turf Tube's life cycle. FinaLly, Turf Tube includes recycled plastic lumber, helping to conserve traditional building materials, For more information, please visit www.tmftllbe.wmorcall 602-285-3055,

Turf Tube is a green line of indoor-outdoor furniture designed by the landscape architects of Urban Earth Design.

102 1 Landscape Architecture JU NE

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Beyond Sustainability:

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For free product information, go to www.asla.orglfreeinfo. 104 1 Landscape Architecture

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HESE ARE Tlr.rES THAT WRACK

our nerves. Every day seems co bring more news of Job layoffs and stock marker losses, \Valk around

L3Jldscape architects need to advocate for public spaces in tro ubled times.

most neighborhoocls and you'll see vacant srorefronrs and foredooed houses, USA Today recently reported chat one oue of nine U.S. residences was now empey. rf you don't feel at least a {winge of panic, you're oue of rouch.

By Jay Walljasper

Almost everyone is looking for ways [Q tighten rhe household budget. We're reaching for cook!:xJoks instead of Zagat Gllides. Taking old clothes to the tailor for aicerncions radlef than shop~

ping for new ones. Seeking oue special spotS in our hometowns instead of booking tickets [Q faraway destinations. But lec's be honest. For a lot of people-especially upper middle class professionals who have not lost their jobs- dlese are not

signs of uner deprivation. Sure, the economy brings inconvenience and uncertainty, but that should not blind us to the com~ pensating satisfact ions all around. Grilling in the neighoors' backyard can be as much fun as an evening at a four~star steakhouse. A relaxing afternoon at the local park can brigh ten our spirits the $.'Ime as a stroll through Lux~ embourg Gardens or Central Park on vacation . \Vith less cash to toss around, we might take a closer look at what's special in our own backyard, resol ving to support neigh~ borhood businesses and revitalize public spaces. Places that serw everyone in the commun ity- parks, libraries, public buildings, markets, plazas, playgrounds, sidewalks, and other hangoms- are more important than ever, especially for thoSt' who are struggling to get by on shrin k ing or low incomes. Less money to spend on entertainment and res taurants should not mean tha t many fol ks have no place to go, leaving them con~ fined to their houses and apartments. T he last economic crisis of this magnitude-the Great Depres~ 1 16 1 Landscape Architecture JU NE lOot

sian of the 1930s-led toa newapprec i ~ arion forpubl ic places. 111e recovery progmms ofFranklin Roosevelt's New Deal buile or restOred parks, crails, and recre~ ational faci lities allover the country. 111e American public isscill reaping che ben ~ elits of chese farsighted accomplishments. Ie makes perfect sense to do chis again on an even larger scale, with federal, state, municipal, philallthropic, and community investment in creating wonderful places in every town where people can rub shoulders with one anocher and enjoy themselves. Arrerdecades where peoples' lives have become morepri~ V;Ieized, ehis would spark a welcome cransfonnation of American life. But a g lance at the news in any town or state can instill fears for the fate of public spaces. T he economic crisis has clobbered state and local governments as well as philanthropic institutions, resulting in unprecedented threats to public spaces. In city after city, plans are being drawn to close l i ~ braries, reduce hours ac museums, cue back on park maintenance, shelve community revitalization plans. There are calls to sell off schools, recreational facilities, even aiflXlrts to the highest bidder. T hat's exactly the wrong thing to do right now. People depend on these public assets more than ever. In a crisis like this, we need to strengthen the public realm, not eviscerate it. It路s crucial tha t all of us speak up in favor of public spaces, forcefully pointing out how they represent a prime opportunity to stimulate our economy and paw the way for the better times to come.

j ay \'{IalljaJ{Ier, aI/thor o/The Grear Neighborhood Book, is JCllior fellow at Projert for P"h/ic Spaces. He Iit'e.J ill AI III11&1poIiJ. Reprinted with permission from the Project for PublIC Spaces blog (http://b!ag.ppJ.org), March 2, 2009.

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