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Photo by Jane Hutton

By Jane Hutton

“This John Chipman bench was planted 500 years before Columbus sailed for America,” reads a Landscape Forms ad from a 1973 issue of this magazine. The familiar slatted bench is shown towering over a forest canopy. Its base is anchored to a colossal redwood stump. “When you have a site furnishing job to do, think about Chipman in 1,000-year-old redwood,” the ad says. “Even if your benches only have to last another 100 years.”

Old-growth redwoods yield beautiful, warm-toned lumber with a straight grain. The wood is low in resins and rich in polyphenols, which makes it both fire resistant and impenetrable to fungi and insects. Because of these desirable traits and the wood’s wide availability in the midcentury, modernist landscape architects in California used it extensively. Thomas Church even acted as a spokesman for the California Redwood Association in a 1956 ad, calling redwood one of his “most versatile materials.”

By the 1980s, landscape architects’ enthusiasm for old-growth redwood had waned. Harvest rates plummeted because of the near decimation of populations, and many of the remaining stands were incorporated into parks and preserves. As the use of old-growth redwood declined, other materials appeared on the market: second-growth redwood, chemically treated softwoods, and tropical hardwoods. When the redwood decking of Church’s Fay Garden in San Francisco was restored in 2006, it was replaced with a tropical hardwood called ipe (see “Degrees of Preservation,” LAM, January 2009).

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Margie Ruddick is the recipient of the 2013 National Design Award in landscape architecture given by the Cooper-Hewitt, National Design Museum. Ruddick, whose namesake firm is based in Philadelphia, has become known for big urban and ecological projects such as Queens Plaza in New York (with WRT), the Shillim Institute and Retreat in Maharashtra, India, and the Living Water Park in Chengdu, China. The installation of Ruddick’s Urban Garden Room in the Bank of America building in Manhattan can be seen in the time-lapse video below. The project was a collaboration with her mother, Dorothy Ruddick, who died in 2010. (A gallery of Ruddick’s projects can be found here.)

Closer to home, a couple of years ago, Ruddick’s neighbors in Philadelphia thought she was a farmer of noxious weeds. As a hilarious story by Anne Raver reports, Ruddick received a summons from the city and went to court to tell a judge that she knew exactly what she was doing. The judge tossed the summons.

For lifetime achievement, the Cooper-Hewitt is honoring the great James Wines. Wines founded his multidisciplinary studio, SITE, in New York in 1970, and was far ahead of most architects and designers in pushing the importance of the environment and the landscape. Some of you may remember Wines’s apocalyptic designs for the Best retail chain. If you’ve ever been to the Shake Shack in Madison Square Park in New York, that’s his design, too. But there is much, much more.

Web.James Wines

James Wines

Wines.Best

A BEST retail store by SITE.

The architect and critic Michael Sorkin is receiving a National Design Award for “Design Mind,” which few followers of his agitations over the years will question. Studio Gang Architects in Chicago wins the award for architecture; Aidlin Darling Design is the winner for interior design; and Paula Scher, of Pentagram, wins for communication design. The full list of winners can be found here.

The Florida Capitol Complex. Photo courtesy urbantallahassee via Wikimedia Commons

The Florida Capitol Complex. Photo courtesy urbantallahassee via Wikimedia Commons

In the past few years, Florida has become a bit of a minefield for design professionals. Landscape architects, architects, engineers, and others have been exposed to an unusual level of potential personal liability, compared to colleagues in most other states, if the firms they work for are sued. But a new law, signed by the governor, Rick Scott, in late April, will bring Florida in line with the majority and give individual designers a greater degree of protection from litigation.

The law (Section 558.0035, Florida Statutes) was a response to court decisions that expanded clients’ ability to sue design professionals for economic damages. Until it takes effect on July 1, only firms–not individual professionals–can protect themselves with limitation of liability provisions (sometimes called “LOL clauses”) in contracts.

In Moransais v. Heathman, in 1999, the Florida Supreme Court allowed a homebuyer to sue the engineers who allegedly failed to identify defects in the building, even though the engineers were not personally named in the contract between the buyer and the firm they worked for. And in Witt v. La Gorce Country Club, in 2010, a state appellate court said that a limitation of liability clause in a contract between the country club and a geology firm hired to design and build a reverse osmosis water treatment system didn’t limit damages for the firm’s owner himself in a negligence lawsuit.

The new Florida law extends limitation of liability provisions to individuals if those provisions are written in the specific way it prescribes (it even requires that part of the provision be in all capital letters and an extra-large font size). It will not apply retroactively, so contracts negotiated before July 1 could still cause liability problems for professionals.

An analysis on the website of law firm of Smith, Currie, and Hancock predicts that the new law will mostly affect owners and contractors who lose money in situations such as construction delays caused by a design professional’s negligence. It doesn’t affect lawsuits for personal injury or property damage.

The extent to which design professionals and firms can limit their liability through contracts varies from state to state. Most states allow some enforcement of limitation of liability provisions, and recent litigation has tended to favor enforcement. But in other states, laws or policies designed to prohibit the transfer of risk and liability make it hard or impossible to enforce them in court.

Even in states where the provisions are enforceable, their effectiveness depends on exactly what the state law requires and exactly what the contract says.

“What Florida teaches us is that every design professional should take a close look at the situation with his or her state law, see what protection is available, and make sure contracts include any ‘magic words’ the law or regulation requires,” Stuart Kaplow, a real estate and construction attorney, told me.

And because state laws can change fast, it’s smart for chapters of professional groups to keep a close eye on the issue. In this case, Jonathan Haigh, ASLA, the Florida Chapter ASLA’s government affairs chair, told me that the chapter worked to make sure that landscape architects were treated with parity and that there were no attempts to exclude landscape architects or otherwise restrict the scope of practice for the profession.

PA-239-02This column appears in the May 2013 issue of LAM.

In the interest of public health, this issue should probably carry an antihistamine with it. Our feature stories this month all involve residential landscape architecture projects, wonderful projects, each quite different and with its peculiar challenges and virtues. But the thought of designing gardens around the places people actually live, categorically, seems to cause itching, swelling, and citations of Thorstein Veblen among some landscape architects. I have witnessed this reaction more times than I can recall, though in each case, I am glad to report, the victim has fairly quickly resumed his or her normal activities.

There is a charming fiction in the design world that private work, especially residential work, and especially residential work for anyone living at or above 200 percent of the poverty line, is decadent and unworthy of professional regard. The parallel belief is that all public work is good and righteous for designers to do, and about that there is little doubt, though the case is oversimplified. Ask anyone who’s done public work.

Private work and public work are like fresh pasta and dried pasta, as Gillian Riley has it in the Oxford Companion to Italian Food. One is not better than the other. They are different. Because private clients are often rich, they tend to be open to new ideas, artistic, ecological, or otherwise (they can also drive you crazy). Surely most of us are with Daniel Libeskind in his recent pronouncement that you should not build gleaming streets for despots. But let’s not get ahead of ourselves. It is perfectly okay to do design work for someone who on their own has made something happen without harm to anyone and has made money as a result. There is a no-fly zone over much of Wall Street, direct mail entrepreneurs, and a certain evil Australian media magnate, but a designer has to use the sixth sense to figure out just who the client is.

Nearly 80 percent of private firms run by ASLA members offer residential design services. This work makes up more than one-third of private sector billable hours. It is far and away the largest market subsector. The domestic front, particularly designing for what you might call the permanently rich, brought a lot of firms through the recession. Many of the landscape architects who do both private and public work will tell you that in their offices the private work pays for the public work. The public work, high-minded as it is, often pays low margins and it increases the number of clients from a couple to a couple of hundred or more. Residential projects are where a lot of designers try the novel things that, if they work, make their public projects better. Still, some designers recoil at the thought of something they consider too close to housework. There’s a T-shirt for sale online by the Landscape Architects Network that says, “I’m a landscape architect and I won’t design your garden.” Good for a laugh, I guess, but not great for business. You may have heard the sentiment elsewhere and noted the need for heroics it carries—besides, who does not love gardens?—and the obliviousness to how the economics of this profession play out in reality.

photoThe Philadelphia Convention Center is packed with people attending Lightfair 2013, checking out what’s new in lighting. LEDs blaze coolly on every aisle, and crowds pack the booths. Fulham Lighting Solutions (Booth #2701) is catching attention with its artful trees composed of light fixtures (the artist Chris Bell created the example pictured at left). The company Xeralux has renamed itself Sensity and is debuting its new NetSense platform, which uses sensors and a WiFi network within light products to collect and transmit data. In a parking lot, for example, NetSense can detect empty spaces and direct drivers to them. It can also incorporate security cameras to monitor the space without having a separate system. If you’re in Philly, check it out at Booth #3869. The Expo is open until 6:00 p.m. today and from 9:00 a.m. to 3:00 p.m. tomorrow.

All images courtesy STOSS landscape urbanism

All images courtesy STOSS landscape urbanism

A playful proposal by STOSS landscape urbanism with Höweler + Yoon Architecture, Nitsch Engineering, and Angie Cradock ScD, MPE has won the Movement on Main competition to reimagine Wyoming Street in Syracuse, New York. The competition, funded by the Educational Foundation of America, challenged participants to reimagine the five-block-long street in a way that will promote human and environmental health and spark new development within the neighborhood, while being sensitive to residents and businesses already there. STOSS’s scheme was chosen by a group that included people in the community, architecture faculty from Syracuse University, public health experts, and Richard Weller, the new chair of landscape architecture at the University of Pennsylvania. I caught up with Chris Reed, the founding principal of STOSS, this morning to find out more about the competition and his firm’s winning scheme. The interview has been condensed and edited. Continue Reading »

DSBFor Pete’s sake, what year is this? Denise Scott Brown and her fans are still having to make the case for her being included with her husband, Robert Venturi, on the Pritzker Architecture Prize he received in 1991 for work they indisputably did together? The Pritzker snub of Scott Brown has for years been a source of shame in the architecture family. It just came back to light after a comment Scott Brown made to the Architects’ Journal last month about the exclusion. They asked, and she answered. Then came a wave of fresh outrage. You can get the whole background as part of a terrific new interview with Scott Brown on Architect magazine’s website. You can also visit the petition posted on Change.org to the Pritzker Architecture Prize committee to redress the omission of Scott Brown. There are more than 4,000 signatures so far. There are angry, incredulous comments, and some with a weight well beyond their word count, such as one from Carolyn MacMullen in North Cape May, New Jersey: “As an Urban Planner in the 1970s, I lived that culture, becoming the first female in an AEP firm.”

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