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Archive for the ‘LAM MAGAZINE’ Category

BY CONSTANCE CASEY

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The opposum is the only marsupial native to North America.

From the January 2015 issue of Landscape Architecture Magazine.

Opossums, animals that can eat almost anything, are increasingly joining their fellow omnivores at the suburban garbage can buffet. Opossums are shy, shambling creatures—the opposite of aggressive—but an opossum on its nocturnal foraging rounds often elicits a scream of disgust or fear. People tend to see them as ugly and vicious because their tails are bare and their narrow snouts are full of sharp teeth.

An opossum’s tail is ratlike, bald, and scaly. But to think of them as large rats or naked-tailed squirrels is wrong. Opossums, commonly known as possums, are not rodents; they are marsupials. The fact is that they’re North America’s only pouch-bearing animals. (Marsupium is “pouch” in Latin.) The world’s most famous marsupials, kangaroos and koalas, are Australian and cute. (Possums Down Under are in a different family, the Phalangeridae, and have appealing, furry tails.)

The western hemisphere has about 100 opossum species, all in the family Didelphidae. Of these, only one, the Virginia opossum (Didelphis virginiana), lives in North America. When the land bridge linking South and North America formed three million years ago, some opossums trudged north. By the 1600s the creature that would be the Virginia opossum had traveled up to the Virginia colony. There, Captain John Smith of Jamestown observed, “an opassum hath an head like a Swine and a taile like a Rat….” (He derived the name “opassum” from an Algonquin word.) Smith correctly observed that the animal carried its young in a pouch.

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Credit: Pier55, Inc./Heatherwick Studio

Some argue the funding for the Hudson River Park could be put to better use elsewhere in the city.

Barry Diller is a billionaire who has committed to underwriting the lion’s share of a $130 million plan for the construction of Pier 55, a 2.7-acre island of undulating parkland and performance venues that would rest atop mushroom-shaped pilings in New York City’s Hudson River Park.

The city’s power brokers have enthusiastically endorsed the proposal, which also includes a 20-year lease under which Pier55, Inc., a nonprofit Diller founded with his wife, the designer Diane von Furstenberg, would pay for the pier’s upkeep and oversee its programming. And quite possibly, the Pier 55 project would help bail out the chronically cash-strapped Hudson River Park Trust, the quasi-public entity charged with running Hudson River Park and raising funds for its maintenance.

However, at a community meeting last week in Manhattan’s West Village neighborhood, which abuts Hudson River Park, many residents had a host of concerns about the Pier 55 project. They questioned its futuristic aesthetic, its environmental impacts, and its contribution to the larger public realm. They also questioned whether their input would be considered during the design process and what trade-offs the Hudson River Park Trust was making in exchange for accepting what reportedly is the single largest private donation to a public park in the city’s history.

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BY JONATHAN LERNER

The Museum of Modern Art wonders whether unsanctioned, light-footprint design gestures can humanize the world’s megacities.

From the January 2015 issue of Landscape Architecture Magazine.

In exploding cities around the world, ever-increasing populations of the poor find themselves occupying dense makeshift settlements, or dangerously subdivided apartments, or massive, isolating housing estates. Official planning and development mechanisms seem unable to cope as cities expand in ways that are disorderly, unpredictable, and resistant to the provision of infrastructure and services. Can design solutions redress the imbalance of wealth and poverty that underlies this? Can city dwellers themselves transform dysfunctional places into communities with livable futures? Can an art museum help solve this global problem? These are questions posed by Uneven Growth: Tactical Urbanisms for Expanding Megacities, an exhibition at the Museum of Modern Art (MOMA).

Uneven Growth is the third effort in MOMA’s Issues in Contemporary Architecture series. The first was Rising Currents: Projects for New York’s Waterfront, in 2010. It elicited concepts for responding to sea-level rise and climate change two years before Hurricane Sandy’s piercing alarm, and some of those ideas have been incorporated into projects now moving toward construction in metropolitan New York. In 2012, Foreclosed: Rehousing the American Dream imagined restorative strategies for six representative American suburbs following the mortgage debacle. These concepts turned out to be more and less radical, but all were more or less doable. In the current exhibition’s catalog, Barry Bergdoll, a former head of MOMA’s Department of Architecture and Design (and still a part-time curator there), describes the series as “laboratorial,” intended to formulate and show “experimental results that do not yet exist.” In that spirit, Uneven Growth paired design firms with local knowledge together with others that have international experience on teams asked to work up speculative proposals for six cities: Lagos, Nigeria; Rio de Janeiro; Istanbul; Hong Kong; Mumbai, India; and New York. They were asked to address their city’s situations via tactical urbanism: to consider what could be effected by citizens themselves; to incorporate the cultures of improvisation that overcrowded cities naturally elicit; and to devise interventions that could be made lightly and with limited resources.

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The new Nature Gardens at the Natural History Museum of Los Angeles County by Mia Lehrer + Associates provides habitat for the city’s surprisingly diverse wildlife and brings the museum’s research outside; Gweneth Leigh, ASLA, compares the dull and outdated playgrounds of the past to two challenging, yet exciting, Australian playgrounds by Taylor Cullity Lethlean and James Mather Delaney Design; and Lauren Mandel, Associate ASLA, looks at how research at the Chicago Botanic Garden roof gardens by  Oehme, van Sweden Landscape Architecture are designed to provide hard data on suitable plants and soil depths.

In our departments, Now highlights Louisiana’s wildlife management areas, Dirk Sijmons’s studies of energy and landscape, and a new program that puts chief resilience officers in cities; Water takes a look at the Miami Conservancy District in Ohio; Practice features an unusual partnership between a salt merchant and the firm Landing Studio; and in The Back Jonathan Lerner wonders if MOMA’s exhibit, Urban Growth: Tactical Urbanisms for Expanding Megacities, is as tactically urban as it aims to be. All this plus our regular Species, Goods, and Books columns. The full table of contents for January can be found here.

As always, you can buy this issue of Landscape Architecture Magazine at more than 200 bookstores, including many university stores and independents, as well as at Barnes & Noble. You can also buy single digital issues for only $5.25 at Zinio or order single copies of the print issue from ASLA. Annual subscriptions for LAM are a thrifty $59 for print and $44.25 for digital. Our subscription page has more information on subscription options.

Keep an eye out here on the blog, on the LAM Facebook page, and on our Twitter feed (@landarchmag), as we’ll be ungating  January articles as the month rolls out.

Credits: “So Cal,” Luke Gibson Photography, Courtesy Mia Lehrer + Associates; “No, No, You Go First,” Brett Boardman; “This Is a Test,” Robin Carlson/Courtesy Oehme, Van Sweden; “A Plan to Plan?” Louisiana Department of Wildlife and Fisheries/The Conservation Fund; “Dry on a Good Day,” Courtesy Miami Conservancy District; “Strange Companions,” Courtesy Landing Studio; “Growing Pains,” Courtesy NLÉ and Zoohaus/Inteligencias Colectivas.

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Every year since 2008 at the ASLA Annual Meeting and EXPO, we’ve hosted the Landscape Architecture Magazine Advertising Awards, aka the LAMMYs, to honor our top advertisers from the past year. It’s a competition juried by a group of landscape architects who are also specifiers, and it’s open to any advertiser who bought at least one full-page advertisement or more in the magazine during the previous year. The award categories are Best Graphic Quality, Best Message, and Most Persuasive, as well as Advertisement of the Year. There is also the  Advertising Hall of Fame, for companies whose work has been consistently strong. This year, there were more than 400 advertisers eligible for the LAMMYs.

The 2014 jury included Scott L. Howard, ASLA, of Howard-Fairbairn Site Design; Margot Jacobs, Associate ASLA, of Mia Lehrer + Associates; Jennifer Nitzky, ASLA, of Robert A. M. Stern Architects; Michael Skowlund, ASLA, of Hoerr Schaudt Landscape Architects; Joshua T. Tiller, ASLA, of J. K. Tiller Associates; Jeffrey A. Townsend, ASLA, of Jacobs; and James J. Wolterman, FASLA, of SWT Design.

Best Graphic Quality  was awarded to Concreteworks, Fermob, Knoll, and Maglin.

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Best Message was awarded to 3Form, Belgard by Oldcastle, DCS/Fisher & Paykel, and Sunbrella/GlenRaven.

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Most Persuasive was awarded to Berliner Seilfabrik, Columbia Green, GOALZERO/Street Charge, and Spring Meadow/Proven Winners.

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The Advertisement of the Year Award went to Victor Stanley, who was also the third advertiser since 2012 inducted into the Advertising Hall of Fame.

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Congratulations to all of the 2014 LAMMY winners! You can check out the previous winners for 2013 and 2012 as well.

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Don't think of the city as postapocalyptic. Think of it as pre-urban.  Credit: Detroit Future City

Don’t think of the city as post-apocalyptic. Think of it as pre-urban. Credit: Detroit Future City

From the November 2014 issue of Landscape Architecture Magazine.

Erin Kelly, Associate ASLA, was giving me the side eye. We were sitting in a Salvadorean restaurant on Livernois, wolfing down hot food after a bleak circular tour of blighted neighborhoods that ring Detroit’s revitalizing downtown core. I had been talking about DesignInquiry, the group of designers I’d come to town with to check out the city and try to understand what design’s role might be here. Kelly thinks she’s seen quite enough of our type in the short time she’s been working in Detroit: parachuting in from thriving cities, Instagramming ruin-porn pictures shot from the safety of rental cars, and hopping back on the plane after a few days.

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BY JOHN KING

Tom Fox/SWA Group

Credit: Tom Fox, SWA Group

William Byrd Callaway, an ASLA Fellow and 2007 recipient of the ASLA Medal, died on November 24, 2014, in San Francisco after a brief fight with cancer. He was 71.

During his career, the burly but genial man known as Bill to colleagues and clients excelled both as a designer and as an executive. In the former role he crafted everything from corporate campuses and community parks to private estates. In the latter, he spent his entire career at what now is SWA Group in a procession of positions that included president, chief executive officer, and chairman.

Raised on his family’s ranch near the state capital of Sacramento in California’s Central Valley, Bill graduated from the University of California, Berkeley, with a bachelor’s degree in landscape architecture in 1966. Then, after a six-month stint in the U.S. Marine Corps reserve, he joined what at the time was Sasaki, Walker, and Associates. He left to earn a master’s degree at Harvard University’s Graduate School of Design, but returned to SWA in 1971 and didn’t budge after that.

During his career, Bill took a lead role in such projects as the expressive plazas outside the Philip Johnson-designed towers at PPG Place in Pittsburgh and 101 California Street in San Francisco, the low-key Shoreline Regional Park in Palo Alto, and the master plan for the vast Beijing Finance Center. On the business side, he helped steer SWA’s expansion to what is now a firm with 230 employees and offices in China and the United Arab Emirates, as well as six cities in the United States. The firm received ASLA’s Landscape Architecture Firm Award in 2005, while Bill was CEO.

Two years later, Bill was awarded the ASLA Medal for, among other things, inspiring fellow designers “to retain an idealistic view of the profession and the world.” He remained a principal and board member at the time of his death.

What coworkers remember is a leader who was also a colleague—comfortable with, and respectful of, everyone from major clients to entry-level employees.

“Bill was a unique individual for a group practice. He set a tone that allowed young designers to come into their own,” said John Wong, FASLA, who worked alongside Bill for decades at the firm’s home office in Sausalito and who is now SWA’s chairman. “He had a way of providing leadership without being heavy-handed, and people respected that.”

John King, Honorary ASLA, is the urban design critic for the San Francisco Chronicle.

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