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Archive for the ‘PRESERVATION’ Category

Courtesy of Portland Parks & Recreation

Lovejoy Fountain, Courtesy Portland Parks & Recreation

The Portland Open Space Sequence, completed between 1966 and 1970, includes two of the most famous landscapes of the modern era—Lovejoy Plaza and the Ira Keller Fountain. At both sites, Lawrence Halprin & Associates designed fountains that abstract natural gorges in concrete and invite people to play in them.  Recently, these spaces, a smaller fountain known as The Source, the grass-covered hillocks of Pettygrove Park, and all the pedestrian malls connecting them were named to the National Register of Historic Places. You can read more about the nomination here.

The landscapes join a very small group of modernist landscapes listed on the register. Peavey Plaza by M. Paul Friedberg, FASLA, and Gas Works Park by Richard Haag, FASLA, joined the register in January, though plans are still afoot to demolish Peavey. The Portland spaces have received much more support locally. The Halprin Landscape Conservancy was founded in 2001 to contribute to their care, and Portland’s City Council affirmed its support for the spaces’ registration last June.

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LAM-Jan2013_Back-LongViewReflect

The reflecting pool at Boston’s Christian Science Plaza/ Photo by Alan Ward

From the January 2013 issue of LAM:

By Gary Hilderbrand, FASLA

Each generation makes and remakes the city, through grand schemes and incremental acts. As they alter the city’s streets and public spaces, our mayors, developers, institutions, planners, architects, engineers, and landscape architects reimagine the texture and shape of urban life. Aldo Rossi suggests, in The Architecture of the City (1966), that the city is built on the collective memory of events and impulses, achievements and artifacts, and forces of evolutionary change; its cultural ethos accrues through alteration and the passage of time. Would anyone not endorse Boston as a consummate example?

People love Boston’s coherent, identifiable character, one that evolved over four centuries as it has grown from a coastal village to a thriving metropolis. It’s a city rich in cultural assets—America’s Athens. Its iconic spaces have by necessity adapted to changing contexts: the practical simplicity of the Common, which supports varied forms of public life today as it did in 1620; the pattern of crooked colonial streets, which keeps travel downtown confusing to visitors but picturesquely varied and pleasing; the elegant hierarchies and radical urban reform expressed in the planning of the Back Bay and Olmsted’s Emerald Necklace, which have proved resilient in the face of massive change; the inspired and majestic rock pile of H. H. Richardson’s Trinity Church, somehow even more compelling alongside the prismatic marvel of Harry Cobb’s John Hancock Tower. We can all identify other notable Boston treasures and how they’ve been altered in the face of new realities.

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At the end of the month, the state of New Jersey plans to demolish a site-specific artwork, Green Acres, by the artist Athena Tacha. The piece, which is 77 feet by 85 feet and was completed in 1985, occupies a courtyard at the state’s Department of Environmental Protection. The Cultural Landscape Foundation calls it an important example of “site-specific architectural sculpture” and  is on the case to save it.

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From the June 2012 issue of LAM:

Rian K. Long

By Elizabeth S. Padjen

Brick, beans, and cod—you know we’re talking about Boston. But nobody bakes beans anymore, and the feds have clamped down on cod fishing. Now, even brick is under siege. In the country’s most famous walking city, the dominance of the venerable paving material has been challenged by the decidedly more pedestrian concrete and asphalt.

Leading the attack on brick sidewalks is the city’s Commission for Persons with Disabilities (CPD), which believes that clay pavers do not—and, perhaps more important, cannot—meet the guidelines established by the state’s access code and the Americans with Disabilities Act (ADA). Both codes require continuous smooth walking surfaces with no variations greater than a quarter of an inch. Although brick sidewalks are blamed for tripping hazards and obstacles to canes used by the blind, the most frequently cited concern is wheelchair vibration—a sensation similar to the buh-bump, buh-bump rhythm familiar to anyone who has ever pulled a wheeled suitcase over uneven pavers or driven over cobblestone.

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