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As part of an ongoing effort to make content more accessible, LAM will be making select stories available to readers in Spanish.

BY STEPHEN ZACKS

FROM THE SEPTEMBER 2021 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

The state of Virginia has regulated landscape architecture as a profession since 1980, certifying practitioners through its professional occupational agency. In 2010, landscape architecture became a licensed profession in the state.

A few bills attempted to deregulate or lower the level of regulation back to certification, but none of them made it out of legislative committee. Around 2011, Republican then-Governor Robert McDonnell set up a commission to eliminate regulations in general, including of professions such as landscape architecture and interior design. Members of the Virginia chapter of ASLA persuaded the governor to remove landscape architects from the list.

Robert McGinnis, FASLA, an associate principal at Kennon Williams Landscape Studio and a member of the Virginia ASLA chapter’s government affairs committee, says that interior designers and landscape architects get targeted because people don’t know what they do. “They see the word landscape and think we put trees in the ground.” (more…)

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The things our art director, Chris McGee, hated to leave out of the current issue of LAM.

Courtesy Glenstone Museum.

From “Worlds Away” by Glenn Dixon in the September 2021 issue, about PWP Landscape Architecture’s Glenstone museum outside Washington, D.C., where landscapes that shift through the seasons complement monumental sculpture.

“Inside out pond garden.”

–CHRIS MCGEE, LAM ART DIRECTOR

As always, you can buy this issue of Landscape Architecture Magazine at more than 250 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.

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BY KATHARINE LOGAN

FROM THE AUGUST 2021 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

Across the Yukon River from Dawson City, up around 64 degrees latitude, the Top of the World Highway wends its way over 65 miles of unglaciated landscape to the border with Alaska. Unlike the Yukon Territory’s typical highways, which track the river valleys, Top of the World runs along a ridgeline. For hundreds of miles in all directions, travelers look out over forested valleys, subalpine meadows, distant mountain ranges, and spectacular vistas that comprise the traditional lands of the Tr’ondëk Hwëch’in people.

Long before Top of the World was graded and graveled and designated a territorial highway, Tr’ondëk Hwëch’in walked this path on seasonal journeys between the river and the mountains—hunting caribou, harvesting berries and wild rhubarb, gathering for celebrations, telling stories. When gold prospectors began arriving in the late 1890s, the leader of Tr’ondëk Hwëch’in, Chief Isaac, growing concerned for the heritage of his people, entrusted their songs, dances, and gänhäk (dancing stick, a symbol of their culture) to a related branch of the larger Hän nation. Top of the World is the route along which this treasure was taken into the mountains for safekeeping.

More than 3,400 miles to the southeast, the traditional lands of the Saugeen First Nation form part of Ontario’s Mixedwood Plains Ecozone, once temperate deciduous forest, and now the most populous and commercially and industrially productive region in Canada. A three-hour drive from Toronto, at the base of the Bruce Peninsula (where a popular national park protects the region’s last unbroken stand of forest), the Saugeen River flows into the eastern edge of Lake Huron. Upstream of the river mouth, in a 100-acre park on Saugeen First Nation’s reserve, a stone amphitheater and 20 acres of terraced gardens overlook the wide river valley. Built in the 1970s with nearly a million tons of locally quarried limestone, the project, known as the Creator’s Garden, was created as a place to foster understanding between Indigenous and non-Indigenous communities. As a setting for gatherings, ceremonies, music, and theater, the site welcomes thousands of visitors a year. But over the decades, it has fallen into disrepair.

These two landscape interventions—Top of the World and the Creator’s Garden—at different scales and in different bioregions, are each the subject of recent, landscape architect–guided master plans. Through both their substance and processes, these plans illustrate the potential for the profession to help heal the injustice and strife that stem from the colonial history of North America. (more…)

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BY AIDAN ACKERMAN, ASLA

The pros and cons of adopting BIM have oversized impacts on smaller firms.

FROM THE JULY 2021 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

Small landscape architecture firms face a unique set of challenges when deciding whether to adopt Building Information Modeling, also known as BIM.

In this article, we define small firms as those with fewer than 10 employees, including sole practitioners. Each firm we interviewed falls into this category. For a small firm, the decision about whether to adopt BIM is fraught with questions about cost, loss of productive work time, employee training, and even impacts to the firm’s design culture. Few examples of successful BIM implementation in small firms have been documented, contributing to a fear that some of those firms are being left behind as the technology advances. Yet BIM adoption in small design firms is not as uncommon as it may seem. A 2018 survey by ASLA’s Digital Technology Professional Practice Network surveyed 480 ASLA members on their digital technology usage. Of the 27.3 percent of respondents who identified information modeling or BIM as important to their work, more than half were from firms of 10 or fewer employees. Of the 19.8 percent of survey respondents who identified information modeling or BIM as something they were interested in pursuing, more than half were again from firms of 10 or fewer employees. (more…)

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BY KIM O’CONNELL / PHOTOGRAPHY BY SAHAR COSTON-HARDY, AFFILIATE ASLA

Three new landscapes in Washington, D.C., honor the common soldier and fill gaps in the capital city’s memorial narrative.

FROM THE JUNE 2021 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

On the National Mall, it’s unusual to feel as if you’ve stumbled upon a secret, sacred space. The nation’s history is an open book on this great expanse, a story told in granite and marble, if somewhat unevenly, through dozens of memorials to significant events and people. War is the dominant theme, with monuments that speak of large-scale sacrifice in places like the World War II Memorial, the Vietnam Veterans Memorial, and the Korean War Veterans Memorial. Other Washington, D.C., memorials revere larger-than-life figures such as Franklin D. Roosevelt, Martin Luther King Jr., and Dwight D. Eisenhower, the latter being the subject of a massive new Frank Gehry-designed memorial just south of the Mall, one of the most recent to undergo the multiyear, many-layered process of creating public space in the nation’s capital.

So it is somewhat surprising to come across one of D.C.’s newest memorials in a tree-lined grove set in a wetland—and that it is focused on a simple steel circle rising above the earth. Situated just beyond the famous cantilevered roof of the National Museum of the American Indian, this is the National Native American Veterans Memorial, which opened last fall to honor the long and underappreciated tradition of Indigenous military service. Although the memorial shares some traits with others in the capital city, where it’s not uncommon to see elemental shapes and enduring materials used as symbols, it’s part of a new wave of veterans’ memorials that seek to speak as much to the present and future as they do to the past.

Significantly, three recent memorials—the Native American memorial, the American Veterans Disabled for Life Memorial, and the just-opened national World War I Memorial—also have things to say about the role of landscape architecture in elevating the voices of often-forgotten groups of people. They each focus on the common soldier’s experiences while making important civic connections to their surroundings. (more…)

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BY KARL KRAUSE

Designers and advocates reckon with the uneasy history of safety in environmental design.

FROM THE MAY 2021 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

In 1285, King Edward of England issued the Statute of Winchester—a sweeping reform of law enforcement to curb rising crime across the country. To address highway robbery, the statute required a change to the environment: All landowners had to remove “bushes where one could hide with evil intent” within 200 feet of country roads—an early attempt to codify environmental design to improve safety that became the standard practice in English law enforcement for centuries.

The use of environmental design to address safety continues today with Crime Prevention Through Environmental Design, more commonly known as CPTED (pronounced “sep-ted”). Along with calls for police reform and defunding, amplified in the wake of George Floyd’s murder, design activists such as the New Orleans-based Colloqate Design have demanded abolition of CPTED tactics that “criminalize Blackness under the guise of safety” and fail to address the underlying causes of crime. So how has CPTED, meant to replace traditional policing with community policing, come to be seen as oppressive? (more…)

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