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Archive for the ‘HISTORIC LANDSCAPES’ Category

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FOREGROUND   

“I” Is for Information (Tech)
Focus on the building and the model can overlook the many new approaches landscape architects are taking to embedding detailed site information in BIM projects.

FEATURES     

Prairie Primetime
When Mundus Bishop was selected to modernize public access at the Plains Conservation Center, a reserve of remnant Colorado short-grass prairie, the pandemic was still two years out. Social distancing has made the center a destination for nearby Aurora residents, so the design team kept the
focus on the delicate balance between the people and the prairie.

 Roll, Tide
A decade after the Deepwater Horizon explosion killed 11 workers and dumped 134 million gallons of oil into the Gulf of Mexico, the Gulf Coast’s fragile economy and environment have reemerged, thanks to billions of dollars in payouts and federal support. A rebuilt lodge at the region’s leading attraction, Gulf State Park, undergirded by a Sasaki master plan, has come to represent
all that money can and cannot put back.

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 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.

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

Credits: “Prairie Primetime,” Scott Dressel-Martin; “Roll, Tide,” Matthew Arielly; “‘I’ Is for Information,” Lauren Schmidt, ASLA.

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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 JARED BREY

FROM THE NOVEMBER 2021 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

How many things can a river do? The people of the Tennessee Valley have not finished asking.

For 10,000 years the Tennessee River has both sustained human civilizations and attended their demise. One of the biggest rivers in the United States, the Tennessee is also among the most biodiverse, with some 230 species of fish and 100 species of freshwater mussels. In the 18th century, Cherokee, Creek, and Chickasaw tribes flourished in East Tennessee. Later the river was used to expel Indigenous people from the land along the Trail of Tears after the Indian Removal Act of 1830. Its bridges were burned during the Civil War, its soils stripped of nutrients, its banks eroded. After the federal government created the Tennessee Valley Authority (TVA) in the 1930s, the river was asked to do ever more: to stop flooding, first and foremost; to generate electricity for thousands of unlit rural miles; to navigate boats and barges along its U-shaped course; to produce nitrates for war munitions and fertilizer for its depleted soils; to host landscapes of leisure and recreation; to make one of the country’s poorest regions prosper.

Now the Tennessee River is asked to be a park from its source to its mouth. (more…)

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BY BRIAN BARTH

The beer flows freely alongside Asheville’s renewed French Broad River.

FROM THE NOVEMBER 2021 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

On a cool Friday morning back in the spring, I stood on a small pedestrian bridge overlooking a tiny stream that feeds into the French Broad River in Asheville, North Carolina. Native species including cardinal flower, joe-pye weed, trumpet creeper, rhododendron, witch hazel, serviceberry, and river birch cloaked the crystal-clear streamlet, which meandered down a series of stone-lined pools in the ravine below. Less than a decade ago, the water meandered around rusted car bodies, tires, and slabs of concrete that had been tossed there over the years, part of an old, unpermitted landfill that oozed with heavy metals and hydrocarbon pollution. At my side were Paul Mills, ASLA, and David Tuch, who designed the landscape that has brought the place back to life.

As if on cue, a groundhog appeared from a burrow under a boulder they specified. “Snake!” Mills exclaimed a few minutes later, pointing to a serpentine line squiggling through one of the pools. As he and Tuch debated the species, a second, smaller serpent squiggled by after what I presumed was its mother. “It’s a family!” I shouted.

On the flat ground above this BBC wildlife special are intoxicating gardens of native plants surrounding a boozy business: the East Coast headquarters of the New Belgium Brewing Company. Mills’s firm, Russell + Mills Studios, is based in Fort Collins, Colorado, the brewery-laden city where New Belgium was established in 1991. Looking to expand a couple of decades later, the company decided on the Appalachian city of Asheville, which has the second-highest number of breweries per capita in the United States and has been deemed the nation’s “best beer city” by seriouseats.com. (Fort Collins has merely the 11th most breweries per capita.) Russell + Mills, the rare landscape architecture firm with a reputation for designing brewery grounds—they’ve worked on a dozen to date—was hired as the lead designer for the brownfield site. Tuch’s Asheville-based firm, Equinox Environmental, collaborated on plant selection and the design of stormwater management features.

The ravine bisects the 18-acre property—a 400,000-barrel-per-year brewery lies on one side; New Belgium’s Liquid Center, a tasting room and event space, on the other—which opened to the public in 2016. It lies less than a mile from downtown Asheville in the city’s River Arts District, a place of artisans’ studios and riverside parks that have replaced the industrial landscape that once enveloped the French Broad, a long-polluted water body that borders the brewery on one side. New Belgium’s $175 million investment represents a major step toward a riverfront reclamation that has been decades in the making. (more…)

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On the Cover: Students perch on an overlook at the Tennessee River.

“When Stars Align,” by Jared Brey. Thanks to years of work by students and faculty from the University of Tennessee, Knoxville’s School of Landscape Architecture, the 652-mile trail known as the Tennessee RiverLine has grown from a sparky idea to a full-fledged proposal. It is poised to be part of the region’s next era of people-centered infrastructure.

Also in the issue:
Russell + Mills Studios designs a riverfront for New Belgium Brewing Company in Asheville, North Carolina. | Landscape architect Martin Smith’s vision for revitalizing the Arkansas Delta has grown from passion project to a force for change. | Fallen Sky lands at Storm King Art Center. | Knoxville’s storied Loghaven re-emerges as an artists’ haven. | Seferian Design Group finds a material balance along Lake Ontario. | Carbon counting for city services in Reno, Nevada. | The High Line Canal is a vision for a 71-mile irrigation canal that runs along Denver’s eastern edge. | Goods features new exhibitors at ASLA’s EXPO in Nashville. | Three designers from SCAPE Studio reflect on Hurricane Ida. | A review of Site Matters: Strategies for Uncertainty Through Planning and Design, edited by Andrea Kahn and Carol J. Burns. | Seeking a way to translate wildfire risk in Lake Tahoe, a landscape artist lets the trees talk. 

 

Online this month from the November issue:

“Better Edges for Eels” by Timothy A. Schuler on November 2. On a living shoreline in Ontario, Canada, Seferian Design Group is designing to counteract erosion and provide a habitat for endangered species.

“Home Brewed” by Brian Barth on November 11. A connection with New Belgium Brewing Company led to a chance for Russell + Mills Studios to design the landscape for a brewery in Asheville, North Carolina.

“When Stars Align” by Jared Brey on November 18. A student project to connect people and public lands along a 652-mile river trail gathers steam. English and Spanish.

“High Profile” by Haniya Rae on November 30. The transformation of an irrigation canal east of Denver shows off the region’s diversity.

The full table of contents for November can be found here.

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.

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

Credits: Cover, photo by Tennessee River Studio; “The Bridge Builder,” Timothy Hursley; “When Stars Align,” Tennessee River Studio; “Home Brewed,” Mark Herboth Photography, LLC; “High Profile,” Evan Anderman.

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BY ZACH MORTICE

Julie Bargmann and her Core City Park in Detroit. Left photo courtesy Barrett Doherty, The Cultural Landscape Foundation; right photo courtesy Prince Concepts and The Cultural Landscape Foundation.

Julie Bargmann Awarded Oberlander Prize

 

Julie Bargmann is the first recipient of the Cornelia Hahn Oberlander International Landscape Architecture Prize, established by the Cultural Landscape Foundation.

Known for the many students who cite her as an influence as much as for her work as the founder of D.I.R.T. (Dump It Right There) Studio, Bargmann is revered for remediating polluted and neglected postindustrial sites with designs that celebrate infrastructural refinement and industrial power. A master at regenerating degraded land without erasing its history, Bargmann reveals layers of strata and ruin, but also layers of narrative, granting her projects strength, performance, and a kind of raw beauty.

According to the Oberlander Prize jury, Bargmann “has been a provocateur, a critical practitioner, and a public intellectual. She embodies the kind of activism required of landscape architects in an era of severe environmental challenges and persistent social inequities.” (more…)

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

Image by Anjelica S. Gallegos.

From “Reappearing Act” by Jonathan Lerner in the September 2021 issue, about Anjelica Gallegos’s plan to revive a memorial for Indigenous people on the shores of Staten Island.

“Long forgotten, now remembered.”

–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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