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Archive for the ‘HISTORIC LANDSCAPES’ Category

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

Photo courtesy Brook McIlroy.

From “Paths Forward” by Katharine Logan in the August 2021 issue, about how landscape architects are working closely with First Nations communities in Canada to reconcile its ruthless history of colonization.

“Indigenous medicinal plants on display.”

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

Image courtesy Cameron Gillie Photography.

From “Piece by Piece” by Dawn Reiss in the August 2021 issue, about the Ice Age National Scenic Trail’s glacial formation across Wisconsin.

“Woodland boardwalk in the Plover River segment of the Ice Age Trail.”

–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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This slideshow requires JavaScript.

FOREGROUND

Piece by Piece (Planning)
Wisconsin’s Ice Age National Scenic Trail is a glorious homage to the state’s geology and conservation history. So why is it so hard to get it finished?  

The Outside Track (Interview)
For minority students on the path to the profession, exceptional persistence and mentors are
as important as design skills.

FEATURES

Paths Forward
The Canadian landscape is shaped by histories and losses of Indigenous peoples, which the government is only beginning to confront. Landscape architects at NVision and Brook McIlroy steward two master-planning efforts meant to embody the principles of reconciliation in action.

Time Goes By
Biel, Switzerland, was once a center of Swiss time makers; today it’s a multicultural city with a new urban magnet by Fontana Landschaftsarchitektur. Schüssinsel Park entwines a constructed,
flood-controlling island with elements designed to be wild.

The full table of contents for August 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 August articles as the month rolls out.

Credits: “Paths Forward,” Government of Yukon; “Time Goes By,” Switzerland Tourism; “Piece by Piece,” Cameron Gillie; “The Outside Track,” Dawson Photography.

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BY ZACH MORTICE

Nantucket Island, where impending sea-level rise hasn’t done much to slow the real estate market. Photo by Maggie Janik.

In the face of likely climate retreat, student design studios explore ways to improve Nantucket’s coastal resilience.

 

On Nantucket Island off the coast of Massachusetts, half of the 10 highest-ever tides arrived in 2018 alone, and flooding is a constant worry that imperils the tourist economy and historic buildings. “But that has not slowed down the real estate market,” says Cecil Barron Jensen, the executive director of the local nonprofit ReMain Nantucket. It’s been a “banner, record year” for buying and selling houses, she says. The average home price in Nantucket is nearly $1.8 million, according to Zillow, up almost 10 percent over the past year.

Real estate brokers on the island, Jensen says, talk about the flooding in terms of timelines. “How long do you want to enjoy this house? You can enjoy this house for this long,” she says. Even for the rich, the good life on Nantucket is becoming a finite commodity, as the dissonance between the hearty trade in beachfront views and climate cataclysm becomes harder to ignore.

Finding ways for Nantucket to coexist with rising floodwaters is the purpose of the Envision Resilience Nantucket Challenge, an initiative by Jensen’s ReMain Nantucket to bring aboard teams of design students in a collaborative design studio to propose solutions. Overall, these propositions, on exhibition at the Nantucket Historical Association’s Thomas Macy Warehouse through December, are focused on soft edges, careful retreats, and ways to get habitats, native ecologies, and people to mix and mingle with water productively. Students from five design programs (Yale, Harvard, the University of Miami, the University of Florida, and Northeastern University) presented their work—all produced remotely—to the Nantucket community in early June. (more…)

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