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Archive for the ‘HISTORY’ Category

BY TIMOTHY A. SCHULER

In Montreal, a giant, multiyear art installation blends technology and history.

FROM THE JUNE 2017 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

The face appears like an apparition. Ghostly white and mottled by leaves, it floats, disembodied, turning to look at viewers as they walk along the Old Port of Montreal toward the old clock tower, where a 30-foot-high woman floats as if in water. These giant video projections are two of 24 mesmerizing tableaux created as part of Cité Mémoire, conceptualized by the visual artists Michel Lemieux and Victor Pilon and the playwright Michel Marc Bouchard for the 375th anniversary of the founding of the city.

Beginning each night at sundown, the installation tells the story of Montreal through a series of five- to seven-minute vignettes, each of which features an influential (if sometimes obscure) character from the city’s history. The filmed scenes are projected onto buildings, trees, and cobblestone alleyways, and viewers, armed with a mobile app and headphones, make their way through the city, listening to the characters’ thoughts and an original score. (Inspired by Chicago’s Crown Fountain, for which the Spanish artist Jaume Plensa projected the faces of some 1,000 residents onto twin glass block towers, the faces in the trees belong to 375 modern-day Montrealers.)

Developed over five years, the $18 million project debuted in spring 2016. (Funding has come from a variety of government grants and corporate sponsors.) This May, the city unveiled four new stories. Unlike so many video mapping installations, Cité Mémoire eschews frenetic and brightly colored lights and instead treats the often intimate, sometimes harrowing scenes more like “animated murals,” in Lemieux’s words, (more…)

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

CITÉ MÉMOIRE, LEMIEUX PILON 4D ART.

From “Face Time” in the June 2017 issue by Timothy Schuler, about the in situ video art projections that are showing Montreal the hidden faces of its history.

 “Saint City Lights.”

–CHRIS MCGEE, LAM ART DIRECTOR

As always, you can buy this issue of Landscape Architecture Magazine at more than 700 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 battle to document and save old trees that may have once marked Native American trails.

Congratulations to Timothy A. Schuler, editor of LAM’s NOW section and a frequent contributor to the magazine. He is the 2017 recipient of the Forest History Society’s John M. Collier Award for Forest History Journalism, which recognizes excellence in reporting on forest or conservation history. Tim’s winning article, “Searching for a Sign”—about the strangely bent trees once used as trail markers by Native Americans—originally appeared in the November 2016 issue of LAM.

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BY TIMOTHY A. SCHULER

The National Map is a feat of modern-day cartography. It also reveals our country’s shifting priorities.

FROM THE APRIL 2017 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

Lisa Orr, ASLA, was 11 years old when she attended her first West Virginia funeral. Her great-grandmother, Susan Bolyard Summers, had died at the age of 102 and was being buried in the family cemetery, behind a little country church called Mount Zion. Orr’s family drove the hour and a half from Morgantown, in the northern part of the state, to rural Preston County, winding through a tangled warren of hills and hollows and passing a dozen other hilltop cemeteries before reaching their destination.

The trip made a lasting impression on Orr. Preston County was so unlike her life in Morgantown: The landscape was as breathtaking as it was formidable. “It’s hard to explain how rugged the territory is,” she says, speaking from her office at West Virginia University (WVU), where she teaches landscape architecture. “It’s like a mini-Grand Canyon everywhere you go.” It illuminated the hardscrabble life that her great-grandmother had lived, living on foraged chestnuts and whatever else would grow in Preston County’s rocky soil. And it gave Orr her first glimpse into the role these cemeteries played in local people’s lives.

Caring for these places, she learned, was part of many families’ cultural heritage, including her own. “Part of my grandmother’s life was just visiting cemeteries,” she says, (more…)

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BY BRADFORD McKEE

Credit: Courtesy Museum of Walking/Angela Ellsworth.

Postcommodity, Repellent Fence, 2015. Image courtesy Museum of Walking/Angela Ellsworth.

From the upcoming February 2017 issue of Landscape Architecture Magazine.

Instead of a sensible and humane overhaul of the nation’s immigration laws to deal with current realities, we are apparently going to get a wall between the United States and Mexico. It was among the most outlandish promises of the Trump campaign, if only one of its rank xenophobic turns: a gigantic blockade stretching from the Pacific Ocean, through the Sonoran Desert, and down the Rio Grande River to the Gulf of Mexico, with fear as its mortar. During the first week of the new Republican-led Congress, the House Republican Policy Committee chair, Rep. Luke Messer of Indiana, told the Washington Post that legislators are looking for ways to begin work on such a wall under existing law and with American (not Mexican) money. The existing law Messer means is the Secure Fence Act of 2006, signed by President George W. Bush, which called for 700 miles of actual fencing and a “virtual fence” of beefed-up surveillance along the Mexico border. That work remains incomplete. Barriers block less than half of the 1,954 miles of international boundary. Theoretically, a resumption of building could begin to lock it all up later this spring.

The human effects of this simplistic idea will be mixed. A big wall will stop some population flow, but hardly all of it, and it will kill informal cross border commerce. Ecologically, though, it is likely to be a catastrophe. It will fragment habitat on a huge scale in one of the most biologically diverse parts of North America—the Rio Grande Valley in southern Texas alone is said to have (more…)

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A lift behind the scenes helped bring the National Park Service into being.

A lift behind the scenes helped bring the National Park Service into being.

From the April 2016 issue of Landscape Architecture Magazine.

In February 1916, the American Society of Landscape Architects met in Boston for its annual meeting. Among the reports entered into the proceedings was one of the Committee on National Parks. The committee was made up of Frederick Law Olmsted Jr., Harris Reynolds, Stephen Child, Percival Gallagher, and Warren H. Manning, and it had been formed on the recommendation of ASLA President James Sturgis Pray in 1915, part of a groundswell of unease that had been brewing for several years over the fractured administration of the national parks.

The passage of the National Park Service Organic Act on August 25, 1916, established the park service and its mission, and though it has been amended many times, and threatened many more times than that, it remains, 100 years hence, our primary apparatus for preserving and interpreting the national parks. Ethan Carr, FASLA, the landscape historian and author of Wilderness by Design: Landscape Architecture & the National Park Service, writes that (more…)

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

Credit: Sahar Coston-Hardy.

Credit: Sahar Coston-Hardy.

From “Industrial Evolution” by Tom Stoelker, in the August 2016 issue, featuring the National Park Service’s management plan to unite industrial history with natural beauty at the Paterson Great Falls National Historical Park in Paterson, New Jersey.

“A view above and below.”

—Chris McGee, LAM Art Director

As always, you can buy this issue of Landscape Architecture Magazine at more than 700 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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