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Archive for the ‘HISTORY’ Category

REVIEWED BY JUSTIN PARSCHER 

FROM THE NOVEMBER 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

In their continual search for respect, recognition, and equal pay, landscape architects find themselves in a quandary. On one hand, they understand that credit attaches itself to authors, masters with distinct visions and styles, and are forever writing letters to the editor to assert that the city didn’t do it—the landscape architect did. They celebrate acting as project leads, not only because it validates their way of working, but because the project lead can safely be given final credit. However, having toiled so long in subsidiary roles, landscape architects are also mindful of the networks of expertise that actually form ambitious designs, particularly in the public realm. A chain of public officials, architects, structural and civil engineers, ecologists, lighting designers, and community members all contribute to the shape of the place, which is naturally also conditioned by social and environmental realities on the ground.

The urban historian Alison Isenberg’s Designing San Francisco is, among its many other virtues, a vital text for helping landscape architects think through this dilemma. Isenberg’s book focuses on (more…)

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It’s the first of November, which means the latest issue of LAM is here! You’ll find these stories inside:

FOREGROUND

Lighting from the Inside Out (Lighting)
With the rising popularity of outdoor living comes a shining new crop of luminaires.

The Last Ash Standing (Plants)
The emerald ash borer beetle isn’t too fond of boring into the blue ash. If scientists can find out why, they may be able to save more trees.

Timing Is Everything (Construction)
Landscape installation should be driven by weather and nature, not financial models—but climate change is making best planting times unpredictable.

FEATURES

The River Beneath the River
After decades of neglect, the Anacostia River— Washington, D.C.’s lesser-known waterway—is poised at the edge of a hard-won environmental recovery. But where will it flow from there?

Upstream D.C.
Upland from Washington, D.C.’s two rivers, the city is planning major investments
in rain-soaking infrastructure.

Found in Translation
In Seattle, MIG | SvR and Turenscape’s Hing Hay Park provides a place to gather—with a
lively nod toward the Asian Pacific American experience.

All this plus the regular Now and Goods columns. 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 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.

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: “Found in Translation,” Miranda Estes Photography; “The River Beneath the River,” Krista Schlyer; “Upstream DC,” Rhodeside & Harwell; “The Last Ash Standing,” Christopher Asaro, Virginia Department of Forestry, Bugwood.org; “Lighting from the Inside Out,” Courtesy Rondo; “Timing Is Everything,” Siteworks. 

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REVIEWED BY KOFI BOONE, ASLA

FROM THE OCTOBER 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

With more than 15 million views, the Nigerian novelist Chimamanda Adichie’s groundbreaking TED Talk “The Danger of a Single Story” is likely the most viewed treatise on the consequences of making one story the story of the African continent. With surgical precision, Adichie reveals the lasting consequences of perpetuating Africa and Africans as only victims suffering from famine and war, or only the exotic backdrop for experiencing “charismatic nature.” But in the end, her most devastating criticism of the single story is embodied in her quote of the Palestinian poet Mourid Barghouti, “If you want to dispossess a people, the simplest way to do it is to tell their story and to start with ‘secondly.’” Illustrating her point, Adichie asks facetiously what we would think if the story began with a “failed” African state instead of with European colonialism.

The issue of starting with “secondly” is present in cultural landscape study of the continent of Africa. The spirit of Adichie’s and Barghouti’s arguments resonates in the pages of Cultural Landscape Heritage in Sub-Saharan Africa, edited by John Beardsley. The volume collects essays delivered at a symposium held at Dumbarton Oaks in 2013 and reflects an important first step in laying the foundation for future exploration. Through a wide array of disciplinary lenses, geographic locations, and time periods, Beardsley’s work eschews deriving a single conclusion about what is “African” and instead reveals the wealth of issues and opportunities with engaging the many cultures of a continent. The avoidance of narrowing and bridging the divergent voices contained within the book is challenging and perhaps belies the fact that this is one of the first mainstream publications on this topic. Given the lack of similar texts, there could be a tendency to attempt to be singular and definitive. However, borrowing from one of the book’s many themes, the result is a contribution to the “continuity” of a conversation about the lives and practices that have shaped meaningful place in Africa, a continent still invisible to the profession of landscape architecture. (more…)

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BY ZACH MORTICE

Alfred Caldwell. Image courtesy Deborah and Richard Polansky.

“The house is not a machine for living—it is the man’s sense of himself,” Alfred Caldwell once said. And in designing his own home and farm compound in rural Wisconsin, Caldwell forged a bridge between Jens Jensen’s Prairie style and International style modernism, an intersection of design currents that never solidified as much as its forebears. His most cherished project might be Chicago’s Alfred Caldwell Lily Pool, where whorls of meandering paths orbit and shield views around a pond and an earthy, horizontal pavilion. But he was also one of the first American faculty members hired by Mies van der Rohe at the Illinois Institute of Technology (IIT), and his lush landscape at the architect’s austere Lafayette Park neighborhood in Detroit provides a poetic counterpoint to van der Rohe’s crystalline rationality.

The landscape architecture school of the IIT is offering a multidisciplinary slate of programming through winter, “Alfred Caldwell and the Performance of Democracy,” which will harness the midcentury landscape architect’s legacy and character into a series of performances and archive workshops the school hopes will bring both greater public appreciation and study within the discipline. (more…)

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BY ZACH MORTICE

Morgan Vickers at Cadillac Ranch in Amarillo, Texas. Photo by David Kafer.

Route 66, the nation’s first all-paved national highway connecting the Midwest to California, is best read as the first draft of contemporary America. Its establishment in 1926 definitively ended any notions of an untamed Western frontier, and it signaled the beginning of America’s total transition to a nation defined by settlement, landscape, and automobile obsession.

So much of Route 66’s cultural resources and history are dedicated and scaled to the car: motels, highways, bridges, gas stations, drive-in theaters, and oddball curios that read well from a speeding Ford. Its 2,400 miles cut through eight states and 300 towns, from Chicago to Los Angeles. It channeled migrants to the fertile coast during the Great Depression and soldiers and equipment to the Asian front during World War II.

But Route 66 eventually fell victim to the car’s success. In 1945, 65,000 cars were manufactured in America. Three years later that number had grown to 3.9 million. Cars became so omnipresent that this two-lane road was soon superseded by four-lane interstate highways. By the time it was decommissioned in 1985, Route 66 had been replaced by sections of I-55, I-44, I-40, I-15, and I-10. Overshadowed by the interstate system, the communities that had sprung up around the route were cut off from the lifeblood of commerce that it supplied them.

Earlier this summer, the National Trust for Historic Preservation began a campaign (more…)

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BY ZACH MORTICE

Vitrified brick in Cincinnati. Image courtesy Robin Williams.

Uncovering historic pavements reveals each city’s “urban fingerprint.”

In the past 200 years, cities have become larger, safer, and healthier places to live, but there’s one arena of urban infrastructure that has become incalculably more monotonous and denuded: the range and diversity of pavement types on city streets and sidewalks.

Before the dominance of concrete and asphalt, city streets were paved in a wild diversity of minerals and materials: glassy vitrified brick, wooden block, crushed oyster shells, rough-hewn granite blocks, and more.

Robin Williams, the chair of architectural history at the Savannah College of Art and Design, has traveled to 40 cities across North America to study their historic pavements and found a rich spectrum of street coverings that somehow persist with no preservation protections. (more…)

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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. For a full list of translated articles, please click here.

Click above for a full PDF of the translated text, with English text available below.

BY TIMOTHY A. SCHULER

FROM THE JULY 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

On a chilly Sunday afternoon in the spring of 2016, a group of designers and preservation professionals wandered through one of Newport, Rhode Island’s oldest neighborhoods, visualizing what it would look like underwater. It wasn’t hard to imagine water flowing down the narrow streets and into the basements of the quaint, colonial-era homes located just blocks from Newport Harbor and a mere four feet above sea level. Some had already seen it.

In 2012, Hurricane Sandy sent floodwaters into many of the Point neighborhood’s historic homes, including 74 Bridge Street, a red-painted, two-story house originally built in the late 1720s. The basement flooded up to the first-floor framing and the kitchen took on at least seven inches of water.

Two years later, the Newport Restoration Foundation (NRF), a nonprofit preservation group founded by Doris Duke in the 1960s, purchased the house at 74 Bridge Street. As the house of one of Newport’s most notable cabinetmakers, a Quaker named Christopher Townsend, it had sat for years at the top of the NRF’s list of most desirable historic Newport properties. It was an important acquisition for the NRF, which currently owns 78 properties throughout the city and helps fund their upkeep. But the organization also knew that 74 Bridge Street would flood again.

“It’s in the lowest point in the Point neighborhood—literally, the lowest topographical point,” says Shantia Anderheggen, NRF’s former director of preservation. With sea levels on the rise—and in Newport they already had risen 11 inches over the past century—it was a statistical certainty that what happened in 2012 would happen again. And it wasn’t just the Townsend residence. The entire Point neighborhood, which has one of the highest concentrations of colonial-era structures on the continent, was under siege from the sea. (more…)

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