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Archive for the ‘NOW’ Category

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Placing Martha Schwartz, FASLA, the past decade has been tricky to folks in the U.S. She has been teaching here, but otherwise has been anywhere else, working away. Now Schwartz has moved back to New York and says she wants to reconnect with her home ground. James Trulove talks with Schwartz in the July LAM about her practice and teaching, a focus on climate hazards, and recent work in China, where Trulove visited two projects in Beijing.

Liz Sargent, FASLA, doesn’t have a slick website or a press packet, but chances are you’ve probably been to one of the cultural landscapes she’s worked on, including nine U.S. World Heritage sites, 33 National Historic Landmarks, and more than 50 National Park Service sites. Kevan Williams takes a deep dive into her work documenting the Blue Ridge Parkway.

Being online means consenting to leaving a trail of personal data wherever we go, but what does consent mean when you’re in public space? Data-tracking furniture in our parks and cities can have a lot of community benefits, but is the technology way ahead of the privacy conversation? Brian Barth looks into the systems that are looking into us.

Also in this issue: podcasts for designers, not just about them; Meg Calkins, FASLA, on new sustainable concrete products; and just in time for your summer road trip, Jane Gillette reviews landscape architect Jack Williams’s Easy On, Easy Off: The Urban Pathology of America’s Small Towns, a book about how highways helped shape the country. The full table of contents for July 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 July articles as the month rolls out.

Credits: “Disrupting the Park Bench,” Melissa Gaston; “Context Clues,” Liz Sargent, FASLA; “Martha Schwartz, Reconnecting,” Sahar Coston-Hardy; “Concrete Minus Carbon,” Chicago Department of Transportation; “Reopened for Business,” EPNAC.COM; “Pictures in Sound,” Courtesy Mark Morris, ASLA.

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BY RACHEL DOVEY

For Alaska’s Anan Wildlife Observatory, Suzanne Jackson designs around the attraction: bears.

FROM THE JUNE 2017 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE. 

Suzanne Jackson spent nearly 30 years as a landscape architect at the Aspen, Colorado, office of Design Workshop, channeling her passion for backcountry hiking into habitat restoration and open space preservation. But it was when Jackson reconnected with her former colleague Barth Hamberg that things began to get, well, wild. Hamberg manages the landscape architecture program for Tongass National Forest in southeast Alaska, the largest national forest in the nation. In 2014, he offered Jackson a two-year post.

Jackson was charged with creating a master plan for the Anan Wildlife Observatory, which is located on a remote peninsula in Tongass’s Wrangell district and accessible only by boat or floatplane. It’s a steeply sloping temperate rain forest of spruce, hemlock, and huckleberries, and the pools and waterfalls of Anan Creek support one of the region’s largest pink salmon runs. That means a lot of hungry predators gathering to feast: black bears, grizzlies (called brown bears locally), (more…)

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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 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 DANIEL TAL, ASLA

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When it comes to new technologies, small investments can lead to big returns.

FROM THE MARCH 2017 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

As at many small firms, five years ago, the technology in THK Associates’s office mainly consisted of hand-drawn plans, some 3-D modeling, Photoshop, and CAD. Now, the firm is incorporating drones, 3-D printing, and virtual reality into many of its projects. Thanks in large part to Jon Altschuld, ASLA, a landscape architect and project manager at the Denver-based firm, THK is an example of how small firms can integrate new technologies into practice with little overhead.

On a number of recent projects, the firm used drones to collect 3-D terrain data and turn it into high-resolution aerials. Using an application called Maps Made Easy, Altschuld can automate the flight path of the firm’s Phantom 4 drone in as little as 15 minutes. The drone snaps a series of photographs that are then uploaded to Maps Made Easy’s cloud server, (more…)

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

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Image courtesy of Roxi Thoren.

From “Living Lessons” by Victoria Solan in the March 2017 issue, on student investigations into how animals design their own environments.

“Earthworm art.”

–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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BY TIMOTHY A. SCHULER

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In Owens Lake, a land art installation draws on 100-year-old history while providing critical habitat.

FROM THE FEBRUARY 2017 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

When NUVIS Landscape Architecture was hired to assist the Los Angeles Department of Water and Power (LADWP) with its dust mitigation effort at Owens Lake (see “Dust to Bust,” LAM, October 2012), Perry Cardoza, ASLA, was given a list of objectives. Foremost, any design needed to tamp down the dust that had become a public health hazard, but it also would have to meet very specific habitat goals and help the department meet its water-use reduction targets. (LADWP has used up to 95,000 acre-feet of water annually for dust mitigation.) What was not on the list was any mention of land art.

“In everyone’s mind, this was going to be a hiking trail with a parking lot,” says Cardoza, an executive vice president at NUVIS. “We would have gravel and wetlands and some salt grass, and [we] would call it a day.” The project evolved, however, and the completed landscape, which opened to the public in April 2016 and won an Award of Excellence from the ASLA Southern California Chapter the same year, falls right into the land art tradition, even as it fulfills its mandate as an ecological booster.

Located on a tiny parcel—at 700 acres, the parcel is still just 1 percent of the lake’s total area—near the lake’s northeast boundary, the design includes a monument-like shade structure and a series of plazas and interpretive kiosks that are connected by four miles of walking paths. For Cardoza, what pushes the work into the realm of land art are its 14 (more…)

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