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Archive for the ‘OFFICE’ Category

BY ZACH MORTICE

A viewshed diagram of a private residence site prepared by Surroundings Studio Intern Lily Dendy, Student ASLA, and Project Manager Abby Feldman, ASLA. Image courtesy Surroundings Studio.

LANDSCAPE ARCHITECTURE INTERNS ARE LEARNING THE ROPES OF THE PROFESSION THROUGH THE CABLES AND WIRES OF REMOTE WORK.

 

Last fall, Lily Dendy, Student ASLA, an MLA student at Auburn University, was looking for internships in New Mexico. She was searching for firms that had used indigenous design strategies (such as acequia water catchment systems) on their projects, and she had also visited Santa Fe during a road trip from Alabama to New Mexico the previous year and was transfixed by the region’s natural beauty. She was amazed by the Earth’s ability to create life in the arid expanses, and by the sunsets: the most beautiful she’d ever seen. So Surroundings Studio, a small firm in Santa Fe, founded by partners Kenneth Francis, ASLA, and Sandra Donner, Affiliate ASLA, seemed like a perfect fit. She applied in January, and the partners liked her portfolio and began discussions to bring her aboard for the summer. But then the COVID-19 pandemic halted everything. She would not be going to New Mexico, the “Land of Enchantment,” Dendy says. “I was a little bummed.”

But Surroundings decided to move forward with the internship anyway. Dendy is one of many landscape architecture students getting some of their first experiences of professional practice via Zoom calls and VPNs. For firms that have been able to offer internships despite economic hardship, part of the challenge has been acclimating new designers to the studio environment through a laptop. (more…)

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BY BRADFORD MCKEE

With regular business upended by the novel coronavirus, landscape architecture principals plot, wait, and wonder.

 

There was a moment on Friday, March 13, when the novel coronavirus changed everything at the office, says Annette Wilkus, FASLA, the founding partner of SiteWorks in Manhattan. “I walked in on Friday, and one of the staff who’s usually solid had this look in her eye and said, ‘Annette, it’s getting really crazy.’” By Monday the 16th, everyone at SiteWorks was working from home, the day that schools, businesses, and Broadway were closing and the S&P 500 fell by 12 percent, the Dow by 13. New York City was bracing for what would swell into the country’s largest wave of COVID-19 cases.

Around the country at the same time, principals of landscape architecture firms were hurrying to get people home to work safely while they sorted out office logistics, took the pulses of clients and their projects, and mentally packed for a weekend that could last months—just as spring was arriving to cold climates where construction otherwise would be firing up. (more…)

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BY TIMOTHY A. SCHULER

Inside the years-long effort to design the world’s least traditional workplace.

FROM THE JANUARY 2019 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

In 1659, Lord Henry Capel, a member of England’s Parliament, inherited a coveted estate along the River Thames near London. Capel and his wife moved into the grand manor house at what was then known as Kew Park and, as was popular at the time, began developing a series of formal gardens. But Capel’s plant collections were unusual. He built greenhouses for species that craved warmer climates, and his gardens burst with exotic flowers, fruit trees, and rare dwarf cultivars. Evergreens, oranges, flowering viburnum, Pistacia lentiscus from the shores of the Mediterranean. It was said that Capel’s gardens were “furnished with the best fruit trees in England.”

In 1772, the estate was joined with the adjacent Richmond Gardens, and in 1840, Kew Gardens, as it was then known, was conveyed to the public. The world-renowned botanic garden and research institute now boasts more than 30,000 types of plants housed in a series of ornate, Victorian-era greenhouses and ornamental gardens. Today, Kew is considered both the “cradle of the English landscape movement” and a locus of cutting-edge botanical knowledge. The gardens draw more than 2.1 million visitors a year.

More than 300 years after Capel planted his first fir, Jeff Bezos found himself meditating on Kew’s legacy. The American CEO of Amazon, and officially the wealthiest person on the planet, found the botanic garden bewitching. It was invigorating, nourishing. He wondered if an office could have the same effect. Was it possible to capture the sense of quiet inspiration? What would it look like? (more…)

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

Image courtesy NBBJ/Sean Airhart.

From “Open Office” in the January 2019 issue by Timothy A. Schuler, about the Spheres—Amazon’s hybrid greenhouse and office in Seattle.

“Sphere interior.”

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

Photo by Kevin Scott.

From “Made to Disappear” in the August 2018 issue by Timothy A. Schuler, about a fruit company compound by Berger Partnership that all but vanishes in a shroud of native plantings.

“On the berm and down 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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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 JONATHAN LERNER / PHOTOGRAPHY BY ADAM WISEMAN

From the June 2018 issue of Landscape Architecture Magazine.

One bright December day, Mario Schjetnan, FASLA, was ushering a visitor around Mexico City’s historic Chapultepec Park, where his firm, Grupo de Diseño Urbano (GDU), has been enacting subtle renovations for nearly a decade and a half. He detoured, though, to show something that has not required the firm’s intervention. It was a concrete sump, perhaps five meters square, three meters deep, and open on top. It is the terminus of an aqueduct, completed in 1951, that brings water from 60 kilometers away through a tunnel under a mountain range. At the time, the city’s population had more than doubled in two decades, to three million thirsty souls. This new aqueduct must have seemed like deliverance. (Today, the population of the Metropolitan Area of the Valley of Mexico, comprising the city proper plus 41 contiguous municipalities, numbers more than 21 million.)

The sump, whose function was really just to hold water before it was piped into four enormous tanks buried nearby, was treated reverentially. Sheltered within a temple-form building, the depression’s walls and floor were painted by Diego Rivera in a fantastical narrative called Water, Origin of Life. The inlet seems to pour through the hands of Tlaloc, the Aztec god of floods and droughts. Swirling around the floor and up the walls are life forms of increasing complexity. There are an ur-man and ur-woman, and depictions of everyday people using water (swimming, sipping, irrigating gardens), of workers jackhammering rock, and of giant pipes and valves. When the sump was actually used, the view through water surely added a vitalizing shimmer, but water was destroying the mural. Eventually the flow was rerouted and the painting restored.

Now Schjetnan pointed to where Rivera had portrayed a gathering of two dozen men in modern dress, some in hard hats, some in suits; on a table before them is a sheaf of blueprints. “The engineers who built the aqueduct,” he said respectfully, (more…)

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BY WENDY GILMARTIN

Ensuring project integrity over the long term takes tact and tenacity.

FROM THE APRIL 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

After months and possibly years of design development, on-site meetings, contractor discussions, submittal reviews, and long days drafting construction documents, the project is finally unveiled, the ribbon is cut, and handover completes the timeline. Or not? The time after a turnover can become its own stand-alone phase after all else is completed. How do firms ensure plants will be cared for, gutters cleaned, controls checked at the appropriate times, and that there are enough (or any) return visits accounted for in the fee? Three firms in different regions explain their approaches to maintenance and client relationships. Interviews have been edited and condensed. (more…)

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