Archive for the ‘PHOTOGRAPHY’ Category

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Among this year’s superb ASLA Student Award winners, it seems almost as if several of the designers had an advance copy of the latest report on land use by the Intergovernmental Panel on Climate Change, or IPCC. The panel supports the work of the United Nations Framework Convention on Climate Change, originator of the 2015 Paris Agreement, by providing scientific reports on climate change impacts, and ways to mitigate or adapt to them. Its latest major report, Climate Change and Land, came out in early August, and in many ways runs directly alongside the contemporary concerns of landscape architecture. The report details the interactions between land and climate, the ways human activity on land (which “provides the basis for human livelihoods and well-being”) contributes to global warming and, in turn, how climate change affects the integrity of the land people depend on for food and fiber (and often to our detriment, for fuel).

The realities of agriculture are a near-constant presence in the new report and, I think, the next frontier for landscape architecture to consider, particularly for agriculture’s role in rampant land degradation and the loss of biodiversity. In this year’s Student Awards, (more…)

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

Photo by Sahar Coston-Hardy, Affiliate ASLA.

From “The Glass Is Greener” in the September 2019 issue by Timothy A. Schuler, about the use of recycled waste glass fragments as sustainable substitutes for soil.

“Soil solution.”

–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 TOM STOELKER

A new film documents managed retreat for three New York City neighborhoods.

FROM THE JULY 2019 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

The start of Nathan Kensinger’s quiet documentary Managed Retreat begins innocently enough. Waves from the Atlantic roll in toward the viewer. A lone couple walks hand in hand along a desolate beach. A seawall meanders off into the distance. An abandoned car in a marsh sends a dissonant note that builds to an ominous beat. The sound of waves gives way to the “beep, beep, beep” of an excavator backing up. Abandoned homes fill the frame until the excavator’s bucket reaches out to nudge one of the houses to the ground. It is a slow, lumbering destruction, with the “beep, beep, beep” tracking time.

Kensinger’s 18-minute film, which is currently screening at film festivals, documents the managed retreat of three New York City neighborhoods on Staten Island that never fully recovered from Hurricane Sandy. Instead, in an unusual approach, residents organized to sell their land to the state, left their homes behind, and let nature return. The film stands witness to an unheard-of scenario in New York: (more…)

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BY JENNIFER REUT / PHOTOGRAPHY FROM THE PLANTHUNTER BY DANIEL SHIPP

The Planthunter finds an audience searching for connections between people and plants.

FROM THE MAY 2019 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE. 

 

The Planthunter, despite its adventuresome name, is not about seeking bromeliads in the wilds, except that it kind of is. A web publication and now a book just out from Timber Press, The Planthunter is a platform for a community of designers and artists who have congregated around the landscape designer and writer Georgina Reid, and her aspiration to create a space where the many shades of our relationship with gardening could be unpacked. The Planthunter is for those who seek not specimen plants but a place to question the culture of people and plants.

Reid is based in New South Wales, Australia. She began looking for ways to upend her thinking after she had been designing gardens for about a decade and found herself frustrated with the publications she was reading. “I just got to a point where I was asking a lot of questions about gardens and design,” Reid says. “If you had a gardening magazine, you were being very practical and very horticultural, and there didn’t seem to be room to explore the wider context of plants and gardens in relation to culture and in relation to art design.”

“But there were no real conversations happening around why we garden.” (more…)

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FOREGROUND

What Makes Us Us (Interview)
Julian Raxworthy talks about the proletarian roots of his new book, Overgrown.

Hog-Tied (Waste)
A few landscape architects have begun to focus on the huge ecological hazards
of animal waste from agriculture operations.

Linked In (Habitat)
A Seattle neighborhood is the starting point of the artist Sarah Bergmann’s
realization of a living network called Pollinator Pathways.

FEATURES

MLA ROI
Although the landscape architecture profession is poised to grow, master’s degree programs are struggling to gain enrollments. One major reason is the cost and eventual payoff of pursuing a degree.

Refuge Found
Outside Denver, Rocky Mountain Arsenal Wildlife Refuge, a Design Workshop project that received the 2018 ASLA Landmark Award, continues to rebuild a high-prairie ecosystem scorched by weapons and chemical production.

Twice Bitten
Two flash floods in three years gutted the historic heart of Ellicott City, Maryland. Mahan Rykiel Associates is working to help the town figure out how to meet a future of extreme weather.

All this plus the regular Now and Goods columns. The full table of contents for May 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 May articles as the month rolls out.

Credits: “Refuge Found,” D. A. Horchner/Design Workshop; “Twice Bitten,” Josh Ganzermiller Photography; “Hog-Tied,” Waterkeeper Alliance; “Linked In,” © David E. Perry; “What Makes Us Us,” Julian Raxworthy. 

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

Photo courtesy Yannick Milpas for Omgeving.

From “Tree Line” in the March 2019 issue by Michael Dumiak, about the Remembrance Trees marking a World War I memorial.

“The Bluff overlooks what was once no-man’s-land—the neutral land between German and Allied forces in World War I.”

–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 ZACH MORTICE

Inuksuit is meant to be staged outdoors, in any kind of landscape. Photo by Graham Coreil-Allen.

For her landscape art installation in Houston, the landscape architect and artist Falon Mihalic, ASLA, drew inspiration from a musical score as much as she did the live oak trees on her Rice University campus site.

Her installation was the setting for a performance of the composer John Luther Adams’s Inuksuit. The Inuit title is loosely translated as “evidence of human presence” and commonly refers to Arctic wayfinding markers such as cairns of stacked stones. Mihalic’s installation is also concerned with wayfinding amid wildness.

Her work contains three main elements. The origin point is a circle of white crushed limestone gravel 30 feet in diameter that surrounds a live oak tree. At its perimeter are (more…)

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