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

Photo by Timothy Hursley.

From “A Forest in the City in the Forest” by Jonathan Lerner in the February 2018 issue, on Sylvatica Studio’s immersive landscape design for the Fernbank Museum of Natural History in Atlanta.

“Pod view.”

–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 ZACH MORTICE

Nathan Phillips Square in Toronto, a favorite of Janet Rosenberg. Image courtesy Wikimedia Commons, Benson Kua.

FOUR LANDSCAPE DESIGNERS ON THE PLACES THEY LOVE WHEN WINTER TAKES HOLD  

Winter landscapes earn their allure with the opposition to comfort and ease they put forth. In the wild, that might be a sense of enclosure amid the otherwise inhospitable. In a city, this could entail seeking out community and connection when it’s far from convenient to do so. The cold air, simply by existing, adds meaning to our interactions with each other and the world around us. You have to want to be out there, and to offer respect to the flora, fauna, and fellow humanity that is out there with you. So here are four landscape designers (three landscape architects and one architect) unpacking the wintertime landscapes that have (more…)

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

FOREGROUND

Secrets to Share (Gardens)
Sadafumi Uchiyama, ASLA, can teach you how to
make a Japanese garden in Portland, Oregon.

Woven in Place (Details)
At Kopupaka Reserve, New Zealand, the Isthmus Group is weaving
Maori culture into stormwater infrastructure.

Solid as a Rock (Materials)
Is stone always a sustainable building material?

FEATURES

A Forest in the City in the Forest
Sylvatica Studio’s landscape for the Fernbank Museum of Natural History
immerses visitors in Atlanta’s old-growth Piedmont forest.

Ripple Effect
A topographically exuberant campus by Snøhetta embraces
the MAX IV synchrotron particle accelerator.

A View of the World
Nelson Byrd Woltz Landscape Architects has restored
the landscape of the painter Frederic Church’s estate.

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

Credits: “Ripple Effect,” Felix Gerlach; “A View of the World,” Detail of Clouds over Olana, 1872, by Frederic Edwin Church, Oil on paper 8 11⁄16 x 12 1⁄8 inches, OL.1976.1. Olana State Historic Site, Hudson, New York, Office of Parks, Recreation, and Historic Preservation; “A Forest in the City in the Forest,” Timothy Hursley; “Solid as a Rock,” GGN; “Secrets to Share,” Jonathan Ley; “Woven in Place,” David St. George.

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

Image courtesy Inter-Fluve.

From “Exit Strategy” by Lisa Owens Viani in the January 2018 issue, about the path one Massachusetts farm has taken from cranberry cultivation to restored wetlands.

“Wood working.”

–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 KATHLEEN GMYREK

FROM THE JANUARY 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

Iwanuma is a quaint and quintessentially Japanese beach town on the Sendai Coast, a two-hour train ride north of Tokyo, in Miyagi Prefecture. Rolling sand dunes line the coast, and a thin forest of black pines spreads inland to a wide band of rice paddies and modest farmhouses. Like dozens of small communities along this stretch of coast, it’s been farmed for hundreds of years, left mostly to itself as Japan developed and urbanized.

When the Great East Japan Earthquake pushed a tsunami against the coastline on March 11, 2011, Iwanuma was washed over by waves that rushed inland for miles and destroyed almost everything in their path. The parts of Iwanuma inundated by the tsunami were mostly agricultural lands, but the death toll still reached an estimated 180 people. In all, more than 15,000 people died as a result of the earthquake and tsunami. Most drowned.

It was a devastating catastrophe for a country all too familiar with disasters, natural and human-made. But it was also something of an alarm to many people in seismically hyperactive Japan who have become newly energized by efforts to prevent similar destruction from the inevitable tsunamis of the future. One approach has gained considerable attention: the accelerated planting of “forest walls” as wave barriers. Hundreds of thousands of saplings have been planted (more…)

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BY LISA OWENS VIANI

A retired cranberry bog inspires an innovative approach to wetland restoration.

FROM THE JANUARY 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

In 2005, Glorianna Davenport began to think about retiring the cranberry farm she owned in Plymouth, Massachusetts. In the late 1980s, the 600-acre farm was producing 1 percent of Ocean Spray’s cranberry harvest, but Davenport had become concerned about the amount of pesticides being used—and the way those pesticides were applied. “Because cranberries are grown on former wetlands, we had to farm with helicopters,” Davenport says. “And spraying chemicals from helicopters is not really great in a densely populated area.” Davenport, a visiting scientist at the MIT Media Laboratory, whose husband bought the cranberry farm in the early 1980s, could also see the handwriting on the wall for older cranberry farms, with new cultivars producing five times as many berries, farmed in places easier to access than wetlands and river bottoms. “The industry was changing pretty radically,” Davenport says. “The way we had been farming was really the legacy of another era.”

Davenport learned that a nearby cranberry farm had been restored back to wetlands—said to be the first project of its kind in the United States—and that she was eligible for assistance through the U.S. Department of Agriculture Natural Resources Conservation Service’s Wetlands Reserve Program, which pays farmers to take land out of production to preserve, restore, and enhance wetlands on their properties. The program was established by the 1990 Farm Bill. In 2008, Davenport decided to retire from MIT to undertake the restoration of Tidmarsh Farms. With federal and state funding in hand, she began working with the state’s Department of Fish and Game to pull together an interdisciplinary team of state and federal scientists and river, wetland, and other experts to help restore the bog at Tidmarsh Farms, an effort that took several years.

Ten thousand years ago, glaciers moved down across the northeastern United States, then retreated. As they did, big chunks of ice were left, forming (more…)

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In the latest LAM Lecture, Harvard Graduate School of Design landscape architecture professor Gareth Doherty examines the use of color in design through two climatic and ecological opposites: the landscapes of Bahrain and Brazil. The lecture, titled “Landscapes as Chromatic Relationships,” recounts Doherty’s travels through and fascination with the small desert island nation off the coast of the Arabian Peninsula, and Roberto Burle Marx’s observations of the riotous shades of flora in his native Brazil, both the focus of recent books Doherty has penned.

In Bahrain, as explained in his book Paradoxes of Green: Landscapes of a City-State (University of California Press, 2017), the color green, especially when it’s observed as flora, is a prized jewel in the beige desert. Its cannibalization at the hands of encroaching development prompts ever-greater displays of resource-intensive landscaping, which leads to an uncomfortable paradox: The presence of green is often not so “green.” It requires tremendous amounts of energy and irrigation to make the desert bloom. For his book, Doherty took an ethnographic approach, exploring Bahrain’s cities and countryside on foot, all the better to look around and chat with natives. In his lecture he recounts melancholy strolls through neglected date palm fields, and farewell ceremonies for beloved courtyard trees about to be torn from the earth at the behest of residential development.

For Brazil, Doherty recounts Marx’s forays into the Brazilian countryside to collect new horticultural specimens, and his newest book (available this spring), Roberto Burle Marx Lectures: Landscape as Art and Urbanism (Lars Müller Publishers), collects the South American designer’s assorted lectures. It includes this sensual appreciation from Marx for nature’s ad hoc genius for composing in color: “All of this polychrome is seated on a backdrop where form, rhythm, and color are in harmony. Nothing was isolated. It was an orchestra of color. The yellows linked to the blues, the blues to the violets, the violets to the pinks. One could speak, even, of a battle of color in which one color would dominate at a particular season, supported by a background whose forms, rhythms, and colors enhanced those of the plants in a very particular way. This instability is precisely one of the great secrets of nature, which never tires us, and is constantly renewed by the effect of light, wind, rain, and shadows, which shape new forms.”

Outside of graphic design and fashion, color is generally stigmatized as a field of inquiry across most design fields. But as Doherty’s lecture and books argue, its mutability of meaning across various cultural contexts makes color a vital artifact in unlocking what a society or community values.

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