Archive for the ‘POLLUTION’ Category

THE RIVER BENEATH THE RIVER

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 JENNIFER REUT

FROM THE NOVEMBER 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

For a long time, the Anacostia River didn’t even have a name. It was just the Eastern Branch, the other, less promising section of Washington, D.C.’s better known and more distinguished river, the Potomac. But it was always known as a fortunate course to the Nacotchtank, the Native Americans who used it as a trading post, and later to the European colonists who relied on the river’s deep port at Bladensburg, Maryland, to carry tobacco, and to the generations of farmers, tradesmen, and laborers who never seemed to run out of fish, fowl, and game to hunt. For nearly nine miles, the Anacostia eased in and out with the tide, with no particular urgency, toward its confluence with the Potomac, tracing an unhurried flow through thousands of acres of tidal wetlands.

Of course, that was before the port and the shipping channels silted up in the 19th century from agricultural misuse; before the river was (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 River Beneath the River” in the November 2018 issue by Jennifer Reut, about Washington D.C.’s quest to make its second most famous river, the Anacostia, vibrant and healthy once more. Here, kids scoot out of the sun at the Anacostia Park Roller Skating Pavilion along the river’s shores.

“Keeping cool in Anacostia Park”

–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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WHERE THE WATER WAS

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 ANNE RAVER / PHOTOGRAPHY BY SAHAR COSTON-HARDY, AFFILIATE ASLA

FROM THE OCTOBER 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

We were driving around west Philadelphia when Anne Whiston Spirn, FASLA, stopped at the corner of Walnut and 43rd Streets to recall the moment of discovery that still drives her work. It was 1971. She was a graduate student at the University of Pennsylvania, on her way to the supermarket, when she was stopped at a gaping hole where the street had caved in over the Mill Creek sewer. “I looked down and saw this big, brown rushing river, and all this masonry that had fallen in. I thought, ‘My God, there are rivers underground. We’re walking on a river.’”

She was looking at Mill Creek, buried in the brick sewer pipe in the 1880s. Historic photographs show workers dwarfed by its size, constructing the pipe, about 20 feet in diameter, snaking along the creek bed. Drawings depict horse-drawn carts loaded with soil—millions of cubic yards dug with pickaxes and shovels—to cover up the pipe. Row houses were built right on top of the fill.

That buried river would become the heart of Spirn’s work when she came back to Penn 15 years later to chair the landscape architecture department and to launch the West Philadelphia Landscape Project (WPLP), but also in her larger vision of (more…)

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BY TIMOTHY A. SCHULER

A group of designers, artists, and community activists are fighting to save the bridge. A rendering by the landscape architect Michael Beightol illustrates the viaduct’s potential as a linear park. Image courtesy Michael Beightol.

IN ERIE, PENNSYLVANIA, A HISTORY OF RACIAL DISCRIMINATION ANIMATES THE DEBATE OVER A PIECE OF CRUMBLING INFRASTRUCTURE.

 

Michael Keys used to walk the McBride Viaduct nearly every day to and from school. It was the most convenient route over the busy rail yard that bisected his east side Erie, Pennsylvania, neighborhood. Now, as a member of the local urban design advocacy group Erie CPR: Connect + Respect, Keys is one of dozens of residents fighting to save the 1,700-foot-long viaduct. The organization argues that the bridge is a crucial linkage between some of Erie’s poorest communities and that tearing it down could do harm to populations already considered vulnerable.

Erie CPR projects that removing the viaduct, which has been closed to vehicles since 2010, will force residents to cross the tracks at grade, which can be dangerous, or walk some 2,000 feet to a busy road known as the Bayfront Connector. With its high-speed traffic and blind corners, the connector is far less safe for pedestrians than the viaduct, says Adam Trott, an architect and the president of Erie CPR. Another danger, especially for children, is daily exposure to vehicle emissions. A recent World Health Organization report found that 10 percent of deaths among children under the age of five are attributable to air pollution.

The city’s decision to demolish the viaduct, which was originally built in 1938 and overhauled in the 1970s, is based on a feasibility study conducted by the engineering firm L. R. Kimball. The engineers reported that rehabilitating or replacing the viaduct were cost-prohibitive, in part because the bridge no longer meets basic road width requirements. And yet, having studied 11 alternatives— (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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ON BRAZIL’S BEHALF

BY CATHERINE SEAVITT NORDENSON, ASLA

Araucárias, Paraná, ca. 1884. Photo by Marc Ferrez/Gilberto Ferrez Collection/Instituto Moreira Salles.

 FROM THE OCTOBER 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

Speaking out against the military dictatorship of Brazil during the late 1960s and early 1970s had definite risks. Politicians, human rights advocates, artists, and intellectuals who publicly opposed the right-wing government’s programs of hyperdevelopment did so under threat of arrest, imprisonment, torture, and death. Many fled into exile. Roberto Burle Marx, the Brazilian landscape architect (1909–1994), had been a public figure for decades when, three years after the 1964 coup, he was appointed by the dictatorship’s first president, Humberto de Alencar Castelo Branco, to a 24-member national cultural council. For Burle Marx, the decision to join the council was ethically freighted. He accepted with one clear objective: to save the Brazilian landscape.

In a new book, Depositions: Roberto Burle Marx and Public Landscapes Under Dictatorship (University of Texas Press, 2018), Catherine Seavitt Nordenson, ASLA, brings forth a series of 18 frankly activist speeches, or depositions, that Burle Marx delivered as a member of the council. They target, among other things, the unchecked destruction of Brazil’s forests for raw materials and agriculture. He surveyed the progression of environmental tragedy with a deep knowledge of botany and ecology, an intricate alertness to policy, and always appealing to a Brazilian pride in its national landscape patrimony.

“The way I read his depositions, Burle Marx is positioning an argument that’s against the economic development theory of the regime,” Seavitt Nordenson told me recently. “Sometimes they listen to him and sometimes they don’t. But he’s on the inside and he’s arguing passionately, because he’s been working on the cultural project of the Brazilian landscape for so long.” Seavitt Nordenson notes that in these speeches of 50 years ago, Burle Marx touches on two huge problems of today, anthropogenic impacts affecting climate and the loss of biodiversity. “They’re very clear—they’re jocular speeches, often funny, and have so much spontaneity—and he manages to communicate a serious message to an audience that has significant political power.”

This excerpt of Depositions includes a brief introduction by Seavitt Nordenson to three depositions on forests, followed by her translations of the depositions themselves.

 —Bradford McKee

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SELECTIONS FROM THE 2018 STUDENT AWARDS

BY ZACH MORTICE

“Stop Making Sense” resists applying easily explicable narratives to the open question of nuclear waste storage. Image courtesy Andrew Prindle, Student ASLA, and Kasia Keeley, Student Affiliate ASLA.

The winning entries of the 2018 ASLA Student Awards offer solutions for extreme sites and surreal conditions, completely appropriate to the times in which they were crafted. Here is a selection of six award-winning student projects that greet such days with humanity, nuance, and rigor.

Stop Making Sense: Spatializing the Hanford Site’s Nuclear Legacy

General Design: Honor Award

Composed of a pair of inscrutable concrete bunkers that are 1,000 feet long and dug 60 feet into the earth, “Stop Making Sense” by Kasia Keeley, Student Affiliate ASLA, and Andrew Prindle, Student ASLA, pushes aside dominant narratives about how our nation treats and digests nuclear waste.

“We didn’t want to give people answers, and we didn’t want to force a perspective,” Keeley says. “What we wanted to do was raise questions and incite curiosity.” (more…)

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