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Archive for the ‘RESIDENTIAL’ Category

BY BRIAN BARTH

A flood-friendly park re-creates a resilient landscape in Calgary’s Bow River.

FROM THE JANUARY 2020 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

In the summer of 2013, catastrophic flooding in southern Alberta killed five people and forced 100,000 to evacuate. With $6 billion in property damage, it was one of the costliest natural disasters in Canadian history. The swollen Bow River, which flows from glacial headwaters in the Rockies to Calgary, left much of the city’s urban core underwater. The inundated area included St. Patrick’s Island, one of several islands in the downtown stretch of the river, where Barbara Wilks, FASLA, and Mark Johnson, FASLA, had just kicked off construction on a new 31-acre park. A new pedestrian bridge to the island, which was partially built at the time, suffered significant damage. But for the park itself, Wilks and Johnson—the founders of W Architecture and Landscape Architecture and Civitas, respectively—say the floodwaters provided positive reinforcement of their design.

This was not the initial reaction, however, of the folks at the Calgary Municipal Land Corporation (CMLC), their client.

“Our client called and said, ‘Oh, God, you have to get up here; we’re going to have to change the design,’” said Johnson as he, Wilks, and I strolled across the bridge to the completed park on a clear spring day.

“The whole island flooded!’” Wilks recalled members of the CMLC team saying in an urgent and distressed call. “We said, ‘It’s going to be fine; there’s nothing to change. We designed it to flood—this is what’s supposed to happen.’” (more…)

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BY ZACH MORTICE

The nitrate mining town of María Elena in Chile. Photo by Ignacio Infante.

For an exhibit focused on extractive industries, Beyond the City: The South American Hinterland in the Soils of the 21st Century is mercifully short on aerial photos of strip mines and oil derricks. Instead, the installation by Somatic Collaborative now at the 2019 Chicago Architecture Biennial focuses on the human settlements that serve resource extraction industries.

Beyond the City catalogs five South American cities established or expanded because of the growth of heavy industry from the late 19th century to the mid-20th century. The five case studies are spread across three nations and several extraction, or at least exceptionally invasive, industries: gold mines in Belo Horizonte, Brazil; nitrate mines in María Elena, Chile; oil drilling in Judibana, Venezuela; iron mining in Ciudad Guayana, Venezuela; and the production of hydropower in Vila Piloto, Brazil. Each of the cities shares “a very strong national or state government that was pushing forward a project that they believed would advance a larger greater good,” says Somatic Collaborative cofounder Felipe Correa, the chair of the architecture school at the University of Virginia (UVA). These public–private partnerships sought to develop housing and working environments for a white-collar managerial class that would guide populist infrastructure expansions harvested from this land. “Industry had a social project,” Correa says. “If you look at what oil companies are doing in the middle of the Amazon today, they’re completely devoid of a social project.” Beyond the City presents historical evidence on how this mandate was introduced, but the exhibition trails off once each town left its designers’ hands. (more…)

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

Photo by Stephen Dunn.

From “Look to the Sky” in the November 2019 issue by Haniya Rae, about a New Mexico residential landscape where a multilayered stormwater catchment strategy speaks to a different sort of beauty.

“Western water catcher.”

–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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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.

BY JENNIFER REUT

FROM THE NOVEMBER 2019 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

Like many cities in the Southwest (Palm Springs, California, most conspicuously), Tucson, Arizona, has a decent bank of midcentury modern buildings and landscapes. In the 1950s and 1960s, home buyers, drawn by the mirage of golf course-adjacent desert living (with air-conditioning, swimming pools, and lawns), flocked to the Southwest, and large swaths of the new development that went up during that era were built in the middle-class modern idiom. In the Southwest, modernism incorporated regional materials and climatic adaptations into lively vernacular architecture, and also generated some truly inspired landscapes.

Tucson Modernism Week was launched by the Tucson Historic Preservation Foundation in 2001 to highlight the region’s midcentury modern architecture and landscape heritage. The foundation is also among a handful of preservation groups trying to broaden notions of modern design to include the work of women and people of color, as well as expanding the boundaries of modernism to include textiles, dance, ceramics, and neon.

Among those whom the foundation has brought to the public’s attention is Taro Akutagawa (1917–2002), a Japanese American landscape designer whose work, primarily in Albuquerque, New Mexico, has been nearly erased. The foundation’s Taro Akutagawa Collection contains photographs, newspaper clippings, archival images, drawings, and plans.

The outlines of Akutagawa’s life and work are known, though there is not quite a full accounting of his projects. He was born in California in 1917 and educated in Japan before (more…)

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BY NATE BERG

A view of the park’s two lakes, with the city in the distance. Photo courtesy Bundesgartenschau Heilbronn.

An urban-scale garden exhibition in Germany became an opportunity to re-envision a riverside industrial site.

 

For more than half a century, the historic center of the southwestern German city of Heilbronn looked out across the waters of the Neckar River onto 80 gray acres of railyards and warehouses. As its industrial activity shifted and concentrated, the need for such large swaths of land diminished and much of this logistics landscape lay fallow.

“For urban planners, this was like a gold mine,” says Oliver Toellner. He’s a landscape architect and urban planner, and for the past 10 years he’s been transforming this large industrial plot into a new park and urban district for 3,500 residents and 1,000 jobs. (more…)

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BY ZACH MORTICE

The Kua Bay Residence is a simple pitched roof pavilion that works as an enticing collector of ocean views. Photo by Marion Brenner, Affiliate ASLA.

More than half of the world’s anchialine ponds are located on Hawai‘i, also known as the Big Island. They’re formed when fresh water flows downward toward the ocean through porous volcanic rock and mixes with salt water pushed inland by wave action. Where the shoreline dips below sea level with sizable crevices, pools of water are exposed at the surface. It’s a brackish mix, though the salinity can vary, as can the depth and size of anchialine ponds. Some can be more than a dozen acres wide; others are smaller than a bathtub. These pools were vital to native Hawaiians, who would harvest shrimp (such as the ‘ōpae‘ula red shrimp) for food or bait, or use larger ponds closer to shore with higher salinity levels as fishponds. Freshwater ponds were used for drinking water and bathing.

Anchialine pools are characteristic of the landscape of the Big Island, the site of the Kua Bay Residence, and were a source of inspiration for its landscape architect, Ron Lutsko Jr., ASLA, of San Francisco-based Lutsko Associates Landscape. Like the pools themselves, the project has an intimate connection to water defined by the rock-face crevices at its border, and it offers cloistered shelter for local and native species amid an otherwise beautifully barren landscape. The project is a recipient of both a Northern California ASLA award and, most recently, a 2019 ASLA Professional Award. (more…)

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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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