Archive for the ‘RESILIENCE’ Category

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

Photo by Timothy A. Schuler.

From “In Kīlauea’s Wake” in the November 2019 issue by Timothy A. Schuler, about what happens when volcanic eruptions and seismic chaos irreparably change the face of a national park.

“Road work ahead.”

–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 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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FOREGROUND

Get with the Program (Tech)
As workflow patterns change, designers are diversifying in the types of software they rely on,
a recent survey of landscape architects shows.

Lunch Break Brutalism (Preservation)
The water is flowing again at M. Paul Friedberg’s much-disputed Peavey Plaza in Minneapolis,
after a renovation by Coen+Partners adjusts the space to latter-day concerns.

FEATURES

Look to the Sky
In Santa Fe, Surroundings Studio relies on scarce rainfall for all the water one
house’s garden could need.

Floods That Know No Bounds
Nogales, Mexico, and Nogales, Arizona, have a border wall between them, but an unruly, overstressed watershed needs a binational solution to stop flooding. Gabriel Díaz Montemayor, ASLA, and a colleague, Francisco Lara-Valencia, have some ideas.

Get Real
Vicki Estrada, FASLA, talks about the change in her practice at Estrada Land Planning in San Diego
since her transition 13 years ago. For one thing, it has meant no more going along to get along.
Interview by Diana Fernandez, ASLA

In Kīlauea’s Wake
After a series of violent eruptions of Kīlauea in 2018, the staff of Hawai‘i Volcanoes National Park is figuring out ways to proceed with a natural and cultural treasure that is constantly changing.

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 November articles as the month rolls out.

Credits: “Floods That Know No Bounds,” Gabriel Díaz Montemayor, ASLA; “Look to the Sky,” Stephen Dunn; “Get Real,” Brian Kuhlmann; “In Kīlauea’s Wake,” USGS Hawaiian Volcano Observatory; “Get with the Program,” Drew Hill, Student ASLA/Utah State University; “Lunch Break Brutalism,” Peter Bastianelli-Kerze.

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BY GWENETH LEIGH, ASLA

The Barangaroo Reserve transforms Sydney Harbour’s old industrial landscape.

FROM THE NOVEMBER 2016 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

When I was a child growing up in the suburbs of Philadelphia, my understanding of landscape was one of changing purpose. Cornfields were converted into housing subdivisions and office parks. Old winding roads were straightened, thickened with extra lanes, and punctuated by traffic lights. It was the small discoveries—an arrowhead in the garden, a bullet lodged in a tree—that revealed the older stories of these fractured landscapes. The layers of roads, power lines, and strip malls made any trace of a site’s earlier history difficult to imagine.

But what if we were to allow a landscape to break free from the confines of concrete curbs, smooth out its industrial wrinkles, and pluck off architectural blemishes in an effort to recapture a semblance of its younger, more picturesque self? Where injections of earth and rock serve as the Botox for an aging landscape, erasing the creases of human development in favor of a more natural topography. So begins the story of Barangaroo Reserve in Sydney, Australia. (more…)

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FEATURE: We Declare

Reformulating a historic agenda after half a century.

FROM THE MAY 2016 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

At Independence Hall in Philadelphia in June of 1966, Ian McHarg, Grady Clay, Campbell Miller, Charles R. Hammond, George E. Patton, and John O. Simonds presented “A Declaration of Concern” on behalf of landscape architecture, reproduced below. It was a statement on the growing crisis in the natural environment and the claim of landscape architects in averting the environment’s total destruction. To the degree the declaration was dramatic and self-regarding, it was also true. It preceded much of the formal regulatory protection—preventive, punitive, and remedial—of resources that we know now. The declaration’s alarm over pollution and ecological ruin speaks for itself, but it managed to be both critical and optimistic. Its hope lay in the ability of landscape architects to figure out across disciplines how to make nature and society work as a whole, healthy system.

In 2016, the Landscape Architecture Foundation marked the half century of “A Declaration of Concern” with “The New Landscape Declaration,” a gathering of landscape architects, scholars, and advocates at the University of Pennsylvania in June of that year. The foundation, which was also turning 50, asked a number of participants to write declarations of their own for the occasion as latter-day responses to the original. Five are linked to below. Landscape architects have by no means retired the threats of 50 years ago, and other threats have proliferated around them, but the moral vision of the profession conceived at the midcentury has enlarged accordingly.

“A Declaration of Concern—June 1966” 

We urge a new, collaborative effort to improve the American environment and to train a new generation of Americans equipped by education, inspiring example, and improved organizations to help create that environment.

A sense of crisis has brought us together. What is merely offensive or disturbing today threatens life itself tomorrow. We are concerned over misuse of the environment and development which has lost all contact with the basic processes of nature. Lake Erie is becoming septic, New York City is short of water, the Delaware River is infused with salt, the Potomac River with sewage and silt. Air is polluted in major cities and their citizens breathe and see with difficulty. Most urban Americans are being separated from visual and physical contact with nature in any form. All too soon life in such polluted environments will be the national human experience. (more…)

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BY SARAH COWLES

Designers find new ways to tell communities about climate change.

FROM THE DECEMBER 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

In the early 1920s, leaders of the Soviet Union had a communication problem: how to relay the abstract and complex communist ideology and economy to their scattered constituents across several nations, languages, and varying literacy levels. Enter the agit-train, a multimedia spectacle covered with constructivist supergraphics that drew crowds at every stop. The agit-trains carried agitprop (agitation propaganda) acting troupes, movie theaters, printing presses, pamphlets, and posters.

Today, leaders of coastal cities are facing an urgent communication issue: how to draw public attention to the looming threats of climate change and sea-level rise. Last winter, 10 teams in the San Francisco Bay area were selected to participate in the Resilient by Design Bay Area Challenge, “a yearlong collaborative design challenge bringing together local residents, public officials, and local, national, and international experts to develop innovative, community-based solutions that will strengthen our region’s resilience to sea-level rise, severe storms, flooding, and earthquakes.” Resilient by Design, funded by the Rockefeller Foundation, built on the success of the Rebuild by Design initiative, which focused on the post-Hurricane Sandy landscape of New York and New Jersey. Each team was assigned to a swath of bay lands, where a confection of urbanization, predevelopment remnants, and infrastructure collide. A significant component of the initiative was public outreach, to address the issues germane to the most vulnerable communities that are already facing pressure from gentrification.

A significant, and perhaps unexpected, outcome within the Resilient by Design process was a revolution in public outreach, one that echoes Soviet agitprop methods. Three teams, Field Operations, Bionic, and HASSELL+, designed new physical devices, events, or spaces that kick-started public participation in the design process and informed residents on methods of climate change adaptation. Bionic and Field Operations wrapped vehicles with supergraphics to create a striking visual presence at community events, while the HASSELL+ team repurposed a former bank as an info shop. Their agitprop works were especially suited to the constraints of Instagram. The supergraphics make striking backgrounds for selfies, and all teams made liberal use of hashtags. These bold environments prompted action in real and virtual communities.

The Field Operations concept for urban resilience is simple: (more…)

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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 JARED BREY / PHOTOGRAPHY BY SAHAR COSTON-HARDY, AFFILIATE ASLA

FROM THE SEPTEMBER 2019 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

Darren Damone, ASLA, and Katharine Griffiths were standing on a boardwalk at Avalon Park & Preserve, in Stony Brook, New York, looking across the pond at a gang of cormorants loitering in the branches of a beech tree.

“They used to nest over here, and it was a disaster zone,” said Griffiths, the director of the preserve. “It used to smell like a bluefish factory. It was nasty. They did a lot of damage to the trees in this area.… That’s what happens. They strip the leaves to put in their nest, and then their guano is so acidic that it just burns everything. They’re kind of sloppy birds.”

It was a May morning, and the squealing songs of cardinals spilled out of the woods behind us. We took a curving path up a hill to a smaller pond, fed by what looked like an underground stream, and I asked, credulously, where the headwaters were.

“This is just recirculating,” Damone said, looking amused. “This is completely created.”

In 1996, before the preserve existed, Paul Simons, a local nature lover who liked to ride his bike on a path through the property, was struck by a car on Long Island and killed. In his honor, the Simons family created the Paul Simons Foundation, and bought the eight-acre property that would later become Avalon Park & Preserve. Griffiths was a friend of the Simons family and had just finished college in Ontario, studying political science and horticulture, and she moved to Stony Brook to lead the preserve. Creating the preserve was a way for the Simons family to grieve, she said, and it was meant to be a place that Paul would have wanted to be. Beyond that, she told me later, “We didn’t have a vision, really.”

So it turned to Andropogon, the Philadelphia-based landscape architecture firm, to create (more…)

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