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BY TIMOTHY A. SCHULER

Hollander Design’s new fellowship for landscape architecture students steps up the support for underrepresented groups.

FROM THE DECEMBER 2020 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

A summer of collective soul-searching over the systemic nature of racism in America has spurred new investments in the education of young designers of color. Among them is the new Hollander Design Fellowship, a $4,000 annual academic scholarship available to students enrolled in the graduate landscape architecture program at the City College of New York’s Bernard and Anne Spitzer School of Architecture.

Established in August 2020, the new fellowship will be awarded to three graduate students per year for each year they are enrolled, for an annual total of $12,000. It is available to MLA candidates who identify as Black or African American, Latinx, or Alaskan Native or American Indian, or as a member of another cultural or ethnic group that is underrepresented in landscape architecture, including the LGBTQ community. The first three recipients, Miguelina Portorreal (class of 2021), Jeana Fletcher, Student ASLA (2022), and Mathew Brown Velasquez (2023), were announced in October. Three additional students received a one-time Hollander Design Award of $4,000. Catherine Seavitt Nordenson, ASLA, the director of City College’s graduate landscape architecture program, says the smaller award was established to respond to the large number of high-quality applications the school received. (more…)

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BY PATRICK SISSON

A new landscape architecture docuseries goes behind the scenery.

FROM THE DECEMBER 2020 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

“It’s hard to tell the story of the L.A. River without flying through it,” says Michael Todoran, a landscape designer, lecturer, and podcast host. Along with his students at California State Polytechnic University, Pomona, in January Todoran began filming “Superfisky: The Allure of the Urban Wild,” the first episode of Larchitect, a docuseries devoted to landscape architecture. This in-progress episode focuses on Kat Superfisky, a landscape designer, ecologist, and educator working to restore the natural beauty and native plant life on the shores of the mostly concrete-lined waterway. When the landscape, specifically the Los Angeles River, is a supporting character in your story, visual exposition becomes critical. The best solution was a helicopter shot that showed the true breadth and boundless energy of this body of water. (more…)

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BY ZACH MORTICE

John Whitaker’s Dark Matter project posits a memorial landscape that is a forum for collective action and protest. Image courtesy John Whitaker, Student ASLA.

An ASLA Student Award-winning project challenges outdated death practices.

 

One of the most startling projects submitted for the 2020 ASLA Student Awards was Dark Matter—a proposal that uses landscape as a transmission medium for the ecological values of the deceased. With arresting images and a somewhat unconventional project type, Dark Matter dazzled the jury, which bestowed the Award of Excellence in General Design on the project last spring. John Whitaker, Student ASLA, an MLA candidate at the Sam Fox School of Design and Visual Arts at Washington University in St. Louis, designed a proposal that created a memorial landscape that grows over time to unify human remains with nonhuman ecologies, promoting biological and cultural diversity and offering mourners “the continuation of a relationship that would endure over time with both their loved one and the larger site,” Whitaker says. (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 TIMOTHY A. SCHULER

FROM THE NOVEMBER 2020 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

When Jaz Bonnin, Heidi Brandow, Elsa Hoover, and Zoë Toledo walked through the doors of Harvard University’s Gund Hall, they weren’t aware they were making history. The women arrived at the Harvard Graduate School of Design (GSD) with diverse backgrounds and wide-ranging interests, from affordable housing to the spatialization of resource extraction. Still, the women had one thing in common: heritage that stretches back to well before Western contact. Brandow is Diné and Kanaka Maoli (known more commonly as Navajo and Native Hawaiian); Toledo is Diné; Hoover, of mixed Anishinabe and Finnish heritage; and Bonnin, of mixed heritage that includes Yankton Sioux and Blackfoot.

The students’ arrival at the GSD in fall 2019 marked the first time in the school’s nearly 100-year history that four students of Native ancestry have been enrolled at the same time. It’s an illustration of the near-total absence of Indigenous voices within the design and planning professions. For Brandow, a painter who is pursuing a master’s degree in art, design, and the public domain, such experiences are all too common. “As a Native person, being at Harvard, or anything you do, you accept that you’re probably going to be the first, or one of a handful of people,” she says. “You accept that Harvard is 500 years behind on this. But you also recognize that’s an opportunity to get the work done. To create these spaces, to increase visibility, to make this declaration of our presence and the necessity of more recruitment of Indigenous people.” (more…)

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This fall, LAM will be highlighting professional and student winners from the 2020 ASLA Awards by asking designers to dive deep into one image from their winning project.

The LivingRoom: A Freeware Learning Garden Focused on Health, Food, and Nutrition Education, by Simon Powney, Tripp Dunn, Huang Zhaoheng, Ben Gunter, Jacob Felkins, Cody Eades, Walter Hogue, Matthew Stanton, Clint Kiser, Logan Sullivan, Nada Aziz, Natalie Bowers, Brandon Burton, Oriey Glenn, and Jane Kent; Mississippi State University, Student Collaboration Honor Award.

“The inspiration for the color and bold graphic style used in the Galloway Elementary School LivingRoom Garden came from an existing mural at the school that speaks to local food production and programmatic discussions with education researchers. The style uses a simple palette of primary colors and geometric shapes to represent local food selections. The arrangement is based on a few ideas about how elementary age children can use the garden. First, there is a series of spaces that can be used to identify destinations. ‘Meet on the big watermelon’ or ‘Let’s go sit in the tomato and talk about this.’ Second, [there’s] the need for structure so multiple groups could use it at the same time. ‘Let’s walk on the “peas” path so we don’t get in the way of the class on the “carrots” path.’ Third, the ‘peas’ end in an ordering grid that allows teachers to instruct children to order things they find in the garden by size, color, texture, shape, etc. and have discussions about the differences.”

—Simon Powney, Student ASLA

 

Teaching children about how food is grown is a worthy endeavor. But school administrators are daunted by the funding requirements and maintenance of a school garden. A team of landscape architecture, architecture, and graphic design students created a prototype for a learning garden that is affordable and practical. Instead of small-scale farming, the student team described the design as focused on “aligning teachers’ needs with food, health, and nutrition education goals.” The resulting semicircular planter, made with off-the-shelf components for less than $1,500, incorporates a trellis, seating, and an irrigation system. Working with an educator, the team also created a garden curriculum that is organized around the themes of time, color, math, biology, and seasons, allowing the lessons to be incorporated easily into the regular school curriculum.

—Lydia Lee

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REVIEWED BY JUSTIN PARSCHER

FROM THE NOVEMBER 2020 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE. 

 

Students should learn to draw by hand, to fly drones, to do interpretive dance, to do light construction. They should collaborate with social scientists, with soil scientists, with local community members, with their counterparts in New Zealand. They need to be able to craft policy, wrangle BIM data, construct dioramas, and plant green roofs. In the best-case scenario, there are only five years to fit this all in. What is crucial? What gets left out? And keep in mind the vast array of wicked problems converging on us while we try to figure that out.

The two new Teaching Landscape books put out by the European Council of Landscape Architecture Schools (ECLAS) give the reader an acute sense of the sheer scope of the mission landscape architecture educators take on. As the former ECLAS president Simon Bell explains in his foreword to the Routledge Handbook of Teaching Landscape, “This book originated in a deeply felt need by all ECLAS members for up-to-date materials to help them to teach. It must be said at the outset that we do not want all schools to be alike and to teach exactly the same things in the same ways—we want to maintain diversity.” The results reflect that. The topics of teaching range widely, from the theoretical to the applied, and from technology to writing. The end result is often difficult to treat as an actual handbook. With some exceptions, like Peter M. Butler’s useful primer for creating a service learning studio, the majority of the contributions are case studies of the authors’ own classes, usually without much context given as to the curriculum in which they sit. The overwhelming variety gives you the same sense of disbelief you have watching the finalists at the Westminster Dog Show: How are these things all related? And how would you judge them against each other? (more…)

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BY ZACH MORTICE

A presentation to the elders of the Red Water Pond Road Community, part of the University of New Mexico Indigenous Design and Planning program. Photo by Catherine Page Harris.

Faculty at landscape architecture programs are asking what an anti-racist landscape architecture pedagogy looks like.

 

Newly appointed this summer, Sara Zewde is the first tenure-tracked Black woman landscape architecture professor at the Harvard Graduate School of Design (GSD) and one of only 19 Black landscape architecture professors at accredited programs in the United States. And now that her first semester teaching at her alma mater is under way, she’s witnessing a few more firsts.

Discussions of diversity and structural racism at design schools had always focused on quantitative measures, such as the number of nonwhite faculty and students, but now the conversation is shifting to what’s being taught, and that’s new for Zewde. “I have never seen this kind of conversation around the actual curriculum, and that’s what excites me,” she says. (more…)

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