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Archive for the ‘WATER’ Category

BY LISA OWENS VIANI

In Great Lakes cities, derelict parcels sponge up stormwater.

FROM THE AUGUST 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

Eight years ago, Sandra Albro, a research associate in applied urban ecology at the Cleveland Botanical Garden (now Holden Forests & Gardens) began to think about opportunities lurking in the city’s vacant lots—in particular how to help cities with their water quality problems. During heavy rains, raw sewage from old, leaky, combined sewer-stormwater systems is often flushed into the Great Lakes, resulting in beach closures not fun for tourists. At the same time, in Cleveland, Ohio; Buffalo, New York; and Gary, Indiana—where populations have declined by as much as 40 to 50 percent since the 1950s—derelict houses and vacant lots have increased: 30,000 in Cleveland, 7,000 in Gary, and more than 6,000 in Buffalo.

Cleveland, Buffalo, and Gary are among 158 communities with permits from the Environmental Protection Agency (EPA) to discharge treated wastewater into the Great Lakes. The agency has also charged them with implementing Long Term Control Plans under the Clean Water Act to eliminate discharges of untreated sewage from their combined system overflows. “It’s a funny thing,” says David Rankin, the executive director of the Great Lakes Protection Fund, a private nonprofit corporation that funds projects to build the health of the lakes. “Most of the time these systems do a great job of managing stormwater—they actually treat it. It was state-of-the-art Victorian engineering that dates back to the Industrial Revolution. But in heavy rains, some waste gets flushed out, too—and when you’re looking at more than 100 dischargers, it starts to add up.” According to the EPA, in 2014 the toll was an estimated 22 billion gallons of untreated wastewater discharged into the lakes.

Rankin says Great Lakes cities need to think differently about the problem—many are trying to find funding to build massive pipes. But with their populations declining, he suggests these cities should think about solutions that don’t involve tens or hundreds of millions of dollars. So when Albro came to him with her idea for using vacant lots to capture stormwater, the fund awarded her a small grant to develop a plan. She contacted 11 Great Lakes cities, (more…)

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

FOREGROUND

Lots of Opportunity (Water)
PUSH Blue helps Great Lakes communities manage their stormwater with rain gardens,
playgrounds, and greenhouses created on vacant parcels.

The Finer Fabric (Preservation)
A historic Tucson neighborhood is making an inventory of the street details,
big and small, that make it singular.

Tooling Up (Tech)
Digital work flows for CNC fabrication are coming out of the studio and into practice.

FEATURES

Democratic Void
Zurich’s vast public square, Sechseläutenplatz, opened in 2014. Now the city’s residents must decide how (and how often) they want to use it.

Almost Wilderness, Maybe Forever
The 24,000-acre Jack and Laura Dangermond Preserve on the California coast was bought—and protected—with the largest donation ever made to the Nature Conservancy.

Made to Disappear
Berger Partnership’s landscape for the Washington Fruit & Produce Company headquarters takes inspiration from Yakima Valley’s agricultural heritage.

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

Credits: “Tooling Up,” Marion Brenner, Affiliate ASLA; “Lots of Opportunity,” Sandra Albro, Holden Forests & Gardens; “The Finer Fabric,” Steve Grede; “Made to Disappear,” Kevin Scott; “Almost Wilderness, Maybe Forever,” The Nature Conservancy/Peter Montgomery; “Democratic Void,” © Manuel Bauer Agentur Focus.

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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 TIMOTHY A. SCHULER

FROM THE JULY 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

On a chilly Sunday afternoon in the spring of 2016, a group of designers and preservation professionals wandered through one of Newport, Rhode Island’s oldest neighborhoods, visualizing what it would look like underwater. It wasn’t hard to imagine water flowing down the narrow streets and into the basements of the quaint, colonial-era homes located just blocks from Newport Harbor and a mere four feet above sea level. Some had already seen it.

In 2012, Hurricane Sandy sent floodwaters into many of the Point neighborhood’s historic homes, including 74 Bridge Street, a red-painted, two-story house originally built in the late 1720s. The basement flooded up to the first-floor framing and the kitchen took on at least seven inches of water.

Two years later, the Newport Restoration Foundation (NRF), a nonprofit preservation group founded by Doris Duke in the 1960s, purchased the house at 74 Bridge Street. As the house of one of Newport’s most notable cabinetmakers, a Quaker named Christopher Townsend, it had sat for years at the top of the NRF’s list of most desirable historic Newport properties. It was an important acquisition for the NRF, which currently owns 78 properties throughout the city and helps fund their upkeep. But the organization also knew that 74 Bridge Street would flood again.

“It’s in the lowest point in the Point neighborhood—literally, the lowest topographical point,” says Shantia Anderheggen, NRF’s former director of preservation. With sea levels on the rise—and in Newport they already had risen 11 inches over the past century—it was a statistical certainty that what happened in 2012 would happen again. And it wasn’t just the Townsend residence. The entire Point neighborhood, which has one of the highest concentrations of colonial-era structures on the continent, was under siege from the sea. (more…)

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

Image courtesy of the Rising Up team, BLA4, University of Guelph.

From “Quiet Riot” by Brian Barth, in the July 2018 issue, about a beach pavilion by University of Guelph landscape architecture students that puts the issue of urbanization on floodplains front and center.

“Puzzle pieces.”

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

Image courtesy John Donnelly, ASLA/SCAPE.

From “Guardians of the Soil” in the July 2018 issue, about how tree grates enhance urban tree growth and soil quality.

“Geometric grates.”

–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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It’s the beginning of July, which means the latest issue of LAM is here! You’ll find these stories inside:

FOREGROUND

 Urban Scanner (Interview)
Shannon Mattern’s book, Code and Clay, Data and Dirt: Five Thousand Years of Urban Media, uncovers the way information has shaped our cities.

The Hole Story (Parks)
Hornsby Quarry in New South Wales was thought too big to fill and too unsafe to leave open.
Now it could be a park.

Palms Out (Plants)
Palm trees may be iconic of Miami or Los Angeles, but they can
thrive in more—and colder—places than you may think.

FEATURES

The Old and the Neutral
In New Orleans, Hargreaves Associates weaves the hopeful future into
the industrial past in Crescent Park.

Two London Squares and a Theory of the Beige Hole
Sleek, tidy, generic: a critique of Fitzroy Place and Rathbone Square, two privately owned
public spaces in London’s West End.

Balancing Act 
In a wetter world, how do we weigh the need to adapt to the future
against the imperative to preserve the past?

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

Credits: “Two London Squares and a Theory of the Beige Hole,” londonsurvival/JOEHOOVER (londonsurvival.wordpress.com); “The Old and the Neutral,” Timothy Hursley; “Balancing Act,” Newport Restoration Foundation/Ashley Braquet; “Palms Out,” Botanics Wholesale; “The Hole Story,” Hornsby Shire Council; “Urban Scanner,” Michael K. Chen and Justin Snider, Michael K. Chen Architecture.

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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 JONATHAN LERNER / PHOTOGRAPHY BY ADAM WISEMAN

From the June 2018 issue of Landscape Architecture Magazine.

One bright December day, Mario Schjetnan, FASLA, was ushering a visitor around Mexico City’s historic Chapultepec Park, where his firm, Grupo de Diseño Urbano (GDU), has been enacting subtle renovations for nearly a decade and a half. He detoured, though, to show something that has not required the firm’s intervention. It was a concrete sump, perhaps five meters square, three meters deep, and open on top. It is the terminus of an aqueduct, completed in 1951, that brings water from 60 kilometers away through a tunnel under a mountain range. At the time, the city’s population had more than doubled in two decades, to three million thirsty souls. This new aqueduct must have seemed like deliverance. (Today, the population of the Metropolitan Area of the Valley of Mexico, comprising the city proper plus 41 contiguous municipalities, numbers more than 21 million.)

The sump, whose function was really just to hold water before it was piped into four enormous tanks buried nearby, was treated reverentially. Sheltered within a temple-form building, the depression’s walls and floor were painted by Diego Rivera in a fantastical narrative called Water, Origin of Life. The inlet seems to pour through the hands of Tlaloc, the Aztec god of floods and droughts. Swirling around the floor and up the walls are life forms of increasing complexity. There are an ur-man and ur-woman, and depictions of everyday people using water (swimming, sipping, irrigating gardens), of workers jackhammering rock, and of giant pipes and valves. When the sump was actually used, the view through water surely added a vitalizing shimmer, but water was destroying the mural. Eventually the flow was rerouted and the painting restored.

Now Schjetnan pointed to where Rivera had portrayed a gathering of two dozen men in modern dress, some in hard hats, some in suits; on a table before them is a sheaf of blueprints. “The engineers who built the aqueduct,” he said respectfully, (more…)

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