Feeds:
Posts
Comments

Posts Tagged ‘climate change’

BY JONATHAN LERNER

Cornell students bring visions for climate adaptation down to the Hudson shore.

FROM THE MAY 2020 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

The Hudson River is tidal, gaining a mean elevation of only two feet for 150-plus miles inland from the Atlantic. It is flanked, almost without interruption, by bluffs and cliffs. Most communities along it have only a slender strip of land at river level. Historically, industries and infrastructure were sited below, with more salubrious parts of towns built up the slopes. Most industry is gone. Communities want to reinvent their riverfronts, which means contending with the tides and storms of a changing climate. They’re getting help from Josh Cerra, ASLA, the director of graduate studies in the Department of Landscape Architecture at Cornell University. With collaboration from the New York State Department of Environmental Conservation’s Hudson River Estuary Program, he has been bringing community-based “Climate-Adaptive Design” studios to Hudson River towns.

The studio has obvious pedagogical value. Students learn site research and engagement skills, and to imbue design with climate science. Meanwhile, it lets Cerra pursue an interest in applied education and cross-disciplinary experiences. In developing their concepts, his students get “consultants”—other students, from Cornell’s Department of Biological and Environmental Engineering. To assess the studio’s benefits, Cerra is collaborating with a Cornell researcher who studies behaviors and conservation management. Their inquiries, he says, include “how working with engineers or other technical partners may enhance learning innovation” for landscape architects. And then there is the studio’s value to the towns, which are gifted with provocative visions for their futures. (more…)

Read Full Post »

BY JONATHAN LERNER

Parks along New York City’s vulnerable waterfront, like the one recently completed at Hunter’s
Point South, are both amenity and armor.

FROM THE MARCH 2020 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

Even as the tides lapping at its edges rise, New York City is turning eagerly toward the water to relieve both a congested transit system and a shortfall in housing stock. For example, you can now travel among all five boroughs by ferry. Ferries have several advantages over streets and subways. For the passenger, those include wind in your hair and magnificent, alternately thrilling and calming views of the harbor; for the city, minimal fixed infrastructure and the ability to easily alter routes if circumstances—such as the shorelines themselves—should change. And from the new ferries that ply the East River, you can see the city’s most visible effort to address the housing crunch: clusters of enormous apartment towers recently built and under construction along once-industrial waterfronts.

The city mandates that, with redevelopment, the water’s edge be public space. Some of that is the “waterfront public access area” each newly developed riverside property is required to provide. Those areas must at least have landscape and seating; as built, they vary from quite thoughtful to afterthought. There are also a number of city and state parks along the river. So there is beginning to be a continuous public edge. It will probably always have gaps, but they are filling in as the new housing developments rise. Viewed from out on the water, the chain of public spaces resolves into a thin green line, as much of it consists of esplanades and piers or is otherwise flat. Still, discontinuous and varying in design quality as its component pieces are, they are hugely popular—just because they exist, and also because some of them are truly inspired. That would describe one of the newest of the city-developed pieces. In its case, you do begin to glimpse its features from the river, because it has hills and an architectural overlook jutting up and out toward you. This is, in fact, just where the ferry stops in Long Island City, Queens: Hunter’s Point South Park, designed by Thomas Balsley, FASLA, (whose eponymous firm joined SWA in 2016) in collaboration with Weiss/Manfredi Architecture/Landscape/Urbanism. (more…)

Read Full Post »

AMAZON FIRE: WHO OWNS THE AMAZON?

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 CATHERINE SEAVITT NORDENSON, ASLA

FROM THE FEBRUARY 2020 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

Who owns the Amazon? In news reports about the unprecedented number of fires burning in this vast forest during the past several months, Brazil’s president, Jair Bolsonaro, has vehemently answered “Brazil”—punctuating that claim with the charge that any nation holding a different opinion is simply a colonizer, usually a European one. Yet defined in terms of the river’s massive watershed, the Amazon rain forest—the world’s largest such tropical biome—falls within eight South American countries: Brazil, Ecuador, Venezuela, Suriname, Peru, Colombia, Bolivia, and Guyana.

Those same eight polities have been embroiled in a seven-year legal battle with Amazon.com, Inc. and its CEO, Jeff Bezos, who would very much like to own .amazon—the domain name, that is. The Internet Corporation for Assigned Names and Numbers—the independent body that vets global Internet addresses—has sided with Bezos. American corporate interests, once again, seem to have the upper hand over local cultural heritage and place-name identity, despite concerns voiced by Brazil’s minister of foreign affairs and representatives from other governments that share the watershed.

Certainly, “owning” the Amazon has always been bound up in questions of sovereignty. And sovereignty has long been caught up in authoritative claims of possession. (more…)

Read Full Post »

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

Photo by G. Lyon Photography.

From “Extreme Sports, Extreme Storms” in the February 2020 issue by Allyn West, about a BMX park in Houston by OJB Landscape Architecture that’s designed to absorb hordes of biking enthusiasts, as well as floodwaters.

“Air and water.”

–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.

Read Full Post »

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 JESSICA BRIDGER

FROM THE JANUARY 2020 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

It is likely you have never heard of Paul Mathews, but if you ski it is probable that you have been on a slope that he had a hand in designing. In 1975, he founded Ecosign Mountain Resort Planners, “Ecosign” being a portmanteau of ecology and design. Whistler, the downhill and backcountry ski hub in British Columbia, has been his home turf since the 1970s, and Ecosign has worked on more than 400 ski resorts around the world.

Mathews was responding to the state of skiing in the 1970s when he founded Ecosign. Ski areas had evolved over the years, some growing from ad hoc paths down the sides of mountains into massive areas, choked by car traffic on the weekends, full of stairs and narrow, poorly designed ski slopes, or pistes, with disorganized ski villages at their base. Infrastructure was insufficient; environmental degradation was rife. Some resorts were made by tearing into the landscape, moving large amounts of rock and soil, cutting excessive numbers of trees, ignoring flora and fauna. Few undertook adequate transportation planning to handle weekly visitor flows. Other ski areas suffered from fragmented ownership, with multiple operators in single small town or village settings, hampering the investment needed to keep facilities modern and ensure longevity and employment. Four decades after founding Ecosign, Mathews knows what to do with both challenges—how to plan for sustainable futures and growth and how to establish completely new ski resorts in places that have none. The company is about 20 people and includes landscape architects, architects, engineers, soil scientists, and MBAs, among others, who work around the world from Ecosign’s base at Whistler. “There is lot of work in China, the Balkans, Turkey—anywhere where they have mountains, snow, and incomes that are rising,” Mathews says. (more…)

Read Full Post »

BY ZACH MORTICE

Ronnie Siegel’s Carry the EARTH environmental art project has sent 39 palm-sized globes traveling across the world, visiting 15 nations and counting. Image courtesy Ronnie Siegel, ASLA, Carry the EARTH.

The handheld globes the landscape architect and environmental artist Ronnie Siegel, ASLA, has crafted and sent around the world carry a lot of weight. Carry the EARTH, the project Siegel designed and launched in 2018, focuses attention on different aspects of the world’s ecology, with both hopeful and dire points of view. Some are cheerily expository, like her Rivers globe, where exaggerated river basins carve deep canyons across the continents. Many foretell calamity, like the Time Bomb globe, with a fiery lit fuse trailing out of the North Pole. But others are tentatively optimistic, like the Seeds for Change globe, where the Earth’s continents are transparent and the globe is filled with seeds of different shapes, sizes, and textures. (more…)

Read Full Post »

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 DIANA FERNANDEZ, ASLA

FROM THE NOVEMBER 2019 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

Vicki Estrada, FASLA, opened Estrada Land Planning in 1985, and over the course of nearly 35 years, the firm has worked on planning and landscape architecture projects that have helped define the city of San Diego. Her work as a community planner and advocate over the past three decades was community engagement before there was “community engagement,” and her imprint can be seen everywhere in the city’s parks, streets, communities, and transit. We asked Diana Fernandez, ASLA, an associate at Sasaki, to interview Estrada about her career and her life, and what followed was a very candid and wide-ranging conversation about gender, representation, identity, and making landscapes that don’t pretend. (This interview has been edited and condensed.)

Diana Fernandez: I’m so curious to find out what brought you to landscape architecture. I often feel like all of us landscape architects have stumbled into the field somehow.

Vicki Estrada: It’s a funny, interesting story actually. There were two processes. First of all, when I was in elementary school, I would draw. They were little downtowns. I was supposed to be listening to the teacher, but I would draw little downtowns in isometric view and with a ballpoint pen and my dad’s old office papers. You can still see his office logo on them.

The principal came by one day and said, “Hey, Steve,” my name at the time, “you’re going to be an architect.” I am? So from fourth grade on, it was kind of ingrained in me. You’re going to be an architect. You’re going to be an architect.

I got accepted at Cal Poly for architecture, and I went off. I had one year to go. I met some architecture friends, and I went down to Cal Poly Pomona on one Saturday to visit them. I remember walking down to the campus on a Saturday afternoon. It’s all deserted. It’s all quiet. We looked at this great big new lecture hall. So I walked in—have you seen the movie, The Blues Brothers?

Fernandez: No, I haven’t.

Estrada: Well, there’s a scene in The Blues Brothers where they walk into a church, and James Brown is the preacher, and the door opens up and you see the sunlight come down. I opened up the door, and there’s this room full of students, and onstage was this old guy with long, gray hair, with a cane. He pounds on the stage and he points—I swear it looked like he was pointing at me. “Imagine the Earth as a canvas,” he says. “Architects put dots on the canvas. Engineers connect the dots. You are the only ones who can paint the entire canvas.” Being an architect, I go, “What the fuck? What is he talking about?” (more…)

Read Full Post »

Older Posts »