Posts Tagged ‘Dan Kiley’

PERMAFROST FRONTIER

BY ANNE RAVER / PHOTOGRAPHY BY IHOR PONA

Around a school in an arctic town, Cornelia Hahn Oberlander has made a landscape to withstand the prospect of a warming world.

This week, LAM is joining more than 250 media outlets for Covering Climate Now, flooding the zone, as it were, with climate coverage in the run-up to the United Nations Climate Action Summit on September 23. Landscape and landscape architecture are deeply implicated in the future of climate progress, or a lack of it. Over the past decade, LAM has dug into climate issues of landscape in numerous dimensions, mapping the big resource picture as well as local attempts to fend off increasingly apparent hazards of global warming—from the procurement of materials to the integrity of the food supply chain. Each day this week we’ll bring you excellent stories from recent years that follow landscape architects acting and thinking about climate change and the landscape.

FROM THE NOVEMBER 2013 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

The permafrost is melting in Inuvik, a flat delta town in the Northwest Territories, 2 degrees north of the Arctic Circle. You can see the drunken trees, leaning this way and that along the banks of the Mackenzie River. The Gwich’in and Inuvialuit—native people who make up 40 percent of the some 3,500 residents here—have to go farther out to hunt seals, because of the melting ice.

The caribou get stuck in the mud, instead of running across snow, as they migrate to their calving grounds north of Tuktoyaktuk, or Tuk, as people here say, on the coast of the Beaufort Sea. The lichen that has sustained them for millennia is getting crowded out by species that thrive in warmer temperatures.

Local people tell of landslides and collapsing banks along the Mackenzie River, or slumping—where the land simply caves in—on a road or in the forest. The pingos, or subterranean ice houses, may be melting up in Tuk, but most people have freezers anyway.

“Come, I want to show you where I sank into the permafrost that was melted,” Cornelia Hahn Oberlander, FASLA, the Canadian landscape architect, said one unseasonably cold day in July. (more…)

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BY MARK R. EISCHEID

The site manager Ben Wever talks about maintenance at Dan Kiley’s Miller Garden.

FROM THE JULY 2019 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

Considered a modernist masterpiece, Dan Kiley’s Miller Garden in Columbus, Indiana, is now more than 60 years old. Previously the private residence of the J. Irwin and Xenia S. Miller family (1957–2008), the property has been owned and managed by Newfields (formerly the Indianapolis Museum of Art) since 2009. Ben Wever, the site manager of the Miller House and Garden, was born and raised in Columbus and has a decades-long history with the site. His grandmother, Barbara Voelz, worked for the Miller family, and he would occasionally visit the property as a child. He later became a part-time gardener for the Millers while in high school, and eventually a seasonal and then a full-time groundskeeper and a personal assistant to J. Irwin Miller. Wever—an Indiana-accredited horticulturist, member of Landmark Columbus’s Advocacy and Education Committee, and a midcentury furniture collector—also has experience maintaining other Kiley designs throughout Columbus. In his current role, Wever oversees the care, curation, and maintenance of both the Miller House and Garden. The following are excerpts from a conversation regarding the practices and challenges of maintaining the Miller Garden. (more…)

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BY ZACH MORTICE

The plan by Michael Van Valkenburgh Associates retains the fundamental elements of Dan Kiley’s original design. Photo by Nic Lehoux.

The protection of modernist design is a relatively new topic in preservationist circles. And in many cases, landscapes have lagged behind modern architecture in receiving formal recognition and valuation.

But over the past several years, the modernism preservation nonprofit Docomomo US has used its primary awards program to bring visibility to the vulnerability and value of historic modern landscapes. The projects recognized by Docomomo US’s sixth annual Modernism in America Awards show the ways that all disciplines of the designed environment come together as a defining element of modernism: architecture, landscape architecture, art, interior design, and more. That’s been a recurring theme through the years, though this year’s awards were the first time it was “expressed so clearly or comprehensively,” says awards juror and Docomomo US President Theodore Prudon. Several projects honored put the preservation of historic modernist landscapes front and center: the rehabilitation of Gateway Arch National Park in St. Louis, honored with a Design Award of Excellence, and the restoration of Olav Hammarstrom’s Pond House in Massachusetts, which received a Design Citation of Merit. (more…)

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The Marcus Center in 1970. Photo courtesy Joe Karr, FASLA, and the Cultural Landscape Foundation.

Milwaukee rushes toward a zero-sum choice that could eradicate a Kiley landscape.

 

Dan Kiley developed his approach to landscape design in the wake of World War II. After designing the courtrooms for the trials of Nazi war criminals at Nuremberg, he explored the classical European gardens such as the Tuileries, Villandry, and Versailles, and  translated their allées, bosques, and hedgerows into modern expressions of landscape design. Channeling this tradition created “spaces with structural integrity,” Kiley wrote.

“The trees form a mass that’s almost a structure,” says Joe Karr, FASLA, who worked with Kiley from 1963 till 1969. “Dan quite often used plants like an architect would use other materials.”

Kiley’s landscape for Milwaukee’s Marcus Center for the Performing Arts, which sits next to the Milwaukee River downtown, exemplifies these lessons. The Cultural Landscape Foundation’s President and CEO Charles Birnbaum, FASLA, says it’s “truer to the Tuileries as any Kiley landscape that survives today.”

But the Marcus Center is now planning to destroy Kiley’s primary landscape feature on the site: a grid of 36 horse chestnut trees. A new plan will replace the trees with a great lawn for large public gatherings, quite contrary to Kiley’s design intent. Construction is tentatively slated to start (more…)

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BY ZACH MORTICE

Tillage radish is similar in shape, size, taste, and color to daikon radish. Image courtesy of MVVA.

Oilseed radish, or Raphanus sativus, goes by the name “tillage radish,” “radish ripper,” “fracking radish,” and the comic book-worthy “turbo radish.” It can reach its two-inch-wide taproots down six feet, breaking up compacted soil and rebalancing nutrient levels, and is commonly put to work as a cover crop in agricultural fields. But the designers at Michael Van Valkenburgh Associates (MVVA) found another, more high-profile use for them: to remediate the soil during the renovation of the Gateway Arch grounds in St. Louis, one of the largest and most important landscape revamp projects in the nation. This reimagining of Dan Kiley’s mid-20th-century landscape is using an unprecedented application of soil-remediating vegetation into this sort of sensitive and historic National Park Service property, says Adrienne Heflich, an MVVA senior project manager.

It’s one sort of drilling operating that, even though it’s in a national park, is entirely welcome.

MVVA’s plan makes the park more flexibly programmed, (more…)

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BY GARY HILDERBRAND, FASLA

Dan Kiley's South Garden at the Art Institute of Chicago has seasoned over nearly 50 years into a rugged, magical hawthorn canopy.

Dan Kiley’s South Garden at the Art Institute of Chicago has seasoned over nearly 50 years into a rugged, magical hawthorn canopy.

From the October 2015 issue of Landscape Architecture Magazine.

There is nothing quite like sitting beneath the almost fully connective canopy of 50-year-old cockspur hawthorns in Dan Kiley’s South Garden at the Art Institute of Chicago in early summer. The 32 trees at the center of the garden, set in a 20-foot grid, reached their natural maximum height long ago. Their wily trunks have thickened and twisted with age; their craggy, wandering branches continued to elongate, eventually overlapping and intertwining, creating a space that has a level of repose perhaps unequaled in a midcentury urban landscape space. Crataegus crus-galli has narrow, waxy, obovate leaves, which are naturally held upright at the tops of the branches, suggesting intolerance for shade; they filter a kaleidoscope of sunlight and shadow onto the warm brown crushed-stone paving below. Reflections from the water surface and gravel color the air. Though generally I find the modernist conceit of describing “rooms” in landscapes inadequate or ill-suited, this canopy explicitly creates a ceiling and produces a dazzling sense of interiority within the garden’s sunken court space. It’s hard to believe you are sitting within 150 feet of Chicago’s main drag.

Michigan Avenue, the historic eastern anchor of Chicago’s exalted grid, attracts hordes of traffic and tourists to its institutions, architectural sites, and parks. There are excellent urban landscapes to see here, including the Lurie Garden, Maggie Daley Park, Grant Park, and the grounds of the Field Museum. None is more tranquil than the South Garden. Peter Schaudt, one of Chicago’s most admired landscape architects, considered it Chicago’s best landscape space. This year, ASLA conferred its Landmark Award to the project, which recognizes works between 15 and 50 years old that retain their design integrity and benefit to the public realm. At about its 50-year mark, the South Garden more than (more…)

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

xxx

Credit: © Tom Harris, courtesy The Cultural Landscape Foundation.

From “The Wild Grid” by Gary Hilderbrand, FASLA, in the October 2015 issue, featuring Dan Kiley’s South Garden at the Art Institute of Chicago, winner of the 2015 ASLA Landmark Award.

“It’s a simple palette of only four colors, yet there’s such a complexity to the layering of shadows and light play.”

—Chris McGee, LAM Art Director

Pick up a free digital issue of the October LAM here and share it with your clients, colleagues, and friends. As always, you can buy this issue of Landscape Architecture Magazine at more than 200 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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