Posts Tagged ‘forest’

BY TIMOTHY A. SCHULER

On a tiny, distressed site in South Los Angeles, Hongjoo Kim creates a multilayered landscape.

FROM THE JANUARY 2019 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

South Los Angeles is the last place a person might expect to find a tranquil walkway winding through the canopy of a mixed evergreen and deciduous forest. But 10 or 12 years from now, when the pines and redbud trees of Vermont Miracle Park have grown up past the metal railings of its 11-foot-high elevated walkway, residents of Vermont Knolls will have the chance to disappear into nature—if only for a few minutes.

Occupying just 10,500 square feet, Vermont Miracle Park was designed by Hongjoo Kim Landscape Architects and developed by the Los Angeles Neighborhood Land Trust (LANLT), a nonprofit organization formed in part by then-city council member Eric Garcetti, Honorary ASLA, in 2002 to bring additional green space to underserved neighborhoods like Vermont Knolls, a predominantly African American and Latino community not far from Compton. It’s an area characterized by strip malls, auto body shops, and more than its fair share of vacant lots.

The lot at 81st Street and Vermont Avenue had been vacant since the building there burned down in what Keshia Sexton, the director of organizing at LANLT, refers to as the 1992 Uprising, after the acquittal of Los Angeles police officers in the videotaped beating of Rodney King. Twenty-five years later, the lot has been transformed into much-needed green space, funded through (more…)

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ON BRAZIL’S BEHALF

BY CATHERINE SEAVITT NORDENSON, ASLA

Araucárias, Paraná, ca. 1884. Photo by Marc Ferrez/Gilberto Ferrez Collection/Instituto Moreira Salles.

 FROM THE OCTOBER 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

Speaking out against the military dictatorship of Brazil during the late 1960s and early 1970s had definite risks. Politicians, human rights advocates, artists, and intellectuals who publicly opposed the right-wing government’s programs of hyperdevelopment did so under threat of arrest, imprisonment, torture, and death. Many fled into exile. Roberto Burle Marx, the Brazilian landscape architect (1909–1994), had been a public figure for decades when, three years after the 1964 coup, he was appointed by the dictatorship’s first president, Humberto de Alencar Castelo Branco, to a 24-member national cultural council. For Burle Marx, the decision to join the council was ethically freighted. He accepted with one clear objective: to save the Brazilian landscape.

In a new book, Depositions: Roberto Burle Marx and Public Landscapes Under Dictatorship (University of Texas Press, 2018), Catherine Seavitt Nordenson, ASLA, brings forth a series of 18 frankly activist speeches, or depositions, that Burle Marx delivered as a member of the council. They target, among other things, the unchecked destruction of Brazil’s forests for raw materials and agriculture. He surveyed the progression of environmental tragedy with a deep knowledge of botany and ecology, an intricate alertness to policy, and always appealing to a Brazilian pride in its national landscape patrimony.

“The way I read his depositions, Burle Marx is positioning an argument that’s against the economic development theory of the regime,” Seavitt Nordenson told me recently. “Sometimes they listen to him and sometimes they don’t. But he’s on the inside and he’s arguing passionately, because he’s been working on the cultural project of the Brazilian landscape for so long.” Seavitt Nordenson notes that in these speeches of 50 years ago, Burle Marx touches on two huge problems of today, anthropogenic impacts affecting climate and the loss of biodiversity. “They’re very clear—they’re jocular speeches, often funny, and have so much spontaneity—and he manages to communicate a serious message to an audience that has significant political power.”

This excerpt of Depositions includes a brief introduction by Seavitt Nordenson to three depositions on forests, followed by her translations of the depositions themselves.

 —Bradford McKee

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BY ZACH MORTICE

Stoss’s greenway begins just south of the Gateway Arch, amid a tangle of freeways and rail lines. Image courtesy Stoss.

The Chouteau Greenway (pronounced “show-toe”), which is planned to run about five miles from Forest Park on St. Louis’s western edge to the newly rejuvenated Gateway Arch National Park at the Mississippi River, is not a park. It’s not even a park system. It’s a landscape-driven development strategy for an entire swath of the city. Its goal is to break down the city’s stark north-south racial divide by attracting St. Louisans from across a socioeconomic spectrum toward a corridor defined by a tangle of transit infrastructure. Along the way are some of the region’s most eminent education, medical, and cultural institutions.

The plan is led by the Great Rivers Greenway, a public agency that works to connect the city’s three rivers with a network of greenway trails (which currently measures 117 miles). It envisions these often desolate and transit-scaled corridors as a series of parks, memorials, trails, and art spaces that tell the cultural history of the city. The proposed greenway could put St. Louis’s two premier urban landscapes—and the city itself—on a new pedestal. But inspiration for the winning plan from the Great Rivers Greenway’s design competition, concluded earlier this month, draws from subtle histories.

The winning prescriptions, by Stoss, call for reviving ecologies long paved over and making visible the erased narratives of African American communities. “We wanted to use this project as an opportunity to unearth these buried histories,” says Stoss’s founding director, Chris Reed, FASLA. Especially in its treatment of the bulldozed African American neighborhood of Mill Creek Valley, (more…)

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

Photo by Jerry Bauer.

From “Battered, But Not Broken” by Timothy A. Schuler in the April 2018 issue, about the consoling post-hurricane recovery of Puerto Rico’s El Yunque National Forest.

“Vegetation devastation.”

–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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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

FROM THE FEBRUARY 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

Atlanta’s Fernbank Museum of Natural History occupies a formidable 1992 postmodernist structure by Graham Gund Architects. Visitors enter through a lobby that looks down into an octagonal atrium dominated by enormous dinosaur skeletons posed as if on the brink of carnage. Beyond the atrium’s glazed rear facade is a narrow concrete terrace. Then the ground behind the building pitches steeply down 45 feet to a creek. So from inside, there’s a horizontal view straight out into the tree canopy, a promise of respite from the vaguely daunting scale and sense of menace inside.

This wooded ravine, which is sort of the reason the museum exists, was neglected and inaccessible until a recent intervention by Sylvatica Studio. Now, beginning right at the atrium’s back doors and set into the terrace’s pavement, the wooden planking of an elevated walkway leads into the trees. Not far along the walkway, just visible where it turns, a 26-foot-high, latticelike but curvilinear “tree pod” beckons from the midst of branches and leaves. Its shape and color mimic the blossom of the tulip tree, a common tree in these woods. The pod is a place to stop, or sit, gently protected by its rounded tracery. But it also offers a sweeping panorama down to the creek and streamside meadow. “It’s 35 feet off the ground. We wanted people to feel slightly—not afraid—but thrilled. ‘What is this experience I’m having?’” explains Sylvatica’s founder, Susan Stainback, ASLA. (more…)

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

Photo by Timothy Hursley.

From “A Forest in the City in the Forest” by Jonathan Lerner in the February 2018 issue, on Sylvatica Studio’s immersive landscape design for the Fernbank Museum of Natural History in Atlanta.

“Pod view.”

–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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BY ZACH MORTICE

Nathan Phillips Square in Toronto, a favorite of Janet Rosenberg. Image courtesy Wikimedia Commons, Benson Kua.

FOUR LANDSCAPE DESIGNERS ON THE PLACES THEY LOVE WHEN WINTER TAKES HOLD  

Winter landscapes earn their allure with the opposition to comfort and ease they put forth. In the wild, that might be a sense of enclosure amid the otherwise inhospitable. In a city, this could entail seeking out community and connection when it’s far from convenient to do so. The cold air, simply by existing, adds meaning to our interactions with each other and the world around us. You have to want to be out there, and to offer respect to the flora, fauna, and fellow humanity that is out there with you. So here are four landscape designers (three landscape architects and one architect) unpacking the wintertime landscapes that have (more…)

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