Posts Tagged ‘Green Roof’

BY TIMOTHY A. SCHULER / PHOTOGRAPHY BY KEVIN SCOTT

In dry western Washington, a fruit company compound by Berger Partnership all but vanishes in a shroud of native plantings.

FROM THE AUGUST 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

The shift takes place just past Cle Elum. Driving the 140 miles from Seattle to Yakima, Washington, crossing the Cascade Range at Snoqualmie Pass, the landscape seems to dissolve in the span of a few minutes. The ponderosa pine forest gives way to high desert so quickly it’s as if the towering trees had been shrunk by a laser, transfigured into gnarly sagebrush. Dotting eastern Washington’s arid, gray-brown shrub steppe are green pastures, fields, orchards, and farms. The Yakima Valley is one of the most productive regions in Washington, thanks to a massive irrigation project undertaken around the turn of the 20th century. Farmers here grow apples, peaches, pears, cherries, and plums, as well as grapes for wine and hops for beer. The Yakima Valley produces more hops than anywhere else in the United States and more than two-thirds of Washington’s wine grapes, an industry worth nearly $5 billion.

And yet the sparsely vegetated ridges reveal the climatological truth of this place: that under normal conditions, the Cascades are a good enough goalie to prevent all but a fraction of western Washington’s wetness from slipping past them, and the presence of even the smallest amount of water is broadcast in bright pops of color. The draws and gullies appear as gashes of green, yellow, pink, and white, as if someone took a landscape painting, folded it in two, and stuffed the canvas into a crevice.

I take in the view from the cab of a 2016 Toyota Tacoma hurtling eastward on Interstate 90. Jason Henry, ASLA, a principal at the Seattle-based Berger Partnership, is driving. We’re on our way to Yakima, a sprawled-out town of roughly 100,000 people, where Berger Partnership recently completed the landscape for the headquarters of the Washington Fruit & Produce Company, a family-owned grower founded in 1916. Although Henry has lived in Seattle since 1996, the landscape architect has a deep connection to the Yakima Valley. His mother was born in Selah, just north of Yakima, and as a child, he spent summers at his aunt and uncle’s ranch outside the city, exploring and fishing and occasionally helping out in the family orchards. He still has cousins in the fruit industry. (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 JARED BREY / PHOTOGRAPHY BY SAHAR COSTON-HARDY, AFFILIATE ASLA

FROM THE SEPTEMBER 2019 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

Darren Damone, ASLA, and Katharine Griffiths were standing on a boardwalk at Avalon Park & Preserve, in Stony Brook, New York, looking across the pond at a gang of cormorants loitering in the branches of a beech tree.

“They used to nest over here, and it was a disaster zone,” said Griffiths, the director of the preserve. “It used to smell like a bluefish factory. It was nasty. They did a lot of damage to the trees in this area.… That’s what happens. They strip the leaves to put in their nest, and then their guano is so acidic that it just burns everything. They’re kind of sloppy birds.”

It was a May morning, and the squealing songs of cardinals spilled out of the woods behind us. We took a curving path up a hill to a smaller pond, fed by what looked like an underground stream, and I asked, credulously, where the headwaters were.

“This is just recirculating,” Damone said, looking amused. “This is completely created.”

In 1996, before the preserve existed, Paul Simons, a local nature lover who liked to ride his bike on a path through the property, was struck by a car on Long Island and killed. In his honor, the Simons family created the Paul Simons Foundation, and bought the eight-acre property that would later become Avalon Park & Preserve. Griffiths was a friend of the Simons family and had just finished college in Ontario, studying political science and horticulture, and she moved to Stony Brook to lead the preserve. Creating the preserve was a way for the Simons family to grieve, she said, and it was meant to be a place that Paul would have wanted to be. Beyond that, she told me later, “We didn’t have a vision, really.”

So it turned to Andropogon, the Philadelphia-based landscape architecture firm, to create (more…)

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

FOREGROUND

Where Least Matters Most (Interview)
Coco Alarcón is using landscape architecture to help disadvantaged communities in his native Peru.

Between the Bents (Parks)
Something fun is happening under Toronto’s elevated expressway.

FEATURES

Vertical Oasis
Optima Camelview’s lush, green exterior is unexpected in arid Scottsdale, Arizona.
Bridge to Everywhere
The Harahan Bridge offers pedestrians and bikers a thrilling new way to cross the Mississippi River.
Let My Rivers Go
Johnstown, Pennsylvania, is still working to keep its head above water. Freeing its rivers could be the key.

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

Credits: “Bridge to Everywhere,” Big River Crossing Initiative; “Let My Rivers Go,” Zach Mortice; “Vertical Oasis,” Bill Timmerman; “Between the Bents,” Andrew Williamson; “Where Least Matters Most,” Courtesy Traction team members.

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

Photo courtesy of Lisa Daye.

From LAM’s special September 2017 awards issue, Facebook’s green roof in its Menlo Park, California, headquarters by CMG Landscape Architecture is (at nine acres) large enough to reset visitors’ assumptions of where the ground plane is.

“Rooftop reflection.”

–CHRIS MCGEE, LAM ART DIRECTOR

You can read the full table of contents for September 2017 or pick up a free digital issue of the September 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 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 BRADFORD MCKEE

The storefront gallery. Image courtesy of LAM.

First, our thanks to the many members and supporters of ASLA who gave their pledges, time, and enthusiasm to help build a new home for us all, the Center for Landscape Architecture. We are holding its public opening this week. What’s especially nice is that the center is our beloved old home, our sweet, four-story, 12,000-square-foot brick box in Chinatown, D.C. It is beautiful.

Sixteen months ago, all 50 of us moved over to Metro Center, into half our usual footage (nobody died, though it’s boring over there). Back home on Eye Street, Coakley & Williams Construction blew out all the gypsum walls that cut up the insides of our building, pulled out half a puzzling scissor stair that, we’re told, wouldn’t meet code today, and found a lot of daylight in the three-story atrium it leaves behind.

The building was redesigned by Gensler. Our lower-level garden is by Oehme, van Sweden. We had such fun bringing it together. It went fast; the hard part to believe is that we began the project in 2014. The process was always focused on embodying the mission and vision of ASLA. We already had the ASLA Green Roof, by Michael Van Valkenburgh Associates, which opened in 2006 (more…)

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BY ALEX ULAM

The new Mosholu Golf Driving Range is part of a controversial water filtration plant project built at the edge of the bucolic Van Cortlandt Park.

The new Mosholu golf driving range is part of a controversial water filtration plant project built at the edge of the bucolic Van Cortlandt Park.

From the July 2016 issue of Landscape Architecture Magazine.

Many things are not exactly what they appear to be at the new Mosholu golf driving range, located in the northwest section of the Bronx in New York City. Behind high stone walls and a gate monitored by armed policemen there are carefully crafted illusions worthy of an Olmsted design. A driveway leading into this place looks as if it were carved out of wilderness. On either side are sunken beds of untamed riparian plants that pool with water after rainstorms. Up a slope, past a low-slung building faced in rust-colored steel, you are at the high point of the range. The greens below are composed of hillocks with carpets of turfgrass, plush enough for a nap, which overlook a bowl-shaped depression.

Beneath the driving range is the Croton Water Filtration Plant. At a cost of more than $3.2 billion, it is among the most expensive public works projects ever built in New York City. The driving range sits atop a nine-acre green roof covering the plant, which is said to be the country’s largest contiguous green roof. It replaces an old municipal driving range bulldozed more than a decade ago to make way for the underground filtration plant, which descends about 100 feet into the ground. The subterranean structure is designed to filter up to 30 percent of New York City’s water supply.

The need to purify water, especially water that humans have polluted, has become (more…)

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Shauna Gillies-Smith talks to  Cool Spaces host Stephen Chung about the Nelson Atkins Museum's landscape. Photo: Shauna Gillies-Smith

Shauna Gillies-Smith talks to Cool Spaces!  host Stephen Chung about the Nelson-Atkins Museum of Art’s landscape. Photo: Shauna Gillies-Smith

The landscape architect Shauna Gillies-Smith has worked on only a handful of episodes of Cool Spaces! The Best New Architecture, a new PBS series focused on new architecture, but she’s not worried that landscape architecture is getting the short shift. The show’s host, Stephen Chung, was a classmate of Gillies-Smith at the Harvard Graduate School of Design, and she says she is confident that he is sufficiently “interested in the allied disciplines.” The show, now premiering in local television markets, is organized around different typologies—the first few episodes have themes such as “Performance Spaces,” “Libraries,” or “Healing Spaces”—and focuses on three major new projects per episode. Although landscape architecture is not yet a featured theme, Gillies-Smith has been on screen or behind the scenes for some of the projects, and she’s a big believer in exposing the nondesign audience to design. “It’s as much an advocacy project as a beautiful interesting project about design” she says.

Gillies-Smith, who is the founding principal of ground  in Boston, is one of a team of experts whom Chung may interview on screen; the team may also include an engineer, a lighting designer, or an acoustician, depending on the project. Each expert talks about a different aspect of the project and tries to make it comprehensible to the general audience. “So, for example, I spoke on two different projects,” Gillies-Smith says. “One was the Nelson-Atkins Museum, and in that project it comes down to something very, very simple: the idea that the land was constructed.” Gillies-Smith walks the viewer through the way the landscape was shaped to accommodate a Dan Kiley garden next to the museum’s Stephen Holl addition: “The addition has a very strongly sculpted landscape that is primarily creating space so the building can poke out of the ground like a series of lanterns. A very simple idea, that the landscape was built around the buildings,”  she told us.

(more…)

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