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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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BY JOHN KING, HONORARY ASLA

BEDIT_LAMfeb16_Sweetwater

A community for adults with autism shows the power of an understated landscape.

From the February 2016 issue of Landscape Architecture Magazine.

If Sweetwater Spectrum in Sonoma, California, had been one of her typical Bay Area projects—the visitor center of a winery, perhaps—Nancy Roche might have chosen a different aesthetic in selecting the five trees that will form a statuesque line between the lawn and the communal porch within the cluster of four spacious four-bedroom houses designed by Leddy Maytum Stacy Architects. She might have gone with ornamental pear or a particularly vivid maple, something that in the autumn would shed its leaves with fiery drama.

But Sweetwater isn’t a typical project, or a typical residential enclave. It’s perhaps the nation’s first housing complex designed specifically for adults with autism living largely on their own, a population that is served best by surroundings that offer predictability and simplicity rather than potentially disruptive stimulation. So when it came time to order the high-visibility quintet, intended to form a linear canopy 40 feet high, the tree she selected was a different deciduous variety, zelkova, a relative of the American elm.

“I chose them because I like them, but also because the fall color is a more subtle rusty red,” says Nancy, who with her husband, Dave Roche, ASLA, leads Roche + Roche Landscape Architecture, a four-person firm based three miles away. “It’s more sophisticated than a (more…)

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