Posts Tagged ‘Landscape Architecture’

BY KOFI BOONE, ASLA

A civic hydrology park emerges on Duke University’s campus.

FROM THE DECEMBER 2019 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

Having lived in Durham, North Carolina, for more than a decade, I’ve come to realize that it’s almost impossible to discuss Durham without referencing Duke University, and vice versa. Duke is a private university, and its West Campus, although in the city, stands apart and within Duke Forest, a vast patch of woods created through a component of a century-old Olmsted Brothers master plan. The campus landscapes cultivated by Duke offer a stark experiential contrast to the eclectic environmental qualities of a rapidly suburbanizing region. Duke’s campus is a big draw for wedding receptions, picnics, walking and biking, and the occasional respite from nearby urban life. Durhamites regularly use the campus as an extended city park system. I’ve visited Duke’s landscapes many times with family and students in search of memorable settings in an educational environment.

Duke Pond, one of the newest campus landscapes, has been an increasingly popular attraction. On a recent visit to Duke Pond with my daughter, she waded into shallow water to scoop up a tadpole and said, “This place is kinda scruffy, but I like it!” When I relayed this story to Warren T. Byrd Jr., FASLA, the renowned landscape architect who concluded his career at Nelson Byrd Woltz Landscape Architects with this project, he laughed. He was thrilled that younger generations felt comfortable engaging the landscape directly. Enabling the informal discovery of ecology was what he had in mind. On a campus populated with works by many leading landscape architects, most of them manicured and tightly controlled, the pond offers an example of a different aesthetic as well as the roles landscape can play in exciting the next generation about environmental stewardship. (more…)

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

Image courtesy Jaime Lerner Associated Architects.

From “On the Edge” in the December 2019 issue by Jimena Martignoni, about a project to bring the waterfront of Porto Alegre back to the people.

“Porto Alegre waterfront.”

–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.

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FOREGROUND

Bona Fide BIM (Tech)
Legal considerations regarding liability and ownership of intellectual property are emerging
for firms that use building information modeling.

Steel and Sand (Parks)
On Lake Michigan, the newly designated Indiana Dunes National Park thrives on a plan by JJR (now SmithGroup) that balances a rich shoreline ecology and the toxic footprint of industry.

FEATURES

The Water You Can’t See
On the Duke University campus, Nelson Byrd Woltz Landscape Architects turned a
water conservation project into a mesmerizing mirror of a pond, surrounded by plantings
that show the clear stamp of Warren T. Byrd Jr., FASLA.

On the Edge
The city of Porto Alegre, Brazil, has made a new pact with its surrounding waters,
one that its people overwhelmingly love.

All this plus the regular Now and Goods columns. The full table of contents for December can be found here.

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.

Keep an eye out here on the blog, on the LAM Facebook page, and on our Twitter feed (@landarchmag), as we’ll be posting December articles as the month rolls out.

Credits: “The Water You Can’t See,” Mark Hough, FASLA; “On the Edge,” Leonardo Finotti; “Steel and Sand,” SmithGroup.

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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 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…)

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

Photo by Stephen Dunn.

From “Look to the Sky” in the November 2019 issue by Haniya Rae, about a New Mexico residential landscape where a multilayered stormwater catchment strategy speaks to a different sort of beauty.

“Western water catcher.”

–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.

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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 LISA OWENS VIANI

FROM THE NOVEMBER 2019 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

Named for the walnut trees that used to line its banks, the Arroyo de los Nogales, a tributary of the Santa Cruz River, flows from south to north, descending from the high Sonoran desert in Mexico into Arizona. The main arroyo and its many smaller tributaries form a watershed, shaped roughly like a human heart, that is broken in two by the U.S.–Mexico border wall. Facing each other across the wall, in the river’s floodplain, are two cities, each named Nogales, that share social and environmental problems—including repeated flooding caused by rapid urbanization, ineffective flood control efforts, and the border wall itself.

Gabriel Díaz Montemayor, ASLA, an assistant professor of landscape architecture at the Fay Jones School of Architecture and Design at the University of Arkansas, and Francisco Lara-Valencia, an associate professor at the School of Transborder Studies at Arizona State University, have a greener vision for these border cities (together called Ambos Nogales), whose streets and arroyos often run brown with sediment and sewage in heavy storms. Díaz Montemayor and Lara-Valencia want to increase permeability throughout the watershed, slow peak flows in heavy storms, and develop more ecological connectivity between the two cities, despite the dividing presence of the wall.

They hope their ideas for an extensive network of green infrastructure can transform the way the cities develop, not only to improve water quality and flood management but also to provide more green space for residents. As the cities have grown, impervious surfaces have too, destroying natural areas. Both cities lack green space: There is just 1.1 square meter per person in Nogales, Mexico, and only 2.2 square meters per person on the U.S. side, Lara-Valencia says.

“We are not saying development shouldn’t happen,” Díaz Montemayor says. “We’re saying, ‘Let’s provide a structure for that development to happen [that] is based on natural systems.’” (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 JENNIFER REUT

FROM THE NOVEMBER 2019 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

Like many cities in the Southwest (Palm Springs, California, most conspicuously), Tucson, Arizona, has a decent bank of midcentury modern buildings and landscapes. In the 1950s and 1960s, home buyers, drawn by the mirage of golf course-adjacent desert living (with air-conditioning, swimming pools, and lawns), flocked to the Southwest, and large swaths of the new development that went up during that era were built in the middle-class modern idiom. In the Southwest, modernism incorporated regional materials and climatic adaptations into lively vernacular architecture, and also generated some truly inspired landscapes.

Tucson Modernism Week was launched by the Tucson Historic Preservation Foundation in 2001 to highlight the region’s midcentury modern architecture and landscape heritage. The foundation is also among a handful of preservation groups trying to broaden notions of modern design to include the work of women and people of color, as well as expanding the boundaries of modernism to include textiles, dance, ceramics, and neon.

Among those whom the foundation has brought to the public’s attention is Taro Akutagawa (1917–2002), a Japanese American landscape designer whose work, primarily in Albuquerque, New Mexico, has been nearly erased. The foundation’s Taro Akutagawa Collection contains photographs, newspaper clippings, archival images, drawings, and plans.

The outlines of Akutagawa’s life and work are known, though there is not quite a full accounting of his projects. He was born in California in 1917 and educated in Japan before (more…)

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