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BY BRIAN BARTH

One practitioner defies the handicaps of building Information modeling for landscape, determined not to remain an exception.

FROM THE AUGUST 2017 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

Meghen Quinn, ASLA, has a secret. BIM—an acronym that puts moonbeams in the eyes of architects, but makes some landscape architects cringe—is her software of choice. BIM, shorthand for building information modeling, is the 3-D, data-rich software platform embodied by Revit, a product launched in 2000 by Charles River Software and acquired by Autodesk two years later. By 2012, 70 percent of architecture firms in North America reported using BIM, and in 2016 the American Institute of Architects reported that BIM was used for nearly 100 percent of projects at large firms.

It seems that so few landscape architects use BIM, however, that no one has ever bothered to collect the data. Its reputation in the field is as a clunky, building-centric, overly complex tool that has put up yet another barrier between landscape designers and architects.

Yet Quinn, who merged her San Francisco practice with the Office of Cheryl Barton in January, is all moonbeams. Well, mostly. “I never want to use CAD again,” she says. “Moving to BIM is like (more…)

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When the landscape architects at Mahan Rykiel Associates found themselves with uprooted trees they couldn’t fit back onto a newly designed and built mixed-use building site, they offered them to a local Baltimore middle school in the Locust Point neighborhood. But after talking with the principal of Francis Scott Key Middle School, they quickly realized that there was an opportunity for a much deeper collaboration than simply donating some foliage.  So the landscape architects began designing a school yard with four different types of learning environments, to aid what they call “STEM-based environmental education.” Project Birdland will be the first phase of a partnership between Mahan Rykiel Associates and Francis Scott Key Middle School. Students will work with a biologist and the fabricators at Gutierrez Studios to design and build birdhouses for endangered and threatened bird species. From the outset, the project gives students an introduction to the humancentric world of design and craft and also to the creation of habitats for their neighboring fauna.

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BY ZACH MORTICE

Image courtesy of Land8: Landscape Architects Network.

The landscape architecture websites Land8 and Landscape Architects Network (LAN) have merged. The resulting media platform aims to add focus to original content creation while serving an international audience. “We want to be the most visited website in landscape architecture,” says Matt Alcide, Land8’s majority owner.

LAN will largely dissolve into Land8 with the merger, as the Arlington, Virginia-based Land8 will (more…)

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BY BRADFORD McKEE

Credit: Richard Crossley [CC BY-SA 3.0], via Wikimedia Commons, left; Gage Skidmore [CC BY-SA 3.0], via Wikimedia Commons, right.

From the upcoming September 2017 issue of Landscape Architecture Magazine.

Susan Combs will be back for the golden-cheeked warbler. Combs is a former Texas state comptroller, agriculture commissioner, and state representative who has been nominated by President Trump to run the policy and budget section of the U.S. Department of Interior. The job will put her in charge of all things related to the Endangered Species Act, under which the golden-cheeked warbler (Setophaga chrysoparia) is listed as being at risk of extinction. She “has an aesthetic interest in the golden-cheeked warbler and seeks to conserve the warbler and its habitat within Texas,” according to a petition she signed in June 2015 to have the bird taken off the federal Endangered Species list. But “Combs believes that local and state conservation efforts would be of greater benefit to the warbler and that continued unwarranted regulation under the Endangered Species Act can impede voluntary and local conservation efforts.”

Combs seems fond of these voluntary and local conservation efforts, as opposed to statutory mandates, to protect species, perhaps because they have little if any force. In 2011, she masterminded an effort called the Texas Conservation Plan for the Dunes Sagebrush Lizard (Sceloporus arenicolus). The plan was less about conserving the lizard than keeping it off the Endangered Species list and out of the way of the Texas Oil & Gas Association and the Texas Farm Bureau, among other cosigners of the plan, with “a locally controlled and innovative approach.” Another cosigner was the U.S. Fish and Wildlife Service’s Southwest Region office. The problem, according to Gary G. Mowad, a former enforcement official and Texas administrator for the U.S. Fish and Wildlife Service, was that (more…)

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

Photo by Louise Johns.

From “Ears to the Ground” by Timothy A. Schuler in our August 2017 issue, about the quest by Brenda Williams, ASLA, to turn the mythic Native American landscape of Blood Run into a park that stretches over two states.

“Midwest mist.”

–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 MIMI ZEIGER

A new biography of James Rose explores his difficult brilliance.

FROM THE AUGUST 2017 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

“Words! Can we ever untangle them?” reads James Rose’s opening salvo in Pencil Points. Appearing in the definitive journal of modernist design thought, the landscape designer’s 1939 essay rejects preconceived ideas of formal or informal design and makes the case for an organic and materials-based approach—an argument approaching revelation at a time when Beaux-Arts methodologies held sway.

Reading the text today, Rose’s words cut through the decades, carrying with them equal doses of wit, creativity, and frustration with the status quo. An uncompromising designer from his time in and out of Harvard (he was expelled in 1937, later returned but never graduated) to his death in 1991, Rose is the subject of the latest volume of the Masters of Modern Landscape Design series published in association with the Library of American Landscape History and the University of Georgia Press. It’s the first biography dedicated to the landscape architect, who although a prolific writer throughout his career and author of four of his own books, has yet to receive the kind of canonical recognition bestowed on his Harvard classmates Garrett Eckbo and Dan Kiley.

As director of the James Rose Center for Landscape Architectural Research and Design—a nonprofit located at Rose’s Ridgewood, New Jersey, home—the book’s author, Dean Cardasis, FASLA, is well-placed to untangle the competing forces of Rose’s career. Few of Rose’s works survive in their original form, and a spare eight are presented as illustrated case studies—a fraction of the more than 80 projects produced in his lifetime. Much of the book is devoted to advocating for Rose’s achievements while trying to (more…)

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BY ZACH MORTICE

Witness Walls is composed of two different types of concrete walls, one with soft, impressionistic imagery and the other with sharper image contrasts. Photo by Stacey Irvin.

Many cities where African Americans fought for equality in the 1950s and 1960s are associated with violence: Selma, Memphis, Birmingham. Nashville wasn’t such a place. Its civil rights story was nonviolent and “so successful we don’t know about it,” says the landscape architect Walter Hood, ASLA, who was asked to commemorate this history with a public art installation.

Nashville was a leader in civil rights. It desegregated its public schools relatively early, in 1957, and its activist community and local pastors offered the same suite of training and conditioning for student protestors that many southern cities did. After a historic protest, then-Mayor Ben West was forced to desegregate the city’s lunch counters.

The site of this protest is now home to a commemorative public art and landscape installation by Walter Hood: Witness Walls, for the Metro Nashville Arts Commission, completed in April. It’s the city’s first (more…)

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