Posts Tagged ‘native plants’

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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PERMAFROST FRONTIER

BY ANNE RAVER / PHOTOGRAPHY BY IHOR PONA

Around a school in an arctic town, Cornelia Hahn Oberlander has made a landscape to withstand the prospect of a warming world.

This week, LAM is joining more than 250 media outlets for Covering Climate Now, flooding the zone, as it were, with climate coverage in the run-up to the United Nations Climate Action Summit on September 23. Landscape and landscape architecture are deeply implicated in the future of climate progress, or a lack of it. Over the past decade, LAM has dug into climate issues of landscape in numerous dimensions, mapping the big resource picture as well as local attempts to fend off increasingly apparent hazards of global warming—from the procurement of materials to the integrity of the food supply chain. Each day this week we’ll bring you excellent stories from recent years that follow landscape architects acting and thinking about climate change and the landscape.

FROM THE NOVEMBER 2013 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

The permafrost is melting in Inuvik, a flat delta town in the Northwest Territories, 2 degrees north of the Arctic Circle. You can see the drunken trees, leaning this way and that along the banks of the Mackenzie River. The Gwich’in and Inuvialuit—native people who make up 40 percent of the some 3,500 residents here—have to go farther out to hunt seals, because of the melting ice.

The caribou get stuck in the mud, instead of running across snow, as they migrate to their calving grounds north of Tuktoyaktuk, or Tuk, as people here say, on the coast of the Beaufort Sea. The lichen that has sustained them for millennia is getting crowded out by species that thrive in warmer temperatures.

Local people tell of landslides and collapsing banks along the Mackenzie River, or slumping—where the land simply caves in—on a road or in the forest. The pingos, or subterranean ice houses, may be melting up in Tuk, but most people have freezers anyway.

“Come, I want to show you where I sank into the permafrost that was melted,” Cornelia Hahn Oberlander, FASLA, the Canadian landscape architect, said one unseasonably cold day in July. (more…)

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WHAT’S IN A NATIVAR?

BY CAROL BECKER

And what isn’t? Designers and pollinators are finding out.

FROM THE JULY 2019 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

Common buttonbush (Cephalanthus occidentalis) is a medium-sized shrub that is appealing in sunny areas of the landscape because of its glossy green leaves; unusual fragrant, round, spiky flowers; and rust-red fall color. It’s especially useful in wet areas and rain gardens where it absorbs excess water and even tolerates standing water. Hummingbirds and butterflies favor the plant for its nectar, and 24 species of birds seek it out for its small, round nuts that persist into winter. This native of the Midwest and East Coast is easily grown and little bothered by pests in the garden. Yet it is not commonly used in built landscapes. Although everything else about this shrub is right, its growth pattern and size are not. The straight species can be quite large at 12 feet high or more, and it has an annoying habit of sending branches in all directions, so it looks willy-nilly rather quickly if it’s not pruned regularly and often.

But here come Sputnik, Sugar Shack, and Fiber Optics, cultivars of buttonbush that represent a tamed C. occidentalis. Cultivars are plants produced by selective breeding or vegetative propagation to achieve better traits for the landscape. Fiber Optics is a species mutation discovered by an inventory employee in the bare-root fields of Bailey Nurseries, says the company’s public relations and communications specialist, Ryan McEnaney. Bailey trialed the plant, a process that takes several years, and brought it to market in 2017. It has a reliably smaller size at five to six feet high and a branching habit that keeps it compact and rounded, while retaining all the desired features of the straight species.

The Fiber Optics buttonbush is what is known as a nativar. The term is not scientific but has value to the industry in (more…)

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Margie Ruddick and Thomas Rainer talk about their new books on wild landscape design.

Margie Ruddick and Thomas Rainer talk about their new books on wild landscape design.

From the July 2016 issue of Landscape Architecture Magazine.

In the past several months, Thomas Rainer, ASLA, and Margie Ruddick have each published books centered around notions of designing “wild” landscapes in the public realm to help restore ecological diversity in urban settings. Ruddick’s book is Wild by Design: Strategies for Creating Life-Enhancing Landscapes (Island Press, $45), and Rainer’s is Planting in a Post-Wild World: Designing Plant Communities for Resilient Landscapes (Timber Press, $39.95). We invited the two to ASLA’s offices to talk about the project they have in common. This interview has been edited and condensed.

Why did you each decide to write books on wildness in landscape design?

Margie Ruddick: I didn’t actually think of my work as wild at all until Anne Raver wrote this piece, “In Philadelphia, Going Green or Growing Wild?” [about Ruddick’s home garden, in the New York Times], and then I started to get e-mails from people all around the world, and I realized: This is wild gardening.

Thomas Rainer: It felt like a good place to be, and we [Rainer and his coauthor, Claudia West, International ASLA] are both plant geeks. We had a lot of practical problems to work out in terms of how to (more…)

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A new film focuses on Jens Jensen.

From the April 2015 issue of Landscape Architecture Magazine.

Jens Jensen didn’t care much for the White City. According to the new documentary Jens Jensen: The Living Green, he, along with the architects Frank Lloyd Wright and Louis Sullivan, rejected the European influence of the 1893 World’s Columbian Exposition in Chicago and embraced the prairie and its ecology as the American landscape idiom. Today, many of his pioneering ideas about the use of native plants and landscape conservation have new currency. Jensen, who was born in Denmark but is closely associated with Chicago’s urban parks and midwestern landscape preservation, will be the subject of an Earth Day observance at the New York Botanical Garden. A screening of the documentary will be followed by a panel discussion with Darrel Morrison, FASLA; Robert Grese, ASLA; the filmmaker Carey Lundin; and Jensen’s great-granddaughter, Jensen Wheeler Wolfe.

Jens Jensen: The Living Green Film Screening and Panel Discussion at the National Building Museum, April 14, 2016, 7:00–8:30 p.m.

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In May’s issue of LAM, the current lack of supply of native plant species in the United States shortchanges the potential for a more diverse landscape; Catherine Seavitt Nordenson, ASLA, leads a team at City College of New York to combine landscape architecture, climate science, and urban planning for better coastal resilience; and in Japan, Studio on Site’s persistence for the use of trees in its designs reconnects the city with nature.

In the departments, the Boston Schoolyard Initiative helps transform urban schoolyards into learning oases; open expanses in Vancouver’s Oppenheimer Park, designed by space2place and McFarlane Biggar, allow the peaceful coexistence of both homeless and local residential users; and Spurlock Poirier’s benched plans for San Diego have the potential to create a healthy, green network throughout the downtown area. All this plus our regular Now, Species, Goods, and Books 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 200 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 ungating May articles as the month rolls out.

Credits: “The Chain of Demand,” Courtesy the Pizzo Group; “The Storm We Don’t Know,” © 2015 Structures of Coastal Resilience, Jamaica Bay Team; “Trees For Tokyo,” Makoto Yoshida/Yoshida Photo Studio; “Just Add Nature,” Christian Phillips Photography; “Every Kinda People,” Courtesy space2place Design; “The Thin Green Lines,” Spurlock Poirier Landscape Architects and Joe Cordelle, Animate Digital Studio.

 

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