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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 different languages. 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 JENNIFER REUT / IMAGES BY SARA ZEWDE

FROM THE APRIL 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

There are a number of arresting images in Sara Zewde’s proposal for a memorial at Valongo Wharf in Rio de Janeiro, but my favorite is the one with the water. In it, ghostly figures in white are faded back over a scrim of water overlaid on the sea. Above their heads is a diagram of points and lines that ricochet out from a dense cluster triangulating across the sky. The palette is one of muted blues and grays. It feels both transcendent and somber.

The diagram comes from one of the spatial analyses that Zewde did on samba, the distinctly Brazilian musical form with African roots that lives in the city’s streets and squares. It depicts the roda de samba, an informal dance circle of musicians and spectators who become musicians. The character of samba is both sad and happy, a shout of joy and a lamentation.

In July 2017, the Valongo Wharf Archaeological Site in Rio de Janeiro became a UNESCO World Heritage Site. Zewde helped write the nomination, and her ideas are threaded through the descriptions. Recognized for “Outstanding Universal Value,” for its material, spiritual, and cultural significance, the wharf was and is the central element in a landscape that profoundly shaped the history of the Western Hemisphere: the built environment of slavery. (more…)

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

Image courtesy Rosetta S. Elkin.

From “Covered Ground” by Bradford McKee in the March 2018 issue, on Rosetta Elkin’s research into how the smallest plants can have a big impact in our landscapes.

“The big little.”

–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 LISA OWENS VIANI

A retired cranberry bog inspires an innovative approach to wetland restoration.

FROM THE JANUARY 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

In 2005, Glorianna Davenport began to think about retiring the cranberry farm she owned in Plymouth, Massachusetts. In the late 1980s, the 600-acre farm was producing 1 percent of Ocean Spray’s cranberry harvest, but Davenport had become concerned about the amount of pesticides being used—and the way those pesticides were applied. “Because cranberries are grown on former wetlands, we had to farm with helicopters,” Davenport says. “And spraying chemicals from helicopters is not really great in a densely populated area.” Davenport, a visiting scientist at the MIT Media Laboratory, whose husband bought the cranberry farm in the early 1980s, could also see the handwriting on the wall for older cranberry farms, with new cultivars producing five times as many berries, farmed in places easier to access than wetlands and river bottoms. “The industry was changing pretty radically,” Davenport says. “The way we had been farming was really the legacy of another era.”

Davenport learned that a nearby cranberry farm had been restored back to wetlands—said to be the first project of its kind in the United States—and that she was eligible for assistance through the U.S. Department of Agriculture Natural Resources Conservation Service’s Wetlands Reserve Program, which pays farmers to take land out of production to preserve, restore, and enhance wetlands on their properties. The program was established by the 1990 Farm Bill. In 2008, Davenport decided to retire from MIT to undertake the restoration of Tidmarsh Farms. With federal and state funding in hand, she began working with the state’s Department of Fish and Game to pull together an interdisciplinary team of state and federal scientists and river, wetland, and other experts to help restore the bog at Tidmarsh Farms, an effort that took several years.

Ten thousand years ago, glaciers moved down across the northeastern United States, then retreated. As they did, big chunks of ice were left, forming (more…)

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In the latest LAM Lecture, Harvard Graduate School of Design landscape architecture professor Gareth Doherty examines the use of color in design through two climatic and ecological opposites: the landscapes of Bahrain and Brazil. The lecture, titled “Landscapes as Chromatic Relationships,” recounts Doherty’s travels through and fascination with the small desert island nation off the coast of the Arabian Peninsula, and Roberto Burle Marx’s observations of the riotous shades of flora in his native Brazil, both the focus of recent books Doherty has penned.

In Bahrain, as explained in his book Paradoxes of Green: Landscapes of a City-State (University of California Press, 2017), the color green, especially when it’s observed as flora, is a prized jewel in the beige desert. Its cannibalization at the hands of encroaching development prompts ever-greater displays of resource-intensive landscaping, which leads to an uncomfortable paradox: The presence of green is often not so “green.” It requires tremendous amounts of energy and irrigation to make the desert bloom. For his book, Doherty took an ethnographic approach, exploring Bahrain’s cities and countryside on foot, all the better to look around and chat with natives. In his lecture he recounts melancholy strolls through neglected date palm fields, and farewell ceremonies for beloved courtyard trees about to be torn from the earth at the behest of residential development.

For Brazil, Doherty recounts Marx’s forays into the Brazilian countryside to collect new horticultural specimens, and his newest book (available this spring), Roberto Burle Marx Lectures: Landscape as Art and Urbanism (Lars Müller Publishers), collects the South American designer’s assorted lectures. It includes this sensual appreciation from Marx for nature’s ad hoc genius for composing in color: “All of this polychrome is seated on a backdrop where form, rhythm, and color are in harmony. Nothing was isolated. It was an orchestra of color. The yellows linked to the blues, the blues to the violets, the violets to the pinks. One could speak, even, of a battle of color in which one color would dominate at a particular season, supported by a background whose forms, rhythms, and colors enhanced those of the plants in a very particular way. This instability is precisely one of the great secrets of nature, which never tires us, and is constantly renewed by the effect of light, wind, rain, and shadows, which shape new forms.”

Outside of graphic design and fashion, color is generally stigmatized as a field of inquiry across most design fields. But as Doherty’s lecture and books argue, its mutability of meaning across various cultural contexts makes color a vital artifact in unlocking what a society or community values.

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BY TIM WATERMAN

The colonial past and the horticultural present take tea at London’s Garden Museum.

FROM THE OCTOBER 2017 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

Just upstream and across the River Thames from the long, neo-Gothic bulk of the Palace of Westminster, which contains the houses of Parliament and the tower that contains the bell Big Ben, are two venerable buildings that have been added to since the Middle Ages. One is Lambeth Palace, the official London residence of the Archbishop of Canterbury. The other is the old church of St Mary-at-Lambeth, now the home of the Garden Museum.

The Garden Museum’s main focus is British gardens and gardening, including not just the most elaborate and vaunted ones, but also a more intimate history of smaller gardens. Featured in particular are those of the middle classes, which have given Britain the sense of being a “nation of gardeners.” For landscape architects with an interest in either stately or domestic gardens in Britain, the museum, which has been recently redeveloped and now includes a building addition, two newly redesigned gardens, a superb café, and an expanded collection, will be a delight. Rather than serving, as a botanical garden might, to narrate garden history through garden spaces, the Garden Museum’s collection gives a more personal-scale view through tools and ephemera that (more…)

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BY HANIYA RAE

Meet Vinobot and Vinoculer, a duo that can visualize how plants adapt to their surroundings.

FROM THE SEPTEMBER 2017 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

In a cornfield in Missouri, two robots, one stacked on top of the other, file down the narrow rows. As they move, they collect information about the plants using various sensors—enough to create a 4-D graphic model on a computer. By building these models, scientists can show how plants react and adapt to their surrounding conditions. Someday, more robots like these might toil in cities and forests as well, helping humans determine how a plant species is responding to climate change.

“We wanted these robots to investigate different species of plants,” says Gui DeSouza, an associate professor of electrical engineering and computer science at the University of Missouri’s Vision-Guided and Intelligent Robotics Laboratory. “One plant may respond better to flood conditions, another to extreme heat. We’re essentially trying to correlate the plant’s phenotype, or the plant’s observable behavior during an environmental change, to its shape and physiology.”

DeSouza’s research as an engineer centers on formable objects, such as plant leaves, and devising ways to calculate their measurements. Leaves, he says, constantly move and sway, making their surface area and structure (more…)

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BY ZACH MORTICE

Improbable Botany. Illustrations by Jonathan Burton. Published/Curated by Wayward.

Wayward is a collective of landscape architects, architects, urban growers, artists, and other assorted creative types who design landscape installations for “exploring new models for how green space can work in cities,” says its founder, Heather Ring. The group’s experimental and often temporary projects emphasize creating “narrative environments that tell stories through the spaces.” The projects have included chromatic explorations of algae growth and weaving slow-growth sculpture from living trees.

It’s an outsider’s perspective on landscape design that might have earned Ring’s London-based band of designers the high school graduation accolade of “landscape architect most likely to commission a science fiction anthology,” because that’s just what Wayward has done.

Having raised nearly $16,000 during a successful Kickstarter campaign, Wayward will publish (more…)

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