Posts Tagged ‘The Cultural Landscape Foundation’

BY ZACH MORTICE

The plan by Michael Van Valkenburgh Associates retains the fundamental elements of Dan Kiley’s original design. Photo by Nic Lehoux.

The protection of modernist design is a relatively new topic in preservationist circles. And in many cases, landscapes have lagged behind modern architecture in receiving formal recognition and valuation.

But over the past several years, the modernism preservation nonprofit Docomomo US has used its primary awards program to bring visibility to the vulnerability and value of historic modern landscapes. The projects recognized by Docomomo US’s sixth annual Modernism in America Awards show the ways that all disciplines of the designed environment come together as a defining element of modernism: architecture, landscape architecture, art, interior design, and more. That’s been a recurring theme through the years, though this year’s awards were the first time it was “expressed so clearly or comprehensively,” says awards juror and Docomomo US President Theodore Prudon. Several projects honored put the preservation of historic modernist landscapes front and center: the rehabilitation of Gateway Arch National Park in St. Louis, honored with a Design Award of Excellence, and the restoration of Olav Hammarstrom’s Pond House in Massachusetts, which received a Design Citation of Merit. (more…)

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The Marcus Center in 1970. Photo courtesy Joe Karr, FASLA, and the Cultural Landscape Foundation.

Milwaukee rushes toward a zero-sum choice that could eradicate a Kiley landscape.

 

Dan Kiley developed his approach to landscape design in the wake of World War II. After designing the courtrooms for the trials of Nazi war criminals at Nuremberg, he explored the classical European gardens such as the Tuileries, Villandry, and Versailles, and  translated their allées, bosques, and hedgerows into modern expressions of landscape design. Channeling this tradition created “spaces with structural integrity,” Kiley wrote.

“The trees form a mass that’s almost a structure,” says Joe Karr, FASLA, who worked with Kiley from 1963 till 1969. “Dan quite often used plants like an architect would use other materials.”

Kiley’s landscape for Milwaukee’s Marcus Center for the Performing Arts, which sits next to the Milwaukee River downtown, exemplifies these lessons. The Cultural Landscape Foundation’s President and CEO Charles Birnbaum, FASLA, says it’s “truer to the Tuileries as any Kiley landscape that survives today.”

But the Marcus Center is now planning to destroy Kiley’s primary landscape feature on the site: a grid of 36 horse chestnut trees. A new plan will replace the trees with a great lawn for large public gatherings, quite contrary to Kiley’s design intent. Construction is tentatively slated to start (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.

Click above for a full PDF of the translated text, with English text available below.

BY JENNIFER REUT

FROM THE JANUARY 2019 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

 

The Cultural Landscape Foundation (TCLF) has many flagship programs, but none has quite the resonance and public impact of Landslide. Since 2003, the campaign has brilliantly avoided compassion fatigue by connecting at-risk sites around a single idea or figure, a strategy that enrolls the public in the notion of cultural landscapes without lecturing. Threats to the selected landscapes and features can come through development, lack of visibility or awareness, or inappropriate usage, and making these places visible encourages the public to support and advocate for them.

This year, the campaign, titled Grounds for Democracy, is organized around civil rights. TCLF includes “sites associated with civil and human rights, women’s suffrage, the labor movement, and others.” Joining other historic and advocacy groups in highlighting the 50-year anniversary of 1968, TCLF asks the public to consider the ways landscapes absorb and reflect our imperfect and sometimes violent relationships with our most cherished values.

Landscape Architecture Magazine is the media partner for the Cultural Landscape Foundation’s Landslide 2018: Grounds for Democracy. For a complete description of each theme and project, go to www.tclf.org. (more…)

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This December LAM is under (and around and in) water. The feature well is saturated with new ideas about designing with and through water. The Port of Baltimore is open to designing with its dredge materials and has green-lit a pilot project for Mahan Rykiel’s sustainable and social enhancement of the Chesapeake’s Hart-Miller Island. Along the lakeshore, Chicago’s Navy Pier is putting aside its tourist-magnet past, with a redesign by James Corner Field Operations that now attracts native Chicagoans and visitors alike. And a handful of local efforts aim to combat the persistent encroachment of sea-level rise in the vulnerable communities surrounding Hampton Roads, Virginia, one of the most important strategic sites in the United States.

In Water, the EPA’s Campus RainWorks Challenge draws out creative solutions from landscape architecture students for treating and managing stormwater. Four landscape architects discuss the benefits and challenges of working in multidisciplinary firms in Office. In Materials, a quirky relic of an industrial past gets a glittery makeover for a Seattle park. And this year’s Landslide campaign from the Cultural Landscape Foundation calls attention to public landscapes and national monuments in immediate danger of erasure. All this plus our regular Books, 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 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.

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: “Pier Review,” Sahar Coston-Hardy; “Dredging Up the Future,” Mahan Rykiel Associates; “The Rising Tidewater,” Sahar Coston-Hardy; “The Biggest Smallest Move,” Mutuus Studio; “It Always Rains on Campus,” Cory Gallo, ASLA; “In the Mix,” Joe Ben; “Not Gone. Yet,” Jeff Katz

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Look at that cover. It’s a Millicent Harvey photograph of the Clark Art Institute, a design by Reed Hilderbrand Landscape Architecture. The project that took more than a decade. You can tell. In any case, Jennifer Reut tells us. Also this month, Anne Raver reports on a campaign to save farms in the Hudson River Valley, which supply many lives in New York City with fresh food. In Boston, Elizabeth Padjen surveys the Lawn on D, a provisional park by Sasaki that has become a sensation. And don’t miss our Now, Interview, Tech, and Goods columns.

You can read the full table of contents for December 2016 or pick up a free digital issue of the December LAM here and share it with your clients, colleagues, and friends. 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.

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

Credits: “A Foodshed Moment,” Frederick Charles; “Call and Response,” Millicent Harvey; “Playdate on D Street,” Sahar Coston-Hardy; “Angles Entangled,” Benjamin Benschneider; “Living on Air,” Courtesy Brandon Cornejo, Student ASLA; “Expanded Horizons,” Sky High Creative Media for Nelson Byrd Woltz Landscape Architects; “Soul to Souls,” Jeremy Bittermann.

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As part of the Cultural Landscape Foundation’s Pioneers of American Landscape Design oral history series, the landscape architect Nicholas Quennell recounts his early influences and the work that shaped him into the architect, artist, and landscape architect he became. The interview is broken up into 13 one- to three-minute videos from his early years to his professional working career. This is the 12th installment of the oral history series; the others can be found here.

 

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BY MIMI ZEIGER

BEDIT_LAMdec14_Eckbospread

To revive downtown, the city appears poised to drive right through a masterpiece.

From the December 2014 issue of Landscape Architecture Magazine.

The city of Fresno sits in the middle of California’s San Joaquin Valley. When you drive into town from Los Angeles, the landscape is agricultural and framed by roadside eucalyptus trees. It gives way to off-ramp clusters of gas stations, fast-food chains, and light industrial warehouses. Most of Fresno’s neighborhoods, after nearly 50 years of decentralization and flight from the urban core, sprawl north, tracking the edge of the San Joaquin River. The city’s historic downtown and civic center are a near ghost town.

At the heart of downtown is the Fulton Mall. In the early part of the 20th century, it was Fresno’s main drag, Fulton Street, six blocks lined with banks and department stores. In 1964, the landscape architect Garrett Eckbo turned the street into a modernist pedestrian mall as part of a master plan for downtown Fresno by Victor Gruen Associates. Photographs of the period show a wide promenade full of people flanked by the awnings of existing buildings. Daffodils peek out of Eckbo’s sculptural planting beds, fountains gurgle, and a clock tower by Jan de Swart, an expressive interpretation of a historic form, unambiguously marks the mall as the new town square.

Today, the mall is the center of a fight over downtown Fresno’s redevelopment. The city government, with a $14 million federal transportation grant, supports plans to put a new complete street down the center of the mall. Preservationists plan to file a lawsuit to block the scheme. The rhetorical standoff between sides comes down to revive versus destroy, but the conditions on the ground tell a more complicated story about the role of design as a catalyst and a scapegoat in a changing urban landscape.

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