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BY TIMOTHY A. SCHULER

An American garden at the Domaine Chaumont-sur-Loire garden festival is a landscape of endless possibility.

FROM THE OCTOBER 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

When Phoebe Lickwar, ASLA,  and Matt Donham arrived in a small town in central France this past March, everyone knew who they were. The designers, principals at FORGE Landscape Architecture and RAFT Landscape Architecture, respectively, were one of some 24 teams (and the only Americans) competing in this year’s Domaine Chaumont-sur-Loire International Garden Festival. And as they walked around, Donham remembers, “every person was like, ‘Ohhhh, the Americans with the 400 trees.’ Even the guy who took our tickets in the chateau was like, ‘Oh, you’re the ones with the 400 trees.’”

The festival’s theme was “Garden of Thoughts,” and Lickwar’s and Donham’s concept, Dans les Bois or Into the Woods, was based loosely on Jorge Luis Borges’s short story “The Garden of Forking Paths,” which presents a labyrinthine garden as a metaphor for (more…)

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BY TIMOTHY A. SCHULER

Researchers explore the role of design in aiding a global refugee crisis.

FROM THE SEPTEMBER 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

As a young girl, Elizabeth Brabec,  ASLA, knew her mother’s garden was different. Where the neighbors grew lettuce and carrots and cucumbers in neat rows, her family’s garden featured mounded beds of currants, gooseberries, and celeriac interspersed with fruit and nut-bearing trees. Everything was mixed together. Brabec didn’t understand the reason for the difference until she visited the Czech Republic decades later. Every garden looked like her mother’s.

That was the first time that Brabec, now a professor of landscape architecture at the University of Massachusetts Amherst, realized that gardens could function as an expression of a person’s heritage, a way for immigrants to create continuity between the old world and the new. Brabec’s parents fled Czechoslovakia in the 1940s to escape the ethnic cleansing that took place after World War II. When they arrived in Montreal, one of the first things her mother did was plant a garden, Brabec says, a garden modeled on the one her own mother had grown back in Prague.

For the past five years, Brabec has been studying this phenomenon, visiting refugee gardens around the world to document (more…)

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

Image courtesy John Donnelly, ASLA/SCAPE.

From “Guardians of the Soil” in the July 2018 issue, about how tree grates enhance urban tree growth and soil quality.

“Geometric grates.”

–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 JANE BERGER

There’s a palm for just about any place you’re planting.

FROM THE JULY 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

You can’t always get what you want—unless, that is, you’re into palms. Lisa Gimmy, ASLA, of Lisa Gimmy Landscape Architecture in Los Angeles, finds palms uniquely suited to small gardens, given small root balls that leave “a very tiny footprint on the ground.” One that Gimmy likes to use is the blue hesper or Mexican blue palm (Brahea armata), native to Baja California, Mexico, with stunning, silvery-blue, fan-shaped fronds and creamy white flower clusters that cascade down from the leaves. Gimmy selects palms for spatial characteristics first, then for texture, leaf color, and the character of the trunk. “They are like poems,” she says. “With the head up in the air, there’s really nothing else like it.” Gimmy also likes palms because they provide “instant gratification, and that’s very important in Southern California.”

Ray Hernandez, the president of the International Palm Society, told me a story about a friend who drives from Long Island, New York, to Florida every year to pick up specimens that will last for just the summer season. “The folks that live out in the Hamptons and have 10 zeros behind their bank account can afford to haul up a coconut palm or something hardier and plant it in their landscape, and (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 JONATHAN LERNER

FROM THE APRIL 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE.

Diego Gonzalez was driving through San Pedro Garza García, the poshest municipality in metropolitan Monterrey, one of the richest cities in Mexico. “When I was a kid, in the 1970s,” he said, gesturing broadly through the windshield, “all of this was agricultural. I came here hunting rabbits.” San Pedro is built out now. Its dominant typology is the single-family house, and its circulation patterns exist to serve cars, so it’s not unlike any late 20th-century North American suburb, except that it has an orthogonal grid instead of a dendritic street plan. Also, almost every property is enclosed within a high security wall. Gonzalez’s destination was the campus of the University of Monterrey (UDEM).

UDEM demarks San Pedro’s narrow western border, at a point where lateral ridges off the soaring Sierra Madre mountains pinch close to the Santa Catarina River. West of the campus, where the valley opens out a bit, a new suburb is being developed; land prices there have quadrupled in the past decade. When the university campus was first established in 1981, “it was in the country,” noted Gonzalez’s passenger, René Bihan, FASLA. “Now they are landlocked. They have no choice but to be smart about how they infill.” One of UDEM’s smart choices was to hire (more…)

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

Photo by Jerry Bauer.

From “Battered, But Not Broken” by Timothy A. Schuler in the April 2018 issue, about the consoling post-hurricane recovery of Puerto Rico’s El Yunque National Forest.

“Vegetation devastation.”

–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 STEPHEN ZACKS

An expansive park at the foot of the Kremlin helped drive a series of revolutionary improvements to the Russian capital.

FROM THE APRIL 2018 ISSUE OF LANDSCAPE ARCHITECTURE MAGAZINE. 

At Zaryadye Park in central Moscow, a procession of Eurasian birch trees, grasses, and shrubs winds downhill from a glass-encrusted outdoor amphitheater that tops the new Philharmonic Hall, framing photogenic views of the candy-colored cupolas of Saint Basil’s Cathedral. The park’s verdant terrain folds onto the rooftops of five scalloped pavilions that shelter a botanical display, an educational center, a food court, and a screening room that plays an immersive 3-D film on Russian history. The park, which covers 32 acres, stretches to the edge of Red Square, and even adds 11 square feet to the square that was uncovered during excavation. The pavilions, with their vegetated roofs, and most of the park’s terrain sit atop a 430-car underground parking garage. To keep the whole landscape in place, a geocell soil-stabilization system rests on top, anchoring granite pavers on pedestrian pathways that stretch onto an arching, boomerang-shaped overlook that cantilevers and hovers over the Moskva River. Here visitors of all ages and groups compulsively photograph themselves against the backdrop of the Kremlin and the Kotelnicheskaya Embankment Building, one of the Stalinist high-rises that define Moscow’s skyline.

Zaryadye Park is an entertaining landscape intended as a spectacular place, a special attraction, and a free public space—a term that Russian architects agree had almost no precedent in the language before a series of convergences brought the park into being. (more…)

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