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Archive for September, 2013

ourtown
The National Endowment for the Arts (NEA) seeks applications for its popular “Our Town” grant program, which awards anywhere from $25,000 to $200,000 to deserving “creative placemaking” projects. Over the past four years, Our Town has given $16 million to 190 projects in all U.S. states and the District of Columbia.

The NEA defines what creative placemaking means to them: “In creative placemaking, partners from public, private, nonprofit, and community sectors strategically shape the physical and social character of a neighborhood, town, tribe, city, or region around arts and cultural activities. Creative placemaking animates public and private spaces, rejuvenates structures and streetscapes, improves local business viability and public safety, and brings diverse people together to celebrate, inspire, and be inspired.”

Of interest to landscape architects and other design professionals: through Our Town, the NEA is financing the creation of master plans, cultural district plans, public art, public spaces, and supporting design charrettes, design competitions, and community design workshops.

According to the NEA, previous grant-winners are “diverse in geographic distribution, number and types of partnerships, artistic discipline, and type of project.” In 2013 alone, more than half of the grants supported communities with fewer than 100,000 people.

Explore previous winners by state and apply by January 13, 2014. A webinar will be held on November 4 at 2 EST for those interested in learning more.

Image credit: Transform/Restore Brownsville, NEA Our Town Grant Winner / NYC-Arts 

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Teresa Galí-Izard, International ASLA, is a woman of two minds. At the University of Virginia’s School of Architecture, where she just began her first year as chair of the landscape architecture department, she explained, “I have the mind of my mother and the mind of my father.” Her mother’s family is made up of builders and architects, steeped in urban design. Her father’s family is one of educators and lovers of nature. She explained that because of these two minds, it was impossible for her to be anything but a landscape architect.

Galí-Izard melds her two minds in a powerful way in her designs. Each design is practical, functional and logical, while also being beautiful, inviting, and didactic. She achieves this balance by letting the site tell her how to proceed. Her overarching goal is the “transmission of this knowledge.” This knowledge to which she refers, I believe, is an intimate understanding of how “living systems” work.

Galí-Izard uses the term living systems to explain her vision of nature. She talks of landscape architects as being optimists. They change how people relate to living systems.

She also believes landscape architects should better understand and work with living systems, not as a palette of paints with which to make a pretty picture, but as a library of processes that can be harnessed within a design. She says of landscape architects, “we are builders of machines.”

She studied technical agricultural engineering (there was no field of landscape architecture in Spain), before going to France to work and study with Jacques Simon, her mentor. While in France, Galí-Izard was also influenced by French biologists Theodore Monod and Frances Hallé. Upon her return to Spain, she founded an office of landscape architecture and, in 2007, opened Arquitectura Agronomia with her partner, in life and work, Jordi Nebot.

Galí-Izard explained her process through six projects in Spain and one, currently underway, in Caracas, Venezuela.

TMB Parc, Barcelona

In this collaborative design, she designed a machine for collecting rainwater (see image at top and below). The design of the park, which was built above the cisterns, revealed the system of pipes below and “translated the rain into a shape.” The goal here was to “harvest the water in a clear way.”

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Parque de Los Cuentos, Málaga

Galí-Izard’s was part of a team that restored a monastery and repurposed it as a museum. She said it had to be “magical.” The irrigation was limited to the minimal rainwater that could be collected and stored in the arid climate of Malaga, Spain. Galí-Izard designed an ephemeral garden informed by the pattern of sprinklers on the site, which allowed the trees planted to build a strong root system.

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Estanque de Arriaga,  Vitoria

This lake had become a safety and management problem. Here she deployed her technical skills regulating water levels, separating the edge of the lake from the center, creating a tiered geometric reservoir. Galí-Izard’s design provided more calibrated maintenance of the reservoir, allowing for “delicate” management of water levels. Also, the separation of the central reservoir from a wide edge of shallow water made possible safe recreation. She thickened the threshold between edge and center with an intermediate depth to increase safety.

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Parc Odessa, Sabadell

The goal in this public park, built atop an old streambed, was ease of maintenance without sacrificing an interesting and diverse space. Galí-Izard countered the regulated pattern and geometry of the pavement  with a diverse  palette of plant species. With interesting paving of the path and a burst of annuals, she ensured the park would be inhabited immediately. Galí-Izard’s ability to deploy time as a design tool was at work here. Each plant group was given its moment.

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Parque Estación, Logroño  Rooftop Station

In this project, Galí-Izard had to deal with three rules: only 50 percent of the park could be irrigated; topographic changes would be marked by lines of shrubs accompanying trees; and open areas would be planted with grass. The park’s form was decided by the irrigation: only one type of sprinkler was used and its radius was 9 meters, the patterns followed. The plants and their arrangement were inspired by traditional uses of plants in the countryside as windbreaks and slope stabilizers.

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Parque. Hugo Chávez . Caracas

Currently underway, this design is a master plan for a park at the foot of a mountain. Galí-Izard approached this project as the mountain, saying “I am the mountain.” She is operating in the eco-tone where mountain meets city, developing options explaining how the mountain reacts to the city and how people react with the mountain. Here, the mountain is building the public space.

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Carme Revés Garden, Andorra

This project reflects Gali-Izard’s goal of helping people more deeply understand living systems. With her best friend’s mother as the client, she led the owner through a discovery of her garden in the Pyrenees. Not unlike how Galí-Izard would do with her students, she gave her client assignments, asking her to find the logic for the garden. This process of finding the logic through iterative design led to a space that deepened the relationship between owner and garden.

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This guest post is by Margaret Baldwin, Master’s of Landscape Architecture candidate, University of Virginia

Image credits: Teresa Galí-Izard

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Over the past 15 years, the Young Architects’ Program, which is sponsored by the Museum of Modern Art (MoMA) and MoMA PS 1, has generated cutting-edge designs for parks, buildings, and public art. In four cities — New York City, Istanbul, Santiago, and Rome — winners of their design competitions have created some of the most fascinating landscape architecture and architecture around. In the past few years, winners have become even more ambitious, moving ideas from concept to reality. The scale has become more impressive, too, with a move from smaller temporary art installations to full-blown public parks.

Last years’ winner for the Santiago competition, The Garden of Forking Paths, by Beals & Lyon, a Santiago-based architecture firm, actually just got built. The 1,500-square-meter garden features a pair of bright-yellow pavilions nestled within a newly planted cornfield at the highest point of Santiago de Chile’s Parque Araucano. The park’s name is the same as one of Jorge Luis Borges’ short stories. In the Argentinian master’s story, a book called The Garden of Forking Paths is actually an “infinite labyrinth” in which people travel backwards and forward in time.

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The labyrinth is made real in this garden. According to Icon magazine, the “architects borrowed a layout from the labyrinth at the garden of Versailles, recreating its spatial character by building timber paths above ground level but lost to the outside world within the specially planted field of maize.”

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Alejandro Beals said: “We didn’t want to design a pavilion or folly, an isolated object to be looked at from the outside, but rather, an immersive environment.”

While the two pavilions, which are made of planks from recycled scaffolding, are both bright yellow, they have different vibes. One space offers a pool and deck chairs, with billowing curtains surround the space.

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The other, an “aromatic orchard,” contains a flower garden under a “stretched fabric tunnel.” Other spaces include a music room and “banqueting room.”

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Icon magazine tells us: “The entire strategy was to create a non-commercial, not fully defined environment in which people could get lost and perhaps have their attitude towards the spaces of the city refreshed. In this, the circuitousness of pathways, the ambiguity of the spaces, the isolation within the cornfield, combined with the intensified sounds and smells, all together were intended to heighten the sensory experience of the visitor, and as Beals puts it, to ‘promote a new rhythm that also allows you to perceive its surroundings in different and more intense ways’.” That effect will only increase once the maize grows in; it will be the same color as the pavilions.

See lots more images and explore previous winners of the Young Professionals Program.

Image credits: Beals & Lyon architects

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Free min-golf courses are popping up in the strangest places. In Amsterdam, playful forms invite players to “park and play” in an under-used parking lot, while in Detroit, Roosevelt Par shows how an abandoned lot between burnt-out buildings strewn with old cars can become a make-shift, albeit rough, urban playground.

In Amsterdam, Dutch firm NL architects has turned an expansive parking lot for the Harbor Club into a 9-hole mini-golf course. Design Boom writes that more of these DIY projects are popping-up there with the slow down in new building construction. With lots of empty lots, there are now opportunities in the Netherlands for pop-up gardens, farms, and, yes, now mini-golf.

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Organized by Carolien Ligtenberg, Platform Openbare Ruimte (POR), the architects were given a tiny budget of just 2,500 Euros. The inexpensive course was created with sod “grass carpet.”

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The playful design is meant to be a fun break for visitors to the club, giving them a chance to do something with their kids (see more images).

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In Detroit, students from Lawrence Technical University (LTU) worked with Jerry Paffendorf, co-founder of an art and music venue called “Imagination Station,” to create a scrap yard-chic course made of reused materials. Strewn throughout are the shells of dead cars, orange safety cones, and an abandoned sofa, writes The Detroit News.

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Roosevelt Par, which is free and BYOP, is actually an “inspired class project.” Each LTU student was put in charge of designing a course, procuring materials, and building it. The class raised money on Kickstarter, and lots of local firms donated materials, including recycled wood to build concrete slabs, the actual crushed concrete and the equipment needed to pour it, and scrap metal, fire cones, and tires for the gritty Detroit “hazards.”

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This one-of-a-kind course, which even includes a toilet hole, has 17 holes instead of the traditional 18. Steve Coy, the professor at LTU who conceived the project, told The Detroit News:  “It’s an untraditional course, and I think it’s funny to have an untraditional amount [of holes]. We call it ‘urban rules,’ so we’re creating our own style of course.”

Image credits: (1-5) Amsterdam Urban Mini Golf / NL Architects via Design Boom, (6-8) Detroit Roosevelt Par / Roosevelt Park Kickstarter Campaign

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vansweden
One of America’s most influential landscape architects, James van Sweden, FASLA, co-founder of Oehme van Sweden, died last week at age 78 from complications from Parkinson’s disease. Both a designer and prolific author, van Sweden is credited with changing the look and feel of the American landscape, introducing the “New American Garden” aesthetic, which included perennials and wild grasses. His influential gardens go beyond surface aesthetics though and had deeper impact. His free-flowing, grass-filled gardens led the way to today’s broader movement of more sustainable, ecologically-sound landscapes.

In a thoughtful obituary, Washington Post garden critic Adrian Higgins wrote that when Oehme and van Sweden first started their firm together back in 1975, they soon became internationally known for their “radically different approach to landscape design — replacing staid evergreen hedging, bedding annuals and groomed lawns with broad sweeps of long, flowering perennials and ornamental grasses. The vision was a rejection of passive vegetative architecture in favor of the bold massing of grasses and perennials that placed the observer in the midst of a living tapestry. The result was a garden that actively responded to light, wind and seasonal change.”

Many of van Sweden’s most famous work was created in the D.C. area, where Oehme van Sweden is based. Over the past few decades, he and his firm created memorable landscapes for the Federal Reserve, the National World War II Memorial, the Martin Luther King Memorial, the International Center embassy campus for the U.S. Department of State, and the Francis Scott Key Memorial Park, all in Washington D.C.

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Beyond the high-profile public and institutional work, he did residential gardens at all scales — from the private urban garden to the rural estate. As Higgins notes, van Sweden advocated for transforming spaces, no matter how urban or small, into prairie and meadow. The object, van Sweden wrote, was “to lead the eye deeper into a scene which is not completely revealed.” Gardens of any size could create “natural exuberance.”

According to Oehme van Sweden, he won numerous awards over his career. “Honors include the Massachusetts Horticultural Society’s prestigious George Robert White Medal of Honor, awarded to him and Mr. Oehme in recognition of efforts to advance interest in horticulture; the Thomas Roland Gold Medal, the University of Michigan’s Distinguished Alumni Award; the American Horticultural Society’s Landscape Design Award; and The American Society of Landscape Architects’ Design Medal. In 2011, he shared the Longhouse Landscape Award with Mr. Oehme and Firm Partners Sheila Brady, Lisa Delplace and Eric Groft.”

van Sweden’s most recent books include The Artful Garden: Creative Inspiration for Landscape Design (2011), Architecture in the Garden (2003), and Gardening with Nature (1997).

Read Adrian Higgins’ obituary and check out The Cultural Landscape Foundation’s in-depth oral history with van Sweden.

Image credit: (1) James van Sweden, FASLA. Oehme van Sweden, (2-5) Federal Reserve, Washington, D.C. / copyright Roger Foley. Oehme van Sweden

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The newly-redesigned Monks Garden just opened at the Isabella Stewart Gardner Museum in Boston. At just 7,500 square feet, this intimate jewel of a garden shows how Michael Van Valkenburgh, FASLA, is both a master of the large park and small garden.

A tall brick wall encloses the space. Within, Van Valkenburgh maximizes circulation with a serpentine path of black brick, a play on Boston’s ubiquitous brick architecture. The winding trail, which also shines with mica schist, is the garden’s most striking feature.

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And one can feel that it’s intentionally designed to be impractical. Instead of being a means to get from Point A to Point B, the path is designed for aimless wandering. Van Valkenburgh said “he thought of the garden as a place to get lost.”

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Favoring whimsy over function is really a response to the museum itself, which was considered outlandish for its time and is still not organized around traditional themes. As Van Valkenburgh described, the museum isn’t practical, nor was Isabella Stewart Gardner a particularly practical woman. With his design, he wanted to “do something that lives up to the museum.”

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In keeping with the unconventional approach, Van Valkenburgh wanted the space to appeal to children. Feeling that “kids hate museums,” he designed the garden as a place for them to run, hide, and play amid the 60-plus miniature Stewartia, Paperback Maple, and grey birch trees.

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Van Valkenburgh emphasized that while the garden’s form is beautiful from an aerial perspective, it’s really about the sensory experience being in the space. To that end, the garden’s planting design stresses seasonal variation, making it appealing year-round. There are bulbs for the spring, late summer day lilies, winter-blooming Lenten roses, and four varieties of Camellias. There are nice places to sit and have those experiences, on basic grey chairs that are both there and not there.

Far from a rarefied courtyard, Monks Garden’s playful design enters a dialogue with the eccentric museum it inhabits. Appropriately, Van Valkenburgh declared, “I don’t think I’ve ever had more fun designing a garden.”

This guest post is by Ben Wellington, ASLA 2012 summer intern and master’s of landscape architecture graduate, Louisiana State University.

Image credits: Isabella Stewart Gardner Museum

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economist
In its latest special report, The Economist magazine put forth a counter-intuitive yet fascinating thesis: more economic growth is the best hope for preventing the next great wave of extinctions. They argue that as countries become richer, their citizens actually demand cleaner air and water, which benefit wildlife. With weekends off — and more free time generally — these rich-world residents also want to go to public parks and experience nature first hand. According to the Living Planet Index, which is created by the Zoological Society of London and the World Wildlife Fund (WWF), biodiversity is actually rising in the rich world and falling in poorer (tropical) ones. So the answer for the planet’s species may be to boost growth in poorer countries in South America, Asia, and Africa.

The entire series of articles is worth reading in depth, but here’s a top-line take on some of the key arguments and data presented:

Man Is Evolving

In the past, man has not been good for nature. Man wiped out most the ancient mega-fauna, including the mastodons, mammoths, and sabre-tooth tigers. With the rise of new technologies, “man’s destructive powers increased.” As mining and industrial development expanded across the globe, forests were decimated, rivers poisoned, and sea and land animals driven to the brink. But, they write: “In a sense this orgy of destruction was natural. In the wild, natural species compete for resources, and man proved a highly successful competitor.” The Economist adds that religion fueled the ascendancy of man over nature, with the Bible granting man “dominion over every creeping thing.”

Now, attitudes have changed for the better. “People have, by and large, come round to the view that wiping out other species is wrong. Part of the reason is pragmatic: as man has come to understand ecology better, he has realized that environmental destruction in pursuit of growth may be self-defeating. Rivers need to be healthy to provide people with clean water and fish; natural beauty fosters tourism; genes from other species provide the raw material for many drugs.”

The change in views towards nature has led to political action. Beginning in the 1970s, the world has increasingly come together to protect natural resources and endangered species. Countries have created national parks and financed support for them. There are now rules against polluting air and water. New technologies make conservation even easier. But while all this is increasingly true in developed countries, it’s not yet in developing ones, although there are signs of progress. For example, as Brazil develops, the rate of deforestation in the Brazilian Amazon has actually fallen. In 2004, some 24,000 square kilometers were decimated. Last year, there were just 5,000 square kilometers destroyed.

Extinctions Are Natural

The Economist writes that throughout Earth’s history extinctions have been the “norm.” Amazingly, “around 99 percent of all creatures that have ever lived have disappeared from the face of the planet. Hardly any of the species that are around now existed 100 million years ago; it is unlikely that many of today’s species will exist in another 100 million years. In the Earth’s 4.5 billion-year-history, that is not a very long time.”

Extinctions, as scientists have demonstrated, come in great waves. To our knowledge, there have been five major waves in history. These extinctions were caused by geological events and the impact of asteroids. A sixth one, caused by man, may be underway.

To determine whether a great wave of extinction is now happening, we have to understand how many species there are. To date, only 2 million species – large and small – have actually been identified. There are lots more smaller creatures than larger ones, so scientists believe many more small species remain undiscovered. “The most widely used estimate now 8.7 million species, not counting micro-organisms such as bacteria and archaea.”

Then, we have to calculate whether the rate of extinction exceeds the norm, which Stuart Pimm, a professor at Duke University, has established as a “background rate” of “one per million species years.” This means that if there are one million species, one would go extinct every year.

And then, we need to understand the actual number of species that have gone extinct. According to The Economist, many conservation organizations, in advocacy mode, have said up to a million species could soon go extinct, but the reality is only 9 counted extinctions have happened between 1980 and 2000. Still, most of the world’s great conservation biologists, including E.O. Wilson, have continuously raised the alarm, which should be heeded.

There’s Hope: People Now Value Biodiversity

As the developed world has become more prosperous with economic growth, people have “freedom to think about things beyond their material welfare.” Prosperity has given people more leisure time, and “enjoying nature is one of humanity’s favorite pastimes.” According to The Economist, some 71 million Americans say they “watch, feed or photograph wildlife in their spare time, more than play computer games, and 34 million are hunters or anglers who also, in their own way, enjoy wildlife.” Being out in nature may also boost happiness (as is explored in more depth in ASLA’s guide to the Health Benefits of Nature).

Communities have also realized that they need nature to survive, too. Birds kill the insects that plague crops. Fisherman’s livelihoods rely on stable stocks of fish. Bees are vital pollinators that we depend on for much of our produce. And then there are so many species of flora and fauna that have yet to be examined for their human health benefits. So many drugs have come from the rainforest. Perhaps the cure for cancer may be there, too.

Some positive trends:

  • In the U.S., eagle populations dropped from half a million in the 18th century to 412 breeding pairs by the early 1960s. There are now more than 7,000 pairs.
  • In 1990, Britain’s environmental agency said only 53 percent of its rivers were safe for recreation. Now 80 percent are.
  • China created its first national park in 1982. “It now has 1,865 of them, covering 110 million hectares, three times the area of America’s parks.” A recent article attributed this to the rising numbers of Chinese taking vacations.
  • In 1909, only 3.5 percent of the world’s land area was protected (according to a 1985 study). Today, some 13 percent of the planet is protected, and the target of 17 percent may be met.

The key then may be more economic growth globally, not less. And we’d add: more landscape architects to design parks and access to nature, not fewer.

Explore this fascinating set of articles.

Image credit: The Economist

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In recent years, the High Line has been adding interesting art along its length and even on the billboards facing the linear park. Now, public art seems to be spreading outwards into neighboring Chelsea, a long-time destination for pricey galleries. Near the High line, a former gas station on 10th avenue has been turned into Sheep Station, a surrealist sculptural landscape.

There are dozens of sculpted sheep set on grass among the pumps and station.

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The sheep were created by French artist François-xavier Lalannen, who died in 2008. This piece is the largest collection of Lalanne’s iconic “moutons.” Now, his son, also an artist, has picked up and carried his legacy forward

This is just the first exhibition. More are coming at Getty Station, now a temporary art space (see more images at DesignBoom).

Beyond the sheep, there’s a lot more to see commissioned by the High Line next to or actually on the park. Viewable from the rails, Gilbert and George’s Waking, a new billboard piece, “represents the primal life forces at their most formative and explosive stages.”

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Then, there’s the exhibition “Busted,” offering a new series of contemporary busts amid the High Line’s public gardens. One artist, Steven Claydon, created UNLIMITEDS & LIMITERS, which humorously plays with the idea of the traditional bust, with doubles in resin and concrete.

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Ruby Neri created Before a Framework, a woman leaning against a window frame. “By casting in bronze a figure portrayed in a meditative pose, the artist creates a composition which appears as a strange hybrid between vernacular art and classical sculpture.”

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And then there’s a new piece on former Secretary of State Colin Powell by Goshka Macuga, a Polish artist who creates works around “singular historical episodes.” Here, Macuga, inspired by Picasso’s Guernica, puts into bronze Powell’s controversial speech to the U.N. Security Council on Iraq and its supposed weapons of mass destruction.

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Lastly, along the unfinished High Line at the Rail Yards, which will eventually become part of the third and final segment of the park, the High Line have placed Caterpillar, another set of sculptures by Carol Bove, this time only viewable through an arranged tour.

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Other linear parks are also becoming green platforms for viewing public art. The new Bloomingdale Trail (just re-branded “The 606″) will set aside spaces for specially-commissioned sculpture and light and sound installations throughout its 3-miles. In fact, Francis Whitehead, a Chicago-based artist shared equal billing with landscape architecture firm Michael Van Valkenburgh Associates and Collins Engineering as co-designers of the park and its new outdoor exhibition spaces.

Image credit: (1-3) Getty Station, (4-9) The High Line

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For more LA in the News, check out LAND, ASLA’s newsletter. If you see others you’d like included, please email us at info@asla.org.

Trees of LifeNewsweek / The Daily Beast, 8/30 – 9/12 Issue
“Landscape architects used to be revered. The magical beauty of Versailles lies in the vistas created by André Le Nôtre in the 17th century; New York City draws its breath in the meadows and groves of Central Park, which were designed by Frederick Law Olmsted in the 19th century.”

Landscape Architect to Watch: Nina Chasegb&d Magazine, September/October 2013
“As a kid, I was interested in design and spaces. My family always took notice of good design. We would drive around neighborhoods, and my parents would say, “That’s a nice house,” and I would mimic, “nice house, nice house,” from the backseat.”

Design for Brooklyn Bridge Park Pier 6 Revealed in Stunning New RenderingsInhabitat, 9/4/13
“Last week, New Yorkers got their first peek at the design for the new area of Brooklyn Bridge Park at Pier 6, and we have to say that they’re simply gorgeous. Park executives from the Bjarke Ingels Group (BIG) unveiled 11 brand new renderings showing the plan for the currently undeveloped waterfront area of the park Michael Van Valkenburgh Associates, envisions the new green space as a large open lawn and flower-filled meadow.”

Planting the HardscapeThe Architect’s Newspaper, 9/4/13
“Plans for an aging Ludwig Mies van der Rohe plaza in downtown Chicago are not so much an update as a transformation. In renderings from Wolff Landscape Architects and Goettsch Partners, amoeba-like forms wrap around Mies’ black steel columns, bearing lush berms three to five feet high.”

Champion Trees and Urban Forests  – Design Observer, 9/9/13
“Lehrer notes that most transportation projects in the city feature landscaping — usually linear plantings of street trees — but that these are not well connected in ways that would make them function as an urban system. A more effective strategy, Lehrer argues, would be to ‘plant trees in residential neighborhood, where you can achieve much greater density of tree coverage,” and, in turn, provide greater environmental and aesthetic benefits.’”

These articles were compiled by Phil Stamper, ASLA Public Relations and Communications Coordinator.

Image credit: Ludwig Mies van der Rohe plaza / Ted Wolff Landscape Architects and Goettsch Partners

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From the Emerald Necklace to the Freedom Trail Sites, Boston’s green spaces are revered by tourists and locals alike. The Landscape Architect’s Guide to Boston, launched today by the American Society of Landscape Architects (ASLA), offers insider information about these designed landscapes and others you may not have heard of. This web site has been launched in advance of ASLA’s annual meeting in Boston, November 15-18.

Twelve million people visit Boston annually, but most of those visitors possess only a rudimentary knowledge of the city’s landscapes and restrict their travel to the well-established tourist routes. With a tap of their smartphones, people can deepen their knowledge through expert commentary and more than 1,100 photos provided by 28 landscape architects.

Thomas R. Tavella, FASLA, president of ASLA, says that the guide is the first-ever website that describes 100 historic, modern and contemporary landscapes in Boston, Cambridge and Brookline—and explains why they captivate. It highlights historic monuments and parks and examples of new sustainable works—including Raymond V. Mellone Park, a cutting-edge park that also manages stormwater, and Condor Street Urban Wild, which caps toxic soils to create a new wildlife habitat and urban respite.

“This guide will answer questions you didn’t know you had about your favorite neighborhood parks and other landscapes,” says Tavella. “Boston’s vibrant public realm didn’t just magically appear but was carefully designed over the years, and is continually evolving, through interactions among elected leaders, communities and landscape architects.”

Boston has long been a trendsetter when it comes to urban design and sustainability. Its landscape architects have played a crucial role in making the city a better place to live, starting in the late 19th century, when Frederick Law Olmsted designed the Emerald Necklace, to today’s generation of landscape architects who are creating waterfront parks and beloved green spaces. Boston ranks in the top 10 nationally for sustainability, park space, and quality of life, in large part because its designed landscapes are integral to its urban fabric.

The guide is divided into 26 distinct tours in diverse neighborhoods in Boston, Cambridge, and Brookline. Each tour covers multiple neighborhoods, and includes a printable walking or biking map for easy exploration.

The guide was created by ASLA in partnership with 28 nationally recognized landscape architects, all of whom are designers of the public realm and leaders in sustainable design. The guides were asked to explain the sites from a landscape architect’s point of view and show how the design of these sites influences how people interact with or even feel about these places.

The guides are:

•    Cathy Baker-Eclipse, ASLA, Boston Parks and Recreation Department
•    Maria Bellalta, ASLA, Boston Architectural College
•    Deneen Crosby, ASLA, Crosby | Schlessinger | Smallridge
•    Melissa Desjardins, ASLA, Dan Gordon Associates
•    Joe Geller, FASLA, Stantec Consulting
•    Lynne Giesecke, ASLA, Studio2112 Landscape Architecture
•    John Haven, ASLA, Keith LeBlanc Landscape Architecture
•    Gary Hilderbrand, FASLA, Reed Hilderbrand
•    Carol Johnson, FASLA, Carol R. Johnson Associates
•    Cortney Kirk, ASLA, Copley Wolff Design Group
•    Mary Lydecker, ASLA, Hargreaves Associates
•    Bill Madden, ASLA, Mikyoung Kim Design
•    Jeremy Martin, ASLA, Hargreaves Associates
•    Kaki Martin, ASLA, Klopfer Martin Design Group
•    Grace Ng, Student ASLA, Olmsted Center for Landscape Preservation, National Park Service
•    Marion Pressley, FASLA, Pressley Associates Landscape Architects
•    Robyn Reed, ASLA, Landworks Studio
•    Susannah Ross, ASLA, Sasaki
•    James Royce, ASLA, Studio2112 Landscape Architecture
•    Michael Sadler, ASLA, Boston Architectural College
•    JP Shadley, FASLA, Shadley Associates Landscape Architects
•    Cynthia Smith, FASLA, Halvorson Design Partnership
•    Laura Solano, ASLA, Michael Van Valkenburgh Associates
•    Laura Tenny, ASLA, Massachusetts Institute of Technology
•    Kenya Thompson, ASLA, Boston Redevelopment Authority
•    Jennifer Toole, ASLA, Toole Design Group
•    Robert Uhlig, ASLA, Halvorson Design Partnership
•    Gabrielle Weiss, Copley Wolff Design Group

List of Sites Featured in the Guide

Back Bay
Copley Square
First Church

Boston / Cambridge Bike Network

Brookline
Fairsted, Frederick Law Olmsted National Historic Site

Cambridge
Cambridge Commons
John F. Kennedy Memorial Park
Longfellow House
Mount Auburn Cemetery

Cambridge: Harvard University
Harvard Yard
The Plaza
Tanner Fountain
LISE and Science Center Courtyards
Northwest Laboratory Courtyard
Rockefeller Hall
Cabot Courtyard and Frisbie Place

Cambridge: MIT
Ray and Maria Stata Center Landscape
North Court and Main Street
MIT’s Public Art Collection
Killian Court

Charlestown
Bunker Hill Monument
John Harvard Mall
City Square Park
The Harborwalk
Charlestown Navy Yard
Spaulding Rehabilitation Hospital

Charles River
Charles River Esplanade
Nashua Street Park
Lechmere Canal Park
North Point Park
Paul Revere Park

Dorchester
JFK Presidential Library and Museum
Pope John Paul II Park

East Boston
East Boston Greenway
Piers Park
HarborArts
Condor Street Urban Wild

Emerald Necklace
Boston Common
Boston Public Garden
Commonwealth Avenue Mall
Back Bay Fens
The Riverway
Olmsted Park
Jamaica Pond
Arnold Arboretum at Harvard University
Franklin Park

Fenway / Kenmore
Fenway Park and Yawkey Way
Fenway Victory Gardens
The Robert McBride House
Isabella Stewart Gardner Museum Courtyard
Museum of Fine Arts, Boston
Christian Science Center Plaza

Financial District / Government Center
Granary Burying Ground
King’s Chapel Burying Ground
City Hall Plaza
The Garden of Peace
Faneuil Hall Marketplace
Christopher Columbus Waterfront Park
Long Wharf
Central Wharf Plaza
Post Office Square Park

Harbor Islands
Georges Island
Little Brewster Island and Boston Light
Peddocks Island
Spectacle Island

Jamaica Plain
South Street Mall
Allandale Woods

Lower Alston
Raymond V. Mellone Park

Mission Hill
Levinson Plaza
Kevin W. Fitzgerald Park

North End
Paul Revere House Plaza and North Square
The Prado
Copp’s Hill Burying Ground and Terrace

Public Alleys Bicycle Tour

Rose F. Kennedy Greenway
Chinatown Park
Dewey Square
Fort Point Channel Parks and Urban Arboretum
Wharf District Parks
Armenian Heritage Park
North End Parks

Roslindale
Forest Hills Cemetery

Roxbury
Cedar Street Gardens
Highland Park and Fort Hill
Malcom X Park
Horatio Harris Park
Puddingstone Garden

Southwest Corridor Park

South Boston
Fort Point Channel and Boston Children’s Museum
South Boston Waterfront
Pleasure Bay and Castle Island
Broadway
William Day Boulevard and Carson Beach Harborwalk

South End
Harriet Tubman Park
Berkeley Community Garden
LandWave
Blackstone Square and Franklin Square

West Roxbury
Millennium Park
Brook Farm

The Boston guide is the second produced by ASLA. The Landscape Architect’s Guide to Washington, D.C. was launched last year and so far has received more than 100,000 page views.

Image credit: Wharf District Parks, Rose F. Kennedy Greenway / John Horner via Copley Wolff Design Group

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