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Archive for the ‘Residential Design’ Category

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Russell Page Garden at the Frick Collection / Danielle Rollins via Pinterest

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.

The Green Lawn: American Staple or Water Waster?The San Francisco Chronicle, 6/17/14
“As California faces its worst drought in decades, residents are being asked to make sacrifices to save water: take shorter showers, launder less and forgo the occasional flush. For some, though, the biggest hardship has been surrendering the vigor of a bright green lawn.”

Motor City’s First Buffered Bike Lanes Planned for MidtownThe Architect’s Newspaper, 6/18/14
“Given the severity and number of challenges facing Detroit, streetscape improvements might not seem like a very high priority. But in the Motor City’s Midtown, one of the city’s relatively resurgent neighborhoods, a local planning non-profit is betting that encouraging more bicyclists and pedestrians will be a boon for the area. As a result, Detroit may soon get its first buffered bike lanes. Between Temple Street and Warren Avenue, Midtown’s 2nd Avenue is the target of a substantial road diet, as first reported by ModeShift.”

Long-Forgotten Landscape Architect Helped Save the Indiana DunesWBEZ 91.5, 6/19/14
“As the temperature rises, thousands will be flocking to the Indiana Dunes this summer. But if it weren’t for a little-known landscape architect, the miles of beaches along southern Lake Michigan might not exist today.”

A Playful Pop-Up at Spruce Street Harbor ParkThe Philadelphia Inquirer, 6/28/14
“Last summer, landscape architect David Fierabend was tasked with turning a vacant lot on Broad Street into a peaceful pop-up garden for the Pennsylvania Horticultural Society. The best indication that his woodland garden – shaded by a copse of graceful honey locusts – had succeeded? How little visitors noticed his handiwork.”

Here’s What’s Missing in the Debate over the Frick Collection’s Proposed ExpansionThe Huffington Post, 6/30/14
“The announcement that the Frick Collection on New York’s Upper East Side plans to build an addition has generated some buzz and concern – and if implemented, it would forever destroy an important part of the collection – an exquisite garden by the world famous British landscape architect Russell Page (1906-85).”

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Dallas Museum of Art by Dan Kiley / Alan Ward, TCLF

In a lecture at the National Building Museum on the legacy of Modern landscape architect Dan Kiley, Gary Hilderbrand, FASLA, one of the founders of landscape architecture firm Reed Hilderbrand, said of Kiley, “we share a love of order, a disdain of ornament, a love of common things — the field, the hedgerow, the tree canopy. Like him, I want to return these all to glory.” Introduced by Charles Birnbaum, FASLA, head of The Cultural Landscape Foundation (TCLF), who connected Hilderbrand to the rich Modern traditions of Kiley, the focus of a new exhibition organized by TCLF at NBM, Hilderbrand talked about both Kiley’s projects and his own, illuminating some parellels between their work in interesting ways.

For Hilderbrand, Kiley was part of the movement that steered landscape architecture away from its traditional focus on the garden. Kiley, and his fellow students Garrett Eckbo and James Rose, displaced the garden, suggesting that teaching gardens to graduate students was “disagreeably aristocratic and irrelevant.” They all felt a “greater urgency for public landscapes, the infrastructure for urbanization.” Whether their aim was explicit or not, “they caused the garden to vanish for a long time.” (Except, as Hilderbrand noted later, perhaps Kiley never fully vanquished the garden, returning to it with many small gardens and his famous Miller Garden, which created a “singular sense of modern living.”)

A Modernist, Kiley wanted to distill landscapes into their core elements, removing any excess. “He loved ordinary things like the field and the forest canopy, and he made them extraordinary.” As an example, Hilderbrand showed Kiley’s Dallas Museum of Art, with its stark rows of trees (see image above). “For Kiley, it was totally natural to plant trees in rows; it wasn’t contrived. How can that be? It’s because it’s natural for humans to plant trees in rows, like orchards, so the trees can be more easily grown, watered, pruned, and harvested. Planting in a grid is then the most natural thing.”

Kiley used Modern techniques to create a paired-down yet also heightened sense of nature. Another site, Fountain Place in Dallas is “like being in a cypress forest; it smells and feels like a forest. It’s truly remarkable.”

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Fountain Place, Dallas / Alan Ward, TCLF

The influence of Kiley can be seen in Reed Hilderbrand’s own thoughtful, minimalist projects, with their focus on the essential. Hilderbrand gave the crowd of more than 200 a tour of four sites:

The Central Park Wharf in Boston is about taking infrastructure and creating an “inhabitable landscape, a work of living architecture.” For Reed Hilderbrand, the challenge was, “how do we make the surface of this park feel alive?”

To create that feeling that the Wharf park is alive, they had to build “below ground-infrastructure.” Hilderbrand used an apt metaphor here: “You can’t create a great meal without a great staff in the kitchen.” A structure was put in place to hold up the ground and seating areas. A medium of soil, with drains that form a trellis-like system, maintain precise amounts of moisture for the 25 oak trees planted. “Sensors let us know if the trees are getting enough water.”

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ASLA 2011 Professional General Design Honor Award. Central Wharf Park / Reed Hilderbrand

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This complex system made simple really worked: the trees, which were planted large, experienced a phenomenal 10 feet of growth since they were put in the ground.

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ASLA 2011 Professional General Design Honor Award. Central Wharf Park / Reed Hilderbrand

Central Park Wharf is now “instantly recognizable for its cover canopy, with lights wired through the trees.”

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ASLA 2011 Professional General Design Honor Award. Central Wharf Park / Charles Mayer Photography

A second project, restoring the landscape around Philip Johnson’s Beck House in Texas, and then re-connecting it to the home, was challenging because the “landscape was highly degraded, a jungle, really.” But then, Reed Hilderbrand can see the “opportunity in anything.” The Beck House is a grand building in the vein of Johnson’s Lincoln Center. What was difficult was finding a way to make this fantastic home part of its surrounding landscape.

Hilderbrand said they ended up being critical of Johnson’s approach to the landscape, which was to cut it off and make it a source of panoramic views only. Their team brought trees into Johnson’s blank arcade, reduced the height of retaining walls, and built a flight of low, grassy stairs to pull the entrance outside of the building. The overall effect is to better root the building in its surrounding landscape, making it feel more like a piece of the place than disengaged from its environment.

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ASLA 2011 Professional Residential Design Honor Award. Beyond Pictorial: Revising Philip Johnson’s Monumental Beck House / Alan Ward

They then restored the creek and bridge, editing out invasive plants and trees, and set a series of long white planks that brought a further sense of order to the estate’s grounds.

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ASLA 2011 Professional Residential Design Honor Award. Beyond Pictorial: Revising Philip Johnson’s Monumental Beck House / Reed Hilderbrand

Hilderbrand then took us to Marshcourt, a historic manor by Sir Edwin Luytens in England, where his firm is reintegrating the surrounding chalk landscape back into the place. The buildings’ walls are made of chalk and flint. The nearby chalk quarry proved to be an inspiration for what Reed Hilderbrand did: create the sense that once is driving through a “cut of chalk,” then going through a “door,” upon which you open up into the copse. “The contractors thought we were out of our minds compacting chalk into steep slopes.” But the effect is worth it: the meadows planted on top of the slopes are beautiful.

Lastly, Old Quarry, a project on the Long Island Sound in southern Connecticut, tells the story of finding order in an old stone quarry. Paths are like jetties. Footpaths were created across paths of rocks. Reed Hilderbrand used a simple, coastal plant palette. Hilderbrand said this project took four years, and was like being a “kid in a sandbox.” Stone masons actually spent two years on site, forming the stone into patterns. “This was definitely a luxury.”

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ASLA 2012 Professional Residential Design Honor Award. Reordering Old Quarry / Charles Mayer Photography

According to Hilderbrand, all these examples prove that “a landscape architect never begins from scratch. We always begin with a story, maybe centuries of stories.” And those stories may not necessarily need to be understood by those seeing them. “Whether the experience is rational or emotional, we don’t have to understand everything behind a landscape.”

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Mark Simmons sets fires. He uses prescribed fires as a technique for land management to improve the ecological health of a system. These fires are carefully plotted and designed to self-extinguish. They are employed to control brush, which could feed wildfires, and selectively remove invasive species and restore native ones. Simmons is the director of the ecosystem design group at the Lady Bird Johnson Wildflower Center at The University of Texas. His team engages in scientific research, sustainable design, and environmental consulting.

American Indians on the plains also set fires. They used controlled burning to both attract and drive game, get rid of ticks, and harvest lizards and insects. Simmons says this practice demonstrates that they had a mutually influential relationship with nature. They melded the landscape and in turn were melded by it.

Americans today are found in different landscapes. We primarily occupy landscapes like suburban strip mall parking lots, which Simmons believes are dysfunctional and polluting. If these landscapes are melding us, then they may be adversely affecting our health and behavior. He believes that providing more green spaces could control epidemics like childhood obesity and ADHD.

In order to combat environmental and social hazards, Simmons wants to bring nature back into the built environment using ecological design. He envisions an “eco-metropolis” in which we keep, fix, and build using “nature’s technologies.” Simmons believes these approaches can inform techniques for land management and restoration, as well as the research and design of greenroofs and walls, rain gardens, sustainable lawns, and ecological roadsides.

Our current situation is about maintaing an “industrial, not ecological, system on life support,” Turf grass covers 40 million acres of land in the U.S., with 20 million acres just residential lawns. This landscape requires 580 million gallons of gasoline and up to 60 percent of urban fresh water to maintain. Desert communities have begun banning lawns out of necessity. Simmons finds gravel lots and other available alternatives lacking in both functionality and aesthetic quality. He is promoting alternatives that are sustainable, useful, and desirable.

Simmons grew up mowing his family’s lawn in England with a push mower. His dad no longer needs to mow because the lawn is now a multi-species landscape that has evolved into a stable ecological system that maintains itself. Inspired by this discovery, Simmons and his team created a biodiverse lawn made up of five native species that only has to be mowed two to three times a year and does not require pesticides or herbicides. There are eight acres planted at the George W. Bush Presidential Library. Simmons calls this “ecology 101 applied to landscape architecture.”

Landscapes like Simmons’s lawn that deploy nature’s technologies can perform critical functions like carbon sequestration, low level ozone absorption, and stormwater management.

Grasslands in fact provide the most efficient means of carbon sequestration. They absorb less carbon dioxide than boreal forests, but because they have evolved with fire and grazing, they store 95 percent of it below ground as insurance. In contrast, trees store carbon dioxide above ground in their trunks, branches, and leaves and release it back into the atmosphere when they die. In grasslands, when the roots die, the carbon melds with the physical and chemical structure of the soil and can be held there for hundreds of thousands of years.

These landscapes are also desirable. Simmons shares several examples of their success and growing popularity. Residents of a suburban tract in Austin, Texas liked the prairie that was planted along the perimeter so much that they requested it be continued through their yards. A homeowner who wanted a meadow constructed on his roof is so pleased with the result that he supports the idea of creating a preserve of the Texas blackland prairie ecosystem on roofs and along roadsides.

Simmons demonstrates that we can use nature differently. He encourages us to preserve nature but also feel liberated and empowered to use it more like we would engineering. “Nature’s technology is free and it’s waiting. All we have to do is bring nature home.”

This guest post is by Shannon Leahy, Master’s of Landscape Architecture graduate, University of Pennsylvania, and former ASLA summer intern.

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“Philadelphia has the first and only EPA-approved green infrastructure plan,” said Mark Focht, FASLA, first deputy commissioner, Philadelphia Parks & Recreation and ASLA President, at the Dupont Summit, a meeting of the Policy Studies Organization in Washington, D.C. He said Philadelphia even needs to “train the EPA on how to evaluate our plan,” which provides a cutting-edge, low-cost approach for dealing with his city’s stormwater run-off problems.

A grey infrastructure system was estimated to cost more than $6 billion. The green infrastructure plan Philly is moving forward with will only cost $1.2 billion over 25 years. Some $800 million of that will go directly to green infrastructure projects in the city, while $200 million will go to further strengthening the city’s water treatment plants. Another $200 is reserved for “adaptive management,” which will address “future technological changes.” Focht said even if future mayors tried to undo this 25-year plan, they can’t. The agreement, which he emphasized is “not a consent decree,” has been signed.

Green infrastructure provides many benefits beyond cost savings. There’s a “triple bottom line effect,” with multiple environmental, social, and economic benefits. On environmental benefits side alone, the potential payoff is massive. Focht said the greening plan could absorb or help the city avoid  some 1.5 billion pounds of carbon dioxide annually, which is equal to removing 3,400 cars off the road. “This number will compound each year.” With improved air quality due to all the new trees, green roofs, and parks, communities will benefit on the social or health side, as well. Focht estimated 20 deaths due to asthma will be avoided, and 250 fewer work or school days will be missed. Deaths due to excessive urban heat could also be cut by 250 over 20 years. Lastly, the economic benefits are also outstanding: the new greenery will increase property values by $390 million over 45 years, also boosting the property taxes the city takes in. In the short term, all those green roofs and parks need to be constructed, creating 250 local green jobs.

Focht said in contrast to grey infrastructure, green infrastructure creates a wider range of jobs, with more opportunities for convicts reentering society. “Grey infrastructure really just employs engineers.” Green infrastructure benefits are immediate across all levels, while grey infrastructure has a “different curve” to kick-in and starting paying back.

Philadelphia’s new plan is based on the “greened acre.” According to Focht, “one greened acre is equivalent to one inch of managed stormwater from one acre of impervious drainage area, or 27,158 gallons of stormwater.” There’s even a formula: GA = IC * Wd. The city decided to come up with the greened acre concept to help communicate with the public about their goals over the coming decades. Over the next 25 years, Philadelphia wants to convert 9,600 impervious acres into permeable greened ones. That means 34 percent of the city’s now impervious surface (or 15 square miles) will become permeable.  Greened acres can include rain gardens, trees, green roofs, permeable pavements, and green “bump-outs.”

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To implement this bold vision, the Philadelphia water department has steered city investment in city-owned properties in a greener direction and set the standards for all new construction projects. There’s a green streets design manual that shows how permeable pavements should function. Focht said one street just put in had no drains. The water simply drains down into the permeable asphalt and the earth.

Strong new regulations will also move the private sector to act. “Water bills are now based on how much water you use and manage.” One site with huge amounts of paved areas saw their water bill shoot up from $400 a month to more than $2,500, while another with no paved surfaces saw their bill go from $4,700 to $100. Focht made a point of saying that “the new regulations are not a revenue generator.” But there are clearly winners and losers. “Losers include big box retailers, retail malls, and car dealerships.”

Focht said, if smart, a condo could put on a green roof and get its water bill to zero. To push buildings to go this route, the city is offering a range of grants and loans modeled after NYC’s program. “If a project increases the visibility of green infrastructure, it also gets more credits.”

For the parks department, the new green infrastructure plan is a bonanza, creating opportunities for lots of new multi-functional green spaces. The parks department is already racing ahead: One new playground is 92 percent permeable, with new permeable pavements and plants. As a big plus, the neighbors love the pavement because it also absorbs the sound of basketballs bouncing. Green schools are coming. There’s even a green homes program that provides small grants to volunteer, non-profit groups to teach homeowners how to capture their own runoff.

One exciting project, deemed the “big green project,” shows how these green infrastructure tactics can coalesce into larger systems. The new Kensington Creative + Performing Arts High School, which is LEED Platinum, has green roofs, rainwater cisterns, and an underground detention facility. Surrounding it is a newly permeable sports area, a “geothermal well field,” and tree trenches.

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So how did Philadephia make this happen, forming a partnership among so many different city agencies when so many other cities have failed to accomplish this? Focht said a “strong mayor” was central, as well as “city-wide planning framework that enabled real partnerships.” Focht also mentioned how many people leading agencies now came up together through the ranks. When he and others were all middle managers at agencies, they formed an extra-curricular working group to discover how they could collaborative on green space, water management, and public health. Those efforts eventually bubbled up into Philadelphia’s 2009 GreenWorks plan.

Importantly, Focht said green infrastructure initiatives have retained public support because city officials have made a point of making “the same investment in every neighborhood,” rich or poor.

To learn more, download Focht’s full presentation (7MB) and also read a report ASLA co-wrote with a number of organizations, Banking on Green: How Green Infrastructure Saves Municipalities Money and Provides Economic Benefits Community-wide.

Image credits: (1-2)  7th and Washington / Philadephia Parks & Recreation, (3) Expanded tree pit / Philadelphia Water department, (4) Kensington High School / Paul Rider

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At the 100-year anniversary of the birth of Mies Van Der Rohe in the mid-80s, there were tons of news stories, books, and conferences about the legacy of that great architect. But Charles Birnbaum, FASLA, head of the Cultural Landscape Foundation (TCLF), said nothing would have been done for famed Modern landscape architect Dan Kiley on his 100th, unless he and his organization had stepped up to honor him. At the opening of a new photography exhibition on the work of Kiley at the Boston Architectural College (BAC), Birnbaum said Kiley was only second to Frederick Law Olmsted in terms of the number of his landscapes that have been added to the national register of historic places.

In this exhibition, we see 27 of his 1,000 works of landscape architecture. The vast majority are in the U.S. but one remarkable landscape, L’Esplanade du Charles De Gaulle, leads up to La Defense in Paris. Newly-commissioned photographs were taken by some of the best landscape photographers, including Alan Ward, FASLA, who is also a partner at Sasaki Associates.

Birnbaum said it was important to document these landscapes so they don’t “die silent deaths.” He added that writing about Kiley is crucial to “making his legacy visible. It’s really a case of publish or perish.”

For Cornelia Oberlander, FASLA, the grand-dame of Canadian landscape architecture and a Kiley firm alumna, the Esplanade in Paris shows “how he brought the grandiose nature of structure into the landscape.” Pointing at a photo of the project, she said, “that’s Paris. It’s brilliant.”

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She said Kiley was inspired by 17th century French landscape designer Andre Le Notre, who laid out gardens with structural forms like grids and allees.  For her, Kiley’s legacy is taking that French structure and applying it to Modern landscapes everywhere. She said his genius was using a Modern approach to create a “classical feeling.”

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Oberlander’s favorite Kiley landscape is the Miller Garden in Columbus, Indiana, which is viewed as his residential masterpiece. She said “this shows a new way of thinking, a new way of living in the garden.”

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Gary Hilderbrand, FASLA, principal of Reed Hilderbrand, believes the best word to characterize Kiley is “itinerant,” given his constant travels across the U.S. creating so many works of landscape. He said Kiley was “deeply committed to landscape architecture.”

While he said cultures change — so most landscapes will not even last a hundred years — many of Kiley’s landscapes should live on, at least in some form. One he highlighted was the Jefferson National Expansion Memorial in St. Louis, home to the famous arch by Saarinen. “The origins of that design need to remain in some form.”

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His favorite Kiley work is Fountain Place in Dallas, which he has to visit every time he goes to that city. “It’s otherworldy.”

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And how does he sum up Kiley’s legacy? “Kiley’s work transcends his era.” His landscapes go beyond Modernism. “There is an essential quality.”

Explore all the Kiley projects and photos online or buy a gallery guide.

Image credits: (1) Patterns / Roger Foley, (2-3) L’Esplanade du Charles de Gaulle / David Bacher, (4) Miller Garden / Millicent Harvey, (5) Jefferson National Expansion Memorial / David Johnson, (6) Fountain Place / Alan Ward.

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Private Gardens of the Hudson Valley
is a new book about American gardens of the northeast by Jane Garmey, a noted garden writer born in England and now living in New York and Norfolk, Connecticut. The 28 gardens featured are found in private estates to the east of the Hudson River, an area whose famed scenery Garmey appropriately describes as “inherently dramatic.” She has selected gardens whose creators, a mix of garden designers by profession and others who have made it a passionate occupation, primarily seek to create a private paradise while enhancing the remarkable qualities of the existing landscape.

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Garmey chose the properties according to the following criteria: “I find myself drawn to gardens with age and maturity, and especially to those that strongly reflect the sensibility of their owners.” As her descriptions and the accompanying photographs reveal, the properties, ranging from 50 to 500 acres, display a range of gardens. Garmey emphasizes the use of trees and plants — and their unique qualities of texture and color and their capacity to transform and define space. She also strongly notes the element of time. Many of the gardens are lifelong projects that are slowly developing and always changing.

Several of the gardens are in keeping with the tradition of the older properties they occupy. Some property owners, admirers of 18th Century English garden design, have taken cues from famous places like Stourhead and Stowe. Several of the gardens feature planting designs that enhance the existing landscape and appear effortless and natural. Their spatial configurations encourage meandering walks punctuated by views of expansive vistas. Some even include classical temples, statues, and follies.

These elements are especially visible at Altamont, a 500 acre property in Millbrook with a vast parkland that includes streams, marshland, forest, and a succession of lakes and ponds. The formal garden adjacent to the house has four-walled areas planted with different themes. A ha-ha creates a seamless transition from the formal garden to the surrounding landscape.

A few of the gardens are located on properties with modern additions. A similar grandeur is achieved with landscaping suited to that aesthetic. In these cases, the property owners have sought to complement as well as soften the style and scale of the architecture. For a geometric house in Clinton Corners, plantings reinforce the garden’s rectilinear quality while muting its overall effect. Eunymous blankets the terraced garden and masses of bamboo help to partition space and create privacy. A maze-garden houses a sculpture collection within arborvitae hedging that humanizes the space and softens the surrounding metal walls. Beyond the cultivated area, a 360-degree view captures the expanse of wilderness, delineated from the property by only a boundary of stone walls.

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Garden features express the unique sensibilities of their creators. Transitional spaces between the cultivated grounds and the larger landscape are important elements. Many of the properties employ methods to de-emphasize this transition, utilizing a ha-ha or a discreet fencing element to create the separation. One property in Amenia, however, accentuates the change with an engaging progression of enclosed spaces defined by stone walls and hedges that distinguish between the formal garden and the wilderness beyond.

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In one exceptional property in Millerton, the owner constructed a rock garden made from 60 tons of stone from a bluestone quarry near Albany. The garden is planted with thyme, euphorbia, sedums, and various other plants using a Japanese technique of repeating the same arrangement of colors and plants varied across different scales.

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Also, nearly all of the properties include a productive aspect, such as an orchard or kitchen garden. A 200 acre property in Rhinebeck houses a remarkable version. The property owner, Amy Goldman, is an advocate of heirloom fruits and vegetables. She has devoted one acre to an enclosed productive garden that serves as a laboratory for her research on different varieties. She hand-pollinates squashes and grows 20 different kinds of watermelon. At the time of publication, she had plans to cultivate 250 varieties of peppers from both the old and new world for research on a book.

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Each garden in Garmey’s selection displays a unique appeal. The unifying principle among them is that they have been joyfully created, which is apparent in their perceived effortless. An important detail to note, however, is that despite the ease of their appearance, achieving their stature is no small feat. As Garmey notes, “In England, the English have gardens. Americans, as I have now learned, make theirs.”

While the English countryside enjoys mild weather and a gentle grade, the Hudson valley at times presents an intractable canvas. The 360-view for the house in Clinton Corners necessitated the clearing of 200 acres of steeply wooded land. Likewise, on a property in Craryville, the owner spent several years clearing the dense woods above a rock ledge measuring 180 by 45 feet. Today, it’s a primary feature of the garden showcasing lichen, moss, sedums, and birch trees.

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Regardless of their intensiveness, the gardens are clearly worth the effort for those who create them. As the book demonstrates, these places are personal expressions, some decades in the making, of passionate interest and individual taste. In Private Gardens of the Hudson Valley, Garmey’s selection captures these unique expressions against a remarkable backdrop.

Explore the book.

This guest post is by Shannon Leahy, former ASLA summer intern and recent Master’s of Landscape Architecture graduate, University of Pennsylvania.

Image credits: Monacelli Press

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Suburbia Transformed 3.0, a new residential landscape design competition sponsored by the James Rose Center for Landscape Architectural Research and Design, aims to identify new residential works that “go beyond ‘green’ to address the aesthetic quality of human experience.” The goal is to show how “such sustainable landscapes can be beautiful, inspiring, perhaps profound; and serve as examples for transforming the suburban residential fabric, one garden at a time.”

The organizers seek both “built and visionary (unbuilt) residential landscapes” from both professionals and students. While there are no monetary prizes offered, winners will become part of a publication and traveling exhibition.

According to the James Rose Center, “James Rose is remembered as one of three Harvard students who rebelled against their Beaux Arts training in the 1930s, helping to usher landscape architecture—kicking and screaming—into the modern era. Yet somewhere after Harvard and well into the real world, Rose lost faith in the modern planning and design professions he had helped to inspire. By the mid 1950s, he had retreated from public practice and spent most of the latter part of his career designing private gardens that were in direct contrast to the environmental excess and cultural banality of the emerging contemporary post-WWII suburb.”

Rose called his private gardens, which were made with found objects, recycled materials, and native plants, “space-sculptures-with-shelters.” His novel approach had a purpose: to merge a “conservation ethic into a modern design aesthetic.” Rose’s point was that a place needed to be beautiful in order to be sustained (and sustainable).

To succeed in this competition, which is based on Rose’s philosophy, designers will need to:

  • “Make the most of what’s already on the site (earth, rocks, plants, structures, water) before importing or removing anything.
  • Use local, inexpensive, low-energy-consumptive, non-polluting materials and construction techniques before others.
  • Consider the landscape’s potential to create useful resources rather than consume them.
  • Consider the relationship of the site to larger environmental systems.
  • Consider means for guiding future growth and evolution of the garden.”

The competition is open to landscape architects, landscape designers, architects, individuals, teams or firms. Students will be considered in a separate category.

The high-profile jury of landscape architects include: Andrea Cochran FASLA, Principal, Andrea Cochran Landscape Architecture; Tobiah Horton, LEED AP, Assistant Professor, Department of Landscape Architecture, Rutgers, The State University of New Jersey; David Kamp, FASLA, LF, NA, Dirtworks; Keith LeBlanc, FASLA, Keith LeBlanc Landscape Architecture, Inc.; and Darrel Morrison, FASLA, Ecological Landscape Design and Management.

Entry forms are due by February 18, 2014, with submissions due by March 20. To submit, the fee for professionals is $115 and $50 for students.

Check out previous winners, too.

Image credit: Suburbia Transformed 2.0 winner / James Rose Center

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Garden Park Community Farm
is a new coffee table book by Nelson Byrd Woltz Landscape Architects (NBW). The book highlights some of their recent and best designs, but also showcases their philosophy as landscape architects, one that “encourages a responsiveness to the environment through artful design and ecological narratives that connect people to place.”

The book begins with introductions by Warren Byrd, FASLA, and Thomas Woltz, FASLA, and with essays by University of Virginia landscape architecture professor Elizabeth Meyer, FASLA. Writing in their introductions, NBW’s design philosophy is clear: beautiful, site-specific, sustainable design accomplished through close dialogue and communication with architects, artists, engineers, scientists and residents, which adds “depth to the design process.” Of this site-specific approach, Woltz writes they “map the tangible qualities and inherent energies,” even beyond the confines of the site to create a “dynamic framework that often informs the design gesture.”

Indeed, this in-depth and thoughtful reading of sites, combined with a clear passion to create ecologically sustainable and healthy landscapes, results in some of the firm’s most successful projects, twelve of which are highlighted in the book.

Divided into four parts, with three case studies per section, Meyer’s essays set the scene for the lush images that follow, explaining design decisions and choices of plant material. But make no mistake, this book isn’t just about the creation of beautiful places. Woltz is clear when he states the aim of the book: They “hope to increase public understanding that the designed landscape is a powerful tool for implementing ecology and for telling stories of the land that promote stewardship.”

As one might guess from the title, the works in this book range in scope and scale from an intimate roof top garden in New York City to a massive restoration project in New Zealand, all the while skillfully defining these landscapes with a language of “abstraction, place-making, and memory that was inclusive of horticulture, but not limited to it.”

NBW’’s gardens play with their borders, simultaneously remaining distinct while artfully blending the edges, as seen in the garden at Iron Mountain House. As Meyer says, they exemplify the paradox of “all great gardens – that they exist as other spaces, separate from the world, while simultaneously referring to their sites and milieus.”

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Frequently employing “narrative in their projects as a tool for imbuing meaning,” NBW seeks to connect many elements into a thriving whole. Citygarden in St. Louis, Missouri, is hugely successful at this, with its “abundant references to geology, hydrology and local botany,” all while creating an experiential place where residents and visitors both gather and create community.

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The creation of community is important to the firm, who recognize that all “the landscapes between buildings –- whether streets, alleys, parks, plazas, quadrangles, or courtyards -– are social spaces,” and that the quality of the built environment will affect the “range and quantity of interactions” between residents. WaterColor, which won an ASLA general design award in 2003, focuses on these spaces between, creating shared communal areas, while paying careful attention to the restoration and protection the surrounding ecology.

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Both Woltz and Byrd cite the natural world and rural landscapes as major influences on their path to studying and practicing landscape architecture, so it’s no surprise that their firm creates and preserves rural landscapes and farmlands. Landscape architects have historically looked to agricultural landscapes for design inspiration, but as Meyer writes, “few landscape architects have consciously taken on the shaping, transformation, and reformation of actual rural agricultural landscapes in the manner currently practiced by NBW.”

Their work in this realm integrates issues of “plant and animal biodiversity and watershed quality” to create landscapes that “express a community’s health and function, as well as its productivity.” For example, Medlock Ames, a winery project, makes a strong case for the “aesthetic possibilities of sustainable practices on a domestic scale.”

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Byrd writes that the projects highlighted in Garden Park Community Farm were “borne of a desire to affirm life and to assure healthy, vital environments.” This book showcases the aesthetic and sustainable possibilities when landscape architects practice with a focus on not only making beautiful things, but ecologically-sound places.

This guest post is by Heidi Petersen, Student ASLA, Master’s of Landscape Architecture candidate, Illinois Institute of Technology (IIT) and ASLA 2013 summer intern.

Read the book.

Image credits: Princeton Architectural Press

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Book-Cover
What does it take to not only slow the spread of sprawl but also fundamentally change how we design and build communities? And how do we “unsprawl” communities that have already been built? A new book from our friends at Planetizen, Unsprawl: Remixing Spaces and Places, by Simmons Buntin, editor of Terrain.org and Ken Pirie, who works for Walker Macy Landscape Architects, proves that there are better ways to build communities. But this isn’t a book about sprawl: It’s a book about built places, “real, human scale communities by people and for people, not cars.”

In the introduction, Galina Tachieva states, “sprawl as a built habitat has been failing for decades.” With the recent economic downturn, the fundamental inadequacies of sprawl have become apparent. The new push to “unsprawl” is a movement towards an urbanism we can all afford — one in which amenities are located centrally and walkable, where the built is balanced with the natural.

While there are clear reasons why we need to unsprawl, this is a focused how-to book. Exploring all aspects of a project from concept to design and through to its execution, there are lots of details about how projects were financed and built. We also learn about the successes and failures along the path to that “particular moment when a project becomes a true place.”

Each case study covered in the book has an accompanying question and answer section with someone who is intimately involved in the design and development of the community. Case studies of various scales are organized into four sections: new communities; in-fill and grayfield development; the redevelopment of downtowns; and examples of “green” development.

The new communities section shows that good urban design is doable in both rural and suburban communities, places that have been historically car-focused. The authors believe we can build “new and distinct places that respect the economy and heritage” of that place. One new community, Prospect New Town, located south of Longmont, Colorado, was built with a mixed-use, eclectic design aesthetic and was voted “America’s Coolest Neighborhood” by Dwell magazine.

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In the in-fill and greyfield section, the authors ask: what we do when the existing form and function of our communities cease to serve us? Do we rebuild from scratch or find “innovative ways to adapt to changing social, environmental and economic circumstances?” Built on the site of Rockville, Maryland’s vacant mall, a new town square “created a daytime, evening, and weekend activity center that is easily identifiable, pedestrian-oriented and incorporates a mix of uses and activities.”

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Buntin and Pirie acknowledge that wonderful things have been torn down in and around American cities, ranging from “native ecosystems to historic neighborhoods” but believe that replacing what doesn’t work with “dedicated planning, good urban design, and hard work” can turn redeveloped areas into “intentional and integral parts of their respective downtowns.”

For example, RiverPlace in Portland, Oregon, the initial development of which was possible through the city council’s 1976 decision to remove the six-lane freeway that separated the city from the Wilmette River, showcases an “early and ongoing example” of these principles in action.

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In the green development section, the authors feature a few projects with especially strong sustainable credentials. The authors state: “successful, sustainable communities are not a goal to be achieved, but a process to be followed and revised: an essential pursuit if we hope to build places that will last on landscapes that will last even longer.” One such example of a green development is Prairie Crossing, in Grayslake, Illinois, north of Chicago. Prairie Crossing is transit-based, energy efficient, and community focused. The project “began as a commitment from conservation-minded investors who sought to preserve and restore native prairie and farmland being lost to suburbanization.”

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The case studies provide us with an “optimistic, diverse, and common-sense direction for the future,” one in which people, and their walkable communities, live in harmony with the natural world.

Read the book.

This guest post is by Heidi Petersen, Student ASLA, Master’s of Landscape Architecture candidate, Illinois Institute of Technology (IIT) and ASLA 2013 summer intern.

Image credits: (1) Unsprawl / Planetizen, (2) Live/work streetscape, Prospect, Colorado / Simmons Buntin, (3) Rockville Town Square / Simmons Buntin, (4) RiverPlace’s South Water Front Park / Walker Macy, (5) Prairie Crossing / Prairie Holdings Corporation

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Image 1 Talk About Contemporary Gardens
A good place to start is the beginning, which in this case is to define a garden. This is what Chantel Colleu-Dumond does in her book, Talk About Contemporary Gardens, when she recalls the words of philosopher Michel Foucault who said, “The garden is the smallest parcel of the world and then it is the totality of the world.” Colleu-Dumond brings us into this totality as she explores contemporary garden design. Her deep love of gardens is apparent here. Her writing feels warm and her passion for the subject is clear. She says “this is an acceptable addiction and I am gently hooked.”

Image 2 Mas de Les Voltes pinterest
There is a “pluri-disciplinality” in contemporary garden design that allows landscape architects and designers, along with artists, architects, and designers, to become involved in the creation of the gardens the author highlights. This pluri-disciplinality adds to the diversity of ideas, innovative practices, and mash-up of seemingly-dissimilar styles that characterize contemporary gardens. Colleu-Dumond knows that trying to make sense of all of it may be hard to handle when she says, “You just need to let yourself be astonished, charmed, and carried along by the magic of these new spaces to live and dream in, these spots for traveling without going anywhere that gardens have become. The aim of this book is to accompany you on that journey.”

Image 3 Angel Hair Garden jardipedia
Indeed, this book could be used as a travel guide. Colleu-Dumond has gathered a list of 24 contemporary gardens that she considers “must-sees.” These gardens range from the Majorelle Garden in Marrakech, Morrocco, which was designed by Jacques Majorelle, a French painter, to the Jardins de l’Imaginaire (Gardens of the Imagination) in Terrasson, France, designed by American landscape architect Kathryn Gustafson, ASLA, and the Red Sand Garden at the Royal Botanic Gardens Cranbourne in Cranbourne, Australia, which was designed by Taylor Cullity Lethlean and Paul Thompson, two landscape artists. These must-see gardens all over the world offer something for everyone.

Image 4 Marjorelle Garden allindesign
Image 5 Jardins de l'Imaginaire flickr
Image 6 Red Sand Garden flickr
Talk About Contemporary Gardens can also be used as primer for design students. There’s a chapter dedicated to the 30 influential landscape architects, artists, and designers whose work Colleu-Dumond thinks best epitomize the range and depth of contemporary gardens. She gives a brief biography, a summary of the designer’s body of work, and, perhaps, most interestingly, their philosophy and design approach. Dutch garden designer, Piet Oudolf, who did the planting design for the popular High Line in New York and Chicago’s Lurie Garden, is well known for his “in-depth knowledge of plants,” and plays “like a painter with plant structures and textures just as well as with their colors.”

Image 7 Lurie Garden cityinagarden
This is contrasted with the philosophy of a designer like American landscape architect, Martha Schwartz, FASLA, who is known for her plantless gardens. Schwartz is “critical of the artificial nature of urban gardens” and makes us reconsider our standard idea of a garden. The only greenery in her Splice Garden is artificial topiary. Her garden is a combination of a traditional Italian Renaissance garden and a Japanese Zen garden.

Image 8 Splice Garden flickr
Colleu-Dumond recognizes that the key to understanding contemporary gardens is knowledge of garden design history, so she has a chapter on classic styles and their present incarnations. For example, the contemporary gardens of Japanese landscape architect and Zen Buddhist monk Shunmyo Masuno are “linked in tradition and yet perfectly grounded in today’s world.”

Image 9 Kojimachi Kaikan Zen Garden Michael Freeman Photography
There are a number of ways to take advantage of this book, not least of which is to flip through and enjoy the pictures. Talk About Contemporary Gardens is a gorgeous book, jam packed with beautiful photographs of the gardens that Chantal Colleu-Dumond clearly loves.

Read the book.

This guest post is by Heidi Petersen, Student ASLA, ASLA 2013 summer intern and Master’s of Landscape Architecture candidate, Illinois Institute of Technology (IIT)

Image credits: (1) Book cover / Flammarion, (2) Mas de Les Voltes / pinterest, (3) Cheveux d’Ange (Angel Hair) Garden / jardipedia.com, (4) Marjorelle Garden / allindesign.com, (5) Jardins de l’Imaginaire / flickr, (6) Red Sand Garden / flickr, (7) Lurie Garden / cityinagarden.com, (8) Splice Garden / flickr, (9) Kojimachi Kaikan Zen garden / Michael Freeman Photography

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