There are just a few full-time architecture critics left at national and metropolitan newspapers in the U.S. But as Robert Campbell, long-time architecture critic for The Boston Globe, noted: “We’ve survived without architecture critics in the past — and will do so again.”
With the rise of highly-local and specialized blogs and Facebook pages examining all aspects of design and development, architecture critics may indeed go the way of the dodo. But it will be a loss for us all.
At the National Building Museum, Campbell and Inga Saffron, architecture critic for The Philadelphia Inquirer, both Pulitizer Prize winners, were given the Vincent Scully Prize for their role in elevating public discourse on the built environment. They are influential voices who have not only shaped the debate in their own cities but have also informed other communities around the world.
Here are some highlights from a panel discussion led by Blair Kamin, Pulitzer Prize-winning architecture critic for The Chicago Tribune.
On the rapid pace of urban redevelopment:
“Cities have really changed over the past twenty years. Before, the fear was Philadelphia would become the next Detroit and go into free fall, but now there is too much construction and the fear is gentrification.” — Saffron
“Banks and developers are now driving architectural forms. Architects have become an afterthought. They have so little control; I feel bad for them. The heroic architect myth is not reality.” — Saffron
“Developer-driven buildings aren’t very good. There are three firms that do about 90 percent of buildings in Boston. Redevelopment work is built quickly to minimal standards.” — Campbell
On the importance of place:
“I write about places, not buildings. There is an art to making great places. A great place can be a bedroom, lawn, neighborhood, city, or region.” — Campbell
Kamin then asked both Campbell and Saffron to name a great place.
For Campbell, a prime example is Commonwealth Avenue in Boston, which has “rows of homes dressed up in their tuxedos,” and for Saffron, Rittenhouse Square in Philadelphia, “which is permeable and enables you to flow through.” (see images above).
On Washington, D.C.:
Saffron, who is known for her cutting critiques, had nothing good to say about the new NoMA district:
“It looks like the world’s biggest office park. They will likely run out of window patterns eventually. These buildings maximize every inch of floor space. They are all the same shape. It’s dispiriting.”
But Campbell is a big fan of the Washington, D.C. Metro system, designed by architect Harry Weese. As Kamin remarked: “It looks like civilization — those concrete vaults.”
On their learning and writing process:
“If you don’t know what you are looking at, it forces you to look more closely.” — Campbell
“I’m a civilian, like every other citizen. We have a civic obligation to know how our cities are being built. I’m a big explainer. I don’t use jargon because I don’t want to lose my audience.” — Saffron
“I’m very embedded in a city. I’m a militant pedestrian and bicyclist. Walking and biking offers a more intimate pace. But dull stretches of streets will affect your whole mood.” — Saffron
“It’s easy to see the built world as a bar graph, a result of all these legal, financial, and political developments, nourished by bankers and developers deep in the caverns. But the physical environment merits its own evaluation, without looking at the subterranean forces.” — Campbell
And, lastly, advice for other writers of the built environment:
“Always go to the building or site. There is no substitution for being present. Renderings and photography can lie. See it with your own eyes.” — Saffron
“Inhabit the space. That’s the only way to see the relationships with other things — the context with other buildings and surroundings.” — Campbell
The Dutch Can’t Save Us From Rising Seas– CityLab, 10/17/18
“In nearly every major coastal city on Earth, elected officials are going Dutch—placing their faith and the future of their communities in the hands of Dutch engineering firms who are exporting their brand of climate adaptation to anyone that will listen.”
Asia’s First Vertical Forest Could Reshape How Cities Fight Climate Change – South China Morning Post, 10/24/18
“It might seem like blue-sky dreaming to imagine a Chinese city where you cannot see the buildings for the trees. But Italian architect Stefano Boeri can see it, and is crafting its beginnings in Nanjing, which he says will be home to the first vertical forest in China and Asia.”
Digging the School Day –The Altoona Mirror, 10/31/18
“Twenty-five students and adult volunteers placed all 500 plants in an hour and a half — about half the time the school had allotted for the work, according to rain garden designer Chris Foster, a landscape architect with Stiffler McGraw and Associates, and Chelsey Ergler, coordinator of the Intergovernmental Stormwater Committee, of which the city is a member.”
The landscape architects at CMG, all of you, and your colleagues across the country have much to offer a world that, more than ever, needs responsible stewards of the built and natural environments. For those of us on staff at ASLA, it is a privilege to be an advocate for what you do.
Before I get started, you may have noticed that ASLA has a fresh, new graphic identity. We think it not only works well in all contemporary media, it better reflects the energy and forward-thinking nature of the Society and its members, while remaining connected to our heritage and our values. Importantly, it will also help unify and strengthen the identity of the Society at the national and chapter levels.
Of course our identity doesn’t just come from our graphics. It comes from what we do and who we are.
I’m happy to announce that the Board has added inclusion and diversity to our statement of corporate values and culture.
The summits, and our work throughout the year, reflect our unwavering commitment to increasing diversity in the Society and within the profession, and to build future leaders who truly reflect the communities we serve.
In addition to diversity, our other top priorities are advocacy and public awareness.
On the federal level, we maintained our strong advocacy efforts to protect important federal programs and policies, including the Land and Water Conservation Fund. Although the LWCF expired on September 30, it is still funded through December 7, 2018, and a bill to permanently reauthorize this critical program was approved in both the House of Representatives and Senate committees.
Thanks to your advocacy, multiple amendments that would have derailed this legislation were defeated by wide margins, allowing the bill to move forward. Unfortunately, the fight is not over. Both the full House of Representatives and the Senate now must pass a final bill before December 7. Please continue to contact your legislators to support LWCF.
Also under active consideration in Congress—and getting closer to final passage—are bills to address the maintenance backlog in the national parks and continue the Every Kid in a Park program. Our Government Affairs team worked with coalition partners and allied organizations to move these critical bills through Congress. Your continued support and participation in our iAdvocate Network has been critical—and will continue to be critical—every step of the way.
On the state side, this year we again saw record numbers of challenges to licensure. Some specifically targeted landscape architects along with other professions and occupations. Some were more indirect threats—including broad licensure reform legislation and executive orders for licensure review.
Our chapters are hard at work countering the attacks—and working pro-actively to educate their legislators about the work of the profession and its impact on public health, safety, and welfare. This year we expanded our annual state Advocacy Summit. In a partnership with the Council of Landscape Architectural Registration Boards, our member advocates were joined by their counterparts from the state licensing boards. The joint summit has already resulted in stronger communications and partnerships in many states—all of which will enhance our licensure defense efforts in the coming years.
On the priority of public awareness, we have continued our successful programs, like World Landscape Architecture Month, and our PARKing Day activities, and have also taken on new initiatives. Our signature “This is Landscape Architecture” campaign continues to be extremely popular—and very successful at increasing our visibility and enhancing public understanding of the profession. This campaign will continue again next April during World Landscape Architecture Month—with an added focus on involving more of the global landscape architecture community.
Just started this year is a multiyear communications initiative in collaboration with our partners in what we call the Presidents Council—ASLA, the Council of Landscape Architectural Registration Boards, the Landscape Architecture Foundation, the Landscape Architectural Accreditation Board, and the Council of Educators in Landscape Architecture. We have engaged the FrameWorks Institute to help develop a comprehensive communications strategy for communicating about the profession—and its value. What makes FrameWorks so interesting, and why we selected them for this project, is that they focus on how underlying cultural values shape attitudes—and use that as a frame for identifying communication messages and strategies that resonate with those deep-seated values.
In the first phase of the work, FrameWorks is mapping the gaps between the public understanding of landscape architecture and how those within the profession think and talk about it. Early next year, FrameWorks will report back on the gaps and deliver preliminary recommendations on how to bridge them. In the next phase, they will develop and test specific messages and strategies for effectively communicating the value of the profession.
Getting the public to really understand—and appreciate—the profession of landscape architecture has been a longtime goal. And while we have seen a significant increase in media coverage over the last 10 years, we have a long way to go. Developing a better understanding of the profession will support not only our public awareness goals, but also our government affairs advocacy, and our efforts to build a more diverse pipeline of future professionals.
Landscape architects, of course, operate at the nexus of the built and natural environments, which means that by definition this profession has a crucial role to play in addressing the issues of climate change, sustainability, and resilience.
This summer we released Smart Policies for a Changing Climate, the report and recommendations of the ASLA Blue Ribbon Panel on Climate Change and Resilience. The report identifies the most important design and planning approaches for creating healthy, climate-smart, and resilient communities. And it makes specific public policy recommendations to support those approaches. The recommendations are informing our professional development programming and our advocacy and communications priorities. We are promoting the recommendations directly with public policy makers, as well as through our coalition networks and partnerships.
Last month I was honored to represent ASLA as a delegate at the Global Climate Action Summit. The conversations there were both deeply alarming and very encouraging. But I came away with one very clear takeaway for ASLA and the profession. While there are many voices and many experts leading the charge on reducing carbon emissions, there are fewer voices and even fewer experts who understand what needs to be done to help communities adapt to the changing climate.
How important is all of this? Two weeks ago the U.N. Intergovernmental Panel on Climate Change released a startling new report outlining the catastrophic consequences if the global community fails to take significant action in the next 10 years. The U. N. report reinforces the need for all those responsible for shaping human environments to redouble their efforts to mitigate climate effects and to ensure the resilience of communities already seeing the effects of the changing climate.
This commitment to action is why ASLA has also signed on to the We Are Still In initiative. This coalition of over 3,500 organizations from all sectors of society is a way of publicly standing by the Paris Climate Agreement and its goals of reducing emissions and fostering resilience.
Finally, I want to talk about a very special project ASLA is undertaking in Washington, D.C.
With urban infrastructure in crisis, ASLA believes it’s time for new thinking on how the civic realm can better serve public needs and meet environmental goals. What better place to put those ideas into action than the street on which ASLA’s headquarters sits in the Chinatown neighborhood of Washington, D.C.? The Chinatown Green Street project will renew the entire block using a blend of green, complete, and smart street strategies—a “test kitchen” of innovative concepts. It will serve as a national case study for design professionals, municipal officials, policymakers, advocates, and the public.
Unlike many organizations, ASLA is willing to make its principles more than just ideas on paper. We make them tangible and visible. With landscape architects at the forefront, ASLA first demonstrated its commitment to a sustainable future with a pioneering Green Roof on its headquarters building. Then, we transformed the building itself into the Center for Landscape Architecture following the highest standards of sustainable design and occupant wellness. Now, we are taking our principles directly to the street and the city.
Rotterdam in the Netherlands is the largest port in Europe. This 800-year-old city, which has a population of 630,000, is split into north and south sides by the River Nieuwe Maas. While the river is a major asset, it also increases vulnerability to climate change as sea levels rise. In a session at the ASLA 2018 Annual Meeting in Philadelphia, Dutch government officials, landscape architects, and planners discussed efforts to adapt Rotterdam and the rest of Holland to new realities.
After flooding in the early 1950s killed some 1,800 people, the Dutch were determined this would never happen again. According to Tim Van Der Staaij, a resilience officer with the Rotterdam city government, the country created a multi-layered system of “delta works” — a series of dikes, polders, and sluices to defend land against water. This system made Rotterdam, most of which is 6-7 meters below sea level, and its port possible.
But in recent years, climate change has made the intricate system that protects Rotterdam vulnerable. Van Der Staaij said the water management system has become “more unpredictable due to sea level rise, river discharge, groundwater rise, and excess rainfall.”
Given the city is already below sea level, Rotterdam has taken the approach that “we must accept the water; it’s better than fighting.” Once that conclusion was reached, city leaders saw an opportunity to redesign the city as part of a new Rotterdam resilience strategy, a set of “holistic, multi-level, multi-stakeholder” approaches.
In the past few years, the Dutch have invented new ways to “accept water,” including the water square by landscape architecture firm De Urbanisten, which is usually a public plaza with basketball court, but in extreme rain events becomes a temporary water storage space that “holds the water while the sewage system is over-taxed and then lets the water go later.”
Van Der Staaij said the city is now working on redesigning all public spaces to store water, including the new central station now in development. As part of this, Rotterdam has invested heavily in putting all that water to good use through its “water sensitive city” program, which invests in green roofs, tree planting, street-level gardens, and new green “tidal parks” along the river.
Han Dijk, an urban planner working with the city on its resilience plans, highlighted the tidal parks along the Nieuwe Maas — also to be designed by De Urbanisten — as central to creating a Rotterdam that can bounce back from repeated flooding. “The city will build new land with fill, soften the river’s coasts, and open up and connect islands.”
And Gerda Roeleveld, a landscape architect with Deltares, a independent research institute, explained how the Netherlands has invested in 3D simulated models to help local policymakers, planners, and designers — as well as the general public — understand the potential impacts of climate change.
She showed off some sophisticated animations that visualize climate impacts, including the distribution of water — from the national to the site-levels. A set of these adaptation support tools, based in real-time data, are supporting Dutch communities in their efforts to devise new climate resilience and adaptation strategies, which they obligated to create by 2019.
Despite the weight of that assessment, a panel on climate action and landscape architecture at the ASLA 2018 Annual Meeting in Philadelphia gave reasons to be hopeful and presented new tools that may help landscape architects reduce their climate impact.
“The next few years are probably the most important in our history,” said Pamela Conrad, ASLA, a senior associate at CMG Landscape Architecture. “We believe our profession can be part of the solution, and that it’s time to work together.”
Rinner stressed the need for landscape architects to become more involved with discussions around public policy. “We all have to advocate–that’s the first step,” she said. “If we can’t change policies, so many things will just continue as is.”
“After centuries of mistakenly believing we could exploit nature without consequence, we have now entered an age of extreme climate change marked by rising seas, resource depletion, desertification, and unprecedented rates of species extinction,” the statement reads.
“The urgent challenge before us is to redesign our communities in the context of their bio-regional landscapes enabling them to adapt to climate change and mitigate its root causes.”
“We’ve got to be tougher and better at doing this,” Schwartz said. “It’s not enough to be a good designer, but an active designer, to take leadership in the era of climate change and stay relevant in an ever changing world.”
LAF is also supporting leadership on climate change through its fellowship program, which began in 2017 and provides funding for active professionals to pursue innovative research ideas. As an LAF Fellow, Pamela Conrad has developed a calculator that predicts the emissions and carbon sequestration potential
“A few years back, I assumed I could go online and download a tool that would tell me exactly what I wanted to know. But frankly, those tools really only exist for architects right now. Because we have the ability to sequester carbon, perhaps we need our own tools to measure these impacts.”
Conrad’s tool, which is still in beta testing and has not yet been publicly released, measures sources of embodied emissions in landscape materials against the sequestration potential of vegetation on a site to calculate both the carbon footprint of a project and the amount of time it will take for sequestration to completely offset emissions. Past that point, the project will sequester additional atmospheric carbon dioxide, a condition Conrad calls being “climate positive.”
Using the calculator, Conrad has been able to estimate the carbon footprints of her recently completed projects and, by tweaking the input parameters, model strategies that could have reduced their climate impacts.
“We can plant more trees and woody shrubs; we can minimize paving, especially concrete; we can minimize lawn areas; we can use local or natural recycled materials.” With these strategies, Conrad estimates that she could have cut the time it will take for her projects to become carbon neutral in half.
“The design of those projects didn’t change at all, or the quality for that matter. But what a difference it could have made if we just had the resources to inform our design decisions.”
Conrad argued that, through climate sensitive design, landscape architects could be responsible for the sequestration of as much as 0.24 gigatons of carbon over the next thirty years, enough to place landscape architecture in the list of 80 solutions to climate change studied in Paul Hawken’s Drawdownproject.
And “if we were to include other work we do, like incorporating green roofs into projects or making cities more walkable and bikeable, that would put landscape architecture within the top 40 solutions.”
Conrad plans to release the calculator to the public next year and hopes that it will be used to set measurable goals for designing climate-friendly projects and create opportunities for accountability.
“How are we going to keep tabs on ourselves to make sure that we’re actually doing these things?” she asked her fellow panelists. “What would it take for us to have a 2030 challenge specific to landscape architecture?”
“ASLA or the LAF should do that — there’s no reason why we can’t!” said Schwartz.
“We all have to stand up for what this profession is founded on,” Schwartz said. “This is the foundation of who we are. This century is the golden age of landscape architecture. The world really needs you. It needs what you know and what you believe in. Now is the time.”
Can a video game help bring landscape architecture to the masses?
According to Deirdre Quarnstrom: absolutely.
Quarnstrom is the general manager for Microsoft’s Minecraft Education program, which promotes the popular video game’s use as an educational tool. She is also a director at Block by Block, a nonprofit partnership between Microsoft, Minecraft-creators Mojang Studios, and the United Nations that uses Minecraft to broaden community engagement around public spaces in the developing world.
At the ASLA 2018 Annual Meeting in Philadelphia, Quarnstrom was joined by Lauren Schmitt, ASLA, and Anaheim parks manager Pamela Galera, ASLA, to discuss how landscape architects can use Minecraft to expand and deepen the community engagement process.
Minecraft was first released in 2009, and since then has sold 150 million copies worldwide. The game allows users to create, modify, and explore 3D landscapes constructed out of one meter blocks. According to a 2016 article in the New York Times, it is the third most-selling game in history, behind only Tetris and Nintendo’s Wii Sports.
“Minecraft is a game, but at its core, it’s also a really powerful building tool,” Quarnstrom said. “Because it is blocky and not precise, it becomes a very accessible way for people to start building.”
Quarnstrom pointed out that many non-professionals find it difficult to understand how two-dimensional drawings translate into three-dimensional space. Minecraft helps bridge that gap, and in doing so, allows more people to participate in the design process.
“In the developing world, we find that the planning processes are often dominated by men,” Quarnstrom explained. Block by Block facilitates community engagement sessions using Minecraft to reach those usually excluded from those conversations, especially children, women, and the elderly.
These engagement sessions are not confined to a screen. Participants use site visits to contextualize the study area and then hold brainstorming sessions to discuss their ideas and address challenges. It’s only after those steps that the teams begin to develop their designs in Minecraft.
At the end of the workshop, the participants present their designs and rank ideas. Those blocky Minecraft designs are then handed off to professionals, who use them to develop buildable projects. Block by Block funds construction and works with local officials to ensure they are maintained after construction. According to Quarnstrom, Block by Block has successfully completed 75 projects in 30 countries.
When Minecon, an annual Minecraft convention with 15,000 attendees, was slated to come to Anaheim, California, Quarnstrom was struck with an idea. Why not bring the same process for a project in the festival’s host city?
As it turns out, the timing was perfect. “When we were approached by Block by Block, we were in design on the upper half of the Anaheim River Walk, and there was an opportunity for a children’s playground,” said Galera, Anaheim parks manager and landscape architect.
“We wanted this playground to be cool; we wanted it to be something very special.”
Galera and her team have used other tools for community outreach in the past, including open houses, pop-up meetings, and craft sessions building model playgrounds with ordinary materials like cups, straws, and string.
Galera worked closely with Block by Block to bring neighborhood children into the design and planning process for the new playground. They first created a basemap of the project site in Minecraft, which was loaded onto laptops for the participants to work on.
They then gave the participating children a “crash course in urban design” so that they could understand the project’s constraints and limitations. Finally, the children worked in groups to develop their ideas and build their models in Minecraft.
The playground they designed is now under construction.
“For opening day, when we have our dedication, we’ll have the children out there and celebrate their contributions,” Galera said. There will also be a mural painted on a wall at the back of the park that will permanently commemorate the children’s involvement in the process.
Galera sees Minecraft not just as a tool for community engagement, but also as a way for landscape architects to engage with children about the profession and expose them to landscape architecture as a potential career path. In the case of the Anaheim project, she said that many of the participants were children of migrant farmworkers for whom the experience may have been their first encounter with landscape architecture.
“This is our challenge as landscape architects: our profession is nature-based, but it’s also people-based. We have to evolve to make sure our profession continues. This is just another tool. We shouldn’t be afraid of it; we should embrace it.”
Iceland, a land of glaciers and volcanos found directly over the Mid-Atlantic ridge, is entirely powered by renewable energy. More than 70 percent of the country’s energy comes from hydro power, while the rest is from geothermal sources — the incredible heat found just below the surface caused by red-hot subterranean lava fields. As the millions of tourists who visit each year cause the country’s power needs to grow, Iceland is expanding its geothermal systems. In the face of intense public protests that these systems are marring the stunning landscape — not to mention the usual Not-In-My-Backyard (NIBMY) complaints — Landsvirkjun, the national power company of Iceland, created a new landscape policy designed to create a more harmonious relationship between land and energy. And landscape architect Björk Guðmundsdóttir took the initiative to make this all happen.
At the ASLA 2018 Annual Meeting in Philadelphia, Guðmundsdóttir explained that when she started her multi-year effort, there wasn’t a single design guideline for renewable energy projects. Her task was to create a new national landscape policy for these systems, while being the only women — and landscape architect — working with a team of all-male engineers.
Her first step was to understand the geothermal energy system development process, the legal frameworks that shape energy production, and the broader energy policies. One important high-level Icelandic policy guided her work: energy systems “should operate in harmony with the landscape.”
She spent time finding the gaps in the renewable power plant operations that were “open to the influence of design.” Establishing a working group within Landsvirkjun, she ended up creating a process that brings design into every stage of the renewable energy project development process — from the early environmental and visual impact assessments to the design concept, detailed landscape plans, and maintenance approach.
Guðmundsdóttir said creating design guidelines required thinking through all the ways how development touches the landscape. For example, “do you require buildings to be white so they blend in with the snow that covers Iceland for much of the year? Or instead should they be a neutral color so they blend with the summer landscape, when there are the most numbers of tourists?”
Landsvirkjun eventually settled on a series of design guidelines — seemingly simple but with a positive impact on new projects — that also create new roles for landscape architects. Guidelines include: create projects in harmony with their surrounding landscape, including careful site selection to minimize impact and roads that follow the topography. Minimize cut and fills. Re-vegetate, re-forest, and restore the landscape. Re-use all natural surface materials. Orient pipelines, which must be on the surface due to the extreme heat found in some places just a few feet below the surface, so they blend in as much as possible. And design every power-related building to be multi-use.
Aðalheiður Atladóttir, with A2F Architects, showed how the new landscape policy is shaping their work on a geothermal power station — Hagonguvirkjun, near Hagongulon Lake in the center of the country — and associated worker housing and hotel.
A2F created a power plant with a warm, inviting restaurant and visitor center — its entire form mimics the glacier and mountain ranges in the background.
And nearby there is a building that is both housing for the plant workers and a hotel that features a spa and greenhouse — a “nice place to chill.” The team will build gabion walls from stones collected nearby, so the “building looks like it grew out of the landscape.”
To bring in some fresh thinking and expand the conversation with her engineer colleagues, Guðmundsdóttir partnered with SUNY Syracuse landscape architecture professor Matthew Potteiger and his graduate students, who spent a semester studying in Iceland. The Americans completed a two-week planning and conceptual design charette with Landvirkjun in the very-hot landscapes of Krafta in northern Iceland, where both the first geothermal power plants and the newest are found. The goal was to create a new interpretation system for a geothermal power plant for Icelanders and tourists.
Potteiger said interpreting the “landscape of geothermal power” was challenging because the unique geophysical forces at work under the ground and the surface engineering systems are equally enigmatic. Plus, there are sheep, who strangely only hang out in groups of three, randomly grazing amid all the “industrial sublime.”
Exploring the site and all its sensory experiences, Potteiger and his students proposed some inventive, small ways design can enhance the visitor experience. For example, plumes from the geothermal vents can be used to create “steam paths that act as a wayfinding device.” Once a geothermal well has gone cold and its equipment is removed, the original soil, stones, and vegetation could be returned to the site, which would create a marker revealed through stages of vegetative growth. And sheep, which are “heat-seeking devices who love to cuddle in winter,” could be given designed social spaces, protective structures along pipelines, so they can cuddle in style.
If you are on your phone reading this page, simply click on this URL and watch it in your YouTube mobile app: https://www.youtube.com/watch?v=nQ2geeXMThI (please note that this video will not work in your mobile browser)
Be sure to turn around while watching so you can see all angles of the park!
Use the sphere icon to navigate through the park! Note: the 360 video will not work in Firefox or Internet Explorer.
Option 2: Watch a 3D 360 Video on Samsung Gear VR
If you own a Samsung Gear VR headset and compatible Samsung phone, go to Samsung Gear via the Oculus App and search for “Brooklyn Bridge Park” or “ASLA” to find our video.
Why Brooklyn Bridge Park?
ASLA selected Brooklyn Bridge Park because it won the ASLA 2018 Professional General Design Award of Excellence. Less than one percent of all award submissions receive this honor.
Our esteemed jury, made up of leaders in the field, described Brooklyn Bridge Park this way: “The plan allows for and encourages different experiences in the different spaces, from being wide open and being fully engaged with the people around you to intimate, forested places. It’s remarkable.”
The award also highlights Brooklyn Bridge Park because it’s a prominent example of how to transform abandoned post-industrial waterfronts into spaces for people and wildlife. These spaces litter cities and represent so much untapped potential.
Why Virtual Reality?
The communications world is increasingly image- and video-driven. With video, you can pack in even more information about a work of landscape architecture, much more than you can in simply a photo or text. With video, you can get a sense of the sight, sound, and “feel” of a place. You can see people interacting with the design, bringing it to life.
Virtual reality takes video to the next level. As you move your phone or VR headset, you control your experience in the landscape. It more closely mimics the experience of exploring a place in person. In part, it recreates that sense of discovery one gets in real life.
Why did ASLA make this VR film?
Virtual reality has proven to be a powerful tool for explaining how the places people love – like Brooklyn Bridge Park – are designed experiences. Virtual reality can educate the public about landscape design in a compelling way.
The video has multiple goals: promote the potential of virtual reality among the landscape architecture community, which totals approximately 25,000 design professionals in the U.S. and Canada; explain the incredible value of landscape architecture to the public; and demonstrate the ability of landscape architects to turn an unloved place like a cut-off, post-industrial waterfront into a beloved community park.
Why should landscape architects use VR?
Virtual Reality is a powerful tool for landscape architects, architects, planners, and developers – really anyone involved in designing our built and natural environments. In the example of Brooklyn Bridge Park: many will never have the opportunity to visit the park in person, but with our video, they can get a good sense of what’s it like to be there.
For landscape architecture firms, this is an excellent way to really show clients that a place they’ve designed works – that people enjoy hanging out there, that kids love playing there, that people are drawn to events there.
ASLA VR Film Credits
Producer: American Society of Landscape Architects (ASLA)
Production Company: DimensionGate, Toronto
Director: Ian Tuason
Director of Photography: Ian Tuason
Production Assistants: Ward Kamel and Idil Eryurekli
Narrator: Michael Van Valkenburgh, FASLA, President and CEO, Michael Van Valkenburgh Associates Inc.
Post Production: Callum Wilkin Gillies
Thank you to Jamie Warren and Onika Selby at Brooklyn Bridge Park for making this all come together. At Michael Van Valkenburgh Associates, Inc, we appreciate the kind assistance of Michael Van Valkenburgh, FASLA, Hilary Archer, Jane Lee, and Lucy Mutz.
The ASLA 2018 Annual Meeting officially commenced Saturday morning in Philadelphia with outgoing ASLA president Greg Miller, FASLA, making the case for the importance of landscape architecture in a world facing many challenges.
While the problems of climate change, inequality, strained resources, and aging infrastructure are daunting, they also create opportunities for the field to expand its influence and scope of activity. “These are exciting times for landscape architects,” who are “solving complex issues with simple solutions that meaningfully impact peoples’ lives.”
“Seeing what is being accomplished across the spectrum of landscape architecture, I’ve realized that we’re defined by our wisdom, and that is what has put us in a position to take the profession to new heights.”
Miller said this wisdom is composed of “knowledge (the easy part), experience, perspective, foresight, and judgement. When these come together, the results of our wisdom are beautiful and special. Through our actions, we can make people’s lives better, protect our lands, and craft a better world.”
Laurie Olin, FASLA, and NPR special correspondent Susan Stamberg then took the stage for a wide-ranging conversation on Olin’s influences and current work.
Olin initially studied architecture but found himself shifting to landscape after traveling in Europe and being “absolutely blown away” by the landscapes.
At the same time, Olin was beginning to bristle at architecture’s limitations. “I realized architecture really didn’t satisfy some of my concerns. The 60’s were a turbulent time. Buildings were objects and didn’t seem to involve society, the public realm, and other factors I thought were really important.”
Olin said that his travel in Europe ignited his love for and interest in cities and urban design. “I had gone off to Europe to look at one thing, and then I discovered cities, and fell in love with them. I realized there was a structure to cities, and they could be organized around public spaces. I learned that people were actually designing the streets and linking public spaces before the buildings came. I thought that’s really important.”
Olin also observed these same influences were critical for Frederick Law Olmsted, who “channeled all this energy and these ideas about health and public spaces and fresh air and parks” into his work in the United States.
In Europe, Olin discovered “you had to go see it for yourself. Part of learning is being out there and actually seeing things. The books don’t do it; the slides don’t do it. The problem with landscape is it’s diverse, big, and in lots of places. You have to travel, and it takes a while to see it. Finding the good stuff is like raisins in the pudding – it’s not everywhere.”
His work as a designer has been shaped by these early insights and grew out of the same humane impulses that animated Olmsted’s work.
In his redesign of New York City’s Bryant Park, Olin sought to highlight the park’s characteristically-French elements but also make a space for people.
“I realized looking at it that it was a very French park,” he said. “It was basically a bunch of quotes from the Jardin du Luxembourg.” So, “if it’s going to be this French park, we should have movable furniture,” a simple move that “radically changed the place.”
At Battery Park City, also in New York City, Olin worked with Alex Cooper to create a master plan to draw people to the edge of the Hudson River. “It seemed so clear that what we had to do was get people out of the city onto the edge of the river and give the entire perimeter over to the public.”
In the wake of 9/11, Olin won a competition to redesign the base of the Washington Monument to deter a terrorist attack. However, the site needed much more than just security upgrades.
“People forget, it was a kind of nasty place in some ways. It was a complete ruin of the public realm in a place that was supposed to be the most generous and welcoming.”
Olin’s goal was “to make it as if it had always been a beautiful place,” he explained. “Why don’t we make it the way people think it always was?”
To achieve this effect, Olin’s design referred to the low retaining walls used on the opposite end of the mall by none other than Olmsted and Vaux. These walls encircle the monument, directing visitors and preventing a vehicle from getting too close. “The answer was right there, except at the other end of the mall!”
Stamberg brought the conversation to a close by asking Olin to reflect on the future of the profession.
“The future is always going to be a distorted view of the present,” he said. “We don’t know how the pieces will play out.”
He identified climate change as a uniquely-pressing issue both for landscape architects and the world at large. Olin urged landscape architects to assert themselves in important conversations on the world’s most difficult challenges.
“As a profession, we can help society find out where it wants to go. We should not wait for the phone to ring. We should be leading.”
“We have to become political in a thoughtful, non-strident, but effective way.”
“How to make the world safe for children in the next generation is your job,” he said to the audience. “It’s our job.”
“The composition of the field is changing, and the identities and voices coming up in the profession are more varied than they were 50 years ago,” Greenspan said. “We would like the discipline to continue to grow and change in order to shape the world in ever more meaningful ways.”
However, women landscape architects face a number of gender-related hurdles, which are compounded by the male-dominated culture of the larger construction industry.
“I never wanted to be a woman designer; I just wanted to be a designer,” said Michelle Arab, ASLA, director of landscape architecture at Olson Kundig. “But then I find myself in a situation where I’m the only woman in a room of sixteen people.”
“We’re missing women,” she said, pointing out that only 36 percent of ASLA members and just 20 percent of ASLA fellows are women.
Akiko Ono, ASLA, associate at Shades of Green Landscape Architecture, argued that certain subsets of the design professions carry gendered connotations, which can sideline both careers and entire areas of design practice.
For example, residential design is the single largest area of practice for landscape architecture, but large-scale planning and public projects often receive more attention and accolades. Ono suggested this may in part be because domestic landscapes and gardens are associated with femininity, while large-scale public projects are associated with the masculine ideal of the visionary, heroic architect or planner.
Ono also highlighted a New York Times article published after the death of starchitect Zaha Hadid in 2016 that highlighted the gender-laden assumptions faced by women in the design professions. “I Am Not the Decorator,” the article’s title declares.
For Michelle Crowley, ASLA, founding principal of Crowley Cottrell, values and culture were key factors that ultimately led her to start her own firm.
“As I gained more experience [as a landscape architect], I began showing a counter-culture approach to staff, clients, and contractors,” she said. “I showed a more vulnerable side, admitted mistakes, listened to contractors, and may have agreed to give up something in the design that was proving hard to build.”
“At one point I was told I was too maternal, which I took to mean I was too nurturing, protective, caring, kind, and comforting – all usually feminine qualities that I didn’t feel should be a negative.”
“Instead of changing my own behavior, I chose to start my own firm. I try to pride myself on being very transparent and honest. One the best parts of starting my own business is that I can be me.”
In the design professions, where many firm cultures celebrate working into nights and weekends, this can make for an unsustainable trajectory. Ono said that expectations about hours spent at the office ultimately forced her hand. “When I was told I couldn’t work part-time or have a flexible schedule, I knew it was time to move on.”
“You have to acknowledge that there is life outside of work, and that life enriches your work as well,” she said.
For Ono, motherhood is an example of a “personal, intimate, and compassionate relationship with nature,” which “can be turned into a quiet strength and understanding in designing the natural environment.”
Arab echoed that point, arguing that motherhood has only made her a better designer. “It was a defining moment when I had my son,” she said. “I had this stroller and I was defined by wheels – that’s an important perspective to have.”
Now that her son is older, Arab said her son helps her to “stop and, literally, smell the roses, look at the rocks, and explore things in a new way.”
“As designers, the more perspectives we can bring to things, the stronger we are.”