Landscape Architects May Be Liable for Climate Impacts

houston
Flooding in Houston after Hurricane Harvey / NOAA

When a neighborhood floods, who is at fault?

A class action lawsuit in Houston asks that question. The residents of a master-planned community that flooded during Hurricane Harvey are suing the engineering firm that designed the neighborhood’s stormwater management system.

While that suit targets engineers, it nonetheless represents the heightened risk landscape architects face from climate impacts on their projects.

In a panel discussion at the ASLA 2018 Annual Meeting in Philadelphia, Conservation Law Foundation (CLF) director of environmental planning Deanna Moran and CLF attorney Elena Mihaly gave a crash course on the changing landscape of liability in the age of climate change.

“Climate impacts are becoming more and more evident,” said Moran. “What does that mean for us when we know these impacts exist? When there is more public recognition of them, but we aren’t addressing them or acknowledging them in a concrete way?”

“How might a design professional –– like a landscape architect –– expose themselves to legal liability for failing to account for and adapt to climate impacts?”

Moran and Mihaly have studied these and other questions, releasing their findings earlier this year in a report published by the CLF.

climate_liability_report
Climate Adaptation and Liability Report / Conservation Law Foundation

Moran said there are three factors contributing to climate liability risk for design professionals:

First, increased media coverage and general awareness of climate change means landscape architects are increasingly obligated to understand the climate-related risks that might apply to any given project.

“The more we talk about risks publicly,” the greater “the foreseeability of climate impacts,” increasing potential exposure to liability, Moran said.

Second, government agencies are investing in increasingly-powerful modeling tools to conduct vulnerability assessments and climate adaptation planning. Often, agencies make this information public and open-source.

“These tools are more sophisticated and accurate than they’ve ever been,” giving landscape architects access to high-quality modeling of potential impacts from climate change at a local level. With that increased access comes an increased expectation that designers and engineers will factor in potential climate impacts.

Finally, Moran argued the failure of previous litigation against major greenhouse gas emitters could lead to “a shift in focus on the design community as defendants” in the realm of climate change litigation.

Mihaly said the first two factors –– public awareness and readily-available data –– contribute to what is known as a “standard of care,” a key concept in negligence litigation.

The standard of care owed by a design professional is determined by the courts on a case-by-case basis. Courts will look at a number of different factors to determine the standard of care owed by a landscape architect in any given case, including specific contract language, applicable codes and regulations, industry customs, and the foreseeability of harm.

When it comes to knowledge of future events or the foreseeability of harm, Mihaly said: “it’s not just a question of ‘did you know this could happen?,’ but ‘should you have known that this could happen?”

Because of the growing awareness of climate impacts and access to models and data, the answer to that question will increasingly be “yes.”

boston_fema
2016 FEMA Flood Map, Boston / FEMA

Mihaly cautioned that the inherently uncertain nature of climate change is not a sufficient defense in a negligence lawsuit. “Even unprecedented events have been held, in courts of law, as being foreseeable due to modeling.”

She also warned that mere compliance with a jurisdiction’s building or zoning codes does not protect a designer from liability if the codes do not actually prevent the harm that the designer has a responsibility to avoid.

“Compliance alone isn’t necessarily a liability shield. The key question is: do those codes and standards actually contemplate the harm you are trying to prevent against?”

Industry standards and customs also offer scant protection. “A whole practice could be relying on an unreasonable behavior, and that doesn’t necessarily make it reasonable,” Mihaly said, referring to the 1932 case T.J. Hooper v. Northern Barge Corp.

In that case, a tugboat operator was found liable for cargo lost at sea because the operator did not use a radio system to receive advance warning of a dangerous weather system. At the time, it was not common industry practice for tugboat operators to use such systems, even though they were readily available.

Judge Learned Hand, writing for the court, held that while “a whole calling may have unduly lagged in the adoption of and available devices, there are precautions so imperative that even their universal disregard will not excuse their omission.”

It’s clear “the standard of care expected of a design professional is rising due to climate change and improvements in climate science. The threat of liability is real, and there is already litigation in this space,” Mihaly said, referring to the lawsuit in Houston.

“Design professionals are the target we’re seeing crop up more and more,” she added.

While this changing nature of liability in an age of climate change may appear threatening, Moran and Mihaly instead argued for a positive outlook. “Liability lawsuits are incredibly effective at shifting industry perceptions and behavior,” Moran noted.

“This could be an opportunity for the design community to really pioneer this space and use liability to proactive in the face of climate impacts,” added Mihaly. “The threat of liability can turn what is dreamed about into the standard.”

Architecture Critics Win Vincent Scully Prize

Commonwealth Avenue, Boston / Wikipedia
Rittenhouse Square, Philadelphia / Wikipedia

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.”

NoMA District in Washington, D.C. / Curbed DC

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.”

Washington, D.C. Metro / Wikipedia

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

Landscape Architecture in the News Highlights (October 16 – 31)

Aerial view of houses surrounded by water near Amsterdam
Houses on polders near Amsterdam, Holland / Reuters

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 ChangeSouth 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.”

Miami’s Answer to the High Line Breaks Ground This Week. This Could Change the City The Miami Herald, 10/26/18
“It took 20 years for Meg Daly’s late father, the prominent attorney Parker Thomson, to realize his ambition of a transformative performing arts center in Miami.”

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.”

Nancy Somerville: Landscape Architects Play Crucial Role in Fight Against Climate Change

Nancy Somerville, Hon. ASLA, ASLA CEO and Executive VP at the ASLA 2018 Annual Meeting in Philadelphia / EPNAC

This speech was given by Nancy Somerville, Hon. ASLA, ASLA CEO and Executive Vice President, at the ASLA 2018 Annual Meeting in Philadelphia, Sunday, October 21.

Every year at this meeting I’m reminded of the incredible variety of ways landscape architects serve their communities. The diverse talents and skills of this profession came home to me recently when I was visiting CMG Landscape Architecture in San Francisco. They are addressing issues of social equity as part of the revitalization of public parks. They are designing a resilient solution to a three-mile stretch of coastline infrastructure vulnerable to earthquakes and sea level rise. And one of their staff is pioneering a method for calculating the carbon footprint of landscape architecture projects.

Seawall Resiliency Project, Port of San Francisco / CMG Landscape Architecture

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.

This comes as we have convened our sixth successful diversity summit.

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.

This is Landscape Architecture campaign / ASLA, image from ASLA 2017 Professional General Design Award of Excellence. Klyde Warren Park. Office of Jim Burnett. Gary Zonkovic Photography

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.

Smart Policies for a Changing Climate / ASLA

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.

This profession has unique knowledge and a profound responsibility to help address the issues of climate adaptation and community resilience. That’s why we’ve enhanced and reorganized our online resources devoted to sustainability, resilience, and climate change, making this vast knowledge base even more accessible to our members and the public.

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.

ASLA Chinatown Green Street / Design Workshop

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.

Please visit the Chinatown Green Street page to learn more about the project and how you can support it.

Rotterdam Redesigns Itself to Handle More Water

Port of Rotterdam / Wikipedia

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.”

Water plaza / Rotterdam Resilience Strategy

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.

Water sensitive Rotterdam / Urban Green-Blue Grids

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.”

Proposed tidal park in Rotterdam / De Urbanisten, Rotterdam Climate Initiative

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.

Climate resilience planning tool / Deltares

Learn more about Rotterdam’s resilience and adaptation strategy.

Experience Brooklyn Bridge Park in Virtual Reality

ASLA 2018 Professional General Design Award of Excellence. Brooklyn Bridge Park, Brooklyn, NYC / Alexa Hoyer

Experience Virtual Reality! Immerse yourself in Brooklyn Bridge Park in New York City, which won the ASLA 2018 Professional Award of Excellence in General Design. Explore this unique park built in part over abandoned piers, guided by landscape architect Michael Van Valkenburgh, FASLA, president and CEO of Michael Van Valkenburgh Associates, Inc.

Viewing Options

Option 1: Watch a 360 Video on YouTube

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!

Or if you are on a desktop computer, go to https://www.youtube.com/watch?v=nQ2geeXMThI using your Chrome browser.

Go to settings and set the resolution to 2610s.

Use the sphere icon to navigate through the park! Note: the 360 video will not work in Firefox or Internet Explorer.

YouTube 360 on mobile / YouTube
YouTube 360 on mobile / YouTube

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.

Samsung Gear VR / Samsung
Samsung Gear VR / Samsung

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.

Brooklyn Bridge Park VR / ASLA
Brooklyn Bridge Park VR / ASLA

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.

ASLA Annual Meeting Opens with Calls to Action

audience
ASLA 2018 Annual Meeting General Session, Saturday, October 20 / EPNAC

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.

Laurie Olin, FASLA, and Susan Stamberg in conversation / EPNAC

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.”

ASLA 2010 Landmark Award. Bryant Park, New York City. OLIN / Peter Mauss, ESTO

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!”

Washington Monument, Washington, D,C. OLIN / OLIN

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.”

Beyond Mow and Blow: New Approaches to Park Maintenance

burn
Prairie Burn in Manhattan, Kansas / USDA Natural Resources Conservation Service

“How can we make maintenance sexier and more fun?”

This was the question moderator Joey Hays, ASLA, posed to the crowd at the ASLA 2018 Annual Meeting in Philadelphia, in a session entitled “the disturbing pleasures of maintenance: audacious strategies for public parks,” which sought to address the increasingly-fraught issue of public parks maintenance and inspire creative, aesthetic, and ecological approaches to what can often seem a decidedly-mundane topic.

Tim Marshall, FASLA, was quick to respond to Hayes’ question. “Sexy and fun–those are not two things I’ve ever heard in the same sentence regarding maintenance,” he said to knowing laughs.

Maintenance may not be something that excites designers, clients, or the public, but its implementation–or lack thereof–can make all the difference in the success or failure of a project.

Marshall, who formerly served as deputy administrator and senior vice president of the Central Park Conservancy in New York City, said maintenance has become more problematic on a national level. Many parks and recreation departments have expanded their portfolios of amenities and facilities in recent decades, but operations funding has not kept up.

“We have more things to maintain, and at the same time, resources are going down.”

Recent trends in ecological design have not made things easier. Designs that rely heavily on meadows and other designed plant communities require specialized knowledge to maintain, knowledge often not held by maintenance crews accustomed to the “mow and blow” approach.

“Put in a lawn, you know exactly what to do right away,” he said. “A meadow changes year to year. It’s not a project, it’s a process.”

Sheep were at one time used to maintain the meadow in Central Park / Library of Congress

One of the biggest obstacles facing parks departments is what Marshall called the “silver tsunami,” the looming wave of retiring experienced staff who will take with them institutional knowledge, relationships, and experience.

Loss of funding and staff can lead to deferred maintenance, which inflates capital costs and depresses park use.

According to Marshall, public-private partnerships like the Central Park Conservancy have been key to filling the operational gaps left by budget cuts and staffing shortages. However, those partnerships come with their own challenges.

“There has to be an understanding that we’re in this together,” he said, adding “it probably took ten years before the Central Park Conservancy was firing on four of its six cylinders.”

Tim Netsch of the Metro Nashville Parks Planning Division has experienced these dynamics first hand. “There’s so much happening in Nashville that parallels some those national trends. There is something unsustainable about our current park system.”

Nashville has seen explosive growth in recent decades, which has extended the city’s park system. Since the adoption of the city’s first parks and greenways master plan in 2002, the park system has added approximately 6,500 acres.

“Our park system grew more in this 15 year period than it had in the previous 50 years,” Netsch said. “During that same period of capital budget abundance, our operating budget has stagnated,” leading to fewer maintenance employees per acre and reduced operating hours.

“Our park system has grown, but our organization has not.”

To break out of this cycle, Nashville asked Charlottesville-based Nelson Byrd Woltz (NBW) to incorporate maintenance needs into the design of two new large public parks currently being planned for East Nashville.

“We wanted to build these plans around maintenance,” Netsch said. “To make it unavoidable to reckon with maintenance.”

For Thomas Woltz, FASLA, that meant diving deep into the sites’ cultural and ecological histories. On the future site of Ravenwood Park, just east of downtown Nashville, Woltz said: “an extraordinary phenomenon here is you have 8,000 years of Native American settlement in a not terribly disturbed site.”

“What if, in the cultural landscape research, you hit upon a regime of maintenance? What if the maintenance design is right there, deep within the soil?”

In the case of Ravenwood Park, NBW has proposed a mixed regime of controlled burns and grazing by cows, maintenance practices that reflect the history of the site and provide valuable ecological disturbance that will maintain broad expanses of open grassland.

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Master Plan for Ravenwood Park, Nashville / Nelson Byrd Woltz

For Woltz, it is here that the “disturbing pleasures”–or pleasures that result from disturbance–reveal themselves. “Part of the disturbing pleasure is the exhilaration of witnessing a fire,” he said, “and the sublime landscape of these post-fire moments when the earth surges with this chartreuse explosion of grasses.”

This aesthetic of disturbance can reframe the conversation around maintenance and even create opportunities to design powerful spaces and experiences.

To illustrate this point, Woltz pivoted to another major public project that NBW has spent many years on: Houston’s Memorial Park.

In their research, NBW found that many Houstonians were unaware of the park’s history and did not know why it was called Memorial Park. The site was used as an army camp in World War I and was the last stop for many soldiers before being shipped to Europe.

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Aerial photo of Camp Logan, Houston / Nelson Byrd Woltz

NBW’s design calls for a 90 acre Memorial Grove of Loblolly Pines planted in a strict, regimented grid, referring to the character of the military exercises and rows of tents that once defined the site. The heart of NBW’s proposal, however, lies in the grove’s maintenance regime.

“Twenty-five years is the average age of the solider that died in World War I who trained at Camp Logan. Twenty-five years is the age of maturity for loblolly pines in the timber industry,” Woltz explained.

“So, twenty-five years from the planting of the Memorial Groves, imagine one of those regiments–a thousand trees–ceremonially chainsawed down on Memorial Day. The noise, the impact, the violence, the horror of seeing a thousand trees felled at once in a city’s park will be something you will never forget. And you just might feel, in your body, the sense and the power of sacrifice and of loss of life.”

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Rendering of the Memorial Grove at Memorial Park, Houston / Nelson Byrd Woltz

Woltz said that the timber from the felled trees would then be given to Habitat for Humanity to build affordable housing in the Houston area. He envisions Houstonians coming together on Armistice Day to replant the thousand felled trees for another twenty-five year cycle. Every five years, a new group of trees would be felled.

“This is a memorial, in perpetuity, connecting us to the cycles of life, connecting us to the power of life, the beauty of these trees representing these individuals who were felled far, far, too early.”

“As an extreme example, this is a maintenance regime. Maintenance has been used as the very crux of a memorial landscape.”

To Limit Global Warming, We Must Transform the Planet

Permafrost thaw ponds on peatland in Hudson Bay, Canada / Flickr

To limit planetary warming to 1.5° Celsius (C), we need to undertake an immediate, multi-trillion-dollar transformation of global energy, land-use, food production, transportation, and urban systems, stated the Intergovernmental Panel on Climate Change (IPCC) in a new report that aggregates the findings of thousands of scientific studies. Humanity can only put a maximum of 420 more gigatons of greenhouse gas emissions into the atmosphere if we want a good chance of only increasing temperatures by 1.5° C (2.7° Fahrenheit), instead of 2° C (3.6° Fahrenheit). At the current pace, our remaining carbon budget will be used up by 2030. The transformation that has already begun in many parts of the world must accelerate and scale across the globe.

To date, global temperatures have increased 1° C (1.8° F) above pre-industrial levels. The IPCC argues that limiting warming to just another half a degree Celsius will still have terrible global impacts, but stave off some of the worst effects and make a major difference for several hundred million people.

Achieving the 1.5° C limit can only happen in the very near term. IPCC states if the planet can achieve net-zero emissions in the coming decades that would essentially halt warming. But if emissions reductions instead occur at a much slower pace up until 2100, then planetary feedback loops — like defrosting permafrost perpetuating warming trends — would make halting warming at 1.5° C impossible.

There are significant differences between 1.5° C and 2° C increases. A 1.5° C temperature increase would mean about 4 inches less of sea level rise by 2100, and at a much slower rate of rise. This would buy time to help the hundreds of million of people who live on coasts and deltas to adapt their infrastructure with resilient natural systems that can also restore and bolster important coastal habitats.

With a 1.5° C increase, some 6 percent of insects, 8 percent of plants, and 4 percent of vertebrates are projected to “lose over half of the climatically-determined geographic range” — meaning their habitat will disappear. While this is awful, the scenario at 2° C increase is far worse: 18 percent of insects, 16 percent of plants, and 8 percent of vertebrates. Impacts from forest fires and invasive species would also be commensurably more at 2° C.

The chance of an ice-free Arctic Ocean during summer is far less with a 1.5° C scenario. But coral reefs face a dire future under both 1.5° C and 2° C scenarios: either a 70-90 percent loss with 1.5° C or near-total extinction with 2° C.

Climate change is also expected to have major impacts on food production, resulting in reduced yields and less nutritious crops. Limiting warming to just 1.5° C would result in “smaller reductions in yields of maize, rice, wheat, and other cereal crops, particularly in Sub-Saharan Africa, Southeast Asia, and Center and South America.” The report authors are also semi-confident that limiting warming to 1.5° C would also reduce the populations affected by water shortages by 50 percent. Still, millions of people would be impacted.

The IPCC report outlines potential pathways to zero carbon. Essentially, greenhouse gas emissions must drop by 45 percent by 2030 and 100 percent by 2050. This would require “rapid and far-reaching transitions in energy, land, urban, and infrastructure (including transport and buildings), and industrial systems.”

IPCC admit that the changes are unprecedented in terms of scale — but not speed. Previous economic and social transformations have occurred with a few years; think of the US economic transformation during World War II or the appearance of smartphone apps in 2007 and their widespread application today.

The report estimates the damage of a 1.5° C increase to the global economy to be tens of trillions a year as soon as 2040. To avoid this, major investments must be made. The report calls for investing $2.4 trillion a year on renewable energy through 2035, which would be about 2.5 percent of global GDP annually, while weaning off coal. The planet would also need another 10 million square kilometers in forests, taken back from agricultural land, and a dramatic reduction in emissions from buildings and transportation systems through energy efficiency and smart growth.

A recent analysis conducted as part of Drawdown, a publication that ranks the 80 most effective ways to reduce greenhouse gas emissions, yielded solutions where landscape architects and planners can help accelerate the transformation. These include: afforestation (#15); mass transit (#37); water savings at home (#46); restoring and protecting coastal wetlands (#52); walkable cities (#54); bike infrastructure (#59); and green roofs (#73). There are also some landscape architects involved in siting renewable energy infrastructure, restoring farm land, managing forests and peatlands, which all rank highly.

IPCC is confident this global transformation can occur. If a mix of adaptation and mitigation measures can be “implemented in a participatory and integrated manner,” they can enable a “rapid systemic transition.” Adaptation measures don’t have to be purely defensive — they can also help communities improve, ensuring “food and water security, reducing disaster risks, improving health conditions, maintaining ecosystem services, and reducing poverty and inequality.” Now, the political will is needed to act.

Read about the recommendations of the ASLA Blue Ribbon Panel on Climate Change and Resilience, which span adaptation and mitigation, and explore ASLA’s guides to climate change mitigation and resilient design.

Save Lawrence Halprin’s UN Plaza Fountain from Demolition

UN Plaza in San Francisco / Christina Dikas, The Cultural Landscape Foundation
UN Plaza in San Francisco / The Cultural Landscape Foundation

San Francisco Civic Center’s new public realm plan, which intends to create a gathering place for all San Franciscans that is clean, safe, and inviting, threatens landscape architect Lawrence Halprin’s fountain of granite slabs at United Nations Plaza with demolition. Of three alternative schemes under consideration for UN Plaza, only one retains the fountain.

The alternatives include interchangeable design elements. One emphasizes performance and gathering; one history and civic life, with a restored Halprin fountain; and the third, diversity and culture. With some public input, designers at CMG Landscape Architecture are presently consolidating the draft frameworks. The context is a Better Market Street plan that promises a vibrant streetscape with new furnishings, plantings, public art, and plazas that support diverse activities.

My case for retaining the fountain is based on its merit as public art. Halprin’s work is grounded in the European tradition of using art, architecture, and city planning as vehicles for social change towards a more just society.

Market Street is the city’s premier commercial corridor and transit spine. UN Plaza is at its mid-point and serves as the gateway to the Beaux Arts Civic Center. In the 1960’s, Lawrence Halprin & Associates, working with John Carl Warnecke & Associates and Mario Ciampi and Associates, was engaged to save this Path of Gold Street Lamps from disinvestment and decline by creating a series of linked pedestrian spaces from the Ferry Building at the Embarcadero to the Civic Center at Mid-Market.

Path of Gold Illume / Linda Day

In the pre-WW II era, Market Street was one of the world’s great streets, with a financial district at the waterfront transitioning to a shopping district, and then in its mid-section, the city’s fabulous theaters and entertainment venues. By the 1950’s and 1960’s, Mid-Market was blighted. Theaters that escaped demolition were showing porno films and featuring live nudes.

To the north, the Tenderloin had become a tawdry district of poorly managed single-room occupancy hotels, street prostitution, and open drug dealing.

UN Plaza was created by closing off two streets that intersected Market Street at odd angles, Leavenworth, north of Market and Fulton, northwest of Market. Designed to be an allée, City Hall terminated the vista.

UN Plaza in San Francisco / Prayitno Photography

Using Sierra Nevada granite blocks from the same quarry as the French Renaissance-inspired City Hall for the fountain, Halprin brought the beauty of California’s landscape of mountains and sea to persons without the means for travel to Yosemite.

UN Plaza in San Francisco / The Cultural Landscape Foundation

The asymmetrically-stacked granite blocks represent the seven continents of the world. Computer programming was intended to moderate the water level in the 100-foot-wide sunken base so that it would rise and fall like the ocean tides as well as moderate flow from the nine jets in response to the winds. The programming did not work as intended; the water is maintained at a set level.

Halprin was a Modernist and part of the Cubist and Constructivist art movements. When the plaza design was under consideration in 1974, Arts Commissioners fought bitterly over the fountain, with some members insisting that a more classical option would better suit the Civic Center’s assemblage of classical buildings. They recommended a 1904 monument celebrating the admission of California to the union. The image below shows the 1904 Phelan Fountain that was preferred. After a series of public meetings, six of the eight Arts Commission members voted in favor of Halprin’s design.

Phelan Fountain, 1904 / Wikimedia Commons

From its completion in 1975, the fountain was a focus of complaints about it being used for toileting, bathing, and laundry by the many homeless persons in the vicinity. The plaza was a gathering place for illegal drug users and dealers. In 2003, a U.N. Plaza Working Group, representing citizens and businesses, recommended its removal.

According to a San Francisco Examiner article from 2004, the plan to replace it with a taxi stand was rejected by the Board of Supervisors; they and Mayor Gavin Newsom supported retaining the fountain. Today, continual police presence constrains the least desirable public behavior. A bus-size mobile command center on Market Street at U.N. Plaza and police officers on bikes patrol the area.

Public ambivalence toward Modernist design is another argument against the fountain. For example, a SF Weekly article refers to it as a “shameful pile of cement-covered-rebar.” There may come a time when Modernist public art will be as revered as the paintings and sculptures around which entire art museums exist. The UN Plaza fountain evokes Franz Marc’s Stony Path (Mountains/Landscape), a 1911/1912 oil painting in the collection of San Francisco’s Museum of Modern Art (SF MOMA) that abstracts nature using bold forms and sharp angles in a Cubist manner.

Franz Marc, Steiniger Weg [Stony Path], formerly Gebirge/Landschaft [Mountains/Landscape], 1911/1912, oil on canvas; 51 1/2 x 39 3/4 in. (130.81 x 100.97 cm), San Francisco Museum of Modern Art, Gift of the Women’s Board and Friends of the Museum / Wikimedia Commons

The fountain is meant to be immersive and in motion. Halprin’s wife, dancer Anna Halprin, and his Harvard University teacher, Constructivist artist Laszlo Moholy-Nagy, influenced Halprin and his focus on how people move within a landscape. Moholy-Nagy saw space as being in motion, not static. The fountain was to evoke the tides, the granite slabs were intersecting geometric bodies as in Moholy-Nagy’s AI X at the SF MOMA, and as shown here in his watercolor and graphite on paper, Planes Cutting Planes.

Planes Cutting Planes by Laszlo Moholy-Nagy / Yale University Art Gallery
UN Plaza visitor immersed in the fountain / Linda Day

Contemporary photos show that the plaza is a comfortable space, despite the lack of formal seating for persons who live in the nearby Tenderloin’s single-room occupancy hotels or on its sidewalks. The nearby Tenderloin is bereft of public outdoor spaces. And the people enjoying the plaza are not those most likely to see the SF MOMA’s collection of art. Here they can sit surrounded by beautiful buildings in a space made special by the fountain. Here they can enjoy a lunch provided by San Francisco Food Not Bombs.

UN Plaza users / Linda Day
UN Plaza users / Linda Day

Dr. Linda L. Day is an emeritus professor of city and regional planning, California Polytechnic State University, San Luis Obispo. She is a planner, author of This House Is Just Right: A Design Guide to Choosing a Home and Neighborhood, and contributor at Planetizen.