Brazilian Modern: The Living Art of Burle Marx, the largest botanical exhibition ever put on by the New York Botanical Garden (NYBG), features the work of creative polymath Roberto Burle Marx, realized through extensive and lush gardens filled with Brazilian native plants and exhibitions of his paintings and drawings. The gardens were designed by Miami-based landscape architect Raymond Jungles, FASLA.
Burle Marx’s instantly recognizable landscapes, paintings, textiles, and jewelry have been the subject of two major museum retrospectives in New York in the past 30 years, but his environmentalism in his native Brazil has been largely overlooked.
In Brazil and the U.S., recently-elected populist presidents Jair Bolsonaro and Donald Trump have gutted decades of established environmental regulation. Their actions set the stage for the symposium Burle Marx: A Total Work of Art, which kicked off the NYBG exhibition by turning the focus to Burle Marx’s tenacious environmental advocacy.
Burle Marx promoted his environmentalism as cultural counselor to the Brazilian state, a position he held for seven years under a series of repressive military regimes. During this time he gave eighteen impassioned “depositions” in which he argued it was the duty of the state to protect the landscape not as a productive resource, but as a crucial aspect of Brazilian cultural heritage.
The symposium also featured two speakers who knew Burle Marx personally: Raymond Jungles, a self-described member of Burle Marx’s “entourage,” and Isabel Ono, executive director of the Burle Marx Institute and daughter of Burle Marx’s closet collaborator, Haruyoshi Ono. Both recalled touching personal details about their time spent with him, painting a picture of his boundless whimsy and curiosity.
Burle Marx, an avid horticulturist and plant conservationist, was known for his epic excursions into the Brazilian wilderness to search for rare plants to add to his gardens. Jungles recounted eagerly taking the front seat of the van while accompanying Burle Marx on these excursions so that he could listen to his stories as he drove.
When Jungles pulled out a book during some down time on one of these trips, Burle Marx gently chided him: “Raymond, put it away. Out here, we study nature.”
The Living Art of Burle Marx runs through September 29, 2019.
This guest post is by Chella Strong, Assoc. ASLA, a landscape designer with Ecopolitan.
2019 ParkScore Rankings Now Available – Planetizen, 5/22/19
“Washington, D.C. has the highest ParkScore among the 100 largest U.S. cities, according to an annual ranking announced today by the Trust for Public Land (TPL).”
International airports are in fierce competition for passengers and regularly one-up each other with new wow-factor amenities, shops, and restaurants. But Singapore decided to raise its game by going another direction: a plant-filled haven, a gateway consistent with its moniker — “the city in a garden.” The result is an inventive model other airports should copy, if not in form, then certainly in spirit.
The new Jewel Changi airport features a 6-acre indoor forest, walking trails, and the world’s tallest indoor waterfall. This restorative mecca filled with 2,500 trees and 100,000 shrubs not only revitalizes weary international travelers but is also open to the public.
Over the past six years, Safdie Architects has led a team that included PWP Landscape Architecture, Atelier 10, WET, Burohappold, and ICN International to create this bar-raising travel experience.
Jewel Changi provides that nearby natural respite with a 5-story-tall forest encased in a 144,000-square-foot steel and glass donut structure. During rain storms, water pours through an oculus in the roof — creating the 130-foot-tall Rain Vortex, a mesmerizing waterfall sculpture that can accommodate up to 10,000 gallons per minute at peak flow. Stormwater is then recycled throughout the building.
According to Adam Greenspan, ASLA, a partner at PWP, there is a “forest valley” and a “canopy park.” Throughout, the firm used stone and wood to create winding paths that immerse visitors in nature.
The valley is organized into terraces, like you would find in a shade-covered coffee or tree plantation, and features three types of trees: Terminalia, a native to Madagascar; Agathis Borneensis, which is native to Malaysia and Indonesia; and Agathis Robusta, which is native to Australia. Terraced planters are faced with Indonesian lava stone that epiphytic and and other plants can climb.
Amid the canopy park, PWP planted a number of species of wide-spreading Ficus trees that will eventually create shade and a comfortable environment. Up on the fifth level, there’s a topiary walk and horticultural gardens, and an event space for up to 1,000 people.
Throughout the biosphere-like terminal, PWP selected some 200 species of mostly-highland plant species, calibrating them to the giant torus’ unique conditions where temperatures and humidity levels are slightly cooler than outside. “Air movement, humidity, and natural light have all been balanced.”
In addition to hosting some 300 shops and restaurants and a transit hotel, the terminal connects to the city’s public bus system. Pedestrian bridges and an inter-terminal train link passengers and visitors to the airport’s many gates.
With Jewel Changi, Singapore has reinvented what an airport can be, just as they re-imagined what a hospital can be with Khoo Teck Puat Hospital, which is not only a medical facility but also a green hub open to the community. Now let’s hope Singapore’s biophilic design culture spreads around the world, like the planes that leave its terminals.
In 2013, urban landscape historian Thaïsa Way, FASLA, embedded herself in the office of Gustafson Guthrie Nichol (GGN) in Seattle, Washington in order to understand the firm’s inner workings. That initial academic curiosity sparked a collaborative relationship, the remarkable result of which is GGN Landscapes 1999-2018, a compendium of GGN’s projects that interweaves theory and practice. The book sets a new standard for landscape architecture monographs.
It was the goal of both Way and GGN to improve upon the typical monograph, characterized by photos of finished, successful projects and not much else. Both parties were also wary of getting too much into the weeds of each project. GGN Landscapes struck that balance, presenting not only each project’s final design but its evolution, told through detailed written accounts and built upon by process sketches, models, and photos.
The book’s richness is the result of the access Way was granted at GGN. Way looked over shoulders, asked questions, and attended meetings. Details such as which team members led discussions, which incessantly sketched, and on what sort of paper were all taken note of. Way pored over working documents and memos to clients and consultants, seeking to understand how GGN made and maintained relationships. Not confined to the office, Way visited each of the book’s featured projects, accompanied by their respective lead designers (save for one instance in which that designer was unavailable). She stressed that this effort would have been impossible without the benefit of GGN’s trust.
Way’s research paints a picture of an especially collaborative firm that is interested in the intersection of analog and digital techniques and embraces experimentation. It’s worth emphasizing that many firms would claim these same traits. Way witnessed them at GGN. Her analysis is borne out in the book’s featured projects, all of which could stand alone as case studies.
The first project presented in the book, and perhaps GGN’s most famous, is Lurie Garden in Chicago. Way’s text tells the story of GGN’s involvement, from the project’s procurement through research, design, and resolution. The book describes the technical challenges encountered and thought process behind GGN’s decisions. Iterative sketches show variations on the garden’s iconic breastplate form and planting scheme. And, of course, there are plenty of photos that attempt to capture the power of the space (Way thinks that even GGN failed to foresee just how impressive Lurie Garden would become).
If the Lurie Garden chapter shows us a young firm getting a feel for itself, India Basin Shoreline Park, the book’s final featured project, shows a mature practice in full command of its faculties and with a firm grasp of landscape’s agency. Shannon Nichol, one of GGN’s three founders, led the concept design for the park in the Bayview-Hunters point neighborhood of San Francisco. The concept is, as Way describes it, “emblematic of 21st century design,” negotiating issues of environmental degradation, access to the water, historic preservation, and neighborhood revitalization. GGN’s concept includes a large meadow reminiscent of a patent slip that once existed on site. Included in the chapter are Nichols’ sketches showing the meadow’s origin in the concept, and a series of plans show its refinement over time.
The book also contains less project-oriented views into GGN’s process. Way believes understanding the designer is crucial to understanding their approach. As such, we learn how GGN’s founders came to landscape and their attitude toward design. We also learn of how their practice benefited early on from successful collaborations with outside architects and engineers and how this helped form their broad view of landscape architecture.
With GGN Landscapes, Way and GGN have constructed a monograph better suited for backpacks than coffee tables. I cannot think of higher praise.
Interview conducted at the ASLA 2018 Annual Meeting & EXPO in Philadelphia.
What makes a great photograph of landscape architecture?
The challenge of photographing landscape architecture is taking a three-dimensional space and making it two dimensional. The best photographs of landscape architecture make you feel like you’re in the space.
A good photograph tells a story. I don’t think of myself as making individual photographs. It’s always interesting to me when someone remembers one photograph, because my photography is about telling the story of a project.
Does taking photographs of natural landscape and works of landscape architecture require different approaches? If so, how?
I am not at all interested in taking pictures of the natural landscape. My role is taking pictures of the built environment. I’m most interested in how culture impacts the land and nature. How we want to control it; what we think of as beauty, and the political implications of a designed landscape.
I became aware of this in the 90s. I got a grant with a writer, Diana Ketchum, to photograph 18th century English-style gardens in France. They are based on the philosophy of Jean-Jacques Rousseau. The French are not particularly interested in them. Most people know about Le Nôtre’s landscapes: the classic French Vaux-le-Vicomte and Versailles, which symbolizes the absolute power of the king. The English-style gardens were built just before the French Revolution. They are meandering, with winding paths, and views that are meant to make people feel and think and question the absolute power of the king. They were built at a time when people were traveling to Italy to see ruins. In Northern France there were no ruins so they built their own. One of the gardens in Ermenonville is now Parc Jean Jacques Rousseau. It has grottoes and a temple on the hill with fallen pillars.
Today, landscape architecture is political in its relation to how we think about climate change, parks, and water use. Also, there’s the issue of parks and gentrification.
How can you capture the feel of a designed landscape, taking a work that is in 3-D and making it 2-D?
I do it in collaboration with the designers. I find that incredibly helpful as they hone my vision. I work with a medium-format digital camera that sends an image to an iPad so my clients can can react to it in real time. They can tell me, “no, no, this is what I meant.”
Is there one photograph that tells the whole story? Sometimes. But not always. I leave things out. But I also put in a lot in. One photo is just one part of the story. I need multiple photos to tell the story.
If I have a lot of time in a space I can kind of figure out the logic. But my clients have designed sight lines, they’ve thought about the space, they know the way the light works. They don’t know how to document it, generally, but they know what they want. And, so, it’s this back and forth that I find extremely exciting.
What process yields the best photos?
For me, it’s definitely working with the designer. My clients generally humor me when I go off on a tangent. They encourage me to see what I see.
I always say: “turn around.” I was taking a photograph of what I was supposed to be photographing and then I turned around and the light was coming through the trees on the hillside. That photograph ended up being the cover of Living Land, Blasen Landscape Architecture’s book. It was just a moment that captured some essence.
The exciting thing about photographing landscape architecture is that there are no rules. I showed a photograph of Klyde Warren Park in Dallas, Texas, at the field session at the ASLA Annual Meeting. There’s a pole going right down the middle of the photograph. You can see the base of the pole.
Chris McGee, art director at Landscape Architecture Magazine (LAM), said: “Oh, I was looking at that and saying, ‘which photograph do I like better?'” But it was one photograph. I broke the rules. I guess there are rules to break.
How do you capture seasonal change and the progression of time?
There aren’t many projects I do over time. They have to be very significant projects for my clients, because hiring me is a big expense.
I just did a private house this summer for Surface Design, which I’ve documented over time. The landscape has a big meadow that’s great to capture in different seasons, but this is a rarity.
How do you capture people inhabiting a landscape in a way that doesn’t feel staged?
You can try to use real people. But one of the problems is that when I shoot dawn or and dusk, there is nobody there. Or if people are there they walk straight through the picture, and you don’t see them. There’s not even a blur, because the exposures are so long.
I sometimes bring a whole team of people. When I photographed the San Antonio Botanical Garden that Christy Ten Eyck designed this summer, the botanical garden invited families so there were kids there. We were able to do the photographs in the right kind of light with people in it.
As Chris McGee says, “we just don’t want to see the same person in every shot.” You want people to be comfortable and look natural. I sometimes have people walk through a site in order to get movement through it. The problem with real people is they can go too fast or too slow. They can be carrying a big plastic bag, just not looking right.
What will visual landscape representation look like in 25 years? Will photography always have a place in the world of drones, virtual reality, mixed media, or some other technology that we don’t even know about?
I am not interested in using a drone, but I have been on shoots where drones have been used to great effect. I’m happy to have them, because I hate hanging out over edges where there’s parapets and stuff and you can’t really see, and you’re not getting the angle people want. Landscape architects love things from above.
Drones are not great quality, but they’re great for a certain kind of image. They’re less interesting to me, because, again, it’s flat. I’m not interested in shooting flat. I’m interested in the relationship of near and far and how you make that three dimensional space a photograph.
I may be virtual in 25 years, but I don’t think I’ll be around in 25 years. I have grandchildren and I wonder what their lives are going to be like in 25 years.
Images are ubiquitous now. We live by images. But how much time do you give to an Instagram photograph? It’s not really about the quality. It’s about: does it grab me or not? I have a love-hate relationship with Instagram. I like seeing what people are doing and interesting things. The thing I hate about it is: “Well, why am I stuck home here at the computer working when you’re in Nepal on a mountaintop looking at this beautiful sunset!?”
Lastly, what is the most important advice you have for amateur photographers who want to improve their photography of landscape architecture?
Look at landscape photography you admire and try to figure out what you like about it. Imitation is a way of getting where you want to go.
Trial and error; that’s it! Keep doing it. Do it, do it, look at it. Judge it, figure out what works and what doesn’t work.
I had a wonderful mentor at one of the magazines. She wouldn’t let me go out unless the light was right. I learned a lot about light from her. My photographs are about light. The right light is generally not the middle of the day. Early or late.
When you’re photographing architecture, you can have full sun on a façade, and it shows the shapes. But when you’re photographing landscape, anything with texture and plants, trees, you end up getting dark pools underneath trees, even the trees themselves are broken up by dark shadows.
You’re not seeing form; you’re seeing light. The forms are light and shadow.
Building Your Values – Curbed New York, 11/20/18
“The Ford Foundation’s restoration of its landmark building makes a bold statement about what architecture owes the public today.”
It’s High Time to Memorialize the South’s History of Lynching — The Architect’s Newspaper, 11/2018
“According to a new report by The Cultural Landscape Foundation (TCLF) entitled, Landslide 2018: Grounds for Democracy, numerous lynching sites in Shelby County, Tennessee, are virtually unmarked for their historical significance.”
Planning a Neighborhood Square – Western Planner, 11/21/18
“Designing a neighborhood square to fulfill these social functions is not so simple. One of the biggest challenges is to get the proportions of the square right.”
If you are looking for a unique book to give as a gift or just one for yourself to delve into over the winter break, explore THE DIRT’s top 10 books of 2018, our picks for the best on the environment, cities, and landscape:
In this delightful book by Jonathan Drori that features magical drawings by Lucille Clerc, the history of different tree species around the world comes alive. For thousands of years, humanity has depended on trees for food, medicine, and companionship.
Participatory design is “hands-on democracy in action,” argue the editors of the impressive book. Participatory design (also known as cooperative or co-design) is a process in which a designer actively involves all stakeholders in a design process. The editors call for making participatory design “truly democratic.” Furthermore, it must become “contextual, open, experiential, substantive, and holistic.” Read the full review.
This monograph provides real insights into the design process of Seattle-based firm Gustafson Guthrie Nichol (GGN), making it one of the best of this format. Thaïsa Way, FASLA, professor of landscape architecture at the University of Washington, partnered with GGN to dig deeper into how the firm has used “creativity and problem-solving” to “make and shape memorable places.” Read the full review.
Many have called Kongjian Yu, FASLA, president of Turenscape, the Frederick Law Olmsted of China. And with this book, one understands why. This collection of letters to Chinese president Xi Jinping and provincial governors, essays, interviews, and other advocacy pieces reveal how much Yu has invested in promoting his ecological, water-centric “sponge city” approach. His book demonstrates that every landscape architect can become a leader and a powerful force for improving environmental and human health in their community.
Edward Tufte, the world’s best known information designer, said Charles-Joseph Minard’s statistical map of Napolean’s 1812 invasion and then retreat from Russia was the greatest information graphic ever made. In this intruiging new book, author Sandra Rendgen uncovers the man who made the graphic as well as his many data visualization innovations. Read the full review.
Julian Raxworthy, a landscape architect and senior lecturer at the University of Cape Town in South Africa, calls for the “integration of landscape architecture and gardening. Each has something to offer the other: Landscape architecture can design beautiful spaces, and gardening can enhance and deepen the beauty of garden environments over time.”
Journalist Elizabeth Rush takes readers on a journey to places where sea level rise is already having an impact — from the Gulf Coast to Miami, New York City to the Bay Area. “For many of the plants, animals, and humans in these places, the options are stark: retreat or perish in place.”
For those who enjoy a deep dive into history, this book edited by Thaïsa Way, FASLA, professor of landscape architecture at the University of Washington, offers a rich exploration of how cities and rivers have shaped each over throughout the centuries. The intertwined history is also viewed through the lens of climate change and resilience. River City, City Rivers is the end-product of the excellent 2015 symposium on river cities at Dumbarton Oaks.
Roberto Burle Marx stands as one of the towering figures of 20th century landscape architecture, yet he left relatively little in the way of writing that describes, defends, or otherwise elucidates his work. A new collection of lectures, edited by Gareth Doherty, ASLA, helps fill that void. Read the full review.
This excellent book by landscape architects Catherine Seavitt Nordenson and Guy Nordenson and architect Julia Chapman, draws on years of research in design, art, policy, and engineering to argue for a new vision of our coasts. Structuresof Coastal Resilience is a significant contribution to the body of research on this topic. Read the full review.
Buying these books through THE DIRT or ASLA’s online bookstore benefits ASLA educational programs. And if you are based near Washington, D.C. we also recommend checking out the National Building Museum’s world-class book store.
Contextual Minimalism, a new monograph from the landscape architecture firm Coen+Partners, presents the work of founder Shane Coen, FASLA, and his firm into a well-organized book encapsulating over 20 years of design projects. With photography, some drawings, and minimal text, it tells the story of how Coen’s design instinct developed into a design philosophy, and how that philosophy adapted to different design challenges, primarily in the upper mid-west.
Coen describes his firm’s work as the “celebration of nature through contrast, deduction, and abstraction,” an approach he’s come to call “contextual minimalism.” This approach is apparent in the firm’s use of contextually-appropriate blocks of color, texture, and mono-cultural plants.
Much of Coen’s work feels painterly, with broad strokes and deliberate dashes. Coen writes with appreciation of the impact his father, a painter, had on his approach towards landscape. On many of Coen’s larger projects, this approach works to stunning effect, as in Jackson Meadow. There, on the 365-acrea planned-unit development, Coen’s firm planted the entire property with little blue stem to create a “unified ground plane” for the development’s all-white structures: splotches of white among a field of seasonally fluctuating color.
Even after many years, Jackson Meadows feels unique among Coen’s projects, and much of that has to do with how Coen, in this book and public lectures, has described it. More than any other project, Jackson Meadows feels like a sandbox, a testing ground for what was at the time Coen’s philosophy.
Collaboration with the project architect elevated Jackson Meadows. This sort of collaboration has been a mark of the firm since its inception. Coen explains that working on projects with powerful architecture “brought meaning” to his practice. You can attribute some of that meaning to the holistic achievements that result from successful collaboration. But Coen exhibits an admiration for architecture that feels unique among landscape architects. It provides inspiration and a datum from which to design.
Coen’s approach is often forced into tighter private and residential spaces. Still, there is an attention to materials and relationship between architecture and landscape architecture that bolsters these projects. In the Wood House in Chicago, Illinois, Coen uses blocks of color and material to blur the boundary between inside and outside.
The projects elucidate how Coen’s economical design approach shifts and adapts to different settings. In rural contexts, the preferred way of exalting nature is to contrast it with structures or work that is clearly artificial. In urban settings, the designer must abstract nature. If done well, the effect will be a sublime and uplifting experience.
One might dispute the logic behind this strategy, but not the results. Look at what is achieved in Minneapolis Central Library, which is hemmed in by depressingly-wide roads. Before, the approach to the library was routine at best and degrading at worst. Coen added slate gardens supporting a row of birch trees to the library’s north-facing sides. The jagged slate recalls Minnesota’s rugged terrain. Its layering and the pioneering birches suggests opportunity and positive disruption.
Most monographs suffer from a surfeit of finished photographs in place of sketches and plans that provide real insight into the design process. Unfortunately, Contextual Minimalism does not deviate from this trend. But the book does allow one to see a clear connective thread between Coen’s projects, which is a significant achievement.
The American Society of Landscape Architects (ASLA) proudly announces the 25 winners of the ASLA 2018 Professional Awards. Selected from 368 entries, the awards recognize the best of landscape architecture in the general design, analysis and planning, communications, research and residential design categories from the United States and around the world.
The winners will receive their awards at the ASLA 2018 Annual Meeting and EXPO in Philadelphia on Monday, October 22, at the Pennsylvania Convention Center.
Winning projects are designated as either an honor award or an award of excellence, which is the highest possible distinction.
General Design Category
Award of Excellence
Brooklyn Bridge Park: A Twenty Year Transformation, Brooklyn, New York
by Michael Van Valkenburgh Associates (Brooklyn, New York) for Brooklyn Bridge Park
Chicago Riverwalk | State Street to Franklin Street, Chicago
by Sasaki (Watertown, Massachusetts) and Ross Barney Architects (Chicago) for the Chicago Department of Transportation
Iqaluit Municipal Cemetery, Iqaluit, Nunavut, Canada
by LEES+Associates (Vancouver, B.C., Canada) for the City of Iqaluit
Legacy and Community: Juxtaposing Heritage and Invention for Duke University’s West Campus, Durham, North Carolina
by Reed Hilderbrand LLC Landscape Architecture (Cambridge, Massachusetts) for Duke University
Longwood Gardens Main Fountain Garden, Kennett Square, Pennsylvania
by West 8 Urban Design & Landscape Architecture (Rotterdam, Netherlands) for Longwood Gardens Inc.
Re-Envisioning Pulaski Park, Northampton, Massachusetts
by STIMSON (Cambridge, Massachusetts) for the City of Northampton
Tippet Rise Art Center, Fishtail, Montana
by Oehme, van Sweden | OvS (Washington, D.C.) for Tippet Rise Art Center
Tongva Park and Ken Genser Square, Santa Monica, California
by James Corner Field Operations LLC (New York) for the City of Santa Monica
Walker Art Center Wurtele Upper Garden, Minneapolis
by Inside | Outside + HGA (Minneapolis) for the Walker Art Center
Analysis and Planning Category
Award of Excellence
A Colorado Legacy: I-25 Conservation Corridor Master Plan, Douglas County, Colorado
by Design Workshop (Aspen, Colorado) for The Conservation Fund
Extending Our History, Embracing Our Future, Madison, Wisconsin
by SmithGroup (Ann Arbor, Michigan) for University of Wisconsin-Madison
From Pixels to Stewardship: Advancing Conservation Through Digital Innovation, Austin, Texas
by Andropogon Associates Ltd. (Philadelphia) for the Shield-Ayres-Bowen Family
Iowa Blood Run Cultural Landscape Master Plan, Madison, Wisconsin
by Quinn Evans Architects (Madison, Wisconsin) for Iowa Department of Natural Resources (Todd Coffelt, Michelle Wilson, John Pearson, Frank Rickerl, Pat Schlarbaum, and Kevin Pape), State Historical Society of Iowa (Jen Bancescu, Doug Jones, Susan Kloewer, and Steve King), Iowa Office of the State Archaeologist
Willamette Falls Riverwalk, Oregon City, Oregon
by Snøhetta (New York) for Project Partners: Oregon Metro, City of Oregon City; Clackamas County; State of Oregon; PGE Falls Legacy LLC
Award of Excellence
100 Years of Landscape Architecture at The Ohio State University
by Landscape Architecture Section, Knowlton School, The Ohio State University (Columbus, Ohio)
Homeplace: Conversation Guides for Six Communities, Rebuilding After Hurricane Matthew
by NC State University Coastal Dynamics Design Lab (Raleigh, North Carolina) for the Hurricane Matthew Disaster Recovery and Resilience Initiative (HMDRRI)
Marnas: A Journey through Space, Time, and Ideas
by Anne Whiston Spirn, FASLA
VanPlay: Plan to Play
by Design Workshop Inc. (Denver) for the Vancouver Park Board
Atlas for the End of the World – Atlas for the Beginning of the Anthropocene
by Richard Weller, ASLA, University of Pennsylvania (Philadelphia)
Design with Dredge: Resilient Landscape Infrastructure in the Chesapeake Bay, Baltimore, Maryland
by Mahan Rykiel Associates (Baltimore, Maryland) for the Maryland Port Administration
Urban Aquatic Health: Integrating New Technologies and Resiliency into Floating Wetlands, Baltimore
by Ayers, Saint, and Gross (Baltimore) for the National Aquarium
Residential Design Category
Award of Excellence
Balcones Residence, Austin, Texas
by Word + Carr Design Group (formerly known as Mark Word Design) (Austin, Texas)
Sustaining A Cultural Icon: Reconciling Preservation and Stewardship in a Changing World, Newport, Rhode Island
by Reed Hilderbrand LLC Landscape Architecture (Cambridge, Massachusetts) for Dorrance Hill Hamilton
Yard, Portland, Oregon
by 2.ink Studio (Portland, Oregon) for the Key Development Group
The Landmark Award recognizes a distinguished landscape architecture project completed between 15 and 50 years ago that retains its original design integrity and contributes significantly to the public realm of the community in which it is located.
The Landmark Award
From Weapons to Wildlife: The Rocky Mountain Arsenal National Wildlife Refuge Comprehensive Management Plan (Douglas County, Colorado)
by Design Workshop Inc. (Denver, Colorado)
The professional awards jury included:
Mark A. Focht, FASLA, Chair, New York City Parks and Recreation, New York City
Gerdo Aquino, FASLA, SWA Group, Los Angeles
Anita Berrizbeitia, ASLA, Harvard Graduate School of Design, Cambridge, Massachusetts
Christian Gabriel, ASLA, U.S. General Services Administration, Washington, D.C.
Terry Guen-Murray, FASLA, Terry Guen Design Associates, Chicago
Dale Jaeger, FASLA, WLA Studio, Athens, Georgia
Sam Lubell, Journalist, New York City
Patrick Phillips, Urban Land Institute, Washington, D.C.
Barbara Wilks, FASLA, W Architecture + Landscape Architecture LLC, New York City
For the selection of the Research Category, the jury was joined by M. Elen Deming, FASLA, North Carolina State University, Raleigh, North Carolina, for the Landscape Architecture Foundation (LAF) and Ashley Steffens, ASLA, College of Environment and Design, University of Georgia, Athens, Georgia for the Council of Educators in Landscape Architecture (CELA).
Roberto Burle Marx stands as one of the towering figures of 20th century landscape architecture, yet he left relatively little in the way of writing that describes, defends, or otherwise elucidates his work. A new collection of lectures, edited by Gareth Doherty, ASLA, helps fill that void.
“As a parting gift, Haruyoshi Ono, Burle Marx’s successor as director of the studio, presented me a photocopy of every lecture they then had that Burle Marx had delivered in English,” he writes. “I had little to no Portuguese, and they felt this was the one way I could carry something of Roberto with me and get to know him better.”
The lectures Doherty received in 1996 form the basis of this volume. Like Doherty, many of today’s practitioners never had the opportunity to hear Burle Marx present his work, let alone meet him. In this context, Lectures: Landscape As Art and Urbanism is a valuable resource that helps reinforce Burle Marx’s legacy.
As the book’s title suggests, the lectures shed light on Burle Marx the urbanist. He recognized the city was “the ‘habitat’ of modern man, offering him simultaneously a great variety of choice in his job and in his way of life.” The price for this variety, however, was “many difficulties which hamper his creative capacity due to deficient housing facilities, inadequate transportation, noise and sounds which tear him to pieces; not to mention other deeper difficulties in his work relationship, the opportunities of education, and in the enjoyment of the pleasures the city offers him.”
Burle Marx’s solution was to bring nature into the city. “The brutality of present urban conditions make the garden a compelling necessity,” he wrote. “One must bring nature into the reach of man and, above all, take man back to nature.” The garden was the tool for achieving this goal, a place where one could “find rest, relaxation, recreation, and above all the feeling that his is living in, and integrated into, this space.”
He even saw gardens as having a didactic role: “The sight of that association of plants gives us the impression of a covenant for living together.” A garden was “a spatial condition of community life…a place which provides the desire any man has to communicate with his fellow men, and with nature as an aesthetic phenomenon and as a manifestation of life.”
Burle Marx also viewed landscape architecture as a tool for preservation. “It seems to be to be almost an obligation of the landscape architect to combat destruction and to preserve certain ill-fated species in danger of extinction, in order that they may survive for the education and enjoyment of future generations.”
Burle Marx was deeply concerned about the impact of development practices and their impact on the landscape, and saw landscape architects as defenders of the natural environment, prefiguring today’s focus on environmental issues within the profession.
What these lectures illustrate most clearly, however, is the depth of Burle Marx’s love of plants. “Plants have always been an integral part of my life,” he wrote in a lecture simply titled “The Plant.” And in “The Garden as a Way of Life,” he declared that the plant is the “the most basic element of composition.”
Of course, this is not exactly a revelation for those familiar with Burle Marx’s life and career. He was obsessed with plants from an early age, an obsession that guided his career and manifested itself in both his designs and in his personal collection of thousands of plants culled from the Brazilian countryside.
Still, Lectures provides valuable insight into this obsession. Botanical names litter the pages. He writes lovingly of bromeliads, philodendrons, and heliconia. When describing his own designs, he devotes the most attention not to form or spatial qualities, but to plant selection and arrangement, underscoring their importance to his design process.
Intriguingly, much of Burle Marx’s writing in this area prefigures the trends that have shaped planting design over the last 20 years. He proclaims the importance of native plants, saying that “ideally, we should only plant species native to the area.” Elsewhere, he explains “the garden that has the best chances of survival and needs the minimum amount of care for such survival will be indigenous.”
Furthermore, he understood designed plant combinations as informed not only by aesthetic considerations, but by ecological ones as well. “Observing the demands of ecology and aesthetic compatibility, the landscape architect is able to create artificial associations of the greatest expressiveness,” he writes.
“To make artificial landscapes means neither to deny nor to imitate nature slavishly. It means, instead, to know how to transport and associate, with personal, selective judgement, the results of a long, loving, and intense observation.”
In the current context — in which many landscape architecture educational programs dedicate minimal time to plant material and planting design is sometimes seen as a specialized skill set — Burle Marx’s love of plants and the role that they played in his design process stands out.
While this is overall a handsomely presented collection, there are certain design choices that make reading it more difficult than necessary. The lectures are printed with narrow margins, which make Burle Marx’s words seem as though they are liable to scatter off the page. The effect is heightened by the book designers’ decision to present selected sentences in a larger type than others for emphasis. The result is not wholly satisfying.
The book also includes breathtaking photos of Burle Marx’s built works captured by Leonardo Finotti, but they are not keyed to references in the text itself, which can make for a frustrating experience. Those looking for clear, visual illustrations of Burle Marx’s comments may want to keep Google close at hand while reading.
In all, though, Roberto Burle Marx Lectures: Landscape as Art and Urbanism is an immensely valuable resource for those of us, like Doherty, with little to no Portuguese. It gives those of us in the English-speaking world an unmediated line to Roberto Burle Marx; that alone is worth the price of admission.