The American Society of Landscape Architects (ASLA) announced the 2019 Professional and Student Award winners.
Chosen from 544 submissions, this year’s 36 Professional Award winners represent the best of landscape architecture in the General Design, Residential Design, Analysis & Planning, Communications, and Research categories. In addition, a single Landmark Award is presented each year.
Chosen from 368 submissions, this year’s 26 Student Award winners represent the bright future of the landscape architecture profession in the General Design, Residential Design, Analysis & Planning, Research, Communications, Student Collaboration and Student Community Service categories.
“ASLA’s Professional and Student Awards programs are the oldest and most prestigious in the profession. This extraordinary and diverse array of winners represent both the best of landscape architecture today and the brightest hope for our future,” said ASLA President Shawn T. Kelly, FASLA.
“This year’s awards reflect the global nature of landscape architecture and demonstrate to professionals and the public alike how our profession addresses some of the world’s most pressing problems, including climate change and resilience, livability, and the creation of healthy and equitable environments.”
All Professional and Student Award recipients, their clients, and advisors will be honored at the awards presentation ceremony during the ASLA Conference on Landscape Architecture on Monday, November 18, in San Diego, California. There are still complimentary press passes available.
Background on the ASLA Awards Programs
Each year, the ASLA Professional Awards honor the best in landscape architecture from around the globe. Winners of these prestigious awards are chosen by a jury that represents the breadth of the profession, including private, public, institutional, and academic practice, and exemplify diversity in professional experience, geography, gender, and ethnicity. Submissions are judged blind.
Professional Awards are presented in six categories: General Design, Residential Design, Analysis & Planning, Communications, Research, and the Landmark Award. In each of the first five categories, the Jury may select one Award of Excellence and any number of Honor Awards. It is not guaranteed that an Award of Excellence will be selected each year, as it is up to the jury’s discretion. Only one Landmark Award is presented each year.
This year’s Professional Jury included: Andrea Cochran, FASLA (Chair); Henri Bava; Kofi Boone, ASLA; Gina Ford, FASLA; Deb Guenther, FASLA; John King, Honorary ASLA; Pam Linn, FASLA; John Vinci; and Keith Wagner, FASLA. Joining the Professional Jury for the selection of the Research Category were representatives on behalf of the Landscape Architecture Foundation (LAF) and Council of Educators in Landscape Architecture (CELA): Stephanie A. Rolley, FASLA and Galen Newman, ASLA.
Student Awards are presented in seven categories: General Design, Residential Design, Analysis & Planning, Research, Communications, Student Collaboration and Student Community Service. Like the Professional Awards, the jury may select one Award of Excellence and any number of Honor Awards. It is not guaranteed that an Award of Excellence will be selected each year, as it is up to the jury’s discretion.
This year’s Student Jury included: Linda Jewell, FASLA (Chair); Diana Fernandez, ASLA; David Gouverneur; Robert Gray, ASLA; Damian Holmes; Kendra Hyson, ASLA; Maki Kawaguchi; Signe Nielsen, FASLA; and Daniel Tal, ASLA.
A Santa Monica Backyard Is Remade for Outdoor Entertaining – The Los Angeles Times, 8/22/19
“Landscape architect Joseph Marek’s clients made do with their Santa Monica backyard for six years, but eventually they decided that previous owners’ “improvements” just didn’t fit their lifestyle.”
The C&O Canal in Georgetown Is Not in Danger of Being ‘High Lined’ – The Washington Post, 7/19/19
“If you have ever felt overwhelmed by overcrowding on the otherwise beautiful High Line, you might agree with Stephen A. Hansen’s June 30 Local Opinions essay, “Don’t ‘High Line’ Georgetown’s C&O Canal.” Unfortunately, the call to ‘rethink this proposal from scratch’ is based on mischaracterizations.”
America’s Greatest Gardening Partnership Produced This Place – Forbes, 7/21/19
“There is no better Art Deco garden anywhere in the United States than the Blue Steps at Naumkeag. A series of dark blue painted grottos climb up a steep hillside, connected by stairs and placed against a backdrop of white birch trees.”
At The Gardner, ‘Big Plans’ Looks At How Big-Thinkers Reformed Our Cities– 90.9 WBUR, 6/18/19
“They were four intellectuals famous in the world of culture and art. Frederick Law Olmsted was a journalist and social critic turned landscape architect. Lewis Wickes Hine was a sociologist-photographer. Charles Eliot was a landscape architect and city planner, and Isabella Stewart Gardner was an art collector and philanthropist.”
Designing Women – Sacramento Magazine, 6/21/19
“What makes a city great? Landscape architect Kimberly Garza believes public spaces—our parks, waterfronts, plazas, gardens and other gathering spots—are the foundation of a vibrant city.”
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.”