Central Park Love Song – The New York Times, 6/28/18 “Even though Central Park, like the rest of Manhattan, is largely man-made, not natural, it is a place to experience in person, not secondhand through images, regardless of their authenticity, nor through narratives, no matter how illustrative.”
Gateway to What?– Curbed, 6/28/18 “The Jefferson National Expansion Memorial Gateway Arch, a 630-foot-tall catenary curve—designed by Eero Saarinen and clad in stainless steel—stands on the west bank of the Mississippi River in St. Louis, Missouri. But really, it stands everywhere in St. Louis.”
The Fraught Future of Monuments– Co.Design, 1/2/18
“Let’s get this out of the way: Public space is, and always has been, political. Public spaces are the sites of protest–the places we exercise democracy.”
Dallas Is Finally Talking About Bicycles– The Dallas Morning News, 1/2/18
“The other day, I once again found myself discussing dockless bike share. Someone said the only thing anyone in Dallas is talking about is bikes.”
Atlanta’s Piedmont Park Slated for $100 Million Expansion– The Architect’s Newspaper, 1/2/18
“Late last month, Mayor Kasim Reed announced that the city will kick in $20 million to expand Piedmont Park and the Atlanta Botanical Gardens, which sit just east of the city’s Ansely Park neighborhood.”
Top Trends in Parks and Recreation for 2018 – National Recreation and Parks Association Blog, 1/8/18
“Several years ago, what started as a lighthearted look at new, interesting and even controversial trends in the field of parks and recreation for the coming year, has now become an annual New Year tradition.”
Can Oman Build a Better Planned City? – CityLab, 1/10/18
“The petro-states of the Persian Gulf do not lack for outlandish and ambitious urban projects: See the man-made islands of Dubai, a supertall curved skyscraper in Kuwait, or the enormous clock tower in Mecca that’s the size of six Big Bens.”
A New Leader for Central Park – The New York Times, 12/12/17
“Elizabeth W. Smith grew up in Rye, N.Y., about an hour north of Manhattan, and said her earliest memory of Central Park was from when she moved to the Upper East Side after college.”
Changing Houston, One Little Fix a Time– The Houston Chronicle, 12/12/17
“Using colored duct tape, spray chalk and stencils, we were done in 10 minutes. The results were just as immediate: Cars stopped well in advance of this modified intersection, and pedestrians walked with new confidence.”
Why Are We Wrecking Our Best Modernist Landscapes?– The Architect’s Newspaper, 12/14/17
“If you’ve seen the movie Columbus, you’ll remember, among all the nerdy dialogue about modernist bank branches and James Polshek’s buildings, that scene where the two protagonists passionately discuss the Dan Kiley landscape outside the Eero Saarinen–designed Miller House.”
Young Landscape Architect Works to Shape the Future– San Diego Downtown News, 11/3/17
“Growing up in Tempe, Arizona, Magnusson was influenced by Frank Lloyd Wright’s architecture, and had opportunities to explore several of his commercial, institutional and residential projects.”
Michael Maltzan Architecture to Expand ArtCenter College of Design– The Architect’s Newspaper, 11/3/17
“ArtCenter College of Design has unveiled renderings of a new, two-phase master plan created by Michael Maltzan Architecture that aims to reposition the college as an expansive, urban campus connected by pedestrianized open spaces, new housing, and student amenities.”
Lines Are Drawn Over Design for a National World War I Memorial – The New York Times, 11/8/17
“When it was built in 1981 as part of an architectural revival of Pennsylvania Avenue, Pershing Park was a downtown oasis of tree line and water fountain steps from the White House. In the years since, the park has fallen into disrepair and has become a haven for homeless people and pigeons.”
Cleanup Begins in NYC’s Most Polluted Waterway– Next City, 10/18/17
“Now, a long-anticipated cleanup has finally begun. Preliminary dredging began the first week of October, and the full project is anticipated to cost around $500 million, the Architect’s Newspaper reports.”
Memorializing Tragedy in an Era of Constant Mass Assaults – CityLab, 10/24/17
“July 22, 2011, still stands as the bloodiest day in Norway’s history since World War II. Twin attacks that day, first a bomb in Oslo and then, two hours later, a gun massacre on the island of Utøya, claimed 77 lives.”
Planned WWI Memorial Will Have a Ceremonial Groundbreaking on November 9 – Curbed, 10/2/17
“Originally, the plan was for a brand new WWI Memorial in Washington, D.C. to complete by November 2018, during the 100th anniversary of the end of WWI, but due to a final design approval yet to be had, that won’t happen. Even so, there are still plans for a ceremonial groundbreaking on November 9.”
After years of heated debate and seemingly-endless revisions, a simpler, stronger design for the Dwight D. Eisenhower Memorial in southwest Washington, D.C. received approval from the National Capital Planning Commission (NCPC). With a scheduled ground breaking on November 2, construction finally begins on the 4-acre memorial for President Eisenhower designed by architects at Frank Gehry Partners, landscape architects at AECOM, and a team of artists. Ending years of vocal criticism, the Eisenhower family have also signed off on the final design, too.
In the evolution of the memorial, which will be found immediately south of the National Air and Space Museum on Maryland Avenue, the highly-controversial woven-steel tapestries were scaled back — there is now just one 25,000-square-foot, 440-foot-long panel instead of three. Still, the decorative scrim, which will be made up of 600 15-by-3-feet panels, will be the size of five basketball courts back to back, writes Washington BusinessJournal.
Proposed imagery for the monumental tapestry also evolved from a photo-realistic image of Abilene, Kansas, President Eisenhower’s birthplace, to a figurative drawing of the Pointe du Hoc cliffs at Omaha Beach in Normandy, France, the site of Eisenhower’s D-Day assault on Nazi Germany in World War II.
The original 13 gigantic limestone columns, which Susan Eisenhower, President Eisenhower’s granddaughter, famously said created a “Soviet-style authoritarian public space,” also appear to be reduced to 8, but each is still a sizeable 6 stories tall.
The Commission on Fine Arts (CFA), which has requested many changes to the design over the years, also gave its approval last month. In meeting notes, CFA Secretary Thomas E. Luebke wrote the CFA had inspected a mock-up of the memorial’s tapestry and supported the new “abstract approach to rendering the cliffs and seascape of the Normandy coast.” The CFA “observed that the technique of hand drawing used to generate the tapestry image conveys much more emotional power than the previously proposed photography.”
However, the CFA will continue to review the progress of the tapestry created by artist and longtime Gehry collaborator Tomas Osinski and sculptures of Eisenhower at various stages of his life by Russian American sculptor Sergey Eylanbekov. Their goal is to “strengthen the relationship of the memorial’s elements with the new tapestry image.”
The CFA already required revisions to the location of the various statues and inscriptions to improve visitors’ experience as they walk through the memorial.
The final landscape design preserves views of the U.S. Capitol by creating grass pathways where Maryland Avenue is now, but also increases the tree coverage and green space in an effort to create an enclosed park-like feel. According to the CFA, the tree planting design could further evolve.
And the three landscape architects and designers on the CFA — Liza Gilbert, ASLA, Mia Lehrer, FASLA, and Elizabeth Meyer, FASLA — no doubt helped preserve the four large trees lining the site the design team sought to remove.
According to the National Review, which called the memorial a “national embarrassment” and its design a “repellent monstrosity,” the design and review process to date has already cost a whopping $105 million. The memorial itself is expected to cost $150 million. Some $25 million is expected to be raised from private funds; the rest will come from tax payer dollars, with some $45 million already allocated for this year.
No doubt debate on the merits of the design will continue far after its completion.
Confederate monuments and other long-tolerated symbols of racism are beginning to be expelled from America’s civic landscapes. As we engage in these acts of reconciliation and removal, it is worth a significant pause to consider why we seem to habitually design memorial landscapes for indelible permanence in the first place?
A memorial – whether a monument or otherwise — is simply a tangible container for memory through time. We benefit from having designated places to recall memory and emotion – whether grief, pain, fear, anger, love, respect, reverence, gratitude, awe, pride, or joy.
Part of the complexity of being human means that it is possible to feel multiple emotions simultaneously, and also that our feelings and memories are dynamic and can change over time. New knowledge and experience, and a genuine willingness to face difficult truths can significantly alter and expand our perception.
As such, might there be virtue in designing certain memorial landscapes to allow for a degree of fluidity and change?
Moving forward, American monuments and memorial landscapes in the 21st century may better be able to embody shared cultural values; reflect an inclusive and emotionally-intelligent view of history; mirror and support dynamic emotional processes; aid healing, forgiveness, and reconciliation; honor diversity, accept death, and truly affirm life if they are designed to consider the virtues and qualities of transience, adaptability, and vitality.
Despite the air of permanence many of these historic icons convey, it is laudable that several local governments and institutions have acted boldly to remove Confederate statues. A monument that marks an important time in history, but that simultaneously is widely perceived to be symbolic of racism, may best be retired or kept in a museum, rather than in the heart of a public square or civic space.
A 2017 study by the Southern Poverty Law Center found that 1,500 Confederate symbols can be found in public spaces across the country – they are monuments as well as named roads, municipalities, parks, institutions, and public works. The “undoing” of this landscape legacy is more easily wrought for a small statue than it is for an immense earthwork like Stone Mountain in Georgia, but no memorial is immune to the laws of impermanence.
As the voices of the oppressed are increasingly heard, and intolerance of hatred leads to action, our public and private landscapes should be able to adapt as we literally rewrite history with greater honesty, compassion, inclusion, integrity, maturity, apology, and courage.
It is time that we finally own the stories of extreme colonial and racist violence that undeniably define the conquest and development of the United States as a country. Realizing the long overdue expiration date of a monument whose presence detracts from equality should cause us to consider that not everything we erect in stone, bronze, and steel should last forever.
In 2015, three statues representing the Spanish missionary Junipero Serra were vandalized in my home community of Monterey County, California. Like Robert E. Lee, Serra practiced and promoted slavery. He and his missionaries displaced thousands of Esselen, Ohlone, Costanoan and other native people from what had been their homeland for millennia. Colonial violence and oppression included rape, slavery, abuse, isolation, exposure to disease, and deliberate suppression of language and culture.
The beheading of a statue at the Lower Presidio in Monterey occurred in the same year Serra was canonized as a Saint by the Catholic Church. While some lamented the defamation of the city’s co-founder, and the damage to this 1891 relic of post-contact California history, it is clear that these statues, similar to those of Lee, symbolize racism. Even more insultingly, they morally validate an individual who contributed to the near extinction of the Esselen people and many other tribes that were severely oppressed under missionization.
Even if one or more of our local Serra statues were removed or relocated, the Spanish names prevalent here and throughout California convey a daunting dominance, rendering the first names given to our local geography largely forgotten, and the living community of the Ohlone-Costanoan-Esselen Nation, who have yet to gain federal recognition, nearly invisible.
Landscape is not always a mirror of the diversity of cultures that inhabit it. As we look closely at what our own cities and neighborhoods fail to reflect, it is worth considering what kind of reconciliation can be achieved simply through acts of deconstruction and renaming.
While grief may leave a permanent scar, and render permanent change within an individual or a community, grief is also a dynamic and ongoing process. How can a memorial wholly acknowledge the severity of trauma and loss, while inspiring hope for the recovery of the broken-hearted? How can we remarry simple civic ritual to our most important public spaces?
In the case of the National September 11 Memorial, for example, beautifully and sensitively designed by architect Michael Arad and landscape architect Peter Walker, FASLA, what would it mean to the people of New York City (and to the country and even the world as a whole) if one of the two “voids” that symbolize loss in the footprints of the towers were to someday be partially filled? What might it mean to extend the swamp white oak grove to a lower level – to fill the voids with life, once the cascading water has washed away the rawness of grief? What if there were an opportunity for individuals to ritually contribute to this physical transformation – one shovel-full of soil at a time? What kind of deeper healing and forgiveness might be able to occur if there were a collective gesture made to physically mirror a transformation beyond the initial, radical enormity of grief?
What do we want this memorial to reflect about our culture 100, 500 or 1,000 years into the future, whether it is still intact, or an archaeological relic. Relentless and permanent grief? Resilience? Forgiveness?
Should memorials be hard or soft? Inanimate or living? The concept of a memorial garden or grove honors life with vitality itself. Cemeteries that encourage tree planting instead of headstones are becoming increasingly common, as are natural burials in which the body is allowed to decompose underground, feeding the biotic community in the soil, versus being chemically embalmed and preserved in an impenetrable coffin.
The 9-11 Memorial hosts a Survivor Tree Seedling program, in which seedlings from a Callery pear tree that survived the attack are gifted to communities that have endured tragedy. This achieves the highest good that a memorial possibility can – breeding compassion in the present moment, and in the form of a living and life-giving tree.
A memorial need not be bound to one particular place – and therefore may be more widely accessible.
As my mother was a lover of birds, I have chosen to remember her through them. Hawks, owls, wrens, robins, cranes, indigo buntings, cormorants, warblers, finches, sparrows, crows. Each bird reminds me of something different about her, each inspires a unique affection, and each encounter uplifts.
In choosing to remember her this way, the mountain valley that descends from my east-facing deck, over which countless birds soar, has become an arena for reflection and remembrance of her. The sky itself has become a bridge to the unconditional love I still feel with her. A memorial need not be made of or bound to the Earth.
In the words of Celtic poet and author John O’Donohue, “not all woundedness succeeds in finding its way through to beauty of form. Where woundedness can be refined into beauty, a wonderful transfiguration takes place.”
I hope the unrest we are living through leads to nothing less than a renaissance of American memory, which will see our landscapes adapt to reflect unprecedented American wisdom, compassion, inclusion, and grace – until it’s time to revisit our storytelling, once again.
This guest post is by Jessica Neafsey, ASLA, founder of Jay Blue Design in Carmel, California.
Concepts for the proposed World War I memorial at Pershing Park, located just two blocks from the White House, continue to evolve. This month, the team designing the capital city’s first national memorial commemorating WWI took comments from the National Capital Planning Commission (NCPC), which pushed for keeping more of the nearly two-acre park created by landscape architect M. Paul Friedberg, FASLA, in 1981.
Since first presenting their concept to the planning commission last year, the team — led by architect Joe Weishaar, landscape architect Phoebe McCormick Lickwar, ASLA, and sculptor Sabin Howard — has continued to adapt their proposal in response to feedback. The original concept, The Weight of Sacrifice, which won a competition last year held by the WWI Centennial Commission, sought to replace the sunken pool basin with a lawn to improve access and visibility and install a bas-relief commemorative wall depicting images of the war.
At this month’s meeting, the planning commission reviewed an iteration of the concept that got rid of the lawn, expanded the existing pool, and combined the site’s signature water feature with a 65-foot-long commemorative wall.
Considering the many changes to the original proposal, council member Evan Cash questioned whether the entire scope of the project had changed. He noted people liked the new concept because it preserved open space, but with on-going edits “…the project has changed to rehabilitation.”
“What started out as a project to look for a new WWI memorial has actually turned into a preservation project of the existing park, with some additional elements,” he said. “I just think all the problems we’ve been talking about are linked to the fact this has been a design that has been so overworked.”
The planning commission approved the concept, with many qualifications, and the team will now move further refine the proposal and incorporate requested elements. Changes to the existing park will also need to be approved by the Commission on Fine Arts (CFA) and the National Park Service (NPS).
The park was originally designed by Friedberg, who is also known for Peavey Plaza in Minneapolis. Friedberg’s views on the new concept were shared with the commission by Margo Barajas, a representative of The Cultural Landscape Foundation (TCLF), a group that has advocated for restoring, rather than redesigning Pershing Park, which has beendetermined eligible for listing on the National Register of Historic Places. This means there is a case for preserving and restoring the park.
After the latest iteration was presented to the CFA in May, Friedberg noted he was disappointed with the new concept, taking particular issue with the commemorative wall, saying it is being “forced into the space and obliterating the scale.”
Friedberg’s original design is a multi-level space with a sunken pool and water feature with a fountain that housed a Zamboni to maintain the pool as an ice rink during the winter. The site’s planting was later revised by Oehme, van Sweden. The site also includes a small, presently-unused kiosk structure that once doubled as an ice-skate rental station; movable furniture; and a statue of the WWI hero.
The new concept replaces the kiosk with a flag pole and adds a walkway across the pool to allow visitors more intimate access and a more tactile connection to the commemorative wall.
Debate has waged on over the aesthetic and functional merits of Pershing Park and the addition of a WWI memorial. The site has been poorly maintained and fallen into disrepair over the years. Many also find the park difficult to access. Critics of the new plans, including TCLF, have sought to reduce changes to the site and instead restore the park to its original intent.
The addition of a national WWI memorial was hard-fought by advocates on the WWI Centennial Commission who originally wanted the commemoration on the National Mall. Met with opposition from Congress and the National Park Service, the Centennial Commission eventually settled on Pershing as the selected site. Once approved by Congress in 2014, the Centennial Commission held an international design competition for the memorial. Last January, they announced Weishaar’s design as the winner of five finalists among hundred of entries.
Unlike World War II and the Vietnam War, World War I is the only major US conflict of the 20th century not commemorated with a national monument in Washington. There is a World War I memorial on the Mall, but not a national one (it is specific to local DC soldiers who fought in the war). And some critics say, that’s OK.
As The Washington Post‘s Philip Kennicott argues, DC’s many smaller WWI memorials embedded throughout the city offer another form of remembrance. The monuments are specific and distributed, and, as such, Kennicott writes, “there is no one-stop shopping, no simple, quick way to ‘pay respects’ and move on; but there is a rich history lesson, not just about the war itself, but about how memory and monuments have changed over the past century.”
Regardless, plans for the memorial will continue to move forward, with hopes for a final dedication on November 11, 2018, the 100th anniversary of the armistice that ended the war.