Los Angeles, Wildfires and Adaptive Design: Greg Kochanowski on Creating New Futures — 09/15/21, ArchDaily
“At UCLA, I additionally became interested in landscape, particularly through an interest in a more holistic way of thinking about the built environment. This has subsequently become a passion of mine to, the point of becoming a licensed landscape architect, and has significantly shaped my personal ideology and methodology of working. I see the world holistically as a complex series of relationships between cultural and organic systems – from cities to climate, buildings to landscapes, racial inequality to ecosystems.”
SCAPE’s Living Breakwaters Project Begins In-water Construction Off of Staten Island — 09/14/21, The Architect’s Newspaper “Earlier this week, the New York State Governor’s Office of Storm Recovery (GOSR) announced that Living Breakwaters, the $107 million coastal resiliency-slash-marine biodiversity project was now taking shape off the South Shore area of Staten Island; an area pummeled by Superstorm Sandy in 2012.”
Report: To Close the Park Access Gap, Open up Schoolyards — 09/13/21, Grist
“The nonprofit environmental advocacy group The Trust for Public Land, or TPL, estimates that 100 million people in America, including 28 million kids, don’t have a park within a 10-minute walk of their home. Race plays a major role in the divide: The group estimates that, in the 100 largest U.S. cities, communities of color have access to an average of 44 percent less park space than predominantly white neighborhoods.”
What We Talk About When We Talk About Gentrification — 09/05/21, Vox
“Our focus on gentrification might lead people to believe that it is the dominant form of inequality in American cities (our outsized focus on the phenomenon may be due in part to the fact that gentrification scholars, journalists, and consumers of digital media tend to live in gentrifying neighborhoods themselves). But the core rot in American cities is not the gentrifying neighborhoods: It is exclusion, segregation, and concentrated poverty.”
Studio-MLA won the 2021 Cooper Hewitt National Design Award for landscape architecture. The firm, which has been led by Salvadorian-born landscape architect Mia Lehrer, FASLA, for 25 years, seeks to “integrate landscape architecture, urban design, and planning to create places that inspire human connection, unite communities, and restore environmental balance.” The firm’s staff of 45, based in Los Angeles and San Francisco, includes landscape architects, planners, ecologists, and botanists.
On winning the award, Lehrer said: “we’re indebted to our collaborators, in particular our visionary clients, non-profit partners, and design teams for their commitment to building places that create social justice and equity, and projects that tell the stories layered within places — stories of people, neighborhoods, hope and conflict, water, air, ecology, and empowerment.”
The firm’s design philosophy is focused on creating broader impact: “Through our projects, pro bono efforts, and strategic relationships, we advocate by design. For over twenty years, our role as catalyst has educated and empowered people to translate ideas into culturally-relevant and climate-appropriate places.”
In an interview with ASLA, Lehrer, who has been an advocate for climate action and restoring ecosystems, said: “I didn’t grow up in the U.S., but my parents were community activists. We all don’t have a choice but to be engaged and educated about the dire situation we’re all in.”
Studio-MLA is known for taking on highly complex large-scale landscape planning projects that involve navigating layers of government jurisdictions. They often use legacy infrastructure as an opportunity to address climate impacts, restore ecosystems, and reconnect underserved and immigrant communities. In particular, the firm has led large-scale landscape planning efforts that re-imagine outdated river infrastructure, so these systems become more ecological and accessible. The firm’s goal is to create healthier human-ecological systems at all scales.
The firm recently won a major landscape planning and design project — the River-Side Gateway Project Suite in Riverside, California, which includes a series of nine sites along seven-miles of the Santa Ana River. The project seeks to “create access to water and recreation for citizens while also designing solutions for stormwater mitigation, threatened habitat, and air quality impacts,” explained Matt Romero, ASLA, landscape designer at Studio-MLA.
Another recent landscape planning project is the Upper Los Angeles Rivers & Tributaries Revitalization Plan, which proposes imaginative ways to transform the “heavily channelized waterways that meander eastward through the San Fernando Valley.” To develop the plan, Studio-MLA “mapped spatial obstacles and constraints including, but not limited to, government jurisdictions, land use, park access, pollution load, ecological habitat, water quality, flood risk, safe access, and connectivity.” This information enabled them to examine existing economic, environmental, and social impacts, and create a new equitable framework for reconnecting communities to more natural rivers and tributaries.
Destination Crenshaw in Los Angeles is also an exciting large-scale effort that demonstrates the firm’s inclusive planning and design approach. A new “community-inspired” 1.1-mile-long, outdoor museum along Crenshaw Boulevard, where a new Metro line and stations will surface, will become a “living celebration of Black Los Angeles” in the “heart of the largest black community west of the Mississippi River.” Studio-MLA, along with Perkins+Will, Raw International, and Gallagher & Associates is imagining the urban and landscape design for the project, which will include community-driven public art.
Throughout Lehrer’s projects, there is a commitment to inclusive engagement, particularly with underserved and immigrant communities. In an ASLA interview, she said that through a planning process, “you can embolden people, allow them to feel comfortable that it’s their right to communicate, not necessarily demand, but to be part of a dialogue. It’s education, creating a set of tools, and allowing people to understand they can be advocates for their own needs.”
The firm’s built community and residential projects are also characterized by a deep respect for water and native plants. A prime example is the 10-acre Vista Hermosa Natural Park in Los Angeles, which was carefully designed to capture 95 percent of the precious rainwater that falls on the site through an interconnected system of “permeable paving, green roofs, grassy meadows, vegetated swales, and a 30,000-gallon cistern that supplies irrigation.” The park was designed with native plants to educate visitors about the Southern Californian landscape.
“In nature, creeks and streams collect rain that falls on the mountains and hillsides. Trees and vegetation soak up the water, shade the soil, and drop leaves that decompose to become habitat, a protective layer of mulch, and eventually soil. The soil acts like a sponge, holding water for long enough periods of time for native plants to make it through the summer. You can mimic nature at home by reducing impermeable surfaces, grading to keep rainwater on site, planting climate-appropriate shade trees and plants, and adding a thick layer of mulch to conserve soil moisture.”
While often working at the scale of miles, Lehrer seems to say no site is too small to make a positive impact.
On a clear fall day in 2005, a group of friends and collaborators from the art collective Rebar commandeered an 8-foot-wide by 20-foot-long metered parking space in downtown San Francisco. This two-hour guerilla art installation evolved into Park(ing) Day, a global public art and design activism event that has been celebrated every year since. In 2009, Rebar and other design studios were approached by the City of San Francisco to prototype a more permanent version of Park(ing) Day. In response, we created one of the world’s first parklets in San Francisco (we called our version walklet), and through the diligent efforts of Andres Power in the Mayor’s Office and City Planning, San Francisco’s pioneering parklet program was born.
By early 2020, San Francisco had created 70 parklets in every corner of the city, and the city’s parklet program, now part of Groundplay SF, had become a model for cities around the world.
And then came the pandemic.
After the initial period of lockdown restriction, data emerged that anything we could be doing outdoors, we should be doing outdoors. Communities around the country then began to look to outdoor spaces and the public right-of-way to accommodate outdoor dining, pick-up and drop-off, exercise, socialization, and play. Outdoor dining programs like the City of San Francisco’s Shared Spaces and the City of Oakland’s Slow Streets were launched across the country.
The proliferation of outdoor dining spaces was mind-boggling. In San Francisco alone, there are more than 2,000 outdoor dining platforms (don’t call them parklets — parklets are by definition public spaces). All over the country, almost overnight, parking spaces and streets have been transformed into places for people. While many of these spaces have succeeded in their original intended purpose of supporting local businesses and accommodating public health guidelines regarding social distancing, it may now be that they have outlived their useful lives. While many cities are making the move to make the outdoor dining spaces permanent, due the rapid nature of their creation, only a handful of these spaces live up to the original ideals of the parklet program to contribute something meaningful to the public realm.
Communities around the country are grappling with the future of these temporary outdoor spaces. To tackle this question, I have been in conversation with peers in Oakland, Seattle, Vancouver and other cities. My original thinking was that by default — because these spaces occupy precious curbside public right-of-way — the best outcome is that they all become parklets — that is public space, accessible during the city’s standard public space operating hours.
Parklets, by definition, are publicly accessible and open to all. They work best when their design cues create an invitation for many types of uses — from eating takeout from the adjacent restaurant or cafe, to bike parking, or simply taking a pause on a busy commercial street for a chat with friends. In fact, during the pandemic, when many of our more traditional venues of social infrastructure like schools and libraries have been closed, these smaller spaces have become that much more critical for supporting the everyday casual encounters that are the basis of social cohesion and community building.
But what I’ve learned in the course of my conversations with peers from across the country has resulted in an evolution of my previous thinking, and here’s why.
Lessons from the “Emerald City”
Inspired by San Francisco’s parklet program, businesses in Seattle became interested in building parklets and approached the city in 2011. Today, Seattle has both a parklet program and a streatery program. Seattle’s parklets are much like those in San Francisco where a local sponsor designs, builds, and maintains the space, and the city government issues the permit and ensures adherence to design standards. The streatery model is unique in that they provide commercial cafe seating during business hours as well as public access after business hours.
That’s right, it’s a hybrid public space. But how well does this work in practice? Do people use the streateries as public parklets after business hours? Has the city run into any issues regarding liability, or challenges with illicit behavior happening in the streateries when there is no one around to keep their “eyes on the street”?
According to my peers in Seattle, following an extensive community survey, they have concluded the following: Streateries perform well from an economic development perspective and have fulfilled a need in the city for outdoor dining, adding vibrancy to Seattle’s streets. They do provide a public benefit in terms of creating vibrant streets bustling with activity. (The city enforces strict design guidelines for streateries such as a 42-inch height maximum for surrounding enclosures that must be 50 percent transparent.) On the downside, streateries have not been perceived by the public as public space. The public amenities and invitation for use after business hours have been limited at best.
Seattle has some important lessons to share. First, private outdoor dining patios, like streateries, can contribute to economic development, social infrastructure, and create the public benefit of vibrant, safer streets when they adhere to basic good design principles. Second, the hybrid private / public space model sounds good in theory, but in practice it’s hard for an average member of the public to navigate unless there are strong design cues in either direction. In other words, don’t expect your thriving commercial district’s outdoor dining spaces to fulfill a public space need such as public gathering spaces or non-commercial community seating.
But what can we learn from the Queen of the Northwest? As a social democracy, everything is better managed and more beautiful in Vancouver, Canada, so it’s no surprise that this city is leading the way for all of us regarding the future of outdoor public and private spaces. Vancouver’s parklets are very different from San Francisco’s or Seattle’s in that they are designed, funded and built by the city. This has been good for adherence to design standards and ensuring high quality and beautiful parklets. The downside is that due to limited city funding and staff capacity, there were only a handful of parklets created each year.
In response to a growing demand from restaurants and cafes, Vancouver also created a curbside patio program for commercial outdoor dining. Prior to the pandemic, six patios had been approved by the city. When the pandemic hit, the city created a temporary expedited patio permit process. Since June 1, 2020, the city has approved over 400 temporary patios on private and city property.
Following the initial success of the parklet program, but acknowledging the inherent obstacles of city-led parklets, the city stopped accepting new conventional parklet applications and instead focused their energy on a pop-up plaza program in partnership with local business districts, which has resulted in the creation of 20 nicely-designed plazas with broad public support. Vancouver found that for about the same amount of time and money as a parklet, they could create much more generous and useful pop-up plaza spaces. The second initiative is a community focused parklet program, created in partnership with social service organizations in underserved neighborhoods like the Downtown Eastside. These parklets are designed and built by the city and programmed and managed with a dedicated community partner to offer such programs as health clinics and safe injection sites.
What this means is that as a citizen of Vancouver navigating the city’s streets you have lots of choices. You can choose to pay for seating and experience the buzz and vibrancy of the commercial outdoor dining happening in one of the city’s 400 patios, or you can walk a bit further down the street and hang out at the free public seating in a city-sponsored pop-up plaza or a parklet.
From my point of view, this is the right balance of public and private use of the curb lane in the public right-of-way. We all want thriving, economically-vibrant commercial districts AND we want meaningful investment in high-quality and well-maintained public spaces in our neighborhoods. The role of the Vancouver municipality has been to be the referee — to ensure that in any given neighborhood or commercial district there are both public and private seating options.
So while my original view was that outdoor dining should be redesigned and converted to public parklets, I now see the powerful and important role that well-designed patios can play in adding to the social and economic vibrancy of our streets. What I don’t support is trying to force these tiny curb lane spaces to be all things for all people. Attempting to saddle commercial patios with public seating or public-use requirements both dilutes their ability to serve their primary commercial purpose and sends confusing signals to the public.
Nor do I support continuing to allow the free-for-all use of the curb lane that has occurred during the pandemic and which has resulted in the proliferation of low-quality, poorly designed, and potentially dangerous commercial outdoor dining platforms. Many of these spaces feel opaque and claustrophobic, blocking visual access to ground floor retail and obstructing city sidewalks.
Businesses who want to use curb lane space for commercial outdoor dining must recognize the immediate benefit of the use of the public right-of-way for their businesses and compensate cities for the use of the space. By pricing the curb appropriately, cities can generate revenue to support and invest in public realm improvements and city staff time to manage their outdoor space programs. Also, patios must adhere to basic good design principles like 42-inch height maximum for surrounding enclosures; 50 percent transparent walls; and a direct, accessible connection to the adjacent sidewalk in order to generate the public benefit of vibrant, lively streets.
With the revenue generated from commercial outdoor dining patio permit fees, cities can then invest in the parklets and pop-up plazas that can continue to fulfill a crucial role for everyday, informal social encounters that form the basis of social bonding and community cohesion. Parklets and pop-up plazas work well when there is a dedicated sponsor or steward — like a community organization, or an adjacent sponsor which has an established take-out business model like an ice cream shop or cafe — who is in charge of daily maintenance and programming of the space. Public space is a verb, not a static object. Public spaces must be cultivated and maintained to flourish and grow so that they are best able to contribute meaningfully to a city’s social infrastructure and a diverse, inclusive, resilient public realm.
Landscape architects and urban designers have a crucial role to play in shaping the future of the use of outdoor spaces. As upholders of design quality, we can ensure that the next generation of commercial outdoor dining patios are well-designed and contribute to a high-quality and vibrant public realm.
As stewards of public space and the public realm, we can ensure that in any given neighborhood or commercial district, there are beautifully-designed public spaces, with generous public seating and lively programming, to create invitations to all city residents to socialize and spend time together.
John Bela, ASLA, is an urban strategist and designer based in San Francisco. Bela co-founded Rebar, the creators of Park(ing) Day. A founding partner and design director at Gehl San Francisco, he left Gehl in 2021 to form his own design advisory and consulting practice: Bela Urbanism + Design. He is a licensed landscape architect in California.
On Friday, September 17, the ASLA community will participate in Park(ing) Day, the annual global event that encourages landscape architects, students, ASLA chapters, and all people who care about the quality of the public realm to re-imagine our streetscapes one parking space at a time.
This creative transformation of parking spaces into parklets and inventive alternatives to an automobile-dominated environment helps communities see the incredible potential of streetscapes, which can comprise up to 80 percent of public space in cities.
This year also marks the 15th anniversary of Park(ing) Day! Rebar, a collective of landscape architects, planners, and designers, created the first Park(ing) Day installation in 2005, and the first annual Park(ing) Day event in 2006.
Park(ing) Day was first conceived of as a user-generated, open-source event created by and for many people. The event has led to a global movement that has enabled communities re-imagine their streets, increase social connections, and improve health and well-being. In many communities, Park(ing) Day has led to new permanent parklets, plazas, and an expanded public realm.
The innovative models created through Park(ing) Day also laid the groundwork for the re-design of streetscapes in the wake of COVID-19. Communities have responded to the need for social distancing and concerns about the safety of indoor environments by taking back streets. Temporary parklets, patios, and street plazas have proliferated. Curbside space has been repurposed for dining, commerce, or green space. Vehicles have been banned, and streets turned over to pedestrians and cyclists. Now the goal is to make many of these improvements permanent!
According to landscape architect John Bela, ASLA, co-creator of Park(ing) Day, “many communities are grappling with what happens next with ‘temporary’ outdoor spaces. Landscape architects have a special role to play in shaping the future of these spaces and balancing the use of our streets and public right of way.”
This year, ASLA’s Park(ing) Day challenge will highlight how landscape architects design imaginative public spaces in streetscapes that adhere to safe, socially distant principles — all within the confines of a parking space (or two).
Ways to participate:
Take photos of street parklets, patios, and plazas designed by landscape architects and designers in your community. Please be sure to include the designer’s name if you know it.
Build out a traditional Park(ing) Day space that is a model for re-imagined curbside activity.
Then, on September 17, post your images on Facebook, Twitter, or Instagram using the hashtag #ASLAParkingDay.
Learn more about issues related to racial justice and equity in streetscape projects. Some of these issues are explored in Safe Streets Are Not Safe for Black Lives by Dr. Destiny Thomas in Bloomberg CityLab.
ASLA will highlight the best posts from students, firms, and chapters across our national communications platforms. Have fun (safely, of course)!
Through a new framework plan, the 317-acre Reflection Riding Arboretum & Nature Center in Chattanooga, Tennessee is being re-imagined as an accessible, equitable educational center that tells the story of the incredible biodiversity of Tennessean landscapes. Once a drive-through arboretum, Reflection Riding is poised to become an important model for ecological restoration and wildlife conservation, with expanded enclosures for wolves and eagles. As part of a six month planning process, SCAPE Landscape Architecture developed a proposal that will re-orient and create new buildings, offer a new entry sequence and visitor center, prioritize restoration areas, and expand a forest school and kindergarten, canopy walks and trails, and a native plant nursery.
“We are fortunate we can work with clients that align with our ethos and values. Reflection Riding is focused on some of our key priorities: access, education, and conserving and restoring natural landscapes. This is what landscape architecture in the 21st century should be,” explained Nans Voron, senior associate at SCAPE, in a phone interview.
The framework plan celebrates the vision and legacy of John A. Chambliss, who founded the arboretum in the early 20th century. SCAPE and the arboretum sought to maintain Chambliss’ core values, rooted in “his deep love and respect for the landscape.” But they also sought to make the arboretum more accessible and equitable through a more welcoming entry sequence and expanded educational programs geared towards underserved communities that live nearby.
In its first few decades, the arboretum was designed as a drive-through loop. Later, once cars were excluded, horses became a means of exploring the landscape. With the new ecological restoration goals, the horses stabled on site will eventually be phased out.
“My impression is that many people who live near Reflection Riding don’t know it exists,” Voron said. This could be a result of the gates that limit access at the entrance; the horse-back riding in the arboretum, which may be viewed as exclusive; and confusion about the arboretum’s connection to a neighboring national park.
With a redesigned entrance, SCAPE hopes more visitors will feel the arboretum is also a place for them. A new visitor center will make all the educational options more easily understood. The existing forest school and kindergarten will approximately double in size and be moved closer to the entrance, where an expanded native plant nursery, which offers plants for sale to the public, will also be located.
Trails throughout the arboretum and nature center will be made ADA accessible, and a new “Braille trail” for blind and low vision users is being considered. SCAPE proposes a series of learning stations along shorter loops organized around themes such as geology, hydrology, and the role of this landscape in the Civil War.
While the framework plan is rooted in a comprehensive analysis of the many complex natural systems found within the arboretum, which range from creeks and streams to meadows, wetlands, and forests, Voron said SCAPE focused in on some key restoration opportunities in the wetlands around Lookout Creek and the many small streams that feed into it. “There are currently two artificial ponds; we instead propose restoring the wetland and tidal landscapes so they can create more wildlife habitat and also better accommodate more water in the wet season.”
Elevated canopy walks now exist in the arboretum but will be extended into the restored wetlands and redesigned to offer greater flexibility, a lighter footprint, and a higher elevation to accommodate for climate change. “The new canopy walks will be more resilient and offer a different experience,” Voron contends.
In forested parts of the arboretum, there have been continual efforts to remove invasive plants. New plans to scale up the native plant nursery create opportunities to accelerate the restoration of the natural landscapes and make the arboretum a showcase for restorative design. Another goal is to invite researchers to study ecological change, making the arboretum a true learning laboratory.
New enclosures for the animals protected in the arboretum’s wildlife center won’t function like a typical zoo. “While the animal enclosures will be accessible to the public during business hours, Reflection Riding won’t be caging animals in small pens. You may or may not see the wolves and raptors when you visit.”
Voron explained that the new plan for the wildlife center was challenging, because “each species has many requirements, and some couldn’t be adjacent to others.” Different species of native eagles and other raptors will be carefully separated from various kinds of native wolves. “The goal was to limit disturbances to each species.”
Is Artificial Turf Right for You? 3 Things to Consider Before Installing a Fake Lawn — 08/12/21, Architectural Digest
“According to San Clemente landscape designer Jodie Cook, although grass requires potable water and turf doesn’t, that’s too narrow a comparison. Other elements of the water cycle are a major issue. Plants, even grasses, create water themselves. ‘When you put turf down and replace a living plant, you’re removing moisture from the environment,’ she explains. ‘You’re removing atmospheric water.'”
Your Garden May Be Pretty, but Is It Ecologically Sound? — 08/11/21, The New York Times
“Some gardeners react to any mention of ecological landscaping — the merging of environmental science and art — as if it were a compromise or concession meant to limit their creativity. Darrel Morrison, a landscape architect who has been practicing and teaching this philosophy for some five decades, begs to differ.”
Study: Protected Bike Paths Saved Lives During COVID — 08/10/21, Streetsblog
“In a report released today, researchers from the Insurance Institute for Highway Safety dug into the nuances of America’s (still-ongoing) pandemic-era bike boom by scrutinizing the spatial and temporal distribution of pre- and post-lockdown bicycle trip counts and crash counts in the city of Arlington, VA.”
Using Nature to Combat Climate Change — 08/09/21, CNN
“Landscape architect and founder of SCAPE Kate Orff describes how regenerative living infrastructure can help mitigate the devastating impacts of climate change.”
The Seas Are Rising. Could Oysters Help?— 08/02/21, The New Yorker
“A great deal of [Kate] Orff’s work addresses the inescapable fact that the Atlantic Ocean is rising, and coming for the land. She’s the founder of the design firm scape, the director of the Urban Design Program at Columbia University, and the first landscape architect to win a MacArthur ‘genius’ grant. She’s also at the forefront of an emerging approach to climate resilience that argues we should be building with nature, not just in nature.”
Two recent articles in the American media — one from The New York Times and another from The Christian Science Monitor — raised questions about the efficacy of China’s sponge city concept in the face of climate change. As storms become more powerful and release more water faster, the flood control mechanisms of Chinese cities are being overrun. News stories have focused on recent dangerous flooding in Zhengzhou, a city of 12 million on the banks of the Yellow River, which killed more than 300 people and trapped others in tunnels and subways. The articles questioned whether nature-based solutions, rooted in the sponge city approach, can handle the increasing amounts of stormwater inundating Chinese cities on rivers and coasts.
In a Zoom interview, Kongjian Yu, FASLA — founder of Turenscape, one of China’s largest landscape architecture firms, and creator of the sponge city concept — said, “first of all, Zhengzhou is not a true sponge city. There has still been way too much development and grey infrastructure.” And many Chinese cities have been using the term “sponge city as a political slogan” and a way to attract central government funding, given the deep support for the approach from Chinese president Xi Jinping.
He believes the benefits of the sponge city approach, which involves designing and constructing city-wide systems of ponds, wetlands, and parks that retain stormwater, have been proven. “Since ancient times, Chinese cities along the Yellow River with monsoon climates have used ponds to manage flooding and stormwater. So we know these approaches worked for over 2,000 years because these cities survived.”
Chinese cities today are required to maintain 30 percent of the city as green space. Another 30 percent is dedicated to community space. For Yu, this means there is more enough space to create more ponds and water-absorbing parks that can capture vast amounts of water. “In 60 percent of the land in cities, we can use nature to retain water so it doesn’t drain away. In China, we have a saying — ‘water is precious, don’t let it go.’ There is plenty of space to be used to retain water.”
Yu outlined the key components of the sponge city approach. Stormwater should be captured using green infrastructure at its source, where it falls. Sponges should be evenly distributed and permeable so they can absorb water instead of shifting it somewhere else. “If properly designed, it’s a democratic water management system” made up of very local solutions.
Yu claims that with the story of Zhengzhou, the “media is seeking conflict and targeting something that isn’t a sponge city. Sponge cities can only solve the problem. We need more sponges, not less.”
Despite a recent video of a talk he gave, which he says has been viewed by more than 100 million Chinese citizens, there still needs to be more public education about the benefits of sponge cities. “Some of the public still doesn’t understand the sponge city concept, and some may find it a waste of money. Furthermore, some civil and hydrological engineers in China have been attacking the sponge city, nature-based approach because it takes away their jobs.”
If a sponge city is working as it should, “there would be no flooding. People forget when they don’t have disasters.”
When asked about NYC’s new approach to handling sea level rise-induced flooding in lower Manhattan, which will involve constructing a sea wall along with large-scale cisterns to store water, he said: “cisterns are unsustainable.” The concrete cisterns “have to be huge and therefore expensive and high maintenance.” Furthermore, this approach wastes water, which is a “living resources and when combined with plants and soils creates more natural resources.”
Yu calls for greater capacity building among the landscape architecture and civil engineering professions in China and elsewhere in the sponge city concept. “The issue in China is that some designers and engineers are building parks but not building in the stormwater management capacity needed.” In China, stormwater is still the responsibility of civil and hydrological engineers.
To address issues with the design and implementation of sponge cities, Yu will be hosting a summit with the leadership of the civil and hydrological engineers at his research and educational campus. “We will have a high-level discussion aimed to bridge the gaps.”
Furthermore, Yu’s team is publishing a new book in Mandarin — Performance Study of Designed Ecologies — that includes real data about sponge city projects. In addition to his videos, he has also produced a textbook for China’s thousands of mayors, who he said are on board with the approach.
“Flooding in the era of climate change presents an opportunity for landscape architects. We have an opportunity to build up our approach. Landscape architects can solve these problems — not with concrete pipes and cisterns — but with nature.”
It’s not often that a queen and a robot team up to unveil a new project. In the heart of Amsterdam’s seedy red light district, Her Majesty Queen Máxima of The Netherlands pressed a button that enabled a small robot to cut the ceremonial ribbon, opening up the world’s first 3D-printed steel pedestrian bridge to traffic. The new bridge, which spans a historic canal, will be in place for two years while the historic bridge is renovated.
Queen Máxima, dressed in an elegant shade of Holland’s orange national color, was there to highlight new Dutch design and technology. The 40-foot-long, 6-ton steel bridge was designed by Joris Laarman, a Dutch architect, and MX3D, a local robotics company, in partnership with Arup, the global engineering firm.
According to Dezeen, the bridge’s “curving S-shaped form and balustrades with lattice-style perforations” were designed with parametric modelling software. The steel bridge form was constructed using a 3D printing technique called “wire and arc additive manufacturing,” which combines robotics with welding, reported AP News.
In a local factory, custom robots with arms that can weld forged the structure, slowly building layer after layer. In an interview, Laarman said: “by adding small amounts of molten metal at a time, we are able to print lines in mid-air.”
The team claims that the approach is hyper-efficient because the form uses minimal materials. MX3D co-founder Gijs van der Velden told Dezeen that a robotic approach enables “significant weight reduction and reduced impact for parts manufactured in the tooling, oil, and gas and construction industries.” But another architect calculated that the stainless steel in the bridge includes at least 27.7 tons of embodied carbon.
The Alan Turing Institute and Arup incorporated a network of sensors that will collect data on its performance with changing environmental conditions and foot and bike traffic over the next two years. Researchers at the Imperial College of London hope to analyze the stream of data to create even more efficient structures.
Micha Mos, a city councillor in Amsterdam, told AP News the city hopes the new bridge will change the vibe in Amsterdam’s red light district. “This may attract a new kind of visitor, one who is more interested in architecture and design, which will help change the way the neighborhood is perceived.”
After a free-wheeling three-hour review, the Commission of Fine Arts (CFA) in Washington, D.C. approved the latest design of the Hirshhorn sculpture garden from a team led by Hiroshi Sugimoto, a Japanese artist, architect, and landscape designer. The contentious revamp of the garden, which has gone through two years of review and refinement, features reconfigured outdoor sculpture galleries, a diverse and rich tree and planting design, a new central pool — and the most controversial element, stacked stone walls. The landscape design brings a contemporary Japanese sense of space and materials to the National Mall and will be only the second Asian-inspired design after the Moongate Garden found next to the Arthur M. Sackler Gallery. The new design further diversifies the multicultural experience of the National Mall, which now includes the National Museum of African American History and Culture that incorporates African design motifs.
As ASLA and the Cultural Landscape Foundation (TCLF) have recently highlighted, the CFA is currently without a landscape architect for only the second time in its 112-year history. Just a few years ago, three landscape architects, academics, and designers — Mia Lehrer, FASLA, Elizabeth Meyer, FASLA, and Liza Gilbert, ASLA — were among the commissioners. But with the new set of four commissioners appointed by the Biden-Harris administration, the CFA is also one of the most diverse in its history, with three commissioners of color, including the first woman and Asian American chair, architect Billie Tsien. The lack of representation of landscape architects on the CFA is a source of concern as the CFA frequently reviews proposals that impact historic landscapes.
Melissa Chiu, the Chinese Australian executive director of the Hirshhorn, introduced the presentation by the design team, which is led by Sugimoto and includes Felix Ade, an architect from YUN Architecture; Faye Harwell, FASLA, a landscape architect and founder of the D.C.-based firm Rhodeside & Harwell; and Alyson Steele, an architect with the D.C.-based architecture firm Quinn Evans.
Chiu argued that the design by Sugimoto and team is a “natural evolution” of the current garden, because Gordon Bunshaft, the original Hirshhorn museum and garden architect, was deeply influenced by Japanese artist Isamu Noguchi and traveled to Japan, where he appreciated stacked stone walls.
Bunshaft’s Brutalist design for the sculpture garden, which opened in 1974, was without trees so became a “hot micro-climate” in the punishing Washington, D.C. summer. In 1981, landscape architect Lester Collins, also a “student of Asian design,” completed a redesign of the garden, creating smaller rooms; adding ample maples, pines, and plants; and a wheelchair-accessible ramp at the National Mall entrance to the park, an advance in accessibility years before the Americans with Disabilities Act (ADA) was passed. Prior to Collins’ redesign, the central underground pathway leading from the sunken sculpture garden to the museum was closed. The passageway was viewed as dark and perhaps unsafe and was reconfigured as an educational center.
The new design includes three outdoor gallery experiences that will provide greater curatorial flexibility for the Hirshhorn, Chiu argued.
A new central gallery is a flexible garden space designed for performance art. Responding to feedback from consulting parties as part of seven Section 106 reviews, the Hirshhorn has kept the form of Bunschaft’s original rectangular pool, which mirrors a window above in the Hirshhorn facade. An additional pool has gone through many revisions.
The design team ultimately landed on a U-shaped pool immediately to the south of the original rectangular pool, separated by a new five-foot-wide central walkway and stage. The pool can drain for events, providing tiers of seating. Harwell argued that it will be a much-needed respite in D.C.’ s brutal summers, helping to cool the space.
A west gallery will provide space for newly commissioned, large-scale sculpture, with a lawn. The area can be used for “site-specific works, film festivals, and school groups,” Chiu said.
A new east gallery will create smaller rooms filled with trees that offer more intimate spaces for the Rodin and Henry Moore sculptures now found in the garden.
Responding to feedback from the CFA’s first review in 2019 that approved the general concepts, there is now a more fleshed-out landscape design. Harwell explained that the new design preserves much of Collins’ work by protecting the large elms that ring the garden and continuing to feature the pines and maples he planted. But to combat the “sameness” of the current landscape, Harwell is adding nine tree and 40 ground cover species, 70 percent of which will be native. Plants were selected for texture, and colors include whites and cremes, with hints of red. The landscape is designed for seasonal change and to create a sense of “stylized naturalism.”
New broad stone pavers, which are being evaluated in a test area of the garden, will replace the current brown squares. New handrails will be bronze, as they are now. Throughout the landscape, stormwater will be managed on-site, with the help of two underground cisterns that will capture water for irrigation.
At the south end of the garden, the passageway linking the museum with the garden will be re-opened and sheathed in mirror-like panels that bring light to the tunnel. Commissioners were universally positive about the feature, with Commissioner James McCrery calling it “brilliant.”
At the north end, where the garden meets the National Mall, the width of Bunshaft’s original entrance — 60-feet — is restored in the new design. The concrete wall that visitors now see when they enter will also be replaced by a much shorter 42-inch-high stacked stone wall. The accessible ramps at the north entrance will be moved to the west side of the garden, and a new entrance will be created on the east side.
Commissioner Justin Garrett Moore argued that ramps on just the west side of the garden don’t go far enough to create a universally accessible experience for all wheelchair users at various access points. All commissioners agreed that an additional custom-designed elevator was required and needed further study.
The perimeter concrete walls, which are now “inherently unstable,” will be rebuilt, but within the space, new stone stacked inner partition walls will change the character of the space, softening its Brutalism with a more naturalistic feel. The design team has been testing prototypes of the wall within the garden.
According to Ade and Steele, the new stacked stone walls, which will be comprised of stones sourced from a quarry in Pennsylvania, will offer better acoustics, as the walls will be rough, have open joints, and be subtly angled towards the sky, bouncing sound upwards. Chiu said the walls will be critical to supporting performance artists’ work. Ade and Steele confirmed that extensive acoustic studies were conducted to confirm they create a better sound environment than the current concrete walls, which apparently reflect sound directly back to its source.
In a video, Sugimoto said Bunshaft was inspired by Japanese Zen gardens and his goal is to simply “restructure Bunshaft’s design in spirit.” Throughout the review process, Sugimoto has vehemently defended the stacked stone walls as central to his overall design, arguing that they bring an “ancient spirit to a modern garden.” He said “the pre-modern stone stacked walls will make the modern sculpture stand out,” and through contrast will highlight their modernity.
In a break from tradition during the pandemic, organizations submitting comments on the proposals weren’t allowed to speak directly to commissioners; instead Thomas Luebke, secretary of the CFA, read summaries of feedback.
Since the sculpture garden concept design was reviewed two years ago, there have been vocal opposition to many design elements, including the walls and pool and the general shift in the character of the design away from the Brutalist landscape that is in unison with the building. One over-arching concern is the lack of consideration of Lester Collins’ 1981 redesign of the garden, which has recently been deemed eligible for inclusion in the National Register of Historic Places; two years ago, when the CFA first reviewed the proposed re-design, it hadn’t been.
TCLF, Committee of 100, and Docomomo have all raised concerns throughout the Section 106 review process. In a comprehensive set of comments and questions sent to the Commission, TCLF stated: “We are supportive of the revitalization efforts but have serious concerns about two design interventions that would fundamentally alter Gordon Bunshaft’s artistic vision, which was respected by landscape architect Lester Collins.” Those interventions are the new pool and stacked stone walls.
They also raised concerns about how the Smithsonian will maintain the new, more complex pool; whether enough research has been done on the acoustic benefits of the proposed walls; and why a reconfigured central galley is even needed, given the expanded western gallery.
Furthermore, Elizabeth Meyer, FASLA, a professor of landscape architecture at the University of Virginia and former vice chairwoman of the CFA, sent a clarification regarding her past statements, arguing that they have been used by the Hirshhorn “without context, leading to the impression that I endorse the current designs. I do not.” She outlined that the “period of significance” in the National Register of Historic Places nomination shifted to 1981 in February 2020, after the CFA last reviewed the conceptual designs, and this should trigger an important reconsideration of the changes to Collins’ designs.
But there are also supporters. Laurie Olin, FASLA, founder of the landscape architecture OLIN, offered his opinions in an extensive memo that concludes “the project as currently proposed by Sugimoto, Harwell, et al, is far superior to what has existed adjacent to the Hirshhorn Museum and the National Mall until now, and if implemented will add a worthy layer to those that will inevitably remain embedded in the situation. The sculpture garden will become a sequential and combined work of Bunshaft, Collins, and Sugimoto, created through time, one far more interesting than any of them could have done alone.”
Perhaps only Olin’s comments were decisive in influencing the Commission, as the commissioners expressed an openness to what Sugimoto’s team proposed and didn’t call for sending the design back to the drawing board to reconsider Collins’ contributions to improving the original landscape.
Instead, the focus of the Commission was on how to rethink the accessibility, safety, and security of the sculpture garden and National Mall buildings and landscapes for the 21st century. And it seemed more than an hour of the conversation returned to these topics, as the commissioners repeatedly questioned what the experience would be like for a wheelchair user.
New Biden-appointed Commissioner Justin Garrett Moore, a transdisciplinary designer, urbanist, and program officer for the Humanities for Places program at the Andrew Mellon W. Foundation, who initiated the focus on accessibility, said the project was an “opportunity to explore what public landscapes should be and mean” for a contemporary Washington, D.C. We can expect to see a greater focus on moving universal design forward with this Commission.
The Power of Getting Paid Not to Park at Work — 07/14/21, Bloomberg CityLab
“Subsidizing employer-paid parking clogs streets boosts emissions and isn’t fair to commuters who can’t use this perk. But there’s an easy way to fix it.”
Covid Didn’t Kill Cities. Why Was That Prophecy So Alluring? — 07/12/21, The New York Times
“Inevitably, the city survives. And yet so does the belief it will fall next time. The Upshot asked more than a dozen people who think a lot about cities — historians, economists, sociologists and urban policy experts — about the strange staying power of this narrative.”
Who’s the Green City for, Really? — 07/12/21, Sierra Club Magazine
“This idea that all green spaces are an unmitigated social good is nothing new…It’s a concept that’s existed since the late 19th century. What is unique now, though, is public awareness of ecological concerns like climate change. Green cities are now the epitome of an ideal, modern urban life, and urban planners seek to integrate highly visible, nature-based projects into cities.”