Remembering Carol R. Johnson — 12/14/20, The Cultural Landscape Foundation
“Carol R. Johnson, founder of what became one of the largest woman-owned landscape architecture practices in the United States, died December 11, 2020, in Boothbay Harbor, ME; she was 91. She began her career with small residential commissions, then public housing projects and college campuses, followed by civic and corporate work in the U.S. and abroad.”
MoMa Urged to Drop Philip Johnson’s Name over Architect’s Fascist Past — 12/13/20, The Guardian
“New York’s Museum of Modern Art (MoMA) is under growing pressure to remove Philip Johnson’s name from its galleries and titles after Harvard addressed the late architect’s legacy at the university, saying his history of racism, fascism and white supremacy had ‘absolutely no place in design.'”
Building Public Places for a Covid World — 09/11/20, The New York Times
“Walter Hood’s landscape architecture firm, Hood Design Studio, has created major parks and museum gardens in Oakland, San Francisco and New York. He is also doubling down on the work he has been doing for 20 years: helping historically African-American communities rediscover history that’s been erased through abandonment or demolished by urban renewal.”
Nine Fall Gardening Tips From a Texas Landscape Architect — 09/10/20, Texas Monthly
“Dallas-based landscape architect David Hocker says the coronavirus pandemic has led to a huge increase in demand for his work, as public health guidelines have pushed us out into nature for safer socializing, dining, and exercise.”
Beyond Complete Streets: Could COVID-19 Help Transform Thoroughfares Into Places for People? –09/07/20, Planetizen
“By changing the way we traditionally use streets, people are expanding the way they think about cities in real-time. In a relatively short period of time, cities have announced plans to permanently close some of these ‘COVID streets’ to create new recreational spaces in combination with mobility corridors—essentially, linear community commons, or places for people.”
The Case for Making Virtual Public Meetings Permanent— 09/02/20, Governing
“The question, as has been asked in many contexts through 2020, is why can’t this COVID-19-era innovation become permanent? Rather than return to the hassle of holding most public meetings in person, why not continue to make them remote?”
Statue Suggestions Roll in for Trump’s National Garden of American Heroes — 09/02/20, The Architect’s Newspaper
“Suggestions for ‘lifelike or realistic’ representations of ‘historically significant Americans’ that could potentially populate the Trump administration’s planned National Garden of American Heroes have now been submitted by officials in various states, territories, and counties.”
Architect of Sweden’s No-lockdown Strategy Insists It Will Pay Off – 05/07/20, The Financial Times
“Anders Tegnell, Sweden’s state epidemiologist who devised the no-lockdown approach, estimated that 40 per cent of people in the capital, Stockholm, would be immune to Covid-19 by the end of May, giving the country an advantage against a virus that ‘we’re going to have to live with for a very long time.'”
Bernard Trainor + Associates, led by landscape architect Bernard Trainor, has transitioned into Ground Studio Landscape Architecture. To mark the change, the firm had released a new monograph, Bernard Trainor: Ground Studio Landscapes, to “reinforce our identity working to design timeless California landscapes.” Regardless of its name, the studio’s work is impressive. And the monograph makes the work look effortless. Of course, we know it wasn’t, and there was a rich design process behind each of the featured projects. We’re just not offered much insight into it.
The flaw in most architectural monographs is the emphasis placed on finished products over process. The best monographs leverage text, drawings, and photographs to build the reader’s understanding of a designer’s approach, in addition to cataloging their work.
So what does Ground Studio’s monograph tell us of its approach? It tells us that Trainor tries to marry problem solving and beautiful place making. We learn that the search for the genius loci is paramount to him, and that his firm attempts to more fully reveal that spirit. We also learn that he has a unique ability to read the environmental patterns on a site. Trainor’s not sure how this ability came to him, but his studio’s best projects are strongly informed by it.
You will learn a bit more by searching online for lectures by Trainor. In a presentation given to the Santa Clara Valley Native Plant Society, we discover that he appreciates when planting and hardscape design are beautifully combined. That’s the sort of specificity one can appreciate and gives us something to look for in the book’s projects. The reader won’t have to look hard: Ground Studio deploys hardscape and planting with a strong sense for complementary materials and textures.
Gravel is a favorite hardscape material of the studio; its versatility is on display throughout the book. It’s used in the auto courts of several projects and often serves as the bed in which other stone pathways sit, becoming a common material thread running through each site. Low stone or concrete walls serve to frame and divide outdoor spaces. Hardscape materials will often be shared by the outer walls of the residential designs, creating a unified feeling between architecture and landscape architecture.
Trainor’s lecture also gives us some insight into the specifics of the firm’s design process. Photographic analysis is critical to their work. The majority of the book’s projects are in the somewhat isolated mountains and valleys of rural California. Ground Studio creates catalogs of panoramic photos taken during site visits to create maps and diagrams of specific views and site features that will inform the design.
Given the context of Ground Studio’s sites, there is always an interesting mix of existing vegetation to respond to. Trainor highlights his firm’s expertise at suppressing exotic plants and re-establishing native ecosystems where appropriate. When it comes to favorable existing vegetation, Ground Studios’ designs are deferential and inclusive. Confronted with two mature trees at the entrance of the Arroyo Sequoia residence, Ground Studio constructed a wooden deck that runs up to and around the trunks.
This gesture gives the design authenticity. The firm connects their designs with the surrounding environment by blurring the edges between the two.
The beach is 15 miles from the center of Amsterdam, but a small piece of it will soon exist among the windy rooftops of the city. Buro Harro, a Dutch firm co-led by landscape architect Harro de Jong, in conjunction with Ronald Janssen Architecten and Bastiaan Jongerius Architecten, are building a dune roof on one building of the Groenmarkt complex. The team won the competition for the project in 2015 and construction is scheduled to be completed in 2020.
Groenmarkt (Green Market) was a fruit and vegetable market that occupied the block from 1898 to 1934. Today, the complex consists of a 35-unit apartment building, four private town homes, and a small urban square linking the buildings. The complex sits along the Singelgracht, a canal that once marked the outer limit of the city.
The design team transformed the notion of the green roof. Much of the development in Amsterdam is similar in height, approximately 14 meters (45 feet), which de Jong describes as a place where “the wind blows as in completely open landscapes.” The unique rooftop micro-climate inspired the team to draw from a similar windswept landscape that Dutch people enjoy, even during stormy weather: the beach.
The roof will be complete with sand, beach grass, and a salt water pool. De Jong believes “the sounds of Amsterdam in the background will be like the murmuring of the sea.”
Accomplishing this feat is not as simple as it sounds. Beach ecosystems are fragile, with each layer of dunes playing a vital role. Dunes rely on colonizing species, usually grasses to help secure the top layer of sand from blowing away. Eventually layers of dunes develop, from primary, closest to the water’s edge, to tertiary. Tertiary dunes are more stable, because of decreased wind exposure, which allows more plant growth and even some small trees to grow within them. Buro Harro plans to use this kind of dune for the Groenmarkt roof.
In order to do this, the firm will transplant part of the dune onto the roof. They used this technique for Bartokpark, but now face the added difficulty of trying to move a dune on to the roof.
Ultimately, the effect will be a fully-formed tertiary-like dune, with a variety of grasses and a few small trees to provide shade and further stability. The transplantation method provides an ecological base to work from, but the team will consult with ecologists to ensure the dunes are able to thrive.
Typical dune fencing will establish the boundary of the walking space on the roof, with walking paths keeping people off the grasses.
Other elements of the project: trees will be introduced in the plaza, encouraging residents to use the plaza throughout the year.
Typically, residential blocks in Amsterdam are formal and flat on their public facade, while the interior courtyard is a collage of balconies and greenery.
The team decided to invert this relationship so that, according to de Jong, “the outside of the building becomes very irregular and very green.”
The decision to turn the social space outward gives the project an identity from the river and improves connectivity with the plaza. De Jong also created pre-fabricated nesting spaces in the facade for bats and birds. Holes in the floor slabs allow vine growth.
Buro Harro has plans for other kinds of roof environment — for instance, orchards or wet landscapes that contain stornwater runoff. De Jong has found people will pay extra for integrated architecture and landscape. This allows his firm to “multiply landscapes through architecture,” creating spaces for both people and biodiversity.
How Better Urban Planning Can Improve Gender Equality — Behavioral Scientist, 4/9/19
“In the mid-1990s, public officials in Vienna found something surprising when they studied who was using their public parks: girls were much less likely to use parks after age nine, while boys continued using them into their teens.”
Pier 4 ‘Sea Steps’ in Seaport District Opening This Summer– Curbed Boston, 1/22/19
“The five so-called Sea Steps next to the future Pier 4 luxury condo complex and the Institute of Contemporary Art area in the Seaport District are expected to open this summer, according to developer Tishman Speyer.”
OLIN Designing a 400-acre Waterfront Park for Southern Indiana– The Architect’s Newspaper, 1/28/19
“OLIN has been tapped to design a 400-acre park along the northern shore of the Ohio River in southern Indiana. Set within a swath of waterfront long-occupied by landfill and industrial facilities, the future park will give local residents a much-needed connection with the river and its history, while boosting the area’s link to Louisville, Kentucky.”
Home Buyers Want Outdoor Spaces — and They’re Willing to Pay for Them– The Tennessean, 1/29/19
“Outdoor features of all kinds, from pools to fireplaces to complete living rooms with furniture designed to stand up to the elements, are being installed in backyards everywhere, said Joe Raboine, a manager for Belgard. The company provides materials and design services.”
Landscape Architecture Coalition: We Need More Walkable Streets– Associations Now, 1/30/19
“Smart Growth America, which focuses on improving infrastructure around the country, recently released a study highlighting the scope of dangers that pedestrians face due to metropolitan areas not being built for walking. The study was produced in tandem with its subsidiary, the National Complete Streets Coalition.”
Shaping the Postwar Landscape, edited by Charles Birnbaum, FASLA, founder and CEO of the Cultural Landscape Foundation (TCLF), and Scott Craver is the fifth in a series of books that serve as an encyclopedia of landscape architects and allied professionals who made significant contributions to American landscape design. The book is an excellent resource for anyone interested in American landscape design’s roots.
While the editors set out to provide a reference guide, they’ve achieved a relatively compelling read. Professional disciplines are comprised of people, ideas, and projects. Through the fastidious profiling of American landscape pioneers, Birnbaum and Craver have encapsulated a specific period of landscape architecture in an easily consumable text.
Per the title, the book focuses on landscape architects who were most active post-WWII through the bicentennial. This was the era of Modernist design and the move to incorporate environmental intelligence into design and planning. This era saw the first freeway-capping parks, rooftop gardens, and waterfront revitalization projects. And saw landscapes architects take on a broader range of projects in new territories and at new scales, from urban pocket parcels to suburban developments to greater ecological regions.
It was also a time in which the profession of landscape architecture experienced impressive growth. ASLA members numbered 540 in 1949, a figure that leaped to over 4,000 by 1974, according to Elizabeth Meyer, FASLA. With that growth came added diversity and strength of ideas. More women, minorities, and people without professional backgrounds in landscape architecture took on roles in shaping the discipline during this period. The individuals chronicled in the book are those whose professional and academic work guided and informed landscape architecture during an especially exciting time.
Postwar Landscapes’ profiles are well-written and include useful personal and professional information as well as analysis. For instance, we are told not only what projects landscape architect Satoru Nishita worked on, but of the renown of his father’s bonsai and that his portfolio demonstrated a keen eye for design details. In this way the writing avoids dryness in spite of the book’s encyclopedic format. The format does have the benefit of allowing one to telescope in and out of the book. But as one reads through, names of people, projects, institutions and movements recur to the point that one begins to recognize the larger constellation they form.
While Postwar Landscape’s format might suggest it’s suitable only for researchers, its reach should be much greater. Many landscape architects are well-versed on projects but fuzzy on the associated names and chronology. This book is an excellent tool for filling those gaps.
If you know of Lafayette Park in Detroit but not Alfred Caldwell, or admire Cornelia Oberlander’s work but want to understand her broader impact on the profession, Postwar Landscapes can be a rewarding read.
As founder and CEO of the Cultural Landscape Foundation, few individuals have done more to increase awareness of American landscape design than Birnbaum. His crusade has produced the sort of work that edifies and anchors a discipline, work that should not be taken for granted.
If you are looking for a unique book to give as a gift or just one for yourself to delve into over the winter break, explore THE DIRT’s top 10 books of 2018, our picks for the best on the environment, cities, and landscape:
In this delightful book by Jonathan Drori that features magical drawings by Lucille Clerc, the history of different tree species around the world comes alive. For thousands of years, humanity has depended on trees for food, medicine, and companionship.
Participatory design is “hands-on democracy in action,” argue the editors of the impressive book. Participatory design (also known as cooperative or co-design) is a process in which a designer actively involves all stakeholders in a design process. The editors call for making participatory design “truly democratic.” Furthermore, it must become “contextual, open, experiential, substantive, and holistic.” Read the full review.
This monograph provides real insights into the design process of Seattle-based firm Gustafson Guthrie Nichol (GGN), making it one of the best of this format. Thaïsa Way, FASLA, professor of landscape architecture at the University of Washington, partnered with GGN to dig deeper into how the firm has used “creativity and problem-solving” to “make and shape memorable places.” Read the full review.
Many have called Kongjian Yu, FASLA, president of Turenscape, the Frederick Law Olmsted of China. And with this book, one understands why. This collection of letters to Chinese president Xi Jinping and provincial governors, essays, interviews, and other advocacy pieces reveal how much Yu has invested in promoting his ecological, water-centric “sponge city” approach. His book demonstrates that every landscape architect can become a leader and a powerful force for improving environmental and human health in their community.
Edward Tufte, the world’s best known information designer, said Charles-Joseph Minard’s statistical map of Napolean’s 1812 invasion and then retreat from Russia was the greatest information graphic ever made. In this intruiging new book, author Sandra Rendgen uncovers the man who made the graphic as well as his many data visualization innovations. Read the full review.
Julian Raxworthy, a landscape architect and senior lecturer at the University of Cape Town in South Africa, calls for the “integration of landscape architecture and gardening. Each has something to offer the other: Landscape architecture can design beautiful spaces, and gardening can enhance and deepen the beauty of garden environments over time.”
Journalist Elizabeth Rush takes readers on a journey to places where sea level rise is already having an impact — from the Gulf Coast to Miami, New York City to the Bay Area. “For many of the plants, animals, and humans in these places, the options are stark: retreat or perish in place.”
For those who enjoy a deep dive into history, this book edited by Thaïsa Way, FASLA, professor of landscape architecture at the University of Washington, offers a rich exploration of how cities and rivers have shaped each over throughout the centuries. The intertwined history is also viewed through the lens of climate change and resilience. River City, City Rivers is the end-product of the excellent 2015 symposium on river cities at Dumbarton Oaks.
Roberto Burle Marx stands as one of the towering figures of 20th century landscape architecture, yet he left relatively little in the way of writing that describes, defends, or otherwise elucidates his work. A new collection of lectures, edited by Gareth Doherty, ASLA, helps fill that void. Read the full review.
This excellent book by landscape architects Catherine Seavitt Nordenson and Guy Nordenson and architect Julia Chapman, draws on years of research in design, art, policy, and engineering to argue for a new vision of our coasts. Structuresof Coastal Resilience is a significant contribution to the body of research on this topic. Read the full review.
Buying these books through THE DIRT or ASLA’s online bookstore benefits ASLA educational programs. And if you are based near Washington, D.C. we also recommend checking out the National Building Museum’s world-class book store.
Contextual Minimalism, a new monograph from the landscape architecture firm Coen+Partners, presents the work of founder Shane Coen, FASLA, and his firm into a well-organized book encapsulating over 20 years of design projects. With photography, some drawings, and minimal text, it tells the story of how Coen’s design instinct developed into a design philosophy, and how that philosophy adapted to different design challenges, primarily in the upper mid-west.
Coen describes his firm’s work as the “celebration of nature through contrast, deduction, and abstraction,” an approach he’s come to call “contextual minimalism.” This approach is apparent in the firm’s use of contextually-appropriate blocks of color, texture, and mono-cultural plants.
Much of Coen’s work feels painterly, with broad strokes and deliberate dashes. Coen writes with appreciation of the impact his father, a painter, had on his approach towards landscape. On many of Coen’s larger projects, this approach works to stunning effect, as in Jackson Meadow. There, on the 365-acrea planned-unit development, Coen’s firm planted the entire property with little blue stem to create a “unified ground plane” for the development’s all-white structures: splotches of white among a field of seasonally fluctuating color.
Even after many years, Jackson Meadows feels unique among Coen’s projects, and much of that has to do with how Coen, in this book and public lectures, has described it. More than any other project, Jackson Meadows feels like a sandbox, a testing ground for what was at the time Coen’s philosophy.
Collaboration with the project architect elevated Jackson Meadows. This sort of collaboration has been a mark of the firm since its inception. Coen explains that working on projects with powerful architecture “brought meaning” to his practice. You can attribute some of that meaning to the holistic achievements that result from successful collaboration. But Coen exhibits an admiration for architecture that feels unique among landscape architects. It provides inspiration and a datum from which to design.
Coen’s approach is often forced into tighter private and residential spaces. Still, there is an attention to materials and relationship between architecture and landscape architecture that bolsters these projects. In the Wood House in Chicago, Illinois, Coen uses blocks of color and material to blur the boundary between inside and outside.
The projects elucidate how Coen’s economical design approach shifts and adapts to different settings. In rural contexts, the preferred way of exalting nature is to contrast it with structures or work that is clearly artificial. In urban settings, the designer must abstract nature. If done well, the effect will be a sublime and uplifting experience.
One might dispute the logic behind this strategy, but not the results. Look at what is achieved in Minneapolis Central Library, which is hemmed in by depressingly-wide roads. Before, the approach to the library was routine at best and degrading at worst. Coen added slate gardens supporting a row of birch trees to the library’s north-facing sides. The jagged slate recalls Minnesota’s rugged terrain. Its layering and the pioneering birches suggests opportunity and positive disruption.
Most monographs suffer from a surfeit of finished photographs in place of sketches and plans that provide real insight into the design process. Unfortunately, Contextual Minimalism does not deviate from this trend. But the book does allow one to see a clear connective thread between Coen’s projects, which is a significant achievement.