We are living where we shouldn’t be living. In more communities across the U.S., climate change is causing flooding, wildfires, extreme heat, and sea level rise. According to a group at the Congress for New Urbanism (CNU)’s Virtual Gathering, one solution is for communities threatened with climate impacts to move to “receiver cities.” The hollowed-out “legacy” cities and small towns of the Midwest could become new homes for displaced climate migrants because they have solid infrastructure, many open lots and empty homes, access to water, and lower risks of climate change-driven weather impacts.
But more planning is certainly needed to ready receiver cities for a possible influx of migrants from coastal communities, particularly cities like Miami, which are experiencing rising sea levels and flooding, and desert communities in the Southwest, which are battling drought and reduced water supplies.
Legacy cities are former industrial communities that have fallen on hard times. Dan Baisden, a midwest urban planner, said these mid-sized cities in Ohio, Michigan, Pennsylvania, and West Virginia, have experienced major population declines, job losses, and increased concentrations of poverty. “Braddock, Pennsylvania has seen a 90 percent drop in population, and Johnstown, Ohio, a 70 percent drop.” While these legacy cities may be good places for climate migrants, they also aren’t “fully ready to accept them.” Through the CNU Legacy Labs project, he is helping these cities devise climate adaptation plans that “build density and social structures.”
There are other planning efforts underway to help guide migrants to receiver cities. Scott Bernstein, founder and director emeritus of innovation at the Center for Neighborhood Technology (CNT), is developing a series of urban climate action plans, mapping instances of extreme heat, drought, and flooding. He has located the places with the highest and lowest frequencies of severe weather, heavy water events, and bearing winds. His goal is to identify the communities with the lowest risk of climate dangers.
Similarly, architect and urban designer Dhiru Thadani is examining development patterns of 120 small cities in the U.S., including dozens of small towns, to determine which could best expand to handle population growth and a large influx of climate migrants. He noted that the U.S. population is expected to grow by 100 million by 2050.
Large influxes of climate migrants could happen sooner than expected. Patty Steinschneider, president of Gotham Design & Community Development, asked us to envision 100,000 people moving north from Brooklyn, New York, in the immediate aftermath of some major natural disaster like Superstorm Sandy. Communities near Brooklyn need to plan for emergency receivership as well as a potential long-term permanent influx. Just as many who have fled cities because of COVID-19 will not return, not all climate migrants will be able to or want to return to their original communities.
Baisden noted for a community like Toledo, Ohio, which has a very small planning staff that is already overrun with existing responsibilities, planning for a rapid influx of, say, just 100 families would be very challenging. “They have no long-term planning capacity. We instead need to work directly with communities on the ground.” Onaran said communities could possibly designate “receiving zones.”
For Jesse Carpentier with ICLEI USA, the case for long-range climate adaptation planning needs to be better made. “People act on emotions rather than logic. Immediate gratification will always be more appealing than long-term benefits.” So these planning efforts, which have a multi-decade horizon, need to bolster stakeholders through short-term incentives like awards, recognition, and certificates, “which really do work.” Adaptation efforts must also have “tangible co-benefits” for communities in the form of economic gains and aesthetic improvements.
So what can potential receiver communities do to prepare for both climate change and incoming climate migrants? Recommendations included creating comprehensive policies that incentivize migration, developing plans for reusing and adapting existing community assets, and investing in green infrastructure and planting thousands of trees. Communities can also let others know they are open and welcoming of climate migrants.
Prisca Weems, a founding partner with interdisciplinary firm Future Proof, noted that climate migrants will not just an issue within the U.S. A 2018 report from the World Bank finds that 143 million people are now already migrating in-country each year.
Throughout the Congress for New Urbanism’s Virtual Gathering, landscape architects, planners, architects, and developers struggled to figure out how the pandemic is impacting communities and the built environment — and tried to foresee what changes are coming in the near future.
Black, Indigenous, and People of Color (BIPOC) communities will experience disproportionate negative impacts in the form of higher mortality rates, illnesses, bankruptcies, and evictions. Some also foresee a significant decrease in public financing for affordable housing developments.
There is also the fear that people are retreating to their cars, which are now viewed as “armored bubbles,” and to the suburbs — a trend that could lead to greater suburban sprawl, increasing transportation costs, and a steep rise in greenhouse gas emissions.
A few optimists argued that dense cities and communities, along with affordable and subsidized housing, multi-family housing, and transit-oriented development, will weather the storm. People will still be drawn to walkable communities and being near one another. Resilient communities will find a way, like during other recessions.
Low-income Communities Are at Greater Risk
In a session that looked at low-income neighborhoods in cities, Kit McCullough, an urban designer and lecturer at the University of Michigan, emphasized the need to protect and invest in communities where hospitality and restaurant workers live — places where COVID-19 is already exacerbating existing economic strain.
Small affordable housing property owners facing financial problems are increasingly at risk of being bought out by large Wall Street-backed development firms. This would result in more “wealth extraction in low-income communities” in the form of higher rents and increased evictions.
Many people who used to rely on transit to get to work must now use a car, which is a more expensive transportation option and “adds economic pressure.”
John Sivills, lead urban designer with Detroit’s planning department, added that “if you can decamp from the city, that says something about your income level.” In Detroit, the community has “rediscovered the value of public spaces” given most don’t have the funds to leave.
COVID-19 Requires New Urban Models
In another session, Mukul Maholtra, a principal at MIG, focused on how COVID-19 is impacting BIPOC communities much more than others.
“Black Americans die from COVID-19 at three times the rate of white Americans.” In tribal lands in New Mexico and elsewhere, “there are much higher fatality rates among Native Americans.” He called for investing in “healthy density” that works for everyone.
Christopher Leinberger, a land use strategist, developer, and author, said correlations between COVID-19 and metropolitan area density are “spurious and unproven.” He said “walkable urbanism has been through this before — crime, terrorism, and now the pandemic.”
There are three challenges to a rebound in cities: “lost jobs in the ‘experience economy’ — retail, restaurants, sports, and festivals — which is what makes ‘walkable urbanism’ special; transit safety; and land costs.”
He blames zoning and not-in-my-backyard (NIMBY) forces for skyrocketing land costs and gentrification in cities like Washington, D.C. The answer is allowing greater density where land prices are high and making walkable, mixed-use development legal in more places.
Public Financing Will Be Increasingly Unavailable
Andrés Duany, an architect, planner, and one of the most influential New Urbanists, said a total “rethink of New Urbanism is needed,” because the public funds that make many walkable developments possible have disappeared.
The pandemic is expected to have a negative impact on city and state budgets into the near future, which means far less public funds available for transit, affordable and subsidized housing, transit-oriented development, and the public portions of public-private partnerships. “Everyone is broke. There will be no capital budget and no tax credits anymore.”
Demand for walkable communities as currently defined will decrease. “Home deliveries are way up because neighborhood ‘third places‘ [such as coffeeshops, book stores, grocery stores, etc] have become toxic. And transit now equals death.”
Duany also foresees a rise in social instability in the U.S., and perhaps gangs of “marauders.” This is because “110 million Americans have no savings” and are facing rising healthcare costs and unemployment and failing social safety nets.
He proposed rapidly expanding mobile home communities, given they are subject to fewer regulations and therefore lower cost. Abundant and cheap old shipping containers could be used as the base of new modular mobile home reached via a staircase.
Through her research into 2,000 suburban developments that have been retrofitted for other uses, she has found that “urbanism is the new amenity.”
In the suburbs, people increasingly want walkable, mixed-use developments that offer “experiential retail.” Dead malls have meant growth for small town main streets. Dead strip malls are being reused as offices or healthcare centers. Big box stores have been converted into markets with small vendors.
“The pandemic could mean more urbanites return to the suburbs. Office parks could be refilled, instead of infilled. There could also be more experimental suburban public spaces.” In this scenario, the car is an “armored bubble” that offers a sense of safety in a world filled with dangerous viruses.
But ultimately, she thinks the pandemic will mean walkable places will become even more valuable. If you can live and work from anywhere, “the quality of place will matter even more.”
Demand for Different Residential Amenities
In a session focused on how home design may change with COVID-19, Paul Whalen, a partner at Robert A.M. Stern Architects, said with many people cooped up at home, “visual and audio privacy, cross-ventilation, and multiple rooms that provide space for extended family” are becoming more important.
Homeowners and renters also now want separate spaces for making the transition from street to home, a “clear entrance where they can change out of clothes and take off shoes.”
Interior designer Kiki Dennis sees a changing relationship between public and private spaces within homes. Home offices are becoming semi-public domains that co-workers can see on Zoom, so they are being expanded and re-configured.
There is also much greater demand for residential outdoor spaces. “Underused outdoor spaces are being converted.”
“Ultra-luxe residential fixtures” like automatic sliding doors, face and hand readers, and personal elevators may trickle down to the masses, said Brian O’Looney with Torti Gallas + Partners. In some buildings in the Middle East, when an elevator is in use, it is locked and can’t be accessed by others in the building. This technology could become more widespread in denser cities.
Bill Gietema, a developer with Arcadia Realty Corporation, said people are buying homes online without seeing them in person.
“People want double ovens so they can bake more, expanded kitchens, home offices, workout spaces, and porches.” Some are simply lifting their garage doors to create a porch-like environment.
Multi-family housing complex designs are also shifting to include much more outdoor space and larger balconies.
A recent survey of developers that create large-scale community developments found that 16 percent are adding more shade; 22 percent, more parks; 23 percent, more trails; 57 percent, more bike lanes; and 42 percent, more playgrounds, which are now incorporating natural materials rather than steel and plastics. “There is a new desire to create a sense of community.”
In the end, though, Whalen believes many people who have fled cities will return to them. “People all want to be together. That’s why people live in cities.”
Once a vaccine has been developed, “there will be a joy in coming out of this together.”
Walter Hood, ASLA, is the creative director and founder of Hood Design Studio in Oakland, California. He is also a professor at the University of California, Berkeley, and lectures on professional and theoretical projects nationally and internationally. He is a recipient of the 2017 Academy of Arts and Letters Architecture Award, 2019 Knight Public Spaces Fellowship, 2019 MacArthur Fellowship, and 2019 Dorothy and Lillian Gish Prize.
What change do you think can result from the killing of George Floyd by the police and the Black Lives Matter protest movement against racial injustice and police violence? The movement has become global and supported by millions of people.
That’s a hard question. My first response is that we’ve been here before. In light of the pandemic and other things, I’m really hesitant to say there’s going to be some major changes in the way black people are regarded and accepted in our society. We’ve had these moments before.
What makes it really hard, as a person of color, is understanding our history. In my short life — I’m in my early 60s — I grew up in a segregated neighborhood. My school was integrated when I was in junior high. For the first time, at age 13 or 14, I started living with other people who didn’t look like me.
That’s the hardest and most difficult thing we’re not talking about: the racial construction of this country. We’ve only had 50 plus years where we’ve actually lived together in an integrated way. We have close to 300 plus years of living separately. So the idea that we can just all of a sudden flip the switch and people will change and accommodate the “other,” it’s a really tough one.
I don’t think we’re asking the right questions. You’ve listed these facts and metrics. Why are these numbers so high? When one looks back, why are we still policed in similar ways? Why are people of color harmed at a greater frequency?
In a country that was “separate but equal,” there had to be an institution to keep that separation and keep people in their place. We have had close to 100 years of the Jim Crow institution, keeping us in a subservient place. This is U.S. culture. Even post integration, we still have to look at these institutions, which go back to the founding and the development of the country. You can’t separate the two. We would like to, but they’re inextricably tied together.
It’s important to allow these issues and histories to come to a greater light and clarity, because now more people are interested in trying to understand this predicament than I’ve ever seen in any point in my life. The pandemic has a lot to do with it. People are thinking about the future. Everything is unsettled at this moment, and all the pieces have come together. It’s the perfect storm.
Black Landscapes Matter, a book you co-edited with Grace Mitchell Tada, which will be published November, came out of a lecture series you initiated in 2016 following police killings. In your book, TED Talk, and other writings, you have called for planning and designing landscapes that allow for a diversity of narratives and perspectives, instead of homogenized landscapes that just say one thing to one group of people. How do you bring out these different memories and histories in a landscape?
After the spree of police killings in 2016, we wanted to bring together people who could articulate different voices in the black community. I wanted the book to articulate what’s missing in how we design for other narratives, which is about difference. I say difference, not diversity — it’s about different ways of interpreting the world. When one puts out multiple narratives, they challenge the singular and its maintenance.
I’m thinking a lot these days about difference and sameness. Colonialism is about sameness. It takes difference and makes it into sameness. It does that to promote and maintain its construction. W.J.T. Mitchell talks about a double reading of landscape, a double semiotic.
Colonization is happening inside the colony, as ideologies are projected outside the colony. Our projection — America, home of the free, and the brave, diversity for all, “all men are created equal” — is sent out to the world. The Statue of Liberty, “give me your tired…” — all of these things. But inside, we’re being re-colonized to keep that narrative intact.
But that narrative is being torn. People are looking for other ways to see themselves and others around them. So in Black Landscapes Matter, we talk about different story lines.
If more people are aware of what is part of their environment, not just today but yesterday, and possibly even tomorrow, we’d have a different way of thinking about the world. In so many spaces in this country, something happened! It has not always been vacant and desolate, places exist! Placemaking is re-colonizing. Something is always there if you are interested in it.
Many of your projects are specifically focused on unearthing hidden layers, creating spaces for multiple consciousness. The International African American Museum in Charleston, South Carolina, tells the story of slaves arriving in the port of Charleston and their descendants. A master plan for the Rosa Parks neighborhood in Detroit, Michigan, explores the history of the movement for racial equality. Double Sights, a public art piece at Princeton University, expands the interpretation of the many sides of former Princeton and U.S. President Woodrow Wilson. Navigating through all these layers of history, how do you get to the essentials and make planning and design decisions that really resonate?
For me, it’s the willingness to want to unearth. Your previous question had to do with memory and history, which is a little different than unearthing.
Sometimes places are palimpsests, meaning part of the brick and mortar, and some of them are based in memories, the passing of time. For people of color who are marginalized, stories get lost. Each project is fraught with chance. I am not trying to solve a problem, per se. I’m trying to put something out in the world that has been covered up, erased, which might allow people to see the world and themselves in a different way.
Privilege at times only produces singular narratives, which is what happened with the Woodrow Wilson project. The students at Princeton still want his name off the building, so the piece has not resolved the issue. But what I hope the piece does is allow that issue to always be there. If someone at Princeton University said “remove the name of Wilson,” then the piece wouldn’t exist.
With the International African American Museum, there are clear, bold design statements. How do you really focus in on certain aspects of history and tell a broader story through design?
The design decisions for the landscape are very personal and I am consciously having conversations with those before me. I approached the Woodrow Wilson project through the narrative of W.E.B. DuBois, who has always been part of my thinking as a black man, and his idea of double consciousness. That gave me a point of view to criticize Wilson.
As for the International African American Museum in Charleston, the final was not the boldest design. We developed 29 different designs and worked through each one with the community. From my personal point of view, I wanted to put out imagery that had never been put out before. I took it upon myself to push the community. The Black Body in Space is something that really intrigued me conceptually.
For the Rosa Parks neighborhood in Detroit, I approached the project, again through history and identity. I’ve spent years with my peoples’ history. My research and design work has lived with these histories — not just American history but the history of black America.
Returning back to your larger question: I could have gone through practice with no interest in black history. I could have just accepted the privileged position of the designer. I could just work in the very homogeneous/standardized manner in which the profession trained me.
In my early years, that was really all I had to rely on, until I got to a point where it felt like something was missing. What was missing was myself. I did not see myself anywhere in landscape architecture, architecture, or planning. At the offices I worked, these ideas just didn’t exist. I had to create a context for my ideas to bear fruit, so I situated myself in the rigorous, intellectual world of academia and developed an art practice. This is what I’ve been doing the last 30 years.
Do you think because you’ve found yourself in your work, people can find themselves in it, too? Is that what creates a sense of resonance, when someone sees your work and connects with it?
No, they actually hear a different voice, which again, is playing off the homogeneous. Early on, I noticed the design decisions I was making were different than the decisions other people were making. I didn’t acquaint them because I’m black. It’s because of my advocacy for and interest in people and the particular places that they live, which comes from my experience of being black.
Very early, one of my projects in a disinvested neighborhood involved planting an allee of a hundred and fifty flowering trees at one time along a decomposed granite walkway. This was 30 years ago, and people weren’t doing stuff like that. To me, I wanted color to manifest in a bold way in a place that didn’t have color.
Those design choices came out of me seeing a black community in need of something. As a person making landscapes, that is what I could give them. I always go back that very simple act — that purity of impulse one has in a place where you’re engaged but also giving of yourself. And this relates to the questions: what are you feeding yourself? Where’s the inspiration coming from?
I try to bring in as much culture as I can to the work, which can offer multiple narratives and layers. I’m really not interested in singular gestures, but multiplicities.
People are yearning for difference. I just recently stopped using diversity and started using difference, because diversity is not really about difference. Difference is about opposition. Opposition is good. Double negatives are good. They exist in our world.
The doubles begin to tell stories we don’t tell. We see it in the language that is manifest over time by culture. You’ll see spaces given double negative terms, like Plaza Park. I was in San Jose, California, when Hargreaves was working on Plaza Park. I was like, “Plaza Park? Oh, this is interesting. Why does it have both?” If you go and look at the history, you know why it has two. These are the kinds of things people create over time through naming, adopting. Landscapes have a language.
If we’re critical enough, we can begin to read the landscape in different ways. Once you do, it changes you forever. There’s no way to go back.
Washington D.C. Mayor Muriel Bowser and the city government have painted “Black Lives Matter” in street-bounding yellow letters down 16th Street, NW in front of Lafayette Square and the White House. This was widely viewed as a response to President Trump’s order to teargas protesters and close off Lafayette Square — a key protest space and site of a former slave market — from public access. How do you unpack everything going on in that space? What is the role of public space in the protest movement?
In the history of this country, streets have been that number one space for protests. We can go back to women’s suffrage and civil rights. The streets are the public domain. In D.C., what’s public and what’s federal? That’s the interesting dichotomy in D.C. Lafayette Square, which is federal, gets acted upon differently than the city public. When I heard that, I was like, wow, I didn’t know the President had dominion over that particular space.
Protesting has always taken place in the public realm. You can go back to Kelly Ingram Park and the Edmond Pettus bridge. These are my first memories: people protesting in the streets. This is nothing new. The marking, particularly with the branding, might be something new, a kind of guerilla tactic. I applaud the mayor for doing it, because she was able to demark a space. People are calling it the plaza, but again, this it is about nomenclature. I applaud her for marking a space that was taken away from her.
Lafayette Square, like a lot of public squares, was among the first public parks in our country. They were also places where atrocious things happened in our country like slavery auctions, so they’re on hallowed ground to a degree. If we’re interested in changing how we think of ourselves, we can also be critical of the places where we’re actually protesting. To me, that could give credence to, or help articulate, issues we’re facing, particularly with the pandemic.
We know most low-income areas have higher cases of COVID, which you could also probably correlate to redlining policies and expulsive zoning, which was an institutional pre- and post-war planning practice. Redlined landscapes are still the same today if we are still in them.
Public safety is important. People should be allowed to use the spaces we have seen over the past few weeks, whether it’s the I-5 in L.A. or bridges in Minneapolis. These are spaces the public pays for.
You have equated the value of environmental diversity with that of social and racial diversity. Just as land comprised of diverse ecosystems are more sustainable and resilient, racially diverse or different communities also increase social sustainability and resilience. How can the fight for racial equality and justice support efforts to combat climate change and vice-versa? What are the connections?
The first connection one might think about is duplication. There really are two Americas, and we’re actually trying to support both of them, not equally though. There’s one America for one group of people and another for the other. It’s just not sustainable, because we’re having to spend more money on communities that are different, which is a result of the after-effect of not investing in these places in the first place. How to make communities more racially diverse is our next challenge.
We’ve been talking recently about a few new mixed-income housing projects in Oakland, California. When we think of mixed incomes, we think race, right? We can think of brown people, low-income; non-brown people, higher incomes. What might allow them to share the same space? That’s the question we’re beginning to ask. It comes back to public space, right?
We can develop parks and other types of landscapes that are more integrated into peoples’ patterns and practices, so they can begin to share space. The architectural question is a bit more difficult, because a lot of that is driven through the market.
As for environmental diversity, I’ve lately returned to reading Olmsted and early Central Park history. In Go Tell It On the Mountain, written by James Baldwin, he describes an experience in Central Park one day. He goes to this hill. It’s his favorite hill. When he gets to the top of that hill, having walked from Harlem to Central Park, with all the white eyes upon him, he’s king of the world. He could do anything. He’s standing there looking out to Manhattan. He’s on this hill in the middle of nature, and he could do anything, and then slowly reality comes back to him. He descends the hill and runs into an older white guy. Immediately, he’s about to apologize, but instead the man smiles. That moment is how I think about what landscape can do. In a certain way, how do we put ourselves together in a place where there is no label or stereotype of the other? That’s really tough to do, as we recently saw with that woman in the Ramble.
Gentrification of urban Black and brown communities most often results in their displacement. Some communities have viewed efforts to add new green space and trees to their communities as a gentrifying agent. So one response has been the “just green enough” design movement, which calls for adding green amenities but not to the extent that they would raise property values. What is your take? What approaches work best to stop displacement? And how do you think the protest movement can change conversations in communities where gentrification is happening?
All communities should be healthy. If we have the opportunity to increase biomass and improve the public-realm facilities in any community, we should do it. The fear of making something better particularly for those most vulnerable — really.
We should look at the issues that create the vulnerability. In many places, you have a high percentage of renters and low ownership. Some places you have little to no tax base. You have these institutional issue that don’t help. The first steps in some places are to figure out new and diverse housing types, increase ownership, and stabilize communities.
When communities were most healthy, successful, richest — whatever word you want to use to characterize them– they were diverse places. West Oakland has the moniker of having always been an African-American neighborhood. If you review its early formation, people came here because it was the western terminus of the railroad. Different communities of people worked and lived here: Latinos, Hispanics, African-Americans, Portuguese, Italians, etc. Post-war we see white flight, and then desegregation. First immigrant and then middle-class African Americans had opportunities to move into the places that whites had left. We then abandoned those redlined neighborhoods and left the most vulnerable.
That’s the dynamic of the city. We have to articulate these dynamics to communities in which we work and help them understand these processes.
I live in an area that was once redlined. There are single-family houses mixed with light industrial. It’s a pretty diverse, mixed neighborhood. Next to my building, there was no green space at all. People reacted to vacantness in various ways, which was to tag the walls, dump garbage or leave abandoned elements. I took it upon myself and started planting trees and shrubs adjacent the building. My little piece is the greenest part of the block.
What’s been refreshing and a reminder is watching how people reacted. Almost every day, the neighbor across the street tells me how great it is to see the green. People walk on my side of the street, and the behavior has changed. These are just little things that I just think we forget.
Part of our job is to help educate communities in which we’re working, based on shared knowledge. We can build an infrastructure to help with change, because change is going to happen. Cities are dynamic.
Very early in my career, I had a conversation with a black family here in the East Oakland neighborhood about moving out of the city. They wanted to move to the suburbs because the schools were better, and the crime was lower. I couldn’t change any of that from my position.
So the issues become more structural. We have to improve these basic infrastructures like public education and environmental factors. In many of the places where gentrification happens, they’re so easy to topple because all of the infrastructure is eroded.
In 2013, ASLA’s member leadership made diversifying the profession a top organizational priority. The number of diverse people entering the profession remains stubbornly low. The high cost of landscape architecture degree programs and lack of alternative degree programs are issues. So is the lack of diverse landscape architects who can advocate for the profession in diverse communities. What do you think are the most important steps that can be taken to bring more black and brown young people into the profession?
Landscape architects: just set the example. Make it interesting for people of color, so they want to come into the profession. This means you have to change the narrative. Reach out, do the work. Approach the way we make things through a cultural lens. Look for difference, so people might get excited by seeing and experiencing something that has them in mind.
Throw away the stereotypical and the feel good tropes — basketball, barbeques, community gardens. It would be attractive for people to say, “wow, this is how I can improve my neighborhood. Look at what they’re doing,” rather than settling. Really dig deep and contemplate these histories, the years of living separate.
How do we talk about living together? If enough of us are out making change and having a different conversation, the idea of attracting a diverse group becomes secondary.
Years ago, I was part of a landscape group that was pushing for diversity. You can’t expect to attract people if there is no interest in change.
I get excited when people of all persuasion get excited by the work we’re doing. It’s not about whether the project gets into a magazine and wins awards. To me, the best reward on any project is to get people excited, empowered, bringing them in, and making them part of the project.
I had recalled years ago as an undergraduate, I met a black landscape architect, Everett Fly, who had uncovered some of the histories of these towns that were built during Reconstruction. That experience stayed with me, and when I had the opportunity to have a conversation with that work, I immediately began to ponder the semiotics of this term used to describe black and brown people. What does it mean to be F-R-E-E-D!
It took a lot of nerve for me to start this conversation since it was something I had never entered into a conversation with a community about. I can’t describe the kind of excitement and conversation that began from there.
We can bring more voices to the table when we discuss, gender, race, and difference. Tell the truth about colonization and its impact not just on native and immigrant communities, but on the black and brown communities as well. If we don’t talk about it, we are reinforcing a post-colonial view.
This will bring difference into our profession, so it’s not simply just about making beautiful things. It can become about what those beautiful things mean. Once we can attach diverse meanings to the things we make, our profession could be much more inclusive.
For maybe two-thirds of my projects, race never comes up. To me, that’s where we should be heading. I don’t want the moniker of “black designer.” I can design for anyone, because I’ve had to learn how to. This skill came from being the “other,” and having to learn about white America and how to navigate, which is what we (others) don’t see happening from white America, right? I don’t see that kind of investment in me.
All I hear is, “Walter, help me. I’m working in a black community. I need you.” No, you don’t need me. You need to do the work for yourself. You need to learn about us. You need to get in there and roll up the sleeves. This is not my (our) problem. Until it changes, we’ll be back in the same position 20 years from now, asking why we’re not a diverse profession.
Kate Orff, RLA, FASLA, is the founder and principal of SCAPE and also director of the Urban Design Program and Center for Resilient Cities and Landscapes at Columbia University’s Graduate School of Architecture, Planning and Preservation (GSAPP). In 2017, Orff was awarded the MacArthur Foundation Fellowship, and, in 2019, SCAPE received the National Design Award in landscape architecture from the Cooper Hewitt National Design Museum.
On April 22, 1970, 20 million Americans, which at that time was some 10 percent of the population, took to the streets during the first Earth Day, demanding greater protections for the environment and decisive action to improve human health and well-being. 50 years later, the movement is now global, with an estimated one billion participating each year. What role does collective action play in solving today’s climate and ecological crises? What role do landscape architects play?
Earth Day is a chance to pause, take stock of the planet that sustains us, and think and act beyond ourselves to reach the scale of the globe and all its inhabitants. Landscape architects are largely concerned with the “middle scale,” but Earth Day forces us to conceive of the planetary landscape, and what our role is in retrieving the Earth from its climate emergency status.
Our book Toward an Urban Ecology describes the potential of collective action at a landscape scale and gives many examples of digging in, showing up, ripping out, and gardening with your neighbors. At the same time, it’s important to keep focus on the more radical, insidious challenges in our carbon-intensive economy mapped out at a national scale in Petrochemical America, which depicts the American landscape as a machine for consuming oil and petrochemicals with profound impacts on ecosystems and communities.
I guess the lesson here is that on an individual level, we have to consume less. At a neighborhood level, we can work together to repair the landscapes in our immediate environs through community oyster gardening or invasive species removal in a patch of forest. And at a global scale, we have to radically and equitably decarbonize our economy and rebuild the wetland and intertidal landscapes disappearing before our eyes. Our installation at the Venice Biennale called Ecological Citizens bridges these scales of thought and action. Plenty to do!
What connections do you see between the COVID-19 pandemic and our climate and ecological problems? How are environmental and human health connected?
COVID 19 shines a spotlight on our health care system and existing social inequity. The pandemic is truly playing out as a human tragedy on so many levels. It also reveals the incredible and irreversible harm we are inflicting upon non-human species and our extreme interdependence on each other and the natural world.
Whether the virus was transmitted through a bat or pangolin, it’s a parable about the exploitation of “the other” that must stop. This April, 25 tons of pangolin scales were seized in Singapore, taken from nearly 40,000 of these endangered creatures. An estimated 2.7 million are poached every year. It boggles the mind.
On a positive note, one can imagine our “stay at home” behavior, which is intended to curb the pandemic, has the unintended consequences of lowering our personal carbon footprints; and leading us to care for each other more, make time to mend the landscapes in which we live, and prioritize the basics of happiness and survival — food, shelter, clean water, clean air, neighbors, family, and the core of what matters to you.
You founded SCAPE in 2007. Your office’s stated mission is to “enable positive change in communities through the creation of regenerative living infrastructure and public landscapes.” What is regenerative living infrastructure and why do communities need it?
Today’s society faces compounding risks: a climate emergency, increasing social and income stratification, and a biological apocalypse termed “the sixth extinction” by Elizabeth Kolbert in her 2014 book of the same name. Together, these forces are rapidly tearing at the fabric of our entangled social and natural worlds. In every SCAPE project, we identify the capacity of design to repair that fabric and regenerate connections over time.
The aim is to not just deliver built work, but envision a program that begins to generate new ties between communities working in, living in, understanding, and loving the landscapes that sustain them. This could take the form of unlocking sediment trapped upstream to nourish protective bay landscapes and cushion the impacts of extreme weather and sea level rise.
For decades, infrastructure has been constructed as “single-purpose,” often designed by engineers to isolate one element of a system and solve for one problem. For example, on Staten Island, during Superstorm Sandy, a levee designed to keep water out was overtopped, resulting in a “bathtub effect” of trapping water inside a neighborhood rather than keeping it out. People perished because of this catastrophic failure. In many places, metal bulkhead walls are being raised in anticipation of sea-level rise only to block drainage during major rain events, flooding adjacent blocks.
Regenerative landscape infrastructure helps to maintain the structure and function of ecosystems embedded in the built environment, accounting for complex systems. This has been the organizing mission of SCAPE: to bring holistic, landscape-driven, and time-based thinking into the places we inhabit.
Through Living Breakwaters in Tottenville, on Staten Island in New York, SCAPE created a layered approach to ecological and social resilience, including oyster habitat restoration on a series of near-shore breakwaters. Working with communities in Boston, SCAPE has developed visions for a more resilient Boston Harbor and Dorchester neighborhoods. What are the benefits of these resilient landscape approaches?
The resilience benefits of these projects are clear. We can’t just look at one facet of the future: We have to synthesize how climate shocks and stressors compound each other. Extreme heat will increase drought and poverty. Extreme hurricanes will increase long-term rainfall projections used as a base for design efforts. How will these shocks and stressors combine to impact people and shape our future?
Robust, intact landscapes can’t do everything, but they can absorb a range of intersectional challenges and create immense protective value. Part of SCAPE’s approach is to begin to address the “sixth extinction” in the intertidal zone, restoring landscapes and habitats for marine critters that could be a lifeline to the future. We not only envisioned the Living Breakwaters project. Over many years, we navigated a federal, state, and local regulatory and budget environment to make it happen. We have a unique perspective on how to advance these kinds of projects despite many roadblocks and challenges.
Our team just completed a long-term vision for the rapidly eroding Barataria Basin in Louisiana with an array of collaborators. This project combines marsh creation with bottomland reforestation, sediment diversions, and related landscape restoration and job creation strategies. A healthy and bountiful landscape means better economic opportunities for a wider range of people, rebounding shellfish and fisheries, and a coastal landscape that can absorb and adapt to a range of climate risks on the immediate horizon.
The Chattahoochee RiverLands is a vision to reconnect Metro Atlanta to its seminal river, building on a decades-long legacy of community planning in collaboration with the Trust for Public Land, Atlanta Regional Commission, Cobb County, and the City of Atlanta. It’s a radical effort to stitch together a historically fragmented public realm along a primary conduit – 125 miles of trail winding along the Chattahoochee that showcase the river’s ecology, history, and link into ongoing restoration and education efforts.
Rivers have such power to bring people together, link up disjointed places, and bring life and mobility into cities. For this project, we cut through red tape, charting a path of access through a mosaic of public and private lands. The overall vision was grounded in over 80 stakeholder and community sessions and events like “river rambles,” educational outings for focus groups to provide hands-on learning experiences.
Beyond its physical footprint, the goal of the RiverLands is to raise public awareness, improve connections and access, address a long legacy of environmental racism, expand mobility for underserved communities, and build on a strong regional legacy of water resource conservation and protection.
This effort is a testament to open and inclusive design processes structured to empower residents and to shift from conceiving design as a “master” plan to a method of workshopping and co-creating with constituents. Advanced floodplain warning systems and sensors can be integrated into these linear landscapes to ensure public safety.
Lastly, you are also a Professor at Columbia University School of Architecture, Planning, and Preservation (GSAPP), where you are director of the Urban Design program. What have you learned from your students – the next generation of leaders – about how to solve our challenges? What new ideas have really astounded you?
Over the past five years, I’ve done a series of studios focused on Water Urbanism – global studios to uncover how water, climate, and migration patterns combine to shape the future of cities. I’ve learned so much from this endeavor and working alongside my incredible co-teachers Geeta Mehta, Dilip Da Cunha, Thaddeus Pawlowski, Julia Watson, and others. We’ve traveled to Amman and Aqaba, Jordan; Rio de Janeiro and Sao Paulo, Brazil; Can Tho, Vietnam; and four cities in India: Kolkata, Madurai, Varanasi and Pune, among others.
From our collaborators and students, I’ve learned that excellence emerges in the space between people – in open dialogue, hard work, and collaboration among people with diverse and international backgrounds with a shared purpose.
A few years back, I hosted “Water and Social Life in India,” a panel at the ASLA Conference on Landscape Architecture with Geeta, Dilip, and Alpa Nawre. This session captured some of the big lessons for me. Over the years, we have learned water is not an abstract “issue” to be solved. To embrace a water-resilient future, we have to learn from past practices and small communities managing and communicating with each other. Designing with water is not just about adapting to changing conditions – it is also crucially about fostering forms of social life, maintenance, and care.
Atlanta’s Leading Landscape Architect, 93, Still Drawing — 03/09/20, The Atlanta Journal-Constitution “Edward L. Daugherty, the dean of Atlanta landscape architects, has seen many cycles of growth and decay. He has survived enough seasons to view his own wintertime with a sanguine eye.”
Esri Sets Up COVID-19 GIS Hub — 03/13/20, Planetizen
“Esri, the California-based geographic information systems (GIS) company, has launched the online ‘COVID-19 GIS Hub’ with a number of useful tools for tracking information about the spread and mitigation of coronavirus disease around the world.”
Landscape Architects Shift Emphasis to the Ecosystem, 02/22/20, AP News
“Landscape architects are finding themselves on the front lines of the climate change crisis, having to come up with creative ways to adapt and help mitigate problems like rising oceans and extreme weather as they design projects across the country.”
Houston Launches Multi-billion-dollar Resiliency Master Plan– 02/24/20, The Architect’s Newspaper “Houston Mayor Sylvester Turner revealed plans for a multi-billion-dollar initiative designed to prepare the city against future climate change-related disasters. The 186-page document, Resilient Houston, elaborates on methods the coastal city can adopt to become better prepared for future storms, sea-level rise, and the urban heat island effect.”
Fix for a Hated N.Y.C. Highway: How About an $11 Billion Tunnel? – 02/24/20, The New York Times “Cities like Boston, San Francisco and Seattle have all done it — razed hulking, unsightly highways dividing the heart of their downtowns, pushed a new roadway underground and turned the space above into an urban paradise. Could New York be next?”
Twitter for Urban Planning, 02/28/20, Planetizen “Twitter is like all great cities: if you keep looking and figure out how to avoid a few key triggers, there are places and people for everyone. ‘Keep looking until you’ll find something you love,’ is a frequent saying about my home city of Los Angeles. The same is true of Twitter. The same is definitely true of Twitter, if what you love is planning.”
Kotchakorn Voraakhom, International ASLA, is founder of Landprocess and the Porous City Network. Voraakhom is featured in TIME magazine’s 2019 TIME 100 Next, a list that spotlights 100 rising stars who are shaping the future of the world, along with their list of 15 women fighting against climate change. Voraakhom is chairwoman of Landscape Without Borders of the International Federation of Landscape Architects, Asia Pacific Region (IFLA APR). She is a TED Fellow and Echoing Green Climate Fellow. She received her master’s in landscape architecture from Harvard University’s Graduate School of Design.
Interview conducted at the ASLA 2019 Conference on Landscape Architecture in San Diego.
The 12-acre Chulalongkorn University Centenary Park in Bangkok, the first new park in the city in 30 years, is a model for how to design with nature. Tilted at 3 degrees, the park funnels storm water into a retention basin that can safely double in size amid heavy rains. How did you come up with this idea to incline the entire park?
Bangkok is a city of water but we don’t know how to drain our water. We’ve been through many floods: either disastrous flash floods or the ones that are part of our daily life in Bangkok. This happens because we don’t know where the water should go. We don’t use the canal system as it should be used. In Bangkok, it is very sad that the canal department is under the sewage department. Canals have been destroyed through urban development.
The city, along with the entire center of the country, is flat because of sedimentation. So I wondered: how can we create a water container in the city? I thought about our legendary Monkey King, and his “monkey cheek” approach to storage. Do you know about the monkey cheek? The monkey holds food in its cheek. When he is hungry, he just continues eating. If not, he just holds the food there. It’s very simple way; no deep theory or anything, but just a natural way of being.
If you don’t have hilly topography, like in Bangkok, you create the topography and just tilt it.
At the detention basin’s edge, there are stationary bicycles. When visitors peddle the bikes, they turn wheels that aerate the water. Why is it important to engage visitors this way?
Because it’s so human. I remember walking my dad to the park. He’s a designer and said: “This is the highlight.” You know when you get complimented from your parent, it’s the best.
The park addresses climate change and flooding in a very technical way. But at the end I wanted people to feel they can be part of the solution by just being there, peddling the water bike. The water level in the detention basin also changes. Just the physical nature of pedaling is quite direct.
In your TED Talk, you said the 15 million residents of Bangkok are living on a “shifting, muddy river delta.” Bangkok, New York City, Shanghai, New Orleans and many other delta cities are slowly sinking as sea levels rise. How can landscape architects help solve this problem?
We try to fix problems, but we are actually the problem. The reason our city is sinking is systematic. The issue doesn’t just come from building a city on top of this delta; it also because there is no more sediment coming from upstream. Dams that create electricity are blocking sediment flow. We also don’t let the land absorb rain. We have to see the problem systematically and fix what you have done rather than try to fix nature.
As landscape architects, we work with the land. We know how these systems should function. We can teach people how to live with water again, which is much better than fearing it. Living with water is the vernacular way in Thailand. We have long had homes on stilts and floating platforms. We even have floating markets. We are used to living on the edge between land and water.
In the future, floating cities are even possible. But they are not really futuristic, as they have already happened in the past. The future is about knowing where you’re from and using that in a new context. I don’t think the future will be these flying cyborgs or something, nothing so inhuman.
In the past, flooding meant food. Sediment was part of seasonal change. Thailand would flood for one or two months and we would just deal with it. Today, we forget that flooding is about transformation. It’s only our relationship with water that has changed in a negative way. Landscape architecture can help people see a different relationship with water is possible.
For Bangkok’s 250th anniversary, which is in 2032, city leaders are creating the Bangkok 250 Plan, a major redevelopment effort that aims to create a more livable city in 17 districts in the urban core. By then, the city’s population is expected to grow to 11 million, an 18 percent increase over today, and the number of vehicles on the road is expected to grow by 1 million to 10 million. As a consultant on this planning effort, what are you advising the city to do?
We have a big team of urban designers, architects, and urban planners, and then there’s me, the landscape architect. Of course, we want to revitalize the canal system. We want to incorporate much more green space. But we don’t want to be naïve and just hope for more green space if there is no land. We have to be innovative about how we insert green spaces.
There is one project we are implementing right now with the current mayor to reuse a failed governmental mega-project. In Asian cities, there are many projects like this that were built and then stopped. There’s so much that can be renewed. But this also means the city is a challenging context.
At the Ramathibodi Hospital, we removed a helipad and replaced it with a healing garden. Green roofs are one of the key solutions for how to make a city more porous and sustainable.
The Thammasat University in Bhutantanang, which is in the greater Bangkok area, will become the biggest urban farming green roof in Asia at 7,000 square meters (75,000 square feet). The roof mimics the structure of rice terraces and how farmers use topography to absorb rain, slow down runoff, and grow food.
You have also planned and designed many health care environments that provide patients with access to nature, including the Siriraj Hospice Center. How do you incorporate Thai cultural and spiritual beliefs about nature?
The other hat I wear is creative art therapist. I have many questions about death: What does it feel like? How can I help these people?
When it comes to healing, no one can help you. Doctors can cure you, but they cannot heal you. You have to heal yourself. And how do you heal yourself? You heal yourself through natural processes.
Perhaps with my Buddhist beliefs, I feel there’s so much suffering in these hospices. Too many hospitals only think about more patients without thinking about how to create healthy spaces for them. I’m talking about government hospitals in Thailand; you can’t imagine how crowded they are. These people deserve healing environments, so we are trying to find the right space in hospitals. I’m helping many other hospitals as well.
In addition to the work with your firm, you’re also founder of Porous City Network, a nonprofit that co-designs water management solutions with vulnerable communities. What have been the results of the effort so far?
Porous City Network was started two years ago. Traditional client-based practice can only solve some problems. If we want to really tackle big problems, we need public education and advocacy. I’m going to try to expand the network into other cities in Southeast Asia where they are facing the same problems.
We helped a community along the coastline on the border of Cambodia, which is actually at the narrowest part of Thailand. The people are Thai but have no land rights on paper, so they build into the ocean. The government deemed them invaders and tried to displace them.
We helped them negotiate with the government and create a plan that allows them to inhabit land in the ocean, which also involves restoring mangrove forests. They are the first community that has received government permission to do that.
This means the solution can be implemented in Thailand’s other 7,000 fishing villages, rather than just displacing these communities.
I also bring landscape architecture students so they can learn about community participation processes. I use landscape architecture to help these communities.
Whether you are looking for the perfect gift for your favorite landscape architect or an immersive read for yourself, explore THE DIRT’s top 10 books of 2019, our picks for the best on the environment, cities, and landscape:
These are two useful and beautiful books on how to design with trees. The Architecture of Trees — first published by Cesare Leonardi and Franca Stagi, two versatile Italian furniture, landscape, and architectural designers, in 1982 and now reprinted in 2019 — features 212 trees species depicted through 550 intricate quill-pen illustrations, each drawn to 1:100 scale. The Tree Book, written by arboreal guru Michael A. Dirr and Keith S. Warren, director of product development for the tree nursery J. Frank Schmidt and Son Co., includes images, botanical and common names, and the range and climate adaptability of some 2,400 species and cultivars. Read the full review of The Architecture of Trees.
This vivid collection of comparative maps and tableaux from the 19th century, organized by French researchers Jean-Christophe Bally, Jean-Marc Besse, Phillipe Grande, and Gilles Palsky, show how explorers, scientists, and artists imagined fantastical landscapes in order to better understand the true scale of the natural world. Their drawings and paintings laid the foundation for today’s geographical data visualizations.
Jeffrey Peterson, who was recently senior advisor responsible for climate change policy at the Environmental Protection Agency (EPA)’s office of water, has written a comprehensive new national policy approach to dealing with sea level rise, a roadmap for reforming the U.S.’s broken flood insurance system and steering development away from increasingly risky coastal areas.
At the ASLA 2019 Conference on Landscape Architecture in San Diego, former Environmental Protection Agency (EPA) administrator Gina McCarthy argued that telling the story of the dangerous health impacts of climate change will motivate greater public action to reduce greenhouse gas emissions. Air pollution, which causes the premature death of 7 million people worldwide each year, will only worsen with climate change. As Tim Smedley explains in Clear the Air and Beth Gardiner in Choked, the solutions to the climate and air pollution crises are largely the same: renewable power, clean cook stoves, electric vehicles, and green infrastructure.
Design with Nature Now is an accessible and well-designed companion book to the University of Pennsylvania’s Design with Nature Now symposium and exhibition, which marked the 50th anniversary of Ian McHarg’s seminal book Design with Nature. Edited by Frederick Steiner, FASLA, Richard Weller, FASLA, Karen M’Closkey, and Billy Fleming, ASLA, this collection of essays and projects should inspire any environmental policymaker, planner, or landscape architect to forge broader coalitions and act regionally and globally to save our fragile ecosystems and protect the future of humanity.
Designing a Garden, written by Michael Van Valkenburgh, FASLA, is a lucid and candid examination of the process of designing and constructing a single intimate project. Van Valkenburgh intends the book as a sort of how-to guide to landscape design, not unlike a cookbook in terms of detail and clarity. Read the full review.
An expanded and updated new edition of a now-classic book that launched the New Perennials movement, fundamentally changing landscape design. Edited by Noel Kingsbury, the book features the works and writings of High Line plant designer Piet Oudolf and late plantsman and designer Henk Gerritsen.
Journalist Tony Horwitz’s book on Frederick Law Olmsted is difficult to classify. It is a biography of Frederick Law Olmsted and a history of his America. It is also reportage from rural America and a thoughtful reflection on our times. 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 fantastic book store.
The American Society of Landscape Architects (ASLA) announced the 2019 Professional and Student Award winners.
Chosen from 544 submissions, this year’s 36 Professional Award winners represent the best of landscape architecture in the General Design, Residential Design, Analysis & Planning, Communications, and Research categories. In addition, a single Landmark Award is presented each year.
Chosen from 368 submissions, this year’s 26 Student Award winners represent the bright future of the landscape architecture profession in the General Design, Residential Design, Analysis & Planning, Research, Communications, Student Collaboration and Student Community Service categories.
“ASLA’s Professional and Student Awards programs are the oldest and most prestigious in the profession. This extraordinary and diverse array of winners represent both the best of landscape architecture today and the brightest hope for our future,” said ASLA President Shawn T. Kelly, FASLA.
“This year’s awards reflect the global nature of landscape architecture and demonstrate to professionals and the public alike how our profession addresses some of the world’s most pressing problems, including climate change and resilience, livability, and the creation of healthy and equitable environments.”
All Professional and Student Award recipients, their clients, and advisors will be honored at the awards presentation ceremony during the ASLA Conference on Landscape Architecture on Monday, November 18, in San Diego, California. There are still complimentary press passes available.
Background on the ASLA Awards Programs
Each year, the ASLA Professional Awards honor the best in landscape architecture from around the globe. Winners of these prestigious awards are chosen by a jury that represents the breadth of the profession, including private, public, institutional, and academic practice, and exemplify diversity in professional experience, geography, gender, and ethnicity. Submissions are judged blind.
Professional Awards are presented in six categories: General Design, Residential Design, Analysis & Planning, Communications, Research, and the Landmark Award. In each of the first five categories, the Jury may select one Award of Excellence and any number of Honor Awards. It is not guaranteed that an Award of Excellence will be selected each year, as it is up to the jury’s discretion. Only one Landmark Award is presented each year.
This year’s Professional Jury included: Andrea Cochran, FASLA (Chair); Henri Bava; Kofi Boone, ASLA; Gina Ford, FASLA; Deb Guenther, FASLA; John King, Honorary ASLA; Pam Linn, FASLA; John Vinci; and Keith Wagner, FASLA. Joining the Professional Jury for the selection of the Research Category were representatives on behalf of the Landscape Architecture Foundation (LAF) and Council of Educators in Landscape Architecture (CELA): Stephanie A. Rolley, FASLA and Galen Newman, ASLA.
Student Awards are presented in seven categories: General Design, Residential Design, Analysis & Planning, Research, Communications, Student Collaboration and Student Community Service. Like the Professional Awards, the jury may select one Award of Excellence and any number of Honor Awards. It is not guaranteed that an Award of Excellence will be selected each year, as it is up to the jury’s discretion.
This year’s Student Jury included: Linda Jewell, FASLA (Chair); Diana Fernandez, ASLA; David Gouverneur; Robert Gray, ASLA; Damian Holmes; Kendra Hyson, ASLA; Maki Kawaguchi; Signe Nielsen, FASLA; and Daniel Tal, ASLA.
A team led by West 8 was announced as the winner of the Baltimore Middle Branch Waterfront Revitalization competition. The core team, which includes Baltimore-based landscape architecture firm Mahan Rykiel Associates, Inc. and infrastructure engineering firm Moffatt & Nichol, will develop a climate-resilient, ecological plan to connect Baltimore’s southern waterfront neighborhoods through a series of new parks and trails while restoring wetlands in the Middle Branch Patapsco River. The West 8 team was ultimately selected by Mayor Bernard C. Jack Young after he received comments from the public and an esteemed jury of local stakeholders and nationally-recognized landscape architects.
The design re-imagines 11 miles of Baltimore’s Middle Patapsco River waterfront as an ecological cove populated with piers, boardwalks, and parks. The team will create new marshlands by “squeezing” the water channel under the Hannover Street Bridge and subsequently using the dredged material to build ecological habitats. Newly created marshland will help to buffer the cove from storm surges and clean the water.
A new island in the Patapsco River, named Riverbed Island, and peninsula on the south edge of the river, named Patapsco Park, will be constructed as the support points for a new bridge predominantly for vehicles that will replace the Hannover Street Bridge, which will be turned into a pedestrian-friendly linear park. The new island’s location was selected to maximize existing sedimentation flows in the river and will rely on naturally shallow areas to begin establishing wetlands off of the island.
The team proposes using geotube mud socks, a geotextile used to set dredge material, to help initiate the wetlands. Slurried dredge material will be pumped into the geotextiles, which retain the sediment but let water flow outward. In their competition presentation, the team describes the technique as “a simple, inexpensive way to protect and improve water quality through local plant communities while structurally stabilizing banks and shorelines to prevent erosion and slumping.”
Once established, slurried dredge will be used to fill in the rest of the wetland ecosystem back to the shoreline. The initial geotubes mark the boundaries of the wetland, allowing the team to shape the inlets and form of the wetlands.
While significant dredge and infrastructural work is necessary to develop the wetlands and reroute vehicle traffic, much of the work to redefine the “blue green heart of Baltimore,” as the team refers to it, is being done along the water’s edge.
The waterfront parks will span 11 miles of shorelines around the inlet of the Middle Branch Patapsco River. Pavilions, boathouses, a bandshell, a lookout over the marshland, and a repurposed swing bridge act as “cultural pearls” scattered along the waterfront. These design elements are a mix of revitalized structures and infrastructure and new amenities. For the design team, “the pearls celebrate and symbolize a time that once had and now again will represent optimism, innovation and progress.”
Among the new “cultural pearls” is the Lookout Loop, a circular ramp that brings visitors above the water’s surface, providing views of the Hannover Bridge in the distance. The Lookout Loop branches off from a boardwalk path that cuts through the newly created wetlands.
The Newland Band Shell will be an open air concert venue, located near the Hannover Street Bridge. A sloping hill will offer seating to see live music and performances.
The Hannover Street Bridge, which connects the industrial area of South Baltimore to Cherry Hill neighborhood, will be converted from a 5-lane road into a park space, completing the loop of parks. Bays of trees, flower plantings, and vine trellises fill the top surface of the bridge, while a new boat dock and seating area will be created under the drawbridge. The dock gives people kayaking a place to stop and rest while out on the water.