Building Community Through Inclusive and Equitable Parks

Hayden Plaza, New Orleans / Design Jones LLC

New parks can become agents of gentrification if they are not planned with all of the community. Often, the unintended consequence of a bright, shiny new park planned with only part of the community can be a change in community identity, so parts of the existing community no longer recognize their own neighborhood. Improved park amenities can also also spur new development, higher rents, and, eventually, displacement. But “there are also projects that can break the sequence of negative outcomes,” explained Janelle Johnson, ASLA, a landscape architect with Hoerr Schaudt Landscape Architects, at the ASLA 2017 Annual Meeting in Los Angeles. “Whose change and what change — these are questions that landscape architects can help communities answer.” If done well, new parks can instead act as agents of community building, forging new connections that help break down racial and class barriers.

Bridging Communities Through a New Park in New Orleans

Landscape architect Diane Jones Allen, ASLA, explained how she helped bring together multiple communities in central city New Orleans to re-imagine Hayden Plaza, a linear park found at the intersection of Martin Luther King Jr. Boulevard and Oretha Castle Haley Boulevard.

The neighborhood has evolved over the years. First settled by Jewish, Italian, and German immigrants, it became an African American community, and one of the few places African Americans could shop during the segregated 1930s, 40s, and 50s. As the immigrant shop owners who served African American patrons moved elsewhere, the stores were taken over by African Americans, who “didn’t get enough business,” and commercial activity declined.

In the 1960s civil rights movement, the neighborhood was a hub for protests. Artist Frank Hayden created an abstract sculpture of Martin Luther King, Jr. during the era when there “wasn’t community engagement.” The community had wanted a figurative sculpture, but Hayden delivered an abstract one instead. “The community wasn’t happy.” (Another figurative sculpture was later added).

Post-Hurricane Katrina, “new development came in, as black merchants lost property. A new merchant’s association made capital improvements,” such as a new jazz market, with a bar and theater, and an old school was revamped as a stall market. “They were bringing money in, but pushing the community out.” New development became a “sign of gentrification;” there was even a “Jane Jacobs walk.”

But every March, the Recreating the Emotional Ability to Live (REAL) protest march, led by a black empowerment group, works its way down through the neighborhood to the plaza, which demonstrates how this “space is still contested.” Working with the client — the merchant’s association — there was a “chance to educate and design for both those who go on the Jane Jacobs walk and those pushing for empowerment. A symbolic design would be inclusive and not take space away for the empowerment group.” The new landscape design “acknowledges the future, while honoring the past” (see image above).

Both communities — the African Americans and the new-comers — are now part of the future of the neighborhood, Jones Allen said. They came together in community planning and design charrettes held in the jazz market.

Revitalizing a Symbol of Integration in Birmingham, Alabama

Eric Tamulonis, ASLA, a partner with OLIN, explained how Birmingham, was long known as the “Pittsburgh of the south,” because of its iron ore mines in the Red Mountains, which were part of the US Steel empire. Down in the mines, African American and white miners toiled together since the late 1800s. “The mines were a magnet for African Americans given the great demand for workers.”

But back on the surface, there was “deep segregation.” A racist zoning map created red zones — or “danger zones” — the only places African Americans could live. Many of these places were actually dangerous — one was called “Dynamite Hill.” Jim Crow laws and regulations codified segregation. “There was a municipal law that African American and white children couldn’t play together.”

As de-segregation of all public schools, facilities, and transportation systems slowly became national policy in the 1950s and 60s, Birmingham’s city government fought it as much as they could. “They closed parks instead of integrating them.” While African Americans made up 40 percent of the city, they had only been given a few small parks. When those were shut down, “kids played in the streets.”

Now with a new 4.5-mile-long Red Mountain Park on land US Steel donated to the community, we are “building community in the park. It’s a bridge across the divide.” A new walking bridge called the “walk of unity” will end in a mine, where visitors can learn about the cultural history of the industry. “Noble mining structures are being restored, and there are reforestation efforts.” Throughout, there will be educational moments, including recordings of oral histories conducted with miners. Tamulonis worked on the community planning effort while at WRT, and said the Red Mountain Park Commission is “committed to equitable development.”

ASLA 2012 Professional Analysis and Planning Honor Award. Red Mountain / Green Ribbon — The Master Plan for Red Mountain Park, WRT / WRT
ASLA 2012 Professional Analysis and Planning Honor Award. Red Mountain / Green Ribbon — The Master Plan for Red Mountain Park, WRT / WRT

Birmingham is also trying to move beyond its racist park history through the creation of other inclusive public spaces. Tom Leader Studio’s Railroad Park is a “symbol of re-unity.” And a city task force has been laying the ground work for using Olmsted brothers’ 1925 equitable greenways plan, which was never implemented, as the basis for “future land use.”

Scaling up Inclusive and Equitable Park Development

Adrian Benepe, Hon. ASLA, former NYC parks department head and now senior vice president at the Trust for Public Land (TPL), explained how urban parks can lead to greater equity.

TPL along with the Urban Land Institute (ULI) and the National Parks and Recreation Assocation (NRPA) created a campaign to promote the idea that everyone in a city should live within a 10 minute walk of a park. Already, 134 mayors have signed on, including Mayor Eric Garcetti in Los Angeles, where only 50 percent of the population meet the campaign’s goals.

While the “federal government won’t do anything for urban parks” in the foreseeable future, cities are using tax increment financing, property tax increases, and business improvement districts to improve the quality of parks across all communities. In Minneapolis, which already tops the nation in TPL’s Park Score rating system, some $250 million will be invested in parks, particularly in underserved communities. “They asked themselves hard questions and are focused on areas of poverty.”

More cities also better understanding the consequences of new park development without an equitable development plan — what has been called the “High Line effect.” For example, Bozeman, Montana, a small city of 30,000 people, is now creating their first large central park on a 60-acre site. Some 8 acres around the park will be set aside for a community center and affordable housing. “This project shows we can’t just focus on parks. It’s our problem to fix equity, too.”

Story Mill community park / Trust for Public Land

And the 11th Street Bridge Park in Washington, D.C. — which seeks to bring together the majority-white Capitol Hill neighborhood, and racially-mixed, gentrifying Lincoln Park and Hill East on the west side of the Anacostia River and majority African American Anacostia, Barry Farm, Fairlawn, and Woodland, and Fort Stanton neighborhoods on the east side of the river through one park — represents the “future of equitable park development.”

11th Street Bridge Park equitable development plan / 11th street bridge park

The leaders of the park and landscape architects at OLIN forged an equitable development plan with the communities along the Anacostia River, which includes a small business and workforce plan that will boost local employment in the park, and a new land trust, which is designed to insulate neighborhoods around the park from speculative real estate development.

Visionary Landscapes: Japanese Garden Design in North America

Visionary Landscapes / Tuttle Publishing

In Visionary Landscapes: Japanese Garden Design in North America, Kendall H. Brown explores the work of five contemporary Japanese-style garden designers whom he has designated masters of the art.

What does it mean to be a master of the contemporary Japanese garden design? To answer this, once must consider what constitutes a Japanese garden. The first images that come to mind might be of bamboo, or perhaps coy fish, or raked patterns in gravel. Japanese gardens are more than their components, though; they are a set of principles. And because principles should be transferable, it is possible for Japanese gardens to manifest themselves in very un-Japanese ways.

As Brown notes, Japanese gardens nowadays are less microcosms of Japan than they are “Japanese-inspired microcosms of nature.” Hence the flourishing of Japanese gardens outside of Japan, to the extent that they outnumber those inside Japan.

There is of course a fraught social history of Japanese gardens in the West, one that Brown fully recognizes. Taken out of their regional and historical context beginning in the late 19th-century, Japanese gardens became curios and projections of status and sophistication (the irony being that constructing a Japanese garden can, at least now, be in questionable taste).

To suggest one has mastered the art of Japanese gardens is to therefore suggest mastery of the art’s principles, as well the ability to reapply those principles without creating, as Brown puts it, a “garish pastiche.”

Perhaps none of the designers featured in the book more deftly graft the Japanese style into the North American context than David Slawson. Born in Ohio, Slawson spent a number of years in Japan studying the art of garden design before returning to the mid-West and applying his knowledge on college campuses and residences.

In recounting the story of his time spent in Japan, Slawson speaks reverently of power: the power of the dry landscape at Daisen-in, the power of rocks “disposed in space” at Ryoanji. These gardens moved him, and his designs seek to reproduce that impact.

At the Hoeschler residence in Minnesota, Slawson evoked Lake Superior’s north shore with a formidable river of stones.

Hoeschler Garden Stone Stream & Home Fall
David Slawson’s Hoeschler residence garden / Tuttle Publishing

Power can overwhelm, however, and this dramatic garden left the rest of the yard feeling weak. So Slawson complemented the initial design with an equally adamant garden entrance, replete with boulders that call to mind a north shore gorge.

Shin Abe, another of the book’s featured designers, has at times demonstrated a tremendous capacity to abstract the natural world. He pushes this traditional Japanese technique to its extreme at the Education First office building in Cambridge, Massachusetts. At the building’s entrance, slabs of stone suggesting frozen waves emerge from “dry” pools, geometric patterns filled with blackish aggregate and gravel. Low-sitting granite rectangles serve as benches, and the whole design gives the sense of water represented through rock.

Education First Bldg 2 Stone & Glass
Shin Abe’s dry pools outside of EF Building II / Tuttle Publishing

Several of the book’s featured designers evoke Japanese landscape painting in their work. Marc Peter Keane’s Tiger Glen Garden, which refers to a work titled The Three Laughers of Tiger Ravine, possesses what Brown describes as a “gentle intensity.” A miniature stone ravine, patterned like a roman road, winds through the tiny courtyard garden, a rocky gash amidst moss and an elegantly-branching Tanyosho pine.

Tiger Glen Garden Stone Bridge View
Marc Pete Keane’s Tiger Glen Garden / Tuttle Publishing

For all the talk of adapting the Japanese style to North America, many of the book’s gardens are still loaded with features some might consider cliché: Sand raked just so, a smattering of Buddhist paraphernalia, the unmistakable preference for Ponderosa pine. And then there are the lanterns. Modest, often camouflaged, they beg not to be considered kitsch.

And maybe they shouldn’t be. Maybe there is something we still don’t understand about our attraction to Japanese-style gardens, and how we can’t seem to adopt the principles without indulging in a bit of the exoticism that Japanese culture represents to the West. And maybe a little indulgence is good now and then.

Interview with Mark Rios on Los Angeles’ Ambitious Sustainability Plan

Mark Rios, FASLA / Jim Simmons

Mark Rios, FASLA, FAIA, is founding principal, and architect and landscape architect at Rios Clementi Hale Studios in Los Angeles.

This interview was conducted at the ASLA 2017 Annual Meeting in Los Angeles.

In 2015, Los Angeles Mayor Eric Garcetti launched the city’s ambitious 20-year sustainability plan, which calls for increasing water conservation, generating renewable energy, achieving zero waste, investing in mass transit, and revitalizing the Los Angeles River watershed. Two years later, the city has already made great progress, but some of the big goals seem perhaps out of reach. For example, one is to reduce the urban heat island effect more than any other city in the U.S. — three degrees just within two decades. Currently, Los Angeles is about 40 percent rooftops and 20 percent roads. A new cool roof ordinance requires reflective roofs on new development and there are also tests underway to create cool pavement. The city also has goals to increase the tree canopy, and 18,000 trees were planted in 2016. Do you think these strategies are enough?

Our mayor is pretty incredible with his ability to articulate a road map towards being more sustainable. For a long time, landscape architects have been the voice for being thoughtful about water, drainage, and stormwater runoff. We’re happy to hear our political system is now actually enforcing, documenting, and requiring measures to manage water and fight the urban heat island effect. We can be strong advocates, but it’s sometimes hard to convince our clients of something that is more expensive. Now developers are being asked to step up to the table through enforceable obligations. As a community, landscape architects are happy about these efforts and really support the Mayor’s road map.

Los Angeles has already reduced per capita water use by 20 percent, meeting the 2017 goals. Eventual goal is 25 percent by 2035. In the city’s green building code, there are now water budgets for landscape irrigation, new incentives to remove turf in favor of residential gardens, and free recycled water deliveries for landscape use, along with millions for green street projects. Do these water goals go far enough? What else could be done?

This is a tough question for Los Angeles, because we always talk about the physical landscape, but the cultural landscape is also important. The whole dream of the backyard and the lawn is part of our culture. It’s really a culture that was described in the ‘50s and ‘60s through movies. In Hollywood, everybody had a front yard and backyard. The lawn was the default landscape.

We’ve made great progress to collectively redefine what the aspirational landscape is — it may no longer be a lawn and palm tree. It may be the beauty of the Santa Monica Mountains. Our native landscape has this inherent appropriateness and generates an emotional connection. We have been working really hard to replace the lawn. And if we can achieve that, it will be a huge step towards achieving these ambitious water goals. We’ve been irrigating grass for the last 50 years. We really need to change cultural expectations.

By 2035, L.A. seeks to add more transit infrastructure than any other city. The city seeks to pair this infrastructure with transit-oriented development. The plan calls for expanding zoning capacity and key transit nodes. How do you see progress going on that front?

Everybody in L.A. is really excited about this plan. We just moved our office to the Expo line. We’re right at the Crenshaw Station stop, and the Crenshaw Station is going to be the line that links LAX, our airport, with LACMA and Hollywood.

Rios Clementi Hale Studio’s offices along Exposition are adjacent to the Expo line, just steps from the station where the Expo light rail line will intersect with the forthcoming Crenshaw line / Jim Simmons

L.A. has been really behind in public transportation. Everyone is excited about the multiple new lines being built. We don’t have enough mass transit. Transit oriented developments are certainly going to change the face of the city, because they include higher-density floor area ratios (FARs), which help support new village neighborhoods. These developments will make the city more walkable and livable, because people will have these mini-centers around each station.

Looking ahead to 2035, the potential change created by autonomous or driverless vehicles is just wild. I went to a event sponsored by the Mayor’s office, where I was so proud to hear them conducting research on how our city form could change if we maximize transportation systems with driverless cars. Some of the predictions and studies on how L.A. could change are really astounding. We’re talking about maybe taking one freeway lane offline or creating green spaces by potentially eliminating a road lane. Can we transform them into greenways? Can we decommission parking lots because we don’t have much need for cars to be parked for eight hours while somebody is at work? Autonomous vehicles will change the character of Los Angeles.

By 2035, Los Angeles also wants all trips made by walking, biking, or transit to be 50 percent, up from 26 percent today. Measure M, a ballot measure that passed with 70 percent of the vote, will use a half-penny tax to raise $120 billion over the next 40 years for mass transit and bikeway projects. Los Angeles also launched a regional integrated bike share system plan and has set up more than 65 stations and a thousand bikes. Do you think this vision will come together? Will Angelenos bike share to the subway? Will the complete street infrastructure be there? I’ve heard there are neighborhoods that still don’t have sidewalks, let alone bike lanes.

There is great potential to achieve these goals. The basic urban form of Los Angeles are these village centers. We have a very disperse urban pattern. If you look at Boston and other cities, there’s a symmetrical layout, a center city with suburbs. We have a dozen or two dozen village communities between downtown and the West Side. As people are encouraged to use bikes and walk more, the village form of land use will help realize that.

The city also wants to ensure that 75 percent of Angelenos live within half a mile of a park by 2035. The past seven years the city has added more than 35 parks covering 16,000 acres, including your firm’s Grand Park downtown, which brought much-needed green space. Is the city on track for this ambitious goal? Does the 50 Parks L.A. Initiative, which assists underserved communities, have enough funds? How can the city ensure everyone benefits equally?

Los Angeles has a disparity in terms of where parks are located. There are some well-served communities and some underserved ones.

Grand Park, downtown Los Angeles / Wikipedia
Grand Park, downtown Los Angeles / Happenings in DTLA

East L.A. and South Central do not have the kind of park density that they do in the Valley or other locations. It’s really hard for the city to acquire new land and buy space for parks. The problem is if you have a park desert, how do you find space there?

There have been examples of decommissioning public space and having communities take over ownership, at least as far as park development. For example, weird pieces of land next to freeways and other kinds of public spaces can be decommissioned and given to community groups. It’s a way of creating parks in neighborhoods without empty spaces.

There are also ambitious efforts underway with the L.A. River, and the plan Mayor Garcetti calls restoring 11 miles of the river, making accessible all 32 miles in the city by 2035. What do you want to see happen? How can the city ensure the revitalization doesn’t create a new High Line and become an agent of gentrification?

The L.A. River is on everybody’s mind. People have been working passionately on it for a long time. The first goal is to make it a great circulation system for biking and moving through these different regions. Any new projects along the river have to build in bike lanes and pedestrian walkways along the river. What’s important right now is zoning that allows for greater density along the river. If we can create more dense villages along the L.A. River, then we’ll see a built-in park system for these villages and good connective tissue besides the roadway network.

The transformation of the former Lincoln Heights Jail and surrounding area would create the Lincoln Heights Makers District, an area anchored around the Los Angeles River and the historic complex, using the river frontage to create a broad promenade that stitches together new and historic buildings with the river / rendering by Kilograph, courtesy Rios Clementi Hale Studios

There’s a whole contigency who wants to return the L.A. River to a natural form, a landscaped waterway. In some places, it may be possible and still maintain the flood capacity, but I don’t think it needs to be done everywhere. I look at the land art movement. They had very architectural spaces that were really beautiful to experience. We need a whole series of solutions over the course of the river that also address the hydrological issue of maintaining the flood protection system. It doesn’t need to be all the same.

Gentrification is a big problem. Think of all the residential communities around the L.A. River that are going to suffer, because it has historically been viewed as an industrial landscape. Now, it’s going to transform into this positive, landscape-driven set of places. All the communities currently around it may be pushed out, so how we mandate keeping existing people in place through affordable options is going to be essential.

With your firm’s work at the Pete V. Domenici U.S. Courthouse in Albuquerque, New Mexico, your firm has demonstrated its commitment to sustainable design. The project was an early Sustainable SITES™ Initiative (SITES®) pilot project. So looking big picture, how can a sustainable, ecological landscape approach like you demonstrated in that project be applied to Los Angeles? What would an ecological Los Angeles in 2035 look like?

The most important thing that we learned with the Domenici project and the SITES® program is the critical need for documentation and ongoing monitoring, so you can really understand how a landscape is performing seasonally and over time. If we remove lawns and instead use native plants across the city, it’s going to cut down on irrigation.

The Pete V. Domenici Federal Courthouse in Albuquerque, New Mexico. The site employs the ancient tradition of harvesting rainwater for irrigation by using a system based on Pueblo drainage canals called acequias. / Robert Reck

Landscape architects need to become more proficient at quantifying every drop of water and being able to predict how new landscapes will perform. It’s our responsibility to go back and monitor landscapes, so that we have a database and can understand how water is being used.

What We Can Learn from Hollywood’s Iconic Landscapes

Griffith observatory, Los Angeles / ASLA 2017 Annual Meeting

Film makers and landscape architects may ask themselves the same question: “How can we make a landscape iconic?” Movies can make places magical, imbuing them with deeper meaning. Landscape architects can shape the contours of a place, heightening the impact. In a session at the ASLA 2017 Annual Meeting, Chip Sullivan, FASLA, a professor at the University of California at Berkeley, explored the dynamics of iconic Hollywood landscapes and what designers can learn from them.

Like landscape architects, film makers “start with the program first — in this case, the script.” As location scouts hunt for the perfect places to tell their story, they “measure everything on site, and note where the sun and moon are, where north is; what the noise levels are; they observe everything.”

In crafting a place, film makers may also take away elements of a landscape to achieve a facsimile of the era of the film. “They engage in urban removal, painting over street striping, putting up a barrier to hide glass towers, fixing things up.”

Some landscapes in Los Angeles are iconic because they are so flexible and open to interpretation. For example, Griffith Park, the largest urban park in the country, is “filmed every day.” The park, home to the famous observatory filmed in Rebel Without a Cause, has been featured in a diverse shows and movies, such as the original Batman TV series, StarTrek, Star Wars, The Searchers, and dozens of other classic films.

Bat cave in Griffith Park / Meetup

LA LA Land, which almost won an Oscar for best picture, itself plays tribute to Griffith park and its observatory.

LA LA Land / Daily Dot

But Sullivan wondered what exactly makes an iconic landscape, and how can they be designed. “Why are some so important that film lovers will make a pilgrimage to the site? How can we make a timeless landscape?”

Sullivan described how parts of Scotland are now overrun with Outlander fans, and New Zealand capitalized on Lord of the Rings mania by creating a real Hobbiton that draws tourists from around the globe. “There’s now a hobbit hotel you can stay in, so you can live like how they live in the film.”

Hobbitton / Hobbitton tours

At King’s Cross train station in London, Harry Potter super-fans now wait in line for hours to have their photograph taken on the fake platform 9 3/4. “They are there all day and night. What does that mean???”

Harry Potter platform at King’s Cross station / The Independent

Sullivan joked that these destination landscapes for movie pilgrims may offer the foundation of a contemporary religion. And if so, “how do we get people to go to our landscapes and chant?”

In iconic film landscapes, Sullivan sees some common design elements, which can be translated into real-world landscape architecture:

“Contrast is a powerful design tool — moving from big to little, macro to micro.”

“Make focal points distinctive and fantastic.”

“Manipulate perspective, use radical curves.”

“Organic forms are ideal.”

“Everyone is into dreamscapes. There should be strangeness and fear and then compression and release.”

And clearly inspired by Jim Jarmusch’s latest film, Paterson, which is about a poet who is bus driver in Paterson, New Jersey, Sullivan said: “It’s about place — the genus loci. Find the poetry around us every day.”

Landscape Architecture in the News Highlights (October 16 – 31)

WATG’s Green Block Proposal / WATG

For the First Time, MacArthur Foundation Has Given ‘Genius’ Award to a Landscape ArchitectThe Washington Post, 10/18/17
“The New York landscape architect Kate Orff, 45, grew up in Crofton, Md., a place she remembers as the type of suburban community built around the automobile and molded on the tenacious idea that the lifeblood of modern settlement is oil.”

Cleanup Begins in NYC’s Most Polluted Waterway Next City, 10/18/17
“Now, a long-anticipated cleanup has finally begun. Preliminary dredging began the first week of October, and the full project is anticipated to cost around $500 million, the Architect’s Newspaper reports.”

Greenspace Takes Over London with WATG’s ‘Green Block’ Proposal Arch Daily, 10/25/17
“London Mayor Sadiq Khan proposed the challenge — how does London become a designated National Park City– and WATG, London-based landscape team, headed by Demet Karaoglu, accepted the challenge.”

Memorializing Tragedy in an Era of Constant Mass AssaultsCityLab, 10/24/17
“July 22, 2011, still stands as the bloodiest day in Norway’s history since World War II. Twin attacks that day, first a bomb in Oslo and then, two hours later, a gun massacre on the island of Utøya, claimed 77 lives.”

Instead of Fighting Sea Level Rise, This Town Is Embracing ItSlate, 10/27/17
“Five years after Hurricane Sandy, Staten Island’s Tottenville community is trying something different.”

Lawrence Halprin’s L.A. Projects Star in Landscape Architecture Symposium This Weekend Architect’s Newspaper, 10/30/17
“The Cultural Landscape Foundation (TCLF) will be holding a day-long symposium on November 4 at the Architecture and Design Museum in Los Angeles in conjunction with the opening of The Landscape Architecture of Lawrence Halprin, a photographic exhibition based on Halprin’s body of work.”

New Technologies Promise to Upend the Design Process

A spectrum of new augmented, virtual, and mixed-reality technologies promise to fundamentally change how landscape architects and designers plan, design, collaborate, construct, and manage projects. At the ASLA 2017 Annual Meeting in Los Angeles, Matthew Wilkins, ASLA, KTU+A Planning and Landscape Architecture; David Leonard, ASLA, Parsons; and Ryan Deane, ASLA, the Slam Collaborative argued that of all these new technologies, perhaps mixed-reality technologies, like the HoloLens, may have the greatest potential to change how designers work.

Augmented reality (AR) comprises technologies that layer location-based data on existing reality. Pokemon Go, the popular game that had thousands out searching their neighborhood for pikachus, is a prime example. Virtual reality (VR) is an “immersive interaction” using 360 video, explained Leonard. 360 videos can take the form of games, animations, or videos of the real world.

In contrast, mixed reality, or hybrid reality, is about “merging virtual and real worlds so you can interact with the world in real-time.” This technology enables a landscape architect to don glasses and create a SketchUp model overlaid on the scene they are looking at in real time, all with the swipe of their hands or pinch of their fingers. Other designers nearby or on the other side of the globe can join in and collaborate as well.

According to Leonard, “creating a hologram of a design on-site is where things are going. The technology won’t stop until that happens.” He also warned that “other professions will dominate this technology fast if landscape architects don’t get on board.”

Within these virtual worlds, landscape architects can appear as avatars, working together or with engineers or construction managers to “create SketchUp models, make changes to design parameters, or solve issues.” Working together in a virtual model, “they can get a sense of the size and scale of objects.”

Leonard noted that the HoloLens is still “first generation, with a limited field of view. It’s like looking at a little pane, so it’s not fully immersive at this point.” Magic Leap, Lord of the Rings director Peter Jackson’s new media company, is expected to take mixed-reality up a notch, given they’ve already raised $1.9 billion in funding.

Leonard went through many of the leading hardware and software options for AR, VR, and mixed reality, but noted “these technologies are just now coming out of their infancy.”

On the software front, Leonard discussed the benefits and drawbacks of AR Media for augmented reality, which costs $300 and uses geo-reference tracking technology so you can mark designs and data in real-world locations.

For virtual reality, he then discussed Lumen RT, which is “integrated into a lot of software and offers moderately-high-end quality, with a plant factory that enables you to make your own plants;” Fuzor 2018, which is “widely used in the construction and design industry, very powerful, and allows you to do ‘drag and drop rendering'”; Revit Live, which is “easy to navigate but doesn’t offer animations of designs”; and Autodesk 3DS Max, which offers “superior rendering, but is challenging to work with.”

For mixed-reality, Leonard mentioned SketchUp for HoloLens.

On the hardware front, for virtual reality, there’s Google cardboard glasses, which are cheap but have major latency issues that can cause fatigue; Samsung Gear VR, which cost around $100 and offers much better quality than the cardboard lens; Oculus Rift, which goes for $399 and is “very high quality;” HTC Vive, which is similar to Oculus Rift; and the just-announced Oculus Go, which will have a “high-resolution LCD screen and no cables or phones — the video will be accessed via WiFi.”

As for bringing these technologies into a design studio, Deane called for “assuming the start-up costs internally — don’t charge clients for this.” But then, moving forward, these technologies can be used to “reassure clients.” And, of course, firm CFOs will say “don’t do it for free.”

Wilkins demonstrated how KTU+A is already using these technologies, creating models, which are then rendered in virtual reality. As part of engagement, community groups are now reviewing proposals using headsets before they are designed and built.

It’s Time to Measure the Performance of Landscapes

Coast Guard headquarters, Washington, D.C. / GSA

How can landscape architects ensure the spaces they design perform they way they were intended? Landscape architects need site commissioning to accurately determine the performance and impact of their designs.

Site commissioning is the process by which performance standards are established, then measured and verified overtime. The topic has been gaining traction within the field and was the focus of a discussion at the ASLA Annual Meeting in Los Angeles put together by Jose Alminana, FASLA, principal at Andropogon Associates; Christian Gabriel, ASLA, national design director of landscape architecture at the U.S. General Services Administration (GSA); Lauren Mandel, ASLA, landscape architect and integrated researcher at Andropogon; and Maureen Alonso, regional horticulturalist with the U.S. GSA National Capital.

The discussion comes on the heels of a comprehensive new report released this summer by the GSA with Andropogon that makes the case for site commissioning. 

“This is something long overdue — it’s a logical follow up to the kinds of values and capacity we expect to obtain from the work that we do — the impact our profession can really have on the systems on which we all depend,” Alminana said.

Currently, buildings are analyzed and commissioned to ensure the quality and function of a project. “Landscapes, if they are going to play that kind of role, also need to be commissioned,” Alminana said. “But it gets complicated, because its not about moving parts and on and off switches. It’s about life, and life that is always evolving and changing.”

Site commissioning pushes the integration of building systems and site systems and establishes a role for the landscape architect early on in the project. Alminana said designers need to first define the goals and objectives of the project and the standards they are trying to meet. The expected environmental and economic benefits of a landscape project need to be clear, and there needs to be metrics to measure performance in achieving those benefits.

“There has been, over the past few decades, an interest in developing site-responsive projects, but there is less definitive knowledge as to what we are actually achieving, how we set our goals, and how we factor processes into broader project delivery methods in design and construction,” Gabriel said.

“The time has come to reinvest in our own processes,” he said, adding that site commissioning could result in a paradigm shift in the field, “and a return to landscape as prime method for conceptualizing new opportunities.”

Mandel explained the process of developing the report, which included learning from case studies of commissioned projects or those with robust site monitoring. One example is the Clark Art Institute in Williamstown, Massachusetts by Reed Hilderbrand, which commissioned a complex hydrological system.

ASLA 2015 Professional General Design Award of Excellence. Clark Art Institute, Reed Hilderbrand / Tucker Bair

“Site commissioning offers strong triple bottom-line benefits,” she said, listing social benefits, like worker productivity; environmental benefits, like stormwater management; as well as financial benefits, like fewer construction errors.

“What we also learned in our research is these benefits are intertwined,” Mandel said. “So when you start to pull out these benefits, like efficient site management, what also gets pulled in is stormwater management and wildlife habitat.”

Alonso underscored a critical need for a continuous management within the site commissioning process to ensure performance and maintenance of the landscape. Project turnover is another instance where communication and management continuity are crucial.

Alonso said metrics the GSA gathers on projects “make the business case for landscapes we are building.”

How 3 Cities Are Addressing Homelessness

Homeless encampment in San Francisco / Broke Ass Stuart

Over a half of a million people in the United States are homeless. In major cities, homelessness is on the rise, due in part to increasing rent costs and a lack of affordable housing.

Officials and landscape architects addressing homelessness in Los Angeles, San Francisco, and Denver shared insights and lessons learned from their cities in a discussion at the ASLA Annual Meeting in Los Angeles. Panelists included Scott Gilmore, deputy executive director of Denver parks and planning; Joe Salaices, city of Los Angeles department of recreation and parks; and Guneet Anand, ASLA, SITELAB urban studio. 

“You’re not going to end homeless,” Gilmore said. “There’s always been homelessness, and there will always be homelessness.”

“It can be a very daunting task,” he said about addressing the issue. “But I have hope. There are positive actions to be taken.”

Gilmore noted a series of initiatives in Denver, like the Denver Day Works program, which provides work experience in parks and public spaces for people experiencing homelessness. Gilmore says the program has been an effective recruitment tool for full-time employment with the city. The program also offers storage units for homeless individuals to keep their belongings while they access social or healthcare services.

Storage locker in Denver / Colorado Public Radio

“People think when you’re homeless you might be a drop out from high school or you don’t have everything together,” he said. “About 25 percent of these people are college educated. That gives you a sense that anybody in this room making the wrong step, or just having bad things happen, can be homeless at anytime.”

In Los Angeles County, homelessness jumped 23 percent last year. Salacies says that trend will likely continue, given the area’s expensive housing market. “We have situations where people become homeless because they miss a paycheck or two.”

Salaices said Los Angeles is working to collect data on the city’s homeless population.

“By collecting data we are able to go back and use it for budget services,” he said. “Without the numbers, the justification to share with elected officials, we’re never going to get the budget and money to improve our situation.”

In San Francisco, the leading cause of new homelessness is eviction. “Even though 44 percent of the homeless population does have a job they are not able to afford homes,” Guneet said.

She explained how SITELAB urban studio has been working with Lava Mae, which repurposes old buses into showers and toilets to serve homeless populations in San Francisco. Together, they developed the Lava Mae popup care village, which explores how the design of public space can better serve vulnerable populations.

SITELAB with Lava Mae Pop Up Care Village / Image courtesy SITELAB

“Care is the most important when you’re doing work that relates to the homeless, ” she said, adding that we are “sometimes desensitized because it is so present in our cities. We often walk past encampments and don’t think twice about what we can change or what we can do differently.”

Brie Hensold, ASLA, a principal at Sasaki and moderator of the session, noted a common thread between each of the cities is an effort to listen to the individuals and build relationship with the homeless communities, pointing to examples where “key individuals in the homeless population have become ambassadors and problem solvers.”

One such instance is found Gladys Park in Los Angeles, which has a large homeless population.

Gladys Park / City of Los Angeles

“A couple of the individuals started taking charge,” said Salaices. He added that the city has started hiring these people to help with maintaining spaces like the restrooms and grounds within the park.

Using Film to Tell the Story of a Sustainable Future

Solar landscape / Huffington Post

“Principles of sustainability have to be at the center, not at the margins of design,” according filmmaker and eco-activist Shalini Kantayya, particularly in our era of dramatic population growth and resource scarcity. “Sustainability can no longer be a thing of the privilege, but something that is accessible to all sectors of society and the masses.”

She spoke at the ASLA Annual Meeting in Los Angeles about her films, which explore efforts to bring clean water to all and the global transition to clean energy. 

Her films demonstrate the power of storytelling in inciting positive change. “The stories we tell as a culture have the power to shape the future,” Kantayya said.

She began with a clip from, A Drop of Life, her film about two women, on opposite sides of the world, and their access to water.

Kantayya used the film to underscore the fact that global potable water scarcity is an increasingly dire situation. Today, more than 2 billion people lack access to clean and safe drinking water, according to the World Health Organization.

“80 percent of illnesses in the developing world are due to water-related illnesses,” she said. “There are just no borders on this crisis.”

Kantayya pointed to the ongoing crisis in Puerto Rico where millions of American citizens are still without electricity, healthcare, and clean water a month after Hurricane Maria hit the island.

“This is a failure of a story. That somehow we have failed to frame this story as an American crisis, that this is happening to our fellow citizens,” she said.

In light of the lack of environmental leadership at the federal level, states, cities and communities can act to advance a more sustainable future. 

Her film Catching the Sun is about the global transition to a clean energy economy. She tells stories of people working in the solar industry to illustrate the economic, social, and environmental impact of the movement.

Globally, the transition is moving rapidly ahead. China is the leader in solar with over 43 gigawatts of solar capacity, compared to the United States capacity of just over 27 gigawatts. 

“You have seen China, in the last ten years, move from the factory of the world to the clean tech laboratory of the world,” she said, adding that the United States needs to better capitalize on this movement.

“What we need is smart policy, decisive leadership, and visionary landscape architecture that bring sustainable solutions into public spaces and to scale,” Kantayya said.

Visions of a Renewed Los Angeles River (Part 1)

Los Angeles River / City of Los Angeles

Over the past decade, the Los Angeles River has become a source of excitement, inspiration, and concern for residents, city officials, and planners and landscape architects as renewed attention is being paid to its revitalization.

At the ASLA 2017 Annual Meeting in Los Angeles, Barbara Romero, deputy mayor of city services for Los Angeles; Mia Lehrer, FASLA, founder and president of Studio-MLA; and Teresa Villegas, office of Los Angeles County supervisor Hilda L. Solis offered background on the river and planning and design efforts already underway.

Historically, the Los Angeles River, a 51-mile stretch of waterway, served as a vital water source for agriculture, but its constantly-changing course led to massive flooding that killed 115 people in 1938; and its unpredictability hindered development. By the 1930s, the Army Corps of Engineers began channelizing the river, encasing it in concrete.

As a result, today, “the river resembles a freeway more than a waterway,” said Frances Anderton, host of DnA and moderator of the panel. 

The river is at the center of complex jurisdictional overlays, with a number of organizations and agencies, like the city of Los Angeles, the county department of public works, and the Army Corps of Engineers, to name a few, sharing responsibility over its maintenance and future plans.

Thirty-two miles of the river falls within the boundaries of the city of Los Angeles. Romero explained how the city is working to implement their 2007 master plan, focusing on reconnecting people, particularly in adjacent neighborhoods, to the river.

“The scale of this is enormous,” Romero said, underscoring the jurisdictional complexity of the revitalization efforts. Within the existing master plan there are 240 projects that incorporated community engagement, representing some $500 million in investment.

Romero pointed to the city’s collaboration with the Army Corps of Engineers to restore ecological function and public access to an 11-mile portion of the river. Within this segment is Taylor Yard, a 42-acre parcel, purchased in March from Union Pacific Railroad Company for $60 million. Work is underway with Studio-MLA and WSP to make it a public park, after cleaning up the contaminated brownfield site.

Taylor Yard G2 project / City of Los Angeles

“If we’re really going to revitalize the river; if we’re really going to change the course of the river; if we’re really going to look at this ambitious plan, we needed to get this parcel into public ownership,” Romero said, referring to how acquiring Taylor Yard fit into the city’s revitalization plans.

Lehrer and her studio is designing public spaces in Taylor Yard, which is at mile 25, almost half way down the river. Her design studio is also situated on the river, and its revitalization has been a “passion project” of hers for three decades.

Lehrer said there is an opportunity to connect neighborhoods to the river while addressing environmental concerns like soil contamination and incorporating green infrastructure and creating new wildlife habitat. Lehrer also said there is an opportunity to use the river to create green infrastructure projects that recharge groundwater and get more water down into underlying aquifers.

“We think it’s good these 51-miles of infrastructure were kept away from any other kind of development. It has become an opportunity to bring the communities together to address environmental ills.” She added that “we want it to be resilient, inclusive, and an inspiration for Los Angeles.”

Villegas is coordinating revitalization efforts at the county scale. “We will be dusting off the old plan, opening it up, and adding to it,” she said, referring to the county’s master plan, which was last updated in 1996. They have created a stakeholder group of about 40 people.

The group is focused on the southern portion of the Los Angeles river. A park needs assessment completed last year showed a critical lack of access to green space. “We know we need additional park space in the lower Los Angeles River because it is densely populated.”

Revitalization efforts will coincide with the city’s preparation to host the 2028 summer Olympics. Romero said the major event can serve as a framework to invest resources. “This is not about bringing the world here for two weeks — it’s about reframing the discussion we want to have in our city,” she said.