Brazilians Use Olympics to Deliver Climate Message

2016 Rio Olympics Opening Ceremony / NBC
2016 Rio Olympics Opening Ceremony / NBC

The estimated 3.3 billion people who watched the opening ceremony of the 2016 Olympics in Rio de Janeiro, Brazil, saw a beautiful and compelling case for fighting climate change. Brazil, which is to critical to global efforts, given its stewardship of the Amazon rainforest, decided to use its big moment on the stage to make the message clear: climate change will impact us all, and we must all do something, even if it’s simply planting a tree.

In the beginning of the ceremony, the Amazon was depicted as the great web of life, a multi-layered network, which is really how a forest functions, according to biomimicry pioneer Janine Benyus (see image at top). We then see dancers from the indigenous tribes of Brazil symbolically managing the forest resources in sustainable ways.

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But later, we see the forest come apart, as its colonized by the Portuguese, as their ships slice through the sea of greenery. In the ceremony, dancers dramatized the conflict between the native forest dwellers and the Portuguese, between the stewards of ecology and the forces of extraction and trade.

Rio 2016 Olympics Opening Ceremony / Olympics
Rio 2016 Olympics Opening Ceremony / Olympics

We then see dancers representing the millions of slaves brought over from Africa. Then we see how the forest was further broken down, turned into farms, and, finally, urbanized.

As the ceremony progressed, dancers moved off stage and the Brazilian Olympics organizers shifted the focus to educating the world about what the climate models predict, displaying this data showing global temperature increase.

As the narrator states — “the heat is melting the ice cap; it’s disappearing very quickly — an animation displays, showing what a melting North Pole will mean for the world’s waterfront cities, including Amsterdam, Dubai, Lagos, Shanghai, Miami, and, finally, the home of the 2016 Olympics.

After the doom and gloom, a child then walks through to the middle of the stage and sits down next to a sapling, which itself glows, spreading the web of life once again. The answer to climate change, according to the Brazilians, is to protect and renew our forests. 

Rio 2016 Olympics Opening Ceremony / Olympics.org
Rio 2016 Olympics Opening Ceremony / Olympics.org

The ceremony is a reminder that much of the world is very worried about climate change and has moved way beyond any controversies around the science. According to the Pew Research Center, majorities in 40 leading countries say climate change is a “serious concern,” and 54 percent say it’s a “very serious concern.”

While the ceremony may help educate the world, its message may also be directed at some key local audiences. Environmental officials in Brazil have been fighting a tough battle against cattle ranchers, loggers, and farmers who continue to engage in illegal burning and clearing of the rainforest and must have powerful political backers who protect and enable this. And the message may also be aimed at international donors who can bolster Brazil’s fight to save the forest; it’s a plea to ask them to do more to help this developing country.

Deforestation in the Amazon just hit the highest levels in 8 years, with 240,000 acres destroyed in June 2016 alone. About 19 percent of the total Amazon rainforest is gone. It’s clearly time to geo-engineer the planet in a sustainable way: let’s regrow the lost forest and then plant billions more trees. 

New ASLA Headquarters Will Boost Well-Being

ASLA Center for Landscape Architecture / Gensler
ASLA Center for Landscape Architecture / Gensler

The American Society of Landscape Architects (ASLA) is renovating its outdated headquarters in Chinatown, Washington, D.C. to become a showcase not only for sustainable building and landscape design, but also healthy employee environments. ASLA is pursuing certification through the International WELL Building Institute’s WELL standard. In a session organized by the Institute and DC chapter of the American Institute of Architects (AIA), representatives from WELL, ASLA, and ASLA’s architects at Gensler explained why they are taking this approach and what well-being will look like in the new headquarters.

WELL, according to its website, is a “performance-based system for measuring, certifying, and monitoring features of the built environment that impact human health and well-being, through air, water, nourishment, light, fitness, comfort and mind.”

WELL senior associate Sarah Welton said the standard focuses on the people occupying the building, as opposed to the building itself. The major difference between WELL and LEED is that much of the onus for meeting WELL requirements falls on owner policies.

Nancy Somerville, Hon. ASLA, executive vice president and CEO of ASLA, argued that “wellness is a huge part of our culture at ASLA. And we, as a profession, have a strong ethic of leading by example. We want the building to show the values of the profession.”

She cited other practical reasons for going after WELL Silver certification: It promises to improve productivity and well-being by optimizing light and sound quality; it will help inscribe into the office culture a notion of work-life balance; and it helps make the space more visually inviting.

ASLA Center for Landscape Architecture / Gensler
ASLA Center for Landscape Architecture / Gensler

Also on hand was Joseph Siewers, project manager for Gensler, to discuss how ASLA’s vision for the space was implemented. ASLA’s old office space was “compact and dark,” Siewers noted. One major step Gensler took was to add a skylight to the existing green roof, which will allow light to filter from the roof to the ground floor.

One of the most forward-thinking aspects of WELL is its emphasis on lighting. Gensler sustainability specialist Brynn Kurtzman, who oversaw Gensler’s integration of WELL design, described how the lighting in ASLA’s new headquarters will sync up with staff’s natural circadian rhythm. “WELL encourages cool blue lighting to maximize productivity,” Kurtzman said. Blue orbs will illuminate work spaces from overhead at a 45-degree angle, matching the natural progression of the morning sun. The light will work much like camping does to normalize staff members’ circadian rhythms.

According to Welton, WELL standards also sometimes raises eyebrows when people learn of its influence on office diet.“WELL tries not to ban food, just carcinogens.” The standard also asks employers to limit the amount of sugar and hydrogenated fats per serving that offices may provide through catering or the cafeteria.

Welton, who has a background in public health, added that as a WELL ambassador, “I don’t want to change your office habit. I want to change your life. It’s not to restrict, it’s to open your eyes.”

Somerville said WELL’s food guidelines had definitely started a conversation among staff about the direction of office culture. “It has made people more aware of what they’re eating. We now have the comfort of knowing that what we’re serving fits healthy guidelines.”

Learn how to donate and help build ASLA’s new Center for Landscape Architecture.

The Case for Austerity

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If abundance and variety characterize most gardens, then an austere garden is one marked by subtlety and restraint. Respectable qualities, especially in a society that aspires to opulence. But these same qualities make austerity much trickier to identify and thus admire. Marc Treib, professor emeritus of architecture at the University of California at Berkeley, suggests in his latest book, Austere Gardens: Thoughts on Landscape, Restraint, & Attending, that we must attune our senses to recognize austerity and its value.

“Experiential richness does not depend on complex form or an abundance of elements. It is how we look, and what we want to see, that makes a garden,” Treib writes. Decouple ornamentation from beauty and austerity will have its day. Treib’s book is a vision of what that day might look like, with examples of austerity from the past and present, from art, architecture, and landscape design. Japanese gardens make several appearances (Treib has studied them extensively), but so do peat quarries in the UK, an experimental forest in Sweden, and Salgina bridge in Switzerland.

These varied examples of austere works beg the question, how does Treib define austerity? You might get a different answer depending on which page you flip to. “State less, imply more.” “Simplicity, reduction, and compression.” “Restriction in means.” These are all true, of course, but only constitute individual aspects of austerity. One might say, “You’ll know it when you see it.” The challenge Treib sets himself is attuning readers’ eyes to it.

Austere Gardens begins with a description of the musical score 4’ 33” by composer John Cage. The score is performed in front of an audience, although it requires no instrument, just the periodic disruption of silence. The performer relinquishes control to the audience. Shuffling of feet, heavy respiration: ambient noise comes to the fore. Silence becomes music and austerity delivers riches.

4’ 33” possesses an effortlessness common to many of Treib’s examples of austere works. Tactical mowing, cutting, digging, and occluding are economical strokes with outsized impact. Treib gives as an example the construction fence, hiding from passersby what lies beyond. “What has been screened, withheld, or removed often stimulates greater intrigue.” Closure and revelation. Achieving more with less can be interpreted several ways.

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Tactical mowing adds color to a path in a German meadow. // Image Credit: Oro Editions

Patience is essential to appreciating austerity, writes Treib. “Without taking the time to look, perceive, and perhaps to think, any rewards may be meager.” Even the mundane, perhaps especially the mundane, deserves a prolonged gaze. The austere beauty we’re witnessing, Treib tells us, may be intentional, inadvertent, or the result of time and its effects.

The essay’s organization will frustrate some readers who desire more structure. It is, as the title implies, a series of thoughts. One can read it in a sitting, feel refreshed by its ideas, and then wonder, “What was the overarching point?” A call for austerity and all that implies, certainly. And yet an absence can be felt after putting down Austere Gardens, the sense of a lesson left incomplete. In a way, the essay practices what it preaches, leaving room for the reader to close the circle.

A New Look at the Trail Blazing David Williston

David A. Williston / TCLF
David A. Williston / TCLF


David August Williston
is a name little known today, even in the world of landscape architecture. But according to Dr. Douglas Williams, Student ASLA, Ph.D graduate from the University of Illinois at Champaign-Urbana, he is one of the trail blazers of the field. One of the first African American landscape architects, Williston designed some of the major campuses of historically African American colleges like Booker T. Washington’s Tuskeegee Institute and Howard University in Washington, D.C. In his lifetime, he never experienced full integration, having passed away in 1962 at the age of 94, but managed to accomplish a lasting legacy of built work.

In a talk at Howard University’s School of Architecture, Williams wondered why Williston is so little celebrated. In part, he blames the lack of diversity in core landscape architecture texts, like the Landscape of Man, published in 1970, and Landscape Design, in 2001. “Where are the black people in these texts?”

He also pointed to the paucity of published books on African American cultural landscapes. Celebrated African American landscape architect Walter Hood, ASLA, published a book of his own work, but that was back in 1997. (Apparently, he is at work on a second book on his “hybrid landscapes”). The 2004 book African American Architects: A Biographical Dictionary, 1865-1945, an overview of some 100 designers, includes only 5-6 landscape architects. Williams bemoaned that mainstream attention to these designers only gets paid in a cursory fashion during Black History Month.

Williams highlighted a few examples of what he considers to be excellent African American scholarship on landscape: from J.B. Jackson’s The Necessity of Ruins and Other Topics, which states that “the garden landscapes of blacks are some of the least known and richest,” to We Shall Independent Be: African American Place-Making and the Struggle to Claim Space in the United States, a compendium edited by Angel David Nieves and Leslie M. Alexander, which explores the stories of African American communities displaced by Frederick Law Olmsted in the creation of Central Park.

Referring to Outliers: The Story of Success by Malcolm Gladwell, which argues that geniuses are less isolated phenomena than important nodes in deep and rich social networks, Williams argued that Williston also collaborated widely. He tried to imagine Williston’s African American contemporaries, many of whom remain unknown. He tried to imagine how Williston was able to create an entirely African American system to achieve his landscape designs in the segregated deep South. And he tried to imagine how Williston, without access to white-owned nurseries, could have sought out native plants in the woods and cultivated them on his own. (Williston was one of the first African Americans to earn a bachelor’s degree in horticulture from Cornell University; there, his love of plants grew into a considerable expertise on plant propagation and cultivation.)

Williston taught horticulture to African American college students while also serving as a campus landscape architect for numerous historically black colleges. He spent 20 years at Booker T. Washington’s Tuskegee Institute, where he also worked with African American architect Robert R. Taylor to lay out the physical campus. According to The Cultural Landscape Foundation, he then settled in Washington, D.C. at the onset of the Great Depression, where he started his own firm. He designed the expansion of Howard University, and numerous other colleges, working well into his early 90s.

Williams’ hope is to completely digitize Williston’s archives and make them accessible online for future researchers, using them as a basis to create 3-D models of now-lost planting schemes, so more people can experience a Williston landscape.

A Universe of Interactive Art in Tokyo

In a leap for interactive art environments, Team Lab, a collaborative of Japanese artists, has put together a fascinating and bizarre collection of works in a 3,000-square-meter space in Tokyo. The pieces are truly responsive: visitors impact and shape the ever-changing works in real-time.

In the Dance of Koi and People – Infinity, visitors wade up to their calves through a shallow pool surrounded by mirrors, which creates the effect of being in an infinite space. As visitors walk through the water, underwater lights that mimic koi fish dart by.

The Dance of Koi - Infinity / Team Lab
The Dance of Koi and People- Infinity / Team Lab
The Dance of Koi and People- Infinity / Team Lab
The Dance of Koi and People- Infinity / Team Lab

According to the artists, the “trajectory of the koi is determined by the presence of people, and these trajectories trace lines on the surface of the water.” The even-more amazing part: “When the koi collide with people, they turn into flowers and scatter.”

The Dance of Koi and People- Infinity / Team Lab
The Dance of Koi and People- Infinity / Team Lab

This art work is derived by an algorithm in real time; it’s not a “pre-recorded animation nor on a loop.” It’s a work of continuous interaction and constant change.

In Wander Through the Crystal Universe, visitors interact with a giant pointillist sculpture in which “the particles of light are digitally controlled, and change based on the viewer’s interactivity with the work.” As visitors move, light shifts; as more visitors enter, light accumulates. Visitors can also use their smart phones to chose colors and shapes that will be included in the evolving piece.

In Floating in the Falling Universe of Flowers, visitors enable seasonal change. As visitors walk through, “flowers are born, they grow, bud, bloom, and, in time, the petals fall, and the flowers wither and die. The cycle of birth and death continues for perpetuity.” The piece also enables visitors to select butterflies with their smart phones and send them off into the surrounding “flower universe.”

And, lastly, Soft Black Hole, creates a dark space that plays with “the borders of floors, walls, and ceilings,” creating perhaps a startling version of a space you may find in a contemporary Korean spa. As visitors get into the space, their body weight shifts the environment, and so visitors impact the space of other visitors. “Your body changes the space, and the space changes the bodies of others.”

Soft Black Hole / Team Lab
Soft Black Hole / Team Lab

If in Tokyo, visit DMM.Planets before August 31.

Building the Next Generation of National Park Advocates

grand-teton
Grand Teton National Park / Image Credit: Flowvella.com

The National Park Service (NPS) will celebrate its centennial on August 25. One hundred years after its creation, the U.S. national park system stands as the “best national park system in the world,” according to National Park Service (NPS) director Jonathan Jarvis, who spoke at the National Press Club in Washington, D.C. But he insisted that future success should not be taken for granted.

“Our centennial goal has been to create the next generation of visitors, supporters, and advocates for our national parks and our public lands,” Jarvis said. Failure to do so will result in losing the parks to “selfish interests,” or private development for short-term gain.

One way that Jarvis and the NPS have tried to create this next generation of park enthusiasts is by advertising the parks as part of America’s story.

“When I became director in 2009, we recognized that there were gaps in the American narrative as told by the national parks.” During Jarvis’ tenure, the NPS has taken into its stewardship 22 new sites, including several that speak to the contributions of minorities to America and America’s history of slavery and oppression. The latest place to be designated a national monument is The Stonewall Inn in Greenwich Village, New York City, considered the birthplace of the gay liberation movement.

With a backlog of $12 billion needed for park services and repairs, Jarvis was asked how the NPS considered taking on even more sites into its stewardship.

“In almost every case, we have minimized the actual amount of land or resources we need to take care of, and we have brought in philanthropic partners to assist with that. It does add to our overall responsibility, but I think we’ve been very judicious in ensuring it does not add significantly.”

No one can suggest that the park system has not been successful under Jarvis’ leadership. 2015 saw 312 million people visiting the park system. That is more than the visitors to Disney, the NFL, MLB, NBA, MLS, and NASCAR combined, according to Jarvis.

Still, support for the NPS has been steadily declining in congress. According to the Center for American Progress, members of Congress filed at least 44 bills or amendments that attempted to slash protections for parks and public lands in the last 36 months.

Jarvis said that he and his team are doing their best to partner with corporations and philanthropic bodies to offset certain costs. “The basic operation of a national park is the responsibility of appropriators. Philanthropy gives us that margin of excellence on top of that.”

Jarvis smiled as he waved off suggestions that sponsorship of parks on the part of private partners might lead to signage reading, “The Grand Canyon, brought to you by Exxon.”

“We have always had relations with corporate America. It was the railroads that built most of the major lodges. We are protecting these assets from branding and labeling.”

Asked where he sees the future of the NPS heading, Jarvis reiterated the importance of inspiring a new generation of conservationists and preservationists to “bring the concept of conservation back into their own communities. Many of the initiatives that we have launched, like the studies around the contributions of Latinos and women and Asian American Pacific Islanders, and LGBT community, will be carrying on into the next administration. I don’t see this ending.”

Landscape Architecture in the News Highlights (July 16 – 30)

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Photograph by Simon Norfolk / Institute for the New Yorker

Are Seawalls the Best Answer to Rising Sea Levels – or is Retreat a Better Option? The Guardian, 7/18/16
“The extraordinary pictures of subsumed gardens and a swimming pool wrenched from the ground by the giant waves that battered Sydney’s northern beaches last month have revived debate about seawalls and the impact of human attempts to keep the rising ocean from our doors.”

Cleveland’s Great New Public Spaces Helped Make RNC 2016 a Success The Cleveland Plain Dealer, 7/22/16
“The Republican National Convention, where Trump gave his acceptance speech Thursday night, was a great, crashing success for its host city – and especially for the revitalized public spaces that framed the event and made it possible.”

The Secret Behind the Floral Mural of Fiddler’s Green’s Living Walls The Denver Post, 7/22/16
“Live music isn’t the only animate attraction at Fiddler’s Green Amphitheatre in Greenwood Village. The concert venue, owned and operated by the Museum of Outdoor Arts (MOA), also boasts North America’s largest living walls. Picture vast, lush gardens with a total of 25,000 plants tipped on their sides, an aerial Eden.”

Changing Skyline: New Dilworth Park is Busy with Everything but Protests Philly.com, 7/22/16
“You only have to spend a few minutes in Dilworth Park to see what a people magnet it has become since the Center City District completed a dramatic, $55 million makeover two years ago. Besides regular attractions, like the cafe and sparkling fountain, there is something special going on 186 days a year – that’s every other day – ranging from concerts and farmers’ markets to bocce tournaments and Lupus Awareness booths.”

What It Takes to Clean the GangesThe New Yorker, 7/25/16
“The Ganges River begins in the Himalayas, roughly three hundred miles north of Delhi and five miles south of India’s border with Tibet, where it emerges from an ice cave called Gaumukh (the Cow’s Mouth) and is known as the Bhagirathi.”

Obama Chooses Historic Jackson Park as Library Site Chicago Tribune, 7/27/16
“Rejecting a rough-edged urban site for what could be a showcase near the lakefront, President Barack Obama and first lady Michelle Obama have selected Chicago’s historic Jackson Park as the site of his presidential library, sources said Wednesday.”

The Obama Library Is Going in Jackson Park – What That Means – The Huffington Post, 7/28/16
“The last major remaining question about the Obama Presidential Library—which Frederick Law Olmsted-Calvert Vaux-designed park would become the building site for the facility—was answered yesterday when news leaked out that the First Couple had decided on Jackson over Washington Park. This is a good-news/bad-news result.”

Parks Can Also Be Green Infrastructure

Historic 4th Ward Park / Beltlandia.com
Historic 4th Ward Park / Beltlandia.com


City Parks, Clean Water: Making Great Places Using Green Infrastructure
, a new report from The Trust for Public Land (TPL), makes a strong case for leveraging public parks to manage stormwater. The report offers several useful case studies that explain the challenges and opportunities involved in designing parks to act as systems for storing or absorbing excess stormwater. 

The problem of stormwater, as many readers know, originates with the vast amount of asphalt and concrete used in urban areas. Where once stormwater would have filtrated into the ground, asphalt and concrete shed it toward sewer systems. That water, toting pollutants and grime from streets, gets conveyed to rivers, lakes, and other water sources that people use. It is never cleansed by soils and plants, never replenishes groundwater, and often overburdens sewer systems and local waterways, causing flooding.

A potential solution to this problem, according to report, is to use parks to do the work of traditional grates, pipes, and sewage and stormwater treatment facilities. Parks are ideal for providing this service because they already exist in most cities and can be designed from the beginning, or even retrofitted, to serve both recreational and ecological functions.

The report offers five case studies of cities that deployed parks as green infrastructure and were rewarded with working landscapes that beautify their neighborhoods and allow for recreation:

The award-winning Historic Fourth Ward Park, which is part of Atlanta’s Beltline, sits in a lowland, industrial area that was heavily prone to flooding. One of its major features, a 5-acre storage pond, serves the function of what was intended to be a $40 million underground tunnel, according to HDR Inc., the landscape architecture and engineering firm that designed the park. The pond can handle a 500-year flood.

Kevin Burke, ASLA, senior landscape architect for the Atlanta Beltline, said the stormwater storage function of the park is working well: “We’re in the position where the city has allowed two additional developers to tie their runoff to the pond.”

The park does not infiltrate or clean stormwater, its only job is to store it. The report strikes on this point repeatedly, that stowing and slowing water outflow with green infrastructure goes a long way to preventing flooding and lifting the burden off treatment plants.

The report also highlights Railroad Park in Birmingham, Alabama, designed by Tom Leader Studio, as another economic success. The park has incentivized $185 million in development in the area and receives 500,000 visitors annually. Many of these visitors come expressly to see the birds and wildlife that flock to its water-managing wetlands, according to Railroad Park Foundation director Camille Spratling.

“When the lake was built, it was the first time we saw the Birmingham skyline reflected in the water,” Spratling wrote. “That was a real point of pride.”

Railroad Park / City Parks Blog
Railroad Park / City Parks Blog

The report acknowledges it’s important to think out all the options, asking decision makers to consider the following about gray vs. green infrastructure: “Do both approaches work equally as well? Is one less expensive? Can they be combined? Are residents willing to put up with years of tunneling under then neighborhoods? Conversely, does the city have enough unbuilt land to capture water on the surface?”

Other questions to answer before turning to green infrastructure: should the park also absorb stormwater? If so, what is the cost to amend the soils of existing parks so they can better infiltrate stormwater?

“The mere presence of a grassy park does not guarantee water infiltration,” the report states. Water runoff rates of urban soil, which is often heavily compacted, can approximate that of asphalt. Factors such as budget, precipitation patterns, native soil porosity, and depth to water table must be considered when amending the soil of parks, the report suggests. Maintenance of parks and their water management features can add to the cost of green infrastructure.

But, according to Burke, the investment was well worth it: Historic Fourth Ward Park has spurred hundreds of millions of dollars in development in the neighborhood.

Summer Book Recommendations from Landscape Architects

The Book of Night Women
The Book of Night Women / Riverhead Books

It’s almost August, but there’s still plenty of time left to dive into some quality summer reading. We asked a few landscape architects to share books they’ve been enjoying. Check out their suggestions:

Diane Jones Allen, ASLA, principal at DesignJones, LLC

The Book of Night Women by Marlon James
“I have just finished reading The Book of Night Women this past 4th of July. This book is written by Marlon James, who won the 2015 Man Booker Prize for his book A Brief History of Seven Killings. The Book of Night Women is a beautiful and lyrically-painful narrative about the lives and landscape of slavery on a Jamaican sugar plantation. If you are passionate about Faulkner and Morrison, then you will relish this book.”

Gerdo Aquino, FASLA, firmwide CEO at SWA Group

Ghettoside by Jill Leovy

Ghettoside
Ghettoside / Spiegel & Grau

“A book that grew out of Los Angeles Times’ Jill Leovy’s reports on homicide and working the police beat from 2001 to 2012, Ghettoside takes the reader deep into the communities of south Los Angeles to understand why homicide rates are some of the highest in the country. Weaving together Los Angeles and U.S. history, perspectives from veteran LAPD detectives, scholars, and most importantly those living in Compton, Watts, and adjacent neighborhoods, Ghettoside provides a compelling piece that couldn’t be more timely and fiercely urgent as this country continues to face issues of race and violence, and the consequences of ignoring them.”

California by Kevin Starr
“Everything you wanted to know about California from a great historian. Starr gathers together everything that is most important, most fascinating, and most revealing about America’s 31st State.”

The Bathroom by Jean-Philippe Toussaint
“A playful and perplexing book that centers on a young Parisian researcher who lives inside his bathroom. As he sits in his tub meditating on existence, the people around him further enable his peculiar lifestyle, supporting his eccentric quest for immobility. But then a not-to-be missed opportunity arises and his stable world turns upside down.”

Shannon Nichol, FASLA, founding principal at Gustafson Guthrie Nichol

A State of Change: Forgotten Landscapes of California by Laura Cunningham

a state of change
A State of Change / Heyday Books

“For the last twenty years, Laura Cunningham has been melding her scientific training – rigorously cataloguing species from her field work in California’s cities and roadsides – with her obvious artistic talent and intuition, painting fluent watercolors of the vanished places that she can now, naturally, picture in her mind. This book feels like her explorer-journal, each hard-earned page built up as she explores and documents a new landscape or vista found in a shockingly familiar, urbanized place that we thought we already knew.

This book is a modern-day reassurance that the age of exploration – and the age of the artist-naturalist – is not over. Perhaps, instead, our era, in which we separate science and art, facts and intuition, may be giving way to a more nuanced one that picks up where the explorer-naturalists left off.”

Martha Schwartz, FASLA, partner at Martha Schwartz Partners

The Collapse of Western Civilization by Naomi Oreskes and Erik Conway

collapse
The Collapse of Western Civilization / Columbia University Press

“The Collapse of Western Civilization is essential reading for anyone truly interested in sustainability and the global environment.”

Anne Whiston Spirn, FASLA, professor of landscape architecture and planning, MIT

Toward an Urban Ecology by Kate Orff, ASLA

The Time of the Force Majeure by Helen and Newton Harrison

orff
Towards an Urban Ecology / The Monacelli Press

“Two brilliant new books are a call to action on urban ecology and climate change, with landscape as the principal medium. Kate Orff’s Toward an Urban Ecology is a presentation of ground-breaking projects by Scape, and the principles and strategies that underlie their success. In The Time of the Force Majeure, artists Newton and Helen Harrison describe their work on climate change, ecological design, and community engagement over the past five decades. The Harrisons design virtually every aspect of every project to ‘bring forth a new state of mind’ in themselves and their audience, and they employ ingenious strategies to accomplish this transformation. Human societies cannot successfully mitigate and adapt to the stresses of climate change without a new state of mind, and landscape architects and artists have an essential role to play. The Harrisons have been demonstrating this fact for more than forty years, Kate Orff and Scape more recently. Both books are required reading for landscape architects.”

Through Many Lenses: The Works of Capability Brown

Chatsworth / Gary Rogers, cropped.
Chatsworth (Cropped) / copyright Gary Rogers

This year is the 300th anniversary of famed English landscape architect Lancelot “Capability” Brown’s birth. To celebrate, the Landscape Foundation and Building Center in London have put together Lens on a Landscape Genius, an exhibition of 100 photographs, depicting some of the 150 landscapes of Brown’s that still exist, out of the 250 he planned or designed in the 18th century.

Compton Verney (cropped) / copyright James Kerr
Compton Verney (cropped) / copyright James Kerr

Brown is viewed as the quintessential English landscape architect, “as deeply embedded in the English character as the paintings of Turner and the poetry of Wordsworth.” He is known for projects of an immense scale: vast estates, including the Hampton Court Palace Gardens, Blenheim Palace, and the landscape of Highclere Castle, known today on television as Downtown Abbey. At many of these grand estates, he removed formal gardens and replaced them with undulating grasslands and constructed hills and serpentine rivers.

Highclere (cropped) / Allan Pollok-Morris
Highclere (cropped) / Allan Pollok-Morris

Brown created elegant, seemingly-simple landscapes that hid deeper complexity. On the website of the foundation that promotes the preservation of his work, they write: “His designs appear seamless owing to his use of the sunk fence or ‘ha-ha’ to confuse the eye into believing that different pieces of parkland, though managed and stocked quite differently, were one. His expansive lakes, at different levels and apparently unconnected, formed a single body of water as if a river through the landscape, that like the parkland itself, ran on indefinitely. This effortless coherence is taken for granted today.”

Dawn at Gatton Park (cropped) / copyright James Bruce
Dawn at Gatton Park (cropped) / copyright Matthew Bruce

While he was highly sought after in his life time, becoming the master gardener for Hampton Court, his reputation declined immediately after his death. His Picturesque style, which would influence Frederick Law Olmsted and others, fell out of favor in the face of Romanticism and later Modernism. His work was viewed as the anti-thesis of the geometric, formal works of French landscape architect André Le Nôtre, but both were long seen as out of style. His style, now known as the English Picturesque, has seen a resurgence though. This year, The Telegraph calls him “the world’s most famous landscape gardener.”

Deer on Rutting Stand (cropped) / copyright Derek Saint Romaine
Deer on Rutting Stand (cropped) / copyright Derek St. Romaine

The exhibition includes noteworthy UK-based landscape photographers such as: Andrew Lawson, Joe Cornish, Andrea Jones, Allan Pollok-Morris, Gary Rogers, Derek St. Romaine, Matthew Bruce,  Gareth Davies, James Kerr, Archie Miles, Gavin Kingcome, Simon Warner, Jacqui Hurst, Stephen Studd, James Smith, and, lastly, Steffie Shields, who has also just published a book of her photographs of his landscapes: Moving Heaven and Earth: Capability Brown’s Gift of Landscape.

If in London, go see the exhibition before it closes on October 27.