Professional Documents
Culture Documents
were embedded in the firm's annual or official reports for park boards or Instead, the literature describes and analyses eco-technologies for con-
clients of projects such as Prospect Park, Brooklyn (Beveridse 1997= 10), the structing rain gardens and green roofs or day-lighting streams accord-
Parks and Parkways ofBoston (Sutton 1979: 244-245), and Mount Royal Park, ing to quantifiable ecological and hydrological processes. Sustainability
Montreal (Sutton 1979: 214-215). We find Olmsted's ideas most cpncisely stands on three pillars, we are told: ecology, social equity and economy.
summarized when he was asked to lecture on parks, as in the conclusion and the ecological operates in relationship to social justice and capitalist
to his 1868 address to the Prospect Park Scientific Association: "A park is profit, but not aesthetics.
a work of art, designed to produce certain effects upon the mind of men." Here, I will make a claim for reinserting the aesthetic into discussions
(Beverid.ge 1997= 147-157). of sustainability. I will make a case for the appearance of the designed
For nineteenth-century American landscape architects like Olmsted, landscape as more than a visual, stylistic or ornamental issue, as more
urban landscapes were experiences as well as environments, sustaining than a rear-garde interest in form. I will attempt to rescue the visual, by
civilization and culture as much as the bio-physical environment. And connecting it to the body and poly-sensual experience. I will try to ex-
yet, contemporary theory and practice of sustainable landscape design plain how immersive, aesthetic experience can lead to recognition, empa-
have little regard for the performance of appearance, particularly beauty. thy, love, respect and care for the environment.
The discourse on aesthetics and beauty in landscape architecture precedes "The domain of aesthetics," wrote Howett, "must come to be seen as coex-
Olmsted's beliefs, of course, and continues to the present. An aesthetic ap- tensive with the ecosphere, rather than narrowed to its traditional appli-
preciation of the designed landscape emerged in the eighteenth centu- cations in art criticism, so that aesthetic values may no longer be isolated
ry with the explorations of somatic experiences moving through pictur- from ecological ones. Thus every work oflandscape architecture, what-
esque landscape gardens. Criticism of the landscape shifted from a focus ever its scale, ought first of all to be responsive to the whole range of in-
on the creator to the audience, from theories of construction to theories teractive systems- soils and geology, climate and hydrology, vegetation
of reception. This period heard considerable debates concerning the basis and wildlife, and the human community that will come into play on a
for aesthetic criticism, and whether beauty was intrinsic to a specific form, given site and will be affected by its design. In the measure that the forms
or associated with particular emotional responses. But intrinsic to many of the designed landscape artfully express and celebrate that responsive-
theories was the belief that the appreciation of beauty was not purely op- ness, their beauty will be discovered." (Howett 19877).
tical or visual. Rather, beauty was "that quality or combination of quali- Spirn adds, "This is an aesthetic that celebrates motion and change, that
ties which affords keen pleasure to the other senses (e.g. hearing) or which encompasses dynamic processes, rather than static objects, and that em-
charms the intellectual or moral bculties, through inherent grace, or fit- braces multiple, rather than singular, visions. This is not a timeless aesthet-
ness to a desired end." (Oxford En3lish Dictionmy, 2008). While some early- ic, but one that recognizes both the flow of passing time and the singularity
twenty-first century readers, this author included, might find accounts of the moment in time, that demands both continuity and revolution. This
of grace a bit odd, I do find the idea that the sensuous perception ofbeau- aesthetic engages all the senses, not just sight, but sound, smell, touch and
ty could charm, as in influence or persuade, one's intellectual and mor- taste, as well. This aesthetic includes both the making of things and places
al position intriguing. Can landscape appearance perform in this way? and the sensing, using, and contemplating of them." (Spirn 1988: 108).
Can landscape form and space indirectly, but more effectively, increase From the writings oflandscape architects such as Howett and Spirn
the sustainability of the bio-physical environment through the experi- that predate the United Nations' Brundtland Commission's populariza-
ences it affords? tion of the term sustainability, we can already see how crucial beauty and
Both Catherine Howett and Anne Whiston Spirn wrote of these is- aesthetics are to an ecological design agenda. They argue that the act of
sues twenty years ago in short essays that have the ring of a manifesto. I experiencing designed landscapes poly-sensually, over time, through and
have written elsewhere of the significance of these key articles for provid- with the body, is not simply an act of pleasure, but possibly, one of trans-
ing conceptual bridges between aesthetics and ecological design. (Meyer formation. Through their writings we can infer that new forms ofbeauty
2000:187-244). Two brief excerpts, one from each author, ground my un- will be discovered, as new techniques and approaches for reclaiming, re-
derstanding ofhow appearance differs from aesthetics, how performance making and reforming a site's natural processes are invented. These new
can include ecological function and emotional or ethical revelation, and types ofbeauty will be found through the experience, as well as the mak-
how a concern for beauty and aesthetics is necessary for sustainable de- ing, oflandscape. [2] They promise to expand the public's, and many de-
sign if it is to have a significant cultural impact. signers', conceptions of sustainability beyond the ecological health realm,
and into social practice and the cultural sphere.
This is not to say that my argument is a widely-held one. [3] Beauty is not Yet, I have come to believe that the experience of certain kinds of beauty
a word that was used in my design education, or at least not used in a pos- -granted new forms of strange beauty- is a necessary component of fos-
itive sense. This is not a discipline-specific problem; it extends to other tering a sustainable community, and that beauty is a key component in
visual arts as well. One has only to think of the response to art critic Dave developing an environmental ethic. This realization has evolved over the
Hickey's writings on beauty, or the fact that the Washington, D.C. Hirsh- past decade, partially in response to the limitations of mainstream sustain-
horn Museum's 1999 exhibition, Regarding Beauty, self-consciously re- ability discourse, partially through exposure to writings on beauty such
flected on this rarely discussed topic (Benezra 1999 ]. In fact, at a re~ent end- as Anita Berrizbeitia' s interpretation of Robert Burle Marx [Berrizbeitia
of-semester studio review at Harvard's Graduate School ofDesign, I felt zoos: 90-95], and partially through my knowledge of designed landscapes
compelled to correct a younger (and otherwise quite talented and artic- by companies as disparate as Julie Bargmann's DIRT Studio in the United
ulate J colleague's dismissive use of the terms beauty and aesthetics. Like States, Peter Latz and Partners in Germany, and Kongjian Yu' s Turenscape
many landscape architects, he equated beauty and aesthetics with the vis- in China. It has been extended and enriched by reading eco-critic Lawrence
ual and the formal, and in doing so rendered them inconsequential. His Buell, geographer Denis Cosgrove, philosopher Elaine Scarry, and sociolo-
fascination for the performative blinded him to the distinctions between gist Ulrich Beck. Buell's book Writin8for an Endan8ered World is instructive
beauty and beautification or ornamentation. He did not think that beau- in this regard. He suggests that American environmental policy is missing
ty mattered, or realize that appearance could perform. "a coherent vision of the common environmental good that is sufficiently
compelling to generate sustained public support." Drawing on the writing traduce the manifesto with a brief account of the current state of think-
ofUlrich Beck, he argues that what is needed is not more policies or tech- ing about and action on sustainability in the United States. The manifes-
nologies, but more "attitudes, feelings, images, narratives." [5] to is a work in progress, delivered for the first time in London and Beijing
I believe that works oflandscape architecture are more than designed in 2007. [7] I have included a few illustrations to emphasize key points in
ecosystems, more than strategies for open-ended processes. They are cul- my manifesto, while realizing that it is impossible to capture aesthetic ex-
tural products with distinct forms and experiences that evoke attitudes perience- versus the look or appearance of things in images. These se-
and feelings through space, sequence and form. Like literature and art, lections depict projects designed by colleagues who might not have used
images and narratives, landscape architecture can play a role in building the term 'sustainability' in a description of their work, but who do care
sustained public support for the environment. Geographer Denis Cos- about conserving ecosystems, revealing site processes, regenerative eco-
grove underscores this in his book, Socia! Formation and Symbolic Landscape, logical systems, and remediating sites through design. [8] I could refer to
when he argues that cultural products such as works oflandscape archi- other projects designed by these landscape architects as well as by others,
tecture can change human consciousness as well as modes of production so the projects illustrated here are intended to be suggestive of this mani-
like the neo-liberal capitalism that characterizes late zoth- and early 21St- festo's tenets rather than exclusive examples.
century American society and that is so at odds with human, regional and
global health. So while I do not believe that design can change society, I Part two
do believe it can alter an individual's consciousness and perhaps assist in Context: sustainability in North American landscape architecture
restructuring her priorities and values. What does sustainability mean within the American culture oflandscape
I could make this case in many forms, but have chosen to do so architecture? The United States government's resistance, if not outright
through a personal and rhetorical form, a design manifesto. [6] I will in- opposition, to environmental initiatives adopted by most of the devel-
Thayer's Green World Grey Heart. Technolo8.J1, Nawre and the Sustainable Land- base for sustainable landscape design, or to creating new forms of sustain-
scape. They are key texts for landscape architects interested in ecological able landscapes. Based on my review of the literature and knowledge of
design and sustainable development. Of the two, Thayer speaks most di- the field, and realizing the traps of characterizing a profession of unique
rectly on the appearance of sustainable landscapes by calling for aesthetic individuals, I would categorize current American attitudes towards sus-
legibility through the direct revelation of ecological processes at work on tainability as follows:
a site. (Thayer 1994: 313-317). Lyle's book introduces the concept 'regenera-
tive' into landscape design theory. [u] This shift in language is pivotal to 1. Yawn: acknowledge+ continue on
changing cultural conceptions ofbeauty, and I will return to it in the sec- Sustainable design is what we do, so what is the big deal?
ond tenet of my manifesto. Sustainability is considered as nothing new by many in the profession.
Outside the scholarly literature, the evidence of interest is mixed: A concern for social and environmental urban reform practices was at the
what is one to make of finding 729,ooo Go ogle hits for 'landscape archi- basis oflandscape architecture emerging as a profession in rapidly urban-
tecture' and 'sustainability' in the same month that Bill Thompson, edi- izing nineteenth-century North America and Europe. This perspective sees
tor of the professional journal, Landscape Architecture, wrote an editorial sustainability as a new name for an enduring set of values and practices.
entitled 'How Green is your magazine?' in which he asked "Is it time for a While not antithetical to sustainability, they are suspicious of this term
green issue ofLandscape Architecture?" (Thompson zooT 11 ). Perhaps all I being used as a form of green wash or opportunistic marketing on the part
can say is that sustainability is one of many concerns evident in contem- of other design and planning professionals who just a decade or two ago
porary practice, but not all members of the ASLA or landscape architecture were dismissive oflandscape design and constructed nature as feminine,
practitioners would say they are committed to increasing the knowledge informal, soft, unstructured, anti-progressive and nostalgic.
4. Distain: adopt in private+ distance in public but the text does not mention sustainability. This is typical of the ambiv-
Sustainability is not to be spoken; it is a form of reductive ecological ftmc- alence about the term within the elite of the profession, and within de-
tionalism. sign criticism in America. Serious design, powerful form and sustainability
Many in this group are 'big name' designers who speak of performativity, are seldom mentioned in the same breath. And there is definitely no place
process, and the operations of ecology as a base for their work, or who refer in MOMA for the "fuzzy, 'milk-toast,' easy, comforting, and homogeneous
to process as a metaphor and analog. They might adopt and deploy ecolog- beauty of sustainable, nondescript landscapes." (Berrizbeitia 2005: 91).
ical processes in their work, but they distance themselves from sustaina- Is there an alternative to these four sensibilities and practices? Yes, it
ble task forces and advocates. There are many reasons for this, including already exists, but it has not been described as such. Nevertheless, I have
those mentioned already in the first group, the Yawners. But I suspect experienced it in certain sensibilities and projects, like Hargreaves and
there are two others: part of this group finds content and method in con- Associates' Crissy Field in San Francisco where a hybrid program of bird
temporary theories of ecology, in comparison with some advocates of sus- habitat and human recreation results in the formal and functional juxta-
tainable design who are tied to pre-198os conceptions of environmental position of two landscape types, marsh habitat and recreation promenade.
ethics and ecological theory (I will return to this later), and second, un- This close juxtaposition ofhuman and wildlife program space without the
like the Adapters+ Proselytizers, many in this group do not reduce sus- in-between buffering or visual separation that would be the norm offers
tainability to technicalmetrics. American landscape architects such as another approach. The city residents, like my brother and nephews, who
George Hargreaves, Julie Bargmann, and Michael VanValkenburgh, and frequent the park on bicycles notice the extreme contrast between the ac-
especially the self-identified landscape urbanists such as James Corner, cessible playfields of grass, and the sometimes inaccessible, constantly
Charles Waldheim, and Chris Reed, would fall into this category. changing tidal wetland marsh. Just as the habitat for park visitors features
The Distainers were well represented in the 2005 GroundswdL Construct- sculptural landforms that channel prevailing winds away from picnic and
in8 the Co11temporary Landscape exhibition at the Museum of Modern Art gathering areas, so the habitat for birds and other wetland species features
(MOMA). This was a seminal event, the first collective exhibition on land- the seasonal closing of gates to the marsh during mating and breeding pe-
scape architecture since MOMA opened over 75 years ago. The critical essay riods. Through this simple act ofjuxtaposition, and the combination of
written by Curator of Architecture and Design Peter Reed that accompa- adjacency without access, even children as young as my nephews figured
nied the exhibition was full of talk about ecology, process and temporality, out that the park was not just for them, that it was designed for all forms
stage reservoir 5:
reed bed system for stormwater treat-
ment built into wetland terraces above
pool > combination of horizontal +
vertical reed beds (substance flow
system) > effective for removal of
inorganics
stage reservoir 6:
sand filtration system installed in wall
between upper + lower basins >
water is aerated + filtered through
sand + stone > chlorine added as
necessary to maintain swimmable
water in lower basin
Figures 23-26 Stoss Landscape Urbanism and Taylor & Burns Archi-
tects conceived of an abandoned system of nineteenth century drink-
ing water reservoirs on Mount Tabor, Portland, OR, as a new public
park. They outlined a framework for catalyzing new ecological and so-
cial occupations for the site through the re-use and regeneration of
existing infrastructure and woodlands. A particular, sustaining beau-
ty is imagined to evolve through the strategic insertions within the
waterworks that recharge ground water, create wildlife habitat, and
allow for recreational swimming.
beauty, a phrase I borrow from Julie Bargmann ofDIRT Studio, is a hybrid. 4. Natural process over natural form
Through hybridization, these and other paired terms have the potential Ecological mimicry is a component of sustainable landscape design, but
to open up new conceptual design approaches between and across the cat- the mimicry of natural processes is more important than the mimicry of
egories that restrict our thinking: social and ecological, urban and wild, natural forms.
aesthetic and ethical, appearance and performance, beauty and distur- Natural-looking landscapes are not the only genre to perform ecolog-
bance, aesthetics and sustainability. ically. This is especially true in constructed urban conditions when there
These conceptual and experiential hybrids can occur within designed are no longer spaces of the scale that might support a natural-looking land-
landscapes on disturbed sites across geographies - whether in the coal scape. In these extreme conditions- in narrow, remnant strips between
fields ofPennsylvania in the eastern United States, in the vague terrain city streets and rivers, on compacted sites with no organic matter or top-
of swooping highway interchanges in Barcelona, or among coal and steel soil, along abandoned post-industrial infrastructure such as railroad track
processing plants in the Rul1r Valley in Germany. beds and LKtory sites nature must be constructed in new ways, in differ-
ent configurations, deploying technological and ecological knowledge.
3. Beyond ecological performance Where space and soil are limited, plants can be opportunistically in-
Sustainable landscape design must do more than function or perform ec- serted between and along the ramps flanked by chain link scrims and
ologically; it must perform socially and culturally. cantilevered walks; hardy species can act as hosts and create habitat for
Sustainable landscape design can reveal natural cycles such as seasonal other species of plants and wildlife; spontaneous vegetation can be facil-
floods, and regenerate natural processes by cleaning and filtering rain- itated with soil trenches and mounds; wetland grasses can be planted in
water or replenishing soils through arrested erosion and deposition- and floating planters instead of on terra firma. This is an example of what Joan
do so while intersecting with social routines and spatial practices. This Nassauer has described as framing messy landscapes- another form ofhy-
intermingling of ecological and social temporal cycles -seasonal floods brid- so that ecological design aesthetics can be recognized as art.
and human activities such as holiday festivals or sports -links the activi- These types of projects- part technological construction, part ecologi-
ties of everyday life and the unique events of a particular city to the expe- cal process- won't be mistaken for natural landscapes. This may contrib-
rience of the dynamic bio-physical aspects of the environment. Nature is ute to their longevity. Natural-looking landscapes may not be sustainable
not out there but in here, interwoven in the human urban condition. Hy- in the long term, as they are often overlooked in metropolitan areas. They
drology, ecology and human life are intertwined. are assumed to be found, wild conditions not needing care. Most con-
ll!illt "II
tanner street corridor
Figure 27-33 The Silresim Chemical plant, Lowell, MA, USA, landscape
framework plan, by Stoss Landscape Urbanism, is a form of'perform-
ance practice' that envisions the remediation and re-use of a polluted
industrial site over time. The biophysical processes of ground water
remediation and soil plant regeneration occur in the public realm and
are £<cilitated or witnessed by the neighbors. These transitional land-
scapes afford spaces for the routines of everyday life, sustaining cul-
ture as well as ecology. Their beauty unfolds over time, reminding
neighbors that regeneration is slow, and uncertain. The representa-
tion of this dynamic is a key aspect in educating the public about the
temporal aspect of the process. This project goes beyond ecological
performance, also catalyzing social processes and new aesthetic expe-
nences.
most unexpected places: city drainage ways, urban plazas and gardens, the ground, and a short-lived drop of a carpet ofbrilliant yellow leaves. Or
above and below elevated rail lines and highways. [14] it can be created by the long processes of stump and log decay, and of re-
generation, in a forest garden.
8. Sustainable beauty is particular, not generic. These changes are multiple and overlapping, operating at numer-
There will be as many forms of sustainability as there are places/cities/ ous scales and tempos: the spontaneous, successional vegetation growth
regwns. on slag heaps, the tidal rhythms of water ebbing and flowing in a rocky
These beauties will not emulate their physical context but act as a channel next to a smooth, constant, gently tilting lawn, or the seasonal
magnifying glass, increasing our ability to see and appreciate the context. changes of temperature and plant growth. J.B. Jackson, the landscape his-
Sustainable landscape beauty can find the particular in the productive torian, wrote that the act of designing landscape is a process of manipu-
as well as the toxic, the transposed as well as the transgressive, the found lating time 0ackson 1984:8). Since sustainable landscapes reveal, enable, re-
and the made, the regenerative as well as the resilient. Sustainable beau- pair and regenerate ecological processes, they are temporal and dynamic.
ty may be strange and surreal. It may be intimate and immense. It will be Sustainable beauty arrests time, delays time, intensifies time; it opens up
of its place whether an abandoned brownfield site, an obsolete navy ship- daily experience to what Michael VanValkenburgh calls "psychological
yard, or a lumbered forest. And yet it will not simulate its place. It will be intimate immensity," the wonder of urban social and natural ecologies
recognized as site-specific design, emerging out of its context but differ- made palpable through the landscape medium [15].
entiated from it.
10. Enduring beauty is resilient and regenerative.
9. Sustainable beauty is dynamic, not static. Antiquated conceptions oflandscape beauty as generic, balanced, smooth,
The intrinsic beauty oflandscape resides in its change over time. bounded, charming, pleasing and harmonious persist and must be reex-
Landscape architecture's medium shares many characteristics with ar- amined through the lens of new paradigms of ecology.
chitecture, dance and sculpture. Our medium is material and tactile; it is Projects that are dynamic rather than static can be designed for distur-
spatial. But more than its related fields, the landscape medium is tempo- bance and resilience. Floods that are anticipated are not disasters but nat-
ral. Not only do we move through landscape, the landscape moves, chang- ural events, part of a regular disturbance regime. Plants that can sustain
es, grows, declines. Beauty is ephemeral; it can be a fleeting event, cap- extreme spring high water are planted. Knowing that ice flows damage
tured once a year in the mix of a specific light angle, a particular slope of tree trunks, we specify species that regenerate with numerous new stems
when damaged. The beauty of this type oflandscape lies in the knowledge rospective glance at landscape ecology and design from the 1950S-7os. As
ofits tenacity, its toughness, its resilience. a professional organization, the ASLA needs to be more cognizant of con-
This sense ofbeauty, not as a set, unchanging concept but one that temporary ecological theory, especially given the recent UN Intergovern-
evolves over time in response to different needs or contexts, is accepted in mental Panel on Climate Change (IPCC) Fourth Assessment Report's find-
many fields outside landscape architecture. This changing conception of ings on global climate change and its implications for the future form
beauty, based on the resilience of a designed landscape's materials and not of cities and settlements. Our adaptive designs must be part of resilient,
on an a priori set of forms or types, resonates with contemporary concerns adaptive, and regenerative urban form. [17]
as well as the early theoretical foundations of our profession. In a post- Twenty-first-century associations of resilience are as much cultural as
September 11th context where American urban space is subject to increas- ecological. Three American landscape architects, each committed to the
ing standardization and surveillance due to a culture of fear and security, concepts if not the rhetoric of sustainability, have recognized the limita-
the adaptation and resilience of plants and paved surfaces to the distur- tions of the word 'sustainable', and the potential of conceiving landscape
bances of extreme weather, flooding, pollution, low light levels, evokes architecture as regenerative and resilient: John Lyle, Julie Bargmann and
hope and inspires alternative models for coping with the uncertain. Randy Hester. [18] In Desi!Jnfor Ecolo!]ical Democracy, Hester's account of
In one ofhis prescient articles that outlined many of the conundrums the principles that support enduring settlements, underscores the impor-
to be faced by American landscape architecture as it emerged as a disci- tance of replacing stability or balance with resilience: "[ ... ] design of na-
pline, Charles Eliot, Jr. established a position within the formal and infor- ture or mimicry of nature that allows human habitation to maintain itself
mal debates of the 1890s by arguing that beauty was not intrinsic to either efficiently and compatibly with its surrounding environment through of-
formal type. "The hct may not be explicable, but it is one of the common- ten dramatic changes that threaten survival. Such design is the basis of
places of science that the form which every vital product takes has been resilient form that is fundamental to sustainable urban ecology[ ... ]. This
shaped for it by natural selection through a million ages, with a view to ability to endure is based on, among other things, having an urban form
its use, advantage or convenience, and that beauty has resulted from that that continually provides what a community needs, even in times of tem-
evolution. [... ]Whoever, regardless of circumstances, insists upon any par- porary crises. Resilient urbanity has the internal ability to persist- to re-
ticular style or mode of arranging land and its accompanying landscape, cover easily without significant loss from illness, misfortune, attack, nat-
is most certainly a quack. He has overlooked the important basal fact that, ural or social disaster, or other dramatic disturbance. And it can readily
although beauty does not consist in fitness, nevertheless all that would absorb change. A resilient city is able to retain the essence of its form even
be fair must first be fit. True art is expressive before it is beautiful." (Eliot, after it has been deformed. In this way, resilience seems a better word
1896: 133). Eliot recognized that changes in need, in society, and in the sci- than sustainability for design goals for the city. Resilient form maintains
ences, would alter cultural conceptions ofbeauty. itself efficiently and seamlessly with both the landscape and the cultural
Closer to our times, paradigm shifts in the ecological sciences have networks of which it is a part." (Hester zoo6: 138-139).
influenced cultural conceptions of what is fitting and beautiful in the
natural world. Since the publication ofian McHarg's Desi!]n with Nature ll. Landscape agency: from experiences to sustainable praxis
in 1969, scientific theories about ecosystem dynamics have changed con- The experience of designed landscape can be a spatial practice of noticing,
siderably [16]. Resilience, adaptation and disturbance have replaced stabil- wandering and wondering in, and caring about the environment. The ex-
ity, harmony, equilibrium and balance as the operative words in ecosystem perience oflandscape can be a mode oflearning and inculcating values.
studies. Conceptions ofstable, climax plant and animal communities have The final tenet of this manifesto underscores the multiple discours-
given way to an understanding of disturbance regimes, emergent andre- es and practices where sustainability resides. Sustainability is a position
silient properties, and chaotic self-organizing systems. These theories have within environmental ethics, as well as techniques or tactics ground-
enormous implications for landscape design, and yet twenty years after ed in the natural sciences. Sustainability as an ethic is decidedly a mid-
their general adoption in the sciences, many landscape architects and their dle-ground position between an egocentric and ecocentric world view. It
clients operate on outdated, even romantic, conceptions of nature and its straddles the human and non-human, attempting a hybridity that see the
beauty. Just how beautiful is a green residential lawn maintained by pesti- interconnections between and across a homocentric and biocentric world-
cides and herbicides that are harmful to children, pets and songbirds? view [19]. I believe that the designed landscape can be built through var-
Recent ASLA conference themes are a case in point. During the 2oo6 ious tactics, using sustainable ecotechnologies, but it can also be an aes-
conference there was little talk ofbrownfield sites; instead, 'Green (not thetic experience that changes people's environmental ethics. And from
brown and gray) solutions only for a Blue Planet'. This past year's theme my perspective the latter is the most important reason to care about sus-
was 'Designing with Nature: The Art ofBalance'. That sounded like a ret- tainable landscape design. The apprehension and experience ofbeauty, es-
j
pecially new, challenging forms ofbeauty, can lead to attentiveness, em- companies; when the sustainability-obsessed become eco-bloggers moni-
pathy, love, respect, care, concern and action on the part of those who visit toring their daily impact on the globe, and patrons of eco-chic night clubs
and experience designed landscapes. It will take more than the estimated who party in a space made of recycled, renewable, sustainable, and safe
15,000 registered landscape architects or 3o,ooo members of the American materials; and when the bio-physical world is depicted in ads for Home
Society of Landscape Architects to make the United States- the most en- Depot hardware store as if were a toy or pet to be befriended and hugged.
ergy consuming, waste producing, environmentally challenged developed We need multiple forms and forums for caring and learning about the
country in the world a sustainable culture. But multiply those num- impact of our actions on the planet: some visual, some textual, and some
bers by the number of people who are our clients, who visit and frequent experiential. As Lawrence Buell noted in Writin8Jor an Endan8ered World,
the streets, public spaces, parks, gardens and communities we design, and we need more than reports and data, we also need products of culture,
whose understanding of the connections between human consumption, narratives, images, and places to move us to act.
waste, and habits and eco-system health might be altered because of an In this regard, design matters and beauty matters. It moves something
aesthetic experience they have. Not all change will, or has to be, based in our psyche, as the experience of a winter snowfall on the imprinted
on education, guilt, or a sense of sacrifice. Sometimes, in the best of situ- concrete waterfront promenade at Allegheny River Park, Pittsburgh, PA.,
ations, persuasion takes place unknowingly, gradually, but convincing- demonstrates. In the absence of vegetation, in the linear marks left by im-
ly, until the change is perceived to be internal and an act of personal will, printing native grasses in the concrete, water settles and freezes, icy shad-
not collective guilt. ows form, reminding us of what is absent. These ground marks intermin-
gle in mysterious ways with the motion of river water and the light from
Sustaining beauty I sustaining culture nearby streetlights. Where is man and nature there? Formal and infor-
The mass media is saturated with images and discussions of sustainabili- mal? Ecology and technology? Aesthetics and sustainability? All super-
ty, green politics, and global climate change. During the past year around seded by the fleeting, yet memorable, recognition of and experience of a
the annual celebration ofEarth Day, a parka-wearing Leonardo DiCap- place known in, and over, time.
rio shared the cover ofVanity Fair magazine with a small polar bear (May It is not enough to design landscapes that incorporate best manage-
2007), the Republican Governor of the State of California twirled a small ment practices, follow LEED (USGBc' s Leadership in Energy and Envi-
globe on his finger like it was a basketball on the cover ofNewsweek's ronmental Design) criteria, and look as if they were not designed. It is
Leadership and the Environment issue (16 April2007), Time magazine not enough to emulate the admirable design forms or practices of our
published a Special Double Issue entitled 'The Global Warming Survival colleagues from afar. Designed landscapes need to be constructed hu-
Guide: 51 Things you can do to make a difference' (9 April2oo7), and aNew man experiences as much as ecosystems. They need to move citizens to
York 'Times Sunday Ma8azine cover adorned with an American flag made of action. The designed landscapes of the world take up a small amount of
green flower blossoms, moss, seed heads and leaves examined 'The Green- the globe's surface. Yet they are visited and inhabited by people who have
ing of Global Geopolitics' (15 April2oo7). a great impact on the environment in everything they do - where they
Design and shelter magazines run regular columns and issues on the live and how they commute, what they consume, and whom they elect to
greening of the design fields. Even Dwell. At Home in the Modem World mag- public office. The influence of designed landscapes might be much larg-
azine, dedicated to perpetuating modernist design, has run an article on er than their immediate influence on a local ecosystem or watershed, as
sustainability in every issue since 2000. In a recent issue, 'A New Shade of worthwhile as designing a rain garden or a green roof that reduces storm
Green. Sustainability is here to Stay', editor Sam Grawe captured the cul- water runoff may be.
nue' s reaction to a year of green journalism in the wake of the unexpected Many professions and disciplines will contribute to our understanding
popularity of Al Gore's 2oo6 documentary film and book, An Inco.nvenient of sustainability. Landscape architects who are designers do so by making
'Truth, and his 2007 Nobel Peace Prize award (shared with the UN's Inter- places that are constructed performing ecosystems and constructed aes-
governmental Panel on Climate Change, the IPCC, for its analysis ar{d syn- thetic experiences. We are sustained by reducing, editing, doing less bad.
thesis of global research findings). "I have to be honest with you. I am get- But we are also sustained, and regenerated, through abundance, wonder,
ting tired of sustainability." (Grawe ZOOT 41). and beauty. The performance of a landscape's appearance, and the expe-
Are these forums the only effective .ways to change values and prac- rience ofbeauty, should have as much currency in debates about what a
tices? I think not. For as Grawe's editorial attests, media saturation can as sustainable landscape might, and should, be as the performance of its eco-
easily lead to cynicism as to environmentalism. Especially when it appears logical systems. I think, I hope, that such a shift might be one of the tools
that every product and industry is now eco-friendly or environmentally- that jolts our clients and neighbors out of their complacency and inaction,
friendly, from oversized SUV automobiles and 'McMansion' houses to oil transforming them into a new generation of environmentalist-citizens.
Notes
1 1 am consciously using the terms appearance and perform- I am grateful to Angela Gurnell and Stephen Daniels of the 16 Sec Cook zooo, Merchant 2002 and Kingsland zoos.
ance because of their currency in contemporary landscape de- RGS, as well as Kongjian Yu, his colleagues :wd students at Pe-
17 To be fair, when announcing the zooS annualASLA meeting
sign theory. Designed landscapes are considered from two king University for the opportunity to deliver this manifesto
theme, Green Infrastructure: Linking Landscapes and Commu-
perspectives-how they look (appearance], and how they frmc- in the form of a heavily illustrated lecture at these events, and
nities, the ASLA noted that sustainability is the "highest rated
tion ecologically (performance] (Czerniak zoo1]. What is miss- for the exchanges following the lectures that have contributed
topic by both annual meeting attendees and non-attendees for
ing from this critical position is how appearance performs or, to this article's development.
three years. See Land On-line 2007.
in other words, how the experience of a designed landscape's
8 For instance, landscape designer julie Bargmann, whose
forms and spaces work through our senses and alter our con- 18 See Lyle 1994 and Thayer 1994. Bargmann teaches a required
DIRT Studio practice focuses on post-industrial, often toxic,
sciousness. How does the look oflandscape alter us, work course in the University ofVirginia Landscape Architecture
sites, shudders when she hears the word 'sustainability'.
through and on us? The link between appearance and per- 1
curriculum called Regenerative Technologies.
She prefers the term regenerativc'.
fonnance from this perspective is the field known as aesthet-
19 See Ian Thompson's chapter in Benson and Roe zooo for an
ics, the philosophy and science pertaining to sensuous percep- 9 In fact, the authoritative dictionary of the English language,
insightful analysis of the ethics of various forms of sustain-
tion and the criticism and appreciation of the beautiful (Oxford The unabridged Oxford En!Jlish Dictionmy, only recently ex-
ability.
En3lish Dictionary zooS]. panded the definition of' sustainable' to include recent envi-
ronmental connotations. Their 2001 draft addition reads,
2 Charles Eliot, Jr., one of Olmsted's partners, wrote of chang- 11
0f, relating, or designating forms ofhuman economic acti-
ing criteria and conceptions ofbeauty in the 1S9os. Written at
vity that do not lead to environmental degradation, especially
a time when functionalism was already challenging existing
avoiding long-term depletion of natural resources." References
norms ofbeauty, his arguments resonate with current debates
and deserve more attention. See Eliot (1S96]. 10 See United Nations 1987, United Nations 2ooS, as well as American Society ofLandscape Architects (ASiA). 1993· Ameri-
Our Common Future 19S7. can Society ofLandscape Architects Declaration on Environment and
3 See Berrizbcitia (20os] for mote on the agency ofbeauty and
Development. http://host.asla.org/nonmembers(declarn-env-
her assessment that what we might understand as 1ny cat- 11 "The term 'regenerative' describes the processes that re-
dev.html [accessed z6January zooS]
egory of'Adopt and Proselytize' sustainable landscapes. She store, renew or revitalize their own sources of energy and tna-
writes ofBurle Marx's Parque del Este, "This is not the distant, terials, creating sustainable systems that integrate the needs Amidon, J. zoos. Hypernature. In Michael Van Valkenbw;gh Asso-
background beauty of pictorial landscapes. This is demand- of society with the integrity of nature." From the John T. Lyle ciates. Allegheny Riverfront Park. N.Y: Princeton Architectur-
ing beauty, beauty that requires the active engagement of the Center for Regenerative Studies, Pomona, CA. www.csupomo- al Press: s6-68
eye with the mind, beauty rhat requires perceptual acuity. Nor na.edu/-crs/ [accessed 27 January zooS]. A regenerative system
Beck, U. 199S· Ecolo!Jical Enli!Jhtenment. Essays on the Politics of the
is this the fuzzy, 'milk-toast', easy, comforting, and homoge- /(provides for continuous replacetnent, through its own func-
Risk Society. Atlantic Highlands, N.J.: Humanities Press
neous beauty of sustainable, nondescript landscapes." (Ber- tional processes of the energy and materials used in its opera-
rizbeitia zoos: 91]. See Mozingo (1997] and Nassauer (199S] for tions." Lyle, 10. Benezra, N. and Visa, 0. 1999. ReiJardiniJ Beauty. Washington,
perspectives on the related topic of ecological design and aes- D.C.: Hirshhorn Museum
12 In April2007, 'Resilience for Ecology and Urban Design',
thetics.
the Institute for Ecosystem Studies' annual Cary Conference, Benson. J. and Roe, M. 2000. Landscape and Smtainability.
4 For more on the agency of forms ofbeauty, see Arthur Dan- was convened by the renowned ecologist Steward Pickett. He London: Spon Press
to's essay, (Beauty for Ashes' in Benezra 1999. Regarding Beau- gathered "leaders both in the science and the urban design
Berleant, A. 1991. Art and En3a3ement.
ty 1Sz-197; Jean-Francoise Lyotard. 1994 (English translation). community to develop a shared framework" to discuss how
Philadelphia: Temple University
Lessons on the Analytic of the Sublime. Stanford, CA: Stanford to direct and apply ecological knowledge towards the design
University Press; Jean-Francoise Lyotard. 19Sz. Presenting the of sustainable cities. The largest divide during the three-day Berrizbeitia, A. zoos. Roberto Burle Marx in Caracas. Parque del
Unpresentable: the Sublime. Art Forum zo (April): 64-66; and event was the reluctance, if not inability, ofbrilliant, con- Este 1956-61. Philadelphia: University ofPennsylvania Press
Jean-Francoise Lyotard 19S4- Sublime and the Avant-garde. Art cerned scientists to consider how the appearance oflandscape
Berrizbeitia, A. 2006. Replacing Process.
Forum 22: 36. mattered.
In: julia Czerniak and George Hargreaves (ed.) Lm;ge Parks. New
5 Here BuellzooJ: 1, is quoting Richard N. L. Andrews 1999. 13 Jane Amidon's (zoos) edited interviews with Van Valken- York: Princeton Architectural Press: 17s-19S
Managing the Environment, Managing Ourselves. A History burgh and his partners make a persuasive argument for the
Beveridge, C. and Rocheleau, P. 1995. Frederick Larv Olmsted.
OfAmerican Environmental Policy. New Haven: Yale Univer- value ofhypernature versus simulated nature when designing
Desi3nin8 the American Landscape. N.Y.: Rizzoli
sity Press, 370; and referring to Beck (199s). in an urban landscape. While VanValkenburgh has not dis-
cussed the application of this design tactic explicitly for the de- Beveridge, C. amd Hoffi11an, C. 1997. The Papers ofFrederick Larv
6 I continue to believe in the operative efficacy of manifes-
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as Hohmann and Langhorst's Apocalyptic Manifesto that was
hypernature might engender in the quintessential sustainable
distributed through the mail to many university departments Buell, L. 2001. Writinilfor an Endan!Jmd World. Literature,
landscape, a green roof for the ASLA national headquarters in
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Washington, D.C. (Werthmann zooT 134).
er contemporary manifesto writers of note include Alan Berg- Cambridge, MA: Belknap Press
er, Adriaan Geuze, Dieter Kienast, Winy Maas, Anne Whiston 14 These insights were gleaned from several conversations
Calkins, M. 2002. Green Specs.
Spirn, and the students who annually proclaim their positions with Michael Van Valkcnburgh and Georgco Hargreaves
Landscape Architecture 92 (s): 40-4s, 96-97.
in manifestos they write in my Theories ofModern Landscape in the mid to late 19Sos, where they spoke of shifts in their
Architecture course. work from designingconstructing spaces and forms to Calkins, M. zooz. Green Specs II.
designingconstructing experiences. Landscape Architecture 9z (9]: 46-so, 103-109.
7 In August and September of 2007, the manifesto was deliv-
ered during a plenary lecture at the Royal Geographical Society 15 See Amidon zoos: 17 for VanValkenburgh's interpretation Calkins, M. 2006. Greening the Blacktop.
(RGS) annual meeting on Sustainability and the O!crality ofLife and appropriation of this concept from Gaston Bachelard' s Landscape Architecture 96 (10]: 14z, 144, 146-1s9.
in London, and at a conference at Peking University in Beijing. The Poetics ofSpace.
Cook, Robert. Do Landscapes Learn? Ecology's New Paradigm Merleau-Ponty, Maurice. 194S, zoo4 translation. The World of Elizabeth K. Meyer, FASLA, is an Associate Professor ofLand-
and Design in Landscape Architecture. 2000. In: Michel Co- Perception. New York: Routledge scapc Architecture at the University ofVirginia School of
nan (ed.) Environmentalism in Landscape Architecture. Washing- Architecture where she teaches design studios and theory
Meyer, E. 2000. The Post-Earth Day Conundrum. Translating
ton, D.C.: Dumbarton Oaks Trustees for Harvard Universi- courses. She was Department Chair from 1993-199S and
Environmental Values into Landscape Design. In Michel Co-
ty: 115-132 2001-2002. Prior to 1993, Meyer was in private practice with
nan (ed.) Environmentalism in Landscape Architecture. Washington,
firms in Washington and Philadelphia, and taught at Cornell
Cosgrove, D. 1984. Social Formation and Symbolic Landscape. DC: Dumbarton Oaks Trustees for Harvard Universiry:1S7-z44
and Harvard. She has published widely in journals and edited
London: Croom Helm
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Czerniak, J. 2000. Appearance, Performance: Landscape At Science as Culture. Landscape )oumal16 (1): 46-57. Parks (2007). Her current research explores the intersection of
Downsview. In: Downsvicw Park Toronto. Munich and New emerging theories of science and aesthetics in modern land-
Nassauer, J. 1995. Messy Ecosystems, Orderly Frames. Land-
York: Prestel Verlag scape architecture in the United States.
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Associate Professor
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USA
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sprins o8 of LANDSCAPE
ARCHITECTURE
24 Landscape planning:
A brief history of influentual ideas
68
Sanda Lenzholzer
A city is not a building-
architectural concepts for
public square design in
dutch urban clinute contexts Book Reviews
44 Staging Change
Landscape t
Notes 80
Submission guidelines 8Z