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LAM
乡级经
8 LANO MATTERS
10 LETTERS
FOREGROUND
14 NOW
States and cities struggle with shrinking parks
budgets; a Boston park fence throws a curve;
rented goats get to work in downtown Portland;
some state capitals will be greener; an invasive
plant has an upside; OLl N will upgrade the
Metropolitan Museum; you can (sort ofl bike
from London to Paris; street trees may deter
criminals; and Floridians vote to keep planning
among planners.
EDITED BY UNDA MCINTYRE
26 CLOSE-UP
Ducks Welcome
The University of Oregon's new Jaqua Center fo r
student athletes is gorgeous-but even more
so fo r the dark , ethereal pool that surrounds it ,
designed by Charles Anderson. FASLA.
BYTIM NEWCOMB
4/ LANDSCAPE ARCHITECTURE MAGAZINE FEB 2011
5记
32 WATER
Catch It While You Can
It actually ra ins now and then in Tucson. Arizona ,
and the city has new rules to red uce potable water
use in the landscape by collecting every drop of
stormwater it can on commercial sites.
BY ANN AUDREY
38 MINOS
The Healer
Clare Cooper Marcus. Honorary ASLA. has
pioneered investigations into the psychological
impacts of design. especially the ways
engagement with the landscape can help
ill people hea l.
BY BILL MARKEN. HONORARY ASLA
4日 GOOOS
Trashy, Yet Novel
New designs for trash and recycling receptacles
for public spaces look good enough to treasure
BY USA SPECKHARDT
50 HOUSE CALL
Let the Good Times Climb , Slide , and Roll
The kids are more than all right in a deep city
garden in San Francisco designed fo r play, and
the parents are super happy. tOO.
BY JOANNE FURIO
 γ，

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,,,

忖E PEOPLE
JUST LIKE
ED US "

IMAGE CREDIT
Bill Timmerman

78 EAT YOUR SU8DIVISION 114 HISTORY

匀'

;.; Afew new residential neighborhoods around the
country are being designed to include spaces for
farmi ng. an idea that may gain traction
as concerns rise about the security of our
food supply
BY JON ATHAN LERN ER
88 NEAR AND FAR
Christine Ten Eyck. FASLA. has a vigorous design
practice in Phoenix. but her pining for Texas drove
her to set up a second office in Austin. where she
has only multiplied her success.
BY DANIEL JOS飞 ASLA
The Master's Plan
There were no rating standards in place for
sustainability when Hideo Sasaki designed the
Sea Pines resort in South Caroli na just over half
a century ago. He ran on intuition to protect the
ecology 01 the place. and i t' s still largely intact.
BY MARK HOUGH. ASLA
122 800KS
128 DISPLAY AD INDEX
129 8UYER'S GUIDE INDEX

144 FORWARD

What I Did Over the Summer Vacation

(1 Mean Recessionl ...
Alter a layofl. oddly enough. life as a landscape
architect goes on
8YYVONNE G. MAHER

LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011 /5

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or Clrl也U阳"町、s
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6 / LANOSCAPE ARCH1TECTURE MAGAZINE F[ B 2011

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 LAM / LAND MATTERS
READING. WRITING
AND RADISHES
Un挝1 1 heard about the pests, the weeds , the allergies , and worse
dangers, 1 had assumed school vegetable gardens would be really
good for kids. 1 figured it migh t even entice them toward 1andscape
architecture or other productive, earth-conscious careers rather
than, say, a life of credit defa川t swaps.
1 had to applaud First La dy Michelle Obama for involving kids from
a Washington, D.C., schoo1 in her White House kitchen garden
and for encouraging kids everywhere (and, more precisely, their
adults) to start gardens at their schools. Th e kids would soil their
hands, get some exercise, find worms, and maybe leam how to eat
better. Mrs. Obama's timing was grea t: Seemingly out of nowhere
in 2009, "urban agriculture" became a big meme among people
who 10ve cities and food and care about nutrition. It offers one way
ω 自x shrinking cities while helping to feed people in them. Th e
past decade has brought a lot of attention by planners and public
health experts on encouraging people to bum calories as a part of
daily life by walking or cycling, but tha t' s only half the issue for a
healthier population.ηle other half is watching what kinds of calo-
ries peop1e consume and where those calories come from. Schoo1
gardens make huge sense because they help kids connect the dots
between fresh food , self二reliance， and better health.
SCHOOL GARDENS HELP KIDS CONNECT
丁 HE DOTS 8ETWEEN FRESH FOOD ,
SELF-RELIANCE J AND 8ET丁 ER HEA 口 H.
This idea that gardens can teach may seem intuitive, but it meets
the oddest forms of resistance out there. School officials in Mont-
gom町 County， Maryland, are afraid of schoo1vegetable gardens.
A Washington Post report last month said that although the county
doesn't officially ban school gardens-由ere are a few 气ogue"
gardens that parents don't want pub1icized- the superintendent,
Je盯Y D. Weast, and his facility managers discourage them at almost
every tum. In a letter to the school board last year, Weast said that
vegetable gardens "are a food source for pests, create liabilities for
children with food allergies, and have other associated concerns."
So don't look for student-raised eggplant on Weas t' s watch.
More 仕lan 40 of Chicago's public schools have fruit and vegetable
gardens, but after working hard to grow food , the ldds technically
can't eat any of it，址le Chiω:go Tribune reported in the fall , so it's
sold or given away.ηle school system and its meals contractor,
B / LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011
Chartwells-Thompson, insist that students can't have any food
出at doesn't meet "specificjcertified growing practices," which ban
pesticides and require o n] y organic compost and fertilizers. But the
rules don't apply to the schools' commercial food suppliers, the
Tribune reported; suppliers' food can be treated with any of several
pesticides. Ideally, noted Kathleen Merrigan, a deputy secretary of
the U. S. Depar怕也nt of Agriωlture on a visit to a Chicago school
garden，也e kids would be able to eat the food 出ey grow. Ki ds do it
in Denver's pub1ic schools, where some ofthe produce on the salad
bar has been p ul1ed out of the schools' gardens, according to the
Tribune, because Denver's schools have 电旧ed out howωensure
由e food's saf居ty. Sometimes bureaucracy finds a way.
Then there is the potential unraveling of society because of school
gardens, as Caitlin Flanagan worried at leng出 m 刀切 Atlantic last
year- you really should 100k up the whole piece, "C叫tivating Fail-
ure," to see how Flanagan brings make-believe circumstances to the
most inane conclusions. Th e subversive notions of edible schoo1
yards, as promoted by that culinary siren Alice Waters, she writes,
threaten to "hijack the curricula" of public schools and widen an
a1ready worrying performance deficit among Latino and African
American kids by teaching them bacl{-breaking labor.
Some 挝ds fall for architectu的ecause they visit an impressive s均­
scraper. Ki ds fl.y on jets and decide they want to be pilots. I've been
wondering what kinds of sparks it takes to draw 1dds to landscape
architecture; visits to parks might do the job if somebody shows a
kid how they're made. Growing fruit and vegetables at school can
teach them 也at land is a living 出i吨， and one 出ey can work with
in all kinds ofways. A garden doesn't need to become a school's
main course to open a wonderful new wor址. So never mind the
fear or 由e speculative gloom. Le t' s buy some seeds and trowels,
count on our share of weeds and failures , and start showing kids,
in cities and suburbs especially, what land is all about.
Finally, a note about our packaging: Starting 出ismon白， we're deliv-
ering 也e magazine in recyclable po1y bags to help ensure your issues
arrive intact. These bags follow a recommended industry standard to
reduce our printing ofextra copies and the energy spent on replacing
individual issues, which in tum cuts costs and our carbon footprint.
~户~
BRAD FOR D MCKEE
EDITOR
800.430.6205 I landscapeforms .com Ia n d s c a p e f 0 r 111 S .
 LAM / LETTER5
ENGAGE T 村 E POST-PROFESSIONAL DEGREE
Regarding your Critic at Large article
by Jason Radice ("Beware the Post-
Professional 0鸣ree，" December) , a less
than enthusiastic endorsement of con-
也1山ngeduαtion in the profession, 1 缸m
disappointed with the author's negative
attitude toward his own self二improve­
ment and the betterment of his profes-
s ional abilities. As an educator in the
lan出cape architec阳re master's progr缸n
at Temple University, 1 embrace the
challenge of students looking to "plus
it" with additional practical knowledge
who have both 由e insight and fores堪ht
to 陀cognize the academic environment
as the venue for that achievement. 1 am
candid with my students that if there is
a defiòency in subject matter or an area
of 四pertise not covered, then 1 want to
know about it and it w山 be addressed.
Speòal interest in extending a knowl-
edge base is the responsibilityofboth the
instructor and the student. Clearly this
author has chosen to ruminate over 出e
lack of commitment he is experiencing.
But who exactly is not engaging the op-
por以nity? Ei由er the instructors are not
reaching, or the client purchasing the
service is not de仙úng the expectations.
1 believe it is the latter. If you 出 ink you
ordered fìsh and you got chicken, s时 the
manager. 1t is reactive and unproductive
behavior ωgripe and moan about lack
of service in a magazine dedicated to
supporting the profession. lt is a bad at-
titude that can be corrected with a little
proactive disrussion with 也eins位uctors.
KEVIN J. STEPHENSON , ASLA
::>~ \I\JS3U~G. 卢_ \I\l S'_VA \J, A
10/ LANOSCAPE ARCH lTECTURE MAGAZIN E F[B 2011
As a landscape architect and an edu-
cator, 1 was disheartened by Radice's
b itter accoun t o f h is post-professional
master's degree experìence. Having
also exp erien ced a post-profess ional
degree in a combined program (Michi-
gan State University, BLA; The Rhode
Island School ofDesign, MLA), 1 must
s trongly d isagree wi th the claim that
a studio in a comb ined program "at
bes t.. .offers you a chance to learn from
the instructor as well as the other s 阳­
dents." This is the rninimum outcome
出at should take place in any studio
within any post-professional degree
program. Skill levels aside, the most
important result ofany studio environ-
ment is the generation and develop-
ment of new ideas. The number of
years of professional experience has
li tt1 e bearing on this, and more often
than not, the amateurs who are not
constrain ed by "the way things are
done" are 出e ones with the b est ideas.
It is no su叩rise that Radice is disap-
pointed with his post-professional de-
gree exp erìence th u s far. Under the
m otives of "refìn[ing 0肘's1 practice"
and "sim ply get be忧er" at what one al-
ready does , it seems like anyone will be
disappointed with a post-professional
degree. Re且ning one's practice is really
best done in practice. Exploring and
r臼earching new and alternative ways
of thinking, doing, designing , and α.e­
ating are the best waysωapproach a
post-prof白sionaldegr田， especially with
several years of professional 四pe时ence.
JOSEPH JAMES
WAT;:~TOW可'vI ASSAC片 US三TTS
Radice hit the spot for a burgeoning
group of professionallandscape archi-
tects who fìnd themselves in need of
more education or a highεr degree. A few
ycars ago 1 also went through an "enor-
mously frustrating" post-professional
educational experience. 1 also observed
other students in my situation drop out
of the program.
Now that 1have experienced a 岳wyears
back in 出e professional world, other
professionals seem confused 也at I have
so much experience after just graduat-
ing. 1 wonder ifother professionals per-
ceive the value of the graduate degr出
to be equa1 to two years of professional
四perience. Yet, as the profession con-
tinues to promote and advance itself,
由e trend to favor graduate- Ievel degreed
individuals will a1so continue. As an
example, the firm 1 currently work for
has hired on1y candidates with M LAs in
the past few years.
If a graduate degree is becoming part
of the recipe for success, why should
we penalize students who com plete
their undergraduate degree in land-
scape architecture? Th e current an -
swer to the dilemma of students who
get it right with their fìrst degree and
then need more credentials seems to
be pursuing another degree outside of
landscape architecture or working on
other professional certifications, semi-
nars, or classes. 1 see three options
landscape arcrutecture progr缸nsw山 SUBMIT
take to address the gap: adapt to offer
worthwhile currìcula to profession- Please e-mail comments to LAMletters@
als, combine undergraduate programs ωla.org or send via U .S. mail ω:
with required graduate degrees , or
allow other credentialing institutions AMERICAN SOCIETY
to take up the slack. OF LANDSCAPE ARCHITECTS
636 EγE STREET NW
RYAN BENTLEY, ASSOCIATE ASLA WASHINGTON. OC 20001 3736
OMAH A. NE8RASKA
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 FOREGROUND
NOTES ANO REPORTS FROM THE FIELO

Parks are in a crunch , a cu 阿y fence is a

good neighbor, goats get a maintenance
contract , and street trees seem to cut
crime , in NOW. A sublime pool surrounds a
new Oregon academic building in CLOSE-
UP. Tucson seizes every bit of rain it ca n get
in WATER . We look at the groundbrea king
career of Clare Cooper Marcus , Honorary
ASLA, in MIND5. Circular files come in
all kinds of cool guises , in GOO D5. And
kids' play r ules a San Francisco garden
In HOU 5E CAL L.

IMAGE CREDIT
。 Ecker、t & ECker、t
FOREGROUND / NOW
•
PARKS IN PAIN
BUDGET5 ARE For recreation offidals aαoss the coun- federal govemment. "ηle issue is more
DIRE, FORCING 盯出ese days , managing under shrink- complícated than legislators thínk it
E rø ' 甲 EG 、. 1吨 budgets is anything but a walk in is," she says.
BY LINDA tv1 CINTYRE, the park. State and local governments
EDLTOR OF NOW are strained, and keeping parks clean, Local governments are also s位uggling
safe, and wel1 maintained-a chal1enge with running their parks. Officials in
even in good times-is inαeasinglyan Janesv训e， Wisconsin, are considering
exercise m ingenuity. sel1ing off parks or tumíng their main-
tenance over to volunteers. In Wichita,
States are feeling some ofthe worstpain. Kansas，也e city council cut $1 million-
In California, the outgoing Schwarze- about a quarter- from the parks and
neggera也ηinistration failed in Novem- recreation budget for 20II without
ber to win approval for an $I8 per year specifying which programs should
vehicle registration f出 that would have be scaled back and still requiring that
pro叽ded funding for s位uggling state the level of services remain the same.
parks. In Arizona, the state legislature Now city staff are analyzing which
shífted more than $50 rnillion in state programs and facílities are most-
parks funding to general revenue in the and least-valued by residents as 出ey
past two fiscal years. Five state parks struggle to implement the cuts. Th e
have been closed already, and the state city's parks director, Doug Kupper ,
government is consídering prívatizing says he's facing layoffs, outsourcing
the entire system even though it gets 仕le management of at least two rec-
no fundíng from general revenues. reation centers , and tag-teaming staff
Sandy Bahr, the director of the Sierra for the management of other facilities.
Club's Grand Canyon chapter, says Grounds maintenance was already
some propertíes simply can't be priva- outsourced in 2009. ''J' m optimístic
tized because theywere acquired under that we can continue to provide the
conditions that prevent their operation quality of life our residents demand,"
by for-profit companíes一íf the state he says , though he adds that he hopes
cannot run them, then ownership will future savings will be carved from
revert to the original owners or the other sources.
14/ LANOSCAPE ARCHITECTURE MAGAZINE FEB 2011
INSET
In Kno且lille， aρarcel of
parkland was sold off
by the oty
LEF T
ln 0俨de俨 to focus 俨esources
on a more attractíve, bette俨
used park nea俨bv
IMAGE CREDITS
Courtesy Sean Ivlartin
"Parks agencies across the spectrum are looking
at new and creative ways to deal with reduced bud-
gets and limited horizons," says Rich Dolesh, the
chief of public policy for the National Recreation
and Park Association. "We're seeing some creative
public-private partnerships, and also some systems
仕lat are going to for-profit companies to manage
their parks."
Public-private par钉lerships have worked brilliantly
in places like New York Cíty, and some states are
trying the approach. The Georgia state park system
is teaming with the Boy Scouts for projects such
as trail constructíon, grounds cleanup , and instal-
lation of playground equipment. A spokesperson,
也m Hatcher, says the Georgia system has hired a
consultant to find more such oppo时unities. But not
every constituency is ready to accept pa此nerships for
running their parks. Sea忧le's mayor, Mike McGinn,
sought to shore up the city's budget with a deal to al-
low a local company to produce its public television
show at a community center in the Queen An ne
neighborhood, but resídents rose up in opposítion,
A.ooding City Hall with complaints.
Bríce Maryman, ASLA, a locallandscape architect
and a lecturer in the landscape architecture program
at the University ofWashington, says there is st让la
somewhat binary sense of nature and culture as be-
ing separate in the city, especial1y in neighborhoods
肌h as Queen Anne that feellike retreats from the 今
Not only is outdoor play fun for children , it is necessary for them to lead a healthy life. Our nature- μ飞
inspired playground equipment encourages children and families to get outside and be active,
while exposing them to the realistic look and feel of tree bark and rocks right on the playground.
Learn more about nature-inspired activities at playls i.comjadjnature-inspired-Ia. Better p laygrounds .
Better world .'"

In the end, our priority is

to get kids outside to play.
-Steve King , FASLA
Co-founder and Chairman,
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 FOREGR川 o /NOW

f-- urban bustle. "We can look at Bryant Park and

appreciate it and see it as a model," he says. "But
we can also see how much time is tumed over to BROWSER UPGRADE:
private programming, which might raise some RUMINATION , NOT MACHINATION
problems."

Some times , however, a city and its residents

together can cut their park losses and benefit
in the end. In Knoxville , Tennessee, last fa l1,
the city government put a park up for sale as
three separate residentiallots. But Sean Mar由1，
an architect who's active in the Fourth and G il1
historic ne ighborhood association, says 出 emove
was done at the association's reques t. The small
and austere McCallie Park (no trees, just a couple
BOTTOM
of pieces of play equipment) was on a vacant lot ft e.>响。阿)(Çi , ~r'ë lb~es
two blocks from the nicer Fourth and Gill Park, ~b何也I( :ó巧如tw;tb

which had been threatened a few years ago by a 同lf':!íJt..Q 'r t"lCt，bcr誓

highway projec t.
But the highway was rerouted. The city di出口
want to maintain two parks so close together, and
residents decided it was best to concentrate the让
energy and the åty's resources in the other park.
Halfthe McCallie lot had previously sold for infill
houses , and Martin says those projects have en-
hanced the farnily仕iendly neighborhood.τhe city
has spent about 缸。 0 ， 000 improving the Fourth
and Gill Park. "Everybody worked together," Mar-
hn says，飞nd we got the best outcome." 0
IMAGE CREOITS
òr宅挝、AllhCè!r . Æ:，业
Legend has it 出at goats will eat just about any- η1e exp eriment went srnoothly. The goats were
也ing， but in fact they are browsers with a prefer- happy roa01Ìng around the fenced site, and Goat
ence for weeds and tender young woody plants. Rental's insurance covered liability issues. The big-
Landscape a l;chitect Brett Milligan, ASLA, put 出is ~ gest s田prise， says M过ligan， was thc amenity value
propénsity to work on a two-acre site in downtown } ofthe pψject， which became a destination o:f sorts
Portland，创ld the results are no joke. 七 for neighbors near and far who adöpted the göats as
t theìt own, p u1ling up nearby weeds to feed theωte
M迦igan's firm , Greenworks, was hiréd l and friendly animals through the chain-link fénce.
ωmaintaín the vacant site, and he saw
a perfect opportunity to 町 ruminant­ t But the project's benefits went further. Milligan is
based management, common enough wor.灿19 to use goats on another site in a different
in rural areas, in the heartofthe city. He part of the dty, and will reωtn with a herd to the
eng鸣ed a herd from a local company origina1 site later 出ìs spring. That will enable the
called Goat Rental NW and, to keep projectteam to refine its management approach. "It
costs down , managed the herd bimself, becomes an exercìse in reading the dynamics ofthe
visiting often during the goats' 由ree­ ruderal vegetation of the city,n he says. 白le owner
and-a-half-week tenure and making 饥ue is le由18 the team decide exa ct1 y when to bring the
they always had access to fresh water. goats back "l f we come out too early, tbe vegetation
"Once on si栓， the goats were mostly w诅 con也1Ue to grow after it's ωt，" says M出igan.
self.sωtaini 吗 as they were surrounded "lfwewait t∞ long， it wiU develop woody stems that
by their food source ," he says. 出e goats don't really like to ea t. U rban pastorallsm
in process!" 0

二缓缓

16 / LANOSCAPE ARCH lT ECTURE MAGAZINE F[ B 2011

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LAND5CAPE ARCHITECTURE MAGAZINE FEB 20 11 /17

FOREGROUND / NOW
SW IRLING PEOPLE IN
ARTIST'S FENCe BRI 邸 GS
p;] 二I.ZZ τo A . ~ NIPARK.
BY MARTY CARLOCK
ABOVE
fV\ ost fence naker、s told artlst
Beth Galston her undula t1 ng
deslgn was lmpOSSlble but a
dûrlng tabrlcðto俨 madeltwo俨《
INSET
Onan u俨ban corner ln Boston,
landscape deslgn bV Ray Dunetz,
ASLA, echoes a meandermg fence
IMAGE CREDITS
Bartel飞 K口meczny， top , Clements
Howcroft Photography, bottom
18/ lAN05CAPE ARCHITECTURE MAGAZINE FEB 2011
The landscape architect Ray Dunetz, make such a fence; she wanted to slant
ASLA, and the artist Beth Galston had the posts as we l1 asωrve the fence.
never met until they found themselves "The fence people al1 sa尬， 'This won't
at a meeting to remake a tiny park work,'" she recalls-until she found
called the South Street Mal1 in Boston's Solutions in Metal in Abington, Mas-
]amaica Plain section, In 2007 the Bos- sachusetts, which makes custom metal
ton Parks Departrnent had hired Du- stair railings, unique fences , and the
netz to redesign the strip; meanwhile, like. Its head, Bartek Konieczny, is an
an organization called ]amaica Plain art school graduate who likes 岛brica­
CentrejSouth Main Streets had held tion challenges.
a competition for artwork on the mall.
Galston, one ofthe city's foremost pub- Realizing Galston's design was harder
且c art sculptors, was selected. 出an it looks. She made many small
and full-scale mock-ups; then she and
When the two were called to the initial Konieczny had to transfer her concept to
meeting by the park's planners, Du- a CAD program 也atwould ♂üde CNC
netz and Galston quickly decided, he (computer numeric control) machines-
says, that "even though we had sepa- cutters and tube rollers 由at formed the
rate clients , we would collaborate, blur radii ofthe pipes. "We found we had ω
the line between art and landscape." have rules," Galston says. "The posts
could only be eight to 12 degrees out
ηle corner lot is small, just big enough of vertical, and the radü of the ωrves
for two tennis courts, and it had become ranged from 36 to 140 inches. 古le pur-
derelict, a magnet for vagrants. Next pose was to stretch the chain link tightly
to the tennis courts is a minipark, 30 so it formed continuousωrveswith no
by 125 feet, laid out on a grid. "There ftat spots, but not so tight1y the material
was no motion," Galston explains. "We deformed." Al though it looks continu-
wanted to whirl people in." They devel- ous， 仕le fence is made in five sec甘ons;
oped a plan they called a "swirl scheme," only two are similar. Galston bridged the
with undulating patte口15 ofcontrasting small gaps between sections with narrow
pavers underfoot and alongside curved triangles of perforated metal.
planting beds. Even the gate to 出e ten-
nis co旧ts is a curled passageway. The collaborators then chose a coat-
ing of pu叩le vinyl for the chain link
A fence was needed to keep tennis rather than standard black or green.
balls in the court and out of the park Depending on 由 etimeofd町， the color
The collaborators saw that a serpen- blends into the streetscape or pops into
tine fence-a practical work of art in unexpected hues-at night, a dozen
keeping with the swirl motif二could upward lights bring it to life. The fence
replace the linear chain.link fence that cost $75 ,000 out of a total budget of
had been in place. Galston had dif- $310,000 , Dunetz said, which includes
fì.culty fì. nding a fabricator w过ling to renovation ofthe tennis co旧ts. O
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 FOREGR川 o /NOW

LAW AND ARBOR

STUDY S UGGESTS We know the urban tree canopy helps "We weren't necessarily surprised, but
STREETTREES to coo1 and clean the air and capture it took us a while to interpret our re-
MIGHT HELP storm阴阳. Can 白白t trees also help sults," says Donovan. "We did find that
CUR8 CRIME. curtail crime in a ci ty's residential areas? small, view-obstructing trees increased
New research by the U.S. Forest Service crime. Understanding how trees could
suggests the answer might be yes. deαeaseαirne was a little less intui-
tive." Mature, well-cared-for trees could
Research foresters Geoffrey Donovan of encourage people to spend more 也nein
the Forest Service's Pacifìc Northwest public places, put世ng more Jane Jacobs-
Station and Jeffrey Prestemon of the style "eyes on 也e street" and making it
Southern Research Station examined harder to commit αimes.ηley might
crime data in Portland, Oregon, over a also function as signals 也at a dwelling
three-year period (20。于 200 7) . 白ley is well cared for and its possessions we11
ana1yzed the re1ationship between crirne secured. De1ving into the association
and vegetation using additional infor- between tree crown area and decreased
mation from site visits and property crime, the researchers deduced that it's
records to iso1ate variables such as a irnportant for homeowners (and their
house's age, condition, and proximity landscape designers) to make s山E 出at
to streetlights as well as the number windows on the ground floor ofa house
and canopy sizes ofboth s悦的悦esand are notobs位ucted.
those on private prope口y. The variab1es
were chosen based on wide1y used socia1 ηle team hopes to va1idate i岱 findings
science theories of crime motivation. with studies of other cities. "My coau-
thor lives in North Carolina," says Dono-
The data indicated that crimina1s are van. "Doing a study there in the spring
less 1ikely to target houses witll s悦et would be pretty appealing, as it would
trees or big trees on the homeowners' get me out ofthe rain in Portland."
property. Hoωes without street trees, or
明白 numerous smaller trees closer to tlle For more information on the study, see
ABOVE s位ucture， were mo陀汕<e1y to be targets 川!Wfsfed.usjpnwjnewsj2olOjl1jcity-trees
AFo俨est Serv1 Ce StLOY ofburglars or other criminals. 。社lerfac­ shtml. To 1earn more about the relation-
sUGgests tMt môtur芭 1陀es
mr曹sldentlûl nelghbo俨hoods
tors associated with ino'eased crime were ship between design and safety, check
Côn help deter cr1rre age ofthe house (older houses were sub- out Crime Prevention τhrough Environ-
jecttomore ∞m吟 ， situation on a ∞rner mental Design at www.cpted.net. 0
IMAGE CREOIT 10t, and view-obstructing barriers such as
Courtesy Geoffrey Donovan fences or hedges over three feet tall.

J
,. '.~ / "
…"
Jf，fp♂亿?立戈乞勾￡毛
ιυ川d!)
,. '.~ /
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broug9 to珍 otIN to redesign the enf4e ,
,- ,/
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" four-b1ock-1ong outdoor spac巳， inc1ud- …

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了貌脱销伽俑掰切自施，饭馆销码"?/// ing it$ eXis出19 crrca t970 fountains , / //
/
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辆J:t).í~V前阮籍锹
~m前三" , ' / ,,' /.;
OLIN v45 seiectedafter a smra1 也at LEFT
The grand en位ysteps át the FifÙ]. Avenue indúdeçl more than 39 landscape ar- O 创制lr制部1日如

,
to New York City's M etrop91it l tl M useum: o f Art are
,
chitecture and a~chi tec阳re f1,:r,rns. Part- )t(e m1.lS(?伽;~ cffi仰的
(Ímη伪币9 日lez8 spaées
jrresistib与协 p:tany visitors , even"those -who do叫t nerDennis McGlade, FAST:A, wHl1ead
want to venture insid e: But the rest of the þlaza thé design team.ηle .museum admin-
w
ar16 fúl!6 rv:;

oútsìde th{ museum's strikihg Béa山-Árt~ faé~de Î S' islra'fion. estimate.s由at constructiqn IMAGE CREO-IT
1ess invíting， τ'0 ch é\!lge that situation, the Met hás wil1 be comp1eted by 2015. 。 b时óa '0d口tvr'& /

/
'/ /
/ /

2日 / LANOSCAPE ARCHITECTURE MAGAZINE FEB 2011

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 FOREGR川 o /NOW

WEEOS DESTR9Yt-f旦旦旦
VALUE IN THE WILD.

RIGHT
AhtS chemlst 8ryon Mose俨
uses a reftux c口 nCEnser
tc P俨OOL.ce 口errvcr飞=SS
blCOlesel
INSETS
rl ç; rt. IS ~
\A ec l.Sι如".，:c.
tc cr8Zl rg 己 r宅~se 伫C
trr吉己 t

5acebrt; 5h eccsvsterrs
perrycr它55， bottc 町、， h己S problem because neither wildlife
blCfL.el poterhûl nor Iivestock will eat it because its
spiny seeds and h电h silica content
IMAGE CR EOITS
c口u俨tesy USDAA口rlCL>ltuf'Ol
make it unpaJatable. An d because
Research Serv1 ce, top 口 rd grazing d优sn't help keep it in check,
bottcrr , courtesy Steve Dewev. medusahead's dormant biomass serves
lJtε卜 Stote Ur lVers; ty, as a perfect fuel source for wild且res.
CAPITAL IDEAS www_buo抽议却矿霄， cer:er

Invasive plants are a bane of mod- On the brighter side, the USDA's
ern existence. New research points AgriculturaJ Research Service (ARS)
to ways they are damaging more na- reports that the seeds of the pesky
tive ecosystems-and also possibly roadside weed pennycress (Thlaspi
The U.S. EnVÌrQnmental Protection Agency，出ro鸣h expanding biofuel options. arvense ) have biodiesel fuel poten-
/
j 比 Pati:nerships for Sustainable Communities prO- 'tial. ARS scientists in Peoria, Illinois ,
gram with the departments of Transporta tion and, First the bad news: New research from fQund 由at the cloud (由e temperature
Housing and Urban Development, has announced Oregon State University suggests 由at at which crystaJs start to form) and
the first benenciaries ofits new Greening America's medω油ead grass (Taeniatherum caput- pour (when the liquid starts to solidi-
Ca pitals program: Boston; Charleston, West Virgínia; medusae), a Mediterranean plant prob- fy) points of pen町cress biodiesel are
H缸由此， Connecticut; Je陡rson City, Missouri; and abJy introduced in North America as a significantly below those of soybean-
Little Rock, Arkansas. I臼ult of seed contamination, has 由e based biodiesel. possibly making it
potential to crowd out native grasses and a good fuel source in cold weather.
The agency is providing funding for teams of even other invasives in sagebrush eco- Pennycress is also a cold-weather crop,
public- ap.d private-sector designers to visit the systems. Data from both an unusually raising the possibility that soybean
sites and produce schematic designs to contribùte dry year (2008) and a typically wet one farmers can grow it in winter while
/1:0 larger planning and sustainability efforts. "The (2009) inrucated that medusahead grew maintaining ~oy crop yields during
design assistance wÍ11 be taiJored to the spedfic faster and over a longer period oftime in warmer month耳. 。
requests and needs, focusing on a corridor, neigh- both situations. On westem rangelan也
borhood, or set of related sites," says Abby Hall where the plant is often found，也is is a
of the EP A's Office of Sustainable Communities.
But in each case, 1andscape architecture expertise
will be front and center." Besides its own sta ff, … ". - ‘翅恒、d咽"'" 、电-电 、西…
I~ 可喜 .孚 - 哩-
the agency is working with firms such as UtiJe in

y
Boston and Nelson Byrd Woltz in Hartford.

För tt'l oJ:e information on the selcctcd prοjects

f概是- 选手
and the application pröcess , see www.epa.govj \tiI二字 ... .91
smarψowthjgreencapitals. htm. 0

·监监~

22/ LANDSCAPE ARCHITECTUREMAGAZINE FCB 2011

FOREGR川 o /NOW

ECOTOURISM. CONTINENTAL STYLE

The English Channel spans just 21 miles
from Dover to Cal缸， but the French and
the British di他r on just about every-
thing. As the disparate neighbors seek
to create a bicycling link between their
respective capitals, cyclists on both sides
ofthe water rejoice, but the progress car-
ries a whiff ofstiff upper lip intersecting
、 with Joie de vivre.
ηle long-term dream is to create a safe,
attractive, car-free path between Lon-
don and Paris (with a hop on a ferry
boat or the Eurostar train in between).
η1e reality, at least to date, is slightly
di任社rent. For starters, a fair portion of
the route is now on public roads , and
signage remains a work in progress.
Imperatives of geography and demo-
graphics mean more challenging traffic
on the British side; France's roads are
ABOVE
Let the Fr它nch rave thelr pevements, simply less packed. But the car-free
Brltsar它 content W1 th humble dlrt blke paths sections of the co旧S←-many of them
éónverted taÌlroad bedS-are where the
IMAGE CREOIT
Courtesy Sl;st俨'ans
divergence in priorities, budgets, and temperament
is most evident.
ln France, the paths are glassy-smooth paved stretch-
凹， mandated at three meters wide , accommodating
walkers and wheelchairs as well as Lance A口口strong
wannabes. In England, cyclists make do with a scant
six-foot breadth, typically gravel，出口， or, seasonally,
mud. British resistance to hardtopped pa也S 1$ strong.
"[Th ere is]ldnd of a gut feeling 由 atpa叽ng a part of
the countrysíde equals urbanization," saíd Símon
Pratt of Sustrans, Brítaín's coordinating body for
alternative transportation projects.
Mark Waters of the United Kingdom's Cyclists'
Touring Club reftects on Britain's reluctant emb race
of two-wheeled transport, casting an envious eye
on the French model. "They've got countryside to
spare, and 吐1町're not nearly so precious about it,"
Waters contends. "Because Brítaín is so steeped in
class-ridden culture, even today, riding a bicycle is
considered a very second-class means of ge忧ing
around.... [Th e French] generally have a more agree-
able attitude aboüt the whole 出Ìng." 。

,
γ
/
./' ,
/
/,
// , /
/ ,
] Amendmen句，也e grassroots effort to put4e brakes hope it -is:. a, disCU$sÍpn that contin1:les beyOl1d to也y，
on development in Florida by subjécting ;:hanges in 、hiçh咀arks th~ end ofthe Florida Hometo阳 pemoe
:1 cOp1ptehen$Îve land use plans to 司pproyaybý're岳ren­ racy movement. 1忱t i岱s lef丘ttωo ou 町.lr S饱剧te'
白，、s el
出 i怡
仅cte
e 刨创 d1ead世.er路
s / ,.
/
/" .
/

dum, was emph_sl垣cálly/rejected /by the state's' voters andr，臼i浏dent悠S tlωO 丘 fin
叫d an answé. 位rt-ωo Florid 由 a's ad
ddiction1
欲 / ,. / "

onNovl侈nber Z;26ro. Onlý about 33 perce挝 of叫ting t吨飞叨

防ifOmiSω01山
p i岛
s. cωon
时1如
1比$4甘tru
侃
怕础.ctio
∞ nbe
予咒
efì
白 岛
f 陀阳
or盯
l i让t ís too late for our
e /
., / "
/:
'1

i Floridans supPOEted thE so-un-d Hometown Democ-
racy irîitiative,which would have required ápproval þy
6open:ent to sÜcceed as a'follil~tutional amen drTÍtfnt
1(S7e Land Ma阳风 LA~{NoveÌ悔。 .Opponen缸， with
an it)fiw(offunding from deve}opers, Spent市lorethan
1 $口 million， far oU!padng suppo时e住户hö were able:
1tomus tero乒ly $2-4 million s i,n:ce thej(quest beganln.
如te'S1làtu时 resources and qua号~ oflife.."
,
But the vo合 on Amendment 4 éo巩 have cðnS t;- /
q~ences i也 supporters never intended, Miæael Allan
Wolf, a land us~ 机d enVi ronmentallaw þrofessor: .at /
也e Universitý öf Florida, 'is sympathetic to concerrís
about unæecked dev~loymen("Bailot bóx zoning !s
/

2004 and spent ruost of that getting 也e amend;ment
on the ballo t.
The broadeI'; ìn:lpact ofthe Horuetown .Demöctacy l?吵
E
not an optimum _p rocedUI'é f0 1/ deci di.ng when arid
航时evelopment sho卢 OCCÚf，飞e saýs. Oppone且ts
claimed (without evidence( according to Wolij that re-
s时也 ondevel叩mént would创刊lesta忧 morejob~

…
运 uncl创叫r， 呻

i tωOrlll
es叩
pe
仅ciall
创 即ly gi
伊 ven
川lt由
hem
阳agr
伊H阳tud
拟
h址岱
d.eofi出tsd
怆世 ef岳
白a
k

F 口le町y Lesley Blackr町， president ofFlorida Horuetown

低
毗
t 户如
nd 凶早er阳
E臼S1陡毡世缸
创
m
臼
e 时
n1由
t怡
盹s' t惚
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a 臼s. lτ
咀 he
览时
e fea
臼ars t也

o\tetdévelopmeñt." Surely tha t' s nöt 阳 SQrtofdisωs·

Democracy, said in an election night slatement. kWe sion ßlac~er and ber a1Íies'had i fl,. rnind. 0
问
he句町
E y raised，尹衍如
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/
'(_=;与
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7

.. ,,1" .1' , "/

24/ LANOSCAPE ARCHITECTURE MAGAZINE FEB 2011

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FOREGROUND /CL05E-UP
ABOVE
The University of Oregon likes to Working with the architect, Gene
The Jaq ua Centel' on lhe
ca f1'l pUS of the Un1Ve内Slty of spoil its athletes. Its football team, Sandoval of Zimmer Gunsul Frasca
Oreg口n appears to Slt raised
the Ducks , has new ergonomically
on a p口口，Iof 叭rater advanced uniforms made by Nike.
And there's seating designed by Fer-
IMAGE CREDIT rari inside the school's new trophy
@ Ron Coope俨 building, the John E. Jaqua Academic
Center for Student Athletes, a strik-
ing three-story glass cube on 由e edge
of campus 出at opened in 2010. Th e
building, too, has a Nike provenance-
Nike founder Phil Knight paid for the
building, which has been said (though
nevero伍cially) to have cost more than
$40 million.
26/ LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011
Architects, was the landscape architect
Charles Anderson, FASLA. On the
trian凯llar site , a former parking lot
along a major street on the campus,
Sandoval designed a glass box, slightly
elevated, and Anderson created an in-
finity pool ofblack granite that comes
within 18 inches of the outer walls
around three-quarters of the building.
Th e modern and minimalist black
finish provides a mirror, reftecting the
surrounding landscape , and lùdes the
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depth-only eight inches at its deep- screen assembly and a system of 1'011-
est. With 10, 000 square feet of water, ing shades.
Sandoval would have liked to have
gone even bigge1' since "water is the The outer layer of the 3/8-inch.thick
life giver in Oregon,n while Anderson glass protects the shades and the meta1
says smaller would have been fine. screen from wind and rain- expect
plenty of rain in Eugene-and also
It was somewhat complicated to sur- acts as a thermal buffer for the air
round the glass with water while mak- cavity, keeping it warm to help heat
ing the building energy effì.cient.ηle the structure.
outer layer of sealed monolithic glass
1 TOP panels was separated from an inner By keeping the 10, 000 square feet
Schematlc dra'Mngs show the layer of insulated glass panels by a of water sha110w inside a handmade
1n trlcote relallonshlp between five-foot-deep air cavity. Within the black granite pool, designers were
water, alr, and structure air cavity sits a stainless steel metal able to show more depth than there
ABOVE
When I1 t up at nJght, the bUl1d1l'lg
appeaT弓 to grow out of the
bJack 9俨amteρ001
IMAGE CREOITS
Courtesv ZGF A俨chltects LLP.
to口， () Ec!(ert & Eckert , bottom

2B / LANOSCAPE ARCHITECTURE MAGAZINE FEB 2011

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sαARCHI TECTURE

LEFT
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Eugene cômpus, the slte
r它môins pedest l'lðn fl'lenOly

ABOVE ANO BELOW

An al俨 caV1ty 5eparate5 the
pool from the bUl1dmg , whl1e
P俨ecast concr它te CLrbS and
paver steps 5et the pool off
from the sldewôlk

IMAGE CREOITS
Courte5Y ZGF Arc h1tect5 LLP,
drawmgs , () Eckert & Eckert,
photo

Ref1 øcting Poot Edge at Sidawalk
was and allow the use ofblack precast
concrete curbs and paver steps to help
set offthe pool from the adjacent side-
walk. Plus, with the desired look of fl.at
glass, extra care was taken in raising
the ground level to fl.atten the bottom.
Th e black granit• - as well as black
piping- helps hide elevation changes.
Along with the pool, LED lighting
around the exterior of the building
produces a glow and stainless steel
grating On the edges protects from
debris and birds , since the water laps
18 inches from the building.
A grove ofbirch trees- the highlight
of the 35 native species used- isn't
just aesthetic, but serves to anchor a
biofìltration system cleaning onsite
water runoff. Birches, because they
can be planted in tight pa忧erns， help
create a dense buffer between the
neighboring streets and the serenity
of the building. 。
TIM NEWCOMB IS A NEWSPAPER EDnORAND
FREElANCE MAGAZINEWRITERLIVINGINWEST-
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3 日/ LANOSCAPE ARCHITECTURE MAGAZINE FEB 2011

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FOREGROUNO
ABOVE
Alarge swale c口llects
storf'1 water runoff fro f"'1 the
new Supe俨 Target bUl1dmg
ln TUC50n , ArlZ0nû The
5V飞，'ale 5UpPO俨ts land5Cûpe
vegetatíon and 15β8rt of the
5tO俨m叽，ater management
st俨'ategy for the slte
IMAGE CREDIT
Ann Audr宅V
32/ LAN05CAPE ARCHITECTURE MAGAZINE FEB2011
/WATER
UW
门mu
J
什
广L
E
什
川)
广L
|L
- ing tanks to harvest rainwater and sup-
Urban desert dwel1ers face a disturb-
ing irony. Potable water supplies are
stressed by increasing demands 由at
leave water managers struggling to
find new supplies. Yet when it rains ,
the urban environment is awash with
water that runs offroofs, parking lots ,
and streets- water that drains away
quickly through millions of dollars'
worth of stormwater infrastructure.
For decades, people in Tucson, Arizona,
have been shaping the ear仕1 and build-
N川
八ι
〔
BY ANN AUDREY
The move from concept to reality in
port their plantings. ln 2005，也e city Tucson's rainwater harvesting took
government offered help to residents eight months of work by local devel-
by publishir1g its Rainwatιr Harvesting opers, planners, designers, engineers,
Guidance Manual. But more needed ω environmental activists, city staff, and
be done. ln winter 2007-2008, Ro也ley elected 0伍cials. During 也is time, the
Glassman, a city councilman, posed a general provisions of the ordinance
question: Can the rainwater 出at runs were agreed to and detailed require-
off roofs and parking lots at commercial ments were spelled out ir1 a draft devel-
sites be harvested and used to save pota- opment standard. Environmentalists
ble water? He thought it could, and he pushed for commercial sites to meet
proposed 由at an ordir1ance be drafted up to 100 percent of landscape water
ωaccomplish the goal. Less 由 ana year demand with harvested rainwater.
later, Tucson adopted its ir1novative ordi- Developers preferred voluntary 思lide­
nance requiring rainwater harvesting at lines and pushed to have other water
new commercial sites. conservation measures allowed as
options to rainwater harvesting. The
Water harvesting is 由e process of compromise reached was a mandatory
intercepting rainfall and putting it to requirement that new commercial sites
beneficial use. Some strategies inter- meet 50 percent of annual landscape
cept and store water in tanks (known as water demand us ir1g harvested rainwa-
"active" water harvestir1g). ln contrast, ter. "The ordir1ance was passed unani-
"passive" water harvesting intercepts mously by the mayor and council and
rainwater and infiltrates it directly ir1 to endorsed by the local paper in large
the soil where plants' roots can take part because all parties helped write it,"
it up. Water harvestir1g does not typi- says Katie Bolger, Glassman's council
cally recharge aq山公rs. lnstead, it saves aide, "and all sides compromised to get
potable water by helping to keep the language everyone could suppor t."
water taps turned off. Passive tech-
niques such as microbasins, swales, Tucson's average rainfall is 12 inches
ωrb cuts, and French dra ir1s are simple per year. The agreement to set the
and ir1expensive and can move, inter- standard for harvesting water at
cept, and store large volumes of water commercial sites at 50 percent of
in the soil. Tank storage extends the landscape demand was reached by
time during which rainwater can be analyzing monthly rainfall data and
used, but its costs can be substantial1y landscape needs, then calculating the
more than those of passive harvesting. level that could be met using passive
 FOREGR川 o /WATER
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ABOVE
Arock clôd landscape at Repp Deslgn I
Con5truct1on harvests rarnwater、。何 the
51te's 口arkrng lot to 5upport low water U5e
land5cape plants Asteel tanklocated
behmd a decorahve steel screen. rnset
holds ha问ested rooft口p runo仔

RIGHT
The slte wate俨 harvestmg plan ll1 ustrales wate俨 water harvesting alone , Being able to icate ofoccupancy for a new commercial dard address irrigation systems, plan
catchment a俨easa们d t俨e lar05cape plants they meet the requirements with passive site, a110wing time to establish plants submittal, and reporting. The ordi-
5upport at Repp De51gn I Con5truct1or techniques was important to the devel- using standard irrigation. In addition, nance cuts commercial sites a break
1 R巳ofwater、 collecl1on storage tank (achve) opment community because of the new commercial site owners must during d rought years to ensure that
2 Wate俨 harvest basm (passlve) high cost of commercial-scale tanks. prepare a water harvesting plan and plants don't suffer. These kick in when
3 r- Iow arrow (runoft) water budget and report rainf马11 and rainfall is below nine inches per year at
Tucson's Commercial Rainwater Har- irrigation volumes ann旧lly. a gJVen slte.
IMAGE CR EOITS vesting Ordinance (No. 10597) was
Ann Audr哇:y， ph口t口5， ARC StUOl口5， graphlc adopted October 14, 2008, and imple- Th e adopted development standard Wi出 the June 2010 implementation,
and plan
mented June 1, 2010. The 50 percent includes specifications for both passive water harvesting plans are now being
requirement must be accomplished systerns and ta时(s (which are optional). submitted to Tucson's Planning and
within three years of receiving the certiι Additional specifications in the stan- Development Services Department

34 / LAND5CAPE ARCHITECTURE MAGAZINE F[B2011

FOREGR川 o /WATER
ABOVE
Äf' opef'm Çl m tt曹四rb a1lov.s
阳rkl呵!口t runo时'hoter to
f O'^ tO'w\ùr划 ùdepr冒出回
plantmgùr回 su口portJng
dese俨tshùde tr它臼 ùtthe
Stone ω内es cohouSlnq
commumty ln Tucson, Anzona
RIGHT
Col口俨fullù ndscùpe plonts
ùre suppo俨ted bv hù问ested
rillnwùter‘ ln () POtlO a俨eû ùt
the nev、 Supe俨 Torqet store
ln Tucson
IMAGE CREDITS
Ann Audr唱V
I N T U C50 N, f\ L L PLA N 0 r u t'( C lJ IVI M 1: Rιlf\ L
DEVELOPMENT SITES MUST INCLUDE A WATER
HARVESTING PLAN AND WATER BUDGET.
36/ lANOSCAPE ARCH 1TECTURE MAGAZINE FEB 2011
(PDSD). From the perspective of Eric
Barrett, a Tucson landscape archi-
tect and owner of ARC Studios, Inc. ,
there is extra work and cost involved
in preparing the water budget calcula-
tions and water harvesting plan, but
he 四pects 由e process will get faster
with time. Greg Shinn, a landscape
architect and owner of GRS Landscape
Architects 1nc., emphasizes the need
for the landscape architect and drain-
agee吨ineer to communica te early and
often throughout site design to ensure
the landscape plan, drainage plan, and
water harvesting plan are consistent
and meet the standards. 1n his 四peri­
ence, the landscape architect typically
prepares the water harvesting plan.
Before the adoption of the commercial
r吨山rements， Barre忧 designed a water
harvesting landscape for the new Super
Targetstore in Tucson.ηle site contains
an array of water harvesting basins
planted with drought-tolerant trees
and shrubs. This landscape iU ustrates
由e shi丘 in engineering and landscape
design that the new ordinance requires,
and it allows people to see large-scale
commercial water harvesting in action.
As part of its ongoing potable water
conservation efforts , and to support
ing for improved commercial irriga-
tion systems, facilities w山 now make
substantial strides in irrigation effi-
dency as a result of having managed
water harvesting systems. Fernando
Molina, the head of Tucson Water's
Public Information Office, agrees.
Under the new requirements, facili-
ties must use control1er technology that
re叩ondsωconditions on a site. Most
facilities are selecting Usmart control-
lers" that operate in response to local
weather- a key to potable water conser-
vation, in Molina's view.
the new commercial standard, Tucson Shinn expects that Tucson's experi-
Water has provided more than $21，00。 ence will help others take up water
in grants to help commercial facili- harvestÎng strategies. "Over the fìrst
ties serve as demonstration sites for year or two , we will learn which
water harvesting. The landscape at aspects of water harvesting design and
regulation are most important and
Repp Design + Construction's office
demonstrates passive and active water which don't yield signi 自cant results ,"
harvesting, ilJ ustrating the collaborative he says. "Applying these lessons to
design results for site grading, wa怆r jurisdictions with different rainfall
pa忧erns and plant palettes will save
them years of experimentation."
Other areas of the country have
addressed water harvesting through
mechanisms ranging from g山dance
harvesting, landsca pe planting, and manuals to regulations. To get the
irrigation. Rick McLain， 由e owner of word out, Councilmember Glassman
Repp Design + Construction, repo出 has spoken at city council meetings in
tha t his system-designed by ARC eight Arizona cities, walking elected
Studios一is working well and saving officials through Tucson's process
potable water and money. and emphasizing rainwater harvest-
ing as a strategy to ma ke pota ble water
Joe Linville, the lead planner with conservation the rule rather than the
the PDSD's landscape section, antid- exception. o
pates the new commercial landscapes
"will have larger, healthier trees with ANN AUOREY HASWORKEO wrTH WATER HARVEST-
less blowdown because the roots INGSINCE1992; SHE1SCURRENTlY AN ENVIRON-
MENTAl CONSUlTAN T.
will penetrate deeper." Linville sees
another advantage: After years of push-
FOREG ROUND / MIN DS

TH E HEALER
IF NOT FOR CLARE COOPER MARCUS ,_J1 E MIGHT
HAVE MISSED THE TONIC POWERS OF DESIGN.
BY B1 LL M ARKE N . HQNQRARY ASLA

Jn the fall of 1969, armed with a new 'the Berkeley gang: in c1 uding Clare, generations oflandscape
master's deg 1'ee in city planning, Clare Donald Appleyard, Chris Alexander, architects."
Cooper Marcus , Honorary ASLA , and Donlyn Lyndon) created a sense
taught a c1 ass at 由 e University ofCal- of endless possibility in us students. Cooper Marcus's own
ifornia , Berkeley , called "Social and One weekend she invited a group of "well of personal expeli-
Psychological Factors in Open Space us to Bolinas. It tumed out to be a ence and memo巧" gave
Design" for the first time. Created for full-blown Jungian retreat where we her an early understand-
landscape architecture students , the gathered in a circIe on the f1.oor 四plor­ ing of the transformative
course relied on research methods such ing inner feelings , personal histories, power of nature and open
as observations, interviews, and behav- and favorite childhood places- all to space. She grew up in
ior mapping to explore the gap between get students to realize that much of England, and during the
what designers thought they were de- what we would design would come German blitz of London
signing and how the users experienced from 出is well of personal experience in World War II herfam-
and felt about the actual landscapes. and mem Oly. She had great 1'espect 过y was evacuated to the
If this was a radical, bottom-up ap- for the power of design to improve ιountryside. As she recalls, her mother EasterH过1 Village, a housing project in
proach to teaching landscape design, it ecological and human life." was depressed and her father off to war, nearby Richmond: Its condusion dem-
was also, of course, a radical tradition- and she roamed on her own, cIimbed onstrated the gap between the original
questioning time in Berkeley-with Throughout a long, distinguished ca- trees, and raised rabbits- and leamed goals of the designers and how the
Vietnam war protests and gas masks re町， Cooper Marωs has continued that cI oseness with nature could create residents viewed the completed project.
on campus. to inspire, write , and teach about the deep, transformative feelings.
power of place and design to affect and Cooper Marcus credits her Easter Hill
One student in that cI ass was Mark improve human life- especially, dur- She went on to receive a degree in cul- Village paper (published as a book in
Francis , FASLA, now past chair of ing the past two decades, about how tural and historical geography from the 1975) with launching her career. She
landscape architecture at 出e Univer- landscapes can improve health and University of London, then struck off remembers a professor saying , "You
sity of California, Davis, who remem- well-being. In 2010, she was made an for the United States, which seemed are asking questions no one else is
bers Coope 1' Marcus as a demanding honorary member of ASLA fo 1' "her "exciting and adventurous" after the asking. You should be teaching." From
and inspiring teacher. He recently pioneering research on the psychologi- dark days of postwar England. After 1969 to 1994 she taught in Berkeley's
wrote, "Energized by the battles going cal and sociological aspects of design, earning an MA in urban geography departrnents ofarchitecture and land-
on in the streets outside Wurste1' Hall, particularly u 1'ban open space. Her at the University of Nebraska, she scape architecture. Her fìeld was social
she and other social factors faculty work, induding 25 years at the Uni- landed in Berkeley in 196 1. For her factors: how the environment affects
(whom Danish architect Jan Gehl calls versity of California, has in fl.uenced next master's, she wrote a case study of social and psychological behavior and

3B / LA NOSCAPE ARCHITECTU RE MAGAZINE FEB 2011

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FOREGROUND /
ABOVE
叫Workmg c1口se1v飞""th climcal staff
and cur陀nt and former patients,
de Slgner 8rian Bamnson of
Quatref011c俨eated a lush settmg
wlth ð great Vðnetv 01plûnts
some edlble, wide pathwaY5 to
accomnodate pal:lents brought
out on gurneys, and chfferent
pathway materials to proVl de
rehabflitative expenen臼s for
th口se learnmg to walkagam ,"
Cooper Marcus say5
RIGHT
"The garden is enc1 0sed bv the
Lshaped 8urn Unit and bv hlgh
waTIs creatmg a pleasmg sense
of encl口su陪 and privacy. Shade
15 essenl:lal lor those 陀cove内ng
from burns and skmgra二t♀，
hence the two 5hade st俨uctur飞:5，
tre巴， and a sculptu俨'al featu陀
that 叭，，11 eventuaTIy provide shade
when vines grow to ∞verit，"
Cooper Jv1arcus savs
IMAGE CREDITS
Cou俨te5Y Ouatrefol1, Inc , plon ,
Cou俨tesy Legacv Health
Systems, photo
40/ LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011
MIN DS
MARCUS ASKEO
QUESTIONS NO ONE
EL5E OIO: WHY 00
YOU COME TO THE
GARDEN? HOW 00
YOU FEEL HERE?
vice versa. And she called what she
did "designing for user needs." Her
voluminous writings explored and re-
vealed the importance of designing for
people's real needs and inner feelings.
Her books included Pιople Plaι俗， Na­
tμre as Healer, and Housi咆 as ifPeoplι
Mattered; House as a Mirror of Se江
published in 1995 , appealed broadly
enough to land her a spot on Oprah
Winfr町's television show.
A Second Chapter of Li fe
After taking early retirement from 出e
University of Cal出rnia in 1994, Cooper
Marωs shi丘ed her focus and research
methods to 由e design of healing gar-
dens. With one ofher former grad stu-
dents , the landscape architect Marni
Barnes, ASLA, Cooper Marcus secured
a grant and began a research project Among the study's fìndings: "Ninety Barnes "fìred them up" about the un-
studying the impact of four hospital percent of garden users experienced tapped power of healing gardens and
gardens. She calls it "the fìrst system-
atic postoccupancy evaluation study of
hospital gardens in the United States."
Using visual analysis, behavior map-
ping, and user interviews, she again
asked questions no one else did: Why
do you come to the garden? How do
you use it? How do you feel here? She
had answers of her own. Undergoing
treatment for cancer at that time, she
was spending a good deal of time in
hospitals herself. She observed her own
reactions: feeling uplifted while wai出19
for treatment under a beautiful old oak
at Kaiser Permanente Medical Center
in Walnut Creek; feeling depressed
while waiting in her car in the bleak
parking lot of another hospital she also
had to visit.
The study by Cooper Marcus and
a positive change of mood after time
spent outdoors." The study added
weight to the burgeoning awareness
of the shortcomings of contemporarγ
health care facilities. As Cooper Marcus
wro怡，田 past centuries, green nature,
sunlight, and fresh air were seen as
essential components ofhealing in set-
tings ranging from medieval monastic
infìrmaries...to pavilion-style hospitals,
asylums, and sanitoria ofthe 19th and
early 20th centuries.... From approxi-
mately 1950 to 1990, the therapeutic
value of access to nature all but disap-
peared from hospitals in most western
countries. High-rise hospitals built in
the international style resembled cor-
porate office buildings."
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FOREGROUND /
ABOVE
"Deslgner Deb口rnh LeFrLln~
C口nS1de吧d illl the ∞Mplex
needs 01 ~he lrol1 elde俨干Vln
her deSlQ叫 for the GrohûM
Gar由n snα:>th path、^ilVS 、川de
enouQh tor l'恼。，^heethil1r百
to pass, a st冶dedpnOOùt
the ent阿 forproq俨a~and
f口俨 those t∞ tril11 t口咽ltU传
furthe俨.col口，、ful 肉ntm伊阳th
tarl1~ar‘ f!Me内 ùnda ∞ncem
lorseas口nal change. movable
outd∞俨 fumltu陀. il Slmple
100口ed 口athwilV svslen , n1 ches
10俨 prlVacv， and V1 eWS to the
surroundm日∞untrvslde over
al口怖， split ril11fence ,' Coope俨
Marcus 臼ys
IMAG E CREDIT
Courtesy LeFrnnk &.
Asso C1otes Ltd
421 LAND5CAPE ARCH lT ECTURE MAGAZINE FEB
MIND5
Designing a Healing Garden
Cooper Marcus has visited more than
100 hospitals with outdoor spaces in
the United States, Canada, the United
Kìngdom, Austra1ìa , and New Zea-
land. She is not one to p u1 1 punches.
Naorni Sachs , AS lA, another former
student and founder ofthe Th erapeu-
tic Landscapes Networks (www.healing
landscapes.oω ， says, "Clare has taken
evidence-based design to a new level.
If something doesn't work, she will
say s•-e ven if it makes the des毕ler
mad." Cooper Marcus stresses 由at a
landscape designed for healing should
be a respite-welcorni吨， cornfo由ble，
homelike. She says, "People appreciate
traditional garden elements such as
lawns, trees , and ftowers. Most people
MARCUS EMPHASIZES THE take comfort from a garden that is
familiar-something like an English
ROLE OF PLANTS IN HEALING strolling garden." Her typical advice
GARDEN5: "YOU WANT A GARDEN. for designing for a health care setting:
"Don't push the envelope-no grass
NOT A PLAZA." with granite stripes or benches without
backs." What do landscape architects
led to a much larger project. PubHsher Beginning with his 1984 paper in Sci- say about that? She says, "Th ey laugh,
John Wiley & Sons commissioned Heal- ence magazine called "View Through a but 1 出ink they agree."
i咆 Garde旧: Therapeutic Ben仙 αnd Window May Inftuence Recovery from
Design Reωmmenda阳时:， 610 pag臼 of Surgery," Ulrich documented how 四­ Cooper Marcus emphasizes the role
history, theory, research, health out- periencing nature offers health-related of plants in designing a healing gar-
comes, and advice for designers-today benefìts to hospital patients. Cooper den. "Plants provide the all-important
由eb∞kis s创1 the bible on the subject. Marcus gives a great deal of αedit to distraction of nature. You want a gar-
Cooper Marcus and Barnes edited the Ulrich and boils down his ground- H
den, not a plaza. As a rule ofthumb,
book and wrote about half of it, relying breaking research like this: "His stud- she suggests a 7=3 ratio of plants to
onexpe出 for individual chapters (such ies have shown 由at the heart rate of a hardscape. She adds, "Designing for
as Robin Moore, Affiliate AS lA, on cl业­ patient goes down when 巳xperiencing a health care setting is the opposite
dren's gardens). a garden, whìch helps in the healing of designìng a freeway planting. A
process by reducing stress. Experienc- healing landscape is not viewed while
A major contributor to the book was ing a garden provides a degree of relief going 65 miles per hour. It is seen
Roger S. Ulrich, Honorary AS lA, the from physìcaJ symptoms or awareness up close by someone who ìs ill or
pioneering behavioral scientist who of symptoms. 1t offers stress reduction elderly and probably moving slowly.
is a professor in the Department of and increased comfort. And it facili- Intricate designs can be eye catching
Architecture and the Department of tates an improvement in overall sense Use different types of plants of diff町，
Landscape Architecture and Urban ofwell-being and hopefulness, which ent sizes, heights , leaf textures. Use
Planning at Texas A&M University. can assist physical improvement." ftowers for their color."
2011
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FOREGROUND / MIN DS
ABOVE
"Ma俨tha Tyson created an
exemplarv ganden fo俨 th口se
W1 th Alzhetmer's disease a
single entrv and slmple looped
闪th to avold confUSlon ,
dense plantlng around the
edges to dlsguise fences that
组met1 mes prompt a deSl俨E
for、 elopement， and a 臼m俨'al
lawn for act1V1t1 es and to ev口ke
a homehke image," Cooper
lv1 arcus says
IMAGE CREDIT
lv1 artha fII Tvson
44/ LAND5CAPE ARCHITECTURE MAGAZINE FEB 201 1
MOVING WATER ATTRACTS
BIRDS , COOPER MARCUS SAYS ,
AND "BIRD5 DELIVER AN UNSAID
MESSAGE: LIFE GOES ON."
outside, and is invi白19 to patients in of Iona, which she has visited almost
wheelchairs as well as family groups. annually since 1979. Her latest book,
The Al zheimer's garden in the Gar- Iona Dreaming: The Healing Power of
den of the Farnily Life Center, Grand Placι， published in April 2010 , is a
Rapids, Michigan, designed by land- contemplative memoir that reveals
scape architect Martha Tyson, has a her talent to write soulfully and scien-
pathway system designed for rninimal tifically as she explores her own deep
confusion, a comfortable gazebo, and feelings: "1 have to experience it [the
old-fashioned perennials that resonate mysteryo fIona] in my sinews, breathe
with the elderly. it into my body, absorb it through my
eyes and ears." The book describes the
With the trend today toward patient- personal process of physical and emo-
specific gardens, which incorporate tional healing that she went through as
special features for patients with cer- she recovered from a life-threatening
tain conditions and diseases, Cooper illness. She calls Iona "the kind of place
Marcus considers it even more imper- where one can relax to a deep level.
ative 出at landscape architects follow a which can strengthen one's immune
rigorous design process 出at includes system and have measurable success
working closely with the hospital staff on physical health."
and medical team. She also thinks
She urges the use of moving water for that more research must be done to ηtis past faU , on a crisp, sunny day,
its sights and sounds and the way it determine the strengths and weak- 1 met Cooper Marcus at her shingle-
attracts birds. "Birds deliver an unsaid nesses of existing gardens built in clad, two-story house on a quiet Berke-
message: Life goes on." (She points the past 10 to 20 years. Naomi Sachs ley street lined with mature camphor
out 由at some hospitals don't approve says, "Clare wants strict standards of and London plane trees. From her front
of water features because of possible postoccupancy evaluations for hea且ng porch she can observe neighborhood
pathogens in the wate r.) Plant labels gardens. We're concerned about 'heal- life and greet passersby. Two or three
are good to o--they can be a conversa- ing washing: a takeoff on greenwash- blocks away are the cafés, laundry,
tion starter. ing that means doing surface thingsω markets, and public transit of College
make it look like you have designed Avenue. Th e walkable, human-scaled
Cooper Marcus CÍtes a number of ex- a healing garden but really haven' t." neighborhood is what she and her late
emplary healing landscapes that in- ex-husband Stephen were looking for
clude the desirable features , including Clare Cooper Marcus Today
when they settled there in 1974. She
the Oregon Burn Center Garden in Now in the fifth decade ofher career, wanted her two children to grow up
Portland, designed by landscape ar- Cooper Marcus has had a busy year with the sense of independence and
chitect Brian Bainnson, ASLA, work- Th is past spring, she again lectured 丘ee叩iritedness that she experienced-
ing with horticultural therapist Teresia at the Chicago Botanic Garden, where, her 缸ends were aghast to see her son
Hazen, which is "absolutely beautiful"; along with landscape architect Jack riding Bay Area Ra pid Transit alone at
it provides overhead protection from Carman, FASLA , and horticultural ageeight
the sun and different textures 山lder­ therapist Candice Shoemaker, she
foot to help patients learningωwalk launched a weeklong program that She took me for a walk on the Berkeley
again. Th e Graham Garden, designed trains landscape architects and offers campus a few blocks away, revisiting
by landscape architect Deborah Le- a certificate in health care design. many of the spots she observed and
Frank, at Saanich Peninsula Hospital surveyed in People Placιs， published
in Victoria, British Columbia , offers In the summer she spent several in 1990 as a guide to using "human
beautiful 叽ews from inside as well as weeks on the remote Scottish island behavior or social activities to inform
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FOREGROUND / MIN DS
HER PERSONAL ESCAPE 15
SCOTLANDJS ISLE OF IONA,
"WHERE ONE CAN RELAX
TO A DEEP LEVEL!'
and shape the designed environmen t."
Vigorous and tall, dignified with short
gray hair and wire-rim glasses, she is
the image of the scholarly and sen-
TOP 纣ib让巾
s le retired academic一although her
At the Fðm11v L1 fe Center、 1n memoir reveals a certain amoun 时t of
Gr、'ðnd RðP1ds,M1ch1gan，、 cha
叫alk
忆.忱-up.罔.tωo-B erkeleyexperimenting
garden gazebo vislble frorn along the way. First stop was Wurster
the entrv d口口俨 to the gar甘en
provides a clea俨 destinati口n Hall, the 1964 rninimalist style ("bru-
p口int and is a popular pla臼 talist" to some) home to Berkeley' s
for staff-led actiVlt1 eS. Scr飞~ens College of Environmental Design,
protecl users frombugs, ûnd where she had an office for years. We
WI内ng pe俨川ItS tans , hghtJng,
entered through the courtyard at the
and mUSICprograms，"臼ope俨 back. Cooper Marcus called its origi-
Marcus Sû ys
nal design "awful" for its uninviting
ABOVE asphalt paving and messy olive trees.
Oar它 Cooper、 Marcus speaks She prefers the redesign that now ex-
at the 2010 ASLA Annual ists, with brick paving, movable seat-
MeetJng 1n Wûshmgt口n， 0 C. ing, lath screening for posting student
as she IS mducted as ðn work, and a patch oflawn. Seemingly
Honorary ASLA member
on cue, three students in shorts set
IMAGE CREDITS up a croquet game on the grass. She
Martha IV. Tvson. top; exclaimed, "That's a perfect backyard
Sam B俨own， portrð1t actl叫ty. This is the backyard-perfect
for 'family' events like a graduation
or small party." She led the way to
46/ LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011
the building's entry, which she calls
the "front porch." 'This front porch is
not beautiful, but it attracts students
with built-in tables and seating and
places tωo g伊a由 er in social eddies off
the main wallD飞w阳 f咱
ay." That day 让it wa
刮s
busy with students studying, eating,
and conversing and watching others
rush by. With Cooper Marcus 由e ter-
minology is humanistic, often related
to the home (we also viewed Wurster' s
"front yard"一出e lawns and oaks that
stretch beyond a main pathway). And
a design's results are measured in how
people use it and are affected by it.
Nearby, Fac叫ty Glade has been mea-
sured to be "the most favorite place
on campus" for its swath of lawn for
lounging in shade or sun and the sur-
rounding talllive oaks and redwoods
creating a sheltered sense of retreat.
The plaza around the Campanile, with
formal paving squares and pollarded
London plane trees, is less inviting
and was occupied by just two stu-
dents that day. Cooper Marcus finds
the formality off-putting but admits
that may be owing to the "tradition-
al1y cool feelings the English have for
French aesthetics." (She also doesn't
like the pruning method used on the
trees- "too aggressive, and too much
a demonstration of humans trying
to control nature. ") She adrnires the
Bechtel Engineering Center's roof
terrace for its amenities: ATM , café,
outdoor study nooks with overhead
shade, and glass walls for wind protec-
tion. "Here someone listened to the
students. They always say they want
tables and chairs and other places to
study outdoors." The terrace was de-
signed by George Matsumoto with
Royston Hanamoto Alley & Abey.
Cooper Marcus is quick to answer
出 e question, why should designers
concern themselves about the spaces
between the buildings on a 35, 000'
student campus? "Wel1-designed spac-
es where students can relax and gather
with other students or even faculty can
encourage casual social encounters
and a richer college 臼perience. An d
school can become more than lectures
and libraries."
Later 出at day , Cooper Marcus would
attend a session of her wri由19 group,
in which she is concentl'ating on po-
E位y，明白 nature-related work inc1uding
titles such as "The Fence" and "Rainy
Afternoon in My Neighborhood." At
the end of the week she would speak in
Las Vegas on "Researching Restorative
Landscapes in Health Care," continu-
ing to spread the word to a convention
由at drew 30400 health care designers
and other professionals on 也e power
•
ofplaces special1y people places-to
inspire and heal the spirits and body. 。
BILL MARKEN, HONORARY A5LA. 15 THEFORMER
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FOREGROUND /GOOD5

Tli ROWING IT ALl AWAY

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IMAGE CREDIT
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48/ LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011

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lAND5CAPE ARCHITECTURE MAGAZINE FEB 201 1 /49

 GROUNO / HOU5E CALL
LET THE GOOD TIMES
CLIMB. SLIDE. AND ROLL
ABOVE
Grown ups wlil probab1v take
the s国际， but children 臼n opt
to slide d口wn to the next terraæ
ln lhlS San FranC1SCO ya州
I M AGE CREOIT
Marlon Brenner、
50/ LA N05CAP E ARCHITECTURE MAGAZINE FEB 2011
The three-story house is in the Buena
Vista Heights section of town, which,
as its name implies, is a neighborhood
of steep hills and breathtaking views
ofthe city and San Francisco Bay. You
A COMPACT URBAN BACKYARD can see the garden from every ftoor
LETS THE CHILDREN PLAY BU丁 of the house, and from the roof, too.
DOESN'T LEAVE OUTTHEADU 口S . "It was important to us that the garden
look good when viewed from above ,"
Chaiken says. "双1e then needed to
After spending five years on a gut you see everywhere for their twin balance the desire to have something
renovation that turned their traditional daughters. Instead, with the help of visually impactful with the need to
1940S home in San Francisco into a their architect, they found a landscape create a space 由at would be practi-
sleek statement in stucco, Jen Chaiken architecture firm that could carry the让 cal and grow over time with the kids.
and Sam Hamilton were simply unw诅- minimalist aesthetic into the garden We didn't want a garden full of play
ing to have a standard backyard with while creating a play area much more structures, but rather something more
one of the compulsory play structures imaginative than tha t. free ftowing. n
 ~ --------
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 Front Entry

Roof Deck

Cantilever Bench
>

Climbing Rope

Slide

Sandbox

Sculptural Piece

He巾 Garden

Shed

Bioretention I
Dog Area

(~ 12'-0"

52/ LANOSCAPE ARCHITECTURE MAGAZINE FEB 2011

 /

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 GROUNO / HOU5E CALL

ON THE ROOF
Regi口nal favorites hke
the ohve, underplanted
her它 wlth lavender,
wer宅 chosen 10俨 thew
abllitv to \Mthstand
the sun and winds

as minirnalist as possible and make good

THE 5TEEL RAILING OF 丁 HE GARDEN AL50 APPEAR5 ωe of evely inch," Eric Blasen says.
ON THREE TERRACE5 AT THE BACK OF THE HOUSE
Complicating the design was a city-
TO AVOID ADDING MATERIAL5 AND PATTERN5. owned retaining wall along the southem
edge that exposed the yard to the street
ηlat's where Blasen Lan也cape Architec- of the ar由it仅t Tadao Ando , known for Before grading and construction could
ture from nearby San Anselmo comes in. hls sculptural use of simple concrete begin, the city req山red 出e installa挝on
咀le firm includes the husband-and-wife walls, proved inspirational. Such inftu- of 19 piers to avoid putting additional
team of Eric Blasen, ASLA, a landscape ences were 企esh in their minds when weight on the wall. The Blasens then
archltect, and Silvina Blasen, a horticu1-由ey approached the ChaikenfHamil- αeated a framework using a combina-
turis t. Th ey were hlred not long after ton yard, then a wedge-shaped patch of tion ofcedar f白cing， concrete walls, and
making a design p过gr由lage to Japan, weeds, whlch is 25 f民t at its widest point concrete planters 阳t hugs the house and
where compact city gardens and the work and 44 feet long. "We wanted to keep it extends along the sides of the garden.

54/ LAND5CAPE ARCHITECTURE MAGAZINE FEB 2011

Leadership by design

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 GROUNO / HOU5E CALL

by a sloped area where tl1e twins can go

down a polished concrete slide, b山lt as
part ofthe wall, and eiÙ1er walk up a set
of granite stairs or pull tl1emselves up
ABOVE 也e hill 山ing a rope tethered to tl1e lawn.
Aplanle俨 wllhû dwarf A
俨'

olive shrub adds greenery On the second terrace, steps lead to a

to the roof sculptural birdbatl1, a triangular sandbox
tl1at recalls Japanese sand gardens, and
RIGHT a large swaÙ1 o f1awn for pitching a tent,
Pruned to create a crisp I口口k bordered by an edible herb garden. A
ðl the entrance, a bed 01 丘uitless pear (冉I1'US rosaceae) and poet' s
maldenh ð1 r vme was added
to an eX1 StJn g plðnter lhðl jasrnine Uasminum offiα附屹 var. gra ru1 i.
contalned a mðple tree jlorum)ar由lly hide a service shed on the
tl1ird terrace.
IMAGE CREDITS /" 飞飞飞飞
Marlon Br宅nner To make the garden more sustainable,
??飞飞飞~J water from the upper teηaces runs into
a bioretention drain, also on the third
level. ηle drain allows water to slowly

THE TIGHTLY CLIPPED BED OF MAIDENHAIR percolate into the earth rather than the
city's stormwater runoff system.
VINE CREATES A CRISP LINE 丁 HAT
Materials chosen for the hardscape echo
COMPLEMENTS THE PREVAILING AESTHETIC. Ù10se used in and on the home. Th e
bench and steps, for example, are made
Also helping to create s位ucture are the behind the city wall. Mirroring that, of the same granite used for the exterior
nine.foot.tall, neat1 y manicured hedges along Ù1e other property line, are two walkway and interior hallway steps. The
of tawhiwhi (Pi忱。sporum 比阳聆lium)， rows of the shrub- one monochro. steel railing in the garden also appears
the tallest green element in the design matic and one variegated (Pittosporum on three terraces on the back of the
after 也etrees. 古le shrubs provide a wall te削价liut饵 'Marjorie Shannon') , set house. "It was all about restraint," Eric
of gl回 n t11at acts as a buffer between against fronds from neighboring date Blasen says- not adding more matelials
the yard and the street and the yard palms (Phoeniχ canariensis) that are and 阴阳ms.
and the neighbors, who previously had part of the "borrowed" landscape.
unobstructed views of the space. "We ηle grading and construction were so
wanted some privacy, without seeming "The notion was to make t1rree levels extensive, it was a year before plants
ωo unneighborly," Chaiken says. with one sloped component," Eric went in. As to the plant selections, "We
Blasen says. The first terrace includes kept the palette very simple and well
Eric Blasen planted a swath of the a cantilevered granite bench where the adapted to the climate," says Silvina.
tawhiwhi along a three.foot corridor parents can watch tl1e girls play, followed "These gardens can get very windy."

56/ LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011

 GROUNO / HOU5E CALL

THE GARDEN WILL

SOON 8E CHANGING
AS THE OWNERS.
DAUGHTERS GROW
AND THEIR INTERESTS
CHANGE.

As the owners had hoped, the garden

will soon be changing as their daugh-
ters grow and their interests change.
Lately, the kids have been asking for a
ω忧ing garden, which will supplement
the herb bed. "They just love the idea
of b ringing something in from the
garden and making use of it," Chai-
ken says.

ηle growη-ups have already gotten what

ABOVE
When Vl ewed tron the house,
the foilage COmblned Wl th the
concr它te and limlted 白owe俨
βalette glVe the garden a
9俨'aphicl口ok
IMAGE CREDIT
Môrlon Br宅门ner
they wanted- and then some. 双lhen
viewed from above, the whiteness of
the concrete , grani怡， and sand creates
a pleasing graphic pattern when set
So plantings were chosen for their Hamilton had requested roses , a mo1'e against the deep greens of the lawn and
wind and drOUght tolerance-叫uiring traditional choice that neve1'theless the lush foliage.
only intermittent drip irrigation- and makes sense in the sunny microcli-
easy maintenance. Most are perenni- mate. "The Bay Area has a long dry "lt's lovely to look at and serves us well
als (save for a few herbs in the edible season and roses love it-they don't as a warm, protected place to pl町"
garden) , a rnixture of Bay Area favor- get 1'oot fu ngus-so they 1'eally thrive says Harnilton. "We love 由at Eric and
ites and species from other Mediterra- here," Silvina explains. Silvina were able to utilize every inch
nean climates that are not so common. ofthe space. " 。
Shades of purple , white, and yellow ηle firm was also asked to add greenery
make up the limited color pale时. to the roof garden, the master bedroom JOANNE FURIO 15 A BAY AREA WRITER WH05 E
te口ace， and the entrance. "We used FAMILY GARDEN 15 DEVOID OF A PLAY 5TRUCTURE
BUT DOE5 BOA5 T A TREE HOU5E
Among the popular choices: white repetition to strengthen the design," Eric
lantana (Lantana camara) and creep- Blasen says. So, on the roof and master
Project Credits
ing fig (Ficus pumila) that sp过lover bed room deck, the Blasens repeated LAN05CAPE ARCHITECT 日 L A 5 E N LAND5 CAPE
the edge ofthe concrete planter boxes, the use of the fruitless olive tree and ARCHITECTURE , SAN A N5ELMO , CA LIFORNIA
a fruitless olive tree (Olea europaea) , dwarf olive shrub, with French laven- (ERIC BLASEN, ASLA , SI LVINA BLASEN , ANO GARY
jasmine , and Mediterranean spurge der (Lavandula sωιchas) as the under- RASMUSSE N). ARCHITECT GEMMILL OESIG N ,
(Euphorbia characias 'Wulfenii'). planting. At the entrance, an existing SAN FRANCISCO (TIM GEMMILL). INTERIOR
OE5IGNER MARK CUNNI NGHAM , NEW YORK
The more unusual dwarf olive shrub conαe怆 planter with a maple tree was
GENERAL CONTRACTOR CREATIVE SPACE5 ,
(01ω ew叩aea 'Li ttle Ollie') and silver padded with a bed of maidenhair vine OAKLAN D, CALIFORNI A. LAN05CAPE CONTRAC-
cottonwood (Cassinia leptophylla) , a (Muehlenbιckia ωmpL即时， which is kept TOR FRAN K 11. GROSSMAN, SAN FRANCISCO
shimmery coastal shrub from Aust1'a- tightly clipped toαeate aαisp line 也at
lia , are bound to turn a few heads. complements the prevailing aesthetic.

58/ LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011

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 FEATURE5
UNFAMlUAR TERRITORY

People in Phoenix may not knowwhat

to make of their newCivic Space Park
downtown . The city's mayor sees it
as one way to help coo l the desert
ci ty and promote mass tra nsit , as
Caro lyn Deuschle reports. 80 th are
relatively new ideas. Jona than Lerner
looks at attempts to have people l ive
nea r t he fo od they eat in a new genre
of neighborhoods that try to combine
residen tial lifewi t h farming. Finally ,
in Austin , Dan Jost , ASLA. talks with
the landscape architect Christine Ten
/
Eyck , FA5LA , who wanted to open a
new office in Texas without leaving
beh ind her successful practice in
Phoenix. 50 far , so good

IMAGE CREDIT
D<l响dJner

J、
 @

ßJ

、 、
、 、、

PEOPLE IN PHOENIX WILL PROBABLY Ll KE GATHERING IN THEIR NEW

DOWNTOWN PARK-ONCE THEY FIGURE OUT HOW TO USE IT.
BY CARO LYN OEUSCHLE / IMAGE CREDIT Oavid Ll oyd 、、
、、
、、

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68 / LA N05CAPE ARCHITECTU RE MAGAZINE FEB 2011

lANOSCAPE ARCHITECTURE MAGAZINE FEB 2011 /69
 、

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1也 monster discount stores, doned houses, and matrix

of freeways eve巧where， it's hard to pinpoint where
the urban center ofPhoenix lies. ηle city is so sprawl-
ing that in 2006 nearly 30 percent of its economic
output was in rea1 estate and construction. As a result
of its rapid outward growth and i也 penchant for paved IMAGE CREDIT
surfaces, the desert city holds one of the f自test 旧ban- Oavid Ll oyd
warming rates in the world, trapping and absorbing
heat like a radioactive sponge. On average Phoenix
reaches over 100 degrees on 92 days a year, and is 14
degrees warmer than the surrounding rural areas, an
effect of the city's ur切n heat island. In turn，址le city's
hottem严ratures 企iveupwa怡r and electricity usage.

So when Mayor Phil Gordon promised in 2008 and

again in 2009 to revitalize downtown to combat rising
urban heat island temperatures, members ofthe green isn't healthy, the rest of the city isn't healthy," says the having helped lift the city by the Downtown Phoenix
movement watched as he strived to fulfill some of his mayor, who is 59 years old and has been elected twice. journal , as it offers the only green open space in the
most ambitious goa1s yet. And, amazingly, he has. Or downtown area, and because it shows that the city
at least he's put the infrastructure in place: Gordon The latest piece to his downtown puzzle is Civic is striving to be more socially and environmentally
supported the opening ofthe urban retail development Space Park, a 2.7-acre park that opened in April conscious-though it still doesn't hit all of the
CityScape; renovated and 四panded downtow口's Phoe- 2009 next to downtown's skyscrapers and nestles marks. Phoenix is often criticized for its refusal of
nix Conven挝on Center; installed a light rail system; between ASU's downtown campus, the YMC A, and its given environment, as a place where people opt
brokered a deal with Arizona State University (ASU) to a private housing development. Since its opening, for grassy green lawns and swimming pools instead
bring a new campus downtown; and irnplemented his the park has won over people in the city. 1t has of succulents and desert brush. The park doesn't do
2030 Shade Plan ωgive the entire metropolitan area a received the Valley Forward Environmental Excel- much to thwart this image, but it does make gallant
巧 percent average canopy by 2030. "If the urban core lence Crescordia Award and has been hailed for shides in other ways.

7 日/ LANOSCAPE ARCHITECTURE MAGAZINE FEB 2011

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Civic Space Park was designed by AECOM's Phoenix-

based principal Jay Hicks, ASLA, and desi伊er Chad
Atterbury and is a winner of the Arizona Chapter of
ASLA's President's Award and Award ofExcellence in
2010. lt is a decidedly urban park with a fresh, contem-
porary design. Its plazas, delineated by ∞sp， a吨ular
lines beneath Chinese pistachios (Pistaαa chinensis)
and Southem live oaks (Qtumω virginia叫， altemate
with sweeping lawns ofhybrid Bermuda grass (Cynodon
dac呐n) and vibrant beds ofyellow bells (TIωmasωns)
and purple trailing lantana (Lanωna montevidensis).
Benches rest under tall shade structures 明白 angled
roof运， and chess tables are secluded among large plant-
ers shaped like small hills. Programmed LED ∞lurnns
respond to 由e movement of visitors, and there are all
kinds of visitors一-retirees， ASU students, neighbor-
hood families , and businessmen- helping to activate
the park at night.

古le park occupies land 仕lat used ωbe par尬19lots，

明白 some decrepit buildings and a Sbip joint. The only

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/ lAND5CAPE ARCHITECTURE MAGAZINE FEB 2011 /71
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 '\:~、

IT5 U5ER BA5E

DOE5N' 丁 OUITE 、

KNOWW H 町 TO 、
MAKE OF THE PARK
OR PERHAP5 EVEN
HOW TO GET THERE
IF NOT BY CAR
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remaining artifact of the parcel's past is the historic RIGH T

A. E. Motor Company building, one of Phoenix's 且r5t '" Janet Echelman's
auto deaJers and，也us， an important page in 由ehistory \了句:;1Pawce
of the car-centric city. 币le building lies in the center of '\'night 均已hanj中Db俨
the park, serving as both a multiu5e comm山垃ty space ~ ÌNith 盯…ason
and café. But the park's r四1 focal point is installation
artist Janet Echelman's illuminated sculpture, Her S，α;ret IMAGE CREOIT
IsPat防nce(20。纱， which hovers above the park, upheld Oa 'Àd Lloyd
by cables connected to support poles and reaching up
to the cosmos, cas位19 a funnel-shaped shadow aαoss
出e lawns during the dayand a col。而.ù glow at night.

The plant pale忧e foωses on species that need litt1e

water, such as thecenturyplant (Agaveattenμaω)， sago
p加 (Cycas revolu叫，皿d Cirnarron sa伊 {μucophyUum
zygophyUum). Despite these environmentally adroit
choices, the landscape doesn't relate ω 由e 陀gion's
natural e∞system，也e Sonoran Desert. "One of the
things that we kept tel1ing ourselv臼 was that 也is was
not a park 由at is in the Sonoran De吉ert，" A忧erbury
巳xplains. "This is a park that is downtown in 由e fifth
largest city in America, and what the people and the city
were tellingωwas 也at they wanted an urban 归rk."

Perhaps in part to increase its "urban" factor , Civic

Space is the on1y park in 由e city of Phoenix 由 atyou
础't 世ivetl←itd优sn't have a pa灿glot. ]ns刷刷 一头

72 ! lANDSCAPE ARCHITECTUR E MAGAZINE FEB 2011

LAND5CAPE ARCHITECTURE MAGAZINE FEB 201 1 173
 AT MATURITY IN 10 TO 12
YEARS. 70 PERCENT OF THE
PARK WILL BE COVERED
BY CANOPY. AND IN SIX TO
SEVEN YEARS. PEOPLE
WILL BE AB LE TO WALK
FROM END TO END WITH OUT
EVER BEING IN THE SUN
一一一~

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74/ LANDSCAPE ARCHITECTURE MAGAZINE FEB 2011
/
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 1 SLOPED LAWNS
n"e slcpec lÐw内
I" elp weter Illte俨 tc
tl" e l,. rcercrct- rc
I" clclrc bê旷
2 PHOTOVOLJAIC PANELS
Tl"e rccfs c C tre 5比ce
stn.;ch.r宅s. 时lCI" s t- ppcrt
pl"ctαc1te吃 pcrels. e陀
rrece cf tt-CI..S己ncs cf sleel
ccrC l.its pel伫tec s l"Does ct
cesert 1f'Sp:陀d greer.
3 Ll GHT RAIL
~ -，忖~<J1i rt-' , percllel
tc tl" e 2 7 ecr宅 per~.
ccrrectlrc; ccwrtcwr、
tc tl" e ç;r可~eter
rretrcpnbt~r ~('Pe
IMAGE CREDITS
JCV1C _bvc

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LAND5CAPE ARCHITECTURE MAGAZINE FE8 2011 /75

• can reach the park by light rail, bus, or bicycle. The light
ra边， which connects 出e Greater Phoenix area with 20 3 A. E. ENGLAND 6 FUTURE
CIVIC SPACE 8UILDING CONSTRUCTION

#
口lil.es of railline, runs in opposite direc挝ons parallel to
the park; a bus st础。n lies at its southem boundary, and PARK SITE Arnult1functlonal, Durmg the second
communlty use space phase of constructlon,
bicycle racks dot the park's edgesηlOugh it' s easy to PLAN that hosts art exhlblts thls slte IS slated to

反
question the point ofa public park that' s not easily acces- and lectur百S become a 3日， 000 to
sible by the city' s most popular mode oftransportation, IMAGE CREDIT
40,000 squa 陀 foot

it functions as a symptom ofa tidal change, represen位J.g 4 HER 5ECRET 15 pubhclvacceSSlble

Courtesv AECOM commumty annex bLlldlng

反
PATIENCE
a more active, more environmentally focused city.
Hangs above a plaza, forASU
featurmg an lnte俨'actlVe

Z
Civic Space also promotes sustainable technolo- lSCULPTED
gies as part ofits green agenda. The annual rainfall LANDSCAPE 8ANDS
in Phoenix is just seven inches , but every bit of Allow for mhmate seatmg
water passes through porous concrete and pavers and plCn1Ca陀as
wate俨 fountam 7 SLOPED LAWN
PnoVl des an Ideal space
5 8ELOWGROUND PATIO foran oLtd口or classnoom
Connects to the A. E

Jj二
and collects in an underground holding basin that
2 SHADE STRUCTURES
recharges the surrounding groundwater. Atterbury Insplr它d bv monsoon
designed green, slatted shade structures for the clouos, prOVl de r飞=splte
England bUll口mg's B ENTRY PLAZA
basernent coffeehouse SpaClous enough to
set up booths and tents
for umversltv functlons

与多
en位y plaza that softly filter sunlight in much the fnom the 吉un and str宅et fal俨$
way the desert trees do. At maturity in 10 to 12 years ,
70 percent of the park will be covered by canopy,
and in six to seven years, people will be able to walk

多~，IW~>'r/
from end to end with out ever being in the sun .

ywf: ♂元，1
76 / LANOSCAPE ARCHITECTURE MAGAZINE FEB 2011
/
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LANT
1ST
// I γ切?伤////////1/ // /1/////////1/ //1,
TREES
F'raxinus 阳lutina 'Fan-Tex' (Fan-Tex ashl
Pistacia chinensis 'Red Push' (Chinese pistachiol
即'rus kawakamii (Eve 即回n pearl
Quercus virgin臼na (50uthern live oakl
SHRUBS/GROUND COVERS/ACCENTS
Agave attenuata (Century plantl
Agave desmett;ana (5mooth aqavel
Agave geminiflora [Twin-flowered agavel
e ycas revoluta [5ago palml
Hesperaloe funifera (Giant hesperaloel
Lantana montevidensis [Purple trailing lantanal
Lantana 'New Gold' (New Gold lantanal
Leucophyllum zygophyllum 'Cimarron' (Cimarron saqel by the park , such as water for the plants or electricity
M'yrtuscommunis 'Compacta' [Compact m吁同时
Ruellia brittoniana [Katie ruellial
Ruellia peninsularis (Baja ruellial
7'ecoma stans (Yellow bellsl
Wedelia trilobata (Yellow dotsl
VINES
FICUS 肌'epens (Creeping fig l
GRASSES
Cynodondac纱'Ion (Hybrid Bermuda gras叫
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Photovol, táic panels on the shade structures provide But with an upcoming onslaught of progressive urban
enough energy to run 也epark， with 也e exception of developments, Civic Space won't be the only project
the 号éhelman sculpture, which requires heavy-duty seducing Phoenicians to come outside. Phoenix~ne
a96dlights 出at illuminate it at nigh t. ofthe areas hit hardest by 由ehousingαisis-is among
/ a select group ofU.S. cities to participate in Red Fields to
Hicks and Atterbury believe that focusing the design Green Fields, a govemmentprogram to turn foreclosed
on the needs of 出 user base is another way for the properti臼 into green spaces. C且对scap←-a project by
park to increase its sust但nab过ity， because the more ASU and selected by the mayor as part of his Green
people visit Civic Space, the furth自由ereso山ces used Phoenix irtitiative, a q-point plan to make Phoenix the
greenest city in the United States一is creating built
for the light sωlpture， will reach. "τbe more the space environments along the c坷's expansive network of
gets used, the more sustainable it is," A忧erbu巧/ says. cana1s to promote alternative transportation and outdoor
So to attract passersby, the designers integrated into recreation. Bicycle rentals are slated to be available
its design various linear elements- the university, outside light rail statio邸， and new light regula世onswill
n吨hborhood， and urban downtown- from the s配's rnake for dark starry skies at nightηle city ofPhoenix
surrounding context. Atterbury employs the term is about to see a larger emphasis, despite the heat, on
"urban weave" to desclibe this tactic. τbew创ve isseen 吐le out-oιdoors， a change 吐lat may alter the urban
m 由e irtterconnection ofthe sloped lawns on both the weave entirely. 。
nor吐1 and south sides, which create the perfect space
for an outdoor classroom; the sculpted landscape CAROLYN DEUSCHLE IS A FREELANCE WRITER BASEO IN FLAGS TA FF,
A RIZONA. PREVIOUSLY, SHE WAS AN EOITOR AT PR I NCETON A RCHI -
bands of raised earth that create intimate pockets
TECTURAL PRESS I N NEW YORK
for neighbors to converse and relax; and the plazas
connecting to the light rail station and sidewalks. Project Credits
CUENT/OWNER CITY OF PHOENIX PARKS OEPARTMENT (TOM BYRNE.
Though full of multifunctional areas, the park PROJECT MANAGER). DESIGN AECOM OESIGN + PLANNING , PHOE-
doesn't feel congested, and its areas of use do not NIX (JAY HICKS , AS LA , PRIN CIPAL IN CHARGE; CHAO A廿ER8U R飞
LEAO OESIGNER; BRANOON SOBI ECH ANO CHRIS MOORE, OESIG N
appear p articu larly well defìn ed. "We have a space
TEAM). VISIONING ANO MASTER PLANNING TEAM A ECOM DESIGN +
that doesn't have traditions yet," says Hicks. But
PLANN I NG, PHOENIX (JAY HI CKS. ASLA. CHAD ATTERBUR飞 BRANOON
these traditions are quicldy being forged. Host to SOBIECH. ANO OENNIS CARMICHAEL. FASLA); ARCHITE盯ON . TEMPE.
a range of events jointly p rogrammed by AS U and ARIZONA (JOHN KANE); THINKING CAPS. PHOENIX (JULIE HENSON)
the city ofPhoenix, including morning yoga classes CDNSTRUCTIDN ADMINISTRAπON AECOM DESIGN + PLANNING ,
and First Friday art walks , Civic Space is drawing PHOENIX (JAY HICKS , ASLA. CHRIS MOORE , ANO CHAO ATTER8URY) .
ARTIST JANET ECH ELMAN , BOSTON. ARCHITE CT, SHADE CANOPIES
more and more fìrst-tirne visitors to the park every
ARCHITEKTON , TEM PE , ARIZO NA. ARCHITE CT, A . E. ENGLAND MOTOR
month. However, on 仕le balmy afternoon of my visit
COM PANY BUIlDING HISTORIC PRESERVAπDN AND RENDVAπDN
to Civic Space, there were surprisingly few people SWAN ARCHITE CTS. PHOENIX. WAYFINDING/GRAPHICS THINK-
enjoying 由e park, despite the pleasant weather. Both ING CAPS. PHOENIX. C1VI L ENGINEERING WOOOPATEL. PHOENIX
Hicks and Parks and Recrea挝on Director Dale La rsen ElECTRICAl ENGINEERING WRIGHT ENGINEERING, CHANDLER,
assured me that this was because the park welcomes ARIZONA. GENERAl CONTRACTOR FORESITE OESIGN &. CONSTRUC-
TION. PHOENI X. UGHT COl UMN PROGRAMMING AND FABRICA'π。"
most of its visitors in the early evening hours , when
4WALL E N TE RTAIN MEN飞 LAS VEG AS. WATER WAlL FABRICATION
school and workdays are over and outside tempera-
SHASTA WATER FEATURE SYSTEMS DESIGN AND CRYSTAL FOUNTAINS ,
tures have lowered. But on a mild, sunny day lil<e CONCORO. ONTARIO. CANADA
that day was, it' s difficult to justi乌/ a park- not in the
Sonoran Desert, but in the downtown of America's
fìfth largest city, as Atterb ury says- as being nearly
desolate. Th e park's organization and its lack of
emphasis on how spaces should be used may hinder,
at least for now, its ability to draw in visitors as a desti-
nation on nice days, and it may also be indicative 也at
its user base doesn't quite know what to make of the
park, or perhaps even how to get there, if not by car.
lANDSCAPE ARCHITECTURE MAGAZINE FE8 2011 /77
78!lANDSCAPE ARCHITECTURE MAGAZINE FEB 2011
LANDSCAPE ARCHITECTURE MAGAZINE F[B 2011 / 79

"Someday people may be rioting in the
stree比 because there isn't enough of
any也ing，" predicted an early buyer at
a pioneering exurban development 出at
includes both homes and a working
farm. "We']] grow our own food ," he
said, uand there won't be any traffic or
marauding bands." Th at's bleakly put,
but not a wholly outlandish response to
unstable times. La tely, along wi出 anxi­
ety over routine irritants like war and
teηorism ， peak oil and the yawning
divide between rich and poor, consum-
ers are increasingly alarmed by the
environmental costs of industrial agri-
culture and the healtll risks of ea由19
what it yields.
That speaker, actually, was quoted
in the Washington Sta ,.-News back in
1974, when different but related trou-
bles-the OPEC oil embargo, violent
80/ lANOSCAPE ARCH 1TECTURE MAGAZINE F[ B 2011
established, a subsidy from developers
or homeowners.
And the visionaries involved-Iand-
scape architects, architects, planners,
and members ofall the aforementioned
groups-get 由e satisfaction of address-
ing a challenge that feels încreasingly
urgent and global, even if their efforts
are relatively small and local.
"Both development and agricuIture are
broken, and the 缸lSwerωeach is in the
other," insists Quint Redmond, ASLA, a
landscape arcb1tect in Golden, Colorado.
Redmond's fìrm, the TSR Group, has
devised one such agricωturaJ-∞mmunity
racial conf1 ict, protracted war, and a variety of new mixed-use projects concept on which it has based con四川­
student rebellion- were vividly fresh , that combi ne housing with agriculture; nity mas 阳 plans for several developers
and mass environmental awareness dozens are now in the planning stages in Colorado and elsewhere. "You haveω
was in first bloom. He had purchased or under constructiorL have a placeωfarm. Even if everybody
a building lot at Farm Colony, near Hves in a transit-oriented community
Charlottesville, Virginia , which was For potential householders, the moti- in a LEED [Leadership in Energy and
new then. About two-thirds of the vations to be nearer to 也e food 出ey En叽ronmental Des电nJ Pla由1山也 b山ld­
deve1 opmen t' s 285 acres was devoted eat can range from light to dark: at ing, we still haven't solved the problem
to agriculture and conservation; one end, a hankering for pastoral of how do we feed ourselves, and do it
homeowners collectively lease land views and org缸úc produce , and at the without a lot offossil fueL"
to a professional farmer, receiving a 。由er， a kind ofsurvivalism (minus the
price break on wha t' s produced. Until guns). The developers of these projects Community gardens exist in many
recently, few similar projects have get a powerful branding message to residential developments and are being
been undertaken, but the growing distin思lish them from conventional planted in older urban neighborh∞ds
interest in sustainability and localism subdivisions: Buy here, and preserve too. Some individual householders
has created a market for them. More the land while enjoying its bounty. replace lawns with edible landscapes.
than three decades on, Farm Colony is Also good for developers is that farm Cohousing communities, whose shared
thriving, though with its single-family operations can generate cash f10w activities and Hving spaces appeal to
houses scattered on one-to-two-acre while the housing and retail elements a naηow market, often have commu-
lots and common ownership of the are being built out. Participating farm- nal gardens. Th ese al1 provide fresh
farmland , it may be an outdated model. ers get a handy market for their prod- produce, but only a fraction of partid-
But developers are responding with ucts, and sometimes, to help them get pants'nu世itional n由出. A few high-end
 THIS PAGE
At many resldenbal
agricultu俨'al developments ,
hke Hldden Springs 口utslde
Bαse， ldah口， the fa俨内
supphes ð commumtv
supported ðg内cullur它
prograr内 and offers
ga俨demng eduCðcion

IMAGE CREDIT
C口urtesy Hidden Sprmgs

rural deve10pments offer "estate" lots on spreads where farming Another iteration, Hidden Springs, near Boise, ldaho, has 1 ,800
or ranching may give homeowners a picturesque sense of place acres and will eventually have 860 homes. Most of its land is
but li忧le or no food or role in producing it. But a growing 出ird 山lder conservation, but 17 acres are currently used for haying and
category comprises 由e range of new suburban and exurban develop- for a certified organic farm. The farm supp1ies regional markets
ment types where commercial1y sustainable, high-yield farming is and restaurants. Its CSA program and annua135-week gardening
designed into the mix. class mainly serve Hidden Springs residents; the community's
preschool and elementary school use its children's garden. Some
In the most common model, a gree时ìeld is pla忧ed with smalllots residents take involvement in food production fu rther. The home-
clustered in the mode of traditional neighborhood developme时， owners association recently permi忧ed up to five hens per home
leaving most ofthe acreage for conservation and agriculture.ηle site. Families can "adopt" a tree in the development's orchard,
farmland is owned either by a nonprofit funded through a levy on sharing the upkeep with the association but retaining the harvest.
home sales or by the homeowners association. 刀lat entity leases it As is typical in these developments, site characteristics strongly
to a professional farmer , or takes an active management role and influenced the plan; for this semiarid environment, a treatment
hires one. Residents can buy the produce at a market- …themaster system recyc1es wastewater to i口igate the agriculturalland and
plan usually specifies one-and join a community-supported the community's park and greenway areas.
agricul阳re (CSA) program in which they pay up front each season
for a share of the produce. Often, the nonprofit or the farmer also Two other concepts, both unbuilt, seem to embody greater urgency
run agriculture也emed educational and volunteer programs. Th e about food-resource issues, promise greater self二sufficiency and
farm , meant to make profi邸， will also supply buyers outside the yield, and would almost ensure that residents get their hands
development. Successful and wel1-publicized examples include in the d Ìlt to raise food. At Southlands , a 536-aαe site proposed
Prairie Crossing, near Chicago, and Serenbe, outside Atlanta. for the Vancouver suburb Tsawwassen, the 2 ,000 residential

LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011 /81

 RIGH T
PraH'1 e Cr口ssm日， near
ChlCélgO has both a 40 ac俨e
fûrrηûnd an mcubator
proqram that leases
nve ûc俨e plOtS to other
would be farmers fo俨 up
to nve vea俨S of trammg

I MAGE CREDIT
Courtesv Prðlrle Crosslng

82/ LANDSCAPE ARCH lT ECTURE MAGAZINE FEB 2011

units would all be designed for agri-
culture, which their occupants would
be expected to pa时icipate in. The New
U rbanist planner Andrés Duany,
whose firm Duany Plater-Zyberk &
Company produced this scheme, calls
it Uagrarian urbanism," connoting a
place uthat has dedicated itself to the
growing of food , in the sense of an
intentional community." In South-
lands's denser, multifamily neighbor-
hoods , that would mean gardens in
window boxes and on the balconies
of individual units and on rooftops,
as well as community gardens in
common areas. Single也mily homes
would have yard gardens. There would
be small farmsteads as well as larger
farms . "The village exists for grow-
ing food. The village should only
be allowed if it commits to growing
food ," Duanyasserts. 白1e front porch,
a New Urbanist icon often derided as a
gimmick offabricated neighborliness,
would be overshadowed by the front
garden. uTh ey're ugly," Duany warns.
"Don't imagine anything remotely like
the New Urbanist communities of
today." More profoundly, this concept
challenges the notion of retail as the
indispensable magnet for new town
centers. Here, the center would have
a depot where tractors and tools could
be rented, a food-processing facility,
loading docks for trucking produce
LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011 /83
into the city, a cooking school, a
restaurant, a market, and a university
agricul机lral-research unit. 'This is 出e
new square-not the retail square, but
the market square," Duany says.
Whereas 也is approach highlights the
building of a community- in the sodal
sense as well as in architecture and plan-
ning-Re缸no时's idea, "Agriburbia,"
is more explicit about the metrics of
caloric yield, creating employment, and
genera出19 income. Compared to a place
like Hidden Springs, an Agriburbia p叫­
ect would earmark a greater propor-
tion of land for commercial farming.
And individual lots could be worked
as "steward farms ," by homeown-
ers themselves or by the professional
farmerwho manages thedevelopmen t' s
commercial farη1. One of his plans is
for a 618-acre industrial-agriculture
site in Milliken, Colorado, of which 522
acres are currently in rotation between
commodities such as com, soybeans ,
and whea t. Another 81 acres are now
natural habita t. There are three dwell-
ing units. This farm now supports
three workers and generates an annual
gross of $300 ,000. Under Redmond's
Agriburbia makeover of the prope坷，
if it were to use all the designated
steward-farm lots, 259 acres would be
planted, he says, wi出 "dense1y caloric,
high-quality foo也." That would inc1 ude •
B4 / LAND5CAPE ARCHITECTURE MAGAZINE FEB 2011
1 SOUTHLANDS
This prop臼ed deve10pment
口utsideVan∞uve俨 wou1d
lnV，口，lve every h口useh口ldin
ag俨Icu1ture
2 COMMERCIAL FARMS
On large cornrnercla1
ta俨rns， hou♀es cluster
near the center ot the
development
3 ONE-ACRE LOTS
One-acr宅 10t5 cou1d Vleld
substantlal produce for
some households
4 BALCONY GARDENS
Apartment dweßers could
grow m口dest quùntihes 01
vegetables and herbs
5 YARD GARDENS 9 COMMERCIAL FARM
Town houses and Sl ng1e Homeowners 叽，ou1d
tam1iy hous巴 wou1d have C口l11ectively
own a 113
prlvate vard ga俨dens acre commer口a1 ta俨m
6 ROOF GARDENS 1 日 NATURAL AREAS
Sorne multJ tarTll lv buJ1 dJr1 gs Mor它 thon 100 acr飞~s，
would come \IVI th p内vate 23 p何呐。uS1V 11 l1 ed ,
rootgardens would be lett alone
7 COMMUNITY GARDENS 11 PARKS AND TRAILS
Resldents 、Nith llnited Pa ri(s ùnd trails wou1d
P问vate space could occupy another 30 acr巴
5upp1enent what Thema5te俨 p10n ca115 for
they grow 994 dwelhngs
8 AGRIBURBIA IMAGE CREDITS
The 618 acne "，均俨Iburbia" 1 7. Courtesy Duany
sl{e in MJ1 liken, Co10rado , P1ater Zyberk &臼 LLC;
W口uld have farm p10ts of 811 臼U俨恒svtheτSR
up to five acr它S Group, Inc
LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011 /85
 THIS PAGE
Agrlburblð COm f'1umtles
would use hoOp houses to
ex士end the gro l'lling season ,
maX1 mlZ1 ng the poten t1al \~eld
01 the acreage and making the
c口ncept adaptable to nany
chr升ate zones
IMAGE CREDIT
TheTSR Gr口up， Inc
86/ LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011
herbs and vegetables, "and even some
othermone严nakers 也at are not caloric,
like cut flowers."ηlere would also be
perennials such as fruit orchards. "Multi-
pleαops and rotations add Up to give 由E
unit revenue that a typical one-crop, one-
season farmer doesn't get."ηleAgribur­
bia master plan would also specify 135
aαes for parks and natural habitat and
994 dwelling units. Redmond calcu-
lates that the communitywo以dgenerate
more than 150 jobs and aωtal annual
gross of more than $2 million.
刀lat project was permitted but halted
by the real-estate bus t. The Farmstead,
an Agriburbia project in Granite Q 旧町，
North Carolina, attracted serious buyer
interest before it too stalled in the
wake of the subprime lending mess.
John Sellers, a sales professional who
now lives and works 40 miles away
in Charlotte , considered buying a
steward-farm lot to be managed by the
professional farmer. He would have
been willing to commute , and to put
up with insalubrious aspects of fa口口ing
such as odors of livestock and manure
and the noise of tractors. "In order to
live in a community that is sustainable
and is an attribute to the surrounding
area, 1 would be willing to concede a
lot," he says. "I think it would become
a tight-knit, neighborly community.
That would be one of the reasons 1
would want to move there." People who
would eagerly opt to live in a residen-
tial farrning community are probably a
self-selecting minority; not every home
buyer would enjoy it. In the mid-2000S,
when people began pouring into new
houses around the farm town turned
boomtown ofBuckeye, Arizona, outside
Ph优创x， among 由eir biggest complaints
 URBAN CORE ZONE

URBAN CENTER ZONE

GENERAL URBAN ZONE

RIGHT
The 俨u俨'ùl u俨bùntransect, as ùppl1ed
totheor可amzatlon 01a hypothetlcal
agriculturaßy 0问en ted community
IMAGE CREDIT
TheTSR Grou 白， lnc

5UB -υRBAN ZONE

RURAL ZONE

" NATURAL ZONE

was finding themse1ves downwind 丘om prob1em of individualism. 节le original processing and distribution. A particular co11aboration, or 也e lifesty1e changes, of
typical fa口n smells. plan for Serenbe included some fìve- choke point is the dear也 of slaughter- Agriburbia or D旧町's agrarian vi11age.
acre 10ts for agriωltura1 homes阳出， but houses. Loca1 food activists in her area Jim Hupp and Samantha Hansen are
1fyou accept the notion that many more these were never offered for sale. "A 10t "are talking about creating food hubs, the newest residents at Farm Colony, that
people must start growing food-for ofpeople have the romantic idea of fa口口­ and one e1ement might be an organic 1970S Vir伊山叫eriment. "1 am into
heal白， or even for surviva1-the steward- ing," says 也e developer Steve Nygren. slaughterhouse, but it's not a p1an yet." sustainability, solar power，问ring to live
i与口口 idea has merit. '寸here' s a real sweet 吨1e realized that if we sold a piece, we Redmond wonders, "How are we going 1ightly on the earth," says Hupp. "lt's not
spot at two to fìve acres. 1t's stunning， 出E had no control over how it looked, and to do protein? Abattoirs are part of that, that I'm 臼pecting marauding bands-
pr叫uctivity，" says Redmond, who during it could be a weed patch in fìve years." but it's a1most impossib1e to permit though who's to say? But that wasn't
this fallow time for architects and deve1- 由em. Agrib旧bia has in its economic the idea. 1 want comm山ùty. 1 want to
operslscon位act farming on plots ofthat Another challenge to these agricωtural model 出e opportunity to do 10cal protein demonstrate that you can live coopera-
scale. But the practica1ity of profession- subdivisions will arise just as soon processing-chicken, fìsh , beef二and tive坊， and do things that wou1d he1p
als simultane。因片 mana伊19 individu- as they produce enough 岛od to send the infrastructure wou1d provide for it. preserve this beautifìll p1ace we 1ive, but
als' properties and their own operations significant quantities beyond their But it is a regulatory nigh恤are. " Th is is not give up a11 the luxuries or this great
remains do曲的ll. own boundaries; it's a prob1em already a policy issue, largely at the federa11evel , wayoflif七 we have here in America." Of
beginning to strang1e 吐le grow由 ofthe that cannot be reso1ved by 出e p1anners course, how much we bring ourse1ves to
Vicky Rann町， the developer of Prairie otherwise vigorous 10ca1 food move- and deve10pers of individ叫 projects. give up will very 1ike1y a民ct how well we
Crossing, asks, "From 仕le point of view ment. "Before the Second World War, can feed ourselves in the 缸ture. O
ofthe far刀ler， is it wor也whi1e for them the majority of farrning was 10cal, so Buyi吨 into a deve10pment that might
ATLA N TA 忖 JONAT HA N LERNER WRITES ON
to work with maybe 10 也陡rentowners there were 10cal distribution centers," have a farrner's market, a community ARCHITECTURE. PLANNING, ANO OESIGN ANO
of one-acre lots?ηlat's a 10t of admin- notes Ranney. But with industrializa- garden, and a 1ocal-produce restaurant 1S ANENTHUS1ASTIC PATRONOF HIS LOCAL
istration." There is a1so the niggling 挝on ofagriculture came cen阳lizationof hardly demands the invo1vement and GREENMARKE T.

LAN05CAPE ARCHITECTURE MAGAZINE FEB2011 /87

 Nea 广
and
Far飞
BY DAN IEL JDST, ASLA

IMAGE CREDlTS
Oavi d Dm e俨，
this page and opposit e

BB / lANOSCAPE ARCH 1TECTURE MAGAZINE F[B 2011

After two decades of practicing in0 ARIZON A,
_ Christine Ten Eyck , FASLA, moved back to
。 TEXAS to start a second office. Ten Eyck and
her principals talk about her efforts to work
in two places at once.

LAND5CAPE ARCH lTECTURE MAGAZINE FEB 201 1 189

o 1 ~RAINS~OR_MIN~
Chr1 stme Ten Evck , FA5LA , far
r1 gh t , cOl1sults wlth some of
the staff m rer PhoenJx oftice
(Clockwlse from Ten Eyck Todd
Brlggs, ASLA , Mlke Chapmôn ,
Rcge俨 Socha， ASlA, and Judeen
Ter陀y， A5LA)

2SCULPTURE
One come俨 of the ofñce holds a
weathe陀d steel sculptu陀 by t卜E
PhoenJ x artlst Garv 8eals

3 ARCHIVES
Most of the proJecls comp)eted at
the Ph巳en1X oftice over the yea陀
were l口cated 111 Ar1zona

。4 MASCOT
Ten Evck's dog, OalSY, IS ô
constant presence at he俨 Austm
口ftice WhlCh IS 1口cated m a sman
bullomg behmo her house

5 DEMONSTRATION GARDEN
One 01 Ten Eyck's ñrst p叫ects
m Austm WôS he俨 own gônden,
WhlCh shows her deslg们
appr口ac卡 to new cl1 ents

IMAGE CREDITS
DaV1d Ome俨

90/ LANOSCAPE ARCHITECTURE MAGAZINE FEB 2011

says Christine E. Ten Eyck, FASLA , the founder of Ten Eyck
Landscape Architects. "We lived in Calgary. We lived in
Seattle. We lived all over Texas." Ten Eyck and I are sitting
at the confer、ence table in her office , a one-room building
surrounded by gardens behind her house in Austin. In May
2007, she picked up everything and moved to this place in
the Texas Hill Country-l ,OOO miles from Phoenix, where she
had spent most of her career.
UI had started doing work in Texas and, you know, it just made me
homesick," Ten Eyck explains. "A lot ofit had to do with wanting
to be near my farni1y. My mother and father are ge时ng01d. Some
of it was I just wanted to be around some trees, some big trees."
The fina1 spark came in the summer of 2006. "We come to the
Hill Country for family reunions eve巧 summer，" Ten Eyck says.
UTh is one summer 1 talked my husband, Gary, into staying here
a few extra days. We looked at houses and neighborhoods...and
we found 由is place...由is studio.
UGary said, 'You know it' s just totally crazy for us to move. We're
entrenched in Phoeni凡'
UTwo and a ha1f weeks 1ater it' s a Saturday morning and I'm
ftipping through [出e channels on) my high definition TV, and
1 said, 'Oh my God! It' s on TV! The studio! ]t's on TV!' It was
a station called Gallery HD, and they did an interview with the
artist who lived here. What are the chances? I'm telling you, it
was a sign from God."
Ten Eyck's Texas roots are evident in her voice. She graduated
from Texas Tech University in 1981 and spent the 自rst five years
ofher career in Dallas , working for James La mbert and As sociates
and Naud Burnett and Partners.
She 1eft for Phoenix in 1986 , inspired by a rafting trip down the
Colorado River. Ten Eyck describes 也at trip as "a religious experi-
ence." She had never seen such amazing natural scenery, and she
began app1ying to firrns in Arizona just to be a part of it.
In Phoenix, Ten Eyck moved around a 10t during her first 先w
years- stalting out at the P1anning Center, a p1anning and urban
design 且rm， then accepting an offer to work with Steve Ma此ino，
FASLA, then Carol Shu1er, ASLA. With Martino and Shu1er, Ten
Eyck 1earned how to use native Sonoran p1ants to create 1andscapes
that are less water-intensive butstiH green and lush, an area where
Martino and Shuler were pioneers. 刀le Sonoran Desert is the most
1uscious desert in the world, says Ten Eyck, butyou'd never 1.ωowit
by hanging out in Phoenix or Tucson. Ten Eyck has spent most of
her career trying to change th剖， project by project- an effort that
is st山 very much ongoing.
Eventually, Ten Eyck returned to the P1anning Center, where
she spent the next six years. The owners lived in Newport Beach,
California, so "it was sort oflike running your own firm," she says.
Th e 10cal staff did most of its own marketing, and she began to
develop relationships with clients.
It was at the Planning Center in the early 1990S that Ten Eyck first
received national recognition. Her design for the Frieder Residence,
with its swimming pool surrounded by Sonoran natives, appeared
on the cover of Garden Dιsign. "1 think doing residential work in
combination with public work has been a good way to get press
and get my name out there," Ten Eyck explains. uThe magazines
like to show homes, and having something in those magazines
occasionally helps give you a little credibility."
In 1995 , she decided to go out on her own. Initially, she partnered
with Kristina Floor, FASLA, which allowed them to share office
space and equipment, but the two parted ways in 1997. Floor went
on to found F100r As sociates (now JJR Fl∞r) ， and Ten Eyck founded
Ten Eyck Landscape Architects.
Over the next decade, as Phoenix's rea1 estate market boomed,
Ten Eyck Landscape Architects grew to a 13-person operation.ηle
firm worked on many different types of projects , including parks,
hotels , colleges , subdivisions, private estates , botanica1 gardens ,
and healing gardens.
Much ofthe 且rm's work was done on shoeshing budgets. "You'd
也ink in Arizona we' d have stone, but we hardly ever have the budget
for any kind of stone," explains Ten Eyck. "More likely than not, you
can't have rich materials, you can't have any wa恼， yo∞ u can't have
an州1Ín 吨
1鸣
g 设由la
凶at 陀
req
伊ui出肥
res an
町 yma刽in配nanιαE
巳. People are so used to not
seeing landscape 阳出ey really don't expect it."
Many times, merely getting a developer to consider desert natives
orto 附 concrete with a natural finish ra阳 than stucco felt like a 一头
LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011 /91
 \

bJ U

人1t H 寸
92/ lANOSCAPE ARCH1TECTURE MAGAZINE F[ B 2011
 可刀。〕
Wor飞th Its Salto

m(U
→\ 口H
RIO SALADO PROJECTS ,
PHOENIX
[1998-2007 , NOT COMPLETEI
一

Foryears，仕le Salt River, which runs through Phoenix, was more of a

scar than an asset. Though the river gave life to the city, it had come
to be surrounded by junk piles, landfills, and gravel yards, which
divided the more well-off areas of townωthe north from the poorer
areas to the south. In the late 199os, planning was under way to
restore the river, and the city hired Ten Eyck Lan也cape Architects to
design a series ofgateways where Central Avenue passed over it. ηle
gateways would act as a landrnark for those walking along the river.

Ten Eyck Landscape Architects came up with a concept for raised

mounds, meant to recall the platform mounds created at Pueblo
Grande by the Hohokam people. Atop these mounds, Ten Eyck
irnagined shade structures, inspired by the ftumes of the neigh-
boring gravel operations, with V-shaped roofs that harvest water.

Stormwater and excess irrigation water are captured in "vegetated

canals" that are also fed by groundwater pumped from below. ηlese
canals α'eate habitat 由at resembles the seeps 也at might be found
along the river were it not damr口ed. "The theory is to take the fìrst
layer [ofgroundwater), which is qui怆 polluted because we have land-
fìlls in there, polish itwith our habitat, and what's not usedgoes back
into the ground much cleaner," says Christine Ten Eyck, FASLA. 咀le

\
位m also came up 响也 a plan for reusing pieces of concrete dumped
in the riverbed for seating. 升le gateway project is being phased and
is only partially complete.
1 SHADE STRUCTURE
The roof of this shade ln a related project, Ten Eyck Landscape Architects worked for the
structure captures ArmyCo甲s of Engineers as part of a large team of scientists and
俨ainwater、 a nd directs it engineers to help restore fìve rniles ofthe southern riverbank, from
into planted ar、eas. 24th Street to I9th Avenue.ηle 民rm focused on providing public
amenities such as trails, overlooks , gateways, plazas, parking areas,
2 CONCEPTUAL PLAN seating, and shade s位uctures. They also collaborated on the efforts
Ten Eycl::'s concept for
gateways on each side of to restore na b.ve speCles. 。
the Ri口 Salad口， inspired
by the mounds 口f the project Credits
Hohokam people. is only CllENT CllY OF PHOENIX.LANOSCAPEARCHITECTTEN EYCK LANOSCAPE ARCHITECTS.
pa叫ially complete PHOENIX. ARCHITECTS ORCUTTIWINSLOW. PHOENIX. ARTIST TOM STRICH ARTIS飞
PHOENIX. CONTRACTOR (CONCRETEHAR口SCAPE AN 0 LAN 口SCAPE) CllY OFPHOENIX
3 RESTORATION
Ten Eyck Landscape
Architects served 口n a team
to restor宅 five miles al口ng the
Ri口 Salad口， which once 1口口ked
more lil::e a ditch 俨unnmg
through a dump
 0
, THIS PAGE
This sma l1 a俨ea at Ten Eyck
LanåS;CðpeA俨chitects' Phoeni)c
otfice depa r、ts 仲。m the fi 俨m's
typically Iush , 9俨een planti ng
style , Ten Eyck continues to
d沪aw c口nceptual desígns by
ha nd. in set.

OPPOSITE PAGE
J口anne Oaugherty， 而dd
8付ggs， ASLA , and Jeramy
Beals worlc tn Ten Eyck飞 open
format Phoenix offtce

IMAGE CREDIT
Oalfid Omer‘

94 / lAN 口SCAPE ARCHITECTURE MAGAZINE F[B 2011

 ,~
HA

• major victory. uI always say to everyone 1 work with- and maybe this 币le biannual trips were short but packed with activities. For the trip
is just a j us凶cation-it's not the people who think j山t like us 也at toNewY。此 they took a red叮e Th ursday night, then walked around
need us," says Ten Eydι"We need to be worlcing with the worst of 也e city a1l day Friday and Saturday, retumi吨。n 由 late flight that
the worst, to bring them to the other side." evening. Socha says that traveling wi也 other landscape architects is
extremely valuable because it allows you to look at things a lot more _
/ Ten Eyck's office in Phoenixhas an open foηnat， and a1though certain deeply than you co叫 d on a fami与 vacation. τ
people on the staffhave different strengths， 也ereisnos甘ict division of t也 ha
挝td世
刊h阳创
e r陀e的
eta注山盯!" he 田plains. 寸 f 1 mentioned those sorts of 出 mgs to my
labor. "τhere's not a lot ofthe bureaucratic nonsense that' s assoàated wife, she'd just roll her eyes."
with other opera挝0邸，" says Roger Socha, ASLA, who has practiced
there for nearly six ye盯S. Socha worked for a large landscape arcru- The trip to Portland, where they saw Tanner Springs Park and
tecture and planning firrn, "and they had layers and layers- the tech some of the city's experiments with green streets, was probably
team, the research team, the financia1 team, the human resωO旧C臼es the most valuable to their p1'ac位ce， Ten Eyck says. At the time,
t挝eam，"hes曰 ay严s theywere tr归ng to advocate for green streets in Phoenix. "We got
imp归 or
血阳
u 川
nt ω
也 oma 剧
尬
ki
缸鸣
d n1丐
gt由
heb忱es刽tp
严r叫咐
,
仅ct."
e 刨 huge resistance," Ten Eyck says. But she was able to persuade the
city to create bioswales filled with native vegetation on two blocks
Judeen Terrey, ASLA, an eight-yearveteran ofthe firrn who has prac- near Arizona State's Downtown Phoenix campus. "After years of
ticed in Ph优nix for 22 years，榕的 Terrey says it also helps to have seeing trees not watered in Phoenix, seeing that little canal and
a landscape architect in control of the purse sb.ings who 1'ea1ly cares the trees getting to soak it all up was just the most wonderful
about the work she is putting out. "Christy is rea1ly a perfectionist," she thing ," she recalls.
says. "She'll go 仕le extra distanceωmake sure a project is correct-
correct for a place." "We're a1ways 仕ying toαeate these little gerns of water, 0 1' even 也e
memory ofwater," Ten Eyck says. The fìrm has been grea t1y inspired
An essen出1 partof由e 如m's practice is hanging out on the让 sites­ by the region' s natu 1'al aηoyos ， where water is not always visible but
bo出 before the des电n and after construction.η1Îs has been one ofthe its seasona1 p 1'e sence is ma 1'ked by lushe 1' vegetation.
luxuries of doing most of their work in Arizona, where much of the
development is clustered around a few à挝es. "We always stay involved Ten Eyck 由lagines vest pocket parks throughout the Southwest,
a食er a proj ect's built, because we can't get any g∞d photography the with concave gardens mimicking arroyos , watered by air condi-
year it' s bui1 t," Ten Eyck says 丘ank1y.ηleyalso take away lessons about tioners. A single building can create thousands of gallons of
how people are using the spaces, where they are ga由ering， and how condensate a day, which usually goes down the drain. When the
various materials are hol也19 叩· condensate is released, it often disrupts the natural ecosystem,
altering its hydrology and creating habitat for invasive species.
古le firrn's research is not limited to Phoenix. u Wh en times were Ten Eyck Landscape Architects put 出挝、uilding sweat"(as Ten
good, 1 would take us a1l on trips," says Ten Eyck. "We've been to Los Eyck likes to call it) to use in its ASLA award-winning design for
Angeles, Portland, NewYork, Aus防1.. ..ηle fìrm paid for everything." the Underwood Garden in Tucson (See "Drowning in the Desert,"
Shesayswo灿g with Will Br叫er， anarchitectin Phoenix，始u阱ther January 2010). To句， she's working on a similar project at the
the va1ue of team building and celebrating every little success. University ofTexas at Austin.
•
lANOSCAPE ARCHITECTURE MAGAZINE FEB 2011 /95
 1 FIRE PIT
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 可刀。〕
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。

THE CAPRI J MARFA J TEXAS

(SPRING 2009 , PHASE 11
辞-
一

ηle Capri is a lounge and event space on the main road through
Ma巾， T阻挡， developed by the owners of theηlUnderb让d Hotel
across the street.白lere are plans to use 此 as that hotel's check-in area.

Marfa is a small town with only a couple thousand people, but it

has an outsized reputation as a place for art and culture. The late
Donald Judd, a minimalist sculptor, settled here in the 1970s, and
the foundation he established continues to attract artists to the area.

ηle area surrounding Marfa is also known for some of the most
beautiful blue gramma and sideoats gramma grasslands anywhere,
says Christine Ten Eyck, FASLA, and the goal ofher work at the
Capri was to bring some of 出at feel into the town itse!f, where
crape myrtles and roses are much more common. ηle site was
originallyan asphalt parking lot, where water would puddle after a
storm. But today, the "beer garden" Ten Eyck designed looks like
it was carefully cut out of the existing desert. Simple fire pits are
surrounded by bo由 rustic and modern seating.

Ten Eyck's design snaps up much of what little moisture the

site gets. Water from the roof of the b u.ilding is fed to a simple
concrete fountain recalling a horse trough , which overfiows into
a sunken "arroyo" that will 的d a proposed orchard. Surrounding
it all are gabion basket walls, filled with granite from a nearby
quarry, that provide a backdrop for outdoor events.

ηle design has yet to be fully 町lplemented. An organic garden

is to go next to an outdoor dining area, and there is also talk of a
口'

living wall. But the space is already being used for events, including
weddings and a Sonic Youth concert. Last Christrnas，由e land-
scape was the backdrop for a spread in Neiman Marcus's catalog.
"Nobody would know it," says Ten Eyck. "They didn't say it was
taken at the Capri or anything, but 1 got a kick out of it." 0

Project Credits
CUENT MARFA J OY. LAN 口 SCAPE ARCHITECT TE N EYCK LAN OSCAPE ARCHITE CTS,
AUSTIN , TEXAS. ARCHITECT LAKE IFLATO ARCH口 E CTS ， SAN ANTONIO. IRRIGA'πON

OESIGN HINES IRRI GATION , PHOENIX , STRUCTURAL ENGINEER C8H CONSULTING

ENGINEERING, INC. , PHOENIX. GENERAL CONTRACTOR SCOTT WILLIAMS , ALPINE ,
TEXAS. LANOSCAPE CONTRACTOR TOM ' S TREE PLACE , LUBBOCK, TEXAS.
 运- In the mid-2oo0S，灿 Harris，四川itect with LakelFlato in San
Antonio, was I∞灿tg for a landscape archit，民:t who knew desert flora.
He asked Frederick R. Steiner, FASLA，也e dean of the School of
ArC}对tecture at the University ofT，四as at Austin, ifhe knew anybody.
"1 was one of the names he gave," says Ten Eyck, and she and Harris
started wor阳19 on some ranches near Van Hom 皿d Marfa, Texas.

"Jt's beautiful out there!" says Ten Eyck. "Marfà. has a rrùx of some
ofthe plants we used in Phoenix and some ofthe plants 1 remember
using in Dallas. I t's fun to work in these regions that are stiU in 由e
same general zone but have these differences. You see how it all fits
ωge由er--dryness versus h山田dity， gravelly soils versωclay毛y soils.
You start to see pa忧e口15."

Ten Eyck's move to Austin was very gradual. For a while, she still
had her house in Arizona. She spent Monday through Th ursday in
Ph优nix and Friday through Sunday in Austin. U四at lasted about a
month," says Ten Eyck. She realized that scl1edule didn't give her any
timeωnetwork or build new relationships in Austin. For the next
year, she altemated her work weeks, goingωPh优nix five days and
sta归19 in Austin nine days. Uτben 1started going for one week everγ
由 ree weeks," she 四plains. 呗fhat happens now, this surnmer, is,
I've gotten enough work here 也at 1 can't just pick up and leave and
go to Ph优nix." But she's still ft泸rtg out there about once a month ω
meet 明白 clients， ωmake sure every也ing is running smoo thJ y, and
to participa忧 in design charrettes.

With modern technology, it isn't always necessary for Ten Eyck to

be in Phoenix to stay involved in the work there. "We still have our
office meetings every Monday moming where we line up our work
for the week," says Ten Eyck. Today，也町're just over the intercom.

9日/ LANDSCAPE ARCH lT ECTURE MAGAZINE FEB 2011

Her phone system is d让ectly connected t。由 Phoenix office, so all
she has to do is press a button to reach the staffthere. Big color scan-
ners at each office allow the designers to send conceptual drawings
back and forth much more easily than the fax machines ofyesteryear
(由ey still do much oftheir conceptual work by hand at both offices) ,
and the Austin office has access to the server at the Ar izona office
so they can share construction drawings. Ten Eyck alsoωes S均pe.

"At 且rst [not ha札ng Christy in the office] was a lit~e different, a li时e
odd," says Todd Briggs, ASLA, who joined the fì.rm straight out of
college IO years ago. "But it seems W<e a g∞dmov←-good for her
and good for us." lt has allowed a number of Ten Eyck's veteran
employees to spread 也e让 wings， take on leadership roles, and b山ld
stronger relationships with their clients. Briggs says that he often
interviewed for projects with Ten Eyck before she moved ωAus恤，
but "going on an interview alone was probably something we di，也l't
do before her departure."

Some clients were initially a li扰le concemed, as rurnors swirled that

Ten Eyck was dosing her fì.rm. "We had to let clients know that it would
st山 be business as usual,n Bri部s says. Uηle same people you've been
worldng with all these years are s创1 here." But he says 由atthemove
hasn't really affected any client relationships in 也e long run. Uηlere
were some that were insistent on having her at presentations, but 址lat
was kind ofthe exception," he says. And over tlle past few years，址lat
has changed, too, as these clients become more comfo血bleworking
with Briggs, Terrey, Socha, and the other Phoenix staff.

节le Southwest was showing signs of weakness long before the reces-
sionh放出.e rest of the nation. By May 20町， when Ten Eyck moved
to Austin, the housing bubble was already popping in Arizona and
Nevada, but Ten Eyck's fÌrm was shielded 丘om some of the worst
d仅ts， at least ini挝.ally， thanks ωits diversity of project types. 飞。07
and 2008 were some of our best year乱"Ten Eycl< 四pl幻ns .

Butdivers凶cation could not shield the firm from a nationwide reces-

sion. "1 tend to get lost in my own world of deadlines," says Ten Eyck
"All of a sudden it was January 2009, and it was W<e damn! We don't
have anything to do!

"1 hung on to eve巧body through 2009, but 1 had to let a 岳wpeople

go in early 2010. Really, 1 should have ~aid them 0町 earlier. We
had a horrible year fì. nancially, and it was only because 1 had some
cash reserves from 2008 that 1 made it through. Even at the end of
2009 , 1 gave people bonus战 beω优 like 1 said，附 still had some
of tllose reserves."
•
lANOSCAPE ARCHITECTURE MAGAZINE FEB 2011 /99
 1 NEW CONNECTION5
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100 / lANOSCAPE ARCHITECTURE MAGAZINE F[ B 2011

 可刀。〕
m(U
→\ 口ω
HEALING GARDEN AT
SCOTTSDALE HEALTHCARE
THOMPSON PEAK HOSPITAL J
SCOTTSDALE J ARIZONA

一
ηle courtyard at this community hospital was once separated 丘om
l也 lobby by a drab corridor, and few patients or staff were able to
6φerience it. Few would have wanted ωanyway， given its barren
appearance- lots of decomposed granite mulch and only a few
shrubs. When funding became available to redesign 出ecou时yard，
the hospital chose Ten Eyck Landscape Architects, who collaborated
with architects at Gensler to improve its connection to the interior
space. Gensler opened up 出e fl.oor plan inside the hospital and
replaced the wall next to 仕le courtyard with fl.oor-to-ceiling glass
windows and doors that invite people into the garden. Patients and
their families in 也e waiting area and people in the food court now
have relaxing views out into a garden.

ηle new inìerior and exìerior areas share cerìain maìerials,

including naturallimestone, beach pebble paving, and a dropped
wood ceiling. Scrims created with strips of translucent yellow
Acrylite divide and accent both interior and exterior spaces. "The
client wanted different places for people to hang out, so it didn't
feellike one big space," says Christine Ten Eyck, FASLA. At night,
the scrim in the garden is lit up like a luminaria.

ηle garden provides quiet seating areas with movable furniture

shaded by palo blancos (Aωcia wiUardiana). 币lÍs Sonoran Desert
native has evergreen leaves and a weeping forrn. "They're great,"
says Ten Eyck. "They allow the light in in the winter and they have
that beautiful peeling bark." Gnarly desert ironwoods (Olne阴阳ota)，
salvaged 丘om sites facing developme时， were also planted, along with
a variety oflower-growing species 四ch as Agave desmettíα则， Russelia
ιqμi叫formis， and the Mexican honeysuckle (]usticia spicigera).

~- ηle garden is still quite young.ηle plantings will eventually be

much lusher, and the designers hope to attract birds and butter-
fl.ies into the space. 。

Project Credits
CLIENT S COTTSOAlE HEAlTHCARE. LANOSCAPE ARCHITECT!PRIME TEN EYCK LANO-
SCAPE ARCH ITECTS , PHOE NIX. ARCHITECT GENSl ER , PHOENIX. STRUCTURAL ENGI-
NEER RU OOW + BERRY INC . STRUCTURAl ENGINEERING , S COTTSOAl E, ARI ZONA
IRRIGATION HI NES IR RIGATION, PHOENI X
← T。但y the Phoenix office has fallen to six pe价"It still hu白白at She soon found herselfbusier than ever. "ηle thing about working
they're gone, and I'm tr机ng to bring at least one of the people back, in Texas is it's like working in five different states," says Ten Eyd<. "If
but Phoenix is not in great shape," Ten Eyd< said last f油. "Our office 1 need to go dow口 to my ranch project, that's a 也ree-hour 由ive." 1t
is doing okay; we're doing a lot better than last year. I' m just hopi鸣 takes her seven hours to drive to Mar毡， so a trip there is a three-day
it will maintain." commitment. This made it essential to get someone local who could
answer the phone, go to meetings, or oversee construction ifTen Eyck
τbe Phoenix office is working on spring training facilities for the was out oftown.
Arizona Diamondbacks and the Colorado Rockies , some new
Mormon temples, and a few private residences. Last year, car口pus Her first employee in A出tin was right out ofschool, and that didn't
work accounted for about 巧 percent of the firm's projec眩， Ten Eyck work out "1 was traveling a lot and leaving him here to work on these
es恤nates. Other public work accounted for 25 percent, health care 20 projects all by himself." says Ten Eyck. He didn't have anyone else
percent, and the rest was split ev'臼ùy among commercial, residential, m 也e office to answer his questions. Over the past year and a hal f.
andparks. 汀'm doing more residen出1 now than 1was," Ten Eyck says. she' s taken on two new employees in Austin. Expanding her Austin
Private estate work, which is more plentiful in Texas than Arizona, office was a tough decision, given 吐le weak economy and the layo能
has replaced some of the 曲m's larger development work.吗1e had 出at were necessa巧 at her Phoenix office, but with more and more
several condominium p叫 ects and three hotels that wereωtally put work based in Texas, it was essential, she says. Terrey reiterated as
on hold," she recalls. much during our interview.

The recession has taught the firm 仕le value of forecasting. 切e
didn't do forecasting back then," she says. "We didn't need to.
We coul由此 get projects done fast enough, and then one day in
200 9 ， 仕le phone stopped ringing." Today, the office's designers
are thinking six months ahead.
Even with the e叩ansion of the Aus伽1 office, some work still flows
between 由e two offices. "We all act as an office together, even though
there are two locations," says Ten Eyck. "Sometimes，也ey grab us if
they have a tight deadline. Today, we had to get Todd [Briggs] to do
somede阳ling on Parldand Ho叩i时"

That's not to say that Ten Eyck wasn't always a little conservative when
it came to hiring. The Austin office was initially only one person: Ten
Eyck. She tried ωpersuade some employees in Arizona to relocate,
but no one jumped.τbey were all deeply rooted in Phoenix. And Ten
Eyck resisted hiring another midlevel person at first, not knowing her
prospects. "ltwas this greatventure into the unlmown," Ten Eyck says.
"But 1knew 1 had my Phoenix office 1could draw upon."
Two decades after Ten Eyck left Dallas, she is working on one of its
mostprominentprojects, the $1.6 billion Parklmd Hospital reloc础。n.
The project is being completed in partnership 飞mth MESA, a landscape
architecture and planning firm that shar臼 many ofher philosophies.
Wh ile the budget may be bigger, some of the struggles are farn山ar.
"On 吐出 hospital， I've been aoωedof'阳dy sustainab山市"TenEyck

1 日2 / LA NOSCAPE ARCHITECTURE MAGAZINE FEB 2011

。 THIS PAGE
Today, Ten Eyck spends
most of her tíme in the
Texas office but remains
10 close contact With her
Phoem)( office by phone
and e-mail, aod v1 sits
about once a month
OPPOSITE PAGE
Ten Eyck t俨ansmits
d俨'awings nke this one ,
left. between the offices,
usingla俨ge (0俨mat c口10俨

scanners. 8ir由 splash in

the fountaìn at Ten Eyck's
Aus~n oJtìce, 俨ight，

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says. "1found out there's a r.四son why there's no blackland prairie left
in the Dallas area-…because they don't like it 哑1e' s t:rying ωmakeit
look like a vaαnt lot!'" she says in mock indi伊atio且 ButTen Eyck
is dearly honored by 由eoppo忧unity to be involved and is 1∞kingω
makethem臼tofit "It'sgoing to bea reaJ changefrom whatthey have
now," she says. "fThe current structure] has been built up over time. 1自
由rkand 也时ι There's very li时egr'民n 皿dnoped回国an space at all....
We're goingωhave lots of native plants. We just can't use the word
bioswaJe anymore 肌d 明 can'tsaythe pwm在一prairie，" shewhis严rs.

Ten Eyck hopes her example will inspire others. As our interview
draws ω a dose, 1 ask if she has anything else to add. "1 didn't win
any student awa rds," she says. "1didn'tgo to a fancyschool. We don' t
work in a fancy part of the co旧l町， but 1 think it's s挝II possible to
do things 也at are meaningft且， even if 出ey aren't these big-budget
projects. lf you have the passion for what you do, you can make a
difl泣ence， no ma忧er how big the oflìce or what the situation. You
don't aJways have to have gone to Harvard." 0

LAND5CAPE ARCHITECTURE MAGAZINE FEB 2011 / 103

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 THE BACK
CROSS-POLU创 ATIO N

THE ARTFUL GARDEN: CREATIVE IN5PIRA-

TION FOR LAND5CAPE DE5IGN , by James van
Sweden , FASLA, and Tom Christopher: New
York: Random House. 2011 : 189 pages , $40

The cellist Yo -Yo Ma an d the landscape

designer Ju lie Moi r M esservy colla bora ted
on a Toronto garden based on a 8ach suite.
The textile artist Jack Lenor Larsen is also
an invetera te garde ner who has found
inspiration in a Japanese red maple to
design a carpe t. The landscape archi tect
James van Sweden. in his new book with
Tom Christo pher. talks with these and
other artists about t he dialogue between
gardening and other fine arts. A design
by his own firm. Oehme , van Sweden &
Associates , for the roof of a power plant
in Washington. D.C.lshownl. was inspired
bya Helen Frankenthaler painting.

IMAGE CREOIT
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L
A LAND5CAPE ENCOUNTER PROVOKED TIMOTHY
HUR5LEY TO CON5IDER THE WAY WE 5EE THING5 .
RY KF \i N SI 户AI .J. ASIA

The photographer Timothy Hursley has spent 16 years in Hale

County, Alabama , documenting the work of the Mississippi
architect Samuel Mockbee and his Rural Studio Project. On a
trip four years ago, Hursley spo 时d something intriguing in the
distance. "At first 1 couldn't tell what it was ," he says. "It came out
of the woods like some kind of machine from War ofthe Worlds."

Looking closer, he realized it was a damaged grain silo. He found

out that it had been bent by a hurricane-spawned tornado two
decades earlier. "Wh en 1 learned from the landowner that's what
happened , it became mythic to me," Hursley says. "More than just
another object to see and photograph."

After shooting it periodically over three years , Hursley took a re-

markable next step. He bought the silo. Now 1隙's 咄 inki 吨 about
moving it around-from one place to another," he says. Th is could
be done with Photoshop, of course , but the thought of physically
moving it from Hale County to other faraway landscapes raises
interesting questions about the nature of art, landscape, repre-
sentation, and even sustainability. If the silo is placed near the
U.S. Capitol it could be seen as a statement about the failures of
federal farm policies. Is it fine art or forgotten ductwork if placed
in the former turbine hall of London's Tate Modern? In China ,
people might see it as a symbol of America's industrial decline.

Hursley has made no specific plans for the silo, although he

has a three-year deadline to remove it from its current location.
But if he does decide to take it on tour, landscape architecture
should take notice. He neither made the object nor is making
any alterations- he simply 、ncountered and saw it"- but by
moving it from one landscape context to another, artistic produc-
tion is replaced by a kind of discovery that leaves the intention
and interpretation entirely up to the observer and the inferences
suggested by the new context.

Given the rising preoccupation with "sustainability," perhaps

here is a way to reuse and rearrange oddments that already exist
in provocative ways. Making do with wha t' s at hand may become
more than another form of bricolage, which is what H ursley is
considering, and potentially a new way to see and discover what
in the landscape is truly relevant.。

KEVIN 5 LOAN. A5LA . I 5 THE PRINCIPAL OF KEVI N 5 LOAN STUDIO AND A WRITER A ND
PROFE550R OF ARCHITECTURE AT THE U NIVER 5日Y OF TEXAS AT ARU NGTON. HI5 WORK
HAS APPEARED I N LAM AND OTHER PRO FESSIONAL PUBLICATIONS

LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011 1109

110/ LANDSCAPE ARCHITECTURE MAGAZINE FEB 2011
LAN05CAPE ARCHITECTURE MAGAZINE F[ B 2011 /111
112/ LANDSCAPE ARCHITECTURE MAGAZINE FEB 2011
LAND5CAPE ARCHITECTURE MAGAZINE FEB 2011 /113
 盯ACK / HI5TORY

l WHEN HIDEO SASAKI

DESIGNED 丁11 -
| SEA PINES RESORT
| IN SOUTH CAROLINA
| HALF A CENTURY AGO
| r:1;a"'h\.'~IIIIIIl]reml山1
AHEAD OF HIS TIME.
HEWASALSO
| ml&øl]-ølIJ5I I
国……二.
SEA PINES RESORT ON HILTON HEAD ISLAND ,
South Carolina, recently celebrated its 50th an-
niversary, which means a lot to our profession not
only because it represents a famous early work of
Hideo Sasaki but also because it is one of only a
few truly time-tested models of environmentally
responsible planning. Its setting within the south-
eastern Low Coun位y holds a lot of history among
its picturesque tidal marshes , estuaries, and dense

114 / LAND5CAPE ARCHITECTURE MAGAZINE FE8 20 11

 Broad Creek
plantings of magnolia, palmetto, and live oaks dripping with
Spanish moss, imagery that has inspired authors and artists for
centuries. Master planned in the mid. 1950s, Sea Pines preceded
the work of Lawrence Halprin and Charles Moore at Sea Ranch
in California by nearly a decade. This was a time when Ameri.
can car culture was forever changing the way families vacation.
Coastal resort planning typically accommodated vacationers by
packing as many of them as possible into high.rise hotels and
condos s位ung along the beach with little thought paid to how
PRESfR
that might harm the shoreline or the experience of being there.
The planning and design for Sea Pines changed this paradigm
and rewrote the rules about resort development. And while it
shows the potential of what our profession can achieve , 1 wonder
whether, 50 years later, we have the ability to create another such
significantly transformative place, when designers are fixated on
rating programs like Leadership in Energy and Environmental
Design and striving to fulfill their ecological design criteria the
way we work crosswords or play Sudoku.
LAND5CAPE ARCHITECTURE MAGAZINE FEB 2011 /115
 HE BACK / HI5TORY

ABOVE Sea Pines was the brainchild of the developer Charles Frasier, who My interest in Sea Pines extends beyond that of a writer or a
Sea Pl nes Reso内 covers is often referred to in hin也ight as a 叽sionary， as he saw potential landscape architect. My family has had a vacation home there
eight square miles on the
for a new type of resort on the isolated, eight-square-mile site on since 1970 , when 1 was four years old, and 1 still visit several
组uthern tip 01 H1lton Head

Island, Wh1Ch IS located the southern end ofHilton Head-one based on a respect for the times a year. 1 have early memories of a landscape with an exotic
30 mfles nOl'theast 01 inherent beauty and ecological integrity of its naturallandscape. wildness that starldy contrasted with my suburban neighborhood
Savannah, Geor91a In today's world, saturated as it is with references to "ecotourism" upbringing. Exploring the resor t' s beaches and winding bike paths
and "sustainab过ity，" such an ideal is taken for granted, but at the had a huge in fl. uence on me as a kid. 1t was here that 1 learned
IMAGE CR EDIT time it was revolutionary. Frasi町's trailblazing reputation is we l1 firsthand about the comple泪ty and fragility of ecosystems and the
。20 10 Google 02011
deserved, but then he was hardly a one-note environmental ideo- importance oftreading lightly on the natural wo r1 d. Th is real-life
Terra Metncs
logue; he was foremost a businessman who figured out that peo- education shaped my value system in relation to the environment
ple would pay to immerse themselves in the natural landscape at a and laid the ethical groundwork that would ultimately infl. uence
resort. He turned to Sasaki, who was then on the design faculty at my choice of a career.
Harvard and had only recently opened
his landscape architecture firm, Sasaki
Associates. Sasaki's master plan for 丁 HE
DEVELOPER CHARLES FRASIER SAW
Sea Pines clearly re fl. ected his own en-
vironmental p rinciples and was nearly
POTENTIAL FOR A NEW TYPE OF RESORT
universally praised, winning an award BASED ON THE ECOLOGICAL INTEGRITY OF
for land-use planning from ASLA in
1959 and eventually a Heritage Award
THE NATURAL LANDSCAPE.
for Excellence from the U rban Land
1nstitute in 1994. Since its creation, it is generally recognized The colorful history of the site for Sea Pines can be seen in the
as having become a template for most of the high-quality resort preserved rernnants from both a 4 ,000-year-old Native Ameri-
communities built in this country. can community and an antebellum plantation. Freed slaves and
their descendants were the island's primary residents for nearly
a cen tury after the Ci世 War， though Northerners and people on
the mainland took lumber and game from the land. Development
came knocldng in the mid-20th centu巧， and electricity arrived
in 195 1. The first bridge connected the island to the main land
five years later.

116/ LANDSCAPEARCHITECTUREMAGAZINE FEB 2011

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 HE BACK / HI5TORY
LEFT
Generous setbacks trom
thesh口陀~ne tor oceantront
hOlìes pr它se问'e p1Ctur宅sque
V1ews along the beach
RIGHT
Th内\~ng soltwater marshes
permeate the resort and
dlsplay a healthy balance
betw四n development and
the natural enV1 ronlìent
IMAGE CREDITS
νork Hough. ASLA
118/ LANDSCAPE ARCHITECTUR E MAGAZINE FEB 2011
Sea Pines was Hilton Head's 自rst major development, and Sa-
saki's master plan set the standard for all that followed. A quarter
ofthe 5,200-acre property was dedicated to open space, with more
than 600 acres set aside as protected forest preserve. To keep 出e
shoreline views uncluttered, oceanfront homes lay behind gener-
ous setbacks from the dunes, tucked into the evergreen landscape,
giving everybody great views of the beach. Providing views was
one of the plan's innovative concepts , with neighborhoods laid
out to ensure a direct visual connection to open space or a body of
water. To make inland homes more marketable, they were 0白.en
built fronting golf courses , a common planning practice today,
but a novel concept at the time. The courses were constructed on
less ecologically sensitive sites and irrigated by an intricate system
of stormwater-fed lagoons.
The distinctive architecture, dubbed the "Sea Pines style," is a
mishmash of design influences, from 1960s modern, the Prairie
Style, ]apanese architecture, and the Low Coun盯 vernacular 出at
permeates nearby Charleston. South Carolina, and Savannah,
Georgia. It somehow all works together and is integral to the
character of the place. Tree-lined streets meander, in the casual
manner of sweeping Olmsted drives , and markedly unlike the
typical urban grid that defined most beach communities up until
that point. The only formally designed portion ofthe developme时，
the Harbour Town marina, with its iconic lighthouse, serves as
the heart of the resort and is still bustling with people who live,
work, and shop there.
One of the main reasons for Sea Pines's enduring success is
that from the beginning there has been a set of clearly defined
pa忧ems and 思lidelines in place that support Frasi町's original
vision while leaving little room for future reinte叩 retation. Strict
covenants focused on contextual, aesthetic. and environmental
requirements specific to the resort. Th ey dictated exterior light-
ing, signage, tree protection, architectural design, and plantings.
Faithful enforcement of these covenants has enabled the com-
munity to preserve its original charm. Historic landscapes such
as Sea Pines take stewardship over 出e long term to keep their
original meaning and , at the same time , remain relevant places.
The easiest impulse may be to chalk up the entire life of a work
of landscape architecture , its success or failings , to its original
designer, but many other aspects affect its evolution. Besides the
strong vision of Sasaki and Frasier, there have been generations
of people in ownership, management, and maintenance roles who
have influenced the quality of Sea Pines. La ndscape architects
such as Robert Marvin and Edward Pinckney, FASLA, among
others, have also left important marks on its landscape.
LEFT
An mnovatíve svster、
o~ Interconnected
storrnwater led 1ag口口ns
was deslgned to proVl de
I厅Igat10n for g01t cou内部
and attrnctlve waterfront
10ts 10俨 homeowners
RIGHT
OMgína1 homes. deslgned ín the
often cOpied "Sea Plnes sty1e."
we陀 sca1回 and slted m a
manne俨 thatc1ea俨'lv p1Qces the
arctntecture 1n a suoo咱nate
ro1e to the 1andscape
IMAGE CREDITS
lv1 ark Hough , ASLA
People today may drive through Sea Pines and ask themselves
what all the fuss is about, as it has little of the flash and opulence
that resorts typically compete on today. Instead it presents a subtle
yet timeless sort of repose that has survived for half a century.
Having spent so much time there over 40 years, 1 can see that,
through decades of growth, changes in ownership, and design
trends, things look remarkably the same as they did in the early
years. Th ere are still no traffic lights, and with only a mere hand-
ful of streetlights the place is a perfect argument for the dark-sky
movement; at night you can find a dense tapes位y of stars you
rarely see anymore in most of the places people live. 白le tree line
stiU towers above the tallest bu诅ding， and the acreage set aside
for preservation remains lush and intac t. The beach, two miles
long, is still spectacular in its pristine isolation. An d the wildlife is
robust, with the numbers and diversity that are signs of a healthy
coastal environment, unlike so many other places we find in peril.
A CHANGE IN PROPORTION BETWEEN
FORM AND OPEN SPACE COULD ULTIMATELY
ALTER THE RESORT'S CHARACTER.
Sea Pines faces distinct challenges , though. Am ong the worst
is a recent spate of houses that are too big. These newer houses
are either being c1umsily crammed onto sites designed for much
smal1er single units, or sprawled across two lots combined into
one. In both cases, the maxim that the resort's architecture should
blend within the landscape and play a supportive role to the
natural environment is being undermined. Th e early buildings
are typically modest, one心tory， and relate to the intended scale
of the place. It would be foolish and derelict to neglect 由1S pat-
tern. A change in proportion between built form and open space,
though not a travesty quite yet, is becoming more apparent and
could ultimately alter the resort's character,
The original process that shaped Sea Pines worked well b ecause
a c1 ient and a consultant shared the motivation to promote an
ecologically responsible design approach based on a sound eco-
nomic model. Respecting the environ-
ment became the means to a desired
BUIL丁 end, rather than the end in itself. And
because there have been quantifiable
results 丘om this-a consistently 由riv­
ing vacation and residential popu-
lation , and not just pious bragging
rights for being "green" -there has been motivation to maintain
what has proven financially successful. However, b alancing a
need to preserve character with 出e pressure from wealthy con-
sumers who want bigger houses will continue to test Sea Pines's
stewardship ethic, because even within the context of the place's
rich design heritage, money talks.
LAND5CAPE ARCHITECTURE MAGAZINE FEB2011/119
 HE BACK / HI5TORY
LEFT
The ICO nJChghthouse acts as
the centerp1ece for Harbour
Town, the commeraal and
symbohc heû内 01 the resorl
RIGHT
StrJCt enforcement of
land use covenants has
enabled Sea Pmes to
pr它se问e the aesthetJ c
quahtv and ecol即cal
heûlth of Its lðndscape
IMAGE CR EOITS
IVark Hough, ASLA
120/ LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011
Sasaki's work on Sea Pines , which has now eamed its status as
a historic landscape, was so ahead of its time 出at it met a need
that had not yet been identified. 1t shows an innate understanding
of what we now call sustainability. His progressive, enterprising
vision contributed a great deal to the profession oflandscape ar-
chitecture and serves as an important model for us as we grapple
with contemporarγissues and challenges.
SASAK I' S WORK ON SEA PINES MET A NEED
FOR SUSTAINABILITY THAT HAD NOT YET
BEEN IDENTIFIED.
Even so, 1 am skeptical as to whether another Sea Pines could be
created today because of the narrowly focused process landscape
architects have attached themselves to in reaching for sustainabil-
ity. Sasaki and his team were groundbreakers and thus not bound
by established or extemally dictated design rules. They weren't
handcu ffed by 吐le well.meaning yet restrictive mandates of generic
rating systems that have had the unintended and complicated effect
of rewarding mediocrity in project design. 1n establishing a baseline
of acceptable success achievable by easy grabs among sustainable
design options, ecological ratings have anesthetized some of the
motivation toward designs that would su叩ass the minimum, in the
same way that awarding a point or two for an innovative solution to
a specific problem may actually be deterring meaningful innovation
on a larger scale. For instance, compensating a site叩eci缸， single-
pu甲ose rain garden as a success on its
own terms may in turn deincentivize
the pursuit of a more comprehensive
and beneficial result at the watershed
level. Such acceptance of something
as being be忧er 由an nothing may eam
a plaque for the wall or a pat on the
back but will rarely challenge the status
quo. 1t takes grand vision and brave leaps of faith by owners and
designers to create places such as Sea Pines, not the adherence to
accepted criteria and tedious checklists. 0
MARKHOUGH , A5LA, 15 CAMPU5 LAND5CAPEARCHITECT AT DUKEUNIVER511Y AND A
MEMBER OFTHE LAM EDITORIALADVl50RY COMMITIEE.
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 M 肌K /BOOK5
PUBLIC PARK5: THE KEY
TO LIVABLE COMMUN I 丁 I E5
BY A L. EXANDER ßARVIN; NEW YORK:
W. W. NORTON 8. COMPANY, 2010;
224 PAGES "qO
REV:EWED BY L: NDA MC二NTYRE
The urban planner and Yale University adjunct professor Alexan-
der Garvin loves parks. In his handsome and lavishly illustrated
new book, Publiι Parks: 刀teKIηω Livable Communiti俗， hetouches
on every aspect of parks, including their history, value, design,
and governance. He takes the reader through the development
of great European parks and promenades such as Regent' s Park
in London and the Haussmann boulevards in Paris as well as the
birth, decline, and renaissance of iconic Am erican parks such as
New York's Central Park and Prospect Park. Al ong the way he
shares numerous facts , figures , and anecdotes about both famous
and lesser-known parks.
This breadth, however, comes at a cost in depth. Although its pub-
lisher describes Public Parks as "the go-to reference for landscape
architects, urban planners, architects, civic officials, and citizen
activists," readers with any background in park planrung, admirus-
tration, or desi♂lwon't 自 nd much here that is new. Casua1 readers
GARVIN 8ELIEVES THE PUBLIC HAS TO BE "EXPLICITLY
CONVINCEDII OF PARKS. VALUE TO THEIR REGION5.
might enjoy and leam from accounts 0[, say, Robert Moses's sa叭吵
landacq山sition strategies, or the innovative teamwork among Wι
liam H. Whyte, Dan Biederman, Laurie Olin, FASLA, and others
who brought Bryant Park back to life. But these stories have been
told many times and are well known to the audience for whom
this book seems intended.
That' s disappoin恤鸣， especially in light ofGarvin's vast 四perience
and knowledge. He served as vice president for planning, desi伊1，
and development for the post-9/n Lower Manhattan Development
Corporation and managing director of New York City's unsuc-
cessful bid to host the 2012 01ympics, and has worked with park
systems throughout the United States. It would have been enlight-
ening to hear more about his views on the peculiar challenges of
managing and leveraging public landscapes in this century.
In the introduction, Garvin notes that the public has to be "explic-
itly convinced" of parks' value to their regions to ensure they get
the attention and resources required to keep them thriving. But
122/ LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011
while he brie fl.y highlights studies that a出mpt to identi鸟/ parks'
environmental and financial benefits (出e financial ones being
easier to quanti马， in terms of prope向， values and tourism revenue)
and sources of revenue to pay for operations and maintenance , he
doesn't lay out detailed strategies or show the cons吨uenceswhen
the public (or their elected officials) are not easily persuaded. In-
stead, there are short reports of successful citizen activism, many
from the 1970s. The benefits (and, indeed, necessity) of public-
private partnerships are clearly stated, but too much of the discus-
sion focuses on examples such as the Central Park Conservancy
that are well known in the field 扭d o f1 imited applicab山ty to others
wrestling with overstretched budgets and tough choices.
The book's recounting of the long-term evolution of Chicago's
Lake Michigan waterfront following the visions of Olmsted, the
architect and planner Daruel Bumham, and the public-minded
tycoon Montgomery Ward is interesting, but in a book intended as a
reference for modem practitioners, more
emphasis on contemporary issues such
as the impact ofMillennium Park {it is
discussed in broad 如okes in the same
chapt叫l would probably have been more
useful. Garvin underscores the need for
public engagement and support, but glosses over conflicts among
different groups of users , such as cyc1ists and pedestrians, or people
seeking recreation and those looking for peace and quie t.
Few people anticipated 也e magnitude of the economic crash and
its impact on municipal budgets and the slowness of the recovery,
and reports from around the coun町 make it cIear that govem-
ments at every level are still struggling to meet these challenges.
τhose who, like Garvin, love and va1 ue parks can't afford to dwell
too much on history. They need detailed tools and innovative s位ate­
gies to make sure parks remain vital parts of urban life well into
the future. His appreciation and understanding of the importance
of Olmsted and his successors in the profession are cIear and
impressive, but ifhe had focused more on the lessons ofhis own
experience and those ofhis contemporaries，出 is wo u1d have been
a more va1uable and interesting book. 0
CONTRIBUTING EO盯OR LINOA MCIN1YRE WR盯E5 FREQUENTLY ABOUT URBAN PARK5
IN LAM.
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 M 肌K /BOOK5
LAND5CAPE GARDEN5
ONT 村 E HUD50N: A HI5TORY
BY ROBERT M. TOOLE; HENSONVIllE在 NEW YOR l<::
.1 .A,DL r f 固莓'.>， ? 1, 192 PAGES, $24.95.
REV: EWED BY KAT:E 'CNGE RY PAGE
Two recently published books on the Hudson River Valley present
different , but essential , experiences of the American landscape.
Robert M. Toole's Landscape Gardens on the Hudson: A History is a
nearly encyclopedic volume of great estates on the Hudson River.
With twofì叫1 chapters ofhistorical context before the book's focus
on 12 estates, Toole's history is an effective primer on English
landscape gardening and its in且uence on 19th.century America.
Toole's scholarly and richly illustrated volume will please histo.
rians and landscape architects alike.
的 contrast， Steve Gross and Susan Daley's book, Gardιns ofthe
Hudson Valley, presents seven of the same estates through color
photo essays accompanied by text written by Susan Lowry and
Nancy Berner. This coffee.table book includes 25 estates , several
with hlstoric importance, others chosen for 出elI current status as
lushly landscaped estates in the valley. Daley and Gross's Gm命时，
photographed as panoramic spreads and also intimate details, will
please designers and connoisseurs seeking visual inspiration, but
does not capture the historic depth of the estates.
In tandem, the two books complement one another, each an.
swering shortfalls of the other. Wh ile Gross and Daley's book
contains only briefhistory, its rich photographs encapsulate the
genius loci of the Hudson Val1ey through long depth.of.白eldim.
ages containing the borrowed scenery that inspired the estates'
creators. Toole, on the other hand, writes about the human his.
tory of each estate as a museum curator would the provenance
of a work of art. Before launching into the history of particular
landscape gardens , most of which are given an entire chapter
of attention in the book, Toole presents a general map of the
region and a detailed map locating each estate, which will help
anyone who is unfamiliar with the Hudson River Valley. But in
discussing specific estates , Toole disregards their present-day
condition. Th is makes Daley and Gross's photo essay a valuable
companion to Toole's history, grounding historic description in
current reality. Together the two books impress upon the reader
the importance of preserving these great places.
Clermo时， Hyde Park, Blithewood, and O)ana are just a few of the
estates the authors include in the two books. In a foreword to Land.
124/ lAN05CAPE ARCHITECTURE MAGAZIN E FEB 2011
GARDEN5 OF T 村 E
抖 UD50N VALLEY
PHOTOGRAPHSBYSTEVEGROSS
ANO 5USAN OALE飞 TEXT BY SU5AN
LOWRY AND NANCY BERNERj
NEW YORK:τHE MON~CELU P~ESS.
201D; 224 PAGES, $50.
scape Gardens on the Hudson, Elizabeth Barlow Rogers , Honorary
ASLA, refers to Toole's history as "...a feat of garden archaeology,
bringing to light 出e many.layered landscape palimpsests" of the
region. Toole clearly illustrates the connection between the estates
on the Hudson River and America's own brand of romantidsm
and picturesque by including images of paintings by Thomas
Cole, the founder of the Hudson River School of painters. Toole's
thorough written explanation of the picturesque ideal, including
source material from 19th.century nurseryman and landscape
writer A. J. Downing, will be of broad interest to designers who
seek the aesthetic roots of Am erica's urban parks.
But in presenting the physicallandscapes themselves, Toole is
less clear. Landscape Gardens on the Hudson would bene自tfrom
consistent, analytic diagrams of each estate, instead of the 也
lustrative site plans included in the book. And while the book
features gorgeous aerial photographs of each esta栓， topographic
relationships remain elusive owing to a lack ofcontour maps and
sections. But what the book lacks in diagrams, Toole more than
remedies with historic illustrations: original site plans , landscape
sketches by period artists, designers' watercolors of proposed
mansions, and a generous number of stunning landscape draw.
ings by 19th-centu巧 architectural designer A. J. Davis. The anno-
tative prose is at times redundant, but the illustrations , combined
with the main body ofToole's writing, show his careful review of
historic source materials.
Landscapι Gal由ns on the Hudson: A History is the early Ameri.
can counte甲art to Peter Walker and Melanie Simo's InvisibLe
La ndscapes. Both books render the "invisible" legacy oflandscape
"visible." But unlike Walker and Simo's book, Landscape Gardens
on the Hudson will frustrate the lay reader-these folks should
skip straight to Toole's appendixes, which provide a traveler's
guide to the great estates on the Hudson, or pick up Gross and
Daley's Garde旧 of the Hudson Valley, which grants easy access
to the landscapes. 。
KAηE KI NGERY-PAGE IS ASSI STA NT PROFESSOR OF LANDSCAPE ARCHITECTURE AT
KANSAS STATE UNlVERSIlY; HER TEACHI NG A ND RES EARCH FOCUS ON THE I NTERSEC.
T10 N OF LAN05CAPE ARCHITECTURE A NO CONTEMPORARY AR T.
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Blue Book Building &Construction Network thebluebook. com 366 19
Bocabolo bocabolo.com 419 61
Brickman Group brickmangroup.com 429 125
Classic Recreation Systems, Inc. classicrecreation.com 49 127, 138
Columbia Cascade Company timberform. com 52 64, 117, 131
Country Casual countrycasual. com 55 53, 132
Deep Fork Tree Farm dftrees.com 302 此 1 37
Delgard Premier Aluminum Fencing delgard ∞m 400 123
DOGIPOT dogipot. com 267 127
DuMor. lnc dumor. com 63 47. 131
Erco GmbH erco.com 449 12
Eurocobble eurocobble.com 71 64, 136
Forms+Surfaces forms -surfaces.com 325 7, 130
Fountain People, Inc. fountainpeople. com 80 27, 139, 140
Global Lighting globallighting.com 448 60
Gr百enscreen greenscreen.com 90 17. 133
Haddonstone IUSAI Lt d. haddonstone.colT> 93 37, 132
Hanover Architectural Products, lnc. hanoverpaν'ers.com 95 104, 141
Invisible Structures, Inc. invisiblestructures.com 108 23
Iron Age Designs ironage -online.com 54 ω
lronsmith , Inc ironsmith. biz 109 55
Kasco Marine , Inc kascomarine.com 433 139
Kenneth Lynch &50ns klynchandsons.com 444 62
Keystone Ridge Designs , Inc. keystoneridgedesigns.com 116 121
Kingsley Bate , Ltd. kingsley由ate.com 303 39
Kompan Inc kompan.com 11 7 33. 134
Kornegay Desig n komegaydes( n.com 118 35, 131
LABA5H 2011 pUrd，υ e.edu 426 143
Landscape Forms landscapeforms.com 126 2-3, 9, 131
Landscape Structures , Inc. p臼Iylsi.com 127 15
Longshadow Classic Garden Ornaments , Lt d longshado w. com n/a C2-1 . 131
MossAcres 汀)ossacres.co厅} 21 127
Most Dependable Four、tains mostdependable.com 143 121
Mycorrhizal Applications Inc. mycorrhizae.com 454 142
Oxlord Garden oxfordgarden.com 155 127
Pavestone Company pavestone.com 188 136, C4
Peacock Pavers peacockpavers.com 156 57
Petersen Concrete Leisure Products petersenmfg.com 158 121
Play Mart Playgrounds playmart.com 435 117
Poligon, A Product 01PO时erCorp poügon.com 166 123 , 138
Polly Products , LLC pollyproducts.com 40 141
Presto Products , Inc prestogeo.com 97 41
Roman Fountains roπlanfountains.coπ】 242 11
Royal Botania royalbotania.com 73 59
RUD-Erlau erlau.com 144 51
Sitecraft sitecraft. com 287 25
SoISURFACES , Inc. sofsurfaces.com 394 104
5u 陀-Loc Aluminum Edging surelocedging.com 204 141
Tensile 5hade Products , LLC tensileshadeproducts.com 368 62
Thomas Steele thomas-steele.com 235 17
United Construction Products Inc. / Bison bisonDeckSupports.com 91 121
Universal Precast upcparks.com 390 43
Victor 5tanley, Inc. victorstanley. com 222 132 , C3
仍'仍仍仍仍仍仍仍仍仍侈侈侈侈仍仍:

12B / lANDSCAPE ARCHITECTURE MAGAZINE FEB 2011

 THE 肌K /BUYER5 GUIDE USE THIS INDEX TO FIND THE RIGHT PRODUCT FOR THE JOB AT HAND.
FOR FREE PRODUCT INFORMATION , GO TO WWWASLA.ORG/FREEINFO

ASSOCIATION/FOUN口ATION UGHTING STRUCTURES

American Planning Associ atior、 312.786.6374 105 I 8 . K Li ghting , lnc 559 ,438.5800 133 I Classic Recreation Systems , lnc. 928.775.3307 127, 138
C .w. Cole and Co. lnc 626.443.2473 133 I Dalton Pavitions, lnc 800.532.5866 139
ErcoGmbH .492351 551100 12 I lcon Shelter Systems lnc. 800.748.0985 138
CONSTRUCTION/MAINTENANCE Globat lighting 914.591.4095 60 I Potigon , A Product 01PorterC orp 616.399.1963 123, 138

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Stabitizer Sotutions , lnc. 800.336.2468 130 I LUMBER/口ECKING/EDGING ARCAT, lnc. 203.929.9444 139
Sure. LocAluminum Edging 800.787.3562 141
United Construction Products lnc. / Bison 303.892.0400 121
EDUCATION WATER MANAGEMEN T AND A M ENITIES
LA8ASH 201 1 765.494. 1330 143 Aqua Control Water Featu陀s 815.664.4900 139
MEDIA Atomizing Systems, lnc. 888.265.3364 139
Btue Book Building & Construction Network 800ι31 .2584 19 I Bionova Natural Poots 507.246.6682 62, 139
FENCES/GATES!WALLS Fountain People , ln巳 512.392.1155 27, 139, 140
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PAVING!SURFACING!MASONRY STONE!METALS
FURNITURE!SITE AMEN汀IES: COMMER口AL A晶 B Atuminum and Brass Foundry 972. 247.3579 134
Bi g Ass Fans 859.967.01 54 60 Andr它ws LeFevre Studios 212.667.1445 63
Columbia CascadeCompany 800.547.1940 64 , 117, 131 Belder、 BrickCo 330.456.0031 31
Doty & Sons Concrete Products 800.233.3907 131 Bel gard Hardscapes 877.235.4273 21 , 135
DuMor , lnc 800.598.4018 47, 131 Cemrock landscapes, Inc 520.571 .1999 135
Forms.Surfaces 800.45 1.0410 7, 130 Deep Root Pa叫ners， L.P. 800.458.7668 135
Haddonstone (USAI Ltd 856.93 1.70 11 37 , 132 Duni sStone 210.452.7061 135
lron Age Designs 206.276.0925 63 Eurocobbte 877.877. 5012 64, 136
lronsmith , lnc. 800.338.4766 55 Fibar System / Amdex 800.342.2721 136
Kenneth Lynch & Sons 203.264.2831 62 Hanωer Architectural Products , lnc 800.426.4242 104, 141
Keystone Ri dge Designs , lnc. 724.284.12 13 121 Oly. Ola Edgings , lnc 847.853.9400 136
Kingstey Bate, Ltd 703.361 .7000 39 Pavestone Company 817.481 .5802 136 , C4
Kor negay Design 602.252.6323 35 , 131 Peacock Pavers 251 .368.2072 57
Landscape Forms 800.430.6205 2.3 , 9 , 131 Pine Halt 8rick CO., Inc 336.721.7500 136
Longshadow Classic Garden Ornaments, Ltd. 61 8.893 锦3 1 C2. 1, 131 p同sto Products, lnc. 920.738. 1336 41
Madrax 800.448.7931 132 SofSURFACES, Inc. 800.2ω。 2363 104
Millstones 404.3 1 0ι490 132 Stepstone , lnc 310.327.7474 136
Old Town Fibergtass 714.633.3732 132 Tri. State Stone Co. for Carderock 301 .365.2100 135
Oxlord Garden 502.719.1212 127 Unil ock, Ltd 416.646 .5255 137
Petersen Conc陀怡 Leisure Products 800.832.7383 121 Wausau Tile 800.3凶 8728 137
Polly Products, l LC 517.649.2243 141 Zeager Brothers , lnc 800.346.8524 136
Rubino Sculpture ω4.409.0日2 132
RUD. Er lau 319.294.0001 51
Sitecraft 800.221 . 1 μ8 25 I PLANTERS/SCULPTURES/GARDEN ACCESSORIES
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Universal Precast 530.605.2664 43 I Seibert & Rice 973.467.8266

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Wausau Tile 800.388.8728 137 I Tou rnesol Sitework S/Planter Technotogy 800.542.2282
T陀 llis& Trugs 847.784.6910

GREEN ROOFS/UVING WALLS

American Hydrotech, Inc 800.877.6125 133 I PLANTS/SOILS/PLANTING MATERIALS
Greenscreen 800.450.3494 17, 133 I Deep Fork Tree Farm 405.233.2000 63 , 137
J. Frank Schmidt & Son Co. 800.825.8202 138
MossAcres 866.438.6677 127
IRRIG A'πON
Mycorrhizal Applications Inc 54 1.476.3985 142
Dig Irrigalion Products 800.322.9146 133
Vitamin lnstitute 800.441.8482 137

LANDSCAPE ARCHITECTURE MAGAZINE FEB 2011 /129

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132 / LANOSCAPE ARCHITECTURE MAGAZINE FEB 2011

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136 / LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011

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 HE 肌K/FORWARD
WHAT I 010 OVER
THE 5UMMER VACATION
(1 MEAN RECE5510N) ι
BY YVONNE G MAHER
1 am an out-of-work landscape architect, and have been since
Ju1y 2009. 1 used to work for a 白耻rmt白ha剖t has been in the Ralei鸣gh，
North Ca创r叶ina， area for more than 35 years. The fìrm is still in
business-barely. 1, on the other hand, am not. So what have 1
been doing over the past 18 months?
WeU, after sending my résumé to 也e more than 40 landscape
architecture firms in the Raleigh area, and after a couple of days
relaxing at the neighborhood pool, 1 discovered that 1 was bored.
In fact , 1 was so bored 1 started talking to other stay-at-home
adults 1 never had the chance to get to know when working. 1
1 AM STILL UNEMPLOYED~ BUT NOT
OUT OF WORK. I AM NEVER Ä丁 A LOSS
TO FIND ANOTHER OUTDOOR PROJECT
OR ANOTHER ENVIRONMENTAL
CAUSE TO CHAMPION.
spent hours ta1king to one neighbor about whether she should
install a stone patio or a deck in her backyard. Firs t, we talked
construction costs and what a realistic budget would be. We went
over the logistics of drainage, as the struc阳re wou1d go next to
her koi pond. Then 1went all crazy and showed up at the pool one
day with a stack of garden design books. We pored over pictures
of stone patios and brick patios. We learned that she had an
irrational aversion to the herringbone pattern, but she liked the
look of irre凯llar flagstone. Her new patio is gorgeous , though
not as big as she had original1y planned because of costs, and it
does not drain into the fìsh pond.
Since 1 wasn't spending all my time at 出e pool, 1 found other
things to occupy my time. 1 spent one afternoon with my 由ugh­
ter and a bunch ofher Io-year-old friends explaining stormwater.
Th ey were actually somewhat interested. We went outside and
looked at the curb inlet in front of my house where the water
went in. We looked at the 36-inch concrete pipe that daylighted
behind my house and dumped that same water into the stream
along the back of my property line. We talked about all the yucky
stuff that gets washed into the stormwater when it rains , like
144/ LA N0 5CA PE ARCHITECTURE MAGA ZINE FEB 2011
fertilizers and dog poo. Th is partic川ar lecture series
also included raiding my pantry for snacks, but to be
honest, 1 never go to an education seminar myself
unless 1 know there's a free lunch.
Last February , 1 forced my husband and my dad
to help me build raised beds for my backyard and
spent a weekend planting seeds with my daughters.
We turned my unused drafting table into a mini
greenhouse, complete with grow lights , and started
peas and zucchinis and tomatoes from seed. When
the seedlings were big enough and the weather
was warr口 enough， we stuck everything in the raised beds and
watched, over the next few months, as insects 1 had never heard
of systematically ate the leaves off most of the plants. This called
for more cookies and a new lecture series on identi市i吨 insects
in the garden.
1 discovered a wonderful book by Douglas Tallamy called Blinging
Natμre Home and started organizing yet another a丘:er-schoollecture
on why we need to plant things that 础ract bugs so that 也e birds
have something to feed their babies. This time 1 made brownies.
Last spring, 1 entered a des电n competition at the Sarah
P. Duke Gardens in Durham, North Carolina, with a
friend and colleague of mine. We didn't win, but we did
get to present our design to a large group of people at a
seminar on natural gardening. We had based our design
concept on permaculture ideas, and got to spend 45 glori-
ous rninutes talking to a very interested audience about
sustainability in the residential landscape. Someone else
handled the food this 悦me.
Over this past summer, 1attempted my most ambitious and time-
consuming unemplo归nent project yet: 1 swapped professional
services with a local architect. He agreed to design an outdoor
classroom structure for my daughters' scho01 and 1 agreed to
work up a planting and paving desi伊 for his backyard.ηle result
was a set of architectural drawings that is ready to be submitted
for a building permit, and one really nice-100king backyard
As of this moment, 1 am still unemployed, but not out of work.
1 am never at a loss to fìnd another outdoor proj ect 由at needs
completing or another environmental cause to champion while 1
am chatting with 由eo由er moms at the bus stop in the afternoon.
1 have taken all the things that have made me a good landscape
architect一-creativ间， ingenuity, cleverness, resourcefulness-and
applied them to the other aspects of my life. After all, why did any
of us go into this profession in the fìrst place? 1 serious1y doubt it
was for the money. Most of us had an insatiable urge to make our
environment a better place through design. 1 am still doing 由at. 0
叭10N NE G. MAHER , A LAND5CAPE AR CHITEC飞 LNE5 IN CARY, NORTH CAROLINA, AND
CAN BE REACHED AT YVONNEGMAHER@YAHO COM o.
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