CONTENTS

JUNE 2009
,t . NU".'1E1t 11
LAND MATTERS 113
LETTERS 115
RIPRAP 118
Taking vacations to a fl ew level, self
rc/erential sculpture in Central Park,
kudos for a pair 0/ landscape
archifects, and the (much) younger
generation tackles urhan de_Iign_
Edited by Linda Mcintyre
GREEN BUILDING 124
Wet Pa rk
Mercer Slough demonstrates the
valueo! preserving wetlands in
the city. By Mark Hin"'aw
ICONS REVISITED 132
An Endangered
TTeril-age
TIJ(' days may be numbered/or
WWreI/CC Halprin'!- Heritage Park.
By Michal G. Tlncup, AILA
COMMUNICATION 140
The Dirt on Bloaain
a
'''' " How can bhgs change the way we
communicate about landscape
architecture? 8y Daniel J08t, A.LA
RESIDENTIAL DESIGN 154
Cothie Heneat
A romantic backyard pavilion is large
enough to entertain a crowd, yet cozy
enough for private contemplation.
By Barbafa MettlE
PRACTICE 15B
T Will Survive
TIJese six architects are
surviving or even thriving
tlJe rece.IJIrJ/l , Wlhat ieHons do they
have to offer others?
Edited by Daniel Jost, ... , .....
ON THE COVER
ofTu!u"" Mn:iro, .nd g ",,,,.1"1 in
Stockhol"" SWNffl, CIlptutf' Ih. <trll<l', <t'n,.o/
pwewhilelm",,!ing,pagr 18, b,
C I S,,;.;/!, " " ,
21 LandsupeArchltedure JUNE lOot
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PLANNING 170
A New Nal ional
Lands('ape Agenda
Tbe Omnibus Public Land Mtll/tlgemt'l/t Act
0/2009 isjuJt tI beginning.
By Frederick R. Stelne ' ... n ....
end Robe.t D. Ye.o
DRAWING 17.
Skl'lcllI" fmlll the Road
A seasnned sketcher man'S his technique
0/ trawl sketching toquickJy ((/ptur(!
tlx feeling 0/ space.
Sy C I Stelnlb, Hono.ery .I..LA
41 Lanlllcap.Archltectur. IU.[ ZOO I
Design Within
Constraints
A new park in Santiago hIdes a highway
a/ld forges a vimal link with the
Son Cristobal MOllntaim.
By Jlmena Martlgnonl
84
Baltimore's
Grounds for Art
Two sculptllre gardens at the Baltimore
Museum 0/ Art are "rodent gems.
By Frank Edgerton Martin
92
BOOKS 1100
PRODUCT PROFILES 1102
DISPLAY AD INDEX [ 104
BUYER' S GUIDE INDEX 1105
PERSPECTIVE 1116
Public Places Are More
Lmporlillli T hill] EvpL'
Landscape architects need toadlJOCate
for public spaces in troubled times.
8y Joy Wolljo.pe.

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61 Llndscape Architecture JUNE ZOOI
THE MAGAZINE
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Y
EARS AGO, I happened to be
present when L'lwrence Halprin,
FASLA, stood up and advocated
for che design ofhis FOR Memo-
rial beforerhe Fine ArrsCommis-
sian in Washington, D.C. "I wantthis to
be a memorial chat goes deep inside peo-
ple," Halprin wId rhe commissioners,
'ta/" hundreds oiJ'&m into the III/lire."
I wish more landscape architects aspired to that kind oflongevi-
ty for their work. The prevailing notion that a landscape has a life
expectancy of only a few decades is, to me, deplorable. That's why
ic's doubly sad when a Halprin landscape that has been around
only 30 years or so faces an uncertain fate. Halprin's latest at-risk
project is Heritage Park in Fort Worth, Texas (see "An Endangered
Heritage," page 32). This walled modernise plaza has been deteri-
omring for years. Ies omdoor moms, framed by concrete walls, were
designed as a contemplative refuge from the nearby downtown,
bur many in Fort \'\forth 5.1.W them as places a visitor could be cor-
nered. Then the cicy allowed a big ~ r k i n g snuaure to be built next
door, isolating the plaza from downtown. This aa of disconnection
set the stage for homeless encampmenrs in the outdoor rooms.
When the concrete chipped, the city dido't repair it. Finally, the or-
phaned plaza was fenced and its Iconic fountains tllmed of( [n re-
sponse to preservationists' pleas, the city is studying t he deteriora-
tion to determine the COSt of restoration. Somehow J sense that the
"study" could be a prelude to the wrecking ball.
Remarkably, a walled, modernist plaza bui lt about the same
rime as Halprin's is still in mint condition halfway across thecoun-
rry(see "Baltimore'sGrounds for Art," page
92). Designed by the late George Parton, a
Philadelphia-based landscape architect,
rhe \'\funzburger Garden sits at rhe en-
trance to the Baltimore Museum of Art
(BMA). It displays world-class sculpture
in a series of outdoor galleries, again
framed by concrete walls. An lovers can
walk among t he Henry Moores, Rodins, Noguchis, and
other sculptures that punctuate its outdoor rooms.
What factors predispose one buil t landscape to early decay and
another to t hri ving decade after decade? In these two cases, the key
seems to be COflllecWflfSj based on institutional support . The BMA
plaza is firmly tied to its museum. It is open only during museum
hours and, even during those times, is securely fenced. 111e family
that endowed the garden left a fund for maintenance. At Heritage
Plaza, by contrast, any connection was broken when the city al-
lowed the parking garage to isolate it from downtown.
Not every built landscape can enjoy such a supportive parent as
the B/l.I A. Somearecursecl with a "deadbeardad" likethecicyofFoTt
\'\forth. But can the BMA plaza offer any lessons so rhat landscape
architects may design more loved onts and fewerorphans?
J. Will iam "Bill" Thompson, FASLA
Editor / bthompJOrJ@aila.(ffg
GREEN
Can a Garden Heal Sex Abuse Victims?
I
DON'T SEE HOW building a garden can
create closure for sex abuse vict ims ("Be-
coming Unbroken," March). They and
their families are in pain, and I don't set'
how they can go back to a place where
they've been Victimized. They don't wam
to bring back nightmares.
The garden is really a place wher(' rhe
church can precend co have reconciled its
wrongdoing and make everything apolo-
get ic in the eyes of those who pass by. In
the end, the victims aTC still hurring.
DANIEL LAI K EJ MOK, STUDENT ASlA
MtA CANDIDATE
Unit'f!rsily 0/ Glldph, Ontario
What Should "Environmental Art "
Looklike?
W
HILE I WAS AN UNDERGRADUATE
studying arc hisrory, J was exposed to
Chrisco and J eanne-Claude and their "en-
vironmenral arr." The only ching "envi-
ronmenral" about their arc is chac chey are
using the landscape as their canvas. Och-
er than a few works, including The Gatef
and \f/rapped Reichstag, their work has al-
ways appeared ro be insensicive ro che ac-
tual environment.
"Surrounding" islands (SlIrroulJded ls-
bllds) in pink fubric and wrapping a shore-
line Of/rapped COtw) in erosion-control fab-
ri c cannot be good for t he marine and
coastal ecosyscems that were affected by
this so-called art; miles of curtains lming
hillsides (Val/ey C"rtaill) and confining
trees Of/rapped Trees) , even for just a few
weeks, causes ecological impacts. 'l11eir art
should really be labeled "texti le art " be-
cause it is their use offabrics as their art is-
tic medium that defines their work.
T hough Christo and Jeanne-Claude
claim that the Audubon Society and rhe
Sierra Club have sided with them in the
past, it seems that th is would be due ro the
public awareness of the environment that
their works create. The Sierra Club does
not seem to be siding wi th t he artists for
the Over the Rit'Cf installation. Members are
concerned by the potential environmental
degradation that this project could cause,
LETTERS
from upsetting already troubled bighorn
sheep populations to the potential for the
installation to be ripped down by the wind
and cause a huge dam. Additionally, as
William Thompson, FASLA, pointed out
(Land Matters , April), the group Rags
Over the Arkansas River (ROAR) has
formed as a voice for concerned ci t izens
upset at the amount of environmental is-
sues this installation could cause.
It should not be denied that their work
causes prolific publ ic awareness of the en-
vironment, has bttn responsible for major
" The only thing
'environmental' about
Christo and Jeanne-
Claude's art is that they
are using the landscape
as their canvas. , ,
cleanups (rons of garbage were cleaned up
in order to install S"rf(llllukd Mallds), and
creates unique perspectives of boch man-
made and natural formations. Personall y,
though, I find the sketches Christo pro-
duces of the proposed installations much
more appealing chan the actual installa-
tions. Exceptions to this opinion include
The Gates.: I attribute that to my percep-
tion thac The Gates were not causing a neg-
acive environmental impact. In fact , when
I look at the documentation of Christo and
Jeanne-Claude's ins tallat ions, t he act ual
installations unnerve me, while the sketch-
es allow me to ponder the alternative per-
spect ive and to reflect upon the landscape.
It would seem that they are going for that
reflect ion in their installations, but the ac-
tual installations seem cold and invasive
upon the landscape.
So what should "environmental art'
look like?
Isn't that term a misnomer? Most arc
deemed ';environmental arc" IS actually
"land art" or "site-specific arc." Land art is
actually grand-scaled outdoor installations
with the ecosystem a casual victim of the art-
work. Si te-specific art responds to its sur-
roundiflh'S, may even highlight unique per-
spectives, but is generallyabstrnct sculpture.
Perhaps the label "environmental art"
should be reserved for describing the over-
arching theme of an artist's works and not
the type of art he or she pnxluccs. This
would include uncountable artists through
the ages coming from a wide variety of dis-
cipl ines. In my opinion, environmental
anists include Ansel Adams (a photogra-
pher), Joseph Turner (a watercolorisr),
Myoung Ho Lee (a photographer), and
Hayao Miyazaki (a filmmaker). Like many
mher environment al art ists they chal-
lenged our perceived relationship with the
environment, studied an area throughout
an age showing how that environment
changed, or even enlightened their audi-
ence ro the wonders chat are a part of our
environment, all wichout making che en-
vironment a casualty of their work.
LOREY STINTON, ASSOCIATE ASLA
t\l,mrie, Indiana
I
AM A !'.[EMBER of the board of directors
of ROAR, che g roup opposing Over the
Riwr because of its potential for adverse ef-
fecl s on safet y, the environment, and the
local economy. Your April Land Matters
on the proposed project summarizes our
concerns very well and adds its own pithy
observat ions.
\'V'ould you give our kudos to che artist
who created the graphic chac accompanies
your commentary? Its a winner!
ELLEN T. BAUDER
Salida. Colorado
B
ORN AND RAISED IN COLORAOO, I
have tosidewith ROAR. Coloradans have
almost always come to the rescue when they
have seen large potential environmental
damage to the state's natural resources.
It is time for a new definicion of "en VI-
ronmental arL' I won't presume to offer a
definition, but the debate should begin
to redefine this genre in light of today's
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LETTERS
environmental challenges. For now,
though, let's not impose rhis indusrrial-
based work on our few remaining beauri-
ful natural landscapes.
PHIL PUZICK, ASLA
Manassas, Virginia
lips on Getting lilrough the Recession
R
EADING THE "Brother, Can You Spare
Some New Construcrion?'" article in rhe
Apri l 2009 Ripmpcolumn made me rhink
of a few suggestions for my fell ow land-
scape architects who have been affected by
this economy. There are two things that
help keep me busy, expand my network of
contacts, expand my skill set , and assist in
finding additional paid work.
The first is that I find a project /group
for whom I can do some volunteer design
work. It's not every day that they happen,
so you have to keep yOUT eye open fOT
groups purring rogeeher a project. They' ll
usually be mentioned in local magazines,
radio, TV, and newspapers. Several years
ago, I created a set of consrruction docu-
mencs for a healing garden for the Valley
Medical hospical in Renron, \Washington.
I'd never done a healing garden, so it al-
lowed me to expand my skill sec. A couple
years prior to thae, I did some design work
for the Conage L'lke Elementary School.
Some parems and teachers gor together
and requested some drawings so they could
solicie donations . My current volunreer
project is some low-impact developmem
design work for the Kitsap County Conser-
vation Diserict bui ldings and site.
The second thing I did was pretty simple;
I joined ASUr.. In doing so, I found out aboue
a recent charrette sponsored by WAStA and
the Naeional Park Service fOr the Sinclair In-
let near Bremerton, \Washington. Bue since
most people reading this mah'Uzine are al-
ready ASLA members, I'd suggest char ehey
gee involved wi th their local chapeer.
The healing garden and outdoor class-
room projec ts are shown prominencly in
my portfolio, and you can be sure that rhe
Sinclair Inlee project will also go in my
portfolio.
J EFt' VARLEY, ASlA
U?oodint1ille. \'(!ashinglon
Repair the National Mall? Now's Not the lime
I
N ANSWER TO YOUR QUESTION (Lmd
Man ers, March) regarding whether the
government should grant $200 mi llion
from the economic stimulus package to pay
for the National Mall>s upkf't'p, I must
with the resulting vote of Congress: no.
It's not that I don>t care abom the mall.
Every t ime J visi t the mall I appreciate its
"\X'itb many higbly
skilled citizens rulahle
to find decent-payillg
work, the restoration
of the National Mall
is a 1 uxmy. ,',
simple, majestic beauty, but I also see lots of
things chat need co be fixed. I'd like co see
the mall continue co be one of the greatest
works of landscape architecture, noc merely
because it is located in Washington, D.C,
bue because it is a work of goo:! design.
Bue r also realize thac we need to make
sure chat the citizens of the United Srates
are well raken care of. \'qich many highly
skilled ci t izens unable co find decem-
paying work, the resmration of the Nation-
al Mal l is a luxury. Funding a full restoration
during this time in American history would
be, in my opinion, a political blunder.
J EFFREY D. WILLI AMS, STUDENT ASLA
VIRGINIA TECH \XIAAC
Alexandria, Virginia
URL Correction
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more informat ion about Progressive De-
sign Playgrounds in the Product Profiles
department of the March issue was lis ted
incorrectly. For more information about
Progressive Design Playgrounds line of
natural playgrounds called Outdoor Learn-
ing Environments, please direct your read-
ers to Ulwu!.ollld()(ff/eamingenviromlltms.corll.
General company informa t ion can be
found at www.pdplay.C()IJI.
MARGARET RYAN
Progressit-e Design Playgrounds
CIRCLE 95 00 AEMJER s.EIMCIE CAOO OR GO m HTTPJIINFOJlOTIMS.COM'l3049<-95
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JUN( 200. L.ndstlpe Arthit,ttur, I 1 1
A ':rregll!ar!ook (/
T
REEIIOIJSES COME IN MANY shapes and sizes,
but Swedish architects Tham & Videgard
Hansson's recycled aluminum and mirrored
glass cubes look more like something from a sci-
fi movie than a Tarzan Aick. Designed for a hotel
dient near the village of Harads in northern Swe-
den, the treehouses will each provide a compact
getaway for two people.
Beyond dle
Canopy Bed
T rretop moo offer tourists
a holiday that's liP, liP,
and away.
ilY L I \' DA
the air, by rope ladder or across a rope bridge at-
tached roa neighboring tree, and t hey can cl imb a
ladder up the tree trunk to reach a roof terrace.
To protect the pine tree hosts and avian fellow
guests, the structures will be held in place by "met-
al rin!,'S around the trunk, with no damage to the
trees, no perforation," says the firm's cofounder and
At 13 feet hi gh, wide,and d('('p, the rubes will s[Xlrt a plywood
interior fitted with a double bed, kitchenette, bath, and living
room. Guests will enter and leave the shiny lodgings, 20 feet up in
parmer Marrin Videgard Hansson, and the glass
will have a transparent ultraviolet colorro make it visible to birds.
The architects firs t considered using "materials that people of-
ten bring when they climb a mountain or camp in nature, like
Contact LlndOi Mcintyre OIt Imtlnt,u @;nla . ofl .
ls l landsupe ArehitechHe IUNl ZOot
WHERE INNOVATION COMES TO LIFE
JUh
landscape
structures-
EVOS;M our unique playsystem for kids 5 to 12+ years old, now has a companion for kids ages 2 to 5 called Weevos:M
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BETTER PLAYGROUNDS. BETTER W O R L O . T ~
2009 liIfldscape Structure. IflC.
The cubes, left, were designed t o prot ect the
host trees llnd visiting bi rds. In addition t o a
cozy living space, right, they will offer guests
specta cular views from
a roof terrace.
Gore-Tex, Kevlar," says
Bolle 111am, but instead
they opted for a design
that is "nor vernacular.
The lOCus is contextual,"
he says . "These mirror
boxes afe high-tech,
liglHweiglH, and very
simple stru((ures. At
the same time (rhey are)disappearing, blending in with nature."
If all goes well, the first six mirrored cabins will be complet-
ed by rhe end of the year, and ecotourisrs seeking seclusion be-
hind the reflections of the forest will be in a prime spot to watch
for bears, foxes, elks, and reindeer roaming over rhe forest floor.
- ROBERT SUCH
META MORPH
Sculpture at
HumanScaJe
SfaflleJ;l1 Cellfral Park
imfallatioll dOIl't qllite
hew to heroic tradition.
C
HRISTIAN JANKOWSKI'S Lit1illg
Sat/pll/rtf looked at first glance [ike
traditional bronze tributes to well-
known figures such as ChI" Guevara. In
fuet the dl ret' figures on view over the
winter and early spring on Central
Park's Doris C Freedman Plaza
were based on three street per-
formers Jankowski spotted in
Barcelona, billing them-
selves as "Caes.,\f," Guevara,
and a character inspired by
Salvador Dali's Anthropomor-
phic Cabinet W'ankw: statues
of people pretending to be
statues. 111equirkiness of the
figures, shown under the aus-
pices of the Public Art Fund,
pulled in JXlSsersby for a closer look.
\'{then uluiswpt Architectllre checked out the The stat ues, at an often-bustling entrance
installation on a ~ 1 . ( e wimer Saturday, a tocldler to Central Pilrk, prompted some double takes
was trying to crawl onto ';Caesar's" lap. itS onlookers took in their quirk,. qualities.
20 I landsupe ArchitechHe JUNl 2001
-
AWARD CORNER
LAs Honored far Contemporary
and ClaJsical Design
S
NANE COEN, ASLA, principal and founder
of Coen + Partners of Minneapolis and
New York City, was selected by the Archi-
tectural League of New York
as one of 2009's Emerging
Voices. The honor, to recog-
nize and encourage promi-
nent young designers, is
usually bestowed on archi-
tects. Coen, who discussed his finn's work in
a March lecture at the league, is one of only
10 landscape architects spotlighted in the
award's 27.year histoIl.
The Institute of Classical
Architecture and Classical
America's 2009 Arthur
Ross awards for Excel-
lence in the Classical
Tradition recognized Perf)' Guillot of
New York for landscape architecture. The
Library of American Landscape History in
Amherst, Massachu5eHs, won an aWilrd
for publishing and history.
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CHILD'S PLAY
Soft on the lnside,
Hard on the Outside
From children's lamasy 10 living
reality: the first hOllsing development
designed by kids.
O
NeE UPON A TIr.rE, (here was a con-
strucrion cooperative in chI' small norch
imiian town of Correggio. In 1990, its
members made a decision chac would radi -
cally change [he way rhey worked.
Taking on a new name, Andria- in-
spired by an ideal cicy in l ralo Calvi no's
novel, 1lltIlsibleCitier- they tmnsformed it
from a cooperative for abitdzioni (habita-
tions) into a cooperative for abitam! (in-
habitants). One of Andria's founding ar-
chitects, Luciano Pamaleoni, says this was
somedling of a revolution. "We had to
learn ro liseen to the service users,
in other words, families." Taking
their logic one step fart her, Andria
decided that, since families com-
prise both adults and children,
they would have to listen to
dren as well as adults. And that's
how the idea to build
line was born.
The firs t phase began in 1995
with a research proj ect involving
700 chi ldren from 12 local
ery and elementary schools. Fifty
teachers and two child
gists worked together wJth a
22 1landsupe ArehitechHe JUNl 2001
engJneers, surveyors,
bU1lders, and
rers talking to the
dcen, rabng them on
trips to learn about
chicecmre, encouraging
them to draw, and
ing models with them.
Four years lacer che
Afaflij esf(l oj Children's
Ing Needs was published, a discillation of
rhe most popular needs and desires
pressed by rhose children as to how chey
would like their ideal house to be.
rial feamres ranged from "transparent,"
"hard outside," and "soft inside" to
ful," "decor:J.ted," and "magicaL"
Some of the requesrs were easier to meet
than others. Pantalooni says the feature they
devoted the most imporrance to in
doline's design was che concept of play.
"Everywhere you go in Italy, dle
most common sign you'll see is
NO FOOTBALL ALLOWED.
Honestly, you'd think playing
football was the most dangerous
thing a child could do!"
In Coriandoline, children are
lowed to play in all the communal
areas, including garages that
ble as covered playground areas.
With entrances that look like the
mouths of giant monsters, the
The feature they devoted
the most importance to
in Coriandoline's
design was the
concept of play.
garages are buried under
hills plamed with a spe-
cially seleaed
cion of plants to give
them leaves and
flowers and scents to sniff all
Emphasis has also been given to color
and decoration. The walls of the houses are
vibrant shades ofblue, pink, orange, yellow,
and green, wirh giam flowers , birds,
rerflies, and smiling children painted by
renowned Italian painter, illustrator, and set
designer Emanuele Lunari. He died last
year, but not before seeing his designs re-
produced from the models to rhe real walls
of the bui ldings.
Even residents who don'r have children
appreciate their design ideas. Gino
Neviani, a single man who lives in
one of che apartmencs , says the
main reason he came to live in Co-
riandoline was because rhe
borhood is so quiet. He's got 7tH)
infant school pupils to thank for
that: "Peaceful " was one of their
top 10 essential requirements.
- D ANY MITZMAN
Originally broadcast on The 5we
\Ve'w III, Radio Nerherlarxls
wide; reprinted with permission.
I
N THE EARLY PART of the 20th centU-
ry, Seaule took on iu own, small-scale
version of digging rhe Panama CanaL
Civic boosters were convinced (hat mar-
itime commerce would be hugely en-
hanced byconnecring Lake Washington to
LIke Union and rhen to Elliot Bay in Puger
Sound. Twenty years kl,[cran inland water-
way connected freshwater with saltwater
and allowed seagoing ships ro come into
sheltered harbors for maintenance, repair,
and storage over rhe wincer seasons.
Trouble was, Lake Washingron was
higher chan sea level by dozens of feet. The
system of canals and curs and locks [hat
connected these lxxIies of water lowered
rhe lake by as much as eight feet. 111is had
rheeffecr of creat ing whole new shorelines
of dry ground that were quickly covered
with houses. In some shall ow, barely navi-
gable inletS, deep, peary soils were exposed.
Although lowered, rhe 1C\'e1 of IX' lake still
fluctuates up to several feet seasonal ly, and
these boSh'Y areas art periodically inundat-
ed with fresh lake water, This has allowed
a rich variety of wedands-associated \"('ge-
ration to flourish in areas that wert entirt-
ly below water 100 yc-ars ago.
24 I l.ndH.p.Arehlhehlr. JUNl 200.
Mercer Slough demollstl'a tes the value of
preserving wetlands in the city By Mark Hinshaw
Mercer Slough on the east side of Lake
\X!ashinsron was one of a number of these
wet, marshy areas. On the west sideofSeat-
rle, a number of these wert used as landfills;
residents and businesses simply dumped
their refuse into them O\"('f decades. 100ay
rhese areas have severe problems of differen-
tial serdement and medmne gas emission.
i
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~ E t e r a
This narrow finaer of
b
grass, peat, and water
pokes a mile and a half
into the heart of the city.
However, because (he east side of the lake had wry
sparse settlement parrerns umil rhe 1950s, Mercer
Slough continued to be a relatively intact wetland.
This d id not Stop developers from crying [Q fill the
edges of {he slough for building sires. As recenrlyas [he
1980s, some parts were fi lled for construct ion until the
city of Bellevue invoked regulations co hale any fur-
cher encroachment. Today, instead of development ,
Mercer Slough is a 320-acre natural area, owned by the
city and maintained as a part aries extensive park and
greenbelt system, within a short distance of the high-
rise towers of Bellevue's rapidly growing downtown.
Ten years ago the city commissioned Seattle-based
Jones &Jones Architects and Landscape Architects co
prepare a master plan for the park. The plan called for
a seven- mile network of trails, canoe t rails along the
waterways, some wet land-dependent agriculture,
wildlife habitat, and an interpretive center. T he over-
riding concept was to intrude upon the natural sys-
tems to the least extent possible.
This narrow finger of grass , peat, and water pokes a
mile and a half into the heart of the city. Conifer trees
sweep down from the uplands, tmnsitioning to decid-
uous crees and understory and framing the lowlands
with a grren edge. Blueberry fields- a remnant of pre-
World War II decades as an agricultural area- flank
one side and st ill offer up a large yield each year. A
wide segment of Interstate 90 slides over the south
26 1landsupe ArehitechHe JUNl ZOot
The Environmental Educalion Cenler, designed by
Jones & Jones, was carefully inserted into the tree
canopy on Ihe east side of Ihe park, here. The park
master plan by Jones & Jones, below, calls for a nel
work of trails, interpretive signage, and places for
blueberry fields with minimal parking so Ihal the
natural setting remains intact.
Philip di Giacomo on Change Yiard,scape,s l'>1a4e b.J:Jer.
"'0/ cl;e"t capa6;I;t;e,s. eVe" jav'e l'>1e 61'>1e to -rhey d;d
,"t Ly lett;"j l'>1e 6e "'o/,se/I"'. By u6/;z;"j "'0/ 01' art;,san,s and hav-,"j
"'0/ So u;ht'le everyth;I?j ',s chc""jed, l..Je ,s6//l'>1aKe the
be,st In notl,;nj ',s chan:Jed.""

HARDSCAPES
Denver Office ' 303,750.8200 info@coloradohardscapes.com I Ca1ifornia St udio ' 818.907.0990 www.digiacomoinc.com
GIEEN
end- a discordant testimony to the era
when rile bui lding of infrastructure d is-
counted the value of wetlands.
And before laws were adopted to pre-
vent the destruct ion of wetlands, a slice of
the Mercer Slough was filled for a low-
slung office park of nondescript buildings.
The buildings wert' buil t on piles rammed
deep into the peat, but rheasphalr parking
lots surrounding them have slowly sunk
back into the soft soi l in a kind of revenge
of natural forcts.
A recent and splendid addition to the
Mercer Slough Narure Park is an environ-
mental education cemer. Operated by rhe
Seaccle-based Pacific ScienceCencer, the new
center offers cl asses on environmenml stew-
ardship cochildrenand adults. Designed by
J ones & Jones as a follow-up co their previ-
ous work, the complex of structures and
walkways continues co express rhe idea of
2s l landsupe ArehitechHe JUNl ZOot
"""""""
keeping disturbance of the land to a
minimum. Perched up on taU posts, the
cemer Sttms as if it floats above the site like
a cl uster offeather-light tree houses.
Jones & Jones integrated a number of
sllsrainability principles imo the design of
the site. Surt.1.Ce water runoff is captured
and directed into catchment areas topped
by a splayed array of gabions. Some of the
gabions are level with grade. Others are re-
Perched up on
tall posts, the center
seems as if it floats
above the site.
raining walls topped with
cement slabs that serve as
sea t ing. Accord ing to
Mark J ohnson of Jones &
Jones, "The gabions are designed to col-
lect and send water downward directly
into the soils without anyconcemration of
nmoff like a solid wall would cause. Any
excess water t har has not infiltrated imo
the soils is collened in swales downslope
from the gab ions and is direned imocon-
strLlcred wetlands before it reaches the
slough." ' Johnson observes, "T his is not
un like the benefits of a pervious hardscape
with reduced storm water conveyance and
decreased chance of erosion." Along the
adjacent roadway, a wooden boardwalk sec
on four-i nch helical piles substitutes for a
sidewalk, which would have required ex-
tensive fill. (The city !"(""<juired the board-
walk as a replacement for a bike trail that
had prev10usly existed nearby.) RunotTfol-
lows the natural grade and finds its way to
swales beneath the soaring walk.
Instead of one singular structure, which
wOllld have had a large footprint, the design
team gave each part of the program for the
30 I landsupe Architechne JUNl ZOot
Environmental Education Center its own
small building. This allowed each to be
slipped in between existing mature stands of
trees. TIle buildings resembleacollenion of
huts with mature trees branching out with-
in inches of walls and overhanging roofs.
The small buildings that make up the
Enwi ronmental Education Center
were slipped in between existing
mature stands of trees.
"111e struc[Ures are connected by
wood-planked platforms that
project om over the hillside. At
several {Xlims, sections jut out past
buildings allowing views down
into the park and of towering
buildings in the distance.
A more literal tree house extends
upward into the tree canopy. TIlf
high perch seems rather precarious
and, indeed, a locked floor hatch re-
stricts unsupervised access . The
complex includes a building con-
taining a wet lab for research into
plam and animal life associated
with Students and researchers col-
lect samples from the slough and conduct
testS, In contrast to the other Structures, the
wet-lab structure extends out from theslop-
ing grade and carries grasses and light soil
as part of a "green roof" design.



,
l
A "flying bridge" allows visitors to hower in the
tree canopy and look down on the wetlands"
There is a soft"surfaced trail below"
Below the structures, pathways wind
through the park, some allowing for shorr
strolls and others allowing for much longer
hikes that wind for miles around the
perimeter. At points the pathway lies in t he
shadow of a massive freeway overpass set on
a series of 1:1t, round columns. Cars and
tmcks noisily soar overhead, and detrims
and oils from the passing vehicles form a
sickly residue in the watery muck below.
111(" intrusion oflate-2Oth-cenrury highway
building comrasts sharply with the natural
systems of water, grasses, and soils-a more
dramatic lesson in the former unden.'aluing
of wetlands would be hard (0 nnd.
Mercer Slough Namre Park, along with
its soaring educational cemer, is a VIvid
demonstration of the value of preserving
and protecting our wetlands, especially in
urban areas. It displays both the value of
what was saved and the tragedy of what
was lost.
Afark H lIIShaW is direrlor of tlrball desigll for
I..AIN A rchileds ill Smlrlealld is a frequent ((111-
Iribtllor to Landscape Architecture.
P>WC Reo;yo;Ier Modell 04a
Siu. 30" .3"'''" hIgI1 . 5 galkns
2 <If 31r.M oomlWlrnllllls.
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PROJECTCREDlTS Owner: City of Bellevue, De-
SIlhouette Recycle lrilS/1 F1e\:epI3cIe
ModifW Sire: 30" >36" high
Per!orall!oj stainless 5l8eI 01
alumlncrn. aklmlrMJm 1QIl
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O1)eI1ing . CilSlQm sffes iI'I";labIe.
parrment of Parks and Community Servic-
es (Patrick Fomn, director; Ken Kroeger,
project manager). Tenant: Pacinc Science
Cemer, Seattle (Bryce Seidl, CEO; Darla
Norris, CFO) . .An:hitecture and landscape arch ..
lecture: Jones & Jones, Seattle (johnpaul
Jones, principal in charge; Mark Johnson,
project manager/project architect ; Nate
Cormier, ASIA, project landscape an::hitect;
Stephanie Ingram, an::hitect; Wesley Sim-
monds, ASLA, landscape designer; Kevin
Carl). Environmental pennitting: Vicki Morris
Consulting Services, Seat tle. Geotechnical de-
sign: Shannon and Wilson, Seattle. CMI mgt.
neering: PACE Consulting Enginttrs, Seattle.
Sbucturalengineemg: Lund and Everron Struc-
tuml Engineers, Seattle. MechanicaVpUnbing:
Smntec, Seattle. EtectricaVcommunicatlons/
IigItiIg design: Spar! i ng, Seattle. Cost estknating:
Davis Langdon, Seatrle. ComnMssioningagent
111e Greenbusch Group, Seattle. Generalcon
tractor: Berschauer Phillips Construction
Company,Searrle(jim Phillips, Al Bowen,
Keith Michel, Tyler Parror). Constructiongeo-
tecmcalseIYices: Hayre McElroy, Redmond,
\'V'ashingcon.
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CIRCLE ON RE...oR SEFIVICE GOTO HTTPJIINFOHOTlM$.COMr.'JW<""
JUN( 20 0. L.ndstlpe Arthit'ttur, 1 31
O
Alli\SlFORT WORTH is gifted with
many celebrated public landscapes
from rhe modern era, including
Philip Johnson's Fort Worth Water
Gardens (1974) and 'nlanks-Giving
Square (1974); Daniel Ki ley's Dallas Mu-
seum of Art (1983) and Foumain Place
(1986); and Peter Walker's Nasher Sculp-
ture Center Garden (2005). Perhaps less
familiar to most Texans is Heritage Plaza
in downtown Forr \'Vorrh, the state's only
significanr design by Presidential .Medal
of ArtS recipient Lawrence Halprin, I'ASlA.
Heritage Plaza, located at rhe si te of rhe
city's original 5enJemenr overlooking rhe
Trinity River, originated as a celebration
of rhe U.S. bicentennial . TIl{' urban water
park physically links rhe city's cemer [Q
the river while symbolically (onneni ng
Fon \'{tarrh (0 irs 1849 origins.
City aur horiries ended water flow
through Herimge Plaza's features in Sep-
tember 2007 and erc-cud perimeter f(onc-
32 1 l.ndH.p, Arehlhehlr' JUNl 200.
The da)'s ma)' be II umbered for La IVrence
Halprin's Heri tage Park. By Michal G. lineup, ASlA
ing to cut off public access, disconcerting
many Fort \'{forth residents, Due largely
to deferred maintenance, Heritage Plaza
has been in steady decline over the past
deGlde with fountains gone dry, trees over-
grown, understory plantings dead or re-
moved, and paving deteriorated or broken,
BeGluse of its unc(ortain future, Heritage
Plaza is among II sites listed on Preserva-
tion Texas's "Most Endangered Places
2009:' Since 2003, t he nonprofit
organization annually has devel-
oped a list ri places imperiled due
[Q negro or threatened by possible
destruction, adver.>(' development,
or neglect. Hiswric Fort \'{forth
nominated Herifab't' PIa7n [Q be in-
cluded in [his year's list as well as in
2008, The plightriHerifab'C Plaza
also led t he Cultural Landscape
Foundation to include it in land-
slides 2008: Marvels of Mod-
ernism, a photographic exhibition
1

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l andscapeforms'
s t u d i o ~

Ken Smith is master designer of what's been called the first great metropolitan
park of the 21St century. His comprehensive plan for the '347-acre Orange
County Great Park in Irvine, California encompasses a series of diverse park
settings. The Preview Park offers a sample of what's to (Orne and includes Smith's
(llstom-designed stainless steel bench, developed with Studio 431, the premier
SOI.Hre for custom site furnishing5, and manufactured by landscape Forms.
800-4306205 I landscapeforms.com
studio 431 for
ken smith
spcxlighting 12 private aod public parks in
danger of demolition or irreparable
damage due [0 a variery of maors,
In the late 1960s, rhe Forr WOITh
Streams and Valleys Committee
commissioned L'lwrence Hal-
prin and Associates roclC\'elop
the design (ora 1 12-acre Her-
itage Park to run along the
Trinity River. The group
asked Halprin (Q recognize
rhe ciry's significanr hisrory,
iocrease dlC amount of public
space downtown, and honor
the commiHee members'
dedication (Q rhe hiS(Qricai
and ecological treasures of
Fort Worth.
Pan of rhe larger Heritage J
Park projCCt, Herirage Pl aza
is sired on a steep bluff whert
rhe West and Clear forks of
rhe Trinity River converge, JUSt
llQr[h of the Tarrant County Court-
house and west of rhe Paddock
Viaduct (the Main 5treft Brid!,'!').
l lle plaza site was selecr:ed for irs
close proximi ty to the mi litary
post of Fort Worth, establ ished by
Major Ripley Arnold in ! ovem-
bet- 1849. The imponance of the
area was noted by landscapearchi-
tect George Kessler in his 1909
plan for Fon \Vonh, and later
studi es of this area concurred that
the si te was central to the gcols of
preserving views of the Trinity
River and of connecting down-
town Fort \Vonh to the river.
Heritage Plaza was construct-
ed circa 1977 at an approximate
COSt of$ \.3 million. Halprin had
previously prepared planning
studies of the Trinity River in
1970 and was familiar with rhe
The seating area in the western sedion of the site-specific issues. In 1976 in rhe Fort
piau is deteriorating, .bore. One of the \'(Iorlh Slar-Telegram, Halpri n srared,
pI.u.a'$ many water ieatUrH looks barren "Next [0 dlC Trinity itself, rhe bluffs art
without wattr, I ~ . The nistinllite conditions Fon \'V'orth's greatest naruraJ assetS. 111eir
are depicted in the AutOCAO drawing below. physical form is an amphithearer 50 [080
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feet high and almost a mile long. They are
well wooded and command fine views in
se'Yeral directions."
Halprin designed (he plaza as a series of
square "rooms" surrounded bysewrallarge
warer walls. TIle plaza, as with all of Hal -
prin's besc work, is memorable fur its strik-
ing forms and sequences chac evoke mulci -
pie associacions and recall varied references.
As Halprin wrore in 1995 in George F.
Thompson's Landscape ill America, "My own
way has been co design rhe ourward fonns
of nature but emphasize the results of the
processes of nature .... This act of
transmuting che experience of the
narural laodscape inco hwnan-made
experience is, for me, the essence of
the art of landscape design. "
Heritage Plaza is recognized
alonboside Halprin's ()(her celeb raced
projects, including the FDR Memo-
rial in Washingcon, D.C.; Ghi-
rardell i Square in San Francisco; and
the Ira Keller Fountain in Portland,
Oregon. Along with Charlottesville
Mall in Virginia and F ~ w a y Park
in $cattle, Heritage Plaza is one of
t h ~ Halprin landscapes construct-
ed to coincide with the celebMion of
the nation's bicentennial.
A water wall, top left and right, and a
water channel, bottom left a nd right,
are shown with the water flowing and
after the water was tnrned off.
36 1landsupe ArchitechHe JUNl ZOot
City authorities elided
water flmy tlirou"h
tJ
Heritage Plaza's features
in Septem bel' 2007,
Tn addition, the plaza is a testamenr co
Fort \Worth's long commitment co hiscoric
preservarion, stemming from irs cicizens'
dedication co the city's heritage. Along
with the Forr Worth Streams and Valleys
Committee, local patron Rut h Career
Stevenson and the Amon G. Carrer Foun-
dation were instrumental in ensuring the
creation of Heritage Plaza. Tn fact , privare
donat ions funded almosr 80 percent of rhe
public projecr's construction cosrs. The
project and landscape archirect drew such
arrention that among the dignitaries who
arrended rhededication were Texas Gover-
nor Bill Clemencsand b.dy BirdJohnson,
the former firsr lady of the Uniced Stares
who was Halprin's client when he serwd as
A NEW AND DECISIVE LOOK HAS NEVER
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moderngardenworks.com
a consultant to her Committee for a
More Beautiful Capital.
Today, Heritage Plaza remains an
excellent example of modernist urban
design. Moreover, it is representative
of landscape architecture of the 1970s,
a time when cities nationwide com-
missioned plans to reclaim urban areas
and waterfronts for public enjoyment.
The Texas Historical Commission re-
centlydetermined that Heritage Plaza,
although less than 50 years old, is eligi-
ble for listing in the National Register
of Historic Places because it is recog-
nized as a work of {"'Xceptional signifi-
cance within Halprin's lxxly of work
and among modernist landscapes.
To celebrate Heritage Plaza's inclu-
sion in the Cul tural Llndscape Foun-
dation's Landslides 2008: Marvels of
Modernism list, mOTe than 100 local
3s l landsupe Arehitechne JUNl ZOot
architects, landscape architects, interior
designers, and preservationists gathered
on February 5 for a reception in conjunc-
tion wi th the exhibition's opening at the
Design \'Xfithin Reach Swdios in South-
lake, Texas.
Michal G. TiIlCllP, ASLA, is pri'Kipal ojSflldio
Tillmp LmdscapeArchiteas fIl Arlillgtoll, TtXaS.
Resource
"Second Man Missing," by Kevin Sloan;
Land.i[djle Archit/l[wre, April 2003.
live Oak Grove, top left, is the central space
of the plaza, which features other garden
rooms, alHJre and far left. DeS(:riptive grafitti,
left, dec:orates a wall in the plaza.
One of the water channels enli,ened the space
when the water was flowing, bottom kft,
but is dry now, bottom right.
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I
HAD ALWAYS BEEN ANTI-BLOG," re-
members Jason A. King, ASLA, of Port-
land, Oregon. Like many, he equated
blogging with keeping an online jour-
nal; he didn't think rhe medium had
much to offer him professionally. But
about two years ago, King's opinion
changed dramatically. He was working on
a design compeirion and needed a way to
manage all the ideas, images, and web
Jinks he was gathering through his re-
search. He realized blogging would be the
perfect way to organize himself while giv-
ing him achancc [0 share his research with
others. Today, King's Lalidsca{le+Urball;sm
Blog has readers around rhe world. In the
past year, it has been viewed nearly
500,000 times.
Bur it is only one of the many
landscape architecture-themed blogs
thar have sprouted up in recent years.
There are blogs focusing on many
different mcets of the profession, from
garden design to parks, from sus rain-
ability to playgrounds. Some of these
blogs are managed by landscape ar-
chitects, some are managed by pro-
--- --- .. --=----;:::
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-
fessionals with related degrees, and some
provide a unique opportunity to hear opin-
ions from people ourside the profession-
to hear from the people we serve.
What benefits does blogging
offer landscape architects?
Blogging is more than JUSt a way of organ-
izing your ideas. On a personal level, blog-
ging can be an escape from the daily grind
of working in an office. "My blog devel-
oped from a need to vent my passion for
the optimistic, idealistic, and creative as-
pectS of landscape architecture that were
often absent from the daily duries of run-
ning my business," says Christian Barnard,
THE DIRT ON BLOGGING
How can blogs change
the way we communicate about
landscape architecture?
By Daniel Jost, ASLA
who runs the Christian Barnard Lalldscape
B/og. For Barnard, blogging is cathartic;
his blog gives him something that he can
define and control completely.
Adam E. Anderson, who runs the blog
Design Under Sky, says he smrred his blog as
a lab. "Many of the ideas are purely con-
ceptual," he explains. "Bur as I write, they
sometimes morph or spawn new directions
that have the potential to materialize."'
While most of Anderson's experiments
are thOlight experiments, there are O(JIX>rtu-
nities to pur blogging to a more scientific
use. Roy-Fisher Associates' blog, Sprollt,
aims to encourage sustainable design in its
region and to brand itself as a fi rm thats
knowledgeable abour sustainability.
"South Florida is behind the rest of the
country because much of our population
is parr-time and most of the design pro-
fessionals are transplants from other parts
of the COUntry," says Connie Roy-Fisher,
ASLA. She was concerned that when
technologies like green roofs were im-
plemented, chey would not be sensitive
to the region's unique climatic issues-
hot humid summers and scrong tropical
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winds-and this would discourage further
applications of the new technologies.
So her firm has been testing technolo-
gies at its office. Scaff members placed a
few green roof trays on top afcheir roofand
planted them with different species to see
what would grow. The first experiments
were more anecdmal than scient ific. \X1hen
Glenn A. Acomb, ASLA, whodoes research
on gret'n roofs, found the firm's blog, he {'-
mailed the staff about probl ems with their
merhooology. 13m the firm has taken these
criticisms constructively and even posted
Acomb's e-mail on its blog.
Additionally, their experiences show
how blogs allow for the qui ck di ssemina-
tion of information aoour very specialized
topics. Even as specialized as u mdscapt Ar-
chitecture is , it 's unlikely this magazine
would ever cover a small experiment that
only applied to a few species of plants in a
specific region. It wouldn't interest enough
of our readers. Bm as a landscape architect
working in that region, knowing about
that experiment could be very valuable to
you. Regional blogs have the potential to
fill that hole.
Roy-Fisher Associates' experimentation
highli ghts some of rhe strengths ofblogs.
If the firm had been conducting experi -
ments internally without posting them on
its blog, it may have never reali zed the
flaws in its methods. Now rhe firm has re-
ceived some feedback, and Staff will be able
m improve rheirexperimenrs.
But of course it also reveals a map r issue
with the medium. Since there is usually min-
imal (if any) editi ng and no peer review,
hlogs may nO{ always provide credible infor-
mation. "{My} blog actS as a part of my
process, nO{ as an end result," says King ... ,
~
What Is a Blog?
T
HOUGH WE HEAR THE WORD "blog"
all the time these days, actually pinning
down adefinirion is surprisingly hard, TIle
rerm has been used to describe a broad
[':lnge of web sites that evolved from the on-
line journaling sites of the lare 1990s, 810g-
ger.com's answer to the question is proba-
bly the most comprehensive, "A blog is a
personal diary," it explains. "A daily pul-
pit. A collaborntive space. A political soap-
box. A breaking-news ourlet. A collection
oflinks. Your own private thoughts. Mem-
os to the world. Your blog is whatever you
want it to be ..
What ties all these types of sites togeth-
er is asimilar format. Unlike most web sites
that connect from page to page using but-
tons that must be updated as more infor-
mation is added, a blog is designed so you
can make continuous entries or "posts" over
time without having to reorganize the site.
The posts are generally displayed in reverse
chronological order, with the newest entries
appearing at the top of the page. TIlese lXlStS
may include any combination of text, pho-
tOS, sound, video, interactive polls, and links
42 1 landsup, Arehit,etllr' JUNl zo o.
Dlogs allow for the quick
dissemination of information
about very specialized topics.
mother web sires. Tn addition to the
POStS themselves, there is usually
some general information abom rhe
person, company, or group rhat runs
the blog, a list of links to other
blogs (called a blogroll), and an
archive thar allows you m see old
entries by date or subject area.
Another common feature is an
area where readers can make pub-
lic comments at the end of each
post. Sometimes, these comment
areas can act much like che "Iet -
ters to the editor" section in a
magazine or newspaper, but, if a
topic is heaced, they may develop
into a more intemctive forum
where readers can have an ongo-
ing convers.1tion with one an-
other. TIle person or group that
manages the blog generally has
the ability to moclerate these
discussions. They can decide
who is allowed to comment,
and chey can remove spam and
material chey feel is hateful or
offensive.
would hope that readers would not judge the
content as more than it really is-a parti c-
ular stream of consciousness, barely edited,
and often late-ni ght musings. More com-
plete ideas will show up in formal writing,
competitions, speculative works, and, most
often, my design solutions."
Blogging can be a gteat way to gain ex-
posure for yourself or your company. "Start-
ing a blog was a continued effort to help
my business's web site reach more potent ial
dients:' says Rochelle Greayer, a landscape
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44 1 landsupe ArchitechHe JUNl ZOot
COIIIIUNICATION
designer and wri ter whose blog, Stlldio g,
was launched on her company's web site
in July 2008. Since then her blog has
grown exponentially, and in March, she
had more than 1,000 K"aders each day-
approximately 30,000 readers that
month. Part of the reason for her success
is the sheer number of postS she makes;
the blog is updated a few times daily. "I
have had a lot of opJX>rtunities fOr writ-
ing, as wel l as some design projens, come
from connections made through the
blog," Greayer says. She has been invited
to write on other blogs, has written arti-
cles for a hospitality indLlStry newsletter,
and has recently been contacted about
writing for a magazine.
You can visit ASLA's blog, The Dirt,
at http://dirt.llsia.org.
pie with similar interests. Bm it also
means you will need to be more thought-
ful about what you write and JX>sr. Any-
one, including your employer and your
clients, will be able to SCf it. If people find
one of your postS and think it's particu-
larly interesting, they can link to it and
Others like King and An-
derson have purposefully sepa-
rated their blogging from the
companies they work for to free
themselves to write about
whatever they want withom
having {O censor themselves.
'T his is very imJX>rtant co me,"
says Anderson. "[ don't want
my office misrepresented for
anything that I discuss be-
cause [ don't ce nsor my
content.
Greayer has found yet
another benefit of blog-
ging. "Creat ivity breeds
creativity, and 1 find that
writing about design has
made me not only a more
educated designer, but a more
imaginatiwone
Who can read your blog?
Privacy controls allow bloggers
to decide whether their blog
will be publicly available. Some
people limit their blogs to a
small munber of people-friends
or a group that's working to-
gether on a projen- while oth-
ers can be found using search
engines and read by anyone
who's interested.
Having a public blog creates
opportunmes to connen to peo-
Christian Barnard
Landscape Blog
Christian Barnard, Victoria, British Columbia
Address: Irttp://clrristillnbamardblog,bIogspot.com
Focus: Land art, naturalistic plantings, urban agri-
cuhure, garden design
Sample posts: An inteniew with a landscape design
er in the United Kingdom, ,arioU$ concepts for Yerti-
cal farming, 10
avantgarden
makers rou
should know
Barnard on
keeping a blog:
"What started as
a cathartic re-
sponse to mr daily frustrations, a soapbox for my
philosophies and ideals, has transformed into an in
,aluable source of connections and has led to sig
nificant personal and professional growth. People
from across the globe ha,e contacted me to com
ment on the blog's content and mr commitment.
Some of these spontaneous gestures have grown
into valuable friendships. I have also been ap-
proached by working landscape architects, blog-
gers, magazine editors, and advertisers who have
expressed interest in professional collaboration ....
It greatly reaffirms mr original intent for the blog to
know that other bloggers, designers, and larpeople
hare ,iewed mr blog, seen value in it, and mi"ored
mr optimism, hopes, and ideals. Mr Cilreer is now
mowing into wholl)' unupecled territory."
COIIIIUNICATION
share it with their friends, allowing
the information to be spread vi rally.
You may even fi nd yourself quoted
without permission elsewhere on the
Net or in print media, as I rt'Cemlydid
when I lX):Sced a query in a public fo-
rum on a social networking site.
Ofcol.lfSt', there is no guaramee that
anyone will read what you write. To
some extem it will depend on how in-
reresting YOUT posts arc and whether
you are filling some previously un-
filled niche. Most hlogging platforms
allow you [0 rnoniwr the eraffic on
YOUT blDg so you will be able [0 know
how many peopl e are reading it.
How do I start?
"Starring a blog is relatively easy," says
Anderson. "There {are} a number of
blagging platforms out there. Some,
like Blogger, are free and preccysimple

Sprout!
RoyFisher Associates, Southern Florida
Address: http://sproutcastl.bhJgspot.com
Focus: Sustainable design in Southern
Florida and therapeutic healing gardens
Sample posts: Staff notes on some roof
plante" the, were using to experiment
with plants in yarious soil media, a note
from a professor telling them how ther
could improve their experiments, com
mentary on the Florida Green lodge certi-
fication program's lack of a landscape
component
Roy-Fisher on the time commitment inyolyed with
blo"ing: "We started Sprout as a result of a staff
brainstorming session on how we could be more fo-
cused on quality sustainable design and brand our-
selyes along the wa,. We were inspired b, a market-
ing comlHIny called Brains on Fire that has an
incredibly creatiye web site and blog I find it is
yery challenging to keep up with the blog, let alone
all our experiments, and run my office. If I were to
keep the blog up the wa,I'd like, I would spend a
minimum of 20 hou" a month. So far, I haren't
been able to do that because of m, won. schedule."
Petersen Mfg. Co., Inc
Concrete and Metalsite Furnishings
to use if you don't want a lot of cus-
[Omization." If you can use a word
processor, you can probably
blog without much trou-
ble. Just choose a blog host-
ing site (see Resources),
click on the button that
says "Create a Blog" (or
something like that), and
follow the instruct ions on
the screen.
Tosee how much effort it
would take, I started blogs
with both Bloggerand \'{!ordpress.com,
rwo of the most iXlpular blog hosting
sites. \Vhile I have experience using a
variety of computer progmms and s0-
cial networking sites, I had never tried
srarting a blog , but their directions
were fairly stmightforward , and both
rimes my blog was up and running in
less than five minutes. It took more
rime to come up with an original name
for each blog than anything else!
Once YOll g et yOllr blog g01ng,
you'll wane to look through all your
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46 1landsupe Arehotechne JUNl ZOot
settings (particularly your privacy set-
tings) before you post and make sure
they are at the level you want. Then
just post and repeat!
If you would like your blog
to appear as part of your per-
sonal or company web site, it
is possible to set that up in the
user settings of many of the
mOSt commonly used web-
based applications. It takes a
little more tech savvy, bur you
can also host a blog through your ex-
isting web site with a variety of free
software available on the web.
How c:an I find out about other
landscape arc:hltec:ture blogs?
How c:an others find out about
my blog?
The most popular blogs will show up
in general websc--arches on Google, Ya-
hoo, and other search engines. There
are also search engines like Technorari
(See Resources) that specialize in find-
ing blogs. Bue one of rhe best ways co

Design Under Sky
Adam E. Anderson, Southern California
Address: www.desjgnundersky.com
Focus: A variety of subjects related to landscape ar
chitecture with posts that are
conceptual and imaginative
Sample posts: The use of sound
and interactive media to ener
gize the urban landscape,
geospatial mapping, the land
art of Andy Goldsworthy,
speculation on how teaming with unconventional
creative minds-like The Flaming lips-might rede-
fine what II landscape could be
Anderson on blouing', place within the news media:
"I don't think professional journalism will ever be
completely replaced by bloggers., in similar fashion
that new design $OfhJare in the hands of laymen will
never replace the need for architects. But bloggers
have II freedom of specificity and don't face the same
sort of editing that journalists can be hindered by.
With so many topics, happenings. and ideas, there's
no WilY even an online magazine can cover all this info.
The unbelje,able attribute of blogs is their ability to
'fill in the cracks' of uncovered material."
find out about new blogs is by click-
ing through the blogroll on a blog
that interests you. TIle blogroll is a list
of "kindred" blogs that the person
who runs a blog finds interesting.
blogging software will also have
a dashboard, which allows you to fol-
low other peoples blogs either pub-
licly or privately through an RSS feed.
When('Ver you decide to publicly fol-
low other people's blogs, they can find
out about you and your blogs. Many
blogging platforms also allow you to
find out when others have linked to
content on your blog. This encourages
conversation between bloggers and
creates a sense of community.
Can you make money from
blogging?
Many blob'S try to make money through
advertising. While it IS fuirly easy to put
ads from Google Adsense and Ama-
ron.com into your blog, very few people
make a significant amount of money
through this SOrt of adverrising unless
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they reach a very large audience. '" host ad-
vertising like Google Adsense," says Ander-
son. "$orne revenue comes from it, but it is
very minimal."
Many of the blaggers interviewed for
this story have been hesitant to add any ad-
vertising for fear t hat it would compromise
their message. But other blogs like Stlldio g
that have a large readership are experimem-
A Valuable Teaching Tool
A
s AN EDUCATOR, I find blagging a
useful way to spur discussion and en-
courage students to go beyond what
rhey are required co learn for class. My
blog, Places and Spaces, starred om as a
casual experiment in December 2006. I
had previously tried creating an online
bulletin board for class discussions, but
that turned om [0 bore both my stu-
dents and me, so r didn't have high ex-
pectations for blagging when J started.
Nor recognizing its potencial, I chose a
name that wasn't distinct and an address
that was hard to remember. But almost
immediately I discovered that my blog
was gerring read by both students and
strangers, and it was becoming a valu-
able creati ve outlet for me.
Between laptops in studios and i-
Phones at lunch, students are connected
with the Internet for much of their day.
\'{lhi le I don'r necessarily want to increase
their time online, I would like to
ing with more significant advertising-
banner ads and actually advertising within
some posts. "I read a lot ofblogs," says
Greayer, "and I find that on many of my fa-
vorite sites, the advertising is acrually a fea-
ture because the site editor has carefully
chosen the advertisers to suit their readers.
For Studio g, I want to SUPIx>rt small busi-
nesses so the landscape-related products
{they make} can reach a global audience.
Products advert ised will always be garden
related and something ' would consider
buying for myself or a cliem." These sorts
the web and comment on issues affect-
ing the profession. Some postS feature
photos J have taken of places and events.
One of the ideas I' ve tried is having
guests name their three favorite exam-
ples of landscape architecture; these en-
tries provide photos and maps that show
where these spaces are located.
The blog serves as a great foil for class-
room conversations. When I am plan-
ning to talk in class about something
controw:rsial, like New Urbanism orem-
inent domain, I use the blog to link to
provocative art icles on the subject. \X1hen
J make these POStS a day or two before
class, I can usually coum on a more ener-
getic discussion. Unlike the textbook,
which remains vitally important, the on-
line items can be more fun and more
readily invite criticism.
The blog is also helpful when I am re-
cruiting new students. The Environmen-
tal Planning and Design program at
of posts have the lX>temial to function sim-
ilarly ro the innovative new products fea-
tured in the editorial areas of many shelter
magazines. Greayer has even run contests
on her blog, partnering with a book pub-
lisher ro give away free copies of a new book
to help it gamer publicity.
What are some of the legal
Issues I should c::onsider before
I start my blog?
While blogging can fed likescmpbooking,
it's legally a different sort of animal. In the
Rutgers University offers four degree
paths: landscape architenure, landscape
indusuy, environmental planning, and
environment al geomat ics. \'{lhen I re-
cruit potential students, they often find
these labels unclear, so [ direct them to
my blog, where they can separate the
pOStS by subject and see which one most
excites them. I know that my blog getS
pretty good traffic from web searches, so
I hope thac maybe one or twO potential
students stumble into us chat way, too.
I am constantly coming up with new
ways to use my blog. Now, when we
have guest speakers, [ Often try to "live-
blog" it, creating a small record of some
key things they said. Oneof {he most un-
expected and touching uses came when
the blog became a makeshift memorial
site where classmates, friends, and fami-
ly posted remembrances of a young alum
who had passed away.
see them reading a little more about Places and Spaces
Some advice for other professors inter-
ested in blogging: You can't
lure scudents in by pretend-
ing to be cool (e.g., using their chosen profession. I figure if
my blog is easy to reach and reli-
ably distracting, maybe they'lI keep
comi ng back.
On the surface the content on
Places and Spaces may seem a litrle
random. Occasionally, the blog be-
comes a bulletin board where I stick
a note for a specific class. I also post
announcements for public events
or lectures that our students and
professionals in New Jersey might
find stimulat ing. But most of the
information is accessible toa wider
audience. I link to articles J find on
4s l landsuP'Archit'etllr, JUNl zo o.
Dnid Tulloch, "'SUI, Rutgers University, New Jersey
Address: http://epd372.biogspot.com
Focus: News and commentary
related to landscape architec
tUre and environmental plan
ning, posts specifically tailored
to Tulloch's dasses
Sample posts: A heavily iIIus
trated post on Pare del Audi-
toris, notes from a presenta-
tion by Stu Appel, ASUI, on his
work in DUNi, a quick note on
a news story about New Or
leans that might be of interest
to his students
cultural references and slang
that aren't part of your nor-
mal communication style);
they are far too savvy for that.
A nickname has emerged for
a web environment where a
college professor tries too
hard to create a fun online
place------the creepy tree house.
I think that my blog has
worked because I treat it as a
natural outlet for my di verse
academic interests.
~
A Voice from Outside
The Profession
M
y DAY JOB liAS NOTHING to do
with playgrounds. J work in a labo-
rmory, making and testing new nano-
structures and nanodevices. But unlike
some sc iemiss, I don"t like [0 think
about science outside work. I actually fed
that turning my mind to other things
helps me generate new ideas. Most of my
leisure reading is about design, archi rec-
rure, and landscape. ' actually took a year
off from the lab to get a master's degree
in honrden history from the Universi t y of
Bristol in the United Kingdom, and I
continue to write in that /ield, mosdyfor
scholarl y ioumals.
[srarred blagging in January 2008, see-
ing it as an online version of my "favori res"
folders except with more commentary, a
way ro keep track of things that interest-
ed me. In a rush of enthusiasm [ starred a
number of blogs covering my currene
range of interests: garden history, church
design, and intersections betwccn science
and art. It was tOO many to keep up with,
and interestingly, it is the science/art blog
chac has really fallen by che wayside.
The playground blog scarted a bit lat-
er. My small church needed a new play-
ground, and in invest igacing che options
, did the standard thing and contacted
commercial suppliers of playground
equipment. , was stunned to find OUt that
our minimum cost for a "'poles and plat-
forms" set would be aOOm $25,<XlO; my
budget was more like $1,000.
TIle monkey bars, for example, were in-
stalled upright as climbing ladders, one
of the platfonns was set on topof an earth-
en hill, and swings and slides were added.
I'm currently working on a toddler area
using more earth fonns and stumps.
It is interesting that PlaYSCdjleJ has be-
come my most popular blog, with three
times the traffic of the others. It seems to
have really met a need, and for that J' m
gmteful. I find the majority of the play-
grounds I post through my own search-
Blogging is a truly egalitarian
form of journalism.
No qualifications are
necessary; it's the quality
of your ideas that matters.
es on the web, through books, and in
archives, bm some are suggested by my
readers, which is helpful. As the biog has
become bener known I am beginning to
hear from firms chat suggest their own
projects or equipment for inclusion.
While I'm happy to consider such re-
questS, , feel quite proteccive of t he site's
contem, and ' only list things that 'find
worthwhile. I consider myself a curator,
in a way, consolidating all of these useful
ideas and approaches inroa singlecollec-
tion for everyone to view.
When ' started blogging , promised
myself that I wouldnt let it add stress to
my life. , didn't (don't) need any more
deadline pressure. But that changes
when hundreds (okay, I" m into the thou-
sands range now) of people visit the blogs
daily. I"ve just been in London, where '
found that' had actual fans of my garden
history blog, which is a new experience
for me. You begin to feel a responsibili-
ty to the people who are so kind as to take
an interest in your ideas. Because I hope
that the P/ayscape.r blog senres as an in-
spiration to improve the experiences of
children, there is an added sense of re-
sponsibility, and inevi t ably some pres-
sure to keep posting comes with that. At
the moment, I think ' spend about six
hours a week blogging. I don't want to
add it up, really, and it tends to be done
in bits and pieces around other demands.
Aside from the sense of responsibility, I
keep it up because J really enjoy blogging.
I didn't know J would enjoy it so much. It
enables me to discuss t hings for which I
have a limited audience within my own
circle, who have heard me bang on about
playgrounds and garden history and the
need for more thoughdl.d church architec-
ture more than they can bear. I've never
seen myself as a writer, so it has been en-
ridling to have people compliment not
JUSt my content but my writing. And for
the playgrounds blog, I've been conraaed
by people who let me know chat it has
made an actual difference on the ground.
And the playground set didn't Playscapes, Garden History Girl
Blogging is a truly egalitarian
form of journalism, , think. No
qualifications are necessary; its
chI" quality of your ideas that
maners and that wins you a fol-
lowing. Blogs allow for a much
narrower focus than would be fi-
even look like very much fun.
Cursory Internet searches rumed
up loads of companies al l supply-
ing basically the same things, and
, thought there had to be better
approaches out there. More exten-
sive research led to some really in-
novative approaches to play spaces
designed by architects and anists
and to play studies that showed
that many commercial approach-
es weren't in line with current re-
search about how children need to
develop. Givenour limited funds,
we decided to repurpose a couple
of standard wooden climbing
Structures that had been donated.
Paige Johnson, Tulsa, Oklahoma
Addresses: http://phygrounddeslgns.bIDgspot.c&m,
http://gardenhistorygirl.blogspot.c&m
Focus: Unique solutions to children's play in the land
scape, the history of garden design
Sample posts: A proposal
for a new slide that a de
signer is looking to mass
produce, a playground!
hangout for teens at a
high school in london, a
historic photo of a play
ground in New York from
1910, a playground that
can be used for teaching kids math, a historic English n
tate called Stanway, a memorial to John F. Kennedy at
Runnymede, ,intage gardens and their gardeners
nancially tenable in a
more costly medium
like a magazine, and
they provide an easy
way to gather togeth-
er a group of people
with common inter-
ests. They give people
like me, who are out-
side the traditional boundaries of
the profession, an opportunity to
have a voice.
CO II lID N ICATION
United Scates, bloggers must follow laws
rel::mJ to copyright infringement and libel.
TIlt'S!' issues become more imrxmam if your
blog isaffiliaced with your company in some
way, due to the greater liability it creates.
Libel should be easy to avoid. Just don'r
make any statements offact that could tar-
nish rhe reputat ion of a person Of corpora-
tion without having evidence to back up
your claim. It's fine to be cri ti cal and to
write a negative opinion, but make sure
noneofyollf "opinions" aTe acmally a false
statement of f.1.CL For example, writing
something like "It is my opinion that xyz
Landscape Architecture bribed a local offi-
cial to bear me our on a projece" is some-
thing that can be proven or disproven with
certainty and may be libel if you cannot
support your claim. Bur writing "XYI..
claims that its work is sustainable-what
a bunch of grttnwashing" is more likely
m be considered an opinion, since susrain-

Studiog
Rochelle Greayer, Harvard, Mnsachusetts
Address: http://greayer.com/studj(lg
focus: Inf(lnnation pri
marily suited t(l garden
designers working on res
idential projects or on
projeds for hotels and
spas. A good place to find
interesting and unusual
products for use in the
landscape
Sample pom: fabric
walls that can be used for
screening in the landscape, a garden created
by a designer in India, highlights from a
lighting designer's newly launched web site,
photos of the flowers popping up in her own
yard, drawings to win free stuff
ability is a relative concept, and how it is
measurc--c\ is constantly changing.
Tn practice, very few bloggers actually
follow copyright laws exactly, especially
when it comes to posting images. There is
li ttle enforcement of copyright in the blog-
C I FIClE ".:, ON REAOR SERVICE OR GO TO .HOTIMS.CQI.tIZl.09< '"'"
50 I landsupe Arehotechne JUNl ZOot
Greayer on how her blog has taken on a life of
its own and become more than just an adwer
tising vehicle for her business: "I am con
stantly fascinated and excited by what
other talented people are doing. so the
blog has eolwed to become an inspira
tional place for other designers and
hopefully for potential dients of any
landscape professional. I really hope
that Studio gwill help to promote a gar
den cuHure and passion for celebrating
the outdoors in the United State5 and
around the world (my daily readership
comes from more than 150 countriesl.
I am generally of the opinion that landscape
design professionals do not get their due.
Wrth StudhJ gt 1 hope to open consumers' eyes
to greater possibilities and raise the bar for
design expectations."
osphere today. JUSt as most of the people
who shared pirated songs on Napster were
never sued by a record company, theres a
good chance you'll never get sued for post-
ing copyrighted material on your blog.
According m many bloggers, posting pho-
tos of another landscape architect>s
work offhis or her web site will usu-
ally be seen as a compliment radler
than a reason for action, as long as you
gi ve the landscape architecc credit
and link back to his or her site. And
comrary to popular belief, it is a has-
sle to sue people, so many people
won't bother if they dont think they
have much to gain.
Nevenheless, its always a good idea
to be cautious and ask belOre you post
any creative works you don >t own, par-
ticularly if there is a copyright symbol
displayed where you found it. Even if
the copyright owner doesn't sue you,
he or she may repon your infraction to
whoever hosts your site and shut your
blog down if you repeatedly infringe
his or her copyright. And as the medi-
um becomes more popular, enforce-
ment willlikdy increase.
Copyright law is fairly complicat-
ed. However, there are certain parts of the
law that are pretty clear. "In no case does
copyright protection for an original work

Landscape+Urbanism
Jason A. King, ASLA, Portland, Oregon
Addreu:
Focus: Integrating
ecological processes
into cities, primarily
through vegitecture-
architecture with 'lege
tated rook and walls.
Sample posts: Video of a
green roof in Vancouver
that's uuder construe
tion, pictures and commentary on a green wall project
that hasn't yet matured along with examples of other
sites with mature green rook and walls, commentary
on the winning entries in a skyscraper design compe
tition, a book review
states Title 17 of the U.S. COOe (feder-
al law). Copyright protens the cre-
ative product used to express the
idea- writing, images,
architectural works,
recordings, and so on.
Contrary to popular be-
lief, creative works are
copyrighted as soon as
they are captured in a
way that can be shared;
it doesn>t matter if the
copyright is stated or not. Unless the
work has been placed in the public
domain or is explicitly licensed to be
used in the way you are using it
(many web sites now have buttons
King Oil the benefits of blogging: "(Blo"ing) has con
nected me with other blo"ers, writers, and landscape
architects around the world. These virtual and infor-
mal contacts have led to open dialogue and potential
collaboration in the future."
that will allow you to share content
on blogs), YOll should probably get
permission to POSt it on YOllr blog.
Now, there are provisions III the
law that allow for the "fair use" of
copyrighted work for purposes of
Cflt1(Jsm, comment, news repornng,
teachlllg, scholarslllp, or research, but
chis is where things gee a little murky.
of authorship extend co any idea, proce-
dure, process, system, method of opera-
cion, concepc, principle, or discovery,"
CIRCLE '"" ON REAOR SUMCE CARO OR GO m
JUN( 20 0. Landstlpe Arthit'ttur, 1 51
CIFlCLE I, ON READER SERVICE CARO OR GO TO HTTf> AlNFO.HOTlMS. CCIWl3<_,
DID YOU KNOW? \SJ A represents morc than
16,()()() in the United States and
abroad. Ifyoll aren"t a member. join the lea(ling
professional organization dedi('ated to IU'ollloting
and fmtheloing tht art and seiellt'c of
an'hiteetul'e. Contact
memiu]rsh i}J@asia.org
for information.
52 1landsupe ArehitechHe JUNl ZOot
AMERICAN SOClfIY Of lANDSCAPE ARCHITECTS
636 EYE SlRffl NW, WASHIN6TON, DC 200013736
2028982444 fAX 2028982285 WWWASUDR6
COIlIlUNICATlON
U.S. courts look at a number of factors
when they dec ide whether the use of
someone else's contem is fair use or not.
These include:
- "the purpose and character of use, in-
cluding whether such use is of a commer-
cial nature or is for nonprofi t educational
purposes"
- "the nature of the copyrighted work"
As you become a more
prolific blogger, you will
realize the importance of
citing sources and the
value of these laws to
protect your content.
- "the amoum and substantiality of the
portion used in relation to the copyright-
ed work as a whole"
- "the effect of the use upon the potential
market for or value of the copyrighted
work"
These factors are nor considered alone,
but in tandem widl one anmher and the
First Amendment to the Constitution. Just
because you don't have any ads and you are
using a blog for your own educational pur-
poses doesn't necessarily mean that you can
post an emire article from a newspaper or
magazine on your site, even if you provide
a citation, since that could potentially drive
traffic away from the originatOfof that con-
tem. But you could qume part of the arti-
cle tocommem on it or use a quote to sup-
pon your Ix>im of view. Also, it is OK if you
decrease the potential market value of a
copyrighted work, such as a i:xx>k, by cri t-
icizing it, but you aren't allowed todecrease
its value by distributing unlicensed copies.
See the Resources seC{ion for resources
on copyrights. And if you plan to use your
blog to point people to articles that are
elsewhere, if might not hurt to check in on
the Huffington POSf web site from time to
time and see how it handles this, because
its site is one of the most egregious news
aggregamrs. Of course, if you want a solid
legal opinion, you should consul t a lawyer.
As you become a more prolific blogger,
you will begin to realize the importance of
citing sources and the value of these laws
to protect your own content. "I have tried
to reference the original content holder for
every image and quote, both as a common
courtesy as well as a way to li nk back to
more complete comem," says King. "Once
you have infOrmation picked from your site
and used without attribution, you under-
stand rhe importance of ciring sources to
acknowledge the efforts of others. ,.
Resources
For more information on copyright, li-
bel, and other legal issues surrounding
blogs, check Out the foUowing:
The Electronic Frontier r oundation's
"Sloggers' Legal Guide," wUlw,eff org/
imle.r/ hloggers/legal/ baMity/ovtrview
. "Don'rGet All Hutty Aoollt the Hufling-
ron POSt," by Jack Shafer, Siale, /(Jw1(}.slale,
coml id/221625I
Stanford Universiry has a very interest-
ing site with a number of case studies on
what consti(Utes ('lir use: hup;/Ijaimse.
stanford ed,,/C opyright _alld _Fair _ U iC Over
t!iew/chapler919-r. hlml
The U.s. Copyright Office, www.ropy
right.g(IIJ
Some Other Popular Blogs Focusing
on Landscape Architecture and Relat -
ed Subj ects:
City Parks Blog (The Trust for Public
Land), hup:l/cit)parksblog.o'X
City Room (New York Times), http:lkity
room. b!ogs.lIytimei. ami
The Dirt (ASLA), http://dirt.aJla.org
Interchange (Planet izen), www.planet
izen. wml interchange
Making Places ( Project for Public
Spaces), http://blog.PP1.org
Playborhood, http://playborhood.com
Pruned, http://Pflllled.b/OgJPOf.aJ111
Streets Blog, www.streetsblog.org
Vulgare, WlllUJ.t'lllgare.nft
Some Free Blog Hosting Sites:
Blogger, IIltvU'.Blogger.COfll
Live Journal, tVllltv.lit.'tjollnlal.rom
Word Press, 1I111J1/.!.llJordpress.rom
Blog Search Engine:
Technorari, 1I1tl-'llJ,techll(ffall.com
AMERICA! SOCIETY OF IAIUSI:.IPF
636 m SIRHl !W. WASHI!610!.
101-898-1444 FIX 101-898-1185
JUNE 200t L.ndstlpe Archit'dur, l s3
A romanti c backyard pavilion is large enough
to entertain a crowd yet cozy enolwh for
, . . 0
private contemplation. By Barbara Meltz
Photography by Peter Vanderwarker
54 1landsupe ArehitechHe JUNl ZOot
A
LMOST AS SOON AS she and her
husband moved into their 1876
Newton, MasS.1Chusetts, Victorian
in 1991, laurel Farnsworth had an
indoor/outdoor lap pool in mind for
the backyard. Tom Farnsworth's resrK)fIse
was a droll ''I'd rather hire a limo to take
you to the Y"
TIlt' backyard became one of those proj-
ects they would do "someday." As someday
stretched into more than a decade, the best
they could say abom the nearly quarter acre
of open and somewhat dusty land our the
back door was that it was low maintenance.
Bur every wimer, they f.wtasized about a
garage. [n summer, they imagined gardens
and, fOf laurel, if flO[ a pool, Jx:rhaps a pond
with trickling warer.
Bm it was only in 2004, when a new
neighbor terraced rhe steep land behind
them, [hat they finally took action. "W/e
felt exposed," says laureL "We had lost our
sense of privacy."
TIley turned to architect lllOmas Huth
ofHueh Archieeces in Newcon. Hueh spe-
cializes in residencial rescoraeion and had
worked wieh ehe couple on their house, in-
cluding rescoring a screened-in porch. Buile
by the Reverend Francis liffil.l1Y of rhe Firsr
Unitarian Church in Newcon, the house is
one of only a handful of local Srick-sryle
buildings-named for their flar, sricklike
bands and ornamentaeion--surviving from
rhar era. 'This particular house also had a
strong Gothic influence rhar was added a
bit later," says Huth. "lors of arches and
quatrefoils:' Wharever he created in back
needed ro reflecr and honor rhat.
There was one other challenge. AI-
rhough ehe house is locared on an oue-of-
rhe-way cul-de-sac, it's within earshot of
rhe MassachuSfus Turnpike. No problem,
said Lmrel: \Vouldn'r a pond wirh run-
ning water provide ambient white noise?
Jusr steps from rhe house, rhe rhree-bay garage
Huth designed has a heated walkway and apron
and pleney of scorage. The overhead garage doors
are mahogany and crafred co look as if they swing
open. Anached but feeling cotally separare is rhe
12-by-34-foor pavilion, a protected outdoor living
area rhat can comfortably seat 20 for dinner.
We know the terrain.
Access strong talent. Post your open positions where committed professionals and proven performers
will see them. JobLink rates are lower than most newspaper postings, and ASLA members save even
more. Go to JobLink at www,asla.org/ joblink. the site for new people you need.
30 days $300 Member . $600 Non-member
I
'" Inserting this building OntO this piece
ofland and making it look as if they grew
together and belong with the house was a
piece of trickery," Hurh says, adding that
the structure reminds him of an old train
station, "the kind that once doned subur-
ban lines around here,"
That it's a pavilion and not a patio is
what makes it a success. The rooAine not
only provides definition and the privacy
the Famsworrhs craved, it also creates a co-
coonlike sense of calm and comfort. Not
too tight a cocoon, though- not with a
14-foot, lO-inch cathedral cedar ceiling
that glows golden at night in soft
light from Art'S and Crafts-style
sconces and discreet uprights, not
with the breeze that manages to
waft through even on the hottest
day, and certainly not with the ver-
dant plantings (hat surround it.
Designed by architect Karen
Howard of Howard Garden De-
signs in \'Vest Newton, the natural-
istic sening uses existing spruce
trees to provide borders. Howard
filled in with plantings such as
wCllXl aster, rhododendron, and var-
-_.-
_.-
---
56 1landsupe ArehitechHe JUNl ZOot
PLANT LIST
WOODY PLANTS
Aescufus parrif/ofa BoHlebrush bu(;keye
Amefanchitf X grandiflora
'Autumn Brilliance' Serviceberry
halea 'Weston's Lemon Drop' Azalea
Betula nigra ' Cully' Rim birch
Chionanthus rirginicus White'ringetree
Cladrastis kenlukea (C.lulea) YeBowwood
Clelhra alniflJfia'Hummingbird' Summersweet
Comus alternifo/ia Pagoda dogwood
CIJmus florida 'Cherollee Princess' Flowering dogwood
CIJfflUS sericea 'Silver and Cold' Yellowlwig dogwood
Craiaegus riridis 'Winter King' Hawthorn
CryptIJmeria 'Yoshino' Japanese cedar
FothergiJla'Mouat Airy' Dwarf iotbergilla
FotlJergilla ardenii'Ap alachia' Dwarf lolbe 'Ila
Ha/esia urolina Silverben
Hamamelis rirginiana Witchhazel
H[tirall{ea atboremns 'Annabelle' Annabelle hydrangea
/lex abra 'Shamrock' Inkberr
Hex opaca American hall
Ilex rerlicillata 'Jim Dand ' W'lIterberr
/fex rerliciHala'Red Sprite' WinterberrJ
JunipelVs rirginiana Eastern redcedar
Magnolia rirgioial1a Magnolia
Pieris floriJJunda Mountain andromeda
Pinus strl1bus 'Fastigiata' Eastern white pine
0



,
;
,
,
,
,


,
,
... ..
. _-
.....
\
"'1---'
.,
I
JO
........
--
- ., .. _ .
,----_ .. __ ........
-
-
j
"., .. ---
:V>-
I
....... ... -....
.. __ ... ...
...... -......... -
Betweell the house and
the pavilion. there's
a lush swath of lawll.
Rh,d,dtlld"n 'Hutfs Red' Rhododudron
St"ax americanus American snowbell
-... -.....
. .-. ....... A >-1
.. -.. ....... r ... -!.
.,
r-"" " 'ij
......... ..
I
I
c c c
,", .. .. ...-
..........
'",
1
r ..,
... . ... ...... .
.... . _ ........ ..
I
0 -._ ...
iegated dogwood. Berwtt:fl lilt house and
rhe pavilion, there's a lush swath of lawn,
large enough for croquet or badminWIl .
TIleI1 there's rhe pond. Bounded on one side
by boulders char were on rhe propenY,:lr 16
feet by 8 feet it accommodates tWO small
Hemeroullis 'Ruffled Apricot'
waterfulls. As Laurel relaxes in the pavilion,
she takes in rhe view with a sweep of her
hanel. "I could si t here al l day long," she says.
"1l1is morning, [here was a frog in rhe JX>oo.
TIle other day, I saw a hummingbird."
No, she can't go for a swim, bur it's her
oosis JUSt rhe same.
Iris rersicoJ" Harlequin blueflag __
Barbara f /\feltz. IJ rhe f(l/IlId-
Th_uia 9ttidenlaJis 'Nigra' Dar. Amerieaa arbollitae JeffersoNa dif!!!,lfa Twinleaf
illg editor of the At Home m:tioIJ
III the Boston Globe alld a fre-
Vaccinium angustifolium Lowbush blueberry lobelia cardinds Cardina"lo.er
Vaccinium 'Blueero ' H' bush bklebe MaUelUtja slnltbiopter1s Ostrich fern
q!lent contributor to Design
Vaccinium 'CoyilUigllbush blueberry MitdJllh repens
New England lIIagdzille,
Partridteberty
Vaccinium Higllbush blueberry Mitelh (1.' bl'a Twoleaf mitelll'ort
PERENNIALS
Osmunda tillnamomu Cillnamon fern
PROJECT CREDITS Landscape
Ajuga repens Badeweed
Pat'era auru Colden ragwort
design: Howard Garden De-
Af/lIMf/l unadtnsis Caladia. aaellClne
N,x st,/Dnifm'8Iu Ridge' Creep"g phlOI
signs, Newton, Massachuse[ts
Atuneus difirus Bride's featilers
I'bJSlstttia rit(iniana
(Karen Howard), Architecture:
ASiIIJIIIf unatienSII Cmdia. widgilger
'Miss Milliners' Obedient plant Hmh Architens, Newton,
PofJgonatJUlf cfmmufalum
Asler dirariralus Wkite wood aster
Sololno.'s stal Massachusetts (Thomas R.
PofJslicbum actoslitboides Ckrisbnas fm
Huth), landscape contractor:
Caltba palustris Yelow 11.511 lIarigold
eHIIUS rallldtnsis 8nellberry dopoocl
RwJbrdia "'tida'ColdsbltWI' BlICk-eyed StiR Downing LmdscapeConsrruc-
0'10ptttis gokJiana Coldie's woodlem
Spigrlia Woodla.d pinboot [ion, Dover, Massachusen s
HemeroraJlis ' Bright SUlISet' Daylily
SpitanihesHmta Marsh lady's tresses (Mi chael Downing), Water gar-
Hemmca'is'ChKago .pache' Baymy
cortlif," 'Running Taptstry' Foamflower den: New England. Wa[ft' Gar-
HemerDCalis 'Happy Retlrns' Daylily
T,;'ium pandfflfJl1Jm White trilium dens, Beverly, Massachusetts
Hemmcalis 'HWtriu' Daylily
Tro/ius laxus American dobeflower (Michael Parrdla),
Verattum Crm false .ellebore
JU N( 1001 Lu dsc'pe Arcbllechn I 57
I WILL SURVIVE
These six landscape archnects are surviving or even thriving
despite the recession. What lessons do they have to offer
others? Edited by Daniel Jost, ASLA
T
OM TAVEllA, FASLA, never expected
to be laid off. He was working for a
medium-sized mult idisciplinary firm
in Connenicut. Just three months
earlier, he had been named as the di-
rector of design for the firm's five offices.
But in November of last year, rhe compa-
ny informed him that his (XlSirion had been
terminated. "They decided that they were
going to go back to a stronger engineering
presence and less of a design presence," he
remembers. "It was SOrt of a shock."
Tavella was particularly surprised be-
cause he had survived the last major reces-
sion, around 1989. "I was t he young,
cheap kid," he recalls. "This time I was old
and expensive."
Many people would spend the next day
5s l landsupe ArehitechHII JUNl ZOot
feeling sorry for themselves, but not Tave!-
la. "1 didn't sit there and curl up in a ball
and pout. I immediately packed up my
stuff. They said I could take a couple of
days, bm I packed up within an hour. I was
home by one o'clock, calling contacts to
let them know what happened and where
they could reach me.
'The next day I filed for my {limited
liabil ity company} license from the state
of Connect icut and developed the web site
for Tavella Design Group. For a $30 in-
vestment I had a web si te almost the same
day through GoDaddy.com. 1 also printed
out business cards. "
For a while, Tavella continued to pursue
positions with other firms. "[ posted my
resume on ASLA 's Joblink and got contact-
ed by a headhunter in the United King-
dom who had work in the United Arab
Emirates, but there was nothing in this
area and very limi ted work in New York
City. TIle pickings were pretty slim." TIle
New York positions soon evaporated as the
recession spread, and Lwella wasn't inter-
ested in moving across the world. He grew
lip in Connecticurand has spent his entire
career, more than 25 years, working in
southern New England. He has a good
reputation in the region for his municipal
and campus-planning work and his advo-
cacy of sustainable design.
Wirh the supporr of his t:1.mlly, he dove
headfirst into starring his own firm. 'Td
thouglu about it before," he says, "bur [
was always too scared to do it. [ was mak-
ing good money and I was in a pretty com-
fonable place. I was never brave enough."
Lucki ly, his wife, Kara, carries thei r health
insurance so he didn 'r need to worry abollC
that expense.
"111e key to getting work was to contin-
ue to network within [he Connecticut
area," recalls Tavella. "AlA Connecticut had
a few functions I went to. The Construc-
tion Institute had a few functions. I kept
on going to all these meetings, to guest
speakers, and to trade shows. That was
probably one of the best things I did.
It was absolutely amazing how many
friends- architects, past che nts, and
engineers-called me up [t he week I was
laid off). I had a number of projects come in
really quickly that way. I gOt my first con-
tract within three days-t he University of
Hartford Pertonning Arts Center addition.
"Soon I had the contract for a parking
lot in Middletown, Connecticut. It doesn't
sound very sexy, but it's a nice-sized proj-
ect. I was able to bring in a surveyor and a
ci vil engineer, and they felrobligated once
I gave them some work to give me some
more, too.
Tavella also networked by speaking at
various functions and teaching a cl ass on
sustainable design. "One of the students
was an engineer for a private school. Afrer
rheclass, he came up to me and S<'Iid, Tom,
I know this might sound sort of boring,
bur I have a parking lot that [ would love
to usc the sustainable design techniques on.
an exhibilion allhe
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Would you be interested?' It was
only a $2,500 job- not very
big. But I elida bang-up job,and
it is leading to other work there."
Calling up old friends work-
ing in large firms outside the
area has also been hel pful . Tavel-
la found work as the local con-
tact for a big project by Saratoga
Associates. He has also teamed
up with other landscape archl-
tens who have been laid off (0
make proposals on large pmjens.
So far, Tavella hasn't had any
problems with diems concerned
about rhe stability of his young
firm. "T hey say, 'YOLI have the
experience,'" he says. '''That's all we're re-
ally hiring you for.' If I go for a project
with a municipality they may throw that
{issue] at me, but so (,1.f, we've been lucky."
l:'lVei la has been so successful in getting
projens that he has hired twO of his old
coworkers who were also laid off as comracr
employees. 'The intent is in the next six to
12 months, as we get stabilized, to bring
them both on as full-cime employees," he
says. ''You'vegot to stay positive. TIle more
positive you are, the more it exudes into
your work. Ie breeds this atmosphere that
people wanc to help you and hire you."
"MY W1LLlJ'IGNESS TO
TRAVEL J-L-\S BEEN KEY
TO KEEPING ElVU)LOYED. "
Ed Flaherty,
International ASLA
LAID OFF NOVEMBER 2008
DUBAI
O
VER TI lE 'YEAll'), I gradually became
aware t hat regional recessions are part
of the property development and construc-
tion industry, Every decade of my career has
been affected by economic downturns out of
my comroL Additionally, very large imer-
national projects are often contract-specific
agfft'ments, meaning that at the end of con-
strunion you may need to find another Job,
Both of these realities taught me to do twO
60 I landsupe ArehitechHe JUNl ZOot
While some may
see mv career as
nomadic, the places
I've worked have
strong connections.
thinh'S: (I) sa\'e money for che gap in em-
ployment berween projects, and (2) always,
always be looking for the nexc project.
If you can't find a job and you are trying
to support a family, you have two choices:
Either start your own firm or move to where
you can be paid for your skill set. It really is
that simple, My willingness to travel,
whether to Los Angeles, Istanbul, or Kuwait
City, has been key to keeping employed,
These decisions have been very personal be-
cause not everyone's fiunily members may
be interested in the cultural challenges of
moving to another country or even moving
across the Uni ted States, Mine have,
I also have an innate interest in foreign
cultures and their people's interact ions
with plants and landscape t hat others
might not share. I have lived in a lot of
cities that are pedestrian based rather than
auto based. I love the chal lenges of com-
munication, the multicultural diversity of
the project teams, and the completion of
very large projects.
During the late I 970s, I was
living in Boston and working as
a horticultural assistant, map-
ping and labeling for the Arnold
Arboretum, when our first child
was born. \'{forking there was a
great professional learning expe-
rience, but my desire for design
work and the cost of raising a
child had me looking for a job
with a landscape architecture
firm. My search went on for six
months in a regional recession as
I look at it. In the meantime, I
learned that Southern California
was short of landscape archi-
tectS, so I called some firms, and
they were interested in inter-
viewing me. I took a bus to Los
Angeles at my own e;.qx:nse, had
thfft' interviews, and {god three
offers in one week.
Liv1ng in a good West Los Angeles
neighborhoOO was expensive. So, after get-
ring my license, I eventually took an oppor-
tunity to manage design and consrfUnion
fora new town inSaudi Ambia. During the
1 980s, I worked four years in Saudi Arabia
on a very large intemational project, the
Yanbu New Town and Port on the Red Sea.
Our company had 2,000 people there man-
aging che work, As the priceofoil declined,
the project schedule was stretched and our
firm experienced periodic "reduccions in
force," When my pink slip finally came, I
began an imense search for work both inside
and outside the United Scates, Finally, afcer
nine months of aggressive job Imming, a
previous colleague advised me {hat our
company had needs in Istanbul.
After the project finished in Istanbul and
our son was nearing high school age, we felt
it important to be in a situation that would
provide a stable location for chose high
school years. \'{fechose to live in Letchworth
Garden City in the United Kingdom be-
cause we had found a school t here that
would provide the type of education we
thought would be beneficial for our child.
As it turned out, I was offered a job in Cam-
bridge at a salary that was 10 percent be-
low what our living costs were. TIley would
not negotiate. 1 turned it down. And that
turned out to be the last job offer I so'!w in
the United Kingdom as they headed into a
major real estate driven recession.
-
What If You Get Laid Off?
)"ou market )"ourself as a skilled gardener to for
2009, and started working in mid-
March 2009. It took me three
months-that is pretty quick com-
pared co past recession employment
searches. J am now working in Abu
Dhabi because it still has finances
mer residential clients?
r Leave with grace. Awoid blaming others. The
people you work with might help you get your
next job or the job after that.
... Create a web site that showcases )"Our skills.
... Consider jobs in sectors of landscape archi
tecture that )"ou might not have considered in
the past. Don't limit your search to companies
that share your specialty; consider other areas
where )"ou may be able to offer your skills.
and needs people wi t h my skill set. r If possible, go around to your fellow employ-
ees personally and tell them you enjoyed collabo-
rating with them and you're sorry you can't con
tinue to woft( with them. Exchange contact
information as quickly as possible.
... Don't limit )"our job search to companies that
Moving around so much has its
disadvantages. I have found it takes
at least t hree years to start building
local confidence and solid network
contacts. Leaving anytime after that
means you lose those contacts and
must stan a,gain in your new local
environment. However, it expands
your list of international contacts,
which in the long run may have its
own benefi ts .
... Use networking and job search web sites to
determine what companies are hiring.
are posting positions, since many new positions
are filled without ever being posted online or in a
neW$paper.
... Ask youfse" if you are willing to moye to find
work. Talk it over with your family.
... When searching for jobs and interviewing,
highlight the skills that make )"ou stand out from
a b"picallandscape architect ... Ask ,GUfse" if JOII hawe the experience and
connections necessary to start your own firm.
... Consider what skills you have that might be
useful to others: Could you market your drafting
skills to an engineering firm or other landscape
architects who need short-term help,! Could you
be a salesperson for a landscape supplier? Could
... Cut your expenses to the INlre bone and pre
I did eventually find a reasonable one-
year international assignment and picked
up other internaeional bies and pieces as I
could. I lived in ehe red for a couple of
years, bue ehe drought finally ended when
previous colleagues offered me a posicion
in pose-liberation Kuwaie in 1995. Those
temporary assignmenrs I found while in
the United Kingdom provided ehe con-
taces through which I found work for [he
next five years, so, in a sense, turning down
the Cambridge offer turned OUt to be [he
riglu decision.
I was working in Dubai when this past
recession caught up with me. In Novem-
ber 2008, tile 4,OOO-employee property de-
velopmenr company where I worked began
a series of cuts that evenrually more chan
halved its staff. I had seen the handwriting
on the wall and upgraded my job-hunting
act ivi ties before I ever got a pink slip.
While I was given 60 days' notice by
contract, I was asked to leave that day. So, I
cleaned out my desk of all personal items,
which in my opi nion should never be very
much. Then-and this is very important-
I went around the office (not bye-mail) and
personally met and shook hands with
everyone I had worked with. I than ked
each one, including my boss, for having
had the oPIx>rtunity to cooperate and col-
laborate on these projens, and I told them
I was sad not to continue. \Ve exchanged
pare for a long search. lob searches often take
six months or longer during a recession.
... Try to sta)" positive. The more positive )"ou
are, the more people will be interested in wo'*
\'\1l1ile some may see my career as
nomadic, the places I' ve worked
have strong connections. I have ex-
perience working in Muslim and ing with you.
mman detai ls and I moved on with as lit-
tledalliance or delay as Ix>ssible. GtxXi-byes
to fellow employees should be a time of Ut-
most professional dignity ... not a time of in-
dignation and fuult finding. These people
may be able to help you find your next job
or the job after that.
Networking is the key to finding a new
job. But to simply say 'necworking" is tOO
general for such a very imporcantefforc. You
need to know, first of all, what you want to
do with your career in the near, medium,
and long term. You need to know what you
must do to protect, support, and nurture
yourfumily. Then you need to know which
places geographically and which companies
can solve those basic needs. "nlose answers
will help refine your search. J scart by calk-
ing with friends and colleagues who have
worked with me; chen J do web searches
and quickly make personal contacts when
they look fruitful. Personal comacts are the
key. Pen pal/Internet connections are sec-
ond degree. I approach networking with a
combination of targeted effort and my be-
lief in kismet. Both are simultaneously es-
semial. I push out hard in my search for
work. I do not wait. But while personally
pushing, I never push the bounds of profes-
sional and civil decorum. Consummate pro-
fessionalism must be observed at all times.
This time, I mademmact in December
2008, was interviewed in early February
Arab cultures in both North Africa
and the Arabian Peninsula. And I have bal-
anced that with award-winning landscape
architecture across the United States, most-
ly in Californiaand Plorida. Al l of these re-
gions are related by botanical and climatic
similarities. So in a sense there is a strong
central thread in this nomad's tem.
" CREATIl\lC A
WEB Sfm COULD
HELP PROSPECTIVE
EMPLOYERS FIT\l[) YOu."
Tim Nickerson,
Associate ASLA
LAID OFF JANUARY 2009
NASHUA, NEW HAMPSHIRE
L
AST FAll WAS NOT A GOOD TIME co
be looking for your first landscape ar-
chitecture job. I had gone back to school to
study landscape architecture after a num-
berof years in the high-tech sector perform-
ing technical training fOra fi nancial systems
soft ware company. \'V'hen I began at the
University of Massachusetts, Amherst a few
years ago, the market for landscape archi-
tectS was strong, but by the ti me I graduat-
ed there were fewer jobs available. After
contacting nearly 30 offices, I fina!iy land-
ed a position at a smalliandsmpe architec-
ture firm in Brookline, Massachusetts. My
SPECIFY
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62 1 landsup, Arehlt,ehH' JUNl ZOot
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responsibilities were similar to other entry-
level professionals: CAD, rendering plans via
Photoshop, and general office support.
However, I was grateful fur the opJXlrtuni-
ty to work in my chosen field, and I was ex-
cited about the projects the firm was doing.
Over the next few months, as I was learn-
ing my way around the office, becoming fa-
miliar with their smooards, and setting up
meetings with some of my contac ts in
somhem New Hampshire in hopes of gen-
erating some work for the firm, the slow-
down hit us hard. During December, my
work was reduced co four days a week. One
of the principals was honest with me regard-
ing the possibility of being laid off if some
-
Creating a Web Sne Is Easy
W
HILE YOU ARE SEARCHING FOR WORK, try
creating a web site. Creating and
managing a web site is quite eas), nowada)'s
thanks to software such as Adobe Dream
weaver .... ..,.one who is familiar with a com
puter and PG" esses design skills shlM!ld be
able to succeed. You do not need to create
a site from scratch. Web site templates can
be purchased online. Doing a Google search
for "Dreamweaver template" returns sewer
al hundred thousand results. Many 01 the
sites on the first lew pages offer affordable
or ewen free templates. Free online tutori
als that teach you how to use Dreamweawer
are also readily available.
Df course, you will want to make sure
people lind your web site. Thesitewizard.com
has quite a bit 01 useful inlonnation on how
10 optimize your site for web searches as
well as articles about the technical aspects
01 hosting and creating your site. Being
aware of how search engines find web sites
before)'1M! create yours is essential .
... fter being laid off, )'ou ma), not have all)'
desire to continue your prole"ional or per-
sonal growth, but you must be valiant in that
effort. Creating a web site will be a welcome
distraction from sitting around, it will re-
quire)'Ou to organize )'Our life's work. and it
could eefl lead to a new job as It did for me.
-Tim Nicker. on, Associate ASLA
of the firm's proJXlSals were not accepted.
On a Sunday in the beginning of Janu-
ary, r got the bad news on my voice mail.
One of the principals wanted me to call
him that night or before I left for work
Monday morning. \Xfith a message like
that r knew what was coming. Although
they said that they did not wam to lose me,
they could not afford to keep me. They told
me that they would love to take me back in
the event some of the work they were pur-
suing came in. That never happened.
While losing a job is difficult in any situ-
ation, r was not entirely heartbroken. It was
not my fuult, after all. I am confident that I
would still be employed there if the nation's
economy were more robust. \Xlhat troubled
me was that there were few, ifany, jobs avail-
able in my new field. As anyone who has
been unemployed for any amount of time
Gln tell you, losing a jobean lead toa lack of
motivation. I fell victim to that at first.
I was about to investigate some mindless
job JUSt roget by. Then, I received an e-mail
from Environmental Pools , a high-end
designJbui!d finn in Chelmsfurd, Massachu-
sectS, that specializes in U1Stom gunite pools.
111ecompany was looking at bringing a de-
sign professional in-house. Although it was
not a market {hat I would have initially con-
sidered, r jumped at {he request.
Had r JUSt replied to job postings, I
would have never heard about {his job be-
cause the position was never posted any-
where. But r had created a professional web
site, IllWW.timlllckmol1/a. rom, during my free
time. Environmental Pools ' president
found my website by searching on Google
for "landscape architects Massachuset[S."
He liked what he saw and asked me to in-
terview. (He also interviewed a few people
who posted their resumes on Craigslist.)
After a two-hour interview, r left the of-
fice with a senseofoptimism. Having pro-
fessional project management, marketing,
and training experience in addition to my
degree in landscape architecture and being
technologically savvy seemed to appeal to
him. After a few weeks, r was offered the
position, and r accepted immediately.
While the firm was only looking for a
designer to work with clients, they have
expanded my responsibilities to reflect my
abilities. r have also been involved in some
marketing efforts and the implementation
of a new comprehensive customer and
THrDlRT: [AN YOU DIG If?
AMERltAN SOCIETY Of IANOSCAPf ARCHIHUS
636 m SlRm NW, WASHINGTON, DC 2OO0T-3736
101-090-14H fAX 101090-1105 WWWASIAORG
JUNE 200t L.ndstlpe Archit,dur, I 63
project management system. If you have
ski lis that are unusual for a landscape ar-
chitect, market them vigorously. See if you
can come up with ways that your prospec-
tive employer can use them.
' '"I'M LEARl,'lNG SOME
OF THE SOFTWARE
PROGRAMS THAT I HAVE
TYPIGALLY DELEGATED
TO .JUNIOR STAFF."
Keith Wilson, ASLA
SENIOR LANDSCAPE ARCHITECT
WITH LITTLE SENIORITY
SACRAMENTO, CALIFORNIA
A
s A LANDSCAPE ARCHITECT WI IO
graduated from college a little more
than 10 years ago, this is the first slow-
down I have seen in my career. Profession-
als like me really dont know what co make
of it all. \Vhen we came imo the profes-
sion, there was so much work out there
that most of us complained we were tOO
busy. Of course we had no idea that being
slow is much worse.
I feel fortunate to be employed at this
poim, but I am prepared if that ends. I de-
cided to make a job change during 2008
after spending nearly 10 years at one of-
fice. I knew the timing was bad. Seniority
and longevity at one office are often factors
in determining who will be laid off, but
my input was rarely given the ear I felt it
64 1 landsupe ArchitechHe JUNl ZOot
deserved by ownership. I had felt
thIS way for about two years prior
to thar iXlim and cried many times
ro effect change with no result. I
decided (0 find a company that
would support my input. Some
things are more important than job
security, even during tough eco-
nomic times. It was a tough deci-
sion, but I still feel it was the right
thing for me.
-
How Do I Network to Find Work?
.- Call all your local business contacts and let them
know what happened and where ther can reach you .
.- Call up friends and acquaintances at large finns
outside the area and see if they are trying to get any
projects in your area. You mar be able to be brought
on as the local consultant .
.- Once rou hawe worn out your business contacts,
call friends and family and let them know you are
looking for work .
.- Anend trade shows and other meetings where local
construction and design professionals will be /ASLA,
AlA, UlI, U5GBC, local college programs, and so onl
.- If you are really knowledgeable about a certain
topic, wolunteer to speak to local groups
.- Use computer netwol1dng services such as Face
book and Linked In to let people know you are look
ing for work. Post a message on your status.
.- Ask friends if they would be willing to introduce
you to other friends and business connections.
.- If you hawe good writing skills, consider starting
a blog or writing as a way of getting in touch with
potential employers or clients.
.- Join forces with other landscape architects and
design professionals to make submittals for larger
proposals.
The firse place I landed ended up being
a poor march for me, and I spene another
six months looking for a way OUt before
finding my current job with Seantec Con-
sulting. As a senior landscape architect
with only aoour seven months of tenure, I
know I need to be as diverse and capable as
ever co scay employed. If you are in the
habit of waiting for others co provide you
with things to do, your job is at risk. If you
are used co sitting at your desk and not net-
working with business contacts to develop
new leads, your job is at risk. If you arent
proactive about fi nding things co do that
will benefit your office, your job is at risk.
And,ofcourse, if you have a tmck record of
making repeated mistakes and needing to
be closely monitored or managed, you have
probably already lost your job.
on to managers at other offices that are bet-
terpositioned co pursue them. I have even
volunteered to travel co other locations to
assist where they may need staff to meet
aggressive deadli nes. The faCt that I am li-
censed in more than one state has made it
possible to help strategize on growing oth-
er offices that don't currencly have much
landscape staff or the ability to aggressive-
ly seek out local work.
Meanwhile, I have taken an honest look
at my own skill set. It's no longer okay to
be a senior landscape architect who relies
on younger staff to fill in technical ability
gaps. I am focused on becoming LEED ac-
credited within the next couple of months,
and rm learning some of the software pro-
grams that I have typically delegated to
junior staff, like Photoshopand Sketch Up.
I have been working on my own personal
t ime, using study materials that Stantec
makes available to its employees. Improv-
ing these skills will not only help me be a
more flexible and valuable employee for my
company, bur I will also be more preparc--d
to survi ve on my own should I lose my Job.
I am working closely with our market-
ing department, assisting with proposal
and quahfication submittals. Stancec has
offices throughout the Uni ted States and
C'Inada, so I am using my connect ions to
seek ou[ opportunities that my local office
would not pursue and am sending them
"Olm TRAll\l]j\lG IN
SO MAl'\JY DTFFERENT
D1SGIPLll\lS AWARDS
us fili ALLY GREAT
BHAi\lGI-llNG our
OPPORTU/lHTIES. "
Chris Gustard, ASLA
LI" OFF II"'" 2009
SAN DIEGO
I
HAD BEEN WORKING for the same land-
scape archi tecture firm since I graduated
with my BSLA from West Virginia Univer-
sity in the winter of 1998. At that time,
there were only 12employees. By 2005, we
had about 45 people on Staff, I had become
licensed, and [ was managing juSt about all
my own projectS from market ing and busi-
ness development to concept design and
managing preparation of construct ion
drawings. 111ere was even some discussion
of my becoming a partner down the road.
Bue then the housing bubble burst.
\When I was laid ofT on January 21, we
were alre-adydowll to 14 employees. By che
end of [he Jay, tllcrewereonly five. Honest-
ly, J did not chink they would let me go. I
had tOO scrong a connection with rhe local
design and development industry. r d done a
great deal of work with the ASLA San Diego
Chapter, a lot of market ing and business de-
velopment for the firm, and I had complet-
ed several volunteer design projectS in the
firm's name. Having been therefor 10 years,
I expected that t hey would have awarded me
the respect of offering me a lower salary orat
least giving a months norice before just shuf-
Ring me along with everyone else into a con-
ference room and saying, 'Sorry, but every-
one in this room is being laid off today."
Fortunately, as I watched the local and
national real estate markets spiral down-
ward, I had already realized that I needed a
bacl"Up plan that had nothing to do with
landscape archi tecture or t he construct ion
industry. So, nine months before I got laid
off, I decided to get a second job. A good
friend of mine had just started a restaurant
called Hawt horn's in t he North Park
neighborhlXXl of San Diego. I went to h im
and asked if! could polish up my skills as a
server. I had worked in restaurants during
hi gh school and college, so he agreed. As of
t his writing, I continue to work at his
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mcmE
restaurant as a side job; however, the
mnt industry is going through the same re-
tractions as everyone else, so my hours re-
main quite minimal. Meanwhile, I nmicro
another new restaurant doing tenant im-
provements right across the street from my
condo downtown. I inquired about a posi-
tion there and found Out they were looking
to hire about 40 employees including
servers, so I decided to apply. 1111' owners
indicated they had received more than 400
applications. Given my experience in the
nine months at Hawthorn's, they called
two weeks later and offered me a full-time
server position, which I took. Looking back
over this shon period of a year, the foresight
[ had to get a foot back in rhe restaurant
industry rr-ally paid off.
Bur even as I clung to the restaurant in-
dustry as a backup plan, most of my energy
continued to be fOcused in my chosen field.
As a former president of ASLA's San Diego
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As [ I"atched the local and national real estate
Illarkets spiral do\\mmrd, 1 had already realized
that 1 needed a backup plan.
Chapter, I felt well connected to many of
the design firms in $.1n Diego whether it be
landscape architecture or other design in-
dustry disciplines. The problem was that
no design firms were hiring at my level. J
had heard of a couple of firms that were
"flirting"' with hiring people, but [did not
want to waste my time or theirs.
J have had my design consulting firm
CGrx: L1ndscape Architecture set up for
nearly seven years now, and after this layoff,
I am so happy J worked out all the bugs of
setting up a company ahead of time. My
last firm did not have any with em-
ployees doing small projectS on the side,
which in my case were mostly residences
here and there. Since having a consulting
business li cense in [he city of San Diego
only COStS about $40 a year, , decided to
get that taken care of back in 2004. The
federal governmenc encourages people co
Shade
start their own companies. You can write
off just about all of the start -up expenses.
After J got my business license J set up a
separate bank account in my company's
name. J nt"'Ver expected this side company
rode ... elop into a full-time job, as I assumed
[ would Hick with working hard at myoid
firm and eventually make partner, bur now
that I was laid off, I figured I would really
put this business license to use.
It was only about five days after I was
laid off that [ found some work for my
company. A friend of mine forwarded a
Craigslist advertisement from Ancient
OliveTrees in San Francisco that was look-
ing fora landscape architect to be thei r sales
representative for San Diego and Orange
County. [ figured ' had nothing to lose by
resJXlnding to it. Theownercalled me two
days later and said he was interested in me
based on my involvement in ASLA and my
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connections to local design firms and con-
tractors. He put me on a plane three days
later, brought me to a house in Orinda
where they were installing trees, and of-
fered me a sales position that pays a month-
ly stipend and commission.
The week after accept ing the job, col-
leagues whom ] had worked with on sever-
al projects over the years approached me to
sre if ] was interested in start ing upa land-
scape archi tecture studio as part of thei r
planning firm. While I was debatingarout
whether to join them (eventually ] decided
against it), ] was approached by a client for
whom I had done a lot of work over the
years, D. R. Honon. nlCY had heard I was
laid off, and they were interested in talki ng
to me about doing some consulting work
for them. They needed someone ro work
with the city of San Diego and thei r design
consultants ro transfer maintenance ro t he
city for some of the stt'Cerscape projectS that
J had actually worked on while employed
with my last fi rm. By the last week in Feb-
ruary, I had secured a contract with them.
Since then, r have secured design comraas
for a church expansion project in C1r1Sbad,
California;a large residence in Poway, Cal-
ifornia; a hospital expansion project ; and
several other estates around San Diego.
Maybe things aren't as grim as the news
stories say, at least In dle landscape archi-
tecture field. Our trai ning in so many dif-
ferent discipli nes awards us really great
branching out opportuni ties. As of this
writing, r am sti ll working many differ-
ent jobs in addi tion ro my consulting and
volunteer work. I' m trying ro replace a
nearly six-figure S<1lary since the bills keep
coming, so r have ro work hard ro stay in
the game! We'll see if I can hold up. I re-
ally don't have a choice .. . with the mort-
gage on my downtown condo.
I would encourage people to get in-
volved with their local ASLA chapter, the
U,S. Green Bui lding Council, Urban Land
Institute, or local universities and get to
know all the people in the area and in the
local design industry, \'{then the market
does come back, and we start ro see the
light at the end of the runnel, the opJXlrtu-
nity JUSt might be there waiting for you.
"WRlTlNC [NTHE
LOCAL NEWSPAPER
HAS HELPED ME CET
MY NAlVlE OloT IN THE
COMMUNlTY. "
Michael Spencer, ASLA
SMAll-fiRM OWNER,
STill UPSIDE DOWN MOST MONTKS
NAPLES, FLORIDA
B
y J UNE OF LAST YEAR the handwri t-
ing wason the wall. I knew that busi-
ness would falloff dramatically, and I had
no clue what ro do. At fi rst, J did nothi ng.
"Heck," I thought, "I've been in Florida
for al most 30 years and seen recessions
come and go. It's JUSt the same thing all
over agam.
J was wrong. By Septembervolume was
down 40 percem. By [X-cember, we were
booking 10 percell( of normal expected
[('Venues, and we had nothing in sight, ex-
cept cominuing bank loans.
\'{te have always been a small firm-
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PRACTICE
never more than five employees. \'{Ie
serve medium to large developers as
planners or as planting designers and
have developed a good reputation in the
community. \'{then this private work
went away, we were stuck.
As luck would have it, one of the last
big projens we did was for a large local
home owners' association (HOA). T his
was a new diem type to us, and at the
time the amount of support necessary to
service the committee seemed like a big
negative. Later, I came to change my
mind. I made a fast friendship with the
contractor, a well -known company in
Florida, with whom I had prevIOusly
worked but never this closely.
Meanwhile, we had layoffs. We work
from a building that I built on the same
property as my home that I share with
my wife's yoga school. Wle have an acre of
gardens and test plots. It's an ideal place

Strategies for Employees
Worried About Being Laid Off
..- Use your free time to polish up on skills
you may hare delegated to olhers in the past
such as plant knowledge or certain computer
programs .
..- Make a list of Ihe connections you have
and talk to your employer about getting in
volved in marketing .
..- "there is a lag in work, think about the
ways you could help improve your office's ef
ficiency on future projecls (e.g., updating
symbol libraries in CAOI and volunteer to take
on these projects.
..- Cultivate a skill Ihat most people in your
office don't have that makes you harder to
replace.
..- "you have been putting off becoming li-
censed because you do nol need 10 stamp
drawings at your finn, get licensed. Having a Ii
cense will make you more valuable to your finn
alK! may be a deciding factor in whether Ihey
choose 10 keep you or someone else. It will
also give you more options if you get laid off.
..- Try to cut your personal expenses and
pul aside some money.
to work, but nowadays there's a strong
echo in the building.
At the same time r started acti\'e!y blog-
ging, mosrly driven by the poor design
quality that I was seeing in local public
works. I chose the address IlIww.badland
swping.wfII. At first, I feared alienating my
colleagues, but that isn't what happened.
Sure, those directly responsible can be a
little icy at ASLA meetin.b's, but the older
guys-t he Fellows-were all supponive.
So, I keprplugging away. I was simply
looking for a way to gain some exposure,
really- to help raise the level of work
and the level of the public's perception
about our profession. As luck would have
it, my blog was soon published on the
web site of the local paper, the Naples
Daily News. The editorial page editor
knew me because I had written some
"Dear Editor" rants and encouraged me
to send some writing samples co the At
Home edicor. After a month or so she
called me, asking if she could use some of
my work in the print edition, In July of
last year my first piece was primed, and
..- Consider getting a parttime job in an
other industry that would allow you to work
at reduced hours for your current firm until
things pick up again .
..- Save copies of your projects on a person
al jump drive and begin updaling your per
sonal portfolio. Be careful not to delete the
original files in the process
..- Make a lisl of your business contacts
thai you can keep at home.
..- Consider what your options would be if
you got laid off, and whal mighl be Ihe best
option. Have you always wanted 10 go back 10
get your master's degree?
..- "you think you may want to start your own
firm, begin researching what it would take .
..- Continue to network with other design
professionals in your area to see how they
are doing.
..- Always look for new opportunities. Scour
Ihe web and talk to other design profession-
als 10 see what jobs are out there. If you
have a strong feeling you are next in line 10
be laid off, slep up your job search and begin
applying for other jobs.
..- Keep the number of personal items in
your workplace to a minimum.
with very few exceptions (my work} has
appeared each week since then.
Naturally a prim piece has a different
voice and audience than a blog would have.
By that time, I realized that about the only
people with money are the HOAs and that
the column was an excellent way to reach
them. I" m nO[ shy about using my own
work [0 provide examples of good design.
Columns focus on topics like helping an
HOA determine when they need a land-
scape architect and what to do when hir-
ing, how to use bulletproof plams thm
need nearly no maimenance, and a recent
trip to the Denver Botanical Garden. I try
to make them humorous: A recemcolumn
on "juvenile delinquents" talks abollt
plams that look great for two years and
then stan [0 "act out. "
Soon, the phone Started to ring, and di-
rectly due ro the writing ' have picked up a
fuiramountofwork with HOAs. Bur writing
can also presenr challenges. \'Vhen an oppor-
tunity came up for some COntractS with the
counry where we are located, I hesitated. I'd
been writing and blogging widely on how
poorly they handled multimillion-dollar
planting improvements and didn'c want to
compromise my position by working for
them. I also wasn'c sure how they felt abouc
my cricicism. I wenr (hrough the process and
fuiled to make che short list. One wonders
why, buc I never looked back.
\Ve are still upside down most months,
and your guess about when it will rurn
around is as good as mine. But there is good
news. Recendy, an old diem called me
aixlut a new planning project. It surprised
me, for sure, but as she said, it will take at
least a year to get the project approved, and
they will need product when things turn
around. I am wrestling it through the Corps
of Engineers and the South Florida \'Vater
Management District now.
Resources
ASlA Job Link, IIIIlfW.dJla.orgIlSGWeb.
aJpx?loadU RL= joblin.
"My \'Vay: Six landscape architects tell us
about the ins, outs, ups, and downs of life as
a sole practitioner;' edited by Linda McIn-
tyre; ummeape ArthitiUllre, June 2008.
What CoI(ff LJ YOllr Parach"u? 2009: A
Prdtica/ Malll/a/ /(ff.lab HlIliters alld Career
Changers, by Richard Nelson Bolles; Berke-
ley, California: Ten Speed Press, 2008.
ClfICI...E 71 00 FlEAOER &EIMCIE CAOO OR GO m HTTPJrHfO.flOTIMS.COI.I'll4947.
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JUNE 200t L.ndstlpe Arehit'ttur. 169
A NEW NATIONAL
LANDSCAPE AGENDA
--
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PLANNING
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The Omnibus Public Land Management
Act of 2009 is just a beginning.
By Frederick R. Steiner, FASLA, and Robert D. Yaro
I
N MARCH, THE H OUSE AND SENATE
passed the sweeping Omnibus Public
L-md Management Acr of2009, which
was signed into law on March 30 by
President Barack Ohama. Its 1,2 18
pages provide deferred maintenance fOf
eight years of not-so-benign neglect by the
George WI. Blish administration and even
codify an important initiative establ1shed
10 I Landsupe Arehitetture JUN[ toot
during the Clinton administrat ion in the
1990s. The act includes more than 150
measures that create more than two mil-
lion acres of new wilderness areas, along
with national parks, wild and scenic rivers,
historic sites, scenic trails, and other pro-
tected public lands_
Although a weicome--and overdue-
anion, the new law does noc go far enough
-
--
co create a nationwide system of protected
landscapes. Some states and regions benefit
from new protected areas; many ochers do
noc. \'{{hile the new act makes the Nat ion-
al L1ndscape Conservat ion System, created
through an executive order by the Climon
administffirion, a permanenrentiry, rhe sys-
-
-
In 1987 a National Park Senice team led by Glenn (ugster produced
a national map, Potential Protected Landscapes, Local and State
Landscape Consenation Areas, that documented state and
local landscape consenation effolts under way in the continental
United States, outlined here in dark green. Areas newly protected
by the 2009 Omnibus Bill are highlighted in red.
tern is limi ted to areas adminis-
tered by the U.S. Bureau of l and
Management (BLM). As a resul t , the
reach of this national system is not na-
tional enough.
Using the Omnibus Public L'Ind Man-
agement Act as a found'ltion, we suggest
more comprehensive, bolder next steps.
Even with this new law, America's natural,
scenic, historic, and working landscapes are
threatened. In the East, vast areas of the
Central Appalachians are being destroyed
by mountaintop min-
ing, and che greac coastal
estuaries are threatened by
pollution from low-densicy
subdivisions. In the West,
public lands are threatened by
mining, dear-cutting, and over-
grazing. Ourcoosts, barrier beach-
es, islands, and wetlands are
threatened by vacation home
development and sea-level
rise. Across the country,
sprawl has consumed mil-
lions of acres of prime
agriculcuralland.
Despite these threats,
from the 1980s unt il the
_ passage of the Omnibus
"'" Public land Management
Act in March, the federal gov-
ernment largely abandoned a leadership role
in preserving natural, scenic, and historic
landscapes or curbing suburban sprawl. As
the Omnibus Bill illustrates, the accession
to power of a new pro-t'nvironment presi-
dent and Congress provides the opportu-
nity for the United Scates to renew its
historic commi tment to preserva-
tion of the nation's natuml, scenic,
and historic landscapes.
Preeedents for Large-
SeakJ Landscape
Protection
Precedents exist in the late 20th
century for the development of
conservation networks. In the wake
of the first Earth Day in 1970, the
federal government enacted a series
of laws designed to protect the envI-
ronment and to preserve land and
other nantral resources. \'{fithin this
context, the heritage conservation move-
menremerged, as did large-scale planning
effortS, the Lake Tahoe Initiative, and re-
newed planning activity in the Adiron-
dacks. The National Parks and Recreation
Act of 1978 auchorized che creation of the
nation's first urban national historical park
in Lowell, Massachusetts, and two new
g reenline" parks- the New Jersey
Pinelands National Re-serve and the Santa
Monica Mountains Nacional Recreacion
Area. Theone-million-acre Pinelands Re-
serve in Southern New Jersey was intend-
ed ac the cime to be the first in a national
network of reserves chac would be procect-
ed chrough partnerships between federal
and state initiatives. Revi sions to the Wild
and Scenic Rivers Act provided assistance
to help protect important river corridors,
including [he Ill inois & Michigan Canal
National Heritage Corridor (1984) and
the Blackstone River Valley National Her-
itage Corridor (1986).
Other reserves were established to pro-
tect large scenic and natural areas contain-
ing Ix:lth public and private lands. 'nlese in-
clude the lake Tahoe Regional Planning
Agency Commission (1969), the Adiron-
dack Park Agency (1971), the Marthas
Vineyard Commission (1974), the Colum-
bia Gorge National Scenic Area (1986), and
dle SawtOOfh National Scenic Area (1986).
The most ambitious land conservation
initiative of this perioo emerged from the
Alaska National Interest lands Conserva-
tion Act of 1980, which identified and
proteered vast wilderness, park, and
wildlife protection areas, including more
than 4 3 million acres of new national
JUN[ Uot L.ndstlpe Architecture I 71
parks. It is ironic that no such effort has ever
been undertaken to classifY and protect
ilar resources and lands in the "lower 48."
Sadly, after this high-water mark of the
land conservation movement, the federal
government vi rtually abandoned its
ership role in landscape planning and land
conservation when Ronald Reagan became
president in 198 1. This
12 1landsnpe Arehitechlre JUNl ZO Ot
"""
- ............... 1IounIIwr
u"""' .....
U...,.oI_ lloncIM_
"'-I,",
EO!_

The environmental challenges
now faced by the nation creace an
urgency to restart the promising
initiatives from our recent past.
The renewed attention to theenvi-
ronment by the Obama adminis-
tration offers hope.
Establish Nati onwide
Priorities for Preservation
The next step is to assess what we
have that merits protection. Also
beginning in the 1970s, the late
Ian McHarg advocated a national
ecological inventory to identifY the
best lands fOf both development
and conservation. The
mental Protection Agency pro-
duced its EMAP system and, soon
afterward, Secretary of che Interior
Bruce Babbitt, Honorary ASLA,
proposed a national biological
vey modeled on the U.S. Geologi-
cal Survey.
Due to intense opposition from
the Congress in the lace 1990s, the
national biological survey did nor
occur, bue the U.S. Department of
the Ineerior did initiate its GAP
Analysis Program, a means for "as-
sessing co what extent native ani-
mal and plant species are being pro-
tected." It identifies ehe "gaps"
between what is being protecced
and whae should be. GAP analyses
can be state, local, regional , or na-
Thl Rl,lonal Plan lssoc:laUo. and Hli
U.twln!ty of Plnnsyl,a.ia ldentifi14 26 lalMl
tional but are primarily conducted
at the stace level and are coordinat-
ed by dle United States Geological scaPH a.d CO.1ltalll blarils ... it.abll for
rl,ional prellrYllln tltI Nortfllan IMP'
re,ion, of ... k:h fl .. 1tIj0)' 101M dllJ'll of
protection from de .. lo .... lnt. Thlir ana "III
II adaptld from a map by Ute Appalachian
Mountain Club. The landscapes are lhow.
In juxtapolltion wit .. urba. izld land.
tinued under the presidencies of both
George H. WI. and George W. Bush.
ing the Clinton administration, imJX>rtant
isolated conservation efforts were begun,
such as for the Florida Everglades, and
habitat conservation planning advanced as
a means to implement the Endangered
Species An, but comprehensive,
wide efforts were put on hold.
Survey's Biological Resources Divi-
sion. This assessment program
helped set che stage for passage of
the \Xfildlife Conservacion and
Restora[ion Program and State
Wildlife Grants Program in 2000.
Under chis program, each state
wildlife agency has developed a
"comprehensive wildl ife conservation stra[-
egy"' to guide conservation act ion and pri-
ori[ize federal funding.
The GAP mooe! suggests a framework
for a more comprehensive assessmem of
JX>[emial conservation areas. Such an as-
sessmem should have four components:
- Geolog ical, Hydrol ogical, and Ecolog-
ical Prmecrion Areas
- Cultural Protection Areas
- Resource Production Protection Areas
- Natural I-Iamrd ProteC[ion Areas
The first two of these should be obvious
to landscape architects. Let's look at the lat-
ter two.
Resource Production PrOlecrion Ar-
eas. These areas include regionally or na-
tionally significant farmlands, ranches,
forests, mines, and water resources. Signifi-
cant resources include essential products
such as timber, minerals like sand and
gravel, or the elements necessary for pro-
duction such as prime-quality soil and wa-
ter supplies. These resources can be renew-
able or nonrenewable.
The United States possesses some of the
richc"Sr farmland in the world, yet the Amer-
ican Farmland Trust estimates that we are
losing three acres offarmland an hour to de-
velopmem. An existing mapping tool that
could be used in the survey is the U.S. De-
partment of Agriculture's land Evaluation
and Site Assessmem (LESA) system. LESA
uses several well-establ ished USDA systems,
such as the soil survey, to identify che besc
agricultural lands.
Drinking water protection is another
imporcant issue. Sprawl poses significant
threats to the supply and quality of our
drinking water across the councry, in pla.ces
as diverse as upstace New York and central
Texas. Ac risk are boch surface and ground-
water supplies. A 30 percent impervious
surface cover degrades che available sup-
ply; hence, maintaining a supply of clean
drinking water is a powerful reason to pro-
teC[ the lands surrounding watersheds.
Natural Hazard Protection Areas.
Areas prone to fire, geological hazards,
floods, hurricanes, and avalanches may re-
sult in the loss oflife and property if devel-
oped. An example of an effort to prmeC[
such areas is the National Consortium to
Map Gulf Coast Ecological Constraints
(see "Rebuilding the Gulf Coast," Lwd-
JCdjle Arrhiflllre, April 2006). It was con-
vened following the devastation to rhe
Gulf Coast caused by Hurricane Katrina in
2005. The consortium used existing data
from federal, state, local, and private sources
to map areas of societal, flood, hi gh wind,
and storm surge risk. Historical hurricane
patterns, economic impacts, and sea rise
vulnerability were overlaid with social vul -
nerability -u:tors to determine cumulative
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JUN( 200 . L.ndstlpe Arthit,ttur, I 13
PLANNING
risk at the Gulf Coast regi onal scales.
In the 1970s, the Coastal Zone Manage-
ment Act made noteworthy initial efforts to
protect the nation's coasdines. In light of po-
tential sea-level rise and continued frenzied
development along the coasts, a rftlewed ini-
tiative is necessary. A first step would be to
continue the relUrms needed fOr the nation-
al flood insurance and dis.'lSter recovery pro-
grams to remove incentives fur development
in flood-prone areas and use FEMA (Federal
Emergency Management Agency) funds (0
buy om storm-damaged properties, panic-
ularly in those areas that arc subject to re-
peared storm surges or are critical for WCt-
lands retreat. The areas of the greatest risk
could be set aside as preserves, having the
dual benefits of protecting human health,
safety, and welfare as well as providing
wildlife habitat and coastal regeneration.
These four assessments should be com-
bined in a National l andscape Survey.
14 1 landsupeArehitechHe JUNl ZOot
While an abundance of
data exists about our
national landscapes,
a coordinated effort
to analyze and synthesize
this data is lacking.
\Vhile geographic information systems
and remote sensing Imagery have ad-
vanced to a JXlint where an abundance of
data exists abom our national landscapes,
a coordinated effort to analyze and synthe-
size this data is lacking. This should be a
goal of the National L1.ndscape Survey.
The effort should be coordinated by the
federal government, enlist ing srate agen-
cies and universities, and should result in
a map of the most significant land and re-
sources that merit protect ion. J n additi on,
the survey should identifY new and JXlten-
tial opportunities for large-scale interre-
gional connectivity, such as the Appalachi-
an Highlands, the Yel!owstone-Yukon
Ini t iative, the Colorado Conservation Part-
nership, or the lewis and Clark National
Historic Trail.
The National L1ndscape Survey would
provide a spatial representation and rank-
ing of important landscapes requiring
preservation and management nat ionwide.
Intuitively, the result would be the identi-
fication of the large landscapes worthy of
protection . Conservat ion of t hese areas
must involve a partnership that combines
technical expertise, financial resources,
regulatory powers, and JXlli t ical engage-
ment from all levels of government and
the private sector. The strategies for realiz-
ing a national network would also need to
vary among regions to take into account
differences in public land management
and water law. T he National Landscape
Survey would elms provide the basis for ex-
pand ing the Nat ional Landscape Conser-
vation System beyond I3LM lands In the
West and Alaska.
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Regional Preservation Strategies
Federal and state public lands are distrib-
uted differently across the nation. Many
states in the \'<Iest are composed of high
percentages of public land, encompassing
the vast majority of the nation's 634 mil-
lion acres--or nearly I million square
miles--of public land. By contrast, Texas
and much of the Northeastern United
States have very little public land. \'{tater
law also differs in the East and \'{fest. The
coastlines and megaregions present s(X'Cial
op(Xmunities for this national landscape
conservation strategy.
In the \'{fest, a crucial first step would be
to revitalize national treasures in decline.
Existing national parks need to be restored,
their management systems improved, and
funding increased. ChroniC underfundi ng
of the National ParkService's operating and
Glpital budgets for many years has left t he
system with a multibillion-dollar backlog
simply to maincain existing parks.TIlis has
resulted in much deferred maintenance and
shrinking staffs. Department of the Interi-
or Secretary Ken Salazar's announcement on
www.sparkfires.com
p 866.938.3846 modern fires
New national parks
and monuments should be
created through
redesignation of lands
now controlled by the BLM
or other federal agencies.
April 23 that the National Park Service will
invest $750 million in the nations parks is
an important step in reversing the neglect
under the Bush administration. Nearly 800
park projectS will !"("Ceive funds that will be
used for construction, deferred mall1te-
nance, energy-efficient equipment replace-
ment, trails, abandoned mine lands, and
road maintenance.
A huge next step would be to create new
national parks and monuments through re-
designation oflands now controlled by the
I3LM or other federal agencies. National
parks generally receive a higher level of pro-
tection than other federal lands. A map pre-
pared by Glenn Eugster and his National
Park Service colleagues in 1987 (see pages
70 and 71) presents a good picrure of where
those new parks could occur. Eugster and
his team ident ified such areas as California's
Owens Valley, Arizonas Verde Valley,
Louisianas Atchafalaya Basin, and Adams
County in Ohio.
Areas ad jacent to existing National
Parks-many of them subject to vacation
home, resort, and tourism development-
are especially vulnerable and need stronger
protection. Efforts could also be expanded
to engage so-called gateway communities
in Joint efforts to meet park visitors' needs
for lodging, food, and services while pre-
serving the integrity oflandscapes and the
visitors' experiences. For instance, \'{fil-
Iiams, Arizona, which is the gateway to the
Grand Canyon, is an overpriced eyesore and
tourist trap. Plans to improve the quality of
this trinket town's built environmenc and
even create alternative gateways have been
thwarted by polirically influemial local
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JUN( 200. L.ndstlpe Arthit,ttur, I 15
PLANNING
businesses. Stronger leadership from the
National Park Service would help improw
the character of places like Williams.
\'V'ilderness and roadless areas in
al forests and on BLM lands need (0 be re-
stored and expanded. This would reduce
the trend established during the George
W. Bush administration, which eroded
protection of foodless areas.
Based on the National L-mdscape Survey,
new national forests and wildlife refuges
should be created. New national scenic COf-
ridors and preserves should be established
around existing protected areas such as wild
and scenic river corridors. 111t coordinated
effurtS of the fedemJ government, twO srates,
and several local governments (0 proteer rhe
Columbia Gorge provide one example of
such an undertaking. 111e Rio Grande and
Sf. lawrence River valleys present simi lar
oppommities at the international level.
The national survey will result in the
identification of i mjXlrtant prairie preserve
opjXlrrunities across the Great Plains where
irrigated crop cultivation is no longer vi -
able. In 1987, Deborah and Frank Popper
PUt forth their initially controversial "Buf-
falo Commons" proposal co rerum much of
the Great Plains to native flora and fauna.
From initial skepticism from within the re-
gion, the concept has received wider accept-
ance. The Great Plains Restoration Council
identifies the Buffulo Commons as "a cul-
cural and social movement for positive,
restorative social and ecological change on
the Great Plains."
As a model and a metaphor, the concept
is now matUre enough to investigate as a
network of many "buffalo commons."
Such a network would include restored
prairie ecosystems imegrated into a com-
prehensive economic development pro-
gram of business, solar, biomass, and wind
power product ion, creating the potential
for the plains to become a new Saudi Ara-
bia of alternat ive energy. Two examples of
places meriting preservation are the Flint
Hills of Kansas and the Sand Hills ofNe-
braska. Both are landscapes of considerable
rugged beauty and resilience.
In the Easr, biodiversity, watersheds, and
scenic and historic areas can be protected
16 1landsupe ArehitechHe JUNl ZOot
through new national parks, new heritage
areas, and new state and regional parks and
preserves. In addition, the federal govern-
ment needs to provide financial and techni-
cal expertise, while states impart manage-
ment and regulatory jXlwers and incentives
for local cooperation.
A first step to protecting biodiversity,
watersheds, and scenic and historic areas
would be to revive the L'md and \'\1ater
Conservation Fund and the Forest Legacy
Program. These funding sources provide
matching funds to the states and local gov-
ernment to undertake land conservation in
keeping with federal priorities and guidance.
Based on the National Lmdscape $ur-

11 Megaregions:
Arizona Sun Corridor,
Cascadia, Front Range,
Gulf Coast, Great Lakes,
Northeast, Northern
California, Piedmont
Atlantic, Southern
California, Southern Florida,
Texas Triangle
vey, a new generation of national parks,
forests, orother national designation could
be coupled with state-levelland-use regu-
latory commissions to protect large natu-
ral and scenic landscapes in the East. One
model for this is in the Highlands region
in New Jersey, where a Forest Service-led
assessment process, the federal Highlands
Conservation Act , and New Jersey's High-
lands \'\1ater Protection Act are combin-
mg to protect more than 400,000 acres in
a densely developed area. AnQ[her prece-
dent is in the Long Island Sound, where
assessments and plans created under the
auspices of the federal Long Island Sound
Study and funding from the Long Island
Sound Stewardship Act are helping pro-
tect a system of more t han 33 sites.
Concurrently, a new generation offeder-
al and state urban heritage parks is needed.
Examples include the RioSalado in Phoenix
and Tempe, Arizona, the Trinity corridor in
Fort \'\1orth and Dallas, Atlama's BeltLine,
and Cleveland's Cuyahoga River Valley.
111is would be consistent with the leader-
ship roles many cities are taking to regreen
urban areas such as Houston's Buffu!o Bay-
ouand New York's Fresh Kil!s ParkandJa-
maica Bay. Outside the cities, agricultural
preserves should be created for highly pro-
ductive agricultural lands threatened by
suburban development.
The Megaregions: A Network of
Regional Reserves
Megaregions are net works of more than
one metrojXllitan area, connected byeco-
nomic, transportation, and environmental
links. The Regional Plan Association pro-
jectS thar by 2050, more than 70 percent of
poplliation and e<onomic growth will oc-
cur in 11 megaregions across the United
Stares. Because of rapid growth in these
megaregions, the protection of open space
and important resource lands is especially
crucial. As a reslllt, the national strategy
should promote nerworksof protected "re-
gional reserves" in and adjoining the na-
{ion's 11 emerging megaregions,
Based on the National b.ndscape Sur-
vey, regional reserves would protect large
(100,000 acres or more) ecological, scenic,
historic, recreational, agriculrural, and wa-
ter supply systems through state-initiated,
regional land-use regulatory programs.
Drawing from the National bndscape Sur-
vey, landscape architects and planners will
be able to identifY suitable candidate land-
scapes for preservation at the megaregion
scale. For example, the Texas Triangle is
formed by San Antonio and Houston at its
base with Dallas- Fort \"X!orth at the apex. It
is most likely that any national survey, such
as the one proposed here, will identifY the
Edwards Plateau and Hill Country on the
west of the triangle and t he Blackland
Prairie and Coastal Plain on the east as sig-
nificant landscapes. The Edwards Plateau
and Hi ll Country area contains one of the
richest aquifers in the nation and is a scenic
landscape. T he Blackland Prairie and
Coastal Plain area includes the richest mrm-
land in the state. The Coastal Pl ain also in-
cl udes shorelines important for recreation
and vulnerable to hurricanes.
In the Northeast megaregion, the Uni -
versity of Pennsylvania and the Regional
Plan Association have already identified 26
candidate landscapes and coastal estuaries
that would appear suitable as regional pre-
serves. Of these, only five (Adirondack
Park, New Jersey Pinelands, Long Island
Pine Barrens, New Jersey Highlands, and
Cape Cod) are protected through existing
systems.
Protecting our lands and na tural re-
sources must become a national priority.
\VIe must conserve and protect our most
Wilderness and road less
areas in national forests
and on BlM lands need to
be restored and expanded.
precious lands: first, through a National
Landscape Survey, and second, through ex-
panding the National Landscape Conserva-
tion System co ensure America's fueure.
These landscapes hold a significant place
in American hiscory; if we want future
generations co enjoy their scenic beauty
and safeguard resources, there must be fed-
eral action, coupled with state, regional,
and local efforts.
Frederick R Steiner, FASLA, is &un oft/xschool
of architecfllre af fhe University of Texa$ at
Amtin. Robert D. Yam iJ president of the I ~ e
giollal P/an A1J(JCiation and professorofpractice
at the UnNii!Ntty of pfl/mylvania.
Resources
America 20:;0, /mlIW.America2050.org
Cities ill the W'ildeme.H: A New Vision of
Land Use ill America. by Bruce Babbitt,
Honorary ASLA; \'<fashington, D.C.: Island
Press, 200:;
Envision Central Texas, wfllw.envtJioll
centra/texas.org
Envision Utah, UlUIw.envisiolllltah.org
Gret'nbel t Alliance, /1JlVUJ. grembelt.org
Open lands Project, /Ull.lW.opelilallm.org
Land Trust Alliance, Ulll.lw.lalldtrtlst
a/liallce.org
Regional Plan Association, /Ull.lw.rpa.org
A Region at Risk. by Robert D. Yaro and
Tony Hiss; Washington, D.C.: Island
Press, 1996
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A seasoned sketcher shares his technique of travel sketching
to quickl y capture til e feeling of space.
By Carl Steinitz, Honorary ASLA
Y MAIN PURPOSE IN DRAWING is to
rr-cord the event of being there. l h ~ s e
drawings, then, are a kind of visual di-
ary. I date them and sometimes make
notes on the back. I go through my
drawings occasionally and gain pleasurr- from them and the mem-
ories attached, and J sometimes show them to people who arr-
amazed that J can draw- it is not my primary reputation.
I started sketching again in 1992, after not doing so since the
mid-1960s. J dont know why, other than being bored widl car-
rying a camera. Basically, it was for my own enjoyment and not for
accurate representation. As a result, I developed a fust and person-
al style of sketching in black and white. I typically make between
two and four draw-
ings a day when J am
somewhere of interest,
and J have made about a
thous.'md drawings.
Usually, J am trying to
capture the space and the
fed of the place as ~ n from
where I am. I certainly see
the scene more vividly when
drawing, as J need to pick my location to draw from and the van-
ishing point(s). I do edit the scene- normally no cars, no people,
no W1res. I don't fOcus on the details, but I try to include important
JUM[ 200 1 Lllldstllpe Artbite tlure 179
D A ' I . ~
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80 I lied sup rellltichir. l UU not
)
I am l1')'ing to capture the space and the feel of the place as seen from where I anI.
ones. Sometimes I am nO{ drawing a single view, as I frequently
move my vanishing poinr(s).
There are t hree places that I have drawn after crying (from quite
different emot ions): the walls of J erusalem, Bergen-Belsen, and
Yosemite Valley. And there are several places that ' have drawn
many times (they are challenging): Piazza San Marco in Venice,
Ryoanji Temple in Kyoto,japan, and Piccadilly Circus in London.
There afC three stages co my drawings. The first is a fredy
drawn outli ne for the basic structure and proportions of the scene.
My materials are go,erned in part by mobility (after all, the)'
hare replaced a small camera). I use an ASsize pad of 140-
pound acidfree watercolor paper that fits into my pocket. It
should be in a side-bound pad (but not spiral-bound) $0 that
doublewidth panoramas can be drawn. If wider drawings are
needed, a thin roll of Scotch Magic Tape is a useful accesso-
ry. Most of my drawings are two sheets wide, but I hare made
panoramas as wide as eight sheets and with moring vanishing
points. My pens are black extrafine office pens with nonper-
manent ink. I frequently and purposely smear the ink with my
fingers to gain a tone. I carry a small case with some pens,
cut-down Chinese brushes, and some paper towels. Also in
the case is a plastic bag. In it, I have a small vial of water
proof black ink, a plastic boUle with water (the boHles that
airlines use for gin are idea!!, and a small two-section salad
plate liberated from British Airways that I use as a paleUe
with water in one part and a few drops of ink in the other.
JUM[ 200 1 LllldstllpeArebiteelure l SI
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1l1is is followed by, and frequently combined
with, purposeful smearing or a conal hatch-
ing. Then (and sometimes later in rhe day) I
rapidly shade rhe image with a few diluced-
ink washes. The outline Stages usually rake
around nvero 10 minucesasheec,and rhe ink
washes rake another 10 to 20, plus drying-
rhe whole rarely raking more chan 30 min-
utes. I don't rough in [he sketch with a pen-
cil but stare immediately with my black,
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There are three
places that 1 have
clra wn after cryin a
. tl
([rom quite different
emotions ),
,
My drawing technique has changed some-
what since 1992, but less chan one would expect,
J have more control now, but control is not my
only aim, J am more daring, having made sev-
eral panoramas with multiple vanishing points,
I have given "fust-drawing" workshops at Har-
vard and elsewhere, "Look, draw, don't worl)'
about it," J tel! {he students, "Capture the place;
don't aim for accumcy. Above all, don't worl)'
about it; just enjoy it."
nonpermanent office pen. r start badly once in a while, but iff
do J just turn rhe page and restart. Mostl y r just draw fast, and
there are frequently some correnive lines in finished drawings.
No one seems co mind.
Car! Steinitz, Hon(ffary ASLA, iJ the AlexandRr andVict(ffia \Vtky Re-
search Proff!jj(ff of Lmd.icajJe Architecture alld P1anlling at Har/ldrd
Graduate School of Design.
JUM[ 200 1 Lllldstllpe Artbite tlure I S3
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A new park in Santiago
hides a highway and
forges a visual link with
the San Cristobal Mountains.
By Jimena Martignoni
Photography by Cristobal Palma

N CHIlL, THE CAPITAL CllY OF SANTIAGO has
completed roughly half of a new, 67-acre green
space-Parqlle Bi[enteIJdrio, or Bicentennial Park.
The rest of the park is slated to be finished in 20 L 0,
when the country will celebrate 200yearsofinde-
pendence from Spain.
Teoooro Fernandez Larrai'iaga, a well-known
Chilean archi tect, was awarded the project after
winning a nationwide design competition. Fernandez
has designed ocher parks in Santiago, notably Parque
Ines de Suarez (1994). Before construction began In
2006, the site fOf Bicemennial Park was an irregular
strip of undeveloped land in northeastern Santiago, fun-
ning nort h- south between the canalized Mapocho Riv-
eron rhe west and a new landscaped avenue, rhe Aveni-
da Parque de las Americas, on the east. This eastern
boundary froms an urban residential district, which en-
joys west-facing views of the iconic San Cristobal
Mountains. Thesite lies within the Vitacura municipal-
ity, one of Samiago's most prosperous districts, which
comm issioned the design .
Is.
Before the IXlrk was built, a 13-
foot-high cOllCret:e retaining wall em-
oonk(xi the river, obstructing visual
and physical access. Aftermrving OUt
the park site, the city decided to
build a rood on a ribbon ofland be-
tween thesiteand the ri ver. 111is new
road, mlled the Costanern Sur, wilt
serve as a fuse t:me for a national high-
way that runs JUSt west of (he river, at
the fOOf of the San Cristobal ~ - [ o u n
tains. 11lt road's locntion on {he east
side of rhe riwr, howC\'er, creates an
even more permanent barrier be-
tween rhe river and the park si te.
Construcrion is beginning this )'taf.
The overall plan of the first phase of the
park, right, shows: IAI pools and wetland
vegetation, IBI cobblestone path, leI
central esplanade, IDI east sycamore
path and promenade, lEI west new
rise with natives. IFI municipality
building and terrace, and IG) new
road and river Inot shownl . The
sketches show the basins located
on the north edremity of the site,
.bove. and the relationship be
tween the sycamore path. the
esplanade, and the mou ntai ns
to the west. below.
To funher complimte maners, a new municipll office building,
alsoche resulrofa public competition, was built in 2004 on rhetaS( side
of the site. As pan of the design program, (he park had to include a
paved area or pl:l2a chat would connect with it. 111is semipublic pl:l2a
would form rhe roof of an underground parkingh'3nle for rhe building.
Cre.tlng. Rlver.lde Park, Without the River
'1l1ese were rhe conditions Fern{indez confronted when he smned thede-
sign. In Santiago, rhe principal public IXlrks take rhe form of grassy es-
planades between the river and the urban edge, and most local residenrs
associate (he word "park" with a tree-lined riverside corridor. In this case,
however, the parkland edges would be bounded on both sides by roads,
0-
----..
A series of steps, above, differ-
entiates the most public: part of
the sycamore path, slightly be-
low street level, and the pas-
sages adjacent to the park. The
park's ground plane is about
eight feet below the path.
Native palms, teft, are planted
on the west edge of the park.
-
yet the designer chose to emulate
the local convention, creating a
naturalistic, sloped ridge [Q buffer
the sight and sounds of rhe ex-
panding highway on rhe park's
western edge. This rolling green
berm, planted with native trees
and palms, echoes rhe ripple of the
San Cristobal foothills behind it ,
effectively "oorrowing" the moWl-
rain views so characteristic of San-
riago. To smooth out the elevation change between the top of the
ridge and the park's ground plane, Fern.'indez mocleled a gradlLll
slope that ranges from 5 percent to 12 percent.
On the eastern side, the character of the park is more urban. 111e
new sidewalk, which nms pamllel to Avenue Parque de las Americ-
as, Isageometrinulyaligned path plamed with an alJeeofsycamorc--s.
At junct ions wi th entrances and ramps. the t rees are punctuated by
homogeneous groups of ornamemal grasses. Paved for most of its
length, the path includes portions surfaced with cobblestone and
edged by low rock walls reminis-
cent of the swne walls found in
Chilean agricultural valleys.
A series of steps differentiate
the mOSt public parr of rhis pat h,
where it borders the streer, and
the passages adjacent ro rhe park,
The path itselflies slightly below
street level, and rhe park's ground
plane is abour eighr feer below
the path. 1lle parh crosses a poved
overlook atop the new municipal
building's underground facilit ies,
which precede a rerraced, srone-
d ad [('raining wall from which
The sinuous pedestrian and bike
pillth, and right, Irarels
along the upper part of the newly
created green rise; views
from this path are quite spectac
ular. Irregularly shaped concrele
benches and intimate nooks are
offel"t'cl on the central esplanade-
like area, opposite top. The
green ri se, planted with nati."
on the west edge, o.erlooks the
cenlral esplanade and the city
behind, opposite bottom.
the stair.; and ramps descend. TIle wall resolves tlleeight-iOOt el-
evarion change between rhe padl and dle park below. Visitor.; can
rake in views of the ent ire park from rhis promenade and
a balcony atop rhe paved overlook.
This concept of terraces and viewing promenades is repeated
throughout tile park, including rhe west hillsides, from which rhe
1
city's mllest new rowers and the municipal building and plaza
can be fully appreciated. An upper path traces the top of the
planted berm, doubling as a bicycle trail; seen from the opposi te
urban path, the seemingly continuous plane of the artificial slopes
and the mountains is broken only by bicycles moving slowly
across the static, linear landscape.
The space between the naruml and urban edges, respectively on
the west and east sides of the site, is an open meadow- a place to
saunter, lie on the grass, jog, picnic, play, and sunbathe. This es-
planadelike space offers some int imate nooks furnished with ir-
regularly shaped concrete benches and some more typical wood-
en benches placed along the pedestrian paths. Partially enclosed
by flowering shrubs, smal l trees, and grasses, these places pro-
vide a smaller-scale experience within this large expanse. In front
of the main stairs that link the sycamore path with this meadow
is a set of modern playgrounds whose blue rope structures are
usually thronged with kids.
It muld be argued that the lawn esplanade that extends along
the park doesn't respond to the local cl imate condi t ions ofSanti-
ago, where rain is scarce. In times when sustainable design ap-
proaches are necessary, is it mrrect to create a European-style
18.
Part of the en t IUIth is sur1aced with cobblestone and edged by low rock
walls, hen. The protect'. lighting, ~ I o echoes the reddishyellowish
hues so typical of the light that corers the Andes ewell' day at dusk.
grassy park that consumes extra water and requires extra costs?
The designer responds chat once (he abundant native trees plant-
ed along the esplanade and on the slopes are fully grown, the lawn
area will be reduced roa minimum, and irrigation costs won't be
an issue.
The paved plaz.'l for rhe municipal building, which covers the
existing underground parking, was designed as a series of angular
terraces that cover a 1,2-acre area, '111e terraces embrace the struc-
ture and extend outward (Oward the adjacent park lawn, creating
a fine balance between green and paved areas throughout the park.
111e geomet rical shapes define transitional elements such as steps,
subtle slopes, and a linear fountai n along its longest edge,
This plaza/rooftop-the first of its kind in Chile, the designer
says-successfully connects the building with the park. Part of
the plaza is sheltered beneath dle high roofs of the new munici-
pal building, creating space for semipublic activities,
Dneof'the most intriguing feamres lies at the park's north end,
Here, at ground level, a seri es of shallow, a<;.ymmetricaJ concrete
basins hold placid water, Along the shore, zigzagging concrete
walls form a crisp edge softened with papyrus, grasses, and och-
er colorful wetland species, Swans and thick green carpetS of
.0 1
At the park's north end, some shallow, asymmetrical concrete
basins hold placid water; the papyrus and water species, here,
complete the broad planting pattern of the park. MosUy
natie shrubs and palms are planted on the west edge, below.
aquaeic planes compleee chis appealing place, usually a peaceful
reseing spot for families, kids, and couples.
Adjoining this water plaza at the northernmost part of the site
is a restauram whose modern design was also the result of a com-
petition won by renowned Chilean architect Smiljan Radic. Built
after the park competition, it was required co fit within the park
plan. The building's terraces also connect CO the park.
So far, the park is a hit with residents of the Vitacuea disuicr
and its neighboring municipalieies; the scale and location accom-
modate them easily, and now Samiago boasts another linear park
along the embanked river in a less cemeal parr of the city.
Jimma t\fartignoni is an Argellfinf<JII arrhitft, landswpearchited, and
/retlalla writer focllsed on Latin American projects. She is the allthor of
Latinscapes: Landscape as Raw Material and collaborates with spe-
cialized internatiollal magazintJ.
PROJECT CREDITS Client MunicipaiityofVitacura. Designer: Arch1-
tect Teodoro Fernandez Larrai'iaga. Associate designers: Paulina
Courard, Sebastian Hernandez, and Danilo Marrie. Fountains and wa-
terfeatureS! Jose Luis Orellana, aquarnasrer.
All ORI'S ROUNDS fOR Rl
Two smlptttre gardens at the Baltimore Museum of A rt are modern gems.
By Frank Edgerton Martin Photography by Walter P. Calahan
ICONS
where superb arc collections and modern land - ------ --------
MERICANS ARE BLESSED WITH arc museums Though not quite 30 years old, [he Janet and Alan
Wurtzburger Sculpture Garden (1 980), and its larger
neighbor, the woo::led Ryda and Robert H, levi Sculprure
Garden (1988), should be considered "historic" works of
scape architecture converge. The Baltimore
Museum of An: (BMA) isa prominent example
of chac convergence, Sec next door to [he Johns Hopkins
University campus, [he B/'.IA is home ro [\vo sculpture gardens,
one designed by che iaceGeorge E. Patron and the ocher by Sasa-
ki Associates- very different In character, yet both landmarks of
JXlScwar modernism.
-
design chac merit study and preservation. One of che marvelous
qualities of dlis pairing is how complementary these two different
gardens are. Ir can be argutxl rhar rhey each represent rwo major de-
sign parndigms of postwar landscape architecture: the shaping of
formal and urbane spaces seen in [he work of Dan Kiley, M. Paul
/
I
,
through levi Carden' s one discovers a larger, deeper, and more wooded scene.
rriedberg, and many others, along with
rhe informed sensitivity [Q nature and mi-
croclimates found in the design process of
Oehme van Sweden Associates.
B
etween 19 and 1973, the Wurtz-
burgers built a sculpture collen ion
for display at their hilltop esmce in
Baltimore-vi rtuall y all of which chey
donated [Q rhe museum by rhe 19BOs.
111e couple collected sculprures chat ex-
pressed human perst"\'erance, and many of
their sculptures celebrate rhe human fig-
ure. Jay Fisher, BMA"s deputy director of
curamrial affit irs, explains chat early on,
rhe BMA made the curatorial decision to
exhibit the collection at human scale, JUSt
as rhe Wurtwurgers had in their grounds.
Thus rhe sculptures are either set at
J'

JJ
. ,
Q
I
A conceptual plan by Sasaki, " ere, shows the relative scales and d;",,;;i'l
forms of the Wurtzburger Garden and (in colorl the later levi Garden. The
strong perpendicular lines and wiewsheds are clear when one looks
ward the Baltimore Museum"of Art from the Wurtzburger Garden,
. ,
" f.
ground level or on four-inch pedestals.
Landscape architect Panon of Philadel-
phia designed the garden to express d1 is
intimate experience of sculpture through
a series of intimate galleries framed by
cast-concrete walls of varying heights and
walks paved wi th 18- by 36-inch rectan-
gular blocks of uniformly em bluestone.
Panon worked on severnl projects with
celebrated archi tect Louis Kahn, a fellow
Philadel phian. Although not as famous
as thei r collaboration at the Kimbell Art
Museum in Fort \Xlorrh, Texas, Pattoo's
serene sculpture ,garden in Baltimore may
be the fineS{ survi vlrlg example of hIS
work and, perhaps influenced by Phil ip
J ohnson's sculpture garden at the Muse-
um of Modern Art in New York,sut'Vlves
as a high jXlim fOf landscape modernism,


,

1.5
,
,

/ ,
,
,
,
/
Designed and built as parr of an early 1 980s museum expan-
sion, the \Vurrzburger Garden is directly ad jacent to rhe east end
of the museum and can be entered from the museum's front door
entry and drop-off courr, In the warmer months, the quiet OUt-
door rooms are animated at night with parries and omdoor din-
ing that Rows OUt from the museum's restaurant on a terrace in-
cluded in t he original design, At only a (hird of an acre, the
Wurtzburger Garden has a much smaller footprim than the
neighboring Levi Garden, Yet the garden feels large and com-
plex, perhaps because figurative works by such noted sculptors as
Henry Moore, Aristide Maillo!, Auguste Rodin, Isamu Noguchi,
and Jacques l ipchitz are so different and yet perfectly scaled (Q
their spaces. One can spend hours just walking, looking at the
statues, and resting on the garden's benches.
W
alking through levi Garden's gate, one immediately discov-
ers a larger, deeper, and more wooded scene. "Ille ground
plane drops far below the entry terrace to create a kind ofha-
ha effect. Set at the center of the entry terrace, the spiraling met-
al bands of Comtmetloll 140 by Jose de
Rivera draw the eye into the t ~ canopy
while also brilliantly expressing the swale-
likevolumeof the garden itself. The siting
of this sculpture was one of the earliest de-
cisions made by $.1saki, the donors, and
rhe curarors. Its positioning remains one of
the best entry icons to be found in any
American sculpture garden.
From theemry rerrace,agemly curving
walk brings visitors along the garden's
northern slope down to its floor. Along the way, they can pause and
gaze imo the garden's heart. Somewhat reminiscent of the wood-
land vistas of Sasaki's landmark John Deere headquarrers, the linn's
vision for the Levi Garden heightens the sense of emering a wood-
land vale where works by mid-20th-century arrisrs are on display.
The garden is a case study of the landscape architect's ability to
grasp the spatial form inherent in a ravine site and to heighten irs
sense as an oUtdoor room through the strategic siting of steps, vis-
tas, and accessible paths weaving along the hillsides. TIle calculat-
ed opening of vistas and distant views of artworks was precisely
what the Levis had in mind when they first assembled and exhib-
ited the collection.
The entire museum, its gardens, and the adjacem 16-acre
\Vyman Park lie on the former \Vyman family estate that be-
came part of Johns Hopkins University's Homewood campus.
l ike much of Baltimore, the area is hilly and laced with ravines.
It is also an expression of how landscape architects shaped this
city during the 20th century. In their 1904 Report Upoll the De-
velopment of Public Groullds for Greater Baltimore, the Olmsted
Brothers office set out a vision for the Bal-
timore park and parkway system that was
second only to their work in Boston in
size and complexity. The plan absorbed
several former estates, including Wyman,
into the new public open space network.
Describing the valley that includes the
BMA's two sculpture gardens and Wyman
Park, the report states: "'With its old
beech trees and bold topography, it is the
finest single passage of scenery III rhe
whole valley, and there are few spotS so near a large
city chac equal it."
Working with Sasaki Associates principal Don
Olson, FASLA, Joseph Hibbard, ASLA, served as
projeC[ landscape architect in all phases from mas-
teT planning through construction. Twenty years
later, Hibbard still works at Sasaki. He remem-
bers that their team made initial siting recommen-
darions for all of the levis' sculpcures, most of
which were supported by the levis and the cura-
tors. He also recalls chat one of their greatest chal-
Steps, vistas,
and accessible
paths weave
versible, but once the structural "bones" of modern
gardens are lost, they are much harder m replace,
The gardens have different "character-defining
features" that must be presen'ed. For the \'{1urtz-
burger Garden, these are Patmn's perpendicular,
room-defining cast-concrete walls, steps, and blue-
sm!'le paths. 'nle Levi Garden's woodland character
is achieved through the quiet solidity of its entry re-
taining walls,cascading steps, and the volumeof rhe
sunken garden itself. Alterations to any of these fea-
along the
hillsides.
lenges was not to disturb the overstofy trees. No construction
equipment was allowed on the lower floor of the garden. Indeed,
Hibbard remembers that a large crane lifted the Calder and the
Ellsworth Kelly 70 to 80 feet in the air over rhe tree canopy to set
them gently into place.
By the 1980s, Brad Pudner, BMA's director of landscape-
essentially the curator of the museum's landscapes- held the po-
litically delicate role of balancing the wishes of his employer and
the donors, "The first thing the curamrs said to me was that the
scul ptures should reign supreme," But the donors and their chil-
dren remembered the home landscapes from which the sculp-
tures had come and they wanted a "garden" too. Pudner and Sasa-
ki found a balance between exhibiting art and replanting the Levi
Garden's understory with shrubs, bulbs, and perennials,
Pudner's vision as a horticulturist includes bright flowering ex-
otic shrubs that may seem a bit garish for some landscape archi-
tects. But from a stewardship perspective, the most important fact
is that Pudnerand the I3MA curamrs understand rhe differing spa-
tial design intents of the twO gardens. Planting designs afe re-
tures would seriously impair each garden's distinctive
sense of scale and character.
This spring, before the beech canopy leafed out, the garden
was already green with slopes of ivy and the beds of daffodils and
other bulbs beloved by the Levis. Because of their short spring
blooming seasons, Pudner always installs bulbs in beds with es-
tablished summer "companion" perennials such as hostas, ferns,
sweet woodruff, blue star, daisies, blackberry lilies, toad lilies, fall
anemones, and irises. "During the summer, it's a whole different
garden,"' he says. The most significant change is that both gardens
are much darker under their canopies and, where openings occur,
such as in the green lawn surrounding the C'lider at the heart of
the Levi Garden, bright pools of sunlight stand out.
l
ike many modernist works of landscape architecture, the two
gardens lie in the temporal purgatory of being neither "new"
enough to be on rhe cutting edge nor old enough to be viewed
as "historic. As living environments, their original plantings can
be subject to overgrowth and loss and their water features subject
to failure. Another t:1.Ctor affecting landscapes from the recent past

Design Lessons from Three Decades
W
ITH so MUCH MODERNERA landscape architecture threatened by
neglect, which can bNome an excuse for demolition, land-
scape architects should consider some of the commonsense IH-
sons the BMA staff has learned about paving and plant choices for
urban sculpture gardens.
Seek Out the Most Durable Paving and Hard
Surface Materials
All bluestone is not created equal. BMA's Director of Landscape Brad
Pudner notes that the Wurtzburger Carden's blnestone plaza is made
with higher quality thernla/bluestone, "which has had virtually no
flaking, while other walkways where nonthermal stones were used
have required more repairs and maintenance,"
Design for Winter Maintenance and De-ieing
When considering bluestone for public: sculpture gardens, determine
if deicing chemicals will need to be applied. The de icing regime
should be written directly into specifications or the management
plan. In the BMA's case, staff are allowed to close the gardens alto
gether during icy times, an option that avoids chemical use and po.
tentialliability issues. "We are able to close the sculpture gardens
during inclement weather," Pudner sa,s, "but on our main museum
entrances, we have to keep them accessible, and ewen the gentler
deicing products like magnesium chloride still cause deterioration
of mortar joints, requiring ongoing maintenance costs."
Study and Monitor Existing Tree Canopies
Ewen in small woodlands, the density of the tree canopy can be sur
prisingly varied. Pudner says, "I re-create sun/shade charts every few
years at midmorning, noon, early afternoon, and late afternoon to de
tennine how tree canopies have changed over time. I've discovered
that some sections of the garden that I thought were shady actually get
a good deal of sun and vice versa. Some areas of the gardens were sun
ny 25 years ago but have become quite shady, and their understory
sunloving plants have declined. On the other hand, a f_ trees have
been removed, opening up more sunlight and scorching their shade-
loving understory plants." Rather than trying to maintain the garden
as a static form, Pudner works around species that seem to be suc
ceeding while preserving the allimportant primacy of the sculpture.
Monitor Moisture Retention and Drainage
Many urban sculpture gardens such as at the IMA or the Walker Art
Center in Minneapolis are located on lands that were too wet to ewer
be developed with buildings. Ponding water is deadly both for most
plant species and for the stability and longterm conservation of art.
As part of the overall hydrology of the Jones Creek watershed, the
lower section of the Levi Garden can be almost boglike during the
spring. Pudner notes, "I've had great success with 'ris sibirka
ISiberian iris!. Vernonia noreboracensis INew York ironweed!, Hibis
cus'Lord Baltimore' Ihardy hibiscus!, Astilbe 'Oeutschland' Iwhite
false spiraea!. and Rudbeckia laciniata 'Autumn Sun' Iculleaf cone
flowerJ." He also closely watches storm ewents to correct drainage
patterns and raise sculptures, if needed.
9. 1
is that few of the staff members from dl{' owner"s side were pres
em when the projects were built, and few landscape architects
who may have worked on the design arestill act iw. Although til{'
BMA gardel1S appear virmally as they did on [heir opening days
during the Reagan era, dle challenge is to preserve rll{' gardens
through the next generations of museum patrons, curators, and
staff. \Xlill they remember the imJX>rtance of the designers who
first shaped these spaces? When the levi Garden opened in 1988,
the BMA held an exhibit on the history of Sasaki's work. Yet, when
I visited in 2009, virtually none of the staff knew who designed the
Levi Garden. In fact , the design offices may have completely lost
track of the fact that they ever worked on the project-Sas.'1ki"s web
site makes no mention of the levi Garden in its list of projects.
This forgetting can be very dangerous for the stewardship of
modern landscapes. The owners can lose any kind of emotional in-
vestment in their creation (as, it can be argued, is now happen-
ing at Friedberg's Peavey Plaza in MinneaJXll is), and design of-
fices, in t he rush to stay current and competitive in t heir pract ice
areas, can forget the quiet brilliance of their forebears .
For this reason, ASLA and the Maryland chapter should work
to add the BMA's scul pture gardens to the Historic American
Landscape Survey and encourage the museum to nominate them
to the National Register of Historic Places. They are now very
much at their peak in terms of plantings and the integrity of hard
surface materials. They are also well cared for and benefit from a
maintenance endowment provided by the Levi and \'Quftzburg-
er families that helps [Q fund staff positions and some new plant-
ings each year. Yet , as has happened with so much of the work of
Lawrence Halprin, FASLA, and Friedberg, tastes can change, and
communities that know little of the history oflandscape archi tec-
ture can be all too eager [Q erase their icons and the legacy of civic-
minded citizens from just a generation or two earlier. Its impor-
tant for the profession to protect landmarks of the recent past
that are still young enough to be intact yet old enough to have
mature character.
Frank Edgerton Martin is a lanmwpe historian, [amp"s planner, and
regular [ollfriblllor 10 Landscape Architecture.
RESOURCE
Baltimore Museum of An - This web site, wIIIUlarlbNla.org, in-
cludes history and audio tours of the two sculpture gardens.
PLANT LIST
Located in lone 7, Baltimore has four distinct seasons and many
wann sunny days in the winter when the gardens can be enjoyed.
Pudner suggests the following species for use in similar lones:
WINTER INTEREST
_____ shrubs
Came/hi 'a IlniU Camellia
l/txl ' Nellie R. Stevell$' Nellie Stevens holl}
MahtJllia bulei leatbetleaf mahollia
Naot5na dllmestka'Harbor Dwarf' Harbgr dwarf undiaa
Evergreen perennials
Dr/llpteris elJthrosora Autumn fern
He/kborus 'Brandywine' Brandywine lenten rose
liriope spicala Creeping firiolle
Sarcococca hookeriananr. humilis Dwarf sweetbol
EARLY SPRING flOWERING BULBS
I i I
LATE SPRING flOWERING BULBS
AHium (iga"leum 'Clobemaster' Clobemaster giant onion
Alhum schubtrtii Ornamental onion
Camassia feichtlinii Wild hyacinth
SUMMER-flOWERING PERENNIALS FOR SUN
Hibiscus 'lord Baltimore' Hardl hibisGUS
Iris e"sata Japanese iris
Iris silJirica Siberian iris
leJICaothemum x supetbum 'Becky' Shasta daisy
Parda"caflda norrisii Candy lily, blackberry
Rudbedh laciRiala 'Autumn Su.' Aulllmn sua coUeaf coneflower
fl(Jrebllractilsis New York ironweed
SUMMER PERENNIALS FOR SHAOE
Hostasp. Hosta, plantain lily
Cahum odoralum Sweet woodruff. sweetscenled bedslraw
Po"stichum pII"blepharum Korean ImeHern
elJlhrosora Autumn fern
Sarcococca hookerianavar. humilis Dwarf sweetbol
Astilbe 'Deutscbland' White false spiraea
FALL FLOWERS & BERRIES
Anemllilt 'Honorine Jobert' White Japanese anemone
Callicarpa dichotllma Beautyberry
FALL FOLIAGE
Acer palmatum Japanese maple
Acer rubrum Red maple
Car/asp. Hickor}
Fagus graodifolia American beech
fminus SII. Ash
I
BOOKS
Materials and Their Applications in Landscape Design, by
Rob W SOVillSki, ASLA; Hoboke n, New J ersey: John Wil ey
& Sons, 2009; 192 pages, 580.
Reviewed by J. Brooks Breeden, FASLA
I
N Mdteritlls alld Theil' ApplicatkmJ ill Landscape Desigll, Rob
Sovinski, ASLA, gives an overview of the materials palent'of
the landscape architect or designer. The hardcover lxlok is
compact at juSt nine by six inches. Its emphasis is materials'
general characteristics rather than when to choose which ma-
terial and how to detail it. The chapters. cover stone aggre-
gates, asphalr, brick, cast-in-place concrete, precast concrete,
metal, scone, wood, and combinacions;each gives an overview
of the characteristics of the material and some of its advantages
and drawbacks in use.
This isan imroduccory [ext, not a reference book that one re-
turns to repeatedly. Forexample, you willleam that common
wood species used in landscape construction are southern pine,
Douglas fir, western red cedar, pondetosa pine, redwood, and
teak, but you won't be able to tell the difference berween Doug-
las fir and teak by sight because there are no illustrations of
gtain and color at all. The chapter on brick is the strongest,
with a lot of useful information about brick bonds and the ap-
propriateness of a bond for a particular use, although not all
I:xmds illustrated are named, Unfortunately, most of the images
illustrating points made in the chapter text are rather low-
contrast grayscale photographs. The book does include a sec-
tion of14 pages with six color images each. Sevetal of the color
images are the same as grayscale images included in the chap-
ter text. TIlen there is the matter of inconsistent depths of cov-
erage: Some chapters show drawing standards and symbol
representations; others do not. Still, the book is not intended
to be a Time Saver Standards lor Landscape An-hitretIlYe.
Whom is this book for? Initiall y, it looks as though it was
intended for students, but the section immediately following
the preface is "A Note to Instructors," and each chapter finishes
with several excellent suggestions for student exercises call ed
"Learning Activities," Frankly, it seems to be a better lecture
and assignment guide (or an instructor than a reference volume
for a student. It is easy to imagine the chapters as a semester of
lectures for an intf(xluctory materials class in landscape archi-
tecture or landscape construction. As a faculty workbook and
lecture guide it does a very good job. It could take three years
off the development cycle of an intf(xluctory materials course.
Were I teaching a course in materials I would buy the book,
but I'd have to give serious thought as to whether I would re-
quire it as a student textbook. My major concern about re-
quiring it is the cost. I don't understand why this half-size
book should have a g lossy hard cover and retai l for $80. For
either a student text or a faculty guide, a paperback cover is
fine and should lower the price whi le not decreasing the
100 I Landscape Architectllre JUNl toot
MATERIALS AND THEIR APPLICATIONS
IN LANDSCAPE DESIGN
ROB W. SOVINS KI , "'5l ..,
book's value as a text. However, an eleCtronic format such as
a PDP file on CO-ROt.1 or as a download would be even better
for this content.
I Brooks Breeden, f'ASLA, taught I"OllJtmctioll courses lrom 1971 "n-
til his retirement from Ohio State in 2005; he C1(rremly resides in
Sprillgfield, Virgillia, jllSt oNtside Washillg/OII, D.C.
Plant-Driven Design: Creating Gardens That Honor Plants,
Place, and Spirit, by Scott Ogdm and Lauren Springer Ogdm;
Portland, Oregon: limber Press, 2008; 28 1 pages, 534.95.
Reviewed by Linda Mcintyre
ilL ANDSCAPE ARCHITECTS don't know enough about
plants." Who hasn't heard (or even uttered) this charge?
While many devoted plantspeople in the profession put
the lie to this generalization, in this ern of highly designed gar-
dens that seek to be kitchens or living rooms--complete with
stain less steel appliances, big-screen TVs, upholstered furni-
rure, and outdoor carpets resting on expanses ofhardscape-
it's hard to argue that plants often play only supporting roles,
Husband-and-wife garden design team SCOtt Ogden and
lauren Springer Ogden use this notion as a jumping-offpoint
for their new book, Plallt-Drivell Design: CreatmgGardem That
HOllOI' Plaflu, Place, and Spirit. Don't let that subtitle, or a few
mushysounding chapter t itles such as "Plants as Heroes" and
"Plants Honored," put you off. This is not a N e w ~ A g e y or
Luddite celebration of nature untouched by the human hand.
Instead it's an idiosyncratic ode to using plantS, not at the ex-
pense of dc"Sign, but as tools ro realize ambitious, dynamic,
and context sensitive designs.
Readers might expect a book abour plam-driven design to
prt"dch about native species, plant communities, and regional -
ism. This one doesn'r. It does exhort the reader to observe and
learn from plantS in the wild and the patterns they form and then
\rhile nature offers
priceless lessons
in planting design,
slavish atlempts
at copvinO' nature
. u
ra rei V work well
.
in gardens.
use plants' characteriStics- their
habits, textures, and aggression in
spreading, among others-to make
his or her own designs more
ent, inviting, and engaging. But
the Ogdens, no purists, stress that
while natute offers priceless lessons
in planting design,slavish attempts
at copying nature rarely work well
in gardens. They knowledgeably
discuss horriculruml derai ls such as
how different types of soil affeCt
plants' habit and appearance. Yet
they don't tread the usual parry line
of soi l testing and amendment;
Stead they recommend searching for planes, native or nor, adapted to local soil
conditions including whatever deficiencies are found on the site. Any
signet who has been frustrated by anempts to define, let alone source, native
plants, or puzzled over a soi l test designed for agricultural fields, is likely to
find this approach refreshing.
What the opinionated authors thi nk doesn't work is described as full y as
what they like, and they don't pull punches. Paved paths in public gatdens,
for example, are dismissed as
strositiesakin co roads in the woods,
wheelchairs be damned. Readers
might disagree with chis or ocher
opinions, bur the strong point of
view makes the lxlok a better read
than most of its
brethren.
The Ogdens live, and primarily
work, in central Texas and the
Rocky Mountain foothills in
em Colorado. Their lxlok is
fully illustrated with phocographs
of gardens and landscapes from
around the world, including many
from their own gardens, Even if
some of the planes they discuss are unfam i I iar to those of us in other parts of
the country, the photographs and informative captions effectively underscore
the points made in the text, and unusually helpful plant lists, highlighting
both aesthetic qualities such asa habit and interplay with
ferent kinds of light, and hort icultural qualities such as drought tolerance,
abound (though you' ll have co consult another reference fordetailed
tion such as hardiness about most of the species discussed; the authors don't
set a lot of score by the USDA and American Horticultural Society maps).
While the Ogdens designed many of the gardens highlighted in the lxlok,
no plans or sections are among the illustrations. Drawings would have
hanced descriptions of plant placement and challenges such as grade changc'S.
DesigN has much co offer people who love plants and design
in equal measure-a population that, despite conventional wisdom, I would
bet includes many landscape archite(Ts.
Riprap editM' alld se/fprac/tlimed plaut lIerd U"da tllclntyre is tl former Landscape
Architecture Skiff writer.
... FOOTPRINT: OUR LANOSCAPE IN FLUX,
by Stuart Franklin; New York: Thames and
Hudson, 2008; 144 pages, $60.
THIS HARDCOVER COLLECTION of photographs by
Stuart Franklin offers a sobering look at
Europe ' s evolving land-
scape In the wake of rapid
environmental change,
The book, which Inc ludes
several essays as wen as
99 stunning full-color
photos, documents the
changes In di sturbing
detail: the effect of pollution on trees and tun-
dra, the extent of floodS and rising sea levels,
the shrinking and receSSion of once-vast
glaciers, Despite the evidence of man' s heavy
footprint , Franklin finds reason for optimism,
... PUBLI C ART NEW YORK ,
by Jean Parker Phifer; New York: W, W, Norton &
Company, 2009; 288 pages, $29,95,
OON' T MAKE YOUR NEXT TRIP to New York without
this guidebook, Handsomely laid out with a color
photograph for each artwork, easy
to cany, sturdy, and a good value
for the money, It's a good way of
finding your way through the
<:Ity's treasure trove of outdoor
art. The book Is organized by
neighborhood, and maps are at
the beginning of ea<:h <:hapter,
making It a user-friendly walking guide to the <:Ity.
... MATHEMATICS FOR THE GREEN INOUSTRY:
ESSENTIAL CALCULATIONS FOR HORTICULTURE
AND LANDSCAPE PROFESSIONALS,
by Mlchaell. Agnew. Nancy H. Agnew, NIck E.
Christians, and Ann Marie VanDerZanden;
Hoboken, New Jersey: John Wiley & Sons, 2008;
398 pages, $55,
A BOOK ABOUT MATH Is not likely to be something
a lands<:ape ar<:hlte<:t will curl up to read on a
beach vacation, but It can be
a useful reference. A chapter
on geometry may be useful to
designers who need to calcu-
lat e the area and volume of
diffe rently shaped planting
beds or other features, and
other chapters discuss the
math Involved In determining landscape main-
tenance costs or the proper amount of fertilizer
for an application,
JUU lon lendlClpeArchltecture 1 101
wishes [Q secure. T he sminless steel com-
{Xlnents consist of up [Q 95 percent recy-
cled content and are fully recyclable. Re-
quiring no harsh cleaners, the Bike Garden
is low maintenance and is expected [Q have
a long pn:xl.uct life cycle.
The Bike Garden can be cast in place or
surfuce mounted. Stainless steel scn."'ws are
included forsurfuce mount. For more infor-
mat ion, please visi t ulWW.! onllJ-JIIifacer.com
or call 800-451-0410.
Turf Tube
C
REATED BY THE landscape architects of
Urban Earth Design, Turf Tube is a green
line of indoor-omdoor furn iture. An L8-
inch-diameter steel rube is rapped with ar-
tificial turf, which smyscool even in direct
sunlig ht, making it ideal furniture fOf
desert environments.
This monU] fealmes an assortment of site amenities.
Turf Tube provides a degree of adapt-
ability to its users. An optional removable
lid allows it ra double as srarage space. Its
{Xlrrabi lity means it can be used as indoor
and omdoor furniture,
Stone Forest Basalt Bench
N
EW TO STONE FOREST's landscape col -
lection is rhe Basalt Bench, a functional
sculpture. Consisting of 1 00 percent basalt,
an extrusive volcanic rock, each bench is
handmade by hammer and chisel, giving
[he bench a distinctive look.
Stone Forest gives the bench a sculptur-
al appearance by working with the natural
shape of rhe basalt. The bench is carved
from a single piece of stone. The sides of
each bench are left with their own rough
exterior, bur the [OP facet is polished, cre-
ating a smooth surface. The benches are
Fonns+Surfaces' Bike Garden is
an organically inspired bike rack.
102 1 Landscape Architecture JU NE toot
six to eight feet in lengt h and are also avail -
able in cusrom sizes.
For more information , pl ease visit
WUJUHtOllejorest .COIII or call 888-682-2987.
Form .... Surfac Bike Garden
I
NSPIRED BY ORGANIC forms and creat-
ed by the bike-commuting designers of
Forms+Surfuces, the Bike Garden is a new
bike rack dmt offurs a high degree of securi-
ty and aesthetics.
With multiple locking {Xlints, the Bike
Garden gives riders the option [Q lock the
wheel , frome, or anything else the rider
Al ong with its adaptabiLity, Turf Tube
aims [Q be green. The base is made from
durable, Li ghtweight , galvani7.oo steel that
won't rust. The sections are actached with
{XlP rivers instead of the toxic welding typ-
ically used in metal furnitUre. 111e rivets are
easi ly removed if a parr shouLd need replac-
ing, extending Turf Tube's life cycle. FinaL-
ly, Turf Tube incl udes recycl ed plastic lum-
ber, helping to conserve traditional building
materials, For more information, please vis-
it www.tmftllbe.wmorcall 602-285-3055,
Turf Tube is a green line of indoor-outdoor furniture designed
by the landscape architects
of Urban Earth Design.
Beyond Sustainability:
PLACES
PEOPLE
11 1 \Y 'JJ DD ;)] 'JJ JfZ
liBtlllBi;J Lilll
To obtain information about our
advertisers' products/services:
Ci rcle a reader service number
on the postage paid Reader's
Service card (see list at right for
reader service numbers), or go to
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-OR-
Circle the four-digit number of the
desired category (upper-right comer
of the reader service card). Then
detach the card and drop it in the mail
or fax it to 1-800-571-7730. Your infor-
mation wi ll arrive in four to six weeks.
Advertising Sales
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202-898-0062 Fax
mcork@asla.org
104 1 Landscape Architecture JUNE toot
IlIJ I] I{ 1\ I] If I,: li T
I
(I 1.1 I)
.1) 11 1.l .1
1
11] I: X
.................................................... Web Site ...................................... Reader's .......... PageH
Servicelt
ARCAT. Inc .. ..... .. ... ... ..... .. ....... .. .. .. ... ..... ..... ... arcal.com ............................................ 119 .. .. .. .. .. ... ... 14
Birdair ___________________________________________ birdair_com 190 ____________ 51
Camoroia Products C<><p<>ration .................... calprocorp.com ... ....... ... .......... ... ....... .. ... 39 ..... .. ... ... ... 67
Canterbury Intomalior>al .. ... ... .... ... ... ....... ...... cafltorouryifltl.com . ... ....... ... ... .... ... ... ... ... 41 ... .... ... ... ... 31
Columbia Cascado Company ....................... tlmborlorm.com .. .... .. .. .. ... ........ .. ....... .. ... 52 ..... .. ... ... ... 16
CoUfltry Casual _________________________________ colmtrycasuaLcom ________________________ 55 ____________ 74
Deep Fork Tree Farm ... ....... .. .... .... .. ... .... ... ... dflfees.com ......................................... 302 ... ... .... ...... 65
di Giacomo
AdilliSOon 01 Colorado Hardscapes __________ digiacomoinc_com _______________________ 289 ____________ 27
DuMOf, Inc .................................................... dumor.com ..... ....... ... ... .... ... ... .... ... ....... .. 63 ......... 35, t t 5
Erlau . ....... ... ... .... ... ... ... .... ... ... ... .... ... ... ... .... ... rudchaifl.com . ... .... ...... ... ....... ... ... .... ... . 144 ... .... ...... ... 77
EurocobOlo .. ..... .. .... .. ... .. .. ....... .. .. .. ... ..... ..... ... oorocobOlo.com .. ........ .. ....... .. .. .. ... ..... .... 71 ..... .. ... ... ... 69
Firestone Specialty Products _________________ -'irestonesp_com ___________________________ St ____________ 52
FOfOllorLawn .. .... .... .. ... .... ........ ..... ... .... ... ... .. -'orOllorlawn.com .... ...... ....... ... ... .. .. ... .... 239 .. ..... ... ... ... 46
fountain Inc .. ... ... ... ... .... ... ... ....... ...... Iountainpooplo.com .. .... ... ... ....... ... ... .... .. 80 ....... ... ... ... 53
G.H. Bruce DesignrrcnsHe Shade . .. ..... .. ....... Ienslleproducls.com ............................ 317 .. .. ... ... .... .. 73
Greenscreen ____________________________________ greenscreen_com __________________________ 22 _____________ 6
Haddonstone (USA) Lid ________________________ haddonstone_com _________________________ 93 _____________ 5
HanOI/or Architectural Products. Inc ..... ......... hanOl/orpallers.com .. .... ...... ....... ...... ...... 95 . ... .... .. 17, 63
Jakob Inc . ... ... .... ... ... ... .... ... ... ....... ... ... ....... ... jakobstainlossstooi.COm ... ... ... ... .... ... ... . 205 .... ... ... ... ... 44
Kalamazoo Outdoo< Gourmet ....................... KalamazooGourmot.com ..................... 262 .. .. ... ... .... .. 39
Koystone Ridge Designs. Iflc .. ... ... ... .... ..... .... keystoneridgedesogns.com .................. 116 .... .... .. ... ... 61
Kim Lighting Inc ............................................ idmlighti ng.com .. .... .. .... ... ....... ... ....... .. .. nla .... ... ... ... ... 29
Kingsloy Bato, Ltd . ... .... ... ... ... .... ... ... ....... ... ... kingsloybato.com .. ...... ... ....... ... ....... ... . 303 ... ... ....... ... 11
Kornegay Design .... .. .. ..... ........ .. ... ... ..... .. .... .. komegaydoslgn.com ... ........ .. ....... .. .. .. . 118 .. ..... ... ... ... 62
Landscape Forms ___________________________ .Iandscapelorms_com ___________________ 126 ________ 7, 33
Landscape Structures. Inc .. ....... ... ... ....... ...... playlsi.com ........ .......... ... ....... ... ... .... ... . 127 ... .... ... ... ... 19
Loalzow IflSUfanoo ... ....... ... ... ....... ... ... ....... ... Ioatzow.com ... ............. .......... ... ....... ... . 129 .... ... ... .... ... . 3
LONGSHADOW@
Classic Gardofl Omamoflls, Ltd . .. .... ... ...... Ioogshadow.com ...... .... ... ... ... .... ... ... ... .. nla ... ...... ... C2-1
Miracle Recreation Equipment ... ... ... .. .. ... .. .... miracierecreation.com .. .. ... ... ..... .. ....... 140 .................. 8
Modem Garden Works ________________________ moderngardenworks_com ______________ 215 ____________ 37
Most Dependablo Fountains ...... ... ... .... ... ...... mostdependable.com .. ....... ... ... .... ... .... 143 ....... ... ... ... 50
Northwest Horticulturo .. ... ....... ... .... .. ... .... ... ... fIOI1hwosthort.com ............................... 299 ... .... ... ... ... 25
Garden ............................................. oxfordgardon.com ............................... 151 ... .. .. ... ... ... 66
Pallestone Company __________________________ pallestone_com 188 ____________ C4
PermalocAluminum Edging ____________________ permaloc.com 157 ___________ -SO
Poterson COflCrOte Loisuro Products ... ......... petorsonmlg.com .. ...... .......... ... .... ... ... . 158 ... .... ...... ... 46
Pine Hall Brick Co., IflC . ... ... ... .... ... ... ....... ...... americasp<omiorpallor.com ... .... ... ... ... . 159 .... ... ... .... .. 77
PojyPallOmeflt Company ________________________ pcMypallemenl.com _______________________ 167 ____________ .47
Raifl Bird Sales, Inc .. .... ... ....... ... .... .. ... .... ... ... rainbird.com ... ... .... ...... .... ... ... ... ... .... .... 17S .... ... ... ... ... 21
Roman Fountains ......................................... romanlounlai fls.com ............................ 242 ....... ... ... ... 10
Shade Systems, Inc .... .. ... ........ .. .... .. ... .. .. ... ... sI1adesystemsinc.com .. ... ..... ..... ... ..... .. .. 59 ... .. .. ... ... ... 66
ShadeFX Canopies ... .. .. ... ........ .. .... .. ... .. .. ... ... .. .. .. ... ... ..... .. ....... 248 .. .. ... ... .... .. 47
Sitecraft ________________________________________ sOtecratLcom _____________________________ 287 _____________ 9
Spark Modero Fires .. .... ... ....... ... .... .. ... .... ... ... sparkfiros.com .. ... .. ........ ....... ... ... .... ... . 220 ... .. ..... ...... 75
Sp<ing City MIg. Co . ... ... ... .... ... ...... springcny.com ... .... ...... ... .... ... ... ....... ... . 193 ... .... ... ... ... 12
Stone Forest ................................................ sloneloreSl.com ................................... 259 ... .. .. ... ... ... 73
Tournesol Technology _______ plafltertechnology.com
161. ___________ 30
Trilaty Inc I Thomas I Madrax .... ... ...... lhomas steelo.com I madrax.com ........ 235 ................ 23
Victor Stanloy, IflC . . ... .... ... ... ... .... ... ... ... .... ... ... IIictOfslanloy.com ......... ... ....... ... ....... ... . 222 . ...... ....... . C3
Walpolo Woodworkc<s. Inc ........................... walpolewoodworkors ... .. .. ... ... ... .. .. ... .... 229 .. ..... ... ... ... 68
For free product information, go to www.asla.orglfreeinfo.
J
Use this cross-referenced index to find the right product for the job at hand.
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T
HESE ARE Tlr.rES THAT WRACK
our nerves. Every day seems co
bring more news of Job layoffs and
stock marker losses, \Valk around
most nei ghborhoocls and you'll see
vacant srorefronrs and foredooed houses,
USA Today recently reported chat one oue
of nine U.S. residences was now empey.
L3Jldscape architects need
to advocate for public
spaces in troubled times.
sian of the 1930s-led toa
arion forpubl ic places. 111e recovery pro-
gmms ofFranklin Roosevelt's New Deal
buile or restOred parks, crails, and
ational faci lities allover the country. 111e
American public isscill reaping che
elits of chese farsighted accomplishments. By Jay Walljasper
rf you don't feel at least a {winge of panic, you're oue of rouch.
Almost everyone is looking for ways [Q tighten rhe household
budget. We're reaching for cook!:xJoks instead of Zagat Gllides.
Taking old clothes to the tailor for ai cerncions radlef than
ping for new ones. Seeking oue special spotS in our hometowns in-
stead of booking tickets [Q faraway destinations.
But lec's be honest. For a lot of people-especially upper mid-
dle class professionals who have not lost their jobs- dlese are not
signs of uner deprivation. Sure, the economy brings inconven-
ience and uncertainty, but that should not blind us to the
pensating satisfact ions all around.
Grilling in the neighoors' backyard can be as much fun as an
evening at a steakhouse. A relaxing afternoon at the lo-
cal park can brighten our spirits the $.'Ime as a stroll through
embourg Gardens or Central Park on vacation.
\Vith less cash to toss around, we might take a closer look at
what's special in our own backyard, resol ving to support
borhood businesses and revitalize public spaces.
Places that serw everyone in the commun ity- parks, libraries,
public buildings, markets, plazas, playgrounds, sidewalks, and
ot her hangoms- are more important than ever, especially for
thoSt' who are st ruggling to get by on shrinking or low incomes.
Less money to spend on entertainment and restaurants should
not mean that many fol ks have no place to go, leaving them
fined to their houses and apartments.
The last economic crisis of this magnitude-t he Great
1 16 1 Landscape Architecture JU NE lOot
Ie makes perfect sense to do chis again
on an even larger scale, with federal, state, municipal, philallthropic,
and community investment in creating wonderful places in every
town where people can rub shoulders with one anocher and enjoy
themselves. Arrerdecades where peoples' lives have become
V;Ieized, ehis would spark a welcome cransfonnation of American life.
But a g lance at the news in any town or state can instill fears
for the fate of public spaces.
The economic crisis has clobbered state and local governments as
well as philanthropic institutions, resulting in unprecedented threats
to public spaces. In city after city, plans are being drawn to close
braries, reduce hours ac museums, cue back on park maintenance,
shelve community revitalizat ion plans. There are calls to sell off
schools, recreational facilities, even aiflXlrts to the highest bidder.
That 's exactly the wrong thing to do right now. People depend
on these public assets more than ever. In a crisis like this, we need
to strengthen the public realm, not eviscerate it.
Its crucial that all of us speak up in favor of public spaces,
forcefully pointing out how they represent a prime opportunity
to stimulate our economy and paw the way for the better t imes
to come.
j ay \'{IalljaJ{Ier, aI/thor o/The Grear Neighborhood Book, is JCllior
fellow at Projert for P"h/ic Spaces. He Iit'e.J ill AI III11&1poIiJ.
Reprinted with permission from the Project for PublIC Spaces
blog (http://b!ag.ppJ.org), March 2, 2009.
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