Landscape Architecture - February 2009

CONTENTS
FE8RU 4 RY 200 .
I I MUMBlER 2
LAND MATTERS 113
LETTERS 116
RIPRAP 118
Twirly trecs, an o/f-thc-wdll
education program, European
designers get back to their roofs,
lil/d (1 blus! from the wndscape past.
Edited by Linda Mclntyr.
URBAN PARKS 124
Parks Under Siege
Em:rrJdmmcnts arc /xwming the rule.
8y Peter Harnik
CAMPUS PROFILE 132
Civil Union
A /lcdgling wndscape architecture
program once partnered with iJ
anign program for mutual
advantage Now that they need each
other less, what has been learned?
8y Danlal Jost, A oclate "aLA
EDUCATION 142
Landscapes afT TOlne,
Landscapes of Escape
Landscape archifel1l1re students
design and build gardens in
health care settings.
8y Daniel Winterbottom, .... u
STUDENT WORKS 154
Decked Out
A bunch 0/ armitecture students
designed and built Ibis deck in Ii
semester. LandsClipe archileclure
students, heads up!
8y AnJ:ulI McCulioulCh
ON IHE COVER
A "",d bridv in W'aJbinEIOI1 ,laU ",,,ke,
= mng s/m'I.n pagr 9Q,
Pb"." .,b ". "'" J"" {, J "
Io"hi',," Io"bi/""
21 LandsupeArchitedure HUUUY ZOot
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EDITOR'S CHOICE 174
Pl anning:
A HisIOIY of Influential Ideas
An eminent ltindscape planner Iooh at the kq
ideas 0/ planners who pnxeded him,
., Ca,1 Stelnlb, Hono , .... u.
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ART IN THE LANDSCAPE 184
A Place for Selllplll!"C
N,w England's largest sculpture park
is'rans/ormed.
., J.n. Ro, Brown
BOOKS 1102
DISPLAY AD INDEX 1104
.UYER'S GUIDE INDEX 1105
PRODUCT PROFILES 1118
CRITIC AT LARGE 1120
Crill e,,] E\'e
Setup imperfect/or Pope John Paul II
Prayer Garden_
., Edward Gunt.
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.I . William Thompson , F'ASLA
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MANAGING EDITOR I
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.Ionian Stude nt ASLA
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Nalll:y S, MeLean, ASLA
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A
NTICIPATION QUICKLY TURNED to disappointment on
that Baltimore street as [he Pope John Paul If Prayer
Garden came inro full view, "' c's next coa parking gamge!"
excl aimed my mmpanion.
Yes, and che garage's looming presence is more chan
an aesthetic issue. The potencial fOf garage customers, as well as
office workers in surrounding buildings, co at the gar-
den is part of the reason it may fai l as a place to pray (see this
month's Critic at L1rge, page 120).
Bur people of faith can pray anywhere they happen to be, re-
gardless of surroundings, can't they? Not exactly. "\'hen thou
prayest," said Jesus, "emer into chine inner chamber, and having
shut thy door, pray to thy Father which is in secret" (Matthew
6:6). I chink Jesus was pre{(y clear: You need a solitary spot for all
but [he most perfunctory prayer. So how does a site next to a park-
ing garage at the comer of Charles and Frankl in streets sound?
Regardless of your religious persuasion, Pope John Paul deserves
to be remembered as a dynam IC and courageous world leader. But
this is specifically a ftra)'tr garden, not a memorial garden, and C'lf-
dinal William Keeler Stated that people of all religions are invited
to pray here. \'1ould John Paul's statue help CatholICS, much less
non-Catholics, connect with their Creator in this setting?
One c:xIdity of the garden is that it 's locked up tiglHer than
Fort Knox on major religious holidays- at least it was on Christ-
mas Day, when photogmpher Mike Tan went there. (He had to
shoot the phoros hanging over the security fence.) It
wasn't open on New Year's Day, when I went, either, bur I under-
stand why. Baltimore, this grand, cultumlly rich old ci ty, is
plagued by crime. Downtown parks become venues for drug deals
or worse unless they're only open when the surrounding busi-
nesses are open and can provide some
informal surveillance. Still, J wonder
if the security feoce around this tennis-
outdoor spaces hawe
you found conduciwe to
meditation or prayer?
E-mail thoughts to
bthompson@Jlsfa.org.
court-sized s{Xlcedoesn 't create the feeling ofbeing in acage. Would
anyone even want to eat lunch here, much less pmy? I would love
to see someone do a posroccu{Xlncy evaluation to determine if any-
one uses the garden and, if so, for what.
I'm reminded of another new pmyer garden of sorts in the
region- the Pentagon Memorial (see "The Pentagon Memorial
Story," ulIIdscape Architecwre,. January), which, despite its equal-
ly hemmed-in site, may be an effective place forpmyer because of
its scale: There are enough memorial benches that a visitor can
find a spot where he or she can enjoy some solitude.
As we ended our visit to the Prayer Garden, my companion,
who happens to be a pmying person, gave her final verdict; Til
Ix'r lIobody ever prays here."
Who chose this sire for rhe Prayer Garden, anyway? The site
was by no means a given- in 1.C[, the Archdiocese of Baltimore
had to tear down a historic building to create it. Even so, it 's not
directly connected to the Baltimore Basilica; you have to walk
around the block to get there. So why couldn't the garden have
been sired in some empty lot within walking distance?
r do hope it wasn't the landscape architects who chose this site.
That mises a bigger issue, however- that designers often have no
part in the sites they design. How can landscape architects
bener position themselves to be on site selection reams?
HUUUY 20 n Landscape Archileclure 113
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Llndscape Architects, the Obama
Administration, and the Invironment
Y
ES, LET'S PREVENT DRilliNG in Utah,
and I'm sure you were also referring
(Land Maners, December) to the Arctic
National Wildlife Refuge. That will help
out our economic and energy situations
immensely. But at least landscape archi-
tects will be able to say that they saved an-
other acre of pristine parkland in the name
of aesthetics. Forget abour the economy
LETTERS
F
UNDING FOR GREEN ROOFS would go
a long way toward incorporating green
roofs into federal, state, and local buildings
that are coming on line in the next few years.
ELEANOK H.l\fCKINNEY, ASLA
Ails/in. Texas
D
ESPITE ALL THE UNEMPLOYMENT in
our profession, there is a lot to be opti-
mistic about with the ulXoming Obama
administration. With the 2.5 milhon jobs
among many others. \'\1e met the ladies at
twO of them- Mrs. Gardner and Mrs. Ford.
I met Thomas Church in the b te 1950s.
I had written to ask ifhe would mark a city
map with some of his garden designs for me
to visit and photograph. Church invited me
to visi t his office at a break time to meet his
Staff, then he asked if I would like to VIsit
with him some gardens under construct ion
and some completed ones. Would J? I felt
like what Moses must have felt like with
and jobs.
I think landscape archircns as a
whole need to open their eyes and see
what is going on with people. Not
JUSt people who enjoy living commu-
nally in these utopias that landscape
architects love to opine about, bm real
people. People who work in theener-
" The concerns of this country
reach farther than saving another
acre of parkland. "
Goo. At one garden I got to watch
him show a contractor how he want-
ed a rock placed by picking itup and
placi ng it.
EOWAKO C. MAKTIN JR., FASLA
Black /lfol/Illain. N()f"lh Carolina
gy industry, the American auto industry,
the housing industry. , think rhe concerns of
this country reach fanher than saving M -
oeher acre of parkland or insisting [hat peo-
ple live tlie way that you have dreamed up
in the name of "smart growth."
\'{1e as landscape architects have a dury
to create beautiful, livable communiries,
and yes, we need to be good stewards of
the land. Bm wealsa need to keep in mind
thar ir's nO( just us" using this land. There
are more than 300 million other Ameri-
cans, and our mopmn approaches to land
planning aren'r jUst unrealisric. In some
cases, rhey are JUSt wrong.
I know that in the world of landscape
architecture I am an island, as most land-
scape architects have a very liberal view of
things. But I dont wish the government
to come up with solutions (i.e., the Kyoto
Protocol) toall our problems, and r believe
that we as Americans, with our ingenuiry
and pride of country, can come up with so-
lutions wirhout government dictating ie.
Oil is the I ifeblood of this coun try
whether you like it or noe. Denying lhe
ri ght ro ever drill for anorher drop will
cause rhiscountry to spiral downward OUt
of control- all in the name of saving an
acre of parkland.
JENNI THOMPSON, ASLA
Sf. Pallf, Afinne.iO/a
planned by Obama, landscape architects
will have the opportunity to lead in the
economic recovery as the profession did
during rhe \'{1orks Progress Administra-
tion era. Perhaps a historical piece abom
the important role the profession served in
the WPA would be a valuable article for the
readers of the magazine.
RANDY BROCKWAY, ASLA
RiI'C1"side, Illinois
Chip Sullivan's Example
T
HANK YOU FOR Daniel JOSt'S excellent
Shared Wisdom profile of Chip Sullivan
(December). It was inspiring ro get more
insiglu into his personal journey after en-
joying his art and books over the years.
Sullivan is many things: artist, intellec-
tual, teacher, and author. But aix)Ve all he
is a model of living a life absolutely true to
your vision. That's perhaps the greatest
shared wisdom of all.
JAMES RICHARDS, ASLA
A ding/on, Texas
I Met the Church ladies
I
I/l.fMENSELY ENJOYED the December is-
sue, which may be one of the best ever. Of
particular interest was "The Church
Ladies. " On a [our of Thomas Church's gar-
dens with Robert McPherson as guide in
2007, we visited those three gardens,
Art Misinterpreted
I
ENJOYED READlNG Roberta Smirh's ar-
ti cle "Public Art , Eyesore to Eye Candy'
in your [X-cember issue (as I enjoy much of
her writing for The New York Times). bur I
found it quite misguided regarding the
most crucial aspect of public art of the past
decades, sire-specific art, of which she makes
short shrift as an amorphous category."
I agree with Smith that late modern
public art (e.g., of the 1960s) was deadly,
and {hat Anish Kapoor's shiny Millenium
Park eloNd Gafe and Jeff Koons's giant
flower P"Pfry, or his polished Balloo/l Dog,
are wonderful examples of new "plunk"
public sculpture. (Koons'scombination of
Marcel Duchamp's 'found object" formu-
la with Constantin Brancusi's high polish
works much better when he is inspired
by toys and childhood imagination than
when he copies kitsch artifacts or im irares
pomography.)
Smirh seems to have missed totally rhe
major innovation of site-specific art- that
it is inspired by its location or context, if
nor fully derived by them, which explains
its variet y of forms and materials. This di-
versiry and rhe fuet that most site-specific
arr was created for publi c competitions all
over the country (rather than just New
York or Los Angeles),as well as its affinity
to landscape architecture or designing of
public spaces, confuses most art critics.
HnUA n 2109 landlclpeArchitecture 115
IMERICAI SlmlY IF IJIDSCAPI
m lYE S1i1lT IW. WISHllilll. OC
112I!Il4 FIX 111111115
16 1 Lendlcape Architecture Hnun l on
LETTERS
Site-specific art was oom from "land art"
but turned basically to urban spaces, thus
often assuming a social responsibility. It
was mostly generated by less-known anists,
rather than by fashionable art world stars
promoted by dealers-so most art critics
turned a blind eye to it even when they saw
it. Moreover, tlJe most prOOuni ve artists in
this new "movement" that emerged in the
early 1970s were women (another reason it
Site-specific art was born
from "land art" but
turned to urban spaces,
thus often assuming
a social responsibilny.
passed in silence). PauiciaJohanson, Nan-
cy Holt, Alice Adams, Alice Aycock,jody
Pimo, Mary Miss, Cecile Abish, Elyn Zim-
merman, Ann Healy, Jackie Ferrara, Joyce
Kozloff, Agnes Denes, Michelle Stuarr,
Harriet Feigenooum, Mags Harries, and my-
self are among the numefUUS site-specific
women anists; comparatively there are
many fewer male srars in the field, such as
Claes Oldenburg, Siah Armajani, Bob Ir-
win, and Richard Serra.
f agree with one point of Smith's: Serra's
controversial Tilled A1t", disregardful of the
public, was probably the nail in the coffin
of permanent site-specific art and encour-
aged a rerum (0 more acceprable, object-
oriented "plunk" sculprure, such as Koons's
endearing PIlPpy.
Design with Divinity
ATHENA TAUIA
\flaJhing/on. D. C.
I
SUPPORT BETII MEYER's Manifesto,
"Sustaining Beauty: the Performance of
Appearance" (October), whichgivesequiv-
alenr weight (0 aesthetics in evaluating
sustainabi lity. \Vhile she cites contempo-
raries for inspiration, f' m more intrigued
by the teachings on the divinity of nature
from \'{festern phi losophers.
The protection
of Earth's vitality,
diversity, and beauty
is a sacred trust.
Plato asserted in Timaeus that nature
was the active principle presiding at the
birth of things, whose operations gave or-
ganic form to a universe endowed with or-
der and beauty, embellished through math-
ematic proportion. Plorinus WfO(e that the
One Principle from which all the Beauty of
the world draws grace, showing itself in
material form, comc""S by Communion in
Ideal-Form through the thought of reason
/lowing frum the Divine. Thomas Aquinas
asserted that aesthetic theory begins with
Divinity, with beamya transcendental at-
tribute grounded in form having three for-
mal characteristics: clarity, imcgriry, and
proportion. George Santayana wrote of
beauty as the dearest manifestation of per-
fection, a pledge of conformity between
soul and nature, and a ground of faith in
the supremacy of the good.
111e preamble of rhe 1992 R iode Janeiro
Earth Charrer stares that rhe protection of
Eanh's vicality, diversity, and beallty is a sa-
cred trust. 111e spirit of 1m man solidarity
and kinship wirh all life is strengthened
when we live with reverence for rhe mys-
tery of being, gratiwde fOf rhe gift of Life,
and humility regarding the human place
in nawre. Suscainability, spirituality, and
aesthetics-spoken with rhe same breath.
Due Credit
DENNIS A. WINTERS, ASLA
J"oronto
W
E WERE PLEASED to find HrQ men-
t ioned on page 29, "Reshaping Toron-
to's \'V'arerfronc"' (December). However, the
design of HtQ is credited solely to Janee
Rosenberg + Associates when in fact ie
should also be credited to Claude Corm ier
Architecces Paysagistesand Hariri Poncari-
ni Architects. The design was a collabora-
t ion between our three firms.
PAULINA CARBONARO
JANET ROSENBERG + ASSOCIATES
J"oronto
HIRUUl 2009 Landscape Architecture 117
A sligh1fr irreglliar lonk (/
HAPPV TREES
Former Brownfield Now
Verdanl, Verliginous
In Liverj)()()/, the trees tllm, tllm, tllrn.
I
NA RECENT INSTALLATION fur che Liver-
pool Biennial, a quiec walk in che park be-
came a challenge to the equilibrium im-
paired. Arbores LalIt, che latest brainteaser from
architectural tricksters DillerScofidio + Ren-
fro, comprised a grid of 17 hornbeam crees,
three of which traced a slow, swinging arc as
subterranean turntables rotated them con-
stantly on cheir axes. Vertigo sufferers were
best advised to keep an eye (Q the horizon.
Arbores l..delt'-Lacin for J oyful Trees-was
among 15 Merseyside works commissioned
for the 2008 Biennial, whose cherne was "Made Up---an Explo-
ration of che Ecology of che Artiscic Imagination." The adventur-
BY L I \ ' I) \ \ I C I \,TY lll':
ous work played tricks with basic elements
like light and time; leaves and shadows shifr-
edconstandy, responding rothe movememof
the tfees rather than the sweep of the sun. TIlis
manipulation of ourexpeaacionsof nature has
shown up in ocher fantascical diversions from
rhe New York-based firm; 2002's Blur Pavi l-
ion for che Sixch Swiss National Expo Staged
a platfurm hovering eerily above Lake Neucha-
tel, permanently enshrouded in an opaque
nimbus of machine-generated fog.
Arbores l . . d e l e ~ transfurmation of the furmer
brownfield site on Parliament Street officially
ran (rom September 20 co November 30,
though the crees were planted over the sum-
mer to allow them cime co mature. Rick
Scofidio formally presented [he piece at its
opening, describing it as "beautiful, wonder-
ful, and a litc!e bit frightening," echoing the
sentiments of many bemused and slighrly dizzy Liverpudlians.
- JOSHUA GRAY
C, ntact Linda Mcintyre at fmclnt,u @asfa Of'.
ls i Llndlcape Architecture Hnun ZOGI
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III the ndtian's capital, kids lean/life
skilfs with a rattle can.
G
RAFFITI IS A FACfOFURI3ANUFE, bur in
\Washington, D.C, a unique after-school
program is using graffi ti as a teaching aid
and empowennenc (001 for young people.
20 I Landlcape Architecture Hnun ZOGI
Midnight Forum's Murals project has jazzed
up sites throughout Washington, D.C.,
including schools, here, streets, below,
and alleys, bottom. Most of the artists
are high school students.

Midnight Forum Collective takes a
multidisciplinary approach, uplifting
kids from elementary [Q high-school age
wirh courses in DJ - ing , poetry, and
rhyme as well as graffiti art techniques.
\'\forking With the D.C. government,
Midni ght Forum also has implemence<1
a mural-painting initiative co help con-
rrolllJegal tagging.
"Teaching music and visual arrs was
rhe hook [Q ger kids in (Q learn about en-
rrepreneurship, communiry organizing,
and life skills. \"X7e were able [Q get a num-
ber of murals up rhroughout rhe commu-
nity, and statistics starred going down on
illegal tagging," executive director Do-
minic Painter, who also answers to D)
Tru, cold Landscape Architectllre.
\"X7hile these young trainees may not
grow up co make careers in the arcs,
Painter sees agrearer long-term benefit for
his charges and !Or their communities. "If
you give a young person the opporrunity,
and on-sire training in someching chac
they care about- if they know there are
other options-they're also not running
around doing something illegal."
- JOSHUA GRAY
Philip di Giacomo on Change C%uq::/o >'/4rdscapeS made me bi:tJer. z,....,proved
""1}1 cl:ent SerV:Ce capa&il;t;eS. EVen:Y?""e "1e "1ore ti"1e to create. rhey d;d
:t 6y lett;"!} "1e be "o/Sel.f" . .By ut;l;z:"!} ""1}1 crelAJ or artisans and hav;"j
""1}1 crelAJ train the;rs. So IAJh;le everyth;n:J's cha/ljed, l <.Je still "1aKe the
hst roCK. In other lVOrdS, noth;,,:) 's cha/ljed."
~
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TREASURE CHEST
!-lis tory in Storage
Basement dfl:llItterillg yields link to early
days 0/ ASLA.
W
HEN NOELLE FURfARO, wife of 2008 st. Louis ASLA
Chapter President Brad Furfaro, was cleaning
ollt the couple's basement recently, she found an old
steamer trunk they had purchased at a thrift shop
almost a decade ago.
On closer examination, Furfaro noticed the
trunk was stamped "Charles W. Garfield, Grand
Rapids, Michigan. ft Internet research rerealed the
trunk's surprising landscape pedigree: Garfield,
whose name graces Garfield Park in Grand
Rapids, was a horticulturist, philanthropist, and
stale representatin with a passion for trees. His
legislatin efforts helped to establish Michigan's
stale forest s),stem and the agency that became
its Department of Natural Resources.
This affection for the landscape ran throughout
the branches of the family tree-Garfield's first
cousin, Ossian Cole Simonds, was a charter memo
ber of ASLA and sened as president in 1913. A
contemporary of Jens Jensen, Simonds was also a
derotee of the midwestern prairie landscape and
BEST NEST
L1lo Ule (L1lerdisciplinary) Woods
Spanish mtists get in tOllch with nature.
~
R T ' NAllJRE, AND SITE specificity brought together a diverse group of
landscape architect s, artists, arch ircns, and ocher designers in a reccnt
workshop in cadiz, Spain.
11w NMAC Foundation's Montenmedio Contemporary Art space, nes-
led in a Mediterranean pine forest, hosted rhe "Art and Nature: Ephemer-
al L1ndscapes" workshop, organized by Assicuirurt', a nonprofit that pro-
mO[es cultural exchange among international artis ts. Led by Patricia
Men("Se; and Ivan Juarez of Barcelona's ex.studio, the group produced NeJt-
Passages, a transitional sculpture defining space with maritime cordage, a
material procluced in the region. The designers sought to transform the site
into a place co be discovered and traveled, creating a place of rransir, mu-
(arion, and reflecrion.
Light passing through the conducrive t hreads, as well as the brightly col-
ored mrdage irself, added new levels of rexture to rhe space and defined a
rome rhrough it.
naturalistic design. In addition to designing projects such as Graceland
Cemelery in Chicago, RiYeniew Park in Hannibal, Missouri, and Fori
Sheridan north of Chicago 'see "Balancing Acts," Landscape Artlritec-
fure, January 20041, Simonds wrote the seminal book LAndscape
Gardening 119201, which is still read today.
Garfield's silier, Jayne Pawlisa, who is now the proud owner of the
trunk. And in addition to a tidier basement, Furfaro now has a new
appreciation for her husband's vocation. "The trunk being connected
to these two men felt like Brad geUing a handshake from two of his
role models, telling him, 'We beline in your work. Keep striving to
make a difference.''' Delighted with the find, Furfaro tracked down a descendant of
22 ] Lendlcape Architecture Hnun ZOGI
(krafts'man) n. 1 One who performs with skill and de ten y
in the manual arts and crafts.
Changing the Shape of Landscape Architecture
One Fount8Jn at a Time
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fountains
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WMN rornanfounl31ns,vom
Los ,6.rgctes AJtx,qUf)rQUI. A t ~ " , m t a
'IiariOcrafted In Amenca by American Craftsmen
O
NeE A PARK,always a park. Right?
\'Vell, noc in Miami. Or in Sr. Louis,
Kansas City, New York, or Los An-
geles. In fact, virtually nociey in rhe
counrry has been able to preserve
and procect every acre of irs parkland from
being developed in some way.
Highways, police horse scabIes, SPOTtS
arenas, shopping centers, hospirals,
schools, parking [ms, museums: The list
of encroachments into, on, over, and un-
der urban parkland is almost endless,
For some people, [he loss of even a
square foot of grass is an outmge; for oth-
ers, it's JUSt normal opemring procedure in
[he world of urban real esrute. After all,
they say, many great urban parks and
plazas-from POSt Office Square in Boston
to [he \'7esnvard Expansion Arch in St.
l ouis to Pioneer Courthouse Square in
Portland, Oregon- were created on prop-
erties wrested from ehe wreckage offormer
uses. Why should parks be any different?
Encroaclunents are
becoming the rule.
8y Peter Harnik
For many years, ehe worse chreae co ur-
ban parks was from highway conS{luccion.
Scores of parks from Providence and
Philadel phia {Q l os Ange les and San
Diego were grievously damaged by roads,
cloverleafs, smog, and noise. The U.s.
Supreme CoUrt'S landmark 1971 ruling in
CitiuIIJ to Preserve OvertOIi Park v. Volpe, a
Memphis, Tennessee, case, slowed checar-
nage but didn't stop it. Even now roads
chreaeen some parks.
But today che culprics are noc chose cry-
ing to get out of town; ehey are those try-
ing to gec inco che action, Museum direc-
mrs, eeam owners, shopping center moguls,
hospital presidents- all are looking for
Green space has shrunk
by a third in Miami's
8ayfTont Park,
prime locations at bargain prices, and
parks frequently mp cheir lises.
"TIle land is often available for free, and
it's controlled by politicians rather than by
businessmen," noees Greg Bush, a professor
of history ae ehe Universiey of Miami. "Tf
you know how to llSe-Of manipulate-
che political process, you can circumvent
che real estaee market and save yourself a
lot of money."
But ehac sicuacion doesn'e necessarily
make for good public policy,
"Building on parkland is like eaeing che
goose thac lays golden eggs," says Alexan-
der Garvin, former member of che New
York Cicy Planning Commission and au-
thor of The Alllerict/ll City: \'{Ihat \'{Iorks,
\'{IM' Doesll't, "\'{1edon'c wane co consume
che goose; we want to feed ie- improve
the park so that it conveys ever greater val-
ue to ehe surrounding land."
He adds: "Unfortunaeely, when some
people look at a park ehey see an empty
site that is ideal for their project because it
is in a location that has become extremely
valuableasa result of the park. These parks
should nor be 111 play. nley should oc jor
play and continue [0 pay offsur-
rounding property owners."
Polar Opposites
The "' parks-in-play" capical of
the United Scates is Miami. Al-
though Miami has only 3.4 acres
of parkland for every 1,000 !"(--si-
dents (the sixth lowesr among
the nation's 75 largesrcities, ac-
cording (0 a 2008 study by the
Center for City Park Excel-
lence), developers as well as oth-
ercity agencies seem (0 have an
endless number of alrernative
ideas for almost every park in
the city. In Bayfront Park, the subject of
thousands of picture postcards in the
I 940s and 1950s, only 26 acres of the
original 62 acres have nor been developed
in some way, whether as a waterfront shop-
ping and dining complex or a parriall y
gated performance area.
Lummus Park, the city's oldest, lost half
of its three-quarters of an acre when rhe
pol ice department needed land to relocate
its horse stables. \'Vatson Island, once all
parkland, was first reduced by the creation
of the private Parrot Jungle and is now
slated to be furrher privarized by a large
In long Beach, Califomia, a controversy over a
police department building being located in
Scherer Park, abot"e and below, has led to
more protections for p a ~ spaces.
yacht marina and a hotel. Bicentennial
Park, 29 acres and shrinking, is being eyed
for the placement of rwo museums, each
with a four-acre foorprint.
And, on the last remaining open parcel
on Biscayne Bay, on a properry leased co
rhe ciry by Dade County, the owner of the
Miami Hear basketball franchiseoverpow-
ered the opposition and constructed what
is called the American Airlines Arena. As
parr of the deal, a riny parcel between the
arena and rhe water was co become a prom-
enade, but now a Cuban American group
is seeking approval to build a parking
garage and a museum devored
[0 the Bay of Pigs invasion.
The polar opposite of Miami
is Portland, Oregon. When it
comes [0 parkland acquisition,
deacquisition, transfer, lease,
trade, and developmem, Port-
land scrupulously follows the
rules. However, despite clear
and fair procedures allowing the
sale or conversion of parkland, it
just doesn't happen.
" In theory we can, but in
pracrice we can 't," says Zari
Samner, direc[Or of Portland's
parks and recreation agency.
"Our residents simply don't al-
low it. In Portland politics,
parks come first. Frankly, my
department somet imes has
trouble even gett ing a restroom
facility built in a park.
Complete Reversal
The transirion from Miami 's "anything
goc--s"' [0 Portland's "noway" can be seen-
in real rime- in Long Beach,
California.
long Beach, an economically
challenged, densely populated
city of 500,000 in the shadow of
Los Angeles, has a well-run park
sysrem but is shorr of parkland.
One of its larger neighborhood
facilit ies, 27 5-acre Scherer Park,
fOr many years contained several
remporary rrailer offices for the
Long Beach police department.
In the late 1990s, because of
problems with mold, safety, and
space, the police proposed re-
placing the rrailers with a build-
mg. lllere was opposition, but no alterna-
tive site emerged and a formal proposal to
bui ld on a corner of the park went to the
city counci l.
\'Vhen opponents irwestigated their le-
gal rights, they discovered that the city
had no law against building a nonpark
structure in a park. In fact , legally speak-
ing, rhe entire park system was a mirage.
Long Beach had noabilicy to fonnallyded-
icate any land as a "park," meaning that
virrually every acre was IXltentially open
co proposals from cicy agencies or private
interests. (The only slight protection for

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URIAN PARIS
Scherer Park was the fact that federal land
and \Vater Conservation Funds were in-
volved in its acqlllsirion, bur that merely
required the city to replace any land that
might be lost.)
As with every policc-verslls-parks con-
troversy, the citizenry was split. Residents
of rhe immediate area generally f.1Vored
the police station; residents mnher away
were concerned about seeting a bad prece-
demo Following a bitter debute, in 2000
rile city council approved the construction.
Scherer Park shrank by 2.5 acres, bur
the outcry stimulated Long Beach to in-
sritlltc a top-co-bonom overhaul of its
park procedures. All existing parkland in
rile city was formally dedicated, and a new
ordinance required future park additions
co be Immediately dedicated as well. T he
city's park and recreation agency was di-
rected to update its master plan (un-
changed for 25 years), and [he ensuing
2s 1 Lendlcape Architecture Hnun l on
documem recommiued Long Beach [0
adding parkland. It also for [he first time
required [he city [0 rectifY neighborhood
inequali t y by identifying park-deficient
communities.
Mos[ stunning, the council passed a law
requiring that any lost parkland must be
replaced wi t h t wice the acreage taken-
hal f of it in the vicini ty of the loss and the
other halfin a park-deficientneighborl"KXXi
elsewhere in the city.
'" It was a painful episocle, but at t he end
of the day it was a watershed moment,"'
says Phil Hester, direc[Or of the parks
agency. I t proved the importance of parks
to all OUT residents, and it really solidified
our polICies. It made my job bener. And
not a single acre of parkland has been sold
or lost since 2000.
Trading Up
Some park agencies take a dist inctly en-
trepreneurial attimde toward their park-
land. In Kansas City, Missouri, when parks
and recreation director Mark McHenry
was offered a land swap by a developer, he
took it, and he was backed up by his park
board, the city council, and the voters.
'"We had a 1 3-acre park along a com-
mercial strip Ollt by the airport north of
downtown ... McHenry explains. "[n 2000
a developer came co us wanting co add {he
northern half of ir-six acres-co a project
he was planning. [n return he offered us a
75-acre tract of farmland about a mde
north and a 49-acre tract of wooded, hilly
land abour a mile west. Six acres for 124. J
thought ir was a good deal. \XIe did two
long Beach's DavenlXlrt Park was created
to compensate for lost parkland elsewhere
in the city.
appraisals and he did one. They were all
over the place, but all of them came our
positive for the city. There was opposition
and we took a li ttle heat, but every time it
came co a vote we won handily. Today the
six acres have been developed commerciaJ -
ly, the 75-acre farm isa $75 million aqlL1t-
ic center and ball field complex, and the
49-acre forest is a natural area with trails.'
The Kansas City Department of Parks,
Recreation, and Boulevards is far from a
run-of-the-mill park agency, which may
explain irs entrepreneuriaJ attitude. Esmb-
lished in 1890 and separately chartered as
an independem emiry, the departmem has
an elected board of commissioners and re-
ceives funding not from the city council
but directly from the citys property tax.
McHenry has the authority co lock in park-
land through dedication, but he doesn tal-
ways exercise it. !fhis agency owns a parcel
that Isn'r ideal , he sometimes leaves it
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undedicated and in play. And sometimes
he even initiates the action.
"We have a park in om Crown
Center area that has a smail, acre-
size 'tail' across a busy street from
rhe main senion," Mc Henry says.
"No one used the tail; no one even
knew it was a park. It a1socomained
a fun-down building. Meanwhile,
Getting to Win-Win
P
ERHAPS TtlE MOST SUCCESSFUllY re-
solved civic debate over converting
parkland took place in St. Louis in
2007. The outcome might set II prece-
dent nationally.
The "victim" was iI nine-acre corner
of beloved Forest Park. The "aggressor"
was the equally beloved Barnes-Jewish
Hospital, iI civic pillar ilnd one of St.
Louis's great institutions. To the public,
the story seemed simple: Powerful hospi-
tal needs more space, ma)'or quietly of
fers pariland, story leaked to the press, conser
vationists rise liP in outrage, huge debate
ensues, complicated compromise reached.
The true stOI)' was much more nuanced. The
chunk of land known as Hudlin Park was sepa
rated from the main, 1,293acre Forest Park b,
an eightlane road that was realigned in the
early 1970s. In 1973, BarnesJewish signed an
agreement with the city to lease Hudlin for
$150,000 a year. The hospital then bum an un
derground parking garage and rebuilt the park,
adding tennis and handball courts, a play
ground, and a picnic area. The lease required
the hospital to maintain the park. The deal was
set to run for 77 ,ears.
At the time, Forest Park was run down and
lacked an effective advocacy group. Most St.
Louisians didn't know about the agreement,
and those who did had no problem with it. Soon
almost evel)'one forgot that HudUn had even
been part of Forest Park; it was used mostly by
hospital staff and patients' families.
A few years ago, BarnesJewish Inow called
Ble HealthCare! proposed an expansion-into
Hudlin PaR. "We're landlocked," explains BIC
vice president June Fowler. "As we thought
about remaining a viable institution for the
30 I LendlClpeArchltecture Huun l on
we needed money to fix one of our foun-
tains. Wle decided to sell that little piece of
the park and use the money for the
\X1omen's Leadership Fountain. \X1e got
authorization to put it am fOr bid and end-
ed up selling it for $1.2 million."' As it
rums out, the children's hospital bought
the parkland, tore down the building, and
has plans to use the site for green space.
"C.'m you beat that?"' asks McHenry.
next 50, 60, 70 years, there was really no oth fund. In return, Forest PaR Forever agreed to
er parcel to use. other hospitals in our situa' raise and donate an additional SI.8 million per
tion have moved out of the city, but we're com- year for the paR, as a match to the 8JC funds.
mitted to remaining here." 8JC sought to In addition, the city agreed to make nail
restructure the Hudlin lease. able six acres of land for a replacement Hudlin
By this time, Forest Park had beeome a much PaR, directly adiacent, as soon as it completes
more fonnidable player in city land politics. Oer the reconstruction of a clorerleaf on Interstate
the previous decade, it had been led through a 64. I8JC will deyelop the park.! And, to top it
SI00 million upgrade by Forest PaR Fore,er, a off, St. Louisians roted to require that any fu
fonned by many of S1. Louis's ture parkland disposal be submitted to a rote
moYers and shakers. 8JC'S proposal was greeted of the residents.
with howls of public indignation,hllt the conflict "In general, parkland should not be sold,"
was not a typical Da,id,ver$lls-Goliath scenario. says James Mann, fonner executive director of
Both sides entered the negotiations with consid Forest Park Foreyer. "That's why we have an
erable strength but, more important, with the agreement that no matter what gets built there
orerall greater good of the city in mind. [,el)' will never be a net loss of green space. But
time an impasse was reached, one side or the we're also talking about parks that go back as
other sweetened the pot rather than demanding much as 150 years. To not engage in modern
a concession. day politics doesn't make sense. If we can help
In the final agreement, 8JC got the land in reo reinvigorate our city by shifting a few acres, it's
tum for an annual payment beginning at S2 mil worth having the conversation."
lion a year and rising over time (significantly BIC's June Fowler agrees. "It was an emo-
higher than any of four appraisals of the land's tional issue but a respecHul debate," she says.
value!. Under prodding from Forest PaR Forev "Honestly, one of the things we appreciate
er, the city agreed that the annual payment most is having Forest Park as our nextdoor
would go specifically to projects in Forest Park neighbor. And getting a view of the park even
rather than (as previouslyl to the city's general helps our patients get well faster."
What It Takes to Save Parkland
\Xlhat are the differences b e t w ~ n Kansas
City, St. Louis, and Miami? All three ci t ies
gave up some parkland, but Kansas City
and Sf. Louis did it from a position of
strength (and came out ahead), while Mi-
ami did it haphazardly, with the park
agency relegated almost to onlooker status
while politicians did the deals. If you com-
pare Miami 's park system to a chessboard,
the city seems to lose a more valuable piece
e\"ery time there is an exchange.
The strength of Kansas City's park
agency stems from rigorous procedures,
clear decision making and accountability,
and a long tradition. The department
doesn't always make the right decision, and
the populace doesn't always agree with
every acrion, but the process is transparent
and there is widespread trust in it.
In Sf. Louis, we see a bit less park system
transparency and a bit less public trust, bur
there is also a very strong private-senor parks
advocaqr group for Forest Park (see sidebar,
opfOSite). 111is alert, ent'lBizeci constiruency-
similartogroups in New York, San Francis-
co, Philadelphia, Atlanta, and a few other
cities--can make all the difference when it
comes to defending parkland from ques-
tionable uses, or at least making sure that
the city getS the best possible deal.
Miami has neither rigorous institmion-
al policies and procedures nor a powerful
park advocacy group. There arc outstand-
ing individuals who rise up in eloquent
concern, but without an organized base
they aTe regularly outmaneuvered by de-
velopers, vested interests, eager politicians,
and the city's powerful newspaper.
111e lesson is that in cities the competi-
tion for space is often so intense that flOt
even the strongest statement about the in-
violability of parkland is sufficient With-
OUt the protection of well-defined regula-
tions and an ever-vigilant private park
constituency.
Peter Har11ik is director of the Cemer for City
Park Exct/lell(t at the Tmst flff Public Land
ill New York. He is the allthor of The Excel-
lent City Park System: What Makes It
Great and How ro Get There.
This article was reprinted wid, permission
from Plal/llil/g, the magazine of the Amer-
ican Planning Association.
AMIRICAN SOCIITY Of IANOSCAPI ARCHITICIS
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fURUUl 2009 LlndlclpeArchileclure 131
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laurel.McSherry, the
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the Washington-Alexandria Archi
tecture Center [WAAcl, an urban
edension of Virginia Tech located
just outside the nation's capital.
W
ASHiNGTON, D.C., HAS
some of the nation's most
famous landscapes, bur
for yea rs t here was no
master of landscape ar-
chitecture ("'fLA) program within
an hour's drive of [he \'{1ashington
MonumenL That changed in
A fledgling landscape architecture
program once partnered with
2007, the WAAC jumped at the
chance co add a foundation year
within ics own program.
The changing relat ionship be-
tween the schools is only a small
parr of each school's smry. The in-
terdisciplinary nacureof the WAAC,
1998 when Virginia Tech estab-
lished an MLA program at the
\'{1a.shington-Alexandria Archicec-
rure Cencer (WAAC), its urban ex-
tension in Alexandria, Virginia.
Virginia Tech has had a land-
scape archi tecture program for
many years, but it wasdifficu!c w
expand che MLA program 270
a landscape design program
for mutual advalltage. Now dlat
dle), need each other less,
what has been lealned?
t he way it takes advantage of sur-
rounding insticutions,and theop-
tions it provides students co learn
various cmfts make it stand out
from other landscape architeccure
programs, Mean while , GW has
continued co expand its options,
addl!lg a sustainable landscapes
certificate chat is helping co bring
knowledge of sustainable design
miles from its parent campus in ehe Blue
Ridge Moumains. It didn't have the facul-
ty necessary [Q duplicate its core classes at
the WAAC, and distance learning can only
go so far with courses like gmding. So Vir-
ginia Tech made an unusual parcnership; it
worked with the esmblished landscape de-
32 1 Landlcape Architecture Hnun l on
By Daniel Jost, Associate ASlA
sign progmm at George \'V'ashingmn Uni-
versity (GW) to provide the firs t year of
study for scudents who wanted mspend al l
three years in t he \'V'ashington, D.c., area.
How well did this partnership work out?
It was effective, but probably not ideal.
So when the funding became available in
to small-scale projects.
A Changing Relationship
GW is not the only landscape design pro-
gmm that has a relat ionship with a land-
scape architecture progmm. Some bachelor
of landscape architecture (BLA) progmms
/-
I
,
I
,
Cristina Lewandowski, Stndent Affiliate ASLA, discowered her interest in landscape architecture
while taking landscape design dasses at George Washington University IGwl , An agreement
between GW and the WAAC allowed her to enter the WAAC's MLA program with adwanced standing,
allow students from junior colleges to enter
with advanced standing. Additiooally, fOf
the past four years, the Conway School of
Landscape Design has had an agreement
with the Uni versity of Massachusetts
Amherst's MLA program to provide ad-
vanced standing for its graduates, though
only one person has taken advantageofit so
far. But GWI may be the only landscape de-
sign program that was ever fully integrated
inm an MiA program at another uniwrsity.
And unlike Conway, over the years it has
successfully steered many students into rhe
field ofIandscape architecture.
Virginia Tech and GW's partnership
was formed at a time when there were
more landscape architecture jobs than
people to fi ll them, says Adele Ashkar,
ASLA, who heads dle landscape design
program at GW.
Virginia Tech has offered ooth BLAsand
MLAs in Blacksburg for many years. How-
ever, Blacksburg is a small town in south-
western Virginia, and few landscape archi-
tecture firms are nearby. Having t he MLA
program near o.c. provides grad students
more opponunities to intern.
The 1998 agreement between GW and
Virginia Tech allowed students with no
previous design experience to spend their
first year studying landscape design at GW
and then finish their Mi A at the WAAC.
Originally, students could choose to spend
their first year in Blacksburg rather than at
GW, but Blacksburg's fi rst professional de-
gree program was discontinued in 2(X)4,
and for tWO years, all students entering the
M.LA program without prevIous design ex-
perience had m begin at GW or some ot h-
erprogram approved by the Virginia Tech
faculty.
To make sure that ,graduates from GW's
landscape design pro,gram would be ready
to enter a second-year graduate studio, fuc-
ulty members frum both schools sat down
and compared thei r curricula. "' \"'e had m
strengthen a few things," says Ashkar. "Our
site en,gineerin,g and const ruction classes
were improved. But we agreed t here would
be some areas our students were overquali-
fied for and some areas where t hey would
need more instruction." Due m its focus on
smal l-scale landscapes, GW does not provide
a solid back,ground in regional site engi-
l"leering and hydrology. 'Ineseclasses would
need co be provided at the WAAC. Howev-
er, GW is stronger on planting desi,gn than
many landscape architecture programs.
The partnership between GW and Vir-
,ginia Tech had benefits for bach programs.
It helped Virgini a Tech establish a new
master's program quickly. In the early
years, "it provided a significant source of
students for both programs," says Laurel
George Washington
University: S m a l ~ S c a l e
Sustainability
T
he landscape design program at George
Washington IGw) Univenity is not a tra-
ditional graduate program, and its students
are not traditional studenis. Most are work-
ing professionals coming from completely
different careers who sit for one or two
courses at a time and often take three years
to finish their landscape design certificate.
Not far into an open house Landsc:ape
Architecture attended, Adele Ashkar, ASLA,
the prognm's director, tells incoming stu-
dents point-blank that this is not a land-
scape architecture program, The program
focuses on small-scale landscapes-small
residences ilnd commercial projects, There
is no "' usuill" career track for graduates,
given their varied backgrounds, Many go on
to do freelance landsupe design, Others
1"0'* for design/build finns, One graduate,
who had a background in journalism, is now
the garden writer for The Washingtotl Post,
And of cOllrse a few go on to another uni
'ersity to stud)' landscape architecture.
Students at GW are taught many of the
same skills taught to landscape architects.
There are cla$$" on site analysis, site engi-
neering, the history of garden design, and
constroction methods. But there is a strong
focus on plants. An introductory class teach-
es students basic plant sc:ience lone creditl.
two core classes focus on design with plants
(two credits eachl , and fire woody plant
identification courses lone credit eachl take
advantage of the U.s. Botanic Garden and
other local landscapes to study plants duro
ing different seasons.
While the program recently added a digi-
tal representation electiwe, in studio classes
students do all their design work b)" hand.
Ashkar belines it is parlicularly imporlant
for her students to be able to draft and
draw, giwen the types of clients the)" will
hue. " for a small-scale designer, AutOCAD
is owerkill," says Ashkar, and so far there is
no single design program being used by the
majority of landscape designers.
For man)" )"ears, the landscape design
program did not offer an)" sorl of master's
degree. It onl)" offered a cerlificate for stu-
dents who complete a 28-credit track. How-
ever, recently the program
added a second II5credit!
certificate in sustainable land
scapes, and students who com
plete both certificates can earn
a master of professional studies
in laudscape design.
The sustaiuable laudscapes
certificate is being marketed to
both landscape design gradu
ates and practicing profession
als. The program focuses on
sustainable ideas that un be
implemented as a part of small
scale design. " As far as I know,
this hasn't beeu done anywhere
else," says Ashkar. There are
classes on designing with native
plants, techniques for removing exotic invasiYes and restoring natire plant communities,
ilnd approaches to water conservation. Studenu learn about the technologies and planu
used for green roofs, and they are introduced to rating systems for sustainable design.
The sustainable landscapes certificate is a oneyear program-beginning in August
and ending in April-that is designed to accommodate the work schedule of practicing
landscape designers. It consists of seven classes, each approximately a month in length,
and uses a blended delivery format , which means that it combines distance learning
dasses that can be taken over the Internet with intensive weekend dasses that meet illI
da,. The final class is a sustainable design charreHe, where students work alone or in
groups to create projects that express sustainable design principles.
"Our mission is really to make sure our local designers are prepared for home owners
who want to use sustainable practices in
their home landscape, " sau Ashkar. "It's
a real community-based mission for us. "
The landscape design classes at GW
focus on smallscale design, top and
right. Adele Ashkar, ASLA, critiques her
student's design for a church courtyard,
below right. GW'S plant identification
classes are held at the U.S. Bolanic
Garden, Brookside Gardens, below left,
and other nearb, landscapes.
AT A GLANCE

Landscape Design Program
Location:
W'aJhmgtoll, D.C. , alld Lol/dorlll CONllfy. Virg;/Ifa
Students:
f20- f50
Full-time faculty positions:
I
Part-time faculty positions:
30
Degrees offered:
laudscape desigll certificate,
JlIStaluabie laJ/dscapes certificate,
II/djter of profeHirmal str!dies in landsCdpe desigll
Cost for 2008-2009 academic year:
15751credit
(landscape design certificate, $16,.100;
smtalnab/e landscapes certificate, $8,625:
IIMster of professioJ/al sff/dies in landsCdpe tkign.
$24,725)
Accredited:
by the Middle States Commissioll 01/ Higher
Edm<ltioll (Not accredited by the Lmdscape
Architecfllre Accreditation B(ldrd: Ixnl'tlJer,
a certificate from GW is colliidered an adequate
replace1l1l!11t for the first year of graduate study
ill lalldrcape architectflre.)
Profile:
George Washington V lIillenily offers Cdrter
challgers opportflnities 10 learn abollt designing
small-scale lalldscapes onllights alld weekends,
with a strollg emphmis 011 plalltillg desigll. For
thme illterested ill continuing on ill the field of
landscape archilectllre, its COllrJ(j call comll t()tlldrd
the MLtI program al Virginia Tech.
fEnUAn 2 0 n landscape Architecture 1 35
McSherry, who now hends the landscape ar-
chicecrure program ac the WMC. Ic was
also a way (0 provide plant ident ification
and ocher core courses for the WAAC's MLA
candidaces. The planes classes in Blacks-
burg are provided in conjunccion with Vir-
ginia Techs Department of Horticulture,
which does noc offer classes in Alexandria.
ForCW, che pmnership offered a chance co
improve the landscape design program and
extend new opportunities (0 its graduates.
The big atcracrion for me and
-
che program was chat we would
have a fmerion of students who
would scart ac CW and chen
discover the field of landscape
architecture," says Ashkar. Un-
der the new agreement, "chey
wouldn'c have to forfeic all
the work chey had done and
stare somewhere fresh." Addi-
cionally, CW students would
generally benefit from having
an Ml.A program nearby. "So
many of our studencs are career
changers," Ashkar explains.
They have families here, roots
here. TIley canc JUSt gec up and
leave town." It is unlikely chey
could continue their studies in
the field oflandscape architec-
rure if there were no program
in the D.C. met ro area.
-
Cristina Lewandowski, Student Affil1-
ace ASLA, now a second-year student ac che
WAAC, discovered landscape architecture
as a part-time student at CW. "\'\Ihen I
starced at CW, I had been a software de-
veloper for 15 years, and I wanted some-
thing creati ve rodo in my spare time,' she
says. Ac firsc, I wanted co learn how co
design a Rower bed. And chen I said,
\X1hats larger than a flower bed? I want to
do thaL ..
t
, -.I
Sarah St runk Couchman,
Associate ASLA. a former eco-
nomic consultant who gradu-
ated from the WAAC in 2007,
was already considering a ca-
reer change when she began
taking classes in landscape de-
sign. "CW was a great way for
me ro ge t my feet wet; she
writes. "Classes were in t he
evenings and on wCkends,
which meant that I could con-
tinue to work as a consultant
while I figured our whether I
wanted to change careers.
In e-mail questionnai res,
many graduates of the cross-
university program s.'\id they
valued the plants courses they
took at CW and the program's
strong connection to real-world
const ruction issues. "At CW
teachers were typically practic-
ing as well as teaching, so they often had
useful advice thac stemmed from close con-
tact with contractors and suppliers,' says
Rob Holmes, Associate ASLA, who gradu-
aced from the WAAC in 2008 and current-
ly works for Michael Vergason landscape
Architects. "Since working with contrac-
cors and suppliers is such a major pare of
professional pracrice, T' ve come to appreci-
ate that aspect ofcw a great deal."
However, the partnership had disadvan-
tages as well, particularly in
the years t hac students were
all but required to begin at
CW. TIle biggesc is that since
CW is a night school and Stu-
dents do not have their own
desks on sice, it lacks che Stu-
dioculture chac is craditional-
ly the backbone of a design
educacion. Studio environ-
mencs encourage students co
share ideas and critique one
anocher's work. "'{That] can't
be duplicated in once-a-week
MLA students at the WAAC present
their projects to both architec-
ture and landscape architecture
faculty, top and opposite bottom.
Caren Yglesias, a fulltime
adjunct professor, critiques a
student's work, left.
All students at the WAAC are reo
quired to own a laptop computer
with a software package proyid
ed by the uniyenity, but a small
computer lab is ayailable, right.
pinups as we had at GW,"
S<'Iys Holmes.
Being immersed in the
studio environment sudden-
ly in their second year was
also a bit of a culture shock
for some students. , It was an
adjustment [0 come to the
WAAC and have studio t hret'
days a week for four hou rs
each day;' says Couchman.
Additionally, many Stu-
dents found the focus on
small-scale design during
their first year overly limiting.
Lindsey Heise already had a
background in landscape de-
sign when she entered the program, but her
degree d id nO( allow her to receive advanced
placement at the WAAC. While she round
theGW program to be very well run, itwas
redundant for her. "'It would have been
more advantageous for me ro have chree
years at the WAAC," she says.
Others chought chere were benefics to
beginning on a smal l scale. "Having no
previous design experience or {education],
small-scale design may be less intimidating
and perhaps a gocxl way to get
{he basic fundamentals," says
Irene Mills. But even Mills
thought the amount of time
spenc on small-scale design
was tOO long.
larger-scale design was not
introcluced ac GW, The Stu-
dents planning [Q continue
on in landscape archicecture-
even at rhe height of rhe
parrnership---made up only a
third of the landscape design
graduares in agiven year, Mosr
students went chere ro learn
small-scale design.
Finally, running a program
in cwo different universities
can be a bureaucratic night-
mare for both students and ad-
minisrrarors. For the tWO years
that Virginia Tech lacked a
u

i
foundation year, students needed tosimul-
taneously apply to GW or somewhere else
when they applied to the \'MAC. "From the
students' perspective, that was really cum-
bersome," says McSherry. 'The students
had to go through cwo different applica-
tion processes, and both schools nc-eded to
accept them."
Gi\'en chese challenges, ic is not surpris-
ing that the \'MAC decided to add a foun-
dation year in 2007. Yet, during the period
,.&'
i
., .
when the WMC could nO{ teach all three
years, the program scill managed to chrive,
It was accredited twice by the Landscape
Architecture Accreditation Board, and in
2008, Virginia Tech's r.ILA program ranked
lOch in che publicacion DesignJl/tel/igel/ds
annual rankings.
"' It is a viable model," says Ashkar, "'espe_
cially if we are looking for nonrradicional
ways to bring students into landscape archi-
tecture programs. I think the challenges-
rhe fact chac these career
changers are nor used co a StU-
dio environment and the jump
in scales-are both surmount-
able, as long as the MiA pro-
gram is sensitive to it and de-
signs a studio chac helps them
co bridge chat gap." Such a
transition studio was offered at
rhe WAAC in che summer of
2006 as a substitute for che fi -
nal stuclioat GW .
GW graduates can still re-
ceiveadvanced standing in {he
Virginia Tech program, chough
many students have recently
chosen noc co finish their cer-
tificate and ro transfer after one
semester's worth of course
work. GW is currently work-
ing with rhe University of
Maryland's young (and as of
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CAMPUS PROFILE
this writing not yet accredited) MLA pro-
gram to create a similar partnership that
would give srndents graduating from GW
another option in the region.
The WAAC > Architecture +
Landscape Architecture
It's 1:30 PM on a Monday afternoon, and
everyone at the WAAC is crammed intoa
single classroom for the school's weekly
kickoff meeting. The chai rs fill quickly,
so latecomers must sit on the floor or lean
on the walls. Architecture and landscape
architecture students, firs t years, and the-
sis students all sit side by side, conversing
as they wait for the meeting to begin.
Intemnion between architecture and
landscape architecture students is un-
common In many universities. At the
main campus of Vi rginia Tech, for exam-
pIe, the landscape architecture and archi -
tecture studios are in separate bUIldings,
and students rarely interact. 13m at the
WAAc's small campus, the students are
integrated in a variety of ways.
The most obvious form of integration
is the seating arrangement in the studio.
\'7hile many programs separate students
by discipline, year, or studio class, the
WAAC does the opposite. Architecture
students sit next to landscape architec-
ture students, and first years sit next to
third years. Students designing a boat-
building museum sit next to students de-
Slgmng a cemetery.
Originally, the faculty tried grouping
the first-year students together so they
wouldn't be overwhelmed, but
no one was ever breaking Out ,"
says McSherry. ft was like play-
ing tennis with people at the
same level as you."
Students of various abilities
and disciplines are likewise inte-
grated through the studios them-
selves. Second- and third-year stu-
dents are co-taught by both
archicecture and landscape archi-
tecture mculty, and landscape ar-
chitecture and architecture Stu-
denrsare mixed in che same class.
At the beginning of each semes-
ter, the faculty hangs a banner in the main
entry of the WAAC with the names and
descript ions of the 12 studio projens be-
ing offered. Students select their top three
choices, unaware of which 'IClllty member
is teaching each studio, and they are as-
signed to one. Lemuel Hancock, Student
ASLA, a second-year landscape architecture
student, is in a studio called "Polis and
Demus- Exploring Democratic Space,"
and mOSt of his classmates are architecture
students. He s,'\ys that the landscape archi-
tectS and architects are each taking a dif-
ferent approach to the problem, based on
their discipline. Many of the architects are
creating buildings that interact with pub-
lic squares, while he is more intensively
focusing on outdoor space and how it can
be designed to facilitate interaction and
el(-vate people who have been cast aside.
Another unique aspect of the studio
environment is that students areencour-
aged to schedule desk crits with land-
scape arch itectllre and architecture facul-
ty who are not teaching their studio.
While many schools have professors who
go beyond the call of duty, helping Stu-
dents who are not in their studio get OUt
ofa rut, what is unusual about the WAAC
IS the way that seeking Out multiple
opinions is institutionalized. All profes-
sors have a sign-up sheet on their door
that shows the times they are free for desk
crits listed in half-hour increments.
This SOrt of freewheeling studio envi-
ronment requires some kind of ground-
ing SmlCture, and that's why the WAAC
stages kickoff meetings every Monday. ft
is at these meetings that students learn
t heir readlllg assignments and when
their studio will meet for pinups and dis-
Washington-Alexandria Architecture Center (WAAC)
Landscape Architeclure Program
Virginia Polytechnic Institute and State University
(Virgill ia Tech)
Location:
Alexandria, Virginia
Students:
45 landscape architecture S{fldel1/1 ( 17 3 slmien!s total ill U'IAAC)
Fulltime landscape architecture faculty positions:
3 ill AleXLmdria (2 resident alld I adjunct); 7 additjOllal famlty bdJed in BldCksbllrg
dre able to jerve til fhe maj(Jt' professor for d tOOil st"dent
Landscape arehitecture faculty holding PhD.:
1 in Alexandria, 2 in Blacksburg
Degrees offered:
MLA
Coat for 2008-2009 academic year:
Virginia residen!J-$4,892.50/semester ($4,386 fllition + $506.50 Ires);
Ollt-ofJtdte wide/Iff: $S,560Iie"UJter ($7,968.50 t{{itioll + 591.50 !&J)
(doer nol inclllde woody plants cOllrses thaI film! be faktll olltside the !IIlil'mify)
Accredited:
by wlI.iswpe Architecture Accreditation Board
Profile:
The jim nldJter of landicape architectllre established in the Capital Region, this program
takes adf'dntage of nearby mOllrces to tearh design at a f'drietyof scales. Its 1II111sf{al
interdisciplinary stlldio environment fadlitates dis[IIssion betll'fRn architectllre and
landicape architectf{re stf{dmlf and Jtlldents with different laws of experience.
ElectllJt!i il/rltlde a dllifrse array of art, lIatflral mOllrces. alld plalllllrig da.HtJ.
(ussions. Also, since the stlldems are get -
ting advice from more than one studio
professor, it is necessary to group-grade
students' work. The emire faculty partic-
ipates III all final reviews as jury mem-
bers. The tWO primary studio instructors
begin the conversation about rhe St u-
dent's grade. Then , "the faculty as a
whole discusses the work and their inter-
actions with the srudent, and a consensus
grade is reached," says McSherry.
Sining near architecture stlldents who
are more experienced in drawing and
model building "'helps to push the land-
scape architect's work forward because the
architects tend to be more meticulous,"
5.'lys Annalisa Miller, a PhD can-
didate in architecture and design
research who caught the founda-
tion studio last fall.
The architects also learn from
inreracti ng with the landscape
architects and caking landscape
architecture classes. "'Before, the
professors would have to prompt
us to draw 10 feet past the build-
ing,"' says Omni Morse. "Si nce
comi ng here I understand that it
should be a lot more than thar."
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architecture and landscape architecture stu-
dents, it avoids having architects and land-
scape architeas partner on studio projens.
Most of the architcnure students at t he
WAAC are pursuing their second profes-
sional degree, so making them work with
second-year landscape archi tecture students
would be un'\ir.
Arts + Crafts
It is not just [he WAAC's connenion to [he
field of arcilircnure but its conncnion ro
the fine arts [hat makes the progrnm stand
out. \Xlhere dsecan you learn printmaking
alongside the head of your program?
"I think if openues as a guild here," ob-
serves McSherry. When she lirst arrived, she
took the intaglio printmaking class, a class
where smdents etch copper plates with toots
or acid and then create prints, with her Stu-
dents. "Anywhere else, youd have to be in a
master tiline arts program orwait until thc-rt
was space,' says McSherry. "Here you can
take that class with ocherpoople in your field."
In addition to the printmaking class, the
architecture department offers classes in
photography, screen and block priming,
Ix>okmaking, and watercolor, which can be
taken as electives. The WAAC actually has
its own darkrooms and a wood shop. "Even
if you're not in the photo class, the dark-
room'salways open and you're encouraged
to use it," says Alhson TImrmond. And the
same goes for the wood shop.
TIle students don't use the shop JUSt for
models; they often design interventions
within t he bui lding itself. Students de-
signed and built all of the Ix>okshelves in
the library and a second-floor balcony that
holds a piano, and they are currently work-
ing on a corkscrew staircase.
Of course, there are also ecology classes.
The natural resources department of Vir-
ginia Tech offers classes in Northern Vir-
ginia, and all MLA students are required to
take at least one. A class called field ecology
takes trips to various ecosystems throughout
the mid-Atlantic states- visiting land-
scapes such as a salt marsh and a cranberry
oog. "It provided me with a fairly solid un-
derstanding of plant communities and their
relationship to fauna," says Holmes.
Other departments where students can
take courses include an urban planning
program and the Metropoli tan Institu te,
which "conducts research on development
patterns and metropolitan growth" accord-
ing to its web site. L-mdscape architecture
students can pursue dual degrees with
many of these programs.
However, the WAAC sri II doesnt offer
basic plants courses. Though rhe MLA Stll-
dents are payi ng full-rime tui tion, rhey
must shell out addi tional funds to take their
required plants courses ours ide the pro-
gram. Locally, they can take dle courses at
GWor the USDA GmduateSchool. Recent-
ly, most students have chosen the USDA,
where the courses are relatively inexpensive.
One thing the WAAC does very well is
rake advantage of its locati on within
WashingTOn, D.C. So that stlldems have
opporrunities TO intern within the com-
munity, all classes are run in the afternoon
(after 1:30 PM) and in the evening. Many
s[Udents are working i 5 TO 20 hours a
week for a local fi rm by rhe rime rhey fi n-
Ish their second year at the WAAC, and
some continue working for the same em-
ployer once they graduare.
Cultural opportunities also abound. At
the weekly kickoff meetings, students are
informed about lectures taking place at 10-
cations such as the National Building Mu-
seum and Dumbarton Oaks.
Within the WAAC irsel f, Civic Citings,
a new class being taught by Caren Y gle-
sias, uses rhe city as a textbook. Srudents
take 10 trips within the city, visiting both
cultural Institutions and important land-
scapes. The class is being taught to fi t st-
semester fOundation srudents in an effort to
encourage critical thinking about land-
scape archireccure.
"You cannot have students graduating
who hm'e never been to rhe National Gallery
of Arr,"' says Ygles ias , who have ne ver
looked at the work of Andrew Goldswor-
thy versus Christo, who have not compared
Olin's work at the \'V'ash ington Monument
to Van Valkenburgh's work at the \'V'hite
House." One of the highlights of the class is
the trip to the Library of Congress, where
srudents are introduced to {he library's col-
lections and how to use them. Imagi ne re-
searching your thesis there. TIlat's the sort of
opportunity that makes srudying so close to
the nations capital unique.
IMIIIW SICIIIY IF IIIDSClPllICHIlIClS
i31 III SlRIIlIW. WASHllilll. DC 111113131
l I 1 - I I I - l ~ FIX 111-111-1115
Spl'riof Sl'rliofl :
EDUCATlOJ\
Landscape architecture students design and build gill'dens
in healtb care settings, By Daniel Winterbottom, ASlA
rhe two main organizing
concepts: "fumiliarity" and
"escape."
Home is a safe harbor, a
T
HE UNTVERSI1l' OF WASHINGTON
Landscape Architecture DesignIBuild
Program recently completed two un-
dergraduate capstone projects in
health care settings, The first project
is a therapemic play garden at a state resi-
dential school for individuals with devel-
opmental disabilities, the second an urban
rooftop garden at a residential treatment
fucility for advanced-stage cancer patients.
Both user groups cope with the cumula-
tive effects of relocation to unfamiliar en-
vironments, separation from supportive
networks, and feelings of isolation, depres-
sion, and fear. Student designers were con-
fronted with these feelings in planning
meetings with residents, staff, and volun-
teers. Out of such meetings they evolved
personal domain serving the
needs of the resident. But patients also need
a place to escape when the routine of treat-
ment and institutional life feels tOO limited
and controlled, Our strategy was to build
familiarity and escape into the design
through the creation of specific places com-
monly found in the domestic landscape:
gardens for cultivation and sensory stimula-
tion, paths for wandering and exploration,
Students Bridget Darrow, Associate ASLA, and Ronald RoveHo, Student ASLA, and Associate Professor Daniel WinterboHom, ASLA, shovel concrete
into the forms for a water runnel in the healing garden at Fircrest School. other students on the left are applying a steel finish to a seat wall.

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EDUCATION
The tool shed at Fircrest School is adjacent to the
raised beds, above. The bed on the right is designed to
accommodate wheelchair gardeners. Student Janette Eby
attaches plywood to the two-by-four framing, top right, to create 1
the circular form. The circular raised bed in the middle of the illustrative
plan, right, marks the center point of the radial organization of the site. The
tool shed ilnd raised planters are on the left, the swings ilnd rubber surfacing at the
top, and the meandering path and lawn area are located on the left and bottom of the plan.
Students Emily Carlson (on the leftl, Matthew Martenson, Student AStA (in the centerl. and luke
Anderson, Associate ASLA (on the rightl fill the seat wall with concrete, below.
and speci fic elements
such as swing sets, warer fea-
rures, and shade arbors.
The Healing Garden
At Fircrest School
One garden we designed and built was ar
Fircrest School in Shoreline, \Vashingron,
the only residential center for the state's
mosr severely developmentally disabled
residents, Residents suffer from auti sm,
mental retardation, physical disabi lities,
developmental regression, and cognirive
impairments, Add to these poor or no mo-
r
L
,
,

1
,
,

~
1

,
j
This project was ambitious in scale and complexity for our third-year undergraduate students.
biliry, frequent seizures, difficulties with
social engagement, and compulsi ve or v[-
alene behaviors,
In 200 1 rhe undergraduate capsrone stu-
dio designed and buil t a,garden for the eld-
erly residents residing at Fircrest. The gar-
den has been a well-used and loved amenity
by the residents and care providers, and last
year the Friends of Fircre5c, a fund-raising
group, inquired if we would be interested
in participating in a collaooracive designl
build srudio to create another garden for
younger rr-sidencs at rhe same facility.
I toured t he site and met with the
Friends [Q discuss {he objectives and ex-
plain the process we use in our program.
The project offered the students interest-
ing challenges and a unique opportunity
ro design a garden for chose with disabili-
ties. Washington state requires that facil-
ities housing youth provide appropriate
recreacional facilities, which iniciaced the
idea for a therapeut ic play garden. The
Friends of Fi rcrest raised $30,000 to fund
the garden, and the project was undertak-
en through the lO-week 2008 undergrad-
uate capscone studio.
During the first week the class toured
Fircrest; met with therapists, staff, and ad-
miniscracors; conducted a site analysis; and
compiled a resource library of precedent
projects. Few of the students had interact-
ed with those suffering from autism, bipo-
lar disorder, or violent cantrums. Wle typ-
ically use a participatory design process
engaging many of the users, bur this proj-
ecc differed in chat many of che potencial
users had difficulcy communicating and
thei r aaive panicipation was limited. Only
a few accended che publ ic forum and were
able to panicipace, offering their ideas and
sharing thei r needs wlCh the students.
Some of the residencs wacched from a dis-
tance bue did not interact.
Many of the students were shocked and
a litcle stumped as co whac codesign. 111ey
The finished garden, top, has a wandering
path in the foreground, swings and a pumpkin
patch to the left, and a rainwater ronnel, tool
shed, and raised beds on the right. The tool
shed, shade structure, and worktable, left,
are in close proximity to the raised planting
beds-each residential " family" has its own
planting bed.
relied on care providers, parentS, residents,
and their own research [0 gain a deeper un-
derstanding of the population they were
designing for. Tn t he second week
they divided into five teams of
three students each and were giv-
en tWO weeks to prepare schemat-
ic master plans and models fOf a
play garden designed for a menu
of activit ies that can be chosen by
individuals or groups and their
caregivers. The therapeutic pro-
gram and the characteristics of the
site suggested that a "backyard"
thar would funct ion at times as a
"village green" would be the work-
1l1g narrative.
The results were rhen presented
to sraff, administrators, and the few
residents who could communicate
and provide feedback. Participants
were asked to vote for their favorite
design and tochoose elements from
the other plans they would like to
see incorporated into dle preferred
alternative. After reviewing {he
comments a team of five srudents
synrhesized the designs in one
week and presented [he result to
the Friends of Fircrest, sraff, and
parems. The plan was adopted
with minor changc""S. Some elements were
deleted due [0 rime and COStS; others, in-
cluding a tree house, wi ll be added in rhe
future. That k{t juSt one week [0 prepare
construction documents.
TIle remaining eight weeks were devot-
ed to construction. The students
worked on site 20 hours per week,
with addi tional time allocated for
development of the color schemes,
refining the planting plans, and ad-
justing elevations as inconsistencies
in the field emerged. The fJ.c ilicy's
personnel also contributed to the
project, lending their time and ex-
pertise as backhoe operators, in
transporting fill, and in digging
and salvaging existing trees and
large shrubs. Concrete finishers
were hired to work with the stu-
dents to ensure the quality of the
concrete pathway, TIle swings, par-
allel bars, and rubber paving tiles
were purchased from a playground
manufacturer and insralled by the
student team. Meanwhile, many of
the residents were attracted to the
construction of the garden and con-
tinued to spend significant JXirts of
their days sircing and observing the
garden and the activities there.
This project was ambitious in
scale and complexity for our third-
year undergrnduate students. Most
Water is pumped hrto the runnel
during the dry season for use by the residents,
above. Students RoYetto, left, and Julian
Christodouli, center, and teaching assistaJrt
Benjamin Engelhard, Student ASLA, right,
install it steel-sculpted tree form, right, that
conveys water from the roof into the runnel ,
Student Shu-Vu Huang applies iI steel finish
to the seat wall, be/ott',
had litt le experience in construction.
\'{Then drawing the conscruction docu-
ments, they were able (Oful! back on
lessons learned during their con-
struction classes, but when they
faced decisions during the construc-
tion process moS{ were unsure of
how ro rurm the concrete walls, how
to build a curved glue laminated
beam, how to lay pavers, or how to
form and pour a concrete rat slab.
Plumbing a column, assembling a
OOurd and baton shed wall, framing
a roof, or laying drainpipe were still
mysteries t hat the students hadn't
considered, although many had de-
signed them in plan and section.
111e class was certainly pushed (0 its
limits, but in the end the students
were quite amazed with the result
and touched that they had created a
garden so valued by the residents.
111e residents were excited, claim-
ing ownership of t he beds. Many
were saddened (0 see the team leave,
having developed relat ionships with
srudents and having enjoyed the
construction activities in their back-
yard. The Staff at Fircrest is enthusi-
astic about the garden design and
makes use of it on a regular basis. Onesraff
member has a group of the yomh growing
vegetables in the raised garden beds. 111e
parents of the residents liTI it is a critical ad-
dit ion ro the care Fircest provides theirchil-
dren. Residents are \'ery engagtxl in the gar-
den, and on each visit ro the sire residents
can be seen using the garden rur work, play,
and socializing. Many of those whoare non-
verbal use the walking paths, preferring
chose in the garden to others within the
campus. These users view the garden as
Htheir backyard" and seek the calm-
ing solace that the garden and na-
ture provide. Some residents use the
garden independently, though most
are accompanied by one or more
scaff. For those users with very low
social skills- severe autism, for
example-parallel play or garden-
ing may represent the highest k .... eI
of social interaction they can man-
age. For others, swinging side by
side may inspire social imeranions
not stimulated by more passive ac-
tivities. For the minimally social,
observation is an im)XJrtanc part of
their daily routine.
The garden provides an <ICCess i-
ble means of escape both for the res-
idents and significantl y for the care
providers. Many of the residents
are prone to stay in their rooms,
watching TV or sleeping. The nar-
rowness of op)XJrtunities to engage
the residents is an issue among care
providers, and the garden is a coun-
terpoint to {he monotony of their
routine. As a place of stimulation,
entertainment, play, and diversion,
fEnUA n 2109 landscape Architecture 147
KORNEGAY
LANDSCAPE CONTAINERS
AMERICA! SOCIETY Of ImSCAPE
mEn Sf REEf IW. WISHI16fOl. OC
101-m-1m fIX 101-898-1185
EDUCATION
the circular paths contrast with the rectilin-
ear layout of the main campus and enable
residents (0 increase their muscle mass, im-
prove coordination, and gain confidence.
TIle water runnel provides fascination and
engagement as it courses down rhe channel,
changing texture and encouraging manip-
ulation, which improves fine mocor skills
and eye-hand ({X)rdinarion. The motion of
the glider and swings is soothing and re-
duces stresses and anxiety that many of the
residents must cope with. Gardening allows
residents co have ownership of a bed, plant
a seed, watch it grow, and harvest its pro-
duce. It's an immersiveexperience rorsome
residents JUSt to touch rhe soil, dig, and wa-
ter. For those who become serious gardeners
it is one of their primary d1ily focuses, and
it helps them build a work ethic, sense of
responsibility, and discipline. The briglnly
colored concrete walls, the flowering vines
and herbs, the natural wood, and the sculpt-
ed rain tree thar conveys the water into the
runnel are dynamically taCtile and expres-
sive and provide a place of COntrast and en-
ticement that allows residents for a brief
while ro be in a special place thac provides a
seasonally changing aesthetic, opporrunities
for play, and constructive physical and mcn-
eal engagements within a safe environment.
Pete Gross House Healing Garden
As director of the landscape architecture
design/build program, J was approached in
2005 by the development director ac che
Fred Hutchinson Cancer Center in Seattle,
who was familiar wich a previous Cancer
Lifeline project completed by students in
2001 and was interested in building upon
the success of thac project. \'{le agreed ro use
our capstone srudio ro design and build a
garden for pacients undergoing cancer treac-
ment at the Pete Gross House, which pro-
vides apartmenc-scyle accommcxlation fOr up
to 70 patients receiving stem-cell treatmern
for advanced-stage cancer. 111e wide rangeof
ages accommodated at che house offered an
addicional challenge for che srudencs. Ac any
time a chird of the residents can be children
and most are joined by a parent, so inter-
generacional needs were considered.
"rnese patients are uprooted from famil-
mr home environments for long periods and are
coping with exhaust ing and invasive treat-
ments, For mosr, rradirional cancer rreatmenrs
have been unsuccessful and stem-cell rrearmenc
offers a last chance. Patiencs arrive with a com-
panion, parenc, friend, or parmer who lends
support during rhe rrearments. The garden was
to be designed to SUPIXlrt both patients and care
providers. Patiencs' energy level is affected by
the treatmencs, and mobi lity is limited to their
rooms, hallways, and the garden. Many feel un-
comfortable in public serrings, and rhe garden
becomes a place of respite and escape. Care
providers, by concl'dSt, are orren bored and stir-
cmzy. For rhem, rhe garden provides an outler and
serring for social inreraction and peer support.
The 1,500-square-foot garden located on
the seventh-floor rooftop was to be designed
At the Pete Gross House Healing Gar-
den, a deck features glass sentinels
and a "liying room" space to the reilr,
a b o ~ e , Younger residents leaye notes,
poems, ilnd images on the chalkboard
at the end of the woodland path,
below left. The arbor posts were tied
jnto the deck frilming, below right,
to pro,ide resistance to the wind.
HnUA n 2109 landscape Architecture 1 49
EDUCATION
and conS[ructed by 14 under-
graduate students in just one 10-
week quarter. The first week was
devoted to community engage-
ment. Meetings were held with
the younger residents and staff;
older residents were less involved
since they were at greater risk for
infection. TIleirwishes were con-
veyed through written com-
ments collected from the staff.
Many of thesrudents had linle
experience with cancer and were
reserved at first. Over the course
of the first week, most weredmwn
in by stories told by the younger
residents (ages 8 to 15) who, de-
spite the severi ty of their situa-
Meditation
Room
tion, displayed a deep inner strength and
were blunt and deeply moving when asked
to tell of their journeys. During these dis-
cussions many themes emerged. The
young patients wanted spaces to talk and
socialize, to watch the Stars and moon, to
be away from adults, to write, and to dis-
appear. On a lighter note, they wanted
game tables and a "'deck like my back-
yard." The adults' wishes were somewhat
similar. They asked for a place for meet-
ings, spaces to talk and socialize, a place to
The 1,SOOsquarefoot
garden, top, is on the roof
of the Pete Gross House.
Students Ryan Storkman
and Kara Weaver, ASLA,
cut concrete payers for in
stallation on the woodland
walk, leN. Student Travis
Scrivner installs the arbor
rafters, a b o ~ e . Teaching
assistant lack Thomas
and Storkman run the
arbor rafters through a
planer, right, before they're
erected on site.
Pete Gross House
Site Plan
be alone, a place to see the sky and to rel ax
in the sun, places to write leners, and,
most heartrending, a place to cry.
Based on this input the students devel-
oped a program and were then divided
into five teams who were g iven three and
a half weeks to develop a schematic design
proposal. Each team created plans, sec-
tions, elevations, and scaled models. The
Residents often use the garden for passive activities such as reading, abore, Storkman, left, and
Krystal Lowber, right, install one of the S<llvaged Jilpanese maples into a raised container, belotl'
left, Thomas,left, and Jacob Millard, right, install new Trex plastic lumber decking, below right,
which offers a warm color and a nontoxic and slip-resistant surface,
models wefe most helpful in communicat-
ing [he scale, color, and spacial relacionsh ips
of thei r proposals. An advisory commin('("
of patients and staff reviewed the plans.
Commiccee members placed a single pi nk
Posc-it note on their preferred design and
three yellow Post-its on elements from oth-
er schemes they would like incorporaled
into the final proposal. Two designs gar-
nered rhe majoricy of voces; chese were
merged with several components from the
remaining designs into the preferred alter-
native. Next, construction documents were
completed by half of the class in juSt one
week, while other students completed COSt
and macerial esrimates, A structural engi-
neer was hired to si7.e [he arixlr
members and connections.
Because of t he tight time
frame, only a week was avail-
able rur permining. 111is pre-
sented a significant challenge
and, in theend,onedetermined
scudent camped ouc at the
Department of Planning and Development
for three days, stewarding the drawings
through the permitting process.
11lt' remaining six weeks were devoted
to construction. 111e class was divided into
several teams: walls and screen, arbor, and
plamer and metal fabricution-each with a
student leader and guided by me or one of
two teaching assistants. As each task was
completed, team members were reassigned
to other teams. 111e students fabricated the
garden components at the university, where
they COtdd use the wood and welding shops.
The components were transported to the
si te and carried up seven fl ights of stairs for
installation. All organic material had to be
double bagged in plastic bags to prevent
inhalation by residents. The 14-foot arbor
beams pt"(""Senred a unique challenge, as the
rad ius of the stairwell offers a two-inch
clearance. Despite the intensity of the la-
bor, which averaged 20 hours per week per
student, the students rarely complained,
and as the physical forms emerged, their
excitement galvanized their efforts and
helped them work through their exhaus-
tion. Students then erected walls, SCf(fnS,
planters, and arbors, framed for and at-
tached rhe decking, installed the vent
screens, irrigation, soil, and plants. Some
elements went quickly; rhe arbor did not.
Its post-to-the-fioor-I01St connections were
complicated by an effort to salvage the ex-
ISfing deckIng. \'Ve had to remove the
decking, add members to the framing,and
bol t the postS to the beefed-up beams. We
also added cross frammg to increase the
rigidity of the Roor. A structural engineer
helped us with the derai ls.
fEnUA n 2109 landscape Architecture lSI
AMERICAN somlY Of IANOSCAPE A R \ ~ : l l l m l
636 En SIREEI NW. WASHIN610N. DC 101
1010901m fIX 1010981105
EDUCATION
Finally, the garden was complete. A
planted pathway conneC[s three garden
rooms- "llvlng room," "porch," and
"study." Bright and contrasting colors, plant
textures, and geometric patterns provide an
escape frum the mmed browns and beiges
that defi ne the interior spaces of the resi-
dences and lend a sense of uplift for those
facing the unrelenting srress of the illness.
The "living room" is the hean of the
garden, and as the first space visitors expe-
rience it feels very domestic in scale, char-
acter, and use; it is similar to a backyard
patio and offers enclosure and privacy with
an arbor supporring vines above. With its
inward focus, this outdoor hying room is
used by residents and swfffuf reading and
homework, for meetings and conversation.
Li ghtweight IOllnge chairs can be arranged
for rest, contemplation, visiting, Of playing
h'llfllfS and otfura degree of self --determ ination
for the patients, whose decision making
has been usurped by medical staff. T he
west side of the living room opens to the
"porch," the largest space, t riangular and
open to the sky. A parapet wall offers
sweeping views of Puget Sound, the
Olympic Mountains, and Lake Union. In
response to t"e(jllestS by the young residents
of the Pete Gross House, a telescope is
mounted above the parapet wall to better
view the boats plying the sound and lake.
Wide ascending stairs lead to the 'study,"
the most private space, canopied with vines
and enclosed on (hree sides by the building
and a wooden screen dividing wall. A glid-
er offers a comforting motion for those
seeking escape or privacy in which to
grieve. The stairs are etched with poems
by the children who Stayed at Pete Gross
I-louse and wanted to leave something be-
hind. At rhe end of (he connecting walk-
way jUst below the raised platform are
chalkboard squares salvaged from an old
school and used by residents to leave notes
and draw pictures.
To date a posr-DCcupancy evaluation has
not been administered at Pete Gross; how-
ever, my visits and discussions with resi-
dents and anecdotal information provided
by staff indicate (hat the project has had pos-
itive results. The casualness of the garden
and the range of textures, colors, and scale of
spaces seem to accommooate the needs of
this user group. Children respond enthusi-
astically to the chalkboard, the poetry, and
the bright colors, and they lounge in the
"deck" area as they get to know and share
experiences with their peers. meolder users
find the "living room" to be a comfortable
space and often use this space for meetings
and to call and update thei r families. They
frequently use this and the "deck to com-
plete paperwork and correspondence. Both
groups enjoy the relescope, the views, the
flowers, and meeting others who are using
Pete Gross House fur the same reasons. Res-
idents have repeatedly mentioned that,
when using the rooftop garden, they felt
they were in a different place and, fur the
momem, left Pete Gross and rhe unrelent-
ing focus on their cancer treatments. Meet-
ing people who were stntggling with simi-
lar issues in the garden helped build
mnnenions to t h ~ undergoing a sim ilar
fate. The staff has reponed that the garden
had a great influence for those choosing Pete
Gross House over competing facilities be-
muse it re><Jnatoo so deeply with their needs.
"[ SCArE" AND "" HOME" are tWO impor-
rant concepts that can help to guide
the design of a therapeutic garden, par-
ticularly for those displaced by !lIness or
circumstance. \Vhen combined with oth-
er principles including wayfinding, acces-
sibility, and interactions with nature, the
Stress common among residents of med-
ICal and institlltional f.1.Cilities can be re-
duced and quality of life enhanced.
But the issue of dislocation is not limit-
ed to those facing a medical diagnosis. [m-
migrants forced to relocate because of
conflict, natural disasters, and economic
devastation, the elderly relocated into re-
tirement homes, and the incarcerated re-
moved to detention facilities represent an
expanding population of those displaced.
Evaluation of the environments designed
for those displaced due ro il lness may offer
some applicable theories and lessons when
designing environments for those suffer-
ing the effects of environmental change for
other reasons.
Dalliel WiliterbottlJfll, ASIA, is all asseaate pro-
fessor ill fhe Deparfll/Cllt Of1..dlldsca{Je Arrhifec-
tllre at the Vllitroity of\'{/ashillgton.
IMfRICIN SOCIUY Of lINOSCIPf IRCHlTmS
636 m simi NW. WISHIN6lON. D[ /00013136
1018981441 fiX 1018981185
HIRUUl 2009 Llndscape Architecture I 53
:3pnia{ 8rrlirJl/:
EDUCATIOJ\
A bUIlch of architecture students designed and buutthis deck in a semester.
Landscape architecture students, heads up! 8y Angus McCullough
W
HEN Ti lE MA'lTAI3E.SECK Audubon Soci-
ety com mi ssioned a group of srudents from
Wesleyan University who were only a few
weeks inco their second colleh>e-Ievel ardli-
t{'(turecl'lSS codesign a bird-viewing plat-
form, the project involved several gools:
- creat ing a si te-appropriate struaure for a former
cranberry bog covered wit h three feet of water
- using durable and sustainable materials and con-
SlnlCtion technologies as extensively as possible
- working within a budget
- making it optimal for observing red-winged
blackbirds, scarIer tanagers, Canada geese, hooded
mergansers, and the occasional grear blue heron
"\YIe had been struggling with a way co provide
an optimal experience at our 5.'lncruary," says Mat-
talx:seck Audubon Society Presidenr Alison Guin-
ness, "especially si nce a colony of beavers had
54 1 L.nd.up. Arehlt.clur. flnURI un
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changed the site [0 such adegree that access was a serious challenge."
TIle result of thestudio--SplirFrame, a bird-viewing platform in
the Helen Gulson \'VildlifeSanctuary in Portland, Connecticu[-
capped an intensive semester-long process involving student re-
search, design, and cl ient presentations.
This project was undertaken during the university's
2008 spring semester by sophomores, juniors, and sen-
iors enrolled in Architecture IT, caught by Elijah Huge,
assiscant professor in the university's art department and
a licensed, pmcticing architect. The class is rhe highest
level undergmduate design studio in architecture at
\'Vesleyan, where the architecture progmm is part of the
art studio major.
The architecture research/design/ build studio is a
new initiative for \'Vesleyan. ''The class was basical ly an
academic triathlon comprised of design research, real-
world testing of conceptual work developed in rhe stu-
dio, and community-based learning," Professor Huge
explains, with rhe intention of"going from suscainable
materials and site research to project construction with-
in a single semester."
The studio's process was broken up into three parts:
research, design, and build. TIl roughout rhe process,
561 Lendlcape Architecture Hnun l on

,
collaboration was emphasized so that no one studio member was
more or less responsible for what ended up being buil t. 111e stu-
dio took place over a 17-week semester.
During the first few weeks of the class, the studio was spli t up
into teams offour to research possible materials, technologies for
implementing t hem, precedents for design, and the history and
topogmphy of the si te. 111e research phase lasted about three weeks.
l 11is research was augmented wi th t rips to the si te wi th orni thol-
ogists from Yale's Pealxxly Museum ofNatumi History, time spent
in the open collections of the museum itself, and trips to bird hatch-
eries around Connecticut. The studio learned about the migratory
patterns of species of birds on si te, as well as the archi tecture of
birds' nestS, which both influenced the final design of the project.
The design phase of the studio involved t hree stages:
I . Site Strateg ies. Each student developed an overall plan over
the course of about a week focusing on ways visitors would expe-
rience the site.
2. Nort h Team (six stude nts) vs. South Team (seven stu-
dents). Based on ideas developed in the site strategies, two teams
were formed, and each was assigned the task of making a site-
specific proposal for a location at the nort hern or southern edge
of the si te. After a round of mood presentat ions, the two teams
switched locations, budding on the design work of each other's
pro!X>Sals. This phase of the process was allotted two weeks, in
which each team would complete two moods and create draw-
ings for external critique. All rour moclels were presented fora cri-
t ique with art and art history professors from Wesleyan and Yale.
3. Studio ( 13 smdems). Dmwing on the work of both teams,
a single site location was selected for the project, and over the
next two weeks the studio members worked toget her to dc"Velop
a final proposal to present to the client. Mock-ups of specific con-
struction elements were built and tested. Once a final model was
constructed, materials secured, and a budget final ized, the whole
package was presented to d1e Mattabeseck Audubon Society.
The final design, tided SpIiIFram, consisted of floating plat-
forms connected to an upper observation platform. The clients
were very happy to see how much the studio had done on such a
"
.,
'.
The studio chose sealed polyurethane
floats to support the lower platform,
abore, minimizing the impact on the
site and proriding a flexible s)"stem to
deal with flucluating water lerels. The
studio presented muHi ple models to
the Audubon Society over the course
of the design proee", settling on
SplitFrame, here, as the final model.
STUDENT WORIS
tight deadline and budget and
gave the go-ahead on the con-
strunion phase, which took about
five to six weekends.
In an effort to keep on-si te con-
struction time to a m1n1mum,
many components of
were built on campus (including
rhe aluminum frames, rhe guard-
rails, tile benchc""S, and rhe srai r) be-
fixe being brought out to the sanc-
tuary ro be secured in place. The
maJorpiecesofaluminum framing
that sUpJXlft the upper deck and
rhe flooting platforms wefe profes -
sionally fabricated ofT site to our
specs. The g uardrails wefe de-
signed and assembled on campus by the
studio, using quarter- inch aluminum T
brackec:sdesigned co fir onto the frames. \X'e
designed and fabricated aU other elements
of the deck.
The actual on-site construct ion time for
the project was limited to ruur weekends,
with the main stntcrure erecred rhe second
weekend. Professor Hugespem mosrofhis
free rime on site, inspi ring rhe emire class
to work harder. The process was incredibly
rime-consuming, wirh every studem, on
average, spending about 25 hours a week
for almosr the entire semester. But not one
would say it was too mllch time or nO[
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worth the effort. It was an incn.-xlibly re-
warding experience and one were very
proud of.
Split Frame consists of two integral
pieces---n floating observation deck and an
elevated viewing station--connected via a
hinged staircase. It is situated at the end of
a long weir, a vestige of the wildlife sanctu-
ar)'s former use as a commercial cranberry
bog. All on-siteconstntction wascomplet-
ed by the students with handheld fX>wer
tools; no heavy equipment was used.
Students chose an innovative precast
concrete pin-foundation system for the el-
evated viewing station and a floating alu-
minum frame assembly for the observa-
tion deck on the water. The project was
designed to minimize its impact on the
site, both in const ruct ion and over rhe
projected life of the structure. Together,
the twO platform components provide an
immersive site experience, bringing visi-
tors om onto the water and offering an
overview of the sanctuary from the maple
tree canopy above.
SplilFrame was officially unveiled on Oc-
tober 19, after weathering a summer and
gaining a silvery patina. From what weve
heard, the local kindergarten classes love
that it allows them such close access to the
water. Many local residents showed up at
the unveiling to thank us for the project.
Mattabeseck Audubon Societys Guin-
ness is also pleased with the project.
'\'\1hen other students were enjoying the
spring season, the architecture class was
knee-deep in mud and water, swatting
mosquitoes, and dripping with sweat or
rain. \'\1e were impressed by their archi-
tectural skills, professionalism, and dedi-
cation to the project, and we are very grate-
ful that our sanctllary is once again
available for a unique envi ronmental
experience.
AligfIJ i\itClllk!/lgh is all art sl"diolarrhiterlllrf
fila jor, daSJ of 20 I o.
PftOJECTCREIXTS Design leam: Wesleyan Uni -
versity's 2008 spring semester Architec-
rure II dass, Middlecown, Connecticut
(Elijah Huge, instructor; Zachary Bruner,
teaching apprentice;Jason Bailey, Hunter
Craighill, Henry Ellis , Nicole Irizarry,
Yang Li, Angus McCullough, Megan
Nash, Rebecca Parad, Arkadiusz Piegdon,
Derek Silverman, Julia Torres, Renae
Widdison, and Yale Ng-\'\fong,students).
Clients: Mattabeseck Audubon Society,
Middletown, Connecticut (Alison Guin-
ness, president; Lorrie Martin, education
comminee chair; Marl), Klanenberg, Dis-
trict 13 outdoor education program direc-
tor). OtherinYoMld groups: Wesleyan Universi-
ty Center for Community Partnerships,
Middletown, Connecticut (Suzanne O'Con-
nel l, director). Feet to the Fire Project,
Wesleyan, Middletown, Connect icut
(Pamela Tatge, Center for the Am direc-
tor; Barry Chernoff, Robert Schumann
Professor of Earth and Environmental Sci-
ences). Consultants: Peabody Museum of
Natural History, Yal e University, New
Haven, Connecticut (Patricia Brennan,
Department of Ecology and Evolutionary
Biology/ Animal and Plant Sciences;
KrisrofZyskowski, collection manager-
vertebrate zoology).
T0902AGi'i02
SOURCEBOOK ~ www.countrycasual.com ~ 800-284-8325
HIRUUl 2009 Landscape Architecture I 5 9
L
ANDSCAPE ARCI IITECTS
have long been leaders in
sustainable pracices. These
days, there is a lot of discus-
sion about reducing our
carbon footprint, which is the
measure of rhe amount of carbon
dioxide that goes into the atmos-
phere as a result of our aaivities.
Carbon dioxide is the major man-
made greenhouse gas causing
global warming, so reducing our
carbon footprint is one of the
most effective ways to T{"duce
global warming.
flight from Australia is more than
three t imes that amount.
A more sustainable approach is
to reduce the impact ofbusiness
travel by using remote meetings
technologies such as audio tele-
conferencing, web conferencing,
or video conferencing.
A carbon fOOtprint consists of
two parts: a primary footprint,
which is a measure of our direct
emissions from the fOssil fuels we
use fur energy consumption and
transportation, and a secondary
footprint, whICh includes indi -
rect emissions from the produc-
tion of materials we use. u.ndscape
architects can have an impact un
reducing both types of carbon
footprints.
Reducing travel, switching [0
hybrid cars, using public trans-
portation, unplugging electron-
WALKING LIGHTLY ON THE PLANET
When air travel is absolutely
necessary, a carbon offsetting ap-
proach is one option that land-
scape architects may want co con-
sider. In t he past couple of years,
ASLA has encouraged meeting at-
tendees to reduce their carbon
footprint in an effort to "demon-
strate its stewardship of the envi-
ronment." By parcnering with
TerraPass, ASLA provides annual
meeting acrendees a convenient
option to reduce carbon dioxide
emissions as they travel to and
from the meetings. By using the
ASLA link, ASLA was able co tl""ack
the total carbon offset number
from anendees using TerraPass.
Compute r Efficiency
ics, adjust ing the thermostat,
switching to energy-efficient
bulbs, using energy-efficient ap-
pliances, and switching co green
power are all ways to reduce car-
bon footprints. As landscape architects, we
can design low-carbon projectS chat use re-
cycled materials and sustainable practices.
\Ve can also help establish policies that
change society's carbon foot princ.
A number of digital tools are available
that can help landscape architects in this
quest co reduce carbon foot prints.
Professional Trave l
One way that landscape architects can re-
duce our carbon footprint is by changing
our transportation habits. Using alternative
means of communication, driving less, and
using more energy-efficienc vehicles are all
ways co show our commitment co sustain-
Digital tools can make it possible to
decrease carbon footprints.
From a design standpoint, we can
reduce carbon footprincs by us-
ing 'green" materials, alternative
energy sources, Telycled materi-
als, and advanced photovolcaics.
Even caking simple steps such as
turning off computers can sign if-
By James l. Sipes, ASLA
ability. Recently I worked on a major
"green ,. planning projecc in north Georgia,
and the civil engineer drove onto the site
every day in an H2 Hummer that gets
something like six weight mi les per gallon.
So much for pl""acticing what we preach.
According to the Intergovernmental
Panel on Climate Change, air t ravel ac-
counes for about 3.5 percent of the human
contribution co global warming. It is some-
what ironic, then, thac when EDAW con-
ducted a Low Carbon workshop in Aclanta
this fall, people from as fur away as Australia
flew in to actend. TerraPass estimates that
one round-trip Right from San Francisco co
Aclanca emits 2,010 pounds of CO
2
, and a
icancly reduce our carbon footprint , since
computers accounc for almost 6 percent of
this COUntry's electricity consumption.
Generally, lapcopcomputers use less en-
ergy t han desktop computers, and LCD
monitors use less energy than CRT screens.
Companies such as NComputing are pro-
ducing ultraefficienc technologies that can
reduce the carbon footprint of your com-
puters by more than 90 percent.
Anot her approach is to use a program
like Carbon Concrol Software (CCS) to man-
age the energy efficiency of your comput-
ers. CC<; isan energy usage monitoring tool
that regulates IT systems co help reduce en-
ergy wastage, CO
2
emissions, and energy
ArcGIS 9-The Complete Geographic Information System
ASLA Sales to Fund Dangermond Fellowship

.. '-
.. . -
. -.
New geoprocessing
framework for
modeling work floW5
Perform surface
analysis using contour,
slope, aspect, hillshade,
and viewshed.

Interoperate between CAD and ArcGIS.
E5RI , the worl d leader in geographic Informat ion system (GIS) solutions,
has offered software and extensions to the American Society of landscape
Architects (ASLA) as a fund-raiser for the Dangermond Fell owshi p, This
offering makes it possible for ASLA members to purchase powerful GIS
software at significant ly discou nted prices .
3D visualization with
ArcGIS 3D Analyse
Optimum routi ng,
closest-faci lity, and
service area analysis
ArcGIS 9 Offers
Geoprocessing: Completely new
environment for geoprocessing, modeling,
and scripting .
Global and 3D Visualization:
Revolutionary new technology for managing.
visuali zing, and analyzing 3D geographic
data at a local or global perspective.
Spatial Analyst provides a broad range
of powerful spat ial modeling and analysis
features including sophist icated raster data
analysis and raster-vector integration.
Network Analyst enables you to solve
a vari ety of problems using geographic
networks, such as finding the most effiCient
t ravel route, generating travel direct ions,
f inding the cl osest facil ity, or defi ning service
areas based on travel t ime.
(AD/GIS lnteroperability: Use
geoprocessing tools to interpret and
translate CAD data into the ArcGIS
geodatabase, exchange data f il es between
the latest versions of CAD and GIS, and
import 3D CAD objects into ArcGIS viewing
environments.
Contact ASLA today.
202-898-2444
www.asla.org
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TECHNOLOGY
costs. It is designed to be nonimrusive, so
it is completely transparent during normal
work activities. To reduce energy waste as-
sociated with computers, CC$ Home Edi-
tion moniwrs activity on your home PC. If
it senses a periocl of inactivity, it switches
your computer into IX>wcr-saving mode.
CCS also records a computer"s energy us-
age and produces a repon showing how
much elccrriciryand carbon emissions can
be saved. CarbonEarth is a web site where
YOll can share your efforts to reduce carbon
footprints, and CCS Home Edition is de-
signed specifically to rlln In COfl)Uflcnon
with CarbonEarth.
Calculating Your Carbon Footprint
As individuals, we can reduce our carbon
footprints by changing simple things in
our day-co-day hves. According [0 statis-
tics compiled by the United Nations, each
person in rhe United Scates is responsible
for about 22 tonnes, or metric tons, of car-
bon dioxide emissions every year. In com-
parison, the world average is less than 6
tonnes per (ap'ta.
The first step to reducing your carbon
footprint is to establish a baseline of exist-
,.u - 1..1
. Ul -UI
) .). - V6
_ ,.,6 . us
_ . " - .. t9
. " ... n
The map above. which was created as part of
the Vulcan Project, shows the total emissions
of carbon dioxide in the United Sillies during
2002, The dark red areas, which are associat
ed with major urban areas. indicated the high
est levels of carbon dioxide emissions, With
Terra Pass's Carbon Footprint Calculator, below,
you can calculate your carbon footprint and
then evaluate different carbon offsets to det er
mine which would be most appropriate.
c; ., d
._-----
, , ,
... ----...
a carbon calculator called Ecorio that will
be available fOf the company's Android
range of phones.
Carbon Footprints for Businesses
And CIties
The convergence of rising energy coses, in-
creased power consumption, and a global
focus on sustainability is providing busi-
nesses wieh a strong inceneive to reduce
ing activities. TIlet"e are numerous
(arbon <:a.lnllators available via the
web that <:an be used to determine
how much carbon dioxide gas we
are putting into the atmosphere as a
result of our daily activieies. Primary
~ . A.:-;(
their carbon footprinr. For land-
scape architecture firms, bemg
carbon neut ral is one way to estab-
lish our commiemene to sustain-
able practices. For example, some
utility companies offer green
power" options in which you pay
a little extra for power generated
by wind or solar eechnology. ft
carbon footprinr calculaeions are
typi<:ally based on annual emissions
from the previous 12 monehs. Car-
bon Foorprine, for example, can fig-
ure ou[ your carbon footprint by
evaluating the following: house,
flighes, car, motorbike, bus and rail,
and secondary activieies. Sropglobal
wanning.org has a carbon calcula-
tor ehat enables you to establ ish your
carbon fuorprine and ehen offers sug-
gestions for reducing this footprint.
-
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-
-
.-
---
------... -
----
--- . - ~
....., ....... --
fI __ _
Anoeher way to calculate your carbon
fooeprill( is to use a program such as Carbon
Diem, which uses theGPS in your phone to
track your carbon fOQ[prinr. The GPS tracks
ehe speed youre moving at, and from thae
information, the software figures out if
you're walking, driving, or in a train or air-
plane, and estimates fuel use accordingly.
McObject produces a similar system called
Carlxm Hero that can be downloaded on a
BlackBerry, Nokia N-series, or other
"smart' cell phone. T-mobile is working on
62 1 Lend lcape Archit ectur e Hnun l on
=
makes sense thae landscape archi-
tenure firms would be using this
type of green power .
A number of digital tools can
help landscape archieecture firms
develop a beeeer understanding of
their carbon footprints. Verisae
enterprise emissions Tracking
provides real-time carbon foot-
prine reporting, including an inventory of
Greenhouse Gas (GI IG) emissions. Eareh-
check is a CO
2
benchmarking software tool
that has been in use internationally since
2002. The Canadian Standards Associa-
tion launched the GI IG CleanStart Reg-
istry to help organiz.'Itions measure, mon-
itor, and manage their carbon emissions.
Planet Met rics is a web-based system
buil t on the Software-as-a-Service model.
With this approach, an applicat ion is host-
ed as a service provided to customers across
rhe Internet. There is no need to inst all
software, and any user who has Internet ac-
cess and is authorized can use the applica-
tion. The benefit of this model is that in-
formation can be easily ujxlated, and this
data is available to all users.
Planet Metrics also allows companies to
track indirect emissions from suppliers,em-
ployees, and products over the course of
their life from manufacturing todisposal. If
a landscape architecrure firm wanted to es-
tablish its carbon footprint, it would meet
with Planet Metrics over a two- to four-
week period to help create a base model.
Planet Met rics's sraff then would set up a
modeling program and perform an initial
analysis of the firm's carbon imlXlCtS.
Planet Metrics has an extensive dara
repository of publicly available economic
dara, scientific dara, and carbon dara that
can be used to model carron use. The Plan-
er Metrics services are noc cheap, chou,gh.
An annual subscription to the bera offer-
ing, whICh includes a set number of users
and professional services bundled wich che
software, can COSt anywhere from $25,000
to $75,000 fora more complex setup. The
landscape architecrure firms that can afford
such a service should be able co use chis in-
formation from a marketing standpoint.
TIle Carbon Disclosure Project (COP) is
an independent, not -for-profit organiza-
tion thac acts as an intermediary between
shareholders and corporations on climate-
change-relaced issues, COP includes 385
institucional investors chac collected dara
on corporace greenhouse gas emissions
since 2003, and as a result it has creaced
one of the world's largest repositories link-
ing dara aOOm greenhouse gas emissions
to climate change.
COP supportS a number of programs that
focus on climate change, including theCDP
Cities program. At least 30 urban centers
will use the COP system to assess their carbon
foocprint and determine alcernatives for re-
ducing that impact. TIl is is important be-
cause more than 70 percent of total global
emissions aregenemted by cities. New York,
Las Vegas , Denver, West Palm Beach, Sf.
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641 Lendlcape Architecture Hnun l on
TECHNOLOGY
Paul, and New Orleans are just a few of the
cities that have signed up fOr the program.
TIle Cities fur Climate Protection (CCP)
Campaign assists cities in adopting policies
and implementing quantifiable measures to
reduce local greenhouse gas emissions, im-
prove air quality, and enhance urban livabi l-
ity and sustainability. More than 800 local
governments participate in tileCCP.ll1e In-
ternational ClUncil on Local Environmental
InitiativesOQEI) is an associat ion of govern-
ments frum more than 1 ,(x)() cities world-
wide, and they prOOuce "Clean Airand Cli-
mate Pt"O{ection" software that has been used
by cities to measure emissions since 1995.
Landscape architects involved with city
and urban planning projects should con-
sider the impact our decisions have on car-
bon foot prints, and programs like COP
Cities, CCP Campaign, and ICLEI simplify
that process.
Carbon Mapping
In recent years there have been mapping
projects that seek to provide a more accu-
rate picture of ourexisting carbon foorprint.
The Vulcan Project, which is funded by
NASA and the Department of Energy, has
produced a detailed map of the United
States that shows carbon emissions frum fUs-
sil fuels. The project was led by researchers
at Purdue University, Colorado State Uni-
versity, and the Lawrence Berkeley Nation-
al Laboratory and is part of NASA/DOE's
North American Carbon Program. It took
more than two years to complete and shows
a compilation of dara from 2002 about car-
bon dioxide originating from power plants,
roads, factories, businesses, and homes. "l11is
type of mapping shows the distribution of
carbon emissions at a much greater level of
detail than previous efforcs.
W/e wi l! soon be seeing maps with a lev-
el of detail that helps local decision makers
determine the best policies and land-use
panerns to control the impact of carbon
emissions. In late 2008, the Orbital Car-
bon Observatory S<lte!!ite was launched. Its
mission is to coUect data about carbon in
the Earth's atmosphere and is intended to
give us a much greater understanding of
the problem than ever before.
The team that produced the Vulcan map
is now focusing on what it calls the Hestia
Project, a global mapping project that is in-
tended to mocld all processes that produce
carbon dioxide. Hestia will provide the
moclels, data sets, and decision-suppon tools
needed to design and implement carbon
management st rategies. The project is
launching a prototype of the city of Indi-
analXJlis where electricity, gasoline, coal, and
natural gas are combined with emission fac-
tors from existing databases to create a de-
tailed image of the city's carbon fOOtprint.
With these di gital tools, it is easier for
landscape architects to have a better un-
derstanding of carbon footprints and how
we, as stewards of the land, can reduce car-
bon emissions both in ourday-to-day lives
and in our work.
J ames L. Sipes, ASLA, is a senior associate lor
fDA W ill Atlallta alld foulidillg prillcipal 01
Salld COl/lily Stl/dios in Seattle.
Resources
Carbon Control Software, Ivww.carlxm
cOlltra/software. com
Carbon Diem, wwuuarbolldiem.col/l
Carbon Disclosure Project,
IVllllv.cdproject. nel
CarbonEarth, www.carbo1/earth.lIe1
Carbon FOOprint, wUJlil.CdI{xlI/looJpr1nt.{fJllJ
Cities for Climate Protection Cam-
paign, WI/IIliiclei.org!co2
Earchcheck, IVWliuarthcheck.org
Ecorio, UJlIIIl'.ecori(l.org
GHG CleanStarc Registry,
UlwUl.CJd.ca/carbo1/perlormal/(t
Hestia Project , Ivww.pllrdJle.ed"lclillJalei
hestia
Intergovernmental Panel on Climate
Change,lvww.ipcc.ch
International Council on local Envi-
ronmental Initiacives, Ivww.iclei.org
NCompucing, IV/VI lI((1f11plltillg.com
North American Carbon Program,
IVWlil.lldCdrboll.org
Orbiting Carbon Observatory,
oco.jpl.lltlsa.gw
Planet Met rics, WUJlli.ecoSYliergyiIlC.C(II1l
TerraPass, UJllJW.lerrapaJJ.CIJfII
Verisae Enterprise Emissions Track-
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IMIRIUM so[lllY Of llNOSUPE IR[HllEm
636 EYE STREET NW. WASHIN61ON. DC 100013136
1018981444 fIX 1018981185
T
i lE 51 IORT DAYS AND chilly temperatures of wimer have
stripped deciduous plants of rheir summer and autumn fin-
ery, exposing rheir "bare bones" [Q rhe world. \'{firh rhis sea-
sonal exposure, however, some of rhe finest qualities of many
garden shrubs and [fees are revealed.
Wimer srem colors vary widely. Beyond brown, black, and gray,
rhey include yellow, green, red, pink, orange, and ghostly whire.
Ofren ir is rhe young growth thar spons the brighresr hues, so for
STRIKING STEMS
PROVIDE WINTER
INTEREST
Kick the appeal
of your winter
Ian dscape up
a notch "rith
shrubs and small
trees that offer
colorful sterns,
arrestin u forms
1:) ,
or exquisitely
textured baIk.
By Rita Pelczar
many shrubs with colorful stems
it's best co remove the oldeS{
stems each spring ro encourage
lars of new shoots.
Several selections of the red-
ooier dogwood (Coru/IS sto/(mijerd
syn. C. seriCl'd, USDA Hardiness
Zones 3- 8, AilS I-Ieat Zones
8- 1) d isplay colorful winter
seems, and despite [he common
name, all are nor red. \Xi'hile the seems of 'Cardinal' range from
brilliant red [Q yellow-orange, dlOse of' Flaviramea' are bright yel-
low. Most culcivars grow to about six feel rall, spread to 12 feet,
and sucker vigorously. They are great fur massing against an ever-
green background.
111e stems of Salix 'Flame' (Zones 3-8, 7- 1) areor:mge-red. "This
vigorous grower never fails [Q elicit positive visitor response at [he
] C Raulston Arboret um," says rhe North Carolma arboretum's
Will you ...
A. Wait for the perfect candidate to fall from the sky
B. Spend hours placing ads in local papers

636 Eye -. Nw. Waohlngton DC 20001-3736
1-888-999-ASlA

-
MORE SHRUBS THAT DAZZLE IN WINTER
.. -
HeightlSpread Comments Origin USDA Hardiness,
(feet) AHS Heill Zones
Cornu IIM 6-10/5-6; Winter stems are corlt-red and cctlor is .. 2-8,8-1
(Tatarian dopoodl best on one- to three)'urgld IWOOCI.
Cornu. u"Kuinea ' Midwinter Fire' 10/8 Bright orangeyellow winter stems Pforide Cood Europe 4-7,7-1
Ibloodbrig dogwood cultirarl fall foliage color.
Foufllliffi. splende". 30/6 Spin),. erect shrub hll crlindrk.l, southeastern 7-11,
locotillol white-striped ,reen stem U.s.
Heptllcrx/ium miconioidt. 15-20/8-10 Large shrub or small tree has light tan b .... thai China 5-9,9-4
(seren-sons flower) peels to rev-titl d,ukbrown inner bark.
Hydrang" qlHrcifo/Y 6/8 Stiff branches hne ."radi.e oranle-brown, southwestern U.S. 5-9,9-5
(o, kle,f hydrangea) exfoli.ting bark.
J.sm;num nudiflorum 3-4/4-10 Wide-spruding shrub has trailing, bright China 6-9, 9-6
[winter jasmine) green stems.
Kern. ;'poniu 'Kin Kan' 6J8 Brictrt arching stem. haYe green . tripes. Japan 4-9,9-1
Il apanese kelTla cultiwarl
Sa/;x ' ErythrofleJruosa' 15115 Arching, spirally twisted branches produce brilht hrbrid 5-9,9-5
Iwillow Cliltiwar) yellow YOlln;: stems.
Sa/;x ;rrorlr. 6-2012-6 Upript, chlmping shr.b has stem. that tum Rocky MCMlnUins, 4-11.1-4
Idewystem willow) blwender i. filii. C..t stem. back to keep btlshy. so..titwestem U.S.
Salix PfI'purea ' Nana' 3J5 Slender purple stems adapt to moist hybrid 4-7,7-1
(purpleosier cultiwarl lociJIions.
Salix 'Sekn' 15130 Twisted redd ..... tem. are used In flower Japan 4-7,7-1
(fanllil willowl alTangemenis.
Such)'ulJI' praecox 10110 Upwardarching redpurple stems produce Japan ..... 8-<
penduloliS flowers in bite winter.
i
Vace;";lIm COT}'mbosum 5-1215-12 Mllltistemmed shrub has arching easiem 3-8,8-1
!
,hlghbush blueberry] yellowgreen to red stem. in winter. North America
.
,
,
68 1 Llnd.np. Archlt,clu" flnURI un
PLANTS
director, Dennis \Verner. "It's a great alterna-
tive to the red- and yel!ow-stem dogw<XXls,
which often are challenging fOf LIS here in
the mid-Somh."
The shoots of coral bark Japanese maple
(Acer pa/mat/lm 'Sango-kaku,' Zones 6-8,
8-2) are bright coral-red. "It is the newest
growth that is the reddest, and only where
Many shrubs and trees
with striking forms-
from r i ~ d l y upright
to downright twisted-
are best appreciated
in winter.
the wimer sun shines on the stems, so plam
it where you see it from that angle," sug-
gesrs Larry Mellichamp, a professor at the
University ofNonh Carolina at Charlone
and coauthor with Peter Loewer of The
\'(Iillter Ganim: Planllillg alld Plami/lg!ar the
SOl/tiMs/.
For shmbs with exfoliating bark, it's the
older branches that produce the best show,
-
Resources
The Garden in Winter; Plant fo, Bel/uly
and Interest in tire Quiet SNson. by SUl}
Bales; Emmaus, Pennsylvania: Rodale
Books, 2007.
The Winter Garden: Planning and pqnt
ing fo, the Southeast, by Peter loewer and
larry Mellichamp; Mechanicsburg, Penn-
s,-I.ania: Stackpole Books, 1997.
The Winter Gardell: PUnts that Offer
Color and Beauty in Erery SeilSDn of the
Year, by Rita Buchanan; Boston: Houghton
Mifflin Company, 1997.
Wonden of the Winter Land$Cape:
Shrubs and Trees to Brighten the Cold
Weather Garden, by Vincent A. Simeone;
West Chicago: Ball Publishing, 2005.
Sources
Avant Gardens, Dartmouth, Massa
chusetb, 5089988819,
www.avantgardensne.com
ForesHann, Williams, Oregon, 541
8467269, _.fore$lfarm.com
Gossler Farms Nursery, Springfield,
Oregon, 5417463922, _.gouler
farms.com
Wayside Gardens, Hodges, South
Carolina, 8002130379, www.Jfay$ide
gardens.com
TLNSILL SCULPTUR!
"FlCLE 311 ON READER SRV1CE CARll OIl GO TO HnI' JilNFO. >-QT1MS.COMIl3<9ON11
so removmg low branches or twiggy
growth (Q reveal the patchwork of bark
colors or shredding textures will enhance
the wimer display In the garden. This
samediscfetionary thinning treatmem ap-
plies co shrubs with dramatic branching
habits.
Ellen Zagory, director ofhoniculture at
the UniversityofCalifomia, Davis Arbore-
tum, recommends a manzanita, Arc-
tostaphylos dellS/jlora 'Howard McMinn'
(Zones 7- 9, 9-7), for western gardeners. It
has "'beautiful, mahogany, muscular
branches with age,"' says Zagory.
Fog
1979 ...
Many shrubs and trees with striking
forms- from rigidly upright (Q down-
right twisted- are best appreciated in
" ON REODEA SERVICE CNl() OIl GO WHnpl/INFO fiOTILIS,C0Mt2:1490- 1' C1AClE 122 ON RE.lI>ER SERVICE CAAO 011 GO TO
wimer. The paperbush, Edgeworth/a
chrysamha (Zones 7- 9, 9-7), is a mulci-
stemmed shrub that grows five to six feet
Rather than yearning for the warmth and riotous
colors of spring, enjoy the variety of winter colors,
textures, and forms of your shrubs and trees.
tall and wide. "Its brownish
stems all' unique in that they
fork in threes," says Mel-
lichamp. "They have a reddish
cast in wimer and are stocky
and anracrive- no( finely
twiggy. The proportions are
pleasing."
Suzy Bales, author of The
Garden fII \'{Iilller: Plallf for
BMllty alld Interest in the Qlliet
Seasoll, describes Harry Laud-
ds walking stick (Crnyllls ave/-
lalla ' Contorta,' Zones 3- 9,
9- 1) as "a living sculpture. It is
mesmerizing for its tangle of
corkscrew branches, each one squiggling
and twisting like a madcap dooclle," says
Bales, who gardens on Long Island, New
York. It usually grows wabour 10 feet tall
and wide. (For more shrubs with outstand-
ing wimer stems, see chart on page 68.)
Each season has its strong points. So
rather t han yearning for the warmth and
riotous colors of spring, enjoy the variety of
winter colors, textures, and forms of your
shrubs and trees. T hey impart a stark
beauty to the wimer landscape, often fur-
ther enhanced by the muted tones of win-
ter grass, a backdrop of dark evergreens, or
a carpet of fresh snow.
Rita Pe/czar is a (Olltribllfmg editor for The
American Gardener.
Reprinted with permission from the
November/December 2008 issue of The
American Cameler.
C'ACl.E 21 ON RE.o.DER SERVICE 011 GO TO
HIRUUl 2009 Landscape Architecture I 73
Humphry Repton's good idea was that each project
should be represented by two drawings showing, here,
the existing and, below, the proposed landscape.
" ,r".
- -
LANDSCAPE PLANNING:
A HISTORY OF INFLUENTIAL IDEAS
I
Alii NOT A HISTORIAN. J am a land-
scape planner who looks toward the fu-
tlu-e. Even so, [ know that most of the
ideas that have shaped my work are old
ideas. Recenc1y, I decided [Q prepare a
lecture to pay respect to people whose ideas
have influenced me. [n this published ver-
sion, I will summarize a cencral and influ-
ential idea from each of about 30 people.
This is, of course, a gross simplification.
Each person pro::luced a complex body of
work, but each did one or tWO things that
have had great influence on landscape plan-
ning, on me, and on many ochers. I have
included some work in which J had a role,
mainly to acknowledge those with whom
I have had the pleasure of working.
The best definit ion of what we do was
published in 1968 by Herbert Simon in
a book called The Scit1lce of Artificial. He
wrote, "Everyone designs who devises
courses of action aimed at changing exist-
ing conditions into preferred ones" Scale
and size matter in how we act as designers.
\'Ve can work on a small project, such as a
house on a difficult site, or we can work on
a medium-sized project, such as a new ur-
ban developmenc or a new urban park, or
we can work on a large project , for exam-
An eminent landscape
pl31lJJel' looks at the
key ideas of planners
wbo preceded him.
Sy Carl Steinitz,
Honorary AS LA
pie on a new town or a regional conserva-
tion plan. But JUSt because you are skilled
at one scale of design does not necessarily
mean you can design at the others. [ am
particularl y interested in the design of
large landscapes of ecological and culcural
significance that are under major pressure
for change. Al chough J chink small proj-
ects are important, I will focus here on
ideas that have influenced how we ap-
proach the design of large landscapes.
My first cwo examples are from China
during the Southern Song Dynasty. The
\'Vest lake of Hangzhou is imporrant be-
cause it is the result of a decision made in
the eighth century to build a very large
lake-a deliberate act [Q create a new land-
scape on a large scale. This landscape was
made pri marily for reasons of defense, wa-
ter supply, aquaculture, and agriculture.
In che Song Dynascy ic was rebuilt under
the direction of the poet and governor of
Hangzhou, Su Shi (1037- 1101). Over
time, it has Ix--come considered "natural,"
a place of great scenic beauty and cultural
imporrance. EmperorQianlong's TmScmes
of the Wert Lake, poems composed in the
18th century, is learned by all Chinese
schoolchildren today. Too many people be-
lieve landscape planning is only conserva-
tion and reaction, but the \'Vest Lake
shows that landscape planning includes
action with foresight. The big idea em-
bodied by the Wesr lake is that a land-
scape built for practical reasons can be de-
signed and transformed over rime into a
highly valued cultural landscape, and even
one (hac is primarily assumed co have been
the resulc of narural processes.
TIle second example is Huang Shan, the
Yellow Mountains of southt'JSt China. By
the timeof (he Sou(hem Song Dynasty, this
area had become che symbolic landscape of
Song painting and poetty. Ic was protected
byEmperorQuinrong (1100-1161),and
now 300 square kilometers are incl uded in
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EDITOR ' S CHOICE
a UNESCO World Heritage site. To my
knowledge, it is the subject of the first ma-
jor program fOr landscape conservation and
protect ion. It is a very important idea that
landscape be protected because of its role as
a symbol of a rulture. Visitors should realize
that they are walking through and seeing
nO[ just a beautiful mountain area bur also
a landscape of great cultural importance.
From the 14th through the 16th cen-
turies, the Medici family was the most
powerful in Italy. TIle family's leaders are
shown in Botricdli 's Adora/ioll of the "fagl
(1475) as the Magi. They had palaces in
cities as well as many villas in the Tuscan
countryside. The Medici villas were deco-
rated with paintings that express the idea
that the agricultural landscape was the
basis of the wealth of the fam Ily and
also that it was beautiful. This idea, that a
productive agricul t ural landscape was a
beautiful landscape, Ix-camevery powerful.
Manyof the great English landscape gar-
del"lers and impro\'ers had a similar idea, rhar
the landscape can be both productive and
beautiful. A famous example is Stowe, a
work by Charles Bridge man, William
Kent, and Lancc10t "Capability" Brown
(I 715- 1783). 11le landscape was pnxluc-
tive, with sheep, cattle, and deer grazing
among scartertXl clumps of trees. 111is SOrt
of English landscape has become idealized
as a beautiful landscape and has formed the
image that has inspired much of\'Vestern
landscape design.
Perhaps the most famous English land-
scape gardener was Humphry Repton
(1752- 1818). For (he large landscapes r am
interested in, he had one very important
goOO idea: that each projen should be de-
scribed using two drawings, one of " before
and one of " after" the design is carried out.
Reptons Red Book included watercolor il-
lustrations of his designs with flaps that
fold over the areas where changes are
planned. \'Vhen you lift the flap, the new
design is revealed. Repton used this
method to show the effect of proposed
changes on the existing landscape.
Edmund Burke (1729- 1797) is asso-
ciated with the idea of the sublime. "De-
signs that are vast only by their dimensions
are always the sign of a common and low
imagination. No work of art can be great,
bm as it deceives. To be otherwise is the
prerogative of nature only. r do not believe
that working at large size implies low
Imagination, Of that design at any scale
must be artificial and aimed at deception.
At almost the same time, in France,
J ean-Marie Morel de Kinde (1728-
18 to) wrote his book, Throrie desjan/;m
(1776). His basic IXJSition was that design
is managing the natural processes of the
landscape. He designed the famous land-
scape at Ermenonville, near Paris, where
Jean-Jacques Rousseau is buried. 111is is a
design that respectS and takes advantage of
the natural processes of the site, its terrain,
hydrology, vegetation, and drainage. 111US,
as early as the 1770s, there was a great de-
bate between two powerful but opposing
ideas about the role of landscape interven-
tions, a debate that survives today. Are we
creating artificial landscapes or managing
natural processes?
Thomas J efferson (1743- 1826) was
the third president of the United States. He
decided that the then Northwest Territo-
ries should be surveyed and sulxl ivided us-
ing a square grid. His aim was to encour-
age settlement, and 1[1 the L 780s, he
needed an inexpensive way to define the
boundaries of homesteads for new settlers.
1l1is idea, that the landscape should be sur-
veyed as a grid, was extended westward as
the country grew. It can still be seen today
by anyone who flies over (he country. The
shaping of the American landscape owes
more to Jefferson than to any other indi-
vidual. However, he was not the first to use
a grid in (his way. The Roman Empire re-
warded its most successful soldiers with
rectangular farmsteads, creating the grid-
ded landscape called cenfllriazi(ll1f still visi-
ble in the Po delta of nort hern Italy.
Prince Leopold III Friedrich Franz
von Anhalt-Dessau (1740-18 L 7) inher-
ited one of the many German principali-
ties and was concerned with its improve-
ment. England was then the most advanced
and prosperous nation in the world. Eng-
lish li terature, economics, government,
agricul ture, and landscape were regarded
as the model for most of Europe. Prince
Franz made extended visits to England to
study English ways and returned home to
introduce English ideas and to remake his
lands in the way of the English landscape.
111e landscape of the Gartenre;ch WarHrz was
developed between 1765 and 1817. Itfunc-
tioned both to educate in the advanced
agriculrural techniques of England and to
exemplifY English liberalism and the ideas
of the Enlightenment: It was planned to be
a didactic landscape. Grl't'k classical archi-
tecture was the style for many buildings.
\XIorlirz had a pLiblic library, sneet trees
were all fruit bearing, and all bridges were
built in a different way. View corridors were
carefully planned. This was the first place
in Germany where Jews were fully citizens.
This is exemplified by the famous view
frum the Bridge of Tolerance, which encorn-
paSS("S both tl"le church and the synagogue.
Many people learned new social, physical,
economic, governmental, and landscape
ideas from the Dessau-\X/orlitz "Garden
Kingdom.' Prince Franz's great idea was
not to copy a style, but to use the land-
scape to teach.
In the 1830s, John Claudius Loudon
(1783- 1843) was the most important
landscape designer in Britain. He made his
reputation by designing parks and gardens
and as a thinker and writer on landscape
gardening and architecture. loudon had an
extraordinary idea. He made a landscape
plan for the entire region of London. He
proposed that there should be alternating
rings of city and countryside, centered on
rhe Palace of \Xlesrminster on the River
l1lames. loudon made a series of example
designs thar showed how a residence and
garden could be different in the middle of
John CldfldillJ LolltWlI Peter Jrueph Lenlll
rhecity, in a suburban area, or in the coun-
tryside. This concentric diagram was his
way of sayi ng that people cannot live only
in the city, and they cannot live only in the
countryside. Both are necessary. This was a
very important idea in the L830s and is still
relevant nxiay.
Peter Joseph Lenne (1 789- 1866) is
undoubtedly the most famous German
landscape architect. Lenne said, 'Nothing
can thrive without care, and the most sig-
nificant things lose their worth through i m-
proper handling." To design is nocenough,
and to build is not enough. \"XIithouc care, a
landscape loses its value very fust. Lenne had
an extraordinary career, which coincided
with a period of political revolut ion. His
most famous works are in Potsdam and
Berlin. At Potsdam, location of the impor-
tant German royal palaces, famous archi-
tectS designed the buildings, but Lenne or-
ganized the landscape structure. His most
important contribution was the
central axis, a line about two kilo-
meters long. Everyl:xxly else at-
tached their projects to that line.
Leones big idea is rhata clear llild
Jx>werful concept established at
the beginning can organizeenor-
moos design diversity in the fu-
ture. In 1840, Friedrich Wil-
helm IV came to the throne.
Lenne submitted a plan fur the
expansion and improvement of
Berlin and its surroundings, in-
cluding the expansion of the
Tierh'1lrten. His earlier plans of
1819 and L 832 for the Tier-
hwten had drained swampy JXUts
and created winding streams and
paths within the earlier geomet-
rical pattern of long, straight
Gifford Pillhot HordU W S. Cle/dand George Sdntd},dfld
hunting allees. 11k new geometry was more
appropriate for quiet recreational pursuits,
as was the intent of the transfurmation of
royal lands into public parks. Now, Lenne
planned the new parks system for the geocr-
aI public, accessible to all.
Americans consider Frederick law
Olmsted (\822- 1903) to be the founder
of landscape architecrnre, aod it was he who
first used the name to describe his profes-
sion. He is perhaps most famous for the
1858 d(""Sign, with Calven VaLIX,ofCentml
Park in New York City. But I consider that
tWO others of his many projectS represent
more important ideas. In the I 860s,John
Muir and Olmsted and other people had
the idea (similar to the idea for Huang Shan
I ,OCHJ years before) to protect the most im-
portane landscapes in America. They con-
ducted the studies that led to the creation
of Yosemite National Park, the United
States's first national park. And today, be-
cause of the work of Olmsted and other
people of that period, many importane
American landscapes have been well pro-
rected, such as Yosemite, Yellowstone, and
the Grand Canyon.l1le second idea associ-
ated with 01 msted is related to his work at
Biltmore in North Carolina, the estate of
George W. Vanderbilt, the rich(""St person
in America at the rime. The house was set
in more than 4,000 hectares of forested
mountain land. Olmsted hired a young
man, Gifford PinchOl (1865- 1946), to
head the estate's Department of Forestry
Management. \"XIorking under Olmsted,
Pinchot guided the earliest efforts at scien-
tific forestry in Ameri ca. They avoided
monoculrure and clear-cutting and prac-
ticed multiple use of the land. TIley also
established the first school offorestry in the
United Scates. In 1914, the Biltmore Esmte
forest became Pisgah National Forest,
America's first national forest.
EDITOR ' S CHOICE
\Vhen the Uni ted States government
created the National Forest Service, Pin-
(hot became its first director. He promot-
ed two important ideas that were first ap-
plied at Biltmore: conducting research on
sciemific forestry and promoting rhe mul-
tiple use afforests to sustain animal habi-
tat, provide recreation, protect water and
air, and also provide timber.
In 1883, Chicago-based landscapearchl-
tcC[ Horace W. S. Cleveland (1814-
19(0) had a very important idea. Cleveland
was [he Jandscapearchirec[ for the twin cities
of Minneapolis and Sf. Paul, Minnesota, 0p-
posite each mher on the Mississippi River.
At that time, rhe cities were small. Cleve-
land convinced the municipal governments
to buy land to create a regional park system,
long befure many people were living nearby.
Because they wece planning for several
dt'Cades into the future, the ci ties were able
to buy the land at very low prices. TocIay, the
Twin Cities are large, and land is cosdy, but
they ha\"eone of America's greatest park sys-
tems. 111is IS an enormously important idea,
bm it requires action and the investmentof
money far in advance of actual demand.
George Santayana (1863- 1952) was
Harvard's most mmous philosophy profes-
sor in the early 20th century and author of
Sewe 0/ Beallty (1888). He wrote, "When
creative genius neglects wally itself [Q
some public interest it hardly gives birth to
wide or perennial influence. Imagination
needs a soil in history, tmdition, or human
institutions else its mndom growths are not
significant enough, and, like t rivial
melooies, go immediately om offashion.
Said in anQ[her way by the artist Andy
\X1arhol , "isms are wasms."
Charles Eliot (1859- 1897) was a fa-
mous landscapearchitccc who lived in my
city, Boston. At the end of the 1890s, the
people in Boston knew that other cities
wefe building Important park systems,
bm Boston was an older ci ty that was al-
ready buil t up, with little land available.
Eliot had the idea of developing a park sys-
[em from the city's leftover land, the land
that nolxxly wanted for development. He
took the wetlands, the steep areas, t he
rocky areas, the unsanicary parts of the city
and used them to design a connected land-
scape network. wter, other people, includ-
ing Ol msted, transformed these areas into
attractive and valued parks and recreation
areas. Today, when you look at the park
system of Boston, you see a park system
that looks much like others but was made
from what had been considered to be use-
less or spoiled land. Eliot's big idea was to
get control of the land regardless of condi-
tion, because it could be trans-
formed into something wonder-
ful later.
Patrick Geddes ( 1854-1932)
was a biologist, a philosopher, an
educator, and a planner. Geddes
traveled and practiced all over
[he world, in areas of British in-
fluence, numbly India and Pales-
tine. He had three big ideas.
The first he called the Valley Section. As an
evolutionist and a global thinker, he was
interested in the interrelationships be-
tween people, their activities, and their en-
vironment. The Valley Section diagram
expresses timeless relationships that are
seen everywhere. It begins in the moun-
cains and extends to the coast. At the high-
est elevations in the mountains, it is natu-
ral and usual w find miners; in lower areas
to find forests and wcxxl.smen; even lower
to find hunters and shepherds; st ill lower,
peasant farmers and gardeners; and finally,
along the shore, ci ties, and in the waters,
fishermen. Failure to respect these human--
landscape interrelationships either doesn't
work or requires too much energy and too
high a risk and will ultimately not be sus-
tainable. Geddes's second idea is expressed
in the title of one of his plans, Oly Det'ii-
opment: a SllIdy 0/ Parks, Gardens, alld CIII-
tllre Imtitf{fes. He believed that t he primary
structure of urban form is shaped by the
landscape and by the planning of parks,
gardens, and culture inst itutes. Tmnsport
routes and industrial , commercial, and res-
ident ial areas are secondary and should be
guided by the landscape stmtegy. Geddes's
third important idea is that people need
to know about their landscapes. He creat-
ed the Outlook Tower in Edinburgh,Scot-
land, in 1892. [twasan "index museum,"
beginning with the universe and concl ud-
ing at the top of t he tower with a CdIllEra ob-
SCl/ra, providing views of the actual dady
I ife of the ciry and its setting in the larger
landscape. It was also the center of courses
and cultural activities for the public. Ged-
des's objective of an educated publiC is still
a very important idea.
Ebenezer Howard (1850- I 928),
Raymond Unwin (1863- 1940), and
others reacted against the terrible housing
conditions in 19th-century industrial
England. In that period, for the poor and
working classes, housing was overcrowd-
ed, d-Ingerous, and polluted. Several intel-
lectuals who thought that people should
not live like that formed the Garden Cities
Association in 1898. 11ley proposed many
ideas, the most important of which was
Howard's Garden City concept in 19{)2.
The idea was to reduce the size and lower
the density of a major city by surrounding
it with a band of countryside and relocat-
ing people to smaller new towns. All dl e
areas were to be connened by efficient
publ ic transportation. Letchworth was be-
gun in 1903 and is still an anranive sub-
urban town. In the early 20th century, rhe
Garden City became the most important
concept for urban development in Eng-
land, America, and parts of Europe. 111e
idea, a concern for efficient suburban de-
velopment, is reflected in today"s New Ur-
banism movement.
Warren H. Manning (1860- 1938)
worked for Olmsted as a horticulturist be-
fore establishing his own landscape archi-
tecwre practice. By about 1910 electrici-
ty had become widespread, and light
rabies (drawing rabies with translucent
glass topS illuminated from below) were
invented, inicially to simplifY che tracing
of drawings. In 1912, Manning made (he
first study chac used map overlays as an
analysis method, much as wedo today. He
laid selected maps together to produce
new combinations of information and
made a plan for development and conser-
vacion in Billerica, MassachuseHs. Around
this time, national maps of resource-based
information for che United Scaces were be-
ing produced and made available to the
public for the first time. Manning collect-
ed a few hundred maps of soils, rivers,
forests, and other landscape elements and
had them redrawn to one scale. By using
overlays on a light table, he made a land-
scape plan for the entire country, which
was published in Landscape Arrhifatf{r in
June 1923. His plan contained a system
of fuwre urban areas and a system of na-
tional parks and recreation areas. It includ-
ed major highways and long-distance hik-
ing trails and contained everything that a
comprehensive regional landscape plan
would have today. It is remark-
able that Manning did this
chen, and for the emire coumry.
It is one of the most important,
boldesc, and most creacive un-
dertakings in our professional history.
Tn the 1920s and 1930s, imponanc
changes were made to landscape planning
methods. These changes were led by the
Bricish, including G. E. Hutchings and
C. C. Fagg, who were noc landscape archi-
cects buc were surveyors and geographers.
In 1930, they published All Illtrotlllctl(1I/ to
l?egl(llid/ SUrveyil1g. one of rhe first text-
books on how to make regional landscape
plans. The most imporcant new idea was
the recognition that landscapes are systems
with complex elements that are connected
[Q one another. If you make one big
change, you will inevitably change the
other parts of the system. Landscape plan-
ners must have a broad and complex un-
derstanding [Q make an effective plan. One
cannoe be only a specialist.
Also in the 19205 and 19305, modern
landscape planning began as a profession.
Courses were begun [Q erain the people who
were responsible for the bureaucracy of
planning. Regional Plannillg, by L. B. Es-
eritt, publ ished in 1943,
is about one centimeter
chick. If my beginning
students would read this
book, they would know much of what
chey need to know. For example, chey
would learn how to make overlays and
how to use them to analyze the landscape
for particular purposes. The techniques are
simple and effective. In 1947, afcer elecc-
ing a socialist government, the British na-
cionalized planning concrol of all land.
They were able to implement a very good
planning system very quickly because they
had che textbooks and merhods to ceach
che landscape planners.
In che 1950s, President D\vight David
Eisenhower (1890- 1969) decided chac
che United States needed co have lim iced
access highways co connecc all the scace cap-
icals. He gave che cask of designing chese
EDITOR 'S CHOICE
interstate highways to engineers. It was
both a gcxxl and a bad idea. We have gen-
erally straight highways that are fast and
safe. But they have often caused serious
d'lmage to the ci ties and landscapes through
which they pass. Perhaps most imrxmam,
they have led to the widespread destruction
of America's rail transport system.
J. B. Jackson (1909- 1996) was nor a
landscape architect, bur he taught cuJrur-
allandscape studies at the University of
California, Berkeley, and at Harvard. He
was a landscape geographer who founded
the small bur influential magazine called
wliriJeape. His hig idea was that theordi-
nary landscape was valuable. He explained
co Americans the beauty and interest of
their commonplace landscapes. Most land-
scape architects focus on what they think
of as special places and undervalue the usu-
al acrivities of ordinary people in making
landscapes. Jackson ocgan what now is a very
powerful movement to value and prmecr
whac we now call rhe culrumllandscape-
the ordinary landscapes that have coherent
character. He began the magazine in the
Philip u:wiJ Hmmrd FiJher
1950s, when America was expanding so
rapidly char it did noc cake rime co proceer
places rhar scood in rhe way. It was noc un-
cil ! 986 char the Unired Scates escablished
a sysrem co idenrify and procect culrural
landscapes.
My ceacher, Kevin Lynch (1918- 1984),
said rhar planners should understand and
consider che way ordinary people perceive
cheir environmene before proposing
changes. Ly nc h wrore many books on
many topics, but his first and most impor-
tant work is The Image 0/ the City. For the
first time, interviews were done to learn
how ordinary people perceive and under-
stand the city. Lynch believed that design
could make the ci cy dearer and stronger
and more understandable. He assumed
that a good city form should have an under-
standable strucrure and image that are not
an imJXISition by designers and planners,
but derive from the perceptions of the peo-
ple who use the place.
Philip Lewis, FASLA (1925- ) of the
University of\'V'isconsin has spent most of
his life studying the northern part of the
American Midwest. He made many plans
for this area. The most inAuent ial was his
plan for a system of parks for the state of
Wisconsin in 1964. His big idea, support-
ed by his analysis, showed that the corridors
along the state's rivers and streams were the
most important places to protect. He was
the firs t to shape a landscape plan around
the idea of environmental corridors.
Ian McHarg (1920-2001) published
Desigll with Natllre in 1969. It is probably
rhe Single most inAuential book in the
field of landscape planning. In ir he ouc-
lines ways in which natural processes can
guide development. The book Includes
Design with Nature
is probably the
single most
influential book
in the fi eld of
landscape planning.
several projects ar several scales. TIle one J
rhink is rhe mosc importane is che "Plan
for che Valleys." In che 1960s, Baltimore
was expected co expand into che area
known as rhe Valleys. McHarg and his col-
leagues recognized thac there were many
possible patterns of development and stud-
ied four alternacives shaped by differing
patterns of sewer alignment. They knew
rhat you don'r make jusc one plan- ir is
bener to make several plans and compare
them to help decide which is best. Devel-
opment was not Prolx>sed on t he bot tom-
land, so that agriculture could be protect-
ed, and not on steep slopes or on hilltops.
Development was distributed in compact
groups on the gender slopes and uplands.
McHarg and his colleagues understood the
relationships among landscape, engineer-
ing, the sciences, and development.
There was a big change in technology in
the middle of the 1960s. Howard Fisher
(1903- 1979) invented SYMAP, the first
practical and publicly avai lable compmer
g raphics program. In 1963, he came co
Harvard to set up the L1boratory for Com-
puter Graphics, the first of itS kind. I was
among the init ial members of the labora-
tory. In 1965, when J was a very junior
professor, tOur graduate students and J made
the first regional plan using a compmer-
the Delman'a Plall. Wle studied an area
near \Xfashington, D.C., that included the
entire state of Delaware, part of Maryland,
and part of Virginia. It is a very large area,
and che cask was very difficult. The maps
we prodllced were not as legible as maps
that colild be drawn by hand. They were
lall McHarg

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Creating Blueprints for Change
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Getting Real
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EDITOR ' S CHOICE
Earth scientists understood the landscape and realized
it was likely to underao maJ'or c11aJJO'e but they didn't
, b " , ,
criticized for their graphic quality,
but flot for the analyses that created
chern. By 1967, we had computer tech-
niques fordrawing terrain, vegetat ion, and
buildings in perspective. Again, t hese im-
ages we[t criticized because a capable
draftsman could draw bener than the
computer. But we knew that techniques
would become bener and bener. Wle un-
derstood the iXltemial powerofcomputers
in landscape planning.
[n the late 19605, with Peter Rogers
(1937- )and OUT students, we made sever-
al more landscape planning studies. These
studies included complex analyses that
modeled rhe often-seen conflicts bet ween
rhe anraniveness for development and the
vulnerability of landscape. Our work was
published as A SYJtefllJ Analysis Al odel of
Urbal/izatioll alld C&mge;1I umdJcape Plal/-
ning (1969). Tooay, I st ill think that there
are five principal t1l1ngs (0 consider in
landscape planning: systems, analysis,
mooel, urbanization, and change.
One of the early Harvard graduate Stl\-
dents, jack Dangermond (1945- ), found-
ed che company that made the first com-
mercially successful computer graphic
mapping program. Today his firm, ESRI, is
the largest in che field. By making and dis-
tribucing tools for others to use, Danger-
mond has probably contributed mr more to
landscape pl anning than any professor, re-
searcher, or professional landscape planner.
Sylvia Crowe (1901 - 1997) was one of
the great English landscape architects. She
had a long and varied career in landscape
architecure and was responsible for a sig-
know how to propose changes to the laJlci scape,
nificant idea that changed the appearance of
a large part of the Uni ted Kingdom. Crowe
spent much of her career advising the
Forestry Commission of England on its
forestry practices. She condemned monocul-
ture and the ugly rect ilinear block planting
that went with it. She advocated planting a
diversity of tree species, in patterns that ac-
knowledged the natural ground form. She
wrote a report called The Lmmcape of Fomts
alld W/m- (1978). In it, she gi ves examples
of how to approach reforestation with con-
sidc"1'ation fOr ecology, economic produuion,
recreation, and aesthetics.
In 1%9- 1970, the Congress of the Unit-
ed States led by Senator He nry "Scoop'
j ackson (1912- 1983) passed the Nation-
al Environmental Protection Act (NEPA).
This revolutionary law for the first time
required open public participation, land-
scape preplanning, mit igation of detri-
mental impacts, and publ ic review of all
significant planning actions. Lady Bird
johnson (1912- 2007), wife of President
l yndon Johnson, had made beautifying
rhe American landscape her public issue.
She was in many ways responsible for
adding "aesthecic" to the concepts of
' health, safety, and welmre" that underl ie
NEPA. These ideas have influenced the cre-
ation of similar (Xllicies and legislation in
many other countries.
TIle new law raised a very serious ques-
tion. How do you study environmental im-
I:xl([ in aesthetic tenns? Tt could noc be sim-
ply personal opinion. h had to be a
methodology. Each American federal
agency that managed land was required to
develop methoos to assess visual impact. R,
Burton Litton (1918-2007) of the Uni-
versity of Cali fomi a, Berkeley, and Edward
H. Stone II , FASLA, of the U.S. Forest Serv-
ice, influenced by the work of Sylvia Crowe,
responded to NEPA fOf the U.S. Forest Serv-
ice, the first federal agency to produce a
methooology. [n 1974, the Visual Manage-
ment System was introduced. The Bureau
of Land Management and other agencies
followed with thei r own visual manage-
ment systems. As a result, the U.S. govern-
ment has several different systems that are
often confusing. However, the primary ben-
efit is that, in America, every major project
is evaluated for its visual impaa.
In 1986, a very influent ial book, Land-
scape Ecology, was written by my colleague
Richard Forman 0935- ) and Mic hel
Gooron (1949- ). TIle decade of t he 1980s
was a period when biological scientim and
earth scientists began to work closely with
planning and design professionals. In gen-
eral, the earth scientists understood the
landscape and realized it was likely to un-
dergo major change, but they didn't know
how to propose changes to the landscape.
Today, landscape ecology helps to under-
stand the effens of past and potential
change by looking at the spatial structure
of landscapes in ecological terms. It is an
enormously powerful theoretical basis for
landscape planning, (And ic is incerest-
ing that its descri pt ive model bears clear
"The profession of landscape
architecture stands at a critical
fork in the road. One fork
(1926--). Sasaki hired me as a
young assistant at Harvard
many years ago, and Harris en-
couraged my early academic
development along somewhat
unorthodox paths. Harris is the
best real "educator" I have ever
known. In the early 1960s,
Sasaki wrote: "111(' profession
of landscape architecture
stands at a critical fork in the
road. One fork leads [0 a sig-
nificant field of endeavor con-
tributing to the betterment of
human environment,
while the other points (0
leads to a significant field of
endeavor contTilmting to
t.he bellermenl of human
environmenl, while lhe ot.her
poinls lo a subordinale field of
superficial embellislmlenl. "
a subordinate field of su-
perficial embellishment."
-Hideo Sasaki
similarities to Lynch's in Imageo/the City.)
In November 200t, the 47 member
countries of the Council of Europe signed a
new international treaty, rhe European Gnd-
scape Gmvention (see sidebar, below).
This new treaty has now been ratified by
many, but not all, of the member States. It
is having a profOund effect on the practice of
landscape planning, as it requires these ac-
tivities as part of the treaty obligations.
111is, in rum, 1salsa having a major impact
on landscape education throughout Europe,
and indirectly on the rest of the world.
I will conclude this article on a personal
note. Two people have earned my particular
gratitude. They are the late Hideo Sasaki
(1919-2000) and Charles Har ris, FASLA,
-
The European Landscape
Convention
S
ome excerpts from the text adopted at the
European landscape Convention in No-
vember 2001:
Chapter I-General Pro,isions
Article 3-Aims
The aims of this Con,ention are to pro-
mote landsupe proteclion, management
and planning, and to organize European
cooperation on landscape iuues.
Chapter II-National meaSUrH
Article 4-Division of responsibilities
Each party shall implement this conven-
tion, in particular Articles 5 and 6, ac-
These are wise words.
UntUrrunarely, much ofrhe landscape
architecture profession still stands at
that fork.
Over the mOfe than 40 years I have
been active in this field, [ have ob-
served that we are gening better at under-
standing the landscapes we are planning.
\YJe have much betrer dam and moclds. In
democratic processes, environmenml pol-
itics are gen ing more open and complicat-
ed, and landscape plans are also getting
more complicated. This makes it very dif-
ficult for the ordinary person to under-
stand what is going on now and what
might happen in the future. One can
imagine a furure of global warming, de-
sertification, overpopulation, water crises,
conling to its own division of powers, in
conformity with its constitutional princi-
ples and administrative arrangements,
and respecting the principle of subsidiari-
ty, taking into account the European Char-
ter of Local SeH-government. Without
derogating from the provisions of this con-
vention, each party shall harmonize the
implementation of this conrention with its
own policies.
Article 5-General measures
Each party undertakes:
a. to recognize landscapes in law as an
essential component of people's surround-
ings, an exprHsion of the diversity of
their shared cultural and natural heritage,
and a foundation of their identity
and other potentially catastrophic changes.
If we are at the brink of an increasingly se-
rious environmental crisis, it is very im-
portant for people to understand the siru-
ation and their options, or they will not
make vital changes.
This may be our next majorchallenge-
to make more complex landscape planning
more readily understandable to broaden
public participation, and to improve deci-
sion making in support ofa more equitable
and sustainable future.
Carl Sumitz, Honorary ASLA, IS the
Alexander and Victoria
Wiley Research Professor
0/ IAI/dscape Architec-
tllre and Plal/nil/g at
Hanurd G radflate
School 0/ Design.
ACKNOWLEDGMENT: I
thank especially Tess
C1.nfield. Many others
have also contributed, both directly and
indirectly, including Mirka Benes; Peter
801; Ethan Carr, FASU.;Joseph Disponzio,
ASLA; and Juan Carlos Vargas-Moreno. I
also thank those whose work I have cited
and used herein, often without permission.
I thank especially the many persons who
had these influent ial ideas in the first place,
and upon whose work we have all built.
Originally published in theJollrllal 0/
IAl/dscape A rchilecflm, Spring 2008.
b. to establish and implement landscape
policies aimed at landscape proteclion,
management, and planning through the
adoption of the specific measures set
out in Article 6
c. to establish procedures for the partic
ipation of the general public, local and
regional authorities, and other parties
with an interest in the definition and im
plementation of the landscape policies
mentioned in paragraph b altove
d. to integrate landscape into its region
alland town planning policies and in its
cultural, environmental, agricultural, so
Cilll, and economic policies, as well as in
any other policies with possible dired or
indirect impact on landscape
fEnUA n 2109 landscape Architecture I S3
I
T'S HARD TO IMAGINE a more
elegant setting for art in the
landscape than the rx<:ordova
M uselUll and Seul prure Park in
Lincoln, Massachusens. This
museum of regional contemporary
art occupies 35 acres encompass-
ing the furmer estate of Boston in-
dustrialist Julian DeCordova, dat-
ing from the early 20th cemury. A
mixed-hardwoOO and pine forest
laps against an amoeba-shaped
pool of lawn. Stands of Norway
spruce and other mature speci-
men trees punctuate the open
spaces, casting deep shadows
onto the grass. A Stttp hill with
rough outcrops of ledge adds a
dash of the sublime to this picrur-
ts/:jue landscape, which is home to
New England's largest sculpture
park. 1111" museum displays about
75 large-s<:ale sculprures at any
given time, using rhedark wood-
ed edges, rolling terrain, and sun-
lit lawns to striking effect.
But the landscape, although
modified roserve as an exhibirion
space since rhe museum began
New England's largest sculpture p31'k is transformed. By Jane Roy Brown
displaying sculpture omdoors in tile 1 980s, was not designed as a
sculprure park. In parricular, ir was noe planned roaccommodate
a hefry percentage of rhe museum's 1 25,000 annual visirors explor-
ing rhe property on foot. Over time, people roving the grounds,
sometimes simply searching for ehe museum encranceor a way co
ger up a hill , creared desire lines and erosion. Crossing back and
forrh across rhe main entry drive, pedestrians also put themselves
ae risk of being hir by cars.
'The driveway complerely bisected rhe main lawn, and rhar
needed ro change for a number of reasons, primarily safery," says
Corey Cronin, direccor of markering and communicarions, refer-
ring co ehe original circuirous carriage drive, which climbed co
Halvorson Design Partnership
subtly defined a new place in the
landsc:ape, top, by replacing a
swale with a gentle swell, At the
museum entry, the new plaza,
left, serves as a segue between
building and landsc:ape.
che 1910 brick mansion-cumed-
museum acop che properry's high-
esc poine. This parr of rhecampus
felc disconnected from the lower
elevations, where mose of the
sculpture is displayed , Cronin
says. To reach chis suburban mu-
seum, mose visitors arrive in cars.
CALL FOR ENTRIES
AMERICAN S O C I E ~ 01' LANDSCAPE ARCHITECTS 2009 AWARDS
land...,...,..
archItecture
AWARDS
PRESENTED:
September 18-22, 2009
at the ASLA Annual
Meeting and EXPO in
Chicago

B
C
0
,
MASTER PLAN
2004
Gateway to sculpture
park landscape F Staff parking
New entrance plaza G Visitor pariling
Replicated wetland H Museum school and
New visitor welcome
shop complex
station Main access drive
Museum main entrance Unused amphitheater
After parking in the three-tiered lor located on the
southeastern quadrant of the property, they needed
to cross the drive to reach the museum as well as
other parts of the grounds.
As the sculpture exhibition program grew and
became more widely recognized, museum staff
members took not ice of dlese issues and began to
envision new possibil ities for the landscape.
In addition to the safety concerns, "the park was
looking a bit scruffY," adds sculpture curawr Nick
Capasso, who saw numerous opportunities for im-
provement and expansion. \Ve have this varied
landscape of meadows, wetlands, gardens, fields,
and woods. It makes the park a particularly rich
environmem for showing sculpture. It's like hav-
ing eight or 10 very different outdoor galleries."
\Vhen the museum celebrated its 50th annivers.'\ry in 2CKXJ, it put the
project out to bid and chose Halvorson Design Partnership of Boston to
create the plan.
C
raig C. Halvorson, FASLA, says the master plan design set
out with several clear, broad-brush goals:
- Make the landscape legible so that visitors can explore
the park on their own without losing their orientation.
- Enhance the experience of the grounds as a series of
larger and smaller outdoor rooms.
- Realign the access road so that visitors can see
the museum as they drive up to the parking area.
- Design the new ent ry plaza to be an aes-
EXISTING
CONDITIONS
2001
thetic transition between t he modernist
character of the museum wing and the
pastoral landscape of the sculpture park.
- Reclaim as much of the site as possi-
ble fOf pedestrian use and apply traffic
calming to vehicular roads.
- Improve the display of sculpture.
For safi::ry, the moot significant
change Halvorson made was
to reroute the looping drive
around the museum
school. TIle original
drive was disorient-
The master
plan redirecled
around the museum shop
and school for improved
safety and wayfinding.
!
I

S
,

l
i
;
!
,
i

~
destination was, and theyenrered
the museum school complex in
the middle," Halvorson notes.
Now the drive passes the school
complex but doesn'r go rhrough
it, and drivers can see rhe (XU'king
lor in rhe foreground and rhe
main doorci rhe museum srmlgl u
ahead. TIl is si ngl e srep. carried
The DeCordowa Museum'. new
entrance plaza, a b o f ~ , viewed
from the new access to the
sculpture park, creates a sense
of arriwal for both the building
and the landscape. The former
scheme, right, was cramped
and hazardous.
out on a IXlttof the property rhar was alreadydeveioped,eiiminar-
ed mOSt of the potential pedesrriao-,'ehide conAicrs, A segment of
the former drive sti ll lXlSStS rhe museum's main enrmnce, but only
pedestrians and deli ....ery vehicles (en route to a service and staff en-
trance atop rhe hill) can use ie "Wechipsealed rlle beginning of rile
service drive to say 'pedestrian' and placed bollards [here, which can
be removed for deliwries," says Halvorson.
Hnv , un lendlcap.Architectur. 187
The new entry plaza outside
the museum's entrance serves,
literally, as a pivotal connection
wa unified campus. The emire
space, partially enclosed by the
ri si ng slope and the bui lding's
front facade. also doubles as an
outdoor gallery. Five bronze
Tigen by sculpwr Gwynn Mur-
rill crouch and prowl on granite
blocks that Halvorson tucked
among thick grasses and pert'n-
nials on the slopes above and be-
low the plaza. (Other blocks jut
from the grassy hillside to ex-
tend the lines of the plaza inm
rhe landscape and provide addi-
tional sculpture settings.)
Capasso observes [hat this en-
vironment, while pleasing in its
own right, illustrates the flexi -
bility he was I<x>king for. "Here
we had this outdoor space, archi-
tectural and circular, perfect for
circus ti gers. but we arranged
them to underscore the ir ab-
St ract ness and to cteate the op-
portunity for visitors to walk
amongst them," Capasso says.
"Placed elsewhere in the park,
t hey would certai nly not have
the same relat ionsh ip (0 the
Roomlike spaces throughout the landscape enhance the experi ence of the art.
88 1 L. nd lup, Arehlt . clur. flnURI u n
landscape, to each other, and to their vi ewer. \'V'here they are on-
derscores both tlleir personali ty as animals and their abstr.lCt qual -
it ies." Simi lar roomlike spaces throughout the landscape also en-
hance rhe experience of the arT.
For instance, at the cop of rhe new steps linking the plaza w the
main lawn, Halvorson lowered the grade to fOrm an asymmetrical
dip that reveals the top half of a steel donut (DO/JIlt with 3 Balls. by
Fletcher Benton), JUSt enough co emice viewers up the hill. When
the visitors step OntO the grass, their eyes, rather than a prescri bed
[.Xlth,cominuepulling them forward. lllecircularion is strong be-
tween spaces, but within [hem, it is loose and free-Rowing.
"A lot of our work lleft' is about making something visible in
the next passage or space ro mO\'e rhe viewer forward, in (he way
that Olmsted created great outdoor rooms that ttansi(ioned ro
Sile improvements inltcr.te el-
illinc f t l t u ~ 1 luch as this wall
ilKorpor.linc. boulder, top. A
new replicaltd wetland, left, is
located soulh of the new road.
each other, drawing t he eye to
rhe next s[.Xlce," Halvorson says.
"TIle sculpture park is a series of
interlocked rooms, and we delib-
erately kept views open for ori-
entation and to create a hi erar-
<:hy of spac:e. We aimed for seamless
trans mons.
S
eamlessness is not something that
screams "design" to the average
visitor, but the deft handling of
{he passages between rhe campus's
main spaces ueates a clarity that am-
plifies the landscape's overall beauty
From the entry plaZiI, llbove, yisiton
glimpse Donut with 3 Balls (Fletcher
Bentonl in the sculpture par1l.llan Ayer
buch' s Skirts and Pllnts (ilfter Duchilmpl,
below, overlooks the visitor welcome
stiltion. Hillvorson's new entry plnil
ertended the existing stilircase from the
pilriling lot to the museum entrilnce, right,
as much as rhe presence of rhe art. " \'{fe rried to work with a col-
lection of liner brushstrokes, more naturalistically than architec-
turally," Halvorson says.
He added touches of his own that straddle the line between art
and design. Take, for instance, rhe segmenc of scone wall added co
mark the edge of the museum school complex. TIle crisp line of
moclern stonework incorporates a massive errati<: boulder in its
path, visually cleaving it in rwo. The wall, more symbolic than
functional, also passes through a clump of trees next to the boul-
der, slicing the cluster of trunks into distinn fOreground and ba<:k-
ground planes and crearing the illusion of a deeper space. The wall
scops ar the edge of rhe drive; opposite, a rough fanner's wall of
piled fieldstone picks up the internlpted line. The break calls at-
tention to safety (you're crossing a road, be carrlid!) and signals the
rhreshold co a more mysterious, primitive realm,
where organi<: sculptural forms tangle with the shad-
ows of the encroaching woods.
Planting now screens several unsighrly views
from the older landscape, including fencing around
a private parcel abutting the museum property and
a panorama of [he parking lot from {he emry plaza.
A replicated werland complerely fills a former con-
(t'ftamphitheater that no longer fit within the mu-
seum's miSSion.
The project won a 2007 BSLA Merir Award in
Commercial and insritutional Design,
jane Roy BroWII, a writer ill western MassachllSells, is a
cOlllribllfillg editor.
PROJECT CREDITS Landscape architect Halvorson De-
sign Partnership, Boston (Craig Halvorson, FASlA,
principal in charge; Stephanie Hubbard, project
manager; Bryan Jereb and Pr.misa Boonkham, proj-
ect design). Construction and stoneworlc D, Schumacher
landscaping Inc., \'{fest Bridgewater, Massachusens.
HnUA n 2109 lendscape Architecture I S9
uu
I-IIS IS IllUCJ-l, MUCH 1l1ORE than a highway overpass,
From the air, it swirls and eddies like a stream.
From [he upland side, it rises like a hill from a grassy
field neaf historic Fort Vancouver, obscuring [he four-
lane rood it crosses. TIleeardl and concrere Land Bridge
is a wide, dignified path to the Columbia River.
Along rhe pathway, there aTe panoramic views of rhe Pacific
Northwest landscape. From midspan, [he rushing traffic below
seems faraway, and the land, shore, and moving water seem very
close, Planes thac gave (he native landscape its character and sus-
mined people for thousands of years aTe right there, along [he
path and around the overlooks.
"\'{1e grubbed the pmirie and pulled it over the highway," says
Johnpaul Jones, partner of Jones & Jones Archicecrureand land-
scape Architecture and designer of the Lmd Bridge.
In Washington state,
a highway overpass
becomes an experience.
By C air Enlow
Vancouver, \X1ashingcon, population 162,400, lies on the north
shore of the Columbia, with Portland, Oregon, on the south side.
Meeting the interstate along (he north shore iseast- wesc State Route
14, the Lewis and Clark Highway, wich looping Ilyovers less chan
a mile from theprojecc. The Land Bridgecrosses over Highway 14,
reconnecting the upland historic district, which includes a number
of old army base buildings and open spaces, wich the river.
A pedestrian bridge had been planned for the location for
decades, a long-delayed mitigation for the 1980s widening of
Route 14, But in retrospect, a simple, caged span would have
furcher degraded a historic place that has already been over-
whelmed by modern transportation, including a municipal air-
port right next to the walls of the fort.
It cook an effOrt like the Confluence Project to dig deeper into
the possibilities of the site and break through the deadlock. The
'.
".
'"
. .
-
'"
Land Bridge is the largest of seven projectS in a
collaboration between tribes and civIC groups
shaped by celebrated art ist Maya l in, Founded
in connection with the bicentennial celebration
of Lewis and Clark's expedition, the Confluence
Project is dedicated to reconnecting the people
of the Northwest with their history along a 4 50-
mile stretch of the river. In most locations,
l in is overseeing and creating site-based
works. Jones is an adviser for the Conflu-
ence Project. The primary design con-
sultant for the project is KPFF, a multi
disciplinary engineering firm, Dedicated
last August, the $12.25 million project
was administered by the ci ty and funded
--
The bridge's design, .bove, is
based on a circle motif, shown in
concept sketch beloit',
rHe V1llAGe
u,' _
its river lifeline-shorrening a threemile drive
to about a quarter of a mile stroll. It 's also an
important trail for walking, jogging, and bi
/:
cycling, an interpretive landscape, a parklike
amenity, and a tourist destination. Finally, it
... "7 putS plants over pavemenc without draw
r -'
, -"'" =:::::::-
" ' ... '--...... .-A:
/ ing on city water supplies ... It's really a
green roof," says landscape architect
Rene Senos, ASLA, who was project
manager and landscape architect for
the project at Jones & Jones.
, ' -'-'CliV .
I I r,;:;:;
, ' <..l
,
with federal transportat ion dollars, support ..... t '
from V
portatlQn, and pnvate donatlons. 0I'Vl "J'
TIle path begins by winding around a
mounded earth base and then meandering
into a semicircular, 40fuocwide bridge span,
finally ramping down and landing on a relative-
ly straight course between the highway and a
railroad embankment. A small pre-exiscing
park is located rhere, along with an old
pedestrian runnel that leads through
che 16foochigh embankment to the
To skeptics, it was a waste of money, a wild ly inflat
ed concept of a highway overpass. But some of the most vo-
cal cri tics of dle land Bridge have now come around. h packs a
lot of practical and environmental value into a single project. As
a bridge, it reconnects a National Park destination, the recon
structed Fort Vancouver and historic environment, to the shore-
92 1
river shore.
Along the way, pedestrians are partially enveloped by
the Land Bridge, with planting beds chat run along sometimes
aOOvc waist lew!. Three themed circular overlooks bump out of the

i

,

path, and they carry much of the interpretive content of the Lllld
Bridge. The themes-people, land, and river--are celebrated in
each overlook with text in English and in the languages of the na-
tive peoples who once inhabited the immediate area. Two of the
overlooks are marked by circular met-
al trellis structures. Spirit Baskets,
petroglyph-inspired artworks by Na-
rive American artist l illian Pirr, are
centered under the trellises; Pin is also
the author of a gateway construction
at the southern terminus of the
bridge. The story of the site is wid in
a series of interpretive panels at the
overlooks and embedded in the walls
of the land Bridge path.
Speaking on the Confluence web
site about the vision of the larger
project, l in said, "It is sometimes
good w understand what's been lost, what is irrecoverable, what
is valuable w us, and what we would like to repair."
In Vancouver, repairing the nawral landscape would be im-
possible. Instead, [he land Bridge reframes the history of the site,
when [he people were vitally connected to [he river. The Chi-
nook tribes traveled along the lower Col umbia River. The prairie-
oriented Klickitat and [he great Kli ck itat Trail met the shore
near the sice of Forr Vancouver, a place for meeting and crade.
The Hudson's Bay Company founded rOrt Vancouver, the first
large-scale multicultural community in the Northwest. Ocean-
going ships of European traders, coming in from the mouth of che
Columbia and tying up near Forr
Vancouver, added another layer of
conneccion to the river.
Then came the railroad, and final-
ly the highway, severing thac connec-
tion profoundly.
To proponents and supporters, che
L1.nd Bridge IS a step toward healing
a natural and cultural world chat has
been broken. "Ie had to be not JUSt a
bridge," says the Confluence project
director Jane Jacobsen. "Ir had to be
land. Not JUSt for what ic would rep-
resent, buc for whac it could bring."
Jones, himself Cherokee and Choctaw, is known for projeccs
chat blur che boundaries between buildings and landscape such as
che Museum of che Ameri can Indian on che Mall in \Washington,
D.C., for which he led [he design ceam. Early discussions about the
land Bridge setrled around (he idea of a circle, an important trope
in boch Jones's and l in's work. It became even more important
when the design [earn began the difficult task of placing [he
bridge, because the arcing span allowed the Land Bridge to set
down gmcenilly between the highway and the railway embank-
mem, nearly parallel to the highway.
The position along the highway had already been determined
by a number of immovable factors, including {lie historic reserve
and its sensitive archaeological areas. But there were other factors
char influenced the design. While che Land Bridge team worried
about che remains of che pasc, che present continued to encroach.
The highway administration was considering 14 differem op-
cions for rebuilding the I-5 corridor and the bridge o\'er che C0-
lumbia, including the revision of a Ilyover ramp thac threatened
to loom over the bridge. \X!hile the design team struggled to
keep the deck high enough to afford views over che interchange,
chey had to keep ic low enough to satisfY che Federal Aviacion Ad-
ministracion so chat che planes at the small municipal airport
right next to Fort Vancouver could continue to land and take off.
Engineering the Land Bridge was a special challenge. The
bridge feacures 1 5 totally different retaining wall designs, includ-
ing soil-nailed and mechanically stabilized earth (all faced widl
concrete) along wich craditional cast-in-place and cantilevered
walls. No radius is the same, and no one had to bend more than
the state highway engineers, who had never before faced an over-
pass with lateral curves.
To bring che prairie back over the highway, Jones & Jones re-
ferred to the notes in [he journals of Lewis and Clark, who left
drawings and descriptions of many planes. In all, more than 100
species are indudedamong the plantings on the Land Bridge. All
are native rothe \Xlillamene Valley bioregion, and many also have
culcural significance for Northwest eribes. The landscape plan is di-
vided among four habitat mosaics progressing from upland (north)
ro shoreline (sour h). These plant communities include grassland,
wich whiee oak and shrubs like chokecherry, ocean spray, and
snowberry; dry prairie, wich various grasses and flowers along wich
shnlbs like nomka rose and serviceberry; wet prairie, with lupine,
meadow rushes, sedges, and bulbs like camas, an important food
rooe; and bottomland hardwood, with red alder, wescern red cedar,
redosier dogwood, vine maple, and ferns.
The Land Bridge is designed to use only captured rainwaeer.
Everything chac isn'c captured by the planting beds runs into a
guccer syscem wieh channels along ehe pachway, which feeds inco
a rain garden on one side and aciseern and pump for irri gae ion on
the ocher. There is a Naeional Parks-owned well conneceed with
Fore Vancou\'er that supplied waeer for start-up and Hands by in
drought conditions. The path itself is surfaced with a locally
sourced, tan-colored decomposed graniee t hat is permeable and
natural looking.
Almost a million people a year visit the historic fort and sur-
rounding area, according to Vancouver Mayor Royce Pollard, and
mose don'c know how to walk to the waeerfront. But since ehe re-
built fort still turns its back on the Land Bridge, it may take a
while for chern co learn. The goo:J news is chac when chey do, chey
wi ll be passing an increasing number of users of the waterfront
trails who now croos over ro the hisroric area. Joggers and bit),dists
from tlie nearby Hudson's Bay neighborhoo:J abouc a mile away
andarhletes from Hudson's Bay High
School ro rhe north are known ro fre-
quent che L'md Bridge.
Ic seems chat mosc of che pedestri-
ans on the Land Bridge have to leave
home and park a car to gec chere. If
chis is a pedestTian amenicy for a sus-
minable future, t he fucure has not
quice arrived. Buc it's coming, accord-
ing co Pollard. People already make
the one- co cwo-mile round crip co che
Land Bridge from downeown Van-
couveron fooc, crossing under 1-5, he
says. A mixed-use wacerfront com-
munity of about 10,000 is planned for an underused swach of riv-
er shore to che west, just on che ocher side of the freeway. From che
waterfront itself and the linear park, chey would be able co walk
to the main parr of the historic reserve, including che reconstruct-
ed fort. At the other end of che linear waterfrone park to the ease,
there is a huge redevelopment opportunicy on the shore in parr of
the old Kaiser Shipyard, now an indust rial park.
For now, che land Bridge is bringing a rediscovery of the beaucy
of the Vancouver landscaJX: and water views-nor JUSt for vlsirors,
but fur locals. TIle serpencine shape, combined with the many incer-
cwining curves of che bridge sClUcrure, has che force and presence of
nature. It reminds us of a time when the
land was not something to divide up,
buc someching chac connects us wich
one anocher and with the wacer.
Clair Enlow is d jreddl/a writer ill SMull.
PROJECT CREDITS Owner: City of Van-
cou\'er, \'7ashington. Primal} stakeholder:
The Confluence Project, Vancouver,
\'7ashington (Jane Jacobsen, director;
Bob Friedenwald, project manager;
Bob Balaski, projecc manager). Consull:
ing artist: Maya lin, New York. Primal}
design consultant: KPFF. Portland, Oregon (lim Shell, project man-
ager). Architect and landscape architect: Jones & Jones. Architects and
landscape Architects, Seacc1e(Johnpaul Jones, principal in charge;
Rene Senos, ASLA, project manager; Osama Quorah, project archi-
cect; Ints l uters. ASLA, landscape architect; \'7esley Simmonds.
ASLA, landscape designer). Generalcorrtractor: Kiewic Pacific Compa-
ny, Seattle (Jeff Ellis, project manager).
15
HE CUENT, A UBRARY, wanted
site-specific, landscape-based
sculprure near the entrance of
irs expanded building. What it
gO( from MiJ.qroung Kim, ASLA,
of Boston was fJarctxu Lllflliller-
(met, six custom-made, scare-of
ehe-arr lanterns that reference both
(he function and the technology of
mclay's libraries.
Kim, who has a background in
sculpturl'as well as larxlscape archiux-
mre, was recommended [0 the Ocean
County Library by New J CI"S{1"S artS
commissioner, Thomas Moran. He
I was fumiliar wi t h her work bectuse
:." he had served with Kim onacommic-
.
5 ret' (0 draw up an ans master plan for
the General Services Administration.
!
i 11le library, WhKh sirson rhe main
~ Street of Toms R jVef, New Jersey, had
~ finished rhe shell of a major addition,
i bur when she visited, Kim round "3
_ mound of dirt" outside it. TIle library
; staff told Kim [htl( a number of
,
evenrs-fXlrndes and old car m ( ~ t S , for
instance-cake place on Main Strt'Ct,
i and they would li ke something (har
......... ~ would draw cheacrencion of passersby.
As she usually does when mulling a new project, Kim began
to muse about the function of the place. "Why do we come to the
library? Togain knowledge. We have an imemion."Then "light"
as an obvious analogy to "knowledge'" occurred to her. She fo-
cused on the idea of lighted sculptures that would have a practi-
cal as well as a referemial function.
Kim envisioned putting the light inside a wrapped skin. 'The
way you get to knowledge is by unwrapping or unfurling infor-
mation,'" she explains. '"You learn by being curious, by walking
around a subject. "
Lanterns made of dear acetate were Kim's first thought. She
considered filling each one with items related to library use-
eyeglasses, for example. '"It was a real struggle to get away from
the Plexiglas;' Kim s<'\ys. "'\'\Ie decided that in the long term, it
was not a viable material. It scratches; it's hard to maimain."
Even when working with the idea of Plexiglas, Kim and her a<;-
IH[N 'l16HT' AS AN ODVIOUSANAl06YTO "KNOWlm6[" O[[URRm TO KIM.
sociates saw that they "needed something to hold the lantern to-
gether." They came up with a darkened sted ribbon that also
functions as a strunural element. "I could easily have put it
around the middle," she adds, "bur this way it leads you into the
core, into the concept of unwrapping. On various faces, the rib-
bon leads the eye diagonally bottom to top and top to bottom.
Brainstorming among the team evolved the idea of wrapping
the light with a metal mesh instead of Plexiglas; for a time, be-
fore they hit upon the aptness of bar codes, they considered ex-
panded metal with a diamond-patterned screening.
Meanwhile, Mikyoung Kim Design had also been hired tocre-
ate the building's landscape-a fiscally separate
projen-and developed it before the lantern plans
were senled. For the entry counyard the landsca\X'
team s\X'ci fi ed black-and-white pavers creating ir-
regular st ripes like a bar cooe. "l1lats how library
information is organized now,' Kim points out.
Inspired by the pavemem to use bar codes in
more complicated panernsas scrttning, Kim had
the fabricator, Amuneal Manufacturing, lasercm
a sample sheet of stainless steel. "They said, ' \VIe
think this could work.
n
Kim says she had not
worked with Amuneal before; she hears aoom fab-
ricators via word of mouth, from other sculptors.
"Ultimately,"' she adds, we realized bar code
language was a nice abstraction of this informa-
tion. The ones and zeros were more powerful'
than diamond screening.
"Theres a modular qual ity, a set of rules,' she
said. "Because we didnt want kids to get heads or
fingers stuck in the openings," the spaces in the
bar code were no greater than four inches and no
less than half an inch.
"\VIe worried about wrapping the core too
much," Kim says. "The challenge was to make
the screen transparent bm so you would still see
the bar code parrern.' They tried a triple layer,
bur the light was obscured. In rhe final version,
the perforated sreel wraps around twice, wirh the
bar code spaces offset and a prismatic acrylic
lantern inside. "'\'{fe wondered how it would look
if the bar code (on each layer) matched up," she re-
cal ls. "Bur then itdidnr look like it was wrapped.
This way rhere's a moire effect that changes as you
move around it."
Getting rhe scale right was a long process. The
design group did full -scale mock-ups of the
lanterns, PUt them in rhe window ofKim'soffice,
and viewed them from across rhe srreet. nle final
version is eight feet rail , with the bar code
punched somewhat smaller rhan it was in their
early experiments.
TIle team initially considered a fiber-optic core,
programmed to change color. But Kim began to
ponder how rhe body engages the piece. You
move abom to discover dlings in a library." The
designers began to think about a sculpture that was imeranive,
containing a light whose color would change as the viewer walks
around the sculpture.
A salesperson had left them a S<'1mple of a Dichrolam acrylic
dichroic resin, translucent bm iridescent. 'W/e had thought about
using it two years ago in a counhouse in \'{fest Virginia," Kim re-
calls. '"But we were also using fiber optics, and Dichrolam fought
with the fiber optics. It will even invert the color, red to green, for
Instance.
From the first, Kim says, she had drawn the lanterns askew
rather than vertical. Her natural aesthetic, she says, tends toward
asymmetry. Besides, ' 1 thought it was more interesting. You see
Inner spiral
Dichroic aCillic core
I I
Base platfonn
constructed of
aluminum channel
,,'
Middle ribbon
Inner
ribbon
Acrylic
ribbon
Ibyothers)
I
many lanterns that are conical or vertical; they
are not very interesting. TIlis way, every face is
different and it forces the viewer to walk around
it. Ever since Rodin, who made the back of his
sculptures as interesting as the front, sculpture
has asked that viewers do that."
For a t ime she considered making t he
lanterns in three d ifferent sizes. "We did mock-
ups of them on the site with two-by-fours and
A steel band, a strudnral element,
leads people to walk around the
sculpture5; a Dichrolam acrylic
core changes hue as viewers move
about. lighted all the time, lantern
colors are snbtle, almost invisible,
in daylight, below. At night, oppo
site, colors glow like an aura.
placed in such a way that they look distinct , like
so many small icebergs floating randomly across
the plaza. "\VIe like the way they seem to be
speaking to each other, depending on the angle
from which you look at them, because of the
canting of the pieces." There were also cost effi -
ciencies in making [he six identical.
plywoocl, but we found the little ones got lost in the landscape.
\Vhen we got rid of the little ones, it didn't make visual sense to
have just two sizes." In the final result all six are identical but
The pieces are each bolted to a foundation
plate whose edges are covered by paving. "\VIe
didn"t want the bolts to show," she says. " \'\Ie wanted the sculp-
ture to spring right from the ground."
The rest of the landscape design is understated, with a small
IH[ liGHTS AR[ sunm IN TH[ DAYTIM[ nUT DYNAMIC AT NIGHT.
grove of white-flowering shadbush (Ameldllchier (anadem/5, max-
imum height 20 feet) inset among the striped walkways.
The $565,000 project drew on two separate budgers, a
$265,000 Percenc for Art gram and $300,000, parr of [he con-
strunion budget sec aside for landscape plaming. Because her
firm did ooth, Kim says she was able to meld rhe nvo: "For in-
stance, [here had to be pavemenc anyway." So its cose could come
from (he landscape budget, even though it was designed as part
of the art project.
TIle lights 3re on all the time, very subde in thedayrime but dy-
namic at night. The library got its wish: The director says she sees
drivers slow down and go by very slowly, obviously trying to fig-
ure ou[ whOle they're seeing. Kim admits dlO1C when the lanterns
were insralled lase spring, they created some coneroversy. "People
had never seen anydl ing like this before. Some thought it was too
industrial. Kids like it, though." As she planned, 'T he colors
change as you walk around it. You don't just pass by."
Marty Carl(J(k. a Brutol/-based free/alice writer. COlltribllles freqllently to
landscape Architecture.
PROJECT CREDITS: Client: New J ersey State Council on the Arts,
Ocean Couney Library, Toms River, New Jersey. Landscapearchi
teet: Mikyoung Kim Design, Brookline, Massachusens (Mik-
young Kim, ASLA, design principal; Matthew Gillen, arts proj-
ect manager; \William Madden, landscape project manager;
Elaine Delaney and Raphael J ustewicz, office designers). Fabrica
tion and installation: Amuneal Manufacturing, Philadelphia. Acrylic
core supplier: John Blazy Designs, Cleveland. Landscape contractor:
T Fiotakis Construction, Edison, New Jersey.
1 101
BOOKS
Designing Sustainable Forest Landscapes, by Simon Bell and Deall
Apostol; New York: Taylor and Franci s, 2008; 356 pages, S 100.
Reviewed by Lynn DuPuis, ASlA
T
HIS BOOK BY T\X/O LANDSCAPE ARCHITECTS with experi-
ence in forest management and design takes a look at very
large-scale planning for forests, including visual techniques
and forest aesthetics. Simon Bell, now a research fellow at Ed in-
burgh College of An, was formerly
of past work that I would suspect most potential readers would
have prior knowledge of.
11le best section in the book is Community Participation in For-
est Design. As a person who works on community-based projects,
I found this section to be very well written and laid out and full
of information. \'qorking with community groups on a large scale
involves different dynamics, and finding the right strategies to use
with each group is an important part of the process. This section
highlights potent ia! participation
chief landscape architect to the British
Forestry Commission, and Dean Arx>s-
rol, who now teaches at the University
of Oregon, was chief landscape archi-
tect for Mt. Hood National Forest in
Oregon. The book is well laid om in a
format that is straightforward and easy
for the reader to follow and apply. The
authors use serial photographs and
maps that visually layout changes over
time and design dlrecrion. Bm the
book has some serious flaws.
DESIGNING
SUSTAINABLE
strategies, outlining the st rengths and
weaknesses for each type of strategy,
and gives the reader a good overview
of potential approaches .
FOREST
Another st rength of t he book is that
each chapter has a conclusion or a series
of case studies that uses information
presented within the chapter; the case
studies are relevant and thorough,
packed with informacion.
LANDSCAPES
s'
B II & O .. n Ap
Work in this field is sorely needed,
so I commend the authors for their
work, but because of the scale of land-
scape forest design there is more work
to do.
As [ started to read this book It
quickly became apparent that It is
based on very large-scale foresc planning
with logging as a design requirement. I
c'XpCCted a broader-based sustainable de-
sign scrategy rhac included a secrion
chac looked ac logging as a pocential for
renewable wood production. Instead
the authors repeatedly push large-patch
logging as an important factor for rhe
design to be sustainable, which in my
opinion is an industry-driven idea of
whac consticuces suscainabilicy. As I
scarred to gec deeper into this book I
began to wonder whether we can de-
sign a sustainable foresc landscape giv-
en che nature of commercial foresery
This book is based on
Lyll/l DIIPII;S, !ISLA, ;s a /al/dscapearchl-
Urf with the New YQt'k State Departfl/CII! 0/
Tram/M'tdfioll RegionS umdscape Archi-
tlllre & Envirollmmtal G rollP.
very large-scale forest
planning with logging as
a design requirement.
William Robinson: The Wild Garden-
er, by Richard (J;sgrove; Londo n :
Frances lincoln Limited , 2008; 256
pages, S60.
Reviewed by lake
Douglas, AS LA
and the physical and visual effects it can have on the landscape. The
auchors agree that forescs that have been under human manage-
ment using silviculcural practices, either as t he production of spe-
cific cree species or more than one, lack diversity, as conventional
foresc managemencdoes nO[ allow fordiversicy ac all layers of che
foresc canopy. Much discussion is spent in chapcer nine, Design in
Managed Natural Forests, of the limiced pocencial for restoring
forests chat have been previously managed. Buc I was disappoint-
ed in che brief mention of valuable biotopes and buffers and link-
ages to procect chem; r would have expected this to be a very
important discussion in this book.
The first cwo chapters are heavily based on che history of for-
est design and managemenc and landscape ecology based on rhe
original work of Richard Forman and others. This is reiteration
102 1 Lilndsupe Architecture H u u n 20n
W
IWAr.! ROBINSON (1838- 1935) was a prolific, influential
garden joumalisc who steered garden design in Victorian and
Edwardian England away from checomrivancesof"bedding-
ouc" schemes, arbirrary geomecries, and garish ornamentacion
and into the informal "cottage" gardens of wildflowers, hardy
perennials, and herbaceous borders. Alchough his books appeared
in mulciple editions in his lifetime, Robinson is less known to-
day and his writings are largely ignored, victims of the far greater
visibility of Arcs and Crafts contemporaries such as social reformer
and essayist John Ruskin (1 819- 1900), designer William Mor-
ris (1834- 1896), and Robinson's own protege, gardener and
writer Gertrude Jeckyll (\843- 1932). This attractive book is pri-
marily an examination of Robinson's writings, a timely and wel-
come critique since many of his positions-such as {hose relaring
to hardy plantings, sustainable landscapes, and the importance of urban pub-
lic open spaces-are prominent in comemporary practice.
11lfOUghout his life Robinson attacked with evangelical zeal pract ices of
"architectural gardening" and "bedding out:' pointing out instead the mer-
its of wild gardening with hardy plants and nati ves, a discussion that became
one of his most popular books, The Wild Gardell, 1870. By far Robinson's
most famous work was The Ellglish
Flower Gardell, 1883, which, Bis-
grove States, "esmbl ishoo his posicion
as the most widely known gardener
of his age" and made Robinson the
"undispmoo father of the English
flower garden.'" Its 50th (!) edition
appeared in 1984.
There are indications Robinson
consulted on designs for gardens,
but no plans exist; instead, his lega-
cy is his writings. Throughout his
mreer, Robinson used his publica-
tions co advance his position and ex-
coriate those who held opposing
vIews. He was, fOf instance, an early critic of kaleidoscopIC '"bedding-om'"
garden schemes, and writing abom American Samuel Parsons's The Art of
Lalldscape ArchiflXture, Robinson noted that Parsons '"calls himself a landscape
architect, a contradiction in terms, and one of the most stupid evcr invented
by man." Yet Robinson's interest ranged beyond gardens and, ironically, into
areas of professional relevance tooay- including, as the author notes, advo-
cacy for efficient and sustainable
This a1tracti.ve book horticultural pract ices, for the use of
renewable resources instead of fossil
is an examination of
Robinson's writings,
a timely critique
since many of
his positions
are prominen t in
contemporary
practice.
fuel, and for "greenness as an anti-
dote to the city and as an indicatofof
civi li zed life."
111is work will find its audience
among garden historians and planc-
ing designers. With scant biograph-
ical infonnacion here, the reader gains
litcle sense of who Robinson was,
apart from his wricings. Yet the au-
chor effectively uses lengthy passages
from Robinson's publications ropre-
sem the design COntext of the times
and discuss why his works became
influential. The text is illustrated
with beautiful images from mult iple
sources, including archival material
from Robinson's publications and
contemporary views of plants and gardens. All correlate with the text and are
well served by the book's simple, pleasing design. \'{1hile this work may have
limited appeal among contemporary landscape architects, there is something co
gain from Robinson's writings, and for those interested in this perioo of garden
design, there is much to enjoy here.
Lake DONglas, ASLA, isgradllafuoordillafor for LSU's Robert Reich Schoo/ ofLal/c/-
[cape Architecture ill Batoll l?ollge, IJJllilialid.
~ HOME OUTSIDE: CREATING THE LANDSCAPE
You LOVE, by Julie Moi, Messe,vy, Affiliate ASU;
Newtown, Connecticut: The Taunton Pr ess, 2009;
240 pages , $30.
JULIE MOIR MESSERVY, AFFIL1ATE ASLA, follows up her
pr evious book, Outside the Not So Big House
(coauthored with Sarah
Susanka), with thi s user-
fri endly guide for doltyourself
minded home owners
Intimidated by the prospect of
tackling their outdoor spaces.
Full-color photos and mini
sketches make for an
appealing layout, and the well-
designed spaces depleted require enough expertise
that they can be an idea source for landscape
architects working on reSidential proJects.
~ HOLDING FAST: THE UNTOLD STORY OF THE
MOUNT HOOD TRAGEDY, by Ka,en James:
Nashville, Tennessee: Thomas Nelson Inc., 2008;
256 pages , $24.99.
THIS 8001( TRIES TO PROVIDE ANSWERS to the climbing
tragedy on Mount Hood In the
Winter of 2006 that claimed the
lives 0' Dallas landscape architect
and mountaineer Kelly James and
his two climbing partners, Brian
Hall and Nikko Cooke. James's
widow, Karen, was able to piece
together the sequence of events
that lett James stranded In a snow
cave Just below the summit In one of the worst
storms of the decade.
~ PLANTHROPOLOQY: THE MYTHS,
MYSTERIES, AND MIRACLES OF MY GARDEN
FAVORITES, by Ken D'use; New York:
Clarkson/Potter Publishers, 2008; 288 pales, S60.
AMIDST THE SPECTACULAR horticultural eye candy, this
book reminds us to occasionally take a break from
the plant prejudice of native
versus nonnative and appreciate
each plant for Its Individualism.
Druse takes us on a tour 01 his
lavorltes, Illustratlni their
botanical herltale; quirky,
little-known facts; and cultural
and historical uses for each
species. His passion for plants
shows through, enamoring the reader with plants
t hat may be taken for granted and sparking Interest
about unfamiliar species.
H UUUY lo n Ludsupe Arthllethre 1103
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of the reader service card). Then
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or fax it to 1-800-571-n 30. Your infor-
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104 1 Llndscepe Architecture H u u n 2D09
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(Continued/rom Page 120) aiXUlmffir
building until then, rhe trust sought
city perm Ission to raze the Rocham-
beau, even though it was occupied.
Its leaders proposed replacing it with
a prayer garden dedicated to Pope
John Paul II , who visited Baltimore
in 1995- a nobler vemure than a
parking loc. They also argued that
razing the Rochambeau would help
improve sight lines to the bas ilica
from certain vantage JXlims.
Preservationists howled, saying
the Glidden building was exactly
the son of historic structure that
should be retained and upgmded to
draw residents [0 the city. But rhe
building was not protected by local
landmark designation, and city offi-
cials approved the demolition.
Besides eliminating housing, re-
moving the Rochambeau had con-
sequences that wct'(;n 'r consistent with the
larger vision for the basilica. It exposed the
east end of the adiacem garage, making it
more prominenc than ever. At the same
time, it did little ro open up views ro the
basilica and gave the trust relatively little
land to honor the pope.111is is the imper-
fect urban design situation that awaited
the designers of the prayer garden, the land-
scape architecrnre firm ofMnhan Rykiel As-
sociates, with ScO[[ Rykiel, FASLA, as prin-
cipal in charge and Stephen Kelly, Brian
Reetz, ASLA, Jake Golding, and Mike
Rogers as design team members.The park
they designed is enclosed by a meral and
cast-srone fence that enables the trust to
close it after dark. Elements include a cen-
tral elliptical lawn, benches, flowers, trees,
an inscription wall, and a seven-foot-high
bronze statue of Pope John Paul II , creat-
ed by 77-year-old Maryland native Joseph
Sheppard.
According to Rykiel, the garden was de-
signed to offer a journey that people can
take to learn about the pope and his trip to
Maryland. Visitors enter through a gate
near the corner of Charles and Franklin
streets and walk along a curving brick
pathway that frames the lawn, with bench-
es along the way.
11s 1 Landscape Archihcture fEUUUl20n
The path leads slightly uphi ll to the
granite inscription wall, which bears a
statemenc from the jXJpe about Marylands
role in religious history. If they follow the
path all the way around, visitors will end
upat Sheppard's sratue, which depicts the
pope as he looked when he arrived at llWI
Marshall Airport in 1995, hugging two
children who came to greet him. The Stat-
ue holds the space well and portrays rhe
jXJmiffas he is fondly remembered: gentle,
embracing, beneficem. Still to come is a
large mesh scrim that will hang from the
side of the adjacenc garage. Designed by
RTKL Associates, this fiberglass screen will
contain supergraphic images of flowers, re-
Aecting the jXJpe's love of nature. It's also
imended to hide the garage wall.
\'<'hile the garden des ign works on
many levels, it also contains a few COlltra-
dict ions that show the difficulty of trying
ro do so much with a limited site.
Because SheprXl.rd's statue was placed at
the north end of the property and fuces south,
for example, it will receive ample morning
light to illuminate the pope's countenance.
But the placement also means the statue is
seen against the backdrop of the neighboring
Unitarian church, as if the garden is a fore-
court for it mther than the basilica. And al-
though the ,garden is intended to serve
asa place for both quiet contemplation
and group gatherings, it can't neces-
S<'lfily do OOth at the same time. When
a large, ooisterous group fills the space,
as schoolchildren did in October, there
is little opp:lrtunity for solitude. It's
also a very noisy site, with sounds of
traffic and construction from Charles
and Franklin sneets. Some of these
concerns will take care of themselves,
as plants fill in and. trees marure to block
moreof the Unitarian church and help
muffle traffic noise. One aspect of the
project that won't improve by itselfis
the lack of a clear connection berwttn
the prayer garden and basilica. From
inside the feflce, it's hard to see much
of the cathedral other than the cross at
the top, one of the onion domes that
frame the front entrance, and jXJrtions
of the back side. \X'hat visitors see
mostly is the utilitarian garage.
111is is why the prayer f,'atden is dif-
ficult to try to experience at this jXJint.
One can appreciate Sheppard's statue,
the flowers, and the inscriptions. One can
see how this small ,6>arden begins to fulfill
some of the trust'S larger goals. But it's nO{
aU there yet.
111e prayer garden ought to be an ime-
gral pnrt of the basilica experience, yet it's
still largely cur off from the basilica, visu-
ally and physically. It suffers from being
surrounded by noisy traffic on tWO sides
and hemmed in by a hulking garage that
dwarfs the human figure and blocks the
sun for much of the day,
111edanger of this project is that its com-
pletion may lead observers to think the mis-
sion is accomplished, when that is nO( the
case. 111e pmyer garden is commendable in
many ways, bur its full potencial will never
be real i zed unti I more of the master plan for
the surrounding area is carried our. Now
that the Rochambeau is gone, the Franklin
Street garage needs to follow.
Edward GIIllls is the art and architectllre crit-
ic for The Baltimore Sun.
Baltimore SlIn Online by Edward Gums.
Copyright 2008 by Baltimore Sun Com-
pany. Reproduced with permission of Bal-
timore Sun Company in the format Maga-
zine via Copyright Cleamnce Center,
Join Landscape Architecture
magazine editor Bill Thomp-
son, FASLA, on an exclusive
tour designed especially for
landscape architects. Explore
the historic and contempor-
ary landscapes of one of the
world's most beautiful cities
during the Historic Charles-
ton Foundation's annual
Festival of Houses and
Gardens.
Noted author and landscape
historian James Cothron,
FASLA, will lead tours of
gardens designed by the
renowned loutrel Briggs,
ASlA. Award-winning land-
scape architect Sheila
Wertimer, ASlA, will share
her work in historic gardens
and visionary developer
Vince Graham will open the
discussion on the many New
Urbanist communities being
developed around Charles-
ton, including a tour of his
own ground breaking work
ot l'On. Enjoy a private tour
of Middleton Place and gain
exclusive access to gordens
not usually open for public
tours.
Have breakfast with the city's
beloved Mayor Joseph P. Riley
Jr., Han. ASLA, and hear his
views on what makes Charles-
ton so engaging and his vision
for the city's future .
Journeys with the Editor
Historic and Contemporary
Charleston Landscapes
March 18 - 22, 2009
AMERICAN SOCIETY OF
LANDSCAPE ARCHITECTS
cape

F
OR RELIGIOUS LEADERS, ie's a spiri-
cual oasis near che heart of [he city.
For narure lovers, it's a much-needed
grttn space, open to all.
For those who value hisroric archI-
tecture, it symbolizes (he failure of [he
preservation process in Baltimore.
Even though it covers no mOfe SfOlind
chan a tennis COUrt, ie's hard to chink of an-
other public space with [he ability to crig-
ger so many conflicting reactions as [he
Pope John Paul " Prayer Garden, which
was dedicated in mid-October.
The $1.5 million garden was built as a
complement to che recentl y resrored Basil-
iC30f the Assumption, which occupies the
same block in Baltimore's Cathedra! Hill
district. Begun in \806, it's [he first Ro-
man Catholic cathedral in [he United
States, architect Benjamin Henry Latrobe's
masterpiece, and f.X>SSibly rhe most signifi-
cant work of archicecture in Balcimore.
Along wich spending $32 million to re-
store and modernize the cachedral , the
stewards of the property, a nonprofic group
called che Basilicaof che Assumpcion His-
toric Trust, had a vision for improving the
120 I Landscape Architecture f URUU' 2009
Setup imperfect for
Pope Jobn Paul II
Prayer Garden.
By Edward Gunts
grounds around che cachedral to make che
entire block a more attractive destinarion
and enrich che experience for visitors. Ics
leaders envisioned building an oriencacion
center that would tel! the story of the first
cachedral and Maryland's role in promoc-
ing religious freedom, 111ey also wanced
to remove buildings along Franklin Street
chac blocked views of che restored basilica
and creace a scronger visual connection be-
{ween Lacrobe's landmark and nearby in-
stitUtions to the north,
T he prayer garden g rew ouc of thac
chinking abouc improving che grounds
but doesn't represent an execution of the
encire vision. Ie's impressive, in one sense,
because ic shows chac che H istoric Trusc
and Archdiocese of Baltimore have the
cloU[ to complete any project they want.
Ie's also fruscracing to see ac this seage be-
cause it underscores how much stili needs
to be done,
111e larger vision called for enhancing the
restored basilica by razing cwo structures
that blocked views of it from Charles or
Franklin streets, The Strucfllres were the
Rochambeau, a seven-story Renaissance
Revival apartment hoLlSe designed by Ed-
ward Glidden in the early 1900s, and the
Franklin Streec garage, a seven-level scruc-
cure chac opened in che 1980s, If chose
buildings were gone, planners reasoned,
chey could be replace<1 wich a shorter orien-
cacion cencer chac could supplement t he
basilica while making ic more visible from
the norch. Ic could also g ive the basilica a
presence on Charles SHeet and establish a
visual link to Maximilian Goclefroy's First
Unitarian Church on Franklin SCreet,
111roUgh a dummy corporacion, the crusc
acquired che Rochambeau, Buc ic learned
that it couldn't buy the city-owned garnge
unci I che municipal bonds are paid off some-
timeafi:er2012. Unhappy about che pru;pecc
of operating an (Contilllled 011 Page 118)
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Telford, PA 18969 800-532-5866

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