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乡级经
32 WATER
Catch It While You Can It actually ra ins now and then in Tucson. Arizona , and the city has new rules to red uce potable water use in the landscape by collecting every drop of stormwater it can on commercial sites.
8 LANO MATTERS
10 LETTERS
BY ANN AUDREY
FOREGROUND 38
MINOS
14 NOW
States and cities struggle with shrinking parks budgets; a Boston park fence throws a curve; rented goats get to work in downtown Portland; some state capitals will be greener; an invasive plant has an upside; OLl N will upgrade the Metropolitan Museum; you can (sort ofl bike from London to Paris; street trees may deter criminals; and Floridians vote to keep planning among planners. EDITED BY UNDA MCINTYRE 26 CLOSE-UP
The Healer Clare Cooper Marcus. Honorary ASLA. has pioneered investigations into the psychological impacts of design. especially the ways engagement with the landscape can help ill people hea l. BY BILL MARKEN. HONORARY ASLA 4日
GOOOS
Trashy, Yet Novel New designs for trash and recycling receptacles for public spaces look good enough to treasure BY USA SPECKHARDT
Ducks Welcome The University of Oregon's new Jaqua Center fo r student athletes is gorgeous-but even more so fo r the dark , ethereal pool that surrounds it , designed by Charles Anderson. FASLA. BYTIM NEWCOMB
50 HOUSE CALL
Let the Good Times Climb , Slide , and Roll The kids are more than all right in a deep city garden in San Francisco designed fo r play, and the parents are super happy. tOO. BY JOANNE FURIO
4/ LANDSCAPE ARCHITECTURE MAGAZINE FEB 2011
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PEOPLE JUST LIKE ED US
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IMAGE CREDIT
Bill Timmerman
78 EAT YOUR SU8DIVISION ;.;
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Afew new residential neighborhoods around the country are being designed to include spaces for farmi ng. an idea that may gain traction as concerns rise about the security of our food supply BY JON ATHAN LERN ER
114 HISTORY
The Master's Plan There were no rating standards in place for sustainability when Hideo Sasaki designed the Sea Pines resort in South Caroli na just over half a century ago. He ran on intuition to protect the ecology 01 the place. and i t' s still largely intact. BY MARK HOUGH. ASLA
88 NEAR AND FAR 122 800KS
Christine Ten Eyck. FASLA. has a vigorous design practice in Phoenix. but her pining for Texas drove her to set up a second office in Austin. where she has only multiplied her success. BY DANIEL JOS飞
128 DISPLAY AD INDEX
ASLA
129 8UYER'S GUIDE INDEX
144 FORWARD
What I Did Over the Summer Vacation (1 Mean Recessionl ... Alter a layofl. oddly enough. life as a landscape architect goes on 8YYVONNE G. MAHER
LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011 /5
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TRUSTEES Robcrt J Altcr. ASLA Caron N. Beard. ASLA I lunter L. Beckham. ASLA Donald E. Benson. ASLA Andrew C. N Bowden. ASLA Travis G. Brooks, ASLA Dean A. Chambers. ASLA Ryan C Collins. ASLA Lynn M Crump. ASLA David Cutter. ASLA Bruce John Davies. ASLA Tamas Deak , ASLA Chrislopher J Detla Vedova. ASLA
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LAND MATTERS
READING. WRITING AND RADISHES Un挝1 1 heard about the pests, the weeds , the allergies , and worse dangers, 1 had assumed school vegetable gardens would be really good for kids. 1 figured it migh t even entice them toward 1andscape architecture or other productive, earth-conscious careers rather than, say, a life of credit defa川t swaps.
1 had to applaud First La dy Michelle Obama for involving kids from a Washington, D.C., schoo1 in her White House kitchen garden and for encouraging kids everywhere (and, more precisely, their adults) to start gardens at their schools. Th e kids would soil their hands, get some exercise, find worms, and maybe leam how to eat better. Mrs. Obama's timing was grea t: Seemingly out of nowhere in 2009, "urban agriculture" became a big meme among people who 10ve cities and food and care about nutrition. It offers one way ω 自x shrinking cities while helping to feed people in them. Th e past decade has brought a lot of attention by planners and public health experts on encouraging people to bum calories as a part of daily life by walking or cycling, but tha t' s only half the issue for a healthier population.ηle other half is watching what kinds of calories peop1e consume and where those calories come from. Schoo1 gardens make huge sense because they help kids connect the dots between fresh food , self二reliance， and better health.
SCHOOL GARDENS HELP KIDS CONNECT 丁 HE DOTS 8ETWEEN FRESH FOOD , SELF-RELIANCE J AND 8ET丁 ER HEA 口 H. This idea that gardens can teach may seem intuitive, but it meets the oddest forms of resistance out there. School officials in Montgom町 County， Maryland, are afraid of schoo1vegetable gardens. A Washington Post report last month said that although the county doesn't officially ban school gardens-由ere are a few 气ogue" gardens that parents don't want pub1icized- the superintendent, Je盯Y D. Weast, and his facility managers discourage them at almost every tum. In a letter to the school board last year, Weast said that vegetable gardens "are a food source for pests, create liabilities for children with food allergies, and have other associated concerns." So don't look for student-raised eggplant on Weas t' s watch. More 仕lan 40 of Chicago's public schools have fruit and vegetable gardens, but after working hard to grow food , the ldds technically can't eat any of it，址le Chiω:go Tribune reported in the fall , so it's sold or given away.ηle school system and its meals contractor,
B / LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011
Chartwells-Thompson, insist that students can't have any food 出at doesn't meet "specificjcertified growing practices," which ban pesticides and require o n] y organic compost and fertilizers. But the rules don't apply to the schools' commercial food suppliers, the Tribune reported; suppliers' food can be treated with any of several pesticides. Ideally, noted Kathleen Merrigan, a deputy secretary of the U. S. Depar怕也nt of Agriωlture on a visit to a Chicago school garden，也e kids would be able to eat the food 出ey grow. Ki ds do it in Denver's pub1ic schools, where some ofthe produce on the salad bar has been p ul1ed out of the schools' gardens, according to the Tribune, because Denver's schools have 电旧ed out howωensure 由e food's saf居ty. Sometimes bureaucracy finds a way.
Then there is the potential unraveling of society because of school gardens, as Caitlin Flanagan worried at leng出 m 刀切 Atlantic last year- you really should 100k up the whole piece, "C叫tivating Failure," to see how Flanagan brings make-believe circumstances to the most inane conclusions. Th e subversive notions of edible schoo1 yards, as promoted by that culinary siren Alice Waters, she writes, threaten to "hijack the curricula" of public schools and widen an a1ready worrying performance deficit among Latino and African American kids by teaching them bacl{-breaking labor. Some 挝ds fall for architectu的ecause they visit an impressive s均 scraper. Ki ds fl.y on jets and decide they want to be pilots. I've been wondering what kinds of sparks it takes to draw 1dds to landscape architecture; visits to parks might do the job if somebody shows a kid how they're made. Growing fruit and vegetables at school can teach them 也at land is a living 出i吨， and one 出ey can work with in all kinds ofways. A garden doesn't need to become a school's main course to open a wonderful new wor址. So never mind the fear or 由e speculative gloom. Le t' s buy some seeds and trowels, count on our share of weeds and failures , and start showing kids, in cities and suburbs especially, what land is all about.
Finally, a note about our packaging: Starting 出ismon白， we're delivering 也e magazine in recyclable po1y bags to help ensure your issues
arrive intact. These bags follow a recommended industry standard to reduce our printing ofextra copies and the energy spent on replacing individual issues, which in tum cuts costs and our carbon footprint.
~户~ BRAD FOR D MCKEE EDITOR
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LETTER5
ENGAGE T 村 E POST-PROFESSIONAL DEGREE Regarding your Critic at Large article by Jason Radice ("Beware the PostProfessional 0鸣ree，" December) , a less than enthusiastic endorsement of con也1山ngeduαtion in the profession, 1 缸m disappointed with the author's negative attitude toward his own self二improve ment and the betterment of his profess ional abilities. As an educator in the lan出cape architec阳re master's progr缸n at Temple University, 1 embrace the challenge of students looking to "plus it" with additional practical knowledge who have both 由e insight and fores堪ht to 陀cognize the academic environment as the venue for that achievement. 1 am candid with my students that if there is a defiòency in subject matter or an area of 四pertise not covered, then 1 want to know about it and it w山 be addressed. Speòal interest in extending a knowledge base is the responsibilityofboth the instructor and the student. Clearly this author has chosen to ruminate over 出e lack of commitment he is experiencing. But who exactly is not engaging the oppor以nity? Ei由er the instructors are not reaching, or the client purchasing the service is not de仙úng the expectations. 1 believe it is the latter. If you 出 ink you ordered fìsh and you got chicken, s时 the manager. 1t is reactive and unproductive behavior ωgripe and moan about lack of service in a magazine dedicated to supporting the profession. lt is a bad attitude that can be corrected with a little proactive disrussion with 也eins位uctors. KEVIN J. STEPHENSON , ASLA ::>~ \I\JS3U~G. 卢_ \I\l S'_VA \J, A
As a landscape architect and an educator, 1 was disheartened by Radice's b itter accoun t o f h is post-professional master's degree experìence. Having also exp erien ced a post-profess ional degree in a combined program (Michigan State University, BLA; The Rhode Island School ofDesign, MLA), 1 must s trongly d isagree wi th the claim that a studio in a comb ined program "at bes t.. .offers you a chance to learn from the instructor as well as the other s 阳 dents." This is the rninimum outcome 出at should take place in any studio within any post-professional degree program. Skill levels aside, the most important result ofany studio environment is the generation and development of new ideas. The number of years of professional experience has li tt1 e bearing on this, and more often than not, the amateurs who are not constrain ed by "the way things are done" are 出e ones with the b est ideas.
It is no su叩rise that Radice is disappointed with his post-professional degree exp erìence th u s far. Under the m otives of "refìn[ing 0肘's1 practice" and "sim ply get be忧er" at what one already does , it seems like anyone will be disappointed with a post-professional degree. Re且ning one's practice is really best done in practice. Exploring and r臼earching new and alternative ways of thinking, doing, designing , and α.e ating are the best waysωapproach a post-prof白sionaldegr田， especially with several years of professional 四pe时ence. JOSEPH JAMES WAT;:~TOW可'vI ASSAC片 US三TTS
Radice hit the spot for a burgeoning group of professionallandscape architects who fìnd themselves in need of more education or a highεr degree. A few ycars ago 1 also went through an "enormously frustrating" post-professional educational experience. 1 also observed other students in my situation drop out of the program. Now that 1have experienced a 岳wyears back in 出e professional world, other professionals seem confused 也at I have so much experience after just graduating. 1 wonder ifother professionals perceive the value of the graduate degr出 to be equa1 to two years of professional 四perience. Yet, as the profession continues to promote and advance itself, 由e trend to favor graduate- Ievel degreed individuals will a1so continue. As an example, the firm 1 currently work for has hired on1y candidates with M LAs in the past few years. If a graduate degree is becoming part of the recipe for success, why should we penalize students who com plete their undergraduate degree in landscape architecture? Th e current an swer to the dilemma of students who get it right with their fìrst degree and then need more credentials seems to be pursuing another degree outside of landscape architecture or working on other professional certifications, seminars, or classes. 1 see three options landscape arcrutecture progr缸nsw山 take to address the gap: adapt to offer worthwhile currìcula to profession- Please e-mail comments to LAMletters@ als, combine undergraduate programs ωla.org or send via U .S. mail ω: with required graduate degrees , or allow other credentialing institutions AMERICAN SOCIETY to take up the slack. OF LANDSCAPE ARCHITECTS
SUBMIT
636 RYAN BENTLEY, ASSOCIATE ASLA OMAH A. NE8RASKA
10/ LANOSCAPE ARCH lTECTURE MAGAZIN E F[B 2011
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FOREGROUND NOTES ANO REPORTS FROM THE FIELO Parks are in a crunch , a cu 阿y fence is a good neighbor, goats get a maintenance contract , and street trees seem to cut crime , in NOW. A sublime pool surrounds a new Oregon academic building in CLOSEUP. Tucson seizes every bit of rain it ca n get in WATER . We look at the groundbrea king career of Clare Cooper Marcus , Honorary ASLA, in MIND5. Circular files come in all kinds of cool guises , in GOO D5. And kids' play r ules a San Francisco garden In HOU 5E CAL L. IMAGE CREDIT 。 Ecker、t
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PARKS IN PAIN BUDGET5 ARE DIRE, FORCING rø ' 甲 EG E BY LINDA tv1 CINTYRE,
EDLTOR OF NOW
For recreation offidals aαoss the coun盯出ese days , managing under shrink、.
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federal govemment. "ηle issue is more complícated than legislators thínk it is," she says.
is anything but a walk in the park. State and local governments are strained, and keeping parks clean, Local governments are also s位uggling safe, and wel1 maintained-a chal1enge with running their parks. Officials in even in good times-is inαeasinglyan Janesv训e， Wisconsin, are considering exercise m ingenuity. sel1ing off parks or tumíng their maintenance over to volunteers. In Wichita, States are feeling some ofthe worstpain. Kansas，也e city council cut $1 millionIn California, the outgoing Schwarze- about a quarter- from the parks and neggera也ηinistration failed in Novem- recreation budget for 20II without ber to win approval for an $I8 per year specifying which programs should vehicle registration f出 that would have be scaled back and still requiring that pro叽ded funding for s位uggling state the level of services remain the same. parks. In Arizona, the state legislature Now city staff are analyzing which shífted more than $50 rnillion in state programs and facílities are mostparks funding to general revenue in the and least-valued by residents as 出ey past two fiscal years. Five state parks struggle to implement the cuts. Th e have been closed already, and the state city's parks director, Doug Kupper , government is consídering prívatizing says he's facing layoffs, outsourcing the entire system even though it gets 仕le management of at least two recno fundíng from general revenues. reation centers , and tag-teaming staff Sandy Bahr, the director of the Sierra for the management of other facilities. Club's Grand Canyon chapter, says Grounds maintenance was already some propertíes simply can't be priva- outsourced in 2009. ''J' m optimístic tized because theywere acquired under that we can continue to provide the conditions that prevent their operation quality of life our residents demand," by for-profit companíes一íf the state he says , though he adds that he hopes cannot run them, then ownership will future savings will be carved from revert to the original owners or the other sources.
14/ LANOSCAPE ARCHITECTURE MAGAZINE FEB 2011
"Parks agencies across the spectrum are looking at new and creative ways to deal with reduced budgets and limited horizons," says Rich Dolesh, the chief of public policy for the National Recreation and Park Association. "We're seeing some creative public-private partnerships, and also some systems 仕lat are going to for-profit companies to manage their parks." Public-private par钉lerships have worked brilliantly in places like New York Cíty, and some states are trying the approach. The Georgia state park system is teaming with the Boy Scouts for projects such as trail constructíon, grounds cleanup , and installation of playground equipment. A spokesperson, 也m Hatcher, says the Georgia system has hired a consultant to find more such oppo时unities. But not every constituency is ready to accept pa此nerships for running their parks. Sea忧le's mayor, Mike McGinn, sought to shore up the city's budget with a deal to allow a local company to produce its public television show at a community center in the Queen An ne neighborhood, but resídents rose up in opposítion, A.ooding City Hall with complaints. Bríce Maryman, ASLA, a locallandscape architect and a lecturer in the landscape architecture program at the University ofWashington, says there is st让la somewhat binary sense of nature and culture as being separate in the city, especial1y in neighborhoods 肌h as Queen Anne that feellike retreats from the 今
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In the end, our priority is to get kids outside to play. -Steve King , FASLA Co-founder and Chairman, Landscape Structures
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urban bustle. "We can look at Bryant Park and appreciate it and see it as a model," he says. "But we can also see how much time is tumed over to private programming, which might raise some problems."
BROWSER UPGRADE: RUMINATION , NOT MACHINATION
Some times , however, a city and its residents together can cut their park losses and benefit in the end. In Knoxville , Tennessee, last fa l1, the city government put a park up for sale as three separate residentiallots. But Sean Mar由1， an architect who's active in the Fourth and G il1 historic ne ighborhood association, says 出 emove was done at the association's reques t. The small and austere McCallie Park (no trees, just a couple of pieces of play equipment) was on a vacant lot two blocks from the nicer Fourth and Gill Park, which had been threatened a few years ago by a highway projec t.
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But the highway was rerouted. The city di出口 want to maintain two parks so close together, and residents decided it was best to concentrate the让 energy and the åty's resources in the other park. Halfthe McCallie lot had previously sold for infill houses , and Martin says those projects have enhanced the farnily仕iendly neighborhood.τhe city has spent about 缸。 0 ， 000 improving the Fourth and Gill Park. "Everybody worked together," Marhn says，飞nd we got the best outcome." 0
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Legend has it 出at goats will eat just about anyη1e exp eriment went srnoothly. The goats were but in fact they are browsers with a preferhappy roa01Ìng around the fenced site, and Goat ence for weeds and tender young woody plants. Rental's insurance covered liability issues. The bigLandscape a l;chitect Brett Milligan, ASLA, put 出is ~ gest s田prise， says M过ligan， was thc amenity value propénsity to work on a two-acre site in downtown } ofthe pψject， which became a destination o:f sorts Portland，创ld the results are no joke. 七 for neighbors near and far who adöpted the göats as t theìt own, p u1ling up nearby weeds to feed theωte M迦igan's firm , Greenworks, was hiréd l and friendly animals through the chain-link fénce. ωmaintaín the vacant site, and he saw a perfect opportunity to 町 ruminant t But the project's benefits went further. Milligan is wor.灿19 to use goats on another site in a different based management, common enough in rural areas, in the heartofthe city. He part of the dty, and will reωtn with a herd to the origina1 site later 出ìs spring. That will enable the eng鸣ed a herd from a local company projectteam to refine its management approach. "It called Goat Rental NW and, to keep costs down , managed the herd bimself, becomes an exercìse in reading the dynamics ofthe visiting often during the goats' 由ree ruderal vegetation of the city,n he says. 白le owner is le由18 the team decide exa ct1 y when to bring the and-a-half-week tenure and making 饥ue they always had access to fresh water. goats back "l f we come out too early, tbe vegetation "Once on si栓， the goats were mostly w诅 con也1Ue to grow after it's ωt，" says M出igan. self.sωtaini 吗 as they were surrounded "lfwewait t∞ long， it wiU develop woody stems that 出e goats don't really like to ea t. U rban pastorallsm by their food source ," he says. in process!" 0 也ing，
二缓缓 16 / LANOSCAPE ARCH lT ECTURE MAGAZINE F[ B 2011
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LAND5CAPE ARCHITECTURE MAGAZINE FEB 20 11 /17
FOREGROUND /
NOW
SW IRLING PEOPLE IN ARTIST'S FENCe BRI 邸 GS p;] 二I.ZZ τo A . ~ NIPARK. BY MARTY CARLOCK
The landscape architect Ray Dunetz, ASLA, and the artist Beth Galston had never met until they found themselves at a meeting to remake a tiny park called the South Street Mal1 in Boston's ]amaica Plain section, In 2007 the Boston Parks Departrnent had hired Dunetz to redesign the strip; meanwhile, an organization called ]amaica Plain CentrejSouth Main Streets had held a competition for artwork on the mall. Galston, one ofthe city's foremost pub且c art sculptors, was selected. When the two were called to the initial meeting by the park's planners, Dunetz and Galston quickly decided, he says, that "even though we had separate clients , we would collaborate, blur the line between art and landscape." ηle
ABOVE fV\ ost fence naker、s told artlst Beth Galston her undula t1 ng deslgn was lmpOSSlble but a dûrlng tabrlcðto俨 madeltwo俨《 INSET Onan u俨ban corner ln Boston, landscape deslgn bV Ray Dunetz, ASLA, echoes a meandermg fence IMAGE CREDITS Bartel飞 K口meczny， top , Clements Howcroft Photography, bottom
18/ lAN05CAPE ARCHITECTURE MAGAZINE FEB 2011
make such a fence; she wanted to slant the posts as we l1 asωrve the fence. "The fence people al1 sa尬， 'This won't work,'" she recalls-until she found Solutions in Metal in Abington, Massachusetts, which makes custom metal stair railings, unique fences , and the like. Its head, Bartek Konieczny, is an art school graduate who likes 岛brica tion challenges. Realizing Galston's design was harder 出an it looks. She made many small and full-scale mock-ups; then she and Konieczny had to transfer her concept to a CAD program 也atwould ♂üde CNC (computer numeric control) machinescutters and tube rollers 由at formed the radii ofthe pipes. "We found we had ω have rules," Galston says. "The posts could only be eight to 12 degrees out of vertical, and the radü of the ωrves ranged from 36 to 140 inches. 古le purpose was to stretch the chain link tightly so it formed continuousωrveswith no ftat spots, but not so tight1y the material deformed." Al though it looks continuous， 仕le fence is made in five sec甘ons; only two are similar. Galston bridged the small gaps between sections with narrow triangles of perforated metal.
corner lot is small, just big enough for two tennis courts, and it had become derelict, a magnet for vagrants. Next to the tennis courts is a minipark, 30 by 125 feet, laid out on a grid. "There was no motion," Galston explains. "We wanted to whirl people in." They developed a plan they called a "swirl scheme," with undulating patte口15 ofcontrasting pavers underfoot and alongside curved planting beds. Even the gate to 出e tenThe collaborators then chose a coatnis co旧ts is a curled passageway. ing of pu叩le vinyl for the chain link A fence was needed to keep tennis rather than standard black or green. balls in the court and out of the park Depending on 由 etimeofd町， the color The collaborators saw that a serpen- blends into the streetscape or pops into tine fence-a practical work of art in unexpected hues-at night, a dozen keeping with the swirl motif二could upward lights bring it to life. The fence replace the linear chain.link fence that cost $75 ,000 out of a total budget of had been in place. Galston had dif- $310,000 , Dunetz said, which includes fì.culty fì. nding a fabricator w过ling to renovation ofthe tennis co旧ts. O
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FOREGR川 o /NOW
LAW AND ARBOR STUDY S UGGESTS STREETTREES MIGHT HELP CUR8 CRIME.
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We know the urban tree canopy helps "We weren't necessarily surprised, but to coo1 and clean the air and capture it took us a while to interpret our restorm阴阳. Can 白白t trees also help sults," says Donovan. "We did find that curtail crime in a ci ty's residential areas? small, view-obstructing trees increased New research by the U.S. Forest Service crime. Understanding how trees could suggests the answer might be yes. deαeaseαirne was a little less intuitive." Mature, well-cared-for trees could Research foresters Geoffrey Donovan of encourage people to spend more 也nein the Forest Service's Pacifìc Northwest public places, put世ng more Jane JacobsStation and Jeffrey Prestemon of the style "eyes on 也e street" and making it Southern Research Station examined harder to commit αimes.ηley might crime data in Portland, Oregon, over a also function as signals 也at a dwelling three-year period (20。于 200 7) . 白ley is well cared for and its possessions we11 ana1yzed the re1ationship between crirne secured. De1ving into the association and vegetation using additional infor- between tree crown area and decreased mation from site visits and property crime, the researchers deduced that it's records to iso1ate variables such as a irnportant for homeowners (and their house's age, condition, and proximity landscape designers) to make s山E 出at to streetlights as well as the number windows on the ground floor ofa house and canopy sizes ofboth s悦的悦esand are notobs位ucted. those on private prope口y. The variab1es were chosen based on wide1y used socia1 ηle team hopes to va1idate i岱 findings science theories of crime motivation. with studies of other cities. "My coauthor lives in North Carolina," says DonoThe data indicated that crimina1s are van. "Doing a study there in the spring less 1ikely to target houses witll s悦et would be pretty appealing, as it would trees or big trees on the homeowners' get me out ofthe rain in Portland." property. Hoωes without street trees, or 明白 numerous smaller trees closer to tlle For more information on the study, see s位ucture， were mo陀汕<e1y to be targets 川!Wfsfed.usjpnwjnewsj2olOjl1jcity-trees ofburglars or other criminals. 。社lerfac shtml. To 1earn more about the relationtors associated with ino'eased crime were ship between design and safety, check age ofthe house (older houses were sub- out Crime Prevention τhrough Environjecttomore ∞m吟 ， situation on a ∞rner mental Design at www.cpted.net. 0 10t, and view-obstructing barriers such as fences or hedges over three feet tall.
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The grand en位ysteps át the FifÙ]. Avenue to New York City's M etrop91it l tl M useum: o f Art are jrresistib与协 p:tany visitors , even"those -who do叫t want to venture insid e: But the rest of the þlaza oútsìde th{ museum's strikihg Béa山-Árt~ faé~de Î S' 1ess invíting， τ'0 ch é\!lge that situation, the Met hás
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The U.S. EnVÌrQnmental Protection Agency，出ro鸣h j 比 Pati:nerships for Sustainable Communities prOgram with the departments of Transporta tion and, Housing and Urban Development, has announced the first benenciaries ofits new Greening America's Ca pitals program: Boston; Charleston, West Virgínia; H缸由此， Connecticut; Je陡rson City, Missouri; and Little Rock, Arkansas.
The agency is providing funding for teams of public- ap.d private-sector designers to visit the sites and produce schematic designs to contribùte /1:0 larger planning and sustainability efforts. "The design assistance wÍ11 be taiJored to the spedfic requests and needs, focusing on a corridor, neighborhood, or set of related sites," says Abby Hall of the EP A's Office of Sustainable Communities. But in each case, 1andscape architecture expertise will be front and center." Besides its own sta ff, the agency is working with firms such as UtiJe in Boston and Nelson Byrd Woltz in Hartford.
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För tt'l oJ:e information on the selcctcd prοjects and the application pröcess , see www.epa.govj
Invasive plants are a bane of modern existence. New research points to ways they are damaging more native ecosystems-and also possibly expanding biofuel options. First the bad news: New research from Oregon State University suggests 由at medω油ead grass (Taeniatherum caputmedusae), a Mediterranean plant probabJy introduced in North America as a I臼ult of seed contamination, has 由e potential to crowd out native grasses and even other invasives in sagebrush ecosystems. Data from both an unusually dry year (2008) and a typically wet one (2009) inrucated that medusahead grew faster and over a longer period oftime in both situations. On westem rangelan也 where the plant is often found，也is is a
On the brighter side, the USDA's AgriculturaJ Research Service (ARS) reports that the seeds of the pesky roadside weed pennycress (Thlaspi arvense ) have biodiesel fuel poten'tial. ARS scientists in Peoria, Illinois , fQund 由at the cloud (由e temperature at which crystaJs start to form) and pour (when the liquid starts to solidify) points of pen町cress biodiesel are significantly below those of soybeanbased biodiesel. possibly making it a good fuel source in cold weather. Pennycress is also a cold-weather crop, raising the possibility that soybean farmers can grow it in winter while maintaining ~oy crop yields during warmer month耳. 。
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FCB 2011
FOREGR川 o /NOW
ECOTOURISM. CONTINENTAL STYLE The English Channel spans just 21 miles
divergence in priorities, budgets, and temperament is most evident.
from Dover to Cal缸， but the French and the British di他r on just about everything. As the disparate neighbors seek to create a bicycling link between their respective capitals, cyclists on both sides ofthe water rejoice, but the progress carries a whiff ofstiff upper lip intersecting 、
with Joie
ln France, the paths are glassy-smooth paved stretchmandated at three meters wide , accommodating walkers and wheelchairs as well as Lance A口口strong wannabes. In England, cyclists make do with a scant six-foot breadth, typically gravel，出口， or, seasonally, mud. British resistance to hardtopped pa也S 1$ strong. "[Th ere is]ldnd of a gut feeling 由 atpa叽ng a part of the countrysíde equals urbanization," saíd Símon Pratt of Sustrans, Brítaín's coordinating body for alternative transportation projects. 凹，
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long-term dream is to create a safe, attractive, car-free path between London and Paris (with a hop on a ferry boat or the Eurostar train in between). η1e reality, at least to date, is slightly di任社rent. For starters, a fair portion of the route is now on public roads , and signage remains a work in progress. Imperatives of geography and demographics mean more challenging traffic on the British side; France's roads are simply less packed. But the car-free sections of the co旧S←-many of them éónverted taÌlroad bedS-are where the
ABOVE Let the Fr它nch rave thelr pevements, Brltsar它 content W1 th humble dlrt blke paths
Mark Waters of the United Kingdom's Cyclists' Touring Club reftects on Britain's reluctant emb race of two-wheeled transport, casting an envious eye on the French model. "They've got countryside to spare, and 吐1町're not nearly so precious about it," Waters contends. "Because Brítaín is so steeped in class-ridden culture, even today, riding a bicycle is considered a very second-class means of ge忧ing around.... [Th e French] generally have a more agreeable attitude aboüt the whole 出Ìng." 。
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The broadeI'; ìn:lpact ofthe Horuetown .Demöctacy l?吵 E
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24/ LANOSCAPE ARCHITECTURE MAGAZINE FEB 2011
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But the vo合 on Amendment 4 éo巩 have cðnS t;q~ences i也 supporters never intended, Miæael Allan Wolf, a land us~ 机d enVi ronmentallaw þrofessor: .at 也e Universitý öf Florida, 'is sympathetic to concerrís about unæecked dev~loymen("Bailot bóx zoning !s not an optimum _p rocedUI'é f0 1/ deci di.ng when arid 航时evelopment sho卢 OCCÚf，飞e saýs. Oppone且ts claimed (without evidence( according to Wolij that re-
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The University of Oregon likes to Working with the architect, Gene spoil its athletes. Its football team, Sandoval of Zimmer Gunsul Frasca the Ducks , has new ergonomically advanced uniforms made by Nike. And there's seating designed by Ferrari inside the school's new trophy building, the John E. Jaqua Academic Center for Student Athletes, a striking three-story glass cube on 由e edge of campus 出at opened in 2010. Th e building, too, has a Nike provenanceNike founder Phil Knight paid for the building, which has been said (though nevero伍cially) to have cost more than $40 million.
26/ LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011
Architects, was the landscape architect Charles Anderson, FASLA. On the trian凯llar site , a former parking lot along a major street on the campus, Sandoval designed a glass box, slightly elevated, and Anderson created an infinity pool ofblack granite that comes within 18 inches of the outer walls around three-quarters of the building.
Th e modern and minimalist black finish provides a mirror, reftecting the surrounding landscape , and lùdes the
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The outer layer of the 3/8-inch.thick glass protects the shades and the meta1 screen from wind and rain- expect plenty of rain in Eugene-and also It was somewhat complicated to sur- acts as a thermal buffer for the air round the glass with water while mak- cavity, keeping it warm to help heat ing the building energy effì.cient.ηle the structure. outer layer of sealed monolithic glass panels was separated from an inner By keeping the 10, 000 square feet layer of insulated glass panels by a of water sha110w inside a handmade five-foot-deep air cavity. Within the black granite pool, designers were air cavity sits a stainless steel metal able to show more depth than there
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was and allow the use ofblack precast concrete curbs and paver steps to help set offthe pool from the adjacent sidewalk. Plus, with the desired look of fl.at glass, extra care was taken in raising the ground level to fl.atten the bottom. Th e black granit• - as well as black piping- helps hide elevation changes.
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LANOSCAPE ARCHITECTURE MAGAZINE FEB 2011
Along with the pool, LED lighting around the exterior of the building produces a glow and stainless steel grating On the edges protects from debris and birds , since the water laps 18 inches from the building.
A grove ofbirch trees- the highlight of the 35 native species used- isn't just aesthetic, but serves to anchor a biofìltration system cleaning onsite water runoff. Birches, because they can be planted in tight pa忧erns， help create a dense buffer between the neighboring streets and the serenity of the building. 。 TIM NEWCOMB IS A NEWSPAPER EDnORAND FREElANCE MAGAZINEWRITERLIVINGINWESTERNWASHINGTON
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Urban desert dwel1ers face a disturbing irony. Potable water supplies are stressed by increasing demands 由at leave water managers struggling to find new supplies. Yet when it rains , the urban environment is awash with water that runs offroofs, parking lots , and streets- water that drains away quickly through millions of dollars' worth of stormwater infrastructure. For decades, people in Tucson, Arizona, have been shaping the ear仕1 and build-
32/ LAN05CAPE ARCHITECTURE MAGAZINE FEB2011
The move from concept to reality in Tucson's rainwater harvesting took eight months of work by local developers, planners, designers, engineers, environmental activists, city staff, and elected 0伍cials. During 也is time, the general provisions of the ordinance were agreed to and detailed requirements were spelled out ir1 a draft development standard. Environmentalists pushed for commercial sites to meet up to 100 percent of landscape water demand with harvested rainwater. Developers preferred voluntary 思lide lines and pushed to have other water conservation measures allowed as options to rainwater harvesting. The Water harvesting is 由e process of compromise reached was a mandatory intercepting rainfall and putting it to requirement that new commercial sites beneficial use. Some strategies inter- meet 50 percent of annual landscape cept and store water in tanks (known as water demand us ir1g harvested rainwa"active" water harvestir1g). ln contrast, ter. "The ordir1ance was passed unani"passive" water harvesting intercepts mously by the mayor and council and rainwater and infiltrates it directly ir1 to endorsed by the local paper in large the soil where plants' roots can take part because all parties helped write it," it up. Water harvestir1g does not typi- says Katie Bolger, Glassman's council cally recharge aq山公rs. lnstead, it saves aide, "and all sides compromised to get potable water by helping to keep the language everyone could suppor t." water taps turned off. Passive techniques such as microbasins, swales, Tucson's average rainfall is 12 inches ωrb cuts, and French dra ir1s are simple per year. The agreement to set the and ir1expensive and can move, inter- standard for harvesting water at cept, and store large volumes of water commercial sites at 50 percent of in the soil. Tank storage extends the landscape demand was reached by time during which rainwater can be analyzing monthly rainfall data and used, but its costs can be substantial1y landscape needs, then calculating the more than those of passive harvesting. level that could be met using passive
ing tanks to harvest rainwater and support their plantings. ln 2005，也e city government offered help to residents by publishir1g its Rainwatιr Harvesting Guidance Manual. But more needed ω be done. ln winter 2007-2008, Ro也ley Glassman, a city councilman, posed a question: Can the rainwater 出at runs off roofs and parking lots at commercial sites be harvested and used to save potable water? He thought it could, and he proposed 由at an ordir1ance be drafted ωaccomplish the goal. Less 由 ana year later, Tucson adopted its ir1novative ordinance requiring rainwater harvesting at new commercial sites.
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ABOVE Arock clôd landscape at Repp Deslgn I Con5truct1on harvests rarnwater、。何 the 51te's 口arkrng lot to 5upport low water U5e land5cape plants Asteel tanklocated behmd a decorahve steel screen. rnset holds ha问ested rooft口p runo仔 RIGHT The slte wate俨 harvestmg plan ll1 ustrales wate俨 catchment a俨easa们d t俨e lar05cape plants they 5upport at Repp De51gn I Con5truct1or 1 R巳ofwater、 collecl1on storage tank (achve) basm (passlve) 3 r- Iow arrow (runoft) 2 Wate俨 harvest
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34 /
water harvesting alone , Being able to icate ofoccupancy for a new commercial dard address irrigation systems, plan meet the requirements with passive site, a110wing time to establish plants submittal, and reporting. The orditechniques was important to the devel- using standard irrigation. In addition, nance cuts commercial sites a break opment community because of the new commercial site owners must during d rought years to ensure that high cost of commercial-scale tanks. prepare a water harvesting plan and plants don't suffer. These kick in when water budget and report rainf马11 and rainfall is below nine inches per year at Tucson's Commercial Rainwater Har- irrigation volumes ann旧lly. a gJVen slte. vesting Ordinance (No. 10597) was adopted October 14, 2008, and imple- Th e adopted development standard Wi出 the June 2010 implementation, mented June 1, 2010. The 50 percent includes specifications for both passive water harvesting plans are now being requirement must be accomplished systerns and ta时(s (which are optional). submitted to Tucson's Planning and within three years of receiving the certiι Additional specifications in the stan- Development Services Department
LAND5CAPE ARCHITECTURE MAGAZINE F[B2011
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(PDSD). From the perspective of Eric Barrett, a Tucson landscape architect and owner of ARC Studios, Inc. , there is extra work and cost involved in preparing the water budget calculations and water harvesting plan, but he 四pects 由e process will get faster with time. Greg Shinn, a landscape architect and owner of GRS Landscape Architects 1nc., emphasizes the need for the landscape architect and drainagee吨ineer to communica te early and often throughout site design to ensure the landscape plan, drainage plan, and water harvesting plan are consistent and meet the standards. 1n his 四peri ence, the landscape architect typically prepares the water harvesting plan.
ing for improved commercial irrigation systems, facilities w山 now make substantial strides in irrigation effidency as a result of having managed water harvesting systems. Fernando Molina, the head of Tucson Water's Public Information Office, agrees. Under the new requirements, facilities must use control1er technology that re叩ondsωconditions on a site. Most facilities are selecting Usmart controllers" that operate in response to local weather- a key to potable water conservation, in Molina's view. the new commercial standard, Tucson Water has provided more than $21，00。 in grants to help commercial facilities serve as demonstration sites for water harvesting. The landscape at Repp Design + Construction's office demonstrates passive and active water harvesting, ilJ ustrating the collaborative design results for site grading, wa怆r
I N T U C50 N, f\ L L PLA N 0 r u t'( C lJ IVI M 1: Rιlf\ L DEVELOPMENT SITES MUST INCLUDE A WATER HARVESTING PLAN AND WATER BUDGET. Before the adoption of the commercial a water harvesting landscape for the new Super Targetstore in Tucson.ηle site contains an array of water harvesting basins planted with drought-tolerant trees and shrubs. This landscape iU ustrates 由e shi丘 in engineering and landscape design that the new ordinance requires, and it allows people to see large-scale commercial water harvesting in action. r吨山rements， Barre忧 designed
As part of its ongoing potable water conservation efforts , and to support
36/ lANOSCAPE ARCH 1TECTURE
MAGAZINE FEB 2011
Shinn expects that Tucson's experience will help others take up water harvestÎng strategies. "Over the fìrst year or two , we will learn which aspects of water harvesting design and regulation are most important and which don't yield signi 自cant results ," he says. "Applying these lessons to jurisdictions with different rainfall pa忧erns and plant palettes will save them years of experimentation."
Other areas of the country have addressed water harvesting through mechanisms ranging from g山dance harvesting, landsca pe planting, and manuals to regulations. To get the irrigation. Rick McLain， 由e owner of word out, Councilmember Glassman Repp Design + Construction, repo出 has spoken at city council meetings in tha t his system-designed by ARC eight Arizona cities, walking elected Studios一is working well and saving officials through Tucson's process and emphasizing rainwater harvestpotable water and money. ing as a strategy to ma ke pota ble water Joe Linville, the lead planner with conservation the rule rather than the the PDSD's landscape section, antid- exception. o pates the new commercial landscapes "will have larger, healthier trees with ANN AUOREY HASWORKEO wrTH WATER HARVESTless blowdown because the roots INGSINCE1992; SHE1SCURRENTlY AN ENVIRONMENTAl CONSUlTAN T. will penetrate deeper." Linville sees another advantage: After years of push-
FOREG ROUND /
MIN DS
TH E HEALER IF NOT FOR CLARE COOPER MARCUS ,_J1 E MIGHT HAVE MISSED THE TONIC POWERS OF DESIGN. BY B1 LL M ARKE N . HQNQRARY ASLA
Jn the fall of 1969, armed with a new master's deg 1'ee in city planning, Clare Cooper Marcus , Honorary ASLA , taught a c1 ass at 由 e University ofCalifornia , Berkeley , called "Social and Psychological Factors in Open Space Design" for the first time. Created for landscape architecture students , the course relied on research methods such as observations, interviews, and behavior mapping to explore the gap between what designers thought they were designing and how the users experienced and felt about the actual landscapes. If this was a radical, bottom-up approach to teaching landscape design, it was also, of course, a radical traditionquestioning time in Berkeley-with Vietnam war protests and gas masks on campus.
'the Berkeley gang: in c1 uding Clare, Donald Appleyard, Chris Alexander, and Donlyn Lyndon) created a sense of endless possibility in us students. One weekend she invited a group of us to Bolinas. It tumed out to be a full-blown Jungian retreat where we gathered in a circIe on the f1.oor 四plor ing inner feelings , personal histories, and favorite childhood places- all to get students to realize that much of what we would design would come from 出is well of personal experience and mem Oly. She had great 1'espect for the power of design to improve ecological and human life."
Throughout a long, distinguished care町， Cooper Marωs has continued to inspire, write , and teach about the power of place and design to affect and One student in that cI ass was Mark improve human life- especially, durFrancis , FASLA, now past chair of ing the past two decades, about how landscape architecture at 出e Univer- landscapes can improve health and sity of California, Davis, who remem- well-being. In 2010, she was made an bers Coope 1' Marcus as a demanding honorary member of ASLA fo 1' "her and inspiring teacher. He recently pioneering research on the psychologiwrote, "Energized by the battles going cal and sociological aspects of design, on in the streets outside Wurste1' Hall, particularly u 1'ban open space. Her she and other social factors faculty work, induding 25 years at the Uni(whom Danish architect Jan Gehl calls versity of California, has in fl.uenced
3B / LA NOSCAPE ARCHITECTU RE MAGAZINE FEB 2011
generations oflandscape architects." Cooper Marcus's own "well of personal expelience and memo巧" gave her an early understanding of the transformative power of nature and open space. She grew up in England, and during the German blitz of London in World War II herfam过y was evacuated to the ιountryside. As she recalls, her mother was depressed and her father off to war, and she roamed on her own, cIimbed trees, and raised rabbits- and leamed that cI oseness with nature could create deep, transformative feelings. She went on to receive a degree in cultural and historical geography from the University of London, then struck off for the United States, which seemed "exciting and adventurous" after the dark days of postwar England. After earning an MA in urban geography at the University of Nebraska, she landed in Berkeley in 196 1. For her next master's, she wrote a case study of
EasterH过1 Village, a housing project in nearby Richmond: Its condusion demonstrated the gap between the original goals of the designers and how the residents viewed the completed project.
Cooper Marcus credits her Easter Hill Village paper (published as a book in 1975) with launching her career. She remembers a professor saying , "You are asking questions no one else is asking. You should be teaching." From 1969 to 1994 she taught in Berkeley's departrnents ofarchitecture and landscape architecture. Her fìeld was social factors: how the environment affects social and psychological behavior and
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FOREGROUND /
ABOVE 叫Workmg c1口se1v飞""th climcal staff and cur陀nt and former patients, de Slgner 8rian Bamnson of Quatref011c俨eated a lush settmg wlth ð great Vðnetv 01plûnts some edlble, wide pathwaY5 to accomnodate pal:lents brought out on gurneys, and chfferent pathway materials to proVl de rehabflitative expenen臼s for th口se learnmg to walkagam ," Cooper Marcus say5
RIGHT "The garden is enc1 0sed bv the Lshaped 8urn Unit and bv hlgh waTIs creatmg a pleasmg sense of encl口su陪 and privacy. Shade 15 essenl:lal lor those 陀cove内ng from burns and skmgra二t♀， hence the two 5hade st俨uctur飞:5， tre巴， and a sculptu俨'al featu陀 that 叭，，11 eventuaTIy provide shade when vines grow to ∞verit，" Cooper Jv1arcus savs IMAGE CREDITS Cou俨te5Y Ouatrefol1, Inc , plon , Cou俨tesy Legacv Health Systems, photo
MIN DS
MARCUS ASKEO QUESTIONS NO ONE EL5E OIO: WHY 00 YOU COME TO THE GARDEN? HOW 00 YOU FEEL HERE? vice versa. And she called what she did "designing for user needs." Her voluminous writings explored and revealed the importance of designing for people's real needs and inner feelings. Her books included Pιople Plaι俗， Na tμre as Healer, and Housi咆 as ifPeoplι Mattered; House as a Mirror of Se江 published in 1995 , appealed broadly enough to land her a spot on Oprah Winfr町's television show.
gardens. She calls it "the fìrst systematic postoccupancy evaluation study of hospital gardens in the United States." Using visual analysis, behavior mapping, and user interviews, she again asked questions no one else did: Why do you come to the garden? How do you use it? How do you feel here? She had answers of her own. Undergoing treatment for cancer at that time, she was spending a good deal of time in hospitals herself. She observed her own reactions: feeling uplifted while wai出19 for treatment under a beautiful old oak at Kaiser Permanente Medical Center in Walnut Creek; feeling depressed while waiting in her car in the bleak parking lot of another hospital she also had to visit.
a positive change of mood after time spent outdoors." The study added weight to the burgeoning awareness of the shortcomings of contemporarγ health care facilities. As Cooper Marcus wro怡，田 past centuries, green nature, sunlight, and fresh air were seen as essential components ofhealing in settings ranging from medieval monastic infìrmaries...to pavilion-style hospitals, asylums, and sanitoria ofthe 19th and early 20th centuries.... From approximately 1950 to 1990, the therapeutic value of access to nature all but disappeared from hospitals in most western countries. High-rise hospitals built in the international style resembled corporate office buildings."
A Second Chapter of Li fe After taking early retirement from 出e University of Cal出rnia in 1994, Cooper Marωs shi丘ed her focus and research methods to 由e design of healing gardens. With one ofher former grad students , the landscape architect Marni The study by Cooper Marcus and Barnes, ASLA, Cooper Marcus secured a grant and began a research project Among the study's fìndings: "Ninety Barnes "fìred them up" about the unstudying the impact of four hospital percent of garden users experienced tapped power of healing gardens and
40/ LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011
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FOREGROUND /
MIND5
Beginning with his 1984 paper in Science magazine called "View Through a
Designing a Healing Garden Cooper Marcus has visited more than 100 hospitals with outdoor spaces in the United States, Canada, the United Kìngdom, Austra1ìa , and New Zealand. She is not one to p u1 1 punches. Naorni Sachs , AS lA, another former student and founder ofthe Th erapeutic Landscapes Networks (www.healing landscapes.oω ， says, "Clare has taken evidence-based design to a new level. If something doesn't work, she will say s•-e ven if it makes the des毕ler mad." Cooper Marcus stresses 由at a landscape designed for healing should be a respite-welcorni吨， cornfo由ble， homelike. She says, "People appreciate traditional garden elements such as lawns, trees , and ftowers. Most people take comfort from a garden that is familiar-something like an English strolling garden." Her typical advice for designing for a health care setting: "Don't push the envelope-no grass with granite stripes or benches without backs." What do landscape architects say about that? She says, "Th ey laugh, but 1 出ink they agree."
Window May Inftuence Recovery from Surgery," Ulrich documented how 四 history, theory, research, health out- periencing nature offers health-related comes, and advice for designers-today benefìts to hospital patients. Cooper 由eb∞kis s创1 the bible on the subject. Marcus gives a great deal of αedit to Cooper Marcus and Barnes edited the Ulrich and boils down his groundbook and wrote about half of it, relying breaking research like this: "His studonexpe出 for individual chapters (such ies have shown 由at the heart rate of a as Robin Moore, Affiliate AS lA, on cl业 patient goes down when 巳xperiencing a garden, whìch helps in the healing dren's gardens). process by reducing stress. ExperiencA major contributor to the book was ing a garden provides a degree of relief Roger S. Ulrich, Honorary AS lA, the from physìcaJ symptoms or awareness pioneering behavioral scientist who of symptoms. 1t offers stress reduction is a professor in the Department of and increased comfort. And it faciliArchitecture and the Department of tates an improvement in overall sense Landscape Architecture and Urban ofwell-being and hopefulness, which Planning at Texas A&M University. can assist physical improvement."
Cooper Marcus emphasizes the role of plants in designing a healing garden. "Plants provide the all-important distraction of nature. You want a garden, not a plaza. As a rule ofthumb, she suggests a 7=3 ratio of plants to hardscape. She adds, "Designing for a health care setting is the opposite of designìng a freeway planting. A healing landscape is not viewed while going 65 miles per hour. It is seen up close by someone who ìs ill or elderly and probably moving slowly. Intricate designs can be eye catching Use different types of plants of diff町， ent sizes, heights , leaf textures. Use ftowers for their color."
MARCUS EMPHASIZES THE ROLE OF PLANTS IN HEALING GARDEN5: "YOU WANT A GARDEN. NOT A PLAZA." ABOVE
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421 LAND5CAPE ARCH lT ECTURE MAGAZINE FEB
led to a much larger project. PubHsher John Wiley & Sons commissioned Heali咆 Garde旧: Therapeutic Ben仙 αnd
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MIN DS
MOVING WATER ATTRACTS BIRDS , COOPER MARCUS SAYS , AND "BIRD5 DELIVER AN UNSAID MESSAGE: LIFE GOES ON." outside, and is invi白19 to patients in wheelchairs as well as family groups. The Al zheimer's garden in the Garden of the Farnily Life Center, Grand Rapids, Michigan, designed by landscape architect Martha Tyson, has a pathway system designed for rninimal confusion, a comfortable gazebo, and old-fashioned perennials that resonate with the elderly.
ABOVE "Ma俨tha Tyson created an exemplarv ganden fo俨 th口se W1 th Alzhetmer's disease a single entrv and slmple looped 闪th to avold confUSlon , dense plantlng around the edges to dlsguise fences that 组met1 mes prompt a deSl俨E for、 elopement， and a 臼m俨'al lawn for act1V1t1 es and to ev口ke a homehke image," Cooper lv1 arcus says
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of Iona, which she has visited almost annually since 1979. Her latest book, Iona Dreaming: The Healing Power of Placι， published in April 2010 , is a contemplative memoir that reveals her talent to write soulfully and scientifically as she explores her own deep feelings: "1 have to experience it [the mysteryo fIona] in my sinews, breathe it into my body, absorb it through my eyes and ears." The book describes the With the trend today toward patient- personal process of physical and emospecific gardens, which incorporate tional healing that she went through as special features for patients with cer- she recovered from a life-threatening tain conditions and diseases, Cooper illness. She calls Iona "the kind of place Marcus considers it even more imper- where one can relax to a deep level. ative 出at landscape architects follow a which can strengthen one's immune rigorous design process 出at includes system and have measurable success working closely with the hospital staff on physical health." and medical team. She also thinks She urges the use of moving water for that more research must be done to ηtis past faU , on a crisp, sunny day, its sights and sounds and the way it determine the strengths and weak- 1 met Cooper Marcus at her shingleattracts birds. "Birds deliver an unsaid nesses of existing gardens built in clad, two-story house on a quiet Berkemessage: Life goes on." (She points the past 10 to 20 years. Naomi Sachs ley street lined with mature camphor out 由at some hospitals don't approve says, "Clare wants strict standards of and London plane trees. From her front of water features because of possible postoccupancy evaluations for hea且ng porch she can observe neighborhood pathogens in the wate r.) Plant labels gardens. We're concerned about 'heal- life and greet passersby. Two or three are good to o--they can be a conversa- ing washing: a takeoff on greenwash- blocks away are the cafés, laundry, tion starter. ing that means doing surface thingsω markets, and public transit of College make it look like you have designed Avenue. Th e walkable, human-scaled Cooper Marcus CÍtes a number of ex- a healing garden but really haven' t." neighborhood is what she and her late emplary healing landscapes that inex-husband Stephen were looking for clude the desirable features , including Clare Cooper Marcus Today when they settled there in 1974. She the Oregon Burn Center Garden in Now in the fifth decade ofher career, wanted her two children to grow up Portland, designed by landscape ar- Cooper Marcus has had a busy year with the sense of independence and chitect Brian Bainnson, ASLA, work- Th is past spring, she again lectured 丘ee叩iritedness that she experienceding with horticultural therapist Teresia at the Chicago Botanic Garden, where, her 缸ends were aghast to see her son Hazen, which is "absolutely beautiful"; along with landscape architect Jack riding Bay Area Ra pid Transit alone at it provides overhead protection from Carman, FASLA , and horticultural ageeight the sun and different textures 山lder therapist Candice Shoemaker, she foot to help patients learningωwalk launched a weeklong program that She took me for a walk on the Berkeley again. Th e Graham Garden, designed trains landscape architects and offers campus a few blocks away, revisiting by landscape architect Deborah Le- a certificate in health care design. many of the spots she observed and Frank, at Saanich Peninsula Hospital surveyed in People Placιs， published in Victoria, British Columbia , offers In the summer she spent several in 1990 as a guide to using "human beautiful 叽ews from inside as well as weeks on the remote Scottish island behavior or social activities to inform
44/ LAND5CAPE ARCHITECTURE MAGAZINE FEB 201 1
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FOREGROUND /
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HER PERSONAL ESCAPE 15 SCOTLANDJS ISLE OF IONA, "WHERE ONE CAN RELAX TO A DEEP LEVEL!' and shape the designed environmen t." Vigorous and tall, dignified with short gray hair and wire-rim glasses, she is the image of the scholarly and sen纣ib让巾 s le retired academic一although her memoir reveals a certain amoun 时t of
TOP At the Fðm11v L1 fe Center、 1n Gr、'ðnd RðP1ds,M1ch1gan，、 cha 叫 alk 忆.忱-up.罔.tωo-B erkeleyexperimenting garden gazebo vislble frorn along the way. First stop was Wurster the entrv d口口俨 to the gar甘en Hall, the 1964 rninimalist style ("bruprovides a clea俨 destinati口n talist" to some) home to Berkeley' s p口int and is a popular pla臼 for staff-led actiVlt1 eS. Scr飞~ens College of Environmental Design, protecl users frombugs, ûnd where she had an office for years. We WI内ng pe俨川ItS tans , hghtJng, entered through the courtyard at the and mUSICprograms，"臼ope俨 back. Cooper Marcus called its origiMarcus Sû ys nal design "awful" for its uninviting asphalt paving and messy olive trees. ABOVE She prefers the redesign that now exOar它 Cooper、 Marcus speaks at the 2010 ASLA Annual ists, with brick paving, movable seatMeetJng 1n Wûshmgt口n， 0 C. ing, lath screening for posting student as she IS mducted as ðn work, and a patch oflawn. Seemingly Honorary ASLA member on cue, three students in shorts set up a croquet game on the grass. She IMAGE CREDITS Martha IV. Tvson. top; exclaimed, "That's a perfect backyard Sam B俨own， portrð1t actl叫ty. This is the backyard-perfect for 'family' events like a graduation or small party." She led the way to
46/ LAN05CAPE ARCHITECTURE MAGAZINE
FEB 2011
the building's entry, which she calls the "front porch." 'This front porch is not beautiful, but it attracts students with built-in tables and seating and places tωo g伊a由 er in social eddies off the main wallD飞w阳 f咱 ay." That day 让 it wa 刮s busy with students studying, eating, and conversing and watching others rush by. With Cooper Marcus 由e terminology is humanistic, often related to the home (we also viewed Wurster' s "front yard"一出e lawns and oaks that stretch beyond a main pathway). And a design's results are measured in how people use it and are affected by it. Nearby, Fac叫ty Glade has been measured to be "the most favorite place on campus" for its swath of lawn for lounging in shade or sun and the surrounding talllive oaks and redwoods creating a sheltered sense of retreat. The plaza around the Campanile, with formal paving squares and pollarded London plane trees, is less inviting and was occupied by just two stu-
dents that day. Cooper Marcus finds the formality off-putting but admits that may be owing to the "traditional1y cool feelings the English have for French aesthetics." (She also doesn't like the pruning method used on the trees- "too aggressive, and too much a demonstration of humans trying to control nature. ") She adrnires the Bechtel Engineering Center's roof terrace for its amenities: ATM , café, outdoor study nooks with overhead shade, and glass walls for wind protection. "Here someone listened to the students. They always say they want tables and chairs and other places to study outdoors." The terrace was designed by George Matsumoto with Royston Hanamoto Alley & Abey. Cooper Marcus is quick to answer 出 e question, why should designers concern themselves about the spaces between the buildings on a 35, 000' student campus? "Wel1-designed spaces where students can relax and gather with other students or even faculty can encourage casual social encounters and a richer college 臼perience. An d school can become more than lectures and libraries." Later 出at day , Cooper Marcus would attend a session of her wri由19 group, in which she is concentl'ating on poE位y，明白 nature-related work inc1uding titles such as "The Fence" and "Rainy Afternoon in My Neighborhood." At the end of the week she would speak in Las Vegas on "Researching Restorative Landscapes in Health Care," continuing to spread the word to a convention 由at drew 30400 health care designers and other professionals on 也e power ofplaces special1y people places-to inspire and heal the spirits and body. 。
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Trash bins are often not the sexiest pieces of outdoor fu付11tur宅 that landscape archltects find themselves spedfymg. But product deslgners and manufactur它rs are elevating these lowly containers fnom afterthoughts to artful additlOnS. The appeal of Urbanscape's Rockport 陀ceptacle Iies in lts clean lines ($1 ,646, shown in espresso) And you don't have to for宫ake the envinonment when glitzing up your garbage Kornegay's 臼st concrete Oune contamerlS durable and manufactur它d using methods that minimize waste (check with Kornegay for prldn剖; Intemational Art Properties' Vi sion and Infinity 陀ceptacles ar它 made
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URBANSCAPE ROCKPORT Urbanscape designs i凶 public space furniture with an eye toward in. novation, particularly in its wood finishes and powder coatings. Part ofUrbanscape's Rockport Collection, the RockpOlt receptacle has an imitation wood base that comes in four different 缸ishes-weathered， wheat, italia, and espresso. It can be portable or surface mounted, it has a side opening for trash removal. and it holds 39 gallons of garbage. Th e aluminum accent comes in 14 different 岛lÎshes. o MJ r' r 1 '1: ,11 ww. IRBANS ，P~事 R 耐IT吵 ECOM. IMAGE CREDIT Cou俨tesl'
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KORNEGAY DUNE Kornegay makes all of its receptacles from durable cast con. crete using a by-hand casting process . η1Ìs makes an ex. tremely dense concrete mix 由 at uses less water, requires little electricity, and results in minimal waste. The Dune receptacle is available in a wide spec位um of integral concrete pigments as well as natural concrete color, and it has two lid options: li忧er only and a lid with an ash disposal channel. 。 F~
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48/ LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011
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IAPVISION Intemational Art Properties takes an ecoconscious approach to its products by never spraying resins, by using recycled materials, and by creating recepta c! es with longer life cyc! es. Th e Vision container is constructed of durable, lightweight 且berglass and then custom finished in a choice of fade-resistant automotive-grade paints or one of IAP's signature Fusions, a finish that develops a soft patina over time. A choice of tops allows the Vision to be used for trash, ash, recyc!ing, or towels. 0 F 呵。 M r:r: IFL Ct1 llO~ IST WW..IAPSF.COM. IMAGE CRE DIT Courte♀y lAP
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lAND5CAPE ARCHITECTURE MAGAZINE FEB 201 1 /49
GROUNO /
HOU5E CALL
LET THE GOOD TIMES CLIMB. SLIDE. AND ROLL A COMPACT URBAN BACKYARD LETS THE CHILDREN PLAY BU丁 DOESN'T LEAVE OUTTHEADU 口S .
ABOVE
Grown ups wlil probab1v take the s国际， but children 臼n opt to slide d口wn to the next terraæ ln lhlS San FranC1SCO ya州 I M AGE CREOIT
Marlon Brenner、
The three-story house is in the Buena Vista Heights section of town, which, as its name implies, is a neighborhood of steep hills and breathtaking views ofthe city and San Francisco Bay. You can see the garden from every ftoor of the house, and from the roof, too.
"It was important to us that the garden look good when viewed from above ," Chaiken says. "双1e then needed to After spending five years on a gut you see everywhere for their twin balance the desire to have something renovation that turned their traditional daughters. Instead, with the help of visually impactful with the need to 1940S home in San Francisco into a their architect, they found a landscape create a space 由at would be practisleek statement in stucco, Jen Chaiken architecture firm that could carry the让 cal and grow over time with the kids. and Sam Hamilton were simply unw诅- minimalist aesthetic into the garden We didn't want a garden full of play ing to have a standard backyard with while creating a play area much more structures, but rather something more free ftowing. n one of the compulsory play structures imaginative than tha t.
50/ LA N05CAP E ARCHITECTURE MAGAZINE FEB 2011
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HOU5E CALL
ON THE ROOF Regi口nal favorites hke the ohve, underplanted her它 wlth lavender, wer宅 chosen 10俨 thew
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THE 5TEEL RAILING OF 丁 HE GARDEN AL50 APPEAR5 ON THREE TERRACE5 AT THE BACK OF THE HOUSE TO AVOID ADDING MATERIAL5 AND PATTERN5. ηlat's where Blasen Lan也cape Architec-
of the ar由it仅t Tadao Ando , known for ture from nearby San Anselmo comes in. hls sculptural use of simple concrete 咀le firm includes the husband-and-wife walls, proved inspirational. Such inftuteam of Eric Blasen, ASLA, a landscape ences were 企esh in their minds when archltect, and Silvina Blasen, a horticu1-由ey approached the ChaikenfHamilturis t. Th ey were hlred not long after ton yard, then a wedge-shaped patch of making a design p过gr由lage to Japan, weeds, whlch is 25 f民t at its widest point where compact city gardens and the work and 44 feet long. "We wanted to keep it
54/ LAND5CAPE ARCHITECTURE MAGAZINE FEB 2011
as minirnalist as possible and make good Eric Blasen says.
ωe of evely inch,"
Complicating the design was a cityowned retaining wall along the southem edge that exposed the yard to the street Before grading and construction could begin, the city req山red 出e installa挝on of 19 piers to avoid putting additional weight on the wall. The Blasens then αeated a framework using a combination ofcedar f白cing， concrete walls, and concrete planters 阳t hugs the house and extends along the sides of the garden.
Leadership by design
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HOU5E CALL
ABOVE dwarf olive shrub adds greenery to the roof Aplanle俨 wllhû
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THE TIGHTLY CLIPPED BED OF MAIDENHAIR VINE CREATES A CRISP LINE 丁 HAT COMPLEMENTS THE PREVAILING AESTHETIC. Also helping to create s位ucture are the nine.foot.tall, neat1 y manicured hedges of tawhiwhi (Pi忱。sporum 比阳聆lium)， the tallest green element in the design after 也etrees. 古le shrubs provide a wall of gl回 n t11at acts as a buffer between the yard and the street and the yard and the neighbors, who previously had unobstructed views of the space. "We wanted some privacy, without seeming ωo unneighborly," Chaiken says.
behind the city wall. Mirroring that, along Ù1e other property line, are two rows of the shrub- one monochro. matic and one variegated (Pittosporum te削价liut饵 'Marjorie Shannon') , set against fronds from neighboring date palms (Phoeniχ canariensis) that are part of the "borrowed" landscape.
"The notion was to make t1rree levels with one sloped component," Eric Blasen says. The first terrace includes Eric Blasen planted a swath of the a cantilevered granite bench where the tawhiwhi along a three.foot corridor parents can watch tl1e girls play, followed
56/ LAN05CAPE ARCHITECTURE
MAGAZINE FEB 2011
by a sloped area where tl1e twins can go down a polished concrete slide, b山lt as part ofthe wall, and eiÙ1er walk up a set of granite stairs or pull tl1emselves up 也e hill 山ing a rope tethered to tl1e lawn. On the second terrace, steps lead to a sculptural birdbatl1, a triangular sandbox tl1at recalls Japanese sand gardens, and a large swaÙ1 o f1awn for pitching a tent, bordered by an edible herb garden. A 丘uitless pear (冉I1'US rosaceae) and poet' s jasrnine Uasminum offiα附屹 var. gra ru1 i. jlorum)ar由lly hide a service shed on the tl1ird terrace. To make the garden more sustainable, water from the upper teηaces runs into a bioretention drain, also on the third level. ηle drain allows water to slowly percolate into the earth rather than the city's stormwater runoff system. Materials chosen for the hardscape echo Ù10se used in and on the home. Th e bench and steps, for example, are made
of the same granite used for the exterior walkway and interior hallway steps. The steel railing in the garden also appears on three terraces on the back of the house. "It was all about restraint," Eric Blasen says- not adding more matelials and 阴阳ms. ηle
grading and construction were so extensive, it was a year before plants went in. As to the plant selections, "We kept the palette very simple and well adapted to the climate," says Silvina. "These gardens can get very windy."
GROUNO /
HOU5E CALL
THE GARDEN WILL SOON 8E CHANGING AS THE OWNERS. DAUGHTERS GROW AND THEIR INTERESTS CHANGE.
As the owners had hoped, the garden will soon be changing as their daughters grow and their interests change. Lately, the kids have been asking for a ω忧ing garden, which will supplement the herb bed. "They just love the idea of b ringing something in from the garden and making use of it," Chaiken says. ηle growη-ups have already gotten what
ABOVE
When Vl ewed tron the house, the foilage COmblned Wl th the concr它te and limlted 白owe俨 βalette glVe the garden a 9俨'aphicl口ok
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they wanted- and then some. 双lhen viewed from above, the whiteness of the concrete , grani怡， and sand creates a pleasing graphic pattern when set against the deep greens of the lawn and the lush foliage.
So plantings were chosen for their Hamilton had requested roses , a mo1'e wind and drOUght tolerance-叫uiring traditional choice that neve1'theless only intermittent drip irrigation- and makes sense in the sunny microclieasy maintenance. Most are perenni- mate. "The Bay Area has a long dry "lt's lovely to look at and serves us well als (save for a few herbs in the edible season and roses love it-they don't as a warm, protected place to pl町" garden) , a rnixture of Bay Area favor- get 1'oot fu ngus-so they 1'eally thrive says Harnilton. "We love 由at Eric and Silvina were able to utilize every inch ites and species from other Mediterra- here," Silvina explains. ofthe space. " 。 nean climates that are not so common. Shades of purple , white, and yellow ηle firm was also asked to add greenery to the roof garden, the master bedroom JOANNE FURIO 15 A BAY AREA WRITER WH05 E make up the limited color pale时. te口ace， and the entrance. "We used FAMILY GARDEN 15 DEVOID OF A PLAY 5TRUCTURE BUT DOE5 BOA5 T A TREE HOU5E Among the popular choices: white repetition to strengthen the design," Eric lantana (Lantana camara) and creep- Blasen says. So, on the roof and master Project Credits ing fig (Ficus pumila) that sp过lover bed room deck, the Blasens repeated LAN05CAPE ARCHITECT 日 L A 5 E N LAND5 CAPE the edge ofthe concrete planter boxes, the use of the fruitless olive tree and ARCHITECTURE , SAN A N5ELMO , CA LIFORNIA a fruitless olive tree (Olea europaea) , dwarf olive shrub, with French laven- (ERIC BLASEN, ASLA , SI LVINA BLASEN , ANO GARY jasmine , and Mediterranean spurge der (Lavandula sωιchas) as the under- RASMUSSE N). ARCHITECT GEMMILL OESIG N , (Euphorbia characias 'Wulfenii'). planting. At the entrance, an existing SAN FRANCISCO (TIM GEMMILL). INTERIOR OE5IGNER MARK CUNNI NGHAM , NEW YORK The more unusual dwarf olive shrub conαe怆 planter with a maple tree was GENERAL CONTRACTOR CREATIVE SPACE5 , (01ω ew叩aea 'Li ttle Ollie') and silver padded with a bed of maidenhair vine OAKLAN D, CALIFORNI A. LAN05CAPE CONTRACcottonwood (Cassinia leptophylla) , a (Muehlenbιckia ωmpL即时， which is kept TOR FRAN K 11. GROSSMAN, SAN FRANCISCO shimmery coastal shrub from Aust1'a- tightly clipped toαeate aαisp line 也at lia , are bound to turn a few heads. complements the prevailing aesthetic.
58/ LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011
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People in Phoenix may not knowwhat to make of their newCivic Space Park downtown . The city's mayor sees it as one way to help coo l the desert ci ty and promote mass tra nsit , as Caro lyn Deuschle reports. 80 th are relatively new ideas. Jona than Lerner looks at attempts to have people l ive nea r t he fo od they eat in a new genre of neighborhoods that try to combine residen tial lifewi t h farming. Finally , in Austin , Dan Jost , ASLA. talks with the landscape architect Christine Ten Eyck , FA5LA , who wanted to open a new office in Texas without leaving beh ind her successful practice in Phoenix. 50 far , so good IMAGE CREDIT D
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1也 monster discount stores, doned houses, and matrix of freeways eve巧where， it's hard to pinpoint where the urban center ofPhoenix lies. ηle city is so sprawling that in 2006 nearly 30 percent of its economic output was in rea1 estate and construction. As a result of its rapid outward growth and i也 penchant for paved surfaces, the desert city holds one of the f自test 旧banwarming rates in the world, trapping and absorbing heat like a radioactive sponge. On average Phoenix reaches over 100 degrees on 92 days a year, and is 14 degrees warmer than the surrounding rural areas, an effect of the city's ur切n heat island. In turn，址le city's hottem严ratures 企iveupwa怡r and electricity usage.
IMAGE CREDIT
Oavid Ll oyd
So when Mayor Phil Gordon promised in 2008 and again in 2009 to revitalize downtown to combat rising urban heat island temperatures, members ofthe green isn't healthy, the rest of the city isn't healthy," says the having helped lift the city by the Downtown Phoenix movement watched as he strived to fulfill some of his mayor, who is 59 years old and has been elected twice. journal , as it offers the only green open space in the most ambitious goa1s yet. And, amazingly, he has. Or downtown area, and because it shows that the city at least he's put the infrastructure in place: Gordon The latest piece to his downtown puzzle is Civic is striving to be more socially and environmentally supported the opening ofthe urban retail development Space Park, a 2.7-acre park that opened in April conscious-though it still doesn't hit all of the CityScape; renovated and 四panded downtow口's Phoe- 2009 next to downtown's skyscrapers and nestles marks. Phoenix is often criticized for its refusal of nix Conven挝on Center; installed a light rail system; between ASU's downtown campus, the YMC A, and its given environment, as a place where people opt brokered a deal with Arizona State University (ASU) to a private housing development. Since its opening, for grassy green lawns and swimming pools instead bring a new campus downtown; and irnplemented his the park has won over people in the city. 1t has of succulents and desert brush. The park doesn't do 2030 Shade Plan ωgive the entire metropolitan area a received the Valley Forward Environmental Excel- much to thwart this image, but it does make gallant 巧 percent average canopy by 2030. "If the urban core lence Crescordia Award and has been hailed for shides in other ways.
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Civic Space Park was designed by AECOM's Phoenixbased principal Jay Hicks, ASLA, and desi伊er Chad Atterbury and is a winner of the Arizona Chapter of ASLA's President's Award and Award ofExcellence in 2010. lt is a decidedly urban park with a fresh, contemporary design. Its plazas, delineated by ∞sp， a吨ular lines beneath Chinese pistachios (Pistaαa chinensis) and Southem live oaks (Qtumω virginia叫， altemate with sweeping lawns ofhybrid Bermuda grass (Cynodon dac呐n) and vibrant beds ofyellow bells (TIωmasωns) and purple trailing lantana (Lanωna montevidensis). Benches rest under tall shade structures 明白 angled roof运， and chess tables are secluded among large planters shaped like small hills. Programmed LED ∞lurnns respond to 由e movement of visitors, and there are all kinds of visitors一-retirees， ASU students, neighborhood families , and businessmen- helping to activate the park at night. 古le
park occupies
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IT5 U5ER BA5E DOE5N' 丁 OUITE
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KNOWW H 町 TO 、 MAKE OF THE PARK OR PERHAP5 EVEN HOW TO GET THERE IF NOT BY CAR \
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remaining artifact of the parcel's past is the historic A. E. Motor Company building, one of Phoenix's 且r5t
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'" Janet Echelman's
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auto deaJers and，也us， an important page in 由ehistory of the car-centric city. 币le building lies in the center of '\'night 均已hanj中Db俨 the park, serving as both a multiu5e comm山垃ty space ~ ÌNith 盯…ason and café. But the park's r四1 focal point is installation IMAGE CREOIT artist Janet Echelman's illuminated sculpture, Her S，α;ret Oa 'Àd Lloyd IsPat防nce(20。纱， which hovers above the park, upheld by cables connected to support poles and reaching up to the cosmos, cas位19 a funnel-shaped shadow aαoss 出e lawns during the dayand a col。而.ù glow at night.
The plant pale忧e foωses on species that need litt1e water, such as thecenturyplant (Agaveattenμaω)， sago p加 (Cycas revolu叫，皿d Cirnarron sa伊 {μucophyUum zygophyUum). Despite these environmentally adroit choices, the landscape doesn't relate ω 由e 陀gion's natural e∞system，也e Sonoran Desert. "One of the things that we kept tel1ing ourselv臼 was that 也is was not a park 由at is in the Sonoran De吉ert，" A忧erbury 巳xplains. "This is a park that is downtown in 由e fifth largest city in America, and what the people and the city were tellingωwas 也at they wanted an urban 归rk." Perhaps in part to increase its "urban" factor , Civic Space is the on1y park in 由e city of Phoenix 由 atyou 础't 世ivetl←itd优sn't have a pa灿glot. ]ns刷刷 一头
72 ! lANDSCAPE ARCHITECTUR E MAGAZINE FEB 2011
LAND5CAPE ARCHITECTURE MAGAZINE FEB 201 1 173
AT MATURITY IN 10 TO 12 YEARS. 70 PERCENT OF THE PARK WILL BE COVERED BY CANOPY. AND IN SIX TO SEVEN YEARS. PEOPLE WILL BE AB LE TO WALK FROM END TO END WITH OUT EVER BEING IN THE SUN 一一一~
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1 SLOPED LAWNS
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can reach the park by light rail, bus, or bicycle. The light ra边， which connects 出e Greater Phoenix area with 20 口lil.es of railline, runs in opposite direc挝ons parallel to the park; a bus st础。n lies at its southem boundary, and bicycle racks dot the park's edgesηlOugh it' s easy to question the point ofa public park that' s not easily accessible by the city' s most popular mode oftransportation, it functions as a symptom ofa tidal change, represen位J.g a more active, more environmentally focused city. Civic Space also promotes sustainable technologies as part ofits green agenda. The annual rainfall in Phoenix is just seven inches , but every bit of water passes through porous concrete and pavers and collects in an underground holding basin that recharges the surrounding groundwater. Atterbury designed green, slatted shade structures for the en位y plaza that softly filter sunlight in much the way the desert trees do. At maturity in 10 to 12 years , 70 percent of the park will be covered by canopy, and in six to seven years, people will be able to walk from end to end with out ever being in the sun .
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Z Jj二 与多
CIVIC SPACE PARK SITE PLAN IMAGE CREDIT Courtesv AECOM
3 A. E. ENGLAND 8UILDING Arnult1functlonal, communlty use space that hosts art exhlblts and lectur百S
6 FUTURE CONSTRUCTION Durmg the second phase of constructlon, thls slte IS slated to become a 3日， 000 to 40,000
PATIENCE
Hangs above a plaza, featurmg an lnte俨'actlVe lSCULPTED LANDSCAPE 8ANDS Allow for mhmate seatmg and plCn1Ca陀as 2 SHADE STRUCTURES Insplr它d bv monsoon clouos, prOVl de r飞=splte fnom the 吉un
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4 HER 5ECRET 15
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B ENTRY PLAZA SpaClous enough to set up booths and tents for umversltv functlons and str宅et fal俨$
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LANT 1ST
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TREES F'raxinus 阳lutina 'Fan-Tex' (Fan-Tex ashl Pistacia chinensis 'Red Push' (Chinese pistachiol 即'rus kawakamii (Eve 即回n pearl Quercus virgin臼na (50uthern live oakl
SHRUBS/GROUND COVERS/ACCENTS
Agave attenuata (Century plantl Agave desmett;ana (5mooth aqavel Agave geminiflora [Twin-flowered agavel
/ / / / /
Photovol, táic panels on the shade structures provide enough energy to run 也epark， with 也e exception of the 号éhelman sculpture, which requires heavy-duty a96dlights 出at illuminate it at nigh t. /
Hicks and Atterbury believe that focusing the design e ycas revoluta [5ago palml on the needs of 出 user base is another way for the Hesperaloe funifera (Giant hesperaloel park to increase its sust但nab过ity， because the more Lantana montevidensis [Purple trailing lantanal people visit Civic Space, the furth自由ereso山ces used Lantana 'New Gold' (New Gold lantanal , such as water for the plants or electricity by the park Leucophyllum zygophyllum 'Cimarron' (Cimarron saqel for the light sωlpture， will reach. "τbe more the space M'yrtuscommunis 'Compacta' [Compact m吁同时 gets used, the more sustainable it is," A忧erbu巧/ says. Ruellia brittoniana [Katie ruellial Ruellia peninsularis (Baja ruellial So to attract passersby, the designers integrated into 7'ecoma stans (Yellow bellsl its design various linear elements- the university, Wedelia trilobata (Yellow dotsl n吨hborhood， and urban downtown- from the s配's surrounding context. Atterbury employs the term VINES "urban weave" to desclibe this tactic. τbew创ve isseen FICUS 肌'epens (Creeping fig l m 由e irtterconnection ofthe sloped lawns on both the nor吐1 and south sides, which create the perfect space GRASSES an outdoor classroom; the sculpted landscape for Cynodondac纱'Ion (Hybrid Bermuda gras叫 bands of raised earth that create intimate pockets for neighbors to converse and relax; and the plazas connecting to the light rail station and sidewalks.
But with an upcoming onslaught of progressive urban developments, Civic Space won't be the only project seducing Phoenicians to come outside. Phoenix~ne ofthe areas hit hardest by 由ehousingαisis-is among a select group ofU.S. cities to participate in Red Fields to Green Fields, a govemmentprogram to turn foreclosed properti臼 into green spaces. C且对scap←-a project by ASU and selected by the mayor as part of his Green Phoenix irtitiative, a q-point plan to make Phoenix the greenest city in the United States一is creating built environments along the c坷's expansive network of cana1s to promote alternative transportation and outdoor recreation. Bicycle rentals are slated to be available outside light rail statio邸， and new light regula世onswill rnake for dark starry skies at nightηle city ofPhoenix is about to see a larger emphasis, despite the heat, on 吐le out-oιdoors， a change 吐lat may alter the urban weave entirely. 。 CAROLYN DEUSCHLE IS A FREELANCE WRITER BASEO IN FLAGS TA FF, A RIZONA. PREVIOUSLY, SHE WAS AN EOITOR AT PR I NCETON A RCHI TECTURAL PRESS I N NEW YORK
Project Credits CUENT/OWNER CITY OF PHOENIX PARKS OEPARTMENT (TOM BYRNE.
Though full of multifunctional areas, the park doesn't feel congested, and its areas of use do not appear p articu larly well defìn ed. "We have a space that doesn't have traditions yet," says Hicks. But these traditions are quicldy being forged. Host to a range of events jointly p rogrammed by AS U and the city ofPhoenix, including morning yoga classes and First Friday art walks , Civic Space is drawing more and more fìrst-tirne visitors to the park every month. However, on 仕le balmy afternoon of my visit to Civic Space, there were surprisingly few people enjoying 由e park, despite the pleasant weather. Both Hicks and Parks and Recrea挝on Director Dale La rsen assured me that this was because the park welcomes most of its visitors in the early evening hours , when school and workdays are over and outside temperatures have lowered. But on a mild, sunny day lil<e that day was, it' s difficult to justi乌/ a park- not in the Sonoran Desert, but in the downtown of America's fìfth largest city, as Atterb ury says- as being nearly desolate. Th e park's organization and its lack of emphasis on how spaces should be used may hinder, at least for now, its ability to draw in visitors as a destination on nice days, and it may also be indicative 也at its user base doesn't quite know what to make of the park, or perhaps even how to get there, if not by car.
PROJECT MANAGER). DESIGN AECOM OESIGN + PLANNING , PHOENIX (JAY HICKS , AS LA , PRIN CIPAL IN CHARGE; CHAO A廿ER8U R飞 LEAO OESIGNER; BRANOON SOBI ECH ANO CHRIS MOORE, OESIG N TEAM). VISIONING ANO MASTER PLANNING TEAM A ECOM DESIGN + PLANN I NG, PHOENIX (JAY HI CKS. ASLA. CHAD ATTERBUR飞 BRANOON SOBIECH. ANO OENNIS CARMICHAEL. FASLA); ARCHITE盯ON . TEMPE. ARIZONA (JOHN KANE); THINKING CAPS. PHOENIX (JULIE HENSON) CDNSTRUCTIDN
ADMINISTRAπON
AECOM DESIGN + PLANNING ,
PHOENIX (JAY HICKS , ASLA. CHRIS MOORE , ANO CHAO ATTER8URY) . ARTIST JANET ECH ELMAN , BOSTON. ARCHITE CT, SHADE CANOPIES ARCHITEKTON , TEM PE , ARIZO NA. ARCHITE CT, A . E. ENGLAND MOTOR COM PANY BUIlDING HISTORIC
PRESERVAπDN
AND
RENDVAπDN
SWAN ARCHITE CTS. PHOENIX. WAYFINDING/GRAPHICS THINKING CAPS. PHOENIX. C1VI L ENGINEERING WOOOPATEL. PHOENIX ElECTRICAl ENGINEERING WRIGHT ENGINEERING, CHANDLER, ARIZONA. GENERAl CONTRACTOR FORESITE OESIGN &. CONSTRUCTION. PHOENI X. UGHT COl UMN PROGRAMMING AND 4WALL
E N TE RTAIN MEN飞 LAS
FABRICA'π。"
VEG AS. WATER WAlL FABRICATION
SHASTA WATER FEATURE SYSTEMS DESIGN AND CRYSTAL FOUNTAINS , CONCORO. ONTARIO. CANADA
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established, a subsidy from developers or homeowners. And the visionaries involved-Iandscape architects, architects, planners, and members ofall the aforementioned groups-get 由e satisfaction of addressing a challenge that feels încreasingly urgent and global, even if their efforts are relatively small and local.
"Someday people may be rioting in the there isn't enough of any也ing，" predicted an early buyer at a pioneering exurban development 出at includes both homes and a working farm. "We']] grow our own food ," he said, uand there won't be any traffic or marauding bands." Th at's bleakly put, but not a wholly outlandish response to unstable times. La tely, along wi出 anxi ety over routine irritants like war and teηorism ， peak oil and the yawning divide between rich and poor, consumers are increasingly alarmed by the environmental costs of industrial agriculture and the healtll risks of ea由19 what it yields. stree比 because
That speaker, actually, was quoted in the Washington Sta ,.-News back in 1974, when different but related troubles-the OPEC oil embargo, violent
"Both development and agricuIture are broken, and the 缸lSwerωeach is in the other," insists Quint Redmond, ASLA, a landscape arcb1tect in Golden, Colorado. Redmond's fìrm, the TSR Group, has devised one such agricωturaJ-∞mmunity concept on which it has based con四川 nity mas 阳 plans for several developers in Colorado and elsewhere. "You haveω have a placeωfarm. Even if everybody Hves in a transit-oriented community in a LEED [Leadership in Energy and
racial conf1 ict, protracted war, and a variety of new mixed-use projects student rebellion- were vividly fresh , that combi ne housing with agriculture; and mass environmental awareness dozens are now in the planning stages was in first bloom. He had purchased or under constructiorL a building lot at Farm Colony, near Charlottesville, Virginia , which was For potential householders, the motinew then. About two-thirds of the vations to be nearer to 也e food 出ey En叽ronmental Des电nJ Pla由1山也 b山ld deve1 opmen t' s 285 acres was devoted eat can range from light to dark: at ing, we still haven't solved the problem to agriculture and conservation; one end, a hankering for pastoral of how do we feed ourselves, and do it homeowners collectively lease land views and org缸úc produce , and at the without a lot offossil fueL" to a professional farmer, receiving a 。由er， a kind ofsurvivalism (minus the price break on wha t' s produced. Until guns). The developers of these projects Community gardens exist in many recently, few similar projects have get a powerful branding message to residential developments and are being been undertaken, but the growing distin思lish them from conventional planted in older urban neighborh∞ds interest in sustainability and localism subdivisions: Buy here, and preserve too. Some individual householders has created a market for them. More the land while enjoying its bounty. replace lawns with edible landscapes. than three decades on, Farm Colony is Also good for developers is that farm Cohousing communities, whose shared thriving, though with its single-family operations can generate cash f10w activities and Hving spaces appeal to houses scattered on one-to-two-acre while the housing and retail elements a naηow market, often have commulots and common ownership of the are being built out. Participating farm- nal gardens. Th ese al1 provide fresh farmland , it may be an outdated model. ers get a handy market for their prod- produce, but only a fraction of partidBut developers are responding with ucts, and sometimes, to help them get pants'nu世itional n由出. A few high-end
80/ lANOSCAPE ARCH 1TECTURE MAGAZINE F[ B 2011
THIS PAGE At many resldenbal agricultu俨'al developments , hke Hldden Springs 口utslde Bαse， ldah口， the fa俨内
supphes ð commumtv supported ðg内cullur它 prograr内 and offers ga俨demng eduCðcion IMAGE CREDIT C口urtesy Hidden Sprmgs
rural deve10pments offer "estate" lots on spreads where farming or ranching may give homeowners a picturesque sense of place but li忧le or no food or role in producing it. But a growing 出ird category comprises 由e range of new suburban and exurban development types where commercial1y sustainable, high-yield farming is designed into the mix.
Another iteration, Hidden Springs, near Boise, ldaho, has 1 ,800 acres and will eventually have 860 homes. Most of its land is 山lder conservation, but 17 acres are currently used for haying and for a certified organic farm. The farm supp1ies regional markets and restaurants. Its CSA program and annua135-week gardening class mainly serve Hidden Springs residents; the community's preschool and elementary school use its children's garden. Some residents take involvement in food production fu rther. The homeowners association recently permi忧ed up to five hens per home site. Families can "adopt" a tree in the development's orchard, sharing the upkeep with the association but retaining the harvest. As is typical in these developments, site characteristics strongly influenced the plan; for this semiarid environment, a treatment system recyc1es wastewater to i口igate the agriculturalland and the community's park and greenway areas.
In the most common model, a gree时ìeld is pla忧ed with smalllots clustered in the mode of traditional neighborhood developme时， leaving most ofthe acreage for conservation and agriculture.ηle farmland is owned either by a nonprofit funded through a levy on home sales or by the homeowners association. 刀lat entity leases it to a professional farmer , or takes an active management role and hires one. Residents can buy the produce at a market- …themaster plan usually specifies one-and join a community-supported agricul阳re (CSA) program in which they pay up front each season for a share of the produce. Often, the nonprofit or the farmer also Two other concepts, both unbuilt, seem to embody greater urgency run agriculture也emed educational and volunteer programs. Th e about food-resource issues, promise greater self二sufficiency and farm , meant to make profi邸， will also supply buyers outside the yield, and would almost ensure that residents get their hands development. Successful and wel1-publicized examples include in the d Ìlt to raise food. At Southlands , a 536-aαe site proposed Prairie Crossing, near Chicago, and Serenbe, outside Atlanta. for the Vancouver suburb Tsawwassen, the 2 ,000 residential
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RIGH T PraH'1 e Cr口ssm日， near ChlCélgO has both a 40 ac俨e fûrrηûnd an mcubator proqram that leases nve ûc俨e plOtS to other would be farmers fo俨 up to nve vea俨S of trammg I MAGE CREDIT Courtesv Prðlrle Crosslng
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units would all be designed for agriculture, which their occupants would be expected to pa时icipate in. The New U rbanist planner Andrés Duany, whose firm Duany Plater-Zyberk & Company produced this scheme, calls it Uagrarian urbanism," connoting a place uthat has dedicated itself to the growing of food , in the sense of an intentional community." In Southlands's denser, multifamily neighborhoods , that would mean gardens in window boxes and on the balconies of individual units and on rooftops, as well as community gardens in common areas. Single也mily homes would have yard gardens. There would be small farmsteads as well as larger farms . "The village exists for growing food. The village should only be allowed if it commits to growing food ," Duanyasserts. 白1e front porch, a New Urbanist icon often derided as a gimmick offabricated neighborliness, would be overshadowed by the front garden. uTh ey're ugly," Duany warns. "Don't imagine anything remotely like the New Urbanist communities of today." More profoundly, this concept challenges the notion of retail as the indispensable magnet for new town centers. Here, the center would have a depot where tractors and tools could be rented, a food-processing facility, loading docks for trucking produce
into the city, a cooking school, a restaurant, a market, and a university agricul机lral-research unit. 'This is 出e new square-not the retail square, but the market square," Duany says. Whereas 也is approach highlights the building of a community- in the sodal sense as well as in architecture and planning-Re缸no时's idea, "Agriburbia," is more explicit about the metrics of caloric yield, creating employment, and genera出19 income. Compared to a place like Hidden Springs, an Agriburbia p叫 ect would earmark a greater proportion of land for commercial farming. And individual lots could be worked as "steward farms ," by homeowners themselves or by the professional farmerwho manages thedevelopmen t' s commercial farη1. One of his plans is for a 618-acre industrial-agriculture site in Milliken, Colorado, of which 522 acres are currently in rotation between commodities such as com, soybeans , and whea t. Another 81 acres are now natural habita t. There are three dwelling units. This farm now supports three workers and generates an annual gross of $300 ,000. Under Redmond's Agriburbia makeover of the prope坷， if it were to use all the designated steward-farm lots, 259 acres would be planted, he says, wi出 "dense1y caloric, high-quality foo也." That would inc1 ude
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B4 / LAND5CAPE ARCHITECTURE MAGAZINE FEB 2011
1 SOUTHLANDS This prop臼ed deve10pment 口utsideVan∞uve俨 wou1d lnV，口，lve
every h口useh口ldin
5 YARD GARDENS Town houses and Sl ng1e tam1iy hous巴 wou1d have prlvate vard ga俨dens
9 COMMERCIAL FARM Homeowners 叽，ou1d C口l11ectively
own a 113 acre commer口a1 ta俨m
ag俨Icu1ture
2 COMMERCIAL FARMS On large cornrnercla1 ta俨rns， hou♀es cluster near the center ot the development 3 ONE-ACRE LOTS One-acr宅 10t5 cou1d Vleld substantlal produce for some households 4 BALCONY GARDENS Apartment dweßers could grow m口dest quùntihes 01 vegetables and herbs
6 ROOF GARDENS Sorne multJ tarTll lv buJ1 dJr1 gs would come \IVI th p内vate rootgardens
1 日 NATURAL
7 COMMUNITY GARDENS Resldents 、Nith llnited P问vate space could 5upp1enent what they grow
11 PARKS AND TRAILS Pa ri(s ùnd trails wou1d occupy another 30 acr巴 Thema5te俨 p10n ca115 for 994 dwelhngs
8 AGRIBURBIA The 618 acne "，均俨Iburbia" sl{e in MJ1 liken, Co10rado , W口uld have farm p10ts of up to five acr它S
AREAS 100 acr飞~s， 23 p何呐。uS1V 11 l1 ed , would be lett alone Mor它 thon
IMAGE CREDITS 1 7. Courtesy Duany P1ater Zyberk &臼 LLC; 811 臼U俨恒svtheτSR Group, Inc
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THIS PAGE Agrlburblð COm f'1umtles would use hoOp houses to ex士end the gro l'lling season , maX1 mlZ1 ng the poten t1al \~eld 01 the acreage and making the c口ncept adaptable to nany chr升ate zones IMAGE CREDIT TheTSR Gr口up， Inc
herbs and vegetables, "and even some othermone严nakers 也at are not caloric, like cut flowers."ηlere would also be perennials such as fruit orchards. "Multipleαops and rotations add Up to give 由E unit revenue that a typical one-crop, oneseason farmer doesn't get."ηleAgribur bia master plan would also specify 135 aαes for parks and natural habitat and 994 dwelling units. Redmond calculates that the communitywo以dgenerate more than 150 jobs and aωtal annual gross of more than $2 million. 刀lat
project was permitted but halted by the real-estate bus t. The Farmstead, an Agriburbia project in Granite Q 旧町， North Carolina, attracted serious buyer interest before it too stalled in the wake of the subprime lending mess. John Sellers, a sales professional who now lives and works 40 miles away
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in Charlotte , considered buying a steward-farm lot to be managed by the professional farmer. He would have been willing to commute , and to put up with insalubrious aspects of fa口口ing such as odors of livestock and manure and the noise of tractors. "In order to live in a community that is sustainable and is an attribute to the surrounding area, 1 would be willing to concede a lot," he says. "I think it would become a tight-knit, neighborly community. That would be one of the reasons 1 would want to move there." People who would eagerly opt to live in a residential farrning community are probably a self-selecting minority; not every home buyer would enjoy it. In the mid-2000S, when people began pouring into new houses around the farm town turned boomtown ofBuckeye, Arizona, outside Ph优创x， among 由eir biggest complaints
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was finding themse1ves downwind 丘om prob1em of individualism. 节le original plan for Serenbe included some fìvetypical fa口n smells. acre 10ts for agriωltura1 homes阳出， but 1fyou accept the notion that many more these were never offered for sale. "A 10t people must start growing food-for ofpeople have the romantic idea of fa口口 heal白， or even for surviva1-the steward- ing," says 也e developer Steve Nygren. i与口口 idea has merit. '寸here' s a real sweet 吨1e realized that if we sold a piece, we spot at two to fìve acres. 1t's stunning， 出E had no control over how it looked, and pr叫uctivity，" says Redmond, who during it could be a weed patch in fìve years." this fallow time for architects and deve1operslscon位act farming on plots ofthat Another challenge to these agricωtural scale. But the practica1ity of profession- subdivisions will arise just as soon als simultane。因片 mana伊19 individu- as they produce enough 岛od to send als' properties and their own operations significant quantities beyond their own boundaries; it's a prob1em already remains do曲的ll. beginning to strang1e 吐le grow由 ofthe Vicky Rann町， the developer of Prairie otherwise vigorous 10ca1 food moveCrossing, asks, "From 仕le point of view ment. "Before the Second World War, ofthe far刀ler， is it wor也whi1e for them the majority of farrning was 10cal, so to work with maybe 10 也陡rentowners there were 10cal distribution centers," of one-acre lots?ηlat's a 10t of admin- notes Ranney. But with industrializaistration." There is a1so the niggling 挝on ofagriculture came cen阳lizationof
processing and distribution. A particular choke point is the dear也 of slaughterhouses. Loca1 food activists in her area "are talking about creating food hubs, and one e1ement might be an organic slaughterhouse, but it's not a p1an yet." Redmond wonders, "How are we going to do protein? Abattoirs are part of that, but it's a1most impossib1e to permit 由em. Agrib旧bia has in its economic model 出e opportunity to do 10cal protein processing-chicken, fìsh , beef二and the infrastructure wou1d provide for it. But it is a regulatory nigh恤are. " Th is is a policy issue, largely at the federa11evel , that cannot be reso1ved by 出e p1anners and deve10pers of individ叫 projects.
co11aboration, or 也e lifesty1e changes, of Agriburbia or D旧町's agrarian vi11age. Jim Hupp and Samantha Hansen are the newest residents at Farm Colony, that 1970S Vir伊山叫eriment. "1 am into sustainability, solar power，问ring to live 1ightly on the earth," says Hupp. "lt's not that I'm 臼pecting marauding bandsthough who's to say? But that wasn't the idea. 1 want comm山ùty. 1 want to demonstrate that you can live cooperative坊， and do things that wou1d he1p preserve this beautifìll p1ace we 1ive, but not give up a11 the luxuries or this great wayoflif七 we have here in America." Of course, how much we bring ourse1ves to give up will very 1ike1y a民ct how well we can feed ourselves in the 缸ture. O
Buyi吨 into a deve10pment that might ATLA N TA 忖 JONAT HA N LERNER WRITES ON have a farrner's market, a community ARCHITECTURE. PLANNING, ANO OESIGN ANO garden, and a 1ocal-produce restaurant 1S ANENTHUS1ASTIC PATRONOF HIS LOCAL hardly demands the invo1vement and GREENMARKE T.
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Nea 广
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BY DAN IEL JDST, ASLA
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After two decades of practicing in ARIZON A, _ Christine Ten Eyck , FASLA, moved back to 。 TEXAS to start a second office. Ten Eyck and her principals talk about her efforts to work in two places at once.
LAND5CAPE ARCH lTECTURE MAGAZINE FEB 201 1 189
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~RAINS~OR_MIN~ Chr1 stme Ten Evck , FA5LA , far r1 gh t , cOl1sults wlth some of the staff m rer PhoenJx oftice (Clockwlse from Ten Eyck Todd Brlggs, ASLA , Mlke Chapmôn , Rcge俨 Socha， ASlA, and Judeen Ter陀y， A5LA)
2SCULPTURE One come俨 of the ofñce holds a weathe陀d steel sculptu陀 by t卜E PhoenJ x artlst Garv 8eals 3 ARCHIVES Most of the proJecls comp)eted at the Ph巳en1X oftice over the yea陀 were l口cated 111 Ar1zona
。4
MASCOT Ten Evck's dog, OalSY, IS ô constant presence at he俨 Austm 口ftice WhlCh IS 1口cated m a sman bullomg behmo her house
5 DEMONSTRATION GARDEN One 01 Ten Eyck's ñrst p叫ects m Austm WôS he俨 own gônden, WhlCh shows her deslg们 appr口ac卡 to new cl1 ents IMAGE CREDITS DaV1d Ome俨
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says Christine E. Ten Eyck, FASLA , the founder of Ten Eyck Landscape Architects. "We lived in Calgary. We lived in Seattle. We lived all over Texas." Ten Eyck and I are sitting at the confer、ence table in her office , a one-room building surrounded by gardens behind her house in Austin. In May 2007, she picked up everything and moved to this place in the Texas Hill Country-l ,OOO miles from Phoenix, where she had spent most of her career. UI had started doing work in Texas and, you know, it just made me homesick," Ten Eyck explains. "A lot ofit had to do with wanting to be near my farni1y. My mother and father are ge时ng01d. Some of it was I just wanted to be around some trees, some big trees." The fina1 spark came in the summer of 2006. "We come to the Hill Country for family reunions eve巧 summer，" Ten Eyck says. UTh is one summer 1 talked my husband, Gary, into staying here a few extra days. We looked at houses and neighborhoods...and we found 由is place...由is studio. UGary said, 'You know it' s just totally crazy for us to move. We're entrenched in Phoeni凡' UTwo and a ha1f weeks 1ater it' s a Saturday morning and I'm ftipping through [出e channels on) my high definition TV, and 1 said, 'Oh my God! It' s on TV! The studio! ]t's on TV!' It was a station called Gallery HD, and they did an interview with the artist who lived here. What are the chances? I'm telling you, it was a sign from God."
Ten Eyck's Texas roots are evident in her voice. She graduated from Texas Tech University in 1981 and spent the 自rst five years ofher career in Dallas , working for James La mbert and As sociates and Naud Burnett and Partners. She 1eft for Phoenix in 1986 , inspired by a rafting trip down the Colorado River. Ten Eyck describes 也at trip as "a religious experience." She had never seen such amazing natural scenery, and she began app1ying to firrns in Arizona just to be a part of it. In Phoenix, Ten Eyck moved around a 10t during her first 先w years- stalting out at the P1anning Center, a p1anning and urban design 且rm， then accepting an offer to work with Steve Ma此ino， FASLA, then Carol Shu1er, ASLA. With Martino and Shu1er, Ten
Eyck 1earned how to use native Sonoran p1ants to create 1andscapes that are less water-intensive butstiH green and lush, an area where Martino and Shuler were pioneers. 刀le Sonoran Desert is the most 1uscious desert in the world, says Ten Eyck, butyou'd never 1.ωowit by hanging out in Phoenix or Tucson. Ten Eyck has spent most of her career trying to change th剖， project by project- an effort that is st山 very much ongoing. Eventually, Ten Eyck returned to the P1anning Center, where she spent the next six years. The owners lived in Newport Beach, California, so "it was sort oflike running your own firm," she says. Th e 10cal staff did most of its own marketing, and she began to develop relationships with clients. It was at the Planning Center in the early 1990S that Ten Eyck first received national recognition. Her design for the Frieder Residence, with its swimming pool surrounded by Sonoran natives, appeared on the cover of Garden Dιsign. "1 think doing residential work in combination with public work has been a good way to get press and get my name out there," Ten Eyck explains. uThe magazines like to show homes, and having something in those magazines occasionally helps give you a little credibility." In 1995 , she decided to go out on her own. Initially, she partnered with Kristina Floor, FASLA, which allowed them to share office space and equipment, but the two parted ways in 1997. Floor went on to found F100r As sociates (now JJR Fl∞r) ， and Ten Eyck founded Ten Eyck Landscape Architects. Over the next decade, as Phoenix's rea1 estate market boomed, Ten Eyck Landscape Architects grew to a 13-person operation.ηle firm worked on many different types of projects , including parks, hotels , colleges , subdivisions, private estates , botanica1 gardens , and healing gardens. Much ofthe 且rm's work was done on shoeshing budgets. "You'd 也ink in Arizona we' d have stone, but we hardly ever have the budget for any kind of stone," explains Ten Eyck. "More likely than not, you can't have rich materials, you can't have any wa恼， yo∞ u can't have an州1Ín 吨 1鸣 g 设由la 凶 at 陀 req 伊 ui出肥 res an 町 yma 刽in配nanιαE 巳. People are so used to not seeing landscape 阳出ey really don't expect it." Many times, merely getting a developer to consider desert natives orto 附 concrete with a natural finish ra阳 than stucco felt like a 一头
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Its Salto RIO SALADO PROJECTS , PHOENIX [1998-2007 , NOT COMPLETEI 一 Foryears，仕le Salt River, which runs through Phoenix, was more of a scar than an asset. Though the river gave life to the city, it had come to be surrounded by junk piles, landfills, and gravel yards, which divided the more well-off areas of townωthe north from the poorer areas to the south. In the late 199os, planning was under way to restore the river, and the city hired Ten Eyck Lan也cape Architects to design a series ofgateways where Central Avenue passed over it. ηle gateways would act as a landrnark for those walking along the river.
Ten Eyck Landscape Architects came up with a concept for raised mounds, meant to recall the platform mounds created at Pueblo Grande by the Hohokam people. Atop these mounds, Ten Eyck irnagined shade structures, inspired by the ftumes of the neighboring gravel operations, with V-shaped roofs that harvest water. Stormwater and excess irrigation water are captured in "vegetated canals" that are also fed by groundwater pumped from below. ηlese canals α'eate habitat 由at resembles the seeps 也at might be found along the river were it not damr口ed. "The theory is to take the fìrst layer [ofgroundwater), which is qui怆 polluted because we have landfìlls in there, polish itwith our habitat, and what's not usedgoes back into the ground much cleaner," says Christine Ten Eyck, FASLA. 咀le 位m also came up 响也 a plan for reusing pieces of concrete dumped in the riverbed for seating. 升le gateway project is being phased and is only partially complete.
\ 1 SHADE STRUCTURE The roof of this shade structure captures 俨ainwater、 a nd directs it into planted ar、eas. 2
CONCEPTUAL PLAN Ten Eycl::'s concept for gateways on each side of the Ri口 Salad口， inspired by the mounds 口f the Hohokam people. is only pa叫ially complete
3 RESTORATION Ten Eyck Landscape Architects served 口n a team to restor宅 five miles al口ng the Ri口 Salad口， which once 1口口ked more lil::e a ditch 俨unnmg through a dump
ln a related project, Ten Eyck Landscape Architects worked for the of Engineers as part of a large team of scientists and engineers to help restore fìve rniles ofthe southern riverbank, from 24th Street to I9th Avenue.ηle 民rm focused on providing public amenities such as trails, overlooks , gateways, plazas, parking areas, seating, and shade s位uctures. They also collaborated on the efforts to restore na b.ve speCles. 。 ArmyCo甲s
project Credits CllENT CllY OF PHOENIX.LANOSCAPEARCHITECTTEN EYCK LANOSCAPE ARCHITECTS. PHOENIX. ARCHITECTS ORCUTTIWINSLOW. PHOENIX. ARTIST TOM STRICH ARTIS飞 PHOENIX. CONTRACTOR (CONCRETEHAR口SCAPE AN 0 LAN 口SCAPE) CllY OFPHOENIX
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THIS PAGE This sma l1 a俨ea at Ten Eyck LanåS;CðpeA俨chitects' Phoeni)c otfice depa r、ts 仲。m the fi 俨m's typically Iush , 9俨een planti ng style , Ten Eyck continues to d沪aw c口nceptual desígns by ha nd. in set. OPPOSITE PAGE J口anne Oaugherty， 而dd
8付ggs， ASLA , and Jeramy Beals worlc tn Ten Eyck飞 open format Phoenix offtce
IMAGE CREDIT Oalfid Omer‘
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major victory. uI always say to everyone 1 work with- and maybe this 币le biannual trips were short but packed with activities. For the trip is just a j us凶cation-it's not the people who think j山t like us 也at toNewY。此 they took a red叮e Th ursday night, then walked around need us," says Ten Eydι"We need to be worlcing with the worst of 也e city a1l day Friday and Saturday, retumi吨。n 由 late flight that the worst, to bring them to the other side." evening. Socha says that traveling wi也 other landscape architects is extremely valuable because it allows you to look at things a lot more _ Ten Eyck's office in Phoenixhas an open foηnat， and a1though certain deeply than you co叫 d on a fami与 vacation. τ 刊 h阳 创 e r陀e的 ha 挝td 世 eta注山盯!" he 田plains. 寸 f 1 mentioned those sorts of 出 mgs to my people on the staffhave different strengths， 也ereisnos甘ict division of t也 labor. "τhere's not a lot ofthe bureaucratic nonsense that' s assoàated wife, she'd just roll her eyes." with other opera挝0邸，" says Roger Socha, ASLA, who has practiced there for nearly six ye盯S. Socha worked for a large landscape arcru- The trip to Portland, where they saw Tanner Springs Park and tecture and planning firrn, "and they had layers and layers- the tech some of the city's experiments with green streets, was probably team, the research team, the financia1 team, the human resωO旧C臼es the most valuable to their p1'ac位ce， Ten Eyck says. At the time, t挝 eam，"hes曰 ay 严s theywere tr归ng to advocate for green streets in Phoenix. "We got , imp 归 or 血 阳 u 川 nt ω 也 oma 剧 尬 ki 缸鸣 d n1丐 gt由 heb 忱 es刽tp 严 r叫咐 仅ct." e 刨 huge resistance," Ten Eyck says. But she was able to persuade the city to create bioswales filled with native vegetation on two blocks Judeen Terrey, ASLA, an eight-yearveteran ofthe firrn who has prac- near Arizona State's Downtown Phoenix campus. "After years of ticed in Ph优nix for 22 years，榕的 Terrey says it also helps to have seeing trees not watered in Phoenix, seeing that little canal and a landscape architect in control of the purse sb.ings who 1'ea1ly cares the trees getting to soak it all up was just the most wonderful about the work she is putting out. "Christy is rea1ly a perfectionist," she thing ," she recalls. says. "She'll go 仕le extra distanceωmake sure a project is correct"We're a1ways 仕ying toαeate these little gerns of water, 0 1' even 也e correct for a place." memory ofwater," Ten Eyck says. The fìrm has been grea t1y inspired An essen出1 partof由e 如m's practice is hanging out on the让 sites by the region' s natu 1'al aηoyos ， where water is not always visible but bo出 before the des电n and after construction.η1Îs has been one ofthe its seasona1 p 1'e sence is ma 1'ked by lushe 1' vegetation. luxuries of doing most of their work in Arizona, where much of the development is clustered around a few à挝es. "We always stay involved Ten Eyck 由lagines vest pocket parks throughout the Southwest, a食er a proj ect's built, because we can't get any g∞d photography the with concave gardens mimicking arroyos , watered by air condiyear it' s bui1 t," Ten Eyck says 丘ank1y.ηleyalso take away lessons about tioners. A single building can create thousands of gallons of how people are using the spaces, where they are ga由ering， and how condensate a day, which usually goes down the drain. When the condensate is released, it often disrupts the natural ecosystem, various materials are hol也19 叩· altering its hydrology and creating habitat for invasive species. 古le firrn's research is not limited to Phoenix. u Wh en times were Ten Eyck Landscape Architects put 出挝、uilding sweat"(as Ten good, 1 would take us a1l on trips," says Ten Eyck. "We've been to Los Eyck likes to call it) to use in its ASLA award-winning design for Angeles, Portland, NewYork, Aus防1.. ..ηle fìrm paid for everything." the Underwood Garden in Tucson (See "Drowning in the Desert," Shesayswo灿g with Will Br叫er， anarchitectin Phoenix，始u阱ther January 2010). To句， she's working on a similar project at the the va1ue of team building and celebrating every little success. University ofTexas at Austin.
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1 FIRE PIT A slIrple nr它口It SLr、rounded by Çl romte boulders 1口口~s OS If It wer曹 cr飞~oted Ir 0 r !(.Itu俨ιl deserl oreo , however, the o r它o WOS ûctuollv 0 PQ俨klrQ lot befor、l' tre recerct r它novotJcns 2 GABION WALL A Qðblcr wc l] flle口W1 th crQrlte 俨Cl<S IS opol、C 附d bV plpes trQt n.n t l'rcLÇt itS certer、
3 RAINWATER COLLECTION A founto Jn C口llects raJnwater from the roof 01 lhe odJOcenl struclur飞E when 11 rolns, chonnehng 口verfl口w 10 (.1 surker qùrden 4 PLAN =cr ccnceptLal draWl rgs, er tVc. k tv口'cclly Lses cr brcwn cr己tt Pεper ~r!!;rrocclc俨 perol
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THE CAPRI J MARFA J TEXAS 辞-
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Capri is a lounge and event space on the main road through developed by the owners of theηlUnderb让d Hotel across the street.白lere are plans to use 此 as that hotel's check-in area. Ma巾， T阻挡，
Marfa is a small town with only a couple thousand people, but it has an outsized reputation as a place for art and culture. The late Donald Judd, a minimalist sculptor, settled here in the 1970s, and the foundation he established continues to attract artists to the area. ηle
area surrounding Marfa is also known for some of the most beautiful blue gramma and sideoats gramma grasslands anywhere, says Christine Ten Eyck, FASLA, and the goal ofher work at the Capri was to bring some of 出at feel into the town itse!f, where crape myrtles and roses are much more common. ηle site was originallyan asphalt parking lot, where water would puddle after a storm. But today, the "beer garden" Ten Eyck designed looks like it was carefully cut out of the existing desert. Simple fire pits are surrounded by bo由 rustic and modern seating. Ten Eyck's design snaps up much of what little moisture the site gets. Water from the roof of the b u.ilding is fed to a simple concrete fountain recalling a horse trough , which overfiows into a sunken "arroyo" that will 的d a proposed orchard. Surrounding it all are gabion basket walls, filled with granite from a nearby quarry, that provide a backdrop for outdoor events. ηle
design has yet to be fully 町lplemented. An organic garden is to go next to an outdoor dining area, and there is also talk of a living wall. But the space is already being used for events, including weddings and a Sonic Youth concert. Last Christrnas，由e landscape was the backdrop for a spread in Neiman Marcus's catalog. "Nobody would know it," says Ten Eyck. "They didn't say it was taken at the Capri or anything, but 1 got a kick out of it." 0 口'
Project Credits CUENT MARFA J OY.
LAN 口 SCAPE
ARCHITECT TE N EYCK LAN OSCAPE ARCHITE CTS,
AUSTIN , TEXAS. ARCHITECT LAKE IFLATO
ARCH口 E CTS ，
SAN ANTONIO.
IRRIGA'πON
OESIGN HINES IRRI GATION , PHOENIX , STRUCTURAL ENGINEER C8H CONSULTING ENGINEERING, INC. , PHOENIX. GENERAL CONTRACTOR SCOTT WILLIAMS , ALPINE , TEXAS. LANOSCAPE CONTRACTOR TOM ' S TREE PLACE , LUBBOCK, TEXAS.
运- In the mid-2oo0S，灿 Harris，四川itect with LakelFlato in San Antonio, was I∞灿tg for a landscape archit，民:t who knew desert flora. He asked Frederick R. Steiner, FASLA，也e dean of the School of ArC}对tecture at the University ofT，四as at Austin, ifhe knew anybody.
"1 was one of the names he gave," says Ten Eyck, and she and Harris started wor阳19 on some ranches near Van Hom 皿d Marfa, Texas.
"Jt's beautiful out there!" says Ten Eyck. "Marfà. has a rrùx of some ofthe plants we used in Phoenix and some ofthe plants 1 remember using in Dallas. I t's fun to work in these regions that are stiU in 由e same general zone but have these differences. You see how it all fits ωge由er--dryness versus h山田dity， gravelly soils versωclay毛y soils. You start to see pa忧e口15." Ten Eyck's move to Austin was very gradual. For a while, she still had her house in Arizona. She spent Monday through Th ursday in Ph优nix and Friday through Sunday in Austin. U四at lasted about a month," says Ten Eyck. She realized that scl1edule didn't give her any timeωnetwork or build new relationships in Austin. For the next year, she altemated her work weeks, goingωPh优nix five days and sta归19 in Austin nine days. Uτben 1started going for one week everγ 由 ree weeks," she 四plains. 呗fhat happens now, this surnmer, is, I've gotten enough work here 也at 1 can't just pick up and leave and go to Ph优nix." But she's still ft泸rtg out there about once a month ω meet 明白 clients， ωmake sure every也ing is running smoo thJ y, and to participa忧 in design charrettes. With modern technology, it isn't always necessary for Ten Eyck to be in Phoenix to stay involved in the work there. "We still have our office meetings every Monday moming where we line up our work for the week," says Ten Eyck. Today，也町're just over the intercom.
9日/ LANDSCAPE ARCH lT ECTURE MAGAZINE FEB 2011
Her phone system is d让ectly connected t。由 Phoenix office, so all she has to do is press a button to reach the staffthere. Big color scanners at each office allow the designers to send conceptual drawings back and forth much more easily than the fax machines ofyesteryear (由ey still do much oftheir conceptual work by hand at both offices) , and the Austin office has access to the server at the Ar izona office so they can share construction drawings. Ten Eyck alsoωes S均pe. "At 且rst [not ha札ng Christy in the office] was a lit~e different, a li时e odd," says Todd Briggs, ASLA, who joined the fì.rm straight out of college IO years ago. "But it seems W<e a g∞dmov←-good for her and good for us." lt has allowed a number of Ten Eyck's veteran employees to spread 也e让 wings， take on leadership roles, and b山ld stronger relationships with their clients. Briggs says that he often interviewed for projects with Ten Eyck before she moved ωAus恤， but "going on an interview alone was probably something we di，也l't do before her departure."
Some clients were initially a li扰le concemed, as rurnors swirled that Ten Eyck was dosing her fì.rm. "We had to let clients know that it would st山 be business as usual,n Bri部s says. Uηle same people you've been worldng with all these years are s创1 here." But he says 由atthemove hasn't really affected any client relationships in 也e long run. Uηlere were some that were insistent on having her at presentations, but 址lat was kind ofthe exception," he says. And over tlle past few years，址lat has changed, too, as these clients become more comfo血bleworking with Briggs, Terrey, Socha, and the other Phoenix staff. 节le Southwest was showing signs of weakness long before the recessionh放出.e rest of the nation. By May 20町， when Ten Eyck moved to Austin, the housing bubble was already popping in Arizona and Nevada, but Ten Eyck's fÌrm was shielded 丘om some of the worst d仅ts， at least ini挝.ally， thanks ωits diversity of project types. 飞。07 and 2008 were some of our best year乱"Ten Eycl< 四pl幻ns . Butdivers凶cation could not shield the firm from a nationwide recession. "1 tend to get lost in my own world of deadlines," says Ten Eyck "All of a sudden it was January 2009, and it was W<e damn! We don't have anything to do!
"1 hung on to eve巧body through 2009, but 1 had to let a 岳wpeople go in early 2010. Really, 1 should have ~aid them 0町 earlier. We had a horrible year fì. nancially, and it was only because 1 had some cash reserves from 2008 that 1 made it through. Even at the end of 2009 , 1 gave people bonus战 beω优 like 1 said，附 still had some of tllose reserves."
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HEALING GARDEN AT SCOTTSDALE HEALTHCARE THOMPSON PEAK HOSPITAL J SCOTTSDALE J ARIZONA 一 ηle
courtyard at this community hospital was once separated 丘om by a drab corridor, and few patients or staff were able to 6φerience it. Few would have wanted ωanyway， given its barren appearance- lots of decomposed granite mulch and only a few shrubs. When funding became available to redesign 出ecou时yard， the hospital chose Ten Eyck Landscape Architects, who collaborated with architects at Gensler to improve its connection to the interior space. Gensler opened up 出e fl.oor plan inside the hospital and replaced the wall next to 仕le courtyard with fl.oor-to-ceiling glass windows and doors that invite people into the garden. Patients and their families in 也e waiting area and people in the food court now have relaxing views out into a garden. l也 lobby
ηle
new inìerior and exìerior areas share cerìain maìerials, including naturallimestone, beach pebble paving, and a dropped wood ceiling. Scrims created with strips of translucent yellow Acrylite divide and accent both interior and exterior spaces. "The client wanted different places for people to hang out, so it didn't feellike one big space," says Christine Ten Eyck, FASLA. At night, the scrim in the garden is lit up like a luminaria. ηle
garden provides quiet seating areas with movable furniture shaded by palo blancos (Aωcia wiUardiana). 币lÍs Sonoran Desert native has evergreen leaves and a weeping forrn. "They're great," says Ten Eyck. "They allow the light in in the winter and they have that beautiful peeling bark." Gnarly desert ironwoods (Olne阴阳ota)， salvaged 丘om sites facing developme时， were also planted, along with a variety oflower-growing species 四ch as Agave desmettíα则， Russelia ιqμi叫formis， and the Mexican honeysuckle (]usticia spicigera).
~-
ηle
garden is still quite young.ηle plantings will eventually be much lusher, and the designers hope to attract birds and butterfl.ies into the space. 。
Project Credits CLIENT S COTTSOAlE HEAlTHCARE. LANOSCAPE ARCHITECT!PRIME TEN EYCK LANOSCAPE ARCH ITECTS , PHOE NIX. ARCHITECT GENSl ER , PHOENIX. STRUCTURAL ENGINEER RU OOW + BERRY INC . STRUCTURAl ENGINEERING , S COTTSOAl E, ARI ZONA IRRIGATION HI NES IR RIGATION, PHOENI X
← T。但y the Phoenix office has fallen to six pe价"It still hu白白at She soon found herselfbusier than ever. "ηle thing about working they're gone, and I'm tr机ng to bring at least one of the people back, in Texas is it's like working in five different states," says Ten Eyd<. "If but Phoenix is not in great shape," Ten Eyd< said last f油. "Our office 1 need to go dow口 to my ranch project, that's a 也ree-hour 由ive." 1t is doing okay; we're doing a lot better than last year. I' m just hopi鸣 takes her seven hours to drive to Mar毡， so a trip there is a three-day it will maintain." commitment. This made it essential to get someone local who could answer the phone, go to meetings, or oversee construction ifTen Eyck τbe Phoenix office is working on spring training facilities for the was out oftown. Arizona Diamondbacks and the Colorado Rockies , some new Mormon temples, and a few private residences. Last year, car口pus Her first employee in A出tin was right out ofschool, and that didn't work accounted for about 巧 percent of the firm's projec眩， Ten Eyck work out "1 was traveling a lot and leaving him here to work on these es恤nates. Other public work accounted for 25 percent, health care 20 projects all by himself." says Ten Eyck. He didn't have anyone else percent, and the rest was split ev'臼ùy among commercial, residential, m 也e office to answer his questions. Over the past year and a hal f. andparks. 汀'm doing more residen出1 now than 1was," Ten Eyck says. she' s taken on two new employees in Austin. Expanding her Austin Private estate work, which is more plentiful in Texas than Arizona, office was a tough decision, given 吐le weak economy and the layo能 has replaced some of the 曲m's larger development work.吗1e had 出at were necessa巧 at her Phoenix office, but with more and more several condominium p叫 ects and three hotels that wereωtally put work based in Texas, it was essential, she says. Terrey reiterated as much during our interview. on hold," she recalls. The recession has taught the firm 仕le value of forecasting. 切e didn't do forecasting back then," she says. "We didn't need to. We coul由此 get projects done fast enough, and then one day in 200 9 ， 仕le phone stopped ringing." Today, the office's designers are thinking six months ahead.
That's not to say that Ten Eyck wasn't always a little conservative when it came to hiring. The Austin office was initially only one person: Ten Eyck. She tried ωpersuade some employees in Arizona to relocate, but no one jumped.τbey were all deeply rooted in Phoenix. And Ten Eyck resisted hiring another midlevel person at first, not knowing her prospects. "ltwas this greatventure into the unlmown," Ten Eyck says. "But 1knew 1 had my Phoenix office 1could draw upon."
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/ LA NOSCAPE ARCHITECTURE MAGAZINE FEB 2011
Even with the e叩ansion of the Aus伽1 office, some work still flows offices. "We all act as an office together, even though there are two locations," says Ten Eyck. "Sometimes，也ey grab us if they have a tight deadline. Today, we had to get Todd [Briggs] to do somede阳ling on Parldand Ho叩i时"
between 由e two
Two decades after Ten Eyck left Dallas, she is working on one of its mostprominentprojects, the $1.6 billion Parklmd Hospital reloc础。n. The project is being completed in partnership 飞mth MESA, a landscape architecture and planning firm that shar臼 many ofher philosophies. Wh ile the budget may be bigger, some of the struggles are farn山ar. "On 吐出 hospital， I've been aoωedof'阳dy sustainab山市"TenEyck
。 THIS PAGE Today, Ten Eyck spends most of her tíme in the Texas office but remains 10 close contact With her Phoem)( office by phone and e-mail, aod v1 sits about once a month OPPOSITE PAGE Ten Eyck t俨ansmits d俨'awings nke this one , left. between the offices, usingla俨ge (0俨mat c口10俨
scanners. 8ir由 splash in the fountaìn at Ten Eyck's Aus~n oJtìce, 俨ight， IMAGE CREOITS Oa Vid Omel"
says. "1found out there's a r.四son why there's no blackland prairie left in the Dallas area-…because they don't like it 哑1e' s t:rying ωmakeit look like a vaαnt lot!'" she says in mock indi伊atio且 ButTen Eyck is dearly honored by 由eoppo忧unity to be involved and is 1∞kingω makethem臼tofit "It'sgoing to bea reaJ changefrom whatthey have now," she says. "fThe current structure] has been built up over time. 1自 由rkand 也时ι There's very li时egr'民n 皿dnoped回国an space at all.... We're goingωhave lots of native plants. We just can't use the word bioswaJe anymore 肌d 明 can'tsaythe pwm在一prairie，" shewhis严rs. Ten Eyck hopes her example will inspire others. As our interview draws ω a dose, 1 ask if she has anything else to add. "1 didn't win any student awa rds," she says. "1didn'tgo to a fancyschool. We don' t work in a fancy part of the co旧l町， but 1 think it's s挝II possible to do things 也at are meaningft且， even if 出ey aren't these big-budget projects. lf you have the passion for what you do, you can make a difl泣ence， no ma忧er how big the oflìce or what the situation. You don't aJways have to have gone to Harvard." 0
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THE ARTFUL GARDEN: CREATIVE IN5PIRATION FOR LAND5CAPE DE5IGN , by James van Sweden , FASLA, and Tom Christopher: New York: Random House. 2011 : 189 pages , $40 The cellist Yo -Yo Ma an d the landscape designer Ju lie Moi r M esservy colla bora ted on a Toronto garden based on a 8ach suite. The textile artist Jack Lenor Larsen is also an invetera te garde ner who has found inspiration in a Japanese red maple to design a carpe t. The landscape archi tect James van Sweden. in his new book with Tom Christo pher. talks with these and other artists about t he dialogue between gardening and other fine arts. A design by his own firm. Oehme , van Sweden & Associates , for the roof of a power plant in Washington. D.C.lshownl. was inspired bya Helen Frankenthaler painting. IMAGE CREOIT Roqe俨
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A LAND5CAPE ENCOUNTER PROVOKED TIMOTHY HUR5LEY TO CON5IDER THE WAY WE 5EE THING5 . RY KF \i N SI 户AI .J. ASIA
The photographer Timothy Hursley has spent 16 years in Hale County, Alabama , documenting the work of the Mississippi architect Samuel Mockbee and his Rural Studio Project. On a trip four years ago, Hursley spo 时d something intriguing in the distance. "At first 1 couldn't tell what it was ," he says. "It came out of the woods like some kind of machine from War ofthe Worlds." Looking closer, he realized it was a damaged grain silo. He found out that it had been bent by a hurricane-spawned tornado two decades earlier. "Wh en 1 learned from the landowner that's what happened , it became mythic to me," Hursley says. "More than just another object to see and photograph." After shooting it periodically over three years , Hursley took a remarkable next step. He bought the silo. Now 1隙's 咄 inki 吨 about moving it around-from one place to another," he says. Th is could be done with Photoshop, of course , but the thought of physically moving it from Hale County to other faraway landscapes raises interesting questions about the nature of art, landscape, representation, and even sustainability. If the silo is placed near the U.S. Capitol it could be seen as a statement about the failures of federal farm policies. Is it fine art or forgotten ductwork if placed in the former turbine hall of London's Tate Modern? In China , people might see it as a symbol of America's industrial decline. Hursley has made no specific plans for the silo, although he has a three-year deadline to remove it from its current location. But if he does decide to take it on tour, landscape architecture should take notice. He neither made the object nor is making any alterations- he simply 、ncountered and saw it"- but by moving it from one landscape context to another, artistic production is replaced by a kind of discovery that leaves the intention and interpretation entirely up to the observer and the inferences suggested by the new context. Given the rising preoccupation with "sustainability," perhaps here is a way to reuse and rearrange oddments that already exist in provocative ways. Making do with wha t' s at hand may become more than another form of bricolage, which is what H ursley is considering, and potentially a new way to see and discover what in the landscape is truly relevant.。 KEVIN 5 LOAN. A5LA . I 5 THE PRINCIPAL OF KEVI N 5 LOAN STUDIO AND A WRITER A ND PROFE550R OF ARCHITECTURE AT THE
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TEXAS AT ARU NGTON. HI5 WORK
HAS APPEARED I N LAM AND OTHER PRO FESSIONAL PUBLICATIONS
LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011 1109
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l WHEN HIDEO SASAKI DESIGNED 丁11 | SEA PINES RESORT | IN SOUTH CAROLINA | HALF A CENTURY AGO | r:1;a"'h\.'~IIIIIIl]reml山1 AHEAD OF HIS TIME. HEWASALSO | ml&øl]-ølIJ5I I
国……二. SEA PINES RESORT ON HILTON HEAD ISLAND , South Carolina, recently celebrated its 50th an-
niversary, which means a lot to our profession not only because it represents a famous early work of Hideo Sasaki but also because it is one of only a few truly time-tested models of environmentally responsible planning. Its setting within the southeastern Low Coun位y holds a lot of history among its picturesque tidal marshes , estuaries, and dense
114 / LAND5CAPE ARCHITECTURE MAGAZINE FE8 20 11
Broad Creek
PRESfR
plantings of magnolia, palmetto, and live oaks dripping with Spanish moss, imagery that has inspired authors and artists for centuries. Master planned in the mid. 1950s, Sea Pines preceded the work of Lawrence Halprin and Charles Moore at Sea Ranch in California by nearly a decade. This was a time when Ameri. can car culture was forever changing the way families vacation. Coastal resort planning typically accommodated vacationers by packing as many of them as possible into high.rise hotels and condos s位ung along the beach with little thought paid to how
that might harm the shoreline or the experience of being there. The planning and design for Sea Pines changed this paradigm and rewrote the rules about resort development. And while it shows the potential of what our profession can achieve , 1 wonder whether, 50 years later, we have the ability to create another such significantly transformative place, when designers are fixated on rating programs like Leadership in Energy and Environmental Design and striving to fulfill their ecological design criteria the way we work crosswords or play Sudoku.
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ABOVE Sea Pl nes Reso内 covers eight square miles on the 组uthern tip 01 H1lton Head Island, Wh1Ch IS located 30 mfles nOl'theast 01 Savannah, Geor91a IMAGE CR EDIT Google 02011 Terra Metncs 。20 10
Sea Pines was the brainchild of the developer Charles Frasier, who is often referred to in hin也ight as a 叽sionary， as he saw potential for a new type of resort on the isolated, eight-square-mile site on the southern end ofHilton Head-one based on a respect for the inherent beauty and ecological integrity of its naturallandscape. In today's world, saturated as it is with references to "ecotourism" and "sustainab过ity，" such an ideal is taken for granted, but at the time it was revolutionary. Frasi町's trailblazing reputation is we l1 deserved, but then he was hardly a one-note environmental ideologue; he was foremost a businessman who figured out that people would pay to immerse themselves in the natural landscape at a resort. He turned to Sasaki, who was then on the design faculty at Harvard and had only recently opened his landscape architecture firm, Sasaki 丁 HE Associates. Sasaki's master plan for Sea Pines clearly re fl. ected his own environmental p rinciples and was nearly universally praised, winning an award for land-use planning from ASLA in 1959 and eventually a Heritage Award for Excellence from the U rban Land 1nstitute in 1994. Since its creation, it is generally recognized as having become a template for most of the high-quality resort communities built in this country.
My interest in Sea Pines extends beyond that of a writer or a landscape architect. My family has had a vacation home there since 1970 , when 1 was four years old, and 1 still visit several times a year. 1 have early memories of a landscape with an exotic wildness that starldy contrasted with my suburban neighborhood upbringing. Exploring the resor t' s beaches and winding bike paths had a huge in fl. uence on me as a kid. 1t was here that 1 learned firsthand about the comple泪ty and fragility of ecosystems and the importance oftreading lightly on the natural wo r1 d. Th is real-life education shaped my value system in relation to the environment and laid the ethical groundwork that would ultimately infl. uence my choice of a career.
DEVELOPER CHARLES FRASIER SAW POTENTIAL FOR A NEW TYPE OF RESORT BASED ON THE ECOLOGICAL INTEGRITY OF THE NATURAL LANDSCAPE.
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The colorful history of the site for Sea Pines can be seen in the preserved rernnants from both a 4 ,000-year-old Native American community and an antebellum plantation. Freed slaves and their descendants were the island's primary residents for nearly a cen tury after the Ci世 War， though Northerners and people on the mainland took lumber and game from the land. Development came knocldng in the mid-20th centu巧， and electricity arrived in 195 1. The first bridge connected the island to the main land five years later.
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LEFT
Generous setbacks trom thesh口陀~ne tor oceantront hOlìes pr它se问'e p1Ctur宅sque V1ews along the beach RIGHT
soltwater marshes permeate the resort and dlsplay a healthy balance betw四n development and the natural enV1 ronlìent Th内\~ng
IMAGE CREDITS νork
Hough. ASLA
Sea Pines was Hilton Head's 自rst major development, and Sasaki's master plan set the standard for all that followed. A quarter ofthe 5,200-acre property was dedicated to open space, with more than 600 acres set aside as protected forest preserve. To keep 出e shoreline views uncluttered, oceanfront homes lay behind generous setbacks from the dunes, tucked into the evergreen landscape, giving everybody great views of the beach. Providing views was one of the plan's innovative concepts , with neighborhoods laid out to ensure a direct visual connection to open space or a body of water. To make inland homes more marketable, they were 0白.en built fronting golf courses , a common planning practice today, but a novel concept at the time. The courses were constructed on less ecologically sensitive sites and irrigated by an intricate system of stormwater-fed lagoons. The distinctive architecture, dubbed the "Sea Pines style," is a mishmash of design influences, from 1960s modern, the Prairie Style, ]apanese architecture, and the Low Coun盯 vernacular 出at permeates nearby Charleston. South Carolina, and Savannah, Georgia. It somehow all works together and is integral to the character of the place. Tree-lined streets meander, in the casual manner of sweeping Olmsted drives , and markedly unlike the typical urban grid that defined most beach communities up until that point. The only formally designed portion ofthe developme时， the Harbour Town marina, with its iconic lighthouse, serves as the heart of the resort and is still bustling with people who live, work, and shop there.
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One of the main reasons for Sea Pines's enduring success is that from the beginning there has been a set of clearly defined pa忧ems and 思lidelines in place that support Frasi町's original vision while leaving little room for future reinte叩 retation. Strict covenants focused on contextual, aesthetic. and environmental requirements specific to the resort. Th ey dictated exterior lighting, signage, tree protection, architectural design, and plantings. Faithful enforcement of these covenants has enabled the community to preserve its original charm. Historic landscapes such as Sea Pines take stewardship over 出e long term to keep their original meaning and , at the same time , remain relevant places. The easiest impulse may be to chalk up the entire life of a work of landscape architecture , its success or failings , to its original designer, but many other aspects affect its evolution. Besides the strong vision of Sasaki and Frasier, there have been generations of people in ownership, management, and maintenance roles who have influenced the quality of Sea Pines. La ndscape architects such as Robert Marvin and Edward Pinckney, FASLA, among others, have also left important marks on its landscape.
LEFT An mnovatíve svster、 o~ Interconnected storrnwater led 1ag口口ns was deslgned to proVl de I厅Igat10n for g01t cou内部 and attrnctlve waterfront 10ts 10俨 homeowners RIGHT OMgína1 homes. deslgned ín the often cOpied "Sea Plnes sty1e." we陀 sca1回 and slted m a manne俨 thatc1ea俨'lv p1Qces the arctntecture 1n a suoo咱nate ro1e to the 1andscape IMAGE CREDITS lv1 ark Hough , ASLA
People today may drive through Sea Pines and ask themselves what all the fuss is about, as it has little of the flash and opulence that resorts typically compete on today. Instead it presents a subtle yet timeless sort of repose that has survived for half a century. Having spent so much time there over 40 years, 1 can see that, through decades of growth, changes in ownership, and design trends, things look remarkably the same as they did in the early years. Th ere are still no traffic lights, and with only a mere handful of streetlights the place is a perfect argument for the dark-sky movement; at night you can find a dense tapes位y of stars you rarely see anymore in most of the places people live. 白le tree line stiU towers above the tallest bu诅ding， and the acreage set aside for preservation remains lush and intac t. The beach, two miles long, is still spectacular in its pristine isolation. An d the wildlife is robust, with the numbers and diversity that are signs of a healthy coastal environment, unlike so many other places we find in peril.
Sea Pines faces distinct challenges , though. Am ong the worst is a recent spate of houses that are too big. These newer houses are either being c1umsily crammed onto sites designed for much smal1er single units, or sprawled across two lots combined into one. In both cases, the maxim that the resort's architecture should blend within the landscape and play a supportive role to the natural environment is being undermined. Th e early buildings are typically modest, one心tory， and relate to the intended scale of the place. It would be foolish and derelict to neglect 由1S pattern. A change in proportion between built form and open space, though not a travesty quite yet, is becoming more apparent and could ultimately alter the resort's character, The original process that shaped Sea Pines worked well b ecause a c1 ient and a consultant shared the motivation to promote an ecologically responsible design approach based on a sound economic model. Respecting the environment became the means to a desired BUIL丁 end, rather than the end in itself. And because there have been quantifiable results 丘om this-a consistently 由riv ing vacation and residential population , and not just pious bragging rights for being "green" -there has been motivation to maintain what has proven financially successful. However, b alancing a need to preserve character with 出e pressure from wealthy consumers who want bigger houses will continue to test Sea Pines's stewardship ethic, because even within the context of the place's rich design heritage, money talks.
A CHANGE IN PROPORTION BETWEEN FORM AND OPEN SPACE COULD ULTIMATELY ALTER THE RESORT'S CHARACTER.
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LEFT The ICO nJChghthouse acts as the centerp1ece for Harbour Town, the commeraal and symbohc heû内 01 the resorl RIGHT StrJCt enforcement of land use covenants has enabled Sea Pmes to pr它se问e the aesthetJ c quahtv and ecol即cal heûlth of Its lðndscape IMAGE CR EOITS IVark Hough, ASLA
Sasaki's work on Sea Pines , which has now eamed its status as a historic landscape, was so ahead of its time 出at it met a need that had not yet been identified. 1t shows an innate understanding of what we now call sustainability. His progressive, enterprising vision contributed a great deal to the profession oflandscape architecture and serves as an important model for us as we grapple with contemporarγissues and challenges.
Even so, 1 am skeptical as to whether another Sea Pines could be created today because of the narrowly focused process landscape architects have attached themselves to in reaching for sustainability. Sasaki and his team were groundbreakers and thus not bound by established or extemally dictated design rules. They weren't handcu ffed by 吐le well.meaning yet restrictive mandates of generic rating systems that have had the unintended and complicated effect of rewarding mediocrity in project design. 1n establishing a baseline of acceptable success achievable by easy grabs among sustainable design options, ecological ratings have anesthetized some of the motivation toward designs that would su叩ass the minimum, in the same way that awarding a point or two for an innovative solution to a specific problem may actually be deterring meaningful innovation on a larger scale. For instance, compensating a site叩eci缸， singlepu甲ose rain garden as a success on its own terms may in turn deincentivize the pursuit of a more comprehensive and beneficial result at the watershed level. Such acceptance of something as being be忧er 由an nothing may eam a plaque for the wall or a pat on the back but will rarely challenge the status quo. 1t takes grand vision and brave leaps of faith by owners and designers to create places such as Sea Pines, not the adherence to accepted criteria and tedious checklists. 0
SASAK I' S WORK ON SEA PINES MET A NEED FOR SUSTAINABILITY THAT HAD NOT YET BEEN IDENTIFIED.
MARKHOUGH , A5LA, 15 CAMPU5 LAND5CAPEARCHITECT AT DUKEUNIVER511Y AND A MEMBER OFTHE LAM EDITORIALADVl50RY COMMITIEE.
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M 肌K /BOOK5
PUBLIC PARK5: THE KEY TO LIVABLE COMMUN I 丁 I E5 BY A L. EXANDER ßARVIN; NEW YORK: W. W. NORTON 8. COMPANY, 2010; 224 PAGES "qO REV:EWED BY L: NDA MC二NTYRE
The urban planner and Yale University adjunct professor Alexander Garvin loves parks. In his handsome and lavishly illustrated new book, Publiι Parks: 刀teKIηω Livable Communiti俗， hetouches on every aspect of parks, including their history, value, design, and governance. He takes the reader through the development of great European parks and promenades such as Regent' s Park in London and the Haussmann boulevards in Paris as well as the birth, decline, and renaissance of iconic Am erican parks such as New York's Central Park and Prospect Park. Al ong the way he shares numerous facts , figures , and anecdotes about both famous and lesser-known parks.
This breadth, however, comes at a cost in depth. Although its publisher describes Public Parks as "the go-to reference for landscape architects, urban planners, architects, civic officials, and citizen activists," readers with any background in park planrung, admirustration, or desi♂lwon't 自 nd much here that is new. Casua1 readers
while he brie fl.y highlights studies that a出mpt to identi鸟/ parks' environmental and financial benefits (出e financial ones being easier to quanti马， in terms of prope向， values and tourism revenue) and sources of revenue to pay for operations and maintenance , he doesn't lay out detailed strategies or show the cons吨uenceswhen the public (or their elected officials) are not easily persuaded. Instead, there are short reports of successful citizen activism, many from the 1970s. The benefits (and, indeed, necessity) of publicprivate partnerships are clearly stated, but too much of the discussion focuses on examples such as the Central Park Conservancy that are well known in the field 扭d o f1 imited applicab山ty to others wrestling with overstretched budgets and tough choices.
The book's recounting of the long-term evolution of Chicago's Lake Michigan waterfront following the visions of Olmsted, the architect and planner Daruel Bumham, and the public-minded tycoon Montgomery Ward is interesting, but in a book intended as a reference for modem practitioners, more emphasis on contemporary issues such as the impact ofMillennium Park {it is discussed in broad 如okes in the same l chapt叫 would probably have been more useful. Garvin underscores the need for public engagement and support, but glosses over conflicts among different groups of users , such as cyc1ists and pedestrians, or people seeking recreation and those looking for peace and quie t.
GARVIN 8ELIEVES THE PUBLIC HAS TO BE "EXPLICITLY CONVINCEDII OF PARKS. VALUE TO THEIR REGION5. might enjoy and leam from accounts 0[, say, Robert Moses's sa叭吵 landacq山sition strategies, or the innovative teamwork among Wι liam H. Whyte, Dan Biederman, Laurie Olin, FASLA, and others who brought Bryant Park back to life. But these stories have been told many times and are well known to the audience for whom this book seems intended.
That' s disappoin恤鸣， especially in light ofGarvin's vast 四perience and knowledge. He served as vice president for planning, desi伊1， and development for the post-9/n Lower Manhattan Development Corporation and managing director of New York City's unsuccessful bid to host the 2012 01ympics, and has worked with park systems throughout the United States. It would have been enlightening to hear more about his views on the peculiar challenges of managing and leveraging public landscapes in this century. In the introduction, Garvin notes that the public has to be "explicitly convinced" of parks' value to their regions to ensure they get the attention and resources required to keep them thriving. But
122/ LAN05CAPE ARCHITECTURE MAGAZINE FEB 2011
Few people anticipated 也e magnitude of the economic crash and its impact on municipal budgets and the slowness of the recovery, and reports from around the coun町 make it cIear that govemments at every level are still struggling to meet these challenges. τhose who, like Garvin, love and va1 ue parks can't afford to dwell too much on history. They need detailed tools and innovative s位ate gies to make sure parks remain vital parts of urban life well into the future. His appreciation and understanding of the importance of Olmsted and his successors in the profession are cIear and impressive, but ifhe had focused more on the lessons ofhis own experience and those ofhis contemporaries，出 is wo u1d have been a more va1uable and interesting book. 0 CONTRIBUTING EO盯OR LINOA MCIN1YRE WR盯E5 FREQUENTLY ABOUT URBAN PARK5 IN LAM.
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M 肌K /BOOK5
LAND5CAPE GARDEN5 ONT 村 E HUD50N: A HI5TORY BY ROBERT M. TOOLE; HENSONVIllE在 NEW YOR l<:: .1 .A DL r f 固莓'.>， ? 1, 192 PAGES, $24.95. ,
REV: EWED BY KAT:E 'CNGE RY PAGE
Two recently published books on the Hudson River Valley present different , but essential , experiences of the American landscape. Robert M. Toole's Landscape Gardens on the Hudson: A History is a nearly encyclopedic volume of great estates on the Hudson River. With twofì叫1 chapters ofhistorical context before the book's focus on 12 estates, Toole's history is an effective primer on English landscape gardening and its in且uence on 19th.century America. Toole's scholarly and richly illustrated volume will please histo. rians and landscape architects alike. 的 contrast，
Steve Gross and Susan Daley's book, Gardιns ofthe Hudson Valley, presents seven of the same estates through color photo essays accompanied by text written by Susan Lowry and Nancy Berner. This coffee.table book includes 25 estates , several with hlstoric importance, others chosen for 出elI current status as lushly landscaped estates in the valley. Daley and Gross's Gm命时， photographed as panoramic spreads and also intimate details, will please designers and connoisseurs seeking visual inspiration, but does not capture the historic depth of the estates. In tandem, the two books complement one another, each an. swering shortfalls of the other. Wh ile Gross and Daley's book contains only briefhistory, its rich photographs encapsulate the genius loci of the Hudson Val1ey through long depth.of.白eldim. ages containing the borrowed scenery that inspired the estates' creators. Toole, on the other hand, writes about the human his. tory of each estate as a museum curator would the provenance of a work of art. Before launching into the history of particular landscape gardens , most of which are given an entire chapter of attention in the book, Toole presents a general map of the region and a detailed map locating each estate, which will help anyone who is unfamiliar with the Hudson River Valley. But in discussing specific estates , Toole disregards their present-day condition. Th is makes Daley and Gross's photo essay a valuable companion to Toole's history, grounding historic description in current reality. Together the two books impress upon the reader the importance of preserving these great places.
GARDEN5 OF T 村 E 抖 UD50N VALLEY PHOTOGRAPHSBYSTEVEGROSS ANO 5USAN OALE飞 TEXT BY SU5AN LOWRY AND NANCY BERNERj NEW YORK:τHE MON~CELU P~ESS. 201D; 224 PAGES, $50.
scape Gardens on the Hudson, Elizabeth Barlow Rogers , Honorary ASLA, refers to Toole's history as "...a feat of garden archaeology, bringing to light 出e many.layered landscape palimpsests" of the region. Toole clearly illustrates the connection between the estates on the Hudson River and America's own brand of romantidsm and picturesque by including images of paintings by Thomas Cole, the founder of the Hudson River School of painters. Toole's thorough written explanation of the picturesque ideal, including source material from 19th.century nurseryman and landscape writer A. J. Downing, will be of broad interest to designers who seek the aesthetic roots of Am erica's urban parks.
But in presenting the physicallandscapes themselves, Toole is less clear. Landscape Gardens on the Hudson would bene自tfrom consistent, analytic diagrams of each estate, instead of the 也 lustrative site plans included in the book. And while the book features gorgeous aerial photographs of each esta栓， topographic relationships remain elusive owing to a lack ofcontour maps and sections. But what the book lacks in diagrams, Toole more than remedies with historic illustrations: original site plans , landscape sketches by period artists, designers' watercolors of proposed mansions, and a generous number of stunning landscape draw. ings by 19th-centu巧 architectural designer A. J. Davis. The annotative prose is at times redundant, but the illustrations , combined with the main body ofToole's writing, show his careful review of historic source materials. Landscapι Gal由ns on the Hudson: A History is the early Ameri. can counte甲art to Peter Walker and Melanie Simo's InvisibLe La ndscapes. Both books render the "invisible" legacy oflandscape "visible." But unlike Walker and Simo's book, Landscape Gardens on the Hudson will frustrate the lay reader-these folks should skip straight to Toole's appendixes, which provide a traveler's guide to the great estates on the Hudson, or pick up Gross and Daley's Garde旧 of the Hudson Valley, which grants easy access to the landscapes. 。 KAηE
Clermo时，
Hyde Park, Blithewood, and O)ana are just a few of the estates the authors include in the two books. In a foreword to Land.
124/ lAN05CAPE ARCHITECTURE MAGAZIN E FEB 2011
KI NGERY-PAGE IS ASSI STA NT PROFESSOR OF LANDSCAPE ARCHITECTURE AT
KANSAS STATE UNlVERSIlY; HER TEACHI NG A ND RES EARCH FOCUS ON THE I NTERSEC.
T10 N OF LAN05CAPE ARCHITECTURE A NO CONTEMPORARY AR T.
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HE 肌K /
DI5PLAY ADVERTI5ER INDEX ADVERTISER American Planning Association And陀ws LeFevre 5tudios Archiped Classics Belden Brick Co. Belgard Hardscapes Berliner Seillabrik Play Equipment Corporation Big Ass Fans Bionova Natural Pools Blue Book Building &Construction Network Bocabolo Brickman Group Classic Recreation Systems, Inc. Columbia Cascade Company Country Casual Deep Fork Tree Farm Delgard Premier Aluminum Fencing DOGIPOT DuMor. lnc Erco GmbH Eurocobble Forms+Surfaces Fountain People, Inc. Global Lighting Gr百enscreen
Haddonstone IUSAI Lt d. Hanover Architectural Products, lnc. Invisible Structures, Inc. Iron Age Designs lronsmith , Inc Kasco Marine , Inc Kenneth Lynch &50ns Keystone Ridge Designs , Inc. Kingsley Bate , Ltd. Kompan Inc Kornegay Desig n LABA5H 2011 Landscape Forms Landscape Structures , Inc. Longshadow Classic Garden Ornaments , Lt d MossAcres Most Dependable Four、tains Mycorrhizal Applications Inc. Oxlord Garden Pavestone Company Peacock Pavers Petersen Concrete Leisure Products Play Mart Playgrounds Poligon, A Product 01PO时erCorp Polly Products , LLC Presto Products , Inc Roman Fountains Royal Botania RUD-Erlau Sitecraft SoISURFACES , Inc. 5u 陀-Loc Aluminum Edging Tensile 5hade Products , LLC Thomas Steele United Construction Products Inc. / Bison Universal Precast Victor 5tanley, Inc.
仍'仍仍仍仍仍仍仍仍仍侈侈侈侈仍仍:
12B / lANDSCAPE ARCHITECTURE MAGAZINE FEB 2011
WEe SITE p恒nning.org
lefeν'restudios.com
archiped. com beldenbrick.com belgard.biz berüner-playequipment. com bigass归nS.com bionovanaturalp∞Is. com
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invisiblestructures.com ironage -online.com ironsmith. biz kascomarine.com klynchandsons.com keystoneridgedesigns.com kingsley由ate.com
kompan.com komegaydes( n.com pUrd，υ e.edu
landscapeforms.com p臼Iylsi.com
longshado w. com 汀)ossacres.co厅}
mostdependable.com mycorrhizae.com oxfordgarden.com pavestone.com peacockpavers.com petersenmfg.com playmart.com poügon.com pollyproducts.com prestogeo.com roπlanfountains.coπ】
royalbotania.com erlau.com sitecraft. com sofsurfaces.com surelocedging.com tensileshadeproducts.com thomas-steele.com bisonDeckSupports.com upcparks.com victorstanley. com
RS# 445 451 200 369 202 368 446 183 366 419 429 49 52 55 302 400 267 63 449 71 325 80 448 90 93 95 108 54 109 433 444 116 303 11 7 118 426 126 127 n/a 21 143 454 155 188 156 158 435 166 40 97 242 73 144 287 394 204 368 235 91 390 222
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GUIDE
THE 肌K /BUYER5 ASSOCIATION/FOUN口ATION
USE THIS INDEX TO FIND THE RIGHT PRODUCT FOR THE JOB AT HAND. FOR FREE PRODUCT INFORMATION , GO TO WWWASLA.ORG/FREEINFO
UGHTING
American Planning Associ atior、
312.786.6374
105
STRUCTURES
I 8 . K Li ghting , lnc
559 ,438.5800
133
I
Classic Recreation Systems , lnc.
928.775.3307
127, 138
C
626.443.2473
133
I
Dalton Pavitions, lnc
800.532.5866
139
ErcoGmbH
.492351 551100
12
I
lcon Shelter Systems lnc.
800.748.0985
138
Globat lighting
914.591.4095
60
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616.399.1963
123, 138
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642.168.5571
134
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ShadeFX Canopies
905.528.4448
139
360.573.6321
134
I
Te阳te
520.903.0414
62
800.735.8927
134
203.929.9444
139
815.664.4900
139
Shade Products , l LC
TECHNOLOGY
口 RAINAGE AN 口 EROSION
800.336.2468
Stabitizer Sotutions , lnc.
130
I
LUMBER/口ECKING/EDGING
ARCAT, lnc.
Sure. LocAluminum Edging
800.787.3562
141
United Construction Products lnc. / Bison
303.892.0400
121 WATER MANAGEMEN T AND A M ENITIES
EDUCATION LA8ASH 201 1
765.494. 1330
Aqua Control Water
143 MEDIA Btue Book Building & Construction Network
FENCES/GATES!WALLS
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888.265.3364
139
Bionova Natural Poots
507.246.6682
62, 139
Fountain People , ln巳
512.392.1155 27, 139, 140
lrrometer Company, lnc
951 .689.1701
140
Kasco Marine , lnc
71 5.241.8227
139
Most Dependable Fountains
800.552.6331
121
Roman Fountai ns
800.794.1801
11
800.547.1940 64, 117, 131
Stone Forest
505.986.8883
132
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800.574. 1076
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415.710.7701
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800.233.1510
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856.663.2900
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11111 t "aE R dmqUSGnt tm n " u u
800.321 .8724
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Ameristar Fence Products
800ι31 .2584
Featu陀s
Atomizing Systems, lnc.
864.627.1092
45
612.670.8 195
134
StormChambers
703.492.0686
140
800.364.7681
127
Water Odyssey
512.392.1 155
140
800ι26.9788
33, 134
800.328.0035
15
800.437.5297
117
59 PAVING!SURFACING!MASONRY STONE!METALS
FURNITURE!SITE AMEN汀IES:
COMMER口AL
Bi g Ass Fans
859.967.01 54
Columbia CascadeCompany
800.547.1940 64 , 117, 131
60
A晶 B Atuminum and Brass Foundry
972. 247.3579
Andr它ws LeFevre Studios
212.667.1445
63
Belder、 BrickCo
330.456.0031
31
Bel gard Hardscapes
877.235.4273
21 , 135
Cemrock landscapes, Inc
520.571 .1999
135
800.458.7668
135
134
Doty & Sons Concrete Products
800.233.3907
131
DuMor , lnc
800.598.4018
47, 131
Forms.Surfaces
800.45 1.0410
7, 130
Haddonstone (USAI Ltd
856.93 1.70 11
37 , 132
Duni sStone
210.452.7061
135
lron Age Designs
206.276.0925
63
Eurocobbte
877.877. 5012
64, 136
Deep Root
Pa叫ners，
L.P.
lronsmith , lnc.
800.338.4766
55
Fibar System / Amdex
800.342.2721
136
Kenneth Lynch & Sons
203.264.2831
62
Hanωer Architectural Products , lnc
800.426.4242
104, 141
Keystone Ri dge Designs , lnc.
724.284.12 13
121
Oly. Ola Edgings , lnc
847.853.9400
136
Kingstey Bate, Ltd
703.361 .7000
39
Pavestone Company
817.481 .5802
136 , C4
Peacock Pavers
251 .368.2072
57
Pine Halt 8rick CO., Inc
336.721.7500
136
p同sto Products, lnc.
920.738. 1336
41
SofSURFACES, Inc.
800.2ω。 2363
104
Stepstone , lnc
310.327.7474
136
Tri. State Stone Co. for Carderock
301 .365.2100
135
127
Unil ock, Ltd
416.646 .5255
137
121
Wausau Tile
800.3凶 8728
137
Zeager Brothers , lnc
800.346.8524
136
Kor negay Design
602.252.6323
35 , 131
Landscape Forms
800.430.6205
2.3 , 9 , 131
Longshadow Classic Garden Ornaments, Ltd.
61 8.893 锦3 1
C2. 1, 131
Madrax
800.448.7931
132
Millstones
404.3 1 0ι490
132
Old Town Fibergtass
714.633.3732
132
Oxlord Garden
502.719.1212
Petersen Conc陀怡 Leisure Products
800.832.7383
Polly Products, l LC
517.649.2243
141
Rubino Sculpture
ω4.409.0日2
132
RUD. Er lau
319.294.0001
51
Sitecraft
800.221 . 1 μ8
25
Thomas Steete
800.448.7931
17
I Archiped Ctassics
214.748.7437
Universal Precast
530.605.2664
43
I Seibert & Rice
973.467.8266
Victor Stanley, lnc
30 1.855.8300
132, C3
I Ter阳cast Products l LC
305.895.7600
Wausau Tile
800.388.8728
137
I PLANTERS/SCULPTURES/GARDEN ACCESSORIES
Trugs
800.542.2282 847.784.6910
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。， 7'7' - 内 肉， J qJ
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1111
GREEN ROOFS/UVING WALLS American Hydrotech, Inc
800.877.6125
133
Greenscreen
800.450.3494
17, 133
IRRIG A'πON
Dig Irrigalion Products
800.322.9146
133
I PLANTS/SOILS/PLANTING MATERIALS I Deep Fork Tree Farm
405.233.2000
63 , 137
J. Frank Schmidt & Son Co.
800.825.8202
138
MossAcres
866.438.6677
127
Mycorrhizal Applications Inc
54 1.476.3985
142
Vitamin lnstitute
800.441.8482
137
LANDSCAPE ARCHITECTURE MAGAZINE FEB 2011 /129
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1 am an out-of-work landscape architect, and have been since Ju1y 2009. 1 used to work for a 白耻rmt白ha剖t has been in the Ralei鸣gh， North Ca创r叶ina， area for more than 35 years. The fìrm is still in business-barely. 1, on the other hand, am not. So what have 1 been doing over the past 18 months? WeU, after sending my résumé to 也e more than 40 landscape architecture firms in the Raleigh area, and after a couple of days relaxing at the neighborhood pool, 1 discovered that 1 was bored. In fact , 1 was so bored 1 started talking to other stay-at-home adults 1 never had the chance to get to know when working. 1
Last February , 1 forced my husband and my dad to help me build raised beds for my backyard and spent a weekend planting seeds with my daughters. We turned my unused drafting table into a mini greenhouse, complete with grow lights , and started peas and zucchinis and tomatoes from seed. When the seedlings were big enough and the weather was warr口 enough， we stuck everything in the raised beds and watched, over the next few months, as insects 1 had never heard of systematically ate the leaves off most of the plants. This called for more cookies and a new lecture series on identi市i吨 insects in the garden. 1 discovered a wonderful book by Douglas Tallamy called Blinging Natμre Home and started organizing yet another a丘:er-schoollecture on why we need to plant things that 础ract bugs so that 也e birds have something to feed their babies. This time 1 made brownies.
1 AM STILL UNEMPLOYED~ BUT NOT OUT OF WORK. I AM NEVER Ä丁 A LOSS TO FIND ANOTHER OUTDOOR PROJECT OR ANOTHER ENVIRONMENTAL CAUSE TO CHAMPION. spent hours ta1king to one neighbor about whether she should install a stone patio or a deck in her backyard. Firs t, we talked construction costs and what a realistic budget would be. We went over the logistics of drainage, as the struc阳re wou1d go next to her koi pond. Then 1went all crazy and showed up at the pool one day with a stack of garden design books. We pored over pictures of stone patios and brick patios. We learned that she had an irrational aversion to the herringbone pattern, but she liked the look of irre凯llar flagstone. Her new patio is gorgeous , though not as big as she had original1y planned because of costs, and it does not drain into the fìsh pond. Since 1 wasn't spending all my time at 出e pool, 1 found other things to occupy my time. 1 spent one afternoon with my 由ugh ter and a bunch ofher Io-year-old friends explaining stormwater. Th ey were actually somewhat interested. We went outside and looked at the curb inlet in front of my house where the water went in. We looked at the 36-inch concrete pipe that daylighted behind my house and dumped that same water into the stream along the back of my property line. We talked about all the yucky stuff that gets washed into the stormwater when it rains , like
144/ LA N0 5CA PE ARCHITECTURE MAGA ZINE FEB 2011
fertilizers and dog poo. Th is partic川ar lecture series also included raiding my pantry for snacks, but to be honest, 1 never go to an education seminar myself unless 1 know there's a free lunch.
Last spring, 1 entered a des电n competition at the Sarah P. Duke Gardens in Durham, North Carolina, with a friend and colleague of mine. We didn't win, but we did get to present our design to a large group of people at a seminar on natural gardening. We had based our design concept on permaculture ideas, and got to spend 45 glorious rninutes talking to a very interested audience about sustainability in the residential landscape. Someone else handled the food this 悦me.
Over this past summer, 1attempted my most ambitious and timeconsuming unemplo归nent project yet: 1 swapped professional services with a local architect. He agreed to design an outdoor classroom structure for my daughters' scho01 and 1 agreed to work up a planting and paving desi伊 for his backyard.ηle result was a set of architectural drawings that is ready to be submitted for a building permit, and one really nice-100king backyard As of this moment, 1 am still unemployed, but not out of work. 1 am never at a loss to fìnd another outdoor proj ect 由at needs completing or another environmental cause to champion while 1 am chatting with 由eo由er moms at the bus stop in the afternoon. 1 have taken all the things that have made me a good landscape architect一-creativ间， ingenuity, cleverness, resourcefulness-and applied them to the other aspects of my life. After all, why did any of us go into this profession in the fìrst place? 1 serious1y doubt it was for the money. Most of us had an insatiable urge to make our environment a better place through design. 1 am still doing 由at. 0 叭10N NE
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