“The future has already arrived, its just not equally distributed yet!” my favourite quotation from my favourite author William Gibson aptly describes this 4K Time-lapse Film by Karl Davies. There are no words or any commentary – see and think for you self what this means!
This article from the Plant Hunter bu Australian Landscape Architect Jon Hazelwood highlights the difficulties of conveying to administrators and developers the value that high impact landscape planting in public spaces is equals or exceeds the value created by conventional, commercially driven, urban upgrading. While the maintenance budget of the New York High Line project of $18 million annually, exceeds the construction value of most project landscape budgets here, the key take how is that planting design in public spaces that has a “WOW” factor , is measurable and “bankable” in terms of foot traffic generated and this information needs to form part of our sales pitch to our clients and to authorities.
Immersive, thoughtful and resilient planting is the unsung hero of some of the world’s most celebrated urban places – a design device/attractor that’s often underused or valued. Using high-intensity, naturalistic planting in a way that connects with people and commands attention, landscape architects can add value to public open spaces beyond the accepted ecological and green infrastructure benefits. How can we, as designers, open eyes and minds to the powerful impact of stunning ‘wild’ urban gardens, and encourage greater buy-in and proliferation?
The misunderstood magic of the High Line
The High Line is an interesting conundrum. Imitations of this most influential and adored landscape project are ubiquitous. But, just like our favourite unknown musician becoming successful, there can be an inevitable backlash; numerous half-baked copies appear, and then we forget what made it great in the first place.
The High Line in New York spends approximately US$18 million annually on the maintenance of the extensive planting along its 2.5 kilometre length, as well as the management and operation of its public activation program.
Speaking with Robert Hammond, the Co-Founder and Executive Director of the High Line, he revealed that their visitor surveys indicate the park’s planting is the number one touchpoint for visitors, with 95% also indicating it as their reason to return. Conversely, 5% of visitors cited the programming as something that left an impression. Overall, the three things that people most wanted more of were planting, art, and programming.
The planting design of Piet Oudolf is rarely cited as a reason why numerous urban landscape design briefs include a precedent picture of the High Line, or why a consultant’s concept design includes a detail of its planting and paving. Preference is usually given to ‘activation’ as an attractor to an urban project – usually through food and beverage and occasionally via event spaces for pop-ups – ahead of planting.
Oudolf knows better, summing it up in the 2015 book he co-authored with Noel Kingsbury, titled Hummello: A Journey Through a Plantsman’s Life: “The group of tourists looks out over the city. One takes a photograph while others point to something in the cityscape. The view down the street from two stories high, however, soon exhausts their interest and they move on. Just a few feet later, something else seizes the attention of one of the members of the group – a flower in front of her. Soon everyone is photographing it. Progress along the elevated walkway keeps being delayed by plants, which attract their attention again and again.”
Of course, $18 million is at the high end of the scale for maintenance and we cannot expect budgets like this to be the norm for all public planting. The work of practitioners such as Nigel Dunnett in the UK, however, has demonstrably shown the increased footfall and dwell time achieved in high impact planting projects such as The Barbican in London, or Grey to Green in Sheffield – both of which have been achieved on local government budgets and maintenance regimes.
Unfortunately, proposing large expanses of planting on a public project, to the point where it becomes truly immersive and engaging, is a hard sell. Australian lifestyle programs such as Gardening Australia and Dream Gardens, are incredibly popular, as are exhibitions such as the Melbourne International Flower and Garden Show. We easily accept the idea of ‘the garden’ within our own fence lines, but unfortunately, too often the concept doesn’t extend into the public open spaces of our cities – instead we have acres of lomandra and Philodendron ‘Xanadu’.
‘Plant blindness’ is a term coined twenty years ago by Elisabeth Schussler and James Wandersee, botanists from the United States. They refer to “the inability to see or notice the plants in one’s own environment,” which leads to “the inability to recognise the importance of plants in the biosphere and in human affairs.” Plant blindness also comprises an “inability to appreciate the aesthetic and unique biological features” of plants and “the misguided, anthropocentric ranking of plants as inferior to animals, leading to the erroneous conclusion that they are unworthy of human consideration.”
Further research into plant blindness shows a demonstrable preference among children for images of fauna versus flora. This is for a variety of reasons, including the lack of a face, movement, colour variety and – with increased urban living – a lack of physical connection with plants.
Why is something as beautiful as a colourful, densely-planted garden in the city such a hard sell?JON HAZELWOOD
As landscape architects, we instinctively know that greater density of tree plantings and more green, open space is a good thing for cities. Cities create iterations of ‘green grids’ and x-million tree programs, but if city residents aren’t engaged and overjoyed with this planting – enough to become champions and stewards of their city’s flora – then these initiatives stall when it comes to implementation.
There are reams of quantitative research into the environmental benefits of city greening and tree canopy expansion, but less so on the value of our emotional responses to it. We need to arm ourselves with evidence of the ‘wow factor’, the excitement and engagement created through immersive planting schemes (and the inevitable ‘Instagram moments’ that come with it) to ensure buy-in from city-shapers and makers.
Immersive urban gardens – A new floral frontier
In January of 2019, the Victorian Government announced HASSELL and New York based architects SO-IL as the designers of the new public realm and landscape for Australia’s Melbourne Arts Precinct Transformation. The project will deliver around 20,000 sqm of public open space, stitching together the National Gallery of Victoria, the Arts Centre Melbourne, and a number of new cultural buildings. The design proposal is simple and clear – fill the space with plants and then carve out the various ancillary, performance and movement spaces. But, the planting will be of a scale and complexity previously unseen in Australian cities, and will be designed in collaboration with world-renowned horticulturalists James Hitchmough and Nigel Dunnett from the University of Sheffield.
Professors Hitchmough and Dunnett are world leaders in creating ‘high impact, low input’ urban planting proposals – a body of work that’s often referred to as ‘The Sheffield School of Planting’. Much of their research centres on the emotional responses to this style of planting, which takes its cues from spectacles in nature, such as a Californian super bloom or kilometres of fox tail lilies (Eremurus tianschanicus), flowering at once on the steppes of Kyrgyzstan. Their work explores how these breathtaking floral events can be replicated in an urban setting as ‘designed plant communities’ and how we respond to these events.
Planting vs program – which delivers the best high?
In the paper, All about the ‘wow factor’? The relationships between aesthetics, restorative effect and perceived biodiversity in designed urban planting, Hitchmough et al collected the responses of over 1400 members of the public who walked through planting of varying structure, species character, and percentage of flower cover, while completing a site-based questionnaire.
The research demonstrated an emotional response of ‘excitement’ and ‘elation’ to planting that was highly floral, and a response of ‘calm’ and ‘relaxed’ to predominantly ‘green’ vegetation. “Percentage of flower cover had the single largest main effect on aesthetic perceptions. Planting with a flower cover above a threshold of 27% was perceived as significantly more colourful, attractive and had a higher perceived invertebrate benefit than planting with a lower flower cover.”
While we all need moments of calm and relaxation in our busy urban lives, it’s the moments of elation – and the subsequent triggering of endorphins – that create return visits and excitement in our public realm. These are the very same responses that a marketing consultant would attempt to elicit using food and beverage activation and ‘pop-up’ stuff.
This appreciation of the emotional response to planting (not just its green infastructure credentials), is being slowly accepted in Europe and the United Kingdom. Projects such as Grey to Green by Sheffield City Council, The Barbican in London by Nigel Dunnett, Beethovenplein in Amsterdam by Ton Muller, and Kings Cross in London by Dan Pearson, all demonstrate public support and return visits that would make a branding consultant hot under the collar.
Learning to embrace the ‘urban garden’ together
So, where are these schemes in Australia? Of course I would argue that they’re coming with the Melbourne Arts Precinct Transformation, but I’m still constantly amazed by the response to landscape, trees, and in particular, the word ‘garden’. Why is something as beautiful as a colourful, densely-planted garden in the city such a hard sell?
As Julian Raxworthy notes in his book: Overgrown: Practices Between Landscape Architecture and Gardening, perhaps the problem stems from our own profession – with landscape architecture distancing itself from gardening, and landscape architects “taking pains to distinguish themselves from gardeners or landscapers”?
I have to be honest and admit my past frustration when a fellow architect or client called me a landscaper or garden designer. But I’m now happy to embrace this. It has taken getting my own hands dirty – testing, killing, and most importantly, watching plants and how they respond to the seasons and different growing conditions, to feel fully connected to what should be the landscape architect’s primary artistic material.
To quote Nigel Dunnett, in his writing for the Melbourne Arts Precinct project, our public landscapes should be ‘exuberant and overwhelming in their beauty, provoking a deep, uplifting, joyful and sublime emotional response’ and we need more local research into these responses, along with more hard monetary facts. Let it not be forgotten that the High Line has brought an estimated US$1.5 billion to its surroundings, not bad for a giant 2.3km-long garden. Beat that, ‘activated food and beverage street’.
Cover image by Jon Hazelwood.
Jon Hazelwood, when he isn’t gardening in rural NSW, is a landscape architect, Principal and Head of Public Realm at HASSELL. He’s the Design Director for the Public Realm design of the Melbourne Arts Precinct Transformation. WEBSITE / INSTAGRAM
I have for many years admired the gardens and landscapes of Chilean Landscape Architect, Juan Grim. This has largely been from a few images in magazines and books, so I was very pleased this morning to read an interview with him by Lucy Munro on the PLANTHUNTER Here are a few excerpts and pics to wet your appetite to read more.
“On the coast of Los Villos in Chile, a garden balances on the edge of a clifftop, limbs of wandering shrubs crawling over the rock face towards the depths of the Pacific Ocean below. The architect of the seaside shelter, Juan Grimm, can be found hidden within the many pockets of the garden, experimenting with unusual plant combinations or admiring a newly sprouted shrub whose seed arrived on the wind. His enduring wonder for the minutiae of the natural world is one of the many reasons Juan Grimm is considered South America’s most outstanding landscape designer. With a career spanning over thirty years and a design portfolio that includes nearly a thousand hectares of public and private gardens across Argentina, Peru, Uruguay and Chile, Juan is the master of creating natural spaces in harmony with the richly diverse landscape of South America.”
After thirty years of creating public and private gardens across Argentina, Peru, Uruguay and your home country, Chile, what keeps you excited about landscape design? When I first began designing and building gardens, I thought about how they would develop over time. Due to the little knowledge of botany and gardening that I had then, I worked with great intuition, without being very clear about the final results; I wanted the years to pass quickly, to see the newly planted trees mature. Today, after thirty-five years of experience, and with the privilege of having seen so many of these trees develop and grow old, I am deeply motivated to continue to create public or private green spaces; knowing that these places will endure over time for the use and enjoyment of future generations.
What does a typical day in the life of Juan Grimm look like? The vast majority of my days are dedicated to garden design; projecting and drawing in my studio, with the advice of the team that accompanies me. Another important element of the day happens in the field – supervising and distributing plants in the gardens that are in the execution stage; work that is fundamental for me because on the site, many things are decided that are impossible to resolve during the planning stage. It is in these moments that the garden begins to take on a life of its own. On weekends, I spend my time in my house on the coast, enjoying the landscape and the garden; I never finish intervening.
Can you please tell us a little about your life growing up and how this influenced the person you are today? My childhood was always closely linked to contact with nature; family summers on the coast were repeated for several years.
My connection with the sea – the infinite space, the rocks and the vegetation that appears very delicately from the coastal edge towards the interior – was a very important experience in the direction that my professional life would take.”
Initially, you trained as an architect. What prompted the change to landscape and why? My training as an architect was essential to recognize my passion for nature. There was no event that determined a change; rather, my architectural student projects always involved the landscape. Once I graduated, I had the opportunity to present a project to the first Biennial of Young Architecture. The proposal was the design of a park and an urban structure strongly affiliated with each other. I won first prize at the Biennial, and this confirmed to me that my path was in landscape design.
What is your design philosophy? I consider that there are interesting and fundamental concepts for the good design of a garden; notions that I seek to incorporate in my work, and whose presence will become evident as the garden grows and the projected space acquires form and volume. Movement, exuberance, infinity, sustainability and mystery.
One distinctive feature of your style is your choice to design primarily with native plants, or plants you have grown from seed. What is the thought process behind this? Native vegetation, anywhere in the world, is the vegetation that best adapts to the demands of the climate and other characteristics necessary for its optimal development. There are times when a project is located in a place where there are no nurseries available to acquire these plants. This was the case of the Tambo del Inca Hotel Project, located in the Sacred Valley of the Incas, in Urubamba, Peru, where we went to the mountains to collect seeds from trees and shrubs, which were then grow in our own nurseries. Today those trees have already reached full maturity, and the garden is a reflection of the intimate landscape of the gorges of the Sacred Valley.
Global warming, and the climatic changes that our planet faces, makes it imperative that landscape gardeners increasingly use native vegetation, because with their high efficiency in adaptation and prosperity, they ensure the best energy economy in a garden, with optimal results.”
If landscape architects want to remake the world, we can start by remaking our discipline.
A thought provoking critique of the role Landscape Architects actually play in society versus what they believe they do, this very relevant to the current educational and work crisis that Landscape Architecture faces in South Africa and many other parts the world : Here are few excerpts from the long article, quoted and acknowledged, in the interests of generating a similar discussion in other parts of the world: “Design and the Green New Deal” from Places Journal by Billy Fleming who is the Wilks Family Director for The Ian L. McHarg Center at the University of Pennsylvania Stuart Weitzman School of Design.
Aa Dr, Ida Breed, senior lecturer at the University of Pretoria where the undergraduate Landscape Architecture program has been terminated due to poor enrolment numbers, says in a private correspondence: ” I think the article is very right in the money to say that the profession is mostly dominated by neoliberal and elitist project briefs, yet, landscape architects are often very bad at showing what they are already doing. Relevant work is happening, but as we know we are low in numbers, and there is a need for more volunteers and more participation from industry and practitioners in work that does not only profit our/ themselves… More could be done!”
“It is the main duty of government, if it is not the sole duty, to provide the means of protection for all its citizens in the pursuit of happiness against the obstacles, otherwise insurmountable, which the selfishness of individuals or combinations of individuals is liable to interpose to that pursuit.” 25 Frederick Law Olmstead
I don’t know when the myth of landscape architects as climate saviors began, but I know it’s time to kill it. The New Landscape Declaration — a book emerging from a 2016 summit attended by the brightest thinkers in our field — frames landscape architecture as an “ever more urgent necessity,” if not the foundation of civil society. As engineers shaped the built environment of the 19th century and architects the 20th, landscape architects have claimed this century as their own. 1 That’s a bold statement for an obscure profession whose 15,000 U.S. members spend most of their time designing small parks, office courtyards, and residential projects for private clients. Yet it’s not just landscape architects who see a big future for the field. Famed industrial designer Dieter Rams has said that if he were starting his career today, he’d focus on landscapes, not machines. And public officials have recruited landscape architects to the front lines of urban development (as James Corner’s High Line and Thomas Woltz’s Public Square frame Hudson Yards) and climate resilience (as the federal program Rebuild by Design ties hurricane recovery to coastal defense). 2
I don’t know when the myth of landscape architects as climate saviors began, but I know it’s time to kill it.
But if The New Landscape Declaration sought to articulate and elevate our professional ideals, mostly it exposed the gap between rhetoric and reality. The book arrived in fall 2017, a few months after David Wallace-Wells published his alarming article, “The Uninhabitable Earth,” with its memorable opening line quaking, “It is, I promise, worse than you think.” That 7,000-word jeremiad was later expanded into a bestselling book, with acknowledgments thanking the dozens of climate writers, scientists, and activists who informed the author’s research. This is mainstream media’s most comprehensive account of the climate movement, and it contains no mention of work by landscape architects. There is no commentary on Rebuild by Design. It’s as if landscape architecture does not exist. Setting aside the justified critiques of Wallace-Wells’s apocalyptic framing, what does it mean that landscape architects are missing from this prominent book on a topic we claim as our own? Is our discipline a necessity? Are we closing the gap between ideals and practice? We are not, I promise, saving the world. 3
We don’t need playful design proposals; we need high-impact built projects — prototypes for the resilient futures we’ve been promised.
Contemporary practice is focused on sites, not systems; and on elite desires, not public interests. Our work is limited in scale and subordinate to client mandates. Rather than challenging or subverting these core structural constraints, Rebuild merely tweaks the machine of disaster recovery and redevelopment. Such incrementalism has been a key feature of landscape architecture — and much design-based activism — for decades. Though some scholars have credited designers with central roles in social and environmental movements — from the Progressive Era, to the New Deal, to the radical politics of the 1960s and ’70s in America — I would argue that that landscape architects rarely contributed to the organizing and the politics of those movements. 20 By and large, we have been bystanders to progress, not principal actors. If the gap between our ambitions and impact is ever to be narrowed, it won’t be through declarations of our principles. We must rethink how landscape architecture engages with social and political movements.
We seem to have forgotten an important lesson about Olmsted: his eagerness to enter the political arena and challenge the status quo.
ut here again we see designers as participants in, not leaders of, the social movements of their time. In the postwar era, they went through the same cultural realignment as the rest of the country, reorienting away from public works and land conservation and toward greenfield development and roadside parks, away from cities and toward suburbs. Landscape designers also made what was in retrospect the fatal mistake of lending their technical skills to urban renewal programs that reinforced racial segregation. 27 When the backlash to urban renewal began — sparked by Jane Jacobs’s The Death and Life of Great American Cities — planners and designers lost much of their access to large-scale projects, and those who still worked for public agencies saw their power diminished. As Thomas Campanella argues, they became professional caretakers, “reactive rather than proactive, corrective instead of preemptive, rule bound and hamstrung and anything but visionary.” 28
The environmental movement galvanized by Rachel Carson’s Silent Spring achieved great success in regulating pollution — influencing the passage of the National Environmental Policy Act (1970), the Clean Water Act (1972), and the creation of the Environmental Protection Agency — but it was less successful in compelling a truly sustainable program of land use. Put another way, it had tremendous influence over how we live, but almost none over where we live. It was in this era that Ian McHarg produced the seminal work that would make him the most consequential landscape architect of the last half century. McHarg was a singular figure in the field, a public intellectual who mixed with people like Margaret Mead, Julian Huxley, and Loren Eiseley, moving between academia (as chair of landscape architecture at Penn), government (as an adviser to White House commissions, task forces, and environmental policy boards), and popular media (as host of the CBS show The House We Live In); and through these activities he sought to place environmental design at the center of American life. He aimed to reinvent nearly everything about the discipline of landscape architecture — its methods of inquiry, its scope and scale of impact, and its cultural and political position. For a brief moment, it seemed he would succeed.
Landscape architects have not yet meaningfully dealt with the unforeseen consequences of McHarg’s rational philosophy; with the fact that his technocratic legacy would leave the field ill-equipped to negotiate the major cultural and political realignments of neoliberalism — the hollowing out of governments at every level, the privatization of public services, and a waning belief in the ability of governments to bring about big, positive change. 34 Beginning in the 1980s, urbanists and designers were forced to defend everything from clean air to mass transit to public education through the narrow lens of cost-benefit analyses. Landscape architecture, a small and client-centric profession, with no real institutional or political presence, was overwhelmed by the rise of an anti-government, anti-science movement amongst conservatives. By the end of the century, landscape architecture had become once again a largely project-driven enterprise, dependent upon the elite, private interests that now shape urbanization, even in ostensibly public spaces. 35
At key political flashpoints of the past decade — Occupy Wall Street, the Standing Rock protests, and, now, the Green New Deal — landscape architects have been conspicuously absent. Our field has responded to neoliberalism with ever larger global corporate practices, a proliferation of boutique design firms, and a retreat from public service. We have ceded most government work to engineers. Professional societies have further depoliticized the field, ensuring that landscape architects are locked out of the policymaking process and constrained by the limits it imposes. 36
The revival of an activist federal design bureaucracy is necessary to the success of a Green New Deal. It also presents a unique opportunity to create alternative models of practice in landscape architecture.
That means our professional societies need to find ways to train a rising generation of landscape architects for careers in public service — or, as the organizers behind The Architecture Lobby have shown us, we will need to build new institutions. Starting tomorrow, the ASLA and Landscape Architecture Foundation could offer awards and fellowships for designers engaged in bureaucratic and political work, as they do for excellence in private practice. They could make the case that truly public spaces and infrastructures are funded by taxes and run by governments, not by corporate partners or the donor class. We need to dismantle the philosophies of neoliberalism and philanthrocapitalism that underwrite many urban development projects, and withdraw support for disruptive urban tech startups. As Levinson writes, “not only are the self-appointed change agents unwilling to push for meaningful action that might threaten the systems that have allowed them to accumulate vast wealth; often as not they’ve caused or contributed to the very problems they are claiming to solve. The modus operandi is not structural reform but personal generosity. The arena is not electoral politics but the free market. The ethos is patronage and volunteerism.” 45 Too many leaders in our field occupy positions of incredible power and prestige, while maintaining that they must make the best of a bad system. But we cannot be content with merely narrowing the gap between our ideals and our reality. The politics of design belong at the center of landscape architecture, and our institutions have an obligation to do more.
We need to train a rising generation of landscape architects for careers in public service. Students will need coursework in public administration and finance, political theory, and community organizing.
Educators, too, have a unique responsibility to change the culture of the profession. The students who wish to fill the ranks of the new design bureaucracy need coursework in public administration and finance, political theory, and community organizing. We can offer scholarships and awards for public-interest achievement, and give internship credit for working with political campaigns or community organizations. And we can acknowledge — through our public programs, our scholarship, and other aspects of design education outside the studio — the extraordinary moment we are in, our complicity in creating it, and our responsibility to develop alternatives.
Whatever form the Green New Deal eventually takes, it will be realized and understood through buildings, landscapes, and other public works. Landscape architects have knowledge and skills — from ecological management to systems analysis to mapping and visualization — that are essential to that project. Now is our chance to re-institutionalize design expertise in government and, at the same time, to break the stranglehold of neoliberalism that has long undermined the ambitions of landscape architecture. Let’s get started. 46
Billy Fleming, “Design and the Green New Deal,” Places Journal, April 2019. Accessed 20 May 2019. <https://placesjournal.org/article/design-and-the-green-new-deal/>
It’s a civic resource, an index of inequality, and a requirement for public health. Shade should be a mandate for urban designers – this long essay by Sam Bloch in PLACES JOURNAL could just as well apply to Cape Town as to Los Angeles – where apartheid era planning has made its leafy suburbs of the wealthy the exact opposite of the slum tenements and shanty towns of the poor and squatters. A similar pattern of legislation, bureaucracy and politics seems to make the provision of the seemingly innocuous commodity: shade- a luxury ! Is shade the missing link to environmental, cultural, social and and health – can a focus on shade make a new type of equality a reality instead of the urban deserts that planning now mandates? This impeccably researched and documented article is well worth a read – here are a few small teasers:
“As the sun rises in Los Angeles, a handful of passengers wait for a downtown bus in front of Tony’s Barber Shop, on an exposed stretch of Figueroa Street near the Pasadena Freeway. Like Matryoshka dolls, they stand one behind another, still and quiet, in the shadow cast by the person at the head of the line. It’s going to be another 80-degree day, and riders across the city are lining up behind street signs and telephone poles.
For years, the business owners on this block have tried to do something about the lack of shade. First someone planted banana trees and jammed an I-beam into the sidewalk well. Tony Cornejo, the barber, swears he didn’t do it, but he admits rigging up a gray canvas between a highway sign and parking lot fence to put a roof on the makeshift shelter. He was just taking care of the street, he said, so that the “ladies and children” who had grown accustomed to waiting out the heat in his shop could be comfortable outside. He dragged wooden crates under the canopy and nailed them together to create two long benches. In the shade, people ate their lunches, read magazines, scrolled through their phones. Can collectors rested. Bus drivers waited before beginning their shifts.
within two miles of Tony’s Barber Shop. 1 Who decides where the shade goes? You might imagine that transit planners call the shots — strategically placing shelters outside grocery stores and doctors’ offices on high-frequency routes, according to community need — but Los Angeles, like many cities, has outsourced the job. The first thousand shelters were installed in the 1980s by billboard companies in exchange for the right to sell ad space, and they tended to show up in wealthy areas where ad revenue surpassed maintenance costs. 2 In 2001, the mayor signed a deal to double the number of shelters and give public officials greater control over their placement. The new vendor agreed to install and maintain shelters throughout the city and offset its losses with freestanding ad kiosks in lucrative areas. But when politically savvy constituents complained about the coming spate of advertising, the city withheld permits, and the deal broke down. As the contract nears its end, the vendor, Outfront/Decaux, has installed only about 650 new shelters, roughly half of the projected number.”
“You can’t install a shelter here without disrupting underground utilities, violating the ADA, or blocking driveway sightlines. On this block, shade is basically outlawed.”
Shade is often understood as a luxury amenity. But as deadly heatwaves become commonplace, we have to see it as a civic resource shared by all.
Shade was integral to the urban design of southern California until the advent of cheap electricity in the 1930s.
Look at what happened to Pershing Square, where sunlight was weaponized to clear out the ‘deviates and criminals.’
“Pershing Square set a template for Los Angeles: the park as an open space to walk through, and as a revenue-generating canvas.”
“Shade creates shelter, and Los Angeles is very conflicted about creating shelter in the public realm.”
“Mexican fan palms were the ideal tree for an automobile landscape, beautifying the city without making a mess.”
“If you see a mature shade tree today, you can assume that a private citizen paid for it and maintained it. Canopy inequality thus follows lines of wealth”.
To the list of environmental injustices in this country, we can add the unequal distribution of shade.
“The city won’t permit the planting of large trees where the roots could rip up sidewalks or destroy underground utilities. That effectively zones shade out of many poor neighborhoods.”
“Surveillance is another concern. When a new pole camera goes up in a public park, the mature canopy around it vanishes.”
One study found that the difference in surface temperature between shaded and unshaded asphalt was about 40 degrees Fahrenheit.
The mayor has pledged to reduce the temperature by three degrees by 2050, but sustainability programs will vary by neighborhood.
The grant programs now for urban forestry are crazy. It’s money that we’ve never seen before … [but] they have no idea of the real challenges behind these kinds of projects.’
Imagine what Los Angeles could do if it tied street enhancement to a comprehensive program of shade creation.
What we need is urbanists in and outside City Hall who conceptualize shade itself as a public good.
Sam Bloch, “Shade,” Places Journal, April 2019. Accessed 18 May 2019. <https://placesjournal.org/article/shade-an-urban-design-mandate/>
With all the doom and gloom that talking about climate change in the anthropocene engenders in ones audience, all the hype and positivity I can muster flags when I read about the size of the problems faced and the inadequacies and failings of individuals and governments to act, and in fact my own poorly implemented and limited attempts to do something! It seems as if it is extreme hubris on my part to say we can change our lifestyles, consumerist habits or other people’s desires. I was pleasantly surprised while I was researching on LAF’s (Landscape Architecture Foundation) website for a recent magazine article, to discover Martha Swartz talking about the book edited by Paul Hawken’s “Drawdown The most comprehensive plan ever to reverse global warming” Having viewed the website’s info and watched the video I am eagerly awaiting the book.
As Martha Swartz says in the interview on LAF’s website ” I was introduced to Drawdown by Pamela Conrad, a Senior Associate at CMG Landscape Architecture, while preparing for a conference presentation on climate change with her two years ago. We gave a presentation about the book, why it’s important, and why it’s important specifically for landscape architects. We got up there and talked about what climate change is and why it’s so urgent that we address it. What really struck me about Drawdown is that it gave metrics for its solutions. They weren’t theoretical, but actionable ideas”
Here is Paul Hawken, the projects instigator, the books editor and the evangelist of the crusade to make a difference, telling us what inspirited him and how it can affect us and what we can do ourselves, more than just lamenting the lack of efficacy of our recycling or our governments alternative energy strategies!
Recently I was asked to write a short piece for ProLandscaper Africa on what can the landscape profession do to make difference on environmental and social issues, should we shrink back in our shells and hide in our gated villages from all the problems that plaque Africa and the world or should we become activists and advocates for positive change? So inspired by the work of activists in the Africa Centre for Cities and The Landscape Architecture Foundation’s (LAF) New Landscape Declaration, here goes with credit to LAF’s Action Plan
I have been involved in the practice of landscape design, construction and management my entire life, I love plants and everything to do with the natural and built landscape, while I have had my head buried in the sand of personal interests and passions for many years and I have often been a poor people’s person, I am now acting positively for change and to not being “part of the problem” but working on co-creating a resilient and awesome future with all of those who share my passion.
I believe the landscape profession is uniquely positioned to take a leadership role in addressing the most important issues of our time and I am positive we will do so. Challenges include: adaptation and mitigation of the impacts of climate change; addressing moral, social, economic impoverishment and inequality; building resilient new infrastructure that runs on clean energy; co-creating and managing innovative urban places that provide social and ecological justice for all peoples and species.
We can develop a clear vision of our role and capacities, nurture inclusive leadership, embrace advocacy and activism, seek commitment and action from those who feel the same as we do.
To be committed means:
Be more and keep on learning – know the terminology and science of climate change, improve your cultural literacy, read widely, expose yourself to dynamic, uncomfortable circumstances and people; get to see others point of view. Take part, if not in government, then in your local area, PTA or ratepayers association, take part in ILASA, SALI or SAGIC or your own professional or business organisation; assist on an awards committee or organise a function.
Become a visible exampleof the current best practice: evaluate your personal and business actions and act to reduce your carbon, water and waste footprint and aim to become carbon neutral or better, carbon positive.
Build equitable teams; partner across disciplines, practices and publics; mentor young people towards leadership; encourage involvement in real physical networks and form communities of interest with others who share your passion.
Become invested in where you live, assist those who are less fortunate, advocate for what you believe in, give assistance and support to organizations and people who are making difference. Act where you see social or ecological injustice, get to know your local area and national political representative, advocate for the positive role of landscape to them.
A view that engenders heated debate and angry responses from ecologists and conservationists is questioned by Yolanda van Heezik, in an essay on the Nature of CIties. Although this essay adreeeses the topic of exotic versus local fauna, it is equally valid when considering vegetation.
“This emphasis on killing introduced species to protect native ones makes me wonder how much people involved in these activities think about why they are willing to kill some to protect others. Why do they value native species above others?”
Endemic faunas and floras make a country unique, and it is that uniqueness that engenders among its human inhabitants a sense of place or identity. Those species with populations that respond best to predator control are the most deeply endemic ones; in New Zealand they are species that have evolved for millions of years in an environment with no mammalian predators. The only terrestrial mammalian species native to New Zealand are a couple of species of rather small, insectivorous bats. When urban residents band together to trap rats or possums, it is to protect these vulnerable, endemic, native species — they want to be able to share their living spaces with them and encounter them as part of their day-to-day lives, rather than having to travel to special predator-free areas such as offshore islands to see them. NZ’s Department of Conservation’s Threatened Species Ambassador, Nicola Toki, argues that native species and introduced predators in New Zealand cannot co-exist, and that it is the indigenous subset of our biodiversity that fundamentally defines us as a nation.
This emphasis on killing introduced species to protect native ones makes me wonder how much people involved in these activities actually think about why they are willing to kill some to protect others, i.e., why they value native species above others? There has been long-standing, ongoing debate in the scientific literature on how introduced species should be managed, with some scientists arguing that the paradigm of native/non-native is no longer relevant in highly modified environments, such as urban landscapes (Davis 2011). Instead, proponents of this school of thought assert that environmental management should involve acceptance of alien species and novel ecosystems. Conciliation ecology is thought by some to be the morally acceptable course of action (references in Russell & Blackburn 2017), but is soundly rejected by others.
While there is no doubt in New Zealand that the introduction of predatory mammals into a fauna that evolved without any mammalian predator has had a disastrous impact on many of NZ’s native species, not everyone in NZ agrees with Nicola Toki’s sentiments or the concept of valuing native species above others. For example, one opponent to the “predator-free” concept asserts that “we can’t keep erasing the fact that the species that we introduced, whether managed or not, are ‘ours’ too — even the ones we later decided were a mistake. They’re our responsibility as well. And a future where people learn to accept the presence of our introduced species is not so horrifying.”
This view is being echoed more frequently in the media; in a recent opinionpiece in The Press, columnist Joe Bennett writes:
“We like our birds here. They’re our signature fauna. No-one else has got them and we haven’t got much else. But among birds we practise apartheid. We distinguish between birds that are — and here’s an adjective that chinks like a gold coin — native, and those that are not. Native birds are first-class citizens who can do no wrong. The rest are the rest and the magpie is among them. It’s an Australian import, loud, boorish, a bird to deride.”
At a more general level, in other countries, criticism has been leveled by social scientists at those advocating for native species, labelling it as a form of anti-immigrant nativism. They claim that the removal of non-natives reflects an anti-immigrant, racist, political discourse (Mastnak et al. 2014). They draw our attention to the Nazi policy of removing non-native plants, and by doing so implicitly associate the protection of native species with Nazism. An alternative perspective is that many current ecological problems are a legacy of colonialism, a process of settlement of plants, animals and people that resulted in the uprooting of native plants and indigenous peoples (Mastnak et al. 2014). This was certainly the case in New Zealand, where we even had an “Acclimatization Society” whose role was to introduce many species from the UK, where most settlers originated from, and create landscapes populated by familiar species. After early waves of extinctions this process was thought to be a means of restoring biodiversity to a depleted environment. Advocating for native plantings then becomes a process of decolonisation, which is ethically appropriate.
Others advocate for the middle-ground; they both question the dichotomy between native and non-native, but at the same time acknowledge that low-impact, non-native species should be tolerated, and that control methods to remove alien pest species can also be contentious if they involve the use of toxins (Shackelford et al. 2011). Some critics have raised the issue of involving children in the process of systematically killing predators, but also the militaristic dimensions of the entire exercise, which uses terminology such as “war on predators”, or “under siege”, and what some consider to be xenophobic expressions (Schlaepfer et al. 2010 ). Simberloff (2003) discusses the claims and suggests that it is impossible to prove that aesthetic preferences for native species are infected by nativism or xenophobia. He points out that those who criticise efforts to control non-native pest species often ignore their ecological and economic impacts, which alone comprise a valid, ethical rationale for managing introduced species.
- by Ben Willis
This article was originally published by Common Edge as “How Public Space Can Build Community and Rescue Democracy.”
Public spaces are having a moment. People from outside the field of urban planning are beginning to notice the vital contributions that they make to our quality of life: inserting nature and cultural memory into the everyday, reminding us of our collective responsibilities, supporting democratic expression. People are also beginning to notice the subtle ways in which those contributions are being eroded by threats of privatization, corporate appropriation, and apathy.
Most acutely, this moment is brought to us by Apple, which has begun an aggressive retail rebranding effort to re-conceptualize its stores as “town squares,” and wrought a wave of well-founded concern. Technology continues to beckon us away from the need to leave our homes or interact face-to-face with other humans. If for every action there is an equal and opposite reaction, it would follow that opportunities for such interpersonal interaction become a luxury we begin to seek, a call to remember our origin as social beings.
Not to give technology too outsized a role in this moment, politics also plays a part: political progress often demands a physical place to exercise our first amendment rights (or to fight for them). Large, visible public spaces are a natural home. Americans in particular have recently discovered that places we treat like public spaces—airports, for example—are, in fact, the domain of private companies, or are at risk of being ceded to private companies. When we see public spaces as a physical extension of our rights, we begin to approach their true value to our society.
I can distinctly remember, during a cross-country bus tour in college, stepping off the bus on Main Street in Greenville, SC. We were greeted by wide sidewalks with bountiful street trees, well-paved crosswalks that invited us to surf from one row of shops and storefronts to another, punctuated by public art, and terminating in a park overlooking the river. With places to sit and some protection from the elements, the street invited people to interact and to linger. This was my first personal “aha” moment that a street could be more than just a corridor for the efficient movement of automobiles—if its physical elements were designed well, it could be just as vital to the health of a place as a park.
THE future ..its already arrived but it definitely not evenly distributed yet ….
four decades ago, virtual and augmented reality were the future. fast forward to the present day and they combine to create a 21st century passport into an alternate universe in mixed reality. merging the digital and the physical, tech giants everywhere are recognising the value in bringing together the immersive capabilities of a head-mounted VR set and the ability of AR to place data into the real world environment. mixed reality reinvents the storytelling process. it merges narratives with reality and presents viewers with a wholesome experience that’s perpetually indistinguishable from real life. this cultivates a fertile ground for increased contact between all participating entities, ergo fostering the creation of shared experiences.
google invested in ‘magic leap’, an allusive mixed reality company. now, apple are getting their teeth into MR which means only one thing – world domination. but back in 2015, microsoft launched hololens, one of the first devices both popularising and merging AR and VR. and the evolution of this device provides an interesting framework with which to navigate the future of MR.
‘computers used to be flat?’
microsoft hololens enables you to interact with content and information in the most natural ways possible.
image courtesy of microsoft
microsoft’s creator of the hololens, alex kipman, thinks headsets could be the successors to computers everywhere. its no surprise when MR extends current limits of presenting data, making physical screens a thing of the past. simple 2D analytics tools seem old school when you can project renders as large as the environment allows. employees of the future could even don company-issued mixed reality glasses as their PCs, releasing employees from the chains of their desks as well as their desktops – read more.
holoportation looks set to transform the way we communicate with each other from afar
image courtesy of microsoft
heard of holoportation? well as MR evolves the advent of holographic images talking to us becomes ever more real.microsoft’s hololens uses a new type of 3D capture technology allowing 3D models of people to be transmitted anywhere in the world in real time. that means talking to your friend who lives miles away from you in a hologram – read more.
shop till you never ever drop
tenants will eventually have the option to view their potential accomodation in VR
image courtesy of airnbnb
mixed reality could transform the way we shop, creating a productless experience where consumers get to try items and services in real-time without breaking a sweat. furniture giant IKEA already saves couples all over the world by letting them skip flatpack fury, placing furniture in-situ via their PLACE app. and airbnb just recently announced it’s in the early stages of adding VR and AR to its services, predicting their own use of 360 photos and 3D scans to let tenants explore homes and cities before they arrive.
entire ecosystems made of sound
a shot of what magic leap and sigur rós’ tónandi looks like in action
image courtesy of magic leap
the secretive mixed reality company, magic leap, made waves back in 2015 with a huge investment from google which many people doubted would ever come to anything. well apparently it has it’s an alternate sonic universe… the company has been working with icelandic rock band sigur rós on an audiovisual project called tónandi which projects waveforms of the music into the physical space. this immersive way of releasing music could either be the future of music as some are predicting – a flop similar to the google glass – read more.
and there’s more…
magic leap one’s lightwear which comes with a lightpack and control
if the internet is a virtual, infinite universe, then the ‘magic leap one creator edition’ (the company’s main focus) may be the first step in exponentially multiplying the size of that universe by colliding it with the physical world. it’s an AR headset for developers (‘built for creators’) that according to an interview with rolling stone will ship in 2018. the technology is supposed to accept multiple input modes including voice, gesture, head pose and eye tracking whilst mapping persistent objects onto the environment.