CTLA Spring 2020

The Connecticut SPRING 2020
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Women in
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10 Editor’s Message

CONNECTICUT LICENSED 4
LANDSCAPE ARCHITECTS
From the Trustee
13Active Members*
5
TIME LINE OF ISSUED LICENSES
From the President
2004-2019
7
Based on 34% (125)
of total (236) issued licenses The VELA Project: Finding Our Voice Through Data

211 87 6 10
56 1
Abigail Adams: Embracing the Genuine Me
15 2016 2017 2018 2019
13
15
Beka Sturges: Movement and Reflections
18
21 15

Dana Ceva: More Than Just A Designer

18

The Mysterious Miss Bullard: Fleeting Fame, Enduring Legacy

21

Iconic Connecticut Landscapes: Beardsley Park, Bridgeport

26

Root Disorders

28

In Memorium: Richard K. Clifford

30

SPRING 2020 | CTASLA.ORG 3

This issue of The Connecticut From the Editor
Landscape Architect cele-
brates women landscape TJ Marston and Samantha Solano have started the
architects. Our female practi- Visualizing Equality in Landscape Architecture (VELA)
tioners, from firm principals to project, which is doing God’s work in documenting the
those just beginning their journey, inequalities of the profession. In this issue you can read
are changing the way we work, about their groundbreaking work and how Connecticut
play, and live. As our profession stacks up against the country as a whole.
strives to become more diverse, The one thing that all these women, from the 19th
perhaps the first place to start is gender. The challenges century to the 21st, have in common is that they all
of our profession in this area are no different than those share a passion for landscape architecture and dedica-
of our greater society. Girls typically outperform boys tion to our profession. They are leading the way in a
in school, and start professional lives in equal numbers, manner that should inspire and motivate us all.
but studies show that women are not reaching the upper Postscript
rungs of the proverbial career ladder in equal numbers. Before this issue went to print, we find ourselves
We can speculate as to why this is, but regardless of grappling with the new normal of “social distancing,”
the cause, the profession of landscape architecture is working from home, and quarantine. Somehow, we
weaker for not having more women as “C-Suite” lead- never saw it coming.
ers, whether it’s leading small design studios or huge As landscape architects hopefully we can take some
corporate practices. solace in the fact that people are flocking to our parks
I hope you enjoy reading about the professional and are finding a new appreciation for what they offer.
journeys of a few of our outstanding practitioners. They Newspapers from the New York Times to the Philadel-
are as diverse as our profession, from Abigail Adams, phia Inquirer have covered the story. In addition, fam-
who has founded her own firm, to Beka Sturges, who ilies with outdoor spaces are taking advantage of this
practices in one of the country’s leading offices, to Dana resource — often taken for granted — to enjoy fresh
Ceva, who works in the design-build realm. air, sunlight, breezes, and some “freedom.”
Oliver Gaffney tells us the story of Elizabeth Bull- Hopefully the Fall 2020 Issue of The Connecticut
ard, the first female awarded fellowship in the American Landscape Architect will find us in better times.
Society of Landscape Architects (1899). Bullard was the
country’s first professional female landscape architect W. Phillips Barlow, asla, aicp, leed ap
and was instrumental in the creation of Frederick Law
Olmsted’s Beardsley Park in Bridgeport.

The Connecticut Landscape Architect is published by the Connecticut TO CONTACT CTASLA
Chapter of the American Society of Landscape Architects. MAIL P.O. Box 209197, New Haven, CT 06520
EMAIL [email protected]
EDITOR WEB www.ctasla.org
W. Phillips Barlow
To Design, LLC, 114 West Main Street, Ste. 202, New Britain, CT 06051 ON THE COVER
TEL (860) 612-1700 Reflections and weir paths at Clark Art Institute, Williamstown, MA, a project
EMAIL [email protected] of Reed Hilderbrand.

EXECUTIVE DIRECTOR
Jeffrey H. Mills
J.M. Communications, 35 Talcottville Road, Ste. 318, Vernon, CT 06066
TEL (860) 454-8922
EMAIL [email protected]

ADDRESS CHANGES & ADVERTISING
[email protected] or (860) 454-8922

4 SPRING 2020 | CTASLA.ORG

From the Trustee If you are a member then let’s spread the gospel.
Convince that young aspiring landscape architect in
If you are a graduate of a landscape architecture your firm that membership in ASLA will help to advance
program or a licensed landscape architect and not her career, provide mentoring and networking opportu-
a member of the American Society of Landscape nities.
Architects, STOP here… Go to www.asla.org and join In exchange for your membership, ASLA is striving
the organization that supports you and your ability to to be more inclusive, not only of ethnicity and gender
practice the profession of your choice! but of practice types as well. And we understand that
The ASLA, like professional organizations in general, in these crazy times, many will not have the financial
is struggling to maintain membership levels. Specifically, resources to join now, but give yourself a reminder for
younger professionals are not joining, maybe because of September.
a misunderstanding of what the organization does for its If you are already a member, thank you! If you are
members. not…see the first paragraph. I know you will do the
Let me address the latter. The American Society of right thing. :-)
Landscape Architects is the ONLY organization to sup- W. Phillips Barlow, asla, aicp, leed ap
port the profession of landscape architecture. Founded
in 1899, the American Society of Landscape Architects
(ASLA) is the professional association for landscape
architects in the United States, representing more than
15,000 members. The Society’s mission is to advance
landscape architecture through advocacy, communica-
tion, education, and fellowship. ASLA has been a leader
in demonstrating the benefits of green infrastructure
and resilient development practices through the creation
of its own green roof, co-development of the SITES®
Rating System, and the creation of publicly accessible
design resources.
In my opinion, advocacy is the most important task
of our mission. ASLA and its members regularly lobby
Congress to support green infrastructure programs that
provide jobs for landscape architects while combating
global warming. ASLA also supports local chapters in
their advocacy of state issues. Make no mistake, the
work that ASLA does is critical to YOUR ability to earn
a living as a landscape architect.

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From the President the foundation of a more inclusive profession. In Jan-
uary, the Executive Board voted unanimously to estab-
I n our current COVID-19 lish an Elizabeth Bullard Award to recognize and elevate
world, I hope that you are the contributions of women in landscape architecture in
healthy and hunkered down. Connecticut. The nomination period will be opening in
We’re not just trying to figure May; please keep an eye on your inbox and our chapter
out what it means to be “work- website for more information.
ing from home”; we’re doing our Achieving gender parity in landscape architecture will
best to find normalcy during a take sustained efforts from a community of advocates.
global pandemic. And after weeks Change is needed on both the firm and practitioner level.
of grim headlines, we can all use Consider this issue to be not only a call to action, but also
some uplifting and affirmation. an appeal for introspection Adapting to the COVID-19
You are holding in your hands an issue that has pandemic has shown that we are capable of being more
been a long time in coming to fruition. The theme of attentive and caring as a profession. Are we willing to
“Women in Landscape Architecture” has been suggested answer the challenge?
several times for previous editions, but never selected Oliver Gaffney, asla
until now. The prevailing wisdom was that our chapter
would struggle to find enough content to fill the pages. www.lweanerassociates.com | 215.886.9740
Horse hockey! (Or perhaps a stronger phrase that
Phil Barlow won’t let me use in print!) Until women LARRY WEANER landscape associates
have equal opportunity to become licensed, serve as firm
principals, and receive honors for their achievements, Award-winning natural landscape design specializing in native gardens,
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the Women in Landscape Architecture PPN (WILA) and
the Women’s Landscape Equality (re)Solution (WxLA)
groups have already published excellent commentary in
this regard.
If the current crisis has taught us anything, it’s that
our profession could have easily been doing more to
allow a healthy work-life balance, particularly for parents
and caregivers. In light of this public health emergency,
it took less than a week for firms to completely overhaul
their operations to support a different model of practice.
Will we remember this lesson when the pandemic passes?
In that regard, I am encouraged by the discovery of
Elizabeth Bullard among our chapter archives. Or should
I say rediscovery? Last summer, I encountered her name
on the chapter fellows list from ASLA, but noticed that
she was missing from our internal records. What started
then as a follow-up inquiry eventually became a months-
long research project pouring over genealogical records,
newspaper clippings, photos, journal articles, and other
sources. I’m especially grateful to The Cultural Land-
scape Foundation and the Bridgeport History Center for
helping us to tell Elizabeth’s story through their histori-
cal images.
This article is only a first step for our chapter in
redressing Elizabeth’s erasure from history and laying

SPRING 2020 | CTASLA.ORG 7

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WOMEN IN LANDSCAPE ARCHITECTURE

The VELA Project: Finding Our Voice Through Data

BY TJ MARSTON, ASLA, AND SAMANTHA SOLANO, ASLA

We know that Why now, why ever?
fewer women are
ascending the In 1973, Darwina Neal — the first female president of the ASLA — prepared
professional ladder. a premier report on women in landscape architecture. Surged by the ground-
What we don’t breaking findings, several subsequent studies throughout the 1970s, ’80s, and ’90s
know is why. emerged and provided critical insights into the status of women in the profession.
But since then, the energy and momentum created by these women pioneers has
subsided, and we are left asking the same questions and having similar issues as
they did 40 years ago. Why? Fueled by the resurgence of women-based initiatives
— such as the WxLA led by Gina Ford, Cinda Gillard, Rebecca Leonard, Steven
Spears, and Jamie Maslyn Larson — the task before us is a timely one. Today, more
women (55 percent) are graduating with landscape architecture degrees and enter-
ing the emerging ranks of the profession across the country. Female students also
outpace their male counterparts in winning national ASLA awards and Olmsted
Scholarships. We are large and we are talented, but we don’t stay. Somewhere along
the line between graduation and licensure, we lose our majority status. Quite
frankly, this is unacceptable. And as a profession, as a community, we must make
this a priority if we are to remain relevant, inclusive, and impactful. So this is
where our story begins.
In the summer of 2019, the Visualizing Equity in Landscape Architecture (VELA)
project (www.velaproject.org) began. As a women-led research collaborative, the

33% 11% LICENSED LANDSCAPE ARCHITECTS
CONNECTICUT
18%
!
!
!G

GG !

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!! Tolland
G !! ! G G 25%
! ! ! !
! !G ! Hartford! Windham 30%
G Litchfield !G WOMEN
!G G !G! !G!!G!G! !G ! !
! ! CONNECTICUT LICENSED
G! ! ! !! ! LANDSCAPE ARCHITECTS
! !G G
Active Members*
!
TIME LINE OF ISSUED LICENSES
G!
2004-2019
! !! ! ! ! Based on 34% (125)
! G of total (236) issued licenses
! G !G
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G G! ! G G!
! !! New London
! G! Middlesex !
! !!G G! New Haven ! !! !GGGGG !! !G
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32% G!G Fairfield ! ! G!G!! G!
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G!G!!!!G!!!GG!!!!!!!! ! G!!!G !
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! !GG! ! 24% 60% 25%

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ACTIVE LICENSED LANDSCAPE ARCHITECTS

as of 2019

11 8 5 6 41 3 5 5 53 32 6 33211 87 6
2 56 1
3 32 2 2

2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019

Research by TJ Marston (Plot Studio) and Samantha Solano (Juxtopos)

10 SPRING 2020 | CTASLA.ORG

VELA project uses the power of data How does Connecticut women per year, with a minor surge in
and provocative visualizations to insti- measure up? both 2017 (5) and 2018 (6), but then a
gate action concerning inequities occur- dip back to one woman in 2019. These
ring throughout our profession. We There is a lot of work to be done in are just the raw numbers and we under-
are proudly self-proclaimed data geeks. understanding gender equity in land- stand that there are several factors that
Our methods of inquiry have allowed scape architecture across the United contribute to the overall gender narra-
us to speak loudly about equity issues States. Each state has its own regula- tive throughout Connecticut.
through rigorously developed visuals tory conditions that impact practice What we need and what Connecti-
and information. We are enacted by and women’s ability to navigate their cut needs is more information. This is
our own and shared experiences. We professional careers. For this article, our mission and goal, to provide open
hope to align our work with the overall we were curious to see how Connecti- and inclusive data that speaks to the
ethos of both women and underrepre- cut fares in the distribution of female locale and shared experience. To do
sented peoples throughout landscape landscape architects. We sourced data this, we would love your help!
architecture. Basically, we want to on active licensed landscape architects
completely transform our profession by from 2004. Currently, there are 236 It takes a Village
recontextualizing our value and doing active landscape architects in the state
so in unapologetic and thought-pro- (see map and timeline). Of the total, Let’s speak frankly. We started
voking ways. 73 or 30 percent are women. This ratio our research without funding or sup-
is slightly above the national percent- port but with a passion. However,
The work that is and is to age of 27 percent. Both Hartford and this endeavor requires many “wo-man
come... Fairfield County have a one-third ratio hours” and funds to capture the whole
of women to men landscape architects story of gender equity in our profes-
Project 1.0 // Journey to the Top, and Middlesex Country represents the sion. As our work has gained attention
was our first foray into revealing gender largest ratio of women landscape archi- and requests for use, we now realize the
equity through data and visualizations. tects at 60 percent. The rate of women power behind visually accessible data
We know from existing sources that obtaining licensure since 2004 has and the potential it has to impact not
there are fewer women ascending the remained fairly constant at one to three
professional ladder. What we don’t continued next page
know is why. Our initial goal in this
project, which you can explore further
on our website, was to uncover and fill
in these missing links that occur within
a typical career path. We understand
that everyone’s journey is different and
may not be aligned with a linear ladder
structure, but we first wanted to wit-
ness the path of common convention
before we indulged in the diversity of
career paths and experiences (coming
soon). Therefore, the research starts at
the beginning of a landscape architect’s
career and moves up each rung to the
top — graduation, licensure, project
recognition, professional service and
leadership, and distinguished notoriety.
A key component of this work was
revealing the gender narratives through
spatial-temporal graphics (maps and
timelines). We find this method quite
effective to understand not only the
overall statistics, but to show relational
distributions of women by location
and how these ratios have changed over
time.

SPRING 2020 | CTASLA.ORG 11

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efforts, reach out to us and/or your chapter president.
Nationally: There is extensive data that still needs to be
collected on the national level.
1. This initiative is just beginning — with aspirations to
expand into visualizing several other important narratives
about equity in landscape architecture.
If you are interested in exploring data
on race, mental health, or disability, let
us know!

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12 SPRING 2020 | CTASLA.ORG

WOMEN IN LANDSCAPE ARCHITECTURE

Abigail Adams: Embracing the Genuine Me

M aking the decision and stresses are all minutia in the day-to- negatives. In my opinion they are assets
taking the final steps to day operations. The all-important and and have served me well not only in
create and build my own driving factor, one which I was able to my personal life, but in my professional
company in late 2014 was one of the discover when I was finally on my own, one.
best decisions I ever made. You may was that running my own company I’m a wife, mother, children’s book
ask “why?” Entrepreneurship and allows me to embrace the genuine me, author, and a landscape architect. It is
managing your own firm comes with an independent, female, professional, very rare that I consider myself to be a
a plethora of “stresses”: where will my landscape architect. “woman LA.” I’ve always believed that
next big job come from, where do I All of the qualities that may be women can solve the thorniest of prob-
spend my minuscule marketing budget, considered as “feminine” are some of lems just as well as their male coun-
can I actually spend the extra money to the qualities that I attribute to my suc- terparts. We all come from different
hire a professional photographer (can cess. Being gracious, sensitive, adapt- backgrounds with varying perspectives.
I afford not to!?), did I reconcile my able, and kind are traits that should not I have found that having a diverse team
QuickBooks properly this month, and be considered negative in a male-domi- of designers, engineers, and other con-
will I remember to invoice Mr. Jones’ nated field. In fact, they are some of the sultants creates a win-win situation, not
account for that postage and handling words that I use to describe myself, and only for the owner, but for the project
at the end of the month? These may while there are some who would con- as a whole. Utilizing attributes his-
seem silly for the larger, more estab- sider these to be qualities that should be torically considered to be female have
lished firms out there, so bear with me avoided in the conference room, on job served me well.
for a moment, but as we all know, the sites, or in negotiations, I feel the oppo-
struggle is real. However, these little site. They should not be thought of as Sensitive, thoughtful women, who
often hold back on jumping right into
the conversation, may on occasion be
perceived as weak. I am definitely that
woman, but I pride myself on these
characteristics that contribute to me
being an active listener. It is my goal,
on all of my projects, to incorporate an
approach that utilizes a combination of
listening to all involved parties, taking
time to process the information being
provided, and then to help identify

continued next page

Granite Knolls Sports & Recreation Complex,
Yorktown, NY, a Westchester Municipal Planning
Federation Award-Winning Project.

SPRING 2020 | CTASLA.ORG 13

Abigail Adams cont’d In addition to listening to my clients and design team
members, I listen to the sites themselves, because, as we
opportunities and solutions for the know, they all tell their own story, and often times the site,
particular situation. As a mother I am not the owner or the designer, is in the driver’s seat.
pretty well versed in time constraints,
coordinating my daughter’s activities from a different perspective, and see even heard of. This program encourages
and evening meetings, making sure the possibilities so that we can develop each student to set goals to raise at least
everyone is where they need to be solutions. So, all in all, not so bad to be one of their grades by implementing
when they need to be there. Working a sensitive and thoughtful woman. some of the skills they learn from the
in timelines and listening are under- I do find it important to be a guest speakers. It is a very rewarding
utilized and underrated skills that I strong female role model for all young experience to be around eager minds
attempt to put into practice every day, women, not only my daughter. One who love to learn about new experienc-
in all situations. way I can do this is by actively partic- es and expand their horizons.
In addition to listening to my ipating in The Kiwanis Club Foun- — Abigail Adams, ASLA, is the founder
clients and design team members, I dation of Greater Danbury’s Bringing and principal of A2 Land Consulting,
listen to the sites themselves, because, Up Grades (B.U.G.) program. This is LLC of New Fairfield, CT. She is licensed
as we know, they all tell their own a fabulous program that we have been in NY, CT, and most recently MA, with
story, and often times the site, not the doing for several years now (I am the projects spanning the residential, commer-
owner or the designer, is in the driver’s current President of the Chapter). It cial, and retail markets. You can reach
seat. Some of my most inspiring and introduces the 5th grade classes at the her at [email protected] and follow
fun projects began with obstacles and South Street Elementary School in A2 Land on Facebook and Instagram.
constraints that at first seemed insur- Danbury, CT to a variety of professions
mountable. However, being thoughtful, that they otherwise would never have
sensitive to the situation, and “listen-
ing” to what is happening around me
— essentially, being present — helps
me to reframe things, look at them

Orthopaedic & Specialty Surgery Center in Danbury, CT.

14 SPRING 2020 | CTASLA.ORG

WOMEN IN LANDSCAPE ARCHITECTURE

Beka Sturges: Movement and Reflections

W alking out into the woods. Walking out into the What drew me to Millicent Harvey
water. Walking down the street. All these acts can landscape architecture as a
pass without hesitation, without worry, and with- practice was movement. The
out self-consciousness. Freedom of movement is a beautiful movement of all the forces
condition. It can bring joy and transformation. Finding one’s that contribute to the expe-
way is a phrase you hear all the time, and it suggests that each rience we call landscape; the
of us have the ability to navigate and determine our path. But movement of people and
cruel routine and cultural bias limit the routes for many of water through the environ-
us. Collective intelligence can build sensitive and pragmatic ment that we, as landscape
ways, but it can also flatten and erase difference. I think of architects, have the ability
what we do as finding paths for people, water, and plants. to design. Choreography is a
Fit the land and connect people. Recognize that water term that frequently comes
stays true to gravity and trees can’t move. Try to organize up as we negotiate between fixed conditions and find path-
systems and organisms so they flourish together. These are ways for pedestrians, stormwater, utilities, and cars. Deftness
some of the ideas that motivate me when designing. The out- and grace, pragmatism and gravity feature prominently in
of-doors has been a place of happiness, curiosity, and calm so many of our projects. It often feels like we are constantly
for me. As with so many things, Rebecca Solnit puts it well: pressured to leap or pivot or alight on new configurations. At
“I grew up with landscape as recourse, with the possibility of The Clark Art Institute in Williamstown, we repeatedly drew
exiting the horizontal realm of social relations for a vertical through the drive, path, and stormwater alignments so we
alignment with earth and sky, matter and spirit.”1 Immer- could accommodate changing needs and regulations.
sion in one’s environment is a gift, but it is not available to Landscape architecture tries bravely to reconcile our soci-
all. Providing access drives our work. We try to understand etal needs with the contours of the earth. There’s an Edenic
and represent the needs of people, water, and plants. And we strain to landscape architecture, a giant hope that we can
struggle with the question of how to provide access without change the world, perhaps by uniting the vegetal and human.
doing harm. How to anticipate difference and diversion? Daily practice provides crushing examples of how hard it is

continued next page

Charles Mayer Millicent Harvey

Boardwalk at Clark Art Institute, Williamstown, MA. Converging Terraces at The Mill, East Haddam, CT.

SPRING 2020 | CTASLA.ORG 15

Beka Sturges cont’d grease, we can offer substance and lon- It is hard for me to parse how gen-
gevity. With neglect or by accident, we der has shaped my career, but I know
to argue for the importance of soil, or can also effect sudden death. that I care hugely about fair representa-
to communicate clearly how to care for Tree mortality is on my mind. I tion, and I try to give voice to the land.
plants, or conform a path to existing am afraid of the tragedy of the tree, the Over the years, I have been surprised
topography. I believe I have succeeded reality that if a tree’s environment has at how hard we have to fight to protect
best when showing how a drive, or radically changed, it may not survive the needs of trees and the quality of
a sidewalk, or a trail will work. Two since it cannot escape. It cannot move. water. I confess to an occasional feeling
points need linking up and it’s a matter Climate change has made movement that unconscious bias operates perva-
of interpretation how you define the more necessary. Migration for people sively around me. It is uncomfortable
connection. By noting the realities of and assisted migration for plants may for many people to take the needs
bedrock, or the spectacular canopy of
spreading oak, the need for meanders Fit the land and connect people. Recognize that water
becomes obvious. stays true to gravity and trees can’t move. Try to organize
Adaptation, to our peers and to our systems and organisms so they flourish together. These
environment, seems facile for humans. are some of the ideas that motivate me when designing.
We change our clothes. We change our
architecture. We change the schedules become commonplace. I would like to of natural systems seriously and to
of our days. We even change what we carry our trees to safer ground, but I invest in them. Today, we have ample
eat, what we grow, and how we work. think that making our ground safer may evidence that it is also hard for many
Plants are different. Individual speci- be an easier place to begin. The nurture people to take the words and actions of
mens stay rooted in place and express and tender watch that living material women seriously. I understand myself
their fit or failure to thrive where they wants; the habit of selfless application as a double advocate: as a person who
root. There’s a drama to plant life that in the service of others, the acceptance articulates and organizes care for the
you can watch. The weather, unpredict- of a certain unpredictability — these natural world, and as a woman who
able and forceful, triggers blossoms and are all good characteristics in parents. speaks and designs authoritatively.
leaf fall. Quick shifts in temperature, These traits make for lauded mothers I know, too, that I like to work
erratic rainfall, extreme events, like hur- and excellent landscape architects. with others. It’s important to me to
ricanes, tornadoes, and fires, have vis- not work alone. I love that I have so
ible impact. We can also engage. With many colleagues and partners who can
water and compost, shears, and elbow help work though problems. From my
earliest days at Reed Hilderbrand, I
Millicent Harvey have been actively mentored in design
thinking, field decisions, communi-
cation, and civility. My motivation to
stick with the work, despite the pulls
of family, reflects some combination
of stubborn delight in what we do and
fealty to my colleagues. My sense is that
we are stronger together, and I have no
instinct to be called out as a hero.

— Beka Sturges, ASLA, is a landscape
architect with Reed Hilderbrand, and can
be reached at [email protected].

1 Solnit, Rebecca, A Field Guide To Getting Lost:
Penguin Books, 2006, 49.

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WOMEN IN LANDSCAPE ARCHITECTURE

Dana Ceva: More Than Just A Designer

Iam a female working in landscape work after my sisters had lost interest. As a child, landscape
architecture. I had always wanted He taught me how to plant azaleas, architecture seemed like
to work in a field that positively build a shed from scratch, sand, build, my destined career path.
impacts our environment and the beau- and stain benches, and cultivate a veg- Growing up with two
ty of our surroundings. One element etable garden (while failing to catch sisters, I was always the
that comes with my career decision is woodchucks in the process). I went last one to come in from
that the field I chose is predominantly to school for landscape architecture at outside, helping my dad
male. According to the American Soci- the University of Connecticut. There, with the yard work after my
ety of Landscape Architects, around I took classes in construction, design, sisters had lost interest.
50% of graduates from accredited computer software, 3-D model making,
landscape architecture programs are horticulture, soil science, sustainable To be successful in this career, land-
female, though 38% of ASLA members design, grading, and drainage. To be scape architects must be knowledgeable
are female, and only 19.5% of ASLA licensed, landscape architects must about a wealth of industry topics. Start-
Fellows (the society’s highest honor) are study for months and pass four exams ing with residential design, we must
women. covering everything from liability, have expertise in horticulture, drainage,
More men tend to stick with the contracts, warranties, and bidding, to microclimates, soil science, herbolo-
profession than women. Professionals vegetative, topographic, and hydrolog- gy, stormwater runoff, irrigation, pest
that landscape architects work closely ical analyses, and social, cultural, and management, and rain gardens. If we
with are also from male-dominated economic studies. I am currently focus- open it up to urban design, we broaden
fields. According to Professional Women in ing most of my efforts after the work our understanding to include transpor-
Construction, only 7.4% of the construc- day studying for my first two sections tation systems, climate change, roof
tion managers in the U.S. are women. of the exam. Every night after dinner gardens, pedestrian circulation, urban
The architecture field is 26% female. I and before bed, I immerse myself in heat index, large scale erosion, endan-
do not let these statistics deter me. learning about insurance policies, con- gered species, and sea level rise. There
As a child, landscape architecture struction litigation case examples, plant are landscape architects who design ski
seemed like my destined career path. diseases, erosion control methods, and slopes, cemeteries, boardwalks, hydro-
Growing up with two sisters, I was anything else that might be even par- logical parks, plazas, and anything in
always the last one to come in from tially related to landscape architecture
outside, helping my dad with the yard or construction.

The shed that Dana and her father built in the
summer of 2016. “This was the biggest construction
project we accomplished together.”

18 SPRING 2020 | CTASLA.ORG

between. Today, I work in residential tricky design problem. You may find — Dana Ceva is a 2019 graduate
design-build, which includes everything she has a solution that no one else has of UConn and currently a landscape
from residential design, to pool, patio, considered. designer at Hoffman Landscapes in
and wall construction, and an in-depth We all went through extensive edu- Wilton, CT. She can be reached at
understanding of how construction cation and experiences to get where we [email protected].
details are built and function. I am are today. Let’s give everyone the fair
intrigued by sustainable design; I read chance and respect that they deserve.
articles, attend lectures and classes, vol-
unteer my time, and start conversations Topographic model of the capped landfill in Hartford that Dana redesigned for her senior year (2019) capstone
with professionals working on sustain- project. “I learned how to use and program a laser cutter and, especially, a lot about how to successfully transform
able projects to learn as much as I can. wasted space, such as landfills, into accessible parks.”
As a landscape designer and an aspiring
landscape architect, I am constantly
pushing myself to make sure everything
I do, I do well.
Despite all of this education, expe-
rience, and level of commitment to
this industry, I still experience feelings
of inferiority. Landscape architects and
designers are sometimes looked down
on by other construction professionals.
Some say, we are “just the designers.”
We create “pretty pictures.” We spend
our days “coloring and drawing.” Many
think our job description is to “green
things up.” Truth is, when preparing a
construction drawing set, we are metic-
ulous in site construction details and
specifications.
This sense of being undervalued can
be compared to the way women in soci-
ety, women in the workplace, and women
in landscape architecture often feel.
Our industry is challenging on
many levels and all of us — engineers,
architects, surveyors, and designers
— work incredibly hard. We are highly
skilled professionals and deserve to be
valued for our capabilities and high
standards of excellence. As professionals
in the design and construction industry,
both women and men should support
each other and respect all opinions,
designs, and knowledge. I encourage
everyone to give a female designer a
chance to contribute; entrust her with
more responsibility. Go to the female
landscape architect for advice on a

SPRING 2020 | CTASLA.ORG 19

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WOMEN IN LANDSCAPE ARCHITECTURE

The Mysterious Miss Bullard: Fleeting Fame, Enduring Legacy

BY OLIVER GAFFNEY, ASLA

Courtesy: The Cultural Landscape Foundation T hough the history of landscape architectural practice in Connecticut is often syn-
onymous with Frederick Law Olmsted, he was never a member of ASLA. Further-
Elizabeth Bullard more, none of the 11 founding members of ASLA came from Connecticut.
In 1899, Elizabeth Jane Bullard of Bridgeport, Connecticut was duly elected as an ASLA
Fellow. She had been the first non-founder and the second woman to become a member of
ASLA (Beatrix Farrand was the first). Miss Bullard was 52 years old and in the prime of her
career. She had been overseeing the transplanting of trees in Prospect Park before Farrand
was born, so could rightfully claim to be the first professional female landscape architect.
But her achievements quickly receded from institutional memory. Bullard was conspic-
uously absent from Norman T. Newtown’s Design on the Land as well as a number of other
early histories. How could a prominent early mother of the profession be forgotten?

From Bullard Hill to Beecher’s Farm meetings and correspondence, the two men
forged a devoted friendship. Olmsted quit the
Elizabeth was born in Sutton, Massachusetts Commission in 1863, but Oliver continued to
on January 11, 1847 to Oliver Crosby Bullard serve until its dissolution in 1867.
and Sarah Jane Hartwell. She was the second of
six siblings, and the eldest daughter. For reasons The Making of Miss Bullard
that are unclear, the Bullard family chose to leave
the ancestral farm at Bullard Hill when Eliza- In 1867, the Bullard family departed the
beth was young, to relocate to Indianapolis. Beecher farm to live in bustling Brooklyn, New
In 1858, Oliver’s brother-in-law, Reverend York. Olmsted wrote to Oliver, seeking his
Henry Ward Beecher, hired him to work as the assistance with overseeing the construction of
principal of his model school for young boys Prospect Park. The effort was to be a consider-
in Lenox, Massachusetts. However, Beecher able undertaking, and Olmsted needed full-time
soon observed that Oliver was a better superin- superintendents on site to ensure that the work
tendent of his fields than a headmaster and so proceeded according to his plans.
requested that Oliver manage his larger farm in Oliver Bullard enthusiastically accepted the
Peekskill, New York. offer to become supervisor of planting, but soon
In Peekskill, these 36 acres of Hudson River realized that he required assistance, so he hired
valley farmland provided a living laboratory for Elizabeth. She methodically observed the prog-
Elizabeth. Under the watchful eye of her father, ress of planting operations and relayed reports
she learned agronomy, cultivation practices, and to her father for further action.
project management, which would serve her
well throughout her career. continued next page
When the Civil War erupted in 1861,
Oliver Bullard was still eligible to be drafted for Oliver Crosby
military service. By early 1862, he left to serve Bullard
with the United States Sanitary Commission, a
precursor to the modern Red Cross. His in-laws,
the Beechers, were prominent fundraisers for the
Sanitary Commission and may have urged him
to serve so that he could avoid being drafted.
Oliver Bullard frequently visited the offices
of the Sanitary Commission’s Executive Sec-
retary, Frederick Law Olmsted. Through their

SPRING 2020 | CTASLA.ORG 21

The Mysterious Miss Bullard cont’d Long Island Sound. They wished to have the land developed
so that all city residents could improve their health by taking
Together, the Bullards were responsible for the planting in the sea air. Eleven years later, cattle broker James Walk-
and transplanting of the park’s trees and shrubs to transform er Beardsley donated 100 acres of his estate to the City of
the site’s unkempt, swampy appearance into a handsome, Bridgeport for future development as a park. Olmsted and
inviting landscape. In 1867, some 43,292 trees and shrubs his adopted son John Charles were commissioned to provide
were planted in the park. Olmsted and Oliver Bullard cor- the design, and they soon contacted Oliver Bullard about
responded frequently about the plans and the horticultural collaborating. The Bullards eagerly accepted the opportunity,
techniques for achieving the desired landscape effects. and relocated the family to a rented apartment on Sherwood
Existing copses of native trees were pruned, shaped, or Avenue. In 1885, the City of Bridgeport appointed Oliver
edited out of the landscape. Some of the best specimens along Bullard as Superintendent of Parks to oversee the ongoing
forest edges were transplanted into the park’s open meadows construction of both Seaside and Beardsley Parks. Elizabeth
using a tree-moving machine invented by John Yapp Culyer, assisted in an advisory role.
another Sanitary Commission alumnus and assistant engineer Tragedy struck on October 25th, 1890 when Oliver Bul-
of Prospect Park. Hundreds of trees were moved each year, lard died suddenly. His passing was widely noted and much
including 843 in 1870 alone. Elizabeth was fascinated by the mourned in Bridgeport society. Frederick Law Olmsted,
spectacle of the work, later recalling that himself in poor health, sent a late condolence note to Sarah
and Elizabeth on December 1st. He followed up with a letter
Each operation was rushed with amazing rapidity but to Park Commissioner William Noble on December 2nd,
with military precision and there was no hesitation doubting that Noble could “find a man half as good as Mr.
about remaining after hours to complete the work. Most Bullard without paying him a larger salary than you paid Mr.
of the Park officers, and many of the men, had been Bullard.”
with the armies of the Civil War, and the discipline In the same letter Olmsted endorsed Elizabeth as a
was perfect. worthy candidate to become Parks Superintendent:

Putting the Parks in the Park City I have the honor to reply that I knew Miss Bullard while
she lived with her lamented father upon Prospect Park,
In 1867, P.T. Barnum and other wealthy citizens engaged Brooklyn; of her interest in his work there, and of her
the Olmsted firm to create plans for Seaside Park in Bridge- promise as an artist. […I]f Miss Bullard is willing to
port along 35 acres of swampy, flood-prone property abutting

Courtesy Prospect Park Archives

Right: John Yapp
Culyer’s Tree
Mover, Prospect
Park, 1867.
Below: Historic
scene in Beardsley
Park, Bridgeport.

Courtesy Bridgeport History Center, Bridgeport Public Library Seaside Park plan and modern view.

22 SPRING 2020 | CTASLA.ORG

assume the official responsibilities of her father with away from home. [...] I anticipate to continue his life of
regard to them, I should presume her to be qualified to Landscape Gardening. I have been happily proceeding
do so, and advise her appointment as her successor. to the satisfaction of my patrons, who are to be sure, my
The employment of a woman in this position being friends and perhaps a little bit partial.
unusual, this operation will be watched with much
interest […] your board should be prepared to trust Private Practice and Later Years
much to her discretion and to support her against any
possible prejudice. […] It would, in my judgment, be Elizabeth continued working on numerous private com-
more prudent to give her greater freedom of discretion in missions across New York, Connecticut, New Jersey, Mary-
all matters of her duty, rather than less than you would land, and Virginia, but no information on the particulars of
be prepared to give a man under similar circumstances. the clients or projects have been documented. One notable
Elizabeth, however, was not keen on taking the assign- exception is her collaboration with the Olmsted Brothers
ment. The loss of her father was hard on her, but she found
meaning and healing in continuing her father’s legacy as a continued next page
landscape architect:
I was obliged to decline the honor foreseeing the political
strife which has ensued. The tribute of Mr. Olmsted’s
confidence was high acceptable to me, as my Father had
been years his friend and ardent admirer.
Since his death last Autumn, I have been trying to
complete some portions of his uncompleted work, on the
private places of his friends, and thus have been much

SPRING 2020 | CTASLA.ORG 23

The Mysterious Miss Bullard cont’d National Park Service, Frederick Law Olmsted National Historic Site

firm on the grounds for Smith College. Above:
Bullard arrived in Northampton in 1893 to oversee Olmsted’s
the first year’s planting of over 1,200 trees and shrubs. In Plan of
March 1894, she wrote to John Charles Olmsted express- Smith
ing her concern that the College planned to entrust the College,
task to its own gardener to save on costs for the second 1893.
season. In this regard, she was proved correct. College
records indicate that little planting was accomplished in
1894, and that “a large number of plants died during the
heat and dryness of that summer for lack largely of prop-
er care.”
Elizabeth continued to correspond with the Olmsted
firm and other members of ASLA, but retired from active
practice. Frederick Law Olmsted, Jr. wrote of Elizabeth in
her later years the she “was a capable but very modest and
self-deprecating practitioner.” In her final years, Elizabeth
recognized that her status as a female landscape architect
might one day become less of an oddity and more accept-
ed by society:

I am convinced that this field is open to the women The first greenhouse at Smith College is constructed and herbaceous beds
of the future, as well as that of the interior decora- laid out in 1893. (Courtesy Botanic Garden of Smith College)
tion of homes where women live, and in which, out-
doors and in, they should be mostly deeply interested.

24 SPRING 2020 | CTASLA.ORG

Death and Legacy grand ntrance

Elizabeth was ill for most of the final year of her life. Gates, Fencing,
She remained homebound, attended by her sister Lucy. Railings, Stonework,
She passed away overnight on August 14, 1916 at home, Automatic Entry Systems,
in sight of her landscapes at Barnum’s Marina mansion and Wood & Wrought Iron
Seaside Park. She was laid to rest two days later in Moun- Gates, Handcrafted Stone
tain Grove Cemetery alongside her parents. In her obitu-
aries, she was remembered as “the well-known landscape Walls, Pillars
artist” with “many friends in the city who will grieve her.” and Stairs & Patios
The Bridgeport Evening Post observed that “many of the
gardens in this city are the result of her efforts, she having 800-486-7553
been a landscape architect of no mean ability.”
Unfortunately, the majority of her works were complet- See our gallery of pictures at
ed prior to the founding of ASLA. No plans, design docu- grandentrance.com
mentation, or built examples are known to exist. As such,
her contributions were overlooked in the contemporary LN# WC17260-HO5 CT HIC.0560846
histories of the Society in favor of Beatrix Farrand, Marian
Coffin, and other early pioneering female practitioners with
extensive project histories. Nonetheless, as the first woman
to practice as a landscape architect, Elizabeth helped dispel
the prejudice and public sentiment against women pursuing
professional careers.
— Oliver Gaffney is a landscape architect with TPA Design
Group, Inc., of New Haven, and president of CTASLA.

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SPRING 2020 | CTASLA.ORG 25

ICONIC CONNECTICUT LANDSCAPES

Beardsley Park — Bridgeport, Connecticut

BY PHIL BARLOW, ASLA scape was a “casino” built in 1884. they acquired 18 exotic birds and an
Greenhouses were constructed in 1897. aging camel donated by the Barnum &
Many visitors to Bridgeport’s 1918 brought the Setzner Memorial Bailey Circus. Today, the zoo is operat-
Beardsley Park have the same Bridge. In 1921, local architect Joseph ed by the Connecticut Zoological Soci-
reaction that others have Northrup designed a beautiful stone ety, a non-profit group that purchased
when experiencing a Frederick Law pedestrian bridge. In 1916, the city the zoo from the city.
Olmsted Park. “How amazing is it that constructed an “Anne Hathaway Cot- So how did Bridgeport get this
the city preserved this wonderful land- tage” (replica of William Shakespeare’s wonderful, Olmsted-designed park?
scape?” One usually has no inkling that birthplace) located near an outdoor The story begins with James Walker
the park was once barren farmland. Of theater where Shakespeare’s works were Beardsley (1812-1892), a wealthy farm-
course, that is the gestalt of an Olmsted once performed. These so-called cot- er and cattleman. In 1878, Beardsley
park, and Bridgeport is lucky to have tages were popular in fashionable parks donated 100 acres of his then-rural
this wonderful example. of the era. At the park entrance, close land to the city on the condition that
Today, Beardsley Park is 181 acres to Nobel Avenue, a bronze sculpture the city “shall accept and keep the land
of rolling landscape, forested hills, of James W. Beardsley greets visitors; forever as a public park.” Local lore
and open meadows. It has 21st-cen- nationally renowned sculptor Charles has it that Beardsley was inspired after
tury features like ballfields and play Niehaus produced the sculpture in seeing playing children banished by a
areas sprinkled amongst the trees. 1889. A universally accessible play neighboring farmer.
The Pequonnock River is a defining environment has been added in recent In 1881, Frederick Law Olmsted
feature of the park that runs along the years. (then operating as FL and JC Olm-
southern boundary, dammed to form a The “Elephant in the Park” is the sted) was engaged to produce a plan.
large lake. The bucolic feel of the park Beardsley Zoo which sits on 50 acres of Presumably inspired by Olmsted’s pre-
is belayed by the presence of Route former parkland. The introduction of liminary plan, Beardsley then donated
25 adjacent to the river, at a higher the zoo in 1922 has been the greatest additional land for the park. The plan
elevation than the park. The roadway change to the park. Exotic animals were was typical of Olmsted’s park designs:
is a jarring presence, but frequent park a familiar sight in Bridgeport, as P.T rolling hills with naturalistic plantings,
users are able to screen it out of their Barnum often walked his circus animals curving roadways that adjusted to
experience. through the streets as they wintered in the topography, and a large water-
An urban park is a literal and fig- the city. In 1920, a campaign started to body. Upon visiting the city, Olmsted
urative living thing. Over the years, establish a zoo in the park and citizens described the property: “The land is
each generation has added successive were urged to donate animals. By 1927, rural and just such a countryside as a
additions to Beardsley Park. The first
building to intrude upon the land-

Beardsley Park Master Plan. (Courtesy of the National Park Service, Frederick Law Olmsted National Historic Site)

26 SPRING 2020 | CTASLA.ORG

Beardsley Park
across the ages.

family of good taste and healthy nature a partnership with his stepson and The park has received much plan-
would resort to, if seeking a few hours nephew John C. Olmsted. ning and design attention in recent
complete relief from scenes associated Park reports from 1884 report that years. In 2011 Sasaki Associates com-
with city life. It will be a better picnic “walks and drives are being developed,” pleted a city-wide parks master plan
ground than any possessed by the city even though the 1882 plan is labeled and in 2015 the Olin Studio produced
of New York after spending twenty as preliminary, and a final plan was not a master plan specifically for Beardsley
million on parks.” Olmsted described produced until 1904 by the Olmsted Park.
his plan as “a rustic arrangement of Brothers (F.L. had retired in 1895 and For further information on Beard-
boulders and parterres.” died in 1903). A report from 1884 sley Park and the role that Bridgeport
As so often happens, the histor- states that $8,906 (about $200,000 landscape architect Elizabeth Bullard
ical record of Beardsley Park is a bit today) was spent on park development played in its development, see Oliver
fuzzy (at least to this writer). We can and Olmsted received $700 ($20,000 Gaffney’s article in this issue.
assume that Frederick Law Olmsted today). Charles Eliot from the Olmsted — Phil Barlow is principal of TO Design
was involved in the preliminary design firm visited the park some time before LLC, Landscape Architects, in New
of the park. He produced the design of his death in 1897 and commented on Britain, and the editor of this magazine.
the park at a time when he had formed construction progress. SPRING 2020 | CTASLA.ORG 27

Root Disorders With the abundance of rainfall this past
season, our spring-time soils are more
BY RYAN O’LEARY, AFFILIATE ASLA saturated than ever. As a result, infections
from sub-soil pathogens are becoming
A s landscape professionals, we have had to adapt to more common.
the evolving ecosystems on our properties on a daily
basis. The largest factors in these changes are tem- black, flat, string-like appearance and have the ability to grow
perature and increased rainfall. through the soil to a distance of up to ten feet. These rhizo-
Because of the warmer winter, we have had an abundance morphs are able to infect neighboring plants.
of rainfall instead of snow this past season, and our spring- Both diseases can cause trees and shrubs to fail at the base
time soils are more saturated than ever. As a result, infections and should be considered when investigating possible infec-
from sub-soil pathogens such as Phytopthora and Armillaria tions. Root disorders can be prevented by planting suscepti-
Root Rot are becoming more common in our landscapes. ble species in proper locations and in well-drained soils. It is
Phytopthora is a widespread but often overlooked dis- critical to monitor irrigation carefully.
ease of landscape plants. The disease spores are created in wet Both root diseases can be compounded by improper
soil conditions and are able to move through water. These mulching practices. While there are many benefits to mulch,
spores then germinate and infect fine roots. The disease if installed improperly it can have a detrimental effect to the
moves on to larger roots, the root flare, and eventually to health of our trees and shrubs.
the main stem. Infected roots will look black and shriveled. The root collar of a tree is located in the lower portion of
Plants suspected of phytopthora will have a slow, progressive the main stem which attaches to the buttress roots. By cover-
decline, stunted shoot growth, widespread loss of vigor, and ing the root collar with soil, mulch, or other materials, water
can appear chlorotic. and nutrient flow is restricted and the natural gas exchange
Phytopthora can be prevented and the effects can be
reversed by making applications of approved products and by We’re Bartlett Tree Experts,
following proper cultural practices to susceptible and neigh- a 100+ year old tree and shrub
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Armillaria Root Rot (also known as shoe-string root local roots. Our services include:
rot) is one of the most common root diseases of trees and
shrubs, attacking a wide range of plants. Armillaria kills tree • Tree & Shrub Pruning
roots and causes wood decay. Once infection occurs, the fun- • Cabling & Bracing
gus cannot be removed from the tree, however, promoting • Fertilization &
health and vigor in mature trees will help keep them alive for
years. Juvenile and young trees are much more susceptible Soil Care
to the disease and cannot ward off infection as well. Symp- • Insect & Disease
toms of infection include mushrooms around the basal flair,
progressive decline, chlorosis, stunted shoot growth, and Management
rhizomorphs under the bark. These rhizomorphs will have a

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SPRING 2020 | CTASLA.ORG 29

IN MEMORIUM

RICHARD K. CLIFFORD

FEB.19, 1943-DEC. 6, 2019

BY ROB CLAPPER, ASLA EMERITUS

R ichard K. Clifford died in Chatham, MA in December regulatory approval maze, Dick’s
from complications of ALS. While a resident of Mas- world was one of three-piece-suit,
sachusetts for 16 years, he had a connection to Connecticut high-level management meetings in
and an impact on landscape architecture here. the Commissioner’s office.
When I was hired by Connecticut State Parks in 1986 At one point there were four of
Dick was the acting Director, having been an assistant to us with landscape architecture back-
Bill Miller, the former Director, who had passed away the grounds in State Parks, and through
year before. Dick grew up in Bantam and graduated from Dick’s efforts, landscape architects
Torrington High School. He had an engineering degree from were recognized as project leads for
Wentworth Institute of Technology in Boston and, a degree capital projects through the (then)
(I believe a Masters) in landscape architecture from the Uni- Department of Public Works.
versity of Massachusetts. He never sat for his license, and The lesson is that one doesn’t have to be licensed or a
I don’t think he joined ASLA, but that never stopped him practicing professional to have a positive impact on the envi-
from advocating for our profession. Dick went on to become ronment and our profession.
State Parks Director and, later, Bureau Chief (reporting to — Rob Clapper is a retired landscape architect formerly with
the Deputy Commissioner), until he retired in 2003. While DEEP State Parks. He lives in Colorado.
my world was one of steering capital projects through the

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