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4 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 TEN EYCK LANDSCAPE ARCHITECTS, TOP; ANNE JAMES LANDSCAPE ARCHITECTURE, BOTTOM LANDSCAPE ARCHITECTURE MAGAZINE THE MAGAZINE OF THE AMERICAN SOCIETY OF LANDSCAPE ARCHITECTS JANUARY 2024 8 INSIDE 10 LETTERS 12 LAND MATTERS 122 ADVERTISER INDEX 123 ADVERTISERS BY PRODUCT CATEGORY FOREGROUND 16 NOW Timothy A. Schuler, Editor A taqueria by Ten Eyck Landscape Architects preserves Austin’s vibe; new tools help better ID climate vulnerability; a traffic circle temporarily ignites downtown Indianapolis; forgotten brownfields are enlivened as a community space, and more. 34 HOUSE CALL Made to Mushroom by Timothy A. Schuler The design team for an enchanting Bainbridge Island renovation puzzled over how to meet a tricky sustainability target until Anne James, ASLA, had a novel idea. 48 GOODS Kristen Mastroianni, Editor Out and About New design elements that add polish to public spaces. 16 34
LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 / 5 DAVID JOSEPH PHOTOGRAPHY, TOP; SAHAR COSTON-HARDY, AFFILIATE ASLA, CENTER; ERIC ARNESON AT TOPOPHYLA. IMAGE GENERATED BY CHATGPT-4, BOTTOM FEATURES 58 Star Tracks by Zach Mortice A tiny budget, a stormwater target, and a significant historic site on the route of the Underground Railroad were all that Cleveland’s DERU Landscape Architecture needed to turn a bioswale into a wellspring for storytelling. THE BACK 92 An Elegy in Granite by Kofi Boone, FASLA Photography by Sahar Coston-Hardy, Affiliate ASLA A decade after its opening, changing perspectives cast new light on the Martin Luther King Jr. Monument on the National Mall. 104 BOOKS Mimi Zeiger, Editor Flux and Change by Fadi Masoud A review of The Comprehensive Plan: Sustainable, Resilient, and Equitable Communities for the 21st Century, by David Rouse, ASLA, and Rocky Piro. 132 BACKSTORY Visual experiments by @pangeaexpress explore AI’s ever-expanding boundaries. 92 132 58
6 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 ON THE COVER An interpretive landscape for the Cozad-Bates House in Cleveland by DERU Landscape Architecture, page 58. AMBER N. FORD LANDSCAPE ARCHITECTURE MAGAZINE THE MAGAZINE OF THE AMERICAN SOCIETY OF LANDSCAPE ARCHITECTS EDITOR Jennifer Reut / [email protected] ART DIRECTOR Christopher McGee / [email protected] SENIOR GRAPHIC DESIGNER Kristen Mastroianni / [email protected] COPY CHIEF Lisa Schultz / [email protected] PRODUCTION EDITOR Leah Ghazarian / [email protected] CONTRIBUTING EDITORS Brian Barth; Jared Brey; Jessica Bridger; Sahar Coston-Hardy, Affiliate ASLA; Lydia Lee; Jonathan Lerner; Jane Margolies; Zach Mortice; Maci Nelson, Associate ASLA; Timothy A. Schuler; James R. Urban, FASLA; Lisa Owens Viani; Mimi Zeiger EDITORIAL ADVISORY COMMITTEE David Toda, ASLA / Chair Monique Bassey, ASLA / Vice President, Communications Diana Boric, Associate ASLA Nathaniel Byro, ASLA Sara Hadavi, ASLA Jiali Liu, Associate ASLA Graciela Martin, Associate ASLA Daniel McElmurray, ASLA Dennis R. Nola, FASLA Andrew Sargeant, ASLA Matthew Sickle, ASLA Bo Zhang, ASLA EDITORIAL 202-898-2444 PUBLISHER Michael O’Brien, Honorary ASLA / [email protected] DIRECTOR OF DEVELOPMENT AND STRATEGIC PARTNERSHIPS Daniel Martin, Honorary ASLA / [email protected] ADVERTISING SALES 202-216-2325 SALES MANAGER Monica Barkley / [email protected] SALES MANAGER Kathleen Thomas / [email protected] PRODUCTION SENIOR PRODUCTION MANAGER Laura Iverson / [email protected] COMMUNICATIONS AND MARKETING DIRECTOR Manny Gonzalez / [email protected] SUBSCRIPTIONS REPRESENTATIVE [email protected] BACK ISSUES 888-999-ASLA (2752) Landscape Architecture Magazine (ISSN 0023-8031) is published monthly by the American Society of Landscape Architects, 636 Eye Street NW, Washington, DC 20001- 3736. Periodical postage paid at Washington, D.C., and additional mailing offices. Postmaster: Send address changes to Landscape Architecture Magazine, 636 Eye Street NW, Washington, DC 20001-3736. Publications Mail Agreement No. 41024518. Return undeliverable Canadian addresses to PO Box 503 RPO, West Beaver Creek, Richmond Hill, ON L4B 4R6. Copyright 2024 ASLA. Subscriptions: $79/year; international: $119/ year; digital: $68/year; single copies: $10. Landscape Architecture Magazine seeks to support a healthy planet through environmentally conscious production and distribution of the magazine. This magazine is printed on certified paper using vegetable inks. You can read more about the sustainability efforts of our publishing partners at bit.ly/lam-sustainability. The magazine is also available in digital format through bit.ly/lam-zinio or by calling 1-888-999-ASLA. ASLA BOARD OF TRUSTEES PRESIDENT SuLin Kotowicz, FASLA PRESIDENT-ELECT Kona Gray, FASLA IMMEDIATE PAST PRESIDENT Emily O’Mahoney, FASLA VICE PRESIDENTS Monique Bassey, ASLA Chris Della Vedova, ASLA Joy Kuebler, FASLA Ebru Ozer, FASLA Jean Senechal Biggs, ASLA April Westcott, FASLA CHIEF EXECUTIVE OFFICER Torey Carter-Conneen SECRETARY Curtis Millay, ASLA TREASURER Michael O’Brien, Honorary ASLA TRUSTEES Benjamin Baker, ASLA Chad Bostick, ASLA Elizabeth Boults, ASLA Jonathan Bronk, ASLA Kenneth Brooks, FASLA Katie Clark, FASLA Matthew Copp, ASLA Jitka Dekojova, ASLA Geoff Evans, ASLA Alexander Fenech, ASLA Jay Gibbons, ASLA Lara Guldenpfennig, ASLA William Hall, ASLA Jonathan Hayes, ASLA James Hencke, ASLA Gail Henderson-King, ASLA Todd Hill, ASLA Allen Jones, ASLA Carl Kelemen, FASLA Omprakash Khurjekar, ASLA Randy Knowles, ASLA Chad Kucker, ASLA Chris Laster, ASLA Justin Lemoine, ASLA Evan Mather, FASLA Christopher Moon, ASLA Elizabeth Moskalenko, ASLA Amin Omidy, ASLA Holley Bloss Owings, ASLA Michele Palmer, ASLA Vaughn Eric Perez, ASLA Zachary Pierce, ASLA Matthew Rentsch, ASLA Brian Roth, ASLA Thomas Ryan, FASLA Jan Saltiel-Rafel, ASLA Barbara Santner, ASLA Todd Schoolcraft, ASLA Tim Slazinik, ASLA Dustin Smith, ASLA Nathan Socha, ASLA Robert Tilson, FASLA Patricia Trauth, ASLA William Bryce Ward, ASLA Alan Watkins, ASLA Andrew Wickham, ASLA Gretchen Wilson, ASLA Barbara Yaeger, ASLA Dana Anne Yee, FASLA LAF REPRESENTATIVES Barbara Deutsch, FASLA Roberto Rovira, ASLA NATIONAL ASSOCIATE REPRESENTATIVE Lauren Gray, Associate ASLA NATIONAL STUDENT REPRESENTATIVE Madeline Kirschner, Associate ASLA PARLIAMENTARIAN Susan Jacobson, FASLA
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8 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 LAM / INSIDE AMBER N. FORD (“Star Tracks,” page 58) is an artist and freelance photographer based in Cleveland who holds a bachelor of fine arts degree in photography from the Cleveland Institute of Art. You can follow her on Instagram @ambern.ford. “Landscape can still be so beautiful in the late fall/early winter when planted with intention.” FADI MASOUD (“Flux and Change,” page 104) is an associate professor of landscape architecture and urbanism at the University of Toronto and the director of the Centre for Landscape Research. You can follow the Centre on Instagram @clr.daniels.utoronto. “Even a century apart, the need for holistic and integrated solutions to urban issues continues to be rooted in environmental and social justice, solutions that are seemingly obvious and correlative.” CONTRIBUTORS VALAURIAN WALLER, TOP; YASMIN AL-SAMARRAI, BOTTOM At LAM, we don’t know what we don’t know. If you have a story, project, obsession, or simply an area of interest you’d like to see covered, tell us! Send it to [email protected]. For more information, visit LAM online at landscapearchitecturemagazine.org/ contribute-to-lam. Follow us on X and Instagram @landarchmag and on Facebook at www.facebook.com/ landscapearchitecturemagazine. LAM is available in digital format through landscapearchitecturemagazine.org/ subscribe or by calling 1-888-999-ASLA. GOT A STORY?
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10 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 LAM / LETTERS WRITE US LAM welcomes letters from readers. Letters may be edited and condensed. Please email comments to LAMletters @asla.org or send via U.S. mail to: AMERICAN SOCIETY OF LANDSCAPE ARCHITECTS 636 EYE STREET NW WASHINGTON, DC 20001–3736 I am a licensed landscape architect. I worked hard for this distinction and I am proud of my profession. However, nobody knows what I do or what I am capable of doing. Sob. I could complain about that to my landscape architect friends and feel sorry for myself, or, as I have now decided, I can develop three or four “elevator pitches” and use them at every opportunity. I’ll tell them to everyone, sprinkle them around in social media posts and in the tagline of my email address, make bumper stickers and T-shirts—the options are endless. In this effort, I found the FrameWorks recommendations [Putting People at the Center: Reframing Landscape Architecture for Maximum Impact, available at asla.org], while slightly unsettling for this tree hugger, to be very useful. In developing these pitches, I found ways to incorporate my true loves of nature and ecology with a focus on humans. So c’mon, my fellow landscape architects, let’s promote and celebrate ourselves to the outside world. SUSAN KENZLE, ASLA AUSTIN, TEXAS TAKE US UP CORRECTION In “The Outsiders Are In” in the November issue, a statistic attributed to Lesley Bertolotti on page 61 was incorrect. Instead of “residential uses account for 60 percent of all the freshwater consumed in Florida,” it should have said “On average, we’re finding that up to 60 percent of a new single-family home’s water use in Central Florida goes toward landscape irrigation.” We regret the error.
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12 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 This month, I interviewed Eric Arneson, onehalf of Topophyla Landscape Design, but better known on social media as @pangeaexpress, about a few images he posted that jolted me awake when I scrolled through them (see Backstory, page 132). He had made them with the generative AI chatbot ChatGPT-4, the latest OpenAI release that can interpret nontext file types—in this case, a planting plan. After uploading a plan, the bot generated a rendering via the DALL-E engine. It took a bit of tinkering to get right, which is something Arneson does with great deliberateness. Arneson likes to find the edges of what the AI tools can do, and he is one of the designers OpenAI approached for feedback over the past two years. He emphasized how important it was to be included in the conversations that help shape these technologies, rather than “getting just left behind,” or worse, left out completely. Arneson said he doesn’t see generative AI as a practical tool (yet) but thinks landscape architects should jump in and learn how to use it now. “It’s probably going to be an integral part of the design profession, whether we like it or not, so it’s good to get familiar with it so you don’t get taken advantage of or blindsided by what’s coming.” While our conversation ranged around the ethics and the necessity of using AI, he also stressed the need for landscape architects to have a framework for its responsible use, something that did not yet exist. I decided to poke around and see where we might find or develop something for landscape architects, so I got in touch with the Digital Technology Professional Practice Network (PPN) hosted by ASLA. Phillip Fernberg, ASLA, and Eric Gilbey, ASLA, two members of the network, told me that while the PPN is working on guidance frameworks, it was worth reading up on the work of allied professionals at the American Planning Association, where Fernberg pointed me to Thomas Sanchez, a planner and professor at Virginia Tech. He also sent me “Dezeen’s Policy on AI,” probably the most transparent policy I read for using AI, particularly for designers and media. Gilbey, who is a product marketing manager for landscape at Vectorworks, says his firm is actively working on AI integrations that they expect to release in the future, and in general, industry is more excited and less worried about the unknowns of AI. They also observed that designers don’t seem as anxious about recent technology when it comes from an industry that they perceive as partners, rather than competitors, and perhaps that’s a way forward. Fernberg says a recent AI-focused webinar hosted by the Landscape Architecture Foundation attracted hundreds, and that he could see an online series that moved beyond speculative hand-wringing and walked designers through the value proposition of AI, and explained how it could make their firms easier to run. As Gilbey points out, the potential of AI for saving time and automating tasks, such as nursery searches for specific seeds, can only help the profession, which is very much dominated by small firms. For them, Gilbey says, “AI can be a sole practitioner’s best friend.” JENNIFER REUT EDITOR DESIGN INTELLIGENCE LAND MATTERS LAM /
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LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 / 15 ANNE JAMES LANDSCAPE ARCHITECTURE BAINBRIDGE ISLAND, WASHINGTON A residence is a breeding ground for foraging, in HOUSE CALL, page 34. FOREGROUND
16 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 ERIKA RICH, TOP; TEN EYCK LANDSCAPE ARCHITECTS, BOTTOM Austin, Texas, has been the country’s fastest-growing metropolitan area for 12 years running. The steady growth, driven by a booming tech and venture capital sector, has utterly changed the fabric of the city—and not without consequences. According to one news outlet’s analysis of city data, at least 800 historic structures have been demolished since 2000. “I’ve seen, one by one, these beloved places torn down,” says Christy Ten Eyck, FASLA, the founding principal of Austin’s Ten Eyck Landscape Architects. “It makes these little jewels that much more important and rewarding to work on.” KEEPING IT WEIRD IN THE LANDSCAPE FOR A NEW TAQUERIA, TEN EYCK LANDSCAPE ARCHITECTS PRESERVES A SLICE OF AUSTIN’S HISTORY. BY TIMOTHY A. SCHULER BELOW Water plays an important role in the outdoor spaces at Austin’s Cosmic Saltillo, which repurposes a pair of historic Texaco depot buildings (seen at bottom). FOREGROUND / NOW EDITED BY TIMOTHY A. SCHULER
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18 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 TEN EYCK LANDSCAPE ARCHITECTS FOREGROUND /NOW Cosmic Saltillo is an anomaly in the city’s contemporary real estate gold rush. Designed by Ten Eyck and the architecture firm Clayton Korte, the roughly 18,000-square-foot restaurant space is the second outpost of Cosmic Coffee, whose stylishly ramshackle South Austin location opened in 2019. The new space, accessible from Austin’s Red Line commuter rail and the Red Line Trail that follows it, revives a pair of graffiti-covered, historically significant metal buildings in East Austin. First used by Texaco as a storage depot and later by artists and musicians as a venue, the property is among the last vestiges of the former railyard that is now the Saltillo mixeduse development. The shells of the existing Texaco buildings were painstakingly preserved, right down to the graffiti, along with three towering elm trees and a collection of crumbling brick walls, which Ten Eyck used to create intimate, vine-shrouded seating areas separate from the main courtyard. Anything that could be was salvaged, says Paul Oveisi, the cofounder of Cosmic Coffee, including the buildings’ concrete slabs, which were jackhammered out and repurposed as massive, asymmetrical pavers for the entry. “Christy fought tooth and nail to make sure that we preserved all that old concrete,” he says.
LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 / 19 ERIKA RICH Each irregular piece of concrete had to be placed by hand, says Billy Spencer, the founder of Spencer Landscape Company, who personally oversaw the creation of the entry and a custom fountain built out of salvaged pipe and a gravel crusher. Spencer grew up in Marfa, Texas, and worked with Ten Eyck Landscape Architects on the landscape for Marfa’s El Cosmico hotel (unrelated to Cosmic Coffee). At Cosmic Saltillo, the emphasis on preserving the “funky, organic, creative part of Austin” set the tone for the entire project, he says. “It’s rare that you have somebody that believes in this idea,” he notes. “They could have saved money and built this in [a] way where it would have taken a fraction of the effort. But there was a lot of care taken to save this material and reuse it.” The result is the rare addition to East Austin that feels as if it’s always been there, in part because the team has allowed the vegetation that previously enveloped the back half of the site to resume its conquest. “We cut everything down because we had to, and [Christy] told me, ‘Paul, don’t worry, they’re going to come back,” Oveisi says of the existing vines. “And they indeed came back. And I think that adds to the [feeling that] this stuff has been around forever. Some of it has.” ABOVE A limestone fountain in the courtyard was built out of salvaged oil pipe and a decommissioned gravel crusher. OPPOSITE BOTTOM Old concrete slabs were jackhammered out of the buildings and stored on-site until they could be reused.
20 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 U.S. CLIMATE VULNERABILITY INDEX; MAPBOX/OPENSTREETMAP The first thing Catherine Seavitt Nordenson, FASLA, did when she learned about the Climate Vulnerability Index (CVI), developed by the Environmental Defense Fund and Texas A&M University, was to check to see if it accounted for race. The newly appointed chair of the landscape architecture program at the University of Pennsylvania had followed the controversy surrounding the Biden administration’s Climate and Economic Justice Screening Tool, which upon its release in November 2022 had been called out for omitting race. “There’s a kind of glossing over of the racist spatial planning that has been part of our country forever,” Seavitt Nordenson says of the White House’s methodology. The CVI (accessible at climatevulnerabilityindex.org) does indeed include race and ethnicity among its 184 indicators, along with data on mental and physical health, maternal mortality, air pollution, incarceration rates, sea-level rise, and extreme weather events—more than three times the number of factors included in the White House’s screening tool. “They’re really taking a broad sweep of what this could be,” Seavitt Nordenson says of the CVI. The indicators are aggregated to create an overall vulnerability score and percentile ranking for every census tract in the United States, which is visualized in an interactive map. (While Hawaiʻi and Alaska are included, U.S. territories such as Guam and Puerto Rico are not.) Researchers at the Environmental Defense Fund say the CVI is intended to guide federal investments in climate resilience and adaptation, 40 percent of which are to go to marginalized communities as part of President Biden’s Justice40 Initiative. FOREGROUND /NOW ABOVE The Climate Vulnerability Index provides a fine-grained look at which U.S. communities are most— and least—vulnerable to climate threats. WIDENING THE LENS ONLINE TOOLS FOR IDENTIFYING CLIMATE VULNERABILITY CONTINUE TO IMPROVE. BY TIMOTHY A. SCHULER It is meant for policymakers but also as a tool for environmental justice communities themselves, says Grace Tee Lewis, an epidemiologist who led the work on the CVI for the Environmental Defense Fund. The map, which is open access and also can be overlaid with other datasets, makes sometimes invisible vulnerabilities clearly legible. And it is accompanied by a working list of every federal climate- and environmental justice-focused program or grant opportunity for which communities might apply. “If you recognize, ‘I’ve got a lot of vulnerability because of lead,’ or ‘I’ve got a lot of transportation issues,’ then it lists out government funds that have already been allocated for that, or potential sources of funding that could match up with that specific indicator,” Tee Lewis says. Seavitt Nordenson envisions both practitioners and students of landscape architecture using the tool. “It’s really powerful to see what’s going on in [a particular] district and what the triggers are in terms of climate,” she says. At the same time, she is drawn to the lighter parts of the map, the areas that, for one reason or another, may be less at risk. “I was looking for the blank spaces on the map,” she says. “Where are we seeing less impact, and how can we learn from those spaces to rethink how we can reduce vulnerability?” NATIONAL VULNERABILITY PERCENTILE
22 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 HADLEY FRUITS The best place in Indiana to see cars speeding around in circles is the Indianapolis Motor Speedway. The second best might be the ring of streets surrounding the 284-foothigh Soldiers and Sailors Monument in downtown Indianapolis. So it was a big change of pace when, this past summer, part of Monument Circle was shut down to vehicles and filled with synthetic turf parklets, potted shade trees, umbrellas, ping-pong tables, and a beer garden. The project, SPARK on the Circle, was the third in a series of interventions on Monument Circle dating back to 2015, and by far the most intensive—a six-month activation where previous efforts had lasted about a week, says Chris Merritt, ASLA, a principal at Merritt Chase, which designed the space. It was also a preview, downtown leaders hope, of how the neighborhood could evolve as it moves on from the COVID-19 pandemic. HANGING AROUND TOWN A TEMPORARY DESIGN FOR A TRAFFIC CIRCLE SPARKS DOWNTOWN INDIANAPOLIS. BY JARED BREY BELOW Merritt Chase’s scheme leaned more on design than programming to draw people into a previously cardominated space. FOREGROUND /NOW
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24 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 MERRITT CHASE, TOP; HADLEY FRUITS, BOTTOM FOREGROUND /NOW ABOVE More than 45,000 people visited the park between July and October of last year. TOP RIGHT The project shut cars out of one quadrant of Monument Circle, which surrounds the Soldiers and Sailors Monument. “A big part of it was, how do we make this a place where it’s not just the programming and activation that’s bringing people here, but the physical design of the space itself makes it really attractive and desirable as a place you want to be in?” Merritt says. Downtown Indianapolis was “a neighborhood in transition” long before the pandemic began, according to Taylor Schaffer, the president and CEO of Downtown Indy, Inc. Though COVID-19 made the district emptier in many ways—as it did in most cities—for the past few years it’s also been the fastest-growing residential neighborhood in the city. The addition of new housing marks a welcome shift in the balance of residents, workers, and visitors, Schaffer says, and the next thing to do is unite a string of distinct and disjointed downtown areas. Improving public space is critical. Merritt Chase designed the Monument Circle project with Big Car Collaborative, an Indianapolis art and design nonprofit, after working with the city to develop a South Downtown Connectivity Vision Plan. The park, which drew on tactical urbanist projects that Merritt Chase has experimented with in other cities, brought in more than 45,000 visitors between July and October 2023, each one staying for an average of 64 minutes, according to Schaffer, whose group, like many other downtown organizations, uses anonymized cellphone data to monitor visitation. It was a thoroughly different type of traffic for downtown Indianapolis, she says. The city plans to bring it back this spring. “It was always surprising to me,” Schaffer says, “without an event, without any distinct or time-specific programming, that you could walk out there and just see people enjoying the space.” SPARK ON THE CIRCLE ILLUSTRATIVE SITE PLAN N EXISTING STREET CLOSURE RESTROOM TRAILERS MOBILE BAR 21+ BEER GARDEN WANDERING GROVE PARKLET LISTENING BOOTH WAGON OF WONDERS WELCOME TRAILER WEST MARKET STREET MONUMENT CIRCLE
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26 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 VALERIAN, TOP; SCOTT DRESSEL-MARTIN, BOTTOM FOREGROUND /NOW TOP Globeville’s landscape before it was reimagined as a community green space. BOTTOM Valerian’s design maintains the rural atmosphere of the neighborhood, channeling it into a richly planted native prairie. When the Globe Smelting and Refining Com- pany set up shop north of Denver in the late 1880s, neighbors worked side by side in its foundries. One hundred years later, the company was the subject of increasing criticism and action from those same neighbors because of environmental pollution. By the time the plants closed, the neighborhood of Globeville was left with a Superfund site, the soil filled with arsenic and lead. But the communal solidarity remained, though this time it would be harnessed to rehabilitate the five-and-a-half-acre brownfield site into a community green space. ORGANIZED NEIGHBORS HELP A NEGLECTED BROWNFIELD IN THE CITY OF DENVER STAY RURAL. BY ZACH MORTICE POSTINDUSTRIAL PASTORAL “They worked together, they knew how to do that, and so they kept that vision going,” says Cindy Chang, the executive director of Groundwork Denver, an environmental justice nonprofit that helped guide the Globeville neighbors’ vision for the site. After more than a decade of planning, the outcome of that community organizing is the Platte Farm Open Space, a passive recreational landscape completed in 2020 that was meant for contemplative strolls in a rehabilitated native prairie.
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28 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 SCOTT DRESSEL-MARTIN, TOP LEFT; VALERIAN, RIGHT FOREGROUND /NOW around two beloved cottonwood trees, keeping them intact. It was “a special way of honoring [the community’s] vision,” Chang says. The project took 14 years to realize, during which Ediger and her neighbors enlisted the support of city council members and worked through easements with the local power utility that owns power lines in the area. Though it’s been a long journey, Ediger says she can hardly believe her luck or her neighbors’ commitment. She bikes the open space’s trail, and sometimes when she goes for a walk, she brings her cat. “It came to pass,” she says, “and I can hardly believe how beautiful it is.” For years, the site was a dumping ground. “It was a very popular area to joyride stolen cars,” says Jan Ediger, a neighbor and member of the Platte Farm steering committee, which led the rehabilitation. Environmental degradation took a steep toll on Globeville, now a predominantly Hispanic/Latinx neighborhood, as the EPA found that, because of the pollution, local children had elevated levels of lead in their bodies. “Everybody just wanted to make it right,” says Stacey Stickler, an associate principal at Valerian, the landscape architecture firm that was hired to create a master plan for the site in 2017. Certain elements on the site had to be altered (contaminated soil was removed and replaced with a topsoil cap), but neighbors wanted many parts of the landscape to remain, such as its quasi-rural atmosphere. Though it’s located in the city of Denver, the site is isolated due to interstate highways, rail lines, and industrial properties that seem to shut the rest of the city away. “There’s still a barn there. It was very important to keep that rural feel,” Stickler says. Ediger wanted Valerian’s intervention to be as “simple and as natural as possible,” she says. The planting plan relies heavily on forbs. A headliner is Indian blanket (Gaillardia pulchella), deployed across the entire site and chosen for its ability to attract pollinators and its phytoremediation capabilities. A permeable Grasscrete forebay, filled with water-loving grasses such as Nebraska sedge, channels stormwater into a basin and forms a picturesque overlook. Valerian designed the basin PLATTE FARM OPEN SPACE N 1 NORTH POLLINATOR GARDEN & ENTRY 2 EXISTING FEATURE COTTONWOOD 3 CONCRETE TRAIL 4 DETENTION POND FOREBAY 5 DETENTION POND 6 DETENTION OVERLOOK 7 CRUSHER FINES TRAIL 8 BOULDER RETAINING WALL 9 POST AND DOWEL FENCE 10 SOUTH POLLINATOR GARDEN & ENTRY 1 2 3 4 3 5 6 7 8 9 9 9 10 TOP LEFT The centerpiece of the Platte Farm Open Space is an overlook with seating that frames views of the valley and city.
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OFFICE OF STRATEGY + DESIGN The ability to decide how to get from one place to another is a choice that many people take for granted. But for many neurodivergent individuals, these small yet meaningful travels from school or to work are a resource for a sense of selfactualization, dignity, and independence, experts say. At South Cato Springs, a 230-acre Ozarkian mixed-use, mixed-income development designed to serve neurodivergent individuals in Fayetteville, Arkansas, an emphasis on nature-immersed mobility that promotes nonvehicular travel as the norm could help the development become a model of inclusivity for the region. The development, which broke ground in June 2023, is being led by SLS Community, a Fayetteville nonprofit connecting neurodivergent adults to resources, and the New York-based Office of FOREGROUND /NOW ABOVE Part of the development’s plan are microneighborhoods that include spaces for urban farming and recreation. Strategy + Design (OSD). Betts McCombs and Ashton McCombs III created SLS in 2016 in response to the limited options for housing, meaningful work, and socialization for their daughter Anna, a young adult on the autism spectrum. The master plan envisions connections between the neurodiverse and broader communities, achieved in part through pedestrian-friendliness and nodes for social gathering throughout the site. The staff at SLS says they believe this project is the start of a cultural shift that embraces living with differences of neurodiverse people rather than separating them. “This is not a neurodivergent-only place. It is not exclusionary,” says Ashton McCombs IV, the executive director of SLS Community and Anna’s older brother. Simon David, ASLA, the principal A NEW HOUSING DEVELOPMENT IN ARKANSAS IS DESIGNED FOR NEURODIVERSITY AND COMMUNITY. BY MACI NELSON, ASSOCIATE ASLA A PLACE FOR EVERY PERSON 30 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024
OFFICE OF STRATEGY + DESIGN of OSD, says he also is designing toward inclusion. “When we divide up and segregate from each other, it is such a huge loss for all of us,” he says. OSD pulled inspiration from the surrounding forest environment, aiming to honor the way natural systems bring us together. The walkable spaces respond to the existing site’s sloping topography and will incorporate woodland planting. Canopied walkways and trails that link to the adjacent Kessler Mountain Regional Park and the Razorback Regional Greenway will create a comfortable, shaded space for all. To support success and independent living for neurodiverse adults, the University of Arkansas for Medical Sciences plans to house a research and care facility on the site. The facility will provide a variety of services ABOVE The master plan for South Cato Springs weaves nature and active transportation throughout the community. to this region that have been previously inaccessible for many neurodiverse families. The development also plans to increase the employment of neurodivergent adults with vocational training in urban agriculture and hospitality. The master plan calls for specialized housing near centrally located shops and an integrated urban farm. This farm is referred to as the agrihood and is designed as a part of a gathering space rather than a separate working space. “We believe that everybody has something that they can do that would provide them with the huge benefit of having a productive day,” Betts McCombs says. “Every human has something to give, a skill to develop, to help them feel like a useful participant in society.” SOUTH CATO SPRINGS SITE PLAN N FOREGROUND /NOW 32 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024
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34 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 ANNE JAMES LANDSCAPE ARCHITECTURE FOREGROUND / HOUSE CALL Anne James, ASLA, pored over the site plan one more time. In front of her were concept sketches she had made for a roughly half-acre residential property on Bainbridge Island across Puget Sound from Seattle. The wedge-shaped site, in James’s reimagining, was already brimming with food-producing plants— wild berries, hazelnuts, raised beds for vegetables—but it wasn’t enough. The project, known as Loom House, was a collaboration with the Miller Hull Partnership, Biohabitats, and other specialized consultants, and the team was working to meet the lofty standards of the Living Building Challenge, one of the most stringent building sustainability standards currently in practice. The existing house, composed of two structures perched on the edge of a bluff and joined by a wooden deck, had been built in 1968, and designed by the noted Pacific Northwest modernist Hal Moldstad. In 2016, Karen Hust and Todd Vogel A CREATIVE CROP HELPED ANNE JAMES LANDSCAPE ARCHITECTURE HIT A TRICKY SUSTAINABILITY TARGET. BY TIMOTHY A. SCHULER ABOVE The Living Building Challenge’s food production requirement helped inspire the project’s adventurous plant palette. N LOOM HOUSE AGRICULTURAL STRATEGIES MADE TO MUSHROOM
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36 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 ANNE JAMES LANDSCAPE ARCHITECTURE purchased the house, attracted to the property by its proximity to Vogel’s sister and her family, who live just down the street, as well as the rugged beauty of Bainbridge Island. Hust and Vogel decided to pursue Living Building certification after a meeting with the design team at which Miller Hull presented every sustainability rating system on the books. “We didn’t know much about the Living Building Challenge, but when we learned about it, we just felt very inspired,” Hust recalls. “We wanted to do the hard thing.” To be certified under the Living Building Challenge, a project must, among many other imperatives, supply all of its own water, produce all of its own energy, and avoid materials containing any one of nearly 20 harmful chemical classes cataloged on the program’s Red List. One of the more unusual requirements of the challenge is that projects must enhance access to healthy, locally grown food by devoting a part of the total project area to agricultural production. In the case of the Loom House, the project’s floor-to-area ratio of 0.15 meant that the design team needed to include more than 7,000 square feet of food production on-site. The house’s densely forested site didn’t leave the design team many options. But after several days of contemplation, an idea struck James— the possibility of introducing a type of edible organism she’d never designed with before: mushrooms. “That was a great stroke of brilliance from Anne,” says Chris Hellstern, an architect at Miller Hull and the firm’s Living Building Challenge services director. James—who, prior to opening her office, Anne James Landscape Architecture, spent a decade working alongside the acclaimed landscape architect Richard Haag—proposed creating a mycological foraging forest of fungi native to the Pacific Northwest. The idea emerged organically, she says, from memories of hiking in and around western FOREGROUND /HOUSE CALL ABOVE Raised beds for herbs and vegetables were possible only where there was enough sunlight.
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38 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 ANNE JAMES LANDSCAPE ARCHITECTURE Washington. “I’ve worked a lot with this plant pathologist named Dr. Olaf Ribeiro, and walking through the forest with him on projects, I learned a lot about mushrooms,” she says. “So it was just by observation, really, and internalizing that observation [that the idea was born].” Combined with the other planned agricultural components, including a berry bramble that would be open and accessible to neighbors, the mycological foraging forest was the last piece in satisfying the Living Building Challenge’s urban agricultural requirement. Fortunately, it was also an idea embraced by the clients. “It was really exciting,” Hust says. “I mean, who wouldn’t love to be able to grow mushrooms and harvest them from their own backyard?” For landscape architecture, the Living Building Challenge is as much about what a team doesn’t do— greenfield development is ineligible, for example, as is the use of many fertilizers and pesticides—as what it does, and James describes her approach at Loom House as one of careful editing, preserving a series of mature fir trees and charismatic rhododendrons while enhancing the garden’s ecological value by replacing a majority of ornamental species with native plants. As with the mycological garden, James drew inspiration from the island’s ecology. “The thing to think about is, FOREGROUND /HOUSE CALL ABOVE Inoculated stumps and other fungi-growing media are arranged as part of a foraging forest. INSET Upturned logs will eventually be colonized by shiitake and blue oyster mushrooms, as stumps might be in an unmanaged forest. MYCOLOGICAL FORAGING FOREST N
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40 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 ANNE JAMES LANDSCAPE ARCHITECTURE what is the landscape around you?” she says. “What can grow without supplemental water in the conditions that you have?” Besides the agricultural requirement, the toughest target to hit, James says, was the water-use-reduction requirement. The Living Building Challenge prohibits the use of any potable water for irrigation and requires that 100 percent of stormwater be treated onsite. Existing buildings must also reduce indoor water use by 30 percent. Although the Cascadia region is a famously wet place, the particular pattern in which precipitation falls in Seattle and the surrounding area created challenges for landscape maintenance, James says. “People don’t understand that in Seattle we have a lot of rain, but we don’t have hardly any rain from, like, the first of July through the end of September. We’re talking about a Mediterranean climate: dry, dry, dry,” she says. What that typically means is that cisterns are oversized to make it through the dry season. But on residential projects, storing enough water for the irrigation demand often isn’t feasible. “What you have to do is just reduce your use as much as you can,” she says. Replacing the property’s lawn and ornamental plants—including a large and enigmatic wisteria vine that was transformed into a chandelier for the dining room—propelled the team a good part of the way to the water use target. But even with new native plantings and a 10,000-gallon cistern under the former driveway, the cost of meeting the requirement was out of reach. “We could have provided the water for the project, including the irrigation, but the cost of the system that we would have needed to build was perceived as nonsustainable because it was so expensive,” FOREGROUND /HOUSE CALL ABOVE The incorporation of mushrooms required specialized drawings and planting schedules. RIGHT After inoculation, some logs were assembled into loosely stacked structures called ricks.
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42 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 ANNE JAMES LANDSCAPE ARCHITECTURE James says. “We were trying to be a model for small houses, renovated houses, and it just seemed like a disconnect.” The project ultimately received an exemption in the water category, based on an annual reduction in water use of approximately 60,000 gallons, or more than 50 percent compared to baseline. If large-scale water storage can be cost prohibitive for the average homeowner, the creation of a mycological garden is quite the opposite. “It’s pretty cheap,” James says. “It’s not something a normal person couldn’t do.” After some initial research and consultation with staff at Fungi Perfecti —an Olympia, Washington-based mycological supply company founded by the mushroom evangelist Paul Stamets (whose book Mycelium Running: How Mushrooms Can Help Save the World was also a helpful resource)—James assembled a list of six “regionally appropriate” edible mushroom varieties: shiitake, lion’s mane, king stropharia, blue oyster, pearl oyster, and phoenix oyster. These were chosen because they aligned with Bainbridge Island’s climate and also matched up with the hardwood species available. Different tree species are better suited to certain fungi, James explains, and the varieties selected reflected the types of wood she could acquire “fresh” from local arborists: alder and big-leaf maple. “You have to have fresh logs so that they’re not contaminated with other mycelium,” James notes. “Types of wood available would vary in different areas of the country, and fungal selections would likely reflect that.” James’s unusual take on a food forest —which, in addition to mushrooms, included wild onions and edible ferns—did come with a steep learning curve, however, as well as a hefty amount of unconventional landscape material: dozens of fresh alder logs (for inoculation), hundreds of packets of mushroom plug spawn (the inoculant), and several pounds of beeswax (for sealing the plugs). As part of her drawing set, James developed a mycological inoculation schedule, which detailed the names, quantities, inoculation types, and timing of the various mushroom varieties. Some fungi could be cultivated year-round; others only in the spring or fall. To build the garden, workers from Ohashi Landscape Services stacked the alder logs into a series of threefoot-high, Jenga-like towers called “ricks,” then inoculated them with mushroom spawn. They drilled holes 5/16 of an inch in diameter up and down the length of the logs, into which they inserted the plug spawn (small, myceliated wooden dowels). After the plugs were inserted, the workers melted the beeswax over a small camp stove and used the wax to seal the holes. For the same reason “fresh” logs are necessary, the FOREGROUND /HOUSE CALL “WHO WOULDN’T LOVE TO BE ABLE TO GROW MUSHROOMS AND HARVEST THEM FROM THEIR OWN BACKYARD?” —KAREN HUST ABOVE King stropharia was among the first mushroom varieties to appear following the project’s completion.
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44 / LANDSCAPE ARCHITECTURE MAGAZINE JAN 2024 BEN SCHAULAND, TOP RIGHT; ANNE JAMES LANDSCAPE ARCHITECTURE, BOTTOM LEFT ricks’ base logs are not inoculated, forming a barrier that prevents the rest of the structure from being infected by other soil-based mycelium. In addition to the ricks, myceliated alder chips—nested between two uninoculated layers—were spread over a 32-square-foot area of the forest floor, and several more alder stumps were inoculated and stood upright in the garden. “The thought was that it would look like old trees that got cut down, when in fact they were brought in and inoculated with mushroom mycorrhizae,” James says. Building the mushroom garden was a novel experience for the entire design team. “These landscape guys, they had never done this either, so I was trying to give them all the information that I could,” she says. She made a point to be on-site during the inoculation process, partially to ensure it went smoothly but also to observe the process firsthand. “It was new to all of us,” she says. Completed in 2019, the house underwent the requisite performance monitoring for one year. In 2021, the Loom House received certification under version 4.0 of the Living Building Challenge—only the fourth house, and the first renovation, to do so. Hust, one of the owners, compares the house to a living organism that exists in symbiosis with the elements at play on the site—“the water and the sun and the wind and things that grow naturally here. It feels like our house is helping to root us into this place in a really honest way, and Anne has been really instrumental in helping weave the house into the landscape.” Hust and Vogel have even had the pleasure of seeing the first few mushrooms emerge from the forest floor, though it will be a while yet before the ricks produce enough fungi for a harvest. (It can take anywhere from six months to five years for the fungi to fruit, depending on the growing medium and the local conditions.) “We definitely have seen a few,” Hust says, “but they’re just getting going.” TIMOTHY A. SCHULER’S WRITING ON THE BUILT ENVIRONMENT HAS APPEARED IN PLACES JOURNAL, METROPOLIS, BLOOMBERG CITYLAB, AND LAM, WHERE HE HAS BEEN A CONTRIBUTING EDITOR SINCE 2015. FOREGROUND /HOUSE CALL RIGHT When it was completed, the Loom House became the first residential renovation to achieve Living Building certification. BELOW Other strategies to meet the requirements included reusing site materials such as concrete.
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