ARTICLES Archives - Page 267 of 314

Feeling Right at Home

My daughter and I just returned from our annual trip to visit family in Connecticut and used the occasion this time to travel all over the northeast - from Boothbay Harbor, Portland and Camden in Maine to Martha's Vineyard and Nantucket and other parts of Massachusetts as well as slices of New Hampshire and Rhode Island. I'm never disappointed by the beauty I find in that part of the country. The landscapes are much lusher than they are at home in southern California, a fact that drives home the point that I spend most of my time in a desert. The old-growth trees back east are

Precision Planning

I operate under the hopeful assumption that all professional watershapers know that detailed, quality construction plans are crucial to the success of any project. Too often, however, I get the unsettling feeling that some contractors in the watershaping trades see plan documents mainly as a means of securing a construction permit. Such a bare-minimum approach can lead to an endless array of problems that can be summed up simply: Plans lacking in detail leave way too many issues to chance and inevitably lead to mistakes. And because we all work in a field where things are quite literally

The Clarity Class

It only stands to reason that you can't have a watershape without the water, but I sometimes wonder just how much watershapers really know about

The Entrada Golf Course on the outskirts of St. George, Utah, stands at the heart of an unusual cluster of housing developments. For the past five years, watershaper Richard Allen has worked non-stop to integrate the entire, grand composition through its watershapes, from big lakes and watercourses to intimate streams that run along the property lines of many of the homes – all in the name of creating a much-desired oasis in an arid landscape.

Life in an Oasis

When people talk about how much they love living in the desert, I've come to believe that what they really mean is that they love living in an oasis looking out onto the desert. That's profoundly ironic, but my clients in St. George, Utah, have all chosen for one reason or another to move to an extraordinarily arid place and seem universally to crave the presence of water in their immediate surroundings. This is indeed one of the most important things they're looking for in homes in our developments. It's one of the reasons why

The Fairmount Water Works is a monument to the history of water treatment in the United States, says Ed Grusheski, manager of public affairs for the Philadelphia Water Department. Established in 1815, the facility pumped water from the Schuylkill River until 1909 and has recently been restored and transformed into an interpretive center to educate the public on pollution prevention, watershed management and the history of the Water Department. (Lithograph by Currier and Ives, ca. 1860. Courtesy Philadelphia Water Department)

Historic Treatments

Local historians claim that the image of Philadelphia's Fairmount Water Works was the most reproduced of any industrial site in the United States through the first half of the 19th Century - and for good reason. At that time, the facility represented the absolute state of the art and served as a major point of pride for local residents as well as a source of fascination to visitors from near and far. Throughout its long history, the facility was indeed at the leading edge of water-delivery technology and is now the ideal place to capture and tell the story of the development of environmentalism in the 19th and 20th centuries. The story begins

Living Art

To those who see art as frivolous and ultimately unnecessary and expendable, we offer as a counterweight the following from Austrian poet, Ernst Fisher: "Art is a driving force in bringing humankind to greater quality of life, and it is therefore an absolute cultural necessity." For the artist, tremendous responsibility comes with that necessity. Indeed, those who expose others to art bear a burden in shaping entire cultures as people around them come to accept their artistic output as essential threads in the social fabric. Think of Brunelleschi in Renaissance Florence, for example, or Gaudi in modern Barcelona. When we as watershape or landscape designers seek to expose others to our works of art, we accept a profound moral responsibility whether we work in the public or the private domain. At its core, our responsibility is to seek and communicate truth. As we see it, one and all who fall under the broad umbrella of the watershaping arts should be

Good Bones

Good Bones I may be biased, but I think that James Van Sweden is the most important and certainly one of the most influential landscape architects working today. His work in suburban residential settings has influenced an entire generation of designers, and his signature use of ornamental grasses, stacked ledger walls and well-designed pathways can be seen in thousands of spaces across the country. Van Sweden's latest book (his third) is Architecture in the Garden (Random House, 2002), which is all about designing spaces that have, as he puts it, "good bones." What he means is that without a design that takes the architecture of the home, a site's characteristics and the

Revisiting the Spillway

As much I enjoy seeing my own projects come to fruition, there's something wonderful in seeing watershapers I know achieve great results in their work. I admire and encourage the effort, especially when the outstanding outcomes are the result of a professional's concentrated efforts to improve his or her own skills. This is one of the reasons I teach: I take great satisfaction in sharing my techniques, sensibilities and the conviction that what I do is special, a true form of art.Sometimes I speak with former

Communication Gaps

I recently wrote a Letter to the Editor of Landscape Architecture, the magazine of the American Society of Landscape Architects, in response to an editorial he wrote on the lack of interest among landscape architects in plant knowledge. The gist of his commentary was that, for too many years now, landscape architects had been focusing on hardscape and overall design and were reserving little creativity, interest, or care for botanical adornments. My response was a supportive rant, as this has been a pet peeve of mine for years and I strongly believe that

Inquiring Minds

What do you really want to know about the arts and crafts of landscaping and watershaping? That's an important question for each and every one of us in the trades to ask of ourselves, because without knowing what you want to know (or at least what you think you should know), all of the talk about the value and power of education is just so much rhetoric. I bring this up because, for a long time now, leaders and regular folks from all walks of the watershaping trades have been beating the educational drum. You read about it in every trade magazine, hear it in the vast majority of seminars and see it in the promotional messages of those who stage trade shows and conferences. Indeed, the