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LANDSCAPE
ARCHITECTURE
IN CANADA
L’ARCHITECTURE
Winter | Hiver 2021 DE PAYSAGE
vol.23_no.4 | 8.00$
AU CANADA
L’ASSOCIATION DES ARCHITECTES PAYSAGISTES DU CANADA
THE CANADIAN SOCIETY OF LANDSCAPE ARCHITECTS
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réinitialiser
www.csla-aapc.ca
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WINTER | HIVER 2021
Vol. 23_no. 4 | 8.00$
LANDSCAPES
PAYSAGES
www.csla-aapc.ca
ISSN 1492-9600
Editorial Board | Comité de rédaction :
Jean Trottier, Chair/président, MALA, CSLA/AAPC
Cameron DeLong, NuALA, CSLA/AAPC, Board Representative |
Représentant du CA
Douglas Carlyle, AALA, FCSLA/AAAPC
Luc Deniger, AALA, CSLA/AAPC
Marilou Champagne, AAPQ, CSLA/AAPC
Robert LeBlanc, APALA, FCSLA/AAAPC
Kevin Fraser, BCSLA, CSLA/AAPC
Ryan Wakshinski, MALA, CSLA/AAPC
Heidi Redman, NuALA, CSLA/AAPC
Timothy Bailey Edwards, NWTALA
Linda Irvine, OALA, FCSLA/AAAPC
Cindi Rowan, OALA, CSLA/AAPC
Faye Langmaid, SALA, FCSLA/AAAPC, MCIP
CSLA Board of Directors | Conseil d’administration de l’AAPC :
Carolyn Woodland, OALA, FCSLA/AAAPC, President, présidente
Hope Parnham, APALA, CSLA/AAPC, Past President, présidente sortante
Chris Grosset, NuALA, FCSLA/AAAPC, President-Elect, président élu
Cynthia Graham, OALA, CSLA/AAPC, Chair, Finance and Risk Management
Committee | présidente, comité des finances et gestion des risques
Michael Magnan, AALA, CSLA/AAPC
Tracey Hesse, AAPQ, CSLA/AAPC
Hans Pfeil, AALA, CSLA/AAPC
Kathy Dunster, BCSLA, CSLA/AAPC
David Bodnarchuk, MALA, CSLA/AAPC
Cameron DeLong, NuALA, CSLA/AAPC
Margaret Ferguson, NWTALA, FCSLA/AAAPC
Jane Welsh, OALA, FCSLA/AAAPC
Laureen Snook, SALA, CSLA/AAPC
Michelle Legault, Executive Director, directrice générale
www.csla-aapc.ca | executive-director@csla-aapc.ca
Translation | Traduction :
Christian Caron | christiancaron@videotron.ca
Matthew Sendbuehler | letraducteur@gmail.com
Editor | Rédactrice : Laurie J. Blake
Published by | Publié par :
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PUBLISHED DECEMBER 2021/CSL-Q0421/2306
6 LANDSCAPES | PAYSAGES
RESET | RÉINITIALISER
8 | TO BEGIN WITH | FOCUS | FOCUS 44 | CHANGING MINDSETS:
POUR COMMENCER CREATING SUSTAINABLE AND
Slowing Down on the Road to 28 | ESSENTIAL WORKERS EQUITABLE URBAN LANDSCAPES
Everywhere | Ralentir le rythme à How Landscape Architects Can > FR_LP+ CHANGER LES
la croisée des chemins Play a Critical Role in Preventing MENTALITÉS : CRÉER DES PAYSAGES
Michelle Delk + Doug Carlyle, Guest Future Pandemics URBAINS DURABLES ET ÉQUITABLES
Co-editors | Corédacteurs invités > FR_LP+ TRAVAILLEURS See-Yin Lim
ESSENTIELS
12 | OUR WRITERS | Le rôle essentiel des architectes 46 | PUBLIC HUMANITY
NOS RÉDACTEURS paysagistes dans la prévention The role of art and design in times
des pandémies of crisis
16 | PROLOGUE Michael Grove > FR_LP+ L’HUMANITÉ PUBLIQUE
Envisioning the Future Le rôle de l’art et du design en temps
Transdisciplinary Approach: 32 | LA VILLE MALLÉABLE de crise
An Infectious Idea Le paysage tactique, un processus Ruth A. Mora + Gaston Soucy
Cultivating Relationships & porté par les citoyens
Community Engagement > EN_LP+ THE MALLEABLE CITY
How social trends have affected FORUM | FORUM
our practice
INTERVIEW | Stéphanie Henry 52 | CRITIQUE
ENTREVUE Mutation and Morphosis – Landscape
36 | PANDEMIC AS PRACTICE: as Aggregate
22 | CHRIS REED ON THE COMPLEX DOING THE RIGHT THING FOR OUR Reviewed by Brian Cook
AND DYNAMIC WORLD OF COASTAL ENVIRONMENT
LANDSCAPE > FR_LP+ LA PANDÉMIE COMME 54 | CRITIQUE
> FR_LP+ CHRIS REED SUR LE RÉVEIL : AGIR POUR PRÉSERVER The Post Carbon Reader: Managing
MONDE COMPLEXE ET DYNAMIQUE NOTRE ENVIRONNEMENT CÔTIER the 21st Century’s Sustainability Crisis
DES PAYSAGES Matthew A.J. Brown + Sandra A. Cooke Reviewed by David Maestres
40 | INDIGENOUS RECLAMATION 62 | THE PARTING SHOT |
THROUGH LANDSCAPE DESIGN UNE DERNIÈRE SALVE
> FR_LP+ L’AMÉNAGEMENT Ron Jude: Unheard But Not Unseen
PAYSAGER, OUTIL DE RECONQUÊTE Toby Jurovics
AUTOCHTONE
Jenna Davidson + Ryan Gorrie
LP+ ONLINE |
EN LIGNE
TRANSLATIONS | TRADUCTIONS
> FR_LP+ | VERSION FRANÇAIS
COVER | COUVERTURE
WUHAN MARSH
IMAGE SASAKI
WINTER | HIVER 2021 7
TO BEGIN WITH upcoming issues summer 22 | awards of excellence deadline march 11 fall 22 | blink deadline june 10 prochains numéros été 22 | prix d’excellence date de tombée 11 mars automne 22 | “blink” date de tombée 10 juin ———— For submission guidelines | Pour connaître les norms rédactionnelles : Laurie J. Blake, Editor | Rédactrice lp@csla-aapc.ca LANDSCAPES | PAYSAGES is published by the Canadian Society of Landscape Architects to provide a national platform for the exchange of ideas related to the profession. The views expressed in LANDSCAPES | PAYSAGES are those of the authors and do not necessarily reflect those of CSLA. Guest editors and contributors are volunteers, and article proposals are encouraged. Articles may be submitted in either English or French. LANDSCAPES | PAYSAGES est publiée par l’Association des architectes paysagistes du Canada pour servir de plate-forme nationale destinée à l’échange d’idées sur la profession. Les opinions exprimées dans LANDSCAPES | PAYSAGES appartiennent aux auteurs et ne reflètent pas forcément celles de l’AAPC. Nos rédacteurs invites contribuent bénévolement. Nous attendons, en français ou en anglais, SPIRIT GARDEN CELEBRATION CIRCLE vos propositions d’articles. PHOTO BROOK MCILROY 8 LANDSCAPES | PAYSAGES
POUR COMMENCER
SLOWING DOWN ON THE RALENTIR LE RYTHME À
ROAD TO EVERYWHERE LA CROISÉE DES CHEMINS
GUEST CO-EDITOR, MICHELLE JEFFREY DELK CORÉDACTRICE INVITÉE, MICHELLE JEFFREY DELK
———— ————
IN EARLY MARCH 2020, I left New York City on a business trip. AU DÉBUT DE MARS 2020, j’ai quitté New York pour un voyage d’affaires.
Travelling has been a typical part of my entire career, but that trip proved Les voyages sont légendes dans ma carrière, mais ce voyage allait être le
to be my last for an extended time. In response to the pandemic, we dernier pour une longue période. La pandémie a eu pour effet de redéfinir
became bound to our homes and neighbourhoods in ways we didn’t notre relation avec notre résidence et notre quartier. J’ai redécouvert un
anticipate. In turn, I re-immersed myself into a neighbourhood I’ve long quartier qui m’était familier depuis longtemps. À la croisée des chemins,
been familiar with. When you have nowhere to go, everywhere is the de multiples destinations sont possibles.
destination.
J’ai adopté la marche, une façon d’errer, d’observer, de réfléchir. J’ai
I turned to walking; it’s a way to wander, observe and think. More than constaté qu’il s’agissait avant tout de ralentir le rythme. La marche
anything, I realized it’s about slowing down. Walking invites us to cross approfondit la réflexion, nous met en contact avec notre corps et nos
boundaries, zooming in and out with our minds, bodies and senses. What sens. Qu’ai-je manqué en ne volant pas d’un endroit à un autre? Qu’ai-je
have we missed flying from place to place? What have we overlooked remis à demain, pendant que j’étais trop occupé à me rendre quelque part,
during our commutes, or with heads buried in our phones? Slowing down la tête enfouie dans mon cellulaire? Ralentir signifie être attentif et ne
means paying attention, and not taking our environment for granted. pas tenir notre environnement pour acquis. En observant et en constatant
Observing and understanding our impact in a place and with each other, l’impact que nous avons sur notre milieu, et les uns sur les autres, notre
our focus shifts. We slow down and reset. prenons conscience de notre environnement, on se réinitialise!
In this issue of LANDSCAPES | PAYSAGES, we invited contributors to Dans ce numéro de LANDSCAPES | PAYSAGES, nous avons imaginer
imagine how we move forward from the coronavirus pandemic; how we l’avenir après la pandémie, comment adapter et réformer notre pratique
re-adjust, recalibrate and reform our practice under the theme of RESET/ sous le thème RESET/RÉINITIALISER. Nos contributeurs nous livrent
RÉINITIALISER. Through a range of short-form and in-depth reflections, leurs réflexions en cette période de remise en question sur la façon de
our contributors delve into this moment of pause and ponder how to concevoir un monde plus adapté et optimiste.
design a more adaptive and optimistic world.
CORÉDACTEUR INVITÉ, DOUG CARLYLE
GUEST CO-EDITOR, DOUG CARLYLE ————
———— J’AI CONNU MICHELLE dans le cadre du projet de la nouvelle bibliothèque
MICHELLE AND I know one another from working on the new Calgary centrale de Calgary. Le conseil d’administration de LANDSCAPES |
Central Library. As a LANDSCAPES | PAYSAGES board, we asked Michelle PAYSAGES a convié Michelle à titre de rédactrice invitée étant donné sa
to be a Guest Editor for this issue given her perspective working with a vaste perspective et son réseau diversifié de personnes, de clients, de
diversity of people, clients, communities, and allied professionals across communautés et de professionnels affiliés sur le continent, sans oublier
the continent, as well as for her personal passions and experiences. sa passion et son expérience personnelles.
My work and life parallel Michelle’s, from daily walks to gratitude for
Ma vie ressemble à celle de Michelle, des promenades quotidiennes au
the chance to uncover what’s around us. Through greater awareness
sentiment de gratitude de pouvoir découvrir le monde qui nous entoure.
of the world, whether the pandemic, forest fires and extreme heat,
Notre prise de conscience de la réalité, qu’il s’agisse de pandémies, de
or gross social inequities, there is an underlying urgency to RESET/
feux de forêt, de chaleurs extrêmes ou d’inégalités sociales flagrantes,
RÉINITIALISER as a society and as a profession.
nous incite à une RÉINITIALISATION sociétale et professionnelle urgente.
The response to the L|P solicitation from the U.S. and Canada has
La réponse à la sollicitation de L|P aux États-Unis et au Canada a été
been gratifying. It’s reinforced the value of blurring our borders and
gratifiante. Elle renforce l’idée du «sans frontière» pour la pluralité
celebrating plurality, as well as a desire for conversation and discussion,
de nos échanges, ainsi que le désir de discuter, avant et pendant les
in and out of lockdowns.
confinements.
We welcome your comments.
Vos commentaires sont les bienvenus.
WINTER | HIVER 2021 9
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OUR WRITERS
OUR GUEST CO-EDITORS |
OUR WRITERS |
NOTRE CORÉDACTEURS INVITÉES NOS RÉDACTEURS
MICHELLE DELK DOUG CARLYLE MICHAEL GROVE STÉPHANIE HENRY
Michelle Delk, Director of Doug Carlyle, AALA, FCSLA, Michael Grove, FASLA is the Stéphanie Henry, AAPQ, AAPC,
Landscape Architecture, Snøhetta, RCA, has over 35 years of Chair of Landscape Architecture, cofondatrice de Castor et
is a passionate champion of experience with a wide range Civil Engineering, and Ecology Pollux, développe une pratique
the public realm. As a partner of award-winning projects, at Sasaki, a global design firm professionnelle fondamentalement
from community master plans with offices in Boston, Denver, transdisciplinaire entre art, design
and landscape architect with
to private gardens. With a and Shanghai. His world view is et paysage. Faire la ville par le
Snøhetta, she works to cultivate
passion for city places large and shaped by his two young children, territoire, défendre l’espace public
trans-disciplinary collaboration
small, Doug’s work investigates both avid explorers of nature ouvert et générer un droit à la
for the creative advancement the diverse voices and forces who deserve to experience the ville autour d’espaces vivants,
of public environments. Her that drive their ongoing wonders of the world without the guide les projets d’aménagement
unencumbered vision allows transformation. He is curious risk of planetary collapse. auxquels elle participe. Ayant
for concerted explorations that about the nuances of client exercé en France, en Afrique et
embrace experimentation and goals, seeking to develop strong au Canada, ses référents urbains
improvisation within complicated working relationships. Always sont pluriculturels et sa pratique
social environments. With a pursuing new knowledge and est multiple allant de l’étude des
natural ability for engaging diverse information, Doug is a lifelong grands paysages, aux projets
community and client intricacies, learner. This thirst for education d’aménagement d’espace public en
Michelle guides complex projects explains his interest in periodic passant par les ateliers participatifs
teaching and lecturing, which de fabrication urbaine. L’intégration
ranging from master plans and
he does at various universities des citoyens et leur participation
brownfield redevelopments to
in Alberta and across Canada. in-situ lui sont essentiels.
realizations of urban plazas, parks, Doug cherishes his daily walk
streetscapes and riverfronts. to work through Calgary’s busy
Currently, she leads several efforts streets, parks, and boulevards.
with Snøhetta, including the Ford Doug is also a member of the
Campus Masterplan, the Theodore Editorial Board of LANDSCAPES |
Roosevelt Presidential Library, PAYSAGES.
and the re-imagined design of
the Joslyn Art Museum Garden in
Omaha, Nebraska.
MATTHEW A.J. BROWN SANDRA A. COOKE
Matthew A.J. Brown, OALA, Sandra Cooke, OALA, APALA,
APALA, CSLA, has more than 10 CSLA, has been practicing
years of experience practicing landscape architecture for 15 years,
landscape architecture along the in Ontario and more recently in
Northeast Atlantic coastline, the Atlantic provinces. Sandra
from Boston to Newfoundland co-founded Brackish Design
and Labrador. His connection Studio in 2019, a practice based in
to coastal environments is also Halifax and Saint John. At Brackish,
evident through both practice Sandra’s work focuses on projects
and academia, which focus on that respect and highlight the
landscape architecture’s vital unique beauty, culture, heritage
role in regeneration and renewal. and ecologies of coastal sites.
Matthew co-founded Brackish
Design Studio in 2019.
12 LANDSCAPES | PAYSAGESNOS RÉDACTEURS
RYAN GORRIE JENNA DAVIDSON SEE-YIN LIM
Ryan Gorrie is a Principal Jenna Davidson is a Planner at See-Yin Lim, OALA, AALA, CSLA,
Architect with Brook McIlroy, Brook McIlroy in their Toronto is an Associate at DTAH and has
leads the Winnipeg office office. She has a Double worked on numerous award-winning
and is the director of the B.A. in Anthropology and landscapes and urban design projects
Indigenous Design Studio. A Environmental Studies from that elegantly fuse complex social
member of Bingwi Neyaashi the University of Victoria and and ecological mandates. See-
Anishinaabek, Ryan strives a Master’s in Environmental Yin is currently leading the public
to ensure perpetuation of Studies and Planning from York realm and streetscape design for
Indigenous culture through University. She is deeply inspired Waterfront Toronto’s Port Lands
creative opportunities ranging by interconnections between Flood Protection and Enabling
from the crafting of traditional people and place. Infrastructure Project, a project that
items to large-scale landmark provides the organizing framework
architecture. for future redevelopment of the area.
RUTH A. MORA GASTON SOUCY TOBY JUROVICS
Ruth A. Mora is an artist and Gaston Soucy is an architect, Toby Jurovics is the founding director
designer and co-founder of SUMO urban designer and co-founder of of the Barry Lopez Foundation for
Project. She likes creativity as SUMO Project. He believes that Art & Environment, which works
a force for change. She uses “specialization is for insects,” with contemporary artists to create
human-centric design and art which has taken him to develop a exhibitions about climate change
to build bridges between spaces variety of design skills to explore and our changing relationship to
and communities, focusing how creative practices can the land in a time of environmental
on the contributions of art in contribute to improve the spaces crisis. He is fascinated by the way
public spaces and communal we inhabit while incorporating the edges of the ground glass or
engagement. She is currently art as a mediator. viewfinder define the landscape.
writing a book on that subject.
Between borders shifting, collapsed meaning and future changes, the pandemic slapped the
face of our constructed society and the norms we sunk into. Where the collective consciousness
of humanity drifts remains a question. There is never short or definite answers to the future of
landscape architecture. I want to think big but stay humble and hold constant the belief that the
“true” things that exist – the mountain, the ocean, the air we breathe, the physical object we made
and touch – they are what they are. The core of landscape architecture, and so too its future, is
rooted in our relationships with everything other than the self. Now or then, how we see, read,
communicate, move and reshape the true existence of others will write down the future for us.
— Yuan Zhuang, Snøhetta
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PROLOGUE
01/
ENVISIONING THE FUTURE
How has, and will, the LA profession change – post-COVID and beyond?
SNØHETTA WAS FOUNDED in 1989 with the competition-winning entry for the new library of Alexandria, Egypt. Since its inception, the practice has
maintained its original transdisciplinary approach, and integrates architectural, landscape, interior, product, graphic, digital design and art across its
projects. The collaborative nature between different disciplines is an essential driving force of the practice. At the heart of all Snøhetta’s work lies a
commitment to social and environmental sustainability, shaping the built environment and design in the service of humanism.
This RESET/RÉINITIALISER issue asked contributors to consider what it means to reflect and reassess, expanding the possibilities for sustainable,
equitable and beautiful landscapes. In response, members of the landscape team at Snøhetta were asked to envision the future of landscape
architecture and conditions shaping practice. The following collection of individual quotes are drawn from the team’s diverse backgrounds and
experience levels, encompassing a wide range of perspectives.
In the face of widespread global change, the Since its start, landscape architecture has been surrounding environment in different senses
challenges we grapple with are numerous an instrument of property, power and wealth. (hearing, smell, touch) and reflect this dynamic
and complex. What remains certain is that To be meaningful in the future, the profession experience into our design. Future landscape
no matter how we’ve detailed, specified or must reevaluate its relationships to clientele and architecture should create high-quality scapes
designed our constructions, they are still capital, as well as adjust and expand the services with lush experiences by using and designing
temporary assemblies that, when observed over it provides. It is my hope that reinvigorated for all our different senses to create a unique
longer time scales and varying spatial scales, democracies find clarity of purpose and the “sense” of place.
flow into and out of place. For every material initiative to publicly fund environmentally — Chao Li
and specimen that we import, we leave an focused projects at the scale of continents.
The future of landscape architecture will find
imprint – a void – on a site of extraction. The Failing that, crowd-sourced projects and even
new meaning at the neighborhood scale. As we
elements that make up our material palette funding by way of social media is one possible
begin to redefine in our post-pandemic world
are modified through use, weathering, and in means toward doing work that matters.
how we live and interact on a daily basis – at
response to economic and cultural shifts. Over — Matt McMahon
home, in the workplace, politically, socially and
time, the plants, stone, concrete, brick, wood
An amazing client recently asked us what would in our landscapes – the small moments help us
and steel disaggregate, recombine, disperse and
make the forest happy to have him there. With piece together new patterns: A handful of chairs
decompose – each at different rates. Someday,
the advantage of micro technologies, electronic on the sidewalk allow my elderly neighbours
perhaps distant in the future or sooner than
monitoring and our imaginations, landscape to safely leave their apartments and socialize
we anticipate, the materials we have worked
architecture has an opportunity to move from outdoors, greeting passersby and wishing
so hard to keep together will break apart. Even
a field of vision and a field of experience to just them a good day. An albeit-temporary wooden
the most permanent must be designed for
a field. handrail near the subway entrance feels softer
impermanence. Can we simultaneously keep the
— Darlene Montgomery than the metal one it replaced, gentler as we
extracted, the assembled and the discarded in
return to our commutes. The more skillfully
focus when we design? Our world is composed of different elements,
crafted second and third generation of outdoor
— Emilia Hurd and we use our many senses to perceive them.
dining structures remind us that we will
We seem to focus too much on “what we can
continue to build, improving as we go, and that
see” in the process of designing a project while
the city street can be a generous, gracious and
JOSLYN ART MUSEUM GARDEN we ignore other dynamic senses. As a landscape
CONCEPTUAL COLLAGE
hospitable place to occupy the public realm.
designer, I believe we should understand our
IMAGE COURTESY SNØHETTA — Kate Larsen
16 LANDSCAPES | PAYSAGESPROLOGUE
02/
TRANSDISCIPLINARY APPROACH:
AN INFECTIOUS IDEA
LIZ WREFORD + PETER SAMPSON
PUBLIC CITY IS FOUNDED on a belief that, in tend to hem us in by regulation and territory. the mature forest and responding to flood
the 21st Century, the prairie city needs to invest In the face of massive change confronting prevention measures, the Pavilion also presents
in strong public realms through collaboration cities today – whether related to climate, new types of indoor/outdoor multicultural
between design disciplines. As we anticipate migration, or pandemic – our commitment to gathering and multi-seasonal program spaces.
the post-pandemic city, we are struck by an an unconstrained professional identity enables
By engaging the client, authorities and the
emerging interest, from both public and private us to strengthen our voice. In Winnipeg, where
neighbourhood, we reprioritized the initial
sectors, in how to implement accessible and we live and practice, problems of infrastructure
program-ask (“provide toilets”) to expand
dynamic public urban environments. Since and engineering tend to lead policy and public
and diversify the social opportunity here, all
2016, we have been committed to an idea that debate when it comes to the public realm. We
on the same budget. A little bit inside, a little
architecture and landscape architecture are are trying to influence – perhaps infect – that
bit out, the mix of tempered public spaces
sibling disciplines that when working as one conversation through a change of practice that
with insulated rooms offers traditional ideas
entity can respond purposefully to the creation prioritizes ideas about living in a pleasurable
of shelter and function amidst evolving ideas
of new ways to use the public realm. public environment, as if that were actually
about public gathering. This is a hybrid facility
the goal!
We follow a transdisciplinary approach that introduces new relationships in an open
to practice where landscape architecture Some of our recent projects in Winnipeg public space that is at once architecture and
and architecture are positioned jointly at challenge the typical demands of infrastructure landscape architecture. Its shifting elevations,
the headwaters of all problem-solving, no through a transdisciplinary response. Asked flexible open-sky or open-wall rooms, play
matter the size or nature of the problem. to provide a picnic shelter and washroom at with environmental conditions and question
Transdisciplinary practice releases us from Crescent Drive Park, we delivered a new type the singularity of function ascribed to
the biases of those traditional identities of pavilion. The Pavilion serves the Park and park buildings.
that belong to each discipline. Identities that program as intended; but, while preserving
One of the nicest questions asked of us on
opening day went like this: “Nice room, what
is it for?”, to which we responded, “That’s the
point, you tell us.”
Liz Wreford, MALA, OALA, SALA, AALA, CSLA,
is Principal Landscape Architect of Public City and
has professional experience across Canada, the
United States and Australia. She established her
own practice in Winnipeg in 2011. Peter Sampson,
MAA, OAA, AAA, FRAIC, is Principal Architect of
Public City, based in Winnipeg. He is a Canadian
architect of Swedish descent and grew up in both
Montreal and Toronto. In 2008, he established his
own practice and in 2016, Liz Wreford joined him as
Director and Principal Landscape Architect.
WINTER | HIVER 2021 17PROLOGUE
1
03/
CULTIVATING RELATIONSHIPS
& COMMUNITY ENGAGEMENT
TAYLOR BISHOP
AS A PROPONENT of flexible work schedules Although we were able to make this leap to landED is an educational program that offers
and creating a healthy work-life balance for the virtual world with few, if any, logistical land-based design and environmental learning
its employees, Little Bluestem Landscape problems, we found that we missed having through a variety of resources, tools and
Architecture was already a highly adaptable, the meaningful connections that meeting in workshops. Through landED, we are able to
smaller firm based out of Winnipeg, MB. person brings; there are fewer conversations share our passion and knowledge of design and
When one team member relocated to Calgary about how life is going, or what your plans nature, cultivating relationships between people
shortly before the pandemic, we shifted our for the weekend are when you are on a Zoom and the landscapes that surround them.
internal project meetings and critiques to call. To combat this loss of interpersonal
Throughout the pandemic, we released weekly
virtual methods allowing for interprovincial connection, Little Bluestem started a weekly
Teaching Tuesday videos, each with an activity
collaboration. Having these systems in place virtual lunch date, coffee catch-ups, happy
based on a subject from the current Manitoba
when the pandemic arrived enabled us to hours and monthly team building activities.
Educational Curriculum. These activities are
shift seamlessly to having all employees of Recently, we spent a morning doing some
designed to be fun and accessible for families
the firm working remotely. We were also able online felting, and each participant ended up
who found themselves suddenly homeschooling,
to apply these methods to client meetings, with an adorable miniature bison ornament.
focussing on assignments parents and children
as well as to our stakeholder and community Finding the opportunities and spaces to have
could do together. Little Bluestem Landscape
engagement strategies. personal connections within the team has been
Architecture received the Spirit of Winnipeg’s
key, especially as we continue to grow Little
2021 #ReimagineWPG Award through the
Bluestem with the addition of one permanent
Winnipeg Chamber of Commerce for our
landscape architect and two summer interns to
dedication to the community, recognizing
our team.
how we pivoted and persevered through the
The pandemic has also compelled us to challenges that arose during the Covid-19
focus more resources on helping our local pandemic.
communities engage with, and enhance, their
To learn more about landED, visit www.
outdoor spaces. With the majority of people
littlebluestemla.com/landed. For more
spending more time at home than ever before,
information about the Spirit of Winnipeg
it was the perfect opportunity to grow our
Awards, visit winnipeg-chamber.com/chamber-
“passion” project, landED.
blog/12th-annual-spirit-of-winnipeg-winners.
Tayler Bishop is a Landscape Architect with Little
Bluestem Landscape Architecture in Winnipeg. The
firm was recently featured on the Winnipeg Chamber
1 LAURA SECORD TABLE TALK
2 SPIRIT AWARD, WITH BISON of Commerce website Reimagine Stories series for
2 PHOTOS LITTLE BLUESTEM the pivot during the pandemic..
18 LANDSCAPES | PAYSAGESLeadership by design
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Contact us today at 877-BARTLETT | bartlett.com E V E RY T R E E N E E D S A C H A M P I O N .INTERVIEW
CHRIS REED
ON THE
COMPLEX
AND DYNAMIC
WORLD OF
LANDSCAPE
1
>FR_LP+ CHRIS REED SUR CHRIS REED IS the Founding Director of Stoss and is recognized internationally as a
LE MONDE COMPLEXE ET leading voice in the transformation of landscapes and cities. He works as a researcher,
DYNAMIQUE DES PAYSAGES strategist, teacher, designer and advisor. A recipient of the 2012 Cooper-Hewitt National
Directeur fondateur de Stoss, Chris Design Award in Landscape Architecture, Chris is a professor of landscape architecture at
Reed est reconnu comme l’une des the Harvard University Graduate School of Design.
sommités internationales en matière
Chris recently sat down with Snøhetta’s Michelle Delk, the Guest Editor of this Reset issue,
de transformation des paysages et des
and Dialog’s Doug Carlyle, a Landscape | Paysages editorial board member, to discuss his
villes. Il assume les responsabilités de
inspirations and how he sees landscape architecture developing in this changing world.
chercheur, de stratège, d’enseignant, de
designer et de conseiller. Lauréat du prix
Michelle Delk: Thank you for joining us in the middle of the harbour with scrubby
national de design Cooper-Hewitt 2012
Chris, we’re so excited to include your vegetation, poison ivy, all sorts of stuff.
en architecture de paysage, Chris est
thoughts in this issue. If I remember
professeur d’architecture de paysage à la Way at the end of the island was a
correctly, you founded Stoss in 2001. Could
Graduate School of Design de l’Université lighthouse that was non-functional, an
you tell us a bit about your background
de Harvard. intriguing ruin in a raw landscape. For me,
and why you chose to study urbanism and
this adventure was an escape from the city.
Chris: J’ai trouvé intéressante cette landscape architecture?
And though we were right in the middle of
approche sociale de l’urbanisme et c’est
Chris Reed: One of my earliest memories this bustling harbour, it felt like wild nature.
ce qui m’a conduit à étudier l’architecture
was growing up in a working-class town, In fact, it was always on our mind that we
de paysage. J’ai compris que les paysages
New Bedford, Massachusetts, a port city had to be sure to get back before the tides
pouvaient accomplir de multiples
that’s still the nation’s number-one fishing rose, stranding us on the island. It may have
fonctions simultanément.
port from a revenue standpoint. They been six inches of water at high tide, but
catch fish and scallops, all landed within the the idea that we were in a race with nature
working waterfront and harbour. As kids, or environmental cycles was part of the
we’d go down to the waterfront and get psyche of that place.
out to remote Palmer’s Island by climbing
Turns out the dike was helping to poison
across an enormous hurricane dike that
the harbour, trapping contaminated
was installed after the 1950s. At one point,
sediments moving downstream from
this dike was the largest in the country,
old industrial factories – all the while
built to protect the harbor and its industrial
the city was struggling to maintain its
resources. We would walk out at low tide
last major economic engine. It was this
and scramble out to this old island right
22 LANDSCAPES | PAYSAGESENTREVUE
2
mix of environmental and urban issues control. They integrated mobility and Park systems, like
that really charged my imagination, for transport in multiple ways. So, you put those in Buffalo or
years. What I didn’t understand at the all that together and you realize these
time was the complexity of environmental are extensive urban projects, city-
Boston, functioned
justice, contamination, urbanism, post- making projects. They framed out new as green space,
industrial issues that were already in play at neighborhoods to come. And while the recreation and
that place. functional and imaginative agendas were
clear, you could also see the positive
habitat. Yet they
I went to college thinking I was going to
impacts that these park systems had on also created
be a lawyer, even though my passion
was looking at some of the green spaces,
the daily lives of so many people. That’s biodiversity, and
what captured me. I came to landscape
infrastructure, wild lands and also the
through this understanding of urbanism,
managed flood
urban fabric of cities. Only when I got to
through this understanding of social control.
college did I discover that you could study
reform and through the understanding of
the city as an academic focus. While taking
landscapes that could perform multiple
coursework on urban history, particularly
tasks simultaneously.
the history of the American city, I became
fascinated with the social reform efforts Michelle: Chris, I’m inspired by your story
of the 19th century American city and about your childhood, and I’m curious, do
how those eventually manifest in urban you feel like those observations around
parks and parks systems. It was these park the hurricane dike shaped or informed
systems that captured my imagination; your future work?
they were an escape from the city, and yet
Chris: Yes, I think less explicitly at first, 1 CHRIS REED 2 THE NEW BEDFORD, MA HURRICANE
they were so urban.
and more explicitly later on. I came to PROTECTION BARRIER IS A NETWORK OF DIKES AND
GATES DESIGNED TO PROTECT 1,400 ACRES OF NEW
Park systems, like those in Buffalo or understand that the hurricane dike BEDFORD AND FAIRHAVEN FROM TIDAL AND STORM
Boston, functioned as green space, afforded me opportunities to escape, SURGE FLOODING. THE PROJECT WAS COMPLETED
BY THE ARMY CORPS OF ENGINEERS IN 1966 AT A
recreation and habitat. Yet they also but it was also part of a very unfortunate COST OF $18 MILLION. FAIRHAVEN, MA 07/29/2021.
created biodiversity, and managed flood environmental drama that was playing PHOTOS 1 MIKE BELLEME 2 ISTOCK.COM/ROBERT MICHAUD
WINTER | HIVER 2021 23INTERVIEW
3
I often think of the work we do as staging or scaffolding,
working within a particular milieu, understanding the
people and circumstances within a particular place.
itself out beneath the surface. And there where our cultural value is. That’s where consume you as a person, or collectively as
was something quite frightening and our cultural contribution is, and that’s a firm. Issues that you continue to encounter
powerful about that, also coming to the ultimately where our cultural capital will and explore in different ways. And that’s
realization that so many of those problems be. We are looking at how to address the beginning of a design agenda, a cultural
were the result of human design and those bigger questions and challenges as agenda. To boil that down to one example:
engineering. If humans can cause those designers, as an office, as a practice and as how do people sit down in public spaces?
problems through design and engineering, a collaborative. Oddly, along the way, we discovered that
then maybe there are ways we can design we are furniture designers, which is just not
We want to understand from diverse
and engineer our way out of them. what I think any of us expected. And yet how
disciplinary perspectives what is at stake
people engage public space (sit, slouch, lie
Doug Carlyle: Can you tell us a little bit in the project from standpoint of folks with
down, people watch) is one of the ways that
about your design process and how you far-reaching professional training. We also
we begin to think about the dynamism of
think about those questions in your work? consider public engagement as one form
the public realm. And so, we’ve had this kind
of the research that we’re doing. The more
Chris: I think because of this perspective, of ongoing obsessive exploration, and it’s
that we connect with people up front and
this approach to landscape, I’ve always manifested in different ways.
invite ideas, invite them to share stories
thought landscapes should have an
and cultural histories, understandings of For the Green Bay, WI, CityDeck project,
expansive agenda. They should take on
their particular place, the more chance we designed seating that addresses the
more than just plants and horticulture and
those have of being reflected in the ways infrastructural scale of that riverfront.
gardens and older notions of public space.
in which we develop design, language, We were working with local craftsmen
Those are all great starting points, right?
material palettes, those sorts of things. and carpenters, and so we had a very
But the idea that landscape can inform
And when somebody can see something simple steel frame system that could be
infrastructure, can inform city systems at
within a design proposal that resonates with manipulated in different ways so that you
large scales, is really one of the ideas at the
something that they have told us, it gets had seating configurations: essentially
core of the practice from the start. These
them excited, and they feel ownership. folded wood that allows you to sit up
days, those issues are even more expensive.
straight, to lounge, to cluster, to be alone.
As we begin to face the multiple crises of We also work through iteration, looking
And in fact, that design language then
climate change, as well as social, cultural at a project or problem through the lens
carried out to the river and over the river
and racial crises, our work must continue of integrated design, and trying it out in
so that bigger folds became part of the
to take on these challenges – partly different ways. It is a dynamic process. And
language of the over-water piers. So, we
because we work primarily in the public you know, there are moments of discovery
come back to this idea: how can we use a
realm, partly because it’s the right thing when, all of a sudden, the project becomes
range of tools, materials and techniques
to do. It’s important that we engage these something else, and those are just as
to address similar kinds of issues, but in
issues through the medium of landscape exciting too.
different ways that best express their
and through the medium of design. That’s
Doug: How do you not get lost in all that individual contexts?
data and find space for design to be a part
How people engage public space is one
of the exploration or the research? Do you
3 GERSTACKER GROVE, UNIVERSITY OF MICHIGAN, ANN of those questions that gnaws at us and
ARBOR, MICHIGAN, USA. MODEL OF PREFABRICATED have any thoughts, examples or challenges?
SEATWALL, GENERATED FROM RHINO AND
continues to guide us, something we explore
GRASSHOPPER 4 VIEW OF PREFABRICATED, Chris: In some ways, apart from the over and over again in different ways and
MODULAR SEATWALL. GERSTACKER GROVE,
UNIVERSITY OF MICHIGAN, ANN ARBOR, MICHIGAN
environmental and social issues we’ve with different manifestations. That’s the
IMAGE 3 STOSS PHOTO 4 MIKE BELLEME spoken about, there are things that just kind of thing I’m talking about. You can then
24 LANDSCAPES | PAYSAGESENTREVUE
4
extend those ideas to landform strategies, are being expelled from countries around projects, for issues through the work that
planting strategies, interactive technology the world. There’s a lot of hate. There’s we do.
strategies, anything you want. It’s about a lot of disease. There are incredible
I often think of the work we do as staging
finding new ways forward, inventing and environmental conditions everywhere.
or scaffolding, working within a particular
exploring as you begin to develop your You could become overwhelmed with
milieu, understanding the people and
own kind of cultural language and cultural all this. But we remind ourselves to take
circumstances within a particular place.
agendas. a breath, and then we put our heads
How can the work we do redirect some of
down and start to figure out, given
Michelle: The “Reset” theme of this issue the dynamics in play to more productive
the resources that are at our disposal,
asks contributors to look at the future of or more meaningful ends? How is it that
given the tools and techniques that we
landscape architecture and our practice in the way in which we stage projects
have as designers, how can we begin to
general. What are you inspired by, and what (with surfaces, patches, ground planes,
address some of those really important
do you think people need to be addressing? vegetation) might set up conditions that
issues? We can do this directly, and also
allow people to engage landscapes in new
Chris: We’ve seen so much hardship. by offering counterpoints that instill
ways, to engage each other in new ways.
Not treating other humans in reasonable hope and opportunity and moments
ways, explicit and overt racism, whether of joy within the city. We need to use a Michelle: You’ve mentioned that you’re
that’s Blacks in America or whether that’s constantly evolving and expanding design talking with your students about some of
attitudes toward immigrants or people who toolkit, and be advocates for people, for these challenges and where we are in the
WINTER | HIVER 2021 25INTERVIEW
world right now. Doug and I have been very Doug: How do you see academia going
impressed by all that you’re doing. We were forward given the urgency of the various
wondering if you might share a little bit issues you’ve described? Where does
more about the relationship that you have academia fit with the broader community,
between your practice and academia. not just the way landscape architecture
sees itself?
Chris: I would say practice, teaching
and research can all have reciprocal Chris: I see, and have seen for many years,
relationships. I think some in academia an increasing focus on interdisciplinary
say that’s where ideas are generated, exploration, research and study to match
that’s where the frame and the context the complexity of issues that exist in the
are established, and this is true. There world. This is somewhat new; it might
are some incredibly smart people doing be surprising to some that academic
research in multiple ways, they’re diving institutions still can be very siloed by
deep into things that become quite useful discipline. There are administrative and
to us as practitioners. They’re stepping bureaucratic reasons why universities
back from the world that we’re engaging are structured the way they are, and this
in on an everyday level and thoughtfully can make it difficult sometimes for those
reconsidering the context and the frame cross-collaborations to happen. But I
within which we are working, and within think increasingly university presidents,
which we should be working. deans and faculty chairs are finding
ways to infiltrate this and to get their
And yet there are things that we encounter
faculties to exchange ideas. These are
through practice that hold the potential
intersectional questions, intersectional
for becoming new avenues of exploration
issues, intersectional domains; they’re
and inquiry. Oftentimes within my own life,
taking on issues that cut across disciplinary
I will discover something in one part of my
boundaries. And you begin to see creative
practice, say a question that we’re not fully
partnerships, oftentimes between
able to explore within the context of the
universities, non-profit organizations, and
brief or the client or the site that’s at hand,
even private companies or consultancies,
but has potential for further exploration or 5
that use different sets of resources to
elaboration. Those are some of the ideas
formulate different approaches to some of
that I can bring into the research that I’m
the challenges we’re facing.
doing, or my teaching – to explore them
in a new way, unconstrained by schedule, Doug: The audience for Landscapes | where that individual motivation is. What
budget, pragmatics of projects. Not that Paysages is both landscape architects and is it that a student may be unknowingly
those are bad things, but research and the general public, but also there’s a large obsessed with?
teaching allow me to step back from and audience of students. As we think about a
I recall a conversation I once had with
explore those issues on their own terms, “Reset” coming out of the pandemic, do
somebody who worked in the office, and
as a way that might allow for a new way you have any advice for this new era?
she was unsure of the projects that she
of seeing, investigating or approaching
Chris: Embrace the challenges. Embrace happened to be working on at that time.
an issue.
the complexity. Don’t put it aside. And then And she said that these didn’t seem like
We do challenge students to be incredibly find your own obsession, your own parallel the important projects in the office. And
critical or thoughtful about the work they’re obsession, and keep at that, too. Find your I wondered: what do you mean by that?
producing, about the drawings they’re creative medium. And through the conversation, I argued
making. By being a helpful and productive that all projects are important. They may
Michelle: How do you stimulate students
critic at school, it actually helps me to be important in different ways, but there’s
around finding an obsession? Because I love
develop a critical voice through the firm and always something to be explored and
it. It’s really provocative, but how might you
through the work that we’re doing as well. invented in even the most mundane project
find it with staff in private practice?
So, I see those relationships as mutually brief. I mean, sometimes we are doing very
beneficial. Chris: It’s got to come from the student. simple things because of the circumstances
There’s got to be something in the person. or the budgets. But somewhere in there
So, it’s not me imposing something on is an idea that offers an opportunity for
5 AERIAL VIEW OF COASTAL PARK AND
BEACHFRONT PROMENADE. MOAKLEY PARK, the student. It’s trying to find where that learning and exploration, no matter what
BOSTON, MASSACHUSETTS, USA passion is, where that individual spark is, the scale of the project, no matter how
IMAGE 5 STOSS
26 LANDSCAPES | PAYSAGESENTREVUE
important you think it is. I think that’s critical It doesn’t have to be normative. I use the could have left it there. But we also layered
for young folks entering the profession. example of a project at the University of in a lighting element, acrylic rods on a
Take on the thing that’s right there, the Michigan for Gerstacker Grove, at the stainless-steel base, and we made no
normative every day, and create something centre of the university’s expansion of effort to hide these within the vegetation.
beautiful out of it. North Campus, surrounded by engineering The harder it rains, the more the lights
schools. The program was to renovate that flicker. So suddenly you’re seeing this lush
Michelle: How do you think of beauty,
quadrangle and make it more habitable, vegetation with acrylic rods, and there’s
considering practice and your broader
make it more welcoming for students, just a wonderful illumination and expression
thinking about landscape and urbanism?
bring them outside of the laboratories, give to them: a beautiful experience makes
Chris: Beauty is subjective, right? It can people an opportunity to just sit, hang out, you want to slow down, it makes you want
be expressed in so many different ways. relax, recharge, play a game of volleyball, to notice or at least, subtly, to connect to
But design is an aesthetic pursuit. People gather at certain moments and, at the same what’s going on in the environment. The
don’t like to talk about that much anymore. time, layer in a new, incredible biodiversity opportunity to create a new and distinct
We like to evaluate projects based on agenda into the campus. But we also had experience at that moment for people
their ecological performance or on the to collect 95% of all the storm water falling moving through was really what was at
way in which they’re engaging people on the site and make sure it wasn’t going the heart of that project. It’s experiential,
in neighbourhoods, or on what kind of into drains. aesthetic. It becomes part of the lived
economic advancement they might offer. experience of that place.
We designed gardens with these beautifully
And all those things are important. But
lush plant materials, contrasting prickly Michelle: Yes, it really does. What a what
again, this ties to my comments on cultural
Taxodium with soft ferns and other plant a lovely way to end our conversation by
agendas: ultimately, you want something
materials within the garden space. We talking about beauty, Chris, thank you.
that’s also beautiful, or at least provocative.
WINTER | HIVER 2021 27FOCUS
MICHAEL GROVE
1
ESSENTIAL WORKERS
HOW LANDSCAPE ARCHITECTS CAN PLAY A CRITICAL
ROLE IN PREVENTING FUTURE PANDEMICS
>FR_LP+ TRAVAILLEURS MANY SUGGESTIONS ABOUT how the 3. advocating for responsible urbanization
ESSENTIELS : LE RÔLE design community might react to a post- and limiting sprawl; and
ESSENTIEL DES ARCHITECTES pandemic world have been disappointingly 4. supporting advanced agriculture.
PAYSAGISTES DANS LA human-centric: advancing sensor
To be clear, I am not suggesting that
PRÉVENTION DES PANDÉMIES technology to limit our need to touch
landscape architects are going to prevent
Tant que nous abîmerons les elevator buttons; designing buildings to be
the next pandemic. But if humans, as a
écosystèmes et réduirons flexible to serve as temporary hospitals;
species, aim to limit our potential future
la biodiversité, nos efforts or expanding urban parks due to a desire
exposure, landscape architects play a
seront vains. for more outdoor space. These are just
vital role.
Band-aids on a gaping wound. Until we
stop disrupting ecosystems and reducing Championing Habitat Conservation
biodiversity, our efforts are superficial. Habitat destruction and biodiversity
loss doesn’t only occur when we destroy
Instead, there are four fundamental areas
tropical rainforests. Degraded habitats
society should be focusing on, and that
of all types create conditions for different
landscape architects have the unique
types of viruses to thrive. COVID-19 is not
skillsets to lead:
the first disease to cross over from animal
1. championing habitat conservation;
to human populations, but it is a harbinger
2. fighting climate change;
of more to come. In fact, the World Health
Organization notes that approximately
1 ONCE THE SITE OF A HUGE AND INFAMOUSLY PROMINENT COAL POWER PLANT ON LAKE
ONTARIO’S SHORE, THE LAKEVIEW SITE HAS BECOME A SYMBOL OF THE COMMUNITY’S VISIONS
75% of emerging infectious diseases in
AND DREAMS FOR WHAT THE CITY OF MISSISSAUGA’S WATERFRONT CAN BE 2 THE CHENGDU humans are zoonotic, meaning that they
PANDA RESERVE’S AMBITIOUS EXPANSION FROM 67 TO 6,734 HECTARES SUPPORTS AMPLIFIED
CONSERVATION EFFORTS IN THE NEWLY ESTABLISHED GIANT PANDA NATIONAL PARK
are transmitted to us through contact
PHOTOS 1+2 SASAKI with animals.*
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