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Archive for the ‘Walls’ Category

Every now and again Toby and I get together at a local coffeehouse to talk about our practices and about landscape architectural issues in general.  Conversation never lags — as we did when we worked together at Copley-Wolff, and over meals with other LA friends, and even before then, when we were both grad students at Cornell, we find plenty to talk about.  And we generate plenty of ideas for blog posts.

The thing is, once we’ve talked it seems harder actually to write the posts we’ve talked about.

Yesterday we had a long-overdue confab.  As always, it was refreshing  and fun to discuss our professional lives through the filter of a longtime friendship.  We mined a vein of topics that covered, as always, a pretty wide territory.  And once again, I made notes on what ideas I wanted to write about later.

This time, however, it dawned on me that the gulf between talking and writing would loom in front of us again, no matter what notes I took.  The solution — at least for the moment — is simply to post the list of topics we covered.  Here’s our list:

  • Apple crumb cake or two-chocolate mousse?  Brain food is important, and sweet selection really was our first topic as we stood at the counter.  Apple crumb cake won out.
  • Parcel 18 on Boston’s Rose Kennedy Greenway, and the clearing out of a rose thicket underneath a group of Dawn Redwoods (Metasequoia glyptostroboides).  Now you can understand the design intent of letting the trees form a grove.
  • The proposed Armenian Genocide Memorial, proposed for construction near Boston’s North End on the Greenway.  A labyrinth?  Really?
  • Flat, graphic designs as a substitute for spatial volumes with permeable enclosure.
  • The idea of letting the Greenway grow in and develop a character for a period of several years before adding buildings to it.
  • London Plane trees moved bare-root last summer.
  • This summer’s ISA Conference and Trade Show in Chicago.
  • This summer’s ASLA Annual Meeting in Washington, DC.
  • Priceline.com, or the other one that isn’t priceline but also isn’t as easy to remember. (Afterthought: quikbook.com is worth a try too.)
  • Toby’s web site.
  • The Parsley.  Not long ago, she posted a couple of really smart landscape architectural reviews of Chicago’s Millenium Park.  She wrote not only about the Iconic Big Moves (the Cloud Gate, aka The Bean, the Lurie Garden, the Crown Fountain), but also about the less glamorous but important issues of circulation, edge-making, enclosure, detailing, sight lines, and wayfinding. In the opinion of the one of us who’s been there, she nailed it.
  • College reunions.
  • Older parent/family issues.
  • High school reunions.
  • Labyrinths, cathedrals, pilgrimages, and minotaurs.
  • Baby garter snakes and fledgling mockingbirds.
  • Design strategies for linking the North End Parks on the RK Greenway with the southbound Surface Road — street-theatre-promoting terraces and broad steps could add charm, access, and character to a peculiarly bulwarklike edge.
  • The enormous effort involved in designing tree plantings for the Greenway given its intensely utility-rich subgrade conditions.
  • The pros and cons of prefab tree boxes.
  • The merits and hazards of being quoted by reporters.
  • Permeable pavement, and when it isn’t.
  • Silver Lake in Wilmington, MA, its role as the headwaters of the Ipswich River, and what’s being done to make its watershed work better.
  • A huge multi-stemmed Ilex opaca — 50′ tall — in Wilmington.
  • Walden Pond’s water level this year (very high, due to heavy spring rains).
  • The LID Center and its building on decades-worth of knowledge and experience (Ian McHarg and Design With Nature, Andropogon, etc.)
  • Bing birdseye photos as a useful way to see a site online.
  • Garden Design magazine as an advertising delivery system (but not ours).
  • Fine Gardening magazine.
  • Subtext in garden design magazines.
  • The New York Times‘s increasingly goofy treatment of landscape and horticulture, including their astonishing discovery of the tree lawn, aka the “parkway” (Illinois) or “verge” (Britain).
  • CEUs for Connecticut and New York landscape architects.
  • What grows in the shade of a Norway maple and what will grow in the same place after it’s gone — in reality and in metaphor.  Massachusetts had severe and blustery thunderstorms this past Sunday, and hundreds of trees came down around the Commonwealth.  I had three calls about downed trees the next day.
  • Avant Gardens in North Dartmouth, MA.
  • Sylvan Nursery in Westport, MA.
  • Lobster rolls, eggplant fries, and strawberry rhubarb pie at The Bayside in Westport, MA.
  • Fertilizer.
  • Bacterial counts.
  • Young Goodman Brown by Nathaniel Hawthorne.
  • The possibility of designing a series of wooden stairs to run down a slope dominated by a client’s ancient and beloved Sugar Maple, rather than installing stone steps that might damage its roots.
  • Native plants for parking lots.
  • Volunteer barberries.
  • Stone walls.

Truly.  One conversation.

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Brian Rose’s website, the subject of yesterday’s post, also features his photos of the Berlin Wall and its environs before, during, and after its fall. He writes about the experience of place in Berlin, and for anyone whose knowledge of the Wall is limited (mine was derived mainly from watching Wim Wenders’s Wings of Desire and Faraway So Close — wonderful movies, in which the Wall is a character, but not the main character in them), Mr. Rose’s chronicle, called The Lost Border; Photographs of The Iron Curtain is well worth exploring. Don’t miss it, in fact — it’s an affecting series that depicts and describes how the Wall and the zone around it informed, and in ways continues to inform — the national consciousness of the once-divided and now unified Germany.

Photo by Svenwerk on Flickr

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terra_firma5 stone

The DCR has a publication here on the preservation of stone walls, with lots of references to good historical and legal resources.  They write:

How do we learn to recognize these features when toppled stone boundary markers or collapsed and tree-filled cellar holes often go unnoticed in the woods? Even when identified, it may be assumed that their isolation removes any relevance or historic significance. But it is exactly these types of landscape elements that tie the land to a past use and history that may no longer be immediately discernable, and without the skills needed to identify these features their eventual loss is assured. However, stone features can be protected through proper stewardship that addresses threats such as neglect, collapse, and damage from vegetation and theft.

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Of course, a wall doesn’t have to be physically massive to take on functional “thickness” — even a balloon-frame house can have a comfortable window seat or a wrap-around porch.  And the principle of “thickening the edges” (borrowed from Christopher Alexander and company) isn’t only about walls.

in the Marais, Paris

in the Marais, Paris

What is a sidewalk restaurant but a thick zone of overlap between indoors and outdoors?

Parc Citroen, Paris

Parc Citroen, Paris

To separate two areas within Parc Citroen in Paris, a line on the ground would have done the trick.  Instead, raised lawns form a thick edge.  It creates a transition zone between the areas, and it invites people into that zone, and the people in that zone further “thicken” it:  When you pass through, you aren’t just walking between bits of lawn; you’re walking through drifts of people.

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Saul Steinberg was a genius for showing us how versatile a line can be.

Saul Steinberg was a genius for showing us how versatile a line can be.

Like that Steinberg drawing, the Parisian building facade pushes in and pushes out, has ceilings and floors, and carves places — albeit the tiny ones of deep sills and shallow entryways — out of mass. Items get applied, chunks get taken out.

It’s easier to see those thicker building walls in older American cities — Boston, New York, Chicago, Philadelphia — on buildings put up before curtain wall construction took over. Curtain wall construction, regardless of where it takes place, thins out walls and so abstracts function down to the single use of dividing inside and out.

Building owners looking to limit their liability sometimes impoverish the richness that a more complex wall offers. This article in the Canadian Center for Architecture website discusses the use of ‘pigeon strips’ to deter people from sitting in the deep sills of older buildings. I’m betting that liability is another reason that it’s rare to see streetlights on buildings in this country.

(Yes, pigeon strips to deter people, not pigeons, from sitting on the sills. They’re really heavy spikes, and perhaps they aren’t really meant for pigeon deterrence (that’s done more often with much thinner spikes in a fanned arrangement), but the CCA called them ‘pigeon strips’, so I’m continuing the practice.)

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closer still

I like Deb’s nodding lights, below, and I know it isn’t fair to compare Concord with Paris, but . . .

Thick walls with objects attached and spaces carved in become zones where public and private interact.

Thick walls with objects attached and spaces carved in become zones where public and private interact.

. . . but as usual, the Parisians have been there, and they have found an elegant solution.  Attaching lights to building facades allows the lighting of narrow streets without adding clutter to sidewalks.  And if the lights are high enough, they’ll be out of harm’s way from passing trucks.

There are cultural, political, and technical reasons why this would be difficult to pull off in the US, but what’s more interesting in the differences between my photos and Deb’s is the contrast between the ways an American building and a European one meet the street.  An American facade tends to be  a taut plane separating outside from inside.  Its European counterpart is not so much a plane as a zone with its own depth.  A thick masonry wall can be an armature for functional and ornamental additions, a transition zone, and an occupied space.

So over time an owner or tenant attaches window boxes; the city attaches lights and street signs; a new administration attaches newer street signs; a resident leans out a window; a visitor takes shelter in a doorway; and the facade accumulates and absorbs the marks of its history and its ongoing life.

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The Boston Globe just published this piece about stone wall theft throughout New England. It describes the just-passed New Hampshire law that will assess triple damages for the restoration of a stolen wall — plus attorneys’ fees — against those who steal that stone wall. That’s a lot of spondulix. The article is worth a read.
p1000653

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Sorry about that title.

I’m curious about quarry waste, and whether that’s a resource that can be better utilized.  Quarries that produce architectural stone end up rejecting stones that, due to inherent flaws or damage in the quarrying process, don’t meet architectural standards.

Quarry waste at Halibut Point, Gloucester MA

Quarry waste at Halibut Point, Gloucester MA

Given a mason with the time, discernment, and connections to select individual stones from an active or semi-active quarry’s waste pile, and the skills to build tightly and elegantly with them, this stone can make a beautiful wall with a character distinct from fieldstone and fieldstone-veneer walls.

Sitting wall by David Phillips and Cambridge Landscaping

Rockport granite. Halvorson Design Partnership, David Phillips, and Cambridge Landscaping

Even without skilled masons, you can do some fun things with quarry waste, and at the same time turn a quarry’s disposal problem into a profit opportunity.  (The rocks shown below came from the waste pile of the quarry that was supplying landscape curbs for the same project.  The main costs to the client were my time and travel, the packing and shipping of the twenty boulders on two flatbed trucks, and a day’s work by a four-man crew to set the boulders in place.  No new quarrying was required.)

Mankato limestone, Halvorson Design Partnership and JL Burke Construction.

Mankato limestone. Halvorson Design Partnership and JL Burke Construction.

But for the most part, neither the quarry industry nor the landscape industry is set up to take advantage of this resource.  It seems that an enterprising quarry, if wiling to split and sort its waste stone into more easily-used sizes, could develop a new market, albeit with thinner profits than its architectural product.

Are there obstacles that I’m not seeing?  Would other quarries be as willing as the Mankato Limestone quarry to let a landscape architect scramble over their waste piles?  Could quarry waste be priced competitively with salvaged fieldstone?  Or are there quarries out there that are already doing this, and if so, how does it vary by region?

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In that last post, I don’t mean to imply that all veneer stone walls come from shady dealings, by any means, or that they are bad in and of themselves. I use veneer stone walls in plenty of my projects, and veneer is a valuable construction method in any number of applications. Often they are the best solution for a given site. And certainly there’s plenty of stone to go around in New England.

The cutting of larger, weathered wall stone into much smaller, weathered-face pieces is what I’m wondering about, and have no solid answers. Those smaller cut pieces can make a stunning chimney face, or interior stone wall, or, as in the case featured recently on a popular TV program, a knockout modern retaining wall backing a narrow reflecting pool. But each weathered stone taken from an old wall and cut up for one of those elements provides incentive for the removal and cutting up of the stones from other old (and still viable) walls.

On the other hand, not everyone wants the weathered look. A contractor once told me about a client for whom he had built a handsome fieldstone wall, one that he had been at great pains to use stone with nicely lichened faces. There was even a little moss on some of the stones, and because of that and its careful design, the wall looked comfortably situated in the landscape from the start. The client, who had been out of town and away from the project since approving the design, came home, saw the wall, and called his contractor. “What is this?!” he asked — “I don’t want old, used stone in my wall! I thought I was getting new stone!” The contractor shook his head as he told me the story, laughing at the idea of having to source stone that hadn’t been around for millennia….

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Quite frequently I design a project that calls for one or more stone walls, and almost as frequently the stone I specify is New England fieldstone. Fieldstone walls are ubiquitous in this part of the world, and a good wall, even if it’s newly constructed, can help give structure and readability to a landscape.

Because I specify stone walls so often, I see quite a few stone supplier ads. A newish product, fieldstone veneer, has been advertised in the last few years. Fieldstone veneer is made by cutting chunks of fieldstone into small rectangular pieces; the face of the veneer is left rough and weathered, or with a split, not sawn surface. The rectangular form makes installing the veneer a relatively quick process, and gives an architectural, or at least strictly ordered, look to a wall face. The contrast between that ordering and the naturally textured surface presents quite an appealing finish.

When I see videos of the fieldstone veneer cutting process, though, my mind drifts to the disappearance of historic stone walls throughout New England, and I wonder if any of the projects I’ve worked on contain some of that stone, hauled from its centuries-old home and sliced into construction-ready pieces. This article from the National Trust for Historic Preservation outlines the problem: stone walls are being taken without permission or compensation from private properties and reused elsewhere. As far as I can tell, there’s no way of determining the provenance of stone — and cutting it up only makes identification even more impossible. We can only see the ancient walls disappearing from roadsides, yard perimeters, and woodlots, and hope that what we’re using has come only from legitimate sources.

Here is a photo of intact stone walls in winter. p1000614These are freestanding drylaid walls, and one of their structural merits is that they move with frost. Their jointing methods – no mortar used – and wall composition insure that the walls move with the land as it undergoes the freeze/thaw cycle, and the relatively large stone size keeps the walls from falling apart even as they move.

With the ‘recycling’ of New England fieldstone for mortared walls, as in this wall,
Picture 5for instance, the cutting up of stones limits their future use, and the ability of future generations to recycle the stones once more. The argument could be made that veneer makes fieldstone a material accessible to more people because a veneer wall is less expensive to build than a full-depth stone wall — and it’s a valid argument. But the lifespan of mortared veneer walls has to be far shorter than that of traditional drylaid walls, given the nature of the freeze/thaw cycle, the shallowness of small veneers, and the prevalence of moisture in the New England winter — and that means that these walls will need maintenance and/or rebuilding sooner than the more traditionally built walls. Not to mention that if the natural stones themselves disappear, so too do the building techniques that produce the most stable and flexible kinds of walls for landscape use, and the possibility of being able to build them as readily as has been done in the past.

Is this a solvable problem? Is this a problem? I think that stone wall theft is definitely a problem, and I don’t know if it’s a solvable one. I’m pretty sure I haven’t explored the topic of New England stone walls, their disappearance, the metamorphosis of fieldstone into veneer, the use of veneer in landscape applications, or the costs (short-term and life-cycle) of veneer versus fieldstone with anything approaching thoroughness — but it seemed that recording initial thoughts on the topic would be a good place to start this particular conversation. Your thoughts?

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