Landscapes - Spring 2018 - 51

PRIX 2017 POUR L'ENSEMBLE DES RÉALISATIONS

At O2, we like to work at all scales,
and I think that's very unusual. We're
40-some people, but we do work literally
from areas the size of Austria to finescale built parks and streetscapes and
urban elements.
What's important about cross-scale
work is that you start to understand the
implications of broader-scale policy on
finer-scale interventions and the kinds of
impacts that happen over the long term
as fine scale work is aggregated.
JT: And that is something you have
strived for, to continue to work at
different scales.
DO: I do think we need a broader
understanding of the full range of the
landscape architecture profession.
You can never look at things only at
the scale that you're working at. You
have to look at the scales above and
below. Everything has a context. We've
talked about [that] from Olmsted's
days: Olmsted was an engineer, and he
certainly worked at multiple scales.
The challenge has always been that
we want to be everything: it goes from
Cormier's blue sticks at Hestercombe
to the green infrastructure plan for
North America. Is that all landscape
architecture? I would say so, yes, but the
profession seems to be retrenching into
a notion that working with large parks is
as broad as it gets.
JT: Yet the nature of the work is very
different...and the way we work as
landscape architects, at these broad
scales, does change...
DO: The broader the scale, the more
complicated it gets. With these projects,
there's never one author. Yet I think that
landscape architects, [unlike some other
professionals] bring an integrative lens, an
understanding of process and form. Sure,
architects may be the very best people to
integrate the design of a building. But are
they the ones to do the neighbourhood or
the city? You know, I question that.

JT: This kind of interdisciplinary design is,
by its nature, collaborative. But, doesn't
that mean we have to look at the way that
we are educating the profession?
DO: We're educating more towards the
finer-scale work, always. When you
look at LARE [the Landscape Architect
Registration Examination] and professional
exams, they want to know what size
bolt you're using or what a specific
construction detail is.
RM: In my own case I had difficulty getting
enough practical experience at the smaller
scale to be registered...
DO: I don't disagree with the need for
LARE; in fact, it was under my tenure as
president of the AALA that we brought
that in. But I do think we need a broader
understanding of what the full range
of the profession is. We should allow
specialization for those who want to
look into broader-scale, planning and
design. And that requires our professional
education programs to provide that.
Do we teach multidisciplinary
management? I would say we don't, in
most cases. How do [project leaders] even
know what people you need to attack
a multidisciplinary job? Or how to work
collaboratively with different specialists
to get the best work? Everyone's getting
more and more specialized, but how
much can you do in two or three-year
programmes? Educators tell us you can't
do it all.
RM: The best training I had in leadership
was directing amateur theatre. You're
dealing with all sorts of disciplines, all sorts
of egos, and if you do your job right, at the
end of the day you're invisible.
DO: The work we do is like making a movie:
look at the credits that roll at the end of a
movie. There are hundreds of specialists
involved. I believe landscape architects
are well-suited to direct, and to shape
multidisciplinary teams with external
consultants - particularly for complex
public projects.

5

Some of the most
interesting work we've
done is work you know
should be done; it's
needed, but no one has
articulated it. I think we
have to do more of that:
we have to be more
proactive.
What's different about
landscape architecture
is that you can have
this kind of creative
inspiration, that
mysterious leap to
form, and then you
can test it. You've got
reason on one side,
and something more
mysterious on the
other...

4 AT HARVARD: THE PROGRAM TOOK 5 PEOPLE
A YEAR, "SO I WON THE LOTTERY BASICALLY."
5 THE VOICE OF EXPERIENCE:
"PLANNING IS A NEGOTIATION"
PHOTOS COURTESY O2 PLANNING AND
DESIGN AND BOBBIE OLSON

SPRING | PRINTEMPS 2018 51



Table of Contents for the Digital Edition of Landscapes - Spring 2018

To Begin With
Our Writers
Upfront
Essay
THE TRIAD OF LANDSCAPE ARCHITECTURE
CHANGZHI WETLAND PARK
AFTER THE DESIGNERS LEAVE THE ROOM
YOU CAN ONLY DESIGN A RIVER ONCE
CONVERSATION
A “PUF” OF INSPIRATION: TOWARD NET ZERO NEIGHBOURHOODS
THE TOUGH GET GOING ON THE WAY TO TRANSFORMATION
THE HALIFAX EXPLOSION: A STORY ONLY THE LANDSCAPE CAN TELL
INTERVIEW
CRITIQUE
PARTING SHOT | UNE DERNIÈRE SALVE
Landscapes - Spring 2018 - Intro
Landscapes - Spring 2018 - cover1
Landscapes - Spring 2018 - cover2
Landscapes - Spring 2018 - 3
Landscapes - Spring 2018 - 4
Landscapes - Spring 2018 - 5
Landscapes - Spring 2018 - 6
Landscapes - Spring 2018 - 7
Landscapes - Spring 2018 - To Begin With
Landscapes - Spring 2018 - 9
Landscapes - Spring 2018 - Our Writers
Landscapes - Spring 2018 - 11
Landscapes - Spring 2018 - 12
Landscapes - Spring 2018 - 13
Landscapes - Spring 2018 - Upfront
Landscapes - Spring 2018 - 15
Landscapes - Spring 2018 - 16
Landscapes - Spring 2018 - 17
Landscapes - Spring 2018 - 18
Landscapes - Spring 2018 - 19
Landscapes - Spring 2018 - 20
Landscapes - Spring 2018 - 21
Landscapes - Spring 2018 - 22
Landscapes - Spring 2018 - 23
Landscapes - Spring 2018 - Essay
Landscapes - Spring 2018 - 25
Landscapes - Spring 2018 - 26
Landscapes - Spring 2018 - 27
Landscapes - Spring 2018 - 28
Landscapes - Spring 2018 - THE TRIAD OF LANDSCAPE ARCHITECTURE
Landscapes - Spring 2018 - 30
Landscapes - Spring 2018 - 31
Landscapes - Spring 2018 - 32
Landscapes - Spring 2018 - 33
Landscapes - Spring 2018 - CHANGZHI WETLAND PARK
Landscapes - Spring 2018 - 35
Landscapes - Spring 2018 - 36
Landscapes - Spring 2018 - 37
Landscapes - Spring 2018 - AFTER THE DESIGNERS LEAVE THE ROOM
Landscapes - Spring 2018 - 39
Landscapes - Spring 2018 - 40
Landscapes - Spring 2018 - 41
Landscapes - Spring 2018 - 42
Landscapes - Spring 2018 - YOU CAN ONLY DESIGN A RIVER ONCE
Landscapes - Spring 2018 - 44
Landscapes - Spring 2018 - 45
Landscapes - Spring 2018 - 46
Landscapes - Spring 2018 - 47
Landscapes - Spring 2018 - CONVERSATION
Landscapes - Spring 2018 - 49
Landscapes - Spring 2018 - 50
Landscapes - Spring 2018 - 51
Landscapes - Spring 2018 - 52
Landscapes - Spring 2018 - 53
Landscapes - Spring 2018 - 54
Landscapes - Spring 2018 - 55
Landscapes - Spring 2018 - A “PUF” OF INSPIRATION: TOWARD NET ZERO NEIGHBOURHOODS
Landscapes - Spring 2018 - 57
Landscapes - Spring 2018 - THE TOUGH GET GOING ON THE WAY TO TRANSFORMATION
Landscapes - Spring 2018 - 59
Landscapes - Spring 2018 - 60
Landscapes - Spring 2018 - 61
Landscapes - Spring 2018 - THE HALIFAX EXPLOSION: A STORY ONLY THE LANDSCAPE CAN TELL
Landscapes - Spring 2018 - 63
Landscapes - Spring 2018 - INTERVIEW
Landscapes - Spring 2018 - 65
Landscapes - Spring 2018 - 66
Landscapes - Spring 2018 - 67
Landscapes - Spring 2018 - 68
Landscapes - Spring 2018 - 69
Landscapes - Spring 2018 - CRITIQUE
Landscapes - Spring 2018 - 71
Landscapes - Spring 2018 - 72
Landscapes - Spring 2018 - 73
Landscapes - Spring 2018 - 74
Landscapes - Spring 2018 - 75
Landscapes - Spring 2018 - 76
Landscapes - Spring 2018 - 77
Landscapes - Spring 2018 - 78
Landscapes - Spring 2018 - 79
Landscapes - Spring 2018 - 80
Landscapes - Spring 2018 - 81
Landscapes - Spring 2018 - 82
Landscapes - Spring 2018 - 83
Landscapes - Spring 2018 - 84
Landscapes - Spring 2018 - 85
Landscapes - Spring 2018 - PARTING SHOT | UNE DERNIÈRE SALVE
Landscapes - Spring 2018 - cover3
Landscapes - Spring 2018 - cover4
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