![]() Taken as a whole, the volume is a generally optimistic, proactive series of ideas for what landscape architects-whether in school or in practice-should consider as important knowledge for the future if the discipline is going to continue to live up to its potential as a leading field in the design of the built environment. The book is a compilation of 250 submissions from 50 practitioners and theorists of landscape architecture from around the world (although most of the entries are from North America, Europe, and Asia). Cannon Ivers, are more visionary and inspirational than they are reactive. Thankfully, the short statements included in this book, edited by B. Instead, schools and the firms and organizations that they supply need to continue to work toward a symbiotic relationship in which both understand how they can participate together in the education of the landscape architect. And students still won’t know what they need to know on the first day. This is unreasonable, and if schools agree with this outlook and attempt to satisfy such requests by doubling down on the technical know-how that such critics crave, the academy will quickly be reduced to what is effectively a vocational tech approach to landscape architecture. Unfortunately, it seems that many professionals forget how little they knew the first day they arrived at an office and expect entry-level candidates to know how to do everything. ![]() Offices, while also participating in such creative processes, are experts in detailed design, construction documentation, and professional practices, and they train through repetition and mastery. Schools expose students to creative design practices, provide alternative frameworks through which to think about the built environment, and offer the time and (conceptual) space for students to explore and test ideas and project futures. He suggested that it’s important for the schools and the profession to be clear on what each does well and what they can and should leave to the other. Walker said the tendency of his office at the time was to hire people who think creatively, not simply those who are competent at completing technical tasks. This advice ranged from the ideological to the pragmatic, and occasionally the visionary, but the majority remained on the side of technical know-how and tradition: Hand lettering seemed to some almost a foundational skill of the discipline a lack of plant knowledge remained a fairly typical critique of entry-level landscape architects and I was once even told that new employees should know “how to draw a guy on a bench.”īut there were also moments of generosity born out of perspective, such as when Peter Walker, FASLA, visited our school in 2013. The book 250 Things a Landscape Architect Should Know attempts an answer.Īs the director of the School of Landscape Architecture at the University of Tennessee, Knoxville, I’ve received periodic words of wisdom over the years from professionals about what is critical for students to learn while in school. But determining which skills and what knowledge are essential in such an expansive discipline is elusive at best. At least it should be, in the field and especially for those of us in academia who are tasked with laying the foundation on which future landscape architects will continue to build throughout their careers. What does a 21st-century landscape architect need to know? Reviewed by Gale Fulton, ASLA A former Toronto brickworks, now a city dump, makes Jane Mah Hutton’s point to consider material afterlives. Cannon Ivers Basel, Switzerland: Birkhäuser, 2021 512 pages, $34.99. 250 Things a Landscape Architect Should Know Edited by B.
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