OLIN Is an Internationally Recognized Landscape Architecture, Urban Design and Planning Practice with Studios in Philadelphia and Los Angeles

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OLIN is an internationally recognized landscape architecture, urban design and planning practice with studios in Philadelphia and Los Angeles. OLIN crafts timeless spaces that promote social interaction and enhance life. Each project is designed to be uplifting through its beauty, sensitive to its local culture, nurturing to its ecosystem, and flexible in its use. In every instance, aesthetic vision, in concert with precise detailing and technical innovation, produces an enduring, design-driven solution. OLIN practices in a range of scales, including regional systems, urban districts, campuses, civic parks, plazas and intimate gardens. OLIN is led by a team of twelve Partners: Lucinda Sanders, Dennis McGlade, Susan Weiler, Laurie Olin, Robert Bedell, Richard Newton, Skip Graffam, Hallie Boyce, Steve Benz, Chris Hanley, Tiffany Beamer and Richard Roark. Laurie D. Olin, Partner, RLA, FASLA, is a distinguished teacher, author, and one of the most renowned landscape architects practicing today. Laurie studied civil engineering at the University of Alaska and pursued architecture at the University of Washington, where Richard Haag encouraged him to focus on landscape. He has guided, from vision to realization, many of OLIN’s signature projects, which span the history of the studio from Bryant Park in New York City to the Brancusi Ensemble in Romania. Recent projects include Simon and Helen Director Park in Portland and Grange Park in Toronto (in progress). Laurie is currently Practice Professor of Landscape Architecture at the University of Pennsylvania, where he has taught for thirty years, and is former Chair of the Department of Landscape Architecture at Harvard University. He is a Fellow of the American Academy of Arts and Sciences, a Fellow of the American Society of Landscape Architects, and recipient of the 1998 Award in Architecture from the American Academy of Arts and Letters and the Design Medal from the American Society of Landscape Architects in 2005. .

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JULIA CZERNIAK Associate Dean and Professor, Syracuse University
JULIA CZERNIAK 2 0 020 9 Associate Dean and Professor, Syracuse University School of Architecture Founding Principal, CLEAR EDUCATION Princeton University School of Architecture Masters of Architecture, June 1992 Glasgow School of Art Mackintosh School of Architecture Research Masters of Architecture with Commendation, September 1988 Pennsylvania State University School of Environmental Design, Shreyer Honors College Bachelor of Science with Honors, Landscape Architecture, May 1984 ACADEMIC APPOINTMENTS Syracuse University Associate Dean, School of Architecture July 2014–present Chief Academic Officer. 650 UG students, 100 G, 20 MS (Design Energy Futures) Oversee curriculum, staffing, junior faculty mentoring and review (18 tenure tracks); Collaborate with Provost’s Office and represent SOA on university committees; Oversee international programming (Florence, London, New York Centers), exchange students and summer short courses; Manage Visiting Critics Program; Academic Integrity cases and Grade Appeals; Lead NAAB review and Academic Strategic Planning; Organize and program Faculty Retreats; Run Faculty Meetings; Collaborate on developing School’s Diversity, Equity and Inclusion initiatives; Liaise with Vice President for Research; Program Junior Faculty development events; Manage AD Office budget; Participate in school’s advancement efforts and Advisory Board; Oversee and coordinate faculty leaves; Review internal grants; faculty & students Director, UPSTATE: A Center for Design, Research and Real Estate January 2008–June 2012 Initiate, facilitate, and showcase projects that apply innovative design research to challenges faced by urban communities, weak markets and shrinking cities Professor, School of Architecture, August 1995–Present (Tenure May 2001; Promotion 2012) University of Southern California Distinguished Visitor in Landscape Architecture, School of Architecture, Winter 2010 Tulane University Harvey Wadsworth Visiting Adjunct Professor in Landscape Urbanism, School of Architecture Spring 2010 University of Michigan The Max M.
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Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per The diversity of artistic activity in America is cent gain over state appropriations for FY 81.
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Richard Haag Reflections
The Cultural Landscape Foundation Pioneers of American Landscape Design ___________________________________ RICHARD HAAG ORAL HISTORY REFLECTIONS ___________________________________ Charles Anderson Lucia Pirzio-Biroli/ Michele Marquardi Luca Maria Francesco Fabris Falken Forshaw Gary R. Hilderbrand Jeffrey Hou Linda Jewell Grant Jones Douglas Kelbaugh Reuben Rainey Nancy D. Rottle Allan W. Shearer Peter Steinbrueck Michael Van Valkenburgh Thaisa Way © 2014 The Cultural Landscape Foundation, all rights reserved. May not be used or reproduced without permission. Reflections of Richard Haag by Charles Anderson May 2014 I first worked with Rich in the 1990's. I heard a ton of amazing stories during that time and we worked on several great projects but he didn't see the need for me to use a computer. That was the reason I left his office. Years later he invited me to work with him on the 2008 Beijing Olympic competition. In the design charrettes he and I did numerous drawings but I did much of my work on a tablet computer. In consequent years we met for lunch and I showed him my projects on an iPad. For the first time I saw a glint in his eye towards that profane technology. I arranged for an iPad to arrive in his office on Christmas Eve in 2012. Cheryl, his wife, made sure Rich was in the office that day to receive it. His name was engraved on it along with the quote, "The cosmos is an experiment", a phrase he authored while I worked for him. He called © 2014 The Cultural Landscape Foundation, all rights reserved. May not be used or reproduced without permission.
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Geschichte Neuerwerbungsliste 3.Quartal 2000
Geschichte Neuerwerbungsliste 3.Quartal 2000 Theorie und Geschichte der Geschichtsschreibung ................................................................................................. 2 Historische Hilfswissenschaften.............................................................................................................................. 5 Ur- und Frühgeschichte, Mittelalterarchäologie.................................................................................................... 11 Allgemeine Weltgeschichte, Geschichte der Entdeckungen, Geschichte der Weltkriege ..................................... 21 Alte Geschichte ..................................................................................................................................................... 38 Europäische Geschichte in Mittelalter und Neuzeit .............................................................................................. 40 Deutsche Geschichte ............................................................................................................................................. 46 Geschichte der deutschen Länder und Städte ........................................................................................................ 60 Geschichte der Schweiz, Österreichs, Unganrs, Tschechiens und der Slowakei................................................... 70 Geschichte Skandinaviens ..................................................................................................................................... 74 Geschichte
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J&J History Book.Indd
Like Darwin’s F inches The Story of Jones & Jones By Anne Elizabeth Powell A PROPOSAL About the Book ike Darwin’s Finches: The Story of Jones & Jones extinct had they lived on the same island. What we is the fi rst comprehensive examination of the have always done is handicap ourselves at the outset by L singular practice of Seattle-based Jones & Jones, saying, ‘Let’s go where it’s harder—where the answers the fi rm established in 1969 by Grant Jones and haven’t been found yet.’ ” Ilze Grinbergs Jones to practice landscape architecture, architecture, environmental planning, and urban design But just as signifi cant as the Jones & Jones approach is as a fully integrated collaborative. What defi nes this the Jones & Jones perspective. Through the lenses of practice as “singular?” In the words of Grant Jones, these practitioners the earth is held in sharp focus as “I think what sets us apart is not the projects—not the a living organism—alive, the product of natural forms work—but the idea that you can grow and evolve and and processes at work. The earth is their client, and their survive by tackling the diffi cult and the impossible. designs place nature fi rst, seek to discern the heart and You don’t look for the commonplace; you don’t look for soul of the land—to fi nd the signature in each landscape— the safe place to ply your craft. Jones & Jones is sort of like and to celebrate this intrinsic beauty. Darwin’s fi nches in that we’ve always been looking for ways to crack a nut that no one else has been able to crack.
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Commencement Program, 2019
263 rd COMMENCEMENT MAY 20, 2019 20, MAY R D COMMENCEME 263 NT CLA S S O F 2 019 M A Y 20, 20 1 9 CLASS OF 2019 KEEPING FRANKLIN’S PROMISE In the words of one elegiac tribute, “Great men have two lives: one which occurs while they work on this earth; a second which begins at the day of their death and continues as long as their ideas and conceptions remain powerful.” These words befit the great Benjamin Franklin, whose inventions, innovations, ideas, writings, and public works continue to shape our thinking and renew the Republic he helped to create and the institutions he founded, including the University of Pennsylvania. Nowhere does Franklin feel more contemporary, more revolutionary, and more alive than at the University of Pennsylvania. His startling vision of a secular, nonsectarian Academy that would foster an “Inclination join’d with an Ability to serve Mankind, one’s Country, Friends and Family” has never ceased to challenge Penn to redefine the scope and mission of the modern American university. When pursued vigorously and simultaneously, the two missions – developing the inclination to do good and the ability to do well – merge to help form a more perfect university that educates more capable citizens for our democracy. Penn has embodied and advanced Franklin’s revolutionary vision for 279 years. Throughout its history, Penn has extended the frontiers of higher learning and research to produce graduates and scholars whose work has enriched the nation and all of humanity. The modern liberal arts curriculum as we know it can trace its roots to Franklin’s innovation to have Penn students study international commerce and foreign languages.
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Bloedel Reserve | February 2012
RICHARD HAAG | BLOEDEL RESERVE | FEBRUARY 2012 Bibliography (partial) Ament, Deloris Tarzan. “The Great Escape: Bainbridge Island’s Bloedel Reserve Offers a Tranquil, Green Retreat to Soothe the Spirit.” Seattle Times (9 October 1988) K1, K5. American Academy in Rome, “Annual Exhibition 1998,” June 12-July 12, 1998 (exhibition catalog), 52-55, 106. Appleton, Jay. The Experience of Landscape. Rev. ed. London: John Wiley and Sons, 1996: 248, 250, 254. Arbor Fund, Foundation. Bloedel Reserve. 2010. http://www.bloedelreserve. Beason, Tyrone. “Paul Hayden Kirk Left His Mark On Architecture Of Northwest.” The Seattle Times, May 25, 1995. “Bloedel Reserve: Jury Comments,” [ASLA President’s Award of Design Excellence] (Architectural League of New York’s Inhabited Landscapes exhibition), Places 4:4 (1987): 14-15. Botta, Marina. “Seattle: 140 Acres of Green Rooms.” Abitare (Italy) 272 (March 1989): 219-23. Fabris, Luca M.F. La Natura Come Amante/Nature as a Lover. Maggioli S.p.A. 2010: 7, 9, 13, 70-93. Frankel, Felice (photographs) and Jory Johnson (text). “The Bloedel Reserve.” Modern Landscape Architecture: Redefining the Garden. New York: Abbeville Press, 1991, 52- 69. Frey, Susan Rademacher, “A Series of Gardens,” Landscape Architecture Magazine (September 1986): cover, 55-61, 128. [ASLA President’s Award of Design Excellence coverage and site impressions.] Haag, Richard. “Contemplations of Japanese Influence on the Bloedel Reserve.” Washington Park Arboretum Bulletin 53:2 (Summer 1990): 16-19. Haddad, Laura. “Richard Haag: Bloedel Reserve and Gas Works Park.” Book Review. Arcade, 16.3 (Spring 1998) 34. Illman, Deborah. 1998 UW Showcase: Arts and Humanities at the University of Washington.
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Landmark NOMINATION Application Name: Year Built: 1965-67 (Phase O
Landmark NOMINATION Application Name: Year Built: 1965-67 (Phase One); 1970-71 (Phase Two) (Common, present or historic) Historic – Battelle Memorial Institute Seattle Research Center Present – Talaris Conference Center Street and Number: 4000 NE 41st Street, Seattle, Washington 98105 Assessor’s File No. 1525049010 ________________________________ Legal Description: See attached _________________________________ Plat Name: Town of Yesler Block: n/a Lot: Government Lot 2 Present Owner: 4000 Property, LLC. Present Use: Conference Center Address: 4000 NE 41st Street , Seattle, WA 98105 __________________ Original Owner: Battelle Memorial Institute (BMI) ___________________ Original Use: Research/Institutional Campus __________________________ Architect: NBBJ, Inc.; Rich Haag Associates, Landscape Architect _____ Builder: Farwest Construction Company Description: Present and original (if known) physical appearance and characteristics See attached Landmark Nomination Report Statement of significance: See attached Landmark Nomination Report Photographs: See attached Landmark Nomination Report for graphics—maps, plans and photographs Submitted by: Friends of Battelle/Talaris, contact: Janice Sutter Phone 206.683.9280 Address 4616 25th Ave NE, #146, Seattle, WA 98105 Date March 28, 2013 (revised August 5, 2013) Reviewed Date Historic Preservation Officer Legal Description for Battelle Memorial Institute/Talaris (attachment to Landmark Nomination Application Form) That portion of Government Lot 2 and of the Northeast Quarter of the Northwest Quarter
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Evolution of Japanese Gardens Through Adaptation to Place
The Fourth Symposium Schedule International Symposium of Day 1.(Saturday) August 28 ,2004 Day 3.(Monday) August 30 ,2004 Japanese Gardens August 28-30, 2004,Seattle, Washington 8:30 am Registration at the Center for Urban 8:30 am Registration:Center for Urban Horticul- Horticulture, University of Washington ture, University of Washington 9:00 am Declaration and Welcome 9:00 am Presentation No.4 Modernism and Tradition in Japanese Garden Evolution of 9:30 am Keynote Address:Can Japanese Gardens Tatsunosuke Tatsui evolve and change? Japanese Takeo Uesugi Presentation No.5 Evolving the Japanese Garden: Shigemori Mirei 10:30 am Address:Seattle Japanese Garden in 2004 Christian Tschumi Gardens James Thomas and Koichi Kobayashi 10:00 am Presentation No.6 Revitalized classic through 11:15 am Presentation No.1:Japanese Gardens in the gardens for public use in Tokyo World:Tradition and Modern through the Noritaka Tashiro, Katsutoyo Shiina, Adaptation History Masao Igarashi Makoto Suzuki to Place Presentation No.7 From Daigo to Ithaca: 12:15 pm Lunch Japanese Gardens Revisited Marc Keane 1:45 pm Presentation No.2:Welch Sanctuary and Program Host: Puget Sound Japanese Pacific Northwest 11:00 am Presentation No.8 Function as Meaning- Garden Society & International Terry Welch Social Events in Japanese Gardens Associations of Japanese Gardens, Inc. Kendall Brown 2:45 pm Presentation No.3:World . of Kuniyoshi Araki and His Innovation Presentation No.9 Vancouver Japanese Today Japanese Gardens face many critical issues: Jun Takeda and Tsutomu Akamatsu
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Seeing the Landscape with J. B. Jackson 3 Helen L
A Publication of the Foundation for Landscape Studies A Journal of Place Volume xv | Number ıı | Spring 2020 Essays: With New Eyes: Seeing the Landscape with J. B. Jackson 3 Helen L. Horowitz: Introduction Chris Wilson: J. B. Jackson’s Intellectual Legacy Laurie Olin: J. B. Jackson and Landscape Architects F. Douglas Adams: On the Road: Forays with Brinck Jackson Kenneth I. Helphand: Motion Pictures: Drawing While Moving Robert Calo: Schooled: A Lesson in Time with J. B. Jackson Place Keeper 20 Paula Deitz: Oak Spring Garden Foundation Awards 23 Contributors 23 Letter from the Editor andscape expresses whose landmark Design with with its editorial ﬂair and perceptive appreciation of colored crayons, ink, and In her Place Keeper aesthetic tastes and Nature, published in 1969, substantive originality, the Jacksonian zeitgeist watercolor at hand, experi- essay on Rachael Lambert cultural meanings ushered environmental and his gifted teaching that evolved over time as ences he recounts in “On the Mellon’s estate in Upper- marked by significant consciousness into the pro- that ensured him a peren- the terms “vernacular” and Road: Forays with Brinck ville, Virginia, Paula Deitz shifts in perception fession of landscape plan- nial following at two great “cultural landscape” came Jackson.” provides a profile of Jack- Lover the course of time. ning and design, and John universities, launched a new into common usage among Kenneth Helphand, son’s diametric opposite: an Design geniuses like André Brinckerhoff Jackson, who epoch in landscape history. historic preservationists, another Jackson disciple, aesthetically refined lover of Le Nôtre and Capability interpreted the social his- Reminiscing about her own social and environmental provides a twist on these horticulture and landscape Brown changed the course tory and cultural geography long friendship with Jack- historians, and landscape road trippers’ ride-and- design whose genius lay in of landscape history: the of heretofore-disparaged, son, Horowitz writes in her architects.
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LAKE UNION Historical WALKING TOUR
B HistoryLink.org Lake Union Walking Tour | Page 1 b Introduction: Lake Union the level of Lake Union. Two years later the waters of Salmon Bay were raised behind the his is a Cybertour of Seattle’s historic Chittenden Locks to the level of Lake Union. South Lake Union neighborhood, includ- Historical T As the Lake Washington Ship Canal’s ing the Cascade neighborhood and portions Walking tour Government Locks (now Hiram of the Denny Regrade. It was written Chittenden Locks) neared its 1917 and curated by Paula Becker with completion, the shores of Lake Union the assistance of Walt Crowley and sprouted dozens of boat yards. For Paul Dorpat. Map by Marie McCaffrey. most of the remaining years of the Preparation of this feature was under- twentieth century, Lake Union was written by Vulcan Inc., a Paul G. Allen one of the top wooden-boat building Company. This Cybertour begins at centers in the world, utilizing rot- Lake Union Park, then loosely follows resistant local Douglas fir for framing the course of the Westlake Streetcar, and Western Red Cedar for planking. with forays into the Cascade neighbor- During and after World War I, a hood and into the Seattle Center area. fleet of wooden vessels built locally for the war but never used was moored Seattle’s in the center of Lake Union. Before “Little Lake” completion of the George Washington ake Union is located just north of the Washington, Salmon Bay, and Puget Sound. Memorial Bridge (called Aurora Bridge) in L geographic center and downtown core A little more than six decades later, Mercer’s 1932, a number of tall-masted ships moored of the city of Seattle.
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Laurie Olin Reflections
The Cultural Landscape Foundation Pioneers of American Landscape Design ___________________________________ LAURIE OLIN ORAL HISTORY REFLECTIONS ___________________________________ Tony Atkin Anita Berrizbeitia William H. Fain, Jr. Carol and Colin Franklin Bob Frasca Kenneth Helphand Ron Henderson Gary R. Hilderbrand David Hollenberg Beth Meyer Jaquelin T. Robertson Peter L. Schaudt Cathy Simon Adele Chatfield-Taylor © 2013 The Cultural Landscape Foundation, all rights reserved. May not be used or reproduced without permission. Reflections on Laurie Olin by Tony Atkin November 2013 As anyone who knows Laurie and his work can attest, he draws and paints constantly. Whenever he has a spare minute (or sometimes an hour) at a site, out comes his pen, watercolors, and sketchbook. He will lean on a rock or make an impromptu chair out of whatever is around, and concentrate on the view. He uses sketching to understand and describe the fundamental character of a site: its structure, texture, and colors, in ways that verbal and written description cannot. It is a specialized and highly skilled form of investigation, mapping, and reporting about a place. That it includes sensuality and pleasure is obvious to anyone looking at his work. The materiality, tactility, and organization of paints and paper correspond to the materiality and organization of the site. The light reflected back from the paper through the applied paint gives watercolor and ink luminosity unavailable in other media. The quick, nearly out of control brush strokes combined with a rigorous understanding of light and form gives his best work immediacy and strength - and an evanescent quality that was well known to the Chinese poets Laurie studied in the collections of the Seattle Art Museum as a young man.
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