Eng. Richard A. Glaser, Landscape Architect.
 

Mr. Glaser is currently focusing his work on GARDEN DESIGN, CAMPUS DESIGN, SITE DESIGN AND "HEALING GARDENS" FOR ELDERCARE  FACILITIES in keeping with the "Eden" model of Elder Housing.

Mr. Glaser's training includes agricultural and landscape architecture
studies. He has practiced as a landscape architect, urban planner and
university teacher. His travels include a stint in the Middle East where he participated in the planning of new cities.

A Landscape Architect provides the same kinds of services as an architect. However, he focuses his attention on the exterior environment. He is trained in the understanding of natural and environmental sciences, the history of architecture and landscape theory, the functional relationships between exterior activities, as well as aesthetics, structure and civil engineering.

The function of a landscape architect is to modify the site to create a
practical, attractive, useful environment for the end users. I believe that the work of the Landscape Architect should be invisible. If a site is properly designed is should appear as if no Landscape Architect was involved at all. Of course, the site is always artificially manipulated.

However, that artificiality should be minimized. The final result, whether 'natural' or 'geometric' should appear to be inevitable -- the obvious result of a process involving the coming together of the strength of the architecture, the needs of the client, and the natural environment.

The initial interest in landscape architecture was nurtured by a natural
interest in agriculture. Perhaps, because of growing up in New York City, I became intrigued by the natural environment. I attended a four year college of science and agriculture and acquired a degree in Ornamental Horticulture.

The connection between classical music and my landscape architectural career:

I was introduced to the piano at an early age, and studied it for many years. In high school I began the study of the bassoon, a double reed woodwind instrument. I played with the New York All-City Symphony Orchestra and was thrilled to be able to experience performing at Carnagie Hall. My focus, however, was directed toward my interest in agriculture; I did not pursue a career in music. On the other hand, architecture, landscape architecture and, in fact, all of the arts are directly connected in the way they apply basic artistic structure. Rhythm, repetition, dynamics, proportion, color, volume (or size) and surface tension are essential elements in all art forms. Reduced to its simplest example, plantings should all contain these same characteristics: the choice of plants, their number, placement, order, structural characteristics, as well as their color and size should all be used as notes or chords in the creation of a natural environment. It is the orchestration of these characteristics that landscape architecture has in common with musical development. However, a significant difference is that when the composer has completed the creation of a concerto or symphony, it is finished. A landscape has yet to grow into its final form. It needs nurturing, maintenance, care and love to insure that it achieves it's ultimate potential.

Approach towards landscape architectural education:

I am concerned that students today are too focused in the economics of their careers and as a result the aesthetics are sublimated. Landscape architectural education, in fact all professional education, is begun too early in the schooling process. I believe in a strong liberal arts education on the undergraduate level. As an artist, one brings the sum total of his or her life experience to their profession. All of your being is part of your personality. It is difficult to translate one's experience into practice, however, not having the experience eliminates that possibility completely.

Promoting the importance of landscape architecture:

I believe that an educated client is the most open minded, and creative client. I always try to make the professional/client relationship and the commission itself into and educational process. The professional and the client can learn from the process and from each other; the most successful and beautiful projects are usually ones where the final product is a learning experience for all involved.

I respect and admire the work of Fredric Law Olmstead. While there are
important lessons to be learned from earlier land designers he symbolizes the resourcefulness, creativity, and engineering skills that today's landscape architects need to employ. Central Park in New York City an excellent example of this style in which his creativity is obvious. It employs horizontal and vertical separation of movement systems (through traffic as well as internal vehicular movement, pedestrian movement, and equestrian movement), extensive grading and drainage concepts. The use of the English Romantic Style of landscape expression with native plant materials is a foil to these conceptual systems, and it contrasts effectively with the urban grid and structure of the city. Roberto Burle Marx is an other example of a practitioner whose work which expresses the wide variety of his personal interests: from simple gardens and large urban parks with distinctive Latin and tropical forms of expression, to exquisite gold jewelry on a much very small and intimate scale.

In overseas travels I have observed a different sense and appreciation of the urban landscape:

I have observed that other societies place a much greater value on the exterior environment than Americans do. Certainly, Italian, Spanish, and even British parks and plazas exemplify this appreciation. The way these public spaces are maintained is a testimony of their significance to the public and the governments. These cultures all seem to depend upon outdoor activities and their settings to a much greater extent than we do.

My aspirations for practice and profession:

I enjoy my practice and my profession and hope to continue to be able to apply myself to the practice for as long as I can. The creation of environments that provide function and beauty is a wonderful endeavor to participate in. Each project provides a new challenge and opportunity to explore. I look forward to wider, broader, and steeper challenges.

Deep understanding of the relationship between buildings and landscape:

I think that people are influenced by the spaces that they are familiar with. I grew up in New York City. My father worked in lower Manhattan at the Customs House adjacent to Bowling Green where I visited him frequently. The building had a magnificent public rotunda which I greatly admired. I also spent time visiting Grand Central Station and (the original) Penn Station. I also spent time doing school work at the beautiful Main Reading Room of the Public Library, the Metropolitan Museum, the Cloisters Museum, and other beautiful Beaux Arts buildings. I believe that the exposure to these buildings left a strong impression on me, giving me a sense of what monumental urban architecture should aspire towards. On the other hand, I was also interested in
the study of agriculture and the natural environment.

The "Golden Age" of landscape architecture:

In one sense, the ''Golden Age" of landscape was directly related to national cultural renaissance in Europe. Those opportunities were "private" landscapes. In the United States, these opportunities I believe they are "public" landscapes -- such as the creation of great parks and the National Parks Movement. I do not believe that we are in a "Golden Age" of landscape architecture now.

Any designer incorporates the sum of his education, his experiences, his
sensitivity, his background and his point of view in addressing a project. It is that process -- distilled through his creativity -- which makes his work unique. My approach to eldercare projects is no different from my approach to other projects. It is simply focused on the conditions and needs of the elder residents who will use the garden.