How do we measure success in design? In Flatland, Edwin Abbott writes from the perspective of a square, who exists in a 2 dimensional universe. One day he is lifted above into the realm of cubes and spheres, and looks down on his geometric brethren below. When he returns, he tries to enlighten his people about depth, and yet cannot measure this extra dimension. There are a host of challenges to measure the social functionality, habitat benefit, or public perception of aesthetics of a design. There is also the necessary fourth dimension to these metrics charting the success of places over time. Other challenges include prioritization of variables, data collection methods, and most importantly, cost. The benefit of metrics has huge potential for design firms, just as they have for other professions. There is a great cost in time and money for private enterprise to collect performance metrics – and yet many businesses do so. Manufacturing and industry have kept score of production since the inception of the modern factory; medicine has used empirical observation to influence treatment since classical Greece; businesses and economists have relied predominately on metrics since the concept of profit was grunted in a cave. There is a strong undercurrent in history that supports taking on the extra burden of quantification to increase competitiveness, discovery, innovation, and the simple ability to build on success. Today, the design professions are in the full grip of metricmania. There are passionate proponents and opponents for data collection and analysis. The roots of today’s metrics in landscape architecture are in William Whyte’s assessments of usage in 1969, and Karl-Henrik Robèrt’s first attempt to define and measure sustainability in 1989. Whyte’s work among others led cities to develop form-based codes and public space requirements that had been previously left to the discretion of designers and developers. The impacts of these rules on design are far reaching, both in terms of benefits and difficulties, and are continually evolving as their effectiveness or popularity is evaluated. Robèrt’s work
What is surprising about this history is how relatively new this movement is.
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IDEAS Fall 2011
This is still the time when the profession should be critical of metrics and where assessment is headed ‒ there are problems still unresolved, benefits still not actualized.
led in direct succession to William McDonough’s Hanover Principles, and eventually to the United States Green Building Council (USGBC) and Leadership in Energy and Environmental Design (LEED). What is surprising about this history is how relatively new this movement is. Architecture and landscape architecture have been around for centuries – and yet assessment (other than aesthetic critique, structural or material) is only 40 years old as a concept – and little over a decade old as formal program. This is still the time when the profession should be critical of metrics and where assessment is headed – there are problems still unresolved, benefits still not actualized. This is an exciting time to reflect on how we work as landscape architects, and ask what more can we do. Scientific inquiry is not new to landscape architecture. Designs of landscape architects have built on the cutting edge of scientific knowledge since the inception of the profession. Fredrick Law Olmsted used the latest technology to control the hydrology of ponds in Central Park; William Hall used the recently articulated theory of plant succession to stabilize the dunes of Golden Gate Park. These places were the greatest land-use experiments of their time, and were left to the caretakers for ongoing maintenance and operations. Any data collected from this period (from both firms and conservancies) was often heavy in the front end, quantifying the material and costs of the projects, and light on the post construction – often focusing on numbers of visitors and maintenance and operations. Meanwhile, the designers had to move quickly from project to project, engaged in the constant act of creation which was the definition of this new profession, without the time or money for a period of analysis and reflection. Design was, and is, about continuous innovation. The problem with this model of a youthful profession was the lack of institutional