<h3>Abstract</h3> This study documents an inventory and analysis of ASLA conference education session learning objectives to understand content changes over a 12‐year period. To date, no studies have investigated ASLA conference education session content. The dataset included learning objectives extracted from ASLA conference documents and created by featured speakers for 1,229 ASLA conference education sessions from 2011 and between 2013 and 2023. Text‐mining software that constructs and visualizes term networks, VOSviewer, mapped term frequencies, co‐occurrence, and clusters for three quadrennial periods: 2011–2015, excluding 2012, for which learning objectives were not publicly available; 2016–2019; and 2020–2023. Voyant, a web‐based text reading and analysis software, supplemented VOSviewer output by displaying term contexts, collocations, and frequencies. Term clusters that emerged across quadrennial periods varied in quantity and topic. Common clusters pertained to sustainability; diversity, equity, and inclusion; and construction, though not consistently across time. Participation in multiple sessions by some featured speakers, as well as frequent representation by some institutions within and across sessions, likely influenced results. Session content appears aligned with professional interests, with at least one exception: no evidence emerged about residential landscape architecture, a Professional Practice Network with a relatively large membership. Suggestions for future research and the conference format, including session proposal content, selection, focus, accessibility after conferences, and delivery mode, are presented.

In his Pedagogical Sketchbook , a Bauhaus publication first issued in 1925, artist Paul Klee captioned one mark, probably created with pen and ink, “an active line on a walk” ([Figure 1][1]). Varying in thickness, turning and twirling, the line quietly surges as it moves across the space of the

Landscapes in the Making . Stephen Daniels and Dell Upton (eds). Dumbarton Oaks, Trustees for Harvard University, 2025. ![Figure][1]</img> This edited book is about landscape making from the perspectives of history, political ecology, economics, and cultural geography. As stated in the book’s

<h3>Abstract</h3> Since the early 2000s, landscape architects have begun collaborating with engineers to evolve and refine the application of nature‐based design ideas like blue‐green infrastructure (BGI) and low impact development (LID) strategies. In the decades that followed, landscape architecture education has embraced the teaching of nature‐based solutions in design and construction studios. Although an array of resources is available to support this area of education, little is known about which BGI and LID topics faculty are emphasizing in their courses and what resources they are using to teach them. This study presents the results of a survey sent to faculty in the Council of Educators in Landscape Architecture (CELA) in 2023 to gather information about resources used to teach BGI and LID elements such as green roofs, rain gardens, bioretention swales and basins, and porous pavements. The survey results unveil the strengths and gaps in current resources used to teach nature‐based solutions in landscape architecture courses. We offer suggestions for the development of new teaching resources to help meet the changing demands of landscape architecture education.

<h3>Abstract</h3> The <i>Terrae Motus</i> art collection was inspired by the 1980 Irpinia‐Basilicata Earthquake. Curated by the Neapolitan gallerist Lucio Amelio, the collection focuses on the theme of earthquakes (in all senses of the word) and includes 71 works of two‐ and three‐dimensional art by many of the most recognizable artists working in the 1980s. This review of an exhibition at the 18th‐century Bourbon royal palace of Reggia di Caserta near Naples, Italy showing several artworks from the collection presents a short history of the collection, discusses a few of the artworks on exhibit, explores how the exhibition parallels the palace’s mid‐18th‐century Baroque landscape with Enlightenment additions, and fosters reflection on multitraditional spaces.

<h3>Abstract</h3> The Camino de Santiago de Compostela, a medieval pilgrimage trail that today starts in the French Pyrenees and travels west to the Spanish Atlantic Coast, holds a vernacular landscape layered by stone objects conveying stories and narratives. While modern Camino research often focuses on the trail as a site of medieval pilgrimage and architecture as well as churches, ruins, and tremendous views, verbal and pictorial evidence from the oral histories of fourteen pilgrims, historical resources, and contemporary media reveal that pilgrims played their own role in shaping the landscape. Inherently changeable gestures that generally go unnoticed by most modern users of the Camino take the form of waymarkers, cairns, and the Cruz de Ferro. As this research suggests, such gestures can serve as markers of pilgrims’ psyches that leave a lasting trace on the landscape. Placing stones on top of stone structures is itself an act that speaks outside of time and place to both the self and the community of pilgrims. By applying landscape theory, geocriticism, and folkloric studies, this article interprets these seemingly mundane gestures made with stones as evidence of profound transformations in a pilgrim’s mind and spirit and, more significantly, the architecture of place. The study underscores that these small gestures in the vernacular landscape potentially impact the pilgrim as profoundly, if not more so, than the medieval villages, churches, and ruins directly shaping the character of the contemporary Camino and its pilgrims.

Beyond Greenways: The Next Step for City Trails and Walking Routes. Robert Searns. Island Press, 2023. ![Figure][1]</img> In his new book, Beyond Greenways: The Next Step for City Trails and Walking Routes , Robert Searns gives guidance for designing and implementing greenway walking trails at

Garden as Art: Beatrix Farrand at Dumbarton Oaks. Thaïsa Way. Dumbarton Oaks Research Library and Collection, 2022. Beatrix Farrand’s Plant Book for Dumbarton Oaks: Revised Edition. Beatrix Farrand, edited by Jonathan Kavalier. Dumbarton Oaks Research Library and Collection, 2022. ![Figure][1

<h3>Abstract</h3> Landscape studies and design practices have traditionally concentrated on the visible and functional qualities of our environment, striving for beautification and enhanced ecological performance. Yet the act of reimagining and shaping our surroundings also determines how we hear our environment, what we listen to, and how we use sound as an artistic medium to create and perform music, a primal human instinct that allows us to express the most profound qualities of life. This article explores the intimate connections between landscape and music by considering their shared influence on one another, both metaphorically and physically. The discussion weaves together a variety of examples taken primarily from Western design and musical traditions of how landscape figuratively informs musical composition and ideation, how music and music‐making inform the design of landscapes, how music actually becomes landscape, and how landscape directly manifests as music. The discussion and its resulting conclusion that landscape is music are intended to provide a basis for future contemplation of the ways in which landscape design and music/sound art can benefit from continued dialog.

<h3>Abstract</h3> In Sasaki’s multidisciplinary design practice, the presence of ecologists who also have landscape architecture degrees enables synergies that might not happen otherwise. Dual‐degree practitioners understand the collaborative design process and realize a design solution does not rest solely on black‐and‐white research and analysis. At the same time, anchoring design in science‐based decisions helps Sasaki project teams promote healthy ecosystems across project types and scales. This article focuses on the landscape architect‐ecologists at Sasaki, highlighting how they leverage their blend of schooling and expertise in practice, how they integrate and educate on ecological thinking to impact project outcomes, and how they view the challenges and opportunities to exert ecological influence in design decision‐making.