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College of Design

The Department of Landscape Architecture in the School of Architecture Environment offers an undergraduate minor plus BLA, MLA, and PhD degrees in landscape architecture.With the resources of a large research university and the close-knit feeling of a small design community, the department traces its roots to the oldest landscape degree program west of the Mississippi. From the Pacific coast to the Cascade mountains to the eastern deserts, and in urban, suburban, rural, and wildernessenvironments, we engage the varied landscapes of Oregon and the Pacific Northwest as a laboratory for design experimentation, while our faculty engage in ground-breaking research around the world—all with a focus on designinglandscapes that are ecologically and socially just.

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Collaborative and Creative Community

Our undergraduate students, graduate students, and professors share ideas and expertise in small studios and classes among community-minded cohorts. We value a constructive, collaborative educational environment with an emphasis on responsibility, knowledge, methodology, and skills. Situated within the School of Architecture Environment, we collaborate and share resources with the departments of Architecture, Interior Architecture, and Historic Preservation. Along with the School of Art + Design and the School of Planning, Public Policy and Management, we provide a rare opportunity on the US West Coast to be a part of a comprehensive and vibrant College of Design that includes a broad range of art, design, and planning disciplines. As part of a large university with many interdisciplinary initiatives, our students also frequently engage with faculty and students in the humanities, social sciences, and natural sciences as well.

Our faculty are award-winning educators, scholars, and innovators. With a diversity of academic and professional backgrounds, their expertise spans the breadth of the field to address regional, national, and international issues. The department is internationally recognized for its research in landscape design history, theory, and critique; landscape ecology and river planning; urban design and sustainability analysis; critical practice; productive landscapes; historic landscape documentation and preservation; climate change mitigation and adaptation; cultural ecosystem service analysis; visual resource analysis; and landscape representation.

Our students and professors come from a variety of backgrounds and experiences, creating a rich educational environment. Our curriculum focuses on understanding landscapes across multiple scales—from yards to neighborhoods and parks to entire cities and watersheds—and prepares students to face many different kinds of challenges in diverse places and regions. Our students often win local, national, and international awards, including in design competitions. We frequently partner with cities, government agencies, nonprofits, and community groups to address real-world issues, often through the University’s Sustainable Cities Initiative . Our students are sought after for their knowledge of socially and environmentally responsive landscape design, analysis, and planning skills. Our alumni work in professional firms; in city, regional, state, and federal agencies; in nongovernmental organizations; and as faculty at major universities.

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Bank of America crossed $1 trillion in assets under management for the first time in its history in Q3 2017. And Morgan Stanley…

NEW YORK, NY (May 30, 2018) —, the leading resource for wealth advisors and planners, has announced...

The Independent Student Newspaper at Boston University Monday, July 9, 2018
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Journalists serve the public by reporting factual information, verified by multiple sources and vetted for inaccuracies. When it comes to traumatic events that result in civilian deaths, they are responsible for bearing the weight of these tragedies while also disseminating accurate information about what’s going on at the scene.

We rely on reporters for providing us with updates for such events and information on stories that affect people’s lives. And for the most part, we assume what they’re saying is true. But when journalists misreport details, this takes away from the public’s trust of the media, and they are no longer reliable sources.

Recently, it was discovered that Kevin Cullen, a metro columnist for The Boston Globe, had fabricated information regarding the Boston marathon bombings. During a segment on his talk show, WEEI radio host Kirk Minihane reported many inconsistencies in Cullen’s recent column reflecting on the five-year anniversary of the bombings. Cullen claimed he witnessed the aftermath of the event, when he arrived to Boylston Street hours after the bombs had exploded. It was also revealed that previous columns written by Cullen closer to the 2013 attack also contained inaccurate information and even made-up people, including a firefighter named Sean who rescued a young victim of the explosions.

Especially in this age of misinformation and general distrust for the media, we cannot afford mistakes like these in newsrooms. The credibility gap between the public and the press continues to grow each day when more and more reporters abuse the trust of society. This case in particular is concerning because it involves a well-regarded columnist. Columnists are usually not pressured to write while the news breaks; they are given time to reflect and write, which makes inaccurate facts found in their work even more unsettling.

While Cullen, a former member of the Spotlight team, has been placed on administrative leave, this also reflects poorly on the Globe editorial staff as well that did not pick up on these inconsistencies and perhaps did not conduct a thorough fact-check. It’s a blow to the journalism industry if star reporters like Kevin Cullen can make up information and present it as the truth. This obviously also calls into question all of his other work for the Globe and previous newspapers.

There seems to be a lot at stake for journalists to cover events of trauma; they are expected to return with harrowing accounts and details and receive accolades for doing so. We prize these stories and laud journalists for doing this important work. However, if this culture comes into conflict with factual reporting, then perhaps we need to revisit the expectation. We certainly do not want to promote a culture where people feel comfortable lying and spreading misinformation.

During the marathon bombings, The Boston Globe was trusted as the local paper that would serve the community well when people were confused and scared by the attacks. People turned to the Globe as their primary source of information for the bombings and viewed it as an authority on the story.

The bombings have shaped Boston’s character for the past five years, with “Boston Strong” posters and graffiti displayed throughout the city. There’s a reason why post 2013, it’s especially important for people show up to support the runners and stand with them. Therefore, it’s crucial for papers like the Globe to uphold journalistic integrity in order to maintain the community’s trust.

Still, the fact that Cullen has been scrutinized and is facing consequences for fabrication indicates that we’re heading the right direction for dealing with this. Lying is not tolerated, even when it’s discovered several years after, and can put one’s career into jeopardy.

Even it was just a blunder in fact-checking or an example of falsified memory, there should be punitive measures to ensure this doesn’t happen again. If journalists want a good relationship with the public, then the industry needs to work on ensuring reporting is factual, regardless of who it’s coming from.

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To this day, I still can’t listen to this track without flailing around and fistpumping like a crazy person. I lose all inhibition and just generally lose my shit. Anyone who dares speak during “Angel” earns themselves an immediate one-way trip to my bad books. All I have ever wanted is to hear this track get dropped at a huge event, preferably during endshow. I feel like it’s pretty unlikely it’ll ever happen, but I’ll never stop wishing.

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This track is one of those ones I always forget about, then rediscover and love all over again. Prior to discovering this track, my tastes in hardstyle definitely ran towards the more euphoric side of things. This track (along with others such as ‘Bolivia’) started to push me towards rougher, rawer sounding hardstyle. It became less about feelings and emotion, and more about the almost industrial aggression and energy behind the track.

‘Virus’ is a bleak, distorted sounding track that samples “Resident Evil: Afterlife”. It opens with the haunting quote “ Five years ago… A virus escaped, and everybody died “. This immediately set the image of a post-apocalyptic world and put you in the right mindset for the rest of the track.

Dark and rough hardstyle is something B-Front does very well, and for someone looking to get their ‘darkstyle’ fix, I’d definitely recommend starting with this track and then investigating his discography further.

8.) “Underwater” – Zany

For my explanation of why this track changed my life to make sense, I need anyone who’s reading this to bear with me whilst I paint a picture.

It was 2012, I was just starting to slowly find my feet and establish myself as a raver. I was attending my second defqon. I’d gotten past the initial culture shock, knew what it was about now, and knew why I was there and who I wanted to see. One of the top names on that ‘to see’ list was Zany.

I’ll start off by saying Zany’s set that day was something special and I still get goosebumps remembering it to this day. There’s a reason why he’s so respected in the scene and his DQAUS 2012 set was a perfect example of why.

When Zany opened his set with this track, a strange, almost electrical shiver went through me. My vision seemed to blur for a second and I turned from looking at the stage to looking at the crowd behind me. I suddenly felt tiny, an insignificant contributing element to a much larger power. Whilst this sounds like a negative experience, in this instance it definitely wasn’t. It made me feel light as a feather, free to simply experience and be.

The delicate yet seductive melody of ‘Underwater’ quickly swallowed me whole, I felt like I was on this musical rollercoaster, guided by MC Villain onstage. I was genuinely moved on an emotional level, I wanted that track and that moment to never end.

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