UZABETH K. MEYER, FASLA: Our purpose here is to try to take the pulse of the state of design research and to discuss some new models that integrate research within professional practice. Essentially, we want to initiate a conversation about reconsidering the relationship between research and design and by extension the relationship between practice and the academy. We'll look at strategies that have worked well in a couple of firms for advancing the collaboration between academics and practitioners, and my hojse for the session is that we'll leave with a sense of common purpose about the ways we can in crease the amount of design research and improve how research is being shared.

Since Skip Graffam, ASLA, and Baldev Lamba, ASLA, asked me to join them in this event, this topic seems to be everywhere. Without folks knowing about this session, I've had informal conversations with principals of several design firms who ate interested in trying to find connections with researchers, with numerous students who are incredibly frustrated by the inefficiency of their efforts to find the same information over and over again, and with practitioners who are rightly concerned about sharing information that's gleaned through contract ed work with private and often very secretive corporate clients.

I think this topic is timely. Concerns aljout the environment and the economy require our research to be more probing, more integrative, more critical, and perhaps even more collective. 1 want to underscore the significance of trying to capture this moment in the history of our profession.

For those of you who are my generation—mid-5()s—when we were in college some 30-plus years ago, we often heard design described as creative problem solving. That phrase shifted considerably 15 or 20 years ago and des ign was often described as creative problem sett i ng—a way of ask ing questions and framing directions. Landscape architects have increasingly taken oti new sites for their work, incorporated new ecological theories, and moved from wondering about the environmental impact of materials and practices to trying to quantify them.

We have, out of necessity, continued our education through research in practice. This work is difficult, it's hard to absorb within standard fee structures, and clients are not always supportive. Yet it's being done by many firms across a range of sizes—from small practices like my colleague f ulie Bargmann's DIRT Studio to enormous firms like AECOM, The design process is increasingly research driven in practice.

Our clients' calls for data, for postconstruction evaluation, and for numbers are loud. But there'sa lot less academic research in this area than one would assume or hope for. In fact, it's happening in practice and it's not always being shared in public. BALDEV S. LAMBA, ASLA: As astudent at the University of Pennsylvania, my models were practitioners/teachers/scholars such as Ian McHarg, Laurie Ol in, FASLA, and Carol Franklin, FASLA. When I came to Temple 20 yeats ago, the chairman of the landscape

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