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The article discusses the "Rhythms of Life" land art project of sculpture parks designed by Andrew Rogers in Cappadocia, Turkey. The sculpture parks feature geoglyphs and large-scale basalt sculptures such as "Time and Space," "Yesterday Today Tomorrow," and "Listen." Other topics include Rogers' use of materials native to the park sites, his involvement of the community of Cappadocia, and his hiring of local workers to construct the sculptures and geoglyphs.

The article profiles artists Athena Tacha, who specializes in creating and placing her sculptures n landscapes and public spaces. Tacha's work was added to the archive of Dumbarton Oaks Library and Research Center, and she has had a solo exhibition at the Katzen Arts Center at the American University Art Museum in Washington, D.C. The author examines Tacha's working process and philosophies, which draw upon her travels to natural phenomena like volcanoes, glaciers, and water-eroded canyons around the globe.

The article presents information about the concepts of Scientology. The practice or ritual of scoring the ground in order to make symbols which could be read from above is followed from the ancient times. Recently, members of the 1960s Earth Art Movement started the practice of employing landscape as a drawing surface. Scientology asserts that it can track down human origins way back to extraterrestrials. It has been assumed that millions of years ago, a wicked alien ruled over a galactic empire, when his planet was overpopulated, he started killing people around. He accumulated the thetans (souls) of the dead and later on these thetans created a group and occupied the bodies of the human's ancestors. It is further assumed that thetans passed from one generation to another so that the human existence could be maintained. According to the Church of Scientology, this transportation of thetans is accounted for all the psychological ills with which people are suffering today. The Church of Scientology knows how to vanish thetans from the body.

The article discusses the effect of temporary landscaping of a 150-by-375-foot earthwork that was originally allotted for use by television news helicopters covering the riots which affected South Central Los Angeles during 1992. It is stated that the diamond-shaped earth-piece that was made-up into a softball field with biodegradable turf paint gradually became an oasis, a garden for contemplation as well as a place of athletic activities.

The article reports that "Spiral Jetty," a work of land art created by the artist Robert Smithson and located at the Great Salt Lake in Utah, is now under a new leasing arrangement that will allow local institutions, such as the Utah Museum of Fine Arts, to play a bigger role in its stewardship.

The article reports that two elliptical beds of prairie wildflowers spread out over an acre and a half in Daley Bicentennial Plaza, a project set open by a painter and gallery owner, Chapman Kelly in Chicago. At a time when American cities were sprucing up their scruffy parks, the Illinois General Assembly issued Kelly a flowery commendation. James Gamble, then the president of the Illinois Chapter of American Society of Landscape Architectures, wrote to the park's superintendent, describing Kelly as an artist utilizing the form and color of the living landscape. Such documents now constitute various exhibits in a lawsuit Kelly filed in November 2004 against the Chicago Park District, after workers removed about 60 percent of the wildflower work to create a new garden. The suite invokes the U.S. Visual Artists Rights Act of 1990 (VARA), a copyright statute that seeks to prevent any destruction of a work of recognized stature. Kelly's attorney reports that VARA has applied to sculptures and paintings, and he thinks that the statute is broad enough to include Kelly's painting of wildflowers.

The article focuses on the landscape architecture of Mill Creek Canyon Park in Kent, Washington designed by Herbert Bayer. It states that the park combines a dam at the base of Mill Creek Canyon with a series of earthworks upstream. It mentions Bayer's incorporation of graphic forms into the third dimension in response to the area's natural landforms. It comments on the overall design of the park.

The article examines the underlying structure forming the angles and the precise shapes in such constructed landforms as Wave Field and Prospect Green in the U.S. It turns out that the sculptural topography is carefully sculpted, compacted and maintained soil protected by a layer of grass. Soil type is also relevant to the success and longevity of these sculptural landforms.

The article includes information on factors that are to be kept in mind while designing an ecological sundial similar to that present at Real Goods Trading Co.'s Solar Living Center. It advises landscape architects to deal with the specific latitude and longitude of a particular site for creating a similar sundial. It informs that solar information and information on one's own position and point of view relative to the sun is pivotal for land architects to design such sundial.

The article presents information on the sculpture "Snake Path," carved by Alexis Smith as part of a series including 11 site related sculpture on the campus of the University of California at San Diego, California. It is stated that the "Snake Path," which is an earthwork, is the latest in the series started in 1981.