Environmental Echo with PWGC's Paul K. Boyce
Oct 14, 2026 · 30 min · 12 segments
What happens when public opposition to a development project begins before the facts are even presented? Could concerns over how a project looks derail its approval before construction begins? On…
Paul BoyceHost
Um, but beyond the producing images, you know, what does it mean to characterize a project setting as rural, urban, or industrial?
Well, it's important in the, uh, the visual assessment process to establish your baseline.
You could put a, uh, telecom project in an industrial district, um, in an urban area, and people will not have an issue with it.
It will seem, uh, highly compatible with the perceived industrial setting in which it's located.
You put that same telecommunications tower in a, an agricultural area or a residential community, and it's gonna be viewed very differently because it does not, uh, it's not seen as having the same character as its setting.
So it's important upfront to set that baseline so that people know what the, what they're measuring visual change from.
Uh, but what about, you know, sensitive, you know, visual resources such as parks, historic sites, some of these scenic byways that are identified, and how are those factored into an assess- uh, into an assessment?
Um, in New York State, under SEQR more specifically, um- The New York State Department of Environmental Conservation, uh, DEC, has a policy, um, to determine whether a project would have a significant adverse visual impact.
And significant adverse visual impact is, is really defined as a project that would, uh, diminish public enjoyment of a listed resource.
Um, and listed resources are places that are recognized in some form of regulation, uh, as being of val- aesthetic value to the community.
So this may be, um, state parks, state forests, uh, any place the public enjoys, uh, recreating, uh, largely due to the aesthetic.
So if your project is determined to have a-- to diminish the public's enjoyment, then it may, uh, be determined to have a significant adverse visual impact.
Um, the other side of the coin is, uh, views from other places that people value, such as their, their own property, and that's not quite as clear-cut.
Um, so from there, you need to look at local regulations, uh, to see whether it's compatible with zoning, uh, or, um, if the, the need for the project, um, you know, allows for some flexibility in, uh, potential degre-degradation to the aesthetic character of the community, uh, then it may be deemed, um, compatible.
So that, that's not quite as well-defined dealing from a re- from a residential perspective.
My mind is starting to race, right? So down here on Long Island, we're on an island, right? We got the ocean around us.
Um, but beyond the producing images, you know, what does it mean to characterize a project setting as rural, urban, or industrial?
Well, it's important in the, uh, the visual assessment process to establish your baseline.
You could put a, uh, telecom project in an industrial district, um, in an urban area, and people will not have an issue with it.
It will seem, uh, highly compatible with the perceived industrial setting in which it's located.
You put that same telecommunications tower in a, an agricultural area or a residential community, and it's gonna be viewed very differently because it does not, uh, it's not seen as having the same character as its setting.
So it's important upfront to set that baseline so that people know what the, what they're measuring visual change from.
Uh, but what about, you know, sensitive, you know, visual resources such as parks, historic sites, some of these scenic byways that are identified, and how are those factored into an assess- uh, into an assessment?
Um, in New York State, under SEQR more specifically, um- The New York State Department of Environmental Conservation, uh, DEC, has a policy, um, to determine whether a project would have a significant adverse visual impact.
And significant adverse visual impact is, is really defined as a project that would, uh, diminish public enjoyment of a listed resource.
Um, and listed resources are places that are recognized in some form of regulation, uh, as being of val- aesthetic value to the community.
So this may be, um, state parks, state forests, uh, any place the public enjoys, uh, recreating, uh, largely due to the aesthetic.
So if your project is determined to have a-- to diminish the public's enjoyment, then it may, uh, be determined to have a significant adverse visual impact.
Um, the other side of the coin is, uh, views from other places that people value, such as their, their own property, and that's not quite as clear-cut.
Um, so from there, you need to look at local regulations, uh, to see whether it's compatible with zoning, uh, or, um, if the, the need for the project, um, you know, allows for some flexibility in, uh, potential degre-degradation to the aesthetic character of the community, uh, then it may be deemed, um, compatible.
So that, that's not quite as well-defined dealing from a re- from a residential perspective.
My mind is starting to race, right? So down here on Long Island, we're on an island, right? We got the ocean around us.
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