remembrance

christian morgutiala 401 - wilcox

cal poly pomonafall 2014

CONTENTS

CH. 1 - The Necessity for RuinsCH. 2 - Landscape + Common CultureCH. 3 - Being and Circumstance

CH. 4 - Los Angeles RiverCH. 5 - Grand Canyon Village

CH. 6 - CicLAviaCH. 7 - Edward Choi Studio Lecture

RESPONSE TO READING

RESPONSE TO WANDERING

RESPONSE TO LISTENING

CH. 8 - LexiconRESPONSE TO LANGUAGE

Chapter 1: The Necessity for Ruins

Ruins are an essential part of cultural landscapes, whether they exist in a restored state mimicking their original appearance, or in a decayed state that reinforces the passage of time through its appearance, through aging and weathering or through neglect. It is why I agree with J.B. Jackson on the necessity for ruins, how ruins “provide the incentive for restoration, and for a return to origins.” However, I feel that “restoration” is being viewed as attempting to return something to its original state or trying to fabricate something as being of a different time period.

The thing about ruins or any neglected structure/monument, is the fact that people attempt to recreate or fabricate it if they choose to not remove them, which fails a vast majority of the time. Preservation efforts usually happen when a structure or monument falls into disrepair and neglect, which leads to the formation of historic districts or registration as historic/cultural monuments and landmarks. While I do agree that there are certain areas or structures that deserve to be preserved as a connection to an area’s history, such as the Angelino Heights Historic Preservation Overlay Zone (HPOZ) in Los Angeles, it is not a direct link to the past as people and lifestyles change and evolve. Historic structures, landscapes, and monuments should not be recreated, nor should they be discarded and forgotten. Rather, their design principles and elements should influence future developments and designs.

ruinsr repurposing of ruins for contemporary use

use

disuse

reuse

ruinsr using ruins to inform and address current issues and ways of living

montezuma’s castle

1100 A.D.

arcosanti1970-present

limited water

high pop.

density

centralized resources

adapt toenvironment

Often, cities are designed and developed in a way that reflects the time period that this development started. The city of Phoenix, Arizona, for example, saw a rapid growth in population following the end of World War II, and built and expanded outward, as suburban design principles were a prominent driving force in urban planning and design in the 1950’s. While there are examples of how indigenous peoples in the Colorado Plateau and Sonoran Desert adapted to their environments through Cliff Palace and Montezuma’s Castle, respectively, this is not reflected in the development and growth of cities in the region. Due to the advent of air conditioning and the prevalence of suburban sprawl, design principles apparent in ancient cliff dwellings have been pushed aside and ignored.

Ruins and monuments should provide design elements and inspiration for designs. Montezuma’s Palace, for example, should not be recreated, but instead should provide insight and inspiration for those living in desert communities with limited water resources. Instead of sticking with suburban sprawl, which the Phoenix metropolitan area continues to do today, they should build upward and with materials that are reflective of the region, which centers resources instead of building outward and spending more money on infrastructure which spreads resources such as water out. Ruins should, essentially, not dictate design decisions, but should give insight as to how to design landscapes and structures to fit within the context of the region. Instead of recreating or glorifying the past, future designs should be of its time while taking inspiration from structures and landscapes of the past.

Chapter 1: The Necessity for Ruins

Chapter 2: Landscape + Common Culture

Landscape architecture has been seen by such notable landscape architects such as Garrett Eckbo, Thomas Church, and Lawrence Halprin as an art form. They believed that landscape architecture was related to the other forms of visual arts, while also serving as a cultural artifact. I believe what they meant by this was that landscapes can serve as artifacts that spoke of their time that they were conceived in, speaking of the society and the people within it at that given time. Since those landscape architects have practiced, the barrier between art and landscape design has dissolved and the two merge together much more seamlessly. Modern architecture, however, focused more on the space within buildings and disregarded the landscape surrounding the structure. This meant having to rid the landscape of meaningful content in order for the structure to stand out or “read” better. However, this didn’t mean that a landscape had to be devoid of character or barren in order to stand the test of time or tell of its time period.

As Martha Schwartz points out throughout the reading, she takes inspiration from many different sources. Pop artists such as Andy Warhol, artists such as John Newman, and minimalist artists such as Robert Irwin’s ideals and works are used as inspiration in the design process, whether it be the works themselves or the concepts driving their works. Thus, she builds upon artists/designers and works of the past and translates it into a landscape that is of the current time. It is through this that she remembers the ideals and works of past artists/designers, and does not imitate or blatantly reference their work.

landscape + common culturer integrating art with landscape and past principles

past concepts

art inspiration

narrative

contemporary ideals

landscape + common culture using hardscape materials as a palette to create and form landscapes

marble

carved stone

stampedconcrete

decomposedgranite

plastic

upp

er c

lass

mid

dle

cla

ss

renaissanceeurope

present

evolution of landscape materials

passage of time

One important thing that Schwartz pointed out was the need to break away from trying to romanticize the landscape and create grand landscapes reminiscent of those that were conceived during the course of the Renaissance in Europe. Landscapes do not need to be constructed out of carved stones and marble, and should instead reflect the materials of the current time period such as concrete, asphalt, and plastic. This means not only designing landscapes for the rich, but for the middle class as well, breaking away from the tradition that designed/built landscapes were only for the rich and had to be grand. Part of the design process is to take these materials which are seen as “cheap” in comparison to those used hundreds of years ago, and making them look expensive. This can be viewed as an art in itself.

With the progression of time, landscape architecture must evolve and react to the needs of the current society, while simultaneously breaking away from the nostalgia for romanticized, imagined landscapes such as those reminiscent of the English countryside and courtyards of Renaissance Europe. Not all landscapes have to be timeless, as Schwartz points out, they can be pieces of art that speak of their time in which they were conceived. A landscape can be intelligent and full of character while still meeting the needs of the society of the time, and as time passes it serves as a cultural artifact speaking of the conditions of the society in which it was designed and built. By taking into account the ideals and design concepts of the artists and designers that have come before us, these ideals and concepts can be challenged and violated in order to push the envelope for landscape architecture and design as

Chapter 2: Landscape + Common Culture

Chapter 3: Being and Circumstance

Change is one of the few things in life and in the universe that is constant. As Robert Irwin points out, it is “the most basic condition of our universe. In its dynamic, change constitutes a given in all things.” He even goes on to point out that change is a key factor in being able to perceive anything at all. It is a concept that not only gives one a sense of comfort, but also contributes to giving a sense of confusion. Irwin also points out that one often hears that “nothing is ever really new, everything just repeats itself” when referring to change, while also hearing “while everything may repeat itself, no two moments are ever really exactly the same.”

The same two concepts can be applied to built structures and landscapes, and design as a whole. Just as fads come and go, and sometimes make a comeback, design styles and principles will come back as well. However, when these styles, thoughts, and ideals come back, this does not mean that they’ll come back exactly as they were when they were taking place. These ideals and styles of design will have the same concepts, but will change to match contemporary thoughts and styles.

change intended use of a space changes over time to fit the needs of contemporary society

unintended use/temporal forms

change elements of a structure/landscape age to give the impression of a living, aging form

change over time

Designers often fail to take change into account when conceiving and finalizing designs and projects. Failure to anticipate changes brought by ever evolving ideals, societies, and effects brought on by weather and the environment are often the downfall to these designs/projects. The perception that certain landscapes and structures are meant to be static, depending on the context, can result in a weak design or cause complications when it comes to upkeep and maintenance. It is as if the owners of a landscape that is constantly being maintained are trying to frame it at a certain point in time. This essentially renders the landscape as one that is supposed to never change, giving a sense of comfort and confusion simultaneously.

Certain projects, however, are designed with the evolution of society and environmental effects being prominent in the design features from its conception. The Salk Institute in San Diego, for example, incorporates concrete with wood facades. These materials were intentionally chosen as they weather and have their appearance altered by the climate and the passage of time. Therefore, the structure shows its age and is not one that is static, but gives the impression that it is changing as time passes on. Even Robert Irwin’s work on the Gardens at the Getty Center in Los Angeles incorporated change as one of the concepts behind the design. Irwin intentionally selected plant and hardscape materials that would show significant signs of growth and signs of wear due to foot traffic, respectively. By doing this, Irwin created a living, breathing artwork that will give the user a different experience if they choose to revisit the site. This brings about a sense of comfort as opposed to a sense of confusion, as one expects plants and areas with heavy foot traffic to change over time as opposed to seeing them stay in the same state as one experienced it.

Chapter 3: Being and Circumstance

Chapter 4: Wandering the Los Angeles River, 6th to 4th Street

I find it hard to believe that many people find the Los Angeles River, being a 48 mile long stretch of concrete, an eyesore or an atrocious part of the city. Walking through the access point under the 6th Street Bridge, I find myself in darkness between two points for a few minutes. As I emerge in the river under the bridge, I feel like I was transported into a different world.

Walking along the channel north towards 4th Street, I look at the sloping sides of the river, remembering when it was lined with graffiti, both the random gibberish and the more artistic street art, which has now been replaced with gray blotches. While it is now a thing of the past, I remember seeing it count-less times crossing over 6th Street as a child and immortalized in film.

6th Street Walk, pt. 1

entering the void

looking north

patchwork restoration

before the fall

transient residents

“transient” flora

looking back

exiting the void

Many people see the river as a static place, but through my repeated visits into the channel, I noticed that it is a place that is constantly changing, whether it be the transient residents moving in and out of the river, or the many informal events that come and go.

Approaching 4th Street and turning back, I see the 6th Street Bridge in the distance. My mind turns to the new bridge de-signed by Michael Maltzan, and how drastically different it will be from the original bridge and the others spanning the river. While being different, it will be designed carrying the spirit and elements of the original bridge, while being a bridge that is of its time period and not trying to recreate or repeat history. I remember an exchange I had with Maltzan in December 2013, and how it will link Boyle Heights to the rest of Los Angeles, with its many arches linking back to the original bridge, immortaliz-ing the arches.

Chapter 4: Wandering the Los Angeles River, 6th to 4th Street

6th Street Walk, pt. 2

transient residents

“transient” flora

looking back

exiting the void

Chapter 5: Wandering the Grand Canyon Village

Navigating Grand Canyon Village within the National Park was a surreal experience within itself. The natural environment surrounded us, as did the animals residing in it. I did not expect the area to be lush and creating a moment within the space, nor did I expect to be connected with the species that live within this designated area.

Walking along the South Rim of the Grand Canyon, structures and signage were used as wayfinding devices in my journey. Odd markers such as small telescopes along the walk not only marked my path, but revealed the many layers of the Grand Canyon. These wayfinding devices gave a better view of the sedimentary layers, never-ending journal entries written by the very river that carved into the earth.

Village Walk, Friday

crossing the field

transient resident

historical wayfinding device

physical time journal

link to the past

historic gathering place

gateway to the past

historic placemaking

The next morning, I am greeted by the contrasting form of the Hopi House. Unlike the other structures in the village, while it is of the place, it links visitors to the past cultures that called this region home. It gives insight to the indigenous residents. El Tovar is of the Grand Canyon as well, as it gives insight as to how the original settlers envisioned the region upon settling in the 1900’s. Here I am greeted by the welcoming character of the structure, almost as if it is inviting me into its beautifully decorated interior

Heading down to the historic train depot, the grand yet simplistic structure feels like it is formally welcoming me to the site. Its current condition speaks to me as the historic gateway/starting point of the site, harkening back to the times when people rode the rails that sprawled across America. Walking along the South Rim back towards my room, from across a ravine I see the Lookout Studio. Despite being hundreds of feet away, it feels as if the structure is calling out, telling me that there was much more to discover by traveling along the path.

Chapter 5: Wandering the Grand Canyon Village

Village Walk, Saturday

link to the past

historic gathering place

gateway to the past

historic placemaking

Chapter 6: CicLAvia

CicLAvia is an event that takes place along major commercial streets in Los Angeles, shutting them down for about half of the day in favor of pedestrians, bicycles, and other non-motorized forms of transportation. The events happen semi-annually, on one day only, with the courses being different with every new iteration of the event. It allows people to experience different areas of Los Angeles, creating new memories and experiences, whether it be areas they travel on by car on a daily basis, or not at all. The fact that every iteration of the event has a different route allows for citizens of the Los Angeles to explore an area they live in on bike or by foot, but for citizens of the Los Angeles metropolitan region to explore areas of the city they normally wouldn’t by those methods.

One thing that stuck out during the lecture on CicLAvia is the small hubs along the route, which serve not only as gathering spaces but temporary moments. They reflect the area surrounding it, and often involves local residents, businesses, and artists to make each hub reminiscent of the area. They intertwine history and culture, allowing one to immerse themselves through art, food, and music. Even installations in the hubs and along the route are temporary, but they become permanently engraved in the memories of those engaging in CicLAvia, and may even become a permanent part of the areas in which CicLAvia is held, in a different manner.

cicLAvia 2014 routes creating temporal space within existing connective arteries

wilshire blvd

south l.a.

heart of l.a.downtown los angeles

temporal space

remembering the past

reimagining of space reusing existing streets as temporal open space

CicLAvia has brought many changes to the areas in which it is held, often making a positive impact. While the event is only a temporary, one day event, it is remembered through the changes left on the former routes. An example would be the local businesses that lie along the route often gain business and increased popularity. While these businesses and locations see an increase or dip in business during the event, the effects of CicLAvia last far longer, imploring non-residents to not only revisit those businesses, but travel to an area they didn’t travel to often before CicLAvia to explore more restaurants and local businesses. Along certain stretches of the former CicLAvia routes, bike lanes have been incorporated, or changes to the sidewalks along the former routes that weren’t originally part of the City of Los Angeles’s bike route plan. What is a temporary event infleunces changes and leaves permanent traces along the route.

CicLAvia is also a reminder of how people got around Los Angeles before the advent and eventual reliance of the automobile. CicLAvia’s routes not only create a pedestrian/cyclist friendly path to travel on, but it creates a temporary, distinctly human landscape that creates an area for celebration. Los Angeles is forever associated with dependence on automobiles to get around, especially due to its sprawling nature compared to other major American cities, and it is accepted that nothing will change that. However, CicLAvia has shown that there is potential for walking and cycling to become more common and widespread in Los Angeles, as well as infrastructural changes that will come with it, such as establishing bike paths and more pedestrian accessible amenities.

Chapter 6: CicLAvia

Chapter 7: Edward Choi Studio Lecture

Walt Disney Imagineering is well regarded in the design world as the design and development arm of Walt Disney. WDI is behind the design and creation of Disney’s theme parks, rides, and resorts. Edward Choi’s lecture in studio on October 17, 2014 gave a lot of insight into what goes into Disney’s resorts/lodges specifically. Disney’s lodges incorporate a lot of narrative architecture, in which the narrative is told through the design of the structure. This is conveyed through the styles of architecture, scale, lighting, music, and special effects employed throughout the lodge. The intent is to place a visitor into a certain time and place, while also conveying emotions.

Aulani, on the Hawaiian island of Oahu is Walt Disney’s newest resort property. One of the main objectives when it came to conceptualizing and designing Aulani was to distance it from the “Invented” Hawai’i. This meant doing away with the romanticized view of Hawai’ian culture, such as a heavy Asian influence and the incorporation of tiki bars. Aulani focused on trying to reveal the real Hawai’ian culture, such as native Hawai’ians co-existing with nature, sustainable ways of living, and in terms of design, smaller scale patterns throughout the lodge.

narrative design

architectural style

local culture

materials designconcepts

art +music

narrative design incorporating the environment + local culture to tell stories of the place

narrative design alienating and confusing people by going against the narrative/not having a narrative

defying narrative

During the lecture, the time and effort that WDI put into making Aulani of Hawaii and revealing the true culture of Hawaii became very apparent. Many locals, including artisans, craftsmen, artists, and designers were consulted to make sure that colors, materials, patterns, and other design elements were correctly employed throughout the lodge to tell the story of native Hawaii. Even as Disney added some of their distinctive elements into patterns and materials, it not only helps remind people that they are at a Disney resort, but they are at a place that tries to accurately convey Hawai’ian culture, while seamlessly blending the two together. This lecture also brought up one of WDI’s goals with Aulani, which was to avoid turning Aulani into a typical beachside resort in Hawaii. To compare, the neighboring J.W. Marriott resort was shown, as a development that has nothing to do with the local area and seemingly looks as if it was just dropped on the site. This reminded me of many of the newer developments in Los Angeles, whether they be mixed-use retail/residential structures, or the “McMansions” that have been sprouting up in communities on the Westside. Many developments seem to either try to blatantly imitate the surrounding structures, or disregard them and seem out of place in general. One Santa Fe in the Arts District for example, has seen criticism as being an eyesore or not fitting in with the existing structures of the area. The McMansions sprouting up in the richer Westside communities involve tearing down historic structures and building generic mansions that do not relate to any of the surrounding homes in the neighborhoods, and look out of place. It is important that structures, whether they be homes, downtown developments, or lodges/resorts, tie back into the place that it is in and being of the place it is located, or else they risk being either generic, having no ties to its surroundings by looking like it is floating in space, or both.

Chapter 7: Edward Choi Studio Lecture

Chapter 8: Lexicon

TEMPORALenduring for a time only, temporary, transitory

enduring for a time only, temporary, transitory

Chapter 8: Lexicon

TRANSIENTstaying only for a short time

Chapter 8: Lexicon

EFFACEto wipe out, do away with, expunge, obliterate

to wipe out, do away with, expunge, obliterate

Chapter 8: Lexicon

CONVERGENTtending to come together, merging

tending to come together, merging

Chapter 8: Lexicon

DEGRADATIONto wear down, weaken or worsen, deteriorate

Chapter 8: Lexicon

MONUMENTALexceptionally great, massive, imposing, being larger than life

exceptionally great, massive, imposing, being larger than life

HOMOGENOUScomposed of parts or elements that are of the same kind

Chapter 8: Lexicon

=

Chapter 8: Lexicon

STRUCTUREDhaving and manifesting a clearly defined organization

Chapter 8: Lexicon

RESTORATIONa return of something to former, original, or normal condition

a return of something to former, original, or normal condition

RESTITUTIONreparation made by giving an equivalent or compensation for loss

Chapter 8: Lexicon

RESTITUTION