Owens Lake Perception Compendium

The perception studies here are based on the parameters outlined in Tadahiko Higuchi’s book, The Visual and Spatial Structure of Landscapes.

In examining a landscape, foreground, middleground, and background are used as a standard for measuring landscape distances. This is based on the theory of space in traditional landscape painting and photography, where they function as an important compositional element in creating depth on a �at surface.

Higuchi used a tree as his measurable element, but since there aren’t any trees on Owens Lake, the studies that follow examine other elements, both natural and manmade. While the Higuchi analyses conducted in this studio are similar to Higuchi’s �ndings on trees, they vary in details and distances.

Generally, in the foreground, elements are recognized as individual units from any point of observation and people are able to scale themselves in relation to the object. For example, on a tree, leaves, trunks, and branches are discernable as belonging to particular trees and people know the relative size of each object.

In the midground, outlines of objects are visible but not the small details. Objects are sensed as groups and texture, rather than individual. Variations in the shape of terrain become important compostional elements.

In the background, the eye can only observe major topographical features such as valleys or crests. With the in�uence of atmospheric perspective, texture is uniform and color is visible only as lighter or darker parts of an overall blur. The most visible aspect of long distance views is the outline of mountains against the sky.

In addition to distances, landscapes can also be examined in a more abstract fashion. The appearance of the scene is equivalent to the total visual e�ect of the individual planes, which depends largely on the angle between the individual planes and line of vision. This is called the angle of incidence.

INTRODUCTION

1 Berms2 Textures3 Gravel BACM4 Tillage BACM

PERCEPTION: EARTH

5 Re�ections6 Salt Crusts BACM7 Pond Size8 Pond Edges

PERCEPTION: WATER

9 Color + Density10 Color Contrast11 Shadows12 Emotion

PERCEPTION: VEGETATION

14 Key Analysis Summary

VIEWSHED ANALYSIS

Higuchi Analysis SummaryDistance Comparison

PERCEPTION OVERVIEW

CONTENTS

13 Control Stations

PERCEPTION: INFRASTRUCTURE

Trees Foreground

Trees Midground Trees Background

Longitudinal Surfaces and Angles of Incidence

Height of Vantage Point and Area of Visibility

HIGUCHI ANALYSIS summary

EARTH BERMS VEGETATION DENSITY

WATER SALT CRUST

EARTH TILLAGE EARTH GRAVEL

WATER REFLECTION

Several of the Higuchi analyses conducted are compiled on this page with images for compari-son. The values to the right of each image represent the average values for each element examined.

What is categorized and seen as foreground, midground, and background di�er based on the elements and objects being examined, the location of each site, and the position of the viewer. While tillage makes a bold statement and can be clearly seen from a distance, �ne-textured elements have a shorter foreground since they must be seen up close.

background2625’ and beyond

midground241’-2625’

foreground 0’-241’


midground750’-1,250’

background1,250’ and beyond


midground66’ to 1 mile (or the nearest berm)

background2 miles and beyond


foreground 0-183’




midground50’’-250‘

background250’-2000’

Higuchi Analysis Summary

Fall 2011 / Owens Lake Studio

USC Landscape Morphologies Lab // Owens Lake Research // Last Modi�ed 6/19/12

Foreground

Midground

Background background200’ and beyond


Higuchi Perceptual Analysis // Owens Lake Studio // Fall 2011 USC Landscape Morphologies Lab // Owens Lake Research // Last Modified 7/23/2012

1/8 MILE660’

salt crustsforeground: 0-50’

midground: 50‘-200’background: 200’ and beyond

vegetation densityforeground: 0-183’

midground: 183‘-435’background: 435’ and beyond

control stationsforeground: 0-350’’

midground: 350‘-1300’’’background: 1300‘-2640’’

1/16 MILE330’

BACKGROUND

3/16 MILE990’

1/16 MILE330’

FOREGROUND + MIDGROUND

re�ectionsforeground: 3’-66’midground: 66‘-1320’background: 1320’-2 miles

bermsforeground: 0’-241’midground: 241’-2625’background: 2625’ and beyond

texturesforeground: 0-135’

midground: 40-550‘background: 280’-1305’

gravelforeground: 0’-50’midground: 50‘-250’background: 250’-2000’

3/16 MILE990’

tillageforeground: 0’-750’midground: 750‘-1250’background: 1250’ and beyond

1 MILE

textures

vegetationdensity

salt crusts gravel

controlstations berms

tillage

re�ections

HIGUCHI ANALYSIS distance comparison



1/8 MILE660’

In these diagrams, the actual distances of foreground, midground, and background (in the lower left diagram) are reprented to show how it varies depending on the landscape or object.

Foreground

Midground

Background

Distance Comparison Diagrams

1/2 MILE


EARTH BERMS[Berms are one of the most prominent and prevalent man-made features on site]

VIEW FROM THE MAINLINE BY CELL T3

KEY FACTS

Berms are used for roads, boundaries for shallow �ood cells, and have many other uses on site.

Distance is the most controllable factor in how visible a berm is to the viewer. Berms 0.5 miles (2640’) away are nearly indistinguishable from the background.

Other factors can be used to “camo�age” berms that are not as far away by placing vegetation, rip rap of a di�erent contrast, or a water line behind the berm. This gives the illusion of greater depth.

Equipment or other recognizable, scalable factors in the view can ruin the perception of great distances.

ARIZONA SPILLWAYS ALOW ONE POND TO OVERFLOW INTO ANOTHER WHILE PRESERVING THE INTEGRITY OF THE BERMS.

25’

3:1

rip rap protects berms from erosion

8

4’

BERM SECTIONThe section to the right shows

the construction of a typical berm surrounding shallow �ood cells at Owens Lake.

0 10’

HAND MADE TOOLS, LIKE THE ANGLE OF INCIDENCE MEASURER IN THE IMAGE ABOVE, HELPED GUAGE DISTANCES ACROSS THE FLAT LAKEBED.

1/14 PERCEPTION STUDIES BERMS 1/2

Higuchi Perceptual Analysis / Research: Lily Kerrigan / Fall 2011 / Owens Lake Studio

USC Landscape Morphologies Lab // Owens Lake Research // Last Modi�ed 6/19/12Higuchi Perceptual Analysis // Research: Lily Kerrigan // Owens Lake Studio // Fall 2011

USC Landscape Morphologies Lab // Owens Lake Research // Last Modified 7/23/2012

1/14 PERCEPTION STUDIES BERMS 1/2

PERSPECTIVE SECTIONThe section below shows a berm crossing diagonally through the viewer’s perspective, and delineates what is visible of a berm to a person from speci�c distances. While in the foregound the berm is clearly visible and distinct, about a half mile out it the berm appears indistinguishable from the horizon line to the viewer.

NTS

Higuchi Perceptual Analysis / Research: Lily Kerrigan / Fall 2011 / Owens Lake Studio

Key map of perspective section below. Shows the plan view of Cells T29-4, T29-3, and T29-2.

1” = 4500’

KEY MAP (SECTION BELOW)

BERM BETWEEN CELLS T36-1a AND T36-1b

BERMS 2/2BERMS higuchi analysis




Graphic: Lily Kerrigan (modi�ed)

background2625’ and beyond Individual stones of rip-rap cannot be discerned and the berm blends into the background.

midground241’-2625’Individual stones of the rip-rap cannot be discerned and appears as texture only. The berm is still an independent object.

foreground 0’-241’Individual stones of the rip-rap can be identi�ed, and the berm is seen as an independent object from the background.

USC Landscape Morphologies Lab // Owens Lake Research // Last Modi�ed 6/19/12Higuchi Perceptual Analysis // Research: Lily Kerrigan // Owens Lake Studio // Fall 2011

USC Landscape Morphologies Lab // Owens Lake Research // Last Modified 7/23/2012

KEY FACTS

Texture and patterns in�uence a view on a microscale, but covering a large area. Due to this small scale, textures on sand are most visible in the foreground while fade away in the mid and backgrounds, while textures on salt crusts are enhanced by colorful cyanobacteria and are more easily seen from the midground.

[Sand and salt crusts form a subtle palette of patterns which visually change across the landscape]

TEXTURES SECTIONThe section to the right

shows a variety of textures and how they appear in the

foreground, midground, and background.

foreground 0’-135’Delicate wave patterns are most visible in the foreground and then fade away from view.

midground40’-550’Crack, pitted and �ake patterns are most visible through the close middleground.

background280’-1305’Crust and clump textures, like with salt crusts, and rip rap create deep grooves and can be seen from far away. Variations in light, shadow and color make these patterns more visible from longer distances.

viewpoint

CELLS STUDIED FOR TEXTURES

Higuchi Perceptual Analysis / Research: Daniel Neri / Fall 2011 / Owens Lake Studio


wave dune crack pitted �ake crust clump rip rap salt crustTEXTURE VOCABULARY

0 100’

2/14 PERCEPTION STUDIES TEXTURES 1/1

EARTH TEXTURES OF SAND AND SALTS

CELL T3SW

CELL T23NE

DELTA (NON REMEDIATED LOCATION)

CELL T29-2

Higuchi Perceptual Analysis // Research: Daniel Neri // Owens Lake Studio // Fall 2011 USC Landscape Morphologies Lab // Owens Lake Research // Last Modified 7/23/2012

2/14 PERCEPTION STUDIES TEXTURES 1/1

Higuchi Perceptual Analysis / Fall 2011 / Owens Lake Studio


Image Credit: Great Basin Uni�ed Air Pollution Control District

Gravel stones of greater than 0.5” diameter cover the ground to make a 4” thick blanket. This landscape is accessible but there is not much diversity or interest in a gravel landscape. Color and textures of individual gravel stones are only seen in the foreground, while larger scale designs and color massing can be seen in the midground.

foreground 0’-50’Individual stones and shadows can be seen, as well as a variety of colors and textures

midground50’’-250‘Individual stones are still visible although shadows begin to merge. A wide variety of colors and textures are seen. Imprints, such as the tire tracks, are vislble and best viewed from this distance.

background250’-2000’Stones become indistinct and one dominant color (solid gray) emerges. There is no variety in the landscape from this point on.

viewpoint foreground 0’-50’


background250’ - 2000’

0 50’

GRAVEL 1/1BACM 3 GRAVEL higuchi analysis

3/14 PERCEPTION STUDIES



TILLAGE 1/1BACM 4 TILLAGE higuchi analysis

Higuchi Perceptual Analysis / Fall 2011 / Owens Lake Studio


foreground 0’-750’In this distance, soil texture, shadow, and microtopography is clearly shown. Water appears to cover greater area than soil.

midground750’-1250’Rows are visible while shadows begin to merge into lighter and darker lines. Topography is still de�ned.

background1250’ and beyondTopography is not de�ned and low points are not visible. Only soil is visible.

viewpointforeground 0’-750’



0 200’


Tilling works by using a bulldozer to create rows by “clodding,” which creates non-emissive blocks of soil at the surface and buries previously exposed loose emissive surface material. Tillage with pulse �ooding (as shown below) creates habitat for migratory birds during nesting season.

CELL T21



KEY FACTS

The Owens Lake o�ers ideal conditions for re�ections, a quality that can be preserved and harnessed for public trust. Although mountains are in reality, miles away, re�ections of the mountains can appear very close to the viewer.

The quality of re�ection is based on several site-speci�c elements including what is being re�ected, the color of water, the depth of water, the type and color of soils under the water, the position of the sun across the sky, the amount of disturbance, and the angle the viewer is looking at the water, which determines the point at which the water begins to take on the color characteristics of the sky.

The most visible re�ections are seen between 10am-3pm, on heavy clay soil and within 3 feet of the water's edge standing close to the water’s level. The Seirras and Inyo mountains re�ect the best when they are within 2 miles of the pool. ‘Natural’ colored pools have the most aesthetic appeal

[Re�ections are one of the most aesthetically appealing features found on site]

REFLECTIONS SECTIONThe section to the right shows some of the key elements that make re�ections an impressive

and unique feature of Owens Lake. The section also shows the angle of incidence, the correlation

between the height of the viewer and their distance to where the re�ection appears to begin.

Based on observations made 9/18/11, between 11am and 2pm

angle of incidence66’Water appears green in the foreground and does not change color until the midground for person 2, since they are higher above water level

water depththe shallow food dust control measure is ideal since shallow waters have less surface disturbance and creates a mirror-like re�ection

NTS

TIME LAPSE STILL FROM CELL T36-2 FACING THE SIERRA NEVADAS

angle of incidence3’re�ection begins almost immediately for person 2

sunsun is directly overhead soil

clay soils found on site provide greater contrast and re�ect better than lighter colored soils

mountainslarge mountains, like the Sierra Nevadas and Inyos, less than 2’ miles away make impressive re�ections

A TIME LAPSE CAMERA WAS USED TO RECORD REFLECTIONS THROUGHOUT THE DAY

person 1

person 2

FRAMES FROM A TIME LAPSE CAMERA OVER THE COURSE OF ONE DAY

ANGLE OF INCIDENCE: IN THE IMAGE TO THE LEFT, FROM THE VANTAGE POINT ON TOP OF A BERM, THE WATER APPEARS YELLOWISH IN THE FOREGROUND AND TURNS THEN TURNS BLUE , WHILE IN THE IMAGE TO THE RIGHT, THE REFLECTION OF SKY FILLS THE ENTIRE IMAGE.

Higuchi Perceptual Analysis / Research: Janet Kiyoi/ Fall 2011 / Owens Lake Studio


Graphic:Janet Kiyoi

WATER REFLECTIONS

5/14 PERCEPTION STUDIES REFLECTIONS 1/2

Higuchi Perceptual Analysis // Research: Janet Kiyoi // Owens Lake Studio // Fall 2011 USC Landscape Morphologies Lab // Owens Lake Research // Last Modified 7/23/2012

5/14 PERCEPTION STUDIES REFLLECTIONS 1/2

CELL T3SE LOOKING EAST TOWARDS THE INYOS

foreground 0’-66’The foreground is de�ned by the color of water as it appears before the re�ection begins .

midground66’ to 1 mile (or the nearest berm)Since there are no trees or other objects with height over a shallow pond, the middle ground is �lled with the re�ection. Since berms stop re�ections and obscure what is behind it, the midground re�ection can stretch from 66’ to 2 miles.

background2 miles and beyondThe mountains in the background provide materials for re�ections as well as �ll the background space. The nearest mountains to Owens Lake are 2.5 miles away, although they seem much closer because of their magnitude.

REFLECTIONS higuchi analysis

Since the color of water at Owens Lake is variable, re�ections can make an impact on how ‘beautiful’ a view is by changing the appearance of the color of water. Sometimes re�ections begin immediately at the water’s edge, while other times it does not begin until 60’ in, and the foreground appears its natural color before turning blue.

Higuchi Perceptual Analysis / Research: Janet Kiyoi/ Fall 2011 / Owens Lake Studio


REFLECTIONS 2/2


KEY FACTS

Salt crusts, as a potential BACM, have the ability to control dust waterlessly over time and also has unique public trust potential.

Salt crust forms naturally on the edges of shallow �ood ponds and over lateral shallow �ood ponds. But since the soil underneath is still moist and the salt crust is delicate, it is not accessible without walkways and berms.

The salt crust yields interesting colors and textures when viewed up close. Hypersaline pond cells tend to be colorful and can tint the salt crust di�erent colors.

[Salt crusts have a unique beauty found in the quality of its color and texture]

SALT CRUST SECTIONThe section below illustrates the distances at which colors and textures can be perceived, and at what point they become indistinguishable.

SOLID SALT ENCRUSTED SURFACE

MICROSCOPIC HALOBACTERIA AND DUNALIELLA TINT WATER AND SALT CRUSTS REDDISH, BROWNISH, OR GREENISH HUES.

DON’T TRY TO WALK ON THE SALT CRUST!

viewpoint

0 30’

Higuchi Perceptual Analysis / Research: Hua Ye / Fall 2011 / Owens Lake Studio

WATER SALT CRUSTS





6/14 PERCEPTION STUDIES SALT CRUSTS 1/2

Higuchi Perceptual Analysis // Research: Ye Hua // Owens Lake Studio // Fall 2011 USC Landscape Morphologies Lab // Owens Lake Research // Last Modified 7/23/2012

6/14 PERCEPTION STUDIES SALT CRUSTS 1/2

SALT CRUSTS 2/2SALT CRUSTS higuchi analysis

Higuchi Perceptual Analysis / Research: Hua Ye/ Fall 2011 / Owens Lake Studio


foreground 0’-50’In this distance, the best quality of colors and textures can be seen

midground50’-200’The most variety of colors and textures can be seen at this distance

background200’ and beyondAlmost all the textures become invisible and only large scale colored water or salt crust is visible.

The salt crust is best viewed from a close distance, within 200’ or else it’s unique colors are not visible. The thin, delicate crust is di�cult to access however, and cannot support human weight.

CELL T23NE

Higuchi Perceptual Analysis // Research: Ye Hua // Owens Lake Studio // Fall 2011 USC Landscape Morphologies Lab // Owens Lake Research // Last Modified 7/23/2012

KEY FACTS

Since the pools are all irregularly shaped, the perceived distance to the nearest boundary (usually berms) and the visible midground and background are what gives the impression of size and openness, rather than the actual size of the pool.

Visibility is determined by where the viewer is standing as well as the size of the pool. Due to the ‘cone of vision,’ people can mostly see a 60 degree angle vertically and horizontally, without turning their head. Horizontally, outside of the 60 degree view the view is distorted and the most a person can see is 180 degrees.

Designing within these guidelines could include changing the shape of the pool to align with the cone of vision, strategically placing and shaping viewing platforms, and placing gravel behind the 1 mile line of sight to ‘hide’ it from view.

[A pond can seem intimate or expansive based on the viewing angle and perceived distance to the nearest berm]

POND SIZE SECTIONThe following section shows at what point a lake

feels small and pond-like, due to its distance from the nearest boundaries, and at what points they

begin to feel mid-size or lake-like. At one mile away, boundaries are indistinguishable from the

horizon and appears as a lake. small pool0’-600’Berms within 600 feet block midground views and appear as a boundary, giving the perception of a smaller pool.

mid-size pool600’-1760’Pools with berms or boundaries within 1/3 of a mile are visible but do not block re�ections.

lake-like pool2640’-5280’ and beyondBerms one half to one mile away from the viewer are nearly indistinguishable from the horizon line and o�ers a more natural, 'mountain lake' appearance.

VERTICAL 60 DEGREE CONE OF VISION

PLAN VIEW OF HORIZONTAL VISION FIELD

distorted

60°

blind to the left eye

distorted

blind to the right eye

eyes can’t see beyond 180°

60°

distorted

distorted

out of the cone of vision

0 1000’

THESE TWO IMAGES, TAKEN AT THE SAME LOCATION AT DIFFERENT ANGLES, SHOW HOW OBSTRUCTIONS SUCH AS BERMS CHANGE AN IMPRESSION OF POND SIZE.

SMALL POND VIEW(WITH BERM) LARGE POND VIEW

WATER POND SIZE

Higuchi Perceptual Analysis / Research: Janet Kiyoi / Fall 2011 / Owens Lake Studio


Graphic: Janet Kiyoi

viewpoint

7/14 PERCEPTION STUDIES POND SIZE 1/1


7/14 PERCEPTION STUDIES POND SIZE 1/1

KEY FACTS

Remediation by shallow �ood cells have created more than ten times the amount of edges than the historic lake edge. Current edges are composed of either soil, gravel, or rip rap.

Edge material along water can also provide habitat for plants and wildlife. By using a combination of edge materials, aesthetics and habitat can be enhanced.

Since edges are in the foreground, colors, textures, and light re�ections are easily seen. There is an opportunity to transform indistinct boundaries into engaging, scenic opportuni-ties along the lake.

DESIGN GUIDELINESEdges can be reinforced by using a “banding” technique, alternating 50’ bands of gravel, rip rap, and water. This controls dust while adding interest and habitat value to existing edges.

[Edges, vastly multiplied from the existing lake condition, along shallow �ood cells help de�ne the vast landscape]

EDGES SECTIONSAlthough shallow �ood cells are similar, there is great variety in the distances, materials, and heights of each pond edge.

Soil edges are found on earlier phases of dust control where rip rap wasn’t used

0 30’

EXISTING EDGE CONDITIONS

Gravel edges are an alternative to rip rap, and have subtle textures

Rip rap prevents erosion and is used for deeper ponds. It can also provide habitat for nesting birds.

2’textured

soil

4’rock and soil mix

12’smooth

soil

6’crusty

soil4’

rip rap4’

light gravel4’

dark gravel5’

crusty soil4’

black tarp

SECTION LOOKING EAST FROM CELL T23NESECTION LOOKING SOUTH FROM CELL T2-3

2’smallgravel

6’rip rap

6’partially submerged

rip rap

20’submerged

rip rap

SECTION LOOKING SOUTHEAST FROM CELL T17-1

saltcrust

EDGES WITH HABITATBerm edges with vegetation and rock provide shelter

A rip rap edge provides camo�age for birds and lizards

A vegetated isla nd edge is sought out because of its proximity to water

Car edges are ideal habitat for some water bugs

WATER EDGES

Higuchi Perceptual Analysis / Research: Jeannette Pulnik / Fall 2011 / Owens Lake Studio

Graphic: Jeannette Pulnik (modi�ed)


8/14 PERCEPTION STUDIES POND EDGES 1/1 VEGETATION DENSITY + COLOR

KEY FACTS

Patterns of vegetation on site range from individual units in sparsely vegetated areas, to clumps and groups of massing, which look di�erent over distances.

While sparse vegetation can appear attractive in the foreground due to its individual characteristics, in the background its character disappears and it may be overshadowed by other elements on site, such as soil. Units and color are separate but interrelated visual aspects of vegetation. Density looks at both units and color, as density determines at what point individual units become masses and colors blend into one.

Design suggestions include planting unique character plants in the foregound where they are visible, while planting for swaths of color in the midground and background. Planting vegetation in groups is more visually appealing and breaks up space more e�ectively than sparsely scattered vegetation over an entire area.

[Vegetation on site has strong aesthetic potential, depending on its density and resulting color and texture]

NATURALLY CLUMPING VEGETATION ON SPRING MOUNDS

INSPECTING THE VEGETATION

0 100’

UNITS

COLOR

DENSITY

SECTIONSThe sections to the right

illustrate how units, color, and density of vegetation appear in the foreground,

midground, and background, and at what distances those percep-

tions occur.

VEGETATION DENSITY + COLOR

foreground 0’-294’Individual units of plants are visible

background949’ and beyondOnly a mass of plants is visible

midground294’-949’Outline of individual plants are visible

foreground0’-91’Variety of plant colors are visible

midground91’-260’Some variety, but mostly primary color visible

background260’ and beyondOnly the primary color is visible

foreground0’-183’Individual plants visible

midground183’-435’Dense vegetation has color and texture, while sparse vegetation appears even more sparse

background435’ and beyondDense vegetation appears green, while sparse vegetation appears primarily soil

Higuchi Perceptual Analysis / Research: Cate Rilla / Fall 2011 / Owens Lake StudioUSC Landscape Morphologies Lab // Owens Lake Research // Last Modi�ed 6/19/12

Graphic:Cate Rilla (modi�ed)

9/14 PERCEPTION STUDIES VEGETATION DENSITY + COLOR 1/2

Higuchi Perceptual Analysis // Research: Jeannette Pulnik // Owens Lake Studio // Fall 2011 USC Landscape Morphologies Lab // Owens Lake Research // Last Modified 7/23/2012

8/14 PERCEPTION STUDIES POND EDGES 1/1


KEY FACTS

Patterns of vegetation on site range from individual units in sparsely vegetated areas, to clumps and groups of massing, which look di�erent over distances.

While sparse vegetation can appear attractive in the foreground due to its individual characteristics, in the background its character disappears and it may be overshadowed by other elements on site, such as soil. Units and color are separate but interrelated visual aspects of vegetation. Density looks at both units and color, as density determines at what point individual units become masses and colors blend into one.

Design suggestions include planting unique character plants in the foregound where they are visible, while planting for swaths of color in the midground and background. Planting vegetation in groups is more visually appealing and breaks up space more e�ectively than sparsely scattered vegetation over an entire area.

[Vegetation on site has strong aesthetic potential, depending on its density and resulting color and texture]

NATURALLY CLUMPING VEGETATION ON SPRING MOUNDS

INSPECTING THE VEGETATION

0 100’

UNITS

COLOR

DENSITY

SECTIONSThe sections to the right

illustrate how units, color, and density of vegetation appear in the foreground,

midground, and background, and at what distances those percep-

tions occur.


foreground 0’-294’Individual units of plants are visible

background949’ and beyondOnly a mass of plants is visible

midground294’-949’Outline of individual plants are visible

foreground0’-91’Variety of plant colors are visible

midground91’-260’Some variety, but mostly primary color visible

background260’ and beyondOnly the primary color is visible

foreground0’-183’Individual plants visible

midground183’-435’Dense vegetation has color and texture, while sparse vegetation appears even more sparse

background435’ and beyondDense vegetation appears green, while sparse vegetation appears primarily soil

Higuchi Perceptual Analysis / Research: Cate Rilla / Fall 2011 / Owens Lake StudioUSC Landscape Morphologies Lab // Owens Lake Research // Last Modi�ed 6/19/12

Graphic:Cate Rilla (modi�ed)

9/14 PERCEPTION STUDIES VEGETATION DENSITY + COLOR 1/2

Higuchi Perceptual Analysis // Research: Cate Rilla // Owens Lake Studio // Fall 2011 USC Landscape Morphologies Lab // Owens Lake Research // Last Modified 7/23/2012

9/14 PERCEPTION STUDIES DENSITY + COLOR 1/1

foreground 0-183’Individual units of vegetation and a variety of colors and textures are visible.

midground183’-435’With dense vegetation, masses create a variety of color and texture. Sparse vegetation appears more sparse and may be overshadowed by other elements on site. Vegetation becomes indistinctive with its shadow.

background435’ and beyondAppears as one color. Dense vegetation appears primarily vegetation, while sparse vegetation may get overshadowed by other primary feature such as soil. As a result, vegetation may appear totally green or take on the brownish colors of soil.

DENSITY + COLOR 2/2DENSITY + COLOR higuchi analysis

Distances over this �at landscape can be deceiving. While the foreground and midground take up much of this image, in actuality the background is the largest swath of land. But from this distance, the background only appears as a thin strip in one color.

Higuchi Perceptual Analysis / Research: Cate Rilla / Fall 2011 / Owens Lake Studio


CELL T36-1

This image has been analyzed for density alone.

Higuchi Perceptual Analysis // Research: Cate Rilla // Owens Lake Studio // Fall 2011 USC Landscape Morphologies Lab // Owens Lake Research // Last Modified 7/23/2012

[Contrasting colors enhance views and can be controlled with the siting of elements]

AN ABSTRACTED COLOR PALETTE MAKES COLOR CONTRASTS VISIBLE.

BLUES, GRAYS, BROWNS AND GREENS ARE THE MOST COMMON COLORS FOUND ON OWENS LAKE.

COLOR PALETTE

background: mountainsmidground: vegetation

foreground: shallow �ood pond

background: mountains and skymidground: vegetation

foreground: rip rap and sand

background: mountains and sky midground: vegetation

foreground: gravel

VEGETATION COLOR CONTRAST

The re�ective quality of water mimics colors found in the background.

The bright blue of the sky adjacent to the yellow-green of vegetation enhance each other.

Color perception shifts with distance. Vegetation in foreground appears dull, while vegetation in the background is highlighted by sky.

KEY FACTS

The experience of color on Owens Lake largely depends on color context and the materials immediately adjacent to each other. Perceived value of lightness or darkness dominates the visual experience.

Blue sky in the background accentuates the green of vegetation, while brown moun-tains in the background blur colors and the vegetation doesn’t appear as vibrant.

Each type of material on Owens Lake can be applied adjacent to managed vegetation to shift the perceived color of vegetation.

DIFFERENT MATERIALS EITHER ENHANCE OR DIMINISH THE BEAUTY OF VEGETATION, THROUGH CONTRAST

MATERIAL PALETTE

GRAVELLighter gravel creates high contrast and de�nes edges, while darker gravel obscures transitions and edges.

SANDSand can either blend or provide contrast, depending on the type of vegetation.

WATERWater re�ects surrounding landscape elements and sky. Placing water nearby can bring in an open view of the sky.

SKYBlue contrasts the most with green/yellow tones of vegetation. Elevated plantings can enhance adjacency.

MOUNTAINSMountains provide much of the backdrop and contrast. Mountains look darker up close.

SHRUBSNaturally occurring upland species of shrubs appears grey/brown from a distance, with low contrast to vegetation.

Higuchi Perceptual Analysis / Research: Jessica Kostosky / Fall 2011 / Owens Lake Studio

Graphic: Jessica Kostosky


10/14 PERCEPTION STUDIES COLOR CONTRAST 1/1

Higuchi Perceptual Analysis // Research: Jessica Kostosky // Owens Lake Studio // Fall 2011 USC Landscape Morphologies Lab // Owens Lake Research // Last Modified 7/23/2012

10/14 PERCEPTION STUDIES COLOR CONTRAST 1/1

[Shadow is a signi�cant textural element on site through vegetation]

VIEWS PEPENDICULAR TO ROWS LOOKING NORTH WITH SUN INTHE SOUTHWEST. DUE TO THE PERPENDICU-LAR ROW ORIENTATION AND VEGETATION IN THE FOREGROUND, SHADOW AND MICROTEXTURE ARE VISIBLE.

EDGES: edges and open space around vegetation help create room for shadows to fall. Saltgrass casts a short shadow that cannot be seen distinctly if obcured by dense plantings.

KEY FACTS

Many of the vegetated areas on the lake have shadows that are perceived as texture rather than as shadow alone. Part of this comes from long distances of view over �at expanses, as well as the uniform height of vegetation.

'Microtexture becomes dominant when individual plant shadows are not visible, but merge into groups of overall textured vegetation.

The greatest shifts in texture in managed vegetation areas depend on the viewer's position relative to the sun and orientation of rows.

6 FACTORS AFFECT HOW VEGETATION’S SHADOW IS PERCEIVED:

HEIGHT: Taller species of desert vegetation such as saltbush and seepweed create larger shadows than saltgrass and alkali pink. Unless other elements are present, such as a contrasting foreground/background material, taller vegetation is preferable for creating dramatic shadows and texture in the distance.

RELATIVE ASPECT: views looking north tend to be the least dramatic for shadows. this is extreme when looking at very low vegetation. best views occur looking south, where deep shadows are present.

DISTANCE: depending on species, saltgrass areas have greatest shadow and texture when seen from less than 75 yards, with much of the shadow creating �ne microtexture with increasing distance from the viewer.

ORIENTATION: Row orientation in managed vegetation impacts whether shadow is partially obscured by furrows, as when seen obliquely, or exaggerated by them, as when the viewer is perpen-dicular to rows.

TIME OF DAY: Dramatic lighting occurs in the morning and evening. Mid-day sun tends to be harsh in the re�ective environment, �attening out colors.

VIEWER OBLIQUE TO ROWS LOOKING NORTH WITH THE SUN IN THE SOUTHWEST SKY. DUE TO RELATIVE ASPECT AND ORIENTATION, SHADOWS ARE BARELY VISIBLE.

Higuchi Perceptual Analysis / Research: Jessie Kostosky / Fall 2011 / Owens Lake Studio


VEGETATION SHADOWS

FRAMES FROM A TIME LAPSE CAMERA, SHOWING THE PATH OF THE SUN OVER ONE DAY

11/14 PERCEPTION STUDIES SHADOWS 1/1

1

2

3

4

5

6

Higuchi Perceptual Analysis // Research: Jessica Kostosky // Owens Lake Studio // Fall 2011 USC Landscape Morphologies Lab // Owens Lake Research // Last Modified 7/23/2012

11/14 PERCEPTION STUDIES SHADOWS 1/1

KEY FACTS

Types of vegetation, color, patterns, and arrangements of vegetation are linked to our senses and provoke an emotional response.

Lush, abundant, and tall vegetation give the feeling of shelter and safety, while dryer landscapes tend to feel more exposed. Vibrant colors express boldness while movement and random growth patterns appear playful.

VEGETATED LANDSCAPE5 di�erent vegetated scenes were analyzed., ordereed from most moist landscape to driest.

TYPES OF PLANTS FOUND IN THE LANDSCAPE

Salix lasiolapis Leafy, wildJuncoes balticus Tall, lush, sways in windDistichlis spicata Deep, vibrant color

Salix lasiolapis Wispy, green, sways in windJuncoes balticus Mutli-colored with darker tones, diveristy in heightDistichlis spicata Deep, vibrant oranges and reads, sways

Distichlis spicata Bright, makes interesting patterns, variegated diversity in color and height

Distichlis spicata Variegated dry, yellowing gold, sparseAtriplex parryi Bright, variegatedSarcobatus vermiculates Large, deep green, attracts eye, bushyAtriplex Species Dark transitions to mountains nicely

Nitrophila occidentalis Bright, brittle, diverse in colorSarcobatus vermiculates Deep color, bunched

ASSOCIATED EMOTIONSBy looking at the color, texture, and size, major characteristics were identi�ed, with the strongest reaction highlighted

SHELTERED AND BOLDbreezy

SHELTERED AND NATURALin motion

IN MOTIONboldplayful

EXPOSEDplayfularti�cialsparse

PLAYFULdrywithheldbold

PLANT CHARACTERISTICS

1

2

3

4

5

MOIST

DRY

Higuchi Perceptual Analysis / Research: Kate Gymrek / Fall 2011 / Owens Lake Studio


Graphic: Kate Gymrek (modi�ed)

VEGETATION EMOTION[Berms are one of the most prominent and prevalent man-made features on site, used as boundaries for shallow �ood cells]

12/14 PERCEPTION STUDIES EMOTION 1/1

Higuchi Perceptual Analysis // Research: Kate Gymrek // Owens Lake Studio // Fall 2011 USC Landscape Morphologies Lab // Owens Lake Research // Last Modified 7/23/2012

12/14 PERCEPTION STUDIES EMOTION1/1

[Remediation infrastructure and control stations are found all throughout the playa]

KEY FACTS

Remediation infrastructure is everywhere on site, in the form of electrical and mechanical equip-ment. There are 34 control stations that dot the length of the mainline, typically occurring at berm junctures.

Structures can only be seen if they are within 0.5 miles of the viewer. In the vast landscape of the playa, perception of the structures can change, from an obstruction, to a destination, to an object of curiosity.

To control its visibility and impact on the landscape, control stations can either be camo�aged or highlighted through the use of color. REMEDIATION INFRASTRUCTURE CAN EITHER BLEND IN WITH THE

BACKGROUND, OR STAND OUT

CONTROL STATIONS SECTIONThe section illustrates the

distances at which control stations become visible.

foreground 0-350’In foreground, equipment dominates the view. They become curiosities. The white color of the structure and the metallic piping re�ect more sunlight. Panoramic views are interrupted.

midground350’-1300’In middleground, equipment has more presence. The view is slightly marred as equipment has more presence. They may appear as a blemish upon the panorama, or as a destination to get to.

background1300’-2640’In background, equipment isfaintly visible on horizon. Viewis not interrupted.

viewpoint

0 200’

INFRASTRUCTURE CONTROL STATIONS

Higuchi Perceptual Analysis / Research: Daniel Neri / Fall 2011 / Owens Lake Studio


DESIGN GUIDELINES

Infrastructure can either be camo�aged or transformed into a colorful display of art. Aesthetic structures can enhance a view as well as provide depth perception. Control stations can be multipur-posed to serve other uses, such as act as sun shelters and rest stops.

LOCATION OF CONTROL STATIONS(AXONOMETRIC VIEW)

13/14 PERCEPTION STUDIES CONTROL STATIONS 1/1

Higuchi Perceptual Analysis // Research: Daniel Neri // Owens Lake Studio // Fall 2011 USC Landscape Morphologies Lab // Owens Lake Research // Last Modified 7/23/2012

13/14 PERCEPTION STUDIES CONTROL STATIONS 1/1



2. Desert Scrub

3. Plateglass Factory

4. Entrance

5. Owens River Delta

6. Remains of Swansea

7. Sand Dunes

8. Desert Scrub

9. Desert Scrub

10. Desert Scrub

11. Desert Scrub

12. Spring Mounds

13. Shallow Flood Pool

14. Freshwater Pond

15. Salt Crust

16. Tilllage

17. Shallow Flood

20. Managed Vegetation

21. Salt Crust

22. Berm/Road

1. Alabama Hills

HWY 395

HWY 190

HWY 136

18. Birds

19. Dry Pond

VIEWSHED ANALYSIS KEY[Landscape scenes from major roadways were assessed for integrity and attractiveness ]

14/14 PERCEPTION STUDIES VIEWSHED ANALYSIS 1/3

Owens Lake Studio // Fall 2010 USC Landscape Morphologies Lab // Owens Lake Research // Last Modified 7/23/2012

14/14 PERCEPTION STUDIES VIEWSHED ANALYSIS 1/1

HWY

395

HWY

136

HWY

190

MAI

NLIN

E NO

RTH

MAI

NLIN

E SO

UTH

1. Alabama Hills 2. Desert Scrub 3. Plateglass Factory 4. Entrance

5. Owens River Delta 6. Remains of Swansea 7. Sand Dunes 8. Desert Scrub

9. Desert Scrub 10. Desert Scrub 11. Desert Scrub

12. Spring Mounds 13. Shallow Flood Pool 14. Freshwater Pond 15. Salt Crust 16. Tilllage

17. Shallow Flood Pool 18. Birds 20. Managed Vegetation 21. Salt Crust 22. Berm/Road

3.672.33

3.332.33

3.002.00

3.572.35

2.802.10

3.552.40

2.002.77

1.332.10

2.172.00

3.102.30

2.002.67

2.001.83

2.832.67

3.802.30

2.002.00

4.302.70

3.672.00

3.002.40

3.502.33

2.172.33

3.002.00

3.002.00

INTEGRITYScenic integrity is rated on a scale of 1 to 5. The higher the rating, the less interventions and human variations are visible and the existing landscape character is expressed at the highest level. The lower the rating, the landscape is dominated by deviations and does not represent the natural landscape character at all.

ATTRACTIVENESSAttactiveness and aesthetics is rated on a scale of 1 to 3. Higher numbers indicate a distinctive landscape, where landform, vegetation patterns, water characteristics, and cultural features have unusual, unique, or outstanding scenic qualities, Low ratings are indistinctive without any positive attributes like variety, mystery, order, pattern, and balance.

INTEGRITYATTRACTIVENESS

Each image has been given a rating for integrity and attractiveness, based on the criteria below.

The viewshed analysis was conducted using guidelines from the USDA Landsncape Aesthetics Handbook



LEGEND

19. Dry Pond 1.321.00

VIEWSHED ANALYSIS 14/14 PERCEPTION STUDIES

VIEWSHED ANALYSIS 2/3



Conclusions drawn from the viewshed analysis revealed landscapes with the highest and lowest integrity and aesthetics. The viewshed analysis was conducted using the following guidelines from the USDA Landsncape Aesthetics Handbook.

INTEGRITYScenic Integrity indicates the degree of intactness and wholeness of the landscape character. Human alterations can sometimes raise or maintain integrity. More often it is lowered depending on the degree of deviation from the character valued for its aesthetic appeal.

Landscapes with very high scenic integrity is intact with minute, if any, variations. The existing landscape character and sense of place is expessed at the highest level. High integrity landscapes appear intact. Although there may be deviations in line, form, color, texture, and pattern, they are not evident. Moderate landscapes appear slightly altered but deviations appear subordainte to landscape character. Low and very low landscapes are dominated by deviations not in sync with natural landscape character.

ATTRACTIVENESSScenic attractiveness measures the scenic importance of a landscape based on human perceptions of the intrinsic beauty.

Distinctive areas are where landform, vegetation patterns, water characteristics, and cultural features combine to provide unusual, unique, or outstanding scenic quality. These landscapes have strong positive attributes of variety, unity, vividness, mystery, intactness, order, harmony, uniqueness, pattern, and balance. Typical landscapes have an ordinary or common scenic quality, with positive, yet common, attributes of variety, unity vividness, etc. Indistinctive landscapes are areas where landforms have low scenic quality. Often water and rockform of any consequence are missing in this clas sof landscapes. They have weak or missing attributes of variety, unity, vividness, etc.

HIGH ATTRACTIVENESS LOW ATTRACTIVENESS

HIGH INTEGRITY MEDIUM INTEGRITY LOW INTEGRITY

MEDIUM ATTRACTIVENESS

Although the managed vegetation is man-made, the close mountain forms and ordered lines are attractive

Although the scene is plain, the presence and color of water is distinctive

Water is missing from this dry pond and rock forms are not distinctive. Color is bland and lacks variety.

Vegetation and groundcover appear untouched and allowed to grow naturally

Vegetation appears natural but a road and power lines distract

Human intervention is obvious and tillage dominates the landscape

VIEWSHED ANALYSIS 3/3



HIGH INTEGRITY + HIGH ATTRACTIVENESS LOW INTEGRITY + LOW ATTRACTIVENESS LOW INTEGRITY + HIGH ATTRACTIVENESS

Vegetation is lush and appears natural, with variety, bright color, and mystery.

Human intervention dominates the landscape but does not add value in attractiveness at all

The salt crust is obviously the result of human intervention, although the unique color and pattern is highly distinctive

VIEWSHED ANALYSIS summary

14/14 PERCEPTION STUDIES 14/14 PERCEPTION STUDIES


Owens Lake Perception Compendium

Documents

Transcript of Owens Lake Perception Compendium