Owens Lake Studio 2011

Owens Lake Studio USC, Fall 2011

Instructor: Alexander Robinson

Early 20th century maps by the USGS

Students: Kate Gymrek Ye Hua Lily Kerrigan Jessica Kostosky Daniel Neri Jeannette Pulnik Cate Rilla Janet Yang

Google Earth

University of Southern California Š 2012 Book design: Lily Kerrigan Cover front: Lily Kerrigan Cover back: Lily Kerrigan

C O NTENTS

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Acknowledgements

5 5

Introduction

Owens Dry Lakebed

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The Design Problem

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Studio Schedule and Objectives

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analysis

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Timelapse Cameras

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13

Perceptual Higuchi Analysis

Design Proposals

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Kate Gymrek Drawing Vegetation, Revealing Change

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Ye Hua A Colorful Walk

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Lily Kerrigan Macro

to

Micro

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Jessica Kostosky Shifting Shadows Shifting Self

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Daniel Neri Woven Land

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Jeannette Pulnik Journey

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Cate Rilla Sands

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Janet Yang Fragments

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of

to the

Oasis

Time

higuchi analysis & Bacm Guidelines

Acknowledgements

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With funding from Great Basin APCD and Special Thanks to: Ted Schade, Great Basin Air Pollution Control District Department of Water and Power Staff on Owens Lake and in Los Angeles: especially William VanWagoner, Nelson Meja, Robert Strub, Louis Rubalcaba, and Ray Ramirez.

Loe Pesce, Metabolic Studio Mike Prather, Eastern Sierra Audubon Margot Griswold, Newfields, Ecologist Julie Fought, De La Cour Ranch Gina Bartlett and the Owens Lake Master Planning Committee USC Staff

Owens Dry Lakebed Owens dry lakebed is located in the Owens Valley, 200 miles by road north of Los Angeles. With peaks on both sides rising above 14,000 feet (including Mount Whitney) and a valley elevation of 4000 feet, the valley is one of the deepest in United States. The valley’s water, fed primarily by the eastern Sierra watershed and captured through a series of Los Angeles Department and Water (LADWP) aqueduct projects (1913, 1941 and 1970) now provides about 40% of Los Angeles’s water. The diversion of this water has had a profound and complicated impact on the culture and environment of the Valley. One of the greatest environmental impacts of the diversion was the eventual near emptying of Owens Lake by 1930 (which many argue would have happened regardless, due to local agricultural thirsts).

Before it dried out, the lake was up to 12 miles long and 8 miles wide and covered an area of 108 square miles. The lake had no outlet and was an alkali lake – a saline condition that while hostile to many forms of life, fostered certain insect life (e.g. brine shrimp) and served as an important feeding and resting stop for waterfowl and food source for local native american people.

The lake has many other interesting natural, cultural and industrial histories, including a steam ship, Bessie Brady, that used to ply its water, carrying silver ore from the mines of Cerro Gordo and reducing the mule train trip time to Los Angeles.

Today a number of mining operations still operate on the banks of the Lake, but the town of boom town Keeler, once a city of 5000 residents has dropped to approximately 50. The cities of Lone Pine and Cartago are also adjacent to the lake.

The current lake is less than one third of its original size, approximately 5% of its original volume, and has a current water elevation of 3,554 feet, compared to an original elevation of 3,600 feet. Of the 110 square miles if akali lake contained within the historic shoreline, a seasonally dynamic 26 square miles remnant remains as a permanent hyper-saline brine pool.

One of the significant health consequences of draining Owens Lake was the subsequent exposure of large swaths loose akali soil and particles to strong winds that, once they were measured, ranked Owens Lake as the number one single source PM10 particulate matter emitter in the country – with measured conditions over 80 times acceptable values. A long legal dispute between the LADWP and local agencies ensued to mitigate this problem for the affected residents of the valley – eventually resulting in a 1998 agreement that the LADWP would take measures to bring down the PM10 concentrations to acceptable levels. The LADWP has since been trying to comply with this agreement by implementing a variety of pre-approved dust control methods.

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2

3a

3b

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1. The Owens River enters the lake bed

4. A still from a video capturing dust

2. ‘Shallow flooding’ dust control cells

storms on the lake. Equipment in the

3a+b. ‘Managed wetlands’ method of

foreground and the sky are hardly dis-

dust control

cernable in the storm.

5

The Design Problem

1a

1c

1b

1d

The current dust control operations on-site were rapidly implemented by the LADWP to reach dust control mitigation requirements. With engineers accustomed to single purpose designs and the State Lands Commission requiring that all dust control methods meet public trust values (a doctrine protecting the recreational, ecological, aesthetic, scientific, and open space values of this former navigable water body), the LADWP has found their options restricted to a very limited number of dust control methods. As it happened the most effective dust control method (BACM) both in terms of dust control and public trust values was shallow flood, which requires extrordinary amounts of water.

For their design assignment students were asked to choose a dust control cell that is currently employing shallow flooding. Suitability for various dust control methods were investigated, although students were told not to assume conditions were “prime� for vegetation growth.

the dynamic qualities of the lake, such as changing light conditions over a day or season, fluctuating water levels, wind, and other seasonal changes.

2. Everyday Visitor How does an everyday visitor of the Owens Lake have a quality experience, even when the capstone experience may not be available? Students were told an everyday visitor would be willing to exit their car to explore the intervention,but to keep in mind the harsh conditions on the site.

3. Driving By The experience a user wil have by driving by and viewing from the road. This experience could be from a moving car or a stopped car.

Within the cell, students were asked to create an integrated intervention that choreographed a set of perceptual experiences on a cell. Designs still had to control dust, while providing the following three experiences:

Designs were encouraged to use gradients of intervention within the landscape, considering scale according to human perception and experience instead of from the disconnected vantage point of a plan. For example, what elements are in the foreground, middleground, and background of the Capstone Experience? Students used their findings from their Higuchi Perceptual analysis to quantify perceptual experiences, and then utilized these figures in their designs.

1. Capstone Experience or Event A unique experience that draws users to the site, and gives it a new (or enhanced) identity. The capstone event utilizes

And finally, the designs were asked to use as few resources as possible to achieve quality experiences and maintain public trust values.

1e 1a-e. A range of conditions and dust control methods create a variety of perceptual experiences on the lakebed

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Studio Schedule and Objectives Embracing Complexity: Planning and Representing Complex Multi-Variate Sites Identifying Value & Values of Landscape Architecture in Infrastructural Landscapes Choreographing Experiential Potential Addressing the Aesthetic in Landscape Infrastructures Didactics and Complex Cultural Issues in Landscape Design

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USC Owens Lake Studio, Fall 2011

Water Reflections Timelapse

Vegetation Timelapse

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USC Owens Lake Studio, Fall 2011

Timelapse cameras were placed at several locations on the lake bed, recording the effects of daylight on different materials on the site (water, vegetation) each minute throughout a 24-hour cycle.

Timelapse Cameras

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Higuchi Analysis

1a

1b

2

3

Students were asked to conduct a detailed on-site analysis of a perceptual aspect, focusing on a material assigned to them (gravel/earthworks, vegetation, or shallow flooding). This analysis was based on Tadahiko Higuchi’s The Visual and Spatial Strucutre of Landscapes. For example, students were asked to consider when quantitative perceptual effects become qualitative, such as what distance perceptions change qualitatively between fore, middle, and background.

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1a+b. Students performing on-site per-

3. Each team used a GPS unit to record

ceptual analysis

the location and time of their record-

2. The studio custom-made tools to

ings.

measure angles of incidence

4. Timelapse cameras were used

1a

1b

2

3a

3b 1a+b. On-site materials were examined

3a+b. The studio also visited the LA

and documented, including salt crusts

aqueduct and observed the lakebed

2. The studio was led by DWP through

from an elevated road, for a compre-

portions of the site

hensive understanding of the site

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Design proposals

USC Owens Lake Studio, Fall 2011

Kate Gymrek Drawing Vegetation, Revealing Change

3. THE INFRASTRUCTURE: 5. ALKALI VEGETATION

1.THE PROBLEM: Desertification:

The process by which fertile land becomes desert,typically as a result of drought, deforestation, or inappropriate agriculture.

Salinization:

The process that leads to an excessive increase of water-soluble salts in the soil. Salinisation is associated with the over exploitation of groundwater.

Decline in CA Alkali Meadows

Alkali Meadow are depend on ground water. Due to drought and over extraction of groundwater, the rare but beautiful California Alkali meadow species are decreasing.

2. THE PREVIOUS RESEARCH:

4. THE RANGE OF CONDITIONS

Salinization and desertification of soil is a growing concern for agriculture.

This project examines different groups of salt tolerant plant species and their environmental preferences. A series of infrastructures recreate these conditions in order to test how each plant species reacts to each condition.

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drawing vegetation, revealing change

Kate Gmyrek

USC Owens Lake Studio, Fall 2011

Example of Condition:

Implementation

1. Test all variables

Intersection of conditions creates variety of microclimates

2. Evaluate what works

MAM species prefer moderately moist areas, and do best with shade and wind protetion

DAM species prefer elevated areas with good drainage

3. Expand on what works

SAM species prefe moist soils than area saturated year round.

Land Imprinting and Seeding

Land Imprinting

Mud Races

Seeding

4. Continue, establish stable growing areas

Diana Balmori

A vehicular mud race is proposed for community members, and on the back of each truck a seed disperal unit with one species will be hooked up. Drivers will be encourages to do donuts, crossing all infrastructures so that a trail of each species crosses over all conditions, allowing for accurate testing. of various conditions. kate gmyrek

drawing vegetation, revealing change

15

USC Owens Lake Studio, Fall 2011

Site Plan 1�= 300’

The Mound-Seedbank

A road and pathway leads visitors to a tall mound, allowing them to experience the infrastructures intimately. The mound will act as a seedbank, growing each species in their preferred condition. Visitors can fully immerse themselves in the plant species here, picking flowers, and overlooking the test site.

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drawing vegetation, revealing change

kate gmyrek

USC Owens Lake Studio, Fall 2011

Elements Measured:

Infrastructure Details:

Each infrastructure is set to measure the elements of wind, sun, and salinity by arranging them in a variety of different directions and angles. The infrastructure tests the plant species and at the same time the plant species test the efficiency of the infrastructure.

kate gmyrek

drawing vegetation, revealing change

17

USC Owens Lake Studio, Fall 2011

Kate Gymrek Drawing Vegetation, Revealing Change

18

Perspectives & Models

Kate Gmyrek

USC Owens Lake Studio, Fall 2011

kate gmyrek

Perspectives & Models

19

USC Owens Lake Studio, Fall 2011

Ye Hua A Colorful Walk

Existing salt pool and crust condition on site Salt pool map on Owens Lake

Existing shallow flooding BACM on site

Salt pool and crust BACM This design focuses on how to utilize existing salt pools and crust for dust control. Because the high salinity water has a lower evaporation rate, non-emissive salt crusts have a potential to control dust on the lakebed.

Most importantly, the salt pools and crust are an unusual and attractive phenomena, providing public trust values on site.

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A COLORFUL WALK

YE HUA

USC Owens Lake Studio, Fall 2011

N

Overall site plan Scale: 1”=400’

YE HUA

A COLORFUL WALK

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USC Owens Lake Studio, Fall 2011

Higuchi analysis and application

Distance, color and scale analysis on site Site conditions dry

wet

half pool and crust

small scale pool

large scale pool

Pool layout along the mainline

Wet season

Dry season

Dry season for a long time

Small scale pools are 4’ deep

Higuchi analysis and application

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A COLORFUL WALK

YE HUA

USC Owens Lake Studio, Fall 2011

main path

secondary path

topography

landform

slope

water gradient Key: The frequency of water coverage on the landform

Walking entrance from the main line

Site plan Scale: 1”=120’

YE HUA

A COLORFUL WALK

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USC Owens Lake Studio, Fall 2011

Golden Gravel

Black Gravel

A Seating steps 1”=100’

Grey Gravel

B Walking path 1”=100’

Seating Area

C Seating steps with seating area 1”=96’

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A COLORFUL WALK

YE HUA

USC Owens Lake Studio, Fall 2011

YE HUA

A COLORFUL WALK

25

USC Owens Lake Studio, Fall 2011

Walking paths explorations on site walking paths possibilities

Waling along the main line •1,380’

E

•5 mins walk •view smalll pools aling the main line A zigzag walk along the crystal shape pool paths •1,500’ •5 mins walk •view the color and shape contrast among different pools A curved walk towards to the CAPSTONE area •2,000’

Most importantly, those colorful pools also can control dust with low evaporation rate comparing with fresh water shallow flooding pools.

•8 mins walk •feel the view difference of forground, middleground and background

Some people may walk into the capstone area along the curvilinear path constructed by black and golden gravels. If they walking long enough, because of the changing bank along the path, they are able to see large scale pools and salt crust during the journey. Of course, people will see different views on the same location on site in different seasons.

Aedge walk close to the rest of the lake •1,800’ •7 mins walk •grand view looking towards to the mountains

Those salt crust can be formed during the dry season if we stop pump in fresh water. Those salt crust formed in the warm season is very hard and no-emissive which is an ideal material for dust control on site.

and rest of the lake A short walk through the site •1,000’ •4 mints walk

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F A COLORFUL WALK

YE HUA

USC Owens Lake Studio, Fall 2011

One major public trust value on site is the walking path exploration. By walking on different paths, visitors are able to have different landscape views. At the same time, if visitors visit the site during different seasons, they will also experience very different looking salt pools on site.

Experience on site If people enter Owens Lake from the south entrance, they may diving along the main line. About 3 miles later, they may attract by the colorfulness of my site

then park their cars at the parking lot and visit my site.

One walking path is along the small pools. By walking on the grey gravel between those small pools, visitors may see very different colors around and be surprised by all these distinctive colors are formed naturally on site. Also, visitors may fascinate with those pools color and visit the site another time.

Then they will see a different series of color on site because of the changing salinity. chemical and microorganism.

E’

F’ YE HUA

A COLORFUL WALK

27

USC Owens Lake Studio, Fall 2011

Ye Hua A Colorful Walk

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Perspectives & Models

Ye Hua

USC Owens Lake Studio, Fall 2011

Ye Hua

Perspectives & Models

29

USC Owens Lake Studio, Fall 2011

Lily Kerrigan Macro to Micro

‘Managed wetlands’ is a dust-control method currently being tested by DWP. This method uses approximately 30% less water than shallow flooding (diagram from

Legend Polyline

Final_V1 Value 0 0 - 10 10.00000001 - 25 25.00000001 - 95

Soil Moisture Index

95.00000001 - 180

Dryno evidence of moisture, breaks up into powder easily Moistsufficient moisture to glisten in the sun Wetwhen squeezed, yields free-flowing water (near or at field capacity) Saturatedbeyond field capacity; water on outer edges Inundatedexhibits ponded water on soil surface

Dry Alkali Meadow (DAM) (DAM)

Habitat Value: 1.6

Mostly dry Least Diverse w/ 1 plant species 55% of soils have no moisture

Moist Alkali Meadow (MAM)

Habitat Value: 3.7

Perenially flooded; moist from diffusion of water through soil Moderate Diversity w/ 2 species Soils are wet (61%) or inundated (21%)

Saturated Alkali Meadow (SAM)

Habitat Value: 6.4

Persistent flowing or standing water Most Diverse w/ 2-4 species Soils are wet (47%), saturated (20%), or inundated (33%)

Based on the existing “managed wetlands” dust-control method, three geometric patterns were evaluated with ArcGIS in order to find a pattern of stream centerlines that optimized habitat diversity while minimizing water use. The darker colors in the diagram represent the wettest areas. Wetness values were equated with habitats using an soil moisture-habitat index.

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MACro to micro

lily kerrigan

1 inch = 10 feet

Percent of total wet area, organized by soil wetness value, honeycomb pattern 100% 90% 80% 70%

USC Owens Lake Studio, Fall 2011

4,069.4

feet total centerline

60% 50% 40% 30% 20% 10% 0% MOIST

WET

SATURATED

INUNDATED

Percent of total wet area, organized by soil wetness value, diamond pattern 100% 90% 80% 70%

1,945.2

feet total centerline

60% 50% 40% 30% 20% 10% 0% MOIST

WET

SATURATED

INUNDATED

Percent of total wet area, organized by soil wetness value, circle pattern 100% 90% 80% 70%

3,130.3

feet total centerline

60% 50% 40% 30% 20% 10% 0% MOIST

lily kerrigan

WET

SATURATED

INUNDATED

macro to micro

Based on this analysis, the diamond pattern was chosen as the most efficient stream centerline pattern because of its low total centerline (equated with water use) and even distribution of soil wetness (habitat).

31

USC Owens Lake Studio, Fall 2011

3580’

3581’

3582’

3583’ 3584’ 3585’

3586’ 3587’ 3588’ 3589’

= One Foot Contours = Mid-cell Berm

Proposed Design

Existing BACM: Shallow Flood Cell T-30-2 and T30-3

Cell T-30-2 and T30-3 15’ Wide Culverts

= Ridgeline of 6 to 12 Inch Deep Culverts

1”: 250’

1”: 750’

Dust control treatment cells were evaluated for vegetation suitability, using analysis maps from the Owen’s Lake Science, Technology & Regulatory Project Team. Cell T-30-2 and T30-3 were chosen because of suitable soils for vegetation, the proximity to the Inyo Mountains affords scenic views, and the nearness to Interstate 395.

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Macro to micro

lily kerrigan

USC Owens Lake Studio, Fall 2011

3596’

3580’

3581’

3582’

3583’

3584’

3585’

3586’

3587’

3588’

3589’

Proposed Design Cell T-30-2 and T30-3 Contours and Waterline

= Water Level at 2 Feet (Ponded) = One Foot Contours

1”: 750’

An altered diamond-based pattern was overlaid on the cell as a series of 15 foot wide, 6 inch deep channels, carved into the existing topography.

These subtle channels help evenly distribute water through the cell while increasing shoreline length (see contour drawing).

lily kerrigan

macro to micro

33

USC Owens Lake Studio, Fall 2011

Diminishing Water: The Viewer’s Experience 4 Land emerges from the water, and standing water becomes more scarce as the viewer continues

1

3 The viewer expriences the water becoming more and more shallow as they proceed towards the boardwalk end 9

2 2 The viewer experiences water from an elevated perch, appreciating it in a scenic way. The distance of submerged 3

2

Pool at 1.6 feet

Pool at 2 feet

3 1The shape and paving pattern of the landform forces the perspective of the viewer, making the mountains appear

The human experience is carefully calibrated, for both the efficicent use of resources and human comfort in this hostile environment. Views are first directed to the majestic Inyo Mountains, and then shifted to the closer, more intimate environment of the reflective water and wetland vegetation as a viewer moves along the path.

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macro to micro

lily kerrigan

USC Owens Lake Studio, Fall 2011

9 6

1

Landform oriented toward best view of Inyos

2

Pattern experience is organized by 100 foot intervals, each interval representing the foreground and midground experience. First 300 feet contain 7 zig zags in the foregroundmidground

3

Next 200 feet contain 5 zig zags in the foreground-midground

4

Next 200 feet contain 3 zig zags in the foreground-midground

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Final 200 feet contain 2 zig zags in the foreground-midground

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Culverts morph into standard pattern

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100 foot buffer around boardwalk dictates which culverts are morphed GIS analysis of soil wetness dictates form of boardwalk. Users can visually access DAM (lightest), MAM (midtones), and SAM (darkest) habitats.

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4 6

1

Landform oriented toward best view of Inyos

2

Pattern experience is organized by 100 foot intervals, each interval representing the foreground and midground experience. First 300 feet contain 7 zig zags in the foregroundmidground

5

4

8

3

Next 200 feet contain 5 zig zags in the foreground-midground

4

Next 200 feet contain 3 zig zags in the foreground-midground

5

Final 200 feet contain 2 zig zags in the foreground-midground

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Culverts morph into standard pattern

7

100 foot buffer around boardwalk dictates which culverts are morphed GIS analysis of soil wetness dictates form of boardwalk. Users can visually access DAM (lightest), MAM (midtones), and SAM (darkest) habitats.

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8

9

1”: 200’

Entire experience occurs within a 15-minute walking radius

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3

2

1

8

9

1”: 200’

Entire experience occurs within a 15-minute walking radius

The final form of the design is dictated by a series of programs and parameters, optimized for views of the Inyo Mountains and the reflective water, views of the channels in human perspective, walking comfort, total walking time, even water distribution, and accessibility to various wetland types. lily kerrigan

macro to micro

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USC Owens Lake Studio, Fall 2011

Lily Kerrigan Macro to Micro

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Perspectives & Models

Lily Kerrigan

USC Owens Lake Studio, Fall 2011

Lily Kerrigan

Perspectives & Models

37

USC Owens Lake Studio, Fall 2011

Jessica Kostosky Shifting Shadows Shifting Self

CONTEXT: OWENS EXPOSURE

Harsh, exposed conditions dominate in the valley, producing grand vistas and stark lighting effects.

Owens Lake and T-13 cell location between the Sierra Nevadas (west) and the Inyo-White range (east).

Image: Google Earth

Winter Solstice

Unique shadows from natural landforms.

Strong sun and exposed ground produces distinct shadows.

Image: Owens Lake Studio September 2011

Image: Owens Lake Studio September 2011

Equinox

Summer Solstice

Varied topography creates interesting shadow effects.

Image: Owens Lake Studio September 2011

LIGHT STUDIES: SUN POSITION !

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Equinox Sunrise

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7:00 AM Sunrise

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4:40 PM Sunset

12:00 Noon

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NTS

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Winter Solstice Sunset

12:00 Noon NTS

NTS

NTS

Owens Lake sun patterns vary throughout the year and over the course of a day. Studies of sun positions reveal opportunities for design with shadows.

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shifting shadows shifting self

jessica kostosky

USC Owens Lake Studio, Fall 2011

CELL DESIGN: OVERVIEW PLAN

LIGHT STUDIES: PATHS Exploring the slope and direction of basic path typologies reveals the impact of path orientation and time of year on shadows.

CELL STRATEGIES + MATERIALS

east-west aligned, 10% slope

WS NOON

Tillage arranged to correspond with multiple shadow paths to provide shifting effects and view alignments from vehicles.

EQ NOON

SS NOON

Gravel between tillage areas near mainline.

east-west aligned, 5% slope

WS NOON

Managed vegetation in background set up with Rainbird sprinklers 50’ on center. Orientation of rows varied to correspond with shadow paths.

EQ 5:45 PM

SS 8 AM

Parking area for 10 vehicles near site intervention. north-south aligned, 5% slope Focused intervention area for public use. See Capstone Area Overview and Detail Plans.

Tillage in background on soil unsuitable for vegetation.

Arranged to correspond with multiple shadow paths.

300 WS NOON

EQ 5:45 PM

600

1200 FEET

SS NOON

Studies of path typology, including slope and aspect, show opportunities for aligning paths with sun patterns. Cell design incorporates paths aligned with solstices and equinox, using BACMs in other areas.

jessica kostosky

shifting shadows shifting self: overview

39

USC Owens Lake Studio, Fall 2011

JUNE 15, 6 AM: 157’ SHADOW- ALIGNED WITH TILLAGE

DECEMBER 21, 3 PM: 38’ SHADOW

SEPTEMBER 15, 7 AM: 36’ SHADOW APRIL 15, 8 AM: 30’ SHADOW

SUMMER SOLSTICE PATH

MAY 15, 8 AM: 16’ SHADOW

alternate day shadows - 4 PM

CROSS OVER TO SUMMER SOLSTICE PATH 10 MINUTE WALK

A A

SECTION - SHADOW AFFECTED BY DAY/TIME SCALE: 3/16” = 1’

DECEMBER 21

5 MINUTE WALK

CROSS OVER TO EQUINOX PATH

EXIT THRESHOLD 45 MINUTES ELAPSED

15 MINUTE WALK

MARCH 21

5 MINUTE WALK JUNE 21

0%

10% 2’ 78’ SHADOW 71’ SHADOW 63’ SHADOW

WINTER SOLSTICE PATH alternate day shadows - 1 PM

B

WINTER SOLSTICE PATH alternate day shadows - 9 AM

62’ SHADOW

3’

40’ SHADOW

4’

4’

10% 3’

20’ SHADOW

2’

1’

20’ SHADOW

SECTION - SHADOW LENGTH AFFECTED BY PATH TOPOGRAPHY SCALE: 1/8” = 1’

10 MINUTE WALK

DECEMBER 21 DECEMBER 21

MARCH 21

B

MARCH 21

CROSS ENTRY THRESHOLD

C

JUNE 21 JUNE 21

Path of travel leads visitor through different types of shadow alignment, with some moments of direct shadow alignment on path. Shadows are dependent on path aspect and topography.

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shifting shadows shifting self

jessica kostosky

USC Owens Lake Studio, Fall 2011

CAPSTONE AREA: DETAIL PLAN

Plan view of secondary shadow alignment during non-equinox or solstice days.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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62

Rip-rap ‘tillage’ 3563.5

3563.5

ELEVATED PATH WALL

3562

VARIES

3561

3562

3562

10%

1'-6"

x

x

EXISTING GRADE

x 3563

SCALE 1/8" = 1'

x

F

35

62

3563.5

3 56

64

x3

%

35

x 3564.5

3.5

6.2

64

3563.5 x

.5%

35

64

35

12

56

x3

x 3564.5

65 1 2

4

10 FEET

3'-0" 1:1 SLOPE (TYP.) VARIES

1'-0" 1:1 SLOPE (TYP.)

EXISTING GRADE

G Secondary shadow alignment with tillage

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT 8'-0"

ELEVATED PATH WALL

x 3565.5

35

62

35

JULY 21, 7:30 PM

USE STANDARD TRACTOR FOR CREATING TILLAGE

Gabion walls

Image: detaildesignsonline.com

SCALE 1/8" = 1'

DETAIL - TILLAGE, SECTION SCALE: 1/8” = 1’

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

3

5%

5%

Gravel path

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

5%

3563.5 x

SCALE: 1/8” = 1’

2'-0"

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

3564.5 x

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

64 35

x 3563.5 3563.5 x

DETAIL - TILLAGE, ELEVATION

CAPSTONE AREA: OVERVIEW PLAN + TIMELINE

V i s i to r s a p p ro a c h t h e s i te f ro m t h e p a r k i n g a r e a o n t h e n o r t h e a s t , and proceed to choose a path to experience. A sample path chosen by a user on the winter solstice is shown in the timeline.

SCALE: 1:4

1'-0"

GRAVEL PATHWAY 0'-4" DEPTH (TYP.)

2'-0"

8'-0" 4'-0"

20'-0" 23'-6"

2'-0"

STAINLESS STEEL

6'-6" 7'-6"

LOCAL SAND FILL GABIONS WIRED TOGETHER FILL WITH LOCALLY MINED ROCK 6"-8" DIAM.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT EXISTING GRADE

BOTTOM OF GABION 1'-0" BELOW GRADE

3'-0"

BOLTS FOR STABILIZATION

3'-0" 4'-0" CONCRETE FOOTING BOTTOM 4'-0" BELOW EXISTING GRADE

C

DETAIL - THRESHOLD STRUCTURE

D

SCALE 1/8" = 1"

SCALE: 1/8” = 1’

DETAIL - ELEVATED PATH SCALE: 1/4” = 1’

SCALE 1/4" = 1"

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT GABIONS WIRED TOGETHER 2'-0"

8'-0" 4'-0"

GRAVEL PATHWAY 0'-4" DEPTH (TYP.)

E

DETAIL - SUNKEN PATH

5'-6"

4'-2"

2'-0"

EXISTING GRADE

SCALE 1/4" = 1"

SCALE: 1/4” = 1’

SCALE 1:140

10

50 100

200 FEET

Experiences for a visitor shift depending on which path is chosen and what time of year visit takes place.

jessica kostosky

shifting shadows shifting self

41

USC Owens Lake Studio, Fall 2011

ENTRY VIEW: SUMMER SOLSTICE

6 : 3 0 A M . Stainless steel poles act as threshold markers for a user entering or leaving the site. The viewer sees the entire intervention area from this point and can interact with the site even without walking the paths.

DECEMBER 21, 3 PM

View shows initial experience when entering or exiting intensive intervention area. Alternate view indicates different experience at another time of year.

42

shifting shadows shifting self

jessica kostosky

USC Owens Lake Studio, Fall 2011

CAPSTONE VIEW: WINTER SOLSTICE

3 PM. Walking the site, the viewer notices her shadow highlighted by a distinct alignment with the path of travel.

Unlike other parts of the path, here the user sees a direct-yet altered-- view of herself as the sun casts a shadow from the harsh desert sun.

APRIL 5, 4 PM

View shows capstone experience of shadow falling directly on path, aligned with winter solstice. Alternate view indicates different experience at another time of year.

jessica kostosky

shifting shadows shifting self

43

USC Owens Lake Studio, Fall 2011

DRIVE-BY VIEW: SUMMER SOLSTICE

2 PM. The view from a car compels visitors to wonder what’s out there, with tillage pointing to distant landforms and mysterious poles glinting in the sun. Tillage is aligned to particular hours of the solstices and the equinox, offering viewers shifting views and as the car travels down the mainline. A hard edge of stainless steel embedded in the tillage reinforces the directional view.

JUNE 21, 8 PM Jessica Kostosky // Robinson Studio // Fall 2010

View shows drive-by experience from the mainline as one approaches the intensive intervention area. Tillage is aligned with sun paths providing interesting shadows and directing view toward intervention area. Alternate view indicates different experience at another time of year.

44

shifting shadows shifting self

Jessica kostosky

USC Owens Lake Studio, Fall 2011

Models of intervention area show various visitor shadow alignments.

jessica kostosky

shifting shadows shifting self

45

USC Owens Lake Studio, Fall 2011

Jessica Kostosky Shifting Shadows Shifting Self

DRIVE-BY VIEW: SUMMER SOLSTICE

CAPSTONE VIEW: WINTER SOLSTICE

PM. Walking the site, the viewer notices her shadow ghlighted by a distinct alignment with the path of travel. nlike other parts of the path, here the user sees a direct-t altered-- view of herself as the sun casts a shadow om the harsh desert sun.

APRIL 5, 4 PM

2 PM. The view from a car compels visitors to wonder what’s out there, with tillage pointing to distant landforms and mysterious poles glinting in the sun. Tillage is aligned to particular hours of the solstices and the equinox, offering viewers shifting views and as the car travels down the mainline. A hard edge of stainless steel embedded in the tillage reinforces the directional view.

JUNE 21, 8 PM

Jessica Kostosky // Robinson Stud

ENTRY VIEW: SUMMER SOLSTICE

6 : 3 0 A M . Stainless steel poles act as threshold markers for a user entering or leaving the site. The viewer sees the entire intervention area from this point and can interact with the site even without walking the paths.

DECEMBER 21, 3 PM

46

Perspectives & Models

Jessica Kostosky

USC Owens Lake Studio, Fall 2011

Jessica Kostosky

Perspectives & Models

47

WOV E N LA N D USC Owens Lake Studio, Fall 2011

Daniel Neri Woven Land

OWENS VALLEY

Desiccated by the diversion of water from the Owens River to the Los Angeles Aqueduct in 1913, the Owens Valley is now the focus of an intense dust remediation effort by the Los Angeles Department of Water and Power. Salt crusts, reddened by cyanobacteria, are the ghostly remains of the expansive saline waters of Owens Lake which once dominated 110 square miles of the valley floor. Powerful wind storms, which occur from fall to spring, propel the sands of the playa at velocities of over 50mph, pulverizing the saline crusts and sending unhealthful particulate matter high into the air.

The California Lands Commission now manages the lakebed under the auspices of the State of California. Charged with protecting public lands, the ComIn Paiute creation mythology, they believe that coyote is the father of their people, having brought his children to the west in a water basket.

In the Paiute language, they called themselves, “nün‘wa paya hup ca’a‘ otuu’mu” - “we are water ditch coyote children.”

Owens Lake is the water ditch nestled between the Sierra Nevada and Inyo mountain ranges.

Paiute bands were involved in water rights disputes throughout the twentieth century.

The Owens Valley Paiutes struggled to obtain enough water from the Owens River, a primary water source for the city of Los Angeles, to operate a fishery.

mission requires that all dust control projects provide Public Trust Values, which are realized through protection of ecology, public access and enjoyment, and visual/ aesthetic enjoyment.

This proposal attempts to take current Best Available Dust Control Methods (BACMs) and provide a design which amplifies Public Trust Value. Woven Land is a concept that honors the Paiute People, the Native Americans who lived in this land prior to settlement. Inspired by Paiute basketry design, the design is reminiscent of a winnowing basket, and incorporates Paiute motifs. It also provides for habitat protection for the Western Snowy Plover, a California species of special concern.

Source: LADWP, “Owens Lake Master Plan”

OWENS VALLEY PAIUTE You only take with permission.

And when you do take from the earth, you take with a “please,” and give back with a “thank you.”

-Julia Parker Basketweaver Miwok/Pomo/Paiute

It is the fibers and not the weaver who make a beautiful basket.

– Julia Parker Basketweaver Miwok/Pomo/Paiute 10,000’

Treat the Earth well: it was not given to you by your parents, it was loaned to you by your children.

We do not inherit the Earth from our Ancestors, we borrow it from our Children.”

-Ancient Paiute Proverb

0’

20,000’

This project was inspired by the basketry of the Paiute people, who once called Owens Lake their home.

48

woven land

Daniel neri

USC Owens Lake Studio, Fall 2011

PLANT PALETTE

CELL T1A-1

PAIUTE BASKETRY

Source: CALOWN.COM

Source: CowanAuctions.com

Juncus textilis

0’

500’

1000’

0

1

2

3 miles

Source:MEB.COM

OWENS LAKE SITE PLAN

CELL T1A-1 SITE PLAN

Yucca brevifolia

Size: 1 mile long x .5 mile wide 247 acres Elevation Change:

7 ft.

Vegetation Suitability: Side

Moderately Low on West Low on the East Side

Tillage Suitability: Side

Moderately High on East Low on West Side

Source: CowanAuctions.com

These plants are used by the Paiutes to create woven baskets. They are heat and salt tolerant.

STAMPED CONCRETE

Cell T1A-1 is located just east of naturally occuring springs. It is suitable habitat for the Western Snowy Plover.

3571’

HABITAT 66% SLOPE (TYP.) 1% CROWN (TYPE) TOS 3575.77’ (TYP.)

66% SLOPE (TYP.)

BOS 3570.77’ (TYP.) 1’ STAIRS (TYP.)

Source: California State Department of Fish and Game.

1:20

The design is a path which weaves across the Owens Lake playa. The design ends at a circular center, evoking the center of a basket. It overlooks an expanded habitat for the Western Snowy Plover. daniel neri

Woven Land

49

USC Owens Lake Studio, Fall 2011

PREDOMINANT WIND PATTERN

0

1

2

3 MILES

The wind season at Owens Valley mostly occurs from November through June.

Down valley winds are most prevalent and strongest during the winter months. Up valley winds greater than 10mph occur 10% of the time during the same period. From March to June, winds greater that 10mph occur 20% of the time and are equally split between up and down valley.

Source: Shaping the Future of Owens Lake. Studio 606, Cal Poly Pomona

HORIZONTAL CYCLONIC EDDY

MOUNTAIN LEE WINDS

0

1

2

3 MILES

These strong winds can reach speeds of 4568 mph. They originate in the Eastern Sierras, moving over the crests and descending into the valley. The winds gain power as they warm, and are powerful enough to overturn large vehicles traveling on Highway 395. They can carry with them dust from Owens Lake for hundreds of miles east.

Source: Shaping the Future of Owens Lake. Studio 606, Cal Poly Pomona

0

1

2

3 MILES

Cold fronts from the north bring with it gusty winds blowing south along Highway 395 . At the same time, strong winds from the Inyo Mountains blow to towards the north. When the two air streams meet, the form this horizontal cyclonic eddy which can send dusts into the upper atmosphere.

Source: Shaping the Future of Owens Lake. Studio 606, Cal Poly Pomona

ANGLE OF SAND FENCE The 30 off-center angle has been identified by LADWP as having potential to capture errant winds. The proposed design sets the fences in an array pattern which can slow the powerful mountain lee winds and the horizontal cyclonic eddys. o

째

30.00

source: LADWP Wind patterns are identified to inform the design and layout of the Sand Fences.

50

woven land

Daniel neri

USC Owens Lake Studio, Fall 2011

SAND FENCE ADORNMENT RECYCLED BLUE GLASS

REINFORCED HOLE TO FOR WIRE PASS THROUGH

DRILL HOLE THROUGH GLASS

Source: NedKahn.com CHAIN OF ETHER

WIRE THREADED THROUGH GLASS FABRIC

N.T.S.

Source: NedKahn.com

MICROTURBINES

UV-STABILIZED POLYETHLENE TEXTILE

SAND FENCE CONSTRUCTION 20’

10” SQ x 14’ POST (TYP)

BIRD DETERRANT

FENCE MATERIAL HEM CABLE

Inspired by the wind sculptures of Ned Kahn, such as the “CHAIN OF ETHER” and “MICROTURBINES” pictured below, the sand fences proposed would be adorned to translate the movement of wind. Trona, used in the production of glass was mined from Owens Lake. Blue glass is used here to adorn the sand fences to create a shimering effect as the wind blows. The use of glass is also a comment on the history of the lake. The overall effect is meant to evoke water.

TENSION LINE MONOFILAMENT LINE

5’-4”

FABRIC LOCKING STRIP 8’-10” (APPROX)

STRESS RATED CLIPS 8’-10” (APPROX)

OPEN PLAYA EXISTING GRADE 10” SQ x 14’ POST (TYP)

Scale: 1/8”=1’ 1/4”=1’

Daniel neri

woven land

The Sand Fence is used to mitigate the high winds which cause sands and dust to rise into the air. They are colored blue and adorned with blue glass so that they shimmer in the wind and evoke water.

51

USC Owens Lake Studio, Fall 2011

WATER SAVINGS • The Los Angeles Department of Water and Power applies 96,000 acre feet of water per year to the dry lake bed to ameliorate the dust storms which send unhealthy particulate matter (PM10) into the air.

• The amount of water used in dust control is 21% of the water directed from the Los Angeles Aqueduct.

• New Best Available Control Methods (BACMs) must reduce the water usage while providng Public Trust Value.

• Woven Land consumes minimal water, only to establish the Yucca

Brevifolia and to irrigate the Juncus Textilis.

• Woven Land provides an array of sand fences which slow errant winds from all directions, reducing dust storms.

• Woven Land provides Public Trust Value by creating a destination which celebrates the Native American tradition of honoring the land. It evokes a basket and unity of the people.

• Woven Land provides Public Trust Value by capturing natural flowing springs to create habitat for the Western Snowy Plover, a California species of special concern.

The overall design is intended to reduce water usage at Owens Valley while providing Public Trust Value through a cultural experience and enhanced habitat for the Western Snowy Plover

52

woven land

Daniel neri

USC Owens Lake Studio, Fall 2011

VIEW FROM I-395

VIEW FROM MAINLINE ROAD

PASSAGE THROUGH THRESHOLD

ENTRANCE WITH INSCRIPTION

END VIEW WITH WIND SCULPTURE

The experience is described in these perspectives, beginning at the view from the I-395 and proceeding to end of the path, where a wind sculpture gently sings as if the voices of the ancestors of the Paiute people.

Daniel neri

woven land

53

USC Owens Lake Studio, Fall 2011

WIND SCULPTURE

MATERIALS PALETTE

A wind sculpture, such as this one by Tonkin Liu Architects, adds an aural element as a capstone experience. Its gentle timbre and hum can evoke the singing of tribal ancestors.

SOURCE: MINRESCO.COM

Obsidian

EXPERIENTIAL SECTION WITH HIGUCHI ANALYSIS IMPLEMENTATION Perception studies of water reflectivity conducted at Owens Lake by Janet Yang conclude that the best scenic ponds occur in the southern and northern points of the lake because both the Inyo and Sierra Nevada Mountain Ranges can be seen in the reflections. The pond here would fit into a Small-Medium size category according to Yang, offering a balance between intimate and expansive views. The low edge of the pool creates an “infinity pool” experience.

Studies conducted by Daniel Neri on depth perception indicate that placement of objects in the background create a more intimate feel. Here a low berm is set just beyond the pond to help “enclose” the scene. Neri also concluded that that sand patterns are best viewed in the foreground and middleground. Color may be utilized to help call attention to patterns in the distant middleground. Here, Inyo Gold gravel and Obsidian are used to make this Paiute motif and activate the middleground.

SOURCE: QUARRIESANDBEYOND.COM

Inyo Gold

849’

~450’ “SMALL-MEDIUM” POOL

~300’

FOREGROUND: 0’ - 50’ MIDDLEGROUND: 50’ - 100’ BACKGROUND: 100’ +

>2’ HIGH EDGE CREATES “INFINITY POOL” APPEARANCE BASED ON RESEARCH BY JANET YANG.

450’ “SMALL-MEDIUM” CATEGORY POOL PROVIDES REFLECTIVITY WHILE BALANCING INTIMACY AND EXPANSIVENESS

COLOR GRAVEL HELPS THE VIEWER DISTINGUISH THE PATTERN AS IT RECEDES TO BACKGROUND

PATTERNS IN SAND ARE BEST VIEWED IN THE FOREGROUND AND MIDDLEGROUND.

1/16” = 1’-00”

The experiential section describes how research and the Higuchi analysis informed the design, materiality, and habitat.

54

woven land

Daniel Neri

USC Owens Lake Studio, Fall 2011

MATERIALS PALETTE

SECTIONS

SOURCE: NATURALSTONEFOREXPORT.COM

Dolomite

1/8”=1’

SOURCE:DANIEL NERI

Rip Rap

SOURCE: MARGOLIS/ALEXANDER. LIVING SYSTEMS

1/8”=1’

Soil Concrete

Sections showing the experience on the path. Material choices for the path are highlighted to the left.

Daniel Neri

woven land

55

USC Owens Lake Studio, Fall 2011

Daniel Neri Woven Land

56

Perspectives & Models

Daneil Neri

USC Owens Lake Studio, Fall 2011

Daniel Neri

Perspectives & Models

57

USC Owens Lake Studio, Fall 2011

Jeannette Pulnik Journey to the Oasis

Concept

emptiness The spiritual desert represents a place where one feels the absence of the divine, they feel as if they are wandering, lost. A person travels through this desert in search of an oasis, a place where the divine can be briefly, but truly felt.

Owens Lake is a vast, expansive landscape. The absence of people, noise and every day life creates landscape of emptiness with small moments of fullness or surprise.

58

fullness

This design creates a journey through Owens Lake representative of a greater personal journey through the spiritual desert. A journey where one is left alone, seemingly lost in a vast landscape, slowly reaching a moment of fullness and presence. The path guiding you on this journey is created by a series of edge compositions, which appear, disappear, and grow in richness and dimension as you approach the oasis.

JOUrNEY TO THE OASIS

JEANNETTE PULNIK

USC Owens Lake Studio, Fall 2011

experiential timeline

Thickness of brush stroke represents range of experience

fullness

emptiness

wandering

emptiness

view

emptiness

glimpse

fullness

experiential plan close up of path NTS

N

6

5 1 4 2

1. wandering

you’re searching for the path, you don’t have a map and the cell looks like one seamless expanse of gravel against the mountains

2. emptiness

3. glimpse

3

5. view

4. emptiness

you begin to notice the absence of sounds you walk up a slight incline and stop for a few and other people, what looks like a path minutes to cool off and are able to what looks appears and disappears, you wonder if you’re like a clearly defined path in the distance just getting lost

as you descend, the faint path disappears again, you are unable to see what lies ahead

slowly, the path becomes richer as you ascend another incline, as you reach the top you can see the oasis and are certain you’ve come to right way

6. fullness the edges along the path are clearly defined and detailed, standing on top of the berm, overlooking the water, you see the refelction of the Inyo Moutains and group of birds foraging

The experience of this design is represented through a gradient from emptiness to fullness. This graident is represented on site through the absence and presence of the path.

JEANNETTE PULNIK

JOURNEY TO THE OASIS

59

USC Owens Lake Studio, Fall 2011

Design Location

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

NTS

N

Path Experience Diagrams PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Journey A

Walking at a moderate pace

Walking at a slow pace

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Journey A: Spiritual Pilgrimage This visitor drove 4 hours from Los Angeles to discover the oasis at Owens Lake. She got a bottle of water and a hat out of her car and was prepared to wander across the spiritual desert.

2,087’

Aerial View of Owens Lake Location of Cell T23SE NTS

Plan View of Cell T23SE NTS N

N

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Total Path Length 2,087’ Total Cell Area: 475 acres

Key

Journey B

Indicates Gravel BACM Indicates Shallow Flooding BACM Indicates Path Indicates Mainline

Journey C: Passing by A couple takes a detour down the mainline on their way back from Mt. Whitney. They exit their car and wander in search of a path, but turn around after several minutes because they’re too hot, tired from hiking and don’t want to get lost.

Path Walking Distance Diagram N

1’

447’ 2 minu tes

17

252’

m

Journey C

479’ 2 minutes

ute

1 min

’ 251 te u in 1m

<1

427’ e ut 2 minutes

in

Journey B: Birdwatcher This visitor saw the patterns of gravel developing along side the road, while driving down the mainline He parked his car, got his binoculars just in case and went for a walk.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

NTS

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Key Size of dots represent walking path Walking fast

This project converts a 475 acre lateral flood cell into a hybrid BACM design of 2,075,626,000 square feet of gravel and 136,500 square feet of shallow flooding.

60

JOURNEY TO THE OASIS

JEANNETTE PULNIK

USC Owens Lake Studio, Fall 2011

Details of the Oasis detail plan a path to oasis NTS

N

Key

Indicates Contour Line Indicates Path Edge

Indicates point at which oasis is seen

oasis

a

3,568’ 3,5

3,569’

65

3,5

3,570’

3,5

6 3,5 7’ 68 ’

3,571’

view

3,

57

5’

viewing platform

land form

see detail plan b

section a

’

3 3 ,56 3 ,57 9’ 3,5,571 0’ 72 ’ 3,5 ’ 3 3,5 72 3,5,57071’ ’ 3,5 69 ’ 68 ’ ’

3,572’ 3,573’ 3,574’

’

66

path to oasis NTS

eye level vision at 5’-0”

1’

92’

point at which oasis is seen

JEANNETTE PULNIK

The approach to the oasis is experienced by ascending the landform illustrated above. Views of the oasis are gradually revealed as a visitor reaches the high point. The landform is designed to block all views of the oasis until the visitor reaches this point. This is the “view” moment indicated in the experiential timeline and plan.

JOURNEY TO THE OASIS

61

USC Owens Lake Studio, Fall 2011

Details of Path Edges

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

detail plan b

path edges NTS

N

view

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

fullness see edge detail a

see edge detail b

edge detail a

edge detail b

scale 1:30

scale 1:30

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Edge Material Key Hatch Pattern

Material Photo Description

3”

Mixed/ colored dolomite gravel

Fine dark dolomite gravel 6”

6”

Linear textured soil 3” linear grooves will be pressed into soil

random

Circular textured soil 6” diameter divets will be pressed into soil at random intervals

Fine light dolomite gravel

Inyo gold dolomite gravel

The path edges grow in richness and dimension, emphasizing the experience of emptiness to fullness. The edges at the high point become wider and more detailed. They decrease slightly as you walk away from the view point, and then increase as you walk towards the moment of fullness at the oasis.

JOURNEY TO THE OASIS

JEANNETTE PULNIK PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

62

USC Owens Lake Studio, Fall 2011

Perspectives Illustrating Approach to Oasis / Moment of Fullness

drive by view

view of the oasis

JEANNETTE PULNIK

emptiness

glimpse

approach to the oasis

JOURNEY TO THE OASIS

oasis

63

USC Owens Lake Studio, Fall 2011

Jeannette Pulnik Journey to the Oasis

64

Perspectives & Models

Jeannette Pulnik

USC Owens Lake Studio, Fall 2011

Jeannette Pulnik

Perspectives & Models

65

USC Owens Lake Studio, Fall 2011

Cate Rilla Sands of Time

Owens Lake: Looking North Source: Owens Lake Studio Site Visit September 2011

Embracing the natural factors of accumulation, dispersal, and disappearance over time at Owens Lake

Existing Characteristics of Spring Mounds

Accumulation and Growth of Spring Mounds

3’

Vegetated spring mounds typically occur in a linear pattern along a fault zone. They consist of fine to coarse sands and fine gravels. The groundwater in these areas is shallow (2 - 4 ft).

Source: “Shaping the Future of Owens Lake,” Cal Poly Studio 606 project; “Owens Lake Habitat Management Plan,” Los Angeles Department of Water and Power, March 2010; “Owens Lake Shallow Hydrology Monitoring Data and Chemistry 1992-2004,“ Great Basin Unified Air Pollution Control District Bishop, California, February 2009.

The growth of vegetated spring mounds typically coincides with the location of seeps and springs. When clay subsurface soils are encountered, the moisture reaches the surface.

The seeps and springs provide moist conditions to support vegetation growth.

<1’

Source: “Shaping the Future of Owens Lake,” Cal Poly Studio 606 project; “Owens Lake Habitat Management Plan,” Los Angeles Department of Water and Power, March 2010.

Vegetation Observations: Spring Mounds

The dunes form around the plants because they trap wind borne particles. There is minimal vegetation between and around mounds. They are a naturally occurring dust control measure.

Source: “Shaping the Future of Owens Lake,” Cal Poly Studio 606 project.

Vegetation on the spring mounds tends to be greener on the top and tanner around the edges. This could be caused by salt burn along the edges as it is closer to the surface.

6’

The height range of spring mounds varies greatly. At Owens Lake they range from less than one foot tall to as tall as six feet. Their growth is similar to sand dunes in that the vegetation is similar to a sand fence and traps the sand when it blows in the wind. The sand then accumulates around the vegetation.

Source: Conservation with Bob Perry on 10/3/11, “Trees and Shrubs that Tolerate Saline Soils and Salt Spray Drift,” Virginia Cooperative Extension, Virginia Tech, accessed 10/10/11

This series of images document chracteristics of spring mounds and their growth patterns at Owens Lake.

66

Sands of Time

cATE rILLA

USC Owens Lake Studio, Fall 2011

Location: Cell 29-1

Regional Wind Flows

Dune Suitability Map

Artic

Pacific

Project Site

Subtropical

Delta Basin

Shallow flooding is currently used in this cell to control dust

NTS

Source: “Shaping the Future of Owens Lake,” Cal Poly Studio 606 project.

High Suitability for Dunes Moderate Suitability for Dunes

Gulf

The Pacific, Polar, and Continental winds originate in the north during the winter, while the Gulf winds originate in south during the spring. Large air masses move through the Owens Valley which create the intense dust storms the Valley experiences.

LEGEND

NTS

Continental

NTS

Source: “Shaping the Future of Owens Lake,” Cal Poly Studio 606 project

Source: Google Maps

Materials Palette Plant List

Atriplex parryi and Distichlis spicata were selected as the plant species for this design because of their proven tolerance of surviving in saline growing conditions. Additionally, these species are drought tolerant and can survive in the harsh and arid climate of Owens Lake.

Atriplex parryi, “Perry’s Saltbush” Source: Owens Lake Studio Site Visit September 2011

Predominant Wind Flow at Owens Lake

Distichlis spicata, “Saltgrass”

Source: Owens Lake Studio Site Visit September 2011

Fence Materials

Corten steel and spruce wood are used in the sand fences because of their ability to record the passage of time in the landscape as they age and naturally change in appearance.

Corten Steel Source: Flickr

Spruce Wood Source: Flickr

Path Materials

Dolomite Gravel between 1/2” and 2 1/2” in diameter Source: CDM and NOVIS gravel presentation document

Dolomite Gravel greater than 2 1/2” in diameter

The path is made of dolomite gravel that is between 1/2” and 2 1/2” in diameter. Its edges are defined by dolomite gravel pieces that are greater than 2 1/2” in diameter. This edge will provide definition to the path when low points are covered in sand. It will also add depth and texture and trap sand between the crevices.

Source: CDM and NOVIS gravel presentation document

NTS

The dominant wind flow pattern in Owens Valley flows up the valley originating from the south-southeast and flows down the valley originating in the north-northwest.

The average wind speed is seven to nine mph. The strongest winds, with peak gusts of 65-75 mph have a westerly component.

Source: “Shaping the Future of Owens Lake,” Cal Poly Studio 606 project.

The project proposes to use an array of natural materials.

cATE rILLA

Sands of Time

67

USC Owens Lake Studio, Fall 2011

Overall Cell Design: Site Plan

Legend Vegetation Patch Spring Mound The passage of time is found in the path as well as in the rest of the cell. To control dust, a combination of fences, vegetation, spring mounds, and shallow flooding is used. Accumulation around these elements will occur as the vegetation and spring mounds continue to grow.

The patches of vegetation are 50 feet in diameter which is based off the spraying radius of the Rain Bird 5000 Plus Series. This will reduce water use caused by over spray. They are arranged based off of a linear north-south grid to provide for a regular framework for the irrigation system. Due to the high salinity of the site, the vegetation patches will contain a combination of Distichlis spicata, “Saltgrass” and Atriplex parryi, “Perry’s Saltbush”. The vegetation is expected to use 1/3 less water than the shallow flooding that is currently used in the entire cell.

C

The construction of spring mounds, planting of vegetation, and the use shallow flooding will create habitat for a variety of species. The vegetation patches and spring mounds will foster habitat for beetles, grasshoppers, mice, lizards, snakes, birds, squirrels, and other small mammals. The spring mounds and shallow flooding section will create habitat for shorebirds, brine shrimp, and waterfowl.

Source: Draft Owens Lakebed Master Plan, dated 10/21/10

1”=600’

The branching of the path surrounded by shallow flooding represents the dispersal of elements over time.

Constructed spring mounds placed closely together provide the sense of enclosure for the visitor.

Field of vegetation patches and spring mounds show accumulation over time. Fences and gravel path show accumulation and disappearance over time. These elements also control dust.

Constructed spring mounds in the distance provide a feeling of openness for the visitor as they are truly emerged in the landscape.

The plan proposes a series of branching paths that lead a visitor through an array of artificially create spring mounds.

68

Sands of time

CATE RILLA

USC Owens Lake Studio, Fall 2011

Detail Site Plan Construction Detail of Fence

Diagram of Accumulation around Fences

4’-8” 1 1/2”

4’-8” BY 1’-0” BY 1 1/4” CORTEN STEEL PANEL

3’ BY 1 1/2” BY 1/8” STEEL CHANNEL 3’-0”

4” BY 1 1/2” BY 1/8” STEEL CHANNEL

3’-3”

4’-8” BY 1’-0“ BY 1 1/4” SPRUCE PANEL

4’-8” BY 1’-0” BY 1 1/4” CORTEN STEEL PANEL

1’-6”

4’-8”

4’-8” BY 6” BY 1 1/4” CORTEN STEEL

NATIVE SOIL

2’-0”

NATIVE SOIL

CONCRETE FOOTING

CONCRETE FOOTING

1/8” 2” BY 1 1/2” BY 1/8” STEEL CHANNEL 1 1/4”

1’-0”

1 1/2”

END CAP ELEVATION

END CAP

MIDDLE PIER

END CAP

PLAN VIEW

1’=1/8”

Over time, sand will accumulate around and eventually over the shorter fences. The horizontal 1 foot strips of either corten steel or wood will serve as a measuring device to record the amount of accumulation over time.

Additionally, the materials themselves will also record the passage of time.

Section A. Entrance

1’=1/32”

Sand accumulates around fences of varying height

2 foot larger in diameter gravel border Adds texture and shadow to the path

1”=60’

Construction Detail of Spring Mound Construction

4”

40’-0”

4’-0”

VEGETATED TOP

TOP SOIL FROM LOCAL CONSTRUCTION SITES

NATIVE SOIL

RAINBIRD ROUTER

1’=1/8” IRRIGATION PIPE

CROSS SECTION OF SPRING MOUND

The form of the constructed spring mound was based off of the formation process and shape of sand dunes and site observations of existing spring mounds. The top soil required for their construction will come from local construction sites. This will reduce carbon emissions because it will not need to be transported far and it will provide a use for this extra soil.

A router is included in the center of the mound to provide moisture for the vegetation growth.

These spring mounds will continue to grow as more sand is trapped in the vegetation. They are part of this transforming landscape.

The plan also proposes to employ a sand fences to capture dust and create a dynamically changing landscape.

cATE RILLA

Sands of Time

69

USC Owens Lake Studio, Fall 2011

Detail Site Plan

Construction Detail of Path 15’-0”

11’-0”

2’-0”

B 4" LAYER OF DOLOMITE GRAVEL GREATER THAN 2 1/2" IN DIAMETER

15’-0”

4" LAYER OF DOLOMITE GRAVEL GREATER THAN 1/2" IN DIAMETER 1/32” GEOTEXTILE FABRIC 90-95% COMPACTED SOIL

NATIVE SOIL

CROSS SECTION OF PATH

4" LAYER OF DOLOMITE GRAVEL GREATER THAN 1/2" IN DIAMETER

PLAN VIEW

1”=60’

Accumulation and Disappearance

The middle portion of the path consists of a sloping terrain landscape with the steepest slope being 8%. The section of the design is intended to play with the juxtaposition of accumulation and disappearance. The low elevations of the path will disappear from the accumulation of sand and the higher parts of the path will remain visible. To guide the visitor forward there is a fence that remains at a consistent height of 3 feet as the path drops 4 feet and then disappears into the path once it gains the 4 foot drop and then gains another 3 feet.

This sloping terrain is shown on the right.

1’=1/8”

In order for the gravel dust control measure to be effective, it requires installing a 4 inch layer of coarse gravel greater than 1/2 an inch in diameter. This diameter requirement is because if the gravel was smaller, it would be carried by the wind in a dust storm. Therefore, for the path the gravel is required to be between 1/2 and 2 1/2 inches in diameter. The border that defines the path, especially when parts of the path are hidden by sand, is greater than 2 1/2 inches in diameter.

Source: Draft Owens Lakebed Master Plan, dated 10/21/11

Section B. Accumulation and Disappearance Sloping Section

1’=1/64”

The path appears and disappears creating a experience of discovery and disorientation.

70

Sands of time

CATE RILLA

USC Owens Lake Studio, Fall 2011

Section C. Higuchi Analysis

Foreground 100 Feet Low profile vegetation

Midground 300 Feet Swaths of vegetation

Key Plan

3 4

2

Background

600 Feet Swaths of vegetation Mix of vegetation height

1’=1/64”

1 NTS

1

2

3

4

cate rilla

sands of time

71

USC Owens Lake Studio, Fall 2011

Cate Rilla Sands of Time

72

Perspectives & Models

Cate Rilla

USC Owens Lake Studio, Fall 2011

Cate Rilla

Perspectives & Models

73

USC Owens Lake Studio, Fall 2011

Janet Yang Fragments

By creating topography on site using the bulldozing method shown above, site features are created that highlight Owens Lake phenomena. Dust is controlled by portable sprinklers, applied to the high elevations, allowing water to flow to low elevations and cleansing the soil of salt.

74

FRAGMENTS

janet yang

USC Owens Lake Studio, Fall 2011

The plan and diagram here represent possible areas of ponding as a result of the fragmenting method.

janet yang

FRAGMENTS

75

USC Owens Lake Studio, Fall 2011

Over time, the cleansed soil may be able to support managed vegetation and become less dependent on human intervention. In the meantime, the site is a walkable exploration of Owens Lake phenomena and educates visitors on the circumstances that led to its current state.

76

FRAGMENTS

janet yang

USC Owens Lake Studio, Fall 2011

Over seasons and years, the site works in tandem with natural processes to provide value for humans and habitat.

janet yang

FRAGMENTS

77

USC Owens Lake Studio, Fall 2011

Janet Yang Fragments

78

Perspectives & Models

Janet Yang

USC Owens Lake Studio, Fall 2011

Janet Yang

Perspectives & Models

79

higuchi analysis & bacm Design Guidelines Students were asked to conduct a detailed on-site analysis of a perceptual aspect, focusing on a material assigned to them (gravel/earthworks, vegetation, or shallow flooding). This analysis was based on Tadahiko Higuchiâ&#x20AC;&#x2122;s The Visual and Spatial Strucutre of Landscapes. Furthermore, the students were asked to provide revised design guidelines for a variety of existing and potential dust control technologies.

USC Owens Lake Studio, Fall 2011

tranSition eColoGy

increasing Microclimates, improving experience FORM D

T

A mound or ridge of sand or other loose sediment formed by the wind, especially on the sea coast or in a desert.

Gently graded dunes create many intimate viewing opportunities + dune top expansive views substantial flat or low land for a clear pathway to the water front.

Gentle grades for running up and down, densely vegetatedfor hiding spaces Wide ‘sinks’ allow more space for riparian habitat to colonize. Wide, tall mounds allow more space for shrubs.

12 ft

R

Artemisia Tridenta Sarcobatus Vermiculates Atriplex Confertifolia

9 ft 6 ft 3 ft

-3 ft

Distichlis spicata uncus alticus Salix asiolepis

DEFINITION: 6 ft

3 ft

12 ft

1. A disturbance on the surface of a liquid body, as the sea or a lake, in the form of a moving ridge or swell. . A swell, surge, or rush, as a feeling.

[Healthy Riparian Habitat]

Increased Linearity of berms increases amount of shadow, wind protection

[ [

12 ft

Artemisia Tridenta Sarcobatus Vermiculates Atriplex Confertifolia

9 ft 6 ft

yri eb ie ]

Even spacing of berms creates wave patterns when driving by

n

ath y]a

High berms can act as an interesting walkway from the road to water

Re

Hi

3 ft

Distichlis spicata -3 ft

Juncus Balticus Salix Lasiolepis 3 ft

D

RIPPLE

6 ft

12 ft

h

en

ati

er tr n erti ality en pa in bet

n

een

T

To form or display little undulations or waves on the surface, as distrubed water does; to rise and fall gently in tone or volume

[Good Microclimate Conditions]

diversity of size and shape of undulations increases the number of microclimates

[Extended Wet Season]

Deep and numerous ‘sinks’ below grade collect water in rainy seasons, and extend plant life

[Good Physical Engagement]

Diversity in undulstion size and type creates a physially engaging walking or playing environment

[Healthy Root Network]

Shortness of height allows for complex network of roots, adding nutrients to soil.

12 ft 6 ft

Artemisia Tridenta Sarcobatus Vermiculates Atriplex Confertifolia

9 ft 3 ft

-3 ft

Distichlis spicata Juncus Balticus Salix Lasiolepis 3 ft

6 ft

Recommendations Deep ‘Sinks’ Diversity of Mound Size Mound Shape

12 ft

Topographraphical interventions increase microclimates which in turn increase vegetation diversity. Through the analysis of different landforms, their microclimates, ability to support different vegetation, views from the road, and walking accessibility were considered when creating guidelines.

82

Higuchi analysis & BAcm guidelines

kate gmyrek

er

USC Owens Lake Studio, Fall 2011

HeiGHt 3’ tall

4’ tall

5’ tall

[Good expansive View]

[Good reflection View]

[Good microclimate]

even when between two dunes, lake still feels expansive.

Dunes frame reflection, drawing attention to it.

tHe iDeA

High dunes increase the amount of shade and wind blockate

*Cal Poly Pomona Studio

tHe locAtioN 3’ tall [Good reflection Views]

topographic forms meets reflection, creating an engaging view. 1/2 reflection 1/2 water.

4’ tall [Good Playscape]

Small enough to climb up, but tall enough change view.

5’ tall [Good Playscape]

engaging height, dramatic changes in views

[Good microclimate]

tHe toPoGrAPHY

2’ tall [east Acces to Water]

undulations low to the ground are easy to physically maneuvre.

3’ tall [Physically engaging ] High enough mounds to cause physical exertion, but not too high to restruct access.

4’ tall [Good microclimate] engaging height, dramatic changes in views

The microclimate condtions created vary depending on the height and form of the topographical interventions. These conditions will dictate where and how different plant species will propagate. kate gmyrek

Higuchi analysis & BAcm guidelines

83

USC Owens Lake Studio, Fall 2011

VeGetation and eMotion

VeGetAtiVe quAlitieS tHAt ProVoKe emotioN View from road

Scale

textural Sections

emotional reaction

By simplifying plant species into color, texture, and distance from viewier, an image can Visually organize a landscape into categories. These categories can then be linked with the emotional reaction they provoke.

Sali

SAturAteD

Leafy, Wild

t

9 ft

t

6 ft

t

3 ft

t

asi

most common

Through keen observation and note taking, each site was assigned a number of important, as an ‘emotional reaction’

Plant Associations Identifying which plants are associated with each reaction helps further categorize the potential for each plant type

lapis

eye

Tall, wispy Lush Sways in wind

SHeltereD

Distichlis spicata ee olli

Vibra olor t S a i creates mo eme

t

BolD BreeZY

SHeltereD Tall, close to road Lush leaf texture Thick, restrictive qualities Abundance of vegetation

Salix Lasiolepis

Typha latifolia

9 ft 6 ft 3 ft

GeNtle

Site 92 Sali

asi

lapis

Wispy, ‘natural’ green, sways in wind.

Taller, close to road adds complexity to view, feelings of protection

t

c t

s

altic

s

Tall and Wispy, sway in the wind Multi-colored, add darker tones Diversity in height, add depth to view.

Makes lush environment.

t

Distichlis Spicata

SHeltereD

Vibrant Rich Colors, oranges, reds.

Sway in the wind, give appearance of rolling meadow.

Stand out more next to light green

NAturAl

Light Green Creeping nature, creates engaging patterns in soil.

t

iN motioN Swaying

Site 90

BolD Clumping form Denseness of form Denseness of color Accents other colors Contrast with mountains, sky

t

moiSt

isti hlis Spi Salt Grass

ata

tall

Sa o at es Greasewood

i

eslat

isti hlis Spi Salt Grass

ata

sho t

ata

tall

Vibrant Color Thickness of presence

Distichlis Spicata

t

Distichlis Spicata ri t ree a es i eresti t atter s

t

i

Vibra tric color Varie a te i resit i color a ei t ar colors um out atuo reates ol

Sa a es

se

iN motioN

a

tto tall e etatio ccessible

BolD

t

PlAYFul SPreADiNG

Site 93

iN motioN

t

Distichlis Spicata

Variegated, dry, yellowish gold Dispersed with dirt patches

t

t

t

ipl

a i

Bright, Variegated,

t

Sa

c

at

ar e ee ree ttracts e e bus

s

ic t sla

eXPoSeD t

ipl Sp

ar Tra sitio to s mou tai s icel

ci

s

PlAYFul artiFiCial

Pattern of Colonization Contrast with other vegetation Diversity in sizes Flowing patterns of colonization Pauses in vegetation

isti

hlis Spi

Sa o at e s Greasewood

Sa

at

i tesla

hes

Tall Grass

SParSe

Site 90.1

Sarcobatus Vermiculates

t

Deep Color Bigger plants located on mounds, creates sense of mystery.

Bunched

t

itro

t

ila

Bright Brittle Diversity in color

cci

e

talis

t

DrY

PlAYFul

PlAYFul

DrY

Clumping form Varying heights of plants

WitHHelD

Swayings in the wind whimsicle color patterns of colonization

BolD

Sa

isti

o at es

i

eslat

hlis Spi

ata

tall

In an exploration of vegetation, this analysis focused on our emotional or perceptual understanding of each vegetaed landscape. Categorizing responses and analyzing significant factors that affected these responses, this analyis draws out which textures, shapes, colors, and spacing of plants affect our our understanding.

84

Higuchi analysis & BAcm guidelines

kate gmyrek

USC Owens Lake Studio, Fall 2011

exPanSiVe to intiMate

Factors that Shape our understanding of Space and Size Site 88

diStanCe reFleCtion anGle oF inCidenCe SideVieW bloCkS

Site 101

[smallest]

Site 100.2S

Site 98

ite 97

Site 100.1

[ largest ]

[ largest ]

[smallest]

[ smallest ]

[ largest ]

HoriZoN

reFleCtion

texture

FeelinG

INTIMATE

FeelinG

INTIMATE

Visible texture

1.

Draws your glare downward Deep colors hold your attention

Side View Blocks

1.

1.

2.

Brings your eye to horizon Visually expands what is in front of you

No visual block, or insignificant block opens up view, feeling larger

thin Horizon line

A thin straight berm close to far end of water extends view, makign it appear larger than it is

2.

Significant sideview blockages, enclosure

thin, Straight reflection No Side Berm Blocks

Berm interruption

thin, straight berm along the horizon eye passes over it

Diagonal reflection

other end of Water seems accessible

Diagonal reflection leads your eye towards point of being far away while at the same time adding

islands Breaks up view, adds layers Add width on to horizon liine

kate gmyrek

Visible texture

Foreground: Diagnal texture moves your eye

thick Horizon line

3.

ContributinG FaCtorS:

Background: Diagnal texture moves your eye further away from you

Both in foreground and background textured Horizon

EXPANSIVE

EXPANSIVE ContributinG FaCtorS:

Full reflection

2.

FeelinG

LARGE ContributinG FaCtorS:

1.

LARGE

texture in Background

reflection is in distance, givingappearance being larger

3.

Higuchi analysis & BAcm guidelines

3.

Strong textures in foreground attracts eye, makes whats beyond seem endless

3.

85

USC Owens Lake Studio, Fall 2011

Salt pool & crust BACM design principle and operation possibility analysis.

86

Higuchi analysis & BAcm guidelines

ye hua

USC Owens Lake Studio, Fall 2011

ye hua

Higuchi analysis & BAcm guidelines

87

USC Owens Lake Studio, Fall 2011

Highchi analysis for color and texture of the salt pools & crusts from vary distances.

88

Higuchi analysis & BAcm guidelines

ye hua

USC Owens Lake Studio, Fall 2011

ye hua

Higuchi analysis & BAcm guidelines

89

USC Owens Lake Studio, Fall 2011

CELL T29-3

2800’

WAYPOINT 27 Panorama Extent

2700’ CELL T29-3

2600’

WAYPOINT 27

2,625 feet

CELL T29-2 WAYPOINT 32

2,598 feet

2500’ 2400’

Background Radius NOT continuous

2300’

BACKGROUND Distance from viewer: + 2,098 feet Direction of view: 110-352° Perceived alignment: Parallel

Terraced berm 807’ from viewer at closest point

2200’

2000’

BACKGROUND APPEARS: PARALLEL

Midground Radius

2100’

M

A

FOREGROUND

CELL T3NE WAYPOINT 17

Distance from viewer: 105-241 feet Direction of view: 175-130 degrees Perceived alignment: Diagonal

varies

Background Radius

2,625 feet

2

MIDGROUND

1,969 feet

Distance from viewer: 241-2,098 feet Direction of view: 130-110° Perceived alignment: Diagonal - Parallel

1900’ 1800’

= Observation Point = Foreground Berm

1700’

= Midground Berm

500’

1600’

1000’

2000’

5000’

= Background Berm

1500’ 1400’ 1300’

CELL T1A-2 WAYPOINT 8

1,298 feet

“Background” field occurs sooner when there is a earth plane behind the berm

CELL T1A-2 WAYPOINT 8

1200’ 1100’

BACKGROUND

1000’ CELL T29-3 WAYPOINT 30

942 CELL T2-3

900’

WAYPOINT 16

896 feet

FOREGROUND

800’

Distance from viewer: 546-1,298 feet Direction of view: 353-50° Perceived alignment: Diagonal - Parallel

Distance from viewer: 453-546 feet Direction of view: 338-353° Perceived alignment: Diagonal

700’

Mid- and foreground appears further when an earth plane is behind the berm pushing back the visual field

CELL T1A-2

546 feet

CELL T1A-2

453 feet

WAYPOINT 8

500’

WAYPOINT 20

APPEARS: DIA

453 feet

546 feet 546 feet

Background Radius

CELL T4-5 WAYPOINT 20

200’

APPEARS: DIAGONAL

487 feet

400’ 300’

FOREGROUND MIDG

Midground Radius

CELL T4-5 WAYPOINT 8

Panorama Extent

Perception of continuous horizon is interrupted by mid-cell berms

600’

100’

Distance from viewer: + 1,298 feet Direction of view: 50-83° Perceived alignment: Parallel

MIDGROUND

296 feet

Mid- and foreground appears closer when a water plane is behind the berm, describing the contours of the berm

CELL T29-3 WAYPOINT 27

90 feet = Observation Point = Foreground Berm = Midground Berm

500’

90

Higuchi analysis & BAcm guidelines

1000’

2000’

5000’

= Background Berm

lily kerrigan

USC Owens Lake Studio, Fall 2011

A n a ly s i s M e t h o d o l o g y

Berms were evaluated on-site according to the definitions below. Places on site that achieved this criteria were marked on a GPS unit, and the direction of lines of sight were noted and recorded on a compass.

Later,

GPS

waypoints,

compass readings, and visual markers to measure distances

MIDGROUND

of the berms from the viewer.

FOREGROUND

APPEARS: DIAGONAL

2,625 feet

lines of sight were re-created using

APPEARS: DIAGONAL

241 feet 241 feet

90 feet

Foreground: The individual stones of the rip-rap used as berm siding can be discerned; berm is seen as independent object from its background.

Midground: The individual stones of the rip-rap cannot be discerned, and instead is perceived as a texture; berm is seen as independent object from its background.

Background: The individual stones of the rip-rap cannot be discerned; berm is not perceived as independent object from its background.

KEY COLOR

MATERIALITY Individual Stones Texture

GROUND

BACKGROUND

AGONAL-PARALLEL

APPEARS: PARALLEL

1,298 feet 1,298 feet

varies

Monotone, or almost monotone BACKGROUND PLANE Water Ground No Plane visible

Perceptual analysis of several locations on site lead to the conclusion that distance is not the only controllable variable in achieving a â&#x20AC;&#x153;backgroundâ&#x20AC;? berm. Although rip-rap textures change consistently over distance, a berm is discerned as an independent object by its contours, which can be described by a number of means.

Lily kerrigan

Higuchi analysis & BAcm guidelines

91

USC Owens Lake Studio, Fall 2011 CELL T29-3

WAYPOINT 27

350°

340°

0°

10°

20°

30°

40°

50°

60°

70°

80°

90°

100°

110°

120°

130°

BACKGROUND

1,318 feet 1,628 feet 2,134 feet

2,300 feet

2,131 feet

896 feet

1,011 feet

1,128 feet

861 feet

845 feet

Backgroundmidground threshold is met, yet still perceived as background.

1,915 feet

1,900 feet

2,001 feet

1,975 feet

MIDGROUND

878 feet

928 feet

1,068 feet

Mid-cell berm visibility fluctuates with it’s height above water level and contrast to mountain reflection

2,108 feet 2,315 feet

150°

FOREGROUND

90 feet

171 feet

241 feet

457 feet

845 feet

140°

1,242 feet 2,098 feet

2,653 feet

4,003 feet 4,191 feet 4,772 feet

5,004 feet

5,210 feet 5,587 feet

Distances vary in background, but appears as continuous horizon line to viewer

CELL T1A-2 WAYPOINT 8

340°

350°

FOREGROUND

419 feet

0°

10°

20°

30°

40°

MIDGROUND

509 feet

50°

60°

70°

80°

90°

100°

BACKGROUND

600 feet

767 feet

869 feet

963 feet

Mid-cell berm truncates view, perceived as boundary of cell 1,081 feet 1,250 feet

1,298 feet

1,360 feet

1,474 feet

1,689 feet

2,500 feet

Exponentially diminishing lines are perceived as gradual

Distance of cell boundary continues to 7,436 feet 5,283 feet 5,728 feet

Perceived Distance

92

vs.

Actual Distance

Higuchi analysis & BAcm guidelines

6,620 feet

lily kerrigan

USC Owens Lake Studio, Fall 2011

3

2

1

4

CELL T3NE

WAYPOINT 17

300°

290°

310°

320°

330°

340°

350°

0°

MIDGROUND

1,391 feet

1,375 feet

1,448 feet

1,548 feet

20°

30°

40°

50°

60°

70°

80°

BACKGROUND

Equipment on opposite berm destroys illusion of depth

2 Appears as background after equipment

1

1,440 feet

10°

4 Midground threshold is met but not perceived.

No managed veg or water to describe contours of berm; no equpment as landmark

3 Size of equipment implies background, but bright green line of managed veg asserts presence of background plane

1,627 feet

1,704 feet 1,961 feet

2,159 feet

1,969 feet 2,398 feet

1,621 feet

2,456 feet

2,534 feet

2,443 feet

2,510 feet

2,720 feet 2,805 feet

By comparing perceived distances (photographic panoramas) to diagrams indicating the distance of the berm from the viewer, it is apparent that the perception of distance on the lake bed is affected by context. Generally, the illusion of great depth happens at shorter distances when the patterned lake bed floor is behind the berm. lily kerrigan

Higuchi analysis & BAcm guidelines

93

USC Owens Lake Studio, Fall 2011

1. DISTANCE OF OBJECTS > PICTURESQUE Create a 2600’ corridor of shallow flooding along the Mainline at opportune moments to view the Inyo Mountains. Shallow flooding is used as a background plane.

Line of Sight to Inyo Mountains

2,600’ minimum

At this distance, even irregular berms will appear as an even horizon line

*NTS: Vertical exaggerated

0

250’

750’

1,250’

A distance of 2,600 feet from viewer to berm is recommended as a prime distance to create the illusion of extreme depth (where the berm blends into the horizon line). At this distance, the object of the berm is barely discernable, even with shallow flooding behind it. Irregular berms are not perceived at this distance.

94

Higuchi analysis & BAcm guidelines

lily kerrigan

USC Owens Lake Studio, Fall 2011

2. Mega-flage > PICTURESQUE Create a 1,200’ corrdior of shallow flooding along the Mainline at opportune moments. The concept of ‘disruptive coloration’ (method of camouflage) is employed on the distant berm and background plane.

SORTED GRAVEL: Basalt

1,200’ of shallow flooding

Brown-colored, or mix

Horizontal lines and patterns formed by the Inyo Mountains are imitated in the gravel Mega-flage design

Dolomite

Mainline

1,200’ shallow flood

0

250’

750’

1,250’

Mega-flage

Irregular berm in camouflaged into background plane

Three colors of sorted gravel from nearby mines is used to create a varied horizontal perceptual plane

A buffer of shallow flooding is created around the Mainline to create a continuously “picturesque” experience

This design guideline imitates the phenomena noted in analysis of the illusion of depth when the berms contours are not defined. A multi-colored gravel plane is placed behind the berm and disruptive coloration is utilized to blend the closer berm into this background plane.

lily kerrigan

Higuchi analysis & BAcm guidelines

95

USC Owens Lake Studio, Fall 2011

Raw data is analyzed to discover perceptual differences in aspects of viewing managed vegetation. Color becomes the most important factor in viewing this type of vegetation; other factors analyzed include texture visibility, distance from viewer to vegetation, and percentage of view that is vegetated.

96

Higuchi analysis & BAcm guidelines

jessica kostosky

USC Owens Lake Studio, Fall 2011

Conclusions of perceptual analysis for managed vegetation show that the effects of color depend largely on the color of materials surrounding the vegetation. Each type of material is assessed in terms of its potential impact when adjacent to vegetation.

jessica kostosky

Higuchi analysis & BAcm guidelines

97

USC Owens Lake Studio, Fall 2011

This analysis examines the effect of changing light over the course of a day on Owens Lake. It also compares the differences in shadow visible during these times of day depending on the orientation of the viewer in relationship to the position of the sun.

98

Higuchi analysis & BAcm guidelines

jessica kostosky

USC Owens Lake Studio, Fall 2011

Conclusions based on analysis of light and shadow focus on how each variable affects the impact of texture, shadow, or color in a scene.

jessica kostosky

Higuchi analysis & BAcm guidelines

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USC Owens Lake Studio, Fall 2011

Row geometry and vegetation diversity is explored for possible ways to modify existing managed vegetation that would positively impact water use, habitat, perception, and operations.

100

Higuchi analysis & BAcm guidelines

jessica kostosky

USC Owens Lake Studio, Fall 2011

A proposed BACM redesign for managed vegetation would use broad vegetated beds in geometric patterns that echo local petroglyphs. Wide spacing allows for less use of water and elevated beds create opportunity for color adjacency to sky, mountains, and other materials. Habitat is enhanced by increased plant diversity and created edges. jessica kostosky

Higuchi analysis & BAcm guidelines

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USC Owens Lake Studio, Fall 2011

SHALLOW FLOODING AND EDGES: BACM DESIGN GUIDELINES Owens Lake Studio

Fall 2011

Jeannette Pulnik

Edges along berms and roads bind Owens Lake together and create defining spaces in the vast landscape. An opportunity exists to transform these indistinct boundaries into engaging scenic edges along the lake.

EXISTING EDGE CONDITIONS Existing Site Condition Photos 9/18/11

Soil Edge

Soil Edges are found in earlier phases of dust control where rip rap was not used. This creates a subtle edge between road and water.

Gravel Edge

View of Existing edge condition from road shoulder Perspective with Shallow Flooding

Rip Rap Edge

Gravel is used along edges throughout the lake, some Rip rap use along shallow flood cells creates a areas use more gravel than rip rap. Fine textures distinct boundary between road and water and and colors in gravel can create an intricate edge. provides habitat for a variety of species.

There is nothing to attract your eye between the road shoulder and the horizon A combination of materials such as rip rap and small gravel could provide more distinction and interest Existing edge provides some boundary definition when cell is full

Why are Edges important?

Edges along shallow flood cells define the boundary between road and water, where people can and canâ&#x20AC;&#x2122;t walk and where people can and canâ&#x20AC;&#x2122;t drive. Edge material along water can also provide diversity of habitat for a variety of wildlife. Most importantly, developing and extending edges into wider, larger areas can create more distinct boundaries and reduce water use inside the cell.

Function of Edges

Shallow flood cells are contained by berms and the mainline road. Berm and road slopes are typically armored with rip rap rock to protect from wave erosion. Average berm and road slopes are 1/3. Ponded Cells typically have more extensive use of rip rap and more distinct edge definition than sheet flood cells, due to the increased water depth. All edges in new phases of dust control will be equipped with rip rap to protect from water erosion.

Dust control measures at Owens Lake are seasonal, operating from October to June. Shallow Flooding is only used at those times, for the remainder of the year, the lake takes the appearance of a soil bed or a salt crust formation.

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Higuchi analysis & BAcm guidelines

JEANNETTE PULNIK

USC Owens Lake Studio, Fall 2011

View of Existing edge condition from road shoulder

View of Existing edge condition from road shoulder

Perspective with Salt Crust

Outside of dust control season the existing edge blends into the soil and salt crust in cell

Lacks definition and sense of boundary

Perspective with Soil

Salt crust draws attention away from edge into the midground

Lake looks like a seamless expanse

No distinction between edge and dry celll outside of dust control

Existing Edge Materials

Fine textures in gravel and soil

jeannette pulnik

Sculptural textured soil

Rip rap separates road from red salt pool

Dark gravel separates road from red salt pool

Higuchi analysis & BAcm guidelines

Dark and light gravel found adjacent to each other

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USC Owens Lake Studio, Fall 2011

FORM STUDIES

The studies below experiment with different forms, widths and spacing of edges, to reveal an optimal edge condition. The different studies explore how changes in form, width and pattern affect their associated aesthetics, habitat value, edge definition and operational values. Each study is classified into a category based on it’s associated values.

Attractive, Engaging and Sustainable

Value Range:

No Value

Minimal Value

Adequate Value

Optimal Value

Values:

Aesthetics/ View Looks like a body of water, creates an interesting pattern Edge Definition

Width creates a more distinct edge

Habitat Value

Creates “bands” for habitat, shorebirds like variety of rock size Operations

Water savings, increased rock use

Values: Aesthetics/ View Looks like a body of water, creates an interesting pattern Edge Definition

Width creates a more distinct edge

Habitat Value Creates “bands” for habitat, shorebirds like variety of rock size Operations

More water savings, increased rock use

100’ typ.

100’ typ.

Perspective View 100’ Horizontal Bands Spaced 100’ Apart

Perspective View 50’ Horizontal Bands Spaced 50’ Apart

Interesting & Accommodating Values: Aesthetics/ View Looks like a body of water , Creates an interesting pattern Edge Definition Creates edge definition in an interesting way Habitat Value

Creates “bands” for habitat, shorebirds like variety of rock size Operations

Water savings, increased rock use

Values: Aesthetics/ View Looks like a body of water Edge Definition Creates solid edge definition Habitat Value

Creates “bands” for habitat, shorebirds like variety of rock size Operations

Water savings, increased rock use

50’

25’

Perspective View 25’ Serpentine Band

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Values: Aesthetics/ View: + looks like a body of water Edge Definition: ++ width creates a more distinct edge

Habitat Value: ++ creates “bands” for habitat, shorebirds like variety of rock size Operations: + water savings, increased rock use

Perspective View 50’ Horizontal Band

Higuchi analysis & BAcm guidelines

100’

Perspective View 100’ Horizontal Band

jeannette pulnik

USC Owens Lake Studio, Fall 2011 Intrigue Over Function Values: Aesthetics/ View Looks like a body of water , creates interesting pattern Edge Definition Creates a series of thin edges Habitat Value

Creates “bands” for habitat

Operations:

Minimal water savings, less rock use

Values: Aesthetics/ View Looks like a body of water , creates an interesting pattern Edge Definition

Does not create solid edge definition

Habitat Value

Creates “pads” for habitat Operations Minimal water savings, less rock use

10’ typ.

25’ typ.

10’ typ.

25’ typ.

Perspective View 10’ Horizontal Bands Spaced 10’ Apart

Perspective View 25’x 25’ Checkerboard Pattern Spaced 25’

Values: Aesthetics/ View Looks like a body of water

Edge Definition

Creates a boundary perpendicular to the mainline Habitat Value

Creates “bands” for habitat Operations

Water savings, increased rock use, another rip rap edge

may have to be intsalled parallel to the mainline

50’ typ.

25’ typ.

Perspective View 25’ x50’ Vertical Bands Spaced 25’ Apart

Practical but Sparse Values: Aesthetics/ View Starts to look like a mas of rocks, less like a body of water Edge Definition Increased width creates a very large edge Habitat Value

Creates wide “bands” for habitat Operations

More water savings, increased rock use

Values: Aesthetics/ View Looks like a mass of rocks

Edge Definition Increased width turns edge into a mass

Habitat Value

Creates wide “bands” for habitat, shorebirds like variety in rock size Operations

Most water savings, most rock use

500’ typ.

250’

typ.

Perspective View 250’ Horizontal Band

JEANNETTE PULNIK

Perspective View 500’ Horizontal Band

Higuchi analysis & BAcm guidelines

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USC Owens Lake Studio, Fall 2011

BACM DESIGNS

Year Round Interest, Beauty and Habitat

Value Range:

No Value

Minimal Value

Adequate Value

Optimal Value

Values: Aesthetics/ View

Looks like a body of water, creates interesting pattern Edge Definition Creates interesting edge definition

Habitat Value Creates “bands” for habitat, shorebirds like the variety of rock size and adjacent water

Operations

Increased water savings, increased rock use

50’ Horizontal Rip Rap and Gravel Edges spaced 50’ apart Perspective with Soil

50’ Horizontal Rip Rap and Gravel Edges spaced 50’ apart Perspective with Salt Crust

50’ typ.

Mainline Location

50’ typ.

20’

1/3

50’ typ.

50’ typ.

50’ typ.

3’

N

Section Cut through cell with 50’ horizontal bands Scale 1:20

50’ Horizontal Rip Rap and Gravel Edges Spaced 50’ Apart

Plan view of T 26 cell with 50’ horizontal bands

Scale 1: 2,000

Gravel color gradient as shown in

perspective

Values: Aesthetics/ View

Looks like a body of water, interesting pattern Edge Definition Creates interesting edge definition

Habitat Value Creates “bads” for habitat, shorebirds like the variety of rock size and adjacent water

Operations Increased water savings, increased rock use

100’ Horizontal Rip Rap and Gravel Edges spaced 100’ apart Perspective with Soil

100’ Horizontal Rip Rap and Gravel Edges spaced 100’ apart Perspective with Salt Crust

100’

typ.

Mainline Location

100’

20’

1/3

100’ typ

100’ typ

Section Cut through cell with 50’ horizontal bands Scale 1:20

100’ Horizontal Bands Spaced 100’ Apart

N

Plan view of T 26 cell with 50’ horizontal bands

Scale 1: 2,000

Gravel color gradient as shown in

perspective

The BACM designs above are based on the edge studies that created the best overall combination of values. These BACM designs create an optimal combination of gravel and shallow flooding to achieve water savings, edge definition, habitat area and beautiful view of Owens Lake.

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Higuchi analysis & BAcm guidelines

JEANNETTE PULNIK

USC Owens Lake Studio, Fall 2011

HIGUCHI ANALYSIS: COMPOSITION OF EDGES AT OWENS LAKE Owens Lake Studio

Fall 2011

Jeannette Pulnik

EDGE COMPOSITIONS

Subtle Textue & Shadow

Bold Color & Fine Texture Edge A

Edge

Distinct Areas A3

Edge B

Defining Qualities

Distinct Areas

Edge

Texture &

B3

Color Color

Defining Qualities

B2

A2

A1

Texture

Texture &

A1

Photo from above looking Edge Condition A

Texture &

B1

Photo from above looking Edge Condition B

Gradient of Shadow & Texture

Edge C Edge

C3

Distinct Areas

Defining Qualities Shadow

C2

B3

Photo from above looking Edge Condition C C1

Texture & Shadow Texture &

Balanced Color & Texture Edge D

Distinct Areas

Edge

Defining Qualities

D4

Color Color D3

Texture & Shadow

D2

Photo from above looking Edge Condition D

D1

Color & Color

Divided Color & Texture Edge E

Distinct Areas

Edge

E4

E3

Defining Qualities Color Color

Shadow

E2

E1 Photo from above looking Edge Condition E

JEANNETTE PULNIK

Shadow

Texture &

A variety of edge conditions exist at Owens Lake, some intriguing, some boring. This study documents the different colors, textures and materials which compose edges and create interest.

Higuchi analysis & BAcm guidelines

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USC Owens Lake Studio, Fall 2011

EDGE COMPOSITIONS BALANCED COLOR & TEXTURE

BOLD COLOR & FINE TEXTURE

Edge D

Edge A A3 A2

A1

Color isolates area 3 and dominates the composition

D4

D3 Texture in areas 1 & 2 create

unity

D2

SUBTLE TEXTURE & SHADOW

D1

Edge B

B3 B2 B1

Texture unifies areas 2 & 3

Color unifies areas 1 & 4 and binds together the composition

Texture in areas 1 & 3 create unity in the composition and creates a sense of balance

DIVIDED COLOR & TEXTURE Edge E E4 E3

GRADIENT OF SHADOW & TEXTURE

E2

C3

E1

Edge C

C2

Shadow divides composition

Color & texture creates balance in areas 1 & 4 to offest division

Texture &

decrease as Shadows increse, creates a smooth transition C1

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Higuchi analysis & BAcm guidelines

JEANNETTE PULNIK

USC Owens Lake Studio, Fall 2011

JEANNETTE PULNIK

Higuchi analysis & BAcm guidelines

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USC Owens Lake Studio, Fall 2011

UNIT/COLOR/DENSITY OF VEGETATION: Owens Lake Site 1- Looking Northeast

5

Distance

1 4

100’

0’

300’

200’

400’

3

500’

600’

500’ 2

Units Mass

Individual

Mass with clumping

Color

149’ 66’

353’

Primarily green

Brown

Sparse

Clustered

Yellowish/green

Density

8 6

7

Dense

NTS

Site Map

Site 2- Looking West Distance 100’

0’

Higuchi Analysis Definitions

Legend

Mass

Color

Color

Sparse: More ground is visible than the vegetation Clustered: Equal amount of ground and vegetation is visible Dense: No ground visible

Clumping

Individual

Individual: Individual elements of the vegetation is visible Clumping: Outline of the vegetation is visible but not the individual elements Mass: Vegetation appears as a single entity with minimally distinguishing borders

Density

300’

Units

Unit

Overall color of the vegetation

200’

120’ 87’

Yellow Brown

Green with brown

Density

29’

Sparse

Site 3- Looking Southwest

Dense

Distance 0’

Hard Transition

100’

200’

300’

400’

Units

Soft Transition

Individual Clumping

Mass

Color Yellowish/green Brown 225’ 77’ 35’

Green

Density Sparse

Dense

Visual depiction of the change in units, color, and density of vegetation at different distances.

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higuchi analysis

cate rilla

USC Owens Lake Studio, Fall 2011

Site 4- Looking South

Distance

300’

200’

100’

0’

400’

500’

Units Individual Clumping

Mass- swaths of vegetation

Color Green with tan tips Green

Light green

312’ 71’

Density

34’

Sparse

Sparse

Dense

Site 5- Looking South Distance 100’

0’

200’

300’

400’

Units Individual

Clumping

Mass

Color

285’ 90’

Gray/Green

Yellowish/green

Tan

Density

18’

Sparse

Site 6- Looking North

Distance 0’

Clustered

Dense

100’

300’

200’

400’

500’

600’

Units Individual

Mass

Clumping

Color Green with yellow tones 506’ 287’

Reddish brown

Tan

Density

24’

Clustered

cate rilla

Dense

higuchi analysis

Clustered

Dense

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USC Owens Lake Studio, Fall 2011

Site 4- Looking South

Distance

300’

200’

100’

0’

400’

500’

Units Individual Clumping

Mass- swaths of vegetation

Color Green with tan tips Green

Light green

312’ 71’

Density

34’

Sparse

Sparse

Dense

Site 5- Looking South Distance 100’

0’

200’

300’

400’

Units Individual

Clumping

Mass

Color

285’ 90’

Gray/Green

Yellowish/green

Tan

Density

18’

Sparse

Site 6- Looking North

Distance 0’

Clustered

Dense

100’

300’

200’

400’

500’

600’

Units Individual

Mass

Clumping

Color Green with yellow tones 506’ 287’

Reddish brown

Tan

Density

24’

Clustered

Dense

Clustered

Dense

Visual depiction of the change in units, color, and density of vegetation at different distances.

112

Higuchi analysis

cate rilla

USC Owens Lake Studio, Fall 2011

Conclusions

Average Distance of Foreground, Midground, and Background

Units Foreground

Midground

Individual units visible 32.5’ from viewer

Legend

Background

Outline of individual plants visible 294’ from viewer

Foreground Midground Background

Mass of plants visible 949’ from viewer

Units

Density Saltgrass Distichlis spicata

Cattails Typha

Short flowing green grass with tan tops

Low bushy ground cover

Saltgrass Distichlis spicata

Perry’s Saltbush Saltgrass Atriplex parryi Distichlis spicata & Perry’s Saltbush Atriplex parryi

Saltgrass Tall flowing Distichlis brown grass spicata & Perry’s Saltbush Atriplex parryi

Lycium & Saltgrass Distichlis spicata

Saltgrass Distichlis spicata

Color

Low bushy ground cover

The average distance from the viewer of the foreground, midground, and background for the units, color, and density of vegetation.

Perception Percentages Color

Foreground

Midground

Primary color visible 91’ from viewer

Background

Primary color visible 258.5’ from viewer

38.75%

Primary color visible 462’ from viewer

3.13% 3.75%

53.13% Short flowing green grass with tan tops

Cattails Typha

Perry’s Saltbush Atriplex parryi

Saltgrass Distichlis spicata

Perry’s Saltbush Atriplex parryi

Density

Foreground

Primarily sparse 80’ from viewer

Saltgrass Distichlis spicata

Tall flowing brown grass

Yellow Mustard Low bushy ground cover Brasicca compestriss

Midground

Saltgrass Distichlis spicata & Perry’s Saltbush Atriplex parryi

Tall flowing brown grass

Tall flowing green grass

Saltgrass Distichlis spicata

Lycium & Saltgrass Distichlis spicata

The percentage of what is seen by the eye at one time that is the foreground, midground, background. The features that are in the foreground dominates the view and is the highest percentage of what is seen.

Background

Primarily clustered 183’ from viewer

Low bushy Saltgrass ground cover Distichlis spicata & Perry’s Saltbush Atriplex parryi

Primarily dense 435.75’ from viewer

Distance Data Legend

Foreground Midground Background

Saltgrass Distichlis spicata

Saltgrass Distichlis spicata

Saltgrass Distichlis spicata

Design Recommendations

Foreground Recommendations Sparse vegetation is more apparent in the foreground and provides for better visibility of the individual units of the plant. Choose plants that have unique or visibly interesting features.

If the start of vegetation is far from the pedestrian, by planting the first section of vegetation on a raised berm the individual units of the vegetation becomes more apparent.

Incorporate taller vegetation as it catches the eye and makes the vegetation look more abundant.

Midground Recommendations Low vegetation should be planted in swaths of color. This results in an overall color addition to the landscape. The color addition of a single plant is not as effective.

Include a variety of plant colors because individual plant color is more visible.

Incorporate vegetation that has an interesting top structure as it is more visible than the base.

Saltgrass Distichlis spicata

Perry’s Saltbush Atriplex parryi

Saltgrass Distichlis spicata

Tall flowing brown grass

Saltgrass Distichlis spicata

Saltgrass Distichlis spicata

600’

500’

Between 225’ and 675’ 400’

Background Recommendations Incorporate plants with height in the background to incorporate variation within the view and allow for differentiation of species. The differentiation in height allows for more plant detail to be visible from a distance.

Include tall vegetation in the background to help frame an area.

Low vegetation should be planted in swaths of color to be more visible from a distance.

Low vegetation that is behind taller vegetation is not visible.

General Recommendations For linear plantings, consider the row width, and material used between rows because it continues to be visible into the background.

If vegetation cannot cover the entire area, planting vegetation in groups is more visually appealing and breaks up the space more effectively than sparse scattered vegetation over the entire area.

700’

300’

200’

Between 150’ and 225’ 100’

Less than 100’ 0’

Visual display of frequently occurring vegetation in the different categories of observation and design recommendations.

cate rilla

higuchi analysis

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USC Owens Lake Studio, Fall 2011

Reflections are one of the most visible and attractive features of Owens Lake which are seen on the shallow flood ponds. This page highlights the point at which the reflection starts and the pond begins to take on the color of the sky, as it appears to the viewer.

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Higuchi analysis & BAcm guidelines

janet yang

USC Owens Lake Studio, Fall 2011

Owens Lake is a unique site that contains many of the qualities that allow for ideal reflections, including stunning views of the Sierra Nevadas, Inyo, and Coso mountains.

janet yang

Higuchi analysis & BAcm guidelines

115

USC Owens Lake Studio, Fall 2011

What the viewer sees and their perception of the size of the pond depends on the shape of the pond and where they are standing. Berms also play a large role, as they can interrupt the viewerâ&#x20AC;&#x2122;s cone of vision and make ponds appear smaller than they are.

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Higuchi analysis & BAcm guidelines

janet yang

USC Owens Lake Studio, Fall 2011

The ideal pond would be a half circle shape one mile in length. Designing within the suggested BACM principles here allows for gravel and vegetation to be strategically placed in or out of the viewerâ&#x20AC;&#x2122;s sight.

janet yang

Higuchi analysis & BAcm guidelines

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USC Owens Lake Studio, Fall 2011

This dynamic diorama shows how a berm placed within the viewerâ&#x20AC;&#x2122;s cone of vision can limit the reflection of nearby mountains.

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Higuchi analysis & BAcm guidelines

JANET YANG

USC Owens Lake Studio, Fall 2011

In this scenario, the berm has been removed to show a complete reflection.

The water was also colored to show how reflection affects the perception of color change.

janet yang

Higuchi analysis & BAcm guidelines

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