A L A NDSC A PE DESIGN
journal
Nature is the most thrifty thing in the world; she never wastes anything; she undergoes change, but there’s no annihilation - the essence remains. t. binney
ON LE X ICON, CR IT IC A L T HEOR IES A ND INSIGH TS
L A 203 | J U N E 2015
BY A M A NDA FLOR ES
TA B L E O F C O N T E N T S 2
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LEXICON
fragmentation
Whil e ‘fr agm en tat ion ’ p ossesses l ay er s of m e a ni ng, I wou l d l ik e to fo c us on it a s a spat i a l modif y i ng pr o cess . I bel ie v e t h at fr agm en tat ion is a n av en u e by w hich a l a ndsc a pe a r chit ec t c a n highl igh t c on t r a s ts i n a design be t w een di v er se el e m en ts . Vis ua l c ol l ec t ions of di v er se el e m en ts m ay spat i a l ly r epr esen t c om pl e x it y.
LE X ICON Fragmentation Pattern Pristine Interaction Dynamic Architectonic Poetic Aesthetics Articulation Legibility
THEORY R ESPONSES
Rambunctious Garden, Emma Marris: Chapter 6 “Learning to Love Exotic Species” Projective Ecologies, Reed and Lister: Selections from “Discordant Harmonies” Composing Landscapes, Steenbergen: “Transformation of Type” Field Conditions, Stan Allen Figures that have been spatially fragmented still create unity through form, size, and color.
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E X TER N A L DISC USSION R ESPONSES
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INDI V IDUA L INSIGHTS
Woody Dike - Landscape Architecture/Urban Planning Experience Chelsea Specht - Botany Lecture Robert Somol - On Graphic Protocols/Diagrams in Contemporary Architecture Liam Young - Present and Future Landscapes
Mid-Quarter Insight End Quarter Insight
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The relation of the wood carvings to the floral subject matter are fragmented in design, yet related through the materiality, and organized by a consistent pattern of fragmentation.
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pattern
pristine
Pat t er ns a r e a s di v er se a s t he i nfi nit e n um ber of r epe at i ng el e m en ts t h at cr e at e t he m . When I see pat t er n, I not only r ec o gniz e it a s a n a es t he t ic design; bu t a l so a s a n i ndic ator of his tor y, va lu es, or pr efer ences . Use of pat t er n pr omot es a fo c us a nd b a l a nce i n t he l a ndsc a pe .
‘N at u r e i n its pu r e for m’, u lt i m at ely m e a ni ng ‘ un touched by m a n ’. In c om b at i ng t his un at ta i n a bl e ide a l , pr is t i ne c a n be a n at ta i n a bl e ide a l of c om pl e x s ys t e m s t h at wor k i n a bu ilt, m a n aged, or modified l a ndsc a pe . Pr is t i ne c a n be r edefi ned a s at ta i nm en t of a n ide a l i n a l a ndsc a pe for i n t ended use a nd enjoym en t.
pristine
SITE CHALLENGES
SITE SOLUTIONS
DESIGN IMPLEMENTATION
polished
refined efficiency
ATTAINMENT
urbane
ideals
cultivated enjoyment
A series of iterative hatches illustrate how patterns can evolve their form to convey various energies of line.
An effective progression of site development leads to a successful design.
Patterns are created by the colors, textures, and in-between spaces of the stones, creating a surface composition.
There are pristine aspects to this built Chinese garden landscape. The layout of the space is meant to unfurl like a scroll, which is achieved through all the people that flock to this space to enjoy.
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interaction
dynamic
In t er ac t ion is t he c ol l ec t i v e ener g y pl aced i n to d oi ng som e t hi ng, or t he ener g y pl aced towa r ds a mu t ua l g oa l be t w een sepa r at e en t it ies . A n effec t i v e designer w e av es a spec ts of a l a ndsc a pe to ge t her i n h a r mon y w hen designi ng for specific uses a nd per for m a nces, t her eby pr oduci ng a dy n a m ic a nd c om pl e x space .
A lt hough dy n a m ic l a ndsc a pe spaces ch a nge ov er t i m e , I bel ie v e t h at t he mos t s uc cessf u l l a ndsc a pe a r chit ec ts w il l h a r ness t he use of dy n a m ics so a s to dir ec t t he t y pe of desir ed ch a nges i n a space . T his is achie v ed t hr ough design pr ojec t ion, a nd i n volv i ng v isitor s i n t he e x per ience of t he pl ace . destination
Overlapping forms of various shades create new shades that are interconnected by the opacities and overlapping strokes. These forms create new ways of seeing the form through their interaction.
An open concept space where experience of the space is generated by the path a person takes. Taking the stairs allows direct, ascending access through the area, while meandering the areas without stairs allow a more slow experience of the space.
The ‘Urban Light’ Sculpture at LACMA generates interaction via circulation through the space; ways to move through and look at the piece are infinite.
Contrast between the relatively flat landscape and monumental CLA building create a loud, dynamic impression.
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architectonic
poetic
A r chit ec tonic design i n volv es unit y a s a c or e pr i ncipl e , si m ply bec ause of its der i vat ion fr om ‘a r chit ec t u r e ’, w hich is a n or g a niz ed s t r uc t u r e . Unit y i n l a ndsc a pe a r chit ec t u r e is achie v ed by t he di a lo gu e be t w een c on t r a s t i ng m edi a ; a l a ndsc a pe t h at is sc u l p t ed to m ir r or t he l a nguage of a r chit ec t u r e is my ide a of a n a r chit ec tonic design.
Poe t ic l a ndsc a pes i n volv e mor e t h a n v is ua l e x per ience; c on t e m por a r y spaces t h at e vok e e mot ion i n t heir e x per ience a r e pl aces I c onsider p oe t ic . Poe m s a nd c ons t r uc t ed l a ndsc a pes a r e c om p osit ions; c om p osit ions possess n a r r at i v es t h at dr i v e t heir cr e at ion. A p oe t ic l a ndsc a pe bec om es e v iden t w hen t he c om p osit ion is r e a da bl e a s c om bi ni ng e mot ions w it h v is ua l e x per iences . colors evoke emotions
bridges indicate travel, and function as transit ways or viewing points
WARM COLORS energy strength fascination attraction
COOL COLORS
happiness joy warming livelihood invigorated
BRIGHTS freshness tranquility calm meditation contemplation reflection imagination
DARKS NEUTRAL COLORS water invokes feelings of peace and thoughtfulness
serious regal simplicity friendliness relaxing
‘Living Terrain’ was a design proposal rendering I did for a design intervention in Boyle Heights, where a college design campus was a climbable structure that also served as an eco wall and a terrace for people to gaze, run on, and picnic.
Various colors, materials, and elements can translate symbolically or subconsciously to create a poetic landscape.
Another marriage of landscape with architecture, where the trellis like enclosure covered by plants arguably makes the framework disappear in a sense.
This Japanese garden is manicured to maintain the same timeless energy, where visitors who gaze, sit, and stroll experience the calm air of the place by way of Japanese cultural values that went into building the design.
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aesthetics
articulation
T he use of a es t he t ics i n a l a ndsc a pe design offer mor e t h a n j us t v is ua l enjoym en t of be au t y. I bel ie v e t h at w hen a es t he t ics is a n av en u e of fo c us i n a design, h a r mon y i n e v er y sense is achie v ed. A es t he t ics a r e so uniqu e bec ause t he qua l it ies a r e r el at i v e to t i m e , space , a nd per cep t ion.
A r t ic u l at ion i n t he l a ndsc a pe is a spat i a l pr o cess t h at br e a k s t he bounda r ies be t w een for m a nd space by usi ng pl a n ts a s a m edi ator be t w een t he t wo. I’ v e per son a l ly found t h at t his m e t hod m a k es for a mor e i n t er es t i ng design c om p osit ion, effec t i v ely m a r r y i ng l a ndsc a pe w it h a r chit ec t u r e .
Floral planting design invites valuable pollinator activity
Pollinators flocking to flowers is one use of aesthetics. Providing habitat for monarchs is also highly desired now.
A section view of a built architectural/landform hybrid. The walls function as eco wall, melding into climbable terrain at the top surface. This form is articulated as a building and a landscape.
Architectural details, the reflecting pool, and the palette of striking plants that frame the space are highly picturesque elements of a classic French Victorian design, which many people find beautiful for its form and function. Indicator of tastes and social class.
The ‘Do Not Enter’ sign goes without saying; the use of plants not just as a display, but also as a barrier influences circulation through a space. It is clear what may and may not be traversed.
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legibility A s a n e m er gi ng designer , m a k i ng a design l egibl e i n volv es under s ta ndi ng sit e c on t e x ts a nd c u lt u r es . Us age a nd a r r a nge m en t of va r ious m at er i a l s w il l be under s to od i n one pl ace bu t not a not her . It is my desir e to not l e t t his m it ig at e my at t e m p ts to de v elop l a ndsc a pes t h at a r e ne w a nd highly e x per ien t i a l .
legibility legibility legibility legibility legibility legibility legibility legibility
THEORY RESPONSES
Rambunctious Garden, Emma Marris: Chapter 6 “Learning to Love Exotic Species” Whenever I had plant walks for my plant ID classes, I found myself questioning why some of the species we went over have been deemed ‘invasive’. Some of these plants were very pretty, or did not seem to be disturbing the other plants around them at all. After voicing my questions and reading Rambunctious Garden, I came to understand that in many cases, ‘invasive’ is just a label for undesired plants, relative to time, place, and preference. Marris discusses this exact point, advocating a view where people, namely ecologists, embrace exotic species where they can be helpful and desired for their aesthetic qualities. This view breaks down the narrow minded idea that native plants are ‘good’, and exotic plants are ‘bad’.
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I believe this is crucial to understand when designing in Southern California, due to the many challenges that we are presented with in relation to ecology. Considering that we could be at the forefront as an agent of change because we house the ‘creative capital of the world’, we are in a prime spot to educate people that many exotic species are actually quite beneficial in certain applications. The challenge would be in combating society’s unwillingness to change the current widespread false ideas aforementioned about exotic species. If we can prove, as landscape architects, that sustainable and regenerative landscapes can be achieved with the aid of exotic species, then opportunity for positive changes in addressing ecological challenges in Southern California would be made manifest.
‘Legibility’ is typed repeatedly, creating a layering and hatching of the word that is legible in multiple ways.
Green arrows crossing over the entire world map indicate unpredictable ‘invasive’ species movement, reflecting the complexities of labeling plants as such. Rocks in a Zen garden have special meaning relating to Buddhism and Japanese folklore. The raked sand are read as waves, and the garden is meant to be read from one angle, influencing the narrative progression for the viewer.
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Projective Ecologies, Reed and Lister: Selections from “Discordant Harmonies” Botkin discusses theoretical views of nature, where some people see the biosphere as a machine, and others see it as a life giving system with organic qualities. Botkin believes in the latter viewpoint and in using it to address sustainable design, illustrating his point with a comparison of the biosphere to the complex biological systems occurring inside of a moose. I was intrigued by the depth to which he describes nature as a system of changes unfolding a narrative of the Earth’s history. Previously, I would have related to a different theory Botkin references, where systems in nature ultimately reach equilibrium if completely untouched by man. However, I came to realize that this is a fantasy ideal. Balance can only be reached and maintained by systems of change over different periods of time.
This theory that Botkin discusses brings forth the question of whether nature is balanced. I don’t believe there’s a definitive answer to this question, because I believe it varies according to the situation; I also believe knowledge and perception of balance are equally important when working amongst the present ecologies in Southern California. The urban influenced ecosystems here are laced with challenges involving air/water pollution, and our declining bee population. It is not conducive to stop at common ways of ‘going green’; I believe the challenge of today’s landscape architects is to find a medium in designing regenerative landscapes for the benefit of species biodiversity/livelihood, while also efficiently planning functionality for human use. Red arrows indicates the movements that also occur based on the climate conditions around the world. A plant that flourishes in one area of the world can also be beneficial in flourishing at another area.
balance of nature
Mustard flowers Ice plants
modern challenges
These plants are all considered ‘invasive’; however, I have viewed them in applications at the Rio Hondo and elsewhere, and generally do not wreak havoc on landscape quality.
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If we placed ‘balance of nature’ and ‘modern challenges’ on a scale, according to Botkin, the modern challenges would disrupt the balance of nature’s systems.`
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Composing Landscapes, Steenbergen: “Transformation of Type” Steenbergen compiled a series of typologically related designs, and revealed their transformations as a result of three different processes; decomposition, processing, and synthesis. The stated transformations refer to the development of landscape architectonic forms, and what is newly revealed in each type according to the way it is rendered. Different drawing tools, media, and rendering software can be used to adjust line weights, colors, and their overall readability in a composition, directly influencing what relationships are seen by the viewer. Steenbergen breaks down these components he describes about the drawings as ‘natural morphology’, or ‘architectonic elements’; these components that are highlighted by the various maps are mostly done by a series of overlays. Overlays are a valuable way to reveal relationships of a site, because they can be broken down into layers and delineated to show one aspect of the landscape on a map.
There are many processes and systems at work within our Southern California landscape, many of which are undocumented visually. We have maps that show elevation, location of water, temperatures, climate, and other surface level, easily measured characteristics of the landscape; but to see maps where relationships are mapped is rare. The ability to produce maps that reveal site relationships, systems, or transformations in a distilled, easily understood fashion would be a breakthrough in the design field. If we can understand developments in all facets with the visual aid of these new ways of mapping discussed by Steenbergen, it can generate regenerative design in Southern California.
grasslands mountains suburban areas
forests deserts
farms
urban communities
This diagram illustrates the habitats of the foxes, related to terrain types, which is dependent on latitude. In the same way that there are inner systems of a moose’s digestion, there are outer systems of fox habitats.
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Taking a figure ground approach for a section drawing is an alternate way of revealing space, and a great way to highlight contrasts by using color.
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Allen presents a way of looking at the ‘field’ as a series of conditions, or parts that aggregate to create a whole. These individual parts that come together are geometric in nature and behavior, as represented by the thumbnail drawings he presents in his essay. His viewpoint is that an understanding of the parts to whole, or figure to field relationships reveal new possibilities for spatial organization according to spaces or geometric forms that already exist in the landscape.
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Field Conditions, Stan Allen
I am very interested in his way of thinking of every element that composes the landscape as geometric. I understand that geometry is mathematically derived, and therefore possesses organization when aggregated. If I look at this from an artistic point of view, the aggregation of geometric forms creates a legible hierarchy of shapes; understanding these relationships in 2D as figure ground, or as 3D in solid void is crucial as an emerging landscape architect, because this will directly and positively influence how I design, rather than merely placing objects in a space. What really resonated with me was the computer ‘boid’ experiment Allen discussed. The organization of these elements is synonymous with how nature is so organized without our intervention or design. In regards to designing in Southern California, we must be careful not to disrupt this organization of nature; we need to plan around it, to be organized ourselves, for a true melding of landscape with architecture and towards a conducive utilization of our present field conditions.
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Legend Flow of People (meandering) Flow of People (pointed) Charged Reaction Present Location of Bodies Body Movement From 1 Previous Location From 2 Previous Locations
The top diagram shows elevation by use of line weights and simple labeling. Darker line weights assist legibility. The bottom diagram shows circulation relative to barrier density, using a language of just dots and arrows.
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Components of a geometrically centered landscape are dependent upon exact spatial measurements. This diagram illustrates evenly spaced red dots, and the fields created by this organization.
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EXTERNAL DISCUSSION RESPONSES
singular part
Woody Dike - Landscape Architect/Urban Planner Sharing Experiences, Cal Poly Pomona
two parts coming together
At this informal discussion, I gained valuable insight from Woody on how to stand out from my peers in competitive Los Angeles. One point Woody made that stood out to me was how he explained that hand drawings are being revisited because of their value in the field. This value is attributed to the energy placed into a drawing that rendering software falls short in replicating. This is not to say that the use of technology is not provocative; rather, I am stating that Woody’s viewpoint on this resonates with me as a designer and artist. I understand how a certain energy can be transferred from my consciousness to the paper through the medium of my hand to aid in the creation of a proposed experience in a designed space. Woody also described his viewpoints in the field relating to Los Angeles and Southern California, in terms of advocating drought-tolerant landscapes and dramatic spaces that attract new generations. I was intrigued when Woody stated why he was against native plants; many people are stuck in the ideology that we can ‘restore landscapes’ to be being purely native, and here we have a seasoned landscape architect stating that the bold, easy to maintain landscapes are ideal. I also found that this is an increasing challenge in Southern California where it is imperative to design ‘special places’ that incorporate newer generations as a part of the experience, while also being adaptable to today’s rapid climate changes.
aggregation of multiple parts
aggregation of multiple parts densifies
aggregation of parts creates the whole
This diagram illustrates the aggregation Allen describes from a technical soils perspective.
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Chelsea Specht - Botany Lecture Rancho Santa Ana Botanic Garden
cloudy/cool
The subject matter of this lecture involved petaloidy, polarity, and pollination of evolving morphology networks, specifically for flowers. The main focus of Specht’s lecture was regarding Zingiberales, an order of flowering plants. Many of these plants possess unusual flower shapes. Given the content of the lecture, I found it highly relevant to Southern California because of the plant/pollinator interactions that are so vital to the survival of each type of plant not just within Zingiberales, but other biota as well. There are many species that pollinate Zingiberales, bees and hummingbirds being among them. As plants are forced to adapt so rapidly in our ever-changing climate conditions, the changes of flower forms directly correlate to pollen placement on the flowers.
sunny/hot
As small as this may seem, given the dire situation of our bees in Southern California, this knowledge is vital to the survival of our ecosystems. Understanding the complex ‘pollination syndrome’ is a make or break factor for aiding our largest pollinating creatures in solving our created ecological issues. As an emergent landscape architect, I can utilize this knowledge when choosing specific plants to place in a space, depending on a project and the results desired. Certain species of pollinators are more apt to flock to a plant more than others even simply based off fused petals/sepals vs free petals/stamens. Not only will this knowledge potentially help save our endangered species, but also affect how our plant species in Southern California will thrive, whether they are native, invasive, or non-native.
windy/dry
encompassed in design plan
current drought conditions
previous conditions
rainy/wet
less pollen, not thriving
more pollen, thriving
current global conditions
Weather conditions impact the levels of pollen that flowers can produce, which ultimately determines the plant’s fate.
today’s youth
Climatic conditions determine global conditions, which influences a design response for today’s youth.
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Robert Somol - Architecture Lecture on Contemporary Graphic Protocols/Diagrams, UCLA Pollination Syndrome
Somol discusses the rise of the paper age in architecture, expressing how typography in graphics alters form to meaning, and image to text. As I learn and study the importance and effective use of typography, I realize that typography alters whether a graphic portrayal is to be looked at or read. Effective use of this technique largely involves scale; relating to the words, the letters, and/or the medium. A new readable and visible language is evolving in architectural drawings, and in the city of LA I realize how imperative it is for designers to articulate forms through graphic work, to get ideas across and get people really thinking about a design intervention in relation to various impacts which result. A good designer that captures the attention of many will have mastered the ability to make transitions of form to function transparent. A way of achieving this in graphic work is to work in layers. Overlaying text to images, or images to text gives a work many informational layers, where the images and words work together, or ‘speak the same language’ to give the viewers the desired sensation of what is being presented. This ties in to what Somol also describes in his lecture, where the experience or sensation of a space takes precedence over works that are purely non-representational or purely representational. Through a process of layering in graphic work, a landscape architect is able to blend the lines between images and objects, creating a new and emergent style.
bees petal color
butterflies
ART + = ARCHITECTURE
moths bats beetles sun birds hummingbirds
petal spacing petal amount
This diagram illustrates how various petal characteristics influence the attraction of various pollinators. The system that results is very complex, represented by the web of lines drawn in the diagram.
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BOLD BOLD BOLD BOLD BOLD BOLD BOLD BOLD
CURVY curvy curvy curvy curvy curvy cur�y curvy
Liam Young - On Present and Future Landscapes M.I.A. in Los Angeles Being able to visualize our direct impact on faraway landscapes through discovered architectural features of making our technology was a very interesting experience. There are various realms of landscape I thus discovered; the physical landscape that I can experience, and the landscape built from a cell phone or computer screen. Technology has made built fantasies of landscapes a reality that we can journey through, to the detriment of companionship with our peers. Architecture that is digitally constructed is able to exaggerate the world we perceive to mystify connections to our everyday lives. Depending on how this is used, it could be a positive thing. If I use technology to evoke a sense of experience of a design I am proposing, that would give me a cutting edge as an upcoming designer in Los Angeles. Landscapes are ultimately designed to be experienced; a deliberate narrative that is placed into its construction allows us to subconsciously draw connections to other things that seem familiar outside the immediate space. Thus, a ‘theme’ is generated, giving the landscape a ‘mystical’ feel where the aspects of that mystical place are contained. Given that we are used to being perpetually mystified by our gadgets, we are always mystified when something new captivates our attention, grabbing hold of our senses in a way that is meaningful and beyond ourselves. This human infatuation with the ‘mystical’ can be used to the advantage of the landscape architect constructing a space, in the digital realm or otherwise.
Repeating the same word in different fonts show how typography affect the perception of what is read. This also crosses over into Somol’s point about what words may be looked at instead of read.
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INSIGHTS The Outside World
Mid - Quarter Insight
television
computer
laptop
As Young described, we have a whole separate landscape that has been fabricated on our electronic devices, leading us to ignore ‘the outside world’.
technological luxuries
technological luxuries
Invasive. Native. Garden. Weeds. Interactive. These words are few among the many whose meaning to me has drastically changed over the past few weeks, as a result of reading contemporary views in the landscape architecture field. Even bigger than the understanding of these terms within the context of Southern California is the understanding of them anywhere on the face of this rapidly and dynamically changing planet. My views on these often clichéd topics is changing as rapidly as the climate. Each individual case study is a drop in the bucket of my understanding of what it means to compose a landscape; not as a designed space to be objectified through glorified illustration, but as a space to be lived in, where the energy of the work that goes into the design is felt through all the senses. I have come to understand that this is the true essence of ‘narrative’.
technological luxuries
landform excavation material use forgetful digital living oppression On the surface, we live with the luxuries of our cell phones and laptops, but it is easy to forget that underneath the making of these devices is a whole separate world that takes the landscape’s resources, often by unethical means of outsourcing for these goods.
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End - Quarter Insight This quarter has drastically developed my stance as an emerging designer. Concepts I looked at and relationships I searched for in the landscape changed the way I see different elements of a landscape. From the approach I have taken to our studio projects, I experienced how crucial it is to work a design to unify elements in the landscape, instead of positioning them as opposites in writing or in design intervention. The word ‘sculpture’ has come to mean so much more to me than an object; sculpture is landform manipulation, creating enclosures/spaces, and generating views, experiences, and emotions. I believe it’s crucial to use the land, plantings, architectural forms, and patterning relationships derived from site analysis as my ‘clay’; at a time in Southern California where design interventions are going in a sustainable/regenerative direction, my conscientious use of design will sculpt the landscape in a new direction that celebrates desired existing components of our landscape.
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