Landscape Architecture Pamphlet by Chris Anderson

CHRIS ANDERSON 661_350_8019 chrisanders791@gmail.com

ABSTRACT Included within is a collection of articles, experiences, and ideas that all consemate my personal interest within the field of landscape architecture. Each piece is a specific moment that relates to qualities of design development that seeks to question and deconstruct the current models of spacial construction as it relates to the development of our urban environment.

EXPL ORE.

NECCESSITY FOR RUINS J.B. JACKSON

RE-PLACING PROCESS ANITA BERRIZBEITIA

NECCESSITY FOR RUINS ANDREA KAHN

NECCESSITY FOR RUINS J.B. JACKSON

Landscapes are often times indicators that provide one with an understanding of a specific moment in time and can reveal qualities of a society at large. The manner and consideration of these created spaces however have dramatically changed throughout time. It is these patterns that became of great concern for author J.B. Jackson, whose short essay The Necessity for Ruins focuses on the need for historical remnants to serve as documentation of culture. Jackson begins to question the American societies definition and measures for what is considered a historical object or monument. It is his opinion that our society has begun to no longer cherish beauty or value but looks to mementos of a nostalgic past that are not concerned with the present time. To Jackson this mindset has in turn affected the way in which we design and create space. One such example came from Leopold Eidlitz, a notable American architect, who explained that present-day structures are no longer influenced by notable events or public figures largely due to the our interest in commonality. From this cultural mindset our society has begun

to change our attitude towards a new form of remembrance to our distant past, which is surrounded more on reconstruction the past in a more romanticized style. Traditional structures link the past to the present, allowing us to be reminded of the value and continuation of our history. To Jackson, this necessity for ruins is a concept that is highly important within a culture that has been disconnected with the notion of preserving our history in a meaningful matter. The necessity is more or less allowing for spaces to age, to be neglected as a means to encourage a rebirth of meaningful restoration; a process that to seeks to encourage a to origins. In doing so we are preserving our historical lessons, values, and richness in a manner that is not theatrically represented.

Chaco Canyon National Park in New Mexico is an example of the embracement of the geologic past and views the landscape as a cultural icon, an attitude that allows for the degredation of the structures and land

Terminal Island is a set with layers of history that rather than being preserved and recognized have been covered throughout time. or poorly misrepresetned. It is spaces like these that represent both historic and cultural signifcance that we must seek to protect and allow to simply exist and stand as a symbol of the past.

RE-PLACING PROCESS ANITA BERRIZBEITA

8.9 trillion

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$1.6 billion a day industry

legacy of fish harbor

19 current commercial fishing industry

lost village of furusato internment of japanese americans

800s

Process and place to author Anita Berrizbeitia are concepts that have become lost within the profession of landscape architecture as it pertains specifically to the development of large urban spaces. It is from this relationship that a site can become a space that is open for change and allows for the implementation of meaningful strategies that in turn “accentuate a place’s enduring qualities” (Berrizbeitia, 175). Traditionally the sense of place was developed and understood from a series of physical, aesthetic qualities that were more singular and static. The emphasis was more concerned with the visual and specific moment in time rather than the shifting notion of place that views these spaces as a part “of the dynamic complexity of the medium” (Berrizbeitia, 176). A part of this dynamic conditioning exists qualities of evolving living materials that begin to degradate over time. Within this process of degradation was the allowance of ecologic relationships along with certain aesthetic and phenomenological effects that became tools of embedded narratives within a site. Within the newly created process driven approach that contrasts the traditional compositional manner are four definable approaches. First, there is terminal island and deadmans island combined to form terminal island to meet the needs of a future port

900s

presence of 3000 Japanese Americans in Furusato Village

1918

southwestern ship building opens doors and would become a major force in WWI

1928

force of port of los angeles is at its peak. handling over 26.5 million tons of cargo

1938

opening of federal correctional prison

1942

internment of thetojapanese historybecomes americans from homes

As outlined in Re-Placing Process, our connection a design tool that seeks to ground a site within its surrounding context.

within the design methodology that places great concern of incorporating forms that stand not as external references but are found within the systems that are present on the site. In doing so one breaks the methodology of balance and regularity and allows for opportunities of connectivity both ecologically and physically. Secondly, the shift in methodology embraces an effort to place oneself beyond the limits of the site’s boundary as a means to better understand and incorporate patterning, demographics, and resources. Third, the acknowledgement of history to become a process that is not just a visual reference but a way to understand the forces present as a means to reveal the patterns that were previously present to better understand the current and future conditions. Fourth, process design methodology seeks to anticipate change rather than simply looking at the current state of the site. Rather than simply applying a series of design implementations that simply solving current trends, the author asks us as designers to focus on strategies that are adaptable over time. It is from these strategies that a series of patterning begins to develop that breaks the edges and allows for multiple language and expressed meanings. Berrizbeitia goes on to provide examples such as Peter Latz’s design for federal correctional Landschaftspark along with Mark Rios and facility Rodger Sherman’s proposal for Fresh Kills both of which seek to bring attention to the history of the site and seek to begin to take certain cues from the site to begin to understand how to develop a design process that incorporates layers of design strategies that break common trends of precense of shipping and seemingly looking at sites as simply static storage industry or visual spaces.

DEFINING URBAN SITES ANDREA KAHN

Defining Urban Sites, a short article by author Andrea Kahn, seeks to question the manner in which designers begin to look at urban design and urban spacial distinction. Often times Kahn believes that creators view the term “urban” as a site that has limited effect both on it’s direct and indirect surroundings. However these spaces are and should be viewed not as rigid, static, and well-ordered pieces of infrastructure, as they are commonly defined as but rather spaces that exist within and a part of the urban fabric at large. Her point becomes more clearly illustrated in her comparison of two drawings the Palmoanuova Plan and da Vinci’s View of Milan. The Palmoanuova Plan clearly uses qualities of rectilinear line work and hierarchy to develop a drawing that depicts a clear edge. Contrastingly, da Vinci ‘s sketch “swirls with the movements of many trajectories crisscrossing an unbounded spaces” (Kahn, 285). Enclosure is replaced by qualities of porosity, linkage, and relationship to its outside. It is this mindset that incorporates the influence and effects of the outer regions of the site, which in many circumstances extend far beyond

that designers must be aligning him or herself with in order to more successful design, create, and develop space. The manner in which these spaces begin to develop must carefully balance the way in which the tool of “representation” is used. As a noun it refers to the elements that are being made, however when used as verb it becomes an instrument in making. Place making requires experimentation of working definitions as they pertain to the site and the way in which each is then applied into to the site. Representation can come in the form of historical connections, forms, or mappings that focus on gathering knowledge that is relevant to the site itself. Kahn presents this not to solve the question of which is successful in terms of design, but rather to force designers to question their manner of approach to depicting and creating urban sites. As a means to further “conceptualize sites in meaningful ways for urban design” that breaks away from the traditional practices, Kahn presents 5 qualities of urban site thinking. The first qualities focus on the classification of “mobile ground,” a mindset that seeks to rationalize the inputs of the particular locale (workers,

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developers, and politicians) that each have a set viewpoint of the urban site and the way in which designers must formulate constructive conversations that engage effective results. Site reach focuses on addressing the issue of scale and context. The reach of a site depends on the not only the spacial and operational extensions but also on the connections that specifically relate to the site. It is Kahn’s hope that designers begin to question those limits as a means to more effectively display the scope that urban sites and the relationship these spaces share with the city at large, a tool she refers to as unbound sites. Site construction employs a sense of connection and true analysis of the site in question and urban constellation pushes the boundaries of analysis past the more constructed and outside the traditional context of the site. Each becomes a way to question the scale and boundary of a site to “gain a better understanding of the city in the site” (Kahn, 289).

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LA State Historic Park mapping reveals the unbounded nature of influence that exists within a rigid site boundary.

WAN DER.

BONITA FALLS SAN BERNIDINO MOUNTAIN RANGE SAN BERNARDINO, CA

TERMINAL ISLAND PORT OF LOS ANGELES LONG BEACH, CA

BONITA FALLS SAN BERNIDINO CA

Within our own backyard exists opportunities to seek, explore, and wander. Yet often times we are told how to experience these spaces, a concept continues even into the natural environment. Shaped trails encourage directionality and instill a sense of confinement that mirrors our own urban sidewalks. Society has began to prescribe and shape both the build and un-built landscapes, and the manner in which we do is not always as beneficial as we believe. It is from these seemingly discrete actions that we begin to rival what space should be designed for; the expression and exploration of the people. Bonita Falls, located along the Lytle Creek Basin within the San Bernardino Mountain Range, is site whose beauty is sharply contrasted by a forcible interjection of mankind. It is here that my journey began. It had just rained and a small creek had risen up carrying within layers of trash and debris that would find its way behind fallen logs and man-made dams. These fallen structures became my personal bridge and allowed me to more clearly begin to see the

Lytle Creek

San Bernidino Mountains

Lytle Creek Basin

allowed me to more clearly begin to see the inexcusable inputs of man within this space. Traveling through the riverbank, amongst the scene of chopped, broken, and split trees branches and trunks that had become someoneâ&#x20AC;&#x2122;s way of forcibly expressing his or her strength and ability, I came find a vast dry river basin. Nature became the designer who then was able to control the movement of its users. As the riverbed would bend, rise, and fall so too would the travelers. Within this moment of freedom was a stark reality that mankind still sought to interject his or her sense of control. Boulders, logs, and even the sides of the hillside had become open canvases that fueled the game of mankindâ&#x20AC;&#x2122;s dominance. The focus was on who could create rather than simply enjoying the artwork that was so beautifully created in front of them.

TERMINAL ISLAND LONG BEACH, CA

Terminal Island, a man-made island within the Port of Los Angeles, is a site that has throughout time has represented an ever-present sense of incarceration. What once was a flourishing Japanese Village and host to a thriving commercial fishing industry now is hidden behind large shipping containers and prison walls. Control, manipulation, and constriction are ever-present amongst the stacks of multi-story structures found on top of the layers of history that is seemingly goes unnoticed and ignored. Lack of awareness was a quality that was bluntly grasped as I entered the site. I had no sense of direction or orientation amongst the walls that seemingly encapsulated the island. In understanding the history of the site and the strong sense of place that was once freely explored by the islands inhabitants, I came to very clearly see the strong guidance of mega-industries whose presence has in turn created a sense of constriction that was more than physically felt. The space and the qualities of light, connection to our surroundings, the ability to generously wander, and the interaction with the water all became hidden from both myself and the community. Yet what can be done? Who can rise against the government officials and multi-billion dollar industries and deem the use and function of the site as inappropriate? It seems as if the rules have been set and no one seeks to unbind the site as a means to provide a meaningful space for the residents; for the people. No longer should corporations begin to show society the monetary value of land, the land should hold true to something more meaningful; a historical and communal value.

LIS TEN.

DROUGH AS BEAUTY MARK RIOS AND JAMES BURNETT

LECTURE UNDETERMINED UNKNOWN

DROUGHT AS BEAUTY MARK RIOS + JAMES BURNETT_Helmes Backery in Culver City, CA

Authenticity and honesty to both Rios and Burnett, founders of two preeminent landscape and urban design firms, is the answer to creating powerful spaces that are worth caring about. It is from this notion that each have begun to address current issues of design including the topic of concern for many California designers; the drought. However both Rios and Burnett see this not as a concern but as an opportunity to boldly address the issue by allowing water and natural processes to become elements that inform design. Typically water is viewed as an aesthetic component of design not a tool from which adheres to the sense of place that exists on the present site. It is opportunities like the drought that allow designers and the profession at large to take risks to develop methods that begin to push design in directions that are not commonly seen as a means to respond to cultural, social, economic, and political issues. Often times the sense or spirit, which is in Mark Rios’ opinion present within all sites, forces designers to more critically interpret a site and the qualities that are present as a means to provide spaces that truly change user’s perspective. Often times in both Rios and Burnett’s opinion are less present within the process of design that focuses on storytelling. Freely interpreted spaces that allow the incorporation of site’s layers while more specifically providing an experience.

FUTURE OF OUR CITIES LIAM YOUNG_Machine Inspired Art in Los Angeles,CA

Liam Young is an architect whose work and focus has been recognized globally in a very present and imaginative manner. Young’s focus is centralized not around creating beautiful, noteworthy pieces of design but rather around creating and displaying qualities of the world we currently live in to bring awareness. Design in his eyes has become too centralized within only a particular group of individuals who are more focused on wanting to participate in conversations that surround their own individual efforts rather than reflecting a more collaborative effort that engages issues that concern the world at large. It is this mindset that drove Young to begin to “interrogative the present rather than looking towards the future” and begin to tell the story of his findings through several films and presentations. One in particular that he chose to present an exaggeration of the current present qualities of our cities to be able to reveal, characterize, and understand the current state of our cities. In “City Everywhere,” Young displays several different cities and begins to very bluntly show our culture how our own actions have directly caused the present state of our cities and the tools that have shaped them Our dependence on technology is one such tool that we are aware of culturally, however the extent and the effects of our dependency are still not fully recognized. The iPhone is one such form of cultural dependence. Inside each iPhone is approximately 0.034 grams of gold, and our own focuses on developing a product that survives through one or two generations has driven the world’s gold mines to meet this unreasonable growing need. The resultant is large scares in our landscapes and environments. His call to us as designers is to not be intimidated by the current state of our cities and our landscapes but rather to look at the future not as a noun but as a verb, or simply something that can be shaped and controlled.

DISC USS.

Included are a series of design strategies, symbols, and cues that related to the issue of deconstructing traditional design

mon ume nt.

definition. According to the J.B. Jackson monuments are objects that stand as cultural or historical symbols that echoes the remote past and further become present and real reminders of a specific, powerful past moment. It is his belief that our current culture has lost touch with the true sense of remembrance and turn to a more romanticized, theatrical performance of times past. Underrepresentation leads to a lack of understanding and connection with times past and instead allows for history and culture to be seemingly buried under layers of what we deem to be appropriate and significant.

ruin.

definition. Ruin in comparison to monument is an iconic monument that allows for spaces or objects to age, to be neglected as a means to encourage a rebirth of meaningful restoration; a process that to seeks to encourage a to origins. So quickly our culture seeks to rebuild or reconstruct the fallen structures of the past that we donâ&#x20AC;&#x2122;t allow for them to begin to age and become significant symbols of the past. Ruins are a part of the process of historically connecting oneself to the site and begins to bring about a sense of awareness of what was once present.

piety.

definition. Piety is a belief or point of view that is accepted with unthinking conventional reverence (http:// dictionary.reference.com/). In terms of design, this definition is more related to the sense of accepting traditional means of spacial design as way to address the process of creating space and place. It is important for designers to not simply allow the frequent manner in which design is developed but rather to have the site and its surrounding in a large context begin to inform the process of design.

rec lam ation.

deg red ate.

definition. Degredate is the process by which an object begins to degrade or disintegrate over time. It a process driven by natural occurrences and often times can exist as a design strategy that seeks to encourage or respond to certain forces that over time degrade the site and more specifically the landforms that are present. It is an action, a conscious decision to allow for a site or a specific object to begin to become subject to the natural conditions that occur with limited outside influences.

con stell tion.

definition. Unbinding is the process of allowing or releasing constraints. The action of unbinding is a conscious effort to allow the layers or qualities that are present within a space to be fully represented and recognized within a space. Often times, as supported by many of the included article Reponses found within this collection, designers seek to cover or not properly address the layers of cultural, social, and environmental histories.

un bi nd

definition. Unbinding is the process of allowing or releasing constraints. The action of unbinding is a councious effort to allow the layers or qualities that are present within a spcae to be fully represented and recognized within a space. Often times, as supported by many of the included article reponses found within this collection, designers seek to cover or not properly address the layers of cultural, social, and environmental histories.

form.

definition. Form is simply defined as the visible shape of an object. However as outlined in RePlacing Process, form exists not in a reference but as a way of embracing processes that exist within on outside a site. Form is commonly viewed as a rigid however when breaking the common conception of balance and regularity one allows for opportunities of connectivity.

in illo tempore.

definition. In Illo tempore is a Latin phrase that simply translated refers to the â&#x20AC;&#x153;Good Old Daysâ&#x20AC;&#x2122; or nostalgic times or moments. The term is referencing J.B. Jacksonâ&#x20AC;&#x2122;s criticism of American culture and the manner in which certain traditions have become romanticized or quickly represented in a innappropriate manner.

hor tat ory.

definition. Hortatory is an urging to pursue a course of action. Within the field of design, this is the encouragement to designers within all fields to begin to look outward past his or her own mindset to begn to consider context, history, and environmental factors. Additionally, a common trend in modern design is a means to anticipate and plan for change rather than just simply solving the issues present. It is our role as designers at large to present issues in a way that can be easily understand and interpreted as a means to then provide solutions.

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