Emilie Twilling | Honors Thesis by Emilie Twilling

EMILIE TWILLING

THE ART OF EXTRACTION AN UNDERGRADUATE HONORS THESIS

Spring 2015 Arizona State University Herberger, The Design School Barrett, The Honors College Director | Christian Stayner Second Reader | Dr. Renata Hejduk Visiting Reviewer | Catherine Page Harris Emilie Twilling Architectural Studies, BSD Sustainability, minor Collaboration with fellow architecture students and studio peers: Andrew Ditchey & Joshua Fletcher.

Image captured by NASA's ASTER instrument on the satellite Terra of an open-pit copper mine in Arizona.1 RGB values within the image were exagerrated to show land alteration. 1â&#x20AC;&#x2030; "Picture of the Week-Open-Pit Copper Mine," Smithsonian, October 23, 2009, accessed April 16, 2015, http://www.smithsonianmag.com/sciencenature/picture-of-the-week-open-pit-copper-mine-18750511/?no-ist.

Contents v

Preface

Preliminary Research

Methodologies

Landscape Urbanism Ecological Urbanism Juxtapose The Role of Art and the Artist The Architect Case Studies Process & Synthesis Understanding, Knowledge, & Power Bruno Latour: Objects

7 8 8 9 10 10 19 19 20

Application: Resource Extraction

Introduction Platitudes, Desensitization & Inherent Complexity Anthropocentrism vs. Eco/Biocentrism Moving Beyond Urbanity: Dissolved Boundaries The Advantages of Proximity

The American Southwest Superior, Arizona: Then Superior, Arizona: Now Paradox & Complexity Intervention Final Design Proposal

1 1 2 3 4 5

21 22 23 23 24 25

Preface Anthropocentric society faces a multiplicity of environmental challenges, catalyzed and perpetuated by urban-industrial culture. Many of today’s perspectives and sustainable strategies cannot accommodate the challenges’ inherent complexity. Because urban-industrial society is only projected to grow, both in enormity and influence, the only viable option is to elucidate the complexity and employ it. A potential setting in which to frame this exploration is the intersection of urbanism, landscape, and ecology –an overlap first introduced by the theories of Landscape Urbanism and Ecological Urbanism. Here, urbanization is not just discussed as an isolated phenomenon but one that is embedded within and responding to a variety of systems and scales. The methodologies of Landscape Urbanism and Ecological Urbanism also acknowledge artists and the visual arts as invaluable tools for realizing, communicating, and inspiring the new perspectives and modes of intervention needed to address the aforementioned urban complexity. Such artists who operate within this realm include Sissel Tolaas, Maya Lin, Katrin Sigurdardottir, David Maisel,

Olafur Eliason, Mierle Ukeles, Suzanne Lacy, Steve Rowell, Mel Chin, and the Center for Land Use Interpretation. Case study analyses reveal many of these artists begin their investigations with provocative, searching questions situated within the realms of urbanism, landscape, and ecology. This is proceeded by relative scientific research and/or community involvement or outreach. Furthermore, the artists work within and extrapolate from a variety of other disciplines —increasing the scope and applicability of their work. The information they collect via this multidisciplinary approach is then metaphorically translated to the visual arts, where the public can not only physically or sensorially experience it, but understand and deduce its meaning and significance: public awareness being one of the more essential aspects of a sustainable society and at the root of our current struggle. As a designer and architect, I will engage the artist’s mindset to explore the current and complex issue of resource extraction within Superior, Arizona: a topic at the core of urbanism, landscape, and ecology. While the town is not considered "urban" by standard definition, it and its surrounding landscapes are indirectly sculpted by the needs of urban society —rendering it the setting for this application. Within a group, we will begin with a searching question. We will conduct relative scientific research, engage the community of Superior, and call upon a variety of other disciplines to aid and inform our work. Through metaphor, the research and resulting discoveries will be artistically represented and composed within a designed exhibition of hopeful “things” (See Bruno Latour, “From Realpolitik to Dingpolitik”). This exhibition will theoretically take place on Superior’s currently dilapidated Main Street, amid a more accessible sphere. The eventual goal of the project is to illuminate and understand the complexities of resource extraction, specifically within Superior, while also enabling public awareness and empowerment through lucidity and comprehension.

Preliminary Research

Our planet is currently experiencing its sixth mass extinction of both plants and animals only trumped by that of the dinosaurs some 65 million years ago. By 2050, the center for biological diversity estimates “…as many as 30 to 50 percent of all species…” will be endangered and heading toward extinction.12 Much of the “…burden on the planet today [and in the future] is [and will be] coming from 3 urban-industrial societies…”.2 While the human species has created issues at the local scale for the past 10,000 years, the Industrial Revolution of late has gradually increased those impacts and amplified them to the planetary scale: a scale we struggle to comprehend, regardless of our ability to view and traverse it. Moreover, the past 70 years —a time predominately characterized by both globalization and urbanization— has had the greatest and most far reaching environmental impact of all. Many predict the time will soon come when the human 2 "The Extinction Crisis," Center for Biological Diversity, accessed February 17, 2015, http://www.biologicaldiversity. org/. 3 Emilio F. Moran, People and Nature: An Introduction to Human Ecological Relations, (Malden, MA: Blackwell Publishing, 2006).

Sixteen Jackies (1964), Andy Warhol; black & white version

species itself will face endangerment and potential extinction. Thus, it is not just a question of saving the earth, but saving us as well.

Platitudes, Desensitization, & Inherent Complexity

Chances are, the facts, statistics, and statements just presented were not surprising; or if they were, the shock or wow-factor was greatly muted by the frequency in which we come across them in our daily lives via news channels, newspapers, journals, magazines, documentaries, and reports. They have become platitudes lost in and presumably created by the chaos of our contemporary world. In 1964, Andy Warhol unveiled Sixteen Jackies: a series of four Jackie Kennedy portraits, repeated four times each and arranged on an 80x64 inch canvas.43 These images were taken both before and after her late husband’s assassination the previous year. Warhol was inspired by mass media’s ability to disseminate meaning and imagery through repetition and how that repetition then creates desensitivity and numbness. Warhol expressed in the 4 Andy Warhol, Sixteen Jackies, 1964.

Anthropocentrism vs. Eco/Biocentrism

In the past century or so, a debate has arisen over humankind’s relationship to the natural world. This discussion often takes on the two opposing and conflicting views of anthropocentrism and eco/biocentrism. Each has its own implications, challenges, and degree of following or influence –much of which is catalyzed by some aspect of human society, particularly Western culture. An understanding of these dichotic terms and how they came about reveals a rather unsettling realization: neither will lead to a sustainable future with humans in it. Thus, an equilibrium must be reached somewhere on the anthropocentric-eco/ biocentric spectrum that allows for humans to live harmoniously with nature and as a part of nature while still getting the resources they need to survive. Before the two polarized views of anthropocentrism and eco/bio-centrism can be juxtaposed or debated, one must first define each term and the catalysts under which they were created. Anthropocentrism is defined as a “… standpoint that views humans as the central factor in considerations of right and wrong action in and towards nature.”15 More specifically, it dictates humans “…separate from and superior to nature…” while elevating human life above all else.2 It also gives human life “…intrinsic value…” 6 while all other entities such as flora, fauna, mineral resources, etc. are assets that can be “…justifiably… exploited for the benefit of humankind.”37 It finds homage primarily in Western thinking and can be traced back to the Old Testament which recognized humans as “…the sole earthly creatures made in God’s image.”8 Additionally, it can be found in the writings of British philosopher, John Locke, who

5 Robbins, Paul, John Hintz, and Sarah A. Moore, Environment and Society: A Critical Introduction (Malden, MA: Wiley-Blackwell Publishing, 2014). 6 Vining, Joanne, Melinda S. Merrick & Emily A. Price, "The Distinction between Humans and Nature: Human Perceptions of Connectedness to Nature and Elements of the Natural and Unnatural," Human Ecology Review, 15:1 (2008), accessed February 21, 2015, http://apjh.humanecologyreview. org/pastissues/her151/viningetal.pdf. 7 "anthropocentrism," Encyclopædia Britannica, (2015), accessed February 17, 2015, http://www.britannica.com / EBchecked/topic/27493/anthropocentrism.

believed nature had little to no value unless it was transformed into property through human labor; he thought by transforming nature via human work, one was improving nature.849 On the other side of this argument is the more ethically concerned position of eco/bio-centrism. [Bio]centrism often refers to a view in which the value is specifically placed on only living organisms or on an individual organism (animals, sometimes plants) and [eco] centrism is more holistic in that it includes abiotic components and a larger lens: species, ecosystems or even the entire earth.105 A view conceived or aided by ecologist, Aldo Leopold, eco/biocentrism situates humans among all other organisms and species.116 Rather than an occupying an elevated status, humans are very much a part of the greater scheme of things and connected to the living and non-living environment. Thus, eco/biocentrism is environmentally ethical in that “…ecological concerns [are]…over and above human priorities… central to decisions about right and wrong action.”712 It requires a moral extension which is “…extending our sphere of moral consideration beyond the human realm.”813 The debate between anthropocentrism and eco-biocentrism has been long, rigorous, and subject to various boundaries or limits. The most obvious reason for this debate is due to the opposing moral imperative of each. Anthropocentrism is deeply rooted in religious and political ideals and perpetuated by capitalism. For many, it is easier to be anthropocentric rather than eco/biocentric because many aspects of modern Western life encourage it. Moreover, the more influential societies of the world (in terms of power and ability to harm the environment) live by these Western 8 Robbins, Hintz and Moore, Environment and Society: A Critical Introduction. 9 Ibid. 10 David Barnhill, David Barnhill: Glossary, (2010), accessed March 2, 2015, http://www.uwosh.edu/facstaff/ barnhill/ES-243/glossary. 11 Robbins, Hintz and Moore, Environment and Society: A Critical Introduction. 12 Ibid. 13 Ibid.

ideals of anthropocentrism (including us). While eco-biocentrism seems the better option, the challenge becomes how to apply it with a population of over seven billion and a growing ratio of developing societies. Is it even possible to sustain a population of that enormity and under that pressure within the ideals of eco/biocentrism? Thus, life on earth is stuck in a sort of limbo where “…nature and humanity are devastated when anthropocentrism is practiced but the conversion to ecocentrism overnight is impossible.”914 Maybe the answer falls somewhere in-between for “… both are needed, and environmentalists on the whole since they manifest different degrees of this organic synthesis. [More importantly, maybe] the debate will never be fully resolved because human choices are always contingent, and people 15 will make use of resources.”10 The real question becomes how to set limits or restraints and find a balance between anthropocentrism and eco/ biocentrism that allows for the human species of seven billion and counting to co-exist with the rest of the natural world. 14 Dalile Boushra, "Environmental Ethics: Between Anthropocentrism and Ecocentrism," (2014), http://www. academia.edu/1476524 /Environmental_Ethics_Between_ Anthropocentrism_and_Ecocentrism. 15 Ibid.

1999 exhibition Art in Our Time: 1950 to the Present, “The more you look at the same exact thing, the more the meaning goes away and the better and emptier you feel.”416 This is increasingly apparent with environmental crises today. Global warming, depletion of the ozone, species extinction, water shortages, and extreme weather events: we see these issues, and while some question their validity, others become numb to their urgency. Even if the facts stun the entire population temporarily, society quickly reverts back to a de-sensitized state since that is what our lifestyle promotes; it is often easier to listen and forget than take on the vastness of today’s problems all at once. And while the last few years have brought 16 Andy Warhol, "Sixteen Jackies," Walker Art Center, (1998), accessed March 3, 2015, http://www.walkerart.org/collections/ artworks/sixteen-jackies.

more awareness to these issues than late, it is simply not at the scale or scope we need to move forward even though it is essential we do so. Thus, when we discuss the issues and their presumed solution of sustainability (as an umbrella term), we must counter Warhol’s statement by re-envisioning what we are looking at with either different perspectives or new lenses. Sustainability, including the environmental challenges it attempts to mitigate, are also incredibly complex and thus difficult to comprehend and address. The term is described as “...both elastic and elusive...”, “…an ambiguous concept…with no time, space, ecological, technological, or managerial dimension,’” even though environmental challenges involve all of those forces and more.175 Furthermore, many people have begun to replace sustainability with resiliency or the ability for a system to be persistent, absorb disturbance, and reorganize when faced with change— natural or anthropocentric.186 For something to be resilient, there still needs to be a recognition and understanding of the mechanisms taking place. Thus, regardless of the term used, a foundation of understanding is nonetheless necessary to move forward. Conclusively, sustainability or resiliency and the issues necessitating them need to be viewed with more innovative or creative means: means that sensitize the desensitized. Secondly, we need to find methods of implementing them that address the many dimensions currently rendering them too complex and thus ineffective. It is only through doing such things that solutions fit for processing and metabolizing our current and critical environmental issues will be uncovered.

Moving Beyond

As designers and problem solvers, what means do we have in challenging these realities? More specifically, what role do architects play and is it enough? Unfortunately, architects have been aware of these issues for some time, but the “… 17 Rutherford H. Platt, The Ecological City: Preserving and Restoring Urban Biodiversity, (Amherst: University of Massachusetts Press, 1994). 18 Andres R. Edwards, Thriving Beyond Sustainability, (Canada: Friesens, 2010).

4 proportion of those committed to sustainable and ecological practices remains small.”197 The more popular methods and certifications for producing sustainable design include: LEED, Breeam, Green Globes, the Living Building Challenge, the National Green Building Standard, and others. However, there are many themes, issues, dimensions, and design approaches that are not yet captured by these various rating systems. Furthermore, most only include expensive yet “…simple technologies to produce energy and recycle waste…[while requiring] an alternative lifestyle of renunciation, stripped of much pleasure.”208 Critics have even gone as far to say that they, especially LEED, “…force designers to check off boxes instead of pursuing overall strategies that may actually result in better building performance.”921 In other words, architects need to view our current environmental challenges as opportunities for “… speculative design innovations rather than as of technical legitimization for promoting conventional 22 solutions.”10 An additional fault current design standards and methods face is there preoccupation with the architectural object rather than the larger infrastructures of our urban territories. The urban not only provides the context for sustainability's complex relationships spanning economic, political, social, and cultural realms but is also one of the major culprits as far as environmental degradation is concerned —whether that be directly or indirectly. The urban “…requires an equally complex range of perspectives and responses that can address both 23 With current conditions and future possibilities.”11 more and more people moving to cities in the shift towards urbanization, the urban scale and context is paramount and will need to be one of the primary components of architectural discussion —along with the many factors that it ensues. That is not to say the 19 Mohsen Mostafavi, Ecological Urbanism: Harvard University, Graduate School of Design (Lars Muller Publishers, 2010). 20 Ibid. 21 Chris Bentley, "Feature>Beyond Lead," The Architect's Newspaper (July 13 2014): accessed 15 February 15, 2015, http://archpaper.com/news/articles.asp? id=7471. 22 Mostafavi, Ecological Urbanism: Harvard University, Graduate School of Design. 23 Ibid.

programs of LEED, Green Globes, and so one are not significant or positive; they played an important role in initiating a needed discussion while catalyzing some successful projects. However, our problems have just become too expansive, complex, and dire for their limited scopes. Urbanity: Dissolved Boundaries

It is all to easy (and rather naive) to say that eliminating the source of the problem is the most effective or efficient solution; urbanity is rather paradoxical in that way. Not only has it been the source of environmental crises but it is also what inspires potential solutions —as previously mentioned. In addition to harboring or encapsulating the many dimensions of sustainability or resiliency, the close proximity provided by dense urban centers encourages an overflow of ideas at high exchange rates with an edge of competitiveness. The likeliness of solutions emerging from this are much higher than if there were no positive externalities whatsoever. We also benefit from the economies of scale which implies more efficiency with larger, singular centers as people can share the same public systems and infrastructures. However, what becomes of the places outside city limits? Can they inspire innovation and change as well? Today, the boundaries of urban centers are increasingly more obscure and ambiguous— implying the scale and impact of urbanity is not only tenfold but transcendent. Because they are not closed loop systems, urban centers need “…to be seen as a form of land use whose impact is not so much in the place where [they] are located, but on all the habitats upon which [their] inhabitants draw 24 Globalization and their goods and services from…”12 urbanization currently disconnect “…the sources of demand from the locations of production…” and so people tend to assume the boundaries of the city 25 are merely those found on standard political maps.13 However, these boundaries are far more reaching than that. An example of this is trash disposal: most large, urban centers ship their waste far beyond city 24 Moran, People and Nature: An Introduction to Human Ecological Relations. 25 Ibid.

The Advantages of Proximity

Proximity is the term used to describe the density of a city’s population and how close people live, work, etc. to one another. There are obvious negative implications that originate from many people living within a small or compact space, but there is a theory that argues the advantages of such proximity outweigh the disadvantages. Because much of the world’s population lives or will live within cities in the upcoming future, global sustainability heavily depends on urban sustainability. Moreover, this proximity catalyzes a more sustainable urban society through the ability for a dense and close-knit population to share, be productive, acquire knowledge, and thus generate innovative solutions. From a logistical and conservational standpoint, proximity allows for the efficient use of certain urban infrastructures. Within his essay, Brendan O’Flaherty sources New York City as an example of this phenomenon, from items as small as umbrellas on a rainy day to Central Park as a large, 26 universal, and makeshift backyard.1 This can be expanded to include the sewage and water systems, transportation networks such as taxis, sideways and the subway, buildings, city amenities like the High Line (similar to Central Park), city resources or collections such as libraries and museums, health care services, and the safety provided by the fire and police departments. Moreover, a more democratic city government can be argued as an advantage of proximity because a much larger quantity of diverse people participate and vote within the system. Referred to and summarized by O’Flaherty as demand soothing, a city can foster and provide more of these shared resources to the people because they can capitalize on their use.272 In terms of sustainability, dense cities with centralized resources and infrastructures minimize idleness or inefficiency and maximize on economies of scale with getting more from less. The next advantage of proximity considers the localization of groups within cities and their 26 Brendan O'Flaherty, "Why Proximity Is Good," City Economics, (Cambridge: Harvard University Press, 2005). 27 Ibid.

clustering as a catalyst for productivity. O’Flaherty references artists within the city and explains, “If you are an artist, being in a place with a lot of other artists gives you a bigger audience, and a more discerning appreciation for your work, as well as a wider range of other work for you to appreciate and enjoy…[Essentially] the more artists in a city, the more productive each of them is.”328 While much smaller scale, this can be seen in an architecture studio or design firm. It is often much more productive to work within a studio alongside others because ideas can be collectively discussed, critiqued, and inspired. The competitiveness within a group also enhances or increases each person’s drive to succeed. Concurrently, this occurs at the scale of the city since cities can accommodate vast groups of people with similar interests, like an architecture firm, and provide the resources those groups of people need to be productive. This productivity not only raises the morale of the people but generates more economic returns. Perhaps one of the more important benefits of proximity is that of knowledge, its accessibility within a city, and its implications. O’Flaherty states, “...being near other firms making the same kind of product you are making lets you see how they do it and then imitate what they do better than you… [Moreover,] firms located close together, then, will produce more in the short run because they use better techniques, and grow faster in the long run, because knowledge disseminates among them more quickly.”429Thus, knowledge and its ability to spread is a derivative of productivity which is subsequently a product of having the resources to be productive. To build upon this chain, the transfer and diffusion of knowledge within cities makes them centers of innovation. We can assume that with knowledge comes the teaching and learning of that knowledge. This interaction of teaching and learning produces new ideas; and when two seemingly unrelated entities interact (learn from one another), there are new combinations that have never been thought of before. Within a city, the interaction and overlap 28 O,Flaherty, "Why Proximity is Good." 29 Ibid.

6 is unavoidable with how diverse and extensive its population typically is; this overlap is where innovation occurs. O’Flaherty uses the example of when the “…Irish and African cultures came together in the horrific New York slum called Five Points in the early nineteenth century, [in which case] tap dancing was invented.”530 The informality of this example is what makes it intriguing. It didn’t happen in an official firm or fancy design office. It happened on the streets: in everyday life. Because many of the problems that need to be solved in terms of urban sustainability are dynamic and complex, the only places or things capable of producing the solutions are where knowledge and innovation are fostered—whether it be directly in the city or indirectly related to its processes. Ironically, the solution is found in the very thing that created the problem in the first place. Conclusively, the advantages of proximity within a city heavily outweigh the disadvantages. In the most obvious and general sense, proximity is efficient in terms of space and infrastructure. Within a city, there are more infrastructural amenities and more people to use them. Another benefit assumes cities are home to various groups with particular interests and the people within those groups are more productive because there are others to teach, inspire, and push them to succeed in their desired fields. Because there is more productivity, more knowledge is gained —which eventually produces innovative solutions: the very innovations we need to offset and surpass the problems or issues created by proximity in the first place. 30 O,Flaherty, "Why Proximity is Good."

fringes to where it is externally processed and stored, consequently becoming someone else’s problem. Or it can be as obscure as the copper wire used in the electrical circuiting of a street lamp which must be mined, processed, and brought in from elsewhere — even if it is half-way across the country or globe. Our cities are no longer just isolated, physical artifacts. They are comprised of “…many dynamic relationships, both visible and invisible, which exist among the various domains of a larger terrain of urban as well

31 rural ecologies.”14 When discussing urbanization, we must subsequently consider a variety of scales and scopes that allow us to see the connections, networks, and contingencies otherwise unrealized or forgotten; much of this “… awareness is currently unimaginable in many existing patterns of legal, political, and economic activity,” even though it lies at the core of our current environmental crises.3215 Thus, cities —by right of virtue— are essential to the larger discussion of sustainability since their internal, external, direct, and indirect phenomena collectively catalyze the aforementioned complexity while providing a flexible setting for elucidating and employing it. Furthermore, places outside the current and preconceived limits of our cities can also hold clues to a more sustainable or resilient future.

31 Mostafavi, Ecological Urbanism: Harvard University, Graduate School of Design. 32 Ibid.

Methodologies

Given the environmental issues we face in regards to urbanization and sustainability’s inherent complexity, alternative methods of viewing and interpreting the urban are essential. Two methodologies that attempt to do so are Landscape Urbanism and its derivative, Ecological Urbanism. These theories are unique in that they discuss urbanity parallel to both ecology and landscape; this exposes the relationships and interactions created, enabled, or prohibited by cities in addition to the crucial role the environment plays in their existence today and in the future. It is also through these practices that one is able to grasp, envision, and realize the potentials of urban society —the creative solutions cultivated or inspired provide a hopeful avenue through which humanity can begin to coexist with the natural world.

Landscape Urbanism Landscape Urbanist theory was conceived as a postmodern response and critique to the deficiencies of New Urbanism and overall departure from Modern architecture and planning. Many postmodernists and opponents of Modernist design “…indicted modernism for its inability to produce

‘meaningful’ or ‘livable’ public realms, for its failure to come to terms with the city as an historical construction of collective consciousness, and for its inability to communicate with multiple audiences.”133 Modernism’s successor, New Urbanism, was also criticized for its lack of response to developing societies and often considered a ‘facade’ that did not actually address the more problematic underlying 34 issues found within urban contexts.2 Thus, landscape urbanism developed as people needed new ways of envisioning cities beyond that of Modernist and New Urbanist methods. Throughout the 1990s, Landscape Urbanism evolved to describe a method through which landscape replaced “…architectural form as the primary medium of city-making.”353 The theory was unique in that it responded to “…temporal change, transformation, adaption, and succession.”436 It envisioned a city that was no longer just the industrial factory and towering skyscraper but an ecology or mosaic of every “‘… spatial and visual entity of human living space’”375; this included the environment and its living systems in addition to the man-made. Landscape Urbanism also required a metabolic response in that it attempted to map and link the many flows coming to, within, and going out of the urban system. Lastly, ecology played an essential role in the discussion of landscape urbanism. In his essay, "An Art of Instrumentality: Thinking Through Landscape Urbanism", Richard Weller states: Ecology is profoundly important not only because by progressing science from the measurement of mechanical objects to the mapping of non-linear systems it moves science closer to life, but also because it places cultural systems within the epic narrative of evolution. In this sense ecology is not only a metascience measuring that which was previously beyond measurement, but also a discourse which implicated leads to questions of meaning and value, questions of art.386 33 The Landscape Urbanism Reader, ed. Charles Waldheim (New York; NY: Princeton Architectural Press, 2006). 34 Grahame Shane, "The Emergence of Landscape Urbanism," The Landscape Urbanism Reader, ed. Charles Waldheim (New York; NY: Princeton Architectural Press, 2006). 35 Ibid. 36 Ibid. 37 Ibid. 38 Richard Weller, "An Art of Instrumentality: Thinking Through Landscape Urbanism," The Landscape Urbanism Reader, ed. Charles Waldheim (New York; NY: Princeton Architectural Press, 2006).

1 The High Line, New York City39

1 Thus, this theory articulated urbanity within a much larger conversation: one that included landscape and ecological processes, was both quantitative and qualitative, as well as extensive and intensive. In James Corner’s essay, entitled “Terra Fluxus,” he argues for four components present and perpetuated by Landscape Urbanism. First, there is an understanding of process over time. The fluidity and constant change within environments creates dynamic processes both temporally and spatially. Thus, it needs to anticipate change, ambiguity and some compromise. Second, it “…gives prominence to the horizontal surface as a ‘field of action,’…able to operate at a wide range of scales…” Third, those who design within the realm of landscape urbanism should be able to adapt to the local environments and produce work that is tied to place and region. Lastly, there is a sense of imagination to connect or invent new relationships and possibilities.407 Ecological Urbanism

8 [where one perceives] the city as an ecology of people, processes, power structures and so on... that supersedes an object-based urbanism [or] one principally concerned with questions of built form,” —like Modernism.841 This ecology does not ignore or negate humans as an unrelated force, but one that is heavily influential and pervasive. Considered a more socially inclusive and environmentally sensitive urbanism, the theory is “...fluid in scale... [and also] fluid in its disciplinary approach.”429 It acknowledges a variety of observational realms that are drawn from both landscape and global networks while addressing “…new scales of interest, ranging from house to 43 millennia, and from microbes to regions.”10 Moreover, it considers the biophysical world in relation to social, cultural, and economic processes and attempts to draw connections between these differing systems: similar to plotting a variety of data sets on the same graph, all with different units of measurement. Like Landscape Urbanism, such graphing requires one to be both quantitative and qualitative, drawing from both science and art. Lastly, one of the more radical aspects of Ecological Urbanism is its joint consideration of cities in addition to suburbs, exurbs, and beyond. The previously mentioned global networks implies and supports the prior statement by Moran that cities are “…a form of land use whose impact is not so much in the place where [they] are located, but on all the habitats upon which [their] 44 inhabitants draw their goods and services from…”.11 Thus, it is more the ecology of the city rather than in the city, acknowledging everything from the atomic scale to the global scale.

Juxtapose

A derivative and development of Landscape Urbanism, the theory of Ecological Urbanism evolved in the late 1990s —informed and instigated by Anuradha Mathur and Dilip da Cunha. Ecological Urbanism refers to a “...system’s approach...

While very similar to Landscape Urbanism, the differences between the two theories are what make Ecological Urbanism potentially more relevant and applicable. Where Ecological Urbanism considers people a component within the ecology of the city, Landscape Urbanism does not. It brings about the

39 "New York Highline," Friends of the Highline, accessed March 25, 2015, https://www.thehighline.org/support/ways-togive. 40 James Corner, "Terra Fluxus," The Landscape Urbanism Reader, ed. Charles Waldheim (New York; NY: Princeton Architectural Press, 2006).

41 Urban Design Ecologies, ed. Brian McGrath (United Kingdom: John Wiley & Sons Ltd, 2013). 42 Ibid. 43 Ibid. 44 Moran, People and Nature: An Introduction to Human Ecological Relations.

9 previous discussion of anthropocentrism versus eco/ biocentrism. Landscape Urbanism fairs far right where there is no “social objective” or consideration for the happiness of people —which is considered by 45 some to be an essential part of a sustainable society.12 That is not to say its intentions are not good; it started a very necessary discussion. However, Ecological Urbanism is more holistic in that it attempts to balance anthropocentrism and eco/biocentrism —in the aforementioned sweet spot where both humans and the natural world can potentially coexist. Ecological Urbanism also seeks to “...design, integrate and express complex systems and social processes in ways that are fundamentally humane,” 46 Where Landscape Urbanism or easy to understand.13 is often too complex and thus only discernible to a few academic elite, Ecological Urbanism aspires to take the complexity and make it comprehendible and thus accessible. Both theories recognize that complexity exists but do very different things with it; one merely showing or demonstrating that it is there and the other attempting to breakdown, understand, and explain it. The latter recognizes humans as important change-makers, capable of remedying the problems they create. However, this is only if they understand their role as change-makers and the impacts they and their cities have on the earth in the first place.

The Role of Art and the Artist

An area of interest, mentioned by both theories but explicitly employed by Ecological Urbanism, is that of the visual arts —or the use of art forms like ceramics, drawing, painting, sculpture, printmaking, crafts, photography, video, and filmmaking. The dialogue these mediums catalyze can provide spring boards through which environmental change and awareness can manifest itself. In the words of Giuliana Bruno within Harvard’s Ecological Urbanism, “A wide- ranging cultural phenomenon, ecological urbanism extends far beyond architecture, landscape architecture, urban planning and design, and especially engages the visual arts. Its visions, 45 Kyu Lee, "Sustainable Development Solutions Network: World Happiness Report 2013," unsdsn.org. http://unsdsn.org/ resources/publications/world-happiness-report-2013/. 46 Mostafavi, Ecological Urbanism: Harvard University, Graduate School of Design.

methods, and imaginary models can be powerfully 47 Thus, the generated in the form of an artwork.”14 visual arts provide a medium through which people can explore the complex relationships within and shared by our cities and environment while also generating a “...sphere of action to transform and 48 improve through creative means.”15 While once practiced by only a small group of people, art that investigates environmental or ecological issues has become prominent in the last five years. There are international exhibitions, biennales, and conferences occurring more and more frequently and “…artists of all kinds are being commissioned in ever greater numbers to explore humankind’s impact on the planet."1649 The art’s ability to ask “… searching questions about the environment…” both responds to and shapes dialogues and debates within larger society, even acting as catalysts or sparks for 50 Once again referencing whole new conversations.17 Andy Warhol’s statement, the visual arts allow for environmental or ecological issues to be viewed in entirely new ways, ensuring the meaning or value of them does not get lost in a desensitized society; instead, it ignites and mobilizes it. In these cases, the artist is a rather ambiguous title. It can include someone with a more traditional art background or describe a person within a seemingly disparate field. Thus, there are the traditional artists who work in collaboration with others, “…undertaking complex projects with specialists from other disciplines, such as botanists, zoologists, ecologies, geologists, meteorologists, oceanographers, architects, engineers and urban planners, as well as with community members and 51 And there are those who environmental activists.”18 begin in one of those other disciplines and use the visual arts to reconfigure and communicate their ideas. Regardless, it is the overlap between the visual arts and other fields that produces the searching questions needed for transforming society. This is not implying anyone and everyone can be an artist 47 Ibid. 48 Andrew Brown, Art and Ecology Now (United Kingdom: Thames & Hudson Ltd, 2004). 49 Ibid. 50 Ibid. 51 Ibid.

10 or that the artist is a diluted term. However, it is suggesting people can act through art to achieve things otherwise impossible if only isolated in one field. To make a simple analogy, a single profession might be looking through a blurry and unfocused lens, trying to understand or explain something; the visual arts precisely focus the view.

The Architect

The architect can be a particularly effective and diverse profession in terms of overlap. Architects, through training and experience, acquire a very broad skill set that more or less dabbles in a dozen other various fields. That is not to say we are experts in those fields but we do have the ability to hyper-specialize simply because that is what our work promotes. The design of a single building can require one to be a makeshift: anthropologist —understanding people, how they interact, and why they do the things they do; a climatologist —adapting and designing for the climate and weather patterns present at the design site; a structural engineer —figuring out how the building comes together; a materials scientist — exploring or developing new building materials; and an artist —sculpting the spaces and environments within the building and bringing the project to life via art before its foundation has even been laid; the list can go on and on. Thus, the overlap that some might have to go looking for is more or less inherent in the profession itself. Furthermore, architects can possess the ability to actualize and build their ideas in ways others might not think to do so. To design, envision, or come up with an idea is one thing; it is a whole other to know how it will come together and construct it. Conclusively, the architect is capable of many positive and applicable qualities that lend themselves nicely to the visual arts —if not considered art-forms already.

Case Studies

Of the people working in this realm, there are ten case study examples who demonstrate a notable process or approach in their work and/or a particularly strong overlap between fields: Sissel Tolaas, Maya Lin, Katrin Sigurdardottir, David Maisel, Olafur Eliason, Mierle Ukeles, Suzanne Lacy, Steve Rowell, Mel Chin, and the Center for Land Use Interpretation.

Talking Nose_Mexico City, Sissel Tolaas 52

Talking Nose_Mexico City, Sissel Tolaas 57

Sissel Tolaas is a scent curator, researcher and self-proclaimed “professional provocateur” who studies the science and art of smell or odor. Tolaas asked the question, “What would happen if the nose started to play an important role equal to those of the eyes and ears in the process of perception, navigation and communication,” within a city?531 She believes that “...smells are a crucial component in the definition of and orientation to an environment.”542 Her project Talking Nose “...is a site-specific research project about the smells of Mexico City.”553 Her project statement is as follows:

These various smells were configured into a scratch and sniff, interactive art installation, mapping the smells in relation to neighborhood. Supplement to this, two-thousand people were asked to describe the smell of the city they lived in. In a short film documenting the people smelling and describing their city, a peculiar similarity was discovered. Tolaas stated that once people “...were asked to use their noses to perceive their city, they suddenly became aware that they themselves were causing pollution.”585 Additionally, the different languages presented from the diverse group of two-thousand included “... precise nonmetaphorical terms and terminologies to describe smells. Not only did this provide a different perspective when looking at the city, but it proved, “the invisible city can communicate and be understood.”596

Two hundred neighborhoods were identified through their smell molecules- DNA of a site. Smells are (chemical) signals from our environment, from animate and inanimate things around us. I picked up and interpreted parts of their escaping substance using advanced collection and analysis tools, the smell effects repertory, and a smell-adapted method. The smell phenomena in each area were understood and collected during several visits. I used, in each case, a phenomenological approach to on-site smells.564 52 Sissel Tolaas, "Talking Nose_Smells of Mexico City, accessed on April 22, 2015, http://cdn.theatlantic.com/static/mt/ assets/science/Leslie%20Vosshall%20and%20daughter%20 Ophelia.jpg 53 Mostafavi, Ecological Urbanism: Harvard University, Graduate School of Design. 54 Ibid. 55 Ibid. 56 Ibid.

57 Sissel Tolaas, "Talking Nose_Smells of Mexico City, accessed on April 22, 2015, http://scienceblogs.com/ oscillator/wp-content/blogs.dir/343/files/2012/04/ia23ad4658771d131d56634b2dde755c5-Talking-Noseinstallation-Sissel-thumb-510x382-58024.jpg. 58 Mostafavi, Ecological Urbanism: Harvard University, Graduate School of Design. . 58 Ibid.

Systematic Landscapes, Maya Lin60

Systematic Landscapes, Maya Lin 65

Maya Lin is an architect, sculptor, artist, and educator who has produced a diverse body of work —ranging from art installations, to earthworks, to built architectural forms as well as memorials. For many of her projects, “…landscape is the context and the source of inspiration.”161 By observing the landscape through a “twenty-first century lens”, Lin explores how people interact with the environment while displaying new ways of perceiving the world around us.622 Many of her works demonstrate a rational and technological order, translated from a variety of devices: “…micro and macro views of the earth, sonar resonance scans, aerial and satellite mapping…” instruments, as well as other scientific research and data.633 This is then intuitively articulated to produce work that is transcendental, somewhere “…between two- and three- dimensional space, and…a systematic ordering of the land tied to history, language, and time.”464 Some examples of her work include Topologies, Bodies of Water, Colorado

River, Here and There, What is Missing?, Platform, Rivers and Mountains, and Systematic Landscapes. Many of these projects reveal or unveil aspects of the natural world that people cannot immediately see, due to geographic size or just shear invisibility. Conclusively, Lin attempts to connect people to the environment and thus protect it.665

60 Maya Lin, "Systematic Landscapes," accessed April 22, 2015, http://www.espalhafactos.com/wp-content/uploads /2014/05/sur1.jpg. 61 "About," Maya Lin Studio, accessed March 1, 2015, http:// www.mayalin.com. 62 Ibid. 63 Ibid. 64 Ibid.

65 Maya Lin, "Systematic Landscapes," http://www. curatedobject.us/photos/uncategorized/2008/02/05/mayalin_ bluelakepass.jpg. 66 Matthew J. Palm,"Acclaimed artist Maya Lin has first major Florida exhibition," Orlando Sentinel (January 17, 2015,): accessed March 1, 2015, http://www.orlandosentinel.com/ entertainment/arts-and-theater/os-maya-lin-orlando-museumof-art-20150127-story.html.n Orlando

High Plane V, Katrin Sigurdardottir 67

Black Maps, David Maisel 71

Icelandic artist, Katrin Sigurdardottir, creates innovative architectural models whose inner construction speaks to certain fieldwork. She constructs “...haptic environmental installations animated by spectatorial movement that, in turn, activates the space imaginatively.”168 Without focusing on one artwork in particular, the artist’s work reminds us that, “...as a production of space, ecological urbanism is a complex phenomenon, in which perceptual and representational aspects cannot be separated from function or use. She works with a representational space that is conceptually used and perceptually lived.”692 Conclusively, Sigurdardottir’s artwork proves that these artistic movements can encapsulate us, the viewers, in their metaphysical design and navigate our very own stories because they also hold our emotional response to space. Within these architecture models, “she makes the fabric of lived space perceivable in foldable, reversible pathways...[while exposing] the neurological texture of the architectural fabrication, proving that, as an architectural imaginary, ecological urbanism is a product of mental life, propelled by the movement of mental energy and the empathic motion of emotion.”703

David Maisel’s Black Maps, exhibited at the Scottsdale Museum of Contemporary Art in 2013, was “…composed of large-scale photographs... [which lead] the viewer on a hallucinatory journey through landscapes in the American West that have been transformed through the physical and environmental effects of industrial-scale water diversion projects, open-pit mineral extraction, and urban sprawl.”172 While these photographs are visually beautiful and poetic, they concurrently reveal the extent of seemingly indiscernible ecological devastation that permeates the American West.

67 Katrin Sigurdardottir, "High Plane V," accessed on March 16, 2015, http://www.katrinsigurdardottir.info/ps1/index.html. 68 Mostafavi, Ecological Urbanism: Harvard University, Graduate School of Design. 69 Ibid. 70 Ibid.

71 David Maisel, "Black Maps," accessed March 30, 2015, https://konstigbooks.files.wordpress.com/2013/04/davidmaisel_3.jpg. 72 "David Maisel / Black Maps: American Landscape and the Apocalyptic Sublime," University of Colorado Art Museum (April 16, 2013): accessed March 2, 2015, http://events. colorado.edu/EventList.aspx?fromdate=4/16/2013&todate=4/1 6/2013&view=Summary&display=Day&type=public .

Lousianna Channel, Olafur Eliasson73

Beauty, Olafur Eliasson77

Olafur Eliasson specializes in sculpture, painting, photography, film, and large scale installations. Within these mediums, he explores “… perception, movement, embodied experience, and feelings of self…”174 with a conclusive objective to make the art societally relevant. Eliasson believes art “…is a crucial means for turning thinking into doing in the world.”275Thus, he does not limit his work to the confines of galleries or museums but also engages or utilizes the entire public sphere, either through “…architectural projects…[or] interventions in civic spaces.”376 Specifically, Eliasson’s Riverbed was an extensive installation in the Louisiana Museum of Contemporary Art, in which he inserted a rocky terrain and stream of water through the winding interior of the exhibition space. He expressed:

the further away we get from the local context, the cruder the sensing becomes. I wonder if our focus on the atmospheric can give us a relationship with something that is very abstract and far away.784

What I’m interested in with my work at the Louisiana isn’t really that you experience an object or an artwork. I am interested in how you connect this landscape to the rest of the world and ultimately, how you experience yourself within it. When we’re in our familiar surroundings, in our circle of family and friends, our senses are very finely tuned, but

73, Olafur Eliasson, Lousianna Channel, accessed March 15, 2015, https://s3-eu-west-1.amazonaws.com/olafureliasson.net/ front_page/140725/exhibitions/riverbed/Riverbed_CF017216. jpg. 74 "Biography," Olafur Eliason, accessed February 13, 2015, http://olafureliasson.net/biography. 75 Ibid. 76 Ibid.

Thus, he is drawing attention to people’s relationship with the landscape and their perception of scale. More importantly, Eliasson is attempting to create a dialogue or connection between two distant, metaphysical entities. 77 Olafur Eliasson, Beauty, accessed March 14, 2015, ht t p://ar t t at tler.com / I mages/Com ment ar y/Olaf u r %20 Eliasson/53be901.Eliasson.Beauty.1.jpg4 . 78 "olafur eliasson layers riverbed within louisiana museum of modern art," designboom, August 14, 2014, accessed March 1, 2015, http://www.designboom.com/art/olafur-eliassonriverbed-louisiana-museum-of-modern-art-19-08-2014/.

Hartford Wash, Mierle Ukeles79

Mierle Ukeles 83

Mierle Ukeles is primarily known for her feminist and service-based art. Her 1969 Manifesto for Maintenance Art “…questions binary systems of opposition that articulate differences between art/life, nature/culture, and public/private.”180 Additionally, Ukeles is “…interested in how the concept of transference could be used by artists to empower people to act as agents of change to stimulate positive community involvement toward ecological sustainability.”812 Thus, she believes the role of the artist is also that of activist and that art has the ability to cause positive societal change. One of her projects, Flow City (1983-current), was at one point a walk through installation that demonstrated the maintenance process of New York City. It raised a variety of questions about “…waste removal and relocation…”, as well as the role of the area’s alreadyfragile river systems in the process.823 It was described in Phillips’ "Maintenance Activity: Creating a

Climate for Change”:

79 Mierle Ukeles, Hartford Wash, accessed March 23, 2015, http://www.learn.columbia.edu/courses/fa/images/large/kc_ femart_ukeles_81.jpg. 80 Don Krug, "Ecological Restoration, Mierle Ukeles: Flow City," Green Museum, 2006, accessed March 3, 2015, http:// greenmuseum.org/c/aen/Issues/ukeles.php. 81 Ibid. 82 Ibid.

Using the culture of sanitation work as an allegory of global environmental management, the project reflects Ukeles' commitment to bring citizens to a visceral, participatory experience of the scale and issues of solid-waste management in New York City. As always, the social, political, and environmental issues are inextricably connected.844 Thus, Ukeles enable society to make more “…incisive connections with the physical dimensions of their urban and natural worlds,”855 and focuses attention on 83 Mierle Ukeles, accessed on March 15, 2015, http://www. mitchellcenterforarts.org/wp-content/uploads/2011/06/ Ukeles-Touch-Sanitation-Performance-1977-801.jpg. 84 Don Krug, "Ecological Restoration, Mierle Ukeles: Flow City." 85 Ibid.

Beneath Land and Water: A Project for Elkhorn City, Suzanne Lacy 86

Visual artist, Suzanne Lacy, has utilized performance, film, photographic installation, critical writing and the "...emergent art of public engagement..." in communities to address both social themes and urban issues.871 Her work "...offers one of the most important models we have of a practice that explores complex social dynamics and political issues while never losing site of art as a source of imagination and as a catalyst of change."882 Furthermore, many of her studies involve duration or last long periods of time; much of which is spent within communities and among the people. One of her more prominant works is Beneath Land and Water: A Project for Elkhorn City. In this project, Lacy worked with the small Kentucky community to create visitor and tourist resources —thus promoting activty within the small, Appalachian town.893 86 Suzanne Lacy, "Beneath Land and Water: A Project for Elkhorn City," accessed April 16, 2015, https://timbelcher. files.wordpress.com/2012/01/pink.jpg.

87 Thom Donovan, "5 Questions for Contemporary Practice with Suzanne Lacy," Art21, accessed April 24, 2015, http://blog. art21.org/2012/11/13/5-questions-for-contemporary-practicewith-suzanne-lacy/#.VUois0JhM20. 88 Ibid. 89 Ibid.

Degrees of Paradise, Mel Chin

Mel Chin is a conceptual visual artist, known for his analytical yet poetic work. Through a variety of mediums, both two and three dimensional, he explores a plethora of themes: politics, ecology, scientific preoccupation, mapping, from dreams, viral methodology, surrealism, and homage to name a few. His works “…require multi-disciplinary, collaborative teamwork and… [the intersection of] cross-cultural aesthetics with complex ideas.”191 Chin also places his art in unlikely places from destroyed homes to toxic landfills to popular television, with the intention of “…investigating how art can provoke greater social awareness and responsibility.”922 Chin’s Degrees of Paradise (1991) symbolizes and studies a proposed State of Heaven. It is an “… immense, floating, hand-knotted carpet, serving as an [emblematic] and sacrificial sky…[suspended] under a directive that parallels the actual destruction of the ozone layer.”933 In order to be as subjective as possible, Chin employed both physics and mathematics to provide structure and guidance. Specifically, he worked with physicists S. Lovejoy and F. Begin

from the McGill University; their “…radically new interpretation of meteorological dynamics advanced understanding in the fields of climatology and plate tectonics.”494

90 Mel Chin, "Degrees of Paradise," accessed April 20, 2015, http://melchin.org/oeuvre/degrees-of-paradise. 91 Ibid. 92 Ibid. 93 Ibid.

94 Mel Chin, "Degrees of Paradise."

More To Be Discovered Than We Have Ever Imagined, The Center Land Use Interpretation 95

Founded in 1994, The Center for Land Use Interpretation is “…dedicated to the increase and diffusion of knowledge about how the nation's lands are apportioned, utilized, and perceived.”196 It is a research and education based organization that specifically looks at human interaction with the earth’s surface. These interactions can be intentional or incidental as well as individual or collective. Furthermore, the organization believes “…the manmade landscape is a cultural inscription, that can be read to better understand who we are, and what we are doing.”972 They have a plethora of exhibits on “…land use themes and regions, for public institutions..”398 throughout the United States as well as rest of the globe. Moreover, they offer a variety of other resources, from books to exhibitions to public tours, regarding their aforementioned interest in the human manipulation of and interaction with the “natural” landscape. 95 "More To Be Discovered Than We Have Ever Imagined," The Center for Land Use Interpretation, accessed March 25, 2015, http://media.rhizome.org/blog/8719/clui3.jpg. 96 "About the Center," The Center for Land Use Interpretation, accessed March 3, 2015, http://www.clui.org/ section/about-center. 97 Ibid. 98 Ibid.

Steve Rowell is the project manager for the Center of Land Use Interpretation. He is a research-based artist "...who works with still and moving images, sound, installation, maps, and spatial concepts."199 Rowell's transdisciplinary work or practice studies the interacting phenomena of "...technology, perception, and culture as related to 2 Furthermore, he uses ontology and landscape."100 nature as a medium to study the built environment, often pulling methodologies and techniques from the 3 fields of geography and archeology.101 99 Alexandra Chappell, "Library Artist in Residence Exhibition and Opening Reception, 4/23," Claremont Colleges Library News, accessed April 20, 2015, http://news.libraries. claremont.edu/2015/04/library-artist-in-residence--.html. 100 Ibid. 101 Ibid.

Process & Synthesis

While some of the case studies might not directly relate to urbanism, they do address other tangential phenomena that have undeniable application in human society and thus urbanity. Many of the commonalities or observations shared by these case studies provide informative insight as far as what role the visual arts play in deciphering the complexities of environmental change and how the artists generally go about producing such work. The most obvious overlap among all of the case studies is their focus on environmental issues and humans’ relationship with the natural world. The project typically begins by asking provocative, searching questions –questions that appear insignificant or even removed from the more major concerns; it is only through this that humans are able to understand the idiosyncrasies of those larger issues and how to potentially intervene. Many of these questions seek to make the intangible, tangible and the unperceivable, perceivable –the issues they address invisible to the general public for one reason or another. This is done in a variety of ways: 1. They create relationships or connections between things that allow humans to perceive their role. Tolaas does this by relating smell to place, allowing people to understand that they were the ones creating the smell in the first place. 2. They simply reveal information that is otherwise unknown or ignored. Maisel literally uses large scale photographs but they are impactful in that they draw attention to things we normally try to hide or not look at –paradoxical in their horrifying beauty. And 3. They reduce the scale of the issues to a scope in which we can grasp and identify with. Maya Lin does this in her Water Body series as far as sheer size is concerned. However this could also be demonstrated through compressing time. These methods are all related to some degree and can be utilized alone or collectively. The point being: the artists are educating people about aspects of reality and human society that we don’t immediately recognize. Many of these artists also identify with a variety of other professions or begin in another profession and express their work through metaphorical, artistic means. More often than not, the other professions inform the types of mediums

Bruno Latour: things

In the article: “From Realpolitik to Dingpolitik” from the catalogue for the 2005 exhibition How to Make Things Public, the French sociologist and historian of science Bruno Latour argues for a shift from “Realpolitik” to “Dingpolitik.” Realpolitik, according to Latour, is a “…positive, materialist, no-nonsense, interest only, matter-of-fact-way of dealing with naked power relations,” and tends to be a very unrealistic 1 With an interpretation of politics and publics.102 emphasis on pragmatism or realism, Realpolitik can often become compromising and ideological in its pursuit to achieve only the most practical means. Latour proposes to replace Realpolitik with what he calls “Dingpolitik” –a combination of the old English and German word Ding (essentially “issues” 2 or “things”) and politics.103 By using Dingpolitik instead of Realpolitik, there is an implied underlying meaning that is capable of transforming what would be merely an empty “object” into a “thing.” These things are more influential since they are attached to issues or matters of concern both significant and provocative, while also extending far beyond what 3 Therefore, we are more is just the most practical.104 likely to represent, stand up for, take interest in, and defend these things because we find meaning and worth within them. Latour also writes, “We might be more connected to each other by our worries, our matters of concern, the issues we care for, than by any other set of values, opinions, attitudes or principles [(objects)].”4105Thus, the things that represent our worries, matters of concern, and issues we care for can unite and empower us –creating a much more effective political or civil agenda. 102 Bruno Latour, "From Ringpolitik to Dingpolitik: Or How to Make Things Public," accessed February 21, 2015, http://www.bruno-latour.fr/sites/default/files/96DINGPOLITIK-GB.pdf. 103 Ibid. 104 Ibid. 105 Ibid.

they choose to work with, how they precisely use certain materials, and how they manipulate space in general. For example, Maya Lin’s work is very much architectural even though it is not what we immediately identify as architecture. Then, the artists utilize research or scientific data, usually gathered within the multidisciplinary study, to inform their work. This scientific data, often ecological in scope, is eventually translated to art through metaphor. In Steward TA Pickett's article, "Ecology of the City: A Perspective from Science", he describes these metaphors as: Clearly articulated theories and models [that] embody the assumptions, specify the networks of ideas and causal connections, generate hypotheses, and organize observations. Models are explanations of the material world. They identify the parts and interactions in the system of interest, the spatial and temporal boundaries of the system and the possible outcomes of interaction. Models can be physical, such as an artificial stream, quantitative as in the case of a differential equation, or 1 conceptual and qualitative.106

Thus, the influence, success, and applicability of many of the artists’ work originates from their diverse backgrounds and related, factual research, which is then translated to art through an discernible metaphor.

Understanding, Knowledge, & Power

“You cannot protect the environment unless you empower people, you inform them, and you help them understand that these resources are their own, that they must protect them.” -Professor Wangari Maathai (1940-2011)

Besides illuminating or making sense of the complexities society faces in achieving sustainable development within urban culture, the aforementioned artists and their work also catalyze public awareness and environmental literacy. An essential aspect of achieving a sustainable society “…is a growing participation of citizens in environmental decision making. This means that environmental governance needs to involve those most affected, not just those who profit from 1072 However, before the exploitation of resources.” 106 Steward TA Pickett, "Ecology of the City: A Perspective from Science", Urban Design Ecologies, ed. Brian McGrath, Urban Design Ecologies, ed. Brian McGrath (United Kingdom: John Wiley & Sons Ltd, 2013). 107 Peter Marcuse, "Sustainability is not Enough,"

20 people can participate in such environmental decision making, they need to be aware of what is actually going on and what they are fighting for. Because much of what feeds urban environments occurs far from the political boundaries of such cities, this environmental literacy must extend to all those affected , regardless of distance, since those are the people who actually live with the repercussions of environmental impacts or degradation. The politics behind such environmental impacts often revolve “…around what is seen and what can be said about it, around who has the ability to see and the… [capacity] to speak, around the properties of spaces and the possibilities of time.”3108 Because the art addresses environmental issues with the intention of being readable and understandable, it enables people to see, know what they are looking at, understand the issues regarding it, and thus make their own informed decisions about whether they support or oppose it. Environmentally informative art also has the ability to occur almost anywhere and even move between different places. This direct accessibility enables “… decisions to be made at the appropriate level [since] it encourages community-based inputs and innovations [to] become embedded in the planning and decisionmaking processes at the local and regional levels of governance.”4109Thus, while an energy efficient building constructed in a place suffering negative environmental repercussions can be viewed as a positive addition, it does not negate or fix what is causing the actual problem. The more powerful force would be public awareness and then concurrent action to stop the negative environmental repercussions from happening; art, if directed in the right direction and expressed correctly, can do just that. Environment and Urbanization 10, no. 2 (October 1998): http:// eau.sagepub.com/content/10/2/103.full.pdf. 108 Mostafavi, Ecological Urbanism: Harvard University, Graduate School of Design. 109 Moran, People and Nature: An Introduction to Human Ecological Relations.

Application: Resource Extraction

Lavendar Pit copper mine: Bisbee, Arizona1112

1 The industrialization and mechanization of the eighteenth and nineteenth centuries, especially related to urban development, demanded and enabled vast amounts of minerals, metals, and other materials to be extracted from the earth. The even more recent technological rush towards globalization has only intensified this need. While the techniques and processes have changed slightly in the last onehundred and fifty years, resource extraction still remains one of the more devastating human-caused impacts on the earth’s surface. Moreover, the “… complete disconnect today between what goods we use on the Earth and the consequences of that use on people and nature…”1110 has made resource extraction a distant problem, often unrecognized by those who either directly or indirectly support it. Moran of People and Nature states, “If we are to begin to move towards a sustainable Earth system, we must begin to have awareness of what we do —no matter where it might occur —and to reflect on whether that is an 2 Thus, resource extraction impact we want to have.”111

and its underestimated and seemingly distant repercussions are an essential discussion in the much larger dialogue of urban development, regardless of how far the urban development is occuring.

110 Moran, People and Nature: An Introduction to Human Ecological Relations. 111 Ibid.

112 "Lavendar Pit", Wikimedia, accessed March 23, 2015, http://upload.wikimedia.org/wikipedia/commons/d/d1/The_ Lavender_Pit,_Bisbee,_AZ.jpg.

The American Southwest

The Southwest region of the United States is predominantly known for its mineral rich geologies —its pockmarked landscape an indication of a past dominated by gold, copper, silver, uranium, and lead. Beginning in the nineteenth century, small settlements began to pop up nearly over-night all across the region, accommodating those who hoped to strike it rich. As the mining became more and more successful, these small settlements grew to booming towns and even small cities —all catalyzed and sustained by mining’s vast economy and an advancing, industrial, and urbanizing society’s need for such precious resources. Much of this resource extraction occurred within open-pit mines and with rather crude technologies, as the adverse effects of

such techniques were not yet realized. The negative effects of resource extraction include, but are not limited to: erosion, formation of sinkholes, loss of biodiversity, as well as contamination of soil, groundwater and surface water by chemicals from 3 These consequences depend mining processes.113 on the mining technique utilized at the time of production as well as how well the mine is managed through time and after closure. Beginning in the mid to late 1900s, many of the mines supporting these towns began to experience collapse. In most cases, the value of the mined minerals suddenly and drastically decreased to the point where the cost of operation exceeded all profits. In other instances, the ore bodies were completely depleted or the mines experienced some disaster. Thus, many began to shut down and cease operation. Because the once thriving towns functioned on a mining monoculture, there was no other economic income to support them once the mining halted. The towns’ populations steadily decreased as people moved to bigger cities looking for new jobs and better opportunities. While the towns were once bustling with people and activity, they slowly became abandoned or only retained small populations —according the popular “ghost town” name. The few that survived found other ways to bring in economic support: most commonly through tourism. However, for many, their houses and streets continue to decay; half abandoned and half occupied by those still attached to the places and memories of their once flourishing homes.

Superior, Arizona: then

Sixty miles east of Phoenix in the desert highlands is Superior, Arizona. A once booming silver and copper mining hub, Superior now exists merely one notch above ghost town: many of its buildings and structures, including most of its Main Street, abandoned and/or dilapidated. The town’s history is a near stereotypical tale of most other mining towns in the southwest. While Native American tribes, particularly the Apache, lived on the lands around Superior for quite some time prior to the American Industrial 113 "Mining Industry," World Public Library, accessed on March 11, 2015, http://netlibrary.net/articles/Mining_industry.

22 Revolution, it was not until 1875 that the Irene and Hub claims (later known as the Silver Queen mine) formed the foundations of what the town is today — then called Hastings. In 1902, Englishman, George Lobb, Sr., sold off his local silver mine to LS&A or Lake Superior and the Arizona Mining Company. Lobb continued to live in the area, eventually laying out the town site, and named it Superior after the LS&A.1144 “Mining engineer, financier, patriot, and extraordinary philanthropist, [William] Boyce Thompson, was a self-made millionaire…” who purchased the rights to the LS&A owned mine 5 He eventually claimed and Silver Queen mine.115 them under the Magma Copper Company in 1910 and started to mine copper in addition to silver. Simultaneously, Thompson also funded the Boyce Thompson Arboretum “…to study plants and to 6 The arboretum exists help educate the public.”116 to this today, tucked along the base of Picket Post Mountain and along Queen Creek. Thompson went on to fund the Magma Arizona Railroad, which went into operation in June of 1915 to transport the ore from Superior to Webster and eventually on to more distant places. This “… narrow gauge railroad was [eventually] replaced by a standard gauge railroad and became the longest 100% steam common 7 The year carrier operating in the United States.”117 1924 brought a $3.6 million smelter to Superior which was later declared an innovation by The American Society of Mechanical Engineers, as well as the air conditioning used in the mine which was later designated a National Historical Engineering 8 Landmark.118 From that time onward, Superior and its mine experienced many ups and downs —living in an almost constant and dependent flux. One of the worst mining disasters in Arizona history occurred in 1927 at the Magma mine; a fire swept through intake shaft number 2 which eventually led to a flooding of the 114 "History of Superior," Town of Superior (May 19, 2013), accessed March 3, 2015, http://www.superior-arizona.com/ index.php?option=com_content&view=article&id=112&Item id=1068. 115 Ibid. 116 Ibid. 117 Ibid. 118 Ibid.

23 9 shaft.119 While many escaped, several miners lost their lives in the incident. However, the mine and town continued to expand. At one point in time, Superior saw population numbers in the 10s-of-thousands, sadly dwarfing its 2014 census of under threethousand. Moreover, its glory years were also known for the most bars per square mile ratio of any other place in the southwest. The town’s cinematic value made it a filming hot spot, several movies and films being shot within and around Superior. It was not until the 1970s that Superior and its mining economy began to collapse. In 1971, the Magma Copper Company smelter closed and ten more years brought the shut down of the entire mine. Consequently, the rest of the town went into a downward spiral. Over the next twenty-five years, its populations numbers dramatically dropped, businesses shut down, and people moved on to larger cities. Many of those who stayed in Superior worked in the mines before their closure —like their parents and grandparents before them.

to come —gaining political, economic, and prodevelopment supporters as well as a variety of those who oppose it: environmental groups, rock-climbers, bird watchers, the Apache Native American Tribe and a host of others.

Paradox & Complexity

Meanwhile, just three miles east of Superior —behind the town’s identifying Apache Leap escarpment and seven-thousand feet below its neighboring Oak Flat desert floor— lay one of North America’s largest copper deposits to be discovered: 1.7 billion metric tons of 1.52 percent copper, stretching 1.5 miles in diameter. It was not until 1995 that the porphyry ore body was detected using advanced sonar technologies by BHP Copper Mining Co. during an explorative drilling near the closed 10 BHP Billiton, the “…leading Magma Copper Mine.120 global resources company…”, quickly purchased the Magma Copper Mine and joined forces with the Rio Tinto Group, eventually forming the Resolution Copper Mining Company; together, they hoped to extract and develop the massive and valuable copper 121 Little did they know that their plan to ore body.11 mine the vast copper deposit would be the center for numerous debates and controversies in the years

As previously discussed, mineral extraction is a contested topic within the realm of sustainability —its past stained by the crippling, negative effects it has on the landscape and environment. Paradoxically, it is stated by the Resolution Copper Mining Company that the mined ore will “…help wire a rapidly growing world and drive the new green economy, powering everything from wind 12 They vow to implement turbines to electric cars.”122 state-of-the-art technologies to minimize any potentially negative or harmful effects caused by the 13 Furthermore, the company affirms the mine mine.123 will not only greatly boost Superior’s economy — freeing it from its current depressive circumstances and creating jobs— but also the entire state with the 14 intention of supplying 25% of the nation’s copper.124 Thus, regardless of its many skeptical opponents, the land swap bill enabling the proposed copper mine was passed in December of 2014 in favor of these economic and pro-development possibilities. A review of the processes and plans proposed by the Resolution Copper Mining Company, particularly through their web-page and various published reports, reveals the company is attempting to make mining or resource extraction as sustainable as possible —they are greatly improving upon the mining techniques of the past. Whether it be water, land, air quality, biodiversity, or community development, RCMC has taken some measure (even 15 The minerals procurred will if small) to address it.125 also be used to make our very important urban centers more sustainable and efficient. However, what if there is no way to make mining a completely sustainable process? There are ways to make it less harmful or reduce its negative impacts (which is what RCMC is

119 "History of Superior," Town of Superior. 120 "The Resolution Copper Project," Resolution Copper Mining, accessed March1, 2015, http://resolutioncopper.com/ the-project/. 121 Ibid.

122 "The Resolution Copper Project," Resolution Copper Mining. 123 Ibid. 124 Ibid. 125 Ibid.

Superior, Arizona: now

24 doing) but that does not mean harm will be eliminated altogether or negative impacts will not be felt to some degree. To complicate the situation even more, these harmful and negative effects are occurring at scales that most people cannot see â&#x20AC;&#x201D;whether it be because they are too small, too large, or surpass our own lifetimes. Thus, many have become ignorant or quasi-ignorant to the fact that there are still going to be negative consequences caused by the copper mine regardless of its "sustainable" publicity in addition to how, where, when, and at what scale the impacts will occur â&#x20AC;&#x201D;simply because such information has yet to be presented to the public in a comprehendible way. It is only through the awareness and understanding of such facts that people, both in Superior and elsewhere, can accurately decide whether or not to support the mine or if its negative implications are worth progress elsewhere.

Intervention

Therefore, as architects and designers communicating via the visual arts and embodying the artist's mindset, we are beginning our journey with the provocative and searching question...

What are the spatial, scaler, temporal, and thus invisible forces at play? If made visible and lucid, will people experience a shift in perspective? Both unbiased and objective, the goal is to merely present all of the information and facts to the general public so they can individually decide whether the proposed copper mine is an impact they want to have on the earth. This will occur through an exhibition of designed "things" that takes places on Superior's Main Street â&#x20AC;&#x201D;specifically within one of its currently abandoned buildings. Architectural in character, it will also draw upon the studies of geology, hydrology, chemistry, and others to both realize and represent the aforementioned forces.

ar 27

Research Development: Land Displacement

Land displacement is a currently invisible force that will only become visible once it is too late to reverse its impact. Not only will its process and alteration of the landscape occur somewhat slowly —beginning when the copper mine starts operation in 2020 and continuing until its predicted closure in 2064, but even after with the potential of existing indefinitely.1126 Thus, it remains invisible due to both its gradual processes and ability to outlive those who initally catalyze it. Moreover, the phenomena is so large in scale that it would only be truly discernable from aerial view —a view we are capable of seeing but do not necessarily come in contact with on a daily basis. The porphyry ore body, located 7,000 feet below the earths surface, is estimated to be the size of Superior's Picket Post Mountain, spanning 1 mile 2 It will be extracted utilizing the block in diameter.127 cave mining method, which is essentially the same process as open-pit mining but below the earth's surface. Shafts will be drilled down and beneath the ore body where explosives will be used to break apart the ore so it can be mechanically brought back to the surface: the depth of the process too deep for 3 Because material is being removed human life.128 below the surface and creating an underground void, the land and earth atop will start to collapse— creating a massive sink hole in a phenomena called subsidence. While RCMC predicts the land will only subside 1,000 feet at most, many predict it could greatly exceed that depth as time goes on. Thus, the 1 square mile area currently above the ore body will not only become unstable, unsafe, and unfit for people to explore but also for much of the local flora 4 and fauna to live.129 126 Ucelia Wang, "Sustainable mining: an inherent contradiction in terms?," The Guardian, January 5th, 2015, Accessed April 24, 2015, http://www.theguardian. com/sustainable-business/2015/jan/05/sustainable-miningbusiness-poverty-environment-new-framework. 127 "The Resolution Copper Project," Resolution Copper Mining. 128 Ibid. 129 "Retirees Join Environmentalists in Fighting Arizona Copper Mine," March 18, 2012, Accessed April 24, 2015, https://www.hcn.org/issues/44.8/retirees-joinenvironmentalists-in-fighting-arizona-copper-mine.

The tailings produced by the mineral extraction will also create a dramatic alteration of the landscape. The material whose absence underground creates subsidence, must be placed somewhere above ground once processed. The amount of land currently set aside for such tailings surpasses 6 square miles and is located in various places both around Superior 5 The land which is covered by the and beyond.130 tailings not only becomes unfit for life but the taillings themselves are both inert and potentially toxic.

Representation

In order to represent the scale at which the land displacemet will take place, we must observe an area of land stretching from the Boyce Thompson Arboretum to the land past the one mile subsidence zone. This allows for us to capture the full extent of the square mile zone as well as the town of Superior and the arboretum —entities important to the overall story. Furthermore, we want to draw upon the sound and motion of falling sand, as that will represent the subsidence occuring and land falling away. 130 Kari Lydersen, "Retirees join environmentalists in fighting Arizona copper mine."

Research Development: Hydrology

The hydrologic impacts associated with the proposed Resolution Copper Mine are related to those of land displacement but are invisible for other reasons. In order for the mineral extraction to take place, trillions of gallons of water must be both pumped out of the drilled shafts and also used for the 1 Over 150 wells, processing of the extracted ore.131 purchased and operated under a variety of names (Resolution LLC, Magma Copper Mining Company, BHP, Rio Tinto) in addition to purchased water rights from the Central Arizona Project also supply 2 This depletes the already valuable the operation.132 and low groundwater and surfacewater levels within the area —the proposed amount of water being 338,910,000,000 trillion gallons— a volume that we 3 Comparatively, this amount is simply do not have.133 100 times more than the total amount of copper to be extracted by the closure of the mine in 2064. Like land displacement, the extraction of groundwater is going to create even more subsidence and thus alter both surface and subsurface geologies. The sink holes created by the subsidence will redirect water away from Superior's valued Queen 4 Creek and zones typically fed by natural run off.134 Additionally, the specific area that will become the mine and large sink hole, currently called Oak Flat, is comprised of volcanic tuff: a porous rock incredibly successful at soaking up and holding groundwater. The sink hole created by the mine will completely disrupt that natural system and prevent ground water storage in the area where Superior gets most of its 5 groundwater.135

Representation

In order to capture the hydrological impacts, we will utilize the wells as a form of representation. They will take the form of glass tubes that will vary in height and width depending on the dimensions 131 "Water Depletion at Oak Flat," Celebrate Earth, Accessed April 15, 2015, http://www.celebrate-earth.com/waterdepletion-at-oak-flat/. 132 Ibid. 133 Ibid. 134 "Well Registry," Arizona Department of Water Resources, Accessed April 14, 2015, http://www.azwater.gov/azdwr/. 135 "Water Depletion at Oak Flat," Celebrate Earth.

28 and depths of the wells in real life. Furthermore, they will occur in their exact locations relative to the aforementioned area utilized in representing land displacement. They will drip water over the course of the exhibition —implying a depletion of water. People will be able to emerse themselves within the glass tubes or "wells" and both feel and hear the dripping.

ar 29

Research Development: Technology

to capture it. The ground beneath the glass tubes will be coated with a hydrophobic, clear paint; The technological impact, as related to once the water hits the ground, it will splatter and resource extraction and specifically the Resolution float along the surface. This visual is very similar Copper Mine, is potentially the most indiscernible to when radioactive materials are placed within force of all. TENORM, or Technologically-Enhanced cloud chambers or devices utilized in recognizing Naturally-Occurring Radioactive-Material is created radioactivity. Second, the temperature difference when mining processes either "...concentrate or in the exhibit will vary from warm to cold; when a expose radioactive materials that occur naturally person is exposed to radioactivity they often develop in ores, soils, water, or other natural materials."1136 a fever in which they either feel very hot or very cold. The soils and rock in geologies of copper rich Lastly, a light haze will be pumped into the air that areas also contain NORM, or Naturally-Occurring will represent radioactivity's ability to infiltrate and Radioactive Materials, like uranium, thorium, and spread. 2 radium.137 The mining and extraction of copper "... by common surface or underground methods can concentrate and expose radionuclides in the waste rock (tailings). Another extraction method, known as leaching, can transport uranium and thorium into 3 groundwater or surface water at the site."138 All of these methods expose or concentrate the NaturallyOccurring Radioactive Materials, and thus transform them into TENORM or Technologically-Enhanced Naturally-Occurring Radioactive Materials. Because the Resolution Copper Mining Company plans on utilizing an underground method of extraction as well as leaching, they are potentially creating TENORM through the extraction processes of 4 copper.139 Many mining companies are aware of the uranium, thorium, and radium present and thus also mine those materials since they can be profitable— uranium being the most profitable of all. The amount of uranium present is similar to that of copper. Thus, while the mining companies will not market themselves for uranium mining, they are extracting essentially the same amount of uranium as 5 The radioactivity associated with uranium copper.140 is particularly dangerous since it is invisible to the human eye and its impacts are often delayed.

Representation

The technological impacts were the most challenging in terms of representing within the exhibit. Thus, we chose a series of subtle methods 1 36 "Copper Mining and Production Wastes," The United States Environmental Protection Agency, Accessed April 15, 2015, http://www.epa.gov/radiation/tenorm/copper.html. 137 Ibid. 138 Ibid. 139 Ibid. 140 "Uranium Mining Overview," World Nuclear Association, Accessed April 15, 2015, http://www.world-nuclear.org/ info/nuclear-fuel-cycle/mining-of-uranium/uranium-miningoverview/.

ar 30

Art of Extraction

Final Design: Art of Extraction

Section

Plan

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