DESIGN JOURNAL LANDSCAPE ARCHITECTURE 203 LECTURE PROJECT
Jeremie Mc Afee Professor Wilcox
TABLE OF CONTENTS
pg. 1 - 5
EXTERNAL LECTURES ANDREW KOVACS LECTURE DR. KYLE BROWN LECTURE ERIN RAE HOFFER LECTURE NOAMI FRANGOS LECTURE
pg. 6 - 15
LEXICON ENTRIES ADAPTION BOUNDARY CONNECT CONSERVATION DISTURBANCE GROUNDED INTENTION LEGIBILITY PRISTINE RESILIENCE
pg. 16 - 19
THEORY RESPONSE COMPOSING LANDSCAPES RAMBUNCTIOUS GARDEN FATHOMING THE UNFATHOMABLE PROJECTIVE ECOLOGIES
pg. 20 - 21
INDIVIDUAL INSIGHTS 2015 MAY 10 2015 MAY 23
APRIL 15, 2015
APRIL 21, 2015
ANDREW KOVACS LECTURE
DR. KYLE BROWN LECTURE
ANDREW KOVACS I GOT A NEW UNDERSTANDING
TO
FOR A WORD HE USED FREQUENTLY, AFFINITIES.
DESIGNERS WE ARE CREATING MULTIPLE FORMS
THIS WORD IS SIGNIFICANT TO THE GREATER LOS
AND MAKING THE SITE HAVE A RELATIONSHIP TO
ANGELES AREA BECAUSE IT DEALS WITH THE
THE SURROUNDING ENVIRONMENT. DEPENDING
RELATIONSHIPS OF ONE OBJECTS FORM AND
UPON WHAT IS PLACE ON THE SITE CAN HAVE THE
SHAPE TO ANOTHER. WITHIN LOS ANGELES THERE
BYSTANDERS PASSING THAT SPACE INTERACT
IS A VAST AMOUNT OF SPACE THAT IS FILLED WITH
WITH IT IN STRANGE WAS AS THEY WOULD DO
SO MANY DIFFERENT OBJECTS THAT CAN BE USED
WHEN THEY SEE A STATUE WITH AN AWKWARD
IN MULTIPLE WAYS AND THE FORM OF THESE
POSE. HIS MAIN FOCUS ABOUT THESE AFFINITIES
OBJECTS CAN BE THE INSPIRATION OF A NEW
WAS THAT ARCHITECTURAL FORMS CAN BE
DESIGN. KOVACS BROUGHT UP ANOTHER GOOD
CREATED FROM THESE EVERY DAY FORMS THAT
RELATIONSHIP CONNECTION AND THAT WAS THAT
SURROUNDS US. THIS IS IMPORTANT TO OUR
AS
STRANGE
PROJECT BECAUSE I CAN USE DIFFERENT FORM
OBJECTS AND FORM. ONE EXAMPLE OF THIS
THAT EXIST AROUND THE SITE ALREADY AND
WOULD BE A STATUE, WHEN HUMANS CHOOSE TO
CREATE A FUNCTIONAL USE TO THE CURRENT
INTERACT WITH THIS OBJECTS FORMS THE MIGHT
SITE.
HUMANS
WE
INTERACT
WITH
THE
CURRENT
PROJECTS
AT
HAND,
DR.
AS
KYLE
BROWN
ABOUT
THIS LECTURE RELATES TO OUR STUDIO PROJECT BECAUSE OUR FOCUS ON MANIPULATING THE SITE
COMMUNITY AND HOW COMMUNITIES SHOULD BE
THAT IS TO CREATE A PLACE THAT EVERYONE FEEL
MORE AWARE ABOUT CREATING OPPORTUNITIES
THAT THEY CAN BELONG TO IT; NO ONE FEELS LIKE
WITHIN THEIR OWN COMMUNITY. INSTEAD OF
AN
FINDING SOMEONE OUTSIDE OF A COMMUNITY
UNDERSTAND THE COMMUNITY AND CREATING A
AND PAY THEM, THEY COMMUNITY SHOULD BE
SUSTAINABLE PLACE FOR PEOPLE TO GROW INTO.
MORE WILLING TO BUILD UP THE RESOURCES
STRENGTHEN THE COMMUNITY IS A FOCUS OF THE
SURROUNDING THEM. SUSTAINABILITY WAS A
SITE; SINCE THE SITE IS SURROUNDED BY
MAJOR FOCUS OF THIS LECTURE, HOW CAN THE
COMMERCIAL BUILDINGS. THE MAIN FOCUS OF
POWER
OUT
THE SITE IS TO INCREASE THE POPULATION AND
NATURAL WAY TO CREATE THEIR SOURCE OF
CREATE DIFFERENT MEANS THAT FORCE THE
LIVING.
HE ASKED A QUESTION REGARDING,
POOREST SOCIAL CLASS TO STILL BE WELCOMED
SHOULD COMMUNITIES FOCUS ON BUILDING UP
TO THE AREA. I BELIEVE BY CREATE DIFFERENT
THE CITY OR CREATING OPPORTUNITIES FOR THE
OPPORTUNITIES FOR THE COMMUNITY TO BE
COMMUNITIES TO HAVE EDIBLE CROPS, OR CLEAN
INVOLVED WITH ON THE SITE WILL BRING A MORE
WATER
SUITABLE ENVIRONMENT FOR EVERYONE IN THE
LIVING
POSE THAT THE STATUE IS IN.
LECTURE
A
UNDERSTANDING
TRY TO MIMIC THE FORM OR TRY TO MODEL THE
GAVE
IN
THE
FOR IS
RESOURCES
COMMUNITY
CONSUMPTION.
HOW
WITHIN
FIGURE
REGENERATIVE
COMMUNITIES
SHOULD
BE
OUTSIDER.
WE
HAVE
TO
BE
COMMUNITY CAN BE INVOLVED WITH.
FOCUSED ON, CREATING A SENSE OF BELONGING, MAKE EVEN THE POOREST MEMBERS FEEL LIKE THEY ARE A PART OF SOMETHING LARGER THAN A LY
AR
YE G
1
TH
W
RO
SOCIAL CLASS.
COMMUNITY GROWTH
THE SIGNIFICANCE OF THIS IDEA CAN BE APPLIED
3
AFTER LISTENING TO A LECTURE GIVEN BY
COMMUNITY GARDEN COMMUNITY CENTER
1
2
ABLE
TO
APRIL 28, 2015
MAY 13, 2015
ERIN RAE HOOFER LECTURE
NOAMI FRANGOS LECTURE
IN A LECTURE GIVEN BY ERIN RAE HOFFER, SHE
USING PENCIL AND PAPER IT TAKES A LOT MORE
NARRATIVE STRUCTURES, WAS THE TITLE OF A
AND CREATE THESE MOMENTS TO BE MAPPED OR
FOCUSED ON THE DISRUPTION OF CURRENT
EFFORT AND TIME TO JUST MAKE ONE SIMPLE
LECTURE GIVEN BY NAOMI FRANGOS. IN THIS
TURNED INTO A LAND FORM. WITH ASSIGNMENT
ARCHITECTURAL STRUCTURES AND IN DRAWINGS.
CHANGE.
THIS
LECTURE SHE FOCUSED ON THE ABILITY TO
THREE I HAVE TO TRANSLATE THE LAST TWO
ANOTHER ONE OF HER FOCUS TOPICS WAS USING
PROJECT
BECAUSE
A
DISCOVER WITHOUT INTENT. SHE SHOWED SOME
PIECES OF THE PROJECT AND CREATE A FORM
DIGITAL TECHNOLOGY IN DESIGN. IN REGARDING
DISRUPTIVE PROCESS AND THAT MEANS IT’S
EXAMPLES OF HOW A GROUP OF STUDENTS GREW
THAT REVEALS A PROCESS. ALL OF THIS RELATES
THIS TOPIC, IT RELATES TO MY STUDIO PROJECT
GOING TO GO THROUGH CONSTANT CHANGE.
IN THEIR KNOWLEDGE OF PROCESS. THESE
BACK TO FRANGOS’ POINT, TO BE ABLE TO
BECAUSE DURING HER TIME IN COLLEGE SHE DID
USING DIGITAL TECHNOLOGY THESE DISRUPTIONS
EXAMPLES
THESE
DISCOVER WITHOUT INTENT AND SEE WITHOUT
NOT HAVE THE OPPORTUNITY TO USE DIGITAL
CAN BE MANIPULATED AND CHANGED A LOT MORE
STUDENTS TOOK TO GET FROM [ASSIGNMENTS SHE
INTENT. ONE TOPIC THAT FRANGOS SPOKE ON
TECHNOLOGY
CURRENT
FREQUENTLY, CAUSING THE DESIGN TO GO
REFERRED TO AS “ROOMS”] ROOM TO ROOM TILL
THAT CAUGHT MY ATTENTION WAS CREATING
GENERATIONS LIKE MYSELF. THE ADVANCES OF
THROUGH MULTIPLE CHANGES AND ALTERATIONS
THE FINAL DESIGN WAS FORMED. THERE WERE
FORM WITH RELATIONSHIPS. SHE REFERRED BACK
USING DIGITAL TECHNOLOGY IS THE ABILITY TO
IN A SHORTER TIME COMPARED TO WHEN HOFFER
MULTIPLE MOMENTS THAT WERE CREATED FROM
TO HER STUDENTS WORK AND THEY EACH HAD TO
CONTROL
BEING
WAS LEARNING DESIGN. HOFFER SAID THAT THIS
TRANSFORMING SHAPES INTO A DESIGN, OR
COMBINE THEIR PROJECT WITH THREE OTHER
HOFFER’S
IS AN ERA OF OPTIMIZATION AND WITH THE USE
HAVING SOME SPACE AND RE-IMAGINING IT,
STUDENTS AND CREATE A FORM THAT HAS A
BIGGEST FOCUS WAS DISRUPTION AND HOW IT IS
OF DIGITAL TECHNOLOGY THIS CAN BE ACHIEVED
COMBINING
STUDENTS’
RELATIONSHIP TO ONE ANOTHER, CONNECTING
AFFECTED BY THE USE OF TECHNOLOGY. IT IS
AT A DIFFERENT SPEED COMPARED TO THE PAST.
COMBINING
THOSE
GIVING
JOINTS MOMENTS. TO ME THIS RELATED TO THE
EASIER TO CHANGE UP A DESIGN FEATURE;
WITH THIS PROJECT ASSIGNMENT OPTIMIZING
MULTIPLE FACES TO A “ROOM.” THIS LECTURE
LAST ASSIGNMENT BECAUSE BEING IN A GROUP OF
HOFFER USED AN EXAMPLE OF A CLIENT WANTING
THE RESULTS OF HOW QUICKLY THESE LAND
RELATES TO THE CURRENT STUDIO BECAUSE IN
THREE FORCES ONE TO CONNECT DIFFERENT
A DESIGN BUT HAS CONSTANT CHANGES.
FORMS ARE SHAPED CAN BE DONE AT A MORE
THE TAXONOMY AND MAPPING ASSIGNMENT, I
MOMENTS INTO A SINGLE PROCESS.
PRECISE LEVEL USING THE DIGITAL TECHNOLOGY.
HAD TO LEARN HOW TO DISCOVER DIFFERENT
THE
IMPLEMENTED
COMPARED
TO
DISRUPTION INTO
THE
THAT
IS
DESIGN.
RELATES IT
TO
THE
DESIGNED
CURRENT TO
BE
SHOWED
THE
15 yrs
3
4
WORKS,
TWO
MOMENTS WITHIN A SITE
PROCESS
THEREFORE
MOMENTS
ANDREW KOVACS LECTURE
AD·AP·TA·TION [NOUN]
ERIN RAE HOFFER LECTURE
ˌADAPˈTĀSH(Ə)N/
THE ADJUSTMENT OF SPECIES TO FIT THE SURROUNDING ENVIRONMENT THAT HAS BEEN CHANGED OR ALTERED. A MODIFIED FIT TO AN OUTSIDE CONDITION(S). A MODIFICATION TO A SPECIES LIVING CONDITIONS TO FIT THE ALTERED ENVIRONMENT
NOAMI FRANGOS LECTURE
DR. KYLE BROWN LECTURE
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6
BOUND·A·RY [NOUN]
CON·NECT [VERB] KƏˈNEKT/
ˈBOUND(Ə)RĒ/
CONCEPTUAL IDEA THAT HAVE A REAL LOGICAL RELATION BETWEEN ONE OR MORE PRINCIPALS TO UNIFY THE IDEAS TO CORRELATE TOGETHER. AN ESTABLISHED LINK THAT BRING RELATIONSHIPS TOGETHER
TERRITORY THAT IS DIVIDED BY MEANS OF SEPARATION. CREATES A TRANSITION FROM ONE SPACE TO ANOTHER; A LINE THAT MARKS LIMITS OF A SITE. BOUNDARIES CAN BE TANGIBLE AND INTANGIBLE
EAST
EAST
WEST
WEST
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8
DIS∙TUR∙BANCE [NOUN]
CON·SER·VA·TION [NOUN]
/DƏˈSTƏRBƏNS/
ˌKÄNSƏRˈVĀSH(Ə)N/ PROTECTION OF NATURAL RESOURCES AND SPECIES OF PLANTS AND ANIMALS. TO KEEP RESOURCES FROM BEING WASTED OR DEPLETED; PREVENTION OF PRESERVED WILDLIFE FROM DECAYING TO INEXISTENCE. AVOIDING THE UNNECESSARY USES OF NATURAL RESOURCES THAT CAN HARM SPECIES NORMAL ACTIVITIES
OUTSIDE CONDITIONS THAT HAS IMMEDIATE EFFECTS TO THE BEHAVIORS OF FUNCTION. SIGNIFICANT ALTERATIONS TO CAUSE A CHANGE IN THE ORIGINAL STATE; THE CREATION OF DISORDER. LOUD COMMOTION THAT DISTILLS NOISE TO AN AREA THAT IS UNWANTED
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10
IN·TEN·TION
GROUND·ED [ADJECTIVE]
INˈTEN(T)SH(Ə)N/
ˈGROUNDID/
AN ACT THAT RESULTS FROM A MENTAL DECISION, AN ACTION DONE ON PURPOSE. AN ACTION GUIDED BY AIM; ONES PLAN TO DO OR ACHIEVE. MENTAL PLANNING FOR A COMMITMENT TO AN ACTION
SENSIBLE. SOLID INFORMATION THAT CAN SPEAK FOR THE CONCLUSIONS TO THE CONNECTIONS THAT ARE BEING PRESENTED. HAVING REASONS FOR THE ACTIONS THAT ARE MADE
DESIGN PROGRAM
%NJƬǏǕƴǏǕ*
ƳǏǩLj/(
NJǕ'
LOGIC
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LEG·I·BIL·I·TY [NOUN]
PRIS∙TINE [ADJECTIVE] /’ PRIS, TĒN,PRI’ STĒN/
ˌLEJƏˈBILƏDĒ/ THE STATE OF BEING VISIBLE; HAVING THE CAPABILITIES OF BEING READ OR DECIPHERED. HAVING AN UNDERSTANDING OF THE QUALITY THAT IS TO BE PERCEIVED OR RECOGNIZED BY HAVING CLEAR AND/OR LOGICAL CHARACTERISTICS
UNTOUCHED, UNSPOILED BY ANY OUTSIDE INTERFERENCE; ANY OUTSIDE FACTOR OR FACTORS THAT CHA NGES UP THE ECOLOGICAL SYSTEMS AND FORCE THE ECOLOGY TO ADAPT TO NEW CONDITIONS. A CLEAN ENVIRONMENT NOT AFFECTED BY ANY POLLUTANTS FROM ANY NON-NATIVE SPECIES
LAYER 5
1 2
LAYER 4 LAYER 3
3
LAYER 2 LAYER 1
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RE·SIL·IENCE [NOUN]
SUBURBS
RƏˈZILYƏNS/
URBAN
THE STATE OR CONDITION OF AN OBJECT TO RECOVER BACK TO ORIGINAL CONDITIONS AFTER A CHANGE OCCURS OR A DEFORMATION
LOS ANGELES
THE LANDSCAPE AS A THREE DIMENSIONAL DESIGN
COMPOSING LANDSCAPES
LANDSCAPE ARCHITECTURE IS THE DEVELOPMENT OF THE CONCEPT OF NATURE, THROUGH THE MANIPULATION OF DESIGN. THE FORMS THAT ARE CREATED FROM LANDSCAPE
ARCHITECTURE
IS
UNIQUE
AND
EXPLICIT;
LANDSCAPE
ARCHITECTURE IS THE RELATIONSHIP OF THE STRUCTURE OR BUILDING TO THE LANDSCAPE. WITHIN THE LANDSCAPE THERE ARE COHERENCE COMPOSITION OF ELEMENTS RELATING ONE CHARACTERISTIC TO ANOTHER. IT IS IMPORTANT TO THE LOS ANGELES AREA BECAUSE IT’S A COHERENT SYSTEM OF CONCEPTS THAT COME TOGETHER TO CREATE A PROGRAM FOR A PARTICULAR SPACE OR LANDSCAPE. LANDSCAPE ARCHITECTURE IS AN OBJECT OF MANIPULATION DONE TECHNICALLY TO TARGET SPECIFIC ARCHITECTONIC OPERATIONS. THIS FORM OF DESIGN IS DIRECTED TOWARD CLARIFICATION OF THE QUALITIES WITHIN A SPACE. THESE IDEAS RELATE TO THE STUDIO ASSIGNMENTS BECAUSE A PROGRAM HAS TO BE FORMULATED FROM THE QUALITIES THAT CURRENTLY EXIST WITHIN THE SITE. THE QUALITIES THAT THE SITE CONTAINS CREATE THE PROGRAM FOR THE DESIGN, IT JUST HAS TO BE RECOGNIZED AND UNDERSTOOD MORE IN DEPTH. EXPRESSIVE POTENTIAL OF A DESIGN IS MEANINGFUL WHEN THE FORM OF A PLACE AND THE SPACE WORK TOGETHER AS A WHOLE TO FORMULATE A COHESIVE INSERTION INTO THE LANDSCAPE. THIS IS IMPORTANT TO THE LOS ANGELES AREA BECAUSE IT’S A CITY FULL OF POTENTIAL, COVERED BY MULTIPLE TYPES OF LANDFORMS THAT CAN BE USED FOR DEVELOPMENT.
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THEORY RESPONSE
RAMBUNCTIOUS GARDEN
PAMPHLET ARCHITECTURE 34
WEEDING THE JUNGLE
FATHOMING THE UNFATHOMABLE
IN THE BEGINNING OF EMMA MARRIS’ BOOK, RAMBUNCTIOUS GARDENS, SHE BRINGS UP THIS
ONE IDEA THAT WAS TALKED ABOUT IN FATHOMING THE UNFATHOMABLE, BY CHARO AND
IDEA OF NATURE IS NO LONGER IN ITS ONCE PRISTINE CONDITIONS ANYMORE; THIS NOTION
KULPER, WAS ABOUT ARCHITECTURAL DRAWINGS. IT WAS MENTIONED THAT THESE TYPES OF
BEING VIEWED WORLDWIDE. THE CONDITIONS OF THE WORLD’S LANDSCAPES CEASED TO BE
DRAWINGS HAVE TO BE VISUAL, AS THE DESIGNER IT IS THEIR RESPONSIBILITY TO CREATE
PRISTINE WHEN HUMANS STEP FOOT IN THE AREA. THERE HAS BEEN SOME ATTEMPTS TO
THESE DRAWINGS THAT A BRING INTERACTION BETWEEN IT AND THE CLIENT. THERE IS
KEEP THIS NOTION SOMEWHAT TRUE; THE CREATION OF NATIONAL PARKS. WITHIN THE
MUCH MORE TO THAT COMES BEFORE THE PROJECT IS CREATED, THERE IS PROCESSES THAT
UNITED STATES NATIONAL PARKS FORMED TO TRY TO KEEP PIECES OF THE COUNTRY AS
HAVE TO BE THOUGHT UP AND THOSE COME WITH DRAWINGS THERE IS NO COMMON
UNTOUCHED AS POSSIBLE, SINCE THIS IS A DEVELOPING COUNTRY. IN CERTAIN PART OF THE
LANGUAGE. REPRESENTATIONAL ART IS GOING TO BE HUGE IN DESIGN. IT HELP THE PROCESS
US HAVE DEVELOPED LARGER THAN FIRST ANTICIPATED, SO BECAUSE OF THAT IT CAUSES
OF DRAWING WHEN THERE IS A PREDETERMINED LANGUAGE CREATED TO KEEP FORMS IN A
DRASTIC ALTERATIONS THE SURROUNDING LANDSCAPE. MARRIS’ IDEAS RELATE TO OUR
CONSISTENT MANNER. THE IDEAS THAT ARE IN THE HEAD OF AN ARCHITECT HAVE TO BE
STUDIO PROJECT BECAUSE WE HAVE A SITE THAT IS IN NO WAY CLOSE TO BEING PRISTINE, BUT
PORTRAYED WITH MEANING AND PURPOSE WHEN BEING DISPLAYED. THIS IDEA RELATES
THERE IS A WAY TO CREATE RESILIENCY IN A SITE THAT HAS NO LANDSCAPING AT ALL. WE
BACK TO STUDIO WORK BECAUSE EVEN THOUGH I AM DESIGNING A SITE, THERE IS
UNDERSTAND THAT IT’S A HARDER CHANCE TO BRING THIS LOCATION BACK TO ITS PRISTINE
PROCESSES THAT HAVE TO BE CREATED BEFORE THE DESIGN IS COMPLETED BECAUSE THE
NATURE, RATHER THAN CREATE A PROGRAM THAT CAN BE IMPLEMENTED INTO THE RIO
DESIGN COMES FROM THE IDEAS CREATED IN THE DRAWINGS. THE LAYERING OF IDEAS
HONDO CHANNEL TO HELP FLOURISH WHAT IS CURRENTLY LIVING THERE AND DESIGN AN
FORMS THE PROGRAMS TO BE IMPLEMENTED INTO THE DESIGN. READING THIS HELP ME
IDEA THAT CAN SUSTAIN ALL OF THIS IN THE CURRENT STATE OF CONDITIONS. THOSE
UNDERSTAND MORE ABOUT HOW IMPORTANT DRAWINGS ARE TO THE DESIGN PROCESS.
CONDITIONS BEING ON A LOCAL AND GLOBAL SCALE. FROM WHAT I UNDERSTAND FROM
WITHOUT REALLY TAKING THE TIME TO STOP AND FIGURE OUT WHY SOMETHING IS DONE
READING THE BEGINNING CHAPTER IS THAT THERE IS A POSSIBILITY THAT A PRISTINE
THE PROJECT ISN’T GOING TO AN EFFECTIVE DESIGN DUE TO A POOR ANALYSIS. IN THE
LANDSCAPE CAN EXISTS TO A CERTAIN LIMITATION IF THE HUMANS THAT OCCUPY THE AREA
STUDIO PROJECT, DRAWINGS FROM THE FIRST PORTION OF THE PROJECT IS GOING TO BE
CREATED SENSIBLE CONSERVATION PROGRAM TO CONTROL THE LANDSCAPE.
USED IN THE FINAL PRESENTATION OF THE DESIGN TO RELATE IDEAS BACK TO THE ORIGINAL ANALYSIS OF THE SITE.
THEORY RESPONSE
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THEORY RESPONSE
PERSONAL REFLECTION 1 TODAY IS MAY 10, 205; THE BEGINNING OF WEEK 7. BEING THIS FAR INTO THE QUARTER I HAVE LEARNED MUCH MORE ABOUT SITE ANALYSIS. ONE OF THE BIGGEST LESSONS I RECEIVED SO FAR IS LOOKING MUCH MORE IN DEPTH AT A SITE; THIS MEANS
FLOOD CONTROL FREAKOLOGY: THE LOS ANGELES RIVER WATERSHED
PROJECTIVE ECOLOGIES
STAYING AT A PARTICULAR AREA ON THE SITE AND ACTUALLY COUNT AND CREATE YOUR OWN FACTS. I FEEL LIKE I HAVE GOTTEN USED TO THE PROCESS OF WHEN YOU CREATE
IN IT TALKS ABOUT HOW THE LOS ANGELES RIVER IS ONE OF THE MOST COMPLEX URBAN
SOMETHING OR CHANGE SOMETHING THERE ALWAYS IS A
WATERSHEDS IN THE WORLD, THAT IT IS NOT A NATURAL AQUEOUS SYSTEM ANYMORE. IT
REASON WHY, AND IT DOES NOT HELP MY IDEAS OUT IF I JUST
IS A FULLY ENGINEERED FLOOD SYSTEM THAT REACHES A 51 MILE STRETCH. MANY VIEW
CREATE SOMETHING WITH NO REASON OR EXPLANATION. I HAVE
THIS AS SERVE DISRUPTION TO THE NATURAL RIVER FLOW IN SOUTHERN CALIFORNIA,
TO BE ABLE TO RELATE ONE PROCESS TO THE NEXT, BY KEEPING A
AND THAT IS ELIMINATED MANY OF THE HISTORIC SPECIES THAT USED TO THRIVE IN
COMMON SET OF RULE TO FOLLOW. WHEN IT COMES TO THIS
THAT ECOSYSTEM. THIS RELATES BACK TO THE STUDIO PROJECT BECAUSE THE RIO
PROJECT, I FEEL THAT I IS CLOSELY RELATED TO THE DROUGHT
HONDO CHANNEL IS CONNECTED TO THE LOS ANGELES RIVER, SO WHAT WE DECIDE TO
THAT WE ARE EXPERIENCING IN CALIFORNIA RIGHT NOW. OUR
DESIGN AT OUR SITE IS GOING TO ALTER THE RIVER IN SOME WAYS. OUR CHOICE OF
SITE IS RIGHT ON A CHANNEL THAT CURRENTLY HAS NOT BEEN
VEGETATION AND HOW IT IS IMPLEMENTED INTO THE SITE IS GOING TO INTRODUCE
RECEIVING THE PROPER AMOUNT OF WATER FOR SEVERAL
MANY NEW SPECIES TO THE SURROUNDING AREAS. SINCE OUR SITE IS ENGINEERED IN
REASONS. WITH THIS PROJECT I HAVE TO COME UP WITH WAYS
THE SAME WAY AS THE LOS ANGELES RIVER, THERE IS NO SOURCE TO USE WHEN IT COME
TO CREATE A LANDSCAPE THAT ATTRACTS TO A CERTAIN
TO DESIGNING A SUCCESSFUL DESIGN THAT WILL ATTRACT USERS TO BE ENGAGED WITH
AUDIENCE, THAT IS ALSO REFLECTS THE DROUGHT THAT
THE COMPLEX SYSTEM THAT SURROUNDS THEM. TO ME, WHAT MAKES THIS A DIFFICULT
CALIFORNIA IS EXPERIENCING.
CHALLENGE IS THE FACT THAT I AM WORKING WITH A SITE THAT IS DESIGNED TO BE USED AS A FLOOD CONTROL SYSTEM AND DESIGN SOMETHING THAT FUNCTION AS AN INTERACTING LOCATION ON A SITE THAT IS CURRENTLY MAINLY BE USED BY BICYCLIST. A HUGE DESIGN CHALLENGE IS TO PUT SOMETHING THAT CAN WITH STAND A CERTAIN LEVEL OF DISTRESS AND NOT BECOME FULLY UNUSABLE TO THE PUBLIC.
THEORY RESPONSE
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PERSONAL REFLECTION 2 ONCE PROJECT TWO FINISHED UP I WAS SHOCKED TO FIND ME IN A DIFFERENT PLACE THAN I HAVE BEEN IN THIS MAJOR SO FAR. AFTER THAT PRESENTATION I FOUND A NEW UNDERSTANDING FOR THE MAJOR. THERE ISN’T GOING TO BE TOO MUCH HELP REGARDING THE PROCESS OF DESIGN; I HAVE LEARNED THAT DESIGN IS ABOUT THE PROCESS OF THINKING. PROCESS COMES FROM TRIAL AND ERROR, IMPROVEMENTS ARE MADE AT THE PACE OF THE DESIGNER, SO IF THE DESIGNER DOES NOT UNDERSTAND WHERE THEY WANT TO GO IT WILL BE HARD TO CREATE A PROJECT. A SITE HAS TO BE CLOSELY RELATED TO THE AREA THAT SURROUNDS IT, SO IF ONE DOES NOT DO THE PROPER RESEARCH IN THE BEGINNING OF THE PROJECT THE DESIGN WILL NOT FIT IN THE PROPOSED AREA. WITH PROJECT THREE BEING WORKED, I FOUND IT HARD TO DEVELOP IDEAS WITH LACK OF GUIDANCE. I FEEL THAT WHEN IT COMES TO PROGRESS OF THE PROJECT, GUIDANCE ONLY COMES WHEN ONE FIGURES OUT FOR ONESELF WHAT THE PROFESSORS ARE ASKING FOR. THERE ISN’T HELP, THE ONLY HELP I HAVE RECEIVED FROM THIS PROCESS OF THINKING IS WHEN I UNDERSTOOD WHAT THE PROFESSOR WANTED; THERE IS NO STEPS IN BETWEEN. EITHER ONE KNOWS IT OR HE DOES NO, PROFESSORS DO NOT CREATE THOSE STEPS IN THE MIDDLE OF THE THINKING PROCESS TO GUIDE STUDENTS TO THE NEXT STEP IN THEIR DESIGN. ALL I SEE IS IF ONE DOES NOT UNDERSTAND, IT’S HIS JOB TO
SPRING 2015
FIGURE OUT HOW TO GET TO THE NEXT STEP, AND IF THAT NEVER COMES THEN ONE FALLS BEHIND IN THE ASSIGNMENT.
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