Naeem Shahrestani Master of Landscape Architecture Master of City and Regional Planning, Urban Design
Table of Contents Imin (Immigration)
06-13
Terraform or Paradise Now!
14-19
The People's Park
20-23
Auto Park
24-31
Changshu Water Village
32-35
Mumbai Marina
38-41
The Highlands
44-47
Muhlenberg College
48-51
Tongxiang Techno Park
52-55
LA+ Time
60-61
Adapting Cities to Sea Level Rise
64-65
Miscellaneous Work
66-69
ACADEMIC
The ambition of the studio is the production of unique visual paraphernalia that elaborate seemingly improbable or irrational urban fictions in the contexc capable of advancing conversations about the efficacy of landscape as an instrument of culture and urbanization in a post-growth context that, unlike the post-industrial city of the 1990’s, remains technologically and culturally advanced.
Studio V - Imin (Immigration) Department of Landscape Architecture Critic: Christopher Marcinkoski “Send us your construction workers, your care givers, your store clerks.” While the notion of ethnic and cultural homogeneity is largely accepted and actively promoted by the Japanese state, a more open dialogue related to immigration is overdue. If an increased influx to Japan is an inevitably necessary future, the government will need to make its case to the Japanese public...
STUDIO IV - IMIN (IMMIGRATION)
08
Historical, present, and future Tokyo through the lense of assimilation.
ACADEMIC
09
2050 Comprehensive Plan of Tokyo enclave territory.
STUDIO IV - IMIN (IMMIGRATION)
10
The freedom of domestic space in enclave Tokyo.
ACADEMIC
11
STUDIO IV - IMIN (IMMIGRATION)
12
The perceived limitations of public space in local Tokyo.
ACADEMIC
13
The site for the studio is in East Fairmount Park, just north of Girard Avenue at Kelly Drive, between city and river. This studio is divided into three primary modules: Path, Garden and Time. The studio was critiqued in terms of experiential qualities, creativeand artistic vision, approach to ecological and cultural systems, and technical and conceptual clarity.
Studio I - Terraform or Paradise Now! Department of Landscape Architecture Critic: Megan Born Terraform revolved around three ecological processes concerning water; rainwater, groundwater, and floodwater. In the end, there was no fixed path for one to follow, but a series of monuments celebrating one's creativity and the ability when controlling the landscape.
STUDIO I - TERRAFORM OR PARADISE NOW!
16
Condition Study
Proposed Plan
1
4 2
5 3
1
LIGHTNING FIELD
6
WATER CHANNEL
2
LIGHTNING ROD
7
GARDEN OF THE ANTHROPOCENE
3
HYDROPOWERED LIGHTS
8
COAL SHED MONUMENT
4
RAIL STEAM TANKS
9
REVEAL WATER TABLE
5
QANAT WATER CHANNEL
10
WATERWORKS MONUMENT feet 0
Garden Study
20
40
60
80
100
Lightning Field
ACADEMIC
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6
8
10
7
9
Combustion Corridor
Water Table Lawn
STUDIO I - TERRAFORM OR PARADISE NOW!
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Above (left): Notation study of existing sitie conditions. Opposite (right): Final path proposal including water infrastructure and grading.
ACADEMIC
19
RAIN WATER
RAIN WATER RAIN WATER
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GROUND WATERGROUND GROUND WATERWATER
FLOOD WATER FLOODFLOOD WATERWATER
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Utilizing the existing Utilizing Utilizing topography the existing the existing topography topography and hydrogeography, and hydrogeography, and wehydrogeography, are we are we are able to manage able flooding to able manage to by manage flooding flooding by by creating rhythmcreating for managed creating rhythmand rhythm for managed for managed and and unmanaged flows unmanaged of unmanaged water,flows whileof flows water, of water, while while also creating new alsopoints creating alsoofcreating view. new points new points of view.of view.
PERFORMANCEPERFORMANCE PERFORMANCE
PERFORMANCEPERFORMANCE PERFORMANCE
In addition In to addition In providing addition to providing to providing hydropower lighting, the speed hydropower lighting, the hydropower speed andlighting, theand speed and frictionfriction from trains heat friction from incoming trainsincoming from heat incoming trains heat up collected water water in the in storage up collected water inupthecollected storage the storage create mistyaatmosphere. tanks to create atanks mistyto tanks atmosphere. to acreate misty atmosphere.
By digging over Bytwenty digging By feet digging over into twenty over twenty feet into feet into the earth, we the reveal earth, thetheearth, we water reveal we reveal the water the water table which can table coexist which tablewith which canthe coexist can coexist with the with the new pool located newonpool new the located historic pool located on theon historic the historic forebay sight offorebay the waterworks. forebay sight ofsight the of waterworks. the waterworks.
4
2
3
5
1 6
8 7
9
10
1
LIGHTNING FIELD
6
WATER CHANNEL
2
LIGHTNING ROD
7
GARDEN OF THE ANTHROPOCENE
3
HYDROPOWERED LIGHTS
8
COAL SHED MONUMENT
4
RAIL STEAM TANKS
9
REVEAL WATER TABLE
5
QANAT WATER CHANNEL
10 WATERWORKS MONUMENT
feet 0
30
60
90
110
130
This studio involves 2 projects. The first is the redesign of Central Park in New York City and the second is the redesign of Tiananmen Square in Beijing. Both projects will be undertaken as if they were professional competitions. Both projects concern political and aesthetic questions of what is contemporary public space; what does it look like, how does it work, who is it for and how is it culturally specific?
Studio VI - The People's Park Department of Landscape Architecture Critics: Richard Weller & Misako Murata
While an archipelago of islands is proposed for Central Park; Tiananmen Square now marks the transition between the known and the unknown world. The wall not only offers a memory bank for the deceased, but also prepares the dead for their journey into the afterlife, loved ones can occupy what is before the wall, what is after, and what is in-between. Competition: 1st prize
Existing Conditions
Tiananmen square acts as a center of multiple networks and reference points, however, the square offers a non-human scale experience. Pavement and monuments dominate the site, with little to no programming included.
Proposed Wall
Heaven & Earth
Inspired by the Chinese National Anthem to create a ‘new Great Wall,’ The proposed wall offers a chance for loved ones to be commemorated for eternity, with their ashes nestled within the infrastructure.
Proposed Garden
With Mao Zedong’s ashes incorporated within the wall, an oasis is proposed in lieu of the mausoleum, surrounded by ‘rural’ China, which consists of a tea house for visitors and tourists alike.
China under the Heavens
Earth surrounding heaven
STUDIO VI - THE PEOPLE'S PARK
22
An oasis is proposed in lieu of the mausoleum, surrounded by ‘rural’ China as Mao would have intended
ACADEMIC
23
The studio site is located on vacant land along the Delaware River. Through the design of a park, students test and refine the relationship among project concept, modes of visualization, and project formation to better understand relationships among the site, its immediate edges and the larger neighborhood or region.
Studio II - Auto Park Department of Landscape Architecture Critic: Karen M'Closkey A historical gateway into Philadelphia, Pennsport has the opportunity to become a major recreation destinitation for the greater Philadelphia region. Through a logical form and design, Auto Park welcomes all modes of transportation and mobility while rethinking in which we use public space.
STUDIO II - AUTO PARK
26
Recreation and amenities within Philadelphia County in proximity to Pennsport.
ACADEMIC
27
Historical narrative of Pennsport as a major gateway and global destination.
STUDIO II - AUTO PARK
28 Site Model
Vegetation Network
Circulation P
P
P
P
P
P
P
P
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Parking Conf. 01
Parking Conf. 02
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P
ACADEMIC
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Theater Pier
Highlands Pier
Energy Pier
Recreation Pier
Tidal Pier
Parking Conf. 03
Parking Conf. 04
Over the decades rapid urbanization, sterile urban development, and the intense industrial expansion patterns have depleted both Changshu’s agriculture land and overall quality of life. One lake however, has been preserved to be planned as visionary landscape for future development.
Changshu Water Village Department of City Planning Critic: Stefan Al By improving the water quality, connecting transit, and overall improving the public realm, Qin Lake can become a destination for both locals and tourists from all over the nation. Collaborators: Xiaoye Xing + Paula Narvaez
CPLN - CHANGSHU WATER VILLAGE
34
L
ike many other Chinese cities,Suzhou and its satellites including Changshu have witnessed unprecedented urbanization rates. The establishment of two Special Economic Zones (SEZ’s) in the early 1990’s has five-folded the city’s population to more than 5 million people in 2014. But fast-paced economic growth has come at the cost of environmental degradation, deteriorating air and water quality, monotonous housing developments, a poorly designed public realm, and streets that are virtually impossible to cross. These threaten Suzhou’s two and a half millennia legacy and reputation as a green, resort-like city. Within the concept, Qin Lake is developed as an “Island City”, a place which is dynamic, lively, ecological, with excellent amenities: a Model city. The functional basis of the city is dynamic and varied, consisting of the wetlands and ecologically sensitive zones, which are heavily related to the businesses, attractions, recreation and tourism, and creative industries. The Master plan develops two clusters guided by transit oriented development. A mixed-use commercial and residential zone consisting of offices, retail, restaurants, and
recreation activity with high end residents situated in high-rise buildings overlooking both Qin Lake and the greater city. The second cluster consists of the newly renovated villas which respect the historic typology of the villages in the past. The zone provides commercial corridors and waterfront amenities which connects to the rest of Qin Lake. Woven throughout the site includes remediation strategies primarily of wetland pads and other green technology with heavy entertainment and leisure activity providing an intelligent yet dynamic public realm. We imagine the newly planned site as a new window through which the world can know Changshu.
ACADEMIC
35
CPLN - CHANGSHU WATER VILLAGE
36
ACADEMIC
37
Mumbai, a dense, vibrant, and complex metropolitan region of 21 million inhabitants serves as the financial, commercial, and entertainment capital of the country. The city aspires to emerge as a major global city in the 21st Century, but continues to face a variety of economic, social, infrastructural, and environmental concerns.
Mumbai Marina Department of City Planning Critic: Yogesh Saoji
Through the entire plan, Mumbai’s Eastern Waterfront will demonstrate resilience, reestablish Mumbai on a global stage, embrace and promote the city’s unique identity, and serve as a replicable model of development.
Arctic
U.A.E. SAUDI ARABIA
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Bangalore
LAKSHADWEEP (INDIA)
Kochi
MALDIVES
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BANGLADESH
Dhaka Kolkata Chittagong
Male
Mandalay
BURMA
Bay of Bengal
Chennai
ANDAMAN ISLANDS
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(INDIA)
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THAILAND
Haiphong
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Bangkok
Hainan Dao
Da Nang
VIETNAM
CAMBODIA
Phnom Penh
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0 0 60
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Boundary representation is not necessarily authoritative.
80
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Mindanao
Palembang
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Cocos (Keeling) Islands (AUSTL.)
100
Sulawesi
I N D O NJavaE Sea S I A
Jakarta
Indian Ocean
Celebes Sea
MALAYSIA Borneo
Sumatra
Scale 1:48,000,000
Philippine Sea
Sulu Sea Davao
SINGAPORE
Azimuthal Equal-Area Projection
Semarang
Java
Surabaya
0
Ambon
Banda Sea Díli TIMOR-LESTE
Timor
Timor Sea
Christmas Island (AUSTL.)
20
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Singapore
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Quezon
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MALAYSIA Kuala Lumpur
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SouthManila City China PHILIPPINES Sea
Ho Chi Minh City
Gulf of Thailand
(INDIA)
Luzon
SPRATLY ISLANDS
NICOBAR ISLANDS
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Taiwan
Hong Kong S.A.R. Macau S.A.R.
Nanning
Hanoi
140
Fukuoka
Okinawa
Taipei
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LAOS Vientiane
Rangoon
SRI LANKA
Colombo
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Vishā khapatnam
Sea
SOUTH KOREA Zhengzhou East Nanjing China Shanghai Sea Wuhan Hangzhou
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Arabian Sea
BHUTAN
Osaka
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Chengdu Chongqing Y Changsha
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NEPAL
Ahmada¯bād Indore Surat Mumbai
Xi’an
CHIN A
New Delhi
Karāchi
Lanzhou
Indian claim
Line of Actual Control
Islamabad
Tianjin
Taiyuan
Yokohama Nagoya
Dalian
L A N D S
Dushanbe
Kabul
Beijing
Baotou
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KYRGYZSTAN
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20
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Bishkek
AFGHANISTAN
Sea of NORTH Japan JAPAN Tokyo KOREA
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IRAN
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Lake Balkhash
UZBEKISTAN
TURKMENISTAN Ashgabat
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Tehran
Irt y
K A Z A K H STA N
AZERBAIJAN
Tabriz ¯
Irkutsk
Qaraghandy (Karaganda)
Aral Sea
Caspian Sea
Khabarovsk
U
Tbilisi
Chita Lake Baikal
Sakhalin
A
40 ARM. Yerevan
Novosibirsk
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160 KURIL ISLANDS
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GEO.
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NEW SIBERIAN ISLANDS
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FINLAND
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ZEMLYA
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an gtz e
Stockholm
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SEVERNAYA
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Copenhagen
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FRANZ JOSEF LAND
NORWAY
Oslo
60
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(NORWAY)
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Svalbard
Norwegian Sea
U.K.
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Glasgow
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AUSTRALIA
803537AI (G00543) 6-12
CPLN - MUMBAI MARINA
40 Transportation
Circulation
Figure Ground
Park Space
Density
Water System
Parking Space
Energy System
Framework
ACADEMIC
41
Proposed Plan
PROFESSIONAL
PORT (in collaboration with Range) was selected by the Regional Plan Association of New York to assist in evaluating the design potentials of RPA’s recommendations in the forthcoming Fourth Regional Plan. PORT’s work focused on The Highlands, an area stretching from Pennsylvania to Connecticut at the base of the Eastern slope of the Appalachian Mountains.
PORT Urbanism Regional Planning Association of New York The team proposed an approach that intertwines conservation and development by monetizing ecosystem services, as well as tying development incentives to conservation investment. Such an approach allows for the integration of ecosystems and economies, design and management, providing a vision for the Highland’s future that fully embodies the goals of the Fourth Regional Plan. Collaborators: Ao Zhong
PORT - THE HIGHLANDS
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PROFESSIONAL
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Located less than 90 miles west of New York City— and 50 miles north of Philadelphia—Muhlenberg College’s Allentown, Pennsylvania campus is as beautiful as it is convenient. Nicknamed “The Queen City,” Allentown is Pennsylvania’s third largest, and fastest growing city, and home to three historic districts and one of the best park systems in the United States.
Wallace Roberts and Todd Muhlenberg College Allentown, Pennsylvania From January to August, preliminary plans and drawings were assembled for regular client meetings while interning with Wallace, Roberts, and Todd. These drawings included a catalogue of reconnaissance to understand and evaluate the existing Muhlenberg campus for future development and overall improvement.
WRT - MUHLENBERG COLLEGE
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Site Context
HUCKLEBERRY RD
N6
th
ST
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MAC
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Base Map
Building Age
Edge Condition
Open Space
0
0.5mi
1.0mi
1.5mi
PROFESSIONAL
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Parking
Vegetation
Utilities - Water
Utilities - Stormwater
Tongxiang is a county-level city, part of Jiaxing, in northern Zhejiang Province, China with a population of aproximately 900,000 people. As one of the biggest woolen sweater manufacturing base, Tongxiang continues to sell over 600 million woolen sweaters each year.
Urban Planning & Design Institute of Shenzhen Tongxiang Techno Park Tongxiang City, China The Tongxiang Techno Park capitalizes on the county's already impressive economic stance by proposing a technology business park with multiple office space and magnificent views in in the region's surroundings. Along with creative businesses, major recreation considerations will be implemented to further enhance the park.
1.建设基地的有序营造
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切割？
线走廊
边关联
地块内
性，消
。
UPDIS - TONGXIANG TECHNO PARK
54 Building Condition
Design Iterations
Renewal Plan
结合甲方意见与建筑现状，对有利用价值的建筑有计划地进 行拆除、保留升级，按照目标功能需要适当进行功能置换。
Framework Plan
结合甲方意见与建筑现状，对有利用价值的建筑有计划地进 行拆除、保留升级，按照目标功能需要适当进行功能置换。
135M
PROFESSIONAL
55
Proposed Development
Tongiang Techno Park activated through complete corridors and edges.
PUBLICATION & RESEARCH
The journal explores landscape architecture's interdisciplinary potential, bringing readers a collection of contemporary thinkers and designers in two illustrated issues annually.
LA+ Issue 08 TIME University of Pennsylvania School of Design In this issue, designers, historians, artists, geographers, psychologists, ecologists, planners, scientists, and philosophers deal with the issue of time, truly revealing connections and collaborations between landscape architecture and other disciplines .
TIME
TIME US $19.95 ISSN: 2376-4171
ISBN: 978-1-940743-36-3 51995
9 781940 743363
3
08
08
LA+ TIME
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Time In Our Hands:
Erle C. Ellis is Professor of Geography and Environmental Systems at the University of Maryland, Baltimore County where he teaches environmental science and landscape ecology. His research investigates the dynamic ecology of human landscapes from local to global scales toward informing sustainable stewardship of the biosphere. Ellis develops tools for global synthesis (GLOBE) and 3D mapping (Ecosynth) and is author of the recently released volume Anthropocene (2018) from the Oxford University Press Very Short Introduction series.
co-designing a better anthropocene
Geography, Environmental Science
A
new “great force of nature” is shifting Earth into a new interval of geological time, an “age of humans,” the Anthropocene1. Global climate change, widespread pollution, mass extinction, and the loss and reshaping of natural habitats are just a few of the many indicators that human societies have gained the capacity to transform the functioning of an entire planet. For some, this time of unprecedented anthropogenic environmental change must be seen as a “rupture” in Earth history – a clean break from earlier times when human societies lived only within the limits of a natural Earth system which shaped them, and not ever the other way around2. Others, including the stratigraphers of the Anthropocene Working Group, recognize the continuous nature of anthropogenic environmental change, yet still focus on defining a discrete boundary in time and rock to define the start of an Anthropocene epoch in the middle of the 20th century3. Others look deeper in time, observing anthropogenic transformations of Earth’s biosphere, atmosphere, and climate caused by megafaunal extinctions, land clearing using fire, soil tillage and irrigation, domestications and species introductions facilitated by expanding trade networks, and other increasingly globalized social-ecological transformations that have produced the Earth and world systems of the current time.4
Recent anthropogenic changes in Earth’s environments are unprecedented in scale, rate, and intensity. Their impacts are harmful already and all but certain to increase over time, at least in coming decades. But there is nothing unprecedented about the coupling of human social change with human transformation of environments. There is no break in this human-environmental continuum. Human societies have always engineered their ecosystems. And across tens of millennia, human transformation of ecology has always been inherently social: socially learned and socially enacted. We have always lived within, reshaped, and adapted to environments already shaped by our ancestors. Unlike any other species, the human ecological niche, our way of living on Earth, is a sociocultural niche, constructed from the coevolving cultural, material, and ecological inheritances of countless generations across myriad societies interwoven into the fabric of human sociocultural diversity.5 The emergence of ever-larger scales of interconnected human societies and their unprecedented capacities to transform Earth are dual consequences of these longterm evolutionary processes. In the Anthropocene, environmental change is social change, and social change is cultural change. Though social change follows no simple directional timeline through the many regime shifts in societal functioning and environmental transformation (from intensive hunting of megafauna, to agriculture, urbanization, and industrialization), there is no rupture in this relation. Human societies have never been more capable of transforming Earth than they are right now. Yet these unprecedented sociocultural capacities cannot be understood or redirected without connecting them with their deep roots in millennia of sociocultural evolution in societies around the world.6 To break the timeline of Earth history into two parts around 1950 or even 5,000 years ago acts only to obscure the underlying processual and political realities of social-ecological change, which are inevitably continuous, heterogeneous, historically contingent, and evolving.7 Whether and when an “Anthropocene divide” in Earth history might eventually be negotiated among stratigraphers, the question that matters now is not when human societies changed Earth, but why, and whether human societies might yet shape a better Anthropocene than the one we are creating now. The Anthropocene paradigm puts time in our hands. Can this time be reshaped from a narrow crisis of despair and shrinking possibilities into an expansive future of hope and opportunity for both humanity and nonhuman natures?
Fall 2018 $5
mark raggatt W Mark Raggatt is a director of ARM Architecture, Australia. He has led practice research at RMIT University, Melbourne, and the University of Technology, Sydney, most recently under the banner “The Shit of Others.” A published writer, designer, teacher, and critic of architecture, Raggatt was contributing editor on Mongrel Rapture: The Architecture of Ashton Raggatt McDougall (2015).
Art, film
e see time’s wounds, we sense its passage but its shadow doesn’t so much as cool our skin. Time is not perceived directly, we have no specific sense devoted to the perception of time. Multiple data streams are processed by several spongy bits of brain: the cerebral cortex, cerebellum, basal ganglia, suprachiasmatic nucleus, the occipital lobe (the image processing center for all that we see). The great trick is that all that information arrives and is processed at different speeds, a disparity reconciled by the brain in about one-tenth of a second. In 1882 E.R. Clay called this moment the “specious present.”1 The specious present is fabricated by our minds – a parsing of the past that has ceased to exist and future that does not yet exist. The present is a fiction approximating a dimensionless slice of time. But what if we could watch time like an inexorable slouching beast, or give form to the passing of the present, not in memory or shadowy afterimages but by capturing the present? Daniel Crooks is an artist. He’s from New Zealand but lives in Melbourne, Australia. He works from his shed, mostly. He meddles with time as if it could be manipulated, mined, shaped, and sculpted. As if it were not predestined, or forever radiating away from us. Crooks slices time, revealing an intricate and beautiful anatomy. As a contemporary artist, Crooks instrumentalizes technology and the moving image to orchestrate ways of seeing time.2
Of Trains, their Timetables, and Pedestrians Trains and the moving image appeared at almost the same moment in history. Movement at speed altered human perception of space and time, an assault so great that people fainted and vomited – though presumably not in that order. Similarly, one of the Lumiere brothers’ earliest films The Arrival of a Train at La Ciotat Station (1896), caused panic in the cinema as a full-sized train rushed toward the audience. This might be the birth of cinema and, in its infancy, it had yet to develop a cinematic language. It is a 50-second, unedited, unmoving, continuous shot of everyday life. So, too, is Crooks’ work Train No. 1 (2002–13), in which a train arrives at the station accompanied by the almost familiar clickety-clack. The vision, too, seems to clatter with staccato repetition. The unblinking footage is sliced and displaced, as if to offset the present long enough for us to contemplate its passing. Objects and urban detritus are repeated in adjacency, we see their relative positions in time, each staccato beat a present now past. The film recalls the famous chronophotographs of Eadweard
Engineering Time The Anthropocene was not designed. Nor was it built in a day. In clearing land, farming, and developing Earth to sustain our generations, no one set out to create a hotter,
Muybridge, and Etienne-Jules Marey who coined the term and used the process, overlapping the images, to study the phases of movement. (Etienne-Jules Marey also invented a train timetable, La méthode graphique (1885), a milestone in data visualization in which the stations are listed vertically, spaced according to their relative distance, and the hours of the day are arrayed horizontally such that the angle of each line reflects the speed of a train.) In Crooks’ Static No. 9 (a small selection of something larger) (2012) we see horizontal slices through the video frame. Temporal strands saunter past, some twisting like DNA, others like creeping millipedes, or strange temporal tendrils blooming. At times, we feel as though we are panning ever upward, then still, this strange world passing. The soundtrack of urban bleeps, sonar scuffling, and human voices provides an uncanny metropolitan hustle; perhaps it’s then that we notice the legs, hands, and feet – we are people-watching. Their paths are like those of Marey’s trains tracked in temporal space, their movements seemingly predestined by some complex underlying geometry. Marey’s timetable reveals a temporal geography long before Swedish geographer Torsten Hägerstrand defined the ontology of time-space geography. In his paper What About People in Regional Science (1970) Hägerstrand writes, "In timespace the individual describes a path, starting at the point of birth and ending at the point of death…the life paths become captured within a net of constraints, some of which are imposed by physiological and physical necessities and some are imposed by private and common decisions…An individual can never free himself from such constraints."3 Crooks’ contemporary work captures the inexorable quality both of Marey’s trains steaming from Paris to Lyon and the captured freedom we describe on our paths between life and death. We are seeing just a small selection of something larger. What paths might we be on, and to what end do we carry ourselves? The Illusion of Choice In Garden of Parallel Paths (2012) we pan across these possible trajectories in the form of parallel laneways. Melbourne is a grid city; the Central Business District and inner suburbs are run through with service lanes and back alleys. The first thing we notice is that there is a dimensionless boundary between one lane and the next. Shadows
Previous: Imaginary Object No. 3 (2007) by Daniel Crook. This page: Train No. 1 (2002–13) by Daniel Crook.
PUBLICATION & RESEARCH
61
THE CONSISTENCY OF TIME by Valerio Morabito
Whence things have their origin, Thence also their destruction happens, As is the order of things; For they execute the sentence upon one another The condemnation for the crime In conformity with the ordinance consistency of Time. Anaximander (c.610–546 BCE)
I have been attempting to draw time through the catalysts of language and memory for many years. In this case, I have taken a fragment of Anaximander’s poetry and replaced his use of “ordinance,” which seems too authoritarian, with the word “consistency.” “Consistency” was the title of the final (unwritten) essay in Italo Calvino’s posthumously published work Six Memos for the Next Millennium (1988). Along with its literal dictionary definition as “an agreement or harmony of parts or features to one another or a whole,” when I think of consistency, and of Calvino’s death, an unexplored and unknown space opens up before me which I then fill—or rather, outline—with drawing. I draw infrastructures (represented by the titles of books, and words), parks, buildings (combination of high and low buildings, ancient and modern), the real and unreal space of ideas (fragmented tissue), real and unreal realities (grids, numbers, dots, lines), and true or false ecologies (fake trees with fragments of real ones). It is necessary to take into consideration a combination of intuitions and mistakes that turn into one another and compose them precisely to register the consistency of Time. Valerio Morabito is an Italian architect with a PhD in Landscape Architecture. He is an adjunct professor at the University of Pennsylvania and senior researcher at the Università Mediterranea
LA+ JOURNAL
Prisoners of Time Presents
Duration
I
n what way is time dependent on human consciousness? In phenomenological accounts of the question, Henri Bergson’s for example, the experience of duration is accepted and even emphasized. That is, I might feel time to flow more or less quickly depending on what is otherwise significant to me at a given moment. If I am bored or overtaxed, the clock ticks with agonizing slowness; if I am energized by company or activity, time may fly. Time is understood to have a specific subjective velocity, with obvious slippages as measured against any other standard.
vagaries, including time. Not so! It is possible, in short, that time splits us into multiple contradictory selves and, without exaggeration, sometimes drives us mad.
Thus, while we can acknowledge that time, considered objectively, has no speed—it is as constant, and as inevitable, as the Reaper—we remain forever conflicted on the point. More radically, many philosophers believe that time is not tensed, that is, it has no inherent properties of past, present, and future. These are, rather, illusions we hapless humans maintain because our practical purposes dictate such slavery – tense as a kind of adjunct of what eventually becomes the clock-bound world of neo-liberal production and consumption. (Guy Debord is especially acute on the point, not surprisingly.1) Nevertheless, our personal relation to events is just as inevitably timed as it is spaced.
Kant suggested (to paraphrase him slightly) that space is the form of external perception and time that of internal experience. He is not the only philosopher to have linked perception and space, experience and time. Aristotle, for example, claimed that perception is needed to “pursue” objects of sensual desire, where “pursuit” presumably has something to do with movement in space. Others have held that our experience of temporal relations consists in the temporal relations among experiences. We will attempt to understand and evaluate these claims in a contemporary context.
This accounts in part for disjoined narratives, especially in film, which introduce insight about ourselves with narratives run backward (Harold Pinter’s Betrayal, 1983), disjointedly (the Nolan Brothers’ Memento, 2000), and forward-backward at once (Two for the Road, 1967 and Unfaithful, 2002). It’s maybe no surprise that the last two concern marriages, that place where desire meets reality. In the earlier picture, a couple on vacation weaves a trans-temporal narrative of their years together; in the latter, a straying wife is shot ‘recalling’ episodes of extramarital sex on a commuter train even as the episodes are happening – as if, as Slavoj Žižek has reminded us, the events exist only in memory.2 But in all these cases, the unfolding of the narrative must occur in sequence. That’s time for you.
MARK KINGWELL
is A PROFESSOR of PHILOSOPHY at the UNIVERSITY OF TORONTO. HIS MOST RECENT BOOK is a PHILOSOPHICAL and POLITICAL STUDY of the TIMELESS, ANTI-CLOCKWISE GAME of BASEBALL, FAIL BETTER (2017). HE IS CURRENTLY at work ON A BOOK ABOUT BOREDOM. Philosophy
Pursuit To begin, allow me to quote at some length a colleague of mine, Mohan Matthen, who is an expert on the philosophy of perception. Here is Mohan describing a graduate seminar he is proposing to offer in our department (I was the director of graduate studies at the time he wrote this):
Kant again, plus Aristotle for good measure. The key notion I want to isolate is the idea of pursuit. In standard accounts of action and desire, the language of pursuit, together with its analogues and synonyms, is fairly common. We go after what we want, track chosen ends, chase wild dreams and the wind, seek (but can’t get no) satisfaction, and hunt for clues, snarks, or MacGuffins like the Maltese Falcon, the One Ring to Rule Them All, the Rabbit’s Foot, and the Red October (which is, psychologically, far more than a submarine). Conversely, we may be driven or compelled or propelled by desires we wish, at some level, we did not have. What, after all, is an addiction except a desire that drives us when we would prefer to head in some other direction.
Indeed, time’s relentless march is ever in the background of mindedness, and our thoughts of mortality are heavily invested in time-based metaphors. Clocks, calendars, and tolling bells mark our sense of the impending end, in a manner that no spatial metaphor ever evokes. True, there are timelines and horizontal graphs for the graphic display of information, but from the point of view of ordinary consciousness, and despite the arguments of Kant that both time and space are forms of sensibility that allow us to parse the sensory array, it seems as though time matters more.
But Mohan is correct that all this apparent spatiality conceals the essentially temporal nature of desire. Žižek argues, in effect, that the core of desire is the lack experienced by Mark One at Time-T1 crossed with the thought of Mark Two at Time-T1+. We tend to accept that the Mark Two may not be satisfied with the desire’s fulfillment, but we tend to underestimate the reason. It’s not just that the thing desired rarely lives up to the hype experienced by the Mark One. As Žižek notes, we retroactively posit the object of desire. And this is only possible because the temporal distance between Mark One and Mark Two has rendered them separate entities, discordant selves.
But what about the human application of rationality to its temporal conditions? How do I coordinate my actions with the future as a function of desire and action, knowing that time is a stern master? In what follows, I want to address the variable nature of rationality when it confronts time – contrary, alas, to canonical accounts of rationality which would have us believe that it is solid, and action-guiding, in the face of the world’s
This crisply explains shopaholism, for example, since the restless purchaser of consumer goods does not actually desire the goods; what he or she desires is the experience of satisfying a temporally proximate desire (click on the ‘Buy Now’ button, approaching the cash register) rather than satisfying a relatively distant one (receiving the goods in the mail, wearing the purchased clothes or shoes). Thus the deep
Climate change is a severe and growing challenge for the 21st century city. As urbanization trends and environmental changes continue to increase, urban areas will encounter tremendous challenges when facing sea level rise and flooding issues; thus, Policy makers and designers need to push the resilience agenda to further understand and manage future risks.
Adapting Cities to Sea Level Rise Stefan Al, Island Press 2018 This book intends to provide a comprehensive and user-friendly guideline for policy makers, designers, and other stakeholders who wish to take part in 21st century urban issues facing climate change. Collaborators: Nick McClintock, Ying Luo + Lizzy Machielse
ADAPTING CITIES TO SEA LEVEL RISE
64
Sample Pages
00 REVETMENTS
PERFORMANCE // Lorem ipsum dolor sit amet, consectetur adipiscing elit Lorem ipsum dolor sit
00 FLOODWALL
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usually made out of concrete or wood. They are built along the base of a cliff at a slanted angle, and are similar to sea walls in that they are implemented to act as a barrier against wave energy and erosion. Depending on rock size, height of cliff, crest elevation
Floodwalls are vertical artificial barriers designed to
•Good at dissipating wave energy [1]
•Expensive to build [1]
contain and protect waters of a river, waterway, or body of water during unusual levels of seasonal and
•Reduce coastal erosion [1]
•Strong landscape impact [4]
extreme events. Although In most cases floodwalls are
•Require less maintenance than a sea wall
•Can alter dune system permanently as
implemented on locations where space due to conflicting issues on existing buildings, historic preservation or
once it’s actually built [1]
“sand tends not to build up over the rocks if
•Good long-term protection [4]
beach erosion continues [4]
and width, revetments can take multiple shapes to
•Can be extended/modified for future
•Limited access to site can complicate
protect the shoreline while engaging with the public
shoreline change [4]
construction [5]
realm.
•Unlimited structure life [4]
•May pass erosion problems downstream [5]
PERFORMANCE // Lorem ipsum dolor sit amet, consectetur adipiscing elit Lorem ipsum dolor sit amet, consectetur adipiscing elit Lorem ipsum dolor sit amet, consectetur adipiscing elit Lorem ipsum dolor sit amet, consectetur adipiscing elit Lorem ipsum dolor sit amet, consectetur adipiscing
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Revetments are a hard shoreline protection method
•Reduction in a watercourse’s natural
minimum of space and is suitable for
retention space. This in turn increases the
densely populated areas. [2]
flood discharge peak and the danger of
•The topographic elevation can be
flooding downstream. [2]
can be proposed to create lively, dynamic, and excited public spaces while still protecting against water. Flood
exploited to create a viewpoint. [2]
•Intervention in the flood plain dynamics,
•Glass wall can serve as permanent flood
which will constrict the ecologically valuable
protection without blocking the view of
space shaped by hydraulic fluctuations. [2]
seating andFloodwall leisure, as well as running or jogging paths
encourages upper beach stability [4]
•Vertical flood protection requires a
commercial activity; creative urban design strategies
protection walls can be used for recreation activity,
•Low-risk option for backshore assets and
elit Lorem ipsum dolor sit amet, consectetur adipiscing elit
the bay/waterfront. [3]
open to the public.
Revetments
tsunami + storm waves Storm sea level
high tide
High tide
top termination trench
low tide
Mean tide Low tide
bed elevation CASE STUDY
Revetment Steps
Glass Floodwall
CASE STUDY
Cleveleyes, UK
Harbortown, England
The revetment construction in Cleveleyes
The upper part of the floodwall in Harbor
uses concrete to create steps and a pedes-
Town, England is made of glass. In this way,
trian only promenade overlooking the major
the floodwall will not block people’s view.
body of water. Along with coastal protection
Attachable or portable floodwalls and other
from erosion and other damages, this revet-
temporary flood protection measures can
ment does a good job in connecting with the Source: Wikimedia Commons, the free media repository 26
SEA LEVEL RISE & URBAN DESIGN
00 MULTI-PURPOSE DIKE
achieve to protect the property without com-
public realm.
Source: Flood Control Asia CHAPTER 1 INGREDIENTS
27
34
00 DIKES
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•Can make a hybrid of different strategies of coastal protection. For example,
coastal protection. For example, superdike can be integrated with sand dunes and
high density housing, create a high quality public realm along the waterfront and by using the higher
dunes and elevation of lands.
elevation of lands.
•Form a dike network to protect larger
•Form a dike network to protect larger area.
ground as a designated, lower-risk evacuation area. Conceptualizing flood protection as part of a multif-
area.
Multi-level Leeves
35
PERFORMANCE // Lorem ipsum dolor sit amet, consectetur adipiscing elit Lorem ipsum dolor sit amet, consectetur adipiscing elit Lorem ipsum dolor sit amet, consectetur adipiscing elit Lorem ipsum dolor sit amet, consectetur adipiscing elit Lorem ipsum dolor sit amet, consectetur adipiscing
Levees and dikes are embankments of stone, soil, or cement design to contain and protect against rivers, estuaries, and seas. Whether natural or artificial, dikes can be mainly found along the sea where dunes and beaches are not strong enough to protect against storm surges and sea level rise. Depending on the location and context of the dike, the materials can range from sandbags to rocks, concrete to wood, or more earthwork material like soil. Major infrastructure should be rarely Dikes built on top of dikes, as major stress would be put on the foundation. Lighter strategies like trails and paths are appropriate approaches to allow the public to engage with the dike.
•Can make a hybrid of different strategies of
superdike can be integrated with sand
unctional infrastructure for the city is an important lesson for cities to follow when taking mutli-purpose dike design into consideration.
CHAPTER 1 INGREDIENTS
PERFORMANCE // Lorem ipsum dolor sit amet, consectetur adipiscing elit Lorem ipsum dolor sit
A multi-purpose dike, or, super-dike is a very wide levee with a gradual inward slope. An average superdike is 10 meters high by 300 meters wide. The extended width of the dike can be integrated into the urban fabric of the city by using the land to developed
promising the city scene.
SEA LEVEL RISE & URBAN DESIGN
•Dike can be integrated into the urban fabric of the city by using the land to developed high density housing, create a high quality public realm along the waterfront and by using the higher ground as a designated, lower-risk evacuation
elit Lorem ipsum dolor sit amet, consectetur adipiscing elit
•A dike network can be developed into a
•Artificial levees can lead to an elevation of
path network. Difference in elevation of
the natural river bed over time [1]
the dikes allows for various waterfront
•Wave over-topping can cause dike failure.
views for the pedestrians. •A dike may not be submerged in the water for most part of the year and can be developed into a park. Salt-tolerant plants can grow on it and the sloping
area.
Storm sea level
High tide Mean tide Low tide
Storm sea level High tide Mean tide Low tide
Interior is reinforced with different types of soil including clay and sand.
CASE STUDY
Motorway Dike
CASE STUDY
The Netherlands
Apart from providing robust vertical protection from storm surge and rising sea levels,
dike in Dan Helder, near Amsterdam. Stretch-
dikes can also act as a pathway network in a
ing over 30 km, this is one of the world's
waterfront park and be occupied by people.
larges superdikes connecting two major
The Rebuild by Design proposals double
bodies of land, while also protecting against Source: http://footage.framepool.com
38
SEA LEVEL RISE & URBAN DESIGN
F
lood protection schemes generally fall into two categories – hard solutions and soft solutions. Hard solutions provide the hard demarcation between water and land. They are, often, permanent structures that, while keeping upland dry, do lose the natural element of the shoreline. Soft solutions generally works with nature to reduce flooding. Unlike hard solutions, they do not have the demarcation line of wet to dry. They are less permanent structures, and don’t, necessarily, have the lifespan of an engineering hard solution. Hard solutions, often developed by civil and environmental engineers, are flood protection
tasks the dikes as pleasant routes with many
floods.
Source:http://aasarchitecture.com/
CHAPTER 1 INGREDIENTS
Rebuild By Design New York City, USA
Magnificent views of the sea can be seen when traveling across the major motorway
39
46
SEA LEVEL RISE & URBAN DESIGN
structures which are (almost always) permanent. Hard solutions focus on controlling flooding and sea level rise. Examples of hard solutions are seawalls, floodwalls, and revetments. Determining the best solution for a particular shoreline, area, or region is not an easy feat. There are many factors to consider, including: access to shorelines, environmental health of the shoreline, future needs, costs associated with installation and operations and maintenance (O&M), stakeholder input, and political buy-in. Soft solutions utilize ecological and environmental principles and practices to provide flood protection as well as reduce erosion and stabilize shorelines, while also enhancing
spots for resting and socializing. CHAPTER 1 INGREDIENTS
47
habitats and improving aesthetics (as compared to hard solutions). Often, soft solutions are less expensive than hard solutions, however they are not permanent and are subject to erosion. Soft solutions are used in conjunction with other soft solutions as well as hard solutions to develop an envelope of protection.
PUBLICATION & RESEARCH
65
Catalogue of Actions
The media sequence provides an intensive handson inquiry into the exploration, enhancement, and extrapolation of digital media and the subsequent modes of conceptual, organization, and formal expression. The overlap of parametric tools enabled the testing of site scale grading, surfacing, and planting alterations in terms of both local and regional effects.
Miscellaneous Work Department of Landscape Architecture The workshop sequence considers connections between climate, geology, topography, hydrology, soils, vegetation, wildlife, and disturbance, both natural and anthropogenic. In this case, ecology is designed through representation which is synthesized through field observations and analysis.
GbB - Greenbelt Loam
MISCELLANEOUS WORK
68
Grasshopper Playscape
Existing Site
Path Configuration
Final Path Network
Landform Curves
Path Surface Network
Mesh Network
2’ Mesh Contour
Surface Network
2’ Surface Contour
Pools
Land Depressions
Residual Landform
Elevation Analysis
Slope Analysis
Surface Render
Grasshopper Suitability
Transverse Section
04.20.17
MEDIA II - Fall 2017
PLAYSCAPE
VanDerSys - LARP 542-001 & -002
ACADEMIC
69
Cartographic Representation Bedrock + Surficial Geology
Wetlands
Habitat Preservation
Naeem Shahrestani University of Pennsylvania | School of Design Master of Landscape Architecture Master of City and Regional Planning naeems@upenn.edu 513.722.5449