LA203 Lecture Journal by Nermeen aboudawood

TABLE OF CONTENTS LEARNING THE LEXICON

06 EMERGENT 07 CONCATENATION 08 PREVAILING 09 UBIQUITOUS 10 HOLISTIC 11 PERCEPTION 12 PRISTINE 13 PICTURESQUE 14 STABILITY 15 SEMIOTIC

WITINESSING DISCUSSIONS

18 STEVEN CHRISTENSEN 20 PATRIK SCHUMACHER

LARGE LECTURE PROJECT NERMEEN ABOUDAWOOD ||SPRING 2016 LA 203 // BASIC LANDSCAPE DESIGN PROFESSOR ANDREW WILCOX||

INTERESTED READINGS

24 RAMBUNCTIOUS GARDEN // EMMA MARRIS 26 PROJECTIVE ECOLOGIES // CHRIS REED & NINA LISTER 28 ATLAS OF NOVEL TECTONIC // JESSE REISER 30 PAMPHLET 28 AUGMENTED LANDSCAPES // ALLEN SMOUT 32 SYNTHETIC PATTERNS // KAREN Mâ&#x20AC;&#x2122;CLOSKEY 34 PAMPHLET 33 ISLANDS & ATOLLS // LUIS CALLEJAS

PHOTO ESSAYS 38 PATTERN 40 MATERIALS

FINAL INTROSPECTION 44 MAKING CONNECTIONS 45 COMPLEXITY VS AESTHETICS

EMERGENT THE CREATION OF AN ENTIRELY NEW ENTITY DERIVED FROM AN ORIGINAL SOURCE. THE UP-BRINGING OR ACCUMULATION OF AN IDEA OR SUBSTANCE.

INVASIVE IVY THE IVY IS EMERGING FROM THE PLANTER AND SWALLOWING THE TRUNK OF THE TREE.

LEARNING THE LEXICON

PLANE A 4 EDGED PLANE EMERGING INTO A CURVILINEAR FREE-FORM OBJECT.

CONCATENATION

PREVAILING

THE ACT OR PROCESS OF LINKING TOGETHER IN A SERIES OF INTERCONNECTED CONCEPTS. IT IS THE STATE IN WHICH THINGS ARE BOUND TOGETHER WHICH FORMS A CHAIN. THIS ACTION OF LINKING THINGS TOGETHER CREATES A SEQUENCE OR A SUCCESSION OF EVENTS.

PRAEVALERE ---> PREVAIL PRAE- BEFORE VALERE- HAVE POWER

TO POSSESS THE MOST INFLUENCE OR DOMINANCE AT ANY PARTICULAR MOMENT. THE NOTION OF BEING WIDESPREAD IN A SPECIFIC PLACE.

SILVERLAKE, LOS ANGELES

LA JOLLA, SAN DIEGO

BRANCH ENTWINING ITSELF WITH CHAIN-LINK FENCE. THE IDEA THAT NATURE AND MAN JUXTAPOSE ONE ANOTHER TO CREATE A BALANCE.

TALLEST PALM TREE CREATING DOMINANCE BY BREAKING THE CHAIN OF SIMILAR HEIGHT ALIGNMENT.

SEQUENCE

DOMINANCE

THE LINKAGE OF HOW A BOX IS BEING TRANSFORMED FROM A COMPLETE SOLID INTO A HOLLOW OBJECT.

THE PORTRAYAL OF DOMINANCE AND HOW THE TOP LEFT POINT IS SLOWLY PULLING ATTENTION FROM OTHER MULTIPLE POINTS.

UBIQUITOUS

HOLISTIC

THE ABILITY OF BEING EVERYWHERE OR SEEMING TO BE EVERYWHERE AT THE SAME TIME. THE NOTION OF BEING OMNIPRESENT AND CONSTANTLY WIDESPREAD.

THE COMPREHENSION OF THE CONNECTIVITY BETWEEN PARTS OF A SUBSTANCE THAT ULTIMATELY RELATES TO THE WHOLE. THE PARTS CAN ONLY BE UNDERSTOOD WHEN THEY ARE REFERENCED AS A WHOLE.

PALM TREE ROOTS

WATER DROPLETS

ROOTS SPREADING FROM THE UNSEEN TO THE VISIBLE.TREE ROOTS ARE WIDESPREAD AND UNCONTROLLABLE WHEN THEY ARE UNDERGROUND.

WHEN ALL THE WATER DROPLETS ARE LOOKED AT AS A WHOLE, IT IS UNDERSTOOD AS A MASS OF WATER. IT IS THE PROCESS OF COMBINED PARTS TO CREATE AN UNDERSTANDABLE WHOLE.

DIFFERENT SPATIAL ARRANGEMENTS

PARTS- WHOLE

REPEATED ELEMENTS COMPOSING A COMPLETELY DIFFERENT EXPLORATION OF DIFFERENT SPATIAL TYPES.

THE DISPLACEMENT OF SQUARES TO CREATE A DYNAMIC EXPLORATION OF SPATIAL RELATIONSHIPS.

PERCEPTION

PRISTINE

THE ABILITY OF INTERPRETING WHAT ONE SEES, HEARS, AND SAYS WITH THE USE OF SENSES. IT IS A POINT OF VIEW OR WAY OF VIEWING BASED ON WHAT WAS UNDERSTOOD.

THE IDEA OF BEING UNTOUCHED OR UNSPOILED. THE NOTION OF BEING IN THE ORIGINAL CONDITION AS IT WAS DESIGNED OR CREATED INITIALLY.

BAMBOO TRUNK

LOST WEED

THE UPRIGHT BAMBOO TRUNKS CREATE A DISTINCTIVE FIELD OF VERTICAL ELEMENTS. WITHIN EACH OF THESE TRUNKS, ARE INFINITE LINES THAT COMPOSE THIS UPRIGHT STRUCTURE.

WEED GROWING THROUGH THE CRACKS OF A PARKING LOT. THIS WEED IS UNTOUCHED AND HAS SEEPED ITS WAY THROUGH THE CRACKS TO MAINTAIN ITS ORIGINAL CONDITION.

FIGURE AND FIELD

UNTOUCHED

REPEATED ELEMENTS COMPOSING A COMPLETELY DIFFERENT EXPLORATION OF DIFFERENT SPATIAL TYPES.

BORDERING EDGES PROTECTING THE UNSPOILED CENTER.

PICTURESQUE

STABILITY

A PURELY STATIC AND VISUALLY ATTRACTIVE IMAGE THAT IS UNREALISTIC AND IS ULTIMATELY MISLEADING.

A FIRMLY ESTABLISHED STATE IN WHICH NO CHANGE OR FAILURE OCCURS. A SECURELY FIXED CONDITION WITH LITTLE TO NO MOVEMENT.

BEE FEEDING

MAMMOTH MOUNTAIN, CALIFORNIA

A TYPICAL BEE FEEDING ON A YELLOW FLOWER. THIS DEPICTION IS MADE WHEN ONE THINKS OF POLLINATORS FEEDING ON FLOWERS.

MOUNTAINS ARE STABLE FROM A DISTANCE. SHOWING LITTLE TO NO MOVEMENT AT ALL.

STATIC

EDGE BREAKER

VISUALLY PLEASING WITH NO INTENT OR PURPOSE BEHIND IT.

MIDDLE OR BREAKING POINT WHERE THERE IS NO ACTION.

SEMIOTIC THE ANALYSIS OF COMMUNICATION BY INTERPRETING SIGNS AND SYMBOLS.

STOP SIGN IN SILVERLAKE MULTIPLE SYMBOLS AND SIGNS THAT ARE COMMUNITING MULTIPLE MESSAGES.

SYMBOLS PAST, PRESENT AND FUTURE. PRESENT IS ALWASY THE MOST DYNAMIC OUT OF THE THREE.

STEVEN CHRISTENSEN

CPP ARC DEPARTMENT LECTURE DUE TO HIS BACKGROUND IN PSYCHOLOGY, CHRISTENSEN TAKES ON ARCHITECTURE WITH A CRITICALLY DRIVEN FORCE. HE ANALYTICALLY ANALYZES MOOD AND HOW IT CAN BE ALTERED THROUGH LIGHT INSTALLMENTS AND INTERACTION. HIS WORK PORTRAYS A SENSE OF DYNAMISM BY SHOWING CHANGE AND PROCESS RATHER THAN FIXATIVE PARADES. HE BRINGS UP THE BETA MOVEMENT AND DISCUSSES HOW EVEN THOUGH IT IS A SERIES OF STATIC IMAGES; IT IS HOLISTIC BECAUSE ONE MUST LOOK AT THE ZING OF THE WHOLE RATHER THAN THE INDIVIDUAL PARTS. THE WHOLE ALLOWS FOR NUMEROUS AMOUNTS OF INTERPRETATION THAT LEADS TO A HIGH LEVEL OF CURIOSITY. HIS INTEREST IN POLYVALENCE PROVES THAT HE IS INTERESTED IN THE DIFFERENT FUNCTIONS OR FORMS THAT CAN EMERGE FROM A SINGLE DESIGN. WHEN DESIGNERS TRY TO FIXATE OR MANUFACTURE A POINT-BY-POINT EXPERIENCE, DISAPPOINTMENT WILL OCCUR. I BELIEVE DESIGNERS IN LOS ANGELES STRUGGLE WITH THIS PROBLEM BECAUSE THERE IS A SENSE OF ATTACHMENT AND EXPECTATION WHEN A DESIGN IS CREATED. BY LETTING A DESIGN SPEAK FOR ITSELF, THIS PROBLEM CAN BE AVOIDED BECAUSE IF THERE IS ROOM FOR A DESIGN TO CHANGE OR EVOLVE, PEOPLE WILL BE INTRIGUED. CHRISTENSEN BRINGS UP THE IDEA OF SERENDIPITY AND HOW IT EXCITES HIM TO SEE HOW PEOPLE INTERPRET HIS PROJECTS IN A COMPLETELY DIFFERENT WAY THAN HE INITIALLY EXPECTS.

WITNESSING DISCUSSIONS 17

PATRIK SCHUMACHER SCI- ARC LECTURE

DESIGN THAT IS PURELY DECORATIVE OR MANUFACTURED IN ORDER TO PORTRAY AN EXPLORATION OF INTERESTING NURBS SURFACES, WILL FAIL. ALL DESIGN SHOULD HAVE IDENTITY AND EXPLORE THE FUNDAMENTAL IMPORTANCE OF WHY THIS PARTICULAR SITE EXISTS. WHEN RULES ARE CONSTRUCTED, PURPOSE IS IDENTIFIED AND IDENTIFICATION IS CREATED WHEN THERE IS CHARACTER DEVELOPMENT. RULES CREATE ORIENTATION AND NAVIGATION, WHICH LEAD TO SEMIOLOGY. RATHER THAN PUSHING AND PULLING INTERESTING FORMS, SHAPES SHOULD BE CREATED THROUGH REASON TO GIVE IDENTITY TO CHARACTER THROUGH ENGINEERING LOGIC. THERE SHOULD BE A MOVE AWAY FROM COHERENT URBAN FIGURES AND ANGLES BECAUSE A DESIGN WOULD HAVE STRONGER IDENTITY WITH CURVILINEAR AND FREE FROM SHAPES. A TECHNIQUE THAT COULD POTENTIALLY CREATE A COMPLEX IDENTITY IS THE DISSECTION OF A DESIGN’S SKELETON. WHETHER IT IS AN OBJECT OR A DESIGN AS A WHOLE, THE NOTION OF LOOKING FROM INSIDE AND PROJECTING OUTWARDS, CAN ESSENTIALLY VITALIZE THE ENTIRE PROJECT. DESIGNERS SHOULD ESCAPE THE IDEA OF PRODUCING TRIVIAL DESIGNS BECAUSE THEY REALISTICALLY AREN’T TRIVIAL WHEN EXPLAINED. THERE SHOULD BE RULES, AND MORE RULES, THAT EMERGE, CONVERGE, AND CONVERSE. FOR EXAMPLE, DISNEYLAND, WHICH IS PURELY NARRATIVE BASED, HAS AN IDENTITY. THE FREE-FORM PATHS OR DIFFERENT ZONES ARE CREATED THROUGH THE RULES THAT ARE GENERATED BEFOREHAND. A DESIGNER USUALLY FEARS THIS PROCESS BECAUSE THERE IS NO INDICATOR OF HOW THEIR DESIGN WILL LOOK. FORMS AND SHAPES WILL ALWAYS ARISE DEPENDING ON WHAT THE RULE ENABLES THEM TO DO.

THE BETA MOVEMENT JUXTAPOSING A SERIES OF STATIC IMAGES TO CREATE A SMOOTH FLOW OF MOVING SCENES.

POLYVALENCE DESIGN CREATING POTENTIAL TO BE INTERPRETED BY DIVERSE ACTIVATORS BASED ON NUMEROUS INTELLECTUAL AND PERCEPTUAL ORDER. 19

HEGEMONIC PARAMETRICISM

COHERENT ANGLES VS FREE FORM CURVES

RAMBUNCTIOUS GARDENS EVERY OBJECT, ELEMENT, AND SUBSTANCE HAS BEEN TOUCHED. ALL ASPECTS OF NATURE HAVE BEEN ALTERED, DESTRUCTED, AND EVOLVED. SCIENTISTS AND CONSERVATIONISTS TRY AND RESTORE PARTS OF NATURE IN ORDER TO BRING BACK LOST HABITATS WHILE DESIGNERS TRY TO CAPTURE WHAT USED TO EXIST IN THEIR DESIGNS. EVEN THOUGH THERE IS NO PRISTINE WILDERNESS, PEOPLE AVOID GOING INTO THE WILD BECAUSE THERE IS A FEAR OF THE UNKNOWN. FOR DESIGNERS, IT IS CHALLENGING TO WORK WITH THE WILD BECAUSE THE HISTORY ISN’T PREVAILED. THE WILD IS UNCONTROLLED; THEREFORE, DESIGNS HAVE TO BE SUSCEPTIBLE TO CHANGE. DESIGNERS THAT DESIGN STATIC ELEMENTS THAT DO NOT CHANGE HAVE A HARDER TIME GOING INTO THE WILD BECAUSE THE WILD IS ALWAYS CHANGING. THESE DESIGNERS STRUGGLE THE MOST BECAUSE THEY CAN ONLY DESIGN FOR THE MOMENT AND NOT FOR AN ONGOING PROCESS. FOR EXAMPLE, THE LOS ANGELES RIVER IS LOOKED DOWN UPON BECAUSE IT WAS SOLELY USED TO SOLVE THE FLOODING PROBLEM AT THE TIME. PEOPLE ARE TRYING TO RESTORE THIS RIVER BUT THERE ISN’T MUCH TO RECONDITION. THIS LEADS TO A PROBLEM THAT MANY DESIGNERS FACE: TRYING TO MAKE SOMETHING ON A SITE RATHER THAN TRYING TO WORK WITH WHAT THE SITE OFFERS. THIS ISSUE LEADS TO THE FEAR OF WORKING WITH THE WILD BECAUSE ONCE A PERSON UNDERSTANDS THE WILD THERE SHOULDN’T BE A FEAR OF DESTRUCTION. WHEN THE WILD IS SUBMERGED WITH A DESIGN, A DESIGN CANNOT BE BLAMED IF THERE IS DESTRUCTION BECAUSE THE WILD HOLDS AS MUCH RESPONSIBILITY.

INTERESTED READINGS 23

DESIGN THINKING, WICKED PROBLEMS, MESSY PLANS OPPOSED TO HUMAN’S INTERACTION WITH OR WITHIN THE NATURAL WORLD, DESIGN CREATES THE ARTIFICIAL. THIS CREATION IS CHOREOGRAPHED THROUGH THE DESIGNER’S PERSONAL PREFERENCE AND IS EXPRESSED AS AN UNNATURAL FOUNDATION. DESIGNERS ARE SELFISH EVEN IF THEY AIM THEIR DESIGNS TOWARDS A SPECIFIC GROUP OF PEOPLE OR TO HELP SAVE AN ECOSYSTEM, THEY DESIGN BASED ON THEIR PREFERENCE OR INTEREST. THE TWO MAIN PROBLEMS THAT DESIGNERS FACE ARE DETERMINATE AND INDETERMINATE. DETERMINATE MEANS TO UNDERSTAND THE PROBLEM DEFINITION AND PROPOSING A PROBLEM SOLUTION. THIS TYPE OF PROBLEM WORKS BEST IN A BUSINESS TYPE OF SETTING. INDETERMINATE CAN BE LABELED AS “WICKED” PROBLEMS BECAUSE IT FOCUSES LESS ON RESOLUTION. FOR EXAMPLE, DESIGN PROPOSALS FOR THE LOS ANGELES RIVER IN SOUTHERN CALIFORNIA GIVE AN EXAMPLE OF DETERMINATE PROBLEMS. DESIGNERS THAT PROPOSE IDEAS FOR THE LA RIVER TRY TO FIND RESOLUTIONS BASED ON WHAT THEY DEFINE THE PROBLEM TO BE INSTEAD OF WORKING WITH WHAT THEY HAVE AND ACCEPTING THAT NOT EVERY PROBLEM WILL HAVE A RESOLUTION. THESE DESIGNERS HAVE FIXED THEIR VIEWS IN SEEING THE RIVER AS FLAWED AND IMPERFECT. VIEWING IN THIS SENSE MISGUIDES DESIGNERS FROM SEEING THE SITE FOR WHAT IT HAS TO OFFER. DETERMINATE PROBLEMS OCCUR SUBLIMINALLY BECAUSE AS HUMANS, WE WANT TO FIX THINGS IN ORDER TO STANDOUT OR TO RECEIVE SOME SORT OF CREDIT. THIS IS THE CASE FOR DESIGNERS BECAUSE THIS SENSE OF STANDING OUT OR TAKING A PROBLEM AND RESOLVING IT SOMEHOW IS ACKNOWLEDGED FOR.

ALTERARTION TWO DIFFERENT ELEMENTS DISTORTED, ALTERED, AND CONNECTED BACK TOGETHER TO SHOW THAT BOTH ELEMENTS HAVE BEEN TOUCHED.

ASIGNIFYING SIGNS ALL SYSTEMS OF SIGNIFICATION THAT DEAL WITH MATERIAL OR HISTORY TREAT ARCHITECTURE AS A LANGUAGE. ASIGNIFYING SIGNS ARE AN OUTWARD SYMPTOM OF A FUNDAMENTAL PROCESS. THESE SIGNS DIFFER FROM SIGNIFYING SIGNS BY FOCUSING ON FUNCTIONALITY AND PERFORMANCE IN BROADER ASPECTS. RATHER THAN CONCENTRATING ON OBJECTS THAT CAN BE INTERPRETED, ASIGNIFYING SIGNS FOCUS ON WHAT AN OBJECT CAN DO. THESE FUNCTION-BASED SIGNS OPERATE IN TWO WAYS: IN PROCESS AND PRODUCT. THE PRODUCT IS RICHER THAN A PRODUCT DERIVED FROM SIGNIFYING SIGNS BECAUSE IT PORTRAYS THE UNFORESEEN RATHER THAN REPRESENTING THE KNOWN. LANDSCAPE ARCHITECTURE THAT IS NOT SELF-EXPLAINED CREATES CURIOSITY, WHICH FORCES ACTIVATORS OF THE SPACE TO DISCOVER FUNCTIONALITY AND PURPOSE. FOR EXAMPLE, THE LA RIVER IS AN EXAMPLE OF PUSHING THE LIMITS OF CURIOSITY. PEOPLE ACKNOWLEDGED THAT THE RIVER’S PURPOSE WAS TO PREVENT FLOODING BUT NOW THERE IS A SENSE OF CONFUSION. ALTHOUGH THE SITE OBTAINS PURPOSE AND HAS POTENTIAL FOR PUSHING CURIOSITY, DESIGNERS VIEW THIS PLACE AS HAVING MULTIPLE OPPORTUNITIES. THIS DIALOGUE OF TRYING TO FIGURE OUT WHAT THIS SITE CAN DO IS NOT LIMITING BECAUSE IT ISN’T JUST A SITE THAT CONTAINS A BODY OF WATER, IT IS FAR MORE THAN THAT. IT IS A REMINDER OF HOW ENGINEERING AND TECHNOLOGY HAVE STRIPPED THEIR WAY THROUGH THE CITY AND HAVE RESOLVED ISSUES THAT ARE UNNOTICED.

SELFISHNESS EVERY DESIGN STARTS FROM THE SELFISHNESS OF THE DESIGNER. THERE MAY BE DIFFERENT ASPECTS AND REASONS FOR THE DESIGN, BUT PERSONAL PREFERENCE WILL ALWAYS BE EVIDENT.

BUILDING A RESTLESS WORLD THE SENSE OF PLACE HAS BEEN MISPLACED BECAUSE IT IS GLOBALLY RECOGNIZED. THE ACT OF INTERVENING IN THE WORLD HAS CREATED THIS LOST RECOGNITION. SIMILARITY AND CONSISTENCY HAS SPREAD AROUND GLOBALLY AND HAS RESULTED IN MISINTERPRETED IDENTIFICATION. DESIGNERS ARE DESIGNING IN RELATION TO SOMETHING ELSE AND THE PLACE THEY ARE MANIPULATING IS NOT RECOGNIZED FOR WHAT IT IS BUT RATHER FOR WHAT IT IS COMPARED TO. WHEN DIFFERENTIALITY ISNâ&#x20AC;&#x2122;T MAINTAINED, THERE IS NO IDENTITY. WHEN THERE IS A LOSS OF IDENTITY, A PLACE CAN BE REDUNDANT AND UNINTERESTING BECAUSE OF ITS FAMILIARITY. FOR EXAMPLE, THERE IS NO PLACE LIKE DISNEYLAND. EVERY PART OF THIS THEME PARK HAS BEEN COMPLETELY THOUGHT OUT AND SUPPORTS THE NARRATIVE BIAS IT INITIALLY STARTED WITH. DISNEYLAND ATTRACTS MANY PEOPLE GLOBALLY BECAUSE IT IS UNFAMILIAR. A PLACE WITH PURPOSE SPECIFIC TO ITS LOCATION WILL ATTRACT MANY TYPES OF PEOPLE BECAUSE IT IS INCOMPARABLE. WHEN A SITE IS RECOGNIZABLE, IT IS EASIER TO DISTINGUISH THE DIFFERENT WAYS ELEMENTS ACT WITHIN THAT PLACE. WITH FAMILIARITY, PEOPLE WILL THINK THEY SHOULD ACT IN A SPECIFIC WAY. WITH UNFAMILIARITY, THERE IS CURIOSITY; AND PEOPLE WILL EXPLORE THIS PLACE IN MANY DIFFERENT WAYS. SINCE LOS ANGELES IS ALWAYS EVOLVING, DESIGNERS SHOULD CAPTURE THIS INTERESTING IDENTITY BECAUSE THIS EVOLUTION CAN ONLY BE REPRESENTED THROUGH DESIGN.

PROCESS THE VALUE AND IMPORTANCE OF PROCESS AND THE UNFORESEEN.

SYNTHETIC PATTERNS PATTERNS ARE SAID TO BE STATIC AND CREATE FLATNESS. ACCORDING TO TREIB, PATTERNS ARE CREATED NOT FOR INHABITATION BUT FOR CAMERAS AND PEOPLE TO LOOK AT. SOME PATTERNS ARE EVIDENT, SOME ARE METAPHORICAL, AND SOME HAVE PATTERNS WITHIN PATTERNS. PATTERNS CAN BE FREE FORM AND JUST AS COMPLEX AS ANY PLACE WITHOUT CONSISTENCY. EVEN WHEN THERE IS ABSENCE OF CONSISTENCY, THERE EXISTS A PATTERN OF ARBITRARINESS. FOR EXAMPLE, THE WATTS TOWERS, IN LOS ANGELES, CONSISTS OF MULTIPLE PATTERNS AND IS EXTREMELY DYNAMIC. NOTHING ABOUT THE WATTS TOWERS IS STATIC OR FLAT. RODIA’S DESIGN REFLECTS HIS LIFE AND EXPERIENCES AND HE USES PATTERNS WITH CONSISTENCY AND INCONSISTENCY TO PORTRAY THAT. THE STRUCTURES THEMSELVES ARE CONSISTENT AND THE BROKEN PLATES, BOTTLES, AND SCRAP MATERIALS ARE PLACED INCONSISTENTLY. PATTERNS CAN BE PLACED RANDOMLY AND SOMETIMES THEY DON’T EVEN NEED TO BE PLACED IN ORDER TO OBTAIN REPETITION. WHEN ELEMENTS IN A FIELD ARE PLACED IN A GRID SETTING, THE SPACE IS NOT STATIC. THE RELATIONSHIP BETWEEN VERTICAL ELEMENTS ARE ALWAYS CHANGING AND CREATING NEW PERCEPTIONS. ALTHOUGH THESE VERTICAL ELEMENTS ARE FIXED, THEY ARE FAR FROM STATIC. A PLACE IS ONLY STATIC IF IT IS SCULPTURAL AND NO INTERACTION CAN BE MADE. SINCE PATTERNS EXIST EVERYWHERE, WE HUMANS INHABIT THEM. OUR ACTIONS ARE COHERENTLY REPETITIVE. WITH THAT BEING SAID, WOULD TREIB CONSIDER US ALL TO BE STATIC? HOW CAN STATIC CREATE THE DYNAMIC?

LOSS OF IDENTITY WHEN A PLACE HAS NO PURPOSE OR IDENTITY DUE TO DESIGNERS DESIGING IN RELATION TO SOMETHING ELSE.

ISLANDS AND ATOLLS- AIRPLOT IN ORDER TO STOP AIR TRAFFIC ABOVE LONDON HEATHROW AIRPORT, PROPERTY OWNERS DECIDED TO TAKE PART IN AN AERIAL INTERVENTION. THIS INTERVENTION WOULD STOP AIR TRAFFIC FOR A FEW DAYS AND A DEMONSTRATION WOULD OCCUR TO PROTEST AGAINST THE AIRPORT BUILDING A THIRD RUNWAY. IF THIS RUNWAY WERE TO BE CONSTRUCTED, IT WOULD DISRUPT MANY NEIGHBORHOODS, WHICH INCLUDES SMALL HOMES AND FARMS TOO. PROPERTY OWNERS ARE ENTITLED TO WAIVE ANY NOTION OF AIR FLIGHT ABOVE THEIR LAND BECAUSE THEY TECHNICALLY OWN AIR SPACE TOO. THEY CAN USE THEIR PROPERTY HOWEVER THEY PLEASE EVEN IF IT INTERFERES WITH AIRCRAFT. THIS PROJECT CONSISTED OF SMALL HOMEOWNERS TETHERING INFLATABLE OBJECTS UP IN THE AIR TO SHOW THEIR DISAPPROVAL TOWARDS THE CONSTRUCTION OF THE THIRD RUNWAY. THIS SYSTEM OF PEOPLE WORKING TOGETHER TO FIGHT FOR WHAT IS MOST BENEFICIAL IN THEIR OPINION DEVELOPS A STRONG COMMUNITY. FOR EXAMPLE, BEFORE GRAND PARK IN LOS ANGELES WAS DESIGNED, THE COMMUNITY AT LARGE WANTED TO GET RID OF THE DIRT PATCH THAT WAS IN FRONT OF THE CITY HALL. THERE WERE MANY HOMELESS PEOPLE THAT HUNG OUT AROUND THIS AREA AND THE COMMUNITY WORKED TOGETHER TO HELP GET THIS DESIGN BUILT. TODAY, THIS URBAN PARK ATTRACTS MANY USERS AND THERE IS A DEVELOPMENT OF DYNAMISM THROUGHOUT THE LANDSCAPE. THERE ARE PROGRAMS SUCH AS SPLASH PADS FOR PEOPLE TO INTERACT WITH THAT CREATE CONNECTIVITY. THE COMMUNITY NEAR LONDON HEATHROW AIRPORT AND GRAND PARK BOTH WORKED TOGETHER TO COME UP WITH PROPOSALS AND DECISIONS BASED ON WHAT THEY BELIEVE COULD IMPROVE THE COMMUNITY AT LARGE.

PATTERNS REPRESENTATION OF HOW PATTERNS CAN BE DYNAMIC RATHER THAN THE STATIC.

IMPORTANCE OF COMMUNITY COMMUNITY WORKING TOGETHER BY FIGHTING FOR A CAUSE OR ISSUE THEY WOULD LIKE TO CHANGE.

PATTERNS PATTERNS EXIST EVERYWHERE. EVERY OBJECT OR SPACE OBTAINS SOME TYPE OF PATTERN BECAUSE THERE WOULD BE NO STRUCTURE WITHOUT CONTINUITY OR REPETITION OF SOME SORT. EVERY EDGE AND CURVE DOESN’T NECESSARILY NEED TO BE CONTINUOUS OR SIMILAR, A PATTERN VARIES FROM EXACT SHAPE TO COMPLETELY OPPOSITE. ACCORDING TO M’CLOSKEY IN SYNTHETIC PATTERNS: LANDSCAPE ARCHITECTS FIND PATTERNS TO BE EASILY CONSTRUCTED WHICH MAKES THEM STATIC. I DISAGREE WITH THIS POINT OF VIEW BECAUSE I BELIEVE IF EXECUTED CORRECTLY, PATTERNS CAN BE JUST AS DYNAMIC AS ANY STRUCTURE WITHOUT ANY PATTERN. IF ONE WALKS THROUGH A GARDEN OF BAMBOO TRUNKS, HE OR SHE WOULD ENGAGE WITH THE DYNAMIC SPACE THE TRUNKS CREATE. WHETHER THE TREES ARE PLACED SYMMETRICALLY OR ASYMMETRICALLY, THE PATTERN LAYS WITHIN THE TRUNKS THEMSELVES AND THE SPATIALITY BETWEEN EACH ONE. PATTERNS EXIST EVERYWHERE; AND BELIEVING THEY CREATE STATIC SPACES BASICALLY IMPLIES THAT THE WORLD IS MOTIONLESS AND INERT.

PHOTO ESSAYS 37

EXPLORING MATERIAL DISCOVERING NEW MATERIALS TO REPRESENT DIFFERENT ELEMENTS OF A DESIGN WAS EXTREMELY ESSENTIAL FOR THIS QUARTER. WHETHER IT WAS MODEL MAKING, OR MAPPING, PICKING THE RIGHT TEXTURES AND MATERIALS HELPED MY DESIGN COME TO LIFE AND TRANSLATED MY STORY THOROUGHLY. PICKING THE RIGHT TEXTURES DIGITALLY IS EXTREMELY DIFFICULT BECAUSE DIFFERENT TEXTURES CAN SET DIFFERENT MOODS. THEY CAN ALSO PORTRAY A COMPLETELY DIFFERENT CONCEPT THAN THE ONE THE DESIGNER INTENDS. NAVIGATING AND TRANSLATING TWO-DIMENSIONAL FORMS INTO THREE-DIMENSIONAL HELPED ME GRASP PURPOSE AND VISION OF MY DESIGNS. WORKING WITH THREE-DIMENSIONAL SOFTWARE AND SEEING MY MODEL COME TO LIFE GAVE ME AN OUTLOOK AND IDEA OF HOW MY SITE ACTUALLY IS IN PERSON. MATERIALITY OF OBJECTS AND TEXTURES HAS HELPED ME SUPPORT MY DESIGN DECISIONS AND HAS CREATED A LANGUAGE OF COMMUNICATION BETWEEN USER AND SPACE.

DISCOVERING PATTERNS FINDING PATTERNS AND IDENTIFYING THE DYNAMISM THEY POSSESS.

MATERIALS EXPLORING DIFFERENT MATERIALS TO HELP REPRESENT IDEAS AND EXPRESSIONS.

MAKING CONNECTIONS THE NOTION OF BEING CRITICAL ABOUT EVERY DETAIL AND CONNECTING IDEAS BACK TO CONCEPTS HAS HELPED ME FIND PURPOSE IN EVERY ACTION I MAKE. WORKING AND MANEUVERING BETWEEN DIFFERENT SOFTWARE FORCED ME TO PAY ATTENTION TO EVERY LINE THAT I DRAW. READING DIFFERENT BOOKS ABOUT SIMILAR CONCEPTS SHIFTED MY THINKING AND PERCEPTION ON WHY AND HOW I WORK. THE ABILITY TO READ AN EXCERPT AND TO CONNECT IT TO A CURRENT PROJECT IS EXTREMELY ESSENTIAL BECAUSE EVERYTHING STARTS TO MAKE SENSE. WHEN I DISCOVERED THAT THERE IS A CLEAR AND CONCISE REASON BEHIND EVERY CONCEPT, I BEGAN TO THINK CRITICALLY ABOUT EVERYTHING. I WOULD TRY TO MAKE SENSE OF HOW IT IS POSSIBLE FOR SOMEONE TO GO TO DESTINATION A TO DESTINATION B WITHOUT ACKNOWLEDGING THE DRIVE THERE. I THOUGHT ABOUT THIS CONCEPT FOR A WHILE AND STILL MAKE NO SENSE OF IT BECAUSE ITâ&#x20AC;&#x2122;S INCREDIBLE TO NOTICE HOW SOMEONE CAN GO FROM PLACE TO PLACE WITHOUT FOCUSING HIS OR HER ATTENTION ON THE DRIVE. WHEN I DRIVE, SOMETIMES I FORGET THAT I AM PERFORMING THIS ACTION AND I TRY TO UNDERSTAND HOW AND WHAT PART OF MY BRAIN IS FUNCTIONING.

INDIVIDUAL INSIGHTS 43

COMPLEXITY VS AESTHETICS I HAVE BECOME MORE INTERESTED IN HOW A PLACE WORKS RATHER THAN HOW A PLACE LOOKS. I BELIEVE MY VIEWS AND PERCEPTION BEFORE COMING INTO LANDSCAPE ARCHITECTURE WERE FIXATED ON VIEWING THINGS AS SCULPTURAL. READING ARTICLES ABOUT THE LOS ANGELES RIVER SHIFTED MY VIEWS BY MAKING ME APPRECIATE A PLACE FOR ITS COMPLEXITY. AESTHETICS WILL ALWAYS ATTRACT PEOPLE TEMPORARILY AND EVENTUALLY IT WILL BE UNATTRACTIVE. COMPLEXITY WILL ALWAYS PULL ATTRACTION WHETHER IT IS AESTHETICALLY PLEASING OR NOT. WHEN A PLACE IS COMPLEX, IT CREATES FUNCTIONALITY AND DYNAMISM. DESIGNING FOR THE SAKE OF AESTHETICS IS POOR DESIGN AND HAS NO PURPOSE. DESIGNING COMPLEXITIES CREATES A CULTURE OF MISINTERPRETATION AND CONFUSION AND THATâ&#x20AC;&#x2122;S WHAT MAKES PEOPLE TALK ABOUT A PLACE. PEOPLE SHOULD BE ABLE TO LOOK AT A DESIGN AND NOT UNDERSTAND IT COMPLETELY. IF A DESIGN IS EASILY COMMUNICATED AT FIRST GLANCE, THEN IT HAS FAILED. PEOPLE SHOULD WANT TO BUILD A LEVEL OF CURIOSITY WHEN VISITING A SITE.