2012 Master of Landscape Architecture Thesis by Sandra Nam

SE The Southeast Side Story:

a landscape narrative about D.C.â&#x20AC;&#x2122;s fillscapes

ES :yrotS ediS tsaehtuoS ehT sepacsllfi sâ&#x20AC;&#x2122;.C.D tuoba evitarran epacsdnal a

This book is dedicated to my other half

SE The Southeast Side Story:

a landscape narrative about D.C.â&#x20AC;&#x2122;s fillscapes

Thesis Submitted to the Faculty of the Virginia Polytechnic Institute and State University In Partial Fulfillment of the Requirements for the Degree of MASTER OF LANDSCAPE ARCHITECTURE Department of Landscape Architecture School of Architecture + Design Washington-Alexandria Architecture Center Alexandria, VA

Paul Kelsch, Ph.D., ASLA Committee Chair

Paul Emmons, Ph.D., RA Committee Member

Brian Katen, RLA, ASLA Committee Member

Master of Landscape Architecture Candidate 2011

Sandra Nam

abstract (su m m a r y)

Grasse Institute of Perfumery | France Summer 2010

abstract

Thesis Question: the inquiry driving the scholarship & design Through the lens of perfume, how can a landscape architect design and communicate a landscape narrative so that it will resonate on a deep emotional level with those who experience it? This investigation assumes that any meaning or narrative cannot and should not be imposed upon the landscape, but must come from the inherent characteristics, history, and/or existing site conditions of the landscape in question.

The thesis question above and the investigation that ensued led to the following summary that best describes the essence of the landscape narrative that unfolded.

The Southeast Side Story: a landscape narrative about D.C.’s fillscapes Washington, D.C. attracts millions of visitors to the National Mall for its monuments and memorials along the northwestern half of the city’s riverfront, which generally rest on filled land. This thesis project is set in Southeast, D.C. to tell a different, yet related story of how filled land along the Anacostia River came to be, how a man-made landscape reconciles with nature’s ecological processes, and how overlapping systems can reveal an underlying narrative. Inspired by the art of perfumery and the inherent beauty of the site, this thesis reveals the memory of its own history to become a sustainable design of both culture and nature.

Drawing Label Text for the drawing

contents in s id e

Exploration of ScentStrips from various Beauty Magazines

table of contents

The Background

The Project

The Design

Conclusion

Appendix

signature page abstract table of contents list of figures acknowledgements

3 4 6 8 10

the beauty of perfume, beauty of landscape

setting the problem

siting the thesis

development of the narrative

process diagrams

final design

the essence of the thesis

106

the defense: final presentation

112

bibliography

112

image references

113

Drawing Label Text for the drawing

drawings

in s id e

Recording the scents of the day 02.20.11

list of drawings

Grasse Institute of Perfumery Exploration of ScentStrips Recording Scents 02.20.11 Structure of a Perfume

siting the thesis Base Notes 1 + 2 Base Notes 3 + 4 Base Note 5 Middle Note 1 Middle Notes 2 + 3 Middle Note 4 Top Notes 1 + 2 Top Note 3 Anacostia River Walks 1 + 2 Panoramas 1 + 2 Working Landscapes 1+ 2 Site Sections Anacostia River Narrative

process diagrams 30 31 32 33 34 35 36 37 39 40 41 42 44

development of the landscape narrative Earth Works 1 - Remnant Fence Written vs. Unwritten History Key Map of Site Experiences Earth Works 2 - Levee Wall Earth Works 3 - Paved Path Site Experience - North Levee Site Experience - South Levee Earth Works 4 - Work & Play Site Experience - Poplar Point Earth Works 5 - Base History Earth Works 6 - Transition Lines Site Experience - S. Capitol St. Perceiving Narrative Data 1 Perceiving Narrative Data 2 (re)Emerging Edge The Seamless Path Mapping the Buildings on JBAB Siting Narrative Contained Space ‘Leveling the Land’

4 6 8 10

Notebook Sketches Diagram 1 Diagram 2 Diagram 3 Diagram 4 Diagram 5 Diagram 6 Diagram 7 Diagram 8 Diagram 9

64 67 69 71 73 75 77 79 81 83

final design 46 47 48 49 50 51 52 53 54 55 55 57 58 59 60 61 62 62 63 63

A new experience alongside the river’s edge

A REnewed experience alongside the river’s old edge

The Top Note: southeast gateway to the city

The Top Note: sections, new shoreline

The Top Note: secitons, old shoreline

The Middle Note: a working landscape, new shoreline

The Middle Note: a working landscape, old shoreline

The Base Note: a whole system

101

acknowledge ments

Structure of a Perfume (top notes, middle notes, base notes)

acknowledgements

This thesis would not have been possible without the support of my committee, faculty, friends, and family.

My Committee Paul Kelsch: thank you for completely understanding me. You helped to pull out of this thesis what I could never have done on my own. Thank you for guiding me every step of the way without fail and teaching me how to design. Paul Emmons: you encouraged me to think about my past, think about perfume, and think about the landscape. I now see and feel the beauty of architecture and theory because you exude it every day. Thank you for believing in this thesis. Brian Katen: your support and kindness always made me feel more at ease when I didn’t know which direction felt right. I thank you for being able to understand my work at a distance, while also nurturing the process throughout. As a whole, the three members of my committee made my project richer every day. Thank you all from the bottom of the base note, to the top of the top note.

Faculty + Friends Carolina Dayer: thank you for being a mentor and friend throughout the entire process. You helped give me the confidence to finally...draw a line. Jaan Holt: thank you for creating a wonderful place called the W.A.A.C. My peers: Monica Streeper, Kristen Lyter, Luke VanBelleghem, Justin Park, Cristina Lewandowski, Emily Chisholm Luong, Becky May, Nathan Purney, Amy Morton, Pam Kettler, Doug Brooks, Leigh Mundy Cronin, Cara Smith, Ali Thurmond, Mike Hill, Jeff Gowan, and James Darnell... Thank you for being on this journey with me.

Family 아빠, 지켜 주셔서 감사합니다. 엄마, thank you for your patience and never-ending love. Nancy & Nomi, I am so grateful to have such wonderful sisters. Steve, thank you for your support. Hemi, thank you for keeping me forever young. Lucas, the other half of my love story, I am grateful to have a lifetime to share with you and tell you how much I thank you and love you.

background

the beauty of perfume, beauty of landscape 2

Prior to graduate school, I was in New York

York City, and this is also what made me realize

tor would then smell each modification right

City and lived in a small studio on the Upper

that memory once had a life somewhere and

after it was sprayed (which is considered the

East Side.

that it can be replayed and retold again and

top note), again after about an hour (called the

Saturday morning with nothing to do, and so

again to produce pleasurable feelings.

middle or heart note), and then finally another

I started taking walks from 89th street down

While living in New York, I was also

hour later (the base note). The whole evolu-

to the financial district.

I noticed new things

working in the perfume industry. Considered

tion, the whole experience of a perfume has to

every week, businesses that closed down or

a secretive industry and a hidden art, it was

work well together in harmony from beginning

new ones that opened, and places that I didnâ&#x20AC;&#x2122;t

necessary to go into work unscented (without

to end, which in perfumery terms is the change

know existed. The city through my eyes was

lotions or other perfumes) so that test modi-

over time from its top note to its base note. A

changing all the time, yet I realized it was the

fications could be evaluated on skin. In or-

good perfume has to change well and seam-

same city. On these walks I was recording the

der to do so, an evaluator will spray three or

lessly over time like a musical score. It has to

cityscape in my mind and it would replay itself

four modifications on oneâ&#x20AC;&#x2122;s arm, take a pen

be pleasing experientially, and ultimately it has

at any given moment and make me happy to

and make an ink dot at the center of where

to seduce and attract others.

recall such memories. This is why I love New

each modification was sprayed. The evalua-

I would often wake up on a

The beginning of this thesis investiga-

background

Jasmine grandiflorum field - Pegomas, France

3’ tall x 7’ wide rows of jasmine

daily bloom cycle begins August 1st

Solvent extraction process

tion stems from my past and is focused on

of a perfume is built up in accordance with

lasts between two and four hours, there is the

finding a meaningful connection between per-

specific rules, which could be represented by a

after scent (base note) which ensures that the

fumery and landscape architecture. A trip to

triangle. The top of the triangle consists of the

perfume retains its lingering character.”3 While

France ignited the initial research for this the-

most volatile constituents, which are the first to

training my nose and while learning about the

sis, but more specifically it was a one-week

emerge from the bottle. This is the top note,

properties of essential oils, I learned about

study of perfumery at its birthplace, a small

‘note de depart’ in French, spreading a fresh

the alchemy of scent and how materials can

hillside town called Grasse, that provided the

scent and establishing the character of the

create a wonderful narrative that is written not

focus and the foundation upon which the in-

perfume. Dependent on the composition, the

with words, but with nature.

vestigation would be built.

top note evaporates within a period of between

In Grasse, I learned about the beauty of

five and twenty minutes to make place for the

of landscape in a nearby town called Pegomas

perfume. I learned how to smell raw materials

body (coeur) of the perfume. This part, the

where the best and most expensive jasmine

with a refined nose, and I learned how a

heart or the middle note, is responsible for the

is grown in the world. Ninety percent of the

perfume is structured from its top note, to its

full, warm scents, which more fully expose the

jasmine field in Pegomas is owned by Chanel,

middle note, to its base note. “The harmony

character. Following the middle note, which

a prestige brand in the world of fashion and

Similarly, I learned about the alchemy

The informal definitions of top note, middle note, and base note from the Grasse Institute of Perfumery Handbook, 2010.

background

Hand-picked harvest (100 days)

120 workers/day + @250 kilos/day

Method of Solvent Extraction

Solvent extraction process

The essential product

The essence of the narrative

fragrance. Jasmine is the essential material

because how could I possibly find a problem

View of New York City and Manhattan Bridge, Photo: Flikr

in Chanelâ&#x20AC;&#x2122;s best selling fragrance, Chanel 5.

here? But I now realize how I was blinded by

Typical sample size bottles used for mixing chemicals in perfumery, Photo: Givaudan.

A series of photographs shown here depicts

beauty. Beauty doesnâ&#x20AC;&#x2122;t tell you how hard it works to do what it does. I realized that time

Jasmine field in Pegomas, France, Photo: Sandra Nam.

the entire process of growing the jasmine, harvesting the field, to its method of solvent

and experiences, intersected by places, are the

extraction, and ultimately distilling its essential

very things that tell something larger, that tell

oil in order to make a refined perfume. This

a story that is so provocative and so beautiful

is the story of jasmine, and this is when the

that you have to wait until the end to see what

landscape taught me how hard it works to

happens, just like a perfume.

4-15

Harvesting and extraction of jasmine essential oil in Pegomas, France, Photos: Sandra Nam.

produce such a beautiful place, while also producing a natural yet man-made product.

After this experience, it was apparent

that there was something unique that I could not articulate into a scholarly thesis question,

setting the problem the thesis question

With

a more knowledgeable background

This investigation assumes that any meaning

However, what about a whole narrative about

in perfumery and a lens through which the

or narrative cannot and should not be imposed

a landscape that goes beyond signs, symbols,

landscape could be seen, a thesis question

upon the landscape, but must come from the

and remains?

emerged. Rather than recognizing a problem

inherent characteristics, history, and/or existing

program for a site, but rather understanding

in the field of landscape architecture, what

site conditions of the landscape in question.

how a site can already have its own program.

This is not about making a

became apparent was a desire and aspiration

This kind of inquiry is missing in landscape

The challenge is how a designer can read it,

to design for beauty in the landscape that

architecture scholarship, because there tend to

write it, and tell it over and over again. This is

reveals more than what the eye can just plainly

be discussions regarding how singular events

sustainability in a form that is not about green

see. The following question grounds this thesis

and people can be commemorated through

design. This is sustainability of culture, history,

investigation:

memorials, or a discussion about how remnants

and nature. The emotions and deep connection

Through the lens of perfume, how can a landscape architect design and communicate a landscape narrative so that it will resonate on a deep emotional level with those who experience it?

of a site can be re-purposed or reclaimed,

to the landscape that one immediately feels at

or a review of how the agency of particular

the jasmine field in Pegomas best captures the

characteristics of a site can lead to design.

narrative beauty that this thesis is striving to

“Towards Thesis” - personal manifesto created during “Scholarship in Landscape Architecture”, Photo: Sandra Nam.

17 Experiment on Scent vs. Sight conducted during Fall 2010 semester, Photo: Sandra Nam.

setting the problem grasp through design.

teach, learn, and share with one another. The

Of course, pleasure is subjective. However,

So as to not dilute the research that led

traditions of narrative link back to Aristotle, and

good authors refine their ability to achieve

this thesis and the original position paper, the

it is without doubt that he affirms there is a

a state of pleasure in readers through their

following section provides a more in-depth

universal pleasure derived from the execution

work. Landscape architects have overlooked

understanding of the scholarship in the field

of a good narrative.

the sensorial meaning of pleasure in narrative

of landscape architecture that led the initial

Poetry in general seems to have sprung from two causes, each of them lying deep in our nature. First, the instinct of imitation is implanted in man from childhood, one difference between him and other animals being that he is the most imitative of living creatures, and through imitation learns his earliest lessons; and no less universal is the pleasure felt in things imitated. We have evidence of this in the facts of experience... Thus the reason why men enjoy seeing a likeness is, that in contemplating it they find themselves learning or inferring, and saying perhaps, ‘Ah, that is he.’ For if you happen not to have seen the original, the pleasure will be due not to the imitation as such, but to the execution, the colouring, or some such other cause. (Aristotle 5-6)

theory and narrative landscapes. By looking

that captures the emotionality of someone

The notion of ‘pleasure’ here is significant:

I would like to preface this section by

physically experiencing a place. Finally, more

pleasure as delight; pleasure as an emotive

acknowledging that the history of landscape

recent literature reveals a lack of information

consequence. Pleasure is the reason why we

architecture and theory has proven in various

about how to design a whole narrative about

continue to theorize about narrative. There is

ways its departure from the pictorial or pastoral

a specific site while also determining a way to

a desire for it to be understood intellectually, a

themes that dominated the 19th century

feel its deeper meaning through the experience

desire for it to be felt physically, and a desire

towards a more experiential approach. What

of that landscape.

Without this literary

for it to be repeated through a systematic or

follows is the history of landscape painting in

background, one could not trace the path

intelligible approach, so as not to let it fade.

an attempt to trace what I believe to be the

where the thesis draws a line. The ultimate

There is an underlying need to reach sensual

origins of narrative landscapes.

synthesis of this literature review provides the

gratification through narrative that perhaps

the idea that pleasure (of the senses) guides

‘way in’ to further articulate the thesis question

should be approached in a more forthcoming

narrative function, it is during this time in history

and a way to resolve this question through

manner in design.

that I believe narrative paintings triggered the

design.

something else, and so culturally it becomes

inquiry about narrative and scent. The literature review first takes a look at how Aristotle theorized that narrative provides emotional connection or pleasure to readers and viewers. The review then discusses how landscape painting may have preferenced sight in the history of landscape architecture, lessening the possibility of designing a landscape narrative

Pleasure results from

at how narrative landscapes fall short in the phenomenological sense, this thesis proposes how scent is a fitting agent of narrative, agent of site-reading, and agent of site-making with the understanding that pleasure is the driving force.

SCENT AS AN AGENT OF NARRATIVE

Based on

misguiding of future narrative landscapes.

recognized as something derived from other

There is an incredible amount of literature

LITERATURE REVIEW

relationships, events, actions, or processes.

in landscape architecture that liberally uses the

Like the sheer joy of being surprised by a loved

Rather than placing primary focus on the

term ‘narrative’ as a descriptor of a landscape

one, this investigation attempts to draw upon

tectonics of narrative or the actual events to

project or that refers to the narrative history

emotional and physical delight in the landscape

be linked in some comprehensive order, the

of a landscape. However, the discourse on

through narrative structure. Stories instigate

emphasis on narrative should stem from its

narrative theory in landscape architecture is

ways to shape our experiences in the world,

roots in ‘pleasure’ as perceiving enjoyable

quite limited.

but they also provide ways for people to relate,

sensations.

about, as it was in “Landscape Narratives” by

If the topic has been written

setting the problem Matthew Potteiger and Jamie Purinton and will

resulted from an idea learned in nature.

The

language of the senses to communicate the

be discussed later, it remains without a clear

fact that elements of nature were regarded

ethos of pleasure through the images depicted.

history as to its origins or its first use as an

as ‘objects of delight’ expresses the author/

A particularly poignant moment in Quiviger’s

approach to design in landscape architecture.

painter’s disposition in regards to the painting of

research reveals a re-organization of the

Narrative has been taken for granted in

landscape; he has passively received pleasure

senses based on the mediating abilities of

the field, and designers have not taken the

from the landscape and is trying to imitate that

each. Quiviger writes that of all the senses,

responsibility to be sensitive of its long tradition

experience by visually retelling or re-imagining

the sense of smell was the best agent in

and theoretical knowledge in literature and the

a story based on visual beauty. Pleasure has

the perception of pleasure.

arts. If there is any connection to be made

already departed from its original meaning and

airborne and vaporous substances, smell was

regarding narrative’s role in landscape, the

whatever remained turned into a mental image

considered an intermediary sense between

closest point of entry was through the history

on canvas.

Landscape paintings lose their

the corporeal world of taste and touch and the

of landscape painting.

ability to communicate the palpable pleasure

spatial universe of sight and hearing.” (Quiviger,

Kenneth Clark’s “Landscape into Art” is

of the senses through narrative because they

125) Quiviger elaborates on the importance of

a foray into the early history of landscape

remain static in symbols and narratives that are

scent:

painting through its dominance in the 19th

framed by their more morally accepted sense

century.

of sight.

“Perceiver of

We are surrounded with things which we have not made and which have a life and structure different from our own: trees, flowers, grasses, rivers, hills, clouds. For centuries they have inspired us with curiosity and awe. They have been objects of delight. We have recreated them in our imaginations to reflect our moods. And we have come to think of them as contributing to an idea which we have called nature. Landscape painting marks the stages in our conception of nature. (Clark, 1)

philosophy, sight was considered the noblest

The dissociation between cultural and olfactory opposites may well reflect the dissociation between the processors of smell and those of language and speech. They follow different routes to the brain and are processed in opposite hemispheres: olfactory impressions in the right hemisphere, language and speech in the left. This may partly explain why smell and visual signs of smell offer an ideal space in which to express the presence of things deemed unsuitable for graphic visualization. This presumed innocence made smell the least censored sense. (Quiviger, 135)

in the hierarchy of senses. Under this principle,

Not only does this underscore the narrative of

sight mediated the configuration of the other

sensory perception, but this also actuates scent

senses so that a mental conception of the

as the most appropriate agent of narrative.

Landscape painting as a genre was an attempt

that the senses played an integral part in 16th

to represent and idealize the larger cosmos

century Italian Renaissance paintings and that

of nature and her bounty. As Clark mentions,

“the evocation of space by means of allusion to

landscape painting was the mental conception

non-visual sensations” played a major part. By

of nature, which was then visually articulated

acknowledging this nuance, Quiviger reveals

through symbols and painterly approaches.

an approach that used the senses (other than

The pictorial consequences of the status of smell are also particularly noteworthy. Scattered flowers generate a particular type of aerial perspective where flowers serve as markers, constraining the brain to imagine space between and around them. Such space is one of unusual artistic freedom where the painter can dispose and arrange colours in the air, or on a table, as he wishes. Bringing this theme further, Lorenzo Lotto, in the Madonna of the Rosary, blurred the line between the world of the viewer and that of the picture by the scented floral throw, thus creating some olfactory chiaroscuro. (Quiviger, 135-136)

Vision as an agent of narrative was merely a

sight) as an agent of visual narrative. Rather

This analysis directly links the modality of the

response to represent nature’s delight through

than a holistic view of nature captured in oil on

senses to provide pleasure in narrative based

illustration.

canvas, Italian Renaissance painters used the

on the traditions of narrative theory. Pleasure

Clark follows the dense trajectory

of landscape painting and categorizes their

A genre in the history of painting that

themes into seven movements of symbolism,

presents more value in this narrative quest

light, fantasy, idealism, naturalism, northern

can be traced back to 16th century Italian

lights, and impressionism.

Renaissance painting. Based on Aristotelian

The composition of a painting

outside world could be depicted. (Quiviger, 99) However, art historian Francois Quiviger argues

setting the problem can be derived directly from sense perception,

second is the instinct of harmony and rhythm.

and the language of scent is the more

The instinct of harmony led to the rise of the

appropriate means in which to communicate

iambic pentameter and Comedy as a form of

narrative.

In addition, as revealed in Italian

poetry. What can be taken from this instinct is

Renaissance painting, the language of scent

not the exact forms that emerged, but rather

can be communicated through graphic means

the idea that harmony set the foundation for

to tell a story.

The explication of scent as

future measures and their respective variations.

mediator of the visual narrative is a powerful

To move from the beginning, through middle,

revelation.

to the end, there needs to be a temporal construct to determine the sequence of

SCENT AS AN AGENT OF SITE-READING |

events. Rhythm, as the pattern of movement

READING HARMONY + HOW TO READ HARMONY

through time, provides this temporal structure,

In landscape architecture there have been

and harmony is the result of experiencing a

several ways to ‘read’ sites in order to grasp at

balanced rhythmic order. In harmony, pleasure

how narrative works in landscape architecture;

is derived. Using an analogy to music, rhythm

however, there is no dogma by which

sets the tone for a song and the experience of

narrative landscapes have formed in order to

listening to its melodious arrangement of notes

determine a concise vocabulary of narrative

and chords. The total experience of listening to

elements.

the song inspires a harmonious, orchestrated

The analysis ahead continues to

follow the traditions of narrative theory and

event.

acknowledges the research that has been

to narrative, it sets the foundation for how

initiated in the theory of landscape architecture.

to approach site-reading through rhythm and

It also looks at core commonalities between

harmony.

the two realms of research as a means of departure for narrowing the scope of what I

READING HARMONY

believe characterizes narrative structure in

In an essay titled, “Must Landscapes Mean?:

the landscape.

Approaches

Two operations emerge to

Aristotle’s Poetics

Significance

Recent

understand how scent can act as an agent of

Landscape Architecture”, Marc Treib analyzes

site-reading: reading harmony and how to read

the re-emergence of the search for meaning in

harmony.

landscape architecture during the 1980s and

Earlier in this essay there was a quotation

1990s. Without committing to a firm definition

from Aristotle’s “Poetics” that mentions two

of meaning in his essay, Treib alludes to a

instincts which led to the birth of poetry: the

vague definition of meaning as the collective

first mentioned was the instinct of imitation

associations accrued over time and that

(distilled into the essence of pleasure) and the

which is deeply rooted and an integral part

By referencing the instincts that led

Detail from the Madonna of the Rosary by Lorenzo Lotto, (1539) Oil on canvas - Church of San Ncolo, Cingoli

20 Didactic: A Sound Garden, NOAA, Seattle, Washington, 1983, Douglas Hollis.

setting the problem of human life. (Treib, 48) Though his essay

landscape in order to produce meaning. The

faculties?” (Treib, 59).

Though Treib does

does not explicitly look at meaning through

notion of transforming ‘syntax into semantics’

not provide any specific context to be able to

the lens of narrative landscapes per se, he is

implies a search for some language that

read sites or design landscapes through the

essentially looking for, or quite literally ‘reading’,

imparts harmony through rhythm.

senses, he does posit that there should be

landscapes to determine what makes for a

Meaning is the desire to convey through

a re-examination of “the garden in relation to

harmonious event in design. Treib determines

language a significant expression of an idea

the senses, while putting conscious mental

six typologies in the landscape that had been

that can be comprehended by others without

rationalizations on the back burner – to create

commonly employed as attempts to create

the baggage that signs and symbolism bring

a mixed metaphor.” (Treib, 59) The senses are

meaning: the Neoarchaic, the Genius of the

with them. Treib references John Dixon Hunt

universal in nature and thus can be understood

Place, the Zeitgeist, the Vernacular Landscape,

having remarked upon the English landscape

as a language, each on their own and in totality.

the Didactic, and the Theme Garden.

For

garden, which “like many garden traditions

“Although the world’s peoples vary greatly

example the term ‘the Genius of the Place’

before it, was a coherent system of signs

in terms of linguistic and cultural matrices,

describes ‘the spirit of the place’ as the

devised to be legible to both maker and visitor,”

we do share roughly similar human senses,

consultative measure to locate a project or to

yet “any symbolic system demands education

although admittedly these can be honed or

draw upon the ethos of the site for inspiration.

and the comprehension of both the medium

dimmed by culture.” (Treib, 59) Not only does

These landscape typologies were categorized

and the message.” (Treib, 55) The baggage

this reaffirm the applicability of using one of

as a result of looking at designed landscapes

here alludes to the weight of translation.

the senses (scent) as an agent of narrative, it

and determining that they each wrestled with

Meaning should be felt and understood in a

also elucidates the approach of using a sense

the search for meaning in design.

universal language, not in a language that is

as an agent of site-reading. Treib mentions

Providing symbols is not the same as creating meaningful places, although it may be one point along the path. To my mind significance lies with the beholder and not alone in the place. Meaning accrues over time; like respect, it is earned, not granted. While the designer yearns to establish a landscape that will acquire significance, it is not possible to use path symbols alone as a means to transmute syntax into semantics, that is, tectonics into meaning. (Treib, 58)

codified in heavy semantics and allegory. In

that one’s ability to read and feel harmony in

translation, there is too much to learn before

design lies in the perception of the receiver,

it is fully felt and understood in totality, the

which in turn explains that the receiver has an

way fluency in a foreign language is achieved

ability to read what has been constructed in the

through lengthy study.

environment.

It seems that Treib overlooks the opportunity

in the landscape, but the language must be

to introduce a more appropriate theory of his

universal and the harmony must be achieved

own in describing a landscape that culls more

on common ground.

meaning in design than what he has already observed.

Narrative provides

the means to structure and devise meaning

Curiously enough at the end of Treib’s

As in the past, and despite the collapse of collective social norms, pleasure may provide a more defined path towards meaning than the erudite approaches to landscape design discussed earlier in this paper. Significance, I believe, is not a designer’s construct that benignly accompanies the completion of construction. It is not the product of the maker, but is, instead, created by the receivers. (Treib, 60)

However, he is confident that

analysis he suggests a way in to meaning,

adding a layer of symbols or physically applying

by tapping into the physiological dimensions

Rhythm is defined by a designer/author and

meaning onto a landscape through form is

of the human body and instigate reactions to

harmony is felt by the receiver/reader to be

not the means to an end.

Treib’s analysis

make places pleasurable. “Is there not a link

experienced holistically.

of these typologies indirectly concludes that

between the senses and significance, or is

gardens in relation to the senses, Treib puts

there needs to be a coherent narrative in the

meaning necessarily restricted to the rational

forward the idea that our senses have the

By re-examining

setting the problem ability to send and interpret information that

emphasizes the role that landscape architects

our own field, which opens the door for other

is directly connected to feeling meaning.

have to literally read the landscape and be

languages to be discovered. This opens the

“Communications theory tells us that the

able to interpret what it is telling us. The essay

door for discovery into other languages that are

two parties in conversation must share a

reveals a historical narrative of site theory

more universal, such as scent. “New languages

common semantic channel or there will be no

in American landscape architecture and the

and techniques for describing sites in maps,

communication; no meaning.” (Treib, 56) A site

different views of ‘landscape’ versus ‘site’

diagrams, and paintings reinforced this cultural

has the potential to be ‘read’ through its agent

since its translation from their 18th century

currency and influenced how landscape

of meaning, however, the language and the

European counterparts. In order to read sites

architects and their clients valued particular

essence of harmony need to be decipherable

and understand how American landscape

plots of land.” (Meyer, 98) The meaning is in the

in a universal manner. “It would seem that a

architecture contextualized its lexicon for site-

landscape. Yet it becomes our responsibility to

designer could create a landscape of pleasure

reading, Meyer directly refers to art criticism

read it in many ways and translate many other

that in itself would become significant.” (Treib,

as its historical source and references Asher

languages into our language of landscape

59)

Durand’s essay on landscape painting in “The

architecture.

Crayon”.

architecture is critical, so that it can be re-read

Durand writes that nature is the

The translation into landscape

HOW TO READ HARMONY

source of inspiration for landscape painting

Site analysis or site-reading is a study on its

and for a student in the discipline; one must

own. Site-reading is an interpretive process

meticulously learn its rudiments in order to

in landscape architecture.

Its due-diligence

subsequently launch their own interpretation

is a responsibility of the landscape architect

and appreciation of it in practice. (Meyer, 97)

and sites are full of information that may

To reaffirm what was mentioned earlier in this

be invisible to the eye. “For, unlike other

essay, the history of narrative landscape can

landscape devotees, landscape architects

be referred to landscape painting in so much

were not simply connoisseurs or recorders of

that it allowed us to ‘read’ the landscape.

These theories and representations offered landscape architects, especially those in the northern states shaped by glacial processes, new vocabularies for understanding their canvas and medium: the earth’s surface. Previously valued for its visual, surface qualities in texts such as Downing, these geological sites had sectional form, structure, depth, and content which a designer such as Frederick Olmsted, Jr., could reveal through design subtractions or additions. The intermingling of aesthetic discourses and conventions with geological knowledge reinvigorated and at times transcended aesthetic categories such as the picturesque, pastoral, and sublime.” (Meyer, 99)

the landscape; they were simultaneously site

Although it turned into a literal translation

To be able to enhance the landscape

readers and editors. The site’s character was to

in landscape architecture, posing as the

architectural language of form and material with

be revealed though design.” (Meyer) Elizabeth

picturesque or pastoral, it marked the ability for

new vocabulary, or more ways of interpreting

Meyer states in a matter of fact manner, “...a

the language of sight to be translated into the

the site, would surely provide more information

site’s physical and sensual properties are

field of landscape architecture.

than necessary. However the refinement of

sources for design expression.” (Meyer, 94) In order to acknowledge the narrative inherent to a landscape, one must be able to translate the latent characteristics and clues on a site that can spark a re-interpretation of a site’s history.

by our audience.

the language by rediscovering opportunities If landscape painters provided landscape architects with clues to the relationship between site-reading and creativity, then geologists’ studies of land formation processes such as glaciation, erosion, and deposition provided both artists and landscape architects with additional lenses for appreciating and understanding specific sites.” (Meyer, 99)

to, metaphorically speaking be a better writer, then we are afforded the opportunity to refine our abilities to express potent narratives in the landscape.

In her essay, “Site Citations: The Grounds

The visual language of narrative in landscape

Meyer references two divergent approaches

of Modern Landscape Architecture”, Meyer

painting was revised and made legible for

to the history of site-reading that emerged from

setting the problem Frederick Law Olmsted, Sr. and W.S. Cleveland

for the narrative landscape.

Though there

the landscape that brought him pleasure, and

in order to reflect upon the difference between

are different methods to approach a site,

how he rendered those moments in his designs.

landscape, as a conceptual idea, and site, as

Meyer narrows the scope by offering four

Citing an interview Jenson had in 1930, he

a more focused entity. Olmsted, Sr. used the

representative ways of site-reading strategies

spoke of “these phenomena were as much the

processes of amplification and subtraction/

and tactics to create meaning through form

‘raw materials of the garden’ as topography

clearing as a reinterpretation of the ideal

and design: site as armature or framework; site

and vegetation,” (Meyer, 111) In addition

English landscape, whereas Cleveland saw

as geomorphological figure; site as ecosystem

when speaking of how he reinterpreted the

beneath the surface of the site and valued its

or geological fragment; and site as temporal

Midwest prairie, “Jenson created a language

regional identity as being a part of the larger

phenomenon,

subjective

of fragments and phenomena as a means to

American landscape. (Meyer, 101)

experience. (Meyer, 102) Of these approaches,

‘portray its soul’.” (Meyer, 111) The metaphor

Olmsted, Sr., idealized English landscapes with a priori formal relationships and transposed those scenes to new sites... Relying more on Emerson and Greenough than on Gilpin, Price, and Ruskin, (Cleveland) appreciated sites for their idiosyncrasies, not their generalities. His design response was more about distilling or condensing a site’s essence into design forms and spaces. This comparison underscores the fundamentally site-inflected and reception-focused bias of early modern American landscape theories. Landscapes meant something because of not only their appearance, but also the associations they aroused. (Meyer, 102)

the notion of site as temporal experience

to “portray its soul” is potent and weighted

directly speaks of the pleasure required of

with meaning and significance.

narrative. As well, it is the least concretized in

the term signifies an impressionable feeling

form, literally speaking. To restate in Meyer’s

that can also be effectively translated as the

words,

portrayal of pleasure. These moments make

Olmsted, Sr. and Cleveland’s approaches were divergent in nature, except both stemmed from a source of meaning that came from the site. Inherently something was perceived in nature that they could read and then reinterpret in

haecceity,

and

These temporal moments, episodic contrasts, or haecceities – individual, singular events that intersect with the places and things where they occur- are often site-specific. Two identically shaped and dimensioned spaces, built in different regions, have very different qualities given temperature, wind, light, and resultant microclimates. The importance of these nonphysical, phenomenal characteristics in the landscape has always been noticed. How could they be ignored? Capturing, distilling, and condensing a site’s temporal qualities is another way that site-readings lead to site-makings.” (Meyer, 111)

The use of

the landscape so precious, while at the same time-can be full of surprises. To reiterate, scent as the agent of narrative produces pleasure; scent as the agent of sitereading reveals sources of pleasure and is capable of transmitting pleasure. Therefore, the logical next step is to determine how scent as an agent can transmit pleasure through

their own way. Site-reading is inflected with a

Site haecceities are the moments one

language that can arouse form. With this, I beg

experiences in the landscape when all the

to ask the question, “Can we learn how to read

senses are triggered into harmony for the

SCENT AS AN AGENT OF SITE-MAKING |

scent in the landscape?”

individual on a site. The event of seeing a ray

SITE VS. PLACE + NARRATIVE LANDSCAPES

During the introduction of this thesis it

of sunshine pour through an opening in dense

VS. LANDSCAPE NARRATIVES

was briefly mentioned that the phenomenal

woods, or hearing a flock of birds that suddenly

Site vs. Place

experience

the

depart when prey is sensed, or smelling and

sequence of events in a narrative. It is through

even tasting the morning dew in the front yard

Meyer’s analysis on site-reading that this

after a fresh mowing are all site haecceities.

notion is confirmed and scent as an agent

Meyer’s interpretation of site haecceities was

of site-reading can be turned into a potential

in large part a reflection of Jens Jenson’s work

All sites exist first as places. Before places become objects of urban planning and design, they exist in personal experience, hearsay, and collective memories. Standing between planners and designers and the sites on which they hope to act are socially embedded narratives. And, while these place narratives can be ignored, they cannot be wholly erased. Places are never empty. (Beauregard, 39)

language of phenomena to be reinterpreted

and how he was aware of the phenomena in

In the introduction to Robert A. Beauregard’s

scent

can

organize

form in a narrative landscape.

setting the problem essay, “From Place to Site: Negotiating

produce new narratives, whereas places are

a completely new narrative from outside its

Narrative

the experiences in between sites that settle

context.

Complexity”,

immediately

sensitizes the landscape as a collective whole

over time and mount up to significance2.

In the second approach, From Site to

Beauregard describes the two different

Place, Beauregard describes the siting of

Sites are homes

approaches with urban examples: From Place

Brasilia as Brazil’s new national capital city. “In

to some and meaningful places to others.

to Site: Operation Breakthrough, and From Site

1947, a national commission had designated

Speaking from an urban planning perspective,

to Place: Brasilia. In the first approach, From

the Central Plateau – located in the symbolic

Beauregard discusses the issues of narrative

Place to Site, Beauregard uses the example

center of the country – as the place of the

in the landscape and how its meanings

of Operation Breakthrough during President

new national capital.” (Beauregard, 48)

are difficult to manage and difficult to instill

Richard Nixon’s term, which was “a national

competition was held to produce a new plan

through decision-making and design. Places

program designed to demonstrate the potential

for the city some years later and the specific

are full of meaning and layered narratives that

of industrialized housing and modular building

location for the city was chosen based upon

already exist on a site. It is naive to think that

systems and to address a housing shortage,

a set list of criteria. The final plan used the

places are devoid of narratives or to think that

particularly for low-income and moderate-

symbolic cross to define various axes to serve

places that may appear empty are lacking in

income households.” (Beauregard, 43)

The

as political gestures of power and function. In

narrative. By differentiating ‘place’ from ‘site’,

idea behind this approach explains the siting of

addition, it was centered in the middle of the

Beauregard makes the distinction that ‘sites’

a project solely based on the appropriateness

country in the high plains where there had not

are articulated through a controlled means.

of its future site/program.

been much development and was perceived

“Site is a social construct, a representation of

housing analysis and negotiations with local

space.” (Beauregard, 40)

officials were factored in.

and gives it an empathetic character that is full of human emotion.

Essentially site is

Market analysis,

Once a location

as “empty” without narrative history.

made and constructed for an end goal or use.

was selected, the landscapes were cleared

‘Place’, on the other hand is “a representational

so that ultimately ‘place’ and identity were

space – and its complex symbolism grounded

erased. Previous narratives were demolished

in lived experience.” (Beauregard, 40)

The

in order to impose a new and standardized

former is a highly articulated construction of

site. “This was a national demonstration meant

space that in effect constrains others, whereas

to transform the home-building industry, and

The frontier place was subsequently represented by three quite powerful and interesting narratives. These narratives were at the root of the idea for a new capital city; they shaped the plan and influenced the architecture that came to dominate Brasilia. The first a story of the Central Plateau as undeveloped and uninhabited, created the place as a site. It emptied it of all but its development potential. Moreover, it prepared the place to receive a highly stylized plan and ultra-modernistic architecture. The two other narratives filled the site, turning it into a place it had never been. (Beauregard, 50)

the latter is the cultural construct of human

it had all the utopian impulses that such an

In Beauregard’s terms, this is a clear example

encounters accrued over time. Another way

endeavor seemed to require... Nothing inherent

of site as narrative as there was no perceived

to understand the difference between site

in industrialized or modular housing systems

pre-existing narrative (determined by place) to

and place is by understanding how they work

precludes listening to and incorporating the

consider.

together. “Sites are only way stations between

narrative richness of a place. Thus, nothing

to see the site’s natural resources as having

place and place.” (Beauregard, 42) Sites are

impassable stands in the way of treating the

narrative quality; its virgin narrative was taken

narratives in the sense that they are constructed

site as a bearer of meaning.” (Beauregard, 47)

advantage of. The common goal to create a

landscapes that have been developed with

With this example, the rich narrative history of

new city and impose a utopian landscape gave

purpose.

place is literally bulldozed and replaced with

this site a narrative of control and power, not of

Therefore sites as narratives can

‘Significance’ is here referred to how Marc Treib explains the term in “Must Landscapes Mean?”

The planners and designers failed

setting the problem pleasure or harmony. It seems from this essay that ‘place’ narratives refer to the hearth, as descriptions of events or moments that can give temporal identity to a site. ‘Place’ narratives are stories or histories that are embedded in a site over time through culture and over generations. The word ‘narrative’ in this context is used more

as another and different place. The scenario moves forward by the deployment of preexisting and shared understandings as well as novel interpretations. Because there is no essence to any site, no single truth waiting to be discovered, different site knowledges – of the architect, the investor, the bureaucrat, and others – need to be negotiated. Narratives are constructed and deconstructed prior to but in harmony with the physical transformation eventually to be realized. Through out all of this, the default position remains a site story, a story of professional categories and interventions. This is the dominant narrative of planning and design.” (Beauregard, 55)

Narrative refers to both the story, what is told, and the means of telling, implying both product Narrative refers to both the story, what is told, and the means of telling, implying both product and process, form and formation, structure and structuration. Narrative is thus a more comprehensive and inclusive term than story. While every story is a narrative, not every narrative necessarily meets the conventional notions of a story as a well-wrought tale plotted with a sense of clear beginning, middle, and end. (Potteiger and Purinton, 3)

The term ‘narrative’ in their research means

like an adjective that describes a place where

Ultimately what can be taken from this literature

something that is acting upon the landscape.

human activities have naturally occurred and

review is two-fold. First, every landscape is

As Beauregard uses the term ‘place’, so do

have become layers of history to be uncovered.

a place; narratives are naturally inherited and

Potteiger and Purinton when they explain that

However, ‘site’ narratives are used as nouns

those inherited narratives could be multi-

‘places configure narratives’. (Potteiger and

that signify a typology. ‘Site’ narratives imply

layered and repeated. They are also a source

Purinton, 5)

a structured and designed human intervention

of site-making and should not be disregarded

that is an idea represented in and manipulated

during the site-reading.

through the landscape.

landscape holds the potential for site-making,

Second, every

which serves as potential to be a well-intended We know little about how urban planners and designers actually go about the deconstruction of place and the narrative construction of sites. We do know that intervention cannot occur, development cannot happen, until the site is brought under control, situated in a professional discourse. To arrive there, prior narratives are reduced in number or, in some instances, totally eliminated. Emboldened by simplification and standardization, analytical description thrives. Such representations cast a particular place in terms of a category of ‘problems’ that the professional knows how to solve. (Beauregard, 54)

narrative landscape.

NARRATIVE

LANDSCAPE

VS.

LANDSCAPE

NARRATIVE On a more defined course of analysis, Matthew Potteiger and Jamie Purinton have

In turn, every narrative, even the most abstract, allegorical, or personal, plays a critical role in making places. It is through narrative that we interpret the processes and events of place. We come to know a place because we know its stories. Whether it is an encounter with the edge of a forest or a drive down a suburban street, we know these places through personal experience as well as from books, television, or folklore. Barbara Johnstone writes, ‘The texture of a familiar neighborhood is a narrative texture, too; when a neighborhood feels like a home, the houses and people one passes on its streets evoke stories.’ (Johnstone, 10). As these stories encode histories and memories, they imbue sites with dimensions of time and associations not readily available to the outside observer. (Potteiger and Purinton, 6)

compiled years of research and information

The process of telling stories in the landscape

These descriptions of narrative are different

that have resulted in a book called “Landscape

is about place-making.

from each other, but it appears that ‘site’

Narratives”. Their work outlines a brief history

inspiration for a landscape narrative is the

narratives are the most indicative of designing

of contemporary narrative theory and its

conscious arrangement and editing of the

an intentional narrative landscape.

There

application to landscape narratives. The book

coded history and memories discovered on

should be clear intent when designing a

also defines ‘what is a landscape narrative’

a site. Coupled with site-reading, there is a

narrative landscape rather than imparting the

and thoroughly defines a set of practices

unique emphasis on the transformation of

mere idea of a site’s backstory.

for designing landscape narratives based

information into site-making. A narrative that is

on having studied numerous designed and

already embedded on a site has the potential

vernacular landscapes. According to Potteiger

to mark time, impart meaning, and make a

and Purinton, their definition of narrative is as

new place. The arrangement of ‘place’ is like

follows:

a rhythmic ordering of events and temporal

The most likely scenario is the turning of place into site in order then to turn site into place. The connecting element is always the site. The initial place has to pass through the site, as in the case of Operation Breakthrough, to emerge

In other words, the

setting the problem

phenomena to give a site a revitalized sense

meaningful the synergy between ‘landscape’

of time.

and ‘narrative’.

Through the devices and methods

Landscape as a metaphor

outlined by Potteiger and Purinton, they actually

to text, landscape as the medium in which

describe tangible actions (practices) and tropes

designers work in, the landscape is shaped by

for the site-making endeavor.

the authorship of the designer. Landscapes

In “Landscape Narratives” Potteiger and

are read and re-read by the people who inhabit

Purinton present a list of “Types of Landscape

these places within, and sites are massaged to

Narratives”

and

move across spatial and temporal boundaries.

examples for each: Narrative Experiences,

The linking or fusing of ‘landscape’ and

Associations

Memory

‘narrative’ embodies meaning on its own. It

Landscapes, Narrative Setting and Topos,

is a reconciliation of human stories that are

Genre of Landscape Narratives, Processes,

resting in the landscape and waiting to be told

Interpretive Landscapes, Narrative as Form

in new ways. Whereas ‘narrative landscapes’

Generation, and Storytelling Landscapes. This

is its polar opposite and communicates how

list is comprehensive and thorough, however,

the ‘narrative’ is working on the ‘landscape’.

it is not presented clearly as to how these

With this, it is a conscious decision to ascribe

themes were determined. They are typologies

‘landscape narrative’ as the appropriate term

at most and nothing more than a categorization

for this thesis and for future narratives about

of common characteristics. Narrative implies

the landscape.

structure,

editing.

union with its modifier, ‘landscape’, expresses

Therefore, narrative must have more meaning.

how the landscape is acting upon the narrative

This list may serve more as a disservice to

to shape and physically gives form to a place.

understanding narrative theory in landscape

The landscape is impregnated with multiple

architecture and actually confuse a designer

stories, and it is the material that has a natural

in the pursuit towards understanding how to

rhythm to be sequenced in harmony through

construct a landscape narrative.

narrative for its readers to feel pleasure.

with

and

brief

and

descriptions

References,

narrative

implies

As noted

‘Narrative’, as noun, in the

earlier by Potteiger and Purinton, all stories are SCENT AS AN AGENT OF IDEATION

narratives, but not all narratives are stories. At the beginning of “Landscape Narratives”,

The agency of site-reading and site-making

Potteiger and Purinton make a clear distinction

discussed up until this point have both

between

recognized the need for a temporal, spatial

discussing its synthesis in ‘landscape narrative’.

order in a landscape narrative. Referring back

They preface their working knowledge of

to an earlier section, Scent as an Agent of

designing a landscape narrative by explaining

Narrative, it was suggested that the language

that their goal is to link and make more

of scent can be communicated through graphic

‘landscape’

and

‘narrative’

Man on the rocks, San Francisco, 1975, Photo: Marc Treib.

Brasilia: primary gesture of one who marks or takes possession of a place: the very sign of the Cross.

23 Plan of Brion Chapel by Carlos Scarpa, 1969.

setting the problem Italian Renaissance

architect does not go out and mold or move

drawing medium only captures fragments of its

painters managed to show the senses

the landscape with their hands like the artist

rhythmic order and overall sensation.

through painting, and so it is fully capable of

does in his medium. The landscape architect

Transitioning his argument further, Corner

producing the same kind of pleasure through

must work at a certain distance to the

depicts the medium of drawing in another set

the landscape architect’s medium of drawing.

landscape and use drawing as an intermediary

of three forms: projection as direct analogies

However, what will be discussed in this section

to design. (Corner, 245)

In acknowledging

between drawing and construction, notation

will offer a more concise view of how to make

this ‘distance’ to the landscape, Corner

as the identification of parts of a schema

scent an agent of ideation. Rather than looking

describes three characteristics that make it

for

at scent as the means to a final design or to

difficult for landscape architectural production:

representation as pictorial images that are

built form, James Corner, in “Representation

“(I) the designer’s indirect and detached, or

more imitative in nature.

and landscape: drawing and making in the

remote, access to the landscape medium;

misuses of these drawing types that Corner

landscape medium,” makes a clear argument

(2) the incongruity of drawing with respect

argues

that the landscape architectural drawing is a an

to its subject – its abstractness with respect

misuses. The first misconception is the notion

agent for ideation.

to actual landscape experience; and (3) the

that the drawing is an artifact in itself and it

anterior, prevenient function of the drawing –

possesses a privileged sense as an art form.

its generative role.” (Corner, 245)

The second misconception is a response

means to tell a story.

Like any text, landscape architecture is conceptual, schematizing Nature and humankind’s place within it, but at the same time it differs from other landscape representations in that it operates through and within the medium of landscape itself. In other words, the actual lived landscape is the medium of both construal and construction; the representation is not only encoded in various related textual media, such as literature or painting, but is more significantly embodied in the constructed landscape. As such, landscape drawing – a textual medium which is secondary to the actual landscape – can never be simply and alone a case of reflection and analysis; it is more fundamentally an eidetic and generative activity, one where the drawing acts as a producing agent or ideational catalyst. (Corner, 243-244)

reproduction

are

and

re-enactment,

and

There are certain

misconceptions,

than

Upon writing about the misgivings of the

to the former; wherein lies the disbelief that

drawing medium for landscape architectural

a drawing can maintain rich meaning as it

practice, Corner describes three types of

only derives technical expertise and is a

phenomena that are unique to our field and that

reductive practice. By leading up to the more

for the arts in general are difficult to reproduce:

constructive or representational role of the

landscape spatiality, landscape temporality,

drawing and conversely its experience of the

and

Landscape

landscape, Corner suggests that “the source

spatiality refers to the difficulty in dealing with

of this dichotomy lies in the fact that both the

As an eidetic or generative activity, this is a

the immense phenomenological scale of the

excessive and repressive uses of drawing

careful distinction to be made when using

landscape and the difficulty in its conception;

are linked to drawing’s apparent incongruity,

the sense of smell or a scent as an agent of

landscape temporality is similar in that there is

or indirectness, in relation to landscape

narrative. The idea is not to get caught up

meaning derived in the sequential experience

architecture; one camp revels in drawing’s

with representing smells and believing that a

of moments over time the landscape; and

abstractness, while the other is repelled by

design form is made manifest, but rather to use

landscape materiality recalls the ‘sensorium

the same level of abstraction.” (Corner 264)

scent(s) as a catalyst to the narrative that will

of the tactile’ and the properties of material

There is a failure to translate what gets drawn

aid in the potential design. By comparing an

that are important in shaping our landscape

versus what gets built in the landscape. In the

artist’s medium such as painting or sculpture to

experience. These three phenomena all work

current use of drawings, the rich experience

the landscape architect and his/her medium of

in harmony in our overall comprehension and

of the landscape is unexpressive of its reality;

drawing, Corner points out that the landscape

experience in the landscape; however, the

the landscape is suppressed by the medium

landscape

materiality.

setting the problem of drawing. Drawing is an eidetic medium, and to use it simply as a means to an end, or as a means of selfindulgence in the name of ‘artistic expression’, is irresponsible with respect to the real work of landscape architecture. This suggests a difference between drawings used merely as tools of composition and communication, and drawings which act as vehicles of creativity. The emphasis shifts from drawing as image to drawing as work or process, a creative act which is somehow analogous to the actual construing and constructing of built landscapes. (Corner, 265)

Synesthesia is the experience of one sensa-

sense of ‘seeing’ the world is highly engag-

tion through the modality of another, or more

ing and corporeal, so much so that the mental

explicitly it is the experience of more than one

faculties are thrust into sensory perception and

sense in the body when another sense is stim-

can further expose new impressions and as-

ulated. In addition to Kandinsky, Corner de-

sociations in the process of ideation.

scribes the Chinese and Japanese technique of ‘flung-ink’ painting during the 14th and 15th

CONCLUSION

centuries as an example of responsive draw-

Theory in landscape architecture has thus far

Corner begins to reveal the nuance between

ing. By throwing ink on canvas, these paint-

expressed the need for the phenomena of our

the drawing medium and its ability to more ap-

ers would immediately respond to the image

every day lives to be better engaged in our

propriately translate the imaginary idea into a

that was created in an improvisational manner,

methods and formation of ideas.

more haptic approach.

which would also open up the field of synes-

theory is more suggestive of ideas to inform

The dilemma of both the ethereal and instrumental drawing, so prevalent today can be resolved when drawing is understood as the locus of reconciliation between construal and construction, or between the symbolic and instrumental representations. For example, the original Vitruvian ‘ideas’ as embodied in drawing suggest that drawings hold the possibility of being both projective, notational, and representational at the same time. Neither images nor pictures, such drawings are analogical demonstrations of both construal and construction. They are the architecture, embodying the symbolic intentions of the building and demonstrating its construction. (Corner, 265)

thesia. The reactionary process and energy

how we ‘read’ and ‘make’ the landscapes, the

that was triggered would enable the painter to

landscape as artifact is incumbent of our nar-

construct a landscape through the functions of

ratives and memories. This thesis will continue

the ink and brush working together on canvas.

to explore the operations entailed in producing

“In such improvisational, rapid-response work,

a landscape narrative that is sensitive to its

the graphic field is deeply inhabited by all the

place(s), and emphasize the mediating capa-

visceral and imaginative capacities of the artist

bilities of scent in order to do so.

By (re)cognizing the locus of reconciliation,

bring.” (Corner, 265) In more recent work, Cor-

Corner suggests that landscape architects can

ner shows a few drawings executed by Carlos

benefit from the graphic world by engaging

Scarpa for Brion Chapel and Anu Mathur that

the speculative and demonstrative functions in

serve as vehicles for ideation and are a result

drawing. “As a vehicle of creativity, drawing is

of enacting the corporeal imagination. “Such

a highly imaginative and speculative activity,

drawings might not only tell us what things

entailing both spontaneity and reflection. It first

might be, but also what they are like, suggest-

involves the making of marks and the ‘seeing’

ing, without necessarily prescribing, quite spe-

of possibilities. Such work is both imaginal and

cific settings and topologies. Plans, sections,

theoretical, making images and recording spa-

notation scores, scale shifts, light and texture

tial and tactile qualities through a process of

studies, and so on, are drawn alongside the

association.” (Corner 265)

speculative play of the collagic field, actively

Although

striving to see, to draw out and to bring-into-

Taking example from Kandinsky, Corner

plotting landscape relationships between idea

explains that the process of association can

and construction.” (Corner, 274) A new realm

be clarified through the power of synesthesia.

of imagination emerges and a metaphoric

Water and Mountain, Sesshu, 1495. Ink on Paper, 148.6 x 32.7 cm. Courtesy of Tokyo National Museum.

25 Topographical Study by Anu Mathur, 1990.

siting the thesis

“reading” the city of Washington, D.C. 27

With a thesis question in hand and research

interesting narrative. I was able to ‘ read’ how

edges around the city, L’Enfant devised a plan

to further instigate the project, the process

its parts made up a whole, and how over time

that would utilize two systems, the grid and

of finding a site became integral towards

Washington, D.C.’s landscape continues to tell

radial lines. Overlaid together, these systems

responding to it. My study of perfume and the

its story like a classic fragrance.

created a grand structure that capitalized not

scholarship on narrative and scent revealed

A pyramid-like structure of Washington,

only the views of what became the White House

a way upon which one could look at the

D.C. can be discerned by the set of drawings

and the U.S. Capitol, but also the experience

landscape in a meaningful way.

With the

shown on the opposite page. A closer view of

that seamlessly orients one throughout the

knowledge that a perfume is composed in a

each drawing can be found on the following

city with its four quadrants. Like a harmony

pyramid-like structure revealing a narrative

pages.

of base notes, these systems work together

over a period of time, this framework became

Starting from the bottom of the

to create movement through the city based

a working method to read the landscape

pyramid, or what has had its longest staying

on boundaries that were determined by the

narrative about a place over a period of time.

power, the base note of D.C. rests in Pierre

landscape. Over time, this is the structure that

L’Enfant’s original plan for the city.

keeps it together, that keeps the whole city

Through the lens of perfume and

various mapping exercises, a ‘reading’ of

recognizing the high points in the city, as well

the city of Washington, D.C. revealed an

as the topographical boundaries and river

26 Aerial view of Washington, D.C. from Google Maps.

operating. (continued on page 33) 27

Map of Washington, D.C.’s neighborhoods

siting the thesis

Top note L ’ E N F A N T P L A N

White House

An 18th century vision of a new capital city with open parks, grand national monuments, and a garden-lined ”grand avenue”.

10,032 ft. (1.9 miles) 6,336 ft. (1.2 miles) Lincoln Memorial

U.S. Capitol

Washington Monument

FILL-SCAPES A desire to engage and connect the regional landscape to the local, cityplan by reclaiming soil and redefining the character of the river front. ~ 1,000 ft. ~ 3,700 ft.

~ 4,00

0 ft.

~ 2,50

0 ft.

~ 4,500 ft.

The Washington Navy Yard Eastern Border United States Park Police

D.C. Water & Sewer Authority Pumping Station

The Yards Park

D.C. Water & Sewer Authority

The Washington Navy Yard West Border

Anacostia Park

Concrete/Aggregate Mixing Facility

Diamond Teague Park

Poplar Point

Department of Waste Truck Parking Lot

Washington D.C. Police Department Heliport

Bolling Air Force Base

Fort McNair

Maryland Rock Industries, Anacostia Terminal

James Creek Marina

s c a l e

2000

U.S. Coast Guard Headquarters

1000

Buzzard Point Park

500

U.S. Coast Guard Headquarters

Middle (heart) note

4 u

H Street N.W. between 5th + 7th headed west

7th Street N.W. between H + G southbound

Gallery Place Metro

Verizon Center Walk

7th Street N.W. between G + H Streets northbound

H Street N.W. between 7th + 8th headed west

H Street N.W. between 8th + 7th headed east

H Street N.W. between 7th + Alley continuing east

Alley between H + G southbound

G Street N.W. between 6th + 5th east

U Street N.W. between 15th + 14th

U Street N.W. between 14th + 13th

4 e

U Street N.W. between 13th + 12th

U Street N.W. between 12th + 11th

U Street N.W. between 11th + 10th

U Street N.W. between 10th + Vermont

U Street N.W. between Vermont + 10th

U Street N.W. between 12th + 13th

U Street N.W. between 13th + 14th

The Flea Market between 8th + 7th

U Street N.W. between 14th + 15th

28 m

n a r r a t i v e s c e n t

s c e n t

U Street N.W. between 11th + 12th

r s

100 ft.

i o

n a r r a t i v e

2 t

7th Street S.E. between C + N. Carolina at Eastern Market

4 n

6 e

7th Street S.E. between N. Carolina + A

A Street S.E. between 7th + 8th

A Street S.E. between 8th + 9th

9th Street S.E. between A + E. Capitol

E. Capitol St. S.E. E. Capitol St. S.E. between between 9th + 10th 10th + 11th

E. Capitol St. S.E. between 11th + 12th at Lincoln Park

12th St. S.E. between E. Capitol + Sladen’s Walk

Sladen’s Walk

Sladen’s Park

11th St. S.E. between Independence + C

Independence Ave. S.E. between 12th + 11th

C St. S.E. between 11th + 10th

C St. S.E. between 10th + 9th

C St. S.E. between 9th + 8th

s c e n t

U Street N.W. between 10th + 11th

n a r r a t i v e

Alley between G + H northbound

2 i

s c e n t

G Street N.W. between 5th + 6th

s o

t r

r t

100 ft.

100 ft. 100 ft.

U street

I stree

21st street

17th street

I street

21st street

17th street

U.S. Capitol

I street

17th street

street I street

I street I street

9th

17th street

I stree

U.S. Capitol

I street

I street 17th street

17th street 9th

9th

street

Voyelles

Vowels

Q street

stre

U street

U, cycles, divine vibrations of green seas, Peace of pastures scattered with animals, peace of the wrinkles Which alchemy prints on heavy studious brows;

~ Jean-Nicholas-Arthur Rimbaud

stre

U street

17th street

Gulfs of darkness; E, whiteness of vapours and tents, Lances of proud glaciers, white kings, quivering of flowers; I, purples, spit blood, laughter of beautiful lips In anger or penitent drunkeness;

U, cycles, vibrements divins des mers virides, Paix des pâtis semés d'animaux, paix des rides Que l'alchimie imprime aux grands fronts studieux;

17th street

Golfes d'ombre; E, candeurs des vapeurs et des tentes, Lances des glaciers fiers, rois blancs, frissons d'ombelles; I, pourpres, sang craché, rire des lèvres belles Dans la colère ou les ivresses pénitentes;

O, Suprême Clairon plein des strideurs étranges, Silences traversés des Mondes et des Anges: —Ô l'Oméga, rayon violet de Ses Yeux!

Q street

A black, E white, I red, U green, O blue: vowels, One day I will tell your latent birth: A, black hairy corset of shining flies Which buzz around cruel stench,

17th street

U street

17th street

A noir, E blanc, I rouge, U vert, O bleu: voyelles, Je dirai quelque jour vos naissances latentes: A, noir corset velu des mouches éclatantes Qui bombinent autour des puanteurs cruelles,

21st street

9th

Q street

21st street

17th street

9th

17th street

Q street

street

Q street

9th

Q street

I street I street

street

U street 21st street

U street

Q street

street

Q street

9th

17th street

street

U street 21st street

U street

9th

17th street

Base note

O, supreme Clarion full of strange stridor, Silences crossed by Worlds and Angels: –O, the Omega, the violet beam from His Eyes! ~ Jean-Nicholas-Arthur Rimbaud

siting the thesis

9th

17th street

street

BASE NOTE 1: This drawing shows I, Q, and U

U street

21st street

U street

Streets in all four quadrants of Washington, D.C.

street

Q street

9th

17th street

reet

I st

I street

streets: 9th, 17th, and 21st Streets respectively.

I street

17th street

I street

in tandem with their alpha numerically ordered

21st street

17th street

9th

Q street

street

Q street

21st street

This exercise began as a drive around the city U.S. Capitol

to find out why in the past these streets were I street

spelled out phonetically as Eye, Que, and You

I street 17th street

9th

Streets and to find any remnants of them having

street

Voyelles

Q street

str

U street

U stre

17th street

A noir, E blanc, I rouge, U vert, O bleu: voyelles, Je dirai quelque jour vos naissances latentes: A, noir corset velu des mouches éclatantes Qui bombinent autour des puanteurs cruelles,

been named as such. There was not much found during the actual experience, except

17th street

U, cycles, vibrements divins des mers virides, Paix des pâtis semés d'animaux, paix des rides Que l'alchimie imprime aux grands fronts studieux;

for dead ends and disruptions along each

O, Suprême Clairon plein des strideurs étranges, Silences traversés des Mondes et des Anges: —Ô l'Oméga, rayon violet de Ses Yeux!

road, however, the analysis upon mapping the

~ Jean-Nicholas-Arthur Rimbaud

street

U street

BASE NOTE 2: A simplified view from the one

U street

21st street

U street

9th

17th street

exercise proved otherwise.

above, this drawing reveals the same patterns

street

Q street

9th

17th street

I street

of I, Q, and U Streets coupled with 9th, 17th, and

reet

I st

I street

17th street

21st Streets next to some basic infrastructure around the city: railroad lines, seawall edges,

21st street

I street

21st street

17th street

9th

Q street

street

Q street

U.S. Capitol

bridges, and tunnels. What became apparent I street

in this drawing is the musicality of Washington,

I street 17th street

9th street

Vowels

U street

17th street

~ Jean-Nicholas-Arthur Rimbaud

U stre

Southwest, and Southeast.

Like reading a

sheet of music, from top to bottom and left to 17th street

O, supreme Clarion full of strange stridor, Silences crossed by Worlds and Angels: –O, the Omega, the violet beam from His Eyes!

str

Gulfs of darkness; E, whiteness of vapours and tents, Lances of proud glaciers, white kings, quivering of flowers; I, purples, spit blood, laughter of beautiful lips In anger or penitent drunkeness; U, cycles, divine vibrations of green seas, Peace of pastures scattered with animals, peace of the wrinkles Which alchemy prints on heavy studious brows;

D.C.’s four quadrants: Northwest, Northeast,

Q street

A black, E white, I red, U green, O blue: vowels, One day I will tell your latent birth: A, black hairy corset of shining flies Which buzz around cruel stench,

right, the grid system naturally plays and reads like various chords.

siting the thesis

BASE NOTE 3: Upon reading the harmony through the streets of Washington, D.C., the base note continues to harken back to Pierre L’Enfant’s original plan for the city. L’Enfant’s early drawings revealed the rules and reasons for overlaying a grid system with a radial one and for showing where and why the main part of the city begins and ends where it does. By to lin·ger:

following each line that L’Enfant drew, one can notice the points at which each line began

To be slow in leaving, especially out of reluctance. To persist: an aftertaste that lingers. To proceed slowly; saunter. To delay or prolong departure. To go in a slow or leisurely manner; saunter.

or ended. These points almost always hit a

To persist or continue, esp in the mind.

major topographic condition such as a hill or escarpment and the river’s edge.

BASE NOTE 4: To further express the qualities in the landscape that enabled L’Enfant to draw his original lines, this drawing shows exactly that.

The lines along his grid and

radial systems begin and end next to steep topographic conditions northwest of what is now Dupont Circle and northeast of what is now Florida Avenue, and next to the river’s edge whether it is along the Potomac or Anacostia Rivers. L’Enfant managed to design the basic structure of a grand city by recognizing what the landscape was telling.

siting the thesis

Following the middle note, which lasts between two and four hours, there is the after-scent (base note) which ensures that the perfume retains its lingering character.

BASE NOTE 5: This final base note drawing

MIDDLE NOTE 1 - CHINATOWN / GALLERY

overlays much of the information from the

PLACE (opposite page): The first scent walk

drawings before in addition to Don Hawkins

through Chinatown in Northwest, D.C. revealed

topographic map, The saturation of information

its essence of place as the intersection of all

shows how L’Enfant’s plan is truly the base

intersections. This area was full of scents of

note of Washington, D.C., as it ensures how

women’s perfumes, cigarettes, various eateries,

this city retains its lingering character.

gasoline and rubber from moving vehicles, and the synthetic scents of vinyl, candied goods and the air pumped from ventilation systems.

siting the thesis

G Street N.W. between 5th + 6th

Alley between G + H northbound

2 i

4 n

Gallery Place Metro

7th Street N.W. between H + G southbound

Verizon Center Walk

7th Street N.W. between G + H Streets northbound

H Street N.W. between 7th + 8th headed west

H Street N.W. between 8th + 7th headed east

H Street N.W. between 7th + Alley continuing east

Alley between H + G southbound

G Street N.W. between 6th + 5th east

s c e n t

n a r r a t i v e

H Street N.W. between 5th + 7th headed west

n 100 ft.

On top of the base note is the middle

resulted were section drawings of the more

whether through its activities during the day

note, or heart of the city. A series of scent

ephemeral and less tangible characteristics

versus at night, and the types of people that

walks around the city revealed the pulse of the

of each place.

gather here versus there.

everyday, and the neighborhoods that change

the scents that revealed themselves along

of these activities and the people that further

slightly from day to day, but over time they

these walks told me what was going on in

define each neighborhood all mix and match

form their own identities. Three neighborhoods

the environment, what the neighborhoods

to create a part of the larger perfume that is

were mapped in the process: Chinatown/

were like, and ultimately how they were still

Washington, D.C. The neighborhoods, together,

Gallery Place, the north and south blocks of

connected to the city, yet retained their own

work all day, every day, like the clarinets and

the U Street Corridor, and Capitol Hill.

identities of place.

the violins that can have their own solo piece,

but together are more robust.

By recording the scents that were

present on each block along the walk, what

The present moments and

Every neighborhood has a defining

character that is revealed in subtle ways,

The combination

(continued on page 37)

siting the thesis

MIDDLE NOTE 2 - NORTH SIDE OF U STREET CORRIDOR: The scent walks along U Street were taken late one Friday evening while young professionals and hipsters were out enjoying the area’s nightlife.

The scents along the

north side of U Street capture the congested scents of gasoline and rubber tires against asphalt, the cool winds passing through the more porous parts of the block, men’s and U Street N.W. between Vermont + 10th

U Street N.W. between 10th + 11th

U Street N.W. between 11th + 12th

U Street N.W. between 12th + 13th

U Street N.W. between 13th + 14th

women’s perfumes, cigarettes outside bars

U Street N.W. between 14th + 15th

28 m

and restaurants, sweet unknown scents, clean

s c e n t n a r r a t i v e

soap-like scents, and the scents of oil from a

r t

frying pan.

100 ft.

MIDDLE NOTE 3 - SOUTH SIDE OF U STREET CORRIDOR: The scents along the south side of U Street capture more of the same that can be experienced along the north side. In addition, there were scents of nail polish, sweet-malted candies, french fries, and earthy scents of mulch as one gets closer to a small memorial by the metro at the end of the street.

U Street N.W. between 15th + 14th

2 i

4 e

U Street N.W. between 13th + 12th

U Street N.W. between 12th + 11th

U Street N.W. between 11th + 10th

U Street N.W. between 10th + Vermont

s c e n t

n a r r a t i v e

U Street N.W. between 14th + 13th

U 100 ft.

r s

i o

siting the thesis

The Flea Market between 8th + 7th

4 n

6 e

A Street S.E. between 7th + 8th

A Street S.E. between 8th + 9th

9th Street S.E. between A + E. Capitol

E. Capitol St. S.E. E. Capitol St. S.E. between between 9th + 10th 10th + 11th

E. Capitol St. S.E. between 11th + 12th at Lincoln Park

12th St. S.E. between E. Capitol + Sladen’s Walk

Sladen’s Walk

Sladen’s Park

11th St. S.E. between Independence + C

Independence Ave. S.E. between 12th + 11th

C St. S.E. between 11th + 10th

C St. S.E. between 10th + 9th

C St. S.E. between 9th + 8th

s n a r r a t i v e

7th Street S.E. between N. Carolina + A

s c e n t

2 m

7th Street S.E. between C + N. Carolina at Eastern Market

l 100 ft.

MIDDLE NOTE 4 - CAPITOL HILL / EASTERN

is uniquely different from each other based

MARKET: The final scent drawing in the Capitol

on the scents that emanated, and they also

Hill / Eastern Market area has a very different

allowed me to notice how each neighborhood

character from the others. There were fresh

stands by its own identity, yet side by side in

scents of recently washed clothes and dryer

harmony with its adjacent neighborhoods.

sheets wafting from people’s homes, herbs growing in residential gardens, clean yet earthy scents from the same gardens, as well as crisp scents of fruits and vegetables as one passes through the open air market. These drawings allowed me to see how each neighborhood

siting the thesis

TOP NOTE 1 (top): This drawing is an inverted perspective of Base Note 5. Whereas Base Note 5 focuses on how L’Enfant’s plan provided the structure to build a city that still very much retains his core design and functions, this drawing puts into the foreground the new land that was added to the main land after his plan. TOP NOTE 2 (bottom):

Along the Potomac

River, all the new ‘filled’ lands became part of the monumental core and East Potomac

The top of the triangle consists of the most volatile constituents, which are the first to emerge from the bottle. This is the top note, note de depart in French, spreading a fresh scent and establishing the character of the perfume. Dependent on the composition the top note evaporates within a period of between five and twenty minutes to make place for the body (coeur) of the perfume.

Park. However, this drawing reveals a closer look at which entities occupy the land along the Anacostia River.

Predominantly local

and federally owned, the filled land along the Anacostia is inaccessible to the public, except for Buzzard Point, James Creek Marina, Diamond Teague, and The Yards Park along the northern edge, and Poplar Point along the

The Washington Navy Yard Eastern Border

The Washington Navy Yard West Border

The Yards Park

TOP NOTE 3 (opposite page): As a perfume opens its doors, it immediately attracts one’s

to a city is its waterfront and one is invited to United States Park Police

Poplar Point

attention to invite you in. Similarly, the gateway Anacostia Park

D.C. Water & Sewer Authority Pumping Station

D.C. Water & Sewer Authority

Diamond Teague Park

Concrete/Aggregate Mixing Facility

Department of Waste Truck Parking Lot

Washington D.C. Police Department Heliport

Maryland Rock Industries, Anacostia Terminal

U.S. Coast Guard Headquarters

Buzzard Point Park

James Creek Marina Fort McNair

U.S. Coast Guard Headquarters

southern edge of the river (in green).

experience D.C.’s most prized possession: the National Mall. However, before one can begin

Bolling Air Force Base

to get a sense of the entire city for its charming neighborhoods and deeply-rooted traditions, the Mall says only so much. Juxtaposed with the northwestern half of the filled land, the site for this thesis takes place in the southeast, where the landscape narrative will tell what it has yet to tell.

siting the thesis

L ’ E N F A N T P L A N

White House

An 18th century vision of a new capital city with open parks, grand national monuments, and a garden-lined ”grand avenue”.

10,032 ft. (1.9 miles) 6,336 ft. (1.2 miles) Lincoln Memorial

U.S. Capitol

Washington Monument

FILL-SCAPES A desire to engage and connect the regional landscape to the local, cityplan by reclaiming soil and redefining the character of the river front. ~ 1,000 ft. ~ 3,700 ft. ~4

,00

,50

~ 4,500 ft.

500

1000

2000

s c a l e

Finally there is the top note, which is like a

Those who live in Washington, D.C., do not

that have literally been added onto D.C.’s

fresh burst of citrus when you peel an orange.

visit The National Mall every day, whereas the

main land used to be soil deposited along the

In perfumery the top note consists of the most

tourists visit in large numbers without fail.

river and then dredged to become perfectly

volatile ingredients that sparkle in the air and

At this point upon mapping and ‘reading’ the

manicured fillscapes. Thus, perfectly chiseled

captures one’s immediate attention. The top

city, the landscape revealed something that

memorials and monuments now stand on top

note is like a gateway to a perfume, or the

could have easily gone unnoticed. Washington,

of these filled lands and attract people to the

gateway to a city.

D.C.’s landscape has received some cosmetic

northwestern half of the city’s fillscape every

lifts along its periphery and what many do not

day.

The riverfront of a city is characteristic of For example, the tourist

know is that what attracts people to the city,

After having recognized this notion of the

experience best exemplifies one’s immediate

such as the memorials and monuments, are

filled edge and how half of D.C.’s identity rests

attraction to Washington, D.C.’s riverfront.

all sitting on top of filled land. The landscapes

upon this landscape for its monuments and

a city’s top note.

siting the thesis

Trash removal trucks parked in an asphalt lot along the northern side of the Anacostia River under the Frederick Douglass Memorial Bridge. Photo: Sandra Nam.

A row of concrete mixing trucks parked adjacent to an aggregate mixing facility along the northern side of the Anacostia River. Photo: Sandra Nam.

The view from the northern side of the Anacostia River looking south towards Poplar Point and Frederick Douglass Memorial Bridge. Photo: Sandra Nam.

Asphalt lot at the southern bridgehead of Frederick Douglass Memorial Bridge also provides space to store jersey barriers and parking for buses and trucks. Photo: Sandra Nam.

View of the Washington Monument from Joint Base AnacostiaBolling while up on a large hilltop. The presence of a levee is shown along the river. Photo: Sandra Nam.

Building directory map for the northern half of Joint Base Anacostia-Bolling, which subtly reveals the “fillscape” that this half of the base is on. Photo: Sandra Nam.

memorials, this thesis investigation found a real

there was public access, which is small in

neighborhoods. The two sides seemed to have

narrative problem. The goal in responding to

comparison to the scale of land that was

operated separately from each other and each

this thesis question and approximately where it

man-made.

identified with their own system of order.

could be tested became apparent:

an intriguing perspective on how each side

In addition to the research expressing the

of the river was operating under the current

attitudes that differentiated the north versus

circumstances, more information was still left

south sides of the river, an 1891 map surveyed

to be desired. This led to more research.

under the direction of Lieut. Colonel Peter C.

How can one design a landscape narrative about the untold southeastern half of the city’s fillscape and how it came to be?

Though the drawings provided

After having drawn the series of maps showing

To summarize the research, the main or

Hains of the Army Corps of Engineers provided

the structure of Washington, D.C.’s city narrative,

northwestern part of D.C’s riverfront was once

key information about the extent of D.C.’s

it seemed appropriate to map the eastern half

part of major industrial and commercial shipping

fillscapes and about this area. Together with

of the city’s fillscape alongside the Anacostia

activities, whereas its distant southeastern

this map and with more knowledge at hand

River, as was done with the neighborhood

front was part of a growing population of

about the southeast fillscape, what emerged

scent walks (middle note).

However, these

African Americans, freed slaves, the working

was the essence of what happened here along

walks along the river were limited to where

class, and what are now considered historic

(continued on page 42)

siting the thesis

Northbound on Frederick Douglass Bridge between Anacostia Dr + Potomac Ave

2 m

6 e

Potomac Avenue S.E. between S. Capitol + 1st St

1st St S.E. between Potomac + O

1st St S.E. between O + N Place

N Place S.E. between 1st + 2nd

N Place S.E. between New Jersey Ave + 3rd

N Place S.E. between 3rd + 4th

N Place S.E. between 4th + Isaac Hull Ave (Navy Yard)

N Place S.E. between Navy Yard + 4th

Walking south towards the new Yards Park along the Anacostia River

Walking through the new Yards Park along the Anacostia River

Northwestern edge of the N Street S.E. N Street S.E. Yards Park walking through between 3rd between ew New Jersey + 1st Parking Lot +New Jersey

1st Street S.E. between N Place + O

1 hour

s s c e n t n a r r a t i v e

NTS

W A L K

100 ft.

ANACOSTIA SCENT WALK 1 - ALONG THE NORTHERN EDGE: The scents experienced along the northern side of the river were predominantly synthetic, man-made scents such as tires, dust-like powdery scents, the smell of trash, cleaning products, and mulch.

1st S.E. between O St. + Potomac Ave

Along Anacostia River through a lot with restricted access

(adjacent to Concrete/Aggregate Mixing Facility)

through Diamond Teague

4 i

6 t

8 s

S. Capitol St. S.E. between S + Potomac Ave

Southbound on Frederick Douglass Bridge between Potomac Ave + Anacostia Dr

Heading southeast towards Anacostia Park Reserve

Going east around Anacostia Park Reserve

South through Anacostia Park Reserve Edge

Cut through U.S. Park Police Parking Lot

Going west along Anacostia RiverWalk Trail / Anacostia Drive S.E. towards Frederick Douglass Bridge

100

102

1 hour

104

106

108

110

112

114

116

118

120 2 hours

s c e n t

n a r r a t i v e

S. Capitol St. S.E. between R + S S.W.

W A L K 100 ft.

NTS

ANACOSTIA SCENT WALK 2 - ALONG THE SOUTHERN EDGE: The scents along the southern edge of the river were predominantly earthy and â&#x20AC;&#x2DC;greenâ&#x20AC;&#x2122; such as grass - both wet and dry, marine-like odors such as fish and seaweed, and the smell of skunk spray.

siting the thesis

Maryland in the Distance

Washington, D.C. Hains Point

SouthWest Waterfront

U.S. Capitol

Fort McNair

National War College

U.S. Coastguard National Headquarters

Buzzard Point

Joint Base Anacostia-Bolling

Construction for Department of Homeland Security

Joint Base Anacostia-Bolling

Defense Intelligence Agency

Southeast, D.C. / Anacostia Hains Point

Anacostia River Washington Ship Channel

PANORAMA OF D.C. + MARYLAND HORIZON (above): A series of photographs taken from East Potomac Park and Hains Point captures the open view across the Washington Ship Channel. A seamless visual connection is made between the Southwest Waterfront and the U.S. Capitol building in the background with Joint Base Anacostia-Bolling alongside Anacostia’s hills and terrain peaking in the distance.

PANORAMA OF VIRGINIA + D.C. HORIZON (below): Below are another series of photographs taken from Joint Base AnacostiaBolling while standing on a levee at the river’s edge and looking towards the city and into northern Virginia. This image parallels the one above to connect two states, two identities, and memorials and monuments in both states. This image also reiterates L’Enfant’s original intention to direct attention to D.C.’s major points of view, such as the U.S. Capitol and the Washington Monument.

Virginia Skyline

Washington D.C. Skyline George Washington Masonic Memorial

Ronald Reagan National Airport

Line of Confluence

Hains Point

Air Force Memorial

East Potomac Park

National Cathedral

Washington Monument

Fort McNair National War College

U.S. Capitol

siting the thesis

land valuation narrative land valuation narrative United Supply Co. Inc. Manufacturers of Concrete Products

U.S. Department of Transportation

Kilns

Builder’s Storage

Sewage Disposal Plant

Saw Mill

Lumber Shed => Shavings Conveyer => Planing Mill => Carpenter’s Shop

(Dr)Edge Conditions

Building Materials + Yards Navy Yard

D.C. Main Sewerage Pumping Station

Industrial Operations

Saw Mill

Navy Yard

Existing Conditions + Remnants

Navy Yard

Wood Yard

Navy Yard

Paint Shop Greenhouse Storage of Concrete Blocks Storage of Cement Storage

Sand Yard American Ice Co. Wharf

Proposed Fill

Washington Nationals Baseball Stadium, built 2006-2008

Lumber Piles

Lumber Yard

Valuation of Real Property

D.C. Water & Sewer Authority

T.W. Smith Lumber Corporation Lumber & Millwork

Lumber Sheds Fireproofing Co.

Scrap Yard

The Yards Park Diamond Teague Park

Waste Management Warehouse

Lumber Wharf

Concrete Mixing Facility D.C. Waste Mangement Truck Parking Lot

Tool House Smoot Sand & Gravel Corporation

Saw Mill

Sand & Gravel Rinse => Conveyer => Washer & Screener => Scales

Poplar Point

Columbia Sand & Gravel Corporation

Sand & Gravel Rinse => Conveyer => Washer & Screener => Scales

Lumber Yard

Columbia Sand & Gravel Corporation’s Barge Repair Yard

Brick Yards

Proposed Fill

Standard Oil Company of New Jersey, Fuel Oil Plant 5’ Concrete Dyke

D.C. Police Heliport

Box Making Scattered Lumber

Anacostia Park

Recycled Aggregates

Stone Crushers

Martin’s Construction Corp. Junk Yard Buzzard Point Marina

Super Salvage Yard

U.S. National Coast Guard Headquarters

Less than 50 cents per square feet

Brick Building

Buildings for Industry

From 50 cents to $1.00

“

”

Frame Building

Religious Institutions (”Colored”)

From $1.00

to $2.00

“

”

From $2.00

to $3.00

“

”

From $3.00

to $5.00

More than $5.00

“

”

“

”

U.S. Park Police Remnants of Greenhouses for the Architect of the U.S. Capitol

Electric Power Plant Frederick Douglass Memorial Bridge, built 1950

scale 1:600’

WORKING LANDSCAPE ALONG THE NORTHERN EDGE : Various historic maps of the area show the amount of activity that used to occur along the northern edge. This waterfront was once considered a thriving area for commercial shipping and storage yards for building materials, but is now home to the Washington Nationals Baseball Stadium, concrete mixing facilities, and run-down parking lots for waste management trucks.

1903

change

Order of Volumes 1, 2, 3, 4 inside/outside l e f t / r i g h t

U.S.

Government

(MADE GROUND)

twining city

UNIONTOWN / a separate map/sheet was made to “call out” Uniontown, and there is clear organization within the community Home of Frederick & Helen Douglass Parceling of the land is divided equally by block (vs. Barry Farm, 1 acre for all)

Further along Pennsylvania Avenue SE, L’enfent Square was shown on historic maps as a prominent circle, but today it appears to be a square that has been diagonally bissected by Minnesota Avenue and acts like a triangular reservation upon which Twining Square has been designated as its other half.

Uniontown Street Names

Existing Street Names

Harrison Jackson Washington Jefferson

Good Hope Road U Street V Street W Street

Street Street Street Street

SE SE SE SE

Many of the presidents’ names, between Washington - Lincoln, were used to name streets in Uniontown

barry farm

Barry Farm is firmly established as a community Clear and intentional distribution of as many 1 acre parcels (43,560’) within the property boundary, except at edge condition by the river

Plots aligned with the roads Very much an organized area set differently from adjacent areas; the IRONY as it is set next to the Asylum for the Insane!

RED Boundary Lines extend out into the river’s territory where there is no physical landscape

It appears that if Barry Farms had more available land by the water, it would have easily been parceled off within the 1 acre system - because the property lines extend into the river marsh area

Insane Asylum main buildings clearly depicted The Alexandria Branch of B&O Railroad lines much of the old shoreline of Southeast, D.C.

united states government asylum for the insane This area is always clearly marked, building footprints area also fixed in time, and consistently reaapear in surveys throughout the years

years

uniontown

At the end of Pennsylvania Avenue Bridge, there was “Ellicott Circle”, which today is a clover leaf for the intersection between Interstate 295 and the bridge

POINTS of interest as destinations on a map / Greenleaf Point, Poplar Point, Buzzard Point, and Giesboro Point

1907

over

There is no ambivalence in this area; no intention whatsoever to impose the grid on U.S. government property; clearly not to be a part of the “whole” or relate to the city

Southeast, D.C. / Local vs. Regional Narrative Contexts Southeast, D.C. / Local vs. Regional Narrative Contexts

THE TENSION | there is a struggle to urbanize this area into the whole or the city, while there is also a struggle to establish individuality and a unique identity via a community that sets itself apart amongst others. One can see this upon recognizing the intention to impose a grid in what appears to be less controlled areas. Whereas in the more established communities, there are no suggestions of imposing a grid. Yet within these smaller communities, it is clear there is a social desire to make things equal and to mark physical boundaries of equal size ownership.

The use of the “inset” recognizes different points along the river’s edge as important places, however, upon closer look they do not reveal much information The Edge, especially Poplar Point and the area along what is today Anacostia Park, does not seem to be heavily active/used or recognized as a “place”

Stone Crushers on Poplar Point Frederick Douglass Memorial & Historical Association of Washington, D.C.

Historic Neighborhoods Historic Neighborhoods

TEMPORAL NATURE | THE IMPORTANCE OF ROADS VS. PROPERTY OWNERSHIP - The defined roads make for a place and clearly demarcate some type of order; whereas the many property lines and boundaries of ownership by individual names are the most temporal in nature and the least resistant to potential urbanization. Stone Crushers on Poplar Point indicate some relationship with the other side of the Anacostia River’s working industry; it also indicates that this area was a place for raw materials Helen Douglass, 2nd wife to Frederick Douglass (February 1818 February 1895), created the Frederick Douglass Memorial and Historical Association; Helen devoted her life to planning and establishing this Memorial & Historical Association

Property ownership lines are not aligned or organized by roads or the north / south / east / west grid system. The idea of the grid is superimposed via dashed lines, but not made definitive 16th and 17th Streets are firmly drawn in certain areas, and the grid appears to continue, however, the street numbers do not continue in order - it suddenly jumps to 30th street Where it appears to be less developed, yet was clearly owned by an individual, the grid was imposed and it reveals the INTENT to take over; however, where there was a clearly organized community (Barry Farms, Uniontown), it appears as though the grid was not allowed to impose itself

WORKING LANDSCAPE ALONG THE SOUTHERN EDGE : Similar historic maps as the ones used above and other surveys of the area tell a rather different story of D.C.’s southern counterpart. Historic neighborhoods, a major rail line, and temporal events that characterized this side of town all work to narrate a cultural landscape that has been made, erased, and remade over time.

siting the thesis

SITE SECTIONS:

To the left are East/West

sections through the site in question. The sections make visible what is invisible in plan view. The inherent difference between the new land, which is more flat topographically, versus the old land, which is more hilly in terrain, reveals how the landscape narrative is literally embedded in this place. ANACOSTIA RIVER NARRATIVE (PAGES. 44-45): This drawing magnifies the subtleties drawn from the 1891 map and the site’s periphery. The Army Corp methodically shaped this land,

Site Sections t o p o

g r a p h i c a l

albeit without a deeper meaning other than to

scale 1:300

provide function and accessibility for ships to pass through.

the Anacostia River, and what would ultimately

river because of agricultural and deforestation

and further disconnected the northern half of

become the essence of this landscape

activities in Maryland.

the city with its southern counterpart, and its

narrative.

western monumental riverfront from its eastern

What is explicitly shown on the 1891

was muted by this new landform, because it

half.

map is where all the “fill” was going to be

became a private and secured military base for

placed, right in between the north and south

the airforce, now called Joint Base Anacostia-

occurred, the site parameters were realized as

edges of the river. This map also reveals the

Bolling. The military base covers more than

being the scope of this southeastern fillscape.

magnitude of soil and sediment that ended up

900 acres, of which roughly 600 acres is on

However, its real boundaries and site specificity

in the Anacostia River and had to be dredged

reclaimed land-fill.

As quickly as the fill was

would have to be further negotiated due to

so that ships could navigate freely in order

reclaimed from the bottom of the river, it was

the active presence of a military base, thus

to continue its commercial activities.

What

just as quickly claimed by the government on

complicating design matters. As if I were an

is not so explicit here is the magnitude of

top of the land. Any trace of its “newness”

investigative journalist on a mission, this thesis

man’s impact on nature. All of the material

or connection to the original city was made

would have to reveal the ‘scoop’, both literally

used to fill this landscape once flowed into the

inaccessible to the public and inadvertently

and metaphorically.

What had been two working river edges

As though an “aha!” moment had

siting the thesis

1891 Map of Anacostia River surveyed under the direction of Lieut. Colonel Peter C. Hains, Army Corps of Engineers

siting the thesis

NACOTCHTANK

~meaning ‘Trading Village’, The Nacotchtank were a native Algonquian people who lived in the area of what is now Washington, D.C. during the 17th century. Their principal village (also named Nacotchtank) was situated within the modern borders of the District of Columbia, on the eastern bank of a small river that still bears an anglicised variant of their name... —

the Anacostia.

MUD During the American Civil War (1861-1865), an extensive line of forts was constructed south of the river in order to prevent Confederate artillery from bombarding the Washington Navy Yard, which lies adjacent to the river.

FLATS

Colored lithograph of Washington Navy Yard, circa 1862.

Frederick Douglass (1818-1895), escaped from slavery and became a leader of the Abolitionist Movement; wrote autobiographies describing his life as a slave (Narrative of the Life of Frederick Douglass, an American Slave, 1845; Life and Times of Frederick Douglass, 1881); lived in Cedar Hill next to Anacostia Park before his death in 1895. Social reference to Sir Ebenezer Howard “Garden Cities of Tomorrow” (1898); Farms, Forests, Brickfields, and Asylums on the outskirts.

On the western side of the city, dredging of Hains Point and East Potomac Park 1880-1892. Photo of Hains Point in 1935.

Penn Avenue Br

Navy Yard Brid

French Curvilinear form, aesthetic desire

existing v

Proposed Channel width 1000 ft., engineer’s desire Government Insane Asylum & Asylum Wharf; desire to keep ‘the others’ on the outside Proposed Channel depth 24 ft.; desire to move stagnant water and move industry

1891 Map of Anacostia River, surveyed under the direction of Lieut. Colonel Peter C. Hains, U.S. Army Corp of Engineers

~Existing River + Edge Conditions

~10 U.

~Bridges noted in red

siting the thesis

Benning Road

1 2

Benning Road

Whitney Young Memorial Bridge East Capitol Street SE

ridge

Penn Avenue Bridge

11th Street Bridge

dge

vs. proposed

000 ft. = proposed channel width, .S. Army Corp of Engineers

Aesthetic French Curve

Navy Yard Bridge

John Phillip Sousa Bridge Pennsylvania Avenue SE

Frederick Douglass MemorialBridge South Capitol Street SW/SE

past vs. present

~Narrowing of River Channel

anacostia river narrative anacostia river narrative

scale 1:2000â&#x20AC;&#x2122;

~Site(s) selection encircled ~New Bridges noted in blue

Earth Works | Remnant Fence Posts memory of a wall

10’ on center

Remnant Stairway

10’ on center

EARTH WORKS | REMNANT FENCE POSTS (above): In the middle of Anacostia Park, which is private property, the remains of a fence were located every 10 feet on center. This was an initial finding within the site that subtly hinted towards the idea of ‘making present what is now absent’.

development of the landscape narrative site history, site characteristics, and site analysis

The development of the landscape narrative

present what is unnoticeable with individual

is a direct result of uncovering the latent and

images. The temporal gaps allow the northern

re-discovering the existing site characteristics.

half of the city to be more legible compared

After getting several layers deep into the site’s

to the southern half of the city where the

imminent loss. Created from blossoms and petals which have surrendered their floral odors, and their ‘lives,’ perfume is, when all is said and done, a concentrate of loss, the distilled spirit of now-dead roses, macerated jasmine blossoms, or stem-withered lavender: ‘an essence of absence’. (Stamelman, 19)

history and after several site visits to the

southeastern fillscape was first made, appearing

Like the jasmine blossoms that are grown only

military base, via access with an army veteran,

to be an open tract of land, and then urbanized

to surrender their odors for its next life, this

a series of drawings were made to express the

and developed into a system on its own. (see

is a story of something gained and something

experiences had on the site. These drawings

WRITTEN LANGUAGE VS. UNWRITTEN HISTORY

taken away.

further revealed why this narrative needs to be

- opposite page)

came to be, and then how it became absent

told, how it will be told, and where it will be told.

from the public.

quote from Perfume: Joy, Obsession, Scandal,

story of Washington, D.C.’s fillscapes and how

1. SITE HISTORY

Sin: a cultural history of fragrance from 1750 to

it wants to be reunited with its northwestern

An aerial photograph taken by the School of

the present, by Richard Howard Stamelman:

half. This is why this landscape narrative must

Aerial Photographic Reconnaissance in 1918 posed next to several Google Maps aerial images over the course of sixty years makes

At this point in time I am reminded of a

A scent always dissipates, leaving in its wake no more than a faint echo, a lingering trace. Perfume is a ‘here’ en route to a ‘there,’ a today floating away in the direction of a yesterday, a possession paradoxically coinciding with an

be told.

It is the story of this fill, how it

It is also the unwritten love

W R I T T E N L A N G U A G E Photographic images captured in the air reveal static moments in time, and tell stories of the present day. Washington, D.C. tells a story of bursting radial avenues and urban form that has attracted attention and people from all over the country to live, work, and play in its center. The city-scape has become legible over time and has been inscribed with cultural values and how it has made “scents of itself.”

4 9

1 9

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UNWRITTEN H I S T O R Y

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0 9

Temporal gaps in aerial photography reveal unwritten history in the landscape. In Southeast, D.C. Anacostia Park and the Naval Air Station are “patched” into the landscape and unabashedly different from the District’s urban realm. This is a story of something gained and something taken away. It is the unwritten love story of Washington, D.C.

A N A C O S T I A R I V E R

OLD SHORELINE

JOINT BASE ANACOSTIA-BOLLING | MAIN GATE

INTERSTATE 295 NORTH + SOUTHBOUND SOUTH CAPITOL STREET S.E. 0

key map | overview of site experiences

200

400

s c a l e

800

development of the landscape narrative

EARTH WORKS - LEVEE WALL: After entering the secure military base at Joint Base

Earth Works - Levee Wall

Anacostia-Bolling and driving through the site

memory of a view

on flat terrain, one is confronted by a 1.3 mile long levee system along the river’s edge. At its highest, reaching 18-20 feet when standing next to it at ground level, one cannot see what is ‘outside’ nor can one perceive a major river flowing alongside it. Though it prevents any of these views, the actual experience while standing on top of the levee is quite a different story.

KEY MAP - OVERVIEW OF SITE EXPERIENCES (opposite page): Several walks, drives, and bike rides in and around the site led to a series of drawings (detailed site experiences shown on pages 51, 52, 54, and 57) which capture the moments that made this place special in my imagination and in my reality. The drawings provide a tangible perspective of what occurs on this site, and in addition, they provide an interesting outline of where the landscape was telling me to go. Walk

on page 51; Walk 2

on page 52, Walks

and

on page 54; Walk/Drive

on page 57.

development of the landscape narrative

Earth Works - Paved Path walking the edge

EARTH WORKS - PAVED PATH, WALKING THE EDGE: This was my first experience with/at/ on a levee, and it was a wonderful surprise to discover a paved path on top of it. These images show my appreciation for the pathway along this infrastructure that was designed to prevent flood events, but it also brought about the realization that only the ‘insiders’ could experience the beauty of a whole riverfront while it remains inaccessible to anyone outside.

SITE EXPERIENCE ALONG THE NORTH LEVEE (opposite page): The levee system is broken into two halves, the north and the south, as there is an exposed concrete flood wall cutting the continuity of the path. The experience along the north levee is similar, yet more enjoyable, to walking along a very wide balance beam. The 8 foot wide path is paved along its high points and the grass sides have on average a 30% slope. Flocks of geese and seagulls recreate here, while boats and rowers leisurely pass by on the river. In addition, surprising views of the Washington Monument and the U.S. Capitol can be seen across the river as they peek through D.C.’s backyard. The southern-most point along the north levee ends where the flood wall begins and where a set of stairs takes you back to ground level and by the naval barracks on the base.

view facing south

site experience FRE

along north levee

southbound

RIC

GLA

RIA

VIEWS

WASHINGTON

MONUMENT

AND

THE

U.S.

CAPITOL

RID

BUILDING

PUBLIC/PRIVATE CHAIN-LINK FENCE

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T E

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JOINT BASE ANACOSTIA-BOLLING 0

150

s c a l e

300

site experience

along south levee

southbound

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7 OLD SHORELINE

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development of the landscape narrative

EARTH WORK + PLAY - DELINEATED SPACE(S): While walking along the levee, there are subtle differences in what are considered

Earth Work & Play delineated space(s)

office buildings and work spaces versus places for recreation. There is an unused and unkempt marina between the north and south levees, a dog training space where military vehicles are parked on top of a mounded hill along the levee, views into a highly secured congressional helipad on the base, several pavilions and picnic tables in open spaces, and markers along the path that indicate distances for running or places to play horseshoes. The experiences along the levee suggest spaces that must be highly secured and hidden from public view, while also suggesting spaces that are less formal and more open in nature.

SITE EXPERIENCE ALONG THE SOUTH LEVEE (opposite page): The experience along the south levee is surprisingly different and unique from the north levee. Considering there was one staircase providing entry onto or exit from the north levee, the south levee begins with a ramped asphalt path up to the top of the levee. Immediately upon getting to the top, a beautiful view of the city and a simultaneous view of the Washington Monument and U.S. Capitol building can be witnessed along its entire length. The confluence of the Anacostia and Potomac Rivers meet at this point and the energy of the river water is much more vibrant than it is along the north levee. Sailboats run their course in the distance, one can see airplanes taking off and landing at Ronald Reagan National Airport, and the city appears idyllic in form. A connection to the city is very much apparent.

development of the landscape narrative

NAVY

YARD

H 11T RE ST ET

E IDG

N R

C I

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T E

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site experience around Poplar Point & Anacostia Park

through and

P O P L A R P O I N T

13 6

3 5

3 11

4 1

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10 9

10 11

10 OLD SHORELINE

13 14

18 7

15 16

REMNANT RAILROAD TRACKS B&O (ALEXANDRIA BRANCH OF B&O LINE)

1 1

JOINT BASE ANACOSTIA-BOLLING

ANACOSTIA PARK

150

300

BARRY FARM s c a l e

SITE EXPERIENCE THROUGH AND AROUND POPLAR POINT + ANACOSTIA PARK: Though much of the riverfront along the Anacostia River at Poplar Point is accessible to the public, it is bordered by heavy vegetation and a simple bike path runs parallel to it. Majority of the landfill further inland was initially used by the U.S. Botanic Garden and D.C. Tree Nursery. However In the late 1980s or 1990s, the site was abandoned and the trees and vegetation were left to grow wild. The U.S. Park Police and a soccer field at its northern-most point are the primary active spaces.

development of the landscape narrative

Earth Works | Touching the Surface Base History Anacostia NAS was listed among airports on the 1960 Washington Sectional Aeronautical Chart, with 3 concrete runways (the longest being 5,000'). By that point it was already "closed to jet operation". The end of fixed-wing flying operations at both Anacostia NAS & Bolling AFB was brought about by two factors. The first was the advent of the jet aircraft, which necessitated much longer runways than could be accommodated in the constricted patch of ground along the Anacostia River (the two bases are also bordered on the east side by the I-295 expressway, which precluded any property expansion eastward).

The Anacostia â&#x20AC;&#x153;Naval Air Stationâ&#x20AC;?, as depicted on the 1926 USGS topo map.

A mid-1920s aerial view looking north at Anacostia NAS, showing the airfield as a large open grass area, with several hangars along the west side.

Bolling Field, as depicted on the May 1932 J-18 Washington D. C. Airway Map.

"Bolling Field Naval Air Station", as depicted on the 1934 Navy Aeronautical Chart.

A mid-1940s aerial view looking north at Bolling Field (bottom-center) & NAS Anacostia (upper-right). Note the taxiway connecting the 2 airfields.e

A mid- to late-1950s photo by Lester Lemar of several aircraft on the ramp at Anacostia.

Anacostia NAS & Bolling AFB, as depicted on the 1949 USAF Target Complex Chart.

The second factor making the closure unavoidable was the presence of Washington National Airport directly across the Anacostia River, only a mere mile away from the two military airfields. National has evolved into one of the busiest airports in the world, blanketing the area over Anacostia with extremely dense commercial air traffic. The runways at Anacostia & Bolling were closed to fixed wing traffic in 1962, and both Navy & Air Force fixed wing flying operations for the Washington DC area moved to the much larger & less crowded Andrews AFB a few miles to the East.

A January 1981 DOS aerial view of Anacostia NAS.

A 2002 USGS aerial photo looking southwest at the hangar & remaining helicopter ramp area at Anacostia NAF.

EARTH WORKS | TOUCHING THE SURFACE, BASE HISTORY (above): Historic maps, USGS maps, and photographs from an online blogger tell the story of what happened on the base after the land was formed and during its most active time, World War I and II. At one point there were two different airfields, Anacostia Naval Air Station (NAS) and Bolling Air Force Base (AFB), connected by a taxiway. The bases were consolidated in 2005 through BRAC legislation and is now called Joint Base Anacostia-Bolling.

EARTH WORKS | TRANSITION LINES, MARKERS OF MATERIALITY (below): After heavy storms large amounts of detritus and debris from up river flow down and settle alongside the north levee leaving clear markers of the natural events, whereas the south levee is lined with rip rap and protects its riverside.

Earth Works | Transition Lines Earth Works | Remnant Fence Posts memory of a wall

river water / debris

grass / rip rap

rip rap / silt

public / private

Markers of Materiality

driftwood / grass

asphalt path / bollards

cut grass / grass growth

mowed / grass

development of the landscape narrative

2. SITE CHARACTERISTICS Sections across the site show that the site is

remembered as slow boats and rowers pass

and Virginia, such as the Air Force Memorial

quite flat compared to the rest of Anacostia and

and as the calm waters make its presence

near the Pentagon and the George Washington

one can quickly infer why it was leveled: first,

known.

Masonic Memorial in Alexandria, Virginia. The

it is easy to build on top of leveled land, and

The second section of the levee is the

most unassuming aspect of this levee is that

second, there could be no specific rationale for

continuation of the flood wall, and halfway along

one can not tell where it ends, because the

the Army Corps to make artistic earthworks with

the wall there is a small and unassuming gate

fill seamlessly meets the old landscape and

the fill when the dredge was placed. The Army

that lends access to the river and an unused

carries on as if the land was always here.

Corps’ job was to simply scoop the dredge from

marina. This section acts as a disruption to the

the bottom of the river and fill it here on this

beauty of the levee, yet provides a functional

experience views of the city that are literally

site along the Anacostia. However, what could

value for the base.

hidden from the public’s eye. This site as well

not be inferred from making an existing site

The third section of the levee, the south

as the entire length of this edge along the river

model or drawing sections, was the experience

levee, can be accessed after walking or driving

has the potential to become a beautiful place

of a levee system along the river’s edge. The

around several buildings and parking lots. The

for many people to experience.

current shoreline protects the low-lying base

entry back onto the levee is provided by a

from floods.

ramped asphalt path and continues southbound

current shoreline is present, yet fragmented

Along the current shoreline, the levee

all the way to the end of the base property. The

experientially, when one attempts to walk

can be characterized as having three sections.

experience along the south levee is also unlike

along the old shoreline, it is literally impossible.

On the northern section of the levee, there is

any other in Washington, D.C. and also unlike

(see SITE EXPERIENCE ALONG THE OLD

an asphalt path that allows you to walk south-

the experience along its northern counterpart.

SHORELINE & SOUTH CAPITOL STREET S.E. -

bound along its top from the northern-most

As soon as you reach the top of the levee

opposite page) This area was not designed

point of the base boundaries near Frederick

at its entrance, you are exposed to a grand

for public access; there are no sidewalks. The

Douglass Bridge until it stops at a set of stairs.

view of the city. A view of the Washington

only means to access a part of this history is

At this point, the levee turns into a flood wall

Monument coupled with a view of the U.S.

by driving parallel to it on a major road, South

and one must come down from the levee into

Capitol building is presented here with the rest

Capitol Street. However if one does attempt

a parking lot and onto a back road by the navy

of the city.

While on the south levee, you

to walk the dangerous edge between South

barracks. The experience along the north levee

can experience the confluence of the Potomac

Capitol Street and the boundaries of the

is unlike any other in Washington, D.C. Here

and Anacostia Rivers, watch sailboats playing

military base, one can experience an ecological

one can see snapshots of the Washington

in the distance, airplanes landing and taking

corridor where groundhogs dart across and

Monument and the U.S. Capitol as though

off at Ronald Reagan National Airport and the

vegetation is running wild. In this in-between,

one were looking through the city’s backyard.

tip of Hains Point on East Potomac Park. The

demilitarized zone along the old shoreline is

Ironically the Anacostia River is considered

sights are endless, and in the distance one can

also an abandoned railroad which used to be

“the Forgotten River”, but here it seems to be

see memorials and monuments in both D.C.

active, but is now home to nature.

Along the entire levee, one can

Whereas the experience along the

site experience

Old Shoreline & South Capitol Street S.E.

along

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10 10

1 11 11

CONSTRUCTION OF NEW DEPARTMENT OF HOMELAND SECURITY (ST. ELIZABETHS HOSPITAL)

12 12

13 13 14

15 15 16

16 JOINT BASE ANACOSTIA-BOLLING

OLD SHORELINE

REMNANT RAILROAD TRACKS (ALEXANDRIA BRANCH OF B&O LINE)

HISTORIC GROUNDS OF ST. ELIZABETH’S & NEW GROUNDS FOR DEPT. OF HOMELAND SECURITY 0

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300

development of the landscape narrative

Perceiving Narrative Data Perceiving Narrative Data

existing + historic shorelines

bridges

roads

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1000

s c a l e

PERCEIVING NARRATIVE DATA 1: Initial site visits provided a mere understanding of the site’s overall history, and the subtle messages that were initially conveyed during site analysis were lost in translation. However after finding the 1891 map and realizing that there lay an old shoreline hidden from plain sight, the data lent a different perception of the site. Individual GIS data overlaid with the old and new shorelines provided a cleaner lens upon which the site could be ‘read’.

2000

development of the landscape narrative

Perceiving Narrative Data Perceiving Narrative Data

topography

buildings

sidewalks

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1000

s c a l e

2000

PERCEIVING NARRATIVE DATA 2: By extrapolating the two shorelines in conjunction with the bridges, roads, topography, buildings, and sidewalks, it explains how the lines have created physical differences between the new land versus the old land and how the urban design differs with each. Similarly these lines separate what is public versus what is private, and ultimately silences the presence of the new land that has since the early 1900s been recorded in maps and aerial photographs next to the old land.

development of the landscape narrative

Fre

der

ick

las

sM e

ria

lB rid

ee Lev ing Ex ist

Ex ist

ing

aw all

(re)emerging edge | suspending the surface

End of Sidewalks

s c a l e

3. SITE ANALYSIS - THE ESSENCE ALONG TWO

and experientially apparent by recognizing the

is a difference between one half of the base

SHORELINES

difference in activities on the northern half

and the other, because like a spine it connects

The current (new) and old shorelines have

of the base, which is for secure intelligence

the two as one.

opposite characteristics and offer different

operations, compared to the southern half

experiences from each other. Interestingly, the

which is much more residential in nature and

was apparent at this point in the thesis. Upon

experience ‘on’ the filled land and in between

acts like a military suburb. One can easily feel

entering the military base, I knew that half of it

these two shorelines is what helps to further

the difference of the two halves of the base

was on filled land and half of it was always there

distinguish them.

The history of the base

while “inside”, but it is not obvious without

to begin with. What made this fact present in my

reveals how two landing strips, considered two

knowing that the old shoreline cuts in between.

imagination was in having actually experienced

separate bases - Anacostia Naval Air Station

Additionally, there is a road called Defense

how the sides were acting differently from

(NAS) and Bolling Air Force Base (AFB) - were

Boulevard that runs straight down the middle

each other based on the knowledge that a line

joined and became one, hence the name Joint

of the base from the north connecting to the

(whether it be old shoreline or new shoreline)

Base Anacostia-Bolling. This is also physically

south. This road disguises the fact that there

was producing this effect. The two sides are

The notion of ‘two different sides’

development of the landscape narrative

Moments along the levee (new shoreline) and along S. Capitol Street (old shoreline) were inaccessible or went unnoticed. The following four drawings strive to show what the landscape is communicating along these areas. the seamless path | a split personality

(RE)EMERGING EDGE | SUSPENDING THE SURFACE (opposite page): Sections between the northern gate / checkpoint of the military base and by the southern bridgehead of Frederick Douglass

Memorial

Bridge

communicate

repetition in the landscape, particularly at the cut bank

river’s edge where the levee seems to continue and then subside at Poplar Point. THE SEAMLESS PATH | A SPLIT PERSONALITY (right):

Topography

reveals

inherent

Joint Base Anacostia-Bolling (Southwest, D.C.)

difference between the two sides along the

New (Filled) Land “Flat” Terrain

old shoreline and a potential working area to express these differences. CONTAINED SPACE | SHAPING THE RIVER (top on page 63): The flood wall, second section along the levee, limits the continuity of the experience along its path.

However, this “Hilly” Terrain

important infrastructure reinforces the intent to OLD SHORELINE

hold back the river and unexpected events in

Congress Heights (Southeast, D.C.) Old (Original) Land

nature. ‘LEVELING THE LAND’ | REVEALING THE HORIZON (bottom on page 63): Sections reveal an inherent difference between the new land vs. the old land, but one could never know this while on the levee.

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200

s c a l e

400

development of the landscape narrative

NAVAL DISTRICT W A S H I N G T O N A N A C O S T I A

A N N EX

Currently known as Joint Base Anacostia-Bolling (JBAB), the 900 acre military installation was consolidated in 2005 due to BRAC legislation. The legislation led to the consolidation of the Naval Support Facility (NSF) Anacostia in the northern half and Bolling Air Force Base (BAFB) in the southern portion. Shown here is the northern half, where land was historically reclaimed and filled via dredging operations.

Anacostia River D.C. SEWER PUMPING STATION TEMPORARY BUILDINGS SITE CURRENTLY UNDER CONSTRUCTION

REMNANT STRUCTURES FROM D.C. TREE NURSERY & U.S. BOTANIC GARDEN NURSERY

A-087

A-057 THRIFT SHOP

A-359

A-365

A-421 / A-121 NAV FAC WASHINGTON PUBLIC WORKS

A-416

A-370 11TH CIVIL ENGINEER SQUADRON A-400 NAV FAC WASHINGTON USMC TRANSPORTATION 07

A-415

A-425

1/2 STREET S.W.

SOUTH CAPITOL STREET

1ST STREET S.W.

2ND STREET S.W.

1/2 STREET S.E.

A-397 SHOOTING RANGE

1ST STREET S.E.

A-409 RECYCLING CENTER

A-424

2ND STREET S.E.

A-371

A-396

3RD STREET S.W.

NEW HEADQUARTERS FOR THE DEPT. OF HOMELAND SECURITY (U.S. GOVERNMENT INSANE ASYLUM / ST. ELIZABETH’S HOSPITAL)

A-361 / A-364 AIR FORCE TRNS - 11/CC (LGTO) PRESIDENTIAL H E L I P A D

A-412

4th STREET S.W.

A-362 AIR FORCE VEHICLE MAINTENANCE (LGTM)

A-387

A-398 HMX-1 SUB UNIT ONE

A-411 / A-410 EO / USSS COMPLEX (EQUAL OPPORTUNITY)

3RD STREET S.E.

A MWR STORAGE LOT & CONTRACTOR TRAILOR PARK

A-351 NAVY & MARINE CORP RESERVE CENTER

CONTRACTOR P A R K

A-356 A-106 C.B.M.U. 202 DET. WASHINGTON (CONSTRUCTION BATTALION)

A-171 OUTDOOR RECREATION

A-353 A-354

A-355

A-357 / A-358 PARKING GARAGES

A-093 (BOQ) BARRACKS FOR OFFICERS

A-097 A-381 A-113

9TH STREET S.E.

A-352/A

building, revealing information that is typically not public knowledge. It is apparent that the two systems oppose each other.

A-350 D.C. ARMY NATIONAL GUARD A-352

A-092 PERSONAL SUPPORT DETACHMENT

A-073 A-091

7TH STREET S.E.

A-002

A-124 A-086

A-379

D.C. It also shows all the buildings and the designated activities inside each

TOWARDS THE HISTORIC HOUSE OF FREDERICK DOUGLASS AT CEDAR HILL

A-168 COMMANDER NAVY INSTALLATIONS / NAVY MEDIA CENTER

A-419 FUNARI GYM

A-029

8TH STREET S.E.

A-105

6TH STREET S.E.

A-084 PORT OPS A-047 CEREMONIAL GUARD A-085 A-380

A-338 FIFTH STERLING GATE

A-418 FUNARI GALLEY

A-423

5TH STREET S.E.

4TH STREET S.E.

A - 3 9 3 M A R I N A FLOATING PIER

A-107 MARINA

A-094 (NCIS) NAVY CRIMINAL INVESTIGATION SERVICE AIR FORCE FACILITY MAIL FACILITY

A-414 WELCOME CENTER PERSONAL PROPERTY HOUSING

A-417 FUNARI BARRACKS

JACKIE ROBINSON C E N T E R

11TH STREET S.E.

VACANT BUILDING A - 3 9 0 F I E L D S

A-072 FLAT & FAMILY SUPPORT CENTER RELIGIOUS OFFICE SUBSTANCE ABUSE REHAB SERVICES NAVY COLLEGE OFFICE NAVY EXCHANGE (NEX) - SHOPETTE

had incorporated this tract of land while laying the grand plan for Washington, 10TH STREET S.E.

A - 4 1 3 CHILD CARE CENTER

A-399 WHITE HOUSE COMMUNICATIONS AGENCY

(left): This drawing takes a gander at what could have happened if L’Enfant

U.S. PARK POLICE AND NATIONAL PARK SERVICE HEADQUARTERS

REMNANT STRUCTURES FROM D.C. TREE NURSERY & U.S. BOTANIC GARDEN NURSERY

NORTH G A T E

MAPPING THE BUILDINGS ON JBAB + IMAGINING WHAT COULD HAVE BEEN

“U.S. MADE VOLUME

GROUND” REDUX

Historical maps reveal Washington, D.C’s FILLSCAPES as “U.S. Made Ground”, shown without any urban form, nor with any intention of integrating these landfills with the rest of D.C.’s infrastructure. In addition the city was often surveyed in 4 volumes, upon which this side of the city, across the Anacostia River, was consistantly published in the 4th and last volume. In Volume 2 Redux, we begin to see how “one should treat others as one would like others to treat oneself.” (The Golden Rule)

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800

SITING NARRATIVE | ABSENCE OF EXPERIENCE (right): Using the analogy of sewing with a needle and thread, this is a conceptual drawing that tries to convey the experiences that can be had along the two shorelines and the

OLD SHORELINE

fragments that are left to be desired. The thesis will be sited along these lines to make present what is currently absent, and make present a whole narrative about this place and about this city.

siting narrative | absence of experience

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400

s c a l e

800

development of the landscape narrative

contained space | shaping the river

Old Docks

ing

n egin

lo eF

ret

Co 10’

all

W od

d En

rth

inherently different from each other, also acting

vee

differently from each other. These experiences provided the tools and means to determine

how this landscape narrative must operate as two sides becoming present along a line,

Navy Barracks

while also recognizing that there is a deliberate connection between them.

Cut-in / Old Marina

Ceremonial Guard

The experiences on and around this

site uncovered information about itself that was already present, yet acted as if they were absent.

The drawings that express these

experiences helped to then communicate

Wa ll

where the thesis would be tested: alongside the

Con

cre

Flo

two shorelines. The act of working alongside

uth

End

Lev e

10’

these two conditions is where the heart of the

narrative lies, and the heart of this place. The

ing inn Beg

s c a l e

story about this filled land, how it came to be, and what happened along the way is subtly apparent in how the edges (both old and new) are working to produce differences in how the two spaces along each shoreline act. My goal

Existing Levee

as a designer is not only to reveal this story Existing Levee

while making it work as a whole, but also to

‘leveling the land’ | revealing the horizon

attract people to it and connect this whole side New Topography

of the city back to D.C. like a great love story. As in any love story, there are two that come

Old Topography

Sea

wal

OLD SHORELINE

Exis ting

together as one, and as a perfume works on

End

one to attract another, this is the story of how

Leveled Land

two sides become one in many ways and how the lens of perfume will help me get there.

Leveled Land

s c a l e

process diagrams

the landscape narrative as methods for design

From the history of this site and my engagement with the site, I had enough information and reason for telling the narrative about this landscape. The following series of diagrams best sums up the process in which the landscape narrative provided the methods for design.

S I D E : noun

-A line bounding a plane figure. -A surface bounding a solid figure. -A surface of an object, especially a surface joining a top and bottom. -Either of the two surfaces of a flat object. -The part within an object or area to the left or right of the observer or of its vertical axis. -The left or right half of the trunk of a human or animal body. -The space immediately next to someone. -The space immediately next to something. -One of two or more contrasted parts or places within an area, identified by its location with respect to a center. -An area separated from another area by an intervening feature, such as a line or barrier. -One of two or more opposing individuals, groups, teams, or sets of opinions. -One of the positions maintained in a dispute or debate. -A distinct aspect. -Line of descent. -An incomplete script that shows the lines and cues of a single performer only.

C U T RIVER

Inaccessible Waterfront The Forgotten River Tidal Water The ‘Other Side’ of D.C. Lack of Paths Major Road Infrastructure

F I L L

FOREST

path parallel to current edge | making 2 sides (north/south + river/base) present.

Levee Construction Taming the River Architectural Edge

New Land

Wild River

Old Land

Tame Man-Made

intersections along the path and old shoreline | dialogue between cut + fill, between fill + forest, and past + present; referencing 2 sides at the same time.

FILL RIVER

Joint Base Anacostia-Bolling Taming the Land Controlled Edge

River Water

path centerline weaving through the old shoreline | making the 2 sides present.

intersections between city and new shoreline | dialogue between L’enfant plan + new plan and between present + present; referencing 2 sides at the same time.

Wild Nature

new shoreline

CUT RIVER

new fill/land

memory of river/water

(Present)

River Water

memory of old shoreline F I L L FOREST

(Absent)

interfaces of lines + sides

Inaccessible Views of the City Rip Rap along the Edge Confluence of 2 Rivers Ecological Corridor Nature Turning Wild Abandoned Railroad Track (B&O’s Shepherd Branch)

Two methods reveal the identities alongside these lines of reference

CUT RIVER

FILL

RIVER

Levee Construction Changing Earthworks Old meets New Shorelines

Back Roads along the Edge Transition to Northern Half of the Base Secured Intelligence Information

diagram 1 | new land vs. old land

150

300

diagram 2 | tame, man-made vs. wild, nature

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300

600

s c a l e

the events | the material (past + present) of the landscape narrative

deric

k Do

uglas

s Me

rial

Fre

Bridg

South

ol Str

eet

s Me

rial

Bridg

South

rial

Bridg

Capit

South

ol Str

S.E

Capit

ol Str

eet

S.E

CUT Asphalt Lot and Create New Public Space

Remnants from D.C. Tree Nursery and U.S. Botanic Garden Nursery

Check point

uglas

s Me

Truck Parking Lot

600

k Do

uglas

eet

View of Washington Monument

300

deric

k Do

Capit

150

s c a l e

Fre

deric

Poplar Point Park and Public Recreation

Public Access

diagram 3 | presence vs. absence | cut vs. fill | river vs. forest the sequence | a set pattern of operations communicating the landscape narrative

Levee turns into low lying berm along the shoreline

Fre

FOREST

Old Shoreline

600

s c a l e

the narrative | the essence of the site

Lines and sides have interesting relationships. When you draw one line, two sides are revealed. When you draw two lines, an area is defined. This is a landscape that tells the story between what is old vs. what is new land and to reveal the dialogue of what is present and what is absent; revealing both the processes (cut and fill) and characters (nature and man, river and forest) that created this landscape.

F I L L

Old Shoreline

CUT Service Roads

under S. Capitol Street Ramps at Poplar Point.

to connect the new edge with old edge while also allowing the narrative to come together as a whole landscape.

C U T RIVER

Storage Pod

D.C. Water & Sewer Authority

FILL

FOREST

Buzzard Point Marina

CUT Asphalt Lot

Recreational Fields

Levee System

Chain Link Fence

James Creek Marina

between S. Capitol Street’s northbound and southbound routes to develop forest management system.

Asphalt Lot

Cut Bank Present along the boundary of base and S. Capitol Street Detention Swale

Simultaneous views of Washington Monument + U.S. Capitol White House Communications Agency View of Washington Monument

North Gate & Checkpoint

CUT RIVER

FILL

End of Sidewalk from Bridge

RIVER

Interstate 295 Overhead Bridge

Stairway for North Levee Path

Elevate S. Capitol Street

in CUT ZONE 2 along the old shoreline to create a constructed wetland and manage stormwater runoff.

Old Railroad Crossing Signs still present

Navy Barracks 10’ Exposed Concrete Flood Wall

D.C. Water & Sewer Authority Buildings

Expansive view of the city with simultaneous views of Washington Monument + U.S. Capitol

Reconnect the Road Infrastructure

Barry Farm Southeast, D.C. Neighborhood

FILL FOREST

Military Vehicle Parking Lot & Maintenance

Line from old taxiway between 2 airfields

Levee System

Factors-Elements-Zones that limit/permit the negotiation process for determining the site boundary

New construction for Department of Homeland Security (Historic Site of St. Elizabeths Hospital for the Insane)

Asphalt Ramp to South Levee Path

Congressional Heliport

Experiential factors

FILL

RIVER

CUT RIVER Defense Boulevard acts as a spine to connect the 2 halves of the base, yet it only perpetuates the false notion that this (new) filled land is the same as the adjacent (old) land. This land is inherently different from the local landscape. Similarly, this half of the base is mainly a site for secure intelligence operations, whereas the southern half of the base is suburban and residential in nature.

Ecological Corridor: heavily vegetated area dominated by invasives and groundhog crossing

retention pond on base

so as not to disrupt access through the site, while also further defining the identities of the edge and the fill in the process.

Public Works Building

-Potential public path path along the old shoreline -Potential public path along the existing shoreline -Views of the city along the existing shoreline -Defense Boulevard on Joint Base Anacostia-Bolling

Remove Parking Lots

CUT a portion of Defense Boulevard

to create space for redeveloping the edge along the old shoreline and construct a wetland in CUT ZONE 3.

where the taxiway used to be. It currently acts as a spine and allows for direct movement between the northern and southern sides of what is now considered JOINT Base BollingAnacostia.

Infrastructural elements -South Capitol Street (southbound lane) -South Capitol Street (northbound lane) -Roads and Parking Lots that intersect with the Old Shoreline -Buildings that intersect with the Old Shoreline -Base Security

Trailers

Ecological zones Brookley Ave S.W. back access road on base Chain-Link Fence

Shooting Range

asphalt parking lot

gravel parking lot recreational fields + picnic areas

Old Shoreline

Recycling Room

asphalt parking lot

Defense Intelligence Agency

Proposed Site Outline Shooting Range

Move

Buildings

along the old shoreline that are not high security in order to create space for redeveloping the edge.

Recycling Room

Remove Parking Lots

Interstate 295 N/S

to create space for redeveloping the edge along the old shoreline.

S. Capitol Street S.W./ S.E.

Congress Heights Southeast, D.C. Neighborhood

S. Capitol Street S.W./ S.E.

Toward Main Gate & Checkpoint

diagram 4 | existing site conditions

Edit the Current Road Infrastructure

by utilizing the access road (Bradley Avenue) to redirect traffic along the Old Shoreline, making the edge present and active, and further outlining its new(er) form from the old landscape.

Interstate 295 N/S 0

towards residential homes and park space

Old Shoreline

The proposed site negotiates the private/secure parts of the base with non-private/non-secured areas outside its borders through strategic and non-imposing ways. This outline enhances the qualities of the site, its characteristics, and inherent identities, while also distinguishing itself as its own landscape.

FILL FOREST

Abandoned Railroad Tracks from B&O Shepherd’s Branch emerges from heavily vegetated & fenced area

-The Anacostia River and Potomac River edges -The heavily vegetated area between Bradley Ave. & S. Capitol St.

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300

diagram 5 | negotiating site boundaries

600

s c a l e

150

300

600

s c a l e

future | defining the new landscape

diagram 6 | editing the new land

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300

600

s c a l e

infrastructure | redefining the filled landscape based on the old landscape in order to create a whole landscape

Sub-sub watershed A Lh on turf Lh on pavement Lh TOTAL

1ST ST. S.E.

present | recognizing current boundaries, systems, + events

140 acres 2,561 ft 853 ft 3,415 ft

2ND ST. S.E.

Old Shoreline dog training area on mounded terrain

FILL FOREST

1,00

0 ft.

Sub-sub watershed B Lh on turf Lh on pavement Lh TOTAL

Northern Connection (betw. old and new) At the juncture where levee meets berm, where old meets new, and where cut meets fill, this area will become a kayak launch site for public recreation and provide direct access to the new riverfront. CUT ZONE 1 will act as a small basin to allow the river water to calmly flow in and out with the tides.

195 acres 3,627 ft 1,209 ft 4,836 ft

Slope of Lh 3.57% (change in elev 173 ft)

80 - 88 90 - 98 100-108

110-118

um Mon ton Was hing of

typ.

0 ft.

150-158

2ND ST. S.W.

160-168 170-178 180-188 190-198

stormwater from 2 sub-sub watersheds flow towards 2 low points at the edge of the old shoreline, as shown by shaded areas.

300

s c a l e

600

l pito

CUT ZONE 2 378,000 cu. ft.

For comparison, number of trees managed in major U.S. Parks: The National Mall, Washington, D.C. 9,000+ Central Park, New York 24,0000 Prospect Park, New York 30,000+

(dist

= 1.2

150 Red Maple Trees will be planted alongside the eastern/base side of the levee and will continue north at the public recreation area.

mi.)

Ca t& iles en um 1.3 m on = .M s les .W ce tw ening mi stan op .33 l di of = ) ce ds tan islan length al dis r ttl tot barrie of een (@ 1/4 betw

Sub-sub Watershed B

stormwater calculations*

RIVER

4TH ST. S.W.

Sub-sub Watershed A stormwater calculations*

CUT

150

3RD ST. S.W.

. 0 ft 1,00

1ST ST. S.W.

130-138 140-148

Constructed Wetland/Detention Area 1

An already low-lying area, stormwater from this sub-sub watershed will flow into a catchment area that will accommodate for an average 2 year storm. (see Diagram 8 for details)

Forest Management Plan (FILL)

1,00

120-128

are major guiding lines upon which Tulip Poplar saplings (a pioneer species) will be planted for forest management in FILL ZONE 1. A mixture of Tulip Poplar and Black Locust trees will also be planted along parallel lines 15’ from these major lines. The northbound lane of S. Capitol Street and retaining wall at I295 will serve as the major boundaries to the east of this site.

Water flows and Sub-sub Watersheds

This plan calls for planting roughly 3000+ tree saplings during the initial 3 years along 1.5 miles. They will consist of Tulip Poplars, Black Locusts, Virginia Pines, Swamp White Oaks, Eastern Red Cedars and Sweet Birch Trees, all major pioneer species in the local region.

view

70 - 78

stem

60 - 68

id sy

50 - 58

16 18

n gr

40 - 48

12 14

groi

30 - 38

8 10

The levee wall will be cut open at this juncture to create direct access to the Anacostia River. A kayak launch site will allow for new recreation in this area and provide a gateway to this new public river walk.

perfo

Street Lines from Barry Farm (historic neighborhood)

20 - 28

5TH ST. N.W.

Sewer lines follow the path of the old shoreline and flow towards the Anacostia River. Stormwater flowing into detention area 1 will be filtered, piped into this drainage system, and will then flow out into CUT ZONE 1 and connect with the river.

2 4

0 ft.

1/2 ST. S.W.

F I L L

FOREST

Storm Drains for Detention Area 1

1,00

A TOPOGRAPHY - COLOR KEY

rate d

CUT

RIVER

SOUTH CAPITOL ST. S.E.

Outfall at Anacostia River

1/2 ST. S.E.

Slope of Lh 4.89% (change in elev 167 ft)

tota

typ.

view

Mon

rrie

ton

ay lkw

view

ele

A new pier and boat dock near the naval barracks will function as a new checkpoint for base employees and those residing at the southern side of the base. There currently exists a gate that can be accessed here.

L’enfant’s grid plan and the current shoreline work as 2 separate yet overlapping systems designed to create an experientially, structurally, and ecologically functioning landscape.

Was

This plan calls for capturing stormwater flowing into 2 sub-sub watersheds at the old shoreline. The details for this management plan are shown in Diagram 8.

Design function

Mon

hing

Stormwater Management Plan (CUT)

FIL L FOREST

U.S

ito

la r is

Experiential function

The experience at the edge of the river provides numerous views of Washington, D.C., including simultaneous views of the Washington Monument and U.S. Capitol building, which are currently inaccessible to the public. The connection to the city lies dormant at the heart of this edge. With a new public pathway, people can experience the edge of a forgotten riverfront, kayakers can meander down the river on the main channel or alongside the new barrier islands, and boats can dock at the edge of the barrier islands and enjoy new places along the river.

Historic path to Insane Wharf

. Ca pitol

Structural function + U.S

*calculations based on the rational method

CUT RIVER

CUT ZONE 3

Monu ment

Constructed Wetland/Detention Area 2

An already low-lying area, stormwater from this secondary sub-sub watershed will flow into a catchment area that will accommodate for an average 2 year storm. (see Diagram 8 for details)

ington

555,984 cu. ft.

the

Wash

Lines from buildings that were close to the original river’s edge at St. Elizabeths historic site

views

of the

city

& of

will serve as major guiding lines to plant Virginia Pine tree saplings (a pioneer species) in FILL ZONE 2 and the adjacent areas of CUT ZONES 2 & 3 on the eastern side of the original shoreline. Swamp White Oak trees will complement this pattern of Virginia Pine trees as a secondary pioneer species.

Outfall at Potomac River

Old Shoreline

broad

Storm Drains for Detention Area 2

Sewer lines follow the path of the old shoreline and flow towards the Potomac River. Stormwater flowing into detention area 2 will be filtered, piped into this drainage system, and will then flow out into the river.

F I L L FOREST

Old Shoreline

F I L L FOREST

Historic Property Lines at Giesboro Point Sweet Birch trees will be planted at the historic Giesboro Point, where the old shoreline meets the new shoreline, attracting the Yellow-Bellied Sapsucker bird which breeds in the north and migrates south for the winter.

old edge | designing the working systems alongside the old shoreline

Where the new shoreline meets the old shoreline, the barrier island and pathway at this final juncture work to create an ideal sitting area and stage to view the city.

Ecological function

The structural system of the new public pathway provides 2 ecological functions. (1) The barrier islands work to slow down the water, while (2) the perforated groins work to slow down and capture the sediment flowing down the river. Over time the sediment will accumulate and create a marsh-like condition, allowing for grasses and a tame nature to grow.

Old Shoreline

Street Lines from Congress Heights will act as major lines to plant Eastern Red Cedar tree saplings for forest management in FILL ZONE 3. Congress Heights takes its name from its hilly geography which provides views across the Anacostia to the Capitol.

diagram 7 | remembering wild, nature

On an original 1891 map created by the U.S. Army Corp. of Engineers, a distance of 1000 ft. was measured from the northern edge as the distance upon which ships could traverse after the river was dredged. The fill from the dredge was placed alongside this line to the east and what is now the site for Joint Base Anacostia-Bolling. The edge of this filled land did not reach 1000 ft, but rather further from it at 1190 ft (less sediment was dredged than anticipated). The new designed public path runs parallel to the current shoreline and levee system at a maximum distance of 190 ft. from the existing seawall to meet this original distance, while also working to create a natural security system for the base. A dual series of barrier islands and perforated groins work to support the path, tame the water, and tame the sediment flowing down the river; all working to fill and tame the river as was done over a century ago.

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diagram 8 | remembering wild, nature (CUT detail) 2 year plan | hydrology + stormwater management

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diagram 9 | taming the wild, river - redux current edge | designing the working systems alongside the current shoreline

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diagram 1

DIAGRAM 1 | NEW LAND VS. OLD LAND This is the essence of the Narrative. Essentially there is old land, upon which a river ran next to it. However, sediment that collected at the bottom of the river was then dredged to create new â&#x20AC;&#x2DC;filledâ&#x20AC;&#x2122; land. Today, the river runs further away from the old land.

River Water

New Land

Old Land

River Water

Old Shoreline

diagram 1 | new land vs. old land

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the narrative | the essence of the site

diagram 2

DIAGRAM 2 | TAME, MAN-MADE vs. WILD, NATURE These are the characters and events in this landscape narrative. Along the eastern side of the old shoreline, nature is turning wild next to South Capitol Street. Whereas to the west of the line, on the base, there is a chain link fence protecting it from this wild nature and controlling that edge. Along the new shoreline on the base side, a levee system and flood wall are taming the tidal river to the west while also making any views of the city and the entire waterfront completely inaccessible to the public. Finally on the river’s side of the new shoreline, driftwood and detritus flow down the river and gather here after major storms. The Anacostia River, also called ‘The Forgotten River’, has yet to be remembered.

Inaccessible Waterfront The Forgotten River Tidal Water The ‘Other Side’ of D.C. Lack of Paths Major Road Infrastructure

Levee Construction Taming the River Architectural Edge

Joint Base Anacostia-Bolling Taming the Land Controlled Edge

Wild River

Tame Man-Made

Wild Nature

Inaccessible Views of the City Rip Rap along the Edge Confluence of 2 Rivers Ecological Corridor Nature Turning Wild Abandoned Railroad Track (B&O’s Shepherd Branch)

Levee Construction Changing Earthworks Old meets New Shorelines

Back Roads along the Edge Transition to Northern Half of the Base Secured Intelligence Information

Old Shoreline

diagram 2 | tame, man-made vs. wild, nature

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the events | the material (past + present) of the landscape narrative

diagram 3

DIAGRAM 3 | PRESENCE vs. ABSENCE, CUT vs. FILL, RIVER vs. FOREST This is the sequence upon which a set pattern of operations will communicate the landscape narrative through design. These are the rules of engagement and how I, as a designer, will act along the lines. The rules are not arbitrary because they come directly from the process of how the land was formed, through dredging and filling. The dialogue between cut and fill works to reveal the real identities alongside these lines.

ALONG THE OLD SHORELINE

soil that was initially brought in to fill the

The movement along the lines of reference

To begin, two path centerlines were drawn.

new land originally came from deforestation

create a cycle of memory. In geometric terms

Along the old shoreline, the path weaves back

and agricultural activities in Maryland over a

a side is defined as a line bounding a plane

and forth capturing half of one side and half

century ago. As a result, the memory of what

figure or a surface bounding a solid figure. It is

of the other at regular intervals. The resulting

used to be present (the river) is activated by a

important to note that this narrative is not about

areas were then designated cut, fill, cut, fill,

landscape that manages stormwater, as does

the actual lines, but rather the fields, surfaces,

cut, and then fill. After several iterations this

the presence of what the soil was used for in

and bodies of land or water adjacent to them.

became the final sequence for two reasons:

the past (a working forest).

A small diagram on the lower right side of this

the topographical conditions and the existing

drawing graphically represents this. By having

and historic site conditions. At each cut, it

ALONG THE NEW SHORELINE

two different and repetitive operations working

made sense to cut down and make present

Along the new shoreline, the path runs parallel

together, the two sides will become present at

what is now absent â&#x20AC;&#x201C; the memory of the

to it while also in between two edges (the north

all times, while also making two lines present

river. But rather than creating ponds, these

and the south sides of the city). The operations

at all times. Through the characters of nature

low points are capable of capturing stormwater

here simply rely on filling the river, as was

and man, this is a landscape that tells the story

and can function as working landscapes. With

done previously next to the old shoreline. This

between what is old versus what is new land

each fill zone, rather than filling them with more

operation allows the presence of the levee to

and a story that reveals the dialogue of what is

earth, it was more logical to fill them with a

become more apparent, while also making

present and what is absent.

working forest and harness natureâ&#x20AC;&#x2122;s energy

present a whole riverfront that has been absent

that is already in progress. As an aside, the

from the entire city.

Army Corp never filled on top of the old land, they just filled where there was water. The

PRESENCE - ABSENCE

operation of filling these areas with a working

A third pattern occurs as a result of deploying

forest also serves as a reminder of how the

these operations alongside each shoreline.

S I D E : noun

C U T

RIVER

F I L L

FOREST

path parallel to current edge | making 2 sides (north/south + river/base) present.

path centerline weaving through the old shoreline | making the 2 sides present.

intersections between city and new shoreline | dialogue between Lâ&#x20AC;&#x2122;enfant plan + new plan and between present + present; referencing 2 sides at the same time.

intersections along the path and old shoreline | dialogue between cut + fill, between fill + forest, and past + present; referencing 2 sides at the same time.

FILL

CUT

RIVER

new shoreline

new fill/land

RIVER

memory of river/water

(Present)

(Absent)

memory of old shoreline FIL L FOREST

interfaces of lines + sides

FILL

RIVER

CUT RIVER

Two methods reveal the identities alongside these lines of reference

Old Shoreline

F I L L FOREST

diagram 3 | presence vs. absence | cut vs. fill | river vs. forest

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the sequence | a set pattern of operations communicating the landscape narrative

diagram 4

DIAGRAM

EXISTING

SITE

CONDITIONS This drawing shows the present day conditions, much of which has been noted previously, and that helped me make detailed design decisions. The breadth of information depicted on this drawing allowed me to recognize the current boundaries, systems, and events which I would have to negotiate in order to make this landscape narrative present, yet unimposing, In addition, the information provided a way to analyze how the design and future presence of this landscape could work either in synch with the military base or with the future landscape should the base close down and turn into something different.

Fre

der

ick

Levee turns into low lying berm along the shoreline

Dou

gla

rial

Public Access

Brid

/ So

uth

Cap

itol

Stre

et S

.E.

View of Washington Monument

Remnants from D.C. Tree Nursery and U.S. Botanic Garden Nursery

Truck Parking Lot

Check point

Buzzard Point Marina

Levee System

Poplar Point Park and Public Recreation

D.C. Water & Sewer Authority

Recreational Fields Chain Link Fence

James Creek Marina

Asphalt Lot

Cut Bank Present along the boundary of base and S. Capitol Street Detention Swale

Simultaneous views of Washington Monument + U.S. Capitol White House Communications Agency View of Washington Monument

North Gate & Checkpoint

End of Sidewalk from Bridge Interstate 295 Overhead Bridge

Stairway for North Levee Path Old Railroad Crossing Signs still present

Navy Barracks 10â&#x20AC;&#x2122; Exposed Concrete Flood Wall

D.C. Water & Sewer Authority Buildings

Expansive view of the city with simultaneous views of Washington Monument + U.S. Capitol

Barry Farm Southeast, D.C. Neighborhood

Military Vehicle Parking Lot & Maintenance New construction for Department of Homeland Security (Historic Site of St. Elizabeths Hospital for the Insane)

Asphalt Ramp to South Levee Path

Line from old taxiway between 2 airfields

Levee System

Ecological Corridor: heavily vegetated area dominated by invasives and groundhog crossing

retention pond on base Congressional Heliport Public Works Building

Brookley Ave S.W. back access road on base

Old Shoreline dog training area on mounded terrain

Chain-Link Fence

asphalt parking lot

gravel parking lot recreational fields + picnic areas

Shooting Range asphalt parking lot

Defense Intelligence Agency

towards residential homes and park space

diagram 4 | existing site conditions

Recycling Room

asphalt parking lot

Abandoned Railroad Tracks from B&O Shepherdâ&#x20AC;&#x2122;s Branch emerges from heavily vegetated & fenced area

S. Capitol Street S.W./ S.E. Interstate 295 N/S

Toward Main Gate & Checkpoint

Congress Heights Southeast, D.C. Neighborhood

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present | recognizing current boundaries, systems, + events

diagram 5

DIAGRAM 5 | NEGOTIATING BOUNDARIES This diagram reveals the boundaries of the new site and begins to outline the future of this landscape. There were 3 major elements or factors that either limited or permitted me to negotiate these boundaries: experience, infrastructure, and ecology. The proposed site, shaded in blue, negotiates the private/secure parts of the base with non-private/non-secured areas outside its borders through strategic and non-imposing ways. This outline enhances the qualities of the site, its characteristics, and inherent identities, while also distinguishing itself as its own landscape.

EXPERIENCE

INFRASTRUCTURE

ECOLOGY

A public path along the old and existing

1. South Capitol Street will serve as a boundary

1. The Anacostia River and Potomac Rivers

shorelines is the first and foremost priority for

to the east, where at certain moments following

on the west must be dealt with in a sensitive

the design.

the old shoreline can become flexible for

manner.

2. Views of the city along the existing shoreline

change.

2. The heavily vegetated wildlife corridor on

must be harnessed and accessible.

2. Roads and parking lots on the base that

the east, along the old shoreline, can be made

3. â&#x20AC;&#x2DC;Defense Boulevardâ&#x20AC;&#x2122; on the base must be

intersect with the old shoreline can be also

available for the public while maintaining the

snipped away, because its presence only

be negotiated with as they are not used to full

security of the base.

perpetuates the false notion that the northern

capacity and can be moved elsewhere on the

half of the base is similar to the southern half.

base. 3. A few buildings and trailers that intersect with the old shoreline can also be moved as one is a recycling building, acting more like a shed, and the trailers can of course physically move elsewhere on the base. 4. Security of the base must be considered during reconfiguration.

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der

ick

Dou

gla

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Brid

/ So

uth

Cap

itol

Stre

et S

.E.

C U T RIVER

FILL

FOREST

CUT RIVER

FILL

RIVER

FILL FOREST

Factors-Elements-Zones that limit/permit the negotiation process for determining the site boundary Experiential factors

FILL

RIVER

Ecological zones FILL

Old Shoreline

-The Anacostia River and Potomac River edges -The heavily vegetated area between Bradley Ave. & S. Capitol St.

FOREST

Proposed Site Outline The proposed site negotiates the private/secure parts of the base with non-private/non-secured areas outside its borders through strategic and non-imposing ways. This outline enhances the qualities of the site, its characteristics, and inherent identities, while also distinguishing itself as its own landscape.

FILL FOREST

S. Capitol Street S.W./ S.E. Interstate 295 N/S 0

diagram 5 | negotiating site boundaries

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future | defining the new landscape

diagram 6

DIAGRAM 6 | EDITING THE NEW LAND This diagram expresses how I began to redefine the filled landscape in order to make the new site boundaries more present. From the analysis shown in diagram 5, it became necessary to edit some of the infrastructure on the base to make this happen. First, a portion of ‘Defense Boulevard’ was cut to eliminate its function as a connector of the two halves of the base, but then redirect traffic to a back road that runs along the old shoreline. This will make the edge more present and active, while further outlining its new(er) form from the old landscape. The other major decisions were to cut out the parking lots that intersected with the old shoreline, move only two small buildings in the grand scheme of things – which are a shooting range and the recycling building – and to have the trailers on site to move elsewhere. Finally, South Capitol Street would be elevated for a moment along CUT Zone 2 where it would accommodate for stormwater. This would also necessitate a small bridge to span the cut area to continue to provide access to the north gate on the base.

Fre

der

ick

Dou

gla

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Brid

/ So

uth

Cap

itol

Stre

et S

.E.

CUT Asphalt Lot and Create New Public Space

to connect the new edge with old edge while also allowing the narrative to come together as a whole landscape.

CUT Service Roads

under S. Capitol Street Ramps at Poplar Point.

Storage Pod

CUT Asphalt Lot

between S. Capitol Streetâ&#x20AC;&#x2122;s northbound and southbound routes to develop forest management system.

Elevate S. Capitol Street

in CUT ZONE 2 along the old shoreline to create a constructed wetland and manage stormwater runoff.

Reconnect the Road Infrastructure so as not to disrupt access through the site, while also further defining the identities of the edge and the fill in the process.

Remove Parking Lots

CUT a portion of Defense Boulevard

to create space for redeveloping the edge along the old shoreline and construct a wetland in CUT ZONE 3.

where the taxiway used to be. It currently acts as a spine and allows for direct movement between the northern and southern sides of what is now considered JOINT Base BollingAnacostia.

Old Shoreline

Trailers

Shooting Range

Move Recycling Room

Buildings

along the old shoreline that are not high security in order to create space for redeveloping the edge.

Remove Parking Lots to create space for redeveloping the edge along the old shoreline.

Edit the Current Road Infrastructure

by utilizing the access road (Bradley Avenue) to redirect traffic along the Old Shoreline, making the edge present and active, and further outlining its new(er) form from the old landscape. 0

diagram 6 | editing the new land

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infrastructure | redefining the filled landscape based on the old landscape in order to create a whole landscape

diagram 7 DIAGRAM 7 | CONSTRUCTING THE OLD EDGE The operations of cut and fill along the old shoreline are programmatically defined as two management plans. In the FILL ZONES, a forest management plan calls for planting over 3,000 tree saplings during the initial 3 years along 1.5 miles. They will consist of Tulip Poplar, Black Locust, Virginia Pine, Swamp White Oak, Eastern Red Cedar and Sweet Birch Trees, which are all major pioneer species in the local region. For comparison, in major U.S. Parks such as The National Mall, over 9,000+ trees are managed, over 24,000 trees managed in Central Park, and over 30,000 trees managed in Prospect Park.

In addition, the planting

grid plan will be derived from the extension of major road lines coming from Barry Farm and Congress Heights neighborhoods, in addition to historic sites such as St. Elizabeths and Giesboro Point.

Next to the Forest Management Plan, a Stormwater Management Plan will be designed in the CUT ZONES. These areas will capture stormwater currently flowing into two sub-sub watersheds.

There will be two constructed

wetlands. The northern wetland will filter the water and then direct clean water to the northernmost cut zone flowing into the Anacostia River, whereas the southern wetland will filter water and then be piped to an outfall in the opposite direction into the Potomac River.

Outfall at Anacostia River

CUT

RIVER

F I L L

FOREST

Storm Drains for Detention Area 1

Street Lines from Barry Farm (historic neighborhood)

are major guiding lines upon which Tulip Poplar saplings (a pioneer species) will be planted for forest management in FILL ZONE 1. A mixture of Tulip Poplar and Black Locust trees will also be planted along parallel lines 15â&#x20AC;&#x2122; from these major lines. The northbound lane of S. Capitol Street and retaining wall at I295 will serve as the major boundaries to the east of this site.

Constructed Wetland/Detention Area 1

An already low-lying area, stormwater from this sub-sub watershed will flow into a catchment area that will accommodate for an average 2 year storm. (see Diagram 8 for details)

Forest Management Plan (FILL)

CUT

RIVER

For comparison, number of trees managed in major U.S. Parks: The National Mall, Washington, D.C. 9,000+ Central Park, New York 24,0000 Prospect Park, New York 30,000+

Stormwater Management Plan (CUT)

This plan calls for capturing stormwater flowing into 2 sub-sub watersheds at the old shoreline. The details for this management plan are shown in Diagram 8.

F I L L FOREST Historic path to Insane Wharf

Constructed Wetland/Detention Area 2

An already low-lying area, stormwater from this secondary sub-sub watershed will flow into a catchment area that will accommodate for an average 2 year storm. (see Diagram 8 for details)

CUT RIVER

Lines from buildings that were close to the original riverâ&#x20AC;&#x2122;s edge at St. Elizabeths historic site

Storm Drains for Detention Area 2

Outfall at Potomac River

Old Shoreline

F I L L FOREST

diagram 7 | remembering wild, nature

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old edge | designing the working systems alongside the old shoreline

diagram 8

DIAGRAM 8 | REMEMBERING WILD, NATURE (CUT DETAIL) The details for the stormwater management plan are shown in Diagram 8. Based on two year storms and calculations using the Rational Method, the wetlands will accommodate for 378,000 and 555,000 cubic feet of water in the north and south catchments respectively.

Sub-sub watershed A Lh on turf Lh on pavement Lh TOTAL

140 acres 2,561 ft 853 ft 3,415 ft

Slope of Lh 4.89% (change in elev 167 ft)

Sub-sub watershed B Lh on turf Lh on pavement Lh TOTAL

195 acres 3,627 ft 1,209 ft 4,836 ft

Slope of Lh 3.57% (change in elev 173 ft)

A TOPOGRAPHY - COLOR KEY 2

20 - 28

30 - 38

40 - 48

50 - 58

60 - 68

70 - 78

80 - 88

90 - 98

100-108

110-118 120-128 130-138 140-148 150-158 160-168 170-178 180-188 190-198

Water flows and Sub-sub Watersheds

stormwater from 2 sub-sub watersheds flow towards 2 low points at the edge of the old shoreline, as shown by shaded areas.

Sub-sub Watershed A stormwater calculations*

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Sub-sub Watershed B

stormwater calculations*

CUT ZONE 2 378,000 cu. ft.

*calculations based on the rational method

CUT ZONE 3

555,984 cu. ft.

Old Shoreline

diagram 8 | remembering wild, nature (CUT detail)

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2 year plan | hydrology + stormwater management

diagram 9

DIAGRAM 9 | CONSTRUCTING THE NEW EDGE The design focuses not just on creating a public path, but how three systems work simultaneously to become a working landscape along the new, current shoreline.

* An extension of the Lâ&#x20AC;&#x2122;Enfant grid plan and

* The structural system will work on taming

does not intersect with the levee, but rather

the current shoreline will work together as two

the river, both its waters and the sediment

runs parallel to it.

separate, yet overlapping systems designed to

that is flowing down the river. On the original

* A dual series of barrier islands and pilings will

create a triumvirate of an experientially, struc-

1891 map created by the Army Corp of Engi-

be methodically placed to create and support

turally, and ecologically functioning landscape.

neers, a distance of 1,000 feet was measured

the path, while also work to tame the water and

* The experience along this edge will capitalize

from the northern edge as the distance upon

tame the sediment flowing down the river. This

the views of D.C. At various and many mo-

which ships could traverse after the river was

act of â&#x20AC;&#x2DC;fillingâ&#x20AC;&#x2122; will work to tame the river, as was

ments one will be able to see the Washington

dredged. With this thesis, it is now understood

done over a century ago.

Monument, the U.S. Capitol, as well as simulta-

that the fill from the dredge was placed next to

* The structural system of the new path will

neous views of the Monument and U.S. Capi-

the southern edge of the river. However, when

also provide two ecological functions just de-

tol. This is unique to this site, this riverfront,

the distance between the two edges is more

scribed. (1) The barrier islands will work to slow

and this city. The actual distance between the

accurately measured through GIS data, the

down the water, while (2) the pilings will work

Washington Monument and U.S. Capitol is 1.2

filled land did not reach 1,000 feet, but rather

to slow down and capture the sediment flowing

miles. Coincidentally, the length of this path

further from it at 1,190 feet. Therefore, less

down the river.

where that scene will be viewed is 1.3 miles.

sediment was dredged than anticipated. With

* A quarter of the total length will remain open

* In addition, 150 red maple trees will be plant-

this information, the new public path will be de-

or perforated so that the waters can be tamed

ed along the eastern side of the levee on the

signed to run parallel to the current shoreline

and the sediment can flow in and settle. Over

base. This will work to further express the ar-

and levee system at a maximum distance of

time the conditions will be ripe for a marsh to

chitectural, man-made nature that created this

190 feet from the existing seawall to meet this

form, allowing for grasses and a tame nature

filled land and will also make the levee and the

original distance. This will also create a natu-

to grow.

new public path more present.

ral security system for the base, as the path

2ND ST. S.E.

ft.

typ

o .M

. ay lkw wa d

typ . tem sys rid

Design function

Lâ&#x20AC;&#x2122;enfantâ&#x20AC;&#x2122;s grid plan and the current shoreline work as 2 separate yet overlapping systems designed to create an experientially, structurally, and ecologically functioning landscape.

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150 Red Maple Trees will be planted alongside the eastern/base side of the levee and will continue north at the public recreation area.

la r is

ft.

ate d

1/2 ST. S.W. 1ST ST. S.W.

2ND ST. S.W.

t iles en um 1.3 m on .M e= .W c gs iles w n t enin m be ista op .33 ce of = al d tan tot nce lands gth) (dis a t n is is le al d ier ttl tot barr /4 of 1 en we (@ bet

3RD ST. S.W.

4TH ST. S.W.

5TH ST. N.W.

1,0

ft. 00 1,0

l ito

ap &C

ft.

SOUTH CAPITOL ST. S.E.

vie

1,0

of Wa shi ng ton Mo nu me nt

1/2 ST. S.E.

1ST ST. S.E.

1,0

Experiential function

broa

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Structural function

Where the new shoreline meets the old shoreline, the barrier island and pathway at this final juncture work to create an ideal sitting area and stage to view the city.

Ecological function

Old Shoreline

diagram 9 | taming the wild, river - redux

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current edge | designing the working systems alongside the current shoreline

the design

the southeast side story: a landscape narrative about D.C.â&#x20AC;&#x2122;s fillscapes

Now with all that written, drawn, and said, the following pages will tell how the final design works as an experience, how this landscape tells its story, and why you will fall in love with this place.

view along the current shoreline 86

view along the old shoreline 87

a new experience alongside the river's edge a working landscape capturing the spirit of Washington, D.C.â&#x20AC;&#x2122;s past, present, and future

At the south end of Frederick Douglass Memorial

comes into focus, as you are presented with a

of Washington, D.C. At this point, the shoreline

Bridge is a new gateway to Washington, D.C.

view of the U.S. Capitol looking north from this

bends and so does the public walkway where

from its backyard. At the juncture where levee

spot coupled with a view of the Washington

suddenly one experiences a very broad

meets berm, where old meets new, and where

Monument. This experience makes one realize

and simultaneous view of the Washington

cut meets fill, this area is now a kayak launch

the special qualities of this place. Upon walking

Monument and the U.S. Capitol looking

site for public recreation and provides direct

towards the next barrier island, the U.S. Capitol

through East Potomac Park, Fort McNair, and

access to the new riverfront. A small basin

disappears, and a snapshot of the Washington

Southwest D.C. The visual experience along

allows the river water to calmly flow in and out

Monument looking through Southwest, D.C.

this river walk awakens the connection to the

with the tides and a new boardwalk directs

appears again on its own. Then just as there

city that lies dormant at the heart of this edge.

pedestrians towards the water, and onto the

is an interruption between the north and south

Finally at the last destination, where the new

first, of many, barrier islands with a direct view

levees, there is a slight interruption along the

shoreline meets the old shoreline and where

of the Washington Monument looking through

public walk. The path becomes a bridge that

the barrier island and pathway come together

the industrial side of D.C. Moving at right angles

is elevated over a pier. This pier is the new

at this final juncture, an ideal sitting area and

in between the barrier islands, and then parallel

checkpoint and marina for base employees

stage is set to watch the activities along the

to the levee while on the barrier islands, one will

and those residing at the southern side of the

Potomac River: airplanes landing and taking off

pass through a different moment in time and

base. After the bridge you can continue back

at Ronald Reagan Airport across the river and

see a working landscape in progress. On the

onto the system of barrier islands and the path

an active view of the whole city from a new

fourth barrier island, the spirit of Lâ&#x20AC;&#x2122;Enfantâ&#x20AC;&#x2122;s plan

is much longer, because here is the essence

perspective.

the design

James Creek Marina

A New Experience alongside the River’s Edge

U.S. Coast Guard Building

James Creek Marina

Washington, D.C. Police Department Air Support Unit

Frederick Douglass Bridge Crossing

Reconnecting yesterday, today, and tomorrow: the north (present) and south (present) sides of the city, the River (present) and the Base (present), old land (past) and new land (present), and L’enfant’s plan (past) with a new landscape (future).

S.W

N.W

S.W

1st

S.W

pit

S.E

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D.C. ngton,

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Checkp Base Emp oint & Marina for loy a reminde ees & Residen ts : r of the ‘inside’ people

As na

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Am om of ent th the U at cou .S. C recogn izes pled apit the wit ol lo ha o s view king no pirit of rt of the h fro L’enf Was m th ant’ s is hin gto Barri plan nM er onu Isla a view men nd, t

e on th tivities the tch ac river, and e to wa ive area ss th rspect Sitting ws acro a new pe vie river, city from e ol wh

backyard from its the city ent looking way to on Monum D.C. A new gate the Washingt of ial side A view of h the industr throug

A moment in time A working edge

juncture where new shoreline meets old shoreline

views from the Barrier Islands alongside the south levee

Site Plan 0

s c a l e

120

1:60

View across the Potomac River of airplanes landing + taking off at Ronald Reagan National Airport

views from the Barrier Islands alongside the north levee Broad simultaneous view of the Washington Monument + U.S. Capitol

View of the Washington Monument looking through Southwest, D.C.

Simultaneous view of the Washington Monument + U.S. Capitol

View of the Washington Monument

The visual experience along this river walk awakens what lies dormant at the heart of this edge.

S.E

a REnewed experience alongside the river's OLD edge a working landscape capturing the spirit of Washington, D.C.â&#x20AC;&#x2122;s past, present, and future

Should you decide to walk in the opposite

on a new elevated road, you can experience

city, while the landscape of pioneer species

direction after Frederick Douglass bridge,

a new constructed wetland that captures

continue to succeed on the base alongside

continue straight or south along the path that

stormwater from the surrounding area, which

the old shoreline. For those working and living

runs next to South Capitol Street and you will

also provides a habitat for wildlife such as birds

on the base, one can experience a forest of

suddenly enter a growing forest of Tulip Poplars

and butterflies.

Sweet Birch Trees at the juncture where the old

and Black Locust Trees. An abandoned tree

The wetland is followed by another forested

shoreline meets the new shoreline. This forest

nursery at Poplar Point and the ecological

area wafting the crisp scent of Virginia Pine

provides a new buffer between recreation and

corridor that used to run parallel to the base and

trees and Swamp White Oak trees. Here lies

high security buildings, while also attracting the

S. Capitol Street together provided the impetus

a different kind of forest that leaves a bed of

Yellow-bellied Sapsucker bird when it migrates

behind re-igniting natureâ&#x20AC;&#x2122;s presence along the

needles on the ground and acorns for furry

south after breeding north during summer. The

old shoreline. In its early years trees will grow in

friends.

Continuing on, a second wetland

conditions along the old shoreline (both past

a grid-like fashion, such as the American Elms

becomes present and while walking through,

and present) re-work the wild nature that lies

shown in the photographs on this drawing and

you can find an open view onto the secure

dormant at the heart of this edge.

growing across the river at Daingerfield Island.

military base, while the forest species from the

The tree nursery at Daingerfield Island reveals

previous zone continue alongside its eastern

the beauty of a working landscape and future

edge. This new public path finally loops at the

of this new forested landscape. Then as heavy

end of a forest of Eastern Red Cedar trees and

traffic from S. Capitol Street passes overhead

turns pedestrians northbound back towards the

the design

Site Plan 0

s c a l e

120

1:60

The conditions along the old shoreline (both past and present) rework what lies dormant at the heart of this edge.

View south on Defense Blvd - road will turn east at the end of allée rather than continue straight

CUT ZONE 3 - Low topographical area & adjacent retention pond on base

FILL Zones (typ.) - 4 An abandoned tree nursery at Poplar Point and an ecological corridor that lies parallel to the base and S. Capitol Street together provide the impetus behind re-igniting nature’s presence along the old shoreline. (Left) American Elms at 1 year growth intervals, currently being grown across the Potomac River at a tree nursery, reveal the beauty of a working landscape and latent future of this landscape.

3 CUT ZONE 2 - Low topographical area at northern gate (intersection of S. Capitol & Defense Blvd.)

@ less than 1 year

@ 1 year

@ 2 years

@ 3 years

@ 4 years

@ 5 years

u ro

ew e n as eat r cr ucke and n ees ps Tr Sa eatio ch ied cr Bir bell en re gs et e in we llow etw uild f S Ye r b y b t o the ffe urit res for bu sec fo w A itat ne igh s h b ha ell a w

fill

Forest

cut

fill

Forest

End of tree allée @ Defense Blvd

cut River

fill

Defense Boulevard

ad, ed ro elevat mwater or a new d on ptures st ife erhea es ov nd that ca for wildl pass reet wetla a habitat ol St cted ides Capit constru ov pr S. from e a new that also ffic nc a avy tra experie ding are As he ns can surroun ria e pedest from th 3

zone rest ne Pi r fo othe rginia by an t of Vi ees tr wed en Oak follo isp sc nd is the cr p White etla of am w g The istin and Sw cons trees

River

Site of Abandoned Tree Nursery on Poplar Point

Northern Gate on Base

Forest

cut

th es s ss ee pa Tr w st no u t Loc ee tr ck l S Bla o pit and Ca s S. lar e op sid P ng lip alo Tu lk of wa st r e , o or ike g f , b in ive ow dr gr

Tree Nursery @ Daingerfield Island, Alexandria, VA

e to th us s on io view e prev open om th edge fr ides n prov ecies easter sp land wet forest gside its e cond on A se while th inue al nt , base zone co

fill

Forest

Retention Pond on Base

Historic property lines at Giesboro Point

The new public path loops at the end of this forest of Eastern Red Cedars turns pedestrians northboun and d back towards the city, pioneer species continue while the landscape of to succeed on the base alongside the old shoreline

A reNewed Experience alongside the River’s Old Edge Reconnecting yesterday, today, and tomorrow: the nort,h (present) and south (present) sides of the city the absense of the River (past) and the presence of the woodlands (present), old land (past) and new landscape (future).

Extended road lines from Congress Heights Neighborhood

Extended lines from St. Elizabeths historic buildings that were close to the original river’s edge

Extended road lines from Barry Farm Neighborhood

A New Experience alongside the River’s Edge Reconnecting yesterday, today, and tomorrow: the north (present) and south (present) sides of the city, the River (present) and the Base (present), old land (past) and new land (present), and L’enfant’s plan (past) with a new landscape (future).

r St

Elevated

walkway connectin the publ g ic path

ng A lo

walk

that

e ess s th ture

Checkp Base Em oint & Marina ploy for a remin ees & Residen der of ts : the ‘inside’ people

.C. on, D

hingt

as of W ence

cap

As na

ps loo hot o f king thr the oug h

e on th ities activ d the r, an atch ve w ri o e he tiv at ss t g are rspec Sittin ews acro a new pe vi river, city from le who

juncture where new shoreline meets old shoreline

views from the Barrier Islands alongside the south levee

Site Plan 0

120

s c a l e

View across the Potomac River of airplanes landing + taking off at Ronald Reagan National Airport

Broad simultaneous view of the Washington Monument + U.S. Capitol

The visual experience along this river walk awakens what lies dormant at the heart of this edge.

1:60

Site Plan 0

s c a l e

120

1:60

The conditions along the old shoreline (both past and present) rework what lies dormant at the heart of this edge.

View south on Defense Blvd - road will turn east at the end of allée rather than continue straight

CUT ZONE 3 - Low topographical area & adjacent retention pond on base

ew e n as eat r cr ucke and ees ps on Tr Sa eati ch ied cr Bir bell en re gs et e in we llow etw uild f S Ye r b y b t o the ffe urit res for bu sec fo w A itat ne igh s h b ha ell a w

fill

Forest

cut

CUT ZONE 2 - Low top

End of tree allée @ Defense Blvd

Defense Boulevard

cut River

the onto vious ws e e pr n vie ope om th edge s e fr rovid tern ies nd p t spec its eas etla s e nd w he fore longsid eco A s while t tinue a , on base zone c

fill

Forest

Retention Pond on Base

Historic property lines at Giesboro Point

The new public path loops at the end of this fores t of Eastern Red Cedar turns pedestrians north s and bound back towards the city, while the landscape pioneer species continue of to succeed on the base alongside the old shore line

Extended road lines from Congress Heights Neighborhood

James Creek Marina

U.S. Coast Guard Building

1st

r St

James Creek Marina

r St

Washington, D.C. Police Department Air Support Unit

t lS

o pit

Frederick Douglass Bridge Crossing

1st

r St

Wa sh So ingto uth n we Monu st, D.C ment . Am om of ent t the h U at cou .S. C recog niz a ple d w pitol es t he lo ith a vie oking spirit w o nor o f t th f f L’e he n r Wa om t fant’ s shin his gto Barr plan nM ie onu r Isl a view a me nt nd,

backyard om its oking e city fr ument lo ay to th on w M te n ga hingto D.C. A new the Was l side of A view of h the industria throug

A moment in time A working edge

views from the Barrier Islands alongside the north levee View of the Washington Monument looking through Southwest, D.C.

Simultaneous view of the Washington Monument + U.S. Capitol

View of the Washington Monument

pographical area at northern gate (intersection of S. Capitol & Defense Blvd.)

@ less than 1 year

@ 1 year

@ 2 years

@ 3 years

@ 4 years

@ 5 years

fill

Forest

cut River

fill

u ro th es s ss ree a T p w st no u t Loc ee tr ack S Bl ol pit and Ca s S. plar e o d P si ng lip alo Tu alk t of w r es , o or ike g f , b in ive ow dr gr

Tree Nursery @ Daingerfield Island, Alexandria, VA

Site of Abandoned Tree Nursery on Poplar Point

Northern Gate on Base

ad, ted ro er eleva wat new storm on a tures dlife rhead ap ve c o il at s asse etland th for w eet p w abitat ol Str tructed vides a h Capit ns ro m S. a new co so p al ro f at ic e traff experienc ing area th eavy d As h ians can surroun tr e pedes from th 3

Forest

ne t zo e ores er f inia Pin g oth y an of Vir es b d we ent ak tre o c s ll o p is f ite O cris land f the mp Wh o a wet The sisting and Sw con trees

Drawing Label Extended lines from St. Elizabeths historic buildings that were close to the original river’s edge

Text for the drawing

Extended road lines from Barry Farm Neighborhood

the design

this thesis began with a central question... Through the lens of perfume, how can a landscape architect design and communicate a landscape narrative so that it will resonate on a deep emotional level with those who experience it?

the design

... by looking through the lens of perfume one can follow a landscape narrative that winds alongside the northwestern half of D.C. Now re-focus the lens to read â&#x20AC;&#x2DC;The Southeast Side Storyâ&#x20AC;&#x2122; and anticipate how the two fillscapes of D.C. will fall in love while resolving that central question.

the top note southeast gateway to the city The top note is the gateway to the Southeast Side of D.C. Come discover the monumental views along this river walk while smelling the fresh marine waters of the Anacostia and a brisk burst of air along the Potomac River. One can experience wet green-like scents of a new forest when the rains leave hints of damp soil and earthy matter. In the winter, one will recognize the Christmas pine in the deep forest and woody notes of cedar wood, that smell like pencil shavings, lining the river walk.

On the following page, section drawings reveal the two halves of the landscape and the present moments one can experience along the paths. They are experienced, inhaled, and oneâ&#x20AC;&#x2122;s body will immediately recognize these environments once here, but after leaving, the body will remember this place and all the special moments that define it to bring you back for more.

the design

Come Discover the Southeast Side Story Top notes of a riverside walk: brisk air, cedar wood, crisp pine, rich soil, and green grasses

“This spectacle, moreover, is an epiphany not only of light but of eros (love); perfume eroticizes the body. It occasions a performance of self-display whereby the body, asserting its physical and sensual presence, makes a scene of its own privacy, turning intimacy into drama, theatre. The narcissism of the toilette and of the act of perfuming the wrists, elbows, neck, and cleavage, not only makes the body sensually perceptible to smell by transforming flesh into aroma; it broadcasts the body far and wide, projecting it and making public its intimacy; it ‘outs’ the body, so to speak, in a controlled and measured manner.” ~Richard Howard Stamelman, “Perfume”

p a t h

n a r r a t i v e

the design

AVERAGE HIGH TIDE LEVEL

SECTION 1 : NEW GATEWAY TO THE ANACOSTIA RIVER KAYAK LAUNCH SITE AND BRIDGE TO RIVERWALK VIEW FACING NORTH

THE EXPERIENCE BEGINS AT THE END OF FREDERICK DOUGLASS BRIDGE WHERE THE NEW SHORELINE MEETS THE OLD SHORELINE

NEW BASIN FOR LAUNCHING KAYAKS & OUTFALL FOR FILTERED WATER FLOWING FROM CONSTRUCTED WETLAND 1 (ALONG THE OLD SHORELINE) WITH A VIEW OF THE WASHINGTON MONUMENT

AVERAGE HIGH TIDE LEVEL

SECTION 2 : NEW RIVER WALK ALONGSIDE THE NORTH LEVEE BARRIER ISLAND @ S. CAPITOL STREET VIEW FACING NORTH

SIMULTANEOUS VIEW OF THE WASHINGTON MONUMENT (LEFT) + U.S. CAPITOL BUILDING (RIGHT)

END OF S. CAPITOL STREET

NATURE, TAMED

NORTH LEVEE

AVERAGE HIGH TIDE LEVEL

SECTION 3 : A VIEW OF THE ‘INSIDE’ MARINA AND CHECKPOINT FOR JOINT BASE ANACOSTIA-BOLLING VIEW FACING SOUTH

MARINA AND PIER FOR BASE EMPLOYEES AND RESIDENTS ONLY

ELEVATED BRIDGE CONNECTING THE PUBLIC RIVERWALK PUBLIC AND PRIVATE DO NOT CROSS PATHS

THE VIEW BEGINS TO EXPAND TOWARDS EAST POTOMAC PARK + HAINS POINT

AVERAGE HIGH TIDE LEVEL

SECURED ZONE SEPARATING PUBLIC FROM PRIVATE

SECTION 4 : A BROAD VIEW OF THE CITY BARRIER ISLAND ALONGSIDE THE SOUTH LEVEE VIEW FACING NORTH

SOUTH LEVEE

AVERAGE HIGH TIDE LEVEL

SECTION 5 : THE FINALE SITTING AREA FOR VIEWING THE CITY AND ACTIVITIES ON THE POTOMAC RIVER VIEW FACING NORTH

THE GRAND BLEACHERS

NATURE, TAMED

Sections

s c a l e

New Shoreline Original drawing at 1:10 scale

END OF THE LEVEE WHERE NEW LAND MEETS OLD LAND

When partial clearing of the wildwood changed the Ile-de-France from a natural landscape into a working landscape, Dubos wrote, it gave rise to ‘an environmental diversity that provides nourishment for the senses and for the woodlands, as well as from the alternation of sunlit surfaces and shaded areas.’ For him, the ‘profound origin’ of that nourishment was an ‘increased awareness of the interdependence between humans beings and their total environment.” ~Tony Hiss, “The Experience of Place”

p a t h

n a r r a t i v e

the design

SECTION 1 : FILL TULIP POPLAR + BLACK LOCUST FOREST

OLD SHORELINE

SECTION 2 : CUT CONSTRUCTED WETLAND - DETENTION AREA 1

SECTION 3 : FILL VIRGINIA PINE + SWAMP WHITE OAK FOREST

SECTION 4 : CUT + FILL CONSTRUCTED WETLAND - DETENTION AREA 2 | PINE + OAK FOREST

GATE TO JOINT BASE ANACOSTIA-BOLLING

OLD SHORELINE

ELEVATED PATHWAY

PIPES FOR DIRECTING FILTERED WATER TO NORTH JOINT

CONCRETE PATHWAY

S. CAPITOL (SOUTH)

WOOD MULCH PATHWAY

I 295 (SOUTH)

PROPOSED ROAD ELEVATION

RAILROAD TRACKS

BIKE PATHWAY

OLD SHORELINE

PIPES FOR DIRECTING FILTERED WATER TO SOUTH JOINT

OLD SHORELINE

S. CAPITOL

ELEVATED PATHWAY

S. CAPITOL (SOUTH | NORTH)

RAILROAD TRACKS

WOOD MULCH PATHWAY

S. CAPITOL (SOUTH)

S. CAPITOL (NORTH)

OLD SHORELINE

SECTION 5 : FILL EASTERN RED CEDAR + VIRGINIA PINE FOREST

BASE ROAD

RUNNERS’ PATHWAY

RAILROAD TRACKS

WOOD MULCH PATHWAY

Sections

S. CAPITOL (SOUTH)

S. CAPITOL (NORTH)

I 295 (SOUTH)

I 295 (NORTH)

s c a l e

Old Shoreline Original drawing at 1:10 scale

the middle note a working landscape The middle note consists of several working landscapes that come together as one. Overall they change subtly from day to day, yet over time they will form their own grand identities similar to D.C.â&#x20AC;&#x2122;s neighborhoods.

Shown on the opposite page, is the hardworking landscape alongside the Anacostia and Potomac Rivers. The infrastructure is designed to tame the river and sediment flowing down. Time will eventually slow down the ecology along this riverfront as marsh conditions will encourage vegetative growth.

Tourists and

D.C. residents will come visit year-round, as the sights here are to die for.

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working landscape

Site Process

“Perfume is a language; through it the body gains expression and the spirit and soul of the body (its desires, needs, feelings) are roused from muteness to speech. The skin is the surface, the page, onto which this language is ‘imprinted’ or impressed for a short time before scent transforms the body into an altogether different, less substantial, more ethereal, and invisible incarnation of being.”

Northern Joint: Kayak Launch Site & Outfall for Constructed Wetland (1) into Anacostia River

~Richard Howard Stamelman

view of Washington Monument

System of Barrier Islands taming the river’s water (typ.)

System of Wood Pilings will allow for sediment build-up over time (typ.)

which will allow for marsh-like conditions to grow and create a tame buffer next to the levee wall (typ.)

58 Barrier Island providing a simultaneous view of the Washington Monument + U.S. Capitol

Barrier Island providing an exclusive view of the Washington Monument

view of Washington Monument

52 Space between pilings allow for kayakers to travel underneath and alongside the new public path

Elevated bridge connecting public path

Marina and Pier for Base Employees and Base Residents Only

10’ High Flood Wall separating north and south levees

46 Path Line

Barrier Island providing a vast view of the city

broad simultaneous view of Washington Monument + U.S. Capitol

Southern Joint : Outfall for Constructed Wetland (2) into Potomac River

Piling Barge for construction on water

20’ wide Cedarwood Boardwalk on Wood Pilings 20’ O.C. (typ.)

Spring

Summer

Fall

Winter

broad simultaneous view of Washington Monument + U.S. Capitol

36 30’ wide Barrier Island path

(gabion cage construction)

Outdoor Viewing Area Seat walls provide views across the river towards Ronald Reagan National Airport

Levee Edge lined with existing Rip Rap

Existing Levee

Wood Piling System

(typ.)

Maximum distance 190 ft. from existing seawall

Red Maples (Acer rubrum) planted every 50’ on center along the eastern side of the levee

Average distance 75 ft. from existing seawall

Plan Scale 1:200 Diagrammatic Section Not to Scale 0

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200

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the middle note a working landscape Shown on the opposite page, is the hardworking landscape alongside the riverâ&#x20AC;&#x2122;s old edge. The infrastructure is designed to clean stormwater from the local area and provide a respite from the city with the growth of a young forest.

Only time can tell when the young

pioneer species will take root and encourage a healthy visit from new insects and animals. Tourists and D.C. residents will come visit yearround, as the scents of nature will lure them in.

Every day, every month, and every year, the middle notes are both producing experiences for people and animals, and producing life and death of trees all for the essential products of a working forest and a stormwater system. The middle note also gives back to nature by taming the river to create a new nature and working to reveal the beauty that is THIS landscape.

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working landscape

Site Process

“Perfume is a ‘here’ en route to a ‘there,’ a today floating away in the direction of a yesterday, a possession paradoxically coinciding with an imminent loss. Created from blossoms and petals which have surrendered their floral odors, and their ‘lives,’ perfume is, when all is said and done, a concentrate of loss, the distilled spirit of now-dead roses, macerated jasmine blossoms, or stem-withered lavender: ‘an essence of absence’” ~Richard Howard Stamelman w

(Forest 1) Pioneer Species:

20-50 years

Tulip Poplar (Liriodendron tulipifera) Black Locust (Robinia pseudoacacia) 5-20 years 0-5 years

8 Poplar and Locust saplings planted Fall 1

Summer

Winter

Fall

Winter

Spring

Pathway over wetland

12 Constructed Wetland / Detention Area (1 ) ~design for 2 year storm = estimated 378,oo cu. ft. of stormwater ~filtered water piped to northern joint @ Poplar Point into the Anacostia River)

Red Twig Dogwood for Winter Interest

20-50 years

(Forest 2) Pioneer Species: Virginia Pine (Pinus virginiana) Swamp White Oak (Quercus bicolor)

5-20 years 0-5 years

Pine and Oak saplings planted Fall 1

Winter

Summer

Fall

Winter

Spring

Pathway over wetland

Constructed Wetland / Detention Area (2 ) ~design for 2 year storm = estimated 555,oo cu. ft. of stormwater ~filtered water piped to southern joint at Giesboro Point into the Potomac River)

Red Twig Dogwood for Winter Interest

26 (Forest 3 + 4) Pioneer Species: Sweet Birch (Betula lenta) wintergreen scent - attracting Yellow-bellied Sapsucker (Summer breeding in the north, migrates south in winter) Virginia Pine (Pinus virginiana) Eastern Red Cedar (Juniperus virginiana) 20-50 years

5-20 years

35 2-3 year River Birches planted in groves along Giesboro Point Virginia Pines planted in allées along roads

Winter

2-3 year Cedars planted Fall 1

Plan Scale 1:200 Diagrammatic Section Not to Scale 0

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200

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the base note the whole system will resonate

Finally, the base note is the seamlessness of these two sides working together to make this landscape operate as a whole, while also subtly lifting or revealing the identity within. Just as Lâ&#x20AC;&#x2122;Enfant had recognized the topographical boundaries and river edges around the city to devise the plan for D.C., this landscape also recognizes topographical boundaries and its river edges, both past and present, around this site. Through two systems overlapping each other on each side, creating four systems overall, the grand structure of this landscape capitalizes on not only the views of the city, but also easily orients one throughout the landscape with its four quadrant-like places. Like a harmony of base notes over time, this is the structure that keeps it together, that keeps this southeastern half of the city operating with the northwestern half.

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the design

â&#x20AC;&#x153;The drama of perfume tells a tale of loss; it is a fable about the impermanence of life, a story of something gained and something taken away.â&#x20AC;? ~Richard Howard Stamelman

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The Base Note: Site Plan As a whole, the landscape works as one system of many working parts + tells a narrative about itself.

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the working models

existing vs. new The existing model (left column, opposite page) shows the magnitude of sediment that was dredged from the bottom of the Anacostia River and then reclaimed by the government and military. It also shows the topographical difference between the hilly, old land compared to the very flat, new land.

The new model (right column,

opposite page) shows how the design along each shoreline helps to emphasize each side of the river (both new and old) and how it unobtrusively works with its surrounding conditions.

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the new model 3-D visualization of the landscape narrative

Coupled with the base note, the final model also works to reveal two identities at one time. When the filled landform is lifted, it reveals the working forest on the east and the newly filled edge along the river in the west. On the filled land, the cut memory of the river is revealed in the east and the levee is further emphasized in the west. There are two distinct sides surrounding each line to make the whole narrative present.

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the design

Drawing Label Text for the drawing

109

conclusion

the essence of this thesis

During this thesis investigation, I future present moments to be relived along the edge?”

When L’Enfant

learned lessons that could not have and to recall wonderful memories. wrote the beginning of the narrative of been articulated without its due Perfume is the essence of absence. process. However in preparation for

Washington, D.C., he used points to

Similarly, narrative is about determine where something started

the defense, a clarity ensued that retelling those events that have been and where it ended. These points hopefully can be summed up here.

lost in time. While looking through all connected to a larger system that

A perfume works structurally, the lens of perfume I, as a landscape defined the city and continues to

it works experientially, and it works architect and designer, learned how retain that identity today. Thus, the with nature’s material over time one can make legible through design edges define the whole. to provide a whole story.

When a landscape narrative that has been

My thesis investigation about

sprayed, a perfume has the capability lost over time, but that is still present the fillscape in Anacostia should to retell the same story over again. It in a site’s memory. is applying a preserved moment onto

110