The big lecture project

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TABLE OF

CONTENTS

XOCLIW//4ESAHP//L302AL // LEBREH YBLEHS

THE

LARGE LECTURE PROJECT>>

SHELBY HERBEL//

//SPRING 2016 LA 203 // BASIC LANDSCAPE DESIGN PROFESSOR ANDREW WILCOX//

03 LEARNING THE LEXICON

05 ANTROPOGENIC 06 SPATIAL 07 DYNAMIC 08 NATURE 09 PATTERN 10 COMPLEXITY 11 TYPOLOGY 12 PERCEPTION 13 CONNECTION 14 DEPTH

LEARNING THE

LEXICON

INTERESED READINGS

RAMBUNCTIOUS GARDEN // EMMA MARRIS 17 PROJECTIVE ECOLOGIES // CHRIS REED & NINA LISTER 19 ATLAS OF NOVEL TECTONIC // JESSE REISER 21 PAMPHLET 28 AUGMENTED LANDSCAPES // ALLEN SMOUT 23 SYNTHETIC PATTERNS // KAREN M’CLOSKEY 25 PAMPHLET 33 ISLANDS & ATOLLS // LUIS CALLEJAS 27

WITNESSING DISCUSSIONS 31 ARCHITECTURE & DESIGN JOURNALISM IN THE ERA OF “CRAP TRAP” 33 DUEL + DUET // PATRIK SCHUMACHER & TOM WISCOMBE

PHOTO ESSAY

CALIFORNIA SCENARIO BY ISAMU NOGUCHI 37 PATTERNS & TEXTURES 39

FINAL INTROSPECTION

42 STUDIO & LECTURE REFLECTIONS

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05

ANTHROPOGENIC

THE ASSISTED CHANGE OF EARTH’S CLIMATE AND COMPOSITION DUE TO MAN’S ECO-

LOGICAL FOOTPRINT ON THE NATURAL WORLD. THRESHOLDS AND TOLERANCES OF OUR ECOSYSTEMS WILL CHANGE AND CLIMATE WILL BECOME LESS PREDICTABLE. HUMANS ARE THE COMMON FACTOR AND AS THEY MULTIPLY AND GROW, OUTSIDE FACTORS WILL BEGIN TO DISAPPEAR.

THE MOST WELL KNOWN FORM OF CLIMATE CHANGE IS GLOBAL WARMING. THE EFFECTS OF GLOBAL WARMING CAN BE SEEN ALL OVER THE WORLD BUT MOST DRAMATICALLY IN THE ARCTIC. THE ENVIRONMENT IS CHANGING AT RAPID PACES AND THE WILDLIFE ARE STRUGGLING TO ADAPT WHICH IS CAUSING DECLINE IN THEIR NUMBERS.

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07 CALIFORNIA SCENARIO BY ISAMU NOGUCHI IS A GARDEN THAT REPRESENTS THE CALIFORNIA LANDSCAPE AND THE SEVEN SCULPTURES LAID WITHIN SITE ARE EQUALLY SPREAD OUT. THIS IS A SPATIAL QUALITY THAT WAS BEING DEMONSTRATED BY NOGUCHI TO SHOWCASE HIS REPRESENTATIVE PIECES INDIVIDUALLY AND AT THE SAME TIME TOGETHER.

DYNAMIC

A WAY OF DESCRIBING A TYPE OF SYSTEM THAT IS CONSTANTLY CHANGING THROUGH

MULTIPLE PROCESSES OR SMALLER SYSTEMS. NATURAL AND CULTURAL LANDSCAPES ARE DYNAMIC SYSTEMS THAT ARE CONSTANTLY DEVELOPING AND CHANGING OVER TIME.

THE QUALITY OF SPACE THAT IS SUGGESTIVE OF OUR PERCEPTION OR EXPERIENCE

WITHIN A SPACE. SPATIAL QUALITIES can BE MAN MADE OR FORMED FROM NATURAL PROCESSES, BUT WHEN USED AS A DESIGN CONDITION, IT IS IMPORTANT TO UNDERSTAND THE PERCEPTION OF SPACE, OUR POSITION IN SPACE, AND THE WAY THAT SPACE IS FRAMED.

SPATIAL

WHEN SYSTEMS ARE DYNAMIC, THEY OFTEN CONNECT TO OTHER SMALLER OR LARGER

SYSTEMS. THEY MAY CONNECT DIRECTLY OR THEY MAY ONLY CONNECT FROM A SINGLE INSTANCE. MY DIAGRAM SHOWS DIFFERENT POINTS OF CONNECTION WITHIN TWO DIFFERENT SYSTEMS.

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09

MY IMAGE SHOWS HOW NATURE CAN FIND OPPORTUNITIES WITHIN A NON-NATURAL

ENVIRONMENT AND STILL SURVIVE. A SEED OF THE PLANT MOST LIKELY BLEW INTO THE CRACK AND SET ITS ROOTS DOWN. I HAVE DIAGRAMED HOW WILDLIFE OFTEN LEAVES ITS NATURAL HABITAT TO MOVE INTO A MORE URBAN LIKE SETTING.

PATTERN

AN ARRANGEMENT OF PARTS, OBJECTS, OR ELEMENTS IN A WAY THAT OFTEN HAS

REPETITIVE OR SEQUENTIAL QUALITIES. PATTERNS ARE OFTEN USED AS A WAY TO DEMONSTRATE A DESIGN AND CAN BE DISTRIBUTED THROUGHOUT A DESIGN AS A WAY TO FORM SPATIAL CONNECTIONS OR LINKS.

NATURE IS EVERY LIVING THING FOUND AROUND US. NATURE IS NOT ONLY FOUND

IN THE DISTANT NATIONAL PARKS, BUT IN OUR BACKYARDS, THE CRACKS IN THE PAVEMENT, EVEN IN THE PLACES WE HUMANS HAVE DISRUPTED. NATURE IS CONSTANTLY CHANGING AND ADAPTING BECAUSE NATURE WILL TAKE FULL ADVANTAGE OF THE ENVIRONMENT AROUND IT.

NATURE

MY IMAGE SHOWS A PATTERN ALONG SIDE THE BROAD MUSEUM WHICH

MAKES THE BUILDING A DISTINCT FORM AND APPEAL. THIS PATTERN ALSO SERVES A FUNCTION TO THE AMOUNT OF LIGHT THAT IS LET INTO THE BUILDING. THE DIAGRAM IS SHOWING TWO DIFFERENT KINDS OF PATTERNS OVERLAPPING EACH OTHER.

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THE IMAGE REPRESENTS ONE CUBE THAT IS MADE UP OF MANY DIFFERENT LAYERS OF

WOOD THAT ARE CUT TO SPECIFIC SHAPES TO FILL AND FORM THE CUBE. THIS IS CUBE HAS COMPLEXITY TO IT BECAUSE IT IS MADE UP OF SO MANY DIFFERENT ELEMENTS IN A SPECIFIC WAY. THE DIAGRAM SHOWS SMALL SYSTEM THAT IS CONSTANTLY CHANGING OVERTIME AS THE FIXED ELEMENTS STAY THE SAME.

TYPOLOGY

A GROUP OF ANYTHING THAT SHARES A SIMILAR GENERAL FORM OR CHARAC-

TERISTIC. PLACE TYPES, ARCHITECTURAL TYPES, PLANT TYPES ARE ALL FORMS OF TYPOLOGIES. IN SCIENCE IT IS COMMON FOR TAXONOMIES OF SPECIES TO BE TYPOLOGIES, IN DESIGN IT IS COMMON TO SEE TYPOLOGIES OF ARCHITECTURE TYPES, PLACE TYPES, PLANT TYPES, PATTERN TYPES, ETC.

WHEN A SYSTEM OR PROCESS HAS MANY LAYERS OF INFORMATION OR PARTS THAT

MAY BE DIFFICULT TO UNDERSTAND OR ANALYSE. LANDSCAPE ARCHITECTURE INVOLVES A COMPLEXITY OF LAYERS WITHIN MULTIPLE SYSTEMS WORKING ALONG THE SIDE OF DESIGN PATTERNS OR ELEMENTS.

COMPLEXITY

THE IMAGE I’VE USED SHOWS A TYPOLOGY OF TEXTURED FLOORING ALONG

WITH A DRAIN. TEXTURED FLOORING IS OFTEN USED IN AREAS WITH HIGHER AMOUNTS OF WATER TRAFFIC. MY DIAGRAM SHOWS DIFFERENT TYPES OF TYPOLOGIES IN GRASSES,

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TREES, AND BRUSH STROKES.

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MY IMAGE IS DEMONSTRATING HOW WE PERCEIVE OBJECTS THAT HAVE STRONG SPA-

TIAL QUALITIES WHILE SHOWING OFF DIFFERENT QUALITIES WHEN PUT UNDER A LIGHT. THE DIAGRAM IS ASKING YOU, ARE THERE THREE PAC-MAN LIKE CIRCLES ALONE? OR IS THERE A WHITE BOX SITTING ON TOP OF THEM. CASTING A SHADOW ON TOP REVEALS THE TRUTH.

CONNECTION

POINTS OF CONNECTION WITHIN ONE AREA OR TAKING TWO DIFFERENT SYSTEMS

AND FINDING POINTS OF CONNECTIONS. THEY CAN BE OBVIOUS LIKE IN PATHWAYS OR PATTERNS, OR THEY CAN BE DIFFICULT TO FIND. IN LANDSCAPE ARCHITECTURE, IT IS CRITICAL TO FIND POINTS OF CONNECTION WITHIN A LANDSCAPE.

SEEING SOMETHING FOR THE FIRST TIME WITH A CERTAIN IMPRESSION VERSUS SEE-

ING IT MAYBE A SECOND TIME AND BEING ABLE TO UNDERSTAND IT OR INTERPRET IT WITH YOUR SENSES AND AWARENESS. THE WAY WE PERCEIVE AND EXPERIENCE OBJECTS AND SPACES ARE WHAT WE AS DESIGNERS NEED TO UNDERSTAND.

PERCEPTION

MY IMAGE SHOWS CONNECTIONS POINTS FOUND WITHIN A PARK THAT

OPERATES ON MULTIPLE PATHS. THE DIAGRAM IS SHOWING POINTS OF CONNEC-

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TION WITHIN A TRANSIT SYSTEM.

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MY IMAGE BELOW SHOWS VERY STRONG VIEWS OF DEPTH ON A 2D SURFACE. AT FIRST IT LOOKS AS IF IT’S A 3 DIMENSIONAL OBJECT, BUT UP CLOSE YOU CAN SEE IT’S JUST A PRINT. THE DIAGRAM IS SHOWING THE DEPTH OF WATER ON A TOPOGRAPHIC SURFACE.

DEPTH IS A BASED ON A FIELD OF VIEW THAT HAS 3D LIKE QUALITILES TO IT ON A 2D SURFACE. DEPTH OFTEN CASTS A SHADOW LIKE EFFECT TO ONES PERCEPTION.

DEPTH

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17

READINGS

INTERESTED

RAMBUNCTIOUS GARDEN

EMMA MARRIS

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19

“SWIM MING

IN RES

ERVOIR

“RE GUL

”

ATIO N

”

“DIRTY”

“ASSET”

C

460’

45 0’

10. ONSERVATION EVERYWHERE EMMA MARRIS HAS A POWERFUL VOICE ON THE DEFINITION OF NATURE AND THE VALUES “TURN IN

THAT GO ALONG WITH IT THROUGHOUT HER BOOK, BUT ONE CHAPTER IN PARTICULAR STUCK OUT

S”

“LUX TO REC

AL RENT URY

“LEAVE

FENCE”

REATIO N LAK

E”

490’

OF NATURE WE DEFINE AS PRISTINE, WE WILL EVENTUALLY LOSE IT ALL. IF WE FIGHT TO PRESERVE AND

480’

470’

TO ME: CONSERVATION EVERYWHERE. HER MAIN FOCUS FALLS ON IF WE ONLY PRESERVE THE KIND

“SA F

ENHANCE NATURE AS WE NEWLY DEFINED IT, WE MAY BE ABLE TO GROW NATURE LARGER THAN IT

E”

CURRENTLY IS. THIS CONCEPT MARRIS PRESENTS IS SOMETHING THAT HAS A FORWARD THINKING “HIPSTERS”

903

MINDSET AND CAN BE VERY BENEFICIAL TO CITIES SUCH AS LOS ANGLES, WHICH IS OFTEN REFERRED TO AS THE “CONCRETE JUNGLE”. LOS ANGELES IS A SPRAWLING CITY WITH LITTLE OPEN SPACE LEFT

“OPEN

TO ADD NATURE TOO, SO DEEPENING NATURE WITHIN THE CITY SEEMS LIKE THE MOST EFFECTIVE

S” UP GATE

PROJECTIVE ECOLOGIES

CHRIS REED // NINA MARIE LISTER

START. IF WE ADD A LITTLE BIT OF NATURE SUCH AS NATIVE PLANTS FOR POLLINATORS IN ALL OF THE WASTED SPACES IN LOS ANGLES, A WINDOW CAN OPEN TO MANY SPECIES THAT HAVE THE ABILITY TO ADAPT TO AN URBAN ENVIRONMENT SUCH AS BIRDS, INSECTS, REPTILES ETC. MARRIS MENTIONS HOW A LOT OF EUROPE IS IN THE SAME SITUATION LIKE LOS ANGLES WHERE SPACE FOR ADDED NATURE IS SCARCE SO MAXIMIZING NATURE IN AREAS THAT ARE ALSO USED FOR SOMETHING ELSE IS PROMOTED THROUGH EASEMENT POLICIES.

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K

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SECTIONS FROM DISCORDANT HARMONIES

152.

ONCE I GOT PAST ALL THE MOOSE RUMEN TALK, THIS CHAPTER IN PROJECTIVE ECOL-

OGIES ALLOWED ME TO SEE THIS IN A DIFFERENT PERSPECTIVE, A MORE LOGICAL PERSPECTIVE. IT WAS MENTIONED THAT THE ENVIRONMENT APPEARS FIT FOR LIFE BECAUSE LIFE HAS EVOLVED TO TAKE ADVANTAGE OF THE ENVIRONMENT WHICH IS WHAT HAS CHANGED THE ENVIRONMENT AT A GLOBAL LEVEL. BASICALLY EVERY CHANGE IN NATURE THAT HAS OCCURRED HAS LEAD US TO THE NATURE WE HAVE NOW. I THINK PEOPLE BELIEVE THAT NATURE HAS ALWAYS BEEN THIS WAY SO CHANGE IN NATURE MEANS SOMETHING IS WRONG; NAIVE CAN BE ANOTHER WORD FOR IT. NATURE IS NO MATTER WHAT, NEVER GOING TO STAY THE SAME. EVEN IF IT HAS DESIRABLE CONDITIONS FOREVER. I THINK LIFE OR LIVING SYSTEMS, IN A SENSE WORK LIKE THE BUTTERFLY EFFECT. ONE SMALL DISTURBANCE OR EXTINCTION CAN GREATLY CHANGE THE COURSE OF HOW THE ENVIRONMENT AND EV-

ATLAS OF NOVEL TECTONICS

ERYTHING IN IT WORKS. I ADMIRE PEOPLE TRYING TO PRESERVE SOMETHING THAT IS DWIN-

JESSE REISER

DLING IN NUMBERS, BUT IS THAT NATURAL? IS LIFE GOING TO TAKE ITS COURSE REGARDLESS? I’M NOT SURE, IT’S A SUBJECT I’M SURE A LOT OF PEOPLE ARE TORN ON, AS AM I.

PROJECTIVE ECOLOGIES IS NOT ONLY REVEALING THE TRUTH, BUT THE REALITY THAT

OUR WORLD PUTS IN FRONT OF US. AFTER READING THIS CHAPTER AND OTHERS, I HAVE AN UNDERSTANDING NOT JUST OF SOMEONE’S OPINION ON THE SUBJECT, BUT ALSO SOME SENSIBILITY OF TRUTH OR FORWARD IDEAS.. THIS IS THE FIRST STEP TO RELEASING ONESELF FROM THE GRIP OF THE MACHINE IMAGE OF NATURE.

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GEOMETERY > FINENESS

WHEN I FIRST READ THIS CHAPTER WHEN IT WAS ASSIGNED TO ME MANY WEEKS

AGO, I HAD A DIFFERENT UNDERSTANDING AND I WASN’T ENTIRELY SURE OF ITS TRUE MEANING. I HAD FORCED MYSELF TO READ IT A FEW TIMES AND THIS MORNING, WEEK TEN OF THIS QUARTER I FEEL LIKE I HAVE A REAL UNDERSTANDING FOR THIS CHAPTER. I FEEL THE CONTEXT OF THIS CHAPTER SUMS UP THIS PAST QUARTER AS A WHOLE BECAUSE FINENESS CONFRONTS THE REALITY THAT MOST LANDSCAPE ARCHITECTURE IS NOT RESOLVED WITHIN THE LOGIC OF A SINGLE MODEL, A SINGLE SURFACE, OR A SINGLE MATERIAL ONLY. LANDSCAPE ARCHITECTURE IS A FIELD THAT’S LIKE AN ONION, IT DESIGNS SOMETHING SINGLE LIKE A PARK, BUT WITHIN THAT PARK ARE LAYERS AND LAYERS OF OTHER ASPECTS THAT MAKE A PARK A PARK.

REISER AND UMEMOTO ARE VERY CLEAR WITH THEIR CONCEPTS AND ALTHOUGH

PHAMPHLET 28 // ARGUMENTED LANDSCAPES MOUT ALLEN

THE VERBIAGE MIGHT BE DAUNTING AT FIRST, BUT I THINK OVER TIME AS YOU LEARN THIS FIELD’S TERMINOLOGY IT’S EXTREMELY HELPFUL. THEY POINT OUT HOW IMPORTANT IT IS

S

FOR US AS DESIGNERS TO UNDERSTAND THIS CONCEPT OF FINENESS BECAUSE IT’S CRITICAL FOR ITS SUCCESS. BEING ABLE TO MANAGE ALL OF THESE PARTS AND WORKS REQUIRES DIVERSE ORGANIZATION AND PROBABLY TAKES QUITE SOME TIME TO MASTER IT. ALL OF THE CONCEPTS IN THIS BOOK IS AN ACCUMULATION OF CONCEPTS WHICH GIVES THIS BOOK A FINENESS BECAUSE IT IS A NOVEL, BUT WITHIN THIS NOVEL IS AN ABUNDANCE OF IDEAS AND DIAGRAMS THAT YOU CAN FURTHER ONE’S UNDERSTANDING OF THIS FIELD. “IT ENCOMPASSES AN EXAMINATION OF [LANDSCAPE] ARCHITECTURE AT ALL LEVELS OF SCALE”.

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PANORAMA LANDSCAPES // A MARKET IN THE MARSHES

AUGMENTED LANDSCAPES TAKES A CRITICAL ROLE OF DISCUSSING FIVE DIFFERENT DESIGN

CASES THAT POSSESS QUALITIES OF ENVIRONMENTAL TRANSITION, FORCE OF NATURE, INDUSTRIAL LANDSCAPES, AND THE CREATION OF TEST SITES. MY INITIAL REACTION TO THIS PAMPHLET WAS ON THE DULL SIDE BUT AS I READ INTO THE DESIGN CASES, I BECAME VERY CURIOUS DUE TO THE DIAGRAMMATIC DRAWINGS BEING PRESENTED AND THE QUIET IMAGES OF LANDSCAPES FROM FOREIGN PLACES. DUNES AND DRIFTS WAS A PROJECT I ENJOYED HEARING ABOUT BECAUSE IT GAVE A REALLY WELL TOLD INTRODUCTION TO THE LANDSCAPE. “LONGSHORE DRIFT AND STRONG PREVAILING WINDS HAVE SHAPED A REGION OF EXPANSIVE BEACHES, DUNES, AND CRUMBLING CLIFFS”- I COULD VISUALISE WHAT THE AUTHOR WAS DESCRIBING. THIS PROJECT HAD A POETIC EXPRESSION TO IT BECAUSE THESE OBJECTS WERE BEING SEEN AND UNSEEN BASED ON THE SHIFTING WINDS CAUSING THE DUNES TO COVER AND UNCOVER THEM. THIS WAS A LIVELY IDEA ON USING SEASONAL PRODUCTS THAT ARE BEING CONTROLLED BY THE SEASONAL CHANGES IN THE LANDSCAPE. THE

SYNTHETIC PATTERNS

NEXT PROJECT I FOUND A LITTLE STRANGE AT FIRST BECAUSE THE STUDY MODEL WAS A BIT AWK-

KAREN M’CLOSKEY

WARD AND LOOKED LIKE A SMALL PIECE TO A LARGER PUZZLE. HOWEVER, THIS PROJECT WORKS IN A WAY SIMILAR TO OUR PHASE 4 PROJECT. A DESIGN THAT WAS MADE SPECIFIC TO THAT LANDSCAPE WORKING WITH SPECIFIC USERS TO THAT SITE. ITS INTERESTING HOW WE CAN DESIGN AROUND AN ECOSYSTEM IN A WAY THAT CAN BE BENEFICIAL FOR US AND THE SURROUNDING LIFE.

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ERAL TYPES OF FIXED PROGRAMMING CAN BE FOUND IS SITE SUCH AS BIRD WATCHING, LAKE VIEWS, SITMEADOW AND JOGGING PATH.

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M’CLOSKEY BRINGS UP SOME REALLY INTERESTING POINTS ABOUT HOW A PATTERN

IS SOMETIMES TAKEN FOR GRANTED. WE ALL KNOW THAT A PATTERN IS AND WHAT MAKES UP A PATTERN, BUT THE CONNECTION THAT PATTERNS HAVE TO SOCIETY, THE ENVIRONMENT, LANDSCAPE ARCHITECTURE, OR EVEN AGRICULTURAL PROCESSES IS OFTEN OVERLOOKED. PATTERNS CAN POTENTIALLY CHANGE THE WAY THE FUTURE RUNS IF WE FIND THE COMMON PATTERNS IN THE SYSTEMS WE CARE FOR SO MUCH. PATTERNS CAN SHOW US FLOWS AND MOVEMENTS, IT CAN HELP US DESIGN FOR THE FUTURE BECAUSE WE’VE BEEN MINDS ME OF A PROJECT THAT I SAW FROM AN INTERN AT SWA WHO DESIGNED A PROJECT IN AUSTIN, TEXAS ON ITS DOWNTOWN RIVERFRONT. THIS INTERN WAS NOT FROM AUSTIN, BUT FROM STUDYING PATTERNS OF DEVELOPMENT OF DOWNTOWN AUSTIN, HE WAS ABLE TO PREDICT THE MOVEMENT OF THE FUTURE DOWNTOWN. IT SHOWS CLARITY TO MYSELF

1/16 ” = 1’

ABLE TO UNDERSTAND THE WAY A SOCIETY GROWS BASED ON PAST PATTERNS. THIS RE-

PAMPHLET 35 // GOING LIVE

SHELBY HERBEL//LA203L//PHASE4//WILCOX

HOW CRITICAL IT IS TO FIND THESE PATTERNS IN WHICHEVER SYSTEM YOU ARE WORKING

Opsys // Pierre Belanger

ON BECAUSE IT CAN MAKE YOU THAT MORE SUCCESSFUL. PATTERNS CREATE CONNECTIONS WHICH THEN CONNECTIONS POTENTIAL BRIDGE THE GAPS IN SPACES OF NEED. I THINK ONCE WE START LOOKING PAST THE VISUAL AND PICTORIAL IDEAS OF PATTERNS, A LOT OF NEW THINGS AND IDEAS WILL EMERGE. FOR MY FINAL REFLECTION, I BELIEVE SYNTHETIC PATTERNS IS A REALLY IMPORTANT READ BECAUSE IT ALLOWS US TO RE-EVALUATE SOMETHING WE THINK WE UNDERSTAND, BUT SO MUCH MORE CAN BE UNCOVERED.

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From Systems to States

1/16 ” = 1’

SHELBY HERBEL//LA203L//PHASE4//WILCOX

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WITNESSING

AFTER GOING THROUGH THIS PAMPHLET, I WAS REALLY TAKEN BACK BY ALL OF THE DRAW-

INGS AND DIAGRAMS RATHER THAN THE TEXT. SO I’M GOING TO TAKE A RISK AND REVIEW THE IMPACT THE DIAGRAMS HAD ON ME RATHER THAN THE TEXT. THESE DRAWINGS A DIAGRAMS HAVE A 1970’S AND 1980’S BEHAVIOR TO THEM WITH EXTREMELY FORWARD OR FUTURISTIC THINKING BEHIND IT. MAPPING SEEMS TO BE A COMMON THREAD THROUGHOUT THE DRAWINGS WITH LAYERS OF INFORMATION FOUND WITHIN. I APPRECIATE DRAWINGS THAT ARE FULL OF INFORMATION THAT I CANNOT UNDERSTAND AT FIRST LOOK, BUT AS I EXAMINE THEM SOME SENSE DOES BEGIN TO COME OF THEM. I MAY NOT FULLY UNDERSTAND EXACTLY THE AUTHOR MAY HAVE TRYING TO PORTRAY BUT I THINK THAT’S THE BEAUTY BEHIND THESE DRAWINGS; ONLY THE AUTHOR MAY UNDERSTAND IT. I FEEL THAT THERE IS SO MUCH TO LEARN FROM THESE DRAWINGS DUE TO THE DIVERSITY OF THE DRAWING TYPES, I SAW AXONOMETRICS, PATTERN OVERLAYS, ALL SORTS OF DIAGRAMS, CHARTS, BEAUTIFUL IMAGERY, QUOTES, REFERENCES, CITATIONS, AND SYMBOLS.

ONE OF THE DRAWINGS THAT REALLY STUCK MY ATTENTION. THE FIRST ONE WAS A MILLION

PLATEAUS ON PAGES 58-59. THERE SEEMS TO BE ALL OF THESE DIFFERENT IMAGES OF PLATEAU’S OVERLAYED ON TOP OF EACH OTHER WITH DIFFERENT TRANSPARENCIES. THEY SEEMED TO SHOW DIFFERENT PROTOTYPICAL STRATEGIES PRESENTED TO PEOPLE OF A SPECIFIC REGION. ANOTHER OVERLAY BEING USED WAS AN AXONOMETRIC DIAGRAM SHOWING ALL OF USES OF THE LAND WHICH INCLUDED THE TOPOGRAPHY, ACCESS SYSTEMS, PLANT AND VEGETATIVE USES, TRANSPORTATION INFRASTRUCTURES, SITE STRUCTURES, AND SITE EQUIPMENT. ITS VERY CLEAR AND TO THE POINT. IT’S ADMIRABLE WHEN YOU CAN CREATE A DRAWING THAT LOOKS REALLY INTENSE AND COMPLICATED BUT WHEN EXAMINED, ITS REALLY CLEAR AND STRONG.

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31 FEATURING

MIMI ZEIGER

AMELIA TAYLOR-HOCHBERG

AVISHAY ARTSY

ALISSA WALKER

KATYLA TYLEVICH

PAUL PETRUNIA

ARCHITECTURE & DESIGN JOURNALISM IN THE ERA OF

CRAP TRAP

DISCUSSIONS

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ARCHITECTURE AND DESIGN JOURNALISTS ARE NOW FACED WITH COMPETING WITH THE

MODERN DAY “CRAP TRAP” OF THE INTERNET. DURING THE PANEL DISCUSSION, I BEGAN TO NOTICE TWO THEMES OF ISSUES ARISING AMOUNG THE JOURNALISM COMMUNITY: WHAT THE MATERIAL NEEDS TO BE WRITTEN ABOUT AND HOW TO GET THE MATERIAL OUT THE IN AN EFFECTIVE MANNER. AS OUR LA203 STUDIO HAS DISCOVERED, THE LANGUAGE OF DESIGN CAN BE DIFFICULT TO TAKE IN FOR THE AVERAGE READER AND DESIGN JOURNALISTS ARE TASKED WITH “MAKING AN ARTICLE UNDERSTANDABLE WHILE STILL STAYING AT A HIGH LEVEL OF INTELLIGENCE” (KATYLA TYLEVICH).

ONCE THE MATERIAL IS PRODUCED, ITS COMMON FOR THE JOURNALIST TO GET CAUGHT UP IN THE CRAP TRAP OF SOCIAL MEDIA TO GET THEIR MATERIAL OUT THERE, WHICH IS OFTEN SOMETIMES EX-

DUEL + DUET

TREMEMLY CHALLENGING.

PATRIK SCHUMACHER & TOM WISCOMBE

DESIGN JOURNALISM IN LOS ANGELES IS SOMETHING THAT I THINK IS VERY IMPORTANT

BECAUSE LOS ANGELES IS A CITY THAT IS RAPIDLY GROWING AND REGENERATING. WITH GROWTH AND REGENERATION, DESIGN AND COMMUNITY INVOLVMENT IS OFTEN VERY IMPORTANT WHEN DESIGNING PUBLIC SPACES AND JOURNALISM IS AN OUTLET TO GET A PROJECT OUT INTO THE COMMUNITY. BEFORE THE MATERIAL IS PRINTED AND IN THE PUBLIC EYE, JOURNALISTS ARE CONFRONTED WITH THE COMPETING TASK OF GETTING THEIR MATERIAL OUT THERE AND PICKED OUT AMOUNG THE THOUSANDS OF OTHER ARTICLES ACROSS THE SCROLLING OF THE SCREENS. STRONG TABLOIDS, COMMOM INTERESTS, AND COMPELLING SUBJECTS ARE A MUST TO GET THE MATERIAL LOOKED AT. ONE OF THE PANELSTS MENTIONED THAT TODAY FACEBOOK AND ITS NEWS FEED ALGORITHM IS THE DICTATOR FOR MEDIA. SOCIAL MEDIA PLATFORMS HAVE A LEASH ON JOURNALISM AND ITS FUTURE IS STILL UNSURE. WHEN THE PANEL WAS ASKED WHAT THEY WOULD CHANGE IN EDUCATION TO MAKE AN IMPACT IN JOURNALISM BEING READ, THEY SAID THEY WOULD LIKE TO SEE MORE CLASSES EXAMINING WHAT MEDIA IS, WHICH CAN BRING SOME INTERSTING INVESTIGATIONS INTO THE CRAP TRAP.

SOCIAL MEDIA JOURNALISM CRAP TRAP TRANSMISSION

MATERIAL

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DUEL + DUET IS A LECTURE SERIES OFFERED AT SCI-ARC WHICH BRINGS IN TWO DESIGNERS

THAT HAVE CONTRASTING DESIGN STRATEGIES AND HAVE THEM PRESENT THEIR DESIGN TYPES AND INFLUENCES. ONCE THEY BOTH PRESENT THEIR TOPIC, THEY DEBATE ABOUT IT WHICH IS WAS REALLY INTERESTING TO WATCH BECAUSE IT AUTOMATICALLY CREATES THIS FORM OF TENSION AT A PROFESSIONAL LEVEL IN THE ROOM. PATRIK SCHUMACHER OF HADID ARCHITECTS HAS COINED THE TERM AND STYLE OF PARAMETRICISM WHICH IS VERY CONTEMPORARY AVANTGARDE ARCHITECTURE. . HE BELIEVES THIS DESIGN STYLE OFFERS A MARKET BASED URBAN ORDER AND CREATES FORMS OF EXPRESSION WITHIN THESE STRUCTURES. HE BELIEVES THAT CITIES SHOULD COMPLETELY BE BUILT THIS WAY BECAUSE IT CREATES A NAVIGATION WITH A CERTAIN LOGIC. A SENSE OF FLOW COMES FROM THIS STYLE. TOM WISCOMBE OWN HIS OWN FIRM AND IS A SENIOR FACULTY MEMBER AT SCI-ARC. WISCOMBE’S DESIGN STYLE IS IN MY OPINION ALSO VERY ADVANCED AND ABSTRACT BUT DEFENDED THESE STRUCTURES TO ACT AS POCKETS OF UNITY WITHIN A LARGER SYSTEM BECAUSE IT PULLS AN AREA TOGETHER.HE FELT ARCHITECTURE SHOULD ADVANCE PUBLIC IMAGINATION, HAVE DIFFERENCE, AND NON-CONTINUITY.

ONCE THEY STARTED TO DEBATE, IT WAS CLEAR THAT THEY APPRECIATED EACH OTHER’S

WORK, BUT DID NOT AGREE ON HOW IT WORKED WITHIN A GREATER SYSTEM. SCHUMACHER SAID WISCOMBE’S WORK DOESN’T WORK BECAUSE IT’S LIKE AN URBAN SPILL AND DOES NOT CONNECT TO THE OUTSIDE AREA. WISCOMBE BELIEVES SCHUMACHER’S WORK WAS IN A SENSE UNREALISTIC AND WOULDN’T WORK. DESPITE THEIR DISAGREEMENTS, I COULD TELL THAT THEY BOTH BELIEVED DESIGNS SHOULD HAVE ORIENTATION, BE NAVIGABLE, AND PLEASURABLE FOR THE USERS. WHEN RELATING THEIR VIEWS TO LOS ANGELES, I DON’T THINK SCHUMACHER’S DESIGN CONCEPTS WOULD WORK. I THINK LOS ANGELES IS FAMOUS FOR BEING THIS EXPLOSION OF DIFFERENT CULTURES AND EVERY NEIGHBORHOOD HAS ITS OWN CHARACTER. WISCOMBE’S CONCEPTS WERE MUCH MORE REALISTIC FOR LOS ANGELES, AND THERE’S PROBABLY A CONNECTION BECAUSE LOS

PHOTOGRAPHY

ANGELES IS WHERE HE OPERATES. HIS CONCEPT OF POCKETS OF UNITY SEEMS TO WORK VERY WELL WITH L.A. BECAUSE THAT’S BASICALLY HOW LOS ANGELES OPERATES. NOT TO SAY THAT WISCOMBE’S DESIGN CONCEPTS ARE BETTER THAN SCHUMACHER’S, THEY BOTH DELIVER PASSION TO THE ARCHITECTURE FIELD AND I’M VERY GLAD I MADE IT TO THIS LECTURE.

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BEING ABLE TO FIND CONNECTIONS WITHIN THE LANDSCAPE IS THE INSPIRATION FOR MY PHOTO ESSAY.

CALIFORNIA SCENARIO BY ISAMU NOGUCHI CREATED A LANDSCAPE THAT TAKES YOU THROUGH THE CALIFORNIA LANDSCAPE BY USING SCULPTURAL PIECES THAT SYMBOLIZE THE DIFFERENT LANDFORMS. NOGUCHI HAD SEVEN SCULPTURES REPRESENTING SEVEN OF CALIFORNIA’S MOST WELL KNOWN FEATURES. I HAVE CHOSEN FOUR OF THESE SCULPTURES IN MY PHOTO ESSAY BECAUSE I WAS INTERESTED IN THESE CONNECTIONS. DESERT LAND AND FOREST WALK ARE TWO CONTRASTING SYMBOLS IN THE GARDEN THAT REPRESENT CALIFORNIA’S VARYING GEOGRAPHY. WATER SOURCE AND WATER USE HAVE DIRECT CONNECTION THROUGH THE STREAM THAT CUTS THROUGH THE GARDEN. WATER SOURCE REPRESENTS THE HIGH MOUNTAIN RANGES THAT PROVIDE US WITH WATER AS IT FLOWS THROUGH THE STREAM INTO OUR HOMES FOR CONSUMPTION. UNDERSTANDING A LANDSCAPE CHANGES THE CONTEXT IN WHICH WAY YOU SEE IT. I HAVE LEARNED TO LOOK FOR CONNECTIONS IN THE LANDSCAPE RATHER

ESSAY

THAN JUST BE IN THE LANDSCAPE.

LANDSCAPE CONNECTIONS

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PATTERNS & TEXTURES

THIS INSPIRATION FOR THIS PHOTO ESSAY WAS WALKING THROUGH A PARK AND FOCUSING ON

ALL OF THE DIFFERENT KINDS OF PATTERNS AND TEXTURES THAT CAUGHT A SPECIAL GLIMPS OF COLOR. THIS PARK WAS DESIGNED BY SWA AND IS LOCATED IN NEWPORT BEACH. AS I WALKED THROUGH, I SAW LOTS OF DIFFERENT PATTERNS AND TEXTURES, BUT WHAT STOOD OUT WAS THIS SHADE OF BLUE WITHIN THESE ELEMENTS. THE FIRST IMAGE HAS THIS SHADE IN THE REFLECTION OF THE WINDOWS UNDER THIS WAVE LIKE PATTERN ROOF. PAVING UNDER A TABLE AND BENCH SHOWED OFF THIS BLUE AS WELL AND CONTRASTED VERY NICELY TO THE WOOD COLOR AND PATTERN. THE BLUE BRIDGE WAS AN OBVIOUS ONE, BUT AS YOU WALKED THROUGH IT, PATTERNS OF SHADES SHOWED THEMSELF. LASTLY, THE SUCCULENT PLANTING MATERIAL HAD A BLUE GREY TO IT AND LAYED WITH SO MANY DIFFERENT TYPES OF PATTERNS AND TEXTURES IN A VERY DIRECT MANNER.

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FINAL

INTROSPECTION

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01

THE PAST TEN WEEK OF SPRING QUARTER HAVE BEEN VERY COMPLEX, YET GRATIFYING. THIS

QUARTER REALLY PUSHED ME AS NOT ONLY A DESIGNER, BUT AS STUDENT, A GROUP MATE, AND AN INTELLECTUAL. THIS COURSE WAS DESIGNED IN A VERY CLEAR AND ORGANIZED MANNER WHICH I BELIEVE AS A STUDIO WHOLE, GAVE US THE TOOLS WE NEEDED TO MOVE ON AND UP. PIECES AND PARTS WAS A FUN AND EXCITING WAY TO START THE QUARTER BECAUSE IT SHOWED US OUR SMALL PIECES ARE JUST A SMALL PART OF A GREATER WHOLE. THE MAPPING ASSIGNMENT REALLY MADE ME REALIZE THAT OVER-THINKING, JUST MAKES MATTERS WORSE. TAXONOMY OF EMERGENT SPATIAL TYPES NOT ONLY ADVANCED SO MANY SKILLS OF MINE, BUT IT ALSO WAS A BIG LESSON IN GROUP WORK. LASTLY, OUR FINAL EXQUISITE CORPSE PROJECT SHOWED ME ALL THE DIFFERENT LAYERS OR SYSTEMS FOUND WITHIN ONE TASK. I WAS REALLY PUSHED TO LIMIT IN MY ABILITIES AND EVEN IF MY DESIGN DOES NOT FALL IN OTHERS FAVORS, THE LEARNING EXPERIENCE ALONE WAS WELL WORTH THE SLEEPLESS NIGHTS.

02

THE LECTURE CURRICULUM WAS ALSO VERY BENEFICIAL TO THE STRUCTURE OF

STUDIO. I REALLY APPRECIATED THE WAY THE READINGS WERE LAID OUT TO SUPPORT THE CURRENT PROJECT WE WERE CURRENTLY WORKING ON. I DO THINK THE AMOUNT OF TEXT PER WEEK WAS A LITTLE BIT HEAVY DURING CERTAIN WEEKS, BUT OTHER THAN THAT EVERYTHING WAS PRETTY MANAGEABLE. THE LECTURE PROJECT WAS REALLY BENEFICIAL IN THE END BECAUSE I WAS ABLE TO USE SKILLS, I DIDN’T OTHERWISE HAVE BEFORE STARTING IT. THE LECTURE PROJECT ALSO ALLOWED ME TO ATTEND AN AMAZING LECTURE WHERE I FELT I WAS SURROUNDED BY VERY ENGAGING MINDS IN THE DESIGN WORLD. THE READINGS THAT WERE REQUIRED HAD REALLY STRONG CONCEPTS THAT WAS VERY INSPIRATIONAL AND MADE ME EXCITING FOR THE FUTURE. LASTLY, THIS COURSE HAS ME LOOKING FORWARD TO THE UPPER DIVISION STUDIOS BECAUSE THE LAST 10 WEEKS ALLOWED MYSELF TO GROW A DEEPER PASSION FOR THIS FIELD AND APPRECIATE IT IN A TOTALLY DIFFERENT LIGHT.

ON AND UP!