Fall 2019 - Degree Project Research by Ana Vesho

TABULA ERRATICA LANDFILL AS PUBLIC SPACE

TABULA ERRATICA: Landfill as public space DEGREE PROJECT BOOKLET FALL 2019

DP Booklet_Ana Vesho

Submitted by Ana Vesho in collaboration with Canan Sevim Research Critics Cathryn Dwyre Evan Tribus Writing Critic Pierre Alexander de Looz Visiting Critics: E.J. Seong Phillip Lee

Abstract

5 Erasure: Tabula Rasa

10 ERRARE: To wander

The Object

22 Requiem for Penn Station

26 A Palimpsest of Narratives

32 46

DP Booklet_Ana Vesho

Curatorial Pedagogy

DP Booklet_Ana Vesho

Abstract

The “Tabula Rasa” condition of sweeping renewal and imposition situates the individual in a field of possibilities. The modernist concept of an open horizontal plane prescribes the identity of public space as a datum providing regularity and continuity where leisurely occupation can happen. This thesis aims to explore the didactic potential of public space in the context of Meadowlands, NJ in order to stimulate and complicate simple notions of leisure. Can a landfill challenge public space by providing grounds for exploration? And if so, what are its didactic qualities? We plan on using a methodology derived by the geologic phenomenon of the Glacial Erratic. As described by Jane Hutton, they are boulders that have been picked up and displaced by means of glaciers. Their composition distinguishes them from the surrounding landscape and as a result, they have been an object of awe and mystery. Like the erratics, the junk in the Meadowlands forms its own palimpsest of narratives. Notably, the remains of Penn Station were once there and so was (it is believed) the body of Jimmy Hoffa.

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Through kit-bashing, “Tabula Erratica” aims to transform the Meadowlands by bringing those events to new heights and introducing a circulation system reminiscent of a quest for lost treasures. We intend the visitor to pursue a value-based investigation of public space that is challenging and adventurous.

Project Satement

At a time when human activity has become a geologic agent, the phenomenon of the glacial erratics situates the problem at a much larger scale. Erratics are rock formations naturally extracted and deposited in the landscape by means of glaciers. Through processes that last for thousands of years, they land in inconspicuous places, many miles away from home. Mysterious and daunting, they have been an indication of how humans handle the immensity of a scale beyond their comprehension.

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The erratics of modern life are the landfill and perhaps none is more famous than our project site Meadowlands, New Jersey. Located just 2-miles west of Manhattan, its composition suggests a multiplicity of ground conditions. Meadowlands is an underutilized site in an edgeurban context. It is a hybrid constitute of wetlands, industrial spaces and inactive landfills where the remains of the Penn Station were once deposited. The remains, like the erratic, have been removed from their original context. Neither urban nor suburban, Meadowlands hides the treasures of the past and reveals some of the most enhanced wilderness as dust, mud, pigeons at its sub nature.

Our proposal aims to transform Meadowlands into a didactic public space by using the methodology of the glacial erratic. A series of objects situated in the landscape, like the glacial erratic, can begin to gain a narrative based on individual interpretations. Through circulation and display around and through the objects, the individual will pursue a value-based investigation. A quest on lost treasures of the past in a strip of wilderness can begin to form a public space not through erasure but by a relational exploration of existing conditions of value. We will pursue the techniques of spolia and kitbashing that will develop into an assemblage of objects through the kit of parts. A new typology of public space is proposed around a hybrid construction of historic junk and landscape elements that will become an attraction and enhance the sub-urban aesthetics of the Meadowlands.

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Madison Square Park

Fig. 1.1

Bryant Park

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Fig. 1.2

Union Square Park

Fig. 1.3

ADVENTUROUS CHALLENGING INTERACTIVE ERRATIC DIDACTIC ACTIVE PLAYFUL UNPREDICTABLE DISCOVERED DISPLAYED WILD EXCAVATED ENCOURAGING A QUEST REWARDING

HOW CAN PUBLIC SPACE BE______________?

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Erasure: Tabula Rasa

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Erasure: Tabula Rasa

Fig. 2.1 How can we rebuild London? C.B. Purdom

The beginning of the 20th century brought the need for simplification of the way space was preconceived. During this period, the concept of “Tabula Rasa” as a modernist utopia is applied not only to the architectural scale of the home but to the city as a whole. As Aureli notes in “The Theology of Tabula Rasa”, the free plan in Le Corbusier’s Maison Dom-ino suggested transparency and flexibility that would ideally be applied to the urban scale as well. As depicted by Charles B. Purdom in this graphic from 1945 titled “How should we rebuild London?” post-war London was facing a new challenge in terms of housing. New ideas were being considered in terms of housing developments. Destruction left behind by aerial bombings was considered a posibility for a “clean slate” and a new beginig.

Post-war urban renewal projects such as the Haussmann Plan for Paris or Cerda’s Grid for Barcelona, through erasure embrace the superblock and the grid system with pockets of parks and public space. Similarly, the Manhattan grid follows the same logic. Structured and rigid, the Manhattan grid offers a controlled vision of where and how public space should function. In the form of parks, many public spaces are presented as organized conventionally around leisure. In the case of Madison Square Park, Union Square Park or Bryant Park, there is little room for invention of occupation as one is presented with a datum providing regularity and continuity. Thus, the question arises, how can public space do more?

“In the form of parks, many public spaces are presented as organized conventionally around leisure.”

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Fig. 2.2 Bryant Park, NY

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12 ERRARE: To wander

ERRARE: to wander

ERRARE: To wander

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Fig. 3.0 Collage, The Rock

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ERRARE: To wander

The conceptual opposite of the flat park seems to be the glacial erratic. These mysterious boulders have a notable impact on their surrounding context. The geologic phenomenon consists of rock fragments removed from their place of origin and transported by means of glaciers sometimes for hundreds of miles away. Their geologic makeup distinguishes them from their new context and thus they have become part of the communities that have grown around them. The process of natural extraction of these boulders speaks to their bohemian nature, always on the move causing awe and mystery. As noted by Jane Hutton in “Distributing evidence: Mapping named erratics,” people have formed narratives around the origin and placement of the erratics throughout history as a tool to cope with a scale beyond their comprehension. “Gathering and resituating individual anecdotes within the continental scale high-lights the role of local, distributed observation as integral to the large-scale representation of geological processes. It also recognizes the ways humans grapple with time and spatial scales that are beyond comprehension” (Hutton).

“They are the glacially distributed sites of council meetings, picnics, political movements, and territorial markers. They are inscribed with discrepant personal, regional, and national narratives and at the same time they declare their foreign origin through their conspicuous mineral composition and form.” Jane Hutton Mapping Named Erratics

In dealing with the geologic scale, human imagination has given these rocks’ characteristics that have elevated their social value. Glacial Erratics weren’t scientifically described until the 19th century when the geologist Jean de Charpentier claimed that in order to understand the erratics, one needs to study the glaciers that deposited them. These speculations lead to a theory of continental-scale glaciation as described by Jane Hutton.

Fig. 3.3 Babson Boulder, MA

Fig. 3.4 Plymouth Rock, MA

Fig. 3.5 Ship Rock, MA

Fig. 3.6 Rollstone Boulder, MA

Fig. 3.7 Bubble Rock, ME

Fig. 3.8 Madison Boulder, NY

Fig. 3.9 Tripod Rock, NJ

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Fig. 3.2 Omak Rock, WA

ERRARE: To wander

Fig. 3.1 Arbitration Rock, NY

Fig. 4.1 Extraction

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ERRARE: To wander

Fig. 4.2 Playful Grounds

Fig. 4.3 Ambiguous Boundaries

ERRARE: To wander

The rock as an occupiable object is being supported by scaffolding which holds it in place.

The presence of the object in space becomes the event around which public space happens

The white space represents absence from its origin. The absence forms its negative space and the object, its presence, forms the positive.

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Fig. 4.4 The Activator

T1 Fig. 5.1 A diagramatic depiction of erratics beign deposited in the landscape. As shown, formations originating from the same source may end up being deposited miles away depending on the terrain on which the glacier travels.

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ERRARE: To wander

Another example is the use of glacial erratics to demarcate the border between Brooklyn and Queens. In 1768, the dispute between counties of King and Queens was resolved after designating the “Arbitration Rock” (Fig. 1.1) as the boundary marker. Two more erratics were used to draw out the rest of it but what strikes as interesting is the fact that “The Arbitration Rock” has been preserved and celebrated while the other two are not.

A B

Indu

stria l

ia str

B l

tia n e

s Re

tia n e

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Fig. 5.2

Diagram describing the position of the Arbitration Rock (point A) in relationship to point B and C which were the first markes of the Brooklyn-Queens border.

ERRARE: To wander

sid e R

ial r t us B

In “The Rock” by Peter Blume, the central composition belongs to a rock that serves as a vision of hope and renewal worshiped by people around it. Its monumentality is celebrated by being placed on a pedestal overlooking its surroundings.

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ERRARE: To wander

Similarly, rocks in painting were popular during the post-war era. As naturalistic elements, they were seen as standing in contrast to the destruction and horrors of WWII.

Fig. 6.1 “The Rock” Peter Blume 1944/48

ERRARE: To wander

Fig. 6.2 “The Erratic” Nina Elder

Derived from the Latin word Errare meaning to wander, they are a reminder of a perpetual process of transformation invisible to us. Our argument lies in the potential that we see in glacial erratics as a metaphor for objects acting as activators of space.

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Therefore, erratics have the ability to activate the space around them. They affect people’s imagination by being confronted with an object of such scale and magnitude. Their monumentality is different from that of commemorating past leaders or events; it is a timeless remembrance of a lost geologic time. Glacial erratics are not staged or purposefully displayed but their performative value lies in challenging people’s preconceived notions of a static ground.

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The Object

Fig. 7.1 The Albanian Bunker Fig. 7.2 Asteroid Mathilde Fig. 7.3 The Statue of Liberty Fig. 7.4 2001 Space Odyssey: The Monolith Fig. 7.5 Cloud Gate, Chicago Fig. 7.6 Penn Station remain Fig. 7.7 The Trojan Horse Fig. 7.8 Parc de la Villette

Fig. 7.1

Fig. 7.2

Fig. 7.5

The Object

Fig. 7.4

Fig. 7.3

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Fig. 7.6

Fig. 7.7

Fig. 7.8

D N U

O R G

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The Object

OBJECT

HUMAN

FIE

Fig. 8.1 The Object

OU GR

The Object

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Requiem for Penn Station

26 DP Booklet_Ana Vesho

Requiem for Penn Station Excavating Public Space

Fig. 9.1 Joshua Lutz, The Meadowlands

Fig. 9.2 Penn Station Elevation

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It is a good example of what Gissen refers to as “Subnatures”. Undesirable conditions that are considered “primitive, fearsome or uncontrollable” (Gissen). What he suggests is to “embrace the underground as a zone of expression.” (Gissen). From Pirate stories to mobster remains, from Penn Station remains to car parts, The Meadowlands offers rich grounds for speculation and potential as a zone of expression. Its detritus-formed strata are a setting for exploration and subversion of conventional notions of leisure in public space previously mentioned. As a palimpsest of narratives, the public space we propose is going to be composed of possibilities of exploration and investigation.

Requiem for Penn Station

Parallels can be drawn between the glacial erratics and the fate of Penn Station. Inspired by the Roman Baths of Caracalla built in the 2nd century AD, Penn Station was the gateway to the modern Metropolis. Its massive pink granite Corinthian columns were reminiscent of ancient roman building techniques. In 1963 it was torn down causing an uproar in the local community. But Penn Station didn’t disappear. Between 1996 and 1998 Robert Sullivan, a journalist for the New York Times went on a quest to find the remaining pieces of Penn Station. His investigation brought him to The Meadowlands, NJ. He documented his journey in “The Meadowlands: Wilderness Adventures on the Edge of a City”. His persistence was rewarded when, after digging in multiple sites, he finally was able to find the remains of Penn Station. “It is difficult to describe exactly how I felt at the moment I found my pieces of Penn Station, with the cold granite of the column beneath my hand. I thrust my clenched fist into the air, relishing the fact that I had laid hands on a piece of ruined Rome that might one day be dug up by an archeologist who could then quite possibly mistake the Meadowlands for a large and major transportation hub or the center of a great city, before eventually realizing it was just a big dump.” (Sullivan)

Deemed by Sullivan “just a big dump”, the Meadowlands is a rich site both in terms of narratives and conditions that it offers. Located only two miles west of Manhattan, it consists of landfills, wildlife and surreal landscapes but its notoriety stems from the multiplicity of environments that the site offers.

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Fig. 9.3 The Meadowlands Biozones

28 Requiem for Penn Station

Riv er ack ken s Hac

Requiem for Penn Station

Fig. 9.4 Potential Site A

Secaucus

Administrative Units Marshland

Vegetation

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Union City

Requiem for Penn Station

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Fig. 9.5 Potential Site B <ĞĂƌŶǇ͕ E: Kearny Marsh

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Hudson County

Fig. 9.6 Potential Site C ,ƵĚƐŽŶ ŽƵŶƚǇ͕ E:

A Palimpsest of Narratives

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A palimpsest of narratives

Because the site is so diverse, possibilities are endless. We want to specifically focus on the site’s didactic qualities. Like glacial erratics, junk in the Meadowlands have the potential to turn into an attraction. We aim to explore the deep section as a tool to study the many layers that shape the landscape of the Meadowlands. As Carlisle and Pevzner put it in their article “The Performative Ground”, a variety of possibilities lie in the deep section. They argue that “technical problem solving, and performative attributes often occur beneath the surface.” ( Pevzner,Carlisle, )

“ I like to think of the meadowlands as an undesignated national park, where you can visit all the sites, or as a more classic tourist destination, like Paris, where instead of roaming through cafes and shops I wander along the edges of the swamps.” Robert Sullivan The Meadowlands: Wilderness Adventures on the Edge of a City

Fig. 10.1 Joshua Lutz, The Meadowlands

A palimpsest of narratives

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A palimpsest of narratives

Burried Public Space

Fig. 10.2 Diagram of removal and dumping of statues and other objects from Penn Station into the Meadowlands circa 1964

:ƵƐƚ ĂƐ ƚŚĞ ŐůĂĐŝĞƌ ƚŚĂƚ ŽŶĐĞ ĚƵŵƉĞĚ ďŽƵůĚĞƌƐ͕ ƌŽĐŬƐ͕ ĐůĂǇ͕ ƐĂŶĚ ĂŶĚ Ɛŝůƚ ƚŚĂƚ ĨŽƌŵĞĚ DĞĂĚŽǁůĂŶĚƐ ƐƚƌĂƚƵŵ͕ ƚŚĞ ƚƌƵĐŬƐ ƚŚĂƚ ĚƵŵƉĞĚ WĞŶŶ ƐƚĂƟŽŶ ƌĞŵĂŝŶƐ ĂƐ ǁĞůů ĂƐ ŽƚŚĞƌ ǀĂůƵĂďůĞ ŽďũĞĐƚƐ ďĞŐŝŶ ƚŽ ĨŽƌŵ ŝƚƐ ůĂŶĚĮůůƐ͘

“At one point, very recently in its / Ăŵ ĐŽŶǀŝŶĐĞĚ ƚŚĂƚ ƚŚĞ ĨƵƚƵƌĞ ŝƐ ůŽƐƚ ƐŽŵĞǁŚĞƌĞ ŝŶ ƚŚĞ ĚƵŵƉƐ ŽĨ ƚŚĞ ŶŽŶͲŚŝƐƚŽƌŝĐĂů ƉĂƐƚ͘͘͘ dŝŵĞ ƚƵƌŶƐ ŵĞƚĂƉŚŽƌƐ ŝŶƚŽ ƚŚŝŶŐƐ͕ ĂŶĚ history , The Meadowlands was the ƐƚĂĐŬƐ ƚŚĞŵ ƵƉ ŝŶ ĐŽůĚ ƌŽŽŵƐ͕ Žƌ ƉůĂĐĞƐ ƚŚĞŵ ŝŶ ƚŚĞ ĐĞůĞƐƟĂů ƉůĂǇŐŽƌƵŶĚƐ ŽĨ ƚŚĞ ƐƵďƵƌďƐ͘ largest garbage dump in the world. ” Ͳ dŽƵƌ ŽĨ ƚŚĞ DŽŶƵŵĞŶƚƐ ŽĨ WĂƐƐĂŝĐ͕ EĞǁ :ĞƌƐĞǇ ďǇ ZŽďĞƌƚ ^ŵŝƚŚƐŽŶ Robert Sullivan “The Meadowlands: Wilderness Adventues on the Edge of a City”

ZĞƋƵŝĞŵ ĨŽƌ WĞŶŶ ^ƚĂƟŽŶ “The notary stamped her name and the date on my photos and then politely asked me what it was that I was standing next to in the photos she had just noterized.

ZĞƋƵŝĞŵ ĨŽƌ WĞŶŶ ^ƚĂƟŽŶ

I told her about Penn Station being dumped in the Meadowlands but she had never heard of Penn Station. So I said it was the ruins of a great building that once stood proudly in New York City. She smiled and squinted a little and looked in my eyes and sad, ‘Oh’. ” Robert Sullivan The Meadowlands: Wilderness Adventures on the Edge of a City

Fig. 10.3 Speculative drawing showing the composition of the Meadowlands as an active landfill.

A palimpsest of narratives DP Booklet_Ana Vesho

A palimpsest of narratives

36 DP Booklet_Ana Vesho

Fig. 10.4 Discoursive drawing showing the Penn Station remains elevated on steel platforms overlooking Manhattan.

A palimpsest of narratives DP Booklet_Ana Vesho

Fig. 10.5 Discoursive drawing showing the Penn Station Column amid junk and other garbage.Decontextualizing it gives both the site and the object a new meaning.

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38 A palimpsest of narratives

HACKENS RIVER

+ 20

SACK

- 20

- 40

- 60

MISCELLANEOUS FILL FINE SAND AND SALT ORGANIC MATERIALS GLACIAL TILL, ROCK FRAGMENTS AND BOULDERS SAND STONE AND SHALE

SAND AND CLAY

DIABASE

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Fig.10.6 A U.S. Geological Survey map of surficial deposits indicates Quaternary deposits (Qm) covering the area, and summaries the geologic, hydrologic and engineering conditions as follows: “Quaternary marshes, swamps, estuaries, and artificial fill ... interbedded silt fine-grained sand, clay, and organic material in differing proportions ... upper part dominantly organic .. ,soft noncompact, in part semifluid ... commonly overlain by artificial fill ... underlain by till ... silt and clay ... esturaries, salt marshes present below level of high tide ... bearing capacity very poor. Compressibility high. Unstable, flows readily into underwater excavations. Very small water yields to wells. Has high porosity ... low permeability, ‘’ (U.S.G.S., 1967)

A palimpsest of narratives

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A palimpsest of narratives

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Fig. 10.7 Speculative Section showing the strata and formation of a typical Meadowlands chunk. The field contained in the section contains various forms of artefacts which have formed their own operational territory underground.

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A palimpsest of narratives DP Booklet_Ana Vesho

Fig. 10.8 Diagramatic map drawing of the Meadowlands by David Diehl accompanying Sullivan’s “Wilderness Adventures on the edge of a city.” Reminiscent of a treasure hunt map, it gives a detailed account of the locations visited by Sullivan and their characteristics.

42 DP Booklet_Ana Vesho Fig. 11.1 Joshua Lutz, The Meadowlands

Subnatures

Fig. 11.2 Speculative section shwing the various forms of occupying the deep section and its subnatures as described by Gissen.

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Spolia

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Fig. 12.1 Joshua Lutz, The Meadowlands

â&#x20AC;&#x153;I am convinced that the future is lost somewhere in the dumps of the nonhistorical past... Time turns metaphors into things, and stacks them up in cold rooms, or places them in the celestial playgorunds of the suburbs.â&#x20AC;? Robert Smithson A Tour of the Monuments of Passaic, New Jersey

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Curatorial Pedagogy

The Case of Scarpa The curatorial aspect of the Castelvecchio museum has a lot to do with the way the object is perceived in space. As noted by Stavroulaki and Peponis in “The Spatial Construction of Seeing at Castelvecchio,” there is a constructed visual field that “…unfolds through movement and the patterns of accessibility, connection, separation, sequencing and grouping that characterize the arrangements of displays, exhibition layouts affect the manner in which displays are perceived, compared, and mapped.” ( Stavroulaki, Peponis)

“ We can think of museum layouts as non-discursive pedagogical devices. ” Gianna Stavroulaki and John Peponis The Spatial Construction of Seeing at Castelvecchio

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They go on to talk about the pedagogical relationships that form between the statues. Having visited Castelvecchio in person, I want to point out the fact that many statues are slightly larger than the average person and their positioning relative to the visitor seems to convey the idea that these objects have a purpose beyond that of merely being displayed . There is a certain curiosity being generated by entering an exhibiton space where the artefacts seem to be in a conversation you are not involved in.

The visitor thus is able to create a narrative based on the the layout. Scarpa is guiding the narrative by placing smaller objects in pedestals so their gaze is leveled with the ojects opposite to them. By approaching the figures, the visitor learns how to be a mediator between the sculpture and space, they can chose wheather or not to participate in the conversation.

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Appendix

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Glossary

Ground

Mutant

The Erratic

I define Ground as a reference point that can be used to navigate space and become familiar with it (marking a tree so you donâ&#x20AC;&#x2122;t get lost in a forest, mountain that looks like a giant gorilla). Clues like this help us make sense of the world around us and speak to our primitive ways. We use sensorial data (smell, touch, visual clues) to understand and define the space around us and Nature has played an important role in defining Ground by means of landscape and phenomena. But in urban settings today, Ground has become obsolete by the redundancy and repetitive actions of modern living. Today, our reference system or Ground is directed towards the familiar and the predictable.

I define Mutant as an out-of-place object or collection of objects that convey a feeling of uncertainty, mystery, curiosity, confusion or even crisis. A mutant does not belong in the context where itâ&#x20AC;&#x2122;s seen, causes confusion, can even cause feelings of self-doubt. It may even bring people together to understand what they are dealing with. I think a mutant can be simply a natural element of monumental dimensions in an urban context/ pastoral context/suburban context which slowly changes and adapts to its surroundings. A mutant goes through various phases of change and every time, it exchanges something with its new context.

As an estranged object, the erratic brings about a feeling of otherness that brings confusion, vulnerability and sometimes fear. I want to use this term in relation to the landscape. An object can be estranged in an unfamiliar landscape. In the case of glacier erratics, rocks are transported for great distances by glaciers that deposit them in landscapes that have much different characteristics than where the rocks originated from. Once the glacier retreats and deposits the rock, there is a gain in the elevation of the earth called isostatic rebound where the earth expands to receive the rock. This exchange between elements on a geological scale is different from any other exchange of the human scale for example.

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Bibliography

A. Plouffe, R.G. Anderson, W. Gruenwald, W.J. Davis, J.M. Bednarski. “Integrating ice flow history, geochronology, geology and geophysics to trace mineralized glacial erratics to their bedrock source .” Canadian Journal of Earth Sciences (2011): 1113-1130. Elder, Nina. Erratic Monuments to a Melting World . November 2017. <https://edgeeffects.net/nina-elder/>. Gissen, David. “Subnature.” Atmospheres (n.d.): 30-43. Hutton, Jane. Making the Geologic Now. New York : Punctum Books , 2011. Book . Lutz, Joshua. Meadowlands. New York , n.d. Book . Palma, Vittoria di. Wasteland. New Haven : Yale University Press, 2014. Decument . Payne, Jason. “Doppelganger.” Offramp (n.d.). Peponis, Gianna Stavroulaki and John. “The Spatial Construction of Seeing at Castelvecchio.” 4th International Space Syntax Symposium (2003). Sullivan, Robert. Wilderness Adventures on the Edge of a City . New York : Random House , 1998.

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