The Large Lecture Project

The LARGE LECTURE Project

Timothy Tay LA 203 Spring 2015

Table of Contents Paradigm Overlay Simultaneity Fluctuation Extrinsic Fragments Parameter Catalyst Pictorial Hierarchy

4 Theory Response

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Pronunciation: noun par·a·digm / ’per .dīm/

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Definition: - An intellectual standard, perspective, or a set of ideas perceived by an individual or society as a typical example, model, or pattern of something.

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Liam Young, City Everywhere Dwayne Oyler, Collaborative: Los Angeles Naomi Frangos, Narrative and Structures Evan Young, Methods of Conveying Landscape

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Statement 1 Statement 2: Dear Landscape Architecture...

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2 Individual Insights

(Projective Ecologies, Reed & Lister, Pg. 27)

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Karen M’Closkey, Synthetic Patterns Emma Marris, Rambunctious Gardens Clemens Steenbergen, Composing Landscapes Nadia Amoroso, The Exposed City

4 External Discussion Response

Paradigm

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e

10 Lexicon Entries

- A paradigm creates a template and a structure of framework that people abide to; It categorizes the way we recognize certain methods and it arranges it into a sequence that most us can comprehend.

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1

Time

Overlay

Parameters

(Projective Ecologies, Reed & Lister, Pg. 58) Pronunciation: verb o·ver·lay /.ōv r’lā/ e

s er

et

Definition: - A creation or layer that is set on top to reveal additional details or areas of work in which to make an impression of intention.

am

r

Pa

Transition - An overlay suggests an in-depth comprehension of understanding which involves adding information to another source. The combined sources create a concise, profound meaning.

“Thinking outside the Box; outside the Paradigm.”

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Simultaneity (Projective Ecologies, Reed & Lister, Pg. 58)

Layer A Pronunciation: noun si路mul路ta路nei路ty Definition: - the property of two events happening at the same time in a frame of reference

Info Layer A

Overlay

- Simultaneity only occurs if two or more inspired events that occur at or near the same period of time that are related to each other in both noticeable and unnoticeable characteristics.

Info Layer B

Layer B

Overall Info of Combined Layers

Combined Layers

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Fluctuation (Synthetic Patterns, Karen M’Closkey, Pg. 18) Pronunciation: noun fluc·tu·a·tion /.fl kCH ’wāSH( )n/ e

e

Event A

Definition: - to be continually changing or varying in an irregular way. The varying change over time increases each time a rise and fall occurs thus creating the fluctuation.

Event B

- A fluctuation is usually seen as a period of frequent change which are caused by a series of events that influence the rise and downfall.

“Simultaneity of Events A and B”

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Extrinsic (Field Conditions, Stan Allen, Pg. 6) Pronunciation: adjective ex·trin·sic /ik’strinzik,-sik/ Definition: - Is the idea of not being a part of something. It resides from a source external to the original factor. Extrinsic can refer to sources not originally there in the first place.

- The extrinsic details within the original marshland after the Rio Hondo was built accounts for the many of the shifts in territorial boundaries. Many animals have adapted to the human intervention. In this instance, humans are the external source and not necessarily essential to the original marshland needs.

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Fragments (Field Conditions, Stan Allen, Pg. 11) Pronunciation: noun frag·ment /’fragm nt/ e

Definition: - Are typically small individual bits seperated from a bigger source. The cause of breaking or shattering creates the small parts that has detached from and overall source.

- The run-off along the Rio Hondo Channel intercepts kinds of different trash and residue. The accumulation of these small entities are seen as fragments. At the end of the channel or near some manholes, the fragments of trash build up is seen.

Intrinsic

Extrinsic

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Parameter (Instinctual Marks, Perry Kulper, Pg. 24) Pronunciation: noun pa·ram·e·ter /p ’ram d r/ e e

e

Definition: - A factor that is introduced to be a set of current of conditions. It can facilitate the system of content and acts as a placeholder when needed to be assigned. Its function is also to serve as a constant variable.

- We have to take in account to everything that surrounds us. The parameters that we witness in Fletcher Park all effect the mood the park. Seen here is traffic, freeway, smog combustion, that affect the park. Granted that there are people that visit the park daily shows how they have adapted to these parameters.

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Response

Catalysts (Instinctual Marks, Perry Kulper, Pg. 30) Pronunciation: noun cat·a·lyst /‘kad( )l st/

Emission Factors

- Due to the rapid change overtime ever since the Rio Hondo Channel was implemented, parks and recreational areas were created. The Channel acts as the catalyst bringing about new areas of occupancy to emerge.

Vehicle Factors

Fletcher Park

Overall System:

Noise Factors

e e

Definition: - A certain something that promotes fast and rapid change. It can be anything that affects another event. It ultimately is invovled with the process of any type of change.

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Expansion

Pictorial (Being and Circumstance, Robert Irwin, Pg. 14) Pronunciation: adjective pic·to·ri·al /pik’tôrē l/ e

Definition: - It evokes the clear essence of vivid graphic or a featured picture. The quality of something that expressed mainly in the composition of pictures. The expressed qualities usually refer to the beauty of what is being witnessed.

Established

Catalyst Concept

Popularity

- At the Rio Hondo Channel, beauty can be witnessed from any angle. From the vast stretch of the channel to the fluid emotions that contrast with the industrial are that resides right next to it. The pictorial view of the captured image imbues the essence of the channel’s external beauty.

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Hierarchy (Being and Circumstance, Robert Irwin, Pg. 19) Pronunciation: noun hi·er·ar·chy /’hī( ),rärkē/ e

Definition: - The categorization of something being of higher order than what it is being compared to. It is mainly seen as something that stands above all.

- Certain hierarchy calls for something to be the most visible. When something does catch your eye, the relevance of its hierarchy is what made it stand out the most. During our field trip to San Francisco, everywhere along the coast, the Golden Gate Bridge was seen even from afar. The bridge is embodied with the concept of hierarchy.

Cone of Vision

“Witness the true image”

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Theory Responses

Theory Reponse: Karen M’Closkey in Synthetic Patterns

Stands out above the rest

The article by Karen M’Closkey was all about how the professions of landscape design were always confined in their own style of design pattern. She wanted to inform the reader, it doesn’t necessarily need to be of the same profession, but create their own unique way of design based on experiences and processing an individual sense of composition. M’Closkey further talks about the aspects of patterns, fields, and figures. The revelatory assumption that most people in the design field run into are being constrained throughout their design. I feel as if patterns are a unique way of expressing one’s intention throughout their design but at the same time limits their design strategy. The tac in a pattern and *boom* they’re done. Patterns in a landscape are usually seen as repetitious.

They carve out an image for the view to see over and over. There is no variation in what patterns can create and even some are easily generated. In Southern California, we are dominated flourishing landscapes. By applying the idea of redundancy in these open fields of a design, there would be no significant meaning within it. What viewers do acquire is a nice picturesque setting of the open visual. What designers get out of it is that being oblivious to current understanding of nature is futile.

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Theory Reponse: Emma Marris in Rambunctious Garden (Ch 1.)

In Emma Marris’s novel, Rambunctious Garden¸ the main point she tries to conceive is that humans have, over time, interfered with the delicate ecosystems. The word that she uses frequently throughout the novel is the word “pristine”.

As Marris suggests, it is unrealistic that nature could be pristine ever again. Nature continuously changes overtime whether we like or not. She says even with our human influence, we can only do so much to revert nature back to its original course. Our efforts will soon be seen as a minuscule because the rapid change that nature undergoes would unravel the effort we tried to make happen. Marris urges humans need to accept, “even embrace” (Marris 2) the effects of their actions on ecosystem. She also highlights that conservationists’ have a sudden urge to return to a “baseline”.

The meaning of the word baseline originates again to revert back to nature’s original course. Marris sees this as a buffering period, where during that time we can use it to help make humans realize their shift in focus towards creating and preserving flourishing ecosystems. So far what Marris has talked about does refer back to our situation in Los Angeles County. In regard to our project site of the Rio Hondo Channel, we have learned recently that it used to be a marshland before the channel was built. The creation of nature reserve centers have created to uphold the pristine nature that once was there.

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Question: How does Corner portray complex landscape/urban information in his maps?

(The Exposed City - Mapping the Urban Invisbility by Nadia Amoroso, Ch.4 The Map Art)

Theory Reponse: Clemens Steenbergen in Composing Landscapes In Clemens Steenbergen’s novel, Steenbergen presents an extensive typology of possible approaches to working on a site.

In Landscape Architecture, he says that the profession projects a coherent system to anything regard the natural landscape. By applying the natural sciences, metaphysics, and the procedure of the manipulation of space, the area is then able to flourish. With that in mind, he pursues the question, “does the role of design decrease the work of the terrain toward the scale of the vast landscape, or is it the only nature of composition that changes?” It all matters based on the many approaches that we have on this matter. According to Steenbergen, architecture and landscape must coexist within the use of form, space, and program. In order for this to happen the study of the landscape must undergo a complex process. With lots of precision, the idea of the landscape must be known inside and out. After that has been done, architecture may be able to take its course, refining its ideals based on the current site specific. In Southern California, what we don’t realize as whole is that we’re not able to identify what truly makes up the site. In one projects that I have come across were all related to one subject matter, a place for human relaxation. Areas rich with trees and lushes landscape were torn down for measly plaza full of food and entertainment. I’m not saying that is wrong but a huge intervention occurred just for us to enjoy. It’s simply wrong.

Robin Slovak Juan Prieto Chase Conk Ernesto Esquer Timothy Tay

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8’

11’

12’ 12’

Theory Reponse: Nadia Amoroso in The Exposed City (Ch.4 Corner) 14’

10’

In this chapter of Nadia Amoroso’s The Exposed City: Mapping the Urban Invisibilities, she takes spotlight on the works of James Corner. She says according James Corner’s mapping techniques, “it is the process that involves a ‘complex architecture of sign’ which means space is represented through the field of organized shapes. When he does create his maps, they are drawn diagrams of “various fragments” that are reassembled which in a sense is almost like a collage that tells a story. Through the complexity of his maps people that refer back to them will take the time to understand them more clearly. Corner does not use thorough labeling in his map-drawing which makes the data presented elusive. The different ways of representation that is contained in James Corner mappings exemplify the reason how all maps don’t have to be all graphical to be able to understand clearly. This is what Amoroso wants to address when overlooking Corner’s work. The great deal with mapping is how it demonstrates the concepts needed to be discussed about. In Southern California, we have many maps that address the a variety of subjects spanning from topography of California to the urbanization overtime. With the use of visual techniques, the maps are able to evolve and be read more effectively.

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External Discussion Responses

Discussion Repose: Liam Young in “City Everywhere”

Lashbrook Park - 1.8 Acres - Multi-purpose trail - Picnic Areas - Exercise equipment

Awhile back, Liam Young held a remarkable lecture at MIA, “City Everywhere: Kim Kardashian and the Dark Side of the Screen”. His lecture made the sudden distinction between the world we knew and the world that would eventually be the modern world. The industry is evolving everyday which leads to advancements in technology. Young makes the sudden approach that drones will overtake the city skies. Within those drones we’re able to see the perspective of that drone flying sky high. Through his well-constructed videos, he makes us visualize this City of Drones. With that being said, what we witnessed through his videos were phenomenal. The realization that cities rapidly change is a fundamental change for the future. Think of this way, Southern California (mainly Los Angeles) is quickly evolving at a rapid pace. These futuristic videos that may in fact be the future we have envisioned.

Cityscape and lifestyle would be at the comfort of our homes. What we view as pattern soon turn into beautiful city forms that are not architecturally formed by human aesthetic sensibility. This idea of going beyond and revolutionizing the way we think is similarly associated with the meanings of project one. The title of it “Here and There” suggests that there is progression of that certain area (the Rio Hondo Channel). How we see it now and perceive it later is the key to manifesting the true intentions for the future. We need to know what is happening now to better develop an admirable future.

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Struc t

ure

Advancement

Discussion Response: Oyler Wu in Collaborative: Los Angeles

Foun

The lecture of Dwayne Oyler of Oyler Wu Collaborative starts out with the opening narrative of his first steps towards the final designs of the “Stormcloud” Installation SCI-ARC. He starts off by saying the foreground and background are some rules that make up architecture. Leading that as a foundation for architecture creates a structure of how architecture can evolve. By building upon the background and the foreground, the formation of ideas based on the basic structure of rules are able emerge. Later as he goes down the line of process of the creation of the “Stormcloud”, he emphasizes how structural engineering is needed to enhance the architecture within a design. The reason why engineering is a huge factor within a design is it’s durability. With the combination of its design and durability, audiences/viewers are able to interact with the design than just looking at it from afar. During his time of creating the “Stormcloud” many iterations were made to help test its functionality. Multiple iterations were used to finally complete the last details of the structure. How this relates to Southern California is given that most projects that are held here go through many iterations. They take in account the area within the site, what affects it, and the numerical values associated with it. Taking that all together, the project is able to accommodate the needs within Southern California.

dati

on

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DEVELOPMENT Review

Iteration Cycle

Preliminary Design

Discussion Response: Naomi Frangos in Narrative and Structures

SKETCHING/MODELING

Review

Iteration Cycle

Preliminary Design

In Naomi Frangos’s lecture, Narrative and Structures, she states that the importance of visualizing literacy is linked through the eyes and the mind. The importance of having this ability facilitates the way you reading diagrams and drawings. I agree with her statement on making your eyes and mind linked together. The better connection they have the better you as a person will be able to grasp the concept of any diagram created by different persons who have a similar mind set as you. All that is associated with the structure. The Narrative part closely signifies on how we communicate with our ideas by connecting with other people to enhance that learning experience. She says “the narrative of any piece are always about a beginning and an end but rather what we want to express.” The utmost importance of the Narrative creates a void where others can join in to learn also express themselves in any way possible. When others find that line of similarity, collaboration is able to commence and ideas start sprouting again which ultimately leads into the Structure of it all. Frangos’s lecture has relevance to how we live as a whole in California. The importance of knowing the Narrative and Structure of an area establishes the insights of what we have to know about the area we live in. Take the drought in California as an example. Knowing how we this happened (narrative) we are able to collaborate and come up with solutions (structures).

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Structure

Evan Young’s lecture, Methods of Conveying Landscape, greatly emphasizes the readability of architectural diagrams. He gives us a few diagrams to take note on and with that take into account the “Architectural Drawing Criteria”. The criteria consists of how much data in conveys, what it is bound by, and it must follow its own logic. Evan says by establishing these rules for yourself it will be easier to anticipate your own logic behind diagrams you create and those created by others. I like how Young states it directly how it is. He says “a good Landscape Architect reveals what is there in the site rather than what is obviously seen to most people.” The creation of a good diagram as a Landscape Architect is based on its revelatory values. The Revelatory Values are meant to be thought out in layers. Each and every aspect that is contained in these layers disperse and end up becoming ideas that other can collaborate on. Certain behaviors within the Values signify some type of pathway which as an end result, relates to what was specified in the design concept. The collaboration affects what happens within where we live. In California, many firms have collaborated on many projects to help ensure the right design for the exact site.

Structure

Design

+

Build

= Narrative

Discussion Response: Evan Young in Methods of Conveying Landscape

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Individual Insights

Water Pathway

1.

Walking Pathway Access Points

As of right now, Landscape Architecture has taught me several ways to be more aware of my surroundings. Take the mapping phase for example. The Rio Hondo Channel is vast man-made structure to help direct the flow of water towards the Pacific Ocean. Along the channel there were many sights and noises to take note of. The opportunities and beneficiaries that out group came up with made me realize of how many of these specific details occur along the Channel. I learned how everything based of the channel derived from a starting source, which is the San Gabriel Mountains. “Whatever happens upstream affects downstream� was the clear focus of our group. And by using that as a baseline, we came up with many ways of portraying relationships through our mapping. The complete experience can only be witnessed through the interpretations and observations along the channel.

Rubio Wash

Rio Hondo

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Dear Landscape Architecture, What you have conceived for me so far was a blossom of understanding. The details enriched in history and progression of the channel has led me to confess that the ideas and concepts imbued within has made me a new person. The things that I have come across has given deep meanings to the forms and placement of discovery. Many interrelationships and interconnectivity along our site has given greater meaning to the word “landscape�. The serene beauty of the site made me forge the connections between living species and natural occurrences. The greatest discovery I made thus far has got to be, the specifications of a site based on its current terrain. The way we’re able to manipulate into what we want calls for the greatest discovery you can ask for. I cherish the lessons you have taught me and I shall reference them for future use.

Fin.

My regards, Timothy Tay

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