architecture

Sunday, January 3, 2010

City Limits: Where I Walked...

One of the inspirations for the Urban Edge is the book City Limits: Walking Portland's Boundary by Portland author David Oates. Aside from a great read, David is a fantastic guy and a friend. His recent work as part of the South Waterfront Artist-in-Residence program (which was led by artist Linda K. Johnson, whom also had a UGB installation of her own) showed his innate interest in both the urban in addition to the wild, nowhere more evident as in his essays on the boundary from this compilation of thoughts and voices.


:: image via Amazon

The first two essays in the book are worth some exploration. First, the introduction, entitled 'Where I Walked, What I Walked For' provides some motivation and background for the trip - providing an experiential context for the trip, or perhaps justification for getting on foot to experience the entire 260-mile trek around the edge, as mentioned in page 2: "I passed by berryfields and vineyards and orchards along this perimeter: housing on one side and edens purloinable on the other! O taste and see, said the scriptures, so I did. This made me well-disposed toward the entire Urban Growth Boundary project, despite its lumbering superstructure of laws and bureaus, planners and land-use hearings, disputes and wrangles, and to oversee it all, an entire extra layer of government the like of which does not elsewhere exist in these United States, called 'Metro' and hidden in plain site in North Portland..."

"...It is a crazy, going-forward teeter of hopefulness, this Portland."

The beauty of Oates journey isn't just the act of walking and documenting, but rather the fact that this came from a self-described 'non-planner' who didn't get too caught up on the details but rather explored and experienced with a minimum of baggage. His realization wasn't about a policy or a line, but rather, "We were working out how - and whether, to live together." Oates continues (p.2-3): "Our Boundary, both visible border and invisible symbol, is our attempt to agree on how to live: what trade-offs to make so that all (not just a few) can benefit. Oregon's planning scheme is a bit of urban utopianism, an optimistic attempt to tray and live a little better here in this blessed Northwest..."

This isn't to say Oates didn't have a knowledge of the structure, as evidenced in the text. His take really is even-handed (although I know his bias) and truly trying to understand less what the boundary is but moreso what it means as mentioned on p.3, "Portlanders are highly aware of it [UGB]. It's part of our identity... It has given Portland a pleasant and dynamic downtown, close-in neighborhoods that folks love to live in, pretty good public transit, and a fighting chance not to spread endlessly, meaninglessly, in every direction."

Thus the experience of living and not losing what is important is the point, versus the novelty of planning policy of innovative urban form. It's less about what it is than what it's not: (p.3) "We think the orchards, fields and vineyards of the Willamette Valley that have not been covered by tract housing will continue to make our lives richer. We hope to grow in and, in places, up...

"...To become richer in connections and cleverness - to get deeper - instead of wider, flatter, and shallower."


To rely on experience of walking in cities and spaces is historically relevant as a method of inquiry. The travels of the flaneur or the psychogeography of the Dérive or my favorite and more obscure idea of the Greek 'periegete' (mentioned in Placeways, by EV Walter, p.19) that describes a 'tour guide who led people around, giving commetaries on whatever was work seeing," and compiling written guides, known a a periegesis. Oates mentions inspiration of Lucy Lippard's 'Lure of the Local' (p.4): "One way to find ourselves is to walk the map, to think about how the land around us is being and has been used. Looking at land through nonexpert eyes, we can learn a lot."


A true understanding comes not from books or words, but from experiences - informed by a quest for knowledge. Oates mentions Douglas Kelbaugh and paraphrases such on p.4: "...all the theory and blueprints in the world mean little, in the achieving of a real city, without those invisible ingredients I thought about most often during my walk: that certain idealism, naive perhaps, that yearning and striving he names, from the Greek, arete," which for lack of a better term means 'excellence' or I think more appropriately 'purposeful'. Maybe that's the point - a fulfillment of purpose - not a utopian or planning ideal?


The counterpoint is that a lot of what Oates saw, and exists, on the boundary is sprawl, ticky-tack, garbage - or that much of the good and the bad 'on' the boundary would not be on the line for long - enveloped within the urban, no longer the rural. It's a line and a policy - but it's about real places and real people. Either way, it justs makes you want to walk and see - and perhaps translate this to others in a way half as witty as David does.

David included a number of other voices to augment his, which are captured in the volume - including writers, planners, government officials, and artists. I had an opportunity to walk a section of the UGB with David on his journey and it was a great experience to get into a mode of seeing and interacting with folks along the way - while picking our way through an appropriately named section of King City. My fascination with radio documentary at the time led me to record our visit along the edge, which I will try to do a final edit and get into a web-friendly format for distribution sometime in the future.

David also has a new book out entitled 'What We Love Will Save Us' (Kelson Books, 2009).

Monday, Monday

My weekly page update:
image01sm.jpg
Sorrento House in Sorrento, Victoria, Australia by Marcus O'Reilly Architects.

This week's book review is The Future of the Past: A Conservation Ethic for Architecture, Urbanism, and Historic Preservation by Steven W. Semes.

Some unrelated links for your enjoyment:
Architecture Here and There
The Providence Journal architecture critic David Brussat's blog. (added to sidebar under architectural links::criticism)

checkonsite.com
"A world guide for architecture and travel." (added to sidebar under architectural links::guides)

Juhani Pallasmaa Interview
Part 1 at 0300tv.com...here is Part 2.

Chicago Architecture 2000-2009
As recapped by Lee Bey. (via Coudal)

Saturday, January 2, 2010

Architects and Chapter 11

I'm guessing this will the first of many: The Real Deal reports last week that "luxury Manhattan design firm H. Thomas O'Hara Architect [HTO] filed for bankruptcy earlier this month [December 2009], but remains in operation." The article mentions money clients owe the architect ($1.1 million) and over half-a-million dollars the office owes to the IRS. The firm is now 14 people, down from 45 previously. While this is the first news I've heard of an architect filing for bankruptcy protection in this recession, this last statistic of cutting more than half of an office's staff certainly won't be a shock to most architects in the US.

hto-mondrian.jpg
[Mondrian Hotel by H. Thomas O'Hara Architect | image source]

This news would probably garner more interest if HTO designed better buildings. Their best one might be the Mondrian Hotel (with interiors by BNOdesign) now under construction on Lafayette Street in SoHo. It's an extruded box set back from a new plaza on Crosby Street, though interest is gained from the way the mullions are articulated and the addition of a random frit pattern to the glass. Piet Mondrian probably wouldn't be proud to have his name attached to this building.

Friday, January 1, 2010

Representing Motion

Picking up on the thread of Transect Representation, I recalled that Urban Tick had recently posted a graphic from 'The View from the Road' (Kevin Lynch, Donald Appleyard et al., MIT press, Boston, 1964) - one that I hadn't previously heard of and sounds somewhat applicable to the idea of representational strategies for movement.


:: image via Ephemeral Landscape in the page

The post linked to a longer related post called 'Ephemeral Landscape: in the page' with some additional imagery and a long tangents that include storyboarding and graphic novels to name a few themes. A snippet from the text of Lynch & Appleyard begins to make this link between representation and experience: "The sense of spatial sequence is like that of large-scale architecture; the continuity and insistent temporal fl ow are akin to music and cinema. The kinaesthetic sensations are like those of the dance or the amusement park, although rarely so violent.”

This alludes to the idea of my continual exploration of 'Soundtrack of Spaces' where the sequence can be somewhat choreographed within a design concept. The idea of representation of temporal processes is fascinating, as it's a two-dimensional representation of a four-dimensional process - making it a quite a representational leap. A diagram of t'ai-chi footwork captures the essence of this notational form.


:: image via Ephemeral Landscape in the page

This notation reminds me of the very specifically of Lawrence Halprin's concepts of 'motation' that fused the representational techniques of movement and notation derived from a system of graphically representating dance steps. It's difficult to find many good images of this system to describe it fully, but here's a couple of images from a fascinating study I found from a early 1970s thesis from MIT on "Notation Systems in Architecture" which uses Halprins system of Notation as well as the methods from 'A View From the Road'.






:: images via 'Notation Systems in Architecture' by Premjit Talwar

For architecture, the concepts are broken into four ways of describing environments. These include 1) motion channels, 2) orientation, 3) anatomy of visual space, and 4) form quality. These work in tandem to provide a framework for symbol-based diagramming of spaces that include movement and use (sort of captured in the following two images).




:: images via 'Notation Systems in Architecture' by Premjit Talwar

The scores from Halprin, et.al. cannot be immediately discerned without some deep knowledge, sort of like stenographers short-hand. These are specifically taken from the idea of labanotation, which is commonly used to represent dance, as shown in this snippet from Brittanica "A page from Rudolf Laban’s Schrifttanz (1928), the origin of labanotation, which became the most widespread method of dance notation."


:: image via Encyclopedia Brittanica

I've been fascinated by these notational systems since looking at a volume of Halprin's work back in the mid-90s... along with many years playing tablature for guitar and mandolin... definitely a connection there - but is it a viable methodology for modern representation of spatial and movement dynamics? I'd love to hear more thoughts on what ideas others have for representation of motion (including new media methods for representation).

More to come on this somewhat random line of inquiry.

Personal Infrastructures

Working on some link house-cleaning and came up with a few posts that seems to thread together in an interesting narrative. The first of this was a beautiful installation for the 'Flower Street BioReactor' via Dezeen: "Los Angeles architects Emergent have designed an installation filled with green algae that produce oil by photosynthesis." This sort of decentralization of energy generation, which seemed to be a 2009 emerging idea.




:: imag
es via Dezeen

Another is a more functional pavement called Pavegen, which uses the ability to capture the continual motion of urban footsteps (via Inhabitat): "Every time a rubber Pavegen stone is stepped on it bends, producing kinetic energy that is either stored within lithium polymer batteries or distributed to nearby lights, information displays, and much more. Just five slabs spread over a lively sidewalk has the ability to generate enough energy to illuminate a bus stop throughout the night."



:: image via Inhabitat

We also carry with us powerful communication infrastructure, which uses more and more energy to stay powered. This leads to small-scale personal solar power for small devices, such as these skins for I-phones.


:: image via Treehugger

Or dual solar / wind charging like the K2 from Kinesis:


:: image via Treehugger

The ability to embed the landscape with energy-generation is one thing, but the logical next step will include a variety of wearable and portable and thus will become ubiquitous, as mentioned on Treehugger: "Yanko Design shows off an idea for a personal solar power pole. It's hardly a new idea (or hardly a bad idea...we love personal solar power around here), but the designer's concept image might slap us out of a gadget-obsessed stupor. When a beach scene looks like this, we know we're done for."



:: image via Treehugger

Perhaps this is just more junk to keep our ever expanding amount of junk running. When this is happening on the beach, it may be time to unplug.

A New Year

It's another year, and of course time to reflect on the previous year (and even decade) while looking forward to the upcoming year. Many changes are in store for the upcoming year, both professionally and with the content of Landscape+Urbanism - which is always a work in progress. Thanks for reading in 2009.


:: L+U image cloud via Wordle

2010, here we come

From my home to yours, I hope you and your family have a wonderful 2010!