Days from the printer’s deadline for completing the exhibit and everything is coming together with the help of Jonathan Linkus and our great closing team of research assistants (Jane, Ernesto, & Kevin).
One change worth noting is is the public reception has been shifted to Tuesday, December 3rd, 9am-11am!
The public is invited to attend the fall mid-review presentations for LA301L and LA401L at Cal Poly Pomona on Monday, October 29th.
301L teams are identifying culturally relevant sites along the LA Aqueduct and discussing the landscape character. 401L students have mapped the water-energy nexus for Los Angeles and are selecting sites to enhance the resilience of the Aqueduct (plus there is a team who are hoping to win the EPA’s Campus RainWorks Competition).
Cal Poly central campus map [pdf]
Please send a note if you are interested in being a guest juror for either mid-review session or final presentations (November 28th)
I missed this important sustainability article back in march, which is comparable to Global Warmings Six Americas Report [pdf], but Grist got my eyeballs on it.
Climate change and moral judgement by Ezra M. Markowitz & Azim F. Shariff
Nature Climate Change, 2, pp. 243–247 (2012) doi:10.1038/nclimate1378
Published online 28 March 2012
[sorry there is a paywall unless your library subscribes to this journal]
Converging evidence from the behavioural and brain sciences suggests that the human moral judgement system is not well equipped to identify climate change — a complex, large-scale and unintentionally caused phenomenon — as an important moral imperative. As climate change fails to generate strong moral intuitions, it does not motivate an urgent need for action in the way that other moral imperatives do. We review six reasons why climate change poses significant challenges to our moral judgement system and describe six strategies that communicators might use to confront these challenges. Enhancing moral intuitions about climate change may motivate greater support for ameliorative actions and policies.
‘
And the solution to overcoming these biases are:
via Why climate change doesn’t spark moral outrage, and how it could | Grist.
The official dedication ceremony for Michael Heizer’s Levitated Mass is set for 11am on Sunday, June 24th at LACMA. Christopher Knight of the LATimes has an early review of the work with photos by Mel Melcon (all the images used in this post). Knight’s piece is a solid review that pulls in a myriad of non-obvious precedents, potential influences and narratives that haven’t been part of the discourse to-date.
“Levitated Mass” is a piece of isolated desert mystery cut into a dense urban setting that’s home to nearly 10 million people. A water-hungry lawn north of LACMA’s Resnick Pavilion was torn up and replaced by a dry, sun-blasted expanse of decomposed granite. A notched gray channel of polished concrete slices 456 feet across the empty field, set at a slight angle between the pavilion and 6th Street. Like a walk-in version of an alien landscape painting by Surrealist Yves Tanguy, quiet dynamism inflects a decidedly sepulchral scene.
What really, really surprises me about the installation are the hefty steel brackets that the monolith is mounted to. All preliminary descriptions evoked a rock sitting directly on the concrete walls of the trench, not mounted on massive steel corbels. The maximalist brackets are a significant shift towards structuralism and away from from Heizer’s minimalist material palette of soil, stone, and concrete (artificial stone). If hidden mountings and connections had been utilized for the rock (I’m thinking about Brian Murphy’s Hopper House) or other highly refined mininalist architecture, then we could have experienced the illusion that the boulder was hovering. As detailed, those gusset plates express the shear mass being supported and bring the levitating mass crashing back to earth.
Lots of architects have used similarly proportioned gussets with Cor-Ten structural elements – this is no Gehry, Eric Owen Moss, or Thom Mayne building though – perhaps Michael Rotondi is part of their lineage. (Here are some images of similar details: 1, 2). The artists that pop to mind from these brackets include Mark di Survero with his structural steel sculptures and Serra for his pioneering use of weathering steel.
This post has been sitting on the back burner for two years since I came across the post’s title over on the EPA’s Sustainable Infrastructure for Water and Wastewater. The EPA uses the term to describe the lack of funding, not physical or technological short-comings. ‘Infrastructure gap’ evokes a deeper range of issues and challenges that our society (and planet) face that aligns with my own interests.
Hillary Brown’s essay on Infrastructural Ecologies over at Design Intelligence (also discussed on Mammoth), brings up some interesting parallels – though it is also about the lack of infrastructure investment and less about the interaction of infrastructural systems (aka an ‘ecosystem’) or about infrastructure that provides ecosystem services.
[I’m starting to hear echo’s of some of my earlier writing or maybe I’m just being egocentric…]
Architects seem to be appropriating the term ecosystem to describe typologies and hard relationships, like in Lisa Tilder’s & Beth Blostein’s Design Ecologies: Essays on the Nature of Design. Which isn’t about ecology (or nature) at all, but typologies of design processes. Perhaps this mis-use can be blamed on Jeff Kipnis (the overlord of architecture at OSU where Lisa and Beth both teach.) Full disclosure, Beth was a classmate of mine.
The proposed Mediterranean Grid is a project that aims to span technological gaps, a sea, economic and social gaps to bring Sahara desert based solar power to Europe, and provide power for desalination projects and cities in Africa. Continue reading
The LAtimes scored a rare interview with the reclusive artist of Levitated Mass (opening June 24 at LACMA).
Photo: Mark Boster, Los Angeles Times / May 24, 2012)
“I think there is a draw from the rock itself, a magnetism we will see when the sculpture is completed,” he said. “But will the artwork have the same interest value as moving the rock around did?” … “I make static art, not dynamic art. That’s what I do.”
Static art” is Heizer’s shorthand for the longevity or durability of projects like the boulder installation, designed “to last 3,500 years,”
…”What I liked about this rock was 98% size, 2% looks.”
“The size thing is not some gimmick or attention-getting trick but a genuine undercurrent of the work,” Heizer said. “Frank Gehry for instance likes to imagine his buildings as sculptures. I like to imagine my sculptures as architectural.”
“The history of American art in a way begins with Jackson Pollock and his big paintings,” he said. “This theme of bigness — all painters and sculptors have dealt with it ever since.”
“My paintings are big too. I’m not very good at making small stuff,”
For my 2nd year BSLA studio at Cal Poly Pomona this spring, I’m taking the students on a 3-day tour of narrative landscapes around the Los Angeles metropolitan area.
View 203L 2012 Narrative Landscapes in a larger map.
Here is the FINAL ITINERARY: LA_203L_Field_Trip_LOS ANGELES [pdf]
From high art to outsider art, petroglyphs to historic places central to the founding of the city, the Southern California landscape is embedded with narratives. We’re avoiding most of the kitsch and crassly commercial in search of the authentic genius loci. Okay, the Getty Villa is perhaps one of the most gauche gardens in existance, but there is something worth learning about this over-the-top display of narcissism.
Tentatively, here is the itinerary: Continue reading
TACTICAL URBANISM (v):
• A deliberate, phased approach to instigating change;
• Implementation of local solutions to local planning challenges;
• Short-term commitment and realistic expectations;
• Low-risk actions which hold the potential for high reward; and
• The development of social capital between citizens and the growth of collective organizational capacity among public, private, and non-profit institutions and their constituents
Project 2: Tactical Infrastructure
As a process for city-making, tactical urbanism effectively addresses the convergence of three well-documented trends: shrinking municipal budgets, a generational shift to urban living, and the rapid exchange of ideas enabled by advances in information and communications technology.
The public is welcome at our final review and the screening of the student-generated videos for the project on Friday, March 9th, 3-6pm at Cal Poly Pomona, Building 7, Room 203.
LA402L’s Video 1: Eco-Technical Mapping of the Northeastern San Fernando Valley can be viewed here.
The NYtimes explores the paths that Paolo Soleri’s masterpiece may take now that he has retired. Will Arcosanti become a stagnant museum like Taliesin West, a vibrant educational foundation that furthers his work and philosophy, or will it slowly crumble back into the desert?
Intended to be a self-sufficient an Eco-City, Arcosanti lacks the basic systems that are standard sustainability practices today (and even were typical 40 years ago), no insulation, no water harvesting or recycling, just two greenhouses to grow their own food, no renewable energy systems, and high performance window. I’d even argue that the choice of concrete is not the most sustainable material to have used – yes, it has great thermal mass that is important in the desert, but has a huge carbon footprint. Perhaps history will see Solari as a visionary that lacked the technical depth (or knowledge) to fully realize his dreams (a charge that his peers like Malcolm Wells avoid), just a paper architect who built full-scale models.
At least the Arconauts have their bells.
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The NYtimes has a slideshow here.
Image credits: John Burcham for The New York Times
Richard Saul Wurman (RSW) the founder of the TED conferences (and former dean of the College of Environmental Design at Cal Poly) is about to give gave a rare public appearance at Cal Poly Pomona this evening (tweeted as #RSW_ENV). I’m going to live blog his talk. This post is a (mildly) edited live transcription of his talk.
RSW: Lovely to be back in a place that rescued me from bankruptcy, had the job for a year then was fired. Loved all the students, the president was terribly gracious. Taught one class that was open to all students – ‘Passion in Pomona’ what his friends were passionate about. Francis Crick, Frank O. Gehry, a kite maker – the collection of odd people was a continuation of my curiosities – I’m not very bright, but shallow, and broad looking into lots of connections. Didn’t want hyperbolic introduction.
Dean Micheal Woo: Tonight we’re having a dialog between me and Mr. Wurman, then open it to audience questions. [Continued on verbatim repeat of the email sent out about the event]:
I first learned about Mr. Wurman in the early 1970s, when he published a series of books which attempt to explain the physical environment and explore the ways in which people understand how cities and designed environments work [Our Man-Made Environment — Book Seven (1970); Making the City Observable (1971); The Nature of Recreation: A handbook in honor of Frederick Law Olmsted, using examples From his work (1972); Yellow Pages of Learning Resources (1972)]. He was educated as an architect at the University of Pennsylvania, where he worked with Louis Kahn and later co-edited The Notebooks and Drawings of Louis Kahn (1973).
This is like interviewing Charlie Parker or Robert Johnson for a music lover. [ Gave away a book to a student that rsvp’d via facebook]
RSW: I write about things that I don’t know about. As a 76 y.o. I needed to know about the medical system so I wrote about it. Wrote about children cause I have several… Singular passion to learn about what he doesn’t know and wants to learn about. Sold TED it in 2002. Reinventing several conferences about innovation. Defining innovation differently – need to do more than that. Incremental change – nobody invented a car – it was a bunch of additions and combinations. TED was subtractions: got rid of suits, panels, long speeches, silos around disciplines… like Passion at Pomona.
For my upcoming 4th year BSLA studio at Cal Poly Pomona, Sublime Infrastructures: Sylmar, I’m seeking Los Angeles based documentary filmmakers (directors, editors, sound folks, cinematographers) and landscape architects with an interest in the city, infrastructure, sustainability, tactical urbanism, and the sublime to be class guests. Guests will either serve as jurors or assist the students in producing videos that integrate their designs and analysis drawings with footage of the city.
Note: this blog is not affiliated with LACMA nor the artist Michael Heizer, no matter what Kunstler wrote. Updates on the Levitated Mass move are here.
update 12/27 –the NYTimes reports on the continued delay in securing permits to move the rock as it gets re-routed to avoid a bridge in Pomona that might not have the structural capacity to support the load.
Perhaps the heaviest work of art ever moved, Michael Heizer has finally found a 340 ton bolder to hover over a trench at LACMA to complete ‘Levitated Mass’ (not to be confused with his 1982 work of the same name). This is a work of art where the logistics (like most pieces by Christo) are just as interesting as the physical object. Moving the 21′ boulder will require a 22 axle truck moving at 6 or 7 miles per hour to cover the 120 mile route between the quarry and the museum. While the boulder was purchased for $120,000, the total cost of the installation (including the move) is around $10 million dollar. The move has been delayed several times already as the local municipalities and regulators grapple with the permitting process and trying to minimize disruptions to the public.
“You can’t cowboy this through,” said Rick Albrecht, the project manager for the move, leaning against a ladder, his sunglasses and hard hat covered in dust. “You have to be meticulous about this.” [LAtimes]
Emmert International, the megamover making this happen, has an impressive record of transporting buildings and various industrial artifacts. The move is as much about infrastructure as it is about art – the route was determined by height clearances and weight limits on roads and bridges, moving powerlines and other utilities out of the way, finding parking spaces for the 295′ rig, and other uses of the urban systems that are beyond their design specs. All the relocation and displacements are temporary, it is a missed opportunity to leave the streetscape in better shape by permanently reducing the spiderweb of tangled wires hanging above most of the streets along the route. Can art be found in burying telephone lines, co-axial cables, power lines, and all those other wires in a giant trench?
View the larger map of the route. Continue reading
Wow, this is the best possible outcome for worldchanging since they announced that they were closing. Now I’m just waiting for @casinclair to win a Mac Foundation ‘genius’ grant…
As I pack up my UMN office, there are piles of books that are worth sharing, before they go into a box. Here are just a few of them in no particular order:
by Lisa Gartland (Earthscan 2008)
This is a well researched and comprehensive book that explores methods of shrinking the urban heat island. It’s worth noting that Gartland provides the best explanation of albedo and emissivity I’ve yet to encounter. Where the book falls short, is it doesn’t consider going against the status quo of development and engineering practices (i.e. increasing density, or narrower streets), instead just discusses using different low albedo/pervious materials and the usual fixes.
by Timothy Beatley (Island Press 2011)
A slim volume that lays out the philosophical case for creating living cities. Doesn’t get bogged down in the technical details or process, and occasionally falls into thinking that biomimicry or a pretty garden equals a fully functioning and resilient ecosystem. Overall a good introduction to the concepts of eco-cities.
by Elton Sherwin (Energy House 2010)
Unique among the dozens of big picture saving the planet books I’ve read over the last two years. The book is framed as a letter to a governor, which allows for discussion of policy and regulations at the state level. The author also uses examples from his personal life to keep the book from becoming too dry. Very well researched, and a good introduction for business minded folks that need the economic case made for changing their own/corporate behaviors.
As a landscape architect, I cringe when I see massive engineering and infrastructure projects that demonstrate no sensitivity to the site, ecology, or culture. Solar power and renewable energy projects are no exception. There needs to be a better way to deploy large scale solar energy projects that reduce their cultural and ecological impact on the landscape.
There is an interesting etymology emerging for solar power projects that have agricultural and ecological imagery. Solar farms, solar groves, solar forest, solar trees, solar ranch, and bright fields, all evoke sylvan or pastoral landscapes while the reality is anything but that in most cases. If we play this game – solar orchards, solar gardens, solar bosques, solar glens, solar dell, solar pastures, solar glades, solar forest, solar plantation, solar jungles, solar meadows, solar pastures, solar shrubs, solar trees, and perhaps solar topiaries – may all soon to join the lexicon of solar projects for better or worse.
Compared to most other forms of energy, solar farms have one of the lightest impact no mater how you slice it – EROEI, LCA, area per watt, co2e/watt or btu, et cetera. Robert Bryce got the math wrong by ignoring the baseline of fossil fuel impacts in his June NYTimes Op-Ed. Yes – solar and wind farms require large areas (if not build in urban areas), but their footprints are minimal compared to fossil fuels which require equally large areas that are usually hidden from public view – from the mines/oil fields, to processing plants/refineries, pipelines, tank farms, and then there is the area contaminated downwind and down stream that Bryce is paid to ignore. Okay, there are toxic byproducts of both thin film and silicon cell production, but again, these are significantly lower per watt then most other forms of energy production.
Yes, solar energy development may require removal of vegetation over tens of square miles (which impacts the ability to keep the mirrors clean), digging the point foundations for the heliostats (see image below) & turbines, and depletion of groundwater to keep the panels/mirrors clean. But compared to the other renewable energy systems, solar’s environmental impacts are an order of magnitude less then wind farms which sprawl over much more land, mix the atmosphere, require massive foundations and structures, and create noise problems to name just a few issues; or are several orders of magnitudes less then hydropower and most biofuels. Energy sprawl is real, but don’t blame wind or solar.
Still, this small footprint isn’t good enough, but now there is hope for integrating photovoltaics into our cultural landscape.
Infrascape Design 