owens lake studio 2011

Owens Lake studiO

Students: Kate GymrekYe Hua

Lily KerriganJessica Kostosky

Daniel NeriJeannette Pulnik

Cate RillaJanet Yang

Instructor: Alexander Robinson

USC, Fall 2011

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university of southern California © 2012

Book design: Lily kerrigan

Cover front: Lily kerrigan

Cover back: Lily kerrigan

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Acknowledgements

IntroductIon Owens dry Lakebed

the design Problem

studio schedule and Objectives

AnAlysIs timelapse Cameras

Perceptual Higuchi analysis

desIgn ProPosAlskate gymrek Drawing Vegetation, reVealing Change

ye Hua a Colorful walk

lily kerrigan MaCro to MiCro

Jessica kostosky Shifting ShaDowS Shifting Self

daniel neri woVen lanD

Jeannette Pulnik Journey to the oaSiS

cate rilla SanDS of tiMe

Janet yang fragMentS

HIgucHI AnAlysIs & BAcm guIdelInes

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COntents

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Acknowledgements

with funding from Great Basin aPCd and special thanks to:ted schade, Great Basin air Pollution Control districtdepartment of water and Power staff on Owens Lake and in Los an-geles: especially william Vanwagoner, nelson Meja, Robert strub, Louis Rubalcaba, and Ray Ramirez.Loe Pesce, Metabolic studioMike Prather, eastern sierra audubonMargot Griswold, newfields, ecologistJulie Fought, de La Cour RanchGina Bartlett and the Owens Lake Master Planning CommitteeusC staff

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owens dry lakebed

Owens dry lakebed is located in the Owens Valley, 200 miles by road north of Los ange-les. with peaks on both sides rising above 14,000 feet (including Mount whitney) and a valley elevation of 4000 feet, the valley is one of the deepest in united states. the valley’s water, fed primarily by the eastern sierra watershed and captured through a series of Los angeles department and water (LadwP) aqueduct projects (1913, 1941 and 1970) now provides about 40% of Los angeles’s water. the diversion of this water has had a profound and complicat-ed impact on the culture and environment of the Valley. One of the greatest environ-mental impacts of the diversion was the eventual near emptying of Owens Lake by 1930 (which many argue would have hap-pened regardless, due to local agricultural thirsts).

Before it dried out, the lake was up to 12 miles long and 8 miles wide and covered an area of 108 square miles. the lake had no outlet and was an alkali lake – a saline condition that while hostile to many forms of life, fostered certain insect life (e.g. brine shrimp) and served as an important feed-ing and resting stop for waterfowl and food source for local native american people. the lake has many other interesting natu-ral, cultural and industrial histories, includ-ing a steam ship, Bessie Brady, that used to ply its water, carrying silver ore from the mines of Cerro Gordo and reducing the mule train trip time to Los angeles.

today a number of mining operations still operate on the banks of the Lake, but the town of boom town keeler, once a city of 5000 residents has dropped to approxi-mately 50. the cities of Lone Pine and Car-tago are also adjacent to the lake.

the current lake is less than one third of its original size, approximately 5% of its origi-nal volume, and has a current water eleva-tion of 3,554 feet, compared to an original elevation of 3,600 feet. Of the 110 square miles if akali lake contained within the his-toric shoreline, a seasonally dynamic 26 square miles remnant remains as a per-manent hyper-saline brine pool.

One of the significant health consequences of draining Owens Lake was the subse-quent exposure of large swaths loose akali soil and particles to strong winds that, once they were measured, ranked Owens Lake as the number one single source PM10 par-ticulate matter emitter in the country – with measured conditions over 80 times accept-able values. a long legal dispute between the LadwP and local agencies ensued to mitigate this problem for the affected resi-dents of the valley – eventually resulting in a 1998 agreement that the LadwP would take measures to bring down the PM10 concentrations to acceptable levels. the LadwP has since been trying to comply with this agreement by implementing a va-riety of pre-approved dust control methods.

1. The Owens River enters the lake bed

2. ‘Shallow flooding’ dust control cells

3a+b. ‘Managed wetlands’ method of

dust control

4. A still from a video capturing dust

storms on the lake. Equipment in the

foreground and the sky are hardly dis-

cernable in the storm.

1 2

3a 3b

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the design Problem

the current dust control operations on-site were rapidly implemented by the LadwP to reach dust control mitigation require-ments. with engineers accustomed to sin-gle purpose designs and the state Lands Commission requiring that all dust control methods meet public trust values (a doc-trine protecting the recreational, ecological, aesthetic, scientific, and open space values of this former navigable water body), the LadwP has found their options restricted to a very limited number of dust control methods. as it happened the most effective dust control method (BaCM) both in terms of dust control and public trust values was shallow flood, which requires extrordinary amounts of water.

For their design assignment students were asked to choose a dust control cell that is currently employing shallow flooding. suit-ability for various dust control methods were investigated, although students were told not to assume conditions were “prime” for vegetation growth.

within the cell, students were asked to cre-ate an integrated intervention that choreo-graphed a set of perceptual experiences on a cell. designs still had to control dust, while providing the following three experi-ences:

1. Capstone experience or eventa unique experience that draws users to the site, and gives it a new (or enhanced) identity. the capstone event utilizes

the dynamic qualities of the lake, such as changing light conditions over a day or season, fluctuating water levels, wind, and other seasonal changes.

2. everyday VisitorHow does an everyday visitor of the Ow-ens Lake have a quality experience, even when the capstone experience may not be available? students were told an everyday visitor would be willing to exit their car to explore the intervention,but to keep in mind the harsh conditions on the site.

3. driving Bythe experience a user wil have by driving by and viewing from the road. this expe-rience could be from a moving car or a stopped car.

designs were encouraged to use gradients of intervention within the landscape, con-sidering scale according to human percep-tion and experience instead of from the disconnected vantage point of a plan. For example, what elements are in the fore-ground, middleground, and background of the Capstone experience? students used their findings from their Higuchi Percep-tual analysis to quantify perceptual expe-riences, and then utilized these figures in their designs.

and finally, the designs were asked to use as few resources as possible to achieve quality experiences and maintain public trust values.

1a 1b

1c 1d

1e

1a-e. A range of conditions and dust

control methods create a variety of

perceptual experiences on the lakebed

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studio schedule and objectives

embracing Complexity: Planning and Representing Complex Multi-Variate sites identifying Value & Values of Landscape architecture in infrastructural Landscapes Choreographing experiential Potential addressing the aesthetic in Landscape infrastructures didactics and Complex Cultural issues in Landscape design

USC OwenS Lake StUdiO, FaLL 2011

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water reflections timelapse

Vegetation timelapse


9Timelapse Cameras

timelapse cameras were placed at several locations on the lake bed, recording the effects of daylight on different materials on the site (water, vegetation) each minute throughout a 24-hour cycle.

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Higuchi Analysis

students were asked to conduct a detailed on-site analysis of a perceptual aspect, focusing on a material assigned to them (gravel/earthworks, vegetation, or shal-low flooding). this analysis was based on tadahiko Higuchi’s the Visual and spatial strucutre of Landscapes. For example, stu-dents were asked to consider when quan-titative perceptual effects become qualita-tive, such as what distance perceptions change qualitatively between fore, middle, and background.

1a 1b

2 3

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1a+b. Students performing on-site per-

ceptual analysis

2. The studio custom-made tools to

measure angles of incidence

3. Each team used a GPS unit to record

the location and time of their record-

ings.

4. Timelapse cameras were used

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1a+b. On-site materials were examined

and documented, including salt crusts

2. The studio was led by DWP through

portions of the site

3a+b. The studio also visited the LA

aqueduct and observed the lakebed

from an elevated road, for a compre-

hensive understanding of the site

1a 1b

2 3a

3b

desiGn PROPOsaLs


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salinization and desertification of soil is a growing concern for agriculture.this project examines different groups of salt tolerant plant species and their environmental preferences. a series of infrastructures recreate these conditions in order to test how each plant species reacts to each condition.

KaTe GmyreKdrawinG veGeTaTion, revealinG ChanGe

Desertification: The process by which fertile land becomes desert,typically as a result of drought, deforestation, or inappropriate agriculture.

Salinization:The process that leads to an excessive increase of water-soluble salts in the soil. Salinisation is associ-ated with the over exploitation of groundwater.

Decline in CA Alkali MeadowsAlkali Meadow are depend on ground water. Due to drought and over extraction of groundwater, the rare but beautiful California Alkali meadow species are decreasing.

3. THE INFRASTRUCTURE:

1.THE PROBLEM:

2. THE PREVIOUS RESEARCH:

4. THE RANGE OF CONDITIONS

5. ALKALI VEGETATION

kate gymrek drawing Vegetation, revealing change


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a vehicular mud race is proposed for community members, and on the back of each truck a seed disperal unit with one species will be hooked up. drivers will be encourages to do donuts, crossing all infrastructures so that a trail of each species crosses over all conditions, allowing for accurate testing. of various conditions.

KaTe GmyreK drawinG veGeTaTion, revealinG ChanGe

Example of Condition:

Intersection of conditions cre-ates variety of microclimates

SAM species prefe moist soils than area saturated year round.

DAM species prefer elevated areas with good drainage

MAM species prefer moderately moist areas, and do best with shade and wind protetion

Land Imprinting and Seeding

Land ImprintingMud Races

Diana BalmoriSeeding

Implementation1. Test all variables

2. Evaluate what works

3. Expand on what works

4. Continue, establish stable growing areas


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a road and pathway leads visitors to a tall mound, allowing them toexperience the infrastructures intimately. the mound will act as a seed-bank, growing each species in their preferred condition. Visitors can fully immerse themselves in the plant species here, picking flowers, and over-looking the test site.

KaTe GmyreKdrawinG veGeTaTion, revealinG ChanGe

Site Plan 1”= 300’

The Mound-Seedbank


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each infrastructure is set to measure the elements of wind, sun, and salin-ity by arranging them in a variety of different directions and angles. the in-frastructure tests the plant species and at the same time the plant species test the efficiency of the infrastructure.

KaTe GmyreK drawinG veGeTaTion, revealinG ChanGe

Elements Measured: Infrastructure Details:


18 PersPectives & Models

kate gymrek drawing Vegetation, revealing change

KaTe GmyreK


19PersPectives & Models

KaTe GmyreK


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this design focuses on how to utilize existing salt pools and crust for dust control. Because the high salinity water has a lower evaporation rate, non-emissive salt crusts have a potential to control dust on the lakebed. Most importantly, the salt pools and crust are an unusual and attractive phenomena, providing public trust values on site.

ye hUaa ColorFUl walK

Existing salt pool and crust condition on site

Salt pool map on Owens Lake

Existing shallow flooding BACM on site

Salt pool and crust BACM

ye Hua A colorful walk


21ye hUa a ColorFUl walK

Overall site planScale: 1”=400’

N


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Higuchi analysis and application

ye hUaa ColorFUl walK

Higuchi analysis and applicationDistance, color and scale analysis on siteSite conditions dry wet half pool and crust small scale pool large scale pool

Pool layout along the mainline

Wet season Dry season Dry season for a long time

Small scale pools are 4’ deep



Site planScale: 1”=120’

Key:The frequency of water coverage on the landform Walking entrance from the main line

main path

secondary path

topography

landform

slope

water gradient


24 ye hUaa ColorFUl walK

A Seating steps 1”=100’

B Walking path1”=100’

Grey Gravel

Seating Area

Black GravelGolden Gravel

C Seating steps with seating area1”=96’


26 ye hUaa ColorFUl walK

Walking paths explorations on site walking paths possibilities

Waling along the main line •1,380’ •5 mins walk •view smalll pools aling the main line

A zigzag walk along the crystal shape pool paths •1,500’ •5 mins walk •view the color and shape contrast among different pools

A curved walk towards to the CAPSTONE area •2,000’ •8 mins walk •feel the view difference of forground, middleground and background

Aedge walk close to the rest of the lake •1,800’ •7 mins walk •grand view looking towards to the mountains and rest of the lake

A short walk through the site •1,000’ •4 mints walk

E E’

F F’

Most importantly, those colorful pools also can control dust with low evaporation rate comparing with fresh water shallow flooding pools.

Some people may walk into the capstone area along the curvilinear path constructed by black and golden gravels. If they walking long enough, because of the changing bank along the path, they are able to see large scale pools and salt crust during the journey. Of course, people will see different views on the same location on site in different seasons.

Those salt crust can be formed during the dry season if we stop pump in fresh water. Those salt crust formed in the warm season is very hard and no-emissive which is an ideal material for dust control on site.



E E’

F F’

One major public trust value on site is the walking path exploration. By walking on different paths, visitors are able to have different landscape views. At the same time, if visitors visit the site during different seasons, they will also experience very different looking salt pools on site.

Experience on siteIf people enter Owens Lake from the south entrance, they may diving along the main line. About 3 miles later, they may attract by the colorfulness of my site

then park their cars at the parking lot and visit my site. One walking path is along the small pools. By walking on the grey gravel between those small pools, visitors may see very different colors around and be surprised by all these distinctive colors are formed naturally on site. Also, visitors may fascinate with those pools color and visit the site another time. Then they will see a different series of color on site because of the changing salinity. chemical and microorganism.



ye Hua A colorful walk

ye hUa



ye hUa


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Based on the existing “managed wetlands” dust-control method, three geometric patterns were evaluated with arcGis in order to find a pattern of stream centerlines that optimized habitat diversity while minimizing water use. the darker colors in the diagram represent the wettest areas. wetness values were equated with habitats using an soil moisture-habitat index.

lily KerriGanmaCro To miCro

LegendPolyline

Final_V1Value

0

0 - 10

10.00000001 - 25

25.00000001 - 95

95.00000001 - 180

1 inch = 10 feet

‘Managed wetlands’ is a dust-control method currently being tested by dwP. this method uses approximately 30% less water than shallow flooding(diagram from

Soil

Mo

iStu

re

ind

ex

dryno evidence of moisture, breaks up into powder easily

MoiStsufficient moisture to glisten in the sun

Wetwhen squeezed, yields free-flowing water (near or at field capacity)

Saturatedbeyond field capacity; water on outer edges

inundatedexhibits ponded water on soil surface

dry alkali MeadoW (daM) (daM)

MoiSt alkali MeadoW (MaM)

Saturated alkali MeadoW (SaM)

Mostly dryleast diverse w/ 1 plant species55% of soils have no Moisture

perenially flooded; Moist froM diffusion of water through soilModerate diversity w/ 2 speciesSoilS are wet (61%) or inundated (21%)

persistent flowing or standing waterMost diverse w/ 2-4 speciesSoilS are wet (47%), Saturated (20%), or inundated (33%)

Habitat Value: 1.6

Habitat Value: 3.7

Habitat Value: 6.4

lily kerrigan macro to micro


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Based on this analysis, the diamond pattern was chosen as the most efficient stream centerline pattern because of its low total centerline (equated with water use) and even distribution of soil wetness (habitat).

lily KerriGan maCro To miCro

1,945.2 feet total centerlineLegend

Polyline

Final_V1Value

0

0 - 10

10.00000001 - 25

25.00000001 - 95

95.00000001 - 180

1 inch = 10 feet

10%20%

30%

40%

50%

60%

70%80%

90%

100%

MOIST WET SATURATED INUNDATED

0%

Percent of total wet area, organized by soil wetness value, diamond pattern

10%20%

30%

40%

50%

60%

70%80%

90%

100%


0%

Percent of total wet area, organized by soil wetness value, circle pattern

4,069.4 feet total centerline

10%20%

30%

40%

50%

60%

70%80%

90%

100%


0%

Percent of total wet area, organized by soil wetness value, honeycomb pattern

3,130.3 feet total centerline


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dust control treatment cells were evaluated for vegetation suitability, using analysis maps from the Owen’s Lake science, technology & Regulatory Project team. Cell t-30-2 and t30-3 were chosen because of suitable soils for vegetation, the proximity to the inyo Mountains affords scenic views, and the nearness to interstate 395.


1”: 250’

Existing BACM: Shallow FloodCell T-30-2 and T30-3

= One Foot Contours

= Mid-cell Berm

3580’ 3581’ 3582’ 3583’ 3584’ 3585’ 3586’ 3587’ 3588’ 3589’

1”: 750’

Proposed DesignCell T-30-2 and T30-315’ Wide Culverts

= Ridgeline of 6 to 12 Inch Deep Culverts


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an altered diamond-based pattern was overlaid on the cell as a series of 15 foot wide, 6 inch deep channels, carved into the existing topography. these subtle channels help evenly distribute water through the cell while increasing shoreline length (see contour drawing).


1”: 750’

Proposed DesignCell T-30-2 and T30-315’ Wide Culverts

= Ridgeline of 6 to 12 Inch Deep Culverts

1”: 750’

Proposed DesignCell T-30-2 and T30-3Contours and Waterline

= Water Level at 2 Feet (Ponded)

= One Foot Contours

3580’ 3581’ 3582’ 3583’ 3584’ 3585’ 3586’ 3587’ 3588’ 3589’

3596’


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2 the viewer experiences water from an elevated perch, appreciating it in a scenic way. the distance of submerged

3 the viewer expriences the water becoming more and more shallow as they proceed towards the boardwalk end

4 Land emerges from the water, and standing water be-comes more scarce as the viewer continues

the human experience is carefully calibrated, for both the efficicent use of resources and human comfort in this hostile environment. Views are first directed to the majestic inyo Mountains, and then shifted to the closer, more intimate environment of the reflective water and wetland vegetation as a viewer moves along the path.


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1”: 200’

100 foot buffer around board-walk dictates which culverts are morphed

Landform oriented toward best view of Inyos

Pattern experience is organized by 100 foot intervals, each interval representing the foreground and mid-ground experience. First 300 feet contain 7 zig zags in the foreground-midground

GIS analysis of soil wet-ness dictates form of boardwalk. Users can visually access DAM (lightest), MAM (mid-tones), and SAM (darkest) habitats.

Next 200 feet contain 5 zig zags in the foreground-midground


Final 200 feet contain 2 zig zags in the foreground-midground

Culverts morph into standard pattern

Entire experience occurs within a 15-minute walk-ing radius

diminishing Water: the Viewer’s experience

Pool at 1.6 feet Pool at 2 feet

1the shape and paving pattern of the landform forces the perspective of the viewer, making the mountains appear

2

1

3


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the final form of the design is dictated by a series of programs and parameters, optimized for views of the inyo Mountains and the reflective water, views of the channels in human perspective, walking comfort, total walking time, even water distribution, and accessibility to various wetland types.


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lily kerrigan macro to micro

lily KerriGan



lily KerriGan


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Summer SolStice

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NtS

5:25 AmSunrise

12:00Noon

8:12 PmSunset

Owens Lake sun patterns vary throughout the year and over the course of a day. studies of sun positions reveal opportunities for design with shadows.

jessiCa KosTosKyshiFTinG shadows shiFTinG selF

coNteXt: oWeNS eXPoSureHarsh, exposed conditions dominate in the valley, producing grand vistas and stark lighting effects.

unique shadows from natural landforms.image: owens lake Studio September 2011

owens lake and t-13 cell location between the Sierra Nevadas (west) and the inyo-White range (east). image: Google earth

Strong sun and exposed ground produces distinct shadows.image: owens lake Studio September 2011

Varied topography creates interesting shadow effects. image: owens lake Studio September 2011

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equinox Sunset

Summer Solstice Sunrise

equinox Sunrise

Summer Solstice Sunset

Winter Solstice Sunset

Winter Solstice Sunrise

NtS

WiNter SolStice

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7:00 AmSunrise

12:00Noon

4:40 PmSunset

equiNoX!

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7:00 Am Sunrise

12:00Noon

7:00 Pm Sunset

liGHt StuDieS: SuN PoSitioN

Jessica kostosky shifting shadows shifting self


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cell DeSiGN: oVerVieW PlAN

cell StrAteGieS + mAteriAlS

tillage arranged to correspond with multiple shadow paths to provide shifting effects and view alignments from vehicles.

Gravel between tillage areas near mainline.

managed vegetation in background set up with rainbird sprinklers 50’ on center. orientation of rows varied to correspond with shadow paths.

tillage in background on soil unsuitable for vegetation. Arranged to correspond with multiple shadow paths.

Parking area for 10 vehicles near site intervention.

Focused intervention area for public use. See capstone Area overview and Detail Plans.

300 600 1200 Feet

studies of path typology, including slope and aspect, show opportunities for aligning paths with sun patterns. Cell design incorporates paths aligned with solstices and equinox, using BaCMs in other areas.

jessiCa KosTosKy shiFTinG shadows shiFTinG selF: overview

eASt-WeSt AliGNeD, 10% SloPeWS NOON

EQ NOON

SS NOON

NortH-SoutH AliGNeD, 5% SloPe

WS NOON SS NOONEQ 5:45 PM

eASt-WeSt AliGNeD, 5% SloPeWS NOON

SS 8 AM

EQ 5:45 PM

liGHt StuDieS: PAtHSexploring the slope and direction of basic path typologies reveals the impact of path orientation and time of year on shadows.


40 jessiCa KosTosKyshiFTinG shadows shiFTinG selF

Path of travel leads visitor through different types of shadow alignment, with some moments of direct shadow alignment on path. shadows are dependent on path aspect and topography.

SCALE: 3/16” = 1’A SECTION - SHADOW AFFECTED BY DAY/TIME

JUNE 15, 6 AM: 157’ SHADOW- ALIGNED WITH TILLAGESEPTEMBER 15, 7 AM: 36’ SHADOW

APRIL 15, 8 AM: 30’ SHADOWMAY 15, 8 AM: 16’ SHADOW

DECEMBER 21, 3 PM: 38’ SHADOW

10% 0%

20’ SHADOW

1’

20’ SHADOW

2’

40’ SHADOW

3’

62’ SHADOW

4’

78’ SHADOW

4’

71’ SHADOW

3’

63’ SHADOW

2’

10%

SCALE: 1/8” = 1’SECTION - SHADOW LENGTH AFFECTED BY PATH TOPOGRAPHYB

JUNE 21

MARCH 21

DECEMBER 21

A

B

C

10 MINUTE WALK

5 MINUTE WALK

5 MINUTE WALK

CROSS OVER TO SUMMER SOLSTICE PATH 10 MINUTE WALK

CROSS OVER TO EQUINOX PATH 15 MINUTE WALK

EXIT THRESHOLD 45 MINUTES ELAPSED

CROSS ENTRY THRESHOLD

JUNE 21

MARCH 21

DECEMBER 21

SUMMER SOLSTICE PATHalternate day shadows - 4 PM

WINTER SOLSTICE PATHalternate day shadows - 1 PM

JUNE 21

MARCH 21

DECEMBER 21

WINTER SOLSTICE PATHalternate day shadows - 9 AM


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experiences for a visitor shift depending on which path is chosen and what time of year visit takes place.

jessiCa KosTosKy shiFTinG shadows shiFTinG selF

).PYT( EPOLS 1:1 "0-'3).PYT( EPOLS 1:1 "0-'1

2'-0

"

VARIES

SCALE 1/8" = 1'

ELEVATED PATH WALL

EXISTING GRADE

USE STANDARD TRACTOR FOR CREATING TILLAGE

DETAIL - TILLAGE, SECTIONG SCALE: 1/8” = 1’PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

3'-0

"

23'-6

"20'-0

"

8'-0" 1'-0"

CONCRETE FOOTINGBOTTOM 4'-0" BELOW EXISTING GRADE

STAINLESS STEEL

BOLTS FOR STABILIZATION

SCALE 1/8" = 1"

4'-0"

SCALE: 1/8” = 1’DETAIL - THRESHOLD STRUCTUREC

GRAVEL PATHWAY0'-4" DEPTH (TYP.)

GABIONS WIRED TOGETHERFILL WITH LOCALLY MINED ROCK 6"-8" DIAM.

BOTTOM OF GABION1'-0" BELOW GRADE

EXISTING GRADE

LOCAL SAND FILL

SCALE 1/4" = 1"

4'-0"2'-0"8'-0"

2'-0

"

7'-6

"6'-6

"

3'-0"

DETAIL - ELEVATED PATHD SCALE: 1/4” = 1’

DETAIL - SUNKEN PATHE SCALE: 1/4” = 1’

5'-6

"

4'-0"2'-0"8'-0"

2'-0

"

4'-2

"

GABIONS WIRED TOGETHER

EXISTING GRADE

GRAVEL PATHWAY0'-4" DEPTH (TYP.)

SCALE 1/4" = 1"

1'-6"SEIRAV

ELEVATED PATH WALL

EXISTING GRADE

SCALE 1/8" = 1'

DETAIL - TILLAGE, ELEVATIONF SCALE: 1/8” = 1’

V is i tors approach the s i te f rom the park ing area on the nor theast , and proceed to choose a path to experience. A sample path chosen by a user on the winter solstice is shown in the timeline.

CAPSTONE AREA: OVERVIEW PLAN + TIMELINE

SCALE 1:140 10 50 100 200 FEET

CAPSTONE AREA: DETAIL PLANPlan view of secondary shadow alignment during non-equinox or solstice days.

SCALE: 1:4

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Gabion wallsImage: detaildesignsonline.com

Gravel path

Rip-rap ‘tillage’

Secondary shadow alignment with tillage

JULY 21, 7:30 PM

3.5%

12.5%

6.25%

5%

10%

5%


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View shows initial experience when entering or exiting intensive intervention area. alternate view indicates different experience at another time of year.


ENTRY VIEW: SUMMER SOLSTICE

DECEMBER 21, 3 PM

6 : 3 0 A M . Stainless steel poles act as threshold markers for a user entering or leaving the site. The viewer sees the entire intervention area from this point and can interact with the site even without walking the paths.


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View shows capstone experience of shadow falling directly on path, aligned with winter solstice. alternate view indicates different experience at another time of year.


CAPSTONE VIEW: WINTER SOLSTICE

APRIL 5, 4 PM

3 PM. Walking the site, the viewer notices her shadowhighlighted by a distinct alignment with the path of travel. Unlike other parts of the path, here the user sees a direct-- yet altered-- view of herself as the sun casts a shadow from the harsh desert sun.


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View shows drive-by experience from the mainline as one approaches the intensive intervention area. tillage is aligned with sun paths providing interesting shadows and directing view toward intervention area. alternate view indicates different experience at another time of year.


2 PM. The view from a car compels visitors to wonder what’s out there, with tillage pointing to distant landforms and mysterious poles glinting in the sun. Tillage is aligned to particular hours of the solstices and the equinox, offering viewers shifting views and as the car travels down the mainline. A hard edge of stainless steel embedded in the tillage reinforces the directional view.

DRIVE-BY VIEW: SUMMER SOLSTICE

JUNE 21, 8 PMJessica Kostosky // Robinson Studio // Fall 2010


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Models of intervention area show various visitor shadow alignments.




Jessica kostosky shifting shadows shifting self

jessiCa KosTosKy

ENTRY VIEW: SUMMER SOLSTICE

DECEMBER 21, 3 PM

6 : 3 0 A M . Stainless steel poles act as threshold markers for a user entering or leaving the site. The viewer sees the entire intervention area from this point and can interact with the site even without walking the paths.

CAPSTONE VIEW: WINTER SOLSTICE

APRIL 5, 4 PM

3 PM. Walking the site, the viewer notices her shadowhighlighted by a distinct alignment with the path of travel. Unlike other parts of the path, here the user sees a direct-- yet altered-- view of herself as the sun casts a shadow from the harsh desert sun.

2 PM. The view from a car compels visitors to wonder what’s out there, with tillage pointing to distant landforms and mysterious poles glinting in the sun. Tillage is aligned to particular hours of the solstices and the equinox, offering viewers shifting views and as the car travels down the mainline. A hard edge of stainless steel embedded in the tillage reinforces the directional view.

DRIVE-BY VIEW: SUMMER SOLSTICE

JUNE 21, 8 PMJessica Kostosky // Robinson Studio // Fall 2010



jessiCa KosTosKy


48

this project was inspired by the basketry of the Paiute people, who once called Owens Lake their home.

daniel neriwoven land

W O V E N L A N DOWENS VALLEY

Desiccated by the diversion of water from the Owens River to the Los Angeles Aqueduct in 1913, the Owens Valley is now the focus of an intense dust remediation effort by the Los Angeles Department of Water and Power. Salt crusts, reddened by cyanobacteria, are the ghostly remains of the expansive saline waters of Owens Lake which once dominated 110 square miles of the valley floor. Powerful wind storms, which occur from fall to spring, propel the sands of the playa at veloci-ties of over 50mph, pulverizing the saline crusts and sending unhealthful particulate matter high into the air. The California Lands Commission now manages the lakebed under the auspices of the State of California. Charged with protecting public lands, the Com-

mission requires that all dust control projects provide Public Trust Values, which are realized through protection of ecology, public access and enjoyment, and visual/aesthetic enjoyment. This proposal attempts to take current Best Available Dust Control Methods (BACMs) and provide a design which amplifies Public Trust Value. Woven Land is a concept that honors the Paiute People, the Native Americans who lived in this land prior to settlement. Inspired by Paiute basketry design, the design is reminiscent of a winnowing basket, and incorporates Paiute motifs. It also provides for habitat protection for the Western Snowy Plover, a California species of special concern.

Source: LADWP, “Owens Lake Master Plan”

OWENS VALLEY PAIUTE

10,000’

20,000’0’

You only take with permission.And when you do take from the earth, you

take with a “please,” and give back with a “thank you.”

-Julia ParkerBasketweaver

Miwok/Pomo/Paiute

Treat the Earth well: it was not given to you by your parents, it was loaned to you by your children. We do not inherit the Earth from ourAncestors, we borrow it from our Children.”

-Ancient Paiute Proverb

It is the fibers and not the weaver

who make a beautiful basket. – Julia Parker

BasketweaverMiwok/Pomo/Paiute

In Paiute creation my-thology, they believe that coyote is the father of their people, having brought his children to the west in a water bas-ket.

In the Paiute language, they called themselves, “nün‘wa paya hup ca’a‘ otuu’mu” - “we are water ditch coyote children.” Owens Lake is the water ditch nestled between the Sierra Nevada and Inyo mountain ranges.

Paiute bands were in-volved in water rights disputes throughout the twentieth century. The Owens Valley Pai-utes struggled to obtain enough water from the Owens River, a primary water source for the city of Los Angeles, to oper-ate a fishery.

daniel neri woven land


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1:20

1% CROWN (TYPE)

3571

’

TOS 3575.77’ (TYP.)

BOS3570.77’ (TYP.)

1’ STAIRS (TYP.)

66% SLOPE (TYP.)

66% SLOPE (TYP.)

1% CROWN (TYPE)

(2,2) -2- Fin(2,2) -2- Fin

the design is a path which weaves across the Owens Lake playa. the design ends at a circular center, evoking the center of a basket. it overlooks an expanded habitat for the western snowy Plover.


Size: 1 mile long x .5 mile wide 247 acres

Elevation Change: 7 ft.

Vegetation Suitability: Moderately Low on West Side Low on the East Side

Tillage Suitability: Moderately High on East Side Low on West Side

0’ 500’ 1000’ 0 1 2 3 miles

OWENS LAKE SITE PLANCELL T1A-1 SITE PLAN

CELL T1A-1

HABITAT

PAIUTE BASKETRY

Source: CowanAuctions.com

Source: CowanAuctions.com

Cell T1A-1 is located just east of naturally occuring springs. It is suit-able habitat for the Western Snowy Plover.

Source: California State Depart-ment of Fish and Game.

STAMPED CONCRETE

PLANT PALETTE

Juncus textilis

Yucca brevifolia

Source: CALOWN.COM

Source:MEB.COM

These plants are used by the Paiutes to create woven baskets. They are heat and salt toler-ant.


50

wind patterns are identified to inform the design and layout of the sand Fences.


PREDOMINANT WIND PATTERN

0 1 2 3 MILES

The wind season at Owens Valley mostly occurs from November through June. Down valley winds are most prevalent and strongest during the winter months. Up valley winds greater than 10mph occur 10% of the time during the same period. From March to June, winds greater that 10mph occur 20% of the time and are equally split between up and down valley.

Source: Shaping the Future of Owens Lake. Studio 606, Cal Poly Pomona

MOUNTAIN LEE WINDS

0 1 2 3 MILES

These strong winds can reach speeds of 45-68 mph. They originate in the Eastern Sier-ras, moving over the crests and descending into the valley. The winds gain power as they warm, and are powerful enough to overturn large vehicles traveling on Highway 395. They can carry with them dust from Owens Lake for hundreds of miles east.

Source: Shaping the Future of Owens Lake. Studio 606, Cal Poly Pomona

HORIZONTAL CYCLONIC EDDY

Cold fronts from the north bring with it gusty winds blowing south along High-way 395 . At the same time, strong winds from the Inyo Mountains blow to towards the north. When the two air streams meet, the form this horizontal cyclonic eddy which can send dusts into the upper atmosphere.Source: Shaping the Future of Owens Lake. Studio

606, Cal Poly Pomona

0 1 2 3 MILES

30.00°

ANGLE OF SAND FENCEThe 30o off-center angle has been identified by LADWP as having potential to capture errant winds. The proposed design sets the fences in an array pattern which can slow the powerful mountain lee winds and the horizontal cyclonic eddys.

source: LADWP


51

the sand Fence is used to mitigate the high winds which cause sands and dust to rise into the air. they are colored blue and adorned with blue glass so that they shimmer in the wind and evoke water.


SAND FENCE ADORNMENT

Source: NedKahn.com

Source: NedKahn.com

CHAIN OF ETHER

MICROTURBINES

RECYCLED BLUE GLASS

REINFORCED HOLE TO FOR WIRE PASS THROUGH

DRILL HOLETHROUGH GLASS

WIRE THREADED THROUGH GLASS FABRIC

UV-STABILIZED POLYETHLENE TEXTILEN.T.S.

Inspired by the wind sculptures of Ned Kahn, such as the “CHAIN OF ETHER” and “MICROTURBINES” pictured below, the sand fences proposed would be adorned to translate the movement of wind. Trona, used in the production of glass was mined from Owens Lake. Blue glass is used here to adorn the sand fences to create a shimering effect as the wind blows. The use of glass is also a comment on the history of the lake. The overall effect is meant to evoke water.

SAND FENCE CONSTRUCTION

10” SQ x 14’POST (TYP)

10” SQ x 14’ POST (TYP)

STRESS RATED CLIPS

5’-4”

8’-10” (APPROX)

1/4”=1’

8’-10” (APPROX)

BIRDDETERRANT

TENSION LINE

20’

FENCE MATERIAL HEM CABLE

MONOFILAMENT LINE

FABRIC LOCKING STRIP

OPEN PLAYA EXISTING GRADE

Scale: 1/8”=1’


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the overall design is intended to reduce water usage at Owens Valley while providing Public trust Value through a cultural experience and enhanced habitat for the western snowy Plover


WATER SAVINGS

• The Los Angeles Department of Water and Power applies 96,000 acre feet of water per year to the dry lake bed to ameliorate the dust storms which send unhealthy particulate matter (PM10) into the air.

• The amount of water used in dust control is 21% of the water di-rected from the Los Angeles Aqueduct.

• New Best Available Control Methods (BACMs) must reduce the water usage while providng Public Trust Value.

• Woven Land consumes minimal water, only to establish the Yucca

Brevifolia and to irrigate the Juncus Textilis.

• Woven Land provides an array of sand fences which slow errant winds from all directions, reducing dust storms.

• Woven Land provides Public Trust Value by creating a destination which celebrates the Native American tradition of honoring the land. It evokes a basket and unity of the people.

• Woven Land provides Public Trust Value by capturing natural flowing springs to create habitat for the Western Snowy Plover, a California species of special concern.


53

the experience is described in these perspectives, beginning at the view from the i-395 and proceeding to end of the path, where a wind sculpture gently sings as if the voices of the ancestors of the Paiute people.


VIEW FROM I-395 VIEW FROM MAINLINE ROAD

PASSAGE THROUGH THRESHOLD END VIEW WITH WIND SCULPTURE

ENTRANCE WITH INSCRIPTION


54

the experiential section describes how research and the Higuchi analysis informed the design, materiality, and habitat.


MATERIALS PALETTE

Inyo GoldSOURCE: QUARRIESANDBEYOND.COM

ObsidianSOURCE: MINRESCO.COM

WIND SCULPTUREA wind sculpture, such as this one by Tonkin Liu Architects, adds an aural element as a capstone experience. Its gentle timbre and hum can evoke the singing of tribal ancestors.

1/16” = 1’-00”

849’

>2’ HIGH EDGE CREATES“INFINITY POOL” APPEARANCE BASED ON RESEARCH BY JANET YANG.

450’ “SMALL-MEDIUM” CATEGORY POOL PROVIDES REFLECTIVITY WHILE BALANC-ING INTIMACY AND EXPANSIVENESS

~450’ “SMALL-MEDIUM” POOL

PATTERNS IN SAND ARE BEST VIEWED IN THE FOREGROUND

AND MIDDLEGROUND.

COLOR GRAVEL HELPS THE VIEWER DISTINGUISH THE PATTERN AS IT

RECEDES TO BACKGROUND

FOREGROUND: 0’ - 50’

MIDDLEGROUND: 50’ - 100’

BACKGROUND: 100’ +

~300’

Perception studies of water reflectivity conducted at Owens Lake by Janet Yang conclude that the best scenic ponds occur in the southern and northern points of the lake because both the Inyo and Sierra Nevada Mountain Ranges can be seen in the reflections. The pond here would fit into a Small-Medium size category according to Yang, offering a balance between intimate and expan-sive views. The low edge of the pool creates an “infinity pool” experience.

Studies conducted by Daniel Neri on depth perception indicate that placement of objects in the background create a more intimate feel. Here a low berm is set just beyond the pond to help “enclose” the scene. Neri also concluded that that sand patterns are best viewed in the foreground and middleground. Color may be utilized to help call attention to patterns in the distant middle-ground. Here, Inyo Gold gravel and Obsidian are used to make this Paiute motif and activate the middleground.

EXPERIENTIAL SECTION WITH HIGUCHI ANALYSIS IMPLEMENTATION


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sections showing the experience on the path. Material choices for the path are highlighted to the left.


MATERIALS PALETTE

Soil ConcreteSOURCE: MARGOLIS/ALEXANDER. LIVING SYSTEMS

Rip RapSOURCE:DANIEL NERI

DolomiteSOURCE: NATURALSTONEFOREXPORT.COM

1/8”=1’

1/8”=1’

SECTIONS




daneil neri



daniel neri


58 jeanneTTe pUlniKjoUrney To The oasis

emptiness

The spiritual desert represents a place where one feels the absence of the divine, they feel as if they are wandering, lost. A person travels through this desert in search of an oasis, a place where the divine can be briefly, but truly felt. Owens Lake is a vast, expansive landscape. The absence of people, noise and every day life creates landscape of emptiness with small moments of fullness or surprise.

fullness This design creates a journey through Owens Lake representative of a greater personal journey through the spiritual desert. A journey where one is left alone, seemingly lost in a vast landscape, slowly reaching a moment of fullness and presence. The path guiding you on this journey is created by a series of edge compositions, which appear, disappear, and grow in richness and dimension as you approach the oasis.

Concept

Jeannette Pulnik Journey to the oasis


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glimpse

1

23

4

5 6

close up of pathexperiential plan

NTS N

Thickness of brush stroke represents range of experience

wandering emptiness fullness

fullness

emptiness

emptiness view

experiential timeline

jeanneTTe pUlniK joUrney To The oasis

The experience of this design is represented through a gradient from emptiness to fullness. This graident is represented on site through the absence and presence of the path.

wandering emptiness glimpse fullnessemptiness view1. 2. 3. 4. 5. 6.you’re searching for the path, you don’t have a map and the cell looks like one seamless expanse of gravel against the mountains

you begin to notice the absence of sounds and other people, what looks like a path appears and disappears, you wonder if you’re just getting lost

you walk up a slight incline and stop for a few minutes to cool off and are able to what looks like a clearly defined path in the distance

as you descend, the faint path disappears again, you are unable to see what lies ahead

slowly, the path becomes richer as you ascend another incline, as you reach the top you can see the oasis and are certain you’ve come to right way

the edges along the path are clearly defined and detailed, standing on top of the berm, overlooking the water, you see the refelction of the Inyo Moutains and group of birds foraging


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60 jeanneTTe pUlniKjoUrney To The oasis

Indicates Gravel BACM Indicates Shallow Flooding BACM

Indicates PathIndicates Mainline

Key

Plan View of Cell T23SEN

Total Path Length 2,087’ Total Cell Area: 475 acres

Design Location

2,087’

Aerial View of Owens Lake NTS Location of Cell T23SE N

Path Experience Diagrams

447’2 minutes

252’

1 minute

479’2 m

inutes

251’

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171’

<1 minute 427’

2 minutes

Path Walking Distance DiagramNTS N


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NTS NKeySize of dots represent walking path

Walking fastWalking at a moderate pace Walking at a slow pace

Journey A: Spiritual Pilgrimage This visitor drove 4 hours from Los Angeles to discover the oasis at Owens Lake. She got a bottle of water and a hat out of her car and was prepared to wander across the spiritual desert.

Journey A

Journey B

Journey C

Journey B: Birdwatcher This visitor saw the patterns of gravel developing along side the road, while driving down the mainline He parked his car, got his binoculars just in case and went for a walk.

Journey C: Passing by A couple takes a detour down the mainline on their way back from Mt. Whitney. They exit their car and wander in search of a path, but turn around after several minutes because they’re too hot, tired from hiking and don’t want to get lost.


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this project converts a 475 acre lateral flood cell into a hybrid BaCM design of 2,075,626,000 square feet of gravel and 136,500 square feet of shallow flooding.

Indicates Contour LineIndicates Path Edge

NTS N

Key

detail plan a path to oasis

Indicates point at which oasis is seen

section a path to oasis NTS


61jeanneTTe pUlniK joUrney To The oasis

Details of the Oasis

the approach to the oasis is experienced by ascending the landform illustrated above. Views of the oasis are gradually revealed as a visitor reaches the high point. the landform is designed to block all views of the oasis until the visitor reaches this point. this is the “view” moment indicated in the experiential timeline and plan.

3,568’

3,569’

3,570’

3,571’

3,572’

3,573’3,574’

3,575’ 3,568’

3,569’

3,570’

3,571’

3,572’

3,571’

3,570’

3,569’

3,568’

3,567’’

3,566’

3,565’

3,572’

a

see detail plan b

oasis

viewing platform

land form

view

92’

1’eye level vision at 5’-0”

point at which oasis is seen


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detail plan b

NTS Npath edges

Details of Path Edges

the path edges grow in richness and dimension, emphasizing the experience of emptiness to fullness. the edges at the high point become wider and more detailed. they decrease slightly as you walk away from the view point, and then increase as you walk towards the moment of fullness at the oasis.

see edge detail b

see edge detail a

edge detail bscale 1:30

edge detail a scale 1:30

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Fine dark dolomite gravel

Edge Material Key

Fine light dolomite gravel

Mixed/ colored dolomite gravel

Circular textured soil 6” diameter divets will be pressed into soil at random intervals

Linear textured soil 3” linear grooves will be pressed into soil

Inyo gold dolomite gravel

Hatch Pattern Material Photo Description 3” 6”

random6”


63jeanneTTe pUlniK joUrney To The oasis

view of the oasis approach to the oasis oasis

Perspectives Illustrating Approach to Oasis / Moment of Fullness

drive by view emptiness glimpse



Jeannette Pulnik Journey to the oasis

jeanneTTe pUlniK



jeanneTTe pUlniK


66

this series of images document chracteristics of spring mounds and their growth patterns at Owens Lake.

CaTe rillasands oF Time

Embracing the natural factors of accumulation, dispersal, and disappearance over time at Owens Lake

Owens Lake: Looking NorthSource: Owens Lake Studio Site Visit September 2011

Vegetated spring mounds typically occur in a linear pattern along a fault zone. They consist of fine to coarse sands and fine gravels. The groundwater in these areas is shallow (2 - 4 ft).Source: “Shaping the Future of Owens Lake,” Cal Poly Studio 606 project; “Owens Lake Habitat Management Plan,” Los Angeles Department of Water and Power, March 2010; “Owens Lake Shallow Hydrology Monitoring Data and Chemistry 1992-2004,“ Great Basin Unified Air Pollution Control District Bishop, California, February 2009.

The growth of vegetated spring mounds typically coincides with the location of seeps and springs. When clay subsurface soils are encountered, the moisture reaches the surface. The seeps and springs provide moist conditions to support vegetation growth. Source: “Shaping the Future of Owens Lake,” Cal Poly Studio 606 project; “Owens Lake Habitat Management Plan,” Los Angeles Department of Water and Power, March 2010.

Existing CharaCtEristiCs of spring Mounds

The dunes form around the plants because they trap wind borne particles. There is minimal vegetation between and around mounds. They are a naturally occurring dust control measure. Source: “Shaping the Future of Owens Lake,” Cal Poly Studio 606 project.

Vegetation on the spring mounds tends to be greener on the top and tanner around the edges. This could be caused by salt burn along the edges as it is closer to the surface. Source: Conservation with Bob Perry on 10/3/11, “Trees and Shrubs that Tolerate Saline Soils and Salt Spray Drift,” Virginia Cooperative Extension, Virginia Tech, accessed 10/10/11

Vegetation Observations: Spring Mounds

Accumulation and Growth of Spring Mounds

The height range of spring mounds varies greatly. At Owens Lake they range from less than one foot tall to as tall as six feet. Their growth is similar to sand dunes in that the vegetation is similar to a sand fence and traps the sand when it blows in the wind. The sand then accumulates around the vegetation.

<1’

3’

6’

cate rilla sands of time


67

the project proposes to use an array of natural materials.

CaTe rilla sands oF Time

NTS

Location: Cell 29-1

Shallow flooding is currently used in this cell to control dustSource: Google Maps

Dune Suitability Map

High Suitability for Dunes

Moderate Suitability for Dunes

Delta

Basin

LEGEND

Source: “Shaping the Future of Owens Lake,” Cal Poly Studio 606 project

Project Site

NTS

Regional Wind Flows

GulfSubtropical

Pacific

ArticContinental

The Pacific, Polar, and Continental winds originate in the north during the winter, while the Gulf winds originate in south during the spring. Large air masses move through the Owens Valley which create the intense dust storms the Valley experiences.Source: “Shaping the Future of Owens Lake,” Cal Poly Studio 606 project.

NTS

Predominant Wind Flow at Owens Lake

The dominant wind flow pattern in Owens Valley flows up the valley originating from the south-southeast and flows down the valley originating in the north-northwest. The average wind speed is seven to nine mph. The strongest winds, with peak gusts of 65-75 mph have a westerly component.Source: “Shaping the Future of Owens Lake,” Cal Poly Studio 606 project.

NTS

Materials Palette

Atriplex parryi, “Perry’s Saltbush”Source: Owens Lake Studio Site Visit September 2011

Distichlis spicata, “Saltgrass”Source: Owens Lake Studio Site Visit September 2011

Plant List

Fence Materials

Corten SteelSource: Flickr

Spruce WoodSource: Flickr

Atriplex parryi and Distichlis spicata were selected as the plant species for this design because of their proven tolerance of surviving in saline growing conditions. Additionally, these species are drought tolerant and can survive in the harsh and arid climate of Owens Lake.

Corten steel and spruce wood are used in the sand fences because of their ability to record the passage of time in the landscape as they age and naturally change in appearance.

Path Materials

Dolomite Gravel between 1/2” and 2 1/2” in diameterSource: CDM and NOVIS gravel presentation document

Dolomite Gravel greater than 2 1/2” in diameterSource: CDM and NOVIS gravel presentation document

The path is made of dolomite gravel that is between 1/2” and 2 1/2” in diameter. Its edges are defined by dolomite gravel pieces that are greater than 2 1/2” in diameter. This edge will provide definition to the path when low points are covered in sand. It will also add depth and texture and trap sand between the crevices.


68

the plan proposes a series of branching paths that lead a visitor through an array of artificially create spring mounds.


Vegetation Patch

Spring Mound

Legend

The branching of the path surrounded by shallow flooding represents the dispersal of elements over time.

Constructed spring mounds in the distance provide a feeling of openness for the visitor as they are truly emerged in the landscape.

Field of vegetation patches and spring mounds show accumulation over time. Fences and gravel path show accumulation and disappearance over time. These elements also control dust.

Overall Cell Design: Site Plan

Constructed spring mounds placed closely together provide the sense of enclosure for the visitor.

The passage of time is found in the path as well as in the rest of the cell. To control dust, a combination of fences, vegetation, spring mounds, and shallow flooding is used. Accumulation around these elements will occur as the vegetation and spring mounds continue to grow.

The patches of vegetation are 50 feet in diameter which is based off the spraying radius of the Rain Bird 5000 Plus Series. This will reduce water use caused by over spray. They are arranged based off of a linear north-south grid to provide for a regular framework for the irrigation system. Due to the high salinity of the site, the vegetation patches will contain a combination of Distichlis spicata, “Saltgrass” and Atriplex parryi, “Perry’s Saltbush”. The vegetation is expected to use 1/3 less water than the shallow flooding that is currently used in the entire cell.

The construction of spring mounds, planting of vegetation, and the use shallow flooding will create habitat for a variety of species. The vegetation patches and spring mounds will foster habitat for beetles, grasshoppers, mice, lizards, snakes, birds, squirrels, and other small mammals. The spring mounds and shallow flooding section will create habitat for shorebirds, brine shrimp, and waterfowl. Source: Draft Owens Lakebed Master Plan, dated 10/21/10

1”=600’

C


69

the plan also proposes to employ a sand fences to capture dust and create a dynamically changing landscape.

CaTe rilla sands oF Time

40’-0”

4’-0

”

RAINBIRD ROUTER

IRRIGATION PIPE

NATIVE SOIL

TOP SOIL FROM LOCAL CONSTRUCTION SITES

VEGETATED TOP

CROSS SECTION OF SPRING MOUND

4”

1’=1/8”

1’-0”

CONCRETE FOOTING

2’-0

”

1 1/2”

3’ BY 1 1/2” BY 1/8” STEEL CHANNEL

NATIVE SOIL

NATIVE SOIL

CONCRETE FOOTING

1/8”

4’-8

”4’-8” BY 6” BY 1 1/4” CORTEN STEEL

PLAN VIEWEND CAP ELEVATION END CAP MIDDLE PIER END CAP

3’-3

”

3’-0

”

1’-6

”

2” BY 1 1/2” BY 1/8” STEEL CHANNEL

1 1/2”

1 1/4”

4” BY 1 1/2” BY 1/8” STEEL CHANNEL

4’-8” BY 1’-0” BY 1 1/4” CORTEN STEEL PANEL

4’-8” BY 1’-0“ BY 1 1/4” SPRUCE PANEL

4’-8” BY 1’-0” BY 1 1/4” CORTEN STEEL PANEL

4’-8”

Detail Site Plan

The form of the constructed spring mound was based off of the formation process and shape of sand dunes and site observations of existing spring mounds. The top soil required for their construction will come from local construction sites. This will reduce carbon emissions because it will not need to be transported far and it will provide a use for this extra soil.

A router is included in the center of the mound to provide moisture for the vegetation growth.

These spring mounds will continue to grow as more sand is trapped in the vegetation. They are part of this transforming landscape.

Over time, sand will accumulate around and eventually over the shorter fences. The horizontal 1 foot strips of either corten steel or wood will serve as a measuring device to record the amount of accumulation over time. Additionally, the materials themselves will also record the passage of time.

Sand accumulates around fences of varying height

1’=1/32”

Section A. Entrance

Diagram of Accumulation around FencesConstruction Detail of Fence

Construction Detail of Spring Mound Construction

2 foot larger in diameter gravel borderAdds texture and shadow to the path

1’=1/8”

1”=60’


70

the path appears and disappears creating a experience of discovery and disorientation.


4" LAYER OF DOLOMITE GRAVEL GREATERTHAN 1/2" IN DIAMETER

4" LAYER OF DOLOMITE GRAVEL GREATERTHAN 1/2" IN DIAMETER

CROSS SECTION OF PATH

1/32” GEOTEXTILE FABRIC

4" LAYER OF DOLOMITE GRAVEL GREATERTHAN 2 1/2" IN DIAMETER

11’-0”

15’-0”

90-95% COMPACTED SOIL

NATIVE SOIL

15’-0”

2’-0”

PLAN VIEW

In order for the gravel dust control measure to be effective, it requires installing a 4 inch layer of coarse gravel greater than 1/2 an inch in diameter. This diameter requirement is because if the gravel was smaller, it would be carried by the wind in a dust storm. Therefore, for the path the gravel is required to be between 1/2 and 2 1/2 inches in diameter. The border that defines the path, especially when parts of the path are hidden by sand, is greater than 2 1/2 inches in diameter. Source: Draft Owens Lakebed Master Plan, dated 10/21/11

Construction Detail of PathDetail Site Plan

1’=1/8”

1”=60’

Section B. Accumulation and Disappearance Sloping Section

B

Accumulation and Disappearance

The middle portion of the path consists of a sloping terrain landscape with the steepest slope being 8%. The section of the design is intended to play with the juxtaposition of accumulation and disappearance. The low elevations of the path will disappear from the accumulation of sand and the higher parts of the path will remain visible. To guide the visitor forward there is a fence that remains at a consistent height of 3 feet as the path drops 4 feet and then disappears into the path once it gains the 4 foot drop and then gains another 3 feet. This sloping terrain is shown on the right.

1’=1/64”


71CaTe rilla sands oF Time

NTS

Key Plan

1 2

3 4

12

3

4

Foreground100 FeetLow profile vegetation

Midground300 FeetSwaths of vegetation

Background600 FeetSwaths of vegetation Mix of vegetation height

1’=1/64”

Section C. Higuchi Analysis



cate rilla sands of time

CaTe rilla



CaTe rilla


74

By creating topography on site using the bulldozing method shown above, site features are created that highlight Owens Lake phenomena. dust is controlled by portable sprinklers, applied to the high elevations, allowing water to flow to low elevations and cleansing the soil of salt.

janeT yanGFraGmenTs

Janet yang Fragments


75janeT yanG FraGmenTs

the plan and diagram here represent possible areas of ponding as a result of the fragmenting method.


76

Over time, the cleansed soil may be able to support managed vegetation and become less dependent on human intervention. in the meantime, the site is a walkable exploration of Owens Lake phenomena and educates visitors on the circumstances that led to its current state.

janeT yanGFraGmenTs


77

Over seasons and years, the site works in tandem with natural processes to provide value for humans and habitat.

janeT yanG FraGmenTs



Janet yang Fragments

janeT yanG



janeT yanG

HiGuCHi anaLysis & BaCM desiGn GuideLines

students were asked to conduct a detailed on-site analysis of a perceptual aspect, fo-cusing on a material assigned to them (grav-el/earthworks, vegetation, or shallow flood-ing). this analysis was based on tadahiko Higuchi’s the Visual and spatial strucutre of Landscapes. Furthermore, the students were asked to provide revised design guide-lines for a variety of existing and potential dust control technologies.


82

topographraphical interventions increase microclimates which in turn increase vegetation diversity. through the analysis of different landforms, their microclimates, ability to support different vegetation, views from the road, and walking accessibility were considered when creating guidelines.

KaTe GmyreKhiGUChi analysis & BaCm GUidelines

FORM

A mound or ridge of sand or other loose sediment formed by the wind, especially on the sea coast or in a desert.

��

��

Sarcobatus Vermiculates

Distichlis spicata

Atriplex Confertifolia

Artemisia Tridenta

��Gentle grades for running up and down, densely vegetatedfor hiding spaces

��Wide ‘sinks’ allow more space for riparian habitat to colonize. Wide, tall mounds allow more space for shrubs.

��substantial flat or low land for a clear pathway to the water front.

��Gently graded dunes create many intimate viewing opportunities + dune top expansive views

R��

3 ft

6 ft

9 ft

12 ft

-3 ft

3 ft 6 ft 12 ft

Salix asiolepisuncus alticus

DT

3 ft

6 ft

9 ft

12 ft

-3 ft

3 ft 6 ft 12 ft

[Healthy Riparian Habitat] 1. A disturbance on the surface of a liquid body, as the sea or a lake, in the form of a moving ridge or swell.

Juncus BalticusSalix Lasiolepis


Distichlis spicata

��Increased Linearity of berms increases amount of shadow, wind protection


Artemisia Tridenta

[�� ri�eby �ie�] Even spacing of berms creates wave patterns when driving by

[��n �ath�ay] High berms can act as an interesting walkway from the road to water

�. A swell, surge, or rush, as a feeling.

Hi�h �er��

��en �pa�in� bet�een �er��tr�n� �erti�ality

Re��en�ati�n�

DEFINITION:

To form or display little undulations or waves on the sur-face, as distrubed water does; to rise and fall gently in tone or volume

RIPPLE



Distichlis spicata


Artemisia Tridenta

[Healthy Root Network] Shortness of height allows for complex network of roots, adding nutrients to soil.

[Extended Wet Season] Deep and numerous ‘sinks’ below grade collect water in rainy seasons, and extend plant life

[Good Microclimate Conditions] diversity of size and shape of undulations increases the number of microclimates

[Good Physical Engagement] Diversity in undulstion size and type creates a physially engaging walking or playing environment

Deep ‘Sinks’

Mound ShapeDiversity of Mound Size

Recommendations

DT

3 ft

6 ft

9 ft

12 ft

-3 ft

3 ft 6 ft 12 ft

tranSition eColoGyincreasing Microclimates, improving experience


83

the microclimate condtions created vary depending on the height and form of the topographical interventions. these conditions will dictate where and how different plant species will propagate.

KaTe GmyreK hiGUChi analysis & BaCm GUidelines

FORM

A mound or ridge of sand or other loose sediment formed by the wind, especially on the sea coast or in a desert.

��

��


Distichlis spicata


Artemisia Tridenta

��Gentle grades for running up and down, densely vegetatedfor hiding spaces

��Wide ‘sinks’ allow more space for riparian habitat to colonize. Wide, tall mounds allow more space for shrubs.

��substantial flat or low land for a clear pathway to the water front.

��Gently graded dunes create many intimate viewing opportunities + dune top expansive views

R��

3 ft

6 ft

9 ft

12 ft

-3 ft

3 ft 6 ft 12 ft

Salix asiolepisuncus alticus

DT

To form or display little undulations or waves on the sur-face, as distrubed water does; to rise and fall gently in tone or volume

RIPPLE



Distichlis spicata


Artemisia Tridenta

[Healthy Root Network] Shortness of height allows for complex network of roots, adding nutrients to soil.

[Extended Wet Season] Deep and numerous ‘sinks’ below grade collect water in rainy seasons, and extend plant life

[Good Microclimate Conditions] diversity of size and shape of undulations increases the number of microclimates

[Good Physical Engagement] Diversity in undulstion size and type creates a physially engaging walking or playing environment

Deep ‘Sinks’

Mound ShapeDiversity of Mound Size

Recommendations

DT

3 ft

6 ft

9 ft

12 ft

-3 ft

3 ft 6 ft 12 ft

3’ tall 4’ tall 5’ tall[Good expansive View] even when between two dunes, lake still feels expansive.

[Good reflection View]Dunes frame reflection,drawing attention to it.

[Good microclimate]High dunes increase the amount of shade and wind blockate

3’ tall 4’ tall 5’ tall[Good reflection Views] topographic forms meets reflection, creating an engaging view. 1/2 reflection 1/2 water.

[Good Playscape]Small enough to climb up, but

tall enough change view.

[Good Playscape]

[Good microclimate]

engaging height, dramatic changesin viewsengaging height, dramatic changesin views

3’ tall 4’ tall2’ tall[east Acces to Water] undulations low to the ground are easy to physically maneuvre.

[Physically engaging ] High enough mounds to cause physical exertion, but

not too high to restruct access.

[Good microclimate]engaging height, dra-matic changes in views

HeiGHttHe iDeA

tHe locAtioN

tHe toPoGrAPHY

*Cal Poly Pomona Studio


84

in an exploration of vegetation, this analysis focused on our emotional or perceptual understanding of each vegetaed landscape. Categorizing re-sponses and analyzing significant factors that affected these responses, this analyis draws out which textures, shapes, colors, and spacing of plants affect our our understanding.

KaTe GmyreKhiGUChi analysis & BaCm GUidelines

Site 90.1

Site 90

Site 92

Site 93

SAturAteD

moiSt

DrY

Tall and Wispy, sway in the windMulti-colored, add darker tones Diversity in height, add depth to view.Makes lush environment.

Wispy, ‘natural’ green, sways in wind.Taller, close to road adds complexity to view, feelings of protection

Vibrant Rich Colors, oranges, reds. Sway in the wind, give appearance of rolling meadow. Stand out more next to light green

Light Green Creeping nature, creates engaging patterns in soil.

Bright BrittleDiversity in color

Sarcobatus VermiculatesDeep Color Bigger plants located on mounds, creates sense of mystery. Bunched

Tall GrassTall Grass

Distichlis SpicataVariegated, dry, yellowish goldDispersed with dirt patches

Bright, Variegated,

Sali� �asi�lapisLeafy, Wild

eye

�ee�� Vibra�t �olor�olli�� S�a�i�� creates mo�eme�t

�ri��t� �ree�i��a�es i�teresti�� atter�s

Sa�� a��s �e�t� to tall �e�etatio�� a�es �ccessible

Vibra�t ric� colorVarie�ate��i�ersit� i� color a�� ei��t� �ar� colors �um� out at �ou�reates �lo�

��

��

��

��

��

�t�ipl�� a��i Sa�c��at�s ��ic�lat�s�ar�e� �ee� �ree��ttracts e�e� bus��

�t�ipl�� Sp�ci�s�ar� Tra�sitio�s to mou�tai�s �icel�

Tall, wispyLushSways in wind

Distichlis spicata

Distichlis Spicata

Distichlis Spicata

�itro��ila �cci�e�talis

Distichlis Spicata

� �t

� �t

� �t

�� t

� �t

� �t

� �t

�� t

� �t

� �t

� �t

�� t

� �t

� �t

� �t

�� t

� �t

� �t

� �t

�� t

��c��s �altic�s

Sali� �asi�lapis

Swaying

iN motioN

NAturAl

SHeltereD

DrY

PlAYFul

WitHHelD

PlAYFul

artiFiCial

eXPoSeD

SParSe

BolD

SHeltereD

GeNtle

BreeZY

SPreADiNG

BolD

iN motioN

PlAYFul

BolD

BolD

SHeltereD

iN motioN

PlAYFul

Tall, close to roadLush leaf textureThick, restrictive qualitiesAbundance of vegetation

Vibrant ColorThickness of presence

Clumping formDenseness of formDenseness of color

Pattern of ColonizationContrast with other vegetation

Pauses in vegetation

Diversity in sizesFlowing patterns of colonization

Clumping formVarying heights of plants

Accents other colorsContrast with mountains, sky

Swayings in the windwhimsicle color patterns of colonization

Typha latifolia

Salix Lasiolepis

Sa�� at�hes

�isti�hlis Spi�ata� tall

Sa��o�at�s �e��i��lates

Sa��o�at�s �e��i��lates

�isti�hlis Spi�ata� sho�t



Greasewood

Salt Grass

Salt Grass

Sa��o�at�s �e��i��latesGreasewood

3 ft

6 ft

9 ft

3 ft6 ft9 ft

VeGetation and eMotionVeGetAtiVe quAlitieS tHAt ProVoKe emotioN

View from road Scale textural SectionsBy simplifying plant species into color, texture, and distance from viewier, an image can Visually organize a landscape into categories. These categories can then be linked with the emotional reaction they provoke.

emotional reactionThrough keen observation and note taking, each site was assigned a number of important, as an ‘emotional reaction’

most common Plant AssociationsIdentifying which plants are associated witheach reaction helps further categorize the potentialfor each plant type


85KaTe GmyreK hiGUChi analysis & BaCm GUidelines

HoriZoN

reFleCtion

texture

INTIMATE LARGE EXPANSIVEFeelinG

ContributinG FaCtorS:

INTIMATE

Breaks up view, adds layersAdd width on to horizon liine

Draws your glare downward

other end of Water seems accessible

Significant sideview blockages, enclosure

Visible texture

Full reflection

Both in foreground and backgroundtextured Horizon

Deep colors hold your attention

Side View Blocks

islands

thick Horizon line

1.

2.

3.

Background: Diagnal texture moves your eye

Foreground: Diagnal texture moves your eye

A thin straight berm close to far end of water extends view, makign it appear

larger than it is

Diagonal reflection leads your eye towards point

reflection is in distance, givingappearancebeing larger

of being far away while at the same time adding

further away from you

Visible texture

Berm interruption

Diagonal reflection

1.

2.

3.

1.

3.

Brings your eye to horizon

thin, straight berm along the horizon

Strong textures in foreground

eye passes over it

attracts eye, makes whats beyond seem endless

No visual block, or insignificant blockopens up view, feeling larger

texture in Background

thin Horizon line

thin, Straight reflection

Visually expands what is in front of you

No Side Berm Blocks

FeelinG

ContributinG FaCtorS:

LARGE

FeelinG

ContributinG FaCtorS:EXPANSIVE

1.

2.

3.

exPanSiVe to intiMateFactors that Shape our understanding of Space and Size

diStanCereFleCtion

anGle oF inCidenCe[ smallest ] [ largest ]

[smallest][ largest ]

[smallest][ largest ]

Site 88 Site 101 Site 98Site 100.2S ite 97 Site 100.1

SideVieW bloCkS


86

salt pool & crust BaCM design principle and operation possibility analysis.

ye hUahiGUChi analysis & BaCm GUidelines


87ye hUa hiGUChi analysis & BaCm GUidelines


88

Highchi analysis for color and texture of the salt pools & crusts from vary distances.

ye hUahiGUChi analysis & BaCm GUidelines


89ye hUa hiGUChi analysis & BaCm GUidelines


90 lily KerriGanhiGUChi analysis & BaCm GUidelines

Panorama Extent

CELL T29-3WAYPOINT 27

Distance from viewer: 105-241 feetDirection of view: 175-130 degreesPerceived alignment: Diagonal

FOREGROUND

Distance from viewer: 241-2,098 feetDirection of view: 130-110°Perceived alignment: Diagonal - Parallel

M I D G R O U N D

B A C K G R O U N DDistance from viewer: + 2,098 feetDirection of view: 110-352°Perceived alignment: Parallel

Midground Radius

Background Radius

Background Radius NOT continuous

Terraced berm 807’ from viewerat closest point

500’ 1000’ 2000’ 5000’

= Observation Point

= Foreground Berm

= Midground Berm

= Background Berm

241 feet2,625 feet 90 feet

APPEARS: DIAGONALMIDGROUND FOREGROUND

APPEARS: DIAGONALBACKGROUND

APPEARS: PARALLEL

241 feet2,625 feetvaries

CELL T1A-2WAYPOINT 8

Panorama Extent

500’ 1000’ 2000’ 5000’

= Observation Point

= Foreground Berm

= Midground Berm

= Background Berm

B A C K G R O U N D

Distance from viewer: 546-1,298 feetDirection of view: 353-50°Perceived alignment: Diagonal - Parallel

M I D G R O U N DDistance from viewer: + 1,298 feetDirection of view: 50-83°Perceived alignment: Parallel

Perception of continuous horizon is interrupted by mid-cell berms

Distance from viewer: 453-546 feetDirection of view: 338-353°Perceived alignment: Diagonal

FOREGROUND

Midground Radius

Background Radius

BACKGROUNDMIDGROUNDFOREGROUND

varies546 feet 1,298 feet453 feet 546 feet 1,298 feet

APPEARS: DIAGONAL APPEARS: DIAGONAL-PARALLEL APPEARS: PARALLEL

CELL T1A-2WAYPOINT 8 453 feet

CELL T1A-2WAYPOINT 8 546 feet

CELL T1A-2WAYPOINT 8 1,298 feet

CELL T3NEWAYPOINT 17 1,969 feet

CELL T29-3 WAYPOINT 27 90 feet

CELL T29-3WAYPOINT 27 2,625 feet

CELL T29-3WAYPOINT 30 942

CELL T29-2WAYPOINT 32 2,598 feet

CELL T4-5WAYPOINT 20 487 feet



100’

200’

300’

400’

500’

600’

700’

800’

900’

1000’

1100’

1200’

1300’

1400’

1500’

1600’

1700’

1800’

1900’

2000’

2100’

2200’

2300’

2400’

2500’

2600’

2700’

2800’

Mid- and foreground appears closer when a water plane is behind the berm, describing the contours of the berm

Mid- and foreground appears further when an earth plane is behind the berm pushing back the visual �eld

“Background” �eld occurs sooner when there is a earth plane behind the berm


91

Perceptual analysis of several locations on site lead to the conclusion that distance is not the only controllable variable in achieving a “background” berm. although rip-rap textures change consistently over distance, a berm is discerned as an independent object by its contours, which can be described by a number of means.

lily KerriGan hiGUChi analysis & BaCm GUidelines

241 feet2,625 feet 90 feet

APPEARS: DIAGONALMIDGROUND FOREGROUND

APPEARS: DIAGONALBACKGROUND

APPEARS: PARALLEL

241 feet2,625 feetvaries

BACKGROUNDMIDGROUNDFOREGROUND

varies546 feet 1,298 feet453 feet 546 feet 1,298 feet

APPEARS: DIAGONAL APPEARS: DIAGONAL-PARALLEL APPEARS: PARALLEL

A n A l y s i s M e t h o d o l o g yBerMs were evAluAted on-site According to the definitions Be-low. PlAces on site thAt Achieved this criteriA were MArked on A gPs unit, And the direction of lines of sight were noted And recorded on A coMPAss.

lAter, lines of sight were re-creAted using gPs wAyPoints, coMPAss reAdings, And visuAl MArkers to MeAsure distAnces of the BerMs froM the viewer. Foreground: The individual stones of the rip-rap used as berm siding can be discerned; berm is seen as independent object from its background.

Midground: The individual stones of the rip-rap cannot be discerned, and instead is perceived as a texture; berm is seen as independent object from its background.

Background: The individual stones of the rip-rap cannot be discerned; berm is not perceived as independent object from its background.

KEY

COLOR

Individual Stones

Texture

Monotone, or almost monotone

MATERIALITY

BACKGROUND PLANE

Water

Ground

No Plane visible


92 lily KerriGanhiGUChi analysis & BaCm GUidelines

130°120°110° 140° 150°100°90°80°70°60°50°40°30°20°10°0°350°340°

FOREGROUNDMIDGROUNDBACKGROUND

Background-midground threshold is met, yet still perceived as background.

Distances vary in background, but appears as continuous horizon line to viewer

CELL T29-3WAYPOINT 27

Mid-cell berm visibility �uctuates with it’s height above water level and con-trast to mountain re�ection

90 feet171 feet241 feet

457 feet

2,098 feet

4,772 feet5,210 feet

5,587 feet

5,004 feet

4,191 feet

2,653 feet

4,003 feet

2,315 feet2,108 feet1,975 feet1,915 feet1,900 feet2,001 feet

2,131 feet2,134 feet2,300 feet

1,242 feet1,068 feet928 feet878 feet

845 feet

845 feet861 feet896 feet1,011 feet1,128 feet1,318 feet

1,628 feet

CELL T1A-2WAYPOINT 8

350°340° 0° 10° 20° 30° 40° 50° 60° 70° 80° 90° 100°

Mid-cell berm truncates view, perceived as boundary of cell

Distance of cell boundary continues to 7,436 feet

Exponentially diminishing lines are perceived as gradual

MIDGROUNDFOREGROUND BACKGROUND

1,250 feet 1,360 feet 1,474 feet

419 feet 509 feet 600 feet767 feet

869 feet 963 feet 1,081 feet

1,298 feet

1,689 feet

2,500 feet

5,283 feet

5,728 feet

6,620 feet

Perceived distAnce vs. ActuAl distAnce


93

By comparing perceived distances (photographic panoramas) to diagrams indicating the distance of the berm from the viewer, it is apparent that the perception of distance on the lake bed is affected by context. Generally, the illusion of great depth happens at shorter distances when the patterned lake bed floor is behind the berm.


80°70°60°50°40°30°20°10°0°350°340°330°320°310°300°290°

CELL T3NEWAYPOINT 17

BACKGROUND

Equipment on opposite berm

destroys illusion of depth

MIDGROUND

Appears as background after equipment

Size of equipment implies background, but bright green line of managed veg asserts presenceof background plane

Midground threshold is met but not perceived. No managed veg or water to describe contours of berm; no equpment as landmark1,440 feet 1,391 feet 1,375 feet 1,448 feet


1,961 feet

1,969 feet

2,398 feet


2,534 feet 2,456 feet 2,443 feet 2,510 feet

2,159 feet

1,627 feet 1,621 feet

1 2 3 4

3 41 2


94

a distance of 2,600 feet from viewer to berm is recommended as a prime distance to create the illusion of extreme depth (where the berm blends into the horizon line). at this distance, the object of the berm is barely discernable, even with shallow flooding behind it. irregular berms are not perceived at this distance.

lily KerriGanhiGUChi analysis & BaCm GUidelines

0 250’ 750’ 1,250’

2,600’ minimum

At this distance, even irregular berms will appear as an even horizon line

Line of Sight to Inyo Mountains

*NTS: Vertical exaggerated

Create a 2600’ corridor of shallow flooding along the Mainline at opportune moments to view the Inyo Mountains. Shallow flooding is used as a background plane.

1. DISTANCE OF OBJECTS > PICTURESQUE


95

this design guideline imitates the phenomena noted in analysis of the illusion of depth when the berms contours are not defined. a multi-colored gravel plane is placed behind the berm and disruptive coloration is utilized to blend the closer berm into this background plane.


0 250’ 750’ 1,250’

1,200’ of shallow �ooding

Irregular berm in camou�aged into background plane

Basalt

Brown-colored, or mix

Dolomite

SORTED GRAVEL:

Create a 1,200’ corrdior of shallow flooding along the Mainline at opportune moments. The concept of ‘disruptive coloration’ (method of camouflage) is employed on the distant berm and background plane.

2. MEgA-FlAgE > PICTURESQUE

Horizontal lines and patterns formed by the Inyo Mountains are imitated in the gravel Mega-flage design

Mainline

1,200’ shallow �ood Mega-�age

A buffer of shallow flooding is created around the Mainline to create a continuously “picturesque” experience

Three colors of sorted gravel from nearby mines is used to create a varied horizontal perceptual plane


96

Raw data is analyzed to discover perceptual differences in aspects of viewing managed vegetation. Color becomes the most important factor in viewing this type of vegetation; other factors analyzed include texture visibility, distance from viewer to vegetation, and percentage of view that is vegetated.

jessiCa KosTosKyhiGUChi analysis & BaCm GUidelines


97

Conclusions of perceptual analysis for managed vegetation show that the effects of color depend largely on the color of materials surrounding the vegetation. each type of material is assessed in terms of its potential impact when adjacent to vegetation.

jessiCa KosTosKy hiGUChi analysis & BaCm GUidelines


98 jessiCa KosTosKyhiGUChi analysis & BaCm GUidelines

this analysis examines the effect of changing light over the course of a day on Owens Lake. it also compares the differences in shadow visible during these times of day depending on the orientation of the viewer in relationship to the position of the sun.


99

Conclusions based on analysis of light and shadow focus on how each variable affects the impact of texture, shadow, or color in a scene.

jessiCa KosTosKy hiGUChi analysis & BaCm GUidelines


100

Row geometry and vegetation diversity is explored for possible ways to modify existing managed vegetation that would positively impact water use, habitat, perception, and operations.

jessiCa KosTosKyhiGUChi analysis & BaCm GUidelines


101jessiCa KosTosKy hiGUChi analysis & BaCm GUidelines

a proposed BaCM redesign for managed vegetation would use broad vegetated beds in geometric patterns that echo local petroglyphs. wide spacing allows for less use of water and elevated beds create opportunity for color adjacency to sky, mountains, and other materials. Habitat is enhanced by increased plant diversity and created edges.


102

dust control measures at Owens Lake are seasonal, operating from October to June. shallow Flooding is only used at those times, for the remainder of the year, the lake takes the appearance of a soil bed or a salt crust formation.

jeanneTTe pUlniKhiGUChi analysis & BaCm GUidelines

EXISTING EDGE CONDITIONS

Soil Edge Gravel Edge Rip Rap Edge

Existing Site Condition Photos 9/18/11

Soil Edges are found in earlier phases of dust control where rip rap was not used. This creates a subtle edge between road and water.

Gravel is used along edges throughout the lake, some areas use more gravel than rip rap. Fine textures and colors in gravel can create an intricate edge.

Rip rap use along shallow flood cells creates a distinct boundary between road and water and provides habitat for a variety of species.

SHALLOW FLOODING AND EDGES: BACM DESIGN GUIDELINESOwens Lake Studio Fall 2011 Jeannette Pulnik

Edges along berms and roads bind Owens Lake together and create defining spaces in the vast landscape. An opportunity exists to transform these indistinct boundaries into engaging scenic edges along the lake.

Why are Edges important? Edges along shallow flood cells define the boundary between road and water, where people can and can’t walk and where people can and can’t drive. Edge material along water can also provide diversity of habitat for a variety of wildlife. Most importantly, developing and extending edges into wider, larger areas can create more distinct boundaries and reduce water use inside the cell.

Function of Edges Shallow flood cells are contained by berms and the mainline road. Berm and road slopes are typically armored with rip rap rock to protect from wave erosion. Average berm and road slopes are 1/3. Ponded Cells typically have more extensive use of rip rap and more distinct edge definition than sheet flood cells, due to the increased water depth. All edges in new phases of dust control will be equipped with rip rap to protect from water erosion.

View of Existing edge condition from road shoulder

Perspective with Shallow Flooding

A combination of materials such as rip rap and small gravel could provide more distinction and interest

There is nothing to attract your eye between the road shoulder and the horizon

Existing edge provides some boundary definition when cell is full


103jeanneTTe pUlniK hiGUChi analysis & BaCm GUidelines

Existing Edge Materials

View of Existing edge condition from road shoulder Perspective with Salt Crust

View of Existing edge condition from road shoulder Perspective with Soil

Fine textures in gravel and soil

Sculptural textured soil

Rip rap separates road from red salt pool

Dark gravel separates road from red salt pool

Dark and light gravel found adjacent to each other

Lake looks like a seamless expanse

No distinction between edge and dry celll outside of dust control

Salt crust draws attention away from edge into the midground

Lacks definition and sense of boundary

Outside of dust control season the existing edge blends into the soil and salt crust in cell


104 jeanneTTe pUlniKhiGUChi analysis & BaCm GUidelines

Perspective View 100’ Horizontal Bands Spaced 100’ Apart

FORM STUDIES


Value Range: No Value Minimal Value Adequate Value Optimal Value

Values: Aesthetics/ View Looks like a body of water, creates an interesting pattern Edge Definition Width creates a more distinct edge Habitat Value Creates “bands” for habitat, shorebirds like variety of rock size Operations Water savings, increased rock use

The studies below experiment with different forms, widths and spacing of edges, to reveal an optimal edge condition. The different studies explore how changes in form, width and pattern affect their associated aesthet-ics, habitat value, edge definition and operational values. Each study is classified into a category based on it’s associated values.

Attractive, Engaging and Sustainable

Values: Aesthetics/ View Looks like a body of water, creates an interesting pattern Edge Definition Width creates a more distinct edge Habitat Value Creates “bands” for habitat, shorebirds like variety of rock size Operations More water savings, increased rock use

100’ typ.

100’ typ.

25’

Perspective View 25’ Serpentine Band

Interesting & Accommodating

Values: Aesthetics/ View Looks like a body of water , Creates an interesting pattern Edge Definition Creates edge definition in an interesting way Habitat Value Creates “bands” for habitat, shorebirds like variety of rock size Operations Water savings, increased rock use

Perspective View 50’ Horizontal Band

Values: Aesthetics/ View Looks like a body of water Edge Definition Creates solid edge definition Habitat Value Creates “bands” for habitat, shorebirds like variety of rock size Operations Water savings, increased rock use

50’


Values: Aesthetics/ View: + looks like a body of water Edge Definition: ++ width creates a more distinct edge Habitat Value: ++ creates “bands” for habitat, shorebirds like variety of rock size Operations: + water savings, increased rock use

100’




Intrigue Over Function

Values: Aesthetics/ View Looks like a body of water , creates interesting pattern Edge Definition Creates a series of thin edges Habitat Value Creates “bands” for habitat Operations: Minimal water savings, less rock use

10’ typ.

Perspective View 25’x 25’ Checkerboard Pattern Spaced 25’

Values: Aesthetics/ View Looks like a body of water , creates an interesting pattern Edge Definition Does not create solid edge definition Habitat Value Creates “pads” for habitat Operations Minimal water savings, less rock use

10’ typ.25’ typ.

25’ typ.

50’ typ.

Perspective View 25’ x50’ Vertical Bands Spaced 25’ Apart

Values: Aesthetics/ View Looks like a body of water Edge Definition Creates a boundary perpendicular to the mainline Habitat Value Creates “bands” for habitat Operations Water savings, increased rock use, another rip rap edge may have to be intsalled parallel to the mainline

25’ typ.

250’ typ.

Practical but Sparse


Values: Aesthetics/ View Starts to look like a mas of rocks, less like a body of water Edge Definition Increased width creates a very large edge Habitat Value Creates wide “bands” for habitat Operations More water savings, increased rock use


Values: Aesthetics/ View Looks like a mass of rocks Edge Definition Increased width turns edge into a mass Habitat Value Creates wide “bands” for habitat, shorebirds like variety in rock size Operations Most water savings, most rock use

500’ typ.


106

the BaCM designs above are based on the edge studies that created the best overall combination of values. these BaCM designs create an optimal com-bination of gravel and shallow flooding to achieve water savings, edge defini-tion, habitat area and beautiful view of Owens Lake.

jeanneTTe pUlniKhiGUChi analysis & BaCm GUidelines

Year Round Interest, Beauty and Habitat BACM DESIGNS

50’ typ.

50’ typ.

50’ Horizontal Rip Rap and Gravel Edges Spaced 50’ Apart

Values: Aesthetics/ View Looks like a body of water, creates interesting pattern Edge Definition Creates interesting edge definition Habitat Value Creates “bands” for habitat, shorebirds like the variety of rock size and adjacent water Operations Increased water savings, increased rock use

100’ typ.

100’

100’ Horizontal Bands Spaced 100’ Apart

Values: Aesthetics/ View Looks like a body of water, interesting pattern Edge Definition Creates interesting edge definition Habitat Value Creates “bads” for habitat, shorebirds like the variety of rock size and adjacent water Operations Increased water savings, increased rock use

50’ Horizontal Rip Rap and Gravel Edges spaced 50’ apart Perspective with Soil

50’ Horizontal Rip Rap and Gravel Edges spaced 50’ apart Perspective with Salt Crust

20’ 1/3 50’ typ. 50’ typ. N

Section Cut through cell with 50’ horizontal bands Scale 1:20

Plan view of T 26 cell with 50’ horizontal bands Scale 1: 2,000

Gravel color gradient as shown in perspective

3’ 50’ typ.

Mainline Location

Value Range: No Value Minimal Value Adequate Value Optimal Value

100’ Horizontal Rip Rap and Gravel Edges spaced 100’ apart Perspective with Soil

100’ Horizontal Rip Rap and Gravel Edges spaced 100’ apart Perspective with Salt Crust

20’ 1/3 100’ typ 100’ typ

Section Cut through cell with 50’ horizontal bands Scale 1:20

N Plan view of T 26 cell with 50’ horizontal bands Scale 1: 2,000

Gravel color gradient as shown in perspective

Mainline Location


107

a variety of edge conditions exist at Owens Lake, some intriguing, some bor-ing. this study documents the different colors, textures and materials which compose edges and create interest.

jeanneTTe pUlniK hiGUChi analysis & BaCm GUidelines

Owens Lake Studio Fall 2011 Jeannette Pulnik

HIGUCHI ANALYSIS: COMPOSITION OF EDGES AT OWENS LAKE

Bold Color & Fine Texture

Photo from above looking Edge Condition A

Texture &

Color

Edge A

EDGE COMPOSITIONS

A1

A1A2

A3

Texture

Edge Distinct Areas Defining Qualities

Color

Subtle Textue & ShadowEdge B

Photo from above looking Edge Condition B

Edge

B1

B2

B3

Distinct Areas Defining Qualities

Texture &

Texture &

Gradient of Shadow & Texture Edge C

Photo from above looking Edge Condition C

Edge

B3

C1

C2

C3

Shadow

Texture & Shadow

Texture &

Distinct Areas Defining Qualities

Balanced Color & Texture Edge D

Photo from above looking Edge Condition D

D2

D3

D4

D1

Color Color

Texture & Shadow

Color Color &

Edge Distinct Areas Defining Qualities

Photo from above looking Edge Condition E

E2

E3

E4

E1

Color Color

Shadow

Shadow

Texture &

Divided Color & Texture Edge EEdge Distinct Areas Defining Qualities


108 jeanneTTe pUlniKhiGUChi analysis & BaCm GUidelines

Edge C

B1

SUBTLE TEXTURE & SHADOW Edge B

BOLD COLOR & FINE TEXTUREEdge A

GRADIENT OF SHADOW & TEXTURE

B2B3

EDGE COMPOSITIONS

A1

A2

A3

Texture in areas 1 & 2 create unity

Color isolates area 3 and dominates the composition

Texture in areas 1 & 3 create unity in the composition and creates a sense of balance

C1

C2

C3

Texture & decrease

as Shadows increse, creates a smooth transition

Shadow divides composition

BALANCED COLOR & TEXTUREEdge D

D1

D2

D3

D4

Texture unifies areas 2 & 3

DIVIDED COLOR & TEXTUREEdge E

Color unifies areas 1 & 4 and binds together the composition

E1

E2

E3

E4

Color & texture creates balance in areas 1 & 4 to offest division


110

Visual depiction of the change in units, color, and density of vegetation at different distances.

CaTe rillahiGUChi analysis

Distance0’

Units

Color

Density

Site 1- Looking Northeast

100’ 200’ 300’ 400’

500’

600’

Distance0’

Units

Color

Density

Site 2- Looking West

100’ 300’200’

Distance0’

Units

Color

Density

Site 3- Looking Southwest100’ 300’ 400’200’

UNIT/COLOR/DENSITY OF VEGETATION: Owens Lake

66’

149’ 353’

29’

87’120’

35’

77’225’

Legend

Hard Transition

Soft Transition

500’

Higuchi Analysis DefinitionsUnit Individual: Individual elements of the vegetation is visible Clumping: Outline of the vegetation is visible but not the individual elements Mass: Vegetation appears as a single entity with minimally distinguishing borders

Color Overall color of the vegetation

Density Sparse: More ground is visible than the vegetation Clustered: Equal amount of ground and vegetation is visible Dense: No ground visible

Yellow

Individual

NTS

Individual Mass Mass with clumping

Primarily green Brown Yellowish/green

Sparse Clustered Dense

Clumping

Green with brown Brown

Sparse Dense

Individual

Clumping Mass

Yellowish/green Brown Green

Sparse Dense

5

1

2

3

4

6 7

8

Site Map

Mass


111CaTe rilla hiGUChi analysis

34’

71’312’

18’

90’285’

24’

287’506’

Distance0’

Units

Color

Density

Site 4- Looking South300’ 400’200’100’

Distance0’

Units

Color

Density

Site 5- Looking South

300’ 400’200’100’

Distance0’

Units

Color

Density

Site 6- Looking North300’ 400’200’100’ 500’ 600’

500’

Individual Clumping Mass- swaths of vegetation

Green with tan tips Green Light green

Sparse

Clustered

Dense Sparse

Sparse Dense

Individual Clumping Mass

Gray/Green Yellowish/green Tan


Green with yellow tones Reddish brown Tan

Clustered Dense Clustered Dense


112

Visual depiction of the change in units, color, and density of vegetation at different distances.

CaTe rillahiGUChi analysis

34’

71’312’

18’

90’285’

24’

287’506’

Distance0’

Units

Color

Density

Site 4- Looking South300’ 400’200’100’

Distance0’

Units

Color

Density

Site 5- Looking South

300’ 400’200’100’

Distance0’

Units

Color

Density

Site 6- Looking North300’ 400’200’100’ 500’ 600’

500’

Individual Clumping Mass- swaths of vegetation

Green with tan tips Green Light green

Sparse

Clustered

Dense Sparse

Sparse Dense


Gray/Green Yellowish/green Tan


Green with yellow tones Reddish brown Tan

Clustered Dense Clustered Dense


113

Visual display of frequently occurring vegetation in the different categories of observation and design recommendations.

CaTe rilla hiGUChi analysis

Design RecommendationsForeground Recommendations Sparse vegetation is more apparent in the foreground and provides for better visibility of the individual units of the plant. Choose plants that have unique or visibly interesting features. If the start of vegetation is far from the pedestrian, by planting the first section of vegetation on a raised berm the individual units of the vegetation becomes more apparent. Incorporate taller vegetation as it catches the eye and makes the vegetation look more abundant.

Midground Recommendations Low vegetation should be planted in swaths of color. This results in an overall color addition to the landscape. The color addition of a single plant is not as effective. Include a variety of plant colors because individual plant color is more visible. Incorporate vegetation that has an interesting top structure as it is more visible than the base.

Distance Data

Tall flowing green grass

Low bushy ground cover

Tall flowing brown grass


Short flowing green grass with tan tops

Short flowing green grass with tan tops



SaltgrassDistichlis spicata


Lycium & Saltgrass Distichlis spicata

Lycium & Saltgrass Distichlis spicata



Cattails Typha

Perry’s SaltbushAtriplex parryi




SaltgrassDistichlis spicata & Perry’s SaltbushAtriplex parryi











Yellow Mustard Brasicca compestriss




BackgroundMidgroundForeground

Legend700’

100’

200’

300’

400’

500’

600’

0’

Cattails Typha



UnitsConclusions

ForegroundIndividual units visible32.5’ from viewer

MidgroundOutline of individual plants visible294’ from viewer

Background Mass of plants visible 949’ from viewer

ColorForegroundPrimary color visible 91’ from viewer

MidgroundPrimary color visible 258.5’ from viewer

Background Primary color visible 462’ from viewer

DensityForegroundPrimarily sparse80’ from viewer

MidgroundPrimarily clustered 183’ from viewer

Background Recommendations Incorporate plants with height in the background to incorporate variation within the view and allow for differentiation of species. The differentiation in height allows for more plant detail to be visible from a distance. Include tall vegetation in the background to help frame an area. Low vegetation should be planted in swaths of color to be more visible from a distance. Low vegetation that is behind taller vegetation is not visible.

General Recommendations For linear plantings, consider the row width, and material used between rows because it continues to be visible into the background. If vegetation cannot cover the entire area, planting vegetation in groups is more visually appealing and breaks up the space more effectively than sparse scattered vegetation over the entire area.

Background Primarily dense435.75’ from viewer

DensityColor

Units

The average distance from the viewer of the foreground, midground, and background for the units, color, and density of vegetation.

BackgroundMidgroundForeground

Legend

Between 225’ and 675’

Between 150’ and 225’

Less than 100’

Average Distance of Foreground, Midground, and Background

The percentage of what is seen by the eye at one time that is the foreground, midground, background. The features that are in the foreground dominates the view and is the highest percentage of what is seen.

38.75%

3.13%3.75%

53.13%

Perception Percentages


114

Reflections are one of the most visible and attractive features of Owens Lake which are seen on the shallow flood ponds. this page highlights the point at which the reflection starts and the pond begins to take on the color of the sky, as it appears to the viewer.

janeT yanGhiGUChi analysis & BaCm GUidelines


115

Owens Lake is a unique site that contains many of the qualities that allow for ideal reflections, including stunning views of the sierra nevadas, inyo, and Coso mountains.

janeT yanG hiGUChi analysis & BaCm GUidelines


116

what the viewer sees and their perception of the size of the pond depends on the shape of the pond and where they are standing. Berms also play a large role, as they can interrupt the viewer’s cone of vision and make ponds appear smaller than they are.



117

the ideal pond would be a half circle shape one mile in length. designing within the suggested BaCM principles here allows for gravel and vegetation to be strategically placed in or out of the viewer’s sight.



118

this dynamic diorama shows how a berm placed within the viewer’s cone of vision can limit the reflection of nearby mountains.



119

in this scenario, the berm has been removed to show a complete reflection. the water was also colored to show how reflection affects the perception of color change.


owens lake studio 2011

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