https://lowheat.org Low Heat Thu, 27 Dec 2018 21:34:13 +0000 https://lowheat.org en https://lowheat.org/Home-Page Fri, 02 Nov 2018 21:35:48 +0000 Low Heat https://lowheat.org/Home-Page Low heat is a lab whose members engage in research, speculative design, and experimentation in the built environment. The low heat blog is an archive for research into healthy, sustainable, living carbon building materials that require very low fossil fuel energy to manufacture. Our goal is to increase availability and public access to low heat materials by helping to design clean economies, build-to-stock products, and standards for corporate accountability. https://lowheat.org/Paper-Park Fri, 02 Nov 2018 21:35:46 +0000 Low Heat https://lowheat.org/Paper-Park Paper Park Takoma Park, Maryland Paper Park is an installation project on the site of a “paper street” in Takoma Park, Maryland. Paper streets are found throughout the United States and are described as vacant lands that were originally planned to be streets on paper, but were never actually constructed. Local governments typically own these vacant properties but are often not aware of them until they become a problem. Paper streets are sites where trash is illegally dumped and where overgrowth of vegetation compromises unobscured views and safety, especially when the paper streets are located in residential neighborhoods. Our client for Paper Park is the City of Takoma Park, who we have been collaborating with since 2014 when we received a National Science Foundation ADVANCE grant through the University of Maryland to do historical research to identify the paper streets in Takoma Park and propose design options for transitioning them from a problem to an amenity for the city. Paper Park is located along Cockerville Avenue. It has a few standing dead trees that mark the site like totems and make it visible from a distance in many directions. The paper street represents one of the lowest elevations within a creek valley. Walking on a sidewalk that wraps the lip of the valley and the residential block affords dramatic aerial views of the Paper Park below. The Cockerville paper street is overgrown during the summer by chest height vegetation, including many invasive plant species. The Paper Park installation there is designed to reduce maintenance and increase overall safety by creating a woven mat that suppresses the growth of plants in the spring and creates comfortable pathways for visitors to the site. The mat is woven with grasses and was constructed as a bird might construct a nest, by piecing together bits and strands until a thickened enclosure is formed. We researched and sourced local materials that were biodegradable, non-toxic and had low embodied energy and used them to make study models. We also studied traditional techniques used for binding and weaving mats. Although the models used materials that did not exactly fit the idea of “low heat” because they were ordered off Amazon and sourced from the far east, the final design is more careful about local sourcing and identifying the plant species used. Two varieties of willow, hemp rope, and dried grasses dyed with the root of turmeric plant to make a bright yellow color will be woven into the final mat construction. &nbsp;The intended audience for Paper Park is planning offices throughout the Mid-Atlantic who are facing the same maintenance challenges and looking for no-pesticide, low-fossil fuels options. In this way, Paper Park is part of larger converstions about “clean economies” and climate change. The Paper Park serves as prototype and research station for urban landscape maintenance strategies. The end-use for Paper Park is also to provide a well-maintained, visually dynamic open space for the local residential community.&nbsp;*Thank you to University of Maryland Office of Sustainability for supporting this project with a Sustainability mini-grant. &nbsp;<img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/5c791cb8eae0cb8da0e01690328c45e2474b4f3cd3ddcfc68f456b2c5ef76cb9/P1050109.JPG" data-mid="41707762" border="0" src="https://freight.cargo.site/w/1000/i/5c791cb8eae0cb8da0e01690328c45e2474b4f3cd3ddcfc68f456b2c5ef76cb9/P1050109.JPG" /> Test results in! The mat has blocked weed growth without the use of herbicides or cutting by fossil fuel driven weedwackers. The turmeric dye was washed away during the winter season. It left behind a tough and sinuous, yet silky to the touch phragmites. Detail of walking path,&nbsp; early summer 2019. <img width="5310" height="4000" width_o="5310" height_o="4000" data-src="https://freight.cargo.site/t/original/i/c41e11e81fea81f62053e3d4c71a406800a97fe6a17bd61df917b850959ca8f9/mat_studio2.jpg" data-mid="30804350" border="0" src="https://freight.cargo.site/w/1000/i/c41e11e81fea81f62053e3d4c71a406800a97fe6a17bd61df917b850959ca8f9/mat_studio2.jpg" />Weaving looms in studio at University of Maryland, 12-2018 <img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/e486ee24e4a6248bd6709f3358846c2c27ee68c0b7d15a3012aec173ce80ed05/mat_paper_park.jpg" data-mid="30804349" border="0" src="https://freight.cargo.site/w/1000/i/e486ee24e4a6248bd6709f3358846c2c27ee68c0b7d15a3012aec173ce80ed05/mat_paper_park.jpg" /> Constructing installation on site, 12-2018 <img width="5271" height="4000" width_o="5271" height_o="4000" data-src="https://freight.cargo.site/t/original/i/17810d908ea15ba7b738c4593ba88f48b15a4cc8c51f9e0350fb02773bf50b6c/mat4.jpg" data-mid="30804353" border="0" src="https://freight.cargo.site/w/1000/i/17810d908ea15ba7b738c4593ba88f48b15a4cc8c51f9e0350fb02773bf50b6c/mat4.jpg" />Panels hanging in studio at University of Maryland during construction, 12-2018 <img width="1649" height="888" width_o="1649" height_o="888" data-src="https://freight.cargo.site/t/original/i/24b135000f6d3edcec9570925e19fcccfb846147a6a07ae7f52afe7020070701/Cromwell_sketch.jpg" data-mid="27671925" border="0" src="https://freight.cargo.site/w/1000/i/24b135000f6d3edcec9570925e19fcccfb846147a6a07ae7f52afe7020070701/Cromwell_sketch.jpg" />Design sketch, Ellie Cromwell, 09-2018 <img width="2958" height="2048" width_o="2958" height_o="2048" data-src="https://freight.cargo.site/t/original/i/ddb5f034e06c9fd9ff810069c4486adb767a79e00b5441be046ecace3ae8fbbd/CRW_5874.jpg" data-mid="27671926" border="0" src="https://freight.cargo.site/w/1000/i/ddb5f034e06c9fd9ff810069c4486adb767a79e00b5441be046ecace3ae8fbbd/CRW_5874.jpg" />Low heat material model 1, Basswood sticks (Tilia americana), hemp rope (Cannabis sativa L. subsp. sativa var. sativa), Green Floral Crafts 40" Tall Dried Grasses (Dried Foliage Leaves), Pack of 75-3-tone Brown from Thailand, purchased on Amazon.com (species unknown), Anastasiya Volkava, 10-2018<img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/8169c4ff1c38b4b511cf451bda706141510f18d0440e091175c7277f9fed1389/CRW_5963_sml.jpg" data-mid="28580838" border="0" src="https://freight.cargo.site/w/1000/i/8169c4ff1c38b4b511cf451bda706141510f18d0440e091175c7277f9fed1389/CRW_5963_sml.jpg" />Low heat material binding detail, Phragmites stems (Phragmites australis), hemp rope (Cannabis sativa L. subsp. sativa var. sativa), turmeric for hand-dyeing (Curcuma domestica), Ruth Shatkay and Anastasiya Volkava, 11-2018 <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/70d66d58f9c0a0a7fa03559f84a18d3bc93c59bf39fccb9203bb3631672a4db7/CRW_5969_sml.jpg" data-mid="28580844" border="0" src="https://freight.cargo.site/w/1000/i/70d66d58f9c0a0a7fa03559f84a18d3bc93c59bf39fccb9203bb3631672a4db7/CRW_5969_sml.jpg" /> Low heat material binding detail, Phragmites stems (Phragmites australis), hemp rope (Cannabis sativa L. subsp. sativa var. sativa), turmeric for hand-dyeing (Curcuma domestica), Ruth Shatkay and Anastasiya Volkava, 11-2018 <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/ec68015d6d464b68dd1468bc0e23bb019d903126d4114be7cee72c3c940320da/mat_detail.jpg" data-mid="30804348" border="0" src="https://freight.cargo.site/w/1000/i/ec68015d6d464b68dd1468bc0e23bb019d903126d4114be7cee72c3c940320da/mat_detail.jpg" />Low heat material binding detail, Phragmites stems (Phragmites australis), hemp rope (Cannabis sativa L. subsp. sativa var. sativa), turmeric for hand-dyeing (Curcuma domestica), Ruth Shatkay and Anastasiya Volkava, 11-2018 <img width="720" height="960" width_o="720" height_o="960" data-src="https://freight.cargo.site/t/original/i/782de8a2e448c16324209c514558f24e768ab8928928412b1f14c9fcc6f5a4bc/LHL-Detail-4.JPG" data-mid="30803232" border="0" data-scale="100" src="https://freight.cargo.site/w/720/i/782de8a2e448c16324209c514558f24e768ab8928928412b1f14c9fcc6f5a4bc/LHL-Detail-4.JPG" />Low heat connection detail, Bamboo (Phyllostachys aurea), hemp rope (Cannabis sativa L. subsp. sativa var. sativa), Ian Eichensehr, 10-2018<img width="1533" height="5028" width_o="1533" height_o="5028" data-src="https://freight.cargo.site/t/original/i/badf991f90aabea05d11ada66da5e81a9800171a97447566de972409f062e994/Weave3.jpg" data-mid="28113273" border="0" src="https://freight.cargo.site/w/1000/i/badf991f90aabea05d11ada66da5e81a9800171a97447566de972409f062e994/Weave3.jpg" />Woven paper plan 1, Ruth Shatkay, 11-2018&nbsp; <img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/0538172d5aac1e72d0b910b1f93f468c9fe36fa0e6ae877f43d3aaa729207362/mat.jpg" data-mid="30804351" border="0" src="https://freight.cargo.site/w/1000/i/0538172d5aac1e72d0b910b1f93f468c9fe36fa0e6ae877f43d3aaa729207362/mat.jpg" />Woven mat installed on site, from left to right undyed reeds (Phragmites australis), willow poles (Salix americana), turmeric dyed reeds (Phragmites australis), organic turmeric dyed hemp (Cannabis sativa) and&nbsp;(Curcuma domestica), 12-2018&nbsp; <img width="3590" height="2227" width_o="3590" height_o="2227" data-src="https://freight.cargo.site/t/original/i/605920c4c891a4e006aa73f56369bf2ab8b352b5783c29631fa0fcebc97ddd37/mat3.jpg" data-mid="30804352" border="0" src="https://freight.cargo.site/w/1000/i/605920c4c891a4e006aa73f56369bf2ab8b352b5783c29631fa0fcebc97ddd37/mat3.jpg" /><img width="1533" height="5028" width_o="1533" height_o="5028" data-src="https://freight.cargo.site/t/original/i/ba635a62e1f0615f01f925e725ffe45d40ff5d5b553a4ba9e9ad1436c1b7d093/Weave2.jpg" data-mid="28113272" border="0" src="https://freight.cargo.site/w/1000/i/ba635a62e1f0615f01f925e725ffe45d40ff5d5b553a4ba9e9ad1436c1b7d093/Weave2.jpg" /> Woven paper plan 2, Ruth Shatkay, 11-2018&nbsp;<img width="3072" height="2048" width_o="3072" height_o="2048" data-src="https://freight.cargo.site/t/original/i/ed973eb291a511e344abf7a4873a3cc00636c5c07c4ee9a4f9b59dc6071fbd9e/anastasiya_model1.jpg" data-mid="27671923" border="0" src="https://freight.cargo.site/w/1000/i/ed973eb291a511e344abf7a4873a3cc00636c5c07c4ee9a4f9b59dc6071fbd9e/anastasiya_model1.jpg" />Weaving model 1, paper, Anastasiya Volkava, 09-07-2018 <img width="3072" height="2048" width_o="3072" height_o="2048" data-src="https://freight.cargo.site/t/original/i/d4bed98bf0b65bccd1c855388e8adced12392cf5a4ee32f3f2d59f75f9f7e80a/anastasiya_model2.jpg" data-mid="27671924" border="0" src="https://freight.cargo.site/w/1000/i/d4bed98bf0b65bccd1c855388e8adced12392cf5a4ee32f3f2d59f75f9f7e80a/anastasiya_model2.jpg" />Weaving model 2, paper, Anastasiya Volkava, 09-2018 <img width="1500" height="1483" width_o="1500" height_o="1483" data-src="https://freight.cargo.site/t/original/i/2a6ce39684ed0c3938a0496e0bf494ff7d75d89e35262dca90fe684de44a894d/Inlet_Ruth.jpg" data-mid="27671927" border="0" src="https://freight.cargo.site/w/1000/i/2a6ce39684ed0c3938a0496e0bf494ff7d75d89e35262dca90fe684de44a894d/Inlet_Ruth.jpg" /> Inlet model, paper, Ruth Shatkay, 09-2018 <img width="2483" height="1302" width_o="2483" height_o="1302" data-src="https://freight.cargo.site/t/original/i/f1abb155a0e59718a44be8154037bb8ab53e845408d35a6faaad5e1c02ce8317/Fantanilla_detail.jpg" data-mid="28113478" border="0" src="https://freight.cargo.site/w/1000/i/f1abb155a0e59718a44be8154037bb8ab53e845408d35a6faaad5e1c02ce8317/Fantanilla_detail.jpg" />Low heat connection detail, Basswood sticks (Tilia americana), hemp rope (Cannabis sativa L. subsp. sativa var. sativa), Ty Fantanilla, 10-2018 <img width="1936" height="3072" width_o="1936" height_o="3072" data-src="https://freight.cargo.site/t/original/i/39bf9fcf64f5a3710b71672609c1ccf9cf68f1882c6a4668f17f7cef669cb202/loom_detail.jpg" data-mid="27671929" border="0" src="https://freight.cargo.site/w/1000/i/39bf9fcf64f5a3710b71672609c1ccf9cf68f1882c6a4668f17f7cef669cb202/loom_detail.jpg" />Low heat material loom 2 detail, Willow, Salix Americana (eriocephala x petiolaris), Forsythia founder-members (Forsythia suspensa and F. viridissima), jute rope (Corchorus olitorius), Anastasiya Volkava, Danielle Abe, Eleanore Cromwell, 10-2018 <img width="2048" height="3072" width_o="2048" height_o="3072" data-src="https://freight.cargo.site/t/original/i/55f72d90b7a1b683c8d9af1b37b1f97d557aa2854a47a833db505b10ca915e15/loom_detail2.jpg" data-mid="27671930" border="0" src="https://freight.cargo.site/w/1000/i/55f72d90b7a1b683c8d9af1b37b1f97d557aa2854a47a833db505b10ca915e15/loom_detail2.jpg" />Low heat material loom 2 detail, Willow, Salix Americana (eriocephala x petiolaris), Forsythia founder-members (Forsythia suspensa and F. viridissima), jute rope (Corchorus olitorius), Anastasiya Volkava, Danielle Abe, Eleanore Cromwell, 10-2018 <img width="1500" height="2094" width_o="1500" height_o="2094" data-src="https://freight.cargo.site/t/original/i/0dd597cb5ef789d4372228c1a3c5aa64f8fd9d45d5bc4caad14bca9b673ec5c1/loom_tumeric_detail.jpg" data-mid="27671931" border="0" src="https://freight.cargo.site/w/1000/i/0dd597cb5ef789d4372228c1a3c5aa64f8fd9d45d5bc4caad14bca9b673ec5c1/loom_tumeric_detail.jpg" /> Low heat material model loom 1, hemp rope (Cannabis sativa L. subsp. sativa var. sativa), Green Floral Crafts 40" Tall Dried Grasses (Dried Foliage Leaves), purchased on Amazon.com (species unknown), Anastasiya Volkava, Danielle Abe, Eleanore Cromwell, Ty Fonantilla, 10-2018 <img width="2112" height="1688" width_o="2112" height_o="1688" data-src="https://freight.cargo.site/t/original/i/9fcc00cb84e02efc948308fb6ef2bab960cfeac8796a927b18884f14dda03bc3/loom_turneric_whole.jpg" data-mid="27671932" border="0" src="https://freight.cargo.site/w/1000/i/9fcc00cb84e02efc948308fb6ef2bab960cfeac8796a927b18884f14dda03bc3/loom_turneric_whole.jpg" />Low heat material loom 1, hemp rope (Cannabis sativa L. subsp. sativa var. sativa), Green Floral Crafts 40" Tall Dried Grasses (Dried Foliage Leaves), purchased on Amazon.com (species unknown), Anastasiya Volkava, Danielle Abe, Eleanore Cromwell, Ty Fonantilla, 10-2018 <img width="2495" height="3160" width_o="2495" height_o="3160" data-src="https://freight.cargo.site/t/original/i/4e1f9a7d78a017e44b5ea12595535eba7348710b8baa19b409f12928daf4e44f/Paper_Park_plan.jpeg" data-mid="27671933" border="0" src="https://freight.cargo.site/w/1000/i/4e1f9a7d78a017e44b5ea12595535eba7348710b8baa19b409f12928daf4e44f/Paper_Park_plan.jpeg" /> Proposed site plan drawing and construction details, Jana VanderGoot, 10-2018 <img width="2217" height="1797" width_o="2217" height_o="1797" data-src="https://freight.cargo.site/t/original/i/3663882d2e276008c82718ee8cf2dec4c13ba21ac0d6d52f722de924f3713558/Pill_Hirsch.jpg" data-mid="27671934" border="0" src="https://freight.cargo.site/w/1000/i/3663882d2e276008c82718ee8cf2dec4c13ba21ac0d6d52f722de924f3713558/Pill_Hirsch.jpg" />Pill model, paper, Pat Hirsch, 09-2018 <img width="1500" height="1941" width_o="1500" height_o="1941" data-src="https://freight.cargo.site/t/original/i/3dd195bb34682633860907798ea7a8db404be779f9952c154384b77208c6ef80/Shatkay_paper.jpg" data-mid="27671935" border="0" src="https://freight.cargo.site/w/1000/i/3dd195bb34682633860907798ea7a8db404be779f9952c154384b77208c6ef80/Shatkay_paper.jpg" />Leaf and white paper, Ruth Shatkay, 09-2018 <img width="627" height="766" width_o="627" height_o="766" data-src="https://freight.cargo.site/t/original/i/4894e9fb7f94e0f539c913d59ece291c5549d55735dafc567da7e3636a3a1a5c/weave_Cromwell.jpg" data-mid="27671936" border="0" src="https://freight.cargo.site/w/627/i/4894e9fb7f94e0f539c913d59ece291c5549d55735dafc567da7e3636a3a1a5c/weave_Cromwell.jpg" />Low heat material model 2 detail, Basswood sticks (Tilia americana), dried Raffia Grasses, purchased on Amazon.com (species unknown), Ellie Cromwell, 10-2018 <img width="1500" height="1394" width_o="1500" height_o="1394" data-src="https://freight.cargo.site/t/original/i/79bad73ba885f014c71b171524e33e5229134a09e5cab34a4dded3177ca9af75/Weave_Ruth.jpg" data-mid="27671937" border="0" src="https://freight.cargo.site/w/1000/i/79bad73ba885f014c71b171524e33e5229134a09e5cab34a4dded3177ca9af75/Weave_Ruth.jpg" />Weave model, paper, Ruth Shatkay, 09-2018 <img width="581" height="766" width_o="581" height_o="766" data-src="https://freight.cargo.site/t/original/i/c78e2e247a48dd20503c0c92e3bc5e0b0c41cb65a63b6ce44264bbc0bc3c7803/weave2_Cromwell.jpg" data-mid="27671938" border="0" src="https://freight.cargo.site/w/581/i/c78e2e247a48dd20503c0c92e3bc5e0b0c41cb65a63b6ce44264bbc0bc3c7803/weave2_Cromwell.jpg" />Low heat material model 2 detail, Basswood sticks (Tilia americana), dried Raffia Grasses, purchased on Amazon.com (species unknown), Ellie Cromwell, 10-2018 <img width="789" height="579" width_o="789" height_o="579" data-src="https://freight.cargo.site/t/original/i/d0dbbec107683e128fa391070ac81cb10320e2d074a542c826f944d6e8068fe6/weave4_Cromwell.jpg" data-mid="27671940" border="0" src="https://freight.cargo.site/w/789/i/d0dbbec107683e128fa391070ac81cb10320e2d074a542c826f944d6e8068fe6/weave4_Cromwell.jpg" />Low heat material model 4, dried Raffia Grasses and reeds, purchased on Amazon.com (species unknown), Ellie Cromwell, 10-2018 <img width="1932" height="1610" width_o="1932" height_o="1610" data-src="https://freight.cargo.site/t/original/i/b1f1e985250b1c98a3d1604c14a4f096f82cafbe3b29d540a5e6244033551dd9/wholeloom.jpg" data-mid="27671941" border="0" src="https://freight.cargo.site/w/1000/i/b1f1e985250b1c98a3d1604c14a4f096f82cafbe3b29d540a5e6244033551dd9/wholeloom.jpg" />Low heat material model loom 2, Willow, Salix Americana (eriocephala x petiolaris), Forsythia founder-members (Forsythia suspensa and F. viridissima), jute rope (Corchorus olitorius), Anastasiya Volkava, Danielle Abe, Eleanore Cromwell, 10-2018 <img width="1500" height="1207" width_o="1500" height_o="1207" data-src="https://freight.cargo.site/t/original/i/749bfe30f3bb883bda60e143eef663e98df98a1f0138a88045a448e914f874b5/Tangle_Ruth.jpg" data-mid="27672106" border="0" src="https://freight.cargo.site/w/1000/i/749bfe30f3bb883bda60e143eef663e98df98a1f0138a88045a448e914f874b5/Tangle_Ruth.jpg" />Tangle model, paper, Ruth Shatkay, 09-2018 <img width="1012" height="638" width_o="1012" height_o="638" data-src="https://freight.cargo.site/t/original/i/e1aa4a1d1d7680cede083953d5e576bab09683471d52da050f5885beaf33d080/Cromwell_site1.jpg" data-mid="27672996" border="0" src="https://freight.cargo.site/w/1000/i/e1aa4a1d1d7680cede083953d5e576bab09683471d52da050f5885beaf33d080/Cromwell_site1.jpg" />Low heat material model 3 top view, Basswood sticks (Tilia americana), dried Raffia Grasses and reeds and jute burlap, purchased on Amazon.com (species unknown), Ellie Cromwell, 10-2018 <img width="870" height="647" width_o="870" height_o="647" data-src="https://freight.cargo.site/t/original/i/8eee2220759abc27457d28133cf9b08dc3610fed18624955b990cdf13dcfe9a7/Cromwell_site2.jpg" data-mid="27672997" border="0" src="https://freight.cargo.site/w/870/i/8eee2220759abc27457d28133cf9b08dc3610fed18624955b990cdf13dcfe9a7/Cromwell_site2.jpg" />Low heat material model 3 side view, Basswood sticks (Tilia americana), dried Raffia Grasses and reeds and jute burlap, purchased on Amazon.com (species unknown), Ellie Cromwell, 10-2018 <img width="1010" height="840" width_o="1010" height_o="840" data-src="https://freight.cargo.site/t/original/i/3419d766a44ca3159c781e33b7ccdea3c48ca8600fe974b09a93dcbe36006a40/Cromwell_test1weave.jpg" data-mid="27672998" border="0" src="https://freight.cargo.site/w/1000/i/3419d766a44ca3159c781e33b7ccdea3c48ca8600fe974b09a93dcbe36006a40/Cromwell_test1weave.jpg" />Low heat material model 1 top view, driedreedspurchased on Amazon.com (species unknown), Ellie Cromwell, 10-2018 https://lowheat.org/Health-Scores Sat, 03 Nov 2018 15:55:43 +0000 Low Heat https://lowheat.org/Health-Scores Health Scores: A Take Park Workshop Mattaponi, Maryland The creative work and performance associated with this project centers around a Take Part Workshop in Collective Creativity, planned for the 129-acres historic Bowie Estate and Mattaponi Retreat Center (MRC) site in Upper Marlboro, Maryland which is planned for the Fall 2019. Shared experiences in collective creativity are integral to Take Part Workshops. The Take Part Workshop process, developed by Lawrence Halprin and Associates Landscape Architects starting in the 1960s, is a powerful tool that elicits the active engagement of the community and stakeholders through a series of shared walks and creative works (called “scores”) on the development site. Scores include activities such as discussion, note taking, drawing, singing, and movement that enhance group inclusion and foster idea sharing. Halprin and Associates conducted Take Part Workshops to engage local communities and stakeholders in the design of well-known and well-loved places like the downtown mall in Charlottesville, Virginia and Sea Ranch, California. Mattaponi was purchased by Children’s National’s in 2018 to become a home for a consortium of fourteen residential camps and services for children with chronic health conditions including autism, sickle cell anemia, and type 1 diabetes. The Mattaponi site has a specific and conflicted history as a slave-holding estate.In addition, it is currently being farmed using agricultural methods that employ fertilizers and pesticides. Engaging the community perspective will allow the redevelopment design to be informed by a variety of different viewpoints and will prov ide a new framework for honoring the significant sociological and ecological factors that are a part of the site. The focus of the Take Part Workshop in Collective Creativity will be to explore how the land can promote both physical and psychological health. <img width="2400" height="1543" width_o="2400" height_o="1543" data-src="https://freight.cargo.site/t/original/i/e57f1a2f942b72bfc968692f6534d582f5d36a419905434168f820d0164edbb9/ARCH601_ExistingSitePlan_150_02-24-2019.jpg" data-mid="43802700" border="0" src="https://freight.cargo.site/w/1000/i/e57f1a2f942b72bfc968692f6534d582f5d36a419905434168f820d0164edbb9/ARCH601_ExistingSitePlan_150_02-24-2019.jpg" /> Site Plan Historic Bowie Estate and Mattaponi Retreat Center, drawing by University of Maryland ARCH 601 studio, 2019&nbsp;<img width="5100" height="3287" width_o="5100" height_o="3287" data-src="https://freight.cargo.site/t/original/i/d87eb9f59940cb889e5241e94f852b3c10187b1b412b0f69525b6e3b9a68022d/Mattaponi_aerial.jpg" data-mid="27670214" border="0" src="https://freight.cargo.site/w/1000/i/d87eb9f59940cb889e5241e94f852b3c10187b1b412b0f69525b6e3b9a68022d/Mattaponi_aerial.jpg" /> Google Earth 2017 image of 129-acres Historic Bowie Estate and Mattaponi Retreat Center Select BibliographyForman, Richard T.T., Land Mosaics: The Ecology of Landscapes and Regions, 1995. Halprin, Lawrence, and Jim Burns. Taking Part: A Workshop Approach to Collective Creativity. Cambridge: MIT Press, 1974. Halprin, Lawrence. The RSVP Cycles: Creative Processes in the Human Environment. New York: G. Braziller, 1970. https://lowheat.org/Grass-House Thu, 08 Nov 2018 13:30:07 +0000 Low Heat https://lowheat.org/Grass-House Grass House&nbsp; Anacostia, District of Columbia <img width="2688" height="4032" width_o="2688" height_o="4032" data-src="https://freight.cargo.site/t/original/i/fd9ace1bc42099a939563ddebd8d1a48ac187a787479b3b0cf67b5244f64f498/IMG_3800.jpg" data-mid="28028488" border="0" src="https://freight.cargo.site/w/1000/i/fd9ace1bc42099a939563ddebd8d1a48ac187a787479b3b0cf67b5244f64f498/IMG_3800.jpg" /> Exterior view featuring charred cypress and cedar siding, black locust bench and roof rafters, irrigation cistern, and underground dry well gravel swale. <img width="4024" height="3324" width_o="4024" height_o="3324" data-src="https://freight.cargo.site/t/original/i/bcc394c95122b5ebe16827d7376f2afd8bec28f5bac3aa78461cb0b42af502f2/rtc---IMG_3886_hires.jpg" data-mid="28028501" border="0" src="https://freight.cargo.site/w/1000/i/bcc394c95122b5ebe16827d7376f2afd8bec28f5bac3aa78461cb0b42af502f2/rtc---IMG_3886_hires.jpg" /> Exterior charred cypress and cedar siding. Bench and roof rafters constructed with black locust.<img width="2688" height="4032" width_o="2688" height_o="4032" data-src="https://freight.cargo.site/t/original/i/a4025e30411d61771e4516ac4e153fad99e489938a8e24a300e3d37143ce984a/IMG_3371---good.JPG" data-mid="28028391" border="0" src="https://freight.cargo.site/w/1000/i/a4025e30411d61771e4516ac4e153fad99e489938a8e24a300e3d37143ce984a/IMG_3371---good.JPG" />Detail of black walnut treads and woven willow wall <img width="2000" height="1294" width_o="2000" height_o="1294" data-src="https://freight.cargo.site/t/original/i/6f1735b18456eeee14bbf6bc788cd66d9b8f30c2fc16badecbc0bbafdad4e831/Grass-House---Materials-for-AIA-RA-Jury-Review---6.jpg" data-mid="28028390" border="0" src="https://freight.cargo.site/w/1000/i/6f1735b18456eeee14bbf6bc788cd66d9b8f30c2fc16badecbc0bbafdad4e831/Grass-House---Materials-for-AIA-RA-Jury-Review---6.jpg" />Section perspective <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/fa974046cc6de8f4b0cc01e1e843f0e519b421addc9b46afa7246902daacdb99/2018-08-08_08-21-13-0400.jpg" data-mid="28028388" border="0" src="https://freight.cargo.site/w/1000/i/fa974046cc6de8f4b0cc01e1e843f0e519b421addc9b46afa7246902daacdb99/2018-08-08_08-21-13-0400.jpg" /> Interior view featuring charred wood panels, woven willow wall, and mycellium light fixtures. <img width="4905" height="5151" width_o="4905" height_o="5151" data-src="https://freight.cargo.site/t/original/i/4dc23a78be774fca50f3055ad8b1e6dd3a0c06418dab248bc8087d6f095ae54f/Elevations-2.jpg" data-mid="28028389" border="0" src="https://freight.cargo.site/w/1000/i/4dc23a78be774fca50f3055ad8b1e6dd3a0c06418dab248bc8087d6f095ae54f/Elevations-2.jpg" />Exterior elevations <img width="4032" height="2688" width_o="4032" height_o="2688" data-src="https://freight.cargo.site/t/original/i/af6a12e67e59fdc78d492a8b2f1055c2ea30dd2881ec25b877b5d22fbf83937c/IMG_3447---good.JPG" data-mid="28028392" border="0" src="https://freight.cargo.site/w/1000/i/af6a12e67e59fdc78d492a8b2f1055c2ea30dd2881ec25b877b5d22fbf83937c/IMG_3447---good.JPG" /> Detail: charred wood rafters under bamboo decking&nbsp; <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/278725a141960f72fdb750faa66e8b1b52e2e64539bbbcbe748b9feddb1e2cbb/IMG_3599.JPG" data-mid="28028394" border="0" src="https://freight.cargo.site/w/1000/i/278725a141960f72fdb750faa66e8b1b52e2e64539bbbcbe748b9feddb1e2cbb/IMG_3599.JPG" />Exterior charred cypress and cedar siding. Roof rafters constructed with black locust. Copper rain chain and gutter system.<img width="4032" height="2688" width_o="4032" height_o="2688" data-src="https://freight.cargo.site/t/original/i/adfa6064a8bd0cc899b08bebdf659775ba430a7b92e319cb56d8ad353b926b63/IMG_4036.jpg" data-mid="28028498" border="0" src="https://freight.cargo.site/w/1000/i/adfa6064a8bd0cc899b08bebdf659775ba430a7b92e319cb56d8ad353b926b63/IMG_4036.jpg" />Second floor railing in black walnut and willow&nbsp; <img width="4067" height="3023" width_o="4067" height_o="3023" data-src="https://freight.cargo.site/t/original/i/59729cfa5a41fa7b7598ef289c377e699bd09d9bfa6dac0049a6ebed9730a008/Site-Plan.jpg" data-mid="28028512" border="0" src="https://freight.cargo.site/w/1000/i/59729cfa5a41fa7b7598ef289c377e699bd09d9bfa6dac0049a6ebed9730a008/Site-Plan.jpg" />Site plan <img width="4032" height="2688" width_o="4032" height_o="2688" data-src="https://freight.cargo.site/t/original/i/2664638e2504995af7c08c00a9d008591e09e9227556884a39ea9f78a4384111/IMG_3480---good-but-blurry.JPG" data-mid="28028393" border="0" src="https://freight.cargo.site/w/1000/i/2664638e2504995af7c08c00a9d008591e09e9227556884a39ea9f78a4384111/IMG_3480---good-but-blurry.JPG" /> Lower level featuring mycellium light fixtures <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/cf13e2ddf958175d825d8e27cc1d7d3eaff1c3533312c1b0b07599c05c41ce47/1_wool.JPG" data-mid="34845041" border="0" src="https://freight.cargo.site/w/1000/i/cf13e2ddf958175d825d8e27cc1d7d3eaff1c3533312c1b0b07599c05c41ce47/1_wool.JPG" />Wool insulation https://lowheat.org/Home-on-Earth Sat, 03 Nov 2018 17:15:55 +0000 Low Heat https://lowheat.org/Home-on-Earth Home on Earth Home on Earth is a collaborative research project that uses methods of design thinking to draw from disciplines of Botany, Library Science, and the Built Environment and make connections between plants, special collections, and built projects. The larger significance of Home on Earth is its effort to produce new methods for communicating complex realities of climate change to a general audience. The final product for Home on Earth will be a published book and artifact collections (physical and digital). More soon... <img width="1393" height="2374" width_o="1393" height_o="2374" data-src="https://freight.cargo.site/t/original/i/99b86864e3f707cc10d507697e5350566f502f9043ce051c5cbf00e04ade98f7/Illustration_Typha_latifolia0-1.jpg" data-mid="27674487" border="0" src="https://freight.cargo.site/w/1000/i/99b86864e3f707cc10d507697e5350566f502f9043ce051c5cbf00e04ade98f7/Illustration_Typha_latifolia0-1.jpg" />Typha angustifolia and Typha latifolia, original book source: Prof. Dr. Otto Wilhelm Thomé “Flora von Deutschland, Österreich und der Schweiz” 1885, Gera, Germany, public domain. <img width="1888" height="5022" width_o="1888" height_o="5022" data-src="https://freight.cargo.site/t/original/i/16fd16aea1f3f73face59739ed4dda131c379e225560a726bba9956323c86d57/plants.jpg" data-mid="28112732" border="0" src="https://freight.cargo.site/w/1000/i/16fd16aea1f3f73face59739ed4dda131c379e225560a726bba9956323c86d57/plants.jpg" />Food plants foraged near Charlottesville, Virginia, by Jana VanderGoot, recorded in 2009 and 2010 https://lowheat.org/low-heat-Material-Archive Thu, 27 Dec 2018 21:34:13 +0000 Low Heat https://lowheat.org/low-heat-Material-Archive low heat Material Archive Mineral, seed, plant, animal, farm, cloth, food, architecture. The low heat Material Archive gets real about healthy construction materials. “Natural” and “green” modifiers are not enough to make claims that buildings materials are healthy for the environment or people. Most of the materials that will become part of this archive as we build it over the years are sourced from plants and animals or minerals that are close to their raw state. The material processing will either be certified or watched closely by the end-user. low heat materials scale-up cultural trends in health and resource management. We see Oregon Tilth and USDA organic foods of Paleo and raw food diets, GOTS and Oeko-Tex textile labels, IVN leathers, and Forest Stewardship Council certified no-VOC furniture are all models for architectural specialization and certification. Many low heat matertials are low-impact and represent short material lifecycles for buildings. Looking at these materials, we ask: Why not compost and rebuild buildings or parts of buildings (for example the cladding system) every 20 years? The consumer economy it would create is in line with positive growth and clean economy ideals. If the details are simple and carefully designed for ease of construction, longterm labor costs to maintain low heat buildings might be less than they would be for more long-lasting materials that are common in the building industry and often require extensive maintenance by specialized contractors. The longterm goal of the low heat Material Archive is to conduct testing (for maintenance cost over time, thermal values, fire ratings, moisture and decay resistance, and indoor air quality) on buildings designed with low heat materials in order to gather data and support wider engagment with these materials. <img width="1500" height="1159" width_o="1500" height_o="1159" data-src="https://freight.cargo.site/t/original/i/557ace5a5781152f2d7adcb10bb503cc53e6897f2ed987ad1d63abc41cb4eba5/Paleo_Architecture_sml.jpg" data-mid="31363286" border="0" src="https://freight.cargo.site/w/1000/i/557ace5a5781152f2d7adcb10bb503cc53e6897f2ed987ad1d63abc41cb4eba5/Paleo_Architecture_sml.jpg" />low heat Material Collection concept design, by Jana VanderGoot, 2018<img width="2398" height="2666" width_o="2398" height_o="2666" data-src="https://freight.cargo.site/t/original/i/04f26ef668973a28a83fd36cf933f62aec102ec22bfa112130de3caf3b0726e6/model-image.JPG" data-mid="34880415" border="0" src="https://freight.cargo.site/w/1000/i/04f26ef668973a28a83fd36cf933f62aec102ec22bfa112130de3caf3b0726e6/model-image.JPG" />tree trunk building model, by BeckerLinn Design, 2018 <img width="1981" height="2112" width_o="1981" height_o="2112" data-src="https://freight.cargo.site/t/original/i/f9f69472817a31cb276f95ad59daf0ad22d7c3f61846e2b0c359bbddf5b7378e/1.JPG" data-mid="34880418" border="0" src="https://freight.cargo.site/w/1000/i/f9f69472817a31cb276f95ad59daf0ad22d7c3f61846e2b0c359bbddf5b7378e/1.JPG" />low heat wall section sketch model, by BeckerLinn Design, 2018 https://lowheat.org/Table-in-Rome-I Fri, 02 Nov 2018 21:35:47 +0000 Low Heat https://lowheat.org/Table-in-Rome-I Table in Rome I: Altar as Locus Charlottesville, Virginia The Table in Rome I exhibit was installed at the University of Virginia School of Archiecture in 2010 and connected to work completed by Jana VanderGoot as a Reiger Graham affiliated fellowship at the American Aacdemy in Rome. The exhibit was made of low heat materials (described in more detail in photo captions below) and visitors were invited to interact with and change the exhibit over time. The design scheme included 3D drawings, sculpture, grain, wine, and the eating of traditional Italian biscotti.*Scroll to bottom for images Excerpted from: “Table in Rome: Altar as Locus and Ground Activated by Food,” The Classicist 10 (2013): 94-101. This article was commissioned by the Institute of Classical Art and Architecture through the Rieger Graham Prize at the American Academy in Rome. IntroductionFood and eating is critical in Rome in the 21st century as it was in antiquity. What emerges alongside the journey that food makes from the fields to the city is the idea of Table (denoted here with a capital “T” for clarity). Table in Rome is a series of dispersed civic centers, or locus points, that together constitute a network through which food is exchanged. This network is laden with meaning and connected to the land as a source of food. The Table in Rome I exhibit celebrates two food plants in particular: wheat (connected to the goddess Ceres) and grapes (connected to the god Liber). Images of these divine figures and the plants they personify appear carved into many ancient altar tables, artifacts, temples, and fresco work around the city of Rome. What is Table?The word table refers to both the Classical Latin mensa and modern Italian tavola, which is derived from the Latin tabula. Even as a word used in English, “table” has many nuanced meanings. Table is the constructed horizontal board that supports food, the food itself, and the less tangible product of a communal meal including ideas and conversations, particular qualities of the group of people that gathers around the table, and social engagement that unfolds in the space of the table. Like the word table, the larger idea of Table in the urban context of ancient and modern Rome shape-shifts. It defies simple definition by changing meaning and scaling up or down to fit time and circumstance. Nonetheless, it can be said with some certainty that Table most often describes the collective sphere. In this regard it is an analogue to the shared world in which all humans live and civilizations unfold. This Table has both a physical and cultural presence in the city of Rome. Table as altar activated by food The table has been considered a practical necessity in civic religion since the time of early Rome (753 BCE-509 BCE) and was therefore given a special name: the ara. The Latin wordara is usually translated into Italian as altare and into English as altar. The altar was the space upon which domestic and agricultural belief systems of the Latin Leagues gradually expanded to the life of the state and gave form to the early Roman government (reggia) and city (urbs).[1] Two grand altars in particular articulate the character of collective Table as it evolved in the culture of the altar laden with food. In ancient Rome the Augustan Altar of Peace (Ara Pacis Augustae) and the Great Altar of Hercules (Ara Massima Ercole) were loci of ritual activity that was tied to eating. In 21st century Rome their scattered remains are virtual repositories of civic behavior. The Altar of Peace has a powerful physical presence in modern Rome; it was excavated, meticulously restored, and is housed in a museum designed by the firm of American architect Richard Meier. Although it has been moved from its original location, the Altar of Peace left behind a site that has continued to function as the informal political center of Rome. The Great Altar of Hercules on the other hand has not been verified with any physical evidence in 21st century Rome. The importance of it as Table lies in the fact that through substantial historical documentation, speculation, and debate it has informed current understanding of food systems in Rome. Augustan Altar of Peace On the fourth of July in the year 13 BCE after a century of war the Roman Senate authorized the construction of an altar that was dedicated to peace under the rule of Caesar Augustus who was the heir of Julius Caesar. The design of the altar incorporated many rustic features, which played to a Roman nostalgia for pastoral living in times of peace. Unified peace was thought to have characterized the past. The altar was Augustus’s vision of civic religion and its construction represented a return to social mores, mos maiorium. These mores were woven through with the notion that Roman ancestors were unified by a particular set of communal expectations.[2] Carved into the marble of the Altar of Augustan Peace, therefore, are icons of bountiful earth, familial allegiance, and ritual piety. At eye level along the outer surfaces of the vertical slabs that form the altar enclosure, carved assemblies of vegetal growth spiral up from the ground. Noble laurel, floral rose, oak, and pine are clearly identified. Woven among them a splendor of ivy and grape vine unfurls across the marble surface. On this bed of foliage rests the horizontal altar slab and its podium. A table is the colorful first fruit in a vast field of undergrowth.[3] This layering of food from the earth with a collective table was a significant gesture. As the locus of an urban space that was activated by food, altar became Table. The realistic representations of foods on the vegetal panels were part of a language. This pictorial narration was compelling because the foods featured were essential components in the relationship of many Roman citizens to the land. People who lived in Rome were dependent on wheat and wine that was made affordable by the taxation of Roman cities throughout Italy, Greece, and Africa. Many Roman citizens were not themselves farmers, however they could recognize that the foods depicted on the panels held the power to determine the welfare of the state. The vegetal panels are particularly accessible; they are immediately within reach of the hand and the life-sized plant forms are easily identified. Each plant on the walls represents its own sacred power or deity, and this would have been apparent to Augustan Romans. David Castriota in his work Ara Pacis Augustae makes a strong case for the Altar of Peace as one monument in a long line of artistic works that depict not only images of plants but also their corresponding gods. Castriota suggests that the human personifications of divinity, if they had been included in the vegetal panels of the Altar of Peace, would only have served as emphasis. He writes: …one can scarcely doubt that all these plants were deliberately intended to evoke the specific power and blessing of the various divinities to whom they were sacred, even though the Roman monument (Ara Pacis) no longer retained the actual figures of the gods themselves among the decorative foliage.[4] In the sacred space of the Altar of Peace the laurel is Apollo, the grapevine is Liber (the Greek Dionysus), the wheat is Ceres (the Greek Demeter), and so on. The floral imagery of the Altar of Peace most noticeably invokes the noble Apollo with whom Augustus personally associated himself. &nbsp;It also invokes the Aventine Triad, otherwise known as the plebian cult of Ceres, Liber, and Libera. This reference to the Aventine Triad no doubt garnered the support of the plebian population of Rome. Upon crossing the threshold and entering the modestly scaled enclosure that is created by the vegetal panel walls, it is possible to see the horizontal altar table as it rests on an elevated podium. The altar stands in a military field, but celebratory libations and an anniversary outpouring of blood from a sacred animal onto the altar declare that a new life of peace will emerge from what was before a place of war.[5] Above the podium base along the walls of the enclosure a series of weep holes were cut to allow the liquid remains of the sacrifice to drain off the sloped interior floor out onto the Field of Mars (Campus Martius). Technical details like the weep holes make it clear that the Altar of Peace was made for use; this table furnished real food for the ritual act of collective eating. The interior walls of the altar enclosure exhibit the elements of a divine meal. Dense garlands of fruit, skulls of sacrificial oxen (buchranium), and the patera vessel for wine offerings are carved on the walls. The zone of the table is intimate and scaled to the human body. By contrast the massive processional area around the enclosure of intimate space expands without barrier into the Field of Mars. An altar was the only structure required for a religious gathering. The altar stood without an accompanying temple in an open floodplain that was dedicated to Mars, the Roman god of war. The Field of Mars in the time of Augustus was outside of the city proper and had a long history of use. The Tarquins supposedly used the floodplain for the growing of wheat.[6] Through the Republic it was a field with many uses. It was Rome’s hinterland for pasturing sheep. Soldiers and generals used it for military exercises, meals, and lodging. It had also been the meeting place for foreign politicians, who were not allowed to stay within the city proper.[7] It is significant that the space Augustus chose for his altar lay along the major North-South road, Via Flaminia (in modern Rome known as Via del Corso) that cut through the Field of Mars for his altar. This decision contributed to the expansion of the city limits and the idea of the collective urban Table into the Field of Mars. The expansion changed the nature of the floodplain from one type of ‘field’ that supported the feeding of animals and production of agriculture into another type of ‘field’ that was an urban framework or ground, which could support a series of civic locus points like the Altar of Peace. In many ways the activity in the Field of Mars shifted the city center away from the Capitoline Hill (Il Campidoglio). In medieval times the population of Rome moved from the surrounding hills and concentrated in the Field of Mars. Modern Romans refer to the Campus Martius district informally as Roma vecchia or centro meaning ‘old Rome’ or ‘center.’ Campus Martius is the colloquial old city center because it draws crowds with its romantic tourist attractions, markets, street cafes, and traditional trattoria restaurants. The actual antique religious and political city center is located near the Capitoline Hill. Table in the context of the Altar of Peace is many things. It became the political maneuvering that was folded into ritual gatherings where food was present. Table was also the locus, or center of gravity, that gathered a crowd when it was activated by food. In 21st century Rome, the governing Table remains on the very place that Augustus chose for his Altar of Peace. The remnants of a solar obelisk set up by Augustus to flank the altar signals the ground, but the altar itself as locus point has long since been removed. Piazza Colonna now flanks the main North-South thoroughfare through Rome known as the Via del Corso (formerly Via Flaminia). This piazza and the one that is beside it, Piazza di Monte Citorio, comprise the one truly open space in the Campo Marzio district of modern Rome. Unlike other piazzas in the area that buzz with daily activity, the Piazza Colonna is empty of people except on those days when a crowd gathers for a political event.[8]The buildings of these piazzas are Palazzo Monte Citorio, the government’s Council of Deputies, and the Palazzo Chigi, the official residence where the Prime Minister of Italy entertains guests. The Altar of Peace itself, after years of waiting silently under four meters of waterlogged Tiber River silt, was finally recovered in 1937 on the 2000th anniversary of the birth of Augustus. The sumptuous altar was reset and with it the imperial Table of politics and civic religion that directly preceded the shift from Roman Republic to Empire made its way above ground again. In past millennia this Table extended the earthen floor and created a locus point for public, political, and religious activity on the most important feast days of the Roman calendar. Now intact and highly visible near its place of origin, the Altar of Peace represents what remains of a network of thousands of altars that were scattered across Rome. Many ancient altars are tucked away in the galleries of ticket-only museums. While this protects the altars from weathering and vandalism, it makes them less visible and accessible. It also disconnects them from their ground. However, one small-scale, unlabeled outdoor altar still spans the physical distance between Piazza Colonna and the Ara Pacis Museum. This altar is no taller than waist height and features fruit garlands, ox skulls, and a fire pit on its top. It holds the center of a small piazza, which carries the name Field of Mars (Campo Marzio). Archaeological maps of Rome reveal that an altar centered many outdoor spaces and public forums. This network of altars made Table in Rome expand across the city and into the daily activities of its inhabitants.&nbsp; The Altar of Peace was the Table of an Imperial family. Augustus, as head of the imperial family and patron to city plebs, publicly engaged in a sacred meal with Rome as is suggested by the expansive martial field in which the Table is set. This sacred meal became an annual state holiday. That he did this in the name of peace (Pax Augusta) was an unambiguous act of propaganda. Modern scholars of Classical Rome credit Caesar Augustus with great skill in knowing how to cultivate the support of common people.[9] The Altar of Peace Table continues to serve political purposes. Mussolini called the altar into service as a tool of propaganda in 1938 when he tried to secure the connection between his dreams of modern empire and the grandeur of a Roman past in the reconstruction of the physical city of Rome. The architecture of the Piazza Imperatore Augustae,which flanks the Ara Pacis Museum and the Mausoleum of Augustus, is a visual testament to this day of the fascist style of building. The altar continues to be a contentious center of gravity as current Mayor Alemanno launches plans to reconnect the open space in front of the museum with the Tiber riverfront, or all that is left of the floodplain that Campus Martius once was. In as much as it is still a driver of events that change the course of the city of Rome, the altar and its original ground along Via Flaminia are more than relics of the past. They still serve as Table and are significant in modern Roman urbanism. [1] Further discussion of the Latin Leagues involves the feriae Latinae, an annual religious event that supposedly brought together the heterogeneous Latin Leagues as a community and involved sacrifice on top of Mons Albanus. Refer to: Wiseman, T.P. The City that Never Was: Alba Longa and the Historical Tradition, p435. William Sinnegan also discusses the transition from belief systems connected to life in the fields to rule of the state. [2] For a discussion of the role of mos maiorium in Early Republican Roman society refer to: Sinnegan, William G. and Boak, Arthur E.R.&nbsp; A History of Rome to A.D. 565, Sixth Edition, p87. See also discussion of the city of Alba Longa, the location of an annual celebration of unified Latin Leagues. Archaeologists believe Alba Longa did not exist in history, but was rather a very persistent myth. [3] Polychromy. Remnants of paint exist on the Altar of Peace. [4] Castriota, David. The Ara Pacis Augustae, p25. [5] The Ara Pacis was dedicated on January 30 anniversary 9BC, a date that was susequently celebrated as an official holiday with a sacrifice at the altar. Richardson, L. A New Topographical Dictionary of Ancient Rome, p208. [6] Original source is Lacus Curtis [7] Lacus Curtis [8] The activities in Piazza Colonna and Monet Citorio are highly orchestrated. High security deters political rallying and car traffic. Festivals of a political nature take place in the pizzas occasionally. The most recent was the celebration of the 150 years anniversary of the Unification of Italy during which 3D visual digital art imagery on the theme of ‘Unity’ was projected onto the building facades. Progetto 150 Italiamobile: Rifrazione Permanent April 21, 2011, to celebrate 150 years anniversary of the Unification of Italy. Innovazione e Nuove Technologie con il progetto 150 Italiamobile April 28, 2011: http://www.youtube.com/watch?v=isWWSBfKT_kviewed: June 08, 2011. [9] For further discussion of the political motivations of Augustus refer to: Sinnegan, William G. and Boak, Arthur E.R.&nbsp; A History of Rome to A.D. 565, Sixth Edition, p255. See also Castroita, David. The Ara Pacis Augustae, p96. <img width="2048" height="1024" width_o="2048" height_o="1024" data-src="https://freight.cargo.site/t/original/i/0ae27822a23980c986a868ae71dda7cdd4fd4f50441c0a0802b30bdd4fc77cce/2.jpg" data-mid="27673155" border="0" src="https://freight.cargo.site/w/1000/i/0ae27822a23980c986a868ae71dda7cdd4fd4f50441c0a0802b30bdd4fc77cce/2.jpg" />Above details from left to right: wooden mensa (elevated slab) with ritual patera (plate) in terra cotta filled with Ceres (goddes of cereal grain) and wheat; large and small ritual patera (plate) in terra cotta filled with Liber (god of wine) and grapes; wooden mundus (pit) filled with Liber (god of wine) and grapes; small patera in terra cotta and stains on cotton made from immolare (blessings) of wine offered by exhibit visitors. <img width="4592" height="3056" width_o="4592" height_o="3056" data-src="https://freight.cargo.site/t/original/i/342e7a902cc3aadd9d8c9def9824ed134ec32c7e7f7d9f3bff84a2a367dade65/10.jpg" data-mid="27673156" border="0" src="https://freight.cargo.site/w/1000/i/342e7a902cc3aadd9d8c9def9824ed134ec32c7e7f7d9f3bff84a2a367dade65/10.jpg" />Immolare (blessings) of cereal grain offered by exhibit visitorsOfferings of food were determined by the particulars of time and place. Food was inevitably linked to seasonal weather, fertility cycles, the solar calendar, and perennial celebrations of a particular locality. A sacrifice of eggs, garlands of spring flowers, verdant foliage, or pomegranates bursting with crimson seeds was associated with fecundity, birth, and new life for the growing season. Grape must, salt, honeyed wine, milk, and water were used to celebrate lasting harvest, preservation, and perpetually healthy flocks. Boar, goat, lamb, and ox—animals that could feed hundreds of people in one sitting—were reserved for the most momentous occasions. Aromatic olive branches, pine twigs, juniper and laurel were used as means of purification.[1] Wheat or mola salsa(salted flour cakes) made of cereal grains was likely the most usual sacrificial offering. Staple crops were always appropriate and in most times they were also plentiful. Every household and market had them. As a result meal (mola) was often sprinkled on the offering or the altar. The act of sprinkling “to put on the mola” is the root for the word immolare and eventually came to be used as the word for sacrifice in general.[2] [1] This list was developed from the author’s careful study of the Roman festival calendar, holidays dedicated to gods and their respective ties to flora and fauna, as well as an understanding of the seasonal cycles of vegetable and animal produce of ancient Rome. Reference: Feemster Jashemski, Wilhelmina and Meyer, Frederick (ed). The Natural History of Pompeii, Roman Calends: Fasti Antiates (prior to 46 B.C.) and Fasti Praenestrini (6-10 A.D.) Palazzo Massimo, Rome. [2] Oxford English Dictionary online accessed October 13, 2010. http://dictionary.oed.com/cgi/entry_main/50245844?query_type=word&amp;queryword=immolare <img width="1800" height="3000" width_o="1800" height_o="3000" data-src="https://freight.cargo.site/t/original/i/99846b6c9454e12b14794fe6ac7d20f4272d91084796b625cdb502ed3b0036b8/analytique_vitis.jpg" data-mid="27673157" border="0" src="https://freight.cargo.site/w/1000/i/99846b6c9454e12b14794fe6ac7d20f4272d91084796b625cdb502ed3b0036b8/analytique_vitis.jpg" /> Table in Rome drawing - Punica granatum, Vitis vinifera, Aedes Cereris-Liberi-Libera, collage, Jana VanderGoot, 2010 <img width="3888" height="2124" width_o="3888" height_o="2124" data-src="https://freight.cargo.site/t/original/i/2ad80b3f45519c2e6253457c5542fff740dc3e5ada9815b8b8205f253e02cbef/ceres_liber_mundus.jpg" data-mid="27673158" border="0" src="https://freight.cargo.site/w/1000/i/2ad80b3f45519c2e6253457c5542fff740dc3e5ada9815b8b8205f253e02cbef/ceres_liber_mundus.jpg" />The wooden table features the mundus (pit) and mensa (elevated slab) altar types. A blanket of cotton cloth and cereal grain extend the figure of the table along the ground a create a field condition. &nbsp; In the case of the Augustan Altar of Peace food was placed on an elevated mensa (table). In other cases the altar was set within a subterranean pit in which offerings were ‘consumed’ with fire. Near the Great Altar of Hercules in Rome were two additional altars of this subterranean type. They were locations for the worship of infernal gods of the underworld. Ceres was the goddess of agriculture. The mundus, a Latin word, which directly translates as ‘world,’ is described as a pit in the earth into which food was offered to Ceres on the holiday called Cerealia.[1] Consus was the protector of grain storage and seed. The altar of Consus (Ara Consi), near the Great Altar of Hercules in the Circus Maximus, stayed underground and was exhumed on Consualia,the festival that honored the sewing of seeds.[2] &nbsp;In both of these cases the ground and the design of the altar reflects the nature of the god whom it revered. In the precinct of ancient altars, Table activated ground and Table was ground. [1] Reference to Ceres mundus and Ludis Cerealis: Johnston, Sarah Iles (ed.) Religions of the Ancient World, a guide. [2] Reference Altar of Consus: Rykwert, Joseph. The Idea of a Town. <img width="3888" height="2592" width_o="3888" height_o="2592" data-src="https://freight.cargo.site/t/original/i/e849fa27817497589c826efb5fb7863697e99a21ffba27f688bd89a12a2f0ac9/earthentable.jpg" data-mid="27673159" border="0" src="https://freight.cargo.site/w/1000/i/e849fa27817497589c826efb5fb7863697e99a21ffba27f688bd89a12a2f0ac9/earthentable.jpg" />Wooden mundus (pit) and cereal grain <img width="2048" height="1024" width_o="2048" height_o="1024" data-src="https://freight.cargo.site/t/original/i/de14b91059cfc69539fa65ff222c0aab0b573425b684b86ae6aafb6adccec995/patera_wine.jpg" data-mid="27673161" border="0" src="https://freight.cargo.site/w/1000/i/de14b91059cfc69539fa65ff222c0aab0b573425b684b86ae6aafb6adccec995/patera_wine.jpg" />Small patera in terra cotta and stains on cotton made from immolare (blessings) of wine offered by exhibit visitors <img width="3056" height="4592" width_o="3056" height_o="4592" data-src="https://freight.cargo.site/t/original/i/d3685fcc977ebbd30801ef0e89d7aed3835b3d55377d9bf867857d75fd886cc3/play.jpg" data-mid="27673162" border="0" src="https://freight.cargo.site/w/1000/i/d3685fcc977ebbd30801ef0e89d7aed3835b3d55377d9bf867857d75fd886cc3/play.jpg" />Immolare (blessings) of cereal grain offered by exhibit visitors <img width="2175" height="2175" width_o="2175" height_o="2175" data-src="https://freight.cargo.site/t/original/i/6545814452e814013243966001e36ae6badc21db015c60b234c62451652ede27/tableinrome.jpg" data-mid="27673163" border="0" src="https://freight.cargo.site/w/1000/i/6545814452e814013243966001e36ae6badc21db015c60b234c62451652ede27/tableinrome.jpg" />Modern Romans use both the words il tavolo and la tavola. Il tavolo describes a horizontal board or surface used for working, dining, cooking, construction scaffolding, and even windsurfing. La tavola, however, is invoked for those special occasions when il tavolo is laden with food or ready for a feast. The feminine gender, when used to describe a food-laden board, recalls rustic roots of a Roman belief system organized around the household and the fields. Other Latin terms that refer to a fertile or plentiful earth use the feminine gender as well: terra (earth), anonna (a year’s harvest), and epulae(feast). In modern Italian, food from the earth furnishes la tavola. La tavola (table) also generates Table. The move from earth to la tavola has proven to be valuable for both ancient and modern Romans because Table is ultimately the people, culture, and city that la tavola bears. <img width="3128" height="2924" width_o="3128" height_o="2924" data-src="https://freight.cargo.site/t/original/i/87108ed7f7d2739721c426e1a5ffac2181724f3b92fdbdcc55bd984e0a0b3523/tablemodel1.jpg" data-mid="27673164" border="0" src="https://freight.cargo.site/w/1000/i/87108ed7f7d2739721c426e1a5ffac2181724f3b92fdbdcc55bd984e0a0b3523/tablemodel1.jpg" />Wooden mundus (pit) with Liber (the god of wine) and grapes <img width="3232" height="2840" width_o="3232" height_o="2840" data-src="https://freight.cargo.site/t/original/i/3a4da68c4e99ba00e9089ef355742e3f88a690b253239ba9a4bdb64719cb8bac/tablemodel2.jpg" data-mid="27673165" border="0" src="https://freight.cargo.site/w/1000/i/3a4da68c4e99ba00e9089ef355742e3f88a690b253239ba9a4bdb64719cb8bac/tablemodel2.jpg" /> Wooden mundus (pit) with Liber (the god of wine) and grapes <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/9b78a8ff7071204474a9d8843b0dd92af7aeeb603c17aae7cff5be47db0c03a5/wood_splice_detail.JPG" data-mid="27673167" border="0" src="https://freight.cargo.site/w/1000/i/9b78a8ff7071204474a9d8843b0dd92af7aeeb603c17aae7cff5be47db0c03a5/wood_splice_detail.JPG" />Wooden mensa (elevated slab) and mundus (pit) were made with hardwood scraps left overs from a local furniture manufacturer. <img width="3888" height="2592" width_o="3888" height_o="2592" data-src="https://freight.cargo.site/t/original/i/b98c2286b795d331ccfb163fe7f091b9fa2ddfed4d1cd01e1513d709aa17252b/wood_table_construction.jpg" data-mid="27673168" border="0" src="https://freight.cargo.site/w/1000/i/b98c2286b795d331ccfb163fe7f091b9fa2ddfed4d1cd01e1513d709aa17252b/wood_table_construction.jpg" />Wooden mensa (elevated slab) and mundus (pit) were made with hardwood scraps left overs from a local furniture manufacturer. <img width="2048" height="1024" width_o="2048" height_o="1024" data-src="https://freight.cargo.site/t/original/i/ac003cff399b49263642d2d91c8bf3509ee8a6bf7ec298bfa9152c4c7ba977c6/overall.jpg" data-mid="27673315" border="0" src="https://freight.cargo.site/w/1000/i/ac003cff399b49263642d2d91c8bf3509ee8a6bf7ec298bfa9152c4c7ba977c6/overall.jpg" /> Large and small terra cotta patera (plate), wine stains on cotton made from blessings of wine offered by exhibit visitors. https://lowheat.org/Table-in-Rome-II Fri, 02 Nov 2018 21:35:47 +0000 Low Heat https://lowheat.org/Table-in-Rome-II Table in Rome II Forest as ForumCollege Park, Maryland Table in Rome II: Forest as Forum was fabricated and installed at the University of Maryland, College Park in the Kibel Gallery of the School of Architecture, Planning, and Preservation during the summer and fall of 2014. A University of Maryland Creative and Performing Arts Award (CAPAA) funded Table in Rome II. Project Architect: Jana VanderGoot; Collaborator: Architect Michael Ezban; Student collaborators: Daniel Moreno-Holt, Katarina Svensson and Amy Marin. Why low heat? The project fits within the low heat conversation because it makes a theoretical argument for understanding a forest landscape as the material and medium of urbanism in Rome. In the&nbsp;Table in Rome II exhibit&nbsp;architecture and infrastructures of the modern city are described&nbsp; as stand-ins for what once was a planted field or forest that in ancient times that extend the sacred area of templum. Excerpted from: “Collective Space in a Field,” in Jana VanderGoot in Architecture and the Forest Aesthetic: A New Look at Design and Resilient Urbanism (New York: Routledge, 2018). Introduction The objective of this small-scale architectural work was for students, faculty, and friends of the university to engage in collective creativity and architectural design.[1] Visitors to the project were asked to “plant the forest forum” using wooden dowels that were threaded through a plywood wall. Through this and other activities, visitors engaged in the design of a continuously changing public space. An exhibit narrative and a series of drawings were laminated to four 0.6 m wide x 2.4 m tall (2 ft x 8 ft) movable wooden easels. Much of the exhibit was constructed out of wood from resinous white pine (Pinus strobus) that smelled fragrant and antiseptic. The slight stickiness of the resin could be felt on the wood. <img width="1434" height="2000" width_o="1434" height_o="2000" data-src="https://freight.cargo.site/t/original/i/9d05dbd7b860974de3ace117fc9b3402f87f1c5c8eca6fcbc661ae20c76a0f8a/P1030473.JPG" data-mid="27673426" border="0" src="https://freight.cargo.site/w/1000/i/9d05dbd7b860974de3ace117fc9b3402f87f1c5c8eca6fcbc661ae20c76a0f8a/P1030473.JPG" />Guests who visited the installation playing a game with fellow students on the other side of the forest wall. <img width="1712" height="1796" width_o="1712" height_o="1796" data-src="https://freight.cargo.site/t/original/i/4912f418bd4cdf629832fac64c4d50c1bfb9c757fbe64d9bf748997732ac3cc1/plan1.jpg" data-mid="27980899" border="0" src="https://freight.cargo.site/w/1000/i/4912f418bd4cdf629832fac64c4d50c1bfb9c757fbe64d9bf748997732ac3cc1/plan1.jpg" />Initial layout of exhibit in plan view<img width="1712" height="1770" width_o="1712" height_o="1770" data-src="https://freight.cargo.site/t/original/i/7ab6dd58449cbf8f6c8257e9b58f3d67f2d139e0eb3bb9d12ddb87e7bdb01792/plan2.jpg" data-mid="27980900" border="0" src="https://freight.cargo.site/w/1000/i/7ab6dd58449cbf8f6c8257e9b58f3d67f2d139e0eb3bb9d12ddb87e7bdb01792/plan2.jpg" /> Plan view of exhibit over time showing muddy tracts on routed plywood floor, wooden dowels and wooden easles in different configurations <img width="2850" height="2850" width_o="2850" height_o="2850" data-src="https://freight.cargo.site/t/original/i/8ec1b267cc1893fa74384421fb1370fe9bddb3a1a1be6010cb855d6ac419f35f/Table_In_Rome.jpg" data-mid="27637236" border="0" src="https://freight.cargo.site/w/1000/i/8ec1b267cc1893fa74384421fb1370fe9bddb3a1a1be6010cb855d6ac419f35f/Table_In_Rome.jpg" /> Guests who visited the installation removing dowels the forest wall Animation: Forum as Forest An animation was digitally projected onto the routed plywood floor. The images portrayed the Fori Imperiali (Imperial Roman Forum) as an as an architectural typology influenced by forest succession, or patterns of growth and decline in the forest over time.[2]The animation detailed how saplings grow from seeds or shoots of mother trees and how individual trees can spread into a grouping or grove of trees. It also showed a few trees being singled out as special and preserved because of their location, shape, or vigor. In early Rome ceremonies and important events took place in a dedicated sacred grove or beneath a venerable tree where cutting was prohibited. Priest-guards protected, tended, and replanted the sacred woods.[3] The animation pictured the evolution from a forest grove into a forest clearing or templum around an old growth pine tree. The pine tree has contributed significantly to the culture and landscape of both classical and contemporary Rome. The Ancient Roman poet Ovid wrote about the importance of pine branches as ritual objects cut from arbore pura (a tree that makes pure) in preparation for ceremony and feasting. Pine resin, pine nuts, and tonics made of pine needles were convivial foods in Ancient Rome.[4] In the animation the templum formed slowly over time as other trees died off and understory growth was kept low to the ground through management regimes. The Latin word templum, from which the modern English word temple derives, originally referred to a precinct or a forest clearing. It was a field condition rather than a singular edifice or building.[5]The animation shifted over time to show an altar being elevated from the forest floor as a free-standing table within the templum. As the altar appeared, the templum also became more formal through the planting of trees in a defined pattern. In this evolution the templum eventually found a more regular form. Toward the end of the animation constructed columns and a canopy began to delineate the templum. As the columns and canopy appeared, an aedes(edifice) was also shown constructed within the templum. In the 21st century the aedes remains as the most publically visible marker of antiquity in Rome. The aedes in modern Rome is itself called a temple. In isolation, these edifices do not reveal the activities that once took place around them and were so essential to the meaning of the planted field or forested ground.[6] English architect of the 17th century Christopher Wren wrote on the theme of the sacred architectural grove: [ ]… for all Sacrifices were performed in the open Air, before the Front of the Temple; but in the southern Climates, a Grove was necessary not only to shade the Devout, but, from the Darkness of the Place, to strike some Terror and Recollection in their Approachers; [ ]… when the Temples were brought into Cities, the like Walks were represented with Stone Pillars, supporting the more durable Shade of a Roof, instead of the Arbour of spreading Boughs; and still in the Ornaments of Stone Work was imitated, (as well as the Materials would bear) both in the Capitals, Frizes and Mouldings, a Foliage, or sort of Work composed of Leaves, which remains to this Age.&nbsp; This, I am apt to think, was the true Original of Colonades environing the Temples in single or double Ailes.&nbsp; People could not assemble and converse, but under shade in hot Countries; therefore, the Forum of every City was also at first planted round with Walks of Trees – Lucus in urbe fuit mediâ, lætissimus umbrâ.[7] In Table in Rome II the animation projected onto the plywood floor was a rectangle whose proportions were approximately 1:1.6. The image was meant to be a kind of digital altar. The altar was centered in a clearing located in a forest of transparent acrylic tubes. Visitors to Table in Rome II moved around or placed objects on the floor interrupting the light from the projector. Through this interaction, new forms, shapes, and shadows were layered onto the animation in real time. The altar and the grove took on new meanings, much the same as the activity of the modern city of Rome layers new meaning onto the remnants of the ancient city of Rome. <img width="6852" height="3767" width_o="6852" height_o="3767" data-src="https://freight.cargo.site/t/original/i/08fbba8b276238b7c93a64a8280b0247854905d51d746494c103f14f00a03638/Figure_3_6.jpg" data-mid="27673413" border="0" src="https://freight.cargo.site/w/1000/i/08fbba8b276238b7c93a64a8280b0247854905d51d746494c103f14f00a03638/Figure_3_6.jpg" />1 Forest, drawing, Jana VanderGoot with Katarina Svennsson, 2013 <img width="2048" height="1024" width_o="2048" height_o="1024" data-src="https://freight.cargo.site/t/original/i/b5357bfb4c53f913154304217a7829719445b14ca43c2f859058e0d80ec5647d/TIR2Dance_1.jpg" data-mid="225718404" border="0" src="https://freight.cargo.site/w/1000/i/b5357bfb4c53f913154304217a7829719445b14ca43c2f859058e0d80ec5647d/TIR2Dance_1.jpg" />Students in forest, 2013<img width="3648" height="2344" width_o="3648" height_o="2344" data-src="https://freight.cargo.site/t/original/i/50c8d4bd3024026b4f85ab0c1f96dc9b963960ffe532a1458d47e60f555aacc4/Figure_3_10.jpg" data-mid="27673416" border="0" src="https://freight.cargo.site/w/1000/i/50c8d4bd3024026b4f85ab0c1f96dc9b963960ffe532a1458d47e60f555aacc4/Figure_3_10.jpg" />2 Forest clearing, drawing, Jana VanderGoot with Katarina Svennsson, 2013<img width="2048" height="1024" width_o="2048" height_o="1024" data-src="https://freight.cargo.site/t/original/i/901df3405c8ee8bf67916a1b8ac5c4a4fb30540d4c91b3df4a042c8aa91af17d/TIR2Dance_5.jpg" data-mid="225718451" border="0" src="https://freight.cargo.site/w/1000/i/901df3405c8ee8bf67916a1b8ac5c4a4fb30540d4c91b3df4a042c8aa91af17d/TIR2Dance_5.jpg" /> <img width="3520" height="2440" width_o="3520" height_o="2440" data-src="https://freight.cargo.site/t/original/i/d07febd9915057650ab8fe6a5edbca7c673b7e9c7236c86b68d8c09189d816d5/Figure_3_11.jpg" data-mid="27673417" border="0" src="https://freight.cargo.site/w/1000/i/d07febd9915057650ab8fe6a5edbca7c673b7e9c7236c86b68d8c09189d816d5/Figure_3_11.jpg" />3 Forest templum, animation still, Jana VanderGoot with Katarina Svennsson, 2013 <img width="3359" height="2128" width_o="3359" height_o="2128" data-src="https://freight.cargo.site/t/original/i/3092dee2de57dc012d8907329c438d6508a5b939f363129411f86691a8460862/Figure_3_13.jpg" data-mid="27673418" border="0" src="https://freight.cargo.site/w/1000/i/3092dee2de57dc012d8907329c438d6508a5b939f363129411f86691a8460862/Figure_3_13.jpg" /> 4 Forest templum, animation still, Jana VanderGoot with Katarina Svennsson, 2013<img width="3535" height="2624" width_o="3535" height_o="2624" data-src="https://freight.cargo.site/t/original/i/b2e5dd599e1d2eefd505a87c64d18f1b61c45eb1439993b3e4c0734b195c576e/Figure_3_14.jpg" data-mid="27673419" border="0" src="https://freight.cargo.site/w/1000/i/b2e5dd599e1d2eefd505a87c64d18f1b61c45eb1439993b3e4c0734b195c576e/Figure_3_14.jpg" /> 5 Forest and colonnade templum, animation still, Jana VanderGoot, 2013<img width="3624" height="2591" width_o="3624" height_o="2591" data-src="https://freight.cargo.site/t/original/i/38eb56910bedcab74e32312a23850e0735a27d0a3e68d4e67a46c163147fa155/Figure_3_15.jpg" data-mid="27673420" border="0" src="https://freight.cargo.site/w/1000/i/38eb56910bedcab74e32312a23850e0735a27d0a3e68d4e67a46c163147fa155/Figure_3_15.jpg" /> 6 Colonnade templum, animation still, Jana VanderGoot with Katarina Svennsson, 2013 <img width="7092" height="4125" width_o="7092" height_o="4125" data-src="https://freight.cargo.site/t/original/i/e9adb5dd48b851ac673fd0e567dc3ecc2f2b6ea426e68f0eaad0bf0c8dbbe0a6/Figure_3_8.jpg" data-mid="27673414" border="0" src="https://freight.cargo.site/w/1000/i/e9adb5dd48b851ac673fd0e567dc3ecc2f2b6ea426e68f0eaad0bf0c8dbbe0a6/Figure_3_8.jpg" /> 7 Colonnade and temple edifces, animation still, Jana VanderGoot with Katarina Svennsson, 2013 <img width="1724" height="1736" width_o="1724" height_o="1736" data-src="https://freight.cargo.site/t/original/i/3a4cab8e5ab6a2bf9da723fd78d2ee4888bb2deb5107f4ea040866a9685210e0/TIRII_dowel3-copy.jpg" data-mid="27673432" border="0" src="https://freight.cargo.site/w/1000/i/3a4cab8e5ab6a2bf9da723fd78d2ee4888bb2deb5107f4ea040866a9685210e0/TIRII_dowel3-copy.jpg" />Forest wall, oak dowels in routed plywood Forest Wall A vertical forest wall was planted with wooden dowels that cast shadows and reflected green light onto the floor. The cast light produced a texture, grain, and density characteristic of a coniferous forest with an understory cleared of brush. Visitors designed field conditions by removing and shifting the location of the dowels to create clearings, openings, edges, axial lines, collections, and focal points. Sometimes the dowels crashed to the floor with a sound as loud as gunshots. That startling sound became part of the character of the exhibit. Planting the forest turned into play, experimentation, testing boundaries, and expressing emotions and opinions. Some groups of people who visited the project determined that the wooden wall with holes was not satisfactory as the only surface for holding the dowels. They expanded their activity with the dowels to the plywood floor and other walls. In this instance the open-endedness of the dowels as a design medium allowed the project to grow into something that was about many agendas, many people, and many moments in time. Initially those who installed the project returned the dowels to their original place in the wall at the end of each day. Sense of ownership triggered a need to maintain the area according to the initial design for it. Over time a new comfort level emerged so that dowels in many unpredicted locations became not only acceptable but also a source of delight. The instinct for order was transformed into a curiosity about what might happen next. <img width="1500" height="1681" width_o="1500" height_o="1681" data-src="https://freight.cargo.site/t/original/i/f0be256c0bb0ea3a43fc7f7846ce986c46ee498f8a05b6612fb703402ee422ce/P1020850.JPG" data-mid="27673425" border="0" src="https://freight.cargo.site/w/1000/i/f0be256c0bb0ea3a43fc7f7846ce986c46ee498f8a05b6612fb703402ee422ce/P1020850.JPG" />Guest in the forest wall <img width="548" height="759" width_o="548" height_o="759" data-src="https://freight.cargo.site/t/original/i/17e43bdebffb3f7bf87a1fd0de343a9ba580a8d630d64e76773460be41c98f74/dance2.jpg" data-mid="27673421" border="0" src="https://freight.cargo.site/w/548/i/17e43bdebffb3f7bf87a1fd0de343a9ba580a8d630d64e76773460be41c98f74/dance2.jpg" />Guest near forest wall, only one dowel <img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/f52cd02d59c53521809a002a933858d411fa2d91441100bbd977ffce21c0f52e/P1030485.JPG" data-mid="27673427" border="0" src="https://freight.cargo.site/w/1000/i/f52cd02d59c53521809a002a933858d411fa2d91441100bbd977ffce21c0f52e/P1030485.JPG" /> Guests who visited the installation playing a game with fellow students on the other side of the forest wall. Footnotes [1] Lawrence Halprin and Jim Burns, Taking Part: A Workshop Approach to Collective Creativity (Cambridge: MIT Press 1974). Halprin and Burns discuss collective creativity in community design workshops.[2] Clements, Frederic E. Plant Succession and Indicators: A Definitive Edition of Plant Succession and Plant Indicators. New York city: H.W. Wilson Co., 1928; Gleason, H. A. "Further Views on the Succession-Concept." Ecology 8, 3(1927): 299-326. doi:10.2307/1929332; Oldeman, Roelof A. A. Forests: Elements of Silvology. Berlin: Springer-Verlag, 1990. These texts further discuss forest succession. [3] J.S. Collis, The Triumph of the Tree (Sloane: New York, New York, 1954), 46 and 74. [4] Ovid, Fasti. II. 25 Februa 5] Stan Allen, “Field Conditions,” Points and Lines, Diagrams and Projects for the City (New York: Princeton Architectural Press, 2012), 97. Allen introduces the term “field condition” into discussion of architecture and urbanism.[6] George Hersey, “Chapter 2 Sacred Trees,” The Lost Meaning of Classical Architecture, Speculations on Ornament from Vitruvius to Venturi. Cambridge, Mass.: Massachusetts Institute of Technology, 1988; Sarah Iles Johnston ed., Religions of the World, A Guide (Belknap Press of Harvard University Press, Cambridge, 2004), 275-76. For discussion of templum. [7] Christopher Wren, Tracts I and II, Parentalia, 353; 355 and Vergil, Æneid 1.441:&nbsp; A grove was in the midst of the city, most rich in shade. Special thanks to Robert Ferguson for pointing out this source.&nbsp;