00

Excavating Wilderness:

A reOrienting trajectory across Central Park

Jeff Kamuda

Thesis Preparatory Booklet

Primary Advisor | Prof. Rosa

Secondary Advisor | Prof. McDonald

Fall 2010

03

09

17

27

41

55

61

RE

SE

AR

CH

Con

tent

s

00

CONTENTION

GLOSSARY

WILDERNESS

CENTRAL PARK

TOURISM

PROPOSAL

RESOURCES

Maximum 64

Minimum 0

HUMAN INFLUENCE INDEX [on terrestrial ecosystems]

CIESIN at Columbia University, and Wildlife Conservation Society, comps. “The Human Influence Index Ver. 2.” Map. The Last of the Wild. CIESIN at Columbia University, 07 Mar. 2008. Web. 17 Nov. 2010. <http://sedac.ciesin.columbia.edu/wildareas/maps.jsp>.

1

HOMO SAPIENS HAVE INHABITED THE EARTH FOR FOUR BILLIONTHS OF ONE PERCENT

OF IT’S LIFESPAN

YET WE HAVE REDUCED ITS ‘WILD’ SPACES BY 83 PERCENTWHY IS THIS LOSS SIGNIFICANT?

02Greenpeace.AT. GP01MTC. 2010. Photograph. Flickr. Yahoo, 18 Oct. 2010. Web. 20 Oct. 2010. <http://www.flickr.com/photos/29226883@N05/5093181198/>.

Architecture is a thing of art, a phenomenon of the emotions, lying outside questions of construction and beyond them. The purpose of construction is to make things hold together; of architecture to move us. Architectural emotion exists when the work rings within us in tune with a universe whose laws we obey, recognize and respect.1

LE CORBUSIER

TOWARD AN ARCHITECTURE

If we are to understand that dwelling, a function of orientation, is an ultimate goal of humankind, and that architecture’s primary purpose is to provide

this ‘existential foothold’, how can this be accomplished in an age when the very tools of orientation and it’s components (time, place, and identity)

have been disconnected from the environmental phenomena through which they are truly attained?2 More specifically, as modern society attempts to

be oriented to their surroundings through an increasing detachment from the natural world, how can architecture thus be used as a didactic mechanism

that affords man a tangible link to understanding his meaningful place in the cosmos?3 I believe that constructing a framework around current ecocentric

ideology, developed through the historical lineage of the wilderness concept, will produce an opportunity for an architectural intervention to confront the

primal act of orientation while simultaneously grafting into a relevant societal context.

04Wakefield, Simon. Stonehenge sunrise. Digital image. Flickr. Yahoo, 27 Dec. 2008. Web. 05 Oct. 2010. <http://www.flickr.com/photos/simonwakefield/3149066878/>.

The Path of Life

THE EXPULSION

Although this conceptual diagram is rooted in a scriptural mode of coming-into-being (the expulsion of Adam and Eve from the

Garden of Eden), it represents both a quintessential distinction between cultivated and untamed wilderness as well as a universal

concept of man’s coming-into-being, whether scriptual or evolutionary. The notion of being expelled into the wild equates

to man emerging as an unknowing being, where knowledge must be gathered in his journey through the forest; orientation

is gained by reaching the clearing, where one can make sense of their surroundings. In this sense, the wilderness (specifically

the forest) serves as a space of disorientation which man must skillfully navigate in order to gain orientation (knowledge)

and ultimately an 'existential foothold' through dwelling, as Norberg-Schulz states, thus making his existence meaningful.4

Contemporary society, specifically in America, has tended to disassociate itself from these primal notions of

orientation, existing instead in what architect Juhani Pallasmaa describes as ‘an estrangement and detachment from

reality [...] leaving the body and the other senses, as well as our memories, imagination and dreams, homeless’.5 This

process of disassociation is multifaceted and has occurred over a great period of time, although the diagram extracts

three primary issues which I feel are the most current, pressing areas of concern: Ocularcentrism and its suppression

of the human body’s perceptive capacities, technocentric globalization and its compression of time and space into a

flattened sense of reality, and the rise of virtualization and its despatialization of place into an acontextual and ephemeral

wandering. These issues will be further examined and scrutinized in an attempt to understand a relevant insertion

point for an architectural intervention that will attempt to reconnect the user with the timeless architectural task of

orientation while simultaneously addressing contemporary societal issues which largely inhibit them from doing so.

W A N D E R E R

l i f e w o r l d

virtual w o r l d

Image: Cole, Thomas. Expulsion from the Garden of Eden. 1828. Oil on Canvas. Museum of Fine Arts, Boston, MA.

Con

tent

ion

06

FRA

MEW

OR

Kocularcentrism

v i r t u a l i s m

technocentr icglobal i zat ion

flattening space to image

time/space compression

suppressed perception- alienated IDENTITY

- detachment from TIME

- commodification of PLACE

a l i e n a t i o nd e t a c h m e n ti s o l a t i o n

Modern

DWELL INGmeaning through knowledge

Intervention

Time / Place / Identityorientation

Traditional

meaningful microcosmos

meaningful experiences

meaningful places- settlements (foci) reveal genius loci (spirit)- cultural landscape formed (surface relief, vegetation, water) - Romantic, Cosmic, Classical, Complex- interpretation of earth/sky & outside/inside

- natural world phenomena -multi-sensory bodily perception- sensorial perception, body as center

- cultural identity- existential foothold

translation

percept ion

gath e r i n g

visualize + complement + symbolize = buildexpress knowledge

through replication

add what is lacking innature to heighten

awareness

translate knowledge ofnature & self into

‘things’

?

Diagram Derived From: Norberg-Schulz, Christian. Genius Loci: Towards a Phenomenology of Architecture. New York: Rizzoli, 1991. Print.

By being sunk into the ground [architecture] becomes primarily an opening to something primitive and elemental.6

THOMAS THIS-EVENSENARCHETYPES IN ARCHITECTURE

Con

tent

ion

08

AB

STR

AC

TAlthough we have existed for .00004% of Earth’s lifespan, modern humans7 have detained the planet’s wild places

into defined regions, less than 17% of which are now categorized as protected wilderness.8 Thus, wilderness must

be defined and scrutinized both as a place and a concept. From an ecological perspective, the degradation of the

environment has presented serious physical consequences for life around the world, much of which has captured the interest

of contemporary society (ie. climate change and sustainability). However, I contend that the loss of wild space has even greater

intangible consequences which are often overlooked; residing deep within our subconscious, and providing an elemental link to

the very core of our being.9

From a conceptual perspective, wilderness (specifically the Forest in Western civilization) has provided an epistemological

concept for the unknown, thus drawing parallels with both celestial and subterranean space. Religion has provided an historic

framework for comprehending these unknown wilds (concepts of heaven & hell), functioning as a spiritual compass to navigate

this metaphysical Forest.10 Hence one can understand the significance of orientation functioning as a clearing in a disorienting

Forest (for one need be lost in order to find oneself).11

The loss of the forest on earth therefore suggests the loss of the clearing, both in a physical and metaphysical sense, inhibiting

one’s ability to grasp a meaningful orientation to their surroundings. Our modern tendency to detach ourselves from reality

through technological agents has lead to a shifting of our attention from tangible life-world means of orientation to more

intangible, superficial means.12 Consequently, I argue for an architecture which reconnects its users with the earth from which

they came, reconnecting with natural place and acting as a mechanism for orientation (an axis mundi) through a didactic and

phenomenological construction. In this way, the architecture will reconnect modern man with primitive nature.

Situated in Central Park, a definitive interface between civilization and (constructed) wilderness, the project will perform

excavations into the park’s surface, redefining its entry and yielding a dramatic encounter with New York’s subterranean

wilderness. This act of paleontologically slicing through the earth’s skin symbolizes a return to the deep, timeless elements of the

earth and man’s existence upon it, concretized in the bedrock of Manhattan. Thus, a didactic intervention emerges, illuminating

the narrative of the city’s foundations as well as it’s unique tectonic and social history as a place of convergence. Working off

of this theme, the project will provide a new node of orientation for the nearly 50 million [disoriented] tourists who visit New

York City annually. Critiquing the current axis mundi of New York’s Time Square, a pinnacle of ocularcentrism and arguably an

insignificant superficial representation of its place, this intervention will instead provide a compelling means of revealing the

city, rooted in its deep and significant history as a site of convergence. By exposing these timeless environmental forces in a

thriving metropolis, the project hopes to remind us, as Nature once did, of something greater than ourselves.

W I L D E R N E S S

E C O C E N T R I S M

ANTHROPOCENTRISM

“Any place in which a person feels stripped of guidance, lost, and perplexed.”3

“Where the earth and its community of life are untrammeled by man, where man himself is a visitor who does not remain [yet can find solitude & recreation ...] These lands may also contain ecological, geological or features of scientific, educational, scenic or historical value.”

- Wilderness Act, 19644

A malleable concept representing man’s interpretation of nature, acting as an essential embodiment of the primitive interface between humankind and the natural world. Over time it has come to offer man spiritual, recreational, and educational value as a quintessential

space to lose oneself and gain a meaningful orientation to one’s environment.

[Also known as biocentrism or deep ecology] Belief structures that “value the symbiotic interdependencies of the natural world [...] and the importance of nature beyond what it

offers humans.”5

Human-centered belief structures that “value nature for its potential for direct human use” as a material resource.6

1

2

Glo

ssar

y

10

PLA

CES

8

7

FOREST DESERT

OA S I SCLEARING

[Western World] A conceptually disorienting, orderless and infinite wilderness in which man encounters phenomena of

the natural world.

“Invigorating and healing due to [its] multiplicity of peripheral stimuli effectively pull us into the reality of its space.”9

A space of orientation and understanding, free from the disorienting influence of the Forest.

[Eastern World] A conceptually disorienting, orderless and infinite wilderness in which man encounters phenomena of the

natural world.

“In the desert, man does not encounter the multifarious ‘forces’ of nature, but experiences it’s most absolute cosmic properties.”10

A space of orientation and understanding, free from the disorienting influence of the Desert.

IDENTITY PLACE T I M E

A knowledge and understanding

of oneself through physical

(perception), psychological

(cognition), and social (religion,

culture, profession, gender)

awareness.

“A space which has a distinct

character [...] a concrete

manifestation of man’s dwelling,

his identity depends on his

belonging to places.”13

“A quantitative and concrete

natural phenomena, experienced

in the periodicity and rhythm of

man’s own life as well as in the life

of nature.”14

O R I E N T A T I O N

IDENTIFICATION

[Traditional] “The ability to locate oneself in one’s environment with reference to time, place, and identity.”11

“Knowledge of one’s own temporal, social, and practical circumstances in life”12

An act through which meaningful interpretations of unknown phenomena and spatial structures are

transformed into comprehensible systems of order. A clearing in a forest of disorientation.

“To become ‘friends with a particular environment, [...] complementing its natural situation by ’gathering’ it in a

meaningful manner” 15

33

Glo

ssar

y

12

FRA

MEW

OR

KS

[Technical] “Individuals who travel for reasons of recreation, leisure, or business purposes.”19

Individuals in a state of disorientation due to their exposure to an unknown environment.

“A trans-cultural image appearing in every religion, this concept expresses a point of

connection between Earth and Sky where the four compass directions meet [...] A center of

the world and microcosm of order capable of operating in multiple locations simultaneously.”18

A X I S M U N D I

T O U R I S T

16

17

“Man dwells when he can orientate himself within and identify himself with an environment,

or, in short, when he experiences the environment as meaningful [...] In modern society

attention has almost exclusively been concentrated on the ‘practical’ function of orientation,

whereas identification has been left to chance. As a result true dwelling, in a psychological

sense, has been substituted by alienation”22

“To gather the world as a concrete building or ‘thing’.”23

D W E L L

21

20

W A N D E R

From the emergence of mankind (Following the expulsion from Eden in Judeo-Christian

origin), man has wandered the ‘path of life’ attempting to regain paradise (Eden) and find

meaning in his existence (a process of orientation and identification resulting in dwelling).24

Glo

ssar

y

14

DW

ELLI

NG

S

25

C AV E H U T

An archetypal earthwork representing the first dwellings of man, carved from the earth.

The first constructed dwelling of man, forming an enclosure, or built boundary of separation. Defined by means of how it

stands on the ground and rises to the sky.26

T E M P L EHOUSE

A modernized hut in which man lives.

“To dwell in a house means to inhabit the world.”27

“A machine for living in.”28

“The temple of the family.”29

“A house of worship.”30

Dwelling of the Gods.

A religious centre (axis mundi) which man utilizes for a ritual re-enacting of cosmic events.31

A “sacred grove [with a] forest of columns.”32

1

2

3

4

1A Wilderness Condition

For centuries the etymology of the term wilderness has challenged and bewildered those

attempting to define it, resulting in multifarious yet indeterminate interpretations. Over time,

the very process of defining wilderness can itself reveal not only a distinct American history,

but additionally what historian Michael Lewis describes as a “global history of modernity

and its discontents: our values, our hopes, our blind spots, and our fears, overlaid on a

rapidly changing planet”.3 Beginning with precolonial ecocentric native interpretations to

the anthropocentric ethos of Judeo-Christian European settlers, the American definition of

wilderness has deep roots indeed. In recent history, three crucial events proved to set the

foundations for modern definitions of wilderness: First, and perhaps most importantly, was

the creation of the National Park system following the Civil War, setting an international

precedent for wild land preservation. Two decades later, Frederick Jackson Turner’s Frontier

Thesis of 1893 noted the importance of wilderness as a Frontier which helped to define

American identity, thus signifying the importance of preserving what was left of it. Half-a-

century later, postwar America once again discovered the importance of wild spaces, leading

to the pioneering environmental crusades of the 1960’s, culminating in the creation of the

Wilderness Act of 1964. These events not only reconstructed the ideological and physical

frameworks of wilderness, but further represent significant crossroads in American history.

The rise of American transcendentalist thought in the mid 19th Century through the work

of prominent figures such as Ralph Waldo Emerson and Henry David Thoreau brought to

life the ideas of finding spirituality not through established religious doctrines, but individual

perception, and wilderness was no longer a biblical space of moral confusion and despair but

rather one of existential quality. Consequently, the movement suggested that God could be

found in the natural world as opposed to the works of man, and perhaps Eden was outside

the Garden walls, unconfined. Thoreau’s own investigation in his work Walden revealed his

belief in the restorative qualities of nature as “a way of escaping the corruptions of civilized

life [and] finding a more innocent self; returning to who [we] really are”.4 Not surprisingly,

Thoreau’s call for a system of “little oases of wilderness in the desert of our civilization”

was adopted by naturalists such as John Muir, who helped to raise public awareness of the

importance of protecting wild places through his own ecocentric spirituality and published

adventures through places such as Yosemite Valley, California. In a nation stricken by Civil

War, Muir’s work lead to legislation declaring Yosemite a state-protected land in May of

1864. Eight years later, President Ulysses S. Grant furthered this cause by signing an historic

“The value of wilderness is not static [its value] alters over time in

accordance with changes in the needs and attitudes of society.”

-Hall & Page, The Geography of Tourism & Recreation2

16

12

“Our kind has living in wilderness at least 100 times longer than it has lived

in civilization. Certainly the influence of this immense background of

collective experience would not dissappear easily or completely.”

-Roderick Nash, Wilderness & the American Mind13

bill declaring the Yellowstone region of Northwest Wyoming as Yellowstone National Park,

the first of its kind in the world.5 Thus began a new era of wilderness recreation in America.

Nearly two decades later at the 1893 World’s Columbian Exposition in Chicago (in this case,

an ironic celebration of the discovery of America), F.J. Turner’s compelling theory defined

wilderness as the frontier, an ‘elastic’ borderland, “the meeting point between savagery

and civilization”, upon which the very identity of America had been forged.6 Thus, the very

bounds of the wild proved to be a defining characteristic of American societal development.

Subsequently, as Turner pointed out, now that U.S. census data had revealed the frontier

had closed, so too had “the first period of American history”.7 This seminal work not only

linked wilderness with American culture, but further exposed the interconnectivity of

man’s actions with the natural environment. Thus, detrimental actions not only threatened

wilderness as a place, but also as an ideology upon which American identity was built.

Half-a-century later, America found itself on a postwar high, celebrating in the rediscovered

frontier of recreational wilderness. Much like the popularity in wilderness recreation coincided

with the rise of the railroad in post-Civil War America, so too did it in post-WWII America

with the rise of automobile culture, heightened by the passing of the Interstate Highway Act of

1956.8 Wilderness thus became framed through what history professor Mark Harvey terms

a “windshield experience”.9 Visiting wild spaces therefore became an American obligation.

However, as popularity rose for these limited natural retreats, so did legislation to protect

them. Through the work of individuals like Howard Zahniser, the monumental passing of

the Wilderness Act of 1964 sought to safeguard this newfound wild by defining wilderness as

those places “where the earth and its community of life are untrammeled by man, where man

himself is a visitor who does not remain”.10 The federal government subsequently produced

a polarized distinction between civilized spaces (city) and wild spaces (nature). However,

this redefinition and federal management plan seemingly contradicted more traditional

categorizations, labeling wilderness as “spaces that humans do not control”.11 Nonetheless, a

diverse community emerged bound by environmental responsibility and a love of wild space.

Riding this populous environmental wave in his highly influential work Wilderness and the

American Mind, author and environmental studies professor Roderick Nash provided a deeply

insightful perspective into the topic of wilderness, from its primitive etymological roots to its

contemporary (late 1960's) psychological and physical circumstances. In defining wilderness,

Nash takes inventory of past definitions, particularly focusing on the Wilderness Act’s

antipodal language between civilized and wild spaces. Building upon this, Nash determines

civilized metropolis

NATURE = PARK

wild nature

CIVILIZATION = OUTPOST

14

15

that wilderness is as much a physical space as it is a state of mind, existing subjectively in

the imaginations of those who describe it; with the potential to define itself.16 However, this

theory gains little ground in determining the actual physical boundaries of the wild. Thus,

Nash introduces the concept of a “[polarized] spectrum of conditions or environments

ranging from the purely wild [...] to the purely civilized”, allowing wilderness to spatially exist

in “variations of intensity rather than on absolutes”.17 As his diagram illustrates, the metropolis

(civilization) sits at one end of the spectrum, with cultivated nature existing in bounded

regions such as city parks. On the other end of the spectrum sits wild nature (wilderness),

with pockets of civilization existing as outposts. The space between these identities exists

as cultivated landscapes (rural/pastoral) where a certain balance between the two poles

is approached.18 The emergence of this complex dichotomic understanding of wilderness

brings us to contemporary realms of discourse, and the Great Wilderness Debate of the 1990’s.

Between Two Poles

Captured in the publication The Great New Wilderness Debate in 1998, a number of heated

discussions surrounding contemporary conceptions of wilderness and its subsequent

management emerged. Prime among these were the butting arguments of environmental

historian William Cronon and environmentalist and EarthFirst!© founder Dave Foreman.

Cronon’s argument was directed towards the traditional definition of wilderness as manifest

in the Wilderness Act as a polar distinction between that which is natural/wild, and that

which is human/civilized. Attributing this polarized development to historical notions of

the sublime and the frontier, Cronon contends that wilderness is a cultural construction

rooted in the ideology of national renewal on the Frontier and religious redemption in

sublime landscapes. Thus, a polarity emerged between the indistinct spaces of civilization

(representing a confined, false, and artificial landscape), and wilderness (representing

a free, true, and natural landscape). Cronon believes this ahistorical concept we label as

wilderness only serves to “offer us the illusion that we can escape the cares and troubles

of the world in which our past has ensnared us”.19 Furthermore, by constructing this illusory

dualism, we grant ourselves permission to “evade responsibility for the lives we actually

lead [...] encouraging us to believe that we are separate from nature [and thereby] likely to

reinforce environmentally irresponsible behavior”.20 In this way, he believes wilderness can

act as a threat to the very environmentalism efforts attempting to define and preserve it.

In response, Foreman utilizes his vast on-the-ground conservation background to dismiss

Wild

erne

ss

18

IDEN

TIF

ICAT

IONCronon’s ‘philosophical, deconstructionist abstractions’ as purely academic and based

solely on intangible idealism rather than concretized circumstances eligible for debate. He

supports the definition of wilderness as a ‘self-willed land beyond human control’, although

again, managing these lands is contradictory to this statement. As Cronon points out,

“people should always be conscious that they are part of the natural world, inextricably

tied to the ecological systems that sustain their lives”, and polarizing wilderness as lands

untouched by humans only serves to sever that connection.21 He instead suggests that we

embrace our relationship with nature, and protect it in a non-hierarchical manner which

deconstructs previous concepts of wilderness in favor of a value system which would

cherish the wildness of nature, whether it be a distant mountain range or the tree in one’s

backyard. This approach would thus honor the wild in a mode of “critical self-consciousness

[which] discovers a common middle ground in which all of these things, from the city to the

wilderness, [is found] in the ‘home’ [in which we dwell] that encompasses them both”.22

Beginning with Turner’s notion of the temporal, malleable space of the Frontier, followed

by Nash’s bipolar spatial conception of wilderness and civilization, ending with Cronon’s

deconstruction of this concept into the space of ‘home’ between said poles, a common thread of

interstitiality, or 'betweenness' emerges. Wilderness, and the process of determining where,

what and how it is, seems to continually exist in the ether of existence, neither here nor there,

continually evolving to meet the needs of those determining its value. Perhaps this ambiguity

is due in part to man’s continual search for meaning and orientation in his/her life, continually

referencing the primal relationship between man and nature. Just as nature serves as a

humbling, tangible reminder to something larger than ourselves, so too does the eternal act of

orienting ourselves within it remind us of the values through which we find meaning in our lives.

Elaborating upon the issue of interstiality in contemporary culture is professor of American

literature and language, Homi K. Bhabha. In his seminal work, The Location of Culture, Bhabha

elects to unravel the emerging globalized multicultural community by studying its interstitial

moments of interaction. He defines the notion of interstices as “the overlap and displacement

of domains of difference”, labeling these hybrid spaces as crucial to understanding

contemporary cultural values and identities.23 These “borderline engagements” he further

states, “[may] challenge normative expectations of development and progress” in an

attempt to reveal the true forms of current cultural identity.24 He believes that by recognizing

this “interstitial perspective” through the exploration of liminal space or “connective tissue”,

one can better understand the geopolitical circumstances that produce such identities.

More generally, by intervening between poles of identification, one can begin to re-frame

traditional concepts of identifying each pole, addressing larger ideological frameworks

in the process, much like Cronon has done in his critical dissection of the wilderness

concept. Subsequently, to properly understand the conceptual significance of wild space,

one must study it as an interstitial condition, viewing it as a liminal space through which

polar distinctions (heaven/hell, city/garden, tangible/intangible, sacred/profane, nature/

civilization, self/cosmos, etc.) emerge, thus exposing a meaningful and multifaceted

identification.25 In order to perform such an investigation in a contemporary context, an

appropriate place to begin would be the large-scale urban park: a socially-constructed stage,

or liminal space which illustrates an essential interface between civilization (man) and nature

(wilderness), embodying a critical lineage of social, cultural, and political values and motives.

City/park relationship represents essential interface between man and nature

NATURE // MAN

GARDEN // CITY

UNKNOWN // KNOWN COSMOS // SELF

HEAVEN // HELL

?

Setting the Stage

As Linda Pollak illustrates in her essay Matrix Landscape: Constructing Identity in the Large

Park, America was initially conceptualized as “the new garden of the world”, developed

earlier through 18th Century British landscape gardens (ie. Stowe Gardens), especially

in their representation of the sublimity of nature, addressing its infinite complexity in a

tangible, picturesque manner.26 The fear of the American wilderness thus emerged from

these very same concepts of sublimity, or that which was beyond human comprehension

and control, resulting in the taming of the sublime upon the charging frontier line. Following

the conquering of the American wilderness captured in Turner’s Frontier Thesis of 1893, the

sublime American landscape was facing complete eradication. Accordingly, the American

parks movement was twofold in its agenda: first, to preserve the most extraordinary wild

spaces left in the country (ie. national parks), and second, to capture the essence of those

places in the design of urban parks for city-dwellers to experience. The urban park was thus a

work of man (simultaneously attempting to conceal such work) evoking the sublime aspects

of nature, aimed at preserving not simply the magnificence of the American landscape, but

also the embodied history of the American people within it.

Although not the first city park in the United States, New York’s Central Park is hailed by

many as a crowning achievement of American park design and “the most important public

space in the United States".27 Responding to the ever-expanding boundaries of New York in

the mid-19th Century, city officials elected to designate a central plot of stagnant wasteland

on Manhattan island for future development as a city park. In 1857 a competition was held

to design the park, resulting in the selection of Frederick Law Olmstead and Calvert Vaux’s

Greensward Plan on April 21, 1858 as the clear winner. From a functional standpoint, the

park was revolutionary for a number of reasons. For example, integrating various system of

circulation which operated collectively as well as independently, granted access to the park

for many types of traffic. The park also provided the city with vital drinking water through its

intricate system of subterranean infrastructure and expansive reservoirs.

From a social perspective, the concept of a democratic public space that would disintegrate

class hierarchies and unify peoples of differing ethnic groups was not only revolutionary

but especially vital in the midst of a national divided by Civil War. Supporting this ideology,

Central Park is entered through twenty decorative gates dedicated to the laborers (ie.

scholars, engineers, farmers) who illustrated the free, honest work that developed the

city. Furthermore, 29 sculptures dot the park landscape, donated primarily by individuals

SOCIAL IDEOLOGIES

ECOLOGY & INNOVATION

CULTURAL INSTITUTIONS

NATIONAL VALUES

NATIONAL IDENTITY

CULTURAL IDENTITY

“The meaning of Central Park - its celebration of democracy, technology,

nature, and popular culture - is written in its stones and reflected in its waters.”

-Sarah C. Miller, Central Park, An American Masterpiece28

CIT

Y /

PA

RK

TRADITIONAL WILDERNESS[i.e. The Garden of Eden]

Bounded civilization surrounded by

an unknown expanding wilderness

MODERN WILDERNESS[i.e. The Metropolis]

Bounded wilderness surrounded by

an unknown expanding metropolis

20

Wild

erne

ss

who wished to endow the park with notable people and themes from their multicultural

homelands. The centerpiece of these efforts of unification occur along the Mall, culminating

in Bethesda Terrace; a “social arena” where citizens would congregate with one another

and experience the diversity of the city. Hence, Central Park physically manifested the

foundations of American identity: a democratic, multicultural landscape born upon a

cultivated wilderness.

Over time, significant city parks act as meaningful repositories which retain vital snapshots

of the social, cultural, political, environmental, and technological forces which lead to their

creation. Juxtaposed with a park’s historical evolution, this information can begin to reveal

the interconnected nature of these components over time and perhaps distinguish when

conflict arises between them. In the case of Central Park, Civil War (political and social

unrest), expanding cities (and shrinking open space), population diversity, and a dwindling

frontier were all major factors in the creation of a ‘people’s park’ located in the heart of

America’s grandest city.

By deconstructing the wilderness concept (see following wilderness timeline), one can begin

to more clearly understand its relationship to the ideological foundations of the American

city park, and further, seeing the park an an important embodiment of the eternal struggle

to define the relationship between man and nature. Beginning with the 'Eden model' where

ominous wilderness surrounded the cultivated garden, and arriving at the 'metropolis model'

where the (un)cultivated garden is surrounded by the ever-expanding city, a definitive role-

reversal emerges. This historical transformation is no doubt in many ways a result of the

decline of natural wilderness (ie. the forest) and the rise of man-made wilderness (the

city). Accordingly, as the natural wilderness once served as the antithesis of civilization, a

disorienting wasteland where man continually strived to produce settlements, or clearings

for comprehending his place in the wild, the wilderness in today's urbanized landscape has

become the cities themselves, disorienting in their vastness, requiring the creation of open

public space (ie. parks) to orient its inhabitants and allow them to extract meaning of the

expansive metropolis they call home.

Uncontrolled/Unconstrained nature: wilderness projects negative connotations

onto man

Controlled/Constrained nature: man projects positive values onto

wilderness

PARK

S

SETT

LEM

ENTS

6-7 Million years ago

4 Million years ago BIBLICAL Late 14th C. 15th - 18th C.

Protoh

uman

s live in

wild for

ests o

f centr

al Afric

a, begi

nning

with Sa

hlanth

ropus

tchade

nsis. W

ilderne

ss was

a prim

itive

enviro

nmen

t whe

re the

se hu

nter-g

athere

rs reli

ed up

on a

multi-se

nsory a

warene

ss of t

heir s

urrou

nding

s for su

rvival.

Protoh

uman

s are

primari

ly bipe

dal at

this p

oint, a

llowing

them to

move

great

er dis

tances

over

the lan

dscap

e, and

leadin

g to t

heir e

mergen

ce fro

m the fo

rest in

to the

plains

.

The oc

ular s

ense

is deve

loped

as a

measure

of se

curity

over th

e exp

ansiv

e plain

s.

Genes

is 2 d

epict

s God p

lantin

g the

Garden

of

Eden

, sett

ing man

with

in its

bounds 'to

work

it an

d watc

h ove

r it,'

cultiv

ating

its w

ilds.

After

eatin

g from th

e Tree

of Kno

wledge

God ex

pels m

an

from th

e Gard

en, in

to the

desolat

e wild

ernes

s

outside i

ts wall

s. After J

ohn Wyc

liffe's

transla

tion of th

e Lati

n Bible

in 1384, w

ildern

ess b

ecomes

synony

mous with

a plac

e of d

isorie

ntation an

d wild

ness,

alien

ating

and sa

vage

(Nas

h, 2).

In an eff

ort to rec

reate

paradise

(Eden

) by

cultiv

ating t

he wild

ernes

s that

confro

nted th

em

in the N

ew W

orld (t

oo vast

to yet a

ppreciat

e),

Europea

n settl

ers m

ade i

t their

goal

to conquer

the wild

s and tr

ansfo

rm th

em in

to civil

izatio

n in

the nam

e of p

rogress

.

PREHISTORIC IMMERSION

PREHISTORIC EMERGENCE

CREATION & EXPULSION

A SAVAGE WASTELAND

THE CONQUERING PIONEER

"Certainly this immense background of collective experience would not disappear easily or completely" -Roderick Nash1

· Emergence from Forest· Heightened ocular sense· Hesitance to venture back into the wild

· Later seen by many as an origin, marking the essential connection between man & nature· Man thrown into the desolate wilderness, the Devil's domain

· Biblical references produce the European concept for wilderness: a savage, alienating, mysterious, disorienting, orderless, immoral & uncivilized landscape

· Wilderness was to be conquered in the name of progress (on the frontier)· Wilderness as that which wasn't controlled (civilized)· Natives viewed as savages

2 3 4 5 6

Mid - 19th C. 1860's/70's Late 19th C. 1960's 21st C.

The rise

of tran

scen

dental

ist th

ought (

Emers

on,

Thoreau,

Muir..

.) an

d landsc

ape

art (C

ole,

Durand, B

iersta

dt) durin

g this

period re

defined

the tra

ditional

relati

onship betw

een man

and

nature,

unitin

g sp

irituali

ty an

d wild

ernes

s. God

could n

ow b

e found in

natu

re, a

nd the

many

cathed

rals o

f the w

ild sp

aces

of Eart

h.

Follo

wing the

romantic

izing

of wild

ernes

s

(esp

. by

John M

uir), c

oupled w

ith th

e nati

on's

industrial

izatio

n & p

lunge in

to civi

l war,

urb

an

(Cen

tral P

ark, 18

58-83),

state

(Yose

mite, 18

64),

& national

(Yell

owsto

ne, 18

72) park

s were

estab

lished

as a

mea

ns of p

roviding

esca

pe &

preserv

ing nati

onal iden

tity &

values

.

Turn

er's F

rontie

r The

sis of 18

93 defined

wild

ernes

s

as th

e mall

eable

Frontie

r line (

itself

a so

urce fo

r

America

n identity

), one

which had

reach

ed

its

end.

Consequen

tly,

America

ns rea

lized

preserv

ing the w

ild w

as al

so a

way of p

reserv

ing

themse

lves.

Built upon ea

rly 20th C

. env

ironmen

tal ac

tivism

(Leopold,

Mars

hall,

Carson,

Pinchot),

the

mid 20th C. shift

from an

thropocentri

sm to

ecoce

ntrism

culm

inated in the

signing

of the

Wild

erness

Act in

1964, follo

wed by

Roderick

Nash's

quintesse

ntial tex

t W

ildern

ess an

d the

America

n Mind

.Ec

ocentri

c socia

l moral

s along w

ith th

e incre

asing

pressu

res of c

limate

chan

ge sp

ark new

deb

ates

(Cronon,

Forem

an)

over

manag

emen

t &

contra

dictory

tenden

cies.

Touris

m, esp

ecial

ly to

wildern

ess r

egions g

ains p

opularity

.

SACRED NATURE A NATIONAL REFUGE A LANDSCAPE LOST CONSERVATION DEBATE + TOURISM· God found in nature· Wild nature is spiritually restorative· A means of escaping the corruptions of civilized life· A return to primitive roots of man & finding one's true identity

· Parks established to provide escape from industrial society· National morals & values are united with wilderness in urban & national parks (the people's park)

· Turner's Frontier Thesis states the Frontier is lost, & threatens to take the American identity it produced with it, sparking conservation efforts to save this American landscape

· Anthropocentrism to ecocentrism· Wilderness formally defined and protected in the Wilderness Act of '64· Nash's polarized theory of wilderness and civilization

· Polarized theory questioned for its use as a means to justify destructive behavior outside of defined wilderness regions· Contradictions in management emerge (preservation vs. resources)

WILDERNESS Seen through this historical lens, the wilderness concept can be seen as an embodiment of the eternal relationship between man & nature. The malleability of the concept over time concretizes this relationship

at distinct moments, acting as a collective manifestation of natural and human history, and capturing fundamental societal principles. Thus, preserving wilderness acts to both protect the natural world as well as to retain a primal truth of human existence.

22

7 8 9 10 11

WILDERNESS PRESERVATION AREAS[Federally Managed]

Designated Areas

Bureau of Land Management

Fish and Wildlife Service

Dept of Agriculture Forest Service

National Park Service

Where are the protected wilderness areas (omit AK & HI) under the 1964 Act (followed by similar acts in 1975 and 2009)...

National Atlas, comp. "Wilderness Preservation System Areas." Map. Map Maker. National Atlas of the United States, 17 Sept. 2009. Web. 20 Oct. 2010. <http://www.nationalatlas.gov/natlas/Natlasstart.asp>.

Wild

erne

ss

24

LOCA

TIO

NS

< 300

160 - 299

86.9 - 159Avg = 86.9

av

g

po

pu

latio

n/m

i2

40 - 86.8

10-39

> 10

UNITED STATES POPULATION DENSITY [by county]

U.S. Census Bureau, Population Division, comp. "Population Density for Counties." Map. Population Estimates. U.S. Census Bureau, 01 July 2009. Web. 15 Oct. 2010. <http://www.census.gov/popest/gallery/maps/PopDensity_09.pdf>.

...& how do these areas correlate with the places

most Americans live?

PROTECTED WILDERNESS AREAS[Federally Managed, by Millions of Acres]

Excluding: Hawaii (.1%)

No Wilderness: CT, DE, IA, KS, MD, RI

DISTANCE FROM NEW YORK[Miles]

Excluding AK, HI

Mapping Worlds, comp. "Wilderness." Map. SHOW USA. Mapping Worlds, 16 Dec. 2009. Web. 10 Nov. 2010. <http://show.mappingworlds.com/usa/?subject=WILDERNESSPROT>.

Ohio

Massachusetts

Pennsylvania

Mississippi

New Jersey

Nebraska

Indiana

Louisiana

Kentucky

Maine

OklahomaIlli

nois

North D

akota

Alabama

Tennessee

South Caro

lina

Missouri

Wisconsin

South D

akotaTexas

Vermont

North Caro

lina

West V

irginia

New Hampshire

Florida

Arkansas

Virginia

Michigan

Wyoming

Georgia

MinnesotaUtah

New Mexico

Oregon

Nevada

Montana

Colorado

Washingto

nIdaho

Arizona

New York

500

1

2

3

4

5

1000

1500

2000

2500

3000

Californ

ia

Alaska

Wild

erne

ssW

ILD

ERN

ESS

26

NEW YORK CITY represents the quintessential pole of civilization in the contemporary wilderness construct. In addition to be the country's most populated and dense city, New York is also the furthest of any major city from what we have come to define as protected wilderness.

NEW YORK CITY8,391,881

MANHATTAN1,537,195 QUEENS

2,306,712

BRONX1,397,287

BROOKLYN2,567,098STATEN ISLAND

491,730

JERSEY CITY242,503

Cen

tral

Par

k

28

TH

E M

ETR

OPO

LIS

NEW YORK CITY8,391,881

At the heart of New York City lies Central Park, a constructed representation of wilderness for the city’s inhabitants to experience. This artificial refuge from the wild metropolis which both encapsulates and defines it also functions as a critical window into the compelling geological and societal foundations of

New York.

Census Bureau. “Population - New York City Department of City Planning.” Population. NY Dept of City Planning, 01 July 2009. Web. 18 Nov. 2010. <http://www.nyc.gov/html/dcp/html/census/popcur.shtml>.

MAJOR GREEN SPACES OF NEW YORK CITY

PROTECTED LAND

GRAVEYARD

GARDEN / ZOO

PARK

Cen

tral

Par

k

30

NY

C G

REE

N S

PAC

ES

N

CREATED

1857 (land opened)

1858 (designed) - 1873 (completed)

DESIGNERS

Frederick Law Olmstead & Calvert Vaux

SIZE

2.5 miles long x .5 miles wide

843 acres (1.32 mi2)

BUILDINGS

Delacorte Theater (1962)

Tavern on the Green (1934)

Belvedere Castle (1869)

Cleopatra’s Needle (1450 B.C.)

Loeb Boathouse (1874 org., 1954 rep.)

Central Park Zoo (1870, 1934, 1988)

Swedish Cottage Marionette Theater (1876)

Metropolitan Museum of Art

(1871: Interior [Vaux], 1902: facade [R.M. Hunt])

American Museum of Natural History

(Across street/ 1874 [Vaux], 1936 [J.C. Cady])

FACTS

Most visited urban park in the U.S.

Valued at $528,783,552,000

1,600 people displaced during its creation

Sits atop Cameron’s Line, a suture fault line

Managed by the Central Park Conservancy

The most unusual and surrealistic place in New York City is Central Park.1CHRISTO

ON “THE GATES” OF CENTRAL PARK

PROJECT, 2005

32Wilkes, Stephen. Central Park, Day Into Night. 2010. Photograph. Monroe Gallery, New York. VENÜ Magazine. Vol. 4. Fairfield, 2010. 48-49. Print. Nov/Dec.

HISTORICAL CONTEXT [National + Social Division]

THE MALL + BETHESDA TERRACE[Unifying, Democratic Space]

A focal point of the park, and the only straight line in its 843 acres, The Mall and its culmination in Bethesda Terrace was designed as a grand avenue where urban hierarchies were temporarily erased, yielding a democratic space for residents of all social classes to partake.2 Whereas the Mall was designed as a natural cathedral of elms where one could “see and be seen”, the Fountain served as a critical moment of unifying the naturalistic landscape with the architectural promenade, a symbolic gesture to the life-giving power of water. The angel was sculpted by Emma Stebbins, the first woman to receive a major public art commission from the city in 1859, inculcating the space with a further layer of social equality.

When Olmstead and Vaux submitted their

Greensward Plan proposal for Central Park

in 1858, America was in the midst of heated

division that would eventually break out into

Civil War in 3 years time. This division also

manifested in social class segregation,

particularly evident in New York during a

period of influx in immigration. Thus, Central

Park was a monumental effort of democracy

and unification even when the Nation

around it seemed destined for separation.A Nation Divided: America as seen during the Civil War (1861-65) Division was also seen in the distinct social strata of the city. During

the mid-18th century the Five Points exemplified a distinct where the stratified social geography of poverty and race (particularly with immigrants) was especially evident.

Bethesda Fountain still serves as a focal point of gathering in the parkThe Mall as a grand avenue of social interaction to see and be seen

Cen

tral

Par

k

34

SOC

IAL

HIS

TO

RYENTRANCES

[Social Value]

ARTWORK [Cultural Representation]Although met with opposition from Olmstead, Central Park began to receive sculptures and monuments representing major figures and events associated with the diverse cultural landscape of America. By representing the people for which the park was built, these works helped to solidify it as “a new democratic institution to be shaped and defined by the public”.3 Ranging from the commemoration of the discovery of the Americas by Christopher Columbus to various War memorials to popular literary figures such as Alice in Wonderland, these artworks create an important representation of America’s multicultural identity and national history.

Central Park’s 22 gates are not merely

denoting locations of entry, but were originally

intended to capture the essence of this

‘people’s park’ by commemorating the honest,

hard working Americans who forged the

nation the park was to serve. Most of the gates

are thus named after important figures in the

country’s free labor system (in opposition

to the South), instilling a sense of national

identity into those who entered the park.The Merchant’s Gate entry which also houses the Maine Monument Examples of the 22 gates which greet visitors to the park

Hans Christian Anderson & The Ugly Duckling [Georg Lober, 1956] Untermeyer Fountain [Walter Schott, 1910_placed in park 1947]

Late Ordovician [450 Ma]

Late Precambrian [550 Ma]_An active volcano emerges (thin strip of land) offshore due to subduction (when one tectonic plate moves under another) on the eastern edge of the continent, narrowing the Iapetus Ocean

_NA continent folds downward due to accumulating sediments and compressional forces in the crust from increased subduction

_volcanic ring grows

_Shallow water carbonate deposition gives way to fine-grained clastic deposition and deeper water conditions

_volcanic ring sinks into subduction mantle to create the Taconic island arc as well as transforming its micra-rich shale into schist (later bedrock of Manhattan)

_Taconic island arc collides with NA continent, creating mountains and intensely folding and faulting sedimentary and igneous rock (NYC), marks the end of the Taconic Orogeny

_Cameron’s Line marks the suture zone of this massive continental collision

Middle Ordovician [470 Ma]

Late Cambrian [500 Ma]

Blakey, Dr. Ron. “North American Paleogeographic Maps.” Map. Paleogeography and Geologic Evolution of North America. Ron Blakey, July 2010. Web. 08 Dec. 2010. <http://jan.ucc.nau.edu/~rcb7/nam.html>.

Cen

tral

Par

k

36

GEO

LOG

IC H

IST

OR

Y

Hudson Highlands Gneiss Complex

Late Precambrian Gneiss

Fordham Gneiss + Inwood Marble

Manhattan Formation

Hartland Formation

Mesozoic + Younger Cover Rocks

Jurassic Diabase

KEY

MANHATTAN PRONGGEOLOGICAL SURVEY [SE New York]

Created during the Taconic Orogeny (see maps), Manhattan is composed of three intertwined bedrock strata: Manhattan Schist, Inwood Marble, and Fordham Gneiss. Schist forms the city’s strongest foundation, readable in the shifting building heights between midtown and downtown, as it allows for increased weight when reachable. The Manhattan Prong illustrates the unique geological history of the region through its composition of shallow water origin metamorphosed rock (Manhattan Formation) bursting through the surrounding deep water origin metamorphosed rock (Hartland Formation), forming a rich mosaic of sedimentary history. Cameron’s Line, an extensive thrust fault zone, indicates the convergence of these contrasting zones, slicing across Manhattan through Central Park.4

Alden, Andrew. “New York Geologic Map.” Map. New York Geologic Map. About.com, 2001. Web. 05 Nov. 2010. <http://geology.about.com/od/maps/ig/stategeomaps/NYgeomap.htm>..

Middle Ordovician (470 Ma)

Cameron’s LineInwood Hill Thrust

Fordham Gneiss

Cameron’s Line

Inwood Marble

Manhattan Schist

Hartland Schist

Walloomsac Schist

Early Ordovician (485 Ma)

Cambrian (500-550 Ma)

Proterozoic (2.5 Ga -543 Ma)

MANHATTAN COMPOSITE

KEY

TIMELINE

CENTRAL PARK [Cameron’s Line Composite]

McCully, Betsy. City at the Water’s Edge: a Natural History of New York. New Brunswick, NJ: Rivergate , an Imprint of Rutgers UP, 2007. 8, 12. Print.

Baskerville, Charles A. “Bedrock and Engineering Geologic Maps of New York County.” Map. US Geological Survey. Reston [VA]: US Geological Survey, 1995. Print.

Cen

tral

Par

k

38

GEO

LOG

IC H

IST

OR

Y

WISCONSIN ICE SHEET [1.5 Ma - 18 ka]_The ice sheet advanced as far as New York City (about 70 ka), depositing rock and debris which today form the hilly areas running through the city, before retreating (about 50 ka)

_Advanced again (about 45 ka) reaching the city (about 20.5 ka) forming the Harbor Hill Moraine and leaving rock debris (glacial erratics) from the Palisades and exposing rock outcroppings in present-day Central Park (later developed as a theme in the Park’s design), before retreating (about 18 ka)

_The sheet at its height in New York, was 1000’ thick, nearly 10,000’ thick farther north where it carved the Hudson River, Great Lakes, Finger Lakes, and Adirondack Mountains.

Currently, the exposed bedrock is a platform for a multitude of uses: Platforms, stairways, perspectival landscape components, building components (bridges, belvedere castle), recreational activities (ie. rock climbing, picnicking), staging for artwork, and picturesque fantasies (grotto, pool, cave). However, they constitute only the uppermost surface of an intricate underground network of tectonic drama.

Rat Rock, SW CornerROCK OUTCROPPINGS

[Manhattan Schist (North) & Hartland Schist (South)]

Blakey, Dr. Ron. “North American Paleogeographic Maps.” Map. Paleogeography and Geologic Evolution of North America. Ron Blakey, July 2010. Web. 08 Dec. 2010. <http://jan.ucc.nau.edu/~rcb7/nam.html>.

OPE

N R

ECR

EATI

ON

SPA

CES

WAT

ER F

EATU

RES

SUR

FACE

CO

MPO

SITE

26,0

00

+ Tr

ees,

30

Tenn

is C

ourt

s, 2

6 B

all F

ield

s, 2

Ice

Rin

ks, 1

Sw

imm

ing

Pool

, The

ater

, 36

Brid

ges,

10

milli

on c

art-

load

s of

raw

mat

eria

l, 4 m

illion

tree

s/sh

rubs

/pla

nts

SUBT

ERR

ANEA

N G

EOLO

GIC

AL

Cen

tral

Par

k

40

LAY

ERS

TRAN

SVER

SE R

OAD

S

MIN

OR

PAT

HS

MAJ

OR

RO

ADS/

PATH

S

BUIL

DIN

GS

18635 Million

187310 Million

197312.5 Million

198214.8 Million

200725 Million

201035 Million

CENTRAL PARK

NATIONAL MALL & MEMORIALS

DISNEY WORLD

NIAGARA FALLS

BROADWAY THEATERS

EIFFEL TOWER

METROPOLITAN MUSEUM OF ART

STATUE OF LIBERTY

YOSEMITE

200020 Million

CENTRAL PARK VISITATION [Millions/Yr]

ANNUAL VISITS COMPARISON [Millions/Yr]

TIMES SQUARE

3.5

4

5.2

6.5

12

14

17

25

35

37

CENTRAL PARK VISITOR ORIGINS [2005]

NYC70%

International15%

Remaining U.S.12%

NYC Metro Area3%

Central Park Conservancy, comp. “843 Acres, 35 Million Visits.” Chart. The Official Website of Central Park. Central Park Conservancy, 20 Oct. 2010. Web. 01 Nov. 2010.

Cen

tral

Par

k

42

ECO

NO

MIC

IMPA

CT

“...direct proximity to a park is one of the 3 most important

factors in real estate; if the park is Central, its the first.”

-Martin Levine, Metropolitan Valuation Services

$979/sf

$462/sf

AVG. MARKET VALUE OF BLOCK [per lot sqft]

View, access, and proximity to Central Park has had an incredible impact on Manhattan real estate, especially in the past decade. Due to an increased investment in the park facilities, infrastructure, landscapes, and security the properties around the park have subsequently made properties surrounding it more attractive. Proximity to the park has been estimated to add nearly $17.7 Billion in additional market value to properties, an increase in 18% over the rest of Manhattan.

How can the park space and surrounding properties be further ‘utilized’ to tap into such prime real estate?

O’Neill, Hugh, ed. Valuing Central Park’s Contributions to New York City’s Economy. Rep. Appleseed, May 2009. Web. 01 Dec. 2010. <http://www.appleseedinc.com/reports/centralpark-may2009.pdf>.

Bounded Island Condition

GROWTH = DENSITY

Developing new subterranean typologies for this region will provide not only a means of producing new space along the park, but also a radical means of reading the city.

Because of Manhattan’s bounded island condition, growth for the city means redefining preexisting sites, typically resulting in vertical expansion. However, along the historic boundary of Central Park, this option is limited.

44

HOW CAN CENTRAL PARK, ITSELF A REPRESENTATION OF NATURE [A QUINTESSENTIAL SPACE OF ORIENTATION], BE UTILIZED AS A MEANINGFUL SITE OF ORIENTATION?

45.6 Million [disoriented] Tourists Visit New York City Every Year

CANADA: 880,000

MEXICO: 234,000

UNITED STATES : 37,000,000

SOUTH AMERICA: 525,000

OCEANIA: 450,000

ASIA: 749,000

EUROPE: 4,249,000

MIDDLE EAST: 524,000

46

Tour

ism

STAT

S

As we’ve seen, New York City has been the site of intercontinental fusion for over half-a-billion years, producing the foundation for the great metropolis that harbors multicultural fusion today...

...yet, this remarkable history is concealed under the skin of the city, an undiscovered world of incredible potential, waiting to be revealed.

WHAT IS TOURISM, & WHAT IS IT’S SIGNIFICANCE IN NYC?

“Human and business activities associated with one or more aspects of the temporary movement of persons away from their immediate home communities and daily work environments for business, pleasure, and personal reasons.” 1

TRAVELLERS

The movement of people for business, pleasure,

& personal reasons, including their needs &

wishes

SERVICES

A sector of the economy or an industry including

the management & promotion of

tourist activities

DESTINATION

Local culture, residents, attractions, interactions,

character, personal connections

TOURISM

48

Tour

ism

DEF

INIT

ION

Chart: O’Neill, Hugh, ed. Valuing Central Park’s Contributions to New York City’s Economy. Rep. Appleseed, May 2009. Web. 01 Dec. 2010. <http://www.appleseedinc.com/reports/centralpark-may2009.pdf>.

“While tourism declined significantly

in cities across the country, we fared

far better than most. In fact, for the

first time in 20 years, we were the

most popular tourism destination

in the country with more than 45

million visitors generating nearly

$30 billion in revenues.”

-Mayor Bloomberg, 2010

10

20

30

40

50

‘00 ‘01‘02 ‘03 ‘04 ‘05 ‘06 ‘07 ‘08 ‘09 ‘10 ‘11 ‘12

Domestic

Recreation 10%

Projected

Lodging 27%

20% Retail

NUMBER of VISITORS to NYC & SPENDING [millions]

NYC TOURISM SPENDING SECTORS [2005]

International

Transport 21%Food 22%

$ Spent

WHAT MOTIVATES TOURISM?

Renowned psychologist Abraham Maslow’s motivation theory

as illustrated in his “Hierarchy of Needs” demonstrates human

motivations for personal growth as a pyramidal concept. As an individual

fulfills each need, they become aware of the next level of motivation

and strive to attain it, eventually leading to self-actualization as an

ultimate aspiration.

Thus, personal growth is facilitated only when a sound network of needs

can be fulfilled during the tourist’s experiences. This network relies in

part upon essential elements of architecture: quality of shelter, safety,

security, fostering a strong sense of belonging and place.

SELF-ACTUALIZATION/ PERSONAL SELF-FULFILLMENT

ESTEEM

BELONGING & LOVE

SAFETY + SECURITY

PHYSIOLOGICAL NEEDS [hunger, rest, thirst, shelter]

Hall, Colin Michael, and Stephen Page. “The Demand for Recreation and Tourism.” The Geography of Tourism and Recreation: Environment, Place, and Space. London: Routledge, 1999. 29. Print.

50

Tour

ism

MO

TIV

ATIO

NSSocial psychologist Michael Argyle outlines three primary principles of motivation for specific tendencies

in leisure, subsequently encompassing particular categories of fulfillment.

This data will be further mapped in order to produce an applicable set of program requirements for an intervention

play

escape

relax

family

prestige

help

adventure

challenge

powerinteraction

learn

dream

shop

explore

culture

eat

drink

communicate

sport

sex

experience

createbored

Hall, Colin Michael, and Stephen Page. “The Demand for Recreation and Tourism.” The Geography of Tourism and Recreation: Environment, Place, and Space. London: Routledge, 1999. 53. Print.

SOCIAL MOTIVATION BODILY PLEASURES SOCIAL LEARNING

WHO & WHAT ARE TOURISTS?

RESIDENTS VISITORS

Non-Travellers Travellers

Within scope of travel & tourism

Other travellers

DomesticInternational

Intercontinental Continental Interregional Regional Crews

Students (4)

Migrants (5)

Temporaryworkers

Commuters

Other localtravellers (3)

Same Day (2)

Primary purpose of travel

Staying one ormore nights (1)

Business

Primary ActivitesConsultantsConventionsInspections

Secondary ActivitesDining OutRecreationShoppingSightseeingVFR

Primary ActivitesSocializingDining InHome Entertainment

Secondary ActivitesDining OutPhysical RecreationShoppingSightseeingUrban Entertainment

Primary ActivitesShoppingVisiting ProfessionalMedical Appointment

Secondary ActivitesDining OutVFR

Primary ActivitesRecreationSightseeingDining Out

Secondary ActivitesVFRConventionBusinessShopping

Visting friends orrelatives (VFR)

Other personalbusiness Pleasure

(1) ‘Tourists’ in international technical definitions(2) ‘Excursionists’ in international technical definitions(3) Travellers whose trips are shorter than those which qualify for travel & tourism (e.g. under 50 mi from home)(4) Students travelling between home & school only - other travel of students is within scope of travel and tourism(5) All persons moving to a new place of residence including all one-way travellers such as emigrants, immigrants, refugees, domestic migrants & nomads

Hall, Colin Michael, and Stephen Page. “Urban Recreation and Tourism.” The Geography of Tourism and Recreation: Environment, Place, and Space. London: Routledge, 1999. 60. Print.

JFK AIRPORT

NEWARK AIRPORT

LAGUARDIA AIRPORT

METRO NORTH

AMTRAK

HIGHWAYS

NJ TRANSIT

LONG ISLAND RAIL ROAD

Grand Central Terminal, New York

RES

EAR

CH

52

Tour

ism

The Port Authority of NY & NJ, comp. Airport Traffic Report. Rep. The Port Authority of NY & NJ, 28 June 2010. Web. 02 Dec. 2010. <http://www.panynj.gov/airports/pdf-traffic/ATR2009.PDF>.

JFK AIRPORT

NEWARK AIRPORT

LAGUARDIA AIRPORT

METRO NORTH

AMTRAK

HIGHWAYS

NJ TRANSIT

LONG ISLAND RAIL ROAD

BUS

dotted = underground

RAIL_local

CAR

RAIL_outgoingJFK

40

50

EWR LGA

NYC

INTERNATIONAL

US-Outside NYC

AIRPORT PASSENGER RESIDENCE [millions]

NYC TRANSIT NETWORKS10

20

30

WHAT FUNCTIONS DOES TOURISM EXPLOIT?

USERS[demand]

CITY + REGIONAL RESIDENT

HISTORICMONUMENTS

MUSEUMS, GALLERIES

THEATERS, CONCERT HALLS

NIGHTCLUBS & RED-LIGHT

DISTRICTS

CAFES, RESTAURANTS

SHOPS OFFICES

VISITOR CONFERENCE WORKPLEASURE

FUNCTIONAL LINKS[program overlap]

USERS[resources]

Burtenshaw, David, M. Bateman, and G. J. Ashworth. The City in West Europe. 2nd ed. Chichester [England]: Wiley, 1991. Print

54

Tour

ism

FUN

CT

IONMOST VISITED PLACES [Photos tagged online & visitors/yr]

Rockefeller Center - ?

Broadway Shows - 11.89 million

World Trade Center Site - 1.1 Million (5 million projected)Ellis Island - 2.02 MillionStatue of Liberty - 3.15 Million

Times Square - 37 million (most visited place in U.S.)

Central Park - 9.6 million (Most visited park in U.S.)

Bryant Park & NYC Public Library - 3.5 million

Museum of Modern Art - 3.09 million

American Museum of Natural History - 4 million (3rd most visited museum in U.S.)

Metropolitan Museum of Art - 5.24 million (Most visited museum in U.S. 3rd most visited in world)

Empire State Building - 3.09 million (Most visited building in U.S.)

Photos taken by localsPhotos taken by visitors

Photos taken by either

Fischer, Eric. Locals and Tourists #2 (GTWA #1): New York. Digital image. Flickr. Yahoo, 05 June 2010. Web. 01 Dec. 2010. <http://www.flickr.com/photos/walkingsf/4671594023/>.

MA

JOR

SH

OPP

ING

DIS

TRIC

TS [

5th

Ave,

Mad

ison

Ave

]

MA

JOR

HO

TELS

[C

apac

ity]

MA

JOR

MU

SEU

MS

[An

nual

Vis

itors

]

37%

of N

ew Y

ork’

s to

tal i

nven

tory

78

% $

400

+/ni

ght

47 M

useu

ms

tota

l [20

06]

The

Met

and

AM

NH

acc

ount

for h

alf o

f vis

itors

56

Tour

ism

FUN

CT

ION

S

MA

JOR

EVE

NTS

[co

ncer

ts, p

arad

es, t

heat

ers]

MA

JOR

RES

TAU

RA

NTS

[hi

ghes

t Zag

at ra

ted]

NEW

YO

RK

‘TO

UR

IST’

CIT

Y [C

ompo

site

]

HOW DOES A CITY FACILITATE ORIENTATION?As we have seen, the essential act of orientation in a disorienting environment can be traced through the wilderness concept to the origin of man (whether navigating the forest as primitive being or following the expulsion from Eden), emphasizing its importance in our comprehending the natural world and producing meaningful experiences within it.

In The Image of the City, Kevin Lynch developed a visual system of spatial networks to understand how individuals create cognitive maps of new environments such as cities.2

This constructed reality is vital in that it contrasts against an individual’s expectations, yielding a critical reaction. Furthermore, if a city’s spatial structure is weak, it inhibits orientation and leaves one feeling lost & disconnected. From an economic standpoint, the stronger a city’s spatial orienting structure, the more likely visitors are to visit further reaches of the city (distributed $).

These mental images also holds values of the places they represent, illustrating how one’s interaction with a city can be altered by the built and natural environment in order to convey societal values, morals, etc. During the period of mass immigration of the early 20th Century, the Statue of Liberty served a distinctive orienting landmark which signified important national values such as freedom & hope.

PATH

S Ch

anne

ls o

f Mot

ion

(ie. s

treet

s, sid

ewal

ks)

EDGES

Defining Boundaries

(ie. walls, buildings, shores)

LANDMARKSExt. Reference Points

(ie. hospital, monument)

DISTRICTS

Distinctive re

gions

(ie. chinatown, waterfront)NODES

Focal Points

(ie. Mall, Station, Hotel)

MAP

58

Tour

ism

OR

IEN

TAT

ION

Norberg-Schulz argues that in addition to orientation, the act of identifying with an environment is what produces a meaningful image of a place. This occurs when one can grasp and experience the character of an environment, concretized by the place itself. This entails that the architecture of the place be in touch with its genius loci, thus exhibiting the significance and unique qualities of its natural environment. Juhani Pallasmaa supports this claim by stating:

“Architecture articulates the experiences of being-in-the-world and strengthens our sense of reality and self”3

Tying together themes of orientation, identification,

and cognition Pallasmaa goes on to state a similar role of architecture, highlighting the importance of sensory perception:

“In memorable experiences of architecture, space, matter and time fuse into one singular dimension, into the basic substance of being, that penetrates our consciousness. We identify ourselves with this space, this place, this moment, and these dimensions become ingredients of our very existence. Architecture is the art of reconciliation between ourselves and the world, and this mediation takes place through the senses”4

SENSE OF REALITY

SENSE OF SELF

COGNITIONSENSES

natural world

SPACE MATTER

built world

TIME

InformationSignals

The RealWorld

SensePerception

Cognition[filtered by knowledge, values, & attitudes]

Mental Image of Place

The city and my body supplement and define each other. I dwell in the city and the city dwells in me 5

Vision separates us from the world, whereas the other senses unite us with it [...] buildings have turned into image products detached from existential depth and sincerity 6

JUHANI PALLASMAATHE EYES OF

THE SKIN

=

Hall, Colin Michael, and Stephen Page. “Urban Recreation and Tourism.” The Geography of Tourism and Recreation: Environment, Place, and Space. London: Routledge, 1999. 171. Print.

60

Tour

ism

OR

IEN

TAT

ION

Hall and Page describe orientation as a two-part mental process consisting of Perception and Cognition:

“Whereas perception is a collection of information signals from one’s environment gathered through the senses, cognition is the translation of this information, filtered by one’s knowledge, values, and attitudes into a mental image of a place” 7

In an ocularcentric age affixed upon visual stimuli, the creation of multi-sensory didactic architecture is of utmost importance in creating compelling interactions with the built world.

In New York (and now the US), Times Square reigns supreme as the most visited tourist attraction, attracting nearly 40 million visitors annually. It also includes the city’s most recognized information centers, although in reality only a glorified ticketing booth. Thus, I contend that Times Square is in many ways a superficial, insignificant landmark in the city, its content leading to visitors wandering aimlessly without having forged any meaningful connection with the place beyond mere visual spectacle.

What if one’s orientation to New York occurred in a half-a-billion year-old tectonic fissure which marks a site of the city’s dramatic natural history concealed beneath its most important public space?

HOW DOES AN INDIVIDUAL ATTAIN ORIENTATION?Cities produce spatial structures which can either reinforce or inhibit orientation, although this process simultaneously hinges upon an individuals ability to navigate and comprehend the natural and (especially) the built environment. This capacity is inherently dependent upon their abilities of perception and cognition.

Orienting oneself within an environment (by encountering new places/travelling) not only allows for a meaningful comprehension and connection with a place, but further strengthens our notions of being-in-the-world, placing us in the continuum of time and constructing meaningful experiences which help to shape our identity.

JUHANI PALLASMAATHE EYES OF

THE SKIN

Buildings and cities are instruments and museums of time. They enable us to see and understand the passing of history and to participate in time cycles that surpass individual life. (EotS 52)

Prop

osal

62

INT

ENT

Cognizant of how individuals are oriented to and identify with a place through encounters of the built and natural world, I propose an intervention that seeks to gather its environment in a meaningful and relevant way in order to provide a new and compelling reading of the city:

Struck along a perfect northerly axis connecting Grand Army Plaza at 59th street to the American Museum of Natural History at 77th street, the intervention produces a trajectory of didactic spaces that interact with both local and cosmic phenomena in an effort to simultaneously elucidate geologic history as well as frame unique celestial events. Thus, through a series of poetic interactions the project constructs a dialogue between man and nature, calling into question notions of artificial wilderness, scientific spirituality, the park as an institution, and the subterranean city, among other topics.

Divided into three major portions, the project begins from the south with a descent into ‘the portal.’ This carved volume digs down into the earth, housing an archive of the city’s history, etched into its solid rock walls. Suspended above the void hovers an astronomical viewing device, aligned with the current north star of Polaris, marking human history in cosmic time.

Further along, lying on the edge of sheep’s meadow along Cameron’s Line, one encounters a deep cut in the earth known as ‘the canyon.’ This ‘artificial’ wilderness emerges from nowhere as one traverses the park, offering a peripatetic journey through deep geologic time as one descends into the unique bedrock of Manhattan. Growing downward and providing shelter for spaces within the cut is an archive of the future, or a wall of memory. Comprised of millions of translucent panels cataloguing the individuals who have pilgrimaged to the site, this architectural element gathers both genetic data and personal memories to subsequently form a human thread through time, connecting with future relatives through a poetic and physical representation of one’s identity.

Finally, as one approaches the northern end of the site, they encounter a series of 5 small sets of twin towers that lock into their context by aligning with the city grid, providing an observatory for the cosmic event of Manhattanhenge 4 times per year. This unique celestial event occurs when the sun aligns with the grid, casting light down the east-west streets and eventually between these carefully positioned megaliths. As one reaches the northern end of the site in the Museum of Natural History’s Astor Turret, they find themselves aligned with the towers, which frame their view back along the trajectory towards the busting metropolis of midtown Manhattan.

Project Intent:

To speculate on the urban wilderness condition by producing an orienting trajectory across

Central Park, introducing a new dialogue between the city, the park, and the cosmos.

GRAND ARMY PLAZA

64

[3000 BC - 1600 BC]

STONEHENGE

Midwinter’s Sun

Range of Moonrise @ major standstill

Range of Moonset @ minor standstill

Range of Moonset @ major standstill

Range of Moonrise @ minor standstill

This mysterious work of rock and earth has confounded historians for centuries as it was continually reshaped and reinterpreted by nearly 1.5 millennia of inhabitants

_Many experts believe Stonehenge to be an ancient temple of the cosmos, or prehistoric observatory which translated the vital phenomena of the sky (sun and moon) into a comprehensible system of order which gave their cyclical processes meaning

_As the sun, moon, & fire were the only sources of light at the time, & no gods or idols were worshipped at this point, these celestial bodies were an essential fact of life to those who constructed & used the ancient site

_Others believe that in conjunction with the surrounding sites (Woodhenge & Durrington Walls), these constructions represented a path of life, where one’s journey between life and death was acted out, beginning in the domain of the living (Woodhenge) & concluding in the domain of the dead (Stonehenge). Materials and celestial alignments would therefore support such allegorical narratives, & produced a meaningful interpretation of the eternal cycles of nature (life & death of man was juxtaposed with the life & death of the sun).1

Midsummer’s Sun

Chart: Richards, Julian C. “Why Was Stonehenge Built?” Stonehenge: the Story so Far. Swindon, UK: English Heritage, 2007. 220-28. Print.

Prop

osal

66

PREC

EDEN

TS

Hills of Sainte-Baume, France

1948-1960’s | Le Corbusier

La SAINTE-BAUME

Placed atop the La Sainte-Baume massif, a dramatic uplifted wall of limestone shooting up from the earth, Le Corbusier envisioned an underground basilica dedicated to Mary Magdalene, who’s grotto formed the entrance to the sacred structure of the mountain. Central to the scheme was the connection to a primal harmony with nature (especially that of light and dark) and a use of architectural sequence to produce a desired symbolic effect:

This sequence (or “spiritual quest”) was intended to represent the cosmic path of the sun, life and death, and the existence of a divine presence, granted by an “invisible architecture” which instead highlighted the the intrinsic power of nature placing didactic meaning over form (223).

Linking the body and the environment, knowledge would be achieved through an engagement with the body on the journey from dark into light (Le Corbusier in Detail, 75).

“It is a building without an exterior, the architecture would have to come to life within the rock” (BGL, 15).

-Le Corbusier

La Sainte-Baume Massif Grotto of Mary Magdalene above the treeline

Sequence up and into the grotto

1. Disorientation | Woods2. Passage | Lower Chamber3. Transcendence | Central Chamber4. Emergence | Upper Chamber5. View of Sun + Sea | Mountain Top

Ascension from the wood through the womb of Mother Nature into an elevated spirituality

1

2 3

4

5

1 This data is collected from recent studies conducted by the Wildlife Conservation

Society in conjunction with Columbia University’s Center for International Earth

Science Information Network, where the group identified that “83% of the earth’s

land surface is influenced directly by human beings”.2 This data, together with a 2003

report conducted by the IUCN/UNEP in which the group identified Category 1a

Wilderness as “unmodified or slightly modified areas, retaining their natural character

and influence, without permanent or significant human habitation, which are

protected and managed so as to preserve their natural condition […] strictly

protected areas, generally with only limited human visitation” yields the noted decline

in defined wilderness areas.3 While the IUCN states that only 11% of the world is

protected category 1a wilderness, the WCS data serves to relate this data more

directly to human habitation, hence its use in this document. However, as only spaces

that are managed and protected by an administrative body have entered the said

definition of ‘wilderness’, this leaves much of the residual ‘wild’ spaces of the world

(ie. Forest land in America) in question.

2 CIESIN at Columbia University, and Wildlife Conservation Society, comps.

“The Human Influence Index Ver. 2.” Map. The Last of the Wild. CIESIN at Columbia

University, 07 Mar. 2008. Web. 17 Nov. 2010.

<http://sedac.ciesin.columbia.edu/wildareas/maps.jsp>.

3 International Union for Conservation of Nature and Natural Resources.

Guidelines for Applying Protected Area Management Categories.

Ed. Nigel Dudley. Gland: IUCN, 2008.

C O V E R

I N T R O D U C T I O N

1 Peezza82. Pantheon. 2006. Photograph. Rome [Italy]. Flickr. Yahoo, 09 Apr. 2006.

Web. 04 Nov. 2010.

<http://www.flickr.com/photos/peezza82/159143812/>.

Res

ourc

es

68

CO

NT

ENT

ION

1 Le Corbusier. Towards a New Architecture. [United States]: BN Pub., 2008. 19. Print.

2 The notion of orientation entails one to understand the notions of time, place and identity,

subsequently requiring a tangible concretization of natural phenomena which architecture

provides.

3 This detachment refers to man’s increasing separation from what Norberg-Schulz defines

as “concrete life-situations” which in his terms, anchor us to meaningful experiences of our

Being.14 This detachment from reality is resultant from a number of forces, many of which

stem from forces might include our increasing reliance upon technological instruments that

provide a superficial level of orientation. Furthermore, as Finnish architect Juhani Pallasmaa

explains in The Eyes of the Skin, our evolution into an ocularcentric society has lead to a “dramatic

shattering of the inherited construction of reality” and a “separation of the self and the world”.15

4 Norberg-Schulz. Genius Loci. 5.

5 Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. Cichester: Wiley-Academy,

2005. 19, 21. Print

6 Thiis-Evensen, Thomas. “The Sunken Floor.” Archetypes in Architecture. New York: Oxford UP,

1989. 79. Print.

7 Term refers to the evolution of Homo Sapiens as described in the Smithsonian Museum of

Natural History’s ‘Timeline of Human Evolution’.16

8 This data is collected from a Columbia University’s CIESIN study on the Human Influence Index.

CIESIN at Columbia University, and Wildlife Conservation Society, comps.

“The Human Influence Index Ver. 2.” Map. The Last of the Wild.

CIESIN at Columbia University, 07 Mar. 2008. Web. 17 Nov. 2010.

<http://sedac.ciesin.columbia.edu/wildareas/maps.jsp>.

9 I believe, as Nash states in his work, that there is a subconscious need for the wild ingrained in

the psyche of human beings. We have an inherent need to experience the wild for it humbles

us in its presence, reconnecting human with their primitive beginnings. Phenomenologists

would argue that the genius loci (spirit of place) embedded in natural places brands a deep

impression on the mind which strikes a primal chord in our psyche; for we are but products of

C O N T E N T I O N nature ourselves. In an age when both the very definition of wilderness as well as its physical

boundaries slip away, I believe it is imperative we begin to grasp and concretize the power of the

wild spaces from which we came.

10 See diagrams: “Religious Symbols as Axis Mundi” Reference Location

11 This statement refers to the common phrase of individuals going into the wild ‘to find

themselves’. I believe, in part, that is the sense of humility and enlightenment through

orientation (a product of the disorienting qualities of the wilderness) and later orientation that

occurs when a deeper understanding of self is acquired as one realizes (metaphorically and

physically represented by the clearing) that they are ‘one with nature’, part of something larger

than themselves, that attracts us to wild spaces.

12 Examples of these superficial means of orientation include the many technological ‘gadgets’

which increasingly control the way in which we experience our surroundings. By interacting with

the virtual realities in which these digital networks create, we become detached from reality by

means of a flattened sense of space, reading our environments through bits of impersonal data

rather than sensorial perception.

13 More specifically, these studies are focused in the following areas: Ecocentrism and

globalization have recently arisen symbiotically through our increasing awareness of worldwide

environmental degradation by way of a scientifically based, nature-centered societal value

system (Rowe, find page #). Additionally, globalization has through its process of cultural,

political, economic, and social integration, played a major role in creating new hybrid conditions

of global human civilization and identity. Ocularcentrism is also integral in contextualizing the

roles of globalization and orientation in contemporary society through its close study of a

sensorial evolution and its affects upon human perception, specifically in architectural

environments.

14 Norberg-Schulz. Genius Loci. 12.

15 Pallasmaa. The Eyes of the Skin. 21, 25.

16 “Human Evolution Timeline Interactive.” Human Evolution by The Smithsonian Institute’s Human

Origins Program. Smithsonian Institution. Web. 10 Oct. 2010.

<http://humanorigins.si.edu/evidence/human-evolution-timeline-interactive>.

1 Suárez, Tomás. Noviembre. 2008. Photograph. Santa Maddalena, Trentino-Alto Adige

[Italy]. Flickr. Yahoo, 10 Nov. 2008. Web. 05 Dec. 2010.

<http://www.flickr.com/photos/jtsoft/4092444389/>.

2 Moosemonger. Alaska Oil Pipeline. 2006. Photograph. [Alaska]. Flickr. Yahoo, 03 Sept. 2006.

Web. 05 Nov. 2010. <http://www.flickr.com/photos/moosemonger/240166257/>.

3 Nash, Roderick. Wilderness and the American Mind. London:

Yale University Press, Ltd., 1973. 3. Print.

4 Wilderness Act of 1964. Pub. L. 88-577. 03 Sept. 1964. Stat. 16 U.S. C. 1131-1136.

5 C.M. Hall, S.J. Page. The Geography of Tourism and Recreation: Envrionment, Place, and Space.

New York: Routledge, 1999. 223.

6 C.M. Hall, S.J. Page. The Geography of Tourism and Recreation. 223.

7 Photograph. Desert Pictures – Nature Landscape. ThundaFunda.com. Web. 14 Oct. 2010.

8 Marciat, Francios-Xavier. La Vernaz (France). 2009. Photograph. [France]. F6 Creations. 2009.

Web. 05 Dec. 2010. <http://expo.f6creations.com/>.

9 Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. Seattle: Wiley-Academy,

2005. 65. Print.

10 Norberg-Schulz, Christian. Genius Loci: Towards a Phenomenology of Architecture.

New York: Rizzoli, 45. 1991.

11 “Orientation.” Merriam-Websters Medical Dictionary. Ed. Merriam-Webster, Inc. Web.

02 Oct. 2010. <http://dictionary.reference.com/browse/orientation>.

12 “Orientation.” Collins English Dictionary - Complete & Unabridged 10th Edition. HarperCollins

Publishers. Web. 30 Oct. 2010. <http://dictionary.reference.com/browse/orientation>.

13 Norberg-Schulz. Genius Loci. 5.

14 Norberg-Schulz. Genius Loci. 32.

15 Norberg-Schulz. Genius Loci. 21.

16 Rohn, Sam. Planet New York :: Skyline. 2009. Photograph. New York. Flickr. Yahoo, 13 Aug. 2009.

Web. 10 Oct. 2010. <http://www.flickr.com/photos/nylocations/4314461123/>.

17 Dorret. New York. 2007. Photograph. New York. Flickr. Yahoo, 16 June 2007. Web. 04 Dec. 2010.

<http://www.flickr.com/photos/dorret/1420117256/>.

18 Eliade, Mircea. “Symbolism in the Center.” Images and Symbols: Studies in Religious Symbolism.

Princeton, NJ: Princeton UP, 1991. 48-51. Print.

19 World Tourism Organization. Collection of Tourism Expenditure Statistics. Rep. no. 2. Madrid [Spain]:

World Tourism Organization, 1995. World Tourism Organization. 1995. Web. 05 Dec. 2010.

<http://pub.unwto.org/WebRoot/Store/Shops/Infoshop/Products/1034/1034-1.pdf>.

20 Mac, Roy. Inside a Cliff Dwelling. 1994. Photograph. Mesa Verde. Flickr. Yahoo, 03 Feb. 2008.

Web. 29 Oct. 2010. <http://www.flickr.com/photos/10909491@N06/2227255003/>.

21 Cole, Thomas. Expulsion from the Garden of Eden. 1828. Oil on Canvas. Museum of Fine Arts,

Boston, MA.

22 Norberg-Schulz. Genius Loci. 5.

23 Norberg-Schulz. Genius Loci. 23.

24 Norberg-Schulz. Genius Loci. 9.

25 Wallace, Andrew C. 250307 Home. 2007. Photograph. Samaria [Victoria]. Flickr. Yahoo,

25 Mar. 2007. Web. 03 Nov. 2010.

<http://www.flickr.com/photos/awphoto/433427466/>.

26 Norberg-Schulz. Genius Loci. 58, 63.

27 Norberg-Schulz. Genius Loci. 5-23.

28 Le Corbusier. Towards a New Architecture. [United States]: BN Pub., 2008. 4. Print.

29 Birksted, J.K. Le Corbusier and the Occult. Cambridge, MA: MIT, 2009. 317. Print.

30 “Temple.” Dictionary.com Unabridged. Ed. Random House, Inc. Web. 02 Oct. 2010.

<http://dictionary.reference.com/browse/temple>.

31 Norberg-Schulz. Genius Loci. 56.

32 Norberg-Schulz. Genius Loci. 52.

33 Photograph. Flickr. °A, 01 May 2010. Web. 14 Oct. 2010.

<http://www.flickr.com/photos/ad_jester/4583250415/>

G L O S S A R Y

Res

ourc

es

70

WIL

DER

NES

S

1 Norberg-Schulz, Christian. Genius Loci: Towards a Phenomenology of Architecture. New York:

Rizzoli, 1991. Print.

1 Klinger, Philipp. Urban Layers. 2009. Photograph. New York. Flickr. Yahoo, 15 June 2009. Web.

30 Oct. 2010. <http://www.flickr.com/photos/dcdead/4652956722/>

2 C.M. Hall, S.J. Page. The Geography of Tourism and Recreation: Envrionment, Place, and Space.

New York: Routledge, 1999. 223.

3 Lewis, Michael L. “American Wilderness.” Introduction. American Wilderness: A New History.

Oxford: Oxford UP, 2007. 12. Print.

4 The National Parks: America’s Best Idea: Part One. Dir. Ken Burns. Perf. Adam Arkin, Philip Bosco,

Kevin Conway, Peter Coyote, Andy Garcia. PBS, 2009. DVD.

5 Burns. The National Parks.

6 Turner, Frederick Jackson. “The Significance of the Frontier in American History.” The Frontier in

American History. [United States]: H. Holt and, 1920. 3. Print.

7 Turner. Frontier. 38.

8 Harvey, Mark. “Loving the Wild in Postwar America.” American Wilderness: A New History. Ed.

Michael L. Lewis. Oxford: Oxford UP, 2007. 188. Print.

9 Harvey. “Loving the Wild in Postwar America.” 187.

10 Wilderness Act of 1964. Pub. L. 88-577. 03 Sept. 1964. Stat. 16 U.S. C. 1131-1136.

11 “Wilderness.” Dictionary.com Unabridged. Ed. Random House, Inc. Web. 02 Oct. 2010.

<http://dictionary.reference.com/browse/wilderness>.

12 Dunleavy, Steve. Ritter Range: Ansel Adams Wilderness. 2010. Photograph. Yosemite, CA. Flickr.

Yahoo, 25 Aug. 2010. Web. 30 Oct. 2010.

<http://www.flickr.com/photos/42507736@N02/4990851555/>.

13 Nash, Roderick. Wilderness and the American Mind. London:

Yale University Press, Ltd., 1973. ix. Print.

14 Sant-Amant, Martin. Panorama of the North of Manhattan. 2008. Photograph. New York.

R E S E A R C H // P a t h o f L i f e

R E S E A R C H // D e f i n i n g W i l d

Wikipedia, the Free Encyclopedia. Wikimedia Foundation, Inc., 11 Oct. 2008. Web.

05 Nov. 2010. <http://en.wikipedia.org/wiki/File:26_-_New_York_-_Octobre_2008.jpg>.

15 Lundberg, Marcus. Autumn Reflection. 2007. Photograph. New York. Wikipedia, the Free

Encyclopedia. Wikimedia Foundation, Inc., 22 Oct. 2007. Web. 02 Nov. 2010.

<http://www.flickr.com/photos/10099287@N08/1699271786/>.

16 Nash. Wilderness and the American Mind. 5.

17 Nash. Wilderness and the American Mind. 6.

18 Nash. Wilderness and the American Mind. 6.

19 Cronon, William. “The Trouble with Wilderness; Or, Getting Back to the Wrong Nature.”

Uncommon Ground: toward Reinventing Nature. Ed. William Cronon. New York:

W.W. Norton &, 1995. 79. Print.

20 Cronon. The Trouble with Wilderness. 86.

21 Cronon. The Trouble with Wilderness. 86.

22 Cronon. The Trouble with Wilderness. 89.

23 Bhabha, Homi K. The Location of Culture. London: Routledge, 1994. 2. Print.

24 Bhabha. The Location of Culture. 2.

25 Bhabha. The Location of Culture. 7.

26 Pollak, Linda. “Matrix Landscape: Construction of Identity in the Large Park.” Large Parks. Ed.

Julia Czerniak and George Hargreaves. New York: Princeton Architectural, 2007. 95. Print.

27 Miller, Sara Cedar. Central Park: an American Masterpiece. [New York]: Harry N. Abrams in

Association with the Central Park Conservancy, 2003. 6. Print.

28 Miller, Sara Cedar. Central Park: an American Masterpiece. 14.

R E S E A R C H // W i l d e r n e s s T i m e l i n e

1 Nash, Roderick. Wilderness and the American Mind. London:

Yale University Press, Ltd., 1973. ix. Print.

2 Carr, Karen. Sahelanthropus Tchadensis, Male. 2010. Photograph. Smithsonian National Museum

of Natural History: David H. Koch Hall of Human Origins. Smithsonian Institution. Web. 05 Nov.

2010. <http://humanorigins.si.edu/evidence/human-fossils/species/sahelanthropus-

tchadensis>.

3 Gurche, John, and Chip Clark. Australopithecus Afarensis. 2010. Photograph. Smithsonian

National Museum of Natural History: David H. Koch Hall of Human Origins. Smithsonian

Institution. Web. 05 Nov. 2010. <http://humanorigins.si.edu/evidence/human-fossils/

species/australopithecus-afarensis>.

4 Cole, Thomas. Expulsion from the Garden of Eden. 1828. Oil on Canvas. Museum of Fine Arts,

Boston, MA.

5 Wycliffe. Photograph. My Two Cents. WordPress.com, 24 Oct. 2008. Web. 05 Nov. 2010.

<http://mytwocents.files.wordpress.com/2008/10/wycliffe.gif>.

6 Palmer, Frances Flora Bond. Pioneers Home in the American Wilderness. 1867. Oil on Canvas.

Artchive. 1st-art-gallery.com. Web. 05 Nov. 2010. <http://www.artchive.com/web_

gallery/F/Frances-Flora-Bond-(Fanny)-Palmer/Pioneers-home-in-the-American-

wilderness,-1867.html>.

7 Bierstadt, Albert. Sunset in the Yosemite Valley. 1868. Haggin Museum, Stockton, CA. Wikipedia,

the Free Encyclopedia. Wikimedia Foundation, Inc., 12 Jan. 2008. Web. 05 Nov. 2010.

<http://commons.wikimedia.org/wiki/File:Bierstadt_Albert_Sunset_in_the_Yosemite_

Valley.jpg>.

8 Tourist at Glacier Point. 1902. Photograph. Yellowstone National Park, WY. The National

Parks: Americas Best Idea. PBS. Web. 05 Nov. 2010.

<http://www.pbs.org/nationalparks/media_detail/58/>.

9 Bresson, Henri Carter. Arizona, USA. 1947. Photograph. [Arizona]. Henri Carter Bresson: City and

Landscapes. London: Thames & Hudson, 2001. 105. Print.

10 President Johnson Signs the Wilderness Act in 1964. 1964. Photograph. The Wilderness Act

of 1964. Wilderness.org. Web. 05 Nov. 2010.

<http://wilderness.org/content/wilderness-act-1964>.

11 Moosemonger. Alaska Oil Pipeline. 2006. Photograph. [Alaska]. Flickr. Yahoo, 03 Sept. 2006.

Web. 05 Nov. 2010. <http://www.flickr.com/photos/moosemonger/240166257/>.

C E N T R A L PA R K

TO U R I S M

1 Christo. “Christo Quotes.” Quotes and Quotations at BrainyQuote. Web. 08 Dec. 2010.

<http://www.brainyquote.com/quotes/authors/c/christo.html>.

2 Miller, Sara Cedar. Central Park: an American Masterpiece. [New York]: Harry N. Abrams in

Association with the Central Park Conservancy, 2003. 28. Print.

3 Miller, Sara Cedar. Central Park: an American Masterpiece. 188.

4 NewYorkNature.net. “New York Geology.” New York Nature - Welcome! NewYorkNature.net.

Web. 08 Dec. 2010. <http://www.newyorknature.net/Geology.html>.

1 Hall, Colin Michael, and Stephen Page. “The Demand for Recreation and Tourism.”

The Geography of Tourism and Recreation: Environment, Place, and Space. London:

Routledge, 1999. 274. Print.

2 Hall, Colin Michael, and Stephen Page. “Urban Recreation and Tourism.”

The Geography of Tourism and Recreation: Environment, Place, and Space. London:

Routledge, 1999. 171. Print.

3 Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. Cichester: Wiley-Academy,

2005. 11. Print

4 Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. 72.

5 Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. 40.

6 Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. 25, 30.

7 Hall, Colin Michael, and Stephen Page. “Urban Recreation and Tourism.” 170.

1 Richards, Julian C. “Why Was Stonehenge Built?” Stonehenge: the Story so Far. Swindon, UK:

English Heritage, 2007. 220-28. Print.

P R O G R A M

Res

ourc

es

72

SIT

E +

PRO

GA

M