Category: art

Restoration Roadmaps

Jason Kingart, cultural, ecology, explorations, history, landscape, oregon, places, portland, projects, streamsLeave a Comment on Restoration Roadmaps

The ability to reveal the hidden layers of hydrology can take many forms. Public art is a great mechanism for telling stories in ways that engage and reveal that which is often missing from our day to day experiences. These artworks also highlight key contributions of communities that are often marginalized in the official histories we are taught. Artists Shu-Ju Wang and Lynn Yarne developed a vibrant example of this at the new Lincoln High School in Portland with a large exterior mural called Restoration Roadmaps which locates the hidden hydrology story within the context of the urban high school. The summary of the project, from the artist’s website for Restoration Roadmaps provides some of processes and the outcomes:

“The process enabled us to come to a final design that is a combination of several forms of maps to describe the neighborhood–from historical to a hoped for future, from topographical to ecological, from google map to the old fashioned foldout map. Student and community responses are recorded as part of the topographical contours and inset panels.”

The images are rich with detail, focusing on the high school site and the contemporary grid, juxtaposed with the Tanner Creek historical route with other water bodies that have been erased. The creek gulches were the locations of highly productive garden areas farmed by Chinese immigrants and also provided historical areas of Native American occupation. The mural includes smaller square panels with community work done by other artists and students, and the perimeter of the mural provides detailed assemblages of 40 species of flora and fauna Indigenous to the area.

Mural Image (via Shu-Ju Wang)

It was fun to see the process evolve and the final product ‘in the wild’ below. Let me know if you’re local and have seen the mural, or if there are other murals in your community celebrating hidden hydrology. Would love to hear from you.

Final Mural (via Shu Ju Wang)

HISTORICAL BACKGROUND

The lead-up to the public process included some great information compiled by a series of experts on the history, ecology, and culture around the Tanner Creek area and the Chinatown farmers. These included lectures by Dr. Tracy Prince on Native American Traders and Chinese Vegetable Gardens in the Hollows of Old Portland, and Native Americans of Old Portland, and a co-presentation Notable Women of Portland, by Prince and her daughter Zadie Schaffer, who is also a Lincoln alum. Dr. Marie Rose Wong, author of Sweet Cakes, Long Journey: The Chinatowns of Portland Oregon gave a talk on Tanner Creek and Portland’s Chinatown. Eric Butler, a restoration expert, included information on the Ecological History of Tanner Creek.

Beyond helping with some mapping for the mural, my other contribution was this short video, Tanner Creek Hidden Hydrology, walking through the history of the area in the context of the historical water. I’ve included the video below:

Thanks for reading Hidden Hydrology! This post is public so feel free to share it.

Note: This post was originally posted on Substack on 02/28/25 and added to the Hidden Hydrology website on 04/20/25.

Tokyo Drift

Jason Kingart, case study, creeks, cultural, explorations, history, language, maps, places, streamsLeave a Comment on Tokyo Drift

The article “Tracing Tokyo’s Hidden Rivers” (The Japan Times, March 2024) was a fascinating dive into hidden hydrology mapping and urban exploration through the lens of Japanese culture and added a new term to my lexicon. The concept of ankyo, 暗渠. which at a basic level translates in English to something akin to “culvert”, “conduit” or “subterranean drain”. These features have been removed from the city’s original landscape, yet still reveal themselves in numerous ways. This is the starting point for Hideo Takayama and Nama Yoshimura, who together started “Ankyo Maniacs”, a group focused on exploring these urban remnants of buried and hidden streams in the City of Tokyo.

Tours of the ankyo reveal waterways flowing under manholes (The Japan Times)

The explorers rely on what they call “ankyo signs”, which include a wide range of markers that help clue us into the hidden hydrology, including place names, objects, and drains (such as shown above) which allow the visual and auditory connections to flowing water. There are also urban remnants such as barriers and old bridges that were previously in place to protect from open waterways but were never removed, or prevent access to areas that have been covered over. More obvious are places focusing on water, including baths, pools, and fishing ponds. The Ankyo Maniacs and others have refocused attention on these liminal spaces, as mentioned in the article:

“While they may be out of our sight, Takayama says water still flows through many ankyo, while others have become part of local drainage systems. “It’s as if they’re telling us, ‘We’re still here,’” he says. “By getting to know them, we can appreciate the past dignity of these rivers.”

The basis for the exploration relies on several maps and the history of Tokyo spans many years. The Tokyo Ankyo Sanpo (Tokyo Ankyo Stroll) map, edited by So Honda, provides the go-to for locals exploring the city with ankyo and other features mapped in detail. Another more modern resource is the Tokyo Jisou, or Time Layer Maps, available as an iPhone and iPad app, which is a map viewer that shows maps of the city at different periods, spanning the Meiji to Heisei Eras from the 1800s to present time.

Images from the Tokyo Jisou Maps – by the Japan Map Center (App Store)

Beyond the specifics of mapping and exploration, the language of hidden hydrology is also fascinating, the Japanese term “ankyo” providing a case study of the hidden poetry of the terms. At a basic level, ankyo describes these places in practical terms, as drains and culverts that work to convey water underground. When you look at the underlying meaning of the characters, it hints at ideas like ‘darkness, shade, disappearance’ which allude to the more mysterious nature of the network of underground features that compel us to explore. The Tokyo Ankyo Sanpo map mentioned previously also includes the opposite features “kaikyo” 海峡, which are the still-visible open channels, evoking lighter ideas like ‘cheerful, pleasant, and agreeable’.

An example of one of the tours is found on the Experience Suginami Tokyo site, providing self-guided instructions in the area of Ogikubo Station following the route of the former Momozonogawa River and portions of the Zenpukujigawa River, including “ankyo signs” such as alleys and paths that act as covers to the buried streams, curving walkways mimicking the previous channels, and other hints at the hidden histories underneath.

Ankyo (Culvert) Tour map near Ogikubo station (Experience Suginami Tokyo)

The heart of the process isn’t just about the learning or processing of information, but about the experience. The prompt by the explorers: “Don’t Think. Walk and Feel!” is imbued with ideas about slow time, and the benefits of connecting to places more deliberately. It also connects to larger ideas about experiencing places, observing and connecting to the signs and features of the urban landscape, expressed in the Japanese concept of ‘wabi-sabi’, allowing appreciation of nature, along the way.

The language barrier does limit my full understanding of the content, (including what seems like some great publications) so if any Japanese speakers have more to add, I would love to hear it. For some bonus content, this short video with Takayama and Yoshimura in Tokyo outlines their work exploring the ankyo.

The idea of revealing the locations of hidden places is compelling for all who study hidden hydrology in its many forms. As summed up in the video: “Ankyo hunters say they enjoy the idea that at any moment you could be standing over a piece of forgotten Tokyo.”

Note: This post was originally posted on Substack on 04/18/24 and added to the Hidden Hydrology website on 04/18/25.

Landscape and Memory

Jason Kingarchaeology, art, city, creeks, daylighting, design, history, maps, new york, projects, streams1 Comment on Landscape and Memory

A project from artist Cristina Iglesias (see a post of some of her previous work here) again dives into the idea of hidden hydrology, this time in New York City. Entitled Landscape and Memory (referencing the title of one of my favorite books by Simon Schama), the work unearths a buried stream in Madison Square Park.

From The Architect’s Newspaper: “Manhattan is crisscrossed by streams and rivers that have since been buried but continue to flow, flooding their banks and the basements above when it rains. For Landscape and Memory, Iglesias will exhume an impression of Cedar Creek, which once flowed beneath where the park now stands today.”

From the Madison Square Park Conservancy, some more info: “Nodding to historian Simon Schama’s major 1995 volume of the same name, which surveyed the history of landscape across time and terrain, Landscape and Memory is informed by Iglesias’ research into the history of the site. For the project, Iglesias located and studied antique maps that documented the water flow beneath Madison Square Park, where the Cedar Creek and Minetta Brook once coursed for two miles before flowing into the Hudson River. With nineteenth-century industrialization, streams like the Cedar and Minetta were buried underground to create additional land for building sites, underground drains, or sewers. Through Landscape and Memory, Iglesias renders this buried history visible again, inviting viewers to contemplate centuries of transformation of urban sites that were once natural.”

Excited to hear more about this and see more images, as the sketch is a bit… sketchy. You can check out the full press release here for more info. Based on some of her previous work it will be wonderful in execution. The work will be installed from May 23, 2022, through December 4, 2022 so those in New York City go check it out and report back.

A Brook in the City

Jason Kingart, creeks, cultural, daylighting, history, language, streams2 Comments on A Brook in the City

The recent article in the New York times on the daylighting project at Tibbetts Creek reminded me, based on some of the comments, of the poem by Robert Frost called “A Brook in the City”. I knew of the poem, but hadn’t really made the connection to hidden hydrology, but the tones of industrialization that . Some analysis of the poem explains the context, as the poem “was written somewhat in early 1920 when history was witnessing Industrial Revolution and urbanization. It was at that time man became an evil and the outcome was the devastation and extinction of nature.”

West Running Brook No. 3 – J.J. Lankes (via Book Porn Club) – one of the woodcuts of another Frost collection of poems ‘West Running Brook’.

The brook becomes the symbol for that devastation, and the domination of nature the culprit: “…because of man’s modernization the brook which was a symbol of force is now nothing more then a weak and meek sewer. At night it still flows. A time would come when people would forget that there was a brook which existed. It would only exist on maps. The poet wonders if man could ever ever understand his mistake.”

An interesting piece of poetry that hits at the root of loss, memory, and the essence of hidden hydrology. Sad and beautiful, be still resonant a century after it was written, and somewhat poignant to consider as we daylight and restore the brooks… reversal of some of that old wounds made right. Enjoy.

A Brook in the City – Robert Frost

The farmhouse lingers, though averse to square
With the new city street it has to wear
A number in. But what about the brook
That held the house as in an elbow-crook?
I ask as one who knew the brook, its strength
And impulse, having dipped a finger length
And made it leap my knuckle, having tossed
A flower to try its currents where they crossed.
The meadow grass could be cemented down
From growing under pavements of a town;
The apple trees be sent to hearth-stone flame.
Is water wood to serve a brook the same?
How else dispose of an immortal force
No longer needed? Staunch it at its source
With cinder loads dumped down? The brook was thrown
Deep in a sewer dungeon under stone
In fetid darkness still to live and run—
And all for nothing it had ever done
Except forget to go in fear perhaps.
No one would know except for ancient maps
That such a brook ran water. But I wonder
If from its being kept forever under,
The thoughts may not have risen that so keep
This new-built city from both work and sleep.

Header image – excerpt of woodcut from J.J. Lankes from another Frost collection of poem, “West Running Brook” – via Book Porn Club

Belfast’s Hidden Rivers

Jason Kingart, belfast, city, creeks, cultural, daylighting, history, places, rivers, streams11 Comments on Belfast’s Hidden Rivers

A recent article on Belfast’s River Farset jogged my memory that I’ve got a ton of great info the hidden rivers in many cities around the world, so figured I’d start writing about them. For this post, I’ll focus on Belfast, and return shortly to discuss Dublin to round out Ireland, then move on to other locales. As mentioned in the most recent article, “For 170 years, the river that gave Belfast its name has been buried underground in a hidden tunnel.” It goes on to discuss how, similar to many stories of cities worldwide, the river was slowly changed from vital aquatic resource that fueled manufacturing such as linen mills, to it’s transformation as dumping ground, leading to the eventual encasement: “One million bricks and 40 years later, the last section of the Farset that flowed through the city centre was buried underground in 1848, and it has remained hidden from sight ever since.“

In the 1800s, the Farset helped to power Belfast’s textile mills, factories and distilleries PHOTO: De Luan/Alamy (via Daily Trust)

From the article:

“Belfast, or Béal Feirste (‘the sandy ford at the mouth of the Farset’, in Irish) not only owes its existence to this river, but also its growth and early prosperity. Yet, for the last 170 years, this ancient waterway has been sealed off from the outside world by a series of tunnels, and is largely forgotten by those walking just above it.”

The desire to open up the Farset is a common theme, with plans “…to redevelop land around an exposed part of the river and also produce a full heritage package – including an exhibition, Farset app, public information signs, and tours with trained guides – that will highlight the heritage to local people and also attract tourism.”

Another article echoing this sentiment in the Belfast Telegraph traces “The lost river that gave Belfast its name” and offers an exploration as well: “Old drawings show a bustling river which powered Belfast’s industrial development and ferried traders into what is now High Street. But most locals would be hard-pressed to pinpoint exactly where the Farset flows before it reaches the city centre – because almost the entire route is now hidden beneath our feet in the form of culverts. The Greater Shankill Partnership recently revealed it wants to transform one of the few open stretches of the Farset into a public amenity as part of its long-term Shankill Greenway plan.”

Tracing the source of the Farset river in Belfast from the hills over looking Belfast to its end at the Lagan Weir Shankill cemetery where the river behind – image via Belfast Telegraph
Tracing the source of the River Farset in Belfast: river ends at the Big Fish at Customs House Square –

This similar theme is expressed in stories from 2015 from the BBC, “Hidden History of Belfast’s lesser-know rivers brought to the surface”, which includes the Farset, as well as the Blackstaff rivers, both of which “determined the shape of the city that grew up around the narrowest bridging point of the Farset, where High Street is today.”

A computer image showing the original course of the rivers Farset and Lagan in Belfast – via BBC

Additionally, the Connswater, which was featured in Van Morrison’s song “Brown-Eyed Girl“, but also has a larger history as a locus of whiskey production, ” In Victorian times, two-thirds of whiskey exported from Ireland came from Belfast, and around half of that came from two distilleries – the Connswater distillery and the Avoneil distillery. “ Today, remnants run under the 400-year old bridge in east Belfast. Portions of the river runs through Orangefield park and supports wildlife, “The river used to run along fences at the back of the houses, which were susceptible to flooding. Instead of building floodwalls, here the river has been ‘moved’ to become a central feature of the park.”

The 400-year-old Connswater Bridge in east Belfast – via BBC

HEADER: Partially hidden view of River Farset in Belfast – via Belfast Telegraph

Vanport Mosaic

Jason Kingarchaeology, art, case study, city, cultural, explorations, history, infrastructure, lakes, maps, oregon, photography, places, portland, streams, wetlands1 Comment on Vanport Mosaic

Building on my recent post about the anniversary of the catastrophic flooding of Vanport, I had the opportunity to visit some of the events at the Vanport Mosaic Festival from May 25-June 5. One highlight was a series of tours being offered as part of the events on Memorial Day weekend. The tour started at the Portland Expo Center and looped through key areas of the site, and it was exciting to get access to a few areas that are typically off-limits to people on a regular basis. It was also available as a self-guided walking tour, so they had maps for referencing key Vanport locations overlaid with current conditions

Vanport Tour Map (via Vanport Mosaic)

The back side of the map is supplemented with imagery of sites along the route, giving a feel for what it was like during the height of Vanport. It’s interesting to see these spaces and activities from 70 years ago, and for the most part discover that few traces of this still exist on-site.

Vanport Tour Map (via Vanport Mosaic)

The tour took a bit over an hour, and was led by Clark College professor of geography Heather McAfee, who layered stories and facts onto the tour, and demonstrated a passion for the need to tell the stories of Vanport more widely. While I wished we were able to hop out and explore a bit more, there were a few stops along the way, including this kiosk at one of the parking areas.

A Place in Time Called Vanport – Kiosk

The trail adjacent to the site led Force Lake, one of the amenities of the original Vanport community that was formerly adjacent to the original Recreation Center, and had beaches at the margins. The perimeter is now overgrown and a large wetland zone that is mostly inaccessible except from some narrow paths or to golfers on the west side.

Force Lake

Those other uses are a part of the story. South of the kiosk is a good orientation to the current land use of the majority of the Vanport site today with the western portions occupied by Heron Lakes Golf Course and portions of the east side of the site occupied by Portland International Raceway (PIR), making most of the site not publicly accessible.

Heron Lakes Golf Course
Track at Portland International Raceway (PIR)

Both of these uses contribute to the lack of remnants that remain from the original Vanport site. As our tour wove between the two atop short levees, we struggled to look from map to site and make any meaningful connections, so disconnected these areas were from their original site, with staring golfers wondering why a seemingly lost tour bus was lumbering around in the middle of nothingness as they went about their rounds.

One area that was protected, through the advocacy of groups wanting to preserve some remnant, the old foundation of the original Theater is still visible on a small margin adjacent to one of the sloughs, protected from construction of PIR (Another remnant area of roadway, a portion of North Cottonwood Street) was incorporated into the straighaway of the racetrack). While indistinct, even this tracery of crumbling foundation serves as a powerful marker, even more so due to the almost complete erasure. Many on our group walked on the surface, paused in a moment of silence, and then moved on. It seems odd, but it had a power, and seemed almost sacred, becoming a tangible touchstone for the past.

Remnant foundation of original Vanport Theater building

McAfee (here pictured) used this location, pointing up at the top of a tree to show the relative height of the floodwaters, which were between 22-28′ high depending on where on the site one stood. As McAfee mentioned, people came into the theater to warn of the breach, shouting:

“The Dike has Broke!”

Seeing this and imagining a water line many feet above your head, coupled with the fact that there was a direct sightline here to the original railroad embankment breach point along the western edge of the site, it hammered home the immensity of the event. It also left me in amazement that even more people hadn’t perished.

Tree marking the height of flood waters

The southern apex of the tour swung by Drainage Pump No. 1, which was built in 1917 and worked to remove water from the interior of the levee bottoms. While it helped slow the flood a bit, the fact that it pumped water outside into already swollen creeks meant that it was fighting a losing battle. The pumps still work to dewater the interior the areas today as part of the larger drainage system.

Original Drainage Pump Station

The tour looped to the southeast and a second breach point, then wove back by the original site entrance along Denver Court before returning to the EXPO center. One stop adjacent was a larger wetland area, with another public sign adjacent to the dogpark that also tells the story of Vanport.

Informational signage adjacent to dog park
Additional information marker from Oregon Travel Information Council

The Vanport Wetlands were adjacent to the site, nestled between PIR and the original Vanport site, and the EXPO center to the north. These and are protected today and support a range of wildlife, according to the Travel Oregon site: “This is an excellent site for waterfowl in winter, and southbound shorebirds in late summer, including Pectoral Sandpiper. Summering ducks include Cinnamon and Blue-winged Teal. Many swallows forage over the water in season. Check the wooded edges for warblers, vireos, and tanagers. Yellow-headed Blackbird has nested here. Red-shouldered Hawk appears occasionally, while American Kestrel, Red-tail Hawk, Osprey, and Bald Eagle are expected. Another 0.5 mi NW on Broadacre is Force Lake, a good place to view migrant grebes, ducks, and shorebirds.”

Vanport Wetlands Interpretive Signage
Vanport Wetlands

Vanport Mosaic Exhibits

At the EXPO center post-tour, there were a number of exhibits and groups showcasing topics related to Vanport, social & environmental justice, arts, and culture. The Vanport exhibit was a chance to explore many of the themes around Vanport flood, not just as a historical retrospective but as a way to use this to have new conversations around race. From the site:

“Join us for two weeks of memory activism opportunities, to explore and confront our local past and recent history of “othering” and its tragic consequences.  Through exhibits, documentary screenings, tours, theater, and dialogues we will celebrate the lessons of resilience and resistance as defined and told by historically oppressed communities.”

According to this article about the exhibit from OPB, quoting Laura Lo Forti, the Vanport Mosaic co-founder and co-director:

“…it’s important to remember because I feel like we are experiencing yet another wave of collective historical and cultural amnesia.” 

Vanport Spirit mural

Lots of interesting side stories, including learning more about Levee Ready Columbia, working to protect from flood risk in the context of development and climate change in the slough today, as well as finding all the ways to access some local waterways via the Columbia Slough Watershed Council’s ‘Paddlers Access Guide‘. From the artistic side, a few related events include a documentary of Portland stories around trees, Canopy Stories, and a cool project exploring stores of place through music from the Portland Jazz Composers Ensemble “From Maxville to Vanport”. Similar geography, the Maxville Heritage Interpretive Center highlights a fascinating slice of Oregon history, and many other stories can be found via the Oregon Heritage Tradition, which “recognizes events that are more than 50 years old, reflect Oregon’s unique character, and have become associated with what it means to be an Oregonian.” Lots more folks at the event, so this is just a snapshot of a few.

Additional Stories

For a more permanent look at some of the art that looks back at Vanport, you take the yellow line north and stop at the Delta Park/Vanport MAX Light Rail Station. From the TriMet site outlining the Public Art on the Yellow Line, there are a number of elements that reference Vanport. Artist Linda Wysong was the primary creator of this stations installation, built in 2004. Elements include foundation remnants embedded in sidewalk, and a range of other specific elements.

These mosaic tile (the original Vanport Mosaic?) of community maps overlay the current Delta Park site onto the city grid of Vanport. Another map shows local river context within the location of the station.

Vanport Mosaic
Close-up of Mosaic

There are also these beautiful bronze railings, which are a nice touchand easy to miss if you’re not looking, featuring “cast artifacts from the Chinookan culture, Vanport and the Portland International Raceway.”

Bronze railing
Close-up of artifacts

Another piece that slipped my attention was some “CorTen steel sculptures recall rooftops adrift in the 1948 floodwaters”. There are also works by Douglas Lynch and Timothy Scott Dalbow are reproduced in porcelain enamel on steel, and “…a cast-bronze scupper channels stormwater into the bioswale below.” Lots I missed as it also seems like there an adjacent water quality pond a sculpture called “Waterlines” which had “Massive steel arcs allude to the engineered landscape and Liberty ships made by Vanport residents” as well as a “glowing monolith of stone, steel and acrylic symbolizes the unity of human and natural worlds.” Guess I need to make another visit.

The stories of Vanport are told in multiple locations, with the help of groups like Vanport Mosaic and local artists. However, as mentioned in the OPB story, our “collective amnesia” about historical events, especially those that involve racial inequities and displacement, requires us to first understand and next confront these narratives. As I talked with people around Portland, it was a mixed bag of whether people even knew about Vanport (many had not) or had any real knowledge of the significant (many, myself included, had not). Hopefully the Vanport Mosaic Festival continues, and energy around more ways to discuss, celebrate, and interpret this spatially, so that these hidden histories and made more visible and persist.

HEADER: Force Lake – image by Jason King (all images in post by Jason King unless otherwise noted).

Origin Point

Jason Kingart, city, explorations, general, history, landscape, maps, oregon, photography, places, portlandLeave a Comment on Origin Point

We take for granted much of the modern system of mapping and cartography. In the United States, this system is very much derived from our Jeffersonian grid, established in the late 1700s, and expanded along with US western expansion, this (mostly) unwavering net draped over the country as part of the Public Land Survey. I’ve written previously about the General Land Office (GLO) Cadastral Survey, in more general terms, but in that post, I mentioned a unique feature in Portland — the location of one of the few starting points — the 0,0 point which started the mapping for the entire Pacific Northwest on June 4, 1851.

In the most lovely case of serendipitous map-nerdiness, this point has been protected and celebrated, and is thus both visible and accessible by visiting Willamette Stone State Heritage Site in Northwest Portland. A quick drive from downtown Portland, for anyone remotely interested in maps and Portland history it’s a simple trip up Burnside and winding along the back side of Forest Park.

I’ve been staring at the GLO maps for years, and knew it existed but had yet to visit this spot, so the hint of a nice Spring day last weekend was a pretty good opportunity for a short walk and to check this off my list. A small pull-out off of SW Skyline Drive opens up to trailhead, with a informational board offering a brief introduction that outlines the purpose of the park, and some background on the survey, including a sketch by Roger Cooke showing an illustration of the surveyors at work.

From a short blurb on the sign:

“This short trail leads to the Willamette Stone, the surveyor’s monument that is the point of origin for all public land surveys in Oregon and Washington.”

The monument itself is simple. A short walk through forest, a few steps down and a square paved zone, measuring 20×29 feet, surrounded by benches and immersed in a remnant of northwest forest. From the Oregon Encyclopedia: “The surveyors selected a high point on a ridge along the Tualatin Mountains (known today as Portland’s West Hills) for the intersection of the meridian and base line and the location of the survey initial point established on June 4, 1851. Known later as the Willamette Stone, the first marker placed at the survey point was a cedar post. It was replaced in 1888 with an obelisk marker, but the stone marker and bronze plaques were vandalized in 1951, 1967, and 1987. A stainless-steel marker, set into the original obelisk, was rededicated in 1988. The Willamette Stone site is now enclosed in Willamette Stone State Park near Northwest Skyline Boulevard. “

A plaque provides more information, and the marker (a stainless steel version that was installed after other had been vandalized), with the words ‘Initial Point’ of the Willamette Meridian with the T1N/T1S marking townships above and below, and R1W/R1E marking their east/west counterparts. It was a sunny day but early afternoon was casting deep shadows on the spot, giving it an austere, and somewhat ominous feel. It felt, to me somewhat sacred.

The Willamette Stone Park monument captures some of element of the survey in subtle ways. Embedded metal strips highlight markings on the ground surface, representing the meridian and baseline, a typical township broken into it’s requisite allotment of 36 equally spaced, 640 acre sections, ready for development.

It’s interesting for something so innocuous to hold such power, a simple disc of metal that references something much larger, and more meaningful. The hours I’ve spent staring at the maps derived from this point and the rich history that unfolds. It includes both a snapshot of what existed in the mid-1800s, but by extrapolating back as well to Native settlement and use, shows also a network of pathways worn to common points – a boat launch, a ferry, a significant landmark. These hints of pre-colonial use were shaped for many years, and some have persisted in our urban development – a path turning from a trail now a road with some odd, informal alignment. Ecological mosaics now transformed, consisting of coniferous forests and deciduous lowlands, with marshy margins near meandering rivers whose shorelines continue to weave their way through the pull of northward flowing water. And, all of those now disappeared waterways – the buried creeks, the long forgotten lakes, the now filled wetlands.

Township 1 South, Range 1 E (the Willamette Stone would be the upper left hand corner of this map)

Sitting on one of the benches, I close my eyes and transport myself back to this spot in 1852. I remark on the integrity of some of the remaining verdant ecosystem in this unassuming spot. The verticality of Douglas Fir spires towering skyward, mixed with moss-draped Bigleaf Maple and understory Vine Maple pushing their bright green spring leaves. On the ground, dense clumps of Salal weave around in abundance, punctuated with the complementary textures of Sword Fern and Oregon Grape, lighter margins of Snowberry and Currant. And, to mark the season with a punctuation mark, the fleeting display of Trillium.

Then, slowly, as I peer around, at the edges, I spy a hint of invasive English Ivy and English Holly (both of which were absent from this ecosystem of 170 years ago), beginning to creep out to the margin of my vision. A witness to our human impacts. Panning right, the faint etchings of guy-wires intrude into the viewshed amidst the trees. I’d been so focused on the ground, and the stone, head down focusing on the monument, I’d been unaware of this neighbor. I slowly follow their paths in an about-face, craning my neck straight up to the apex of the radio tower close-by. Not looming, but its red and white paint, and geometry in sharp contrast to the lush greenery.

Thus the scene, as the origin point, took on a double meaning. Although lush and natural on the surface and very much of the place in the Oregon landscape, this survey point was also the origin of our rapidly changing environment. This is evident in the burgeoning city that exists today, and the irreparable impacts on ecology and hydrology that make it barely legible from where it all started. The origin point of our discovery, what we have now experientially only in maps as a record, also being the origin point of our changing landscape and humanity.

The bench I sat on had double meaning also. Surrounding the monument, these contained the names of significant surveyors relevant to this westward documentation. William Ives was responsible for running the Meridian northward towards the Puget Sound, and Eastward along the Baseline as well, according to the history of the Oregon Land Survey John B Preston is also acknowledged, as the first Surveyor General of the Oregon Territory and Western US, his name is pervasive, affixed to many of the GLO maps. And finally, one dedicated to C. Albert White, who was at BLM surveyor with the General Land Office who started in the 1940s, and is know as an expert in cadastral surveying history, which is seem in his 1983 publication, ‘The History of the Rectangular Survey” which is the definitive tome on the Public Land Survey, and fitting for him to be celebrated here as well.

A map excerpt shows these ubiquitous gridlines – the work of Ives and Preston notably on, “A Diagram of a Portion of Oregon Territory,” from 1852. This map highlights this point where the Baseline runs east and west from ocean to the state borders, and the Willamette Meridian runs north-south from the southern border of Oregon up to the US/Canada border. The origin made manifest.

Map excerpt via – Oregon Encyclopedia

It’s amazing how this GLO survey left an amazing resource for hydrology of cities that were relatively undisturbed, as these surveys were done in a relatively youthful United States, and in the west the mapping in the 1850s was done concurrent with the establishment of many settlements. The resulting maps show small, nascent grids, which predate much of the late 19th and early 20th creative destruction that forever changed the landscape and led to hidden hydrology. It’s good to know your origin story. And in this case, the origin is close at hand.

HEADER: Willamette Meridian — this and all images in post, unless otherwise noted, also by Jason King

Illustrating London’s Lost Fleet River

Jason Kingart, canals, city, history, landscape, london, rivers, streams1 Comment on Illustrating London’s Lost Fleet River

I’ve written pretty extensively here about London’s Lost Rivers, however this recent article in the Telegraph “The forgotten Fleet – London’s lost river as it used to look” offers some really awesome historical imagery worth sharing. (all images via the article, which also have extensive captions).

Artistic depiction of the Thames in 30BC – the Fleet is the bottom right
Londinium, the walled Roman City, with a Roman ship docking at the entry to the Fleet
Painting of Hampstead Heath – the headwaters of the Fleet
Fleet flowing through Kentish Town

The legacy of hidden rivers lives on in names, as mentioned in the image caption:

“The river may have disappeared from view but evidence for its existence remains in the modern place names. Kentish Town is probably derived from Ken-ditch, meaning “bed of a waterway”, and for centuries it was a pleasant riverside village known for its clean air. Spring Walk, Anglers Lane, Brookfield Park and, further downriver, Turnmill Lane, sit on the path of the Fleet.”

The location near Bagnigge Wells – which was also a great Spa destination
Battle Bridge (now Kings Cross) in 1810, per the caption: “referred to an ancient bridge over the Fleet where Boudica’s army is said to have fought the Romans.”
Confluence of the Thames at the Fleet in the 17th Century

The caption to the above image alludes to the eventual demise of these rivers through constant fouling due to rapid development, “As London grew, the river became increasingly a sewer, filled with ‘the sweepings from butchers’ stalls, dung, guts and blood,” according to Jonathan Swift.” Adding to this, a passage from Alexander Pope:

“To where Fleet-ditch with disemboguing streams / Rolls the large tribute of dead dogs to Thames / The king of dykes! than whom no sluice of mud / with deeper sable blots of silver flood.”

The development beginning to cover the “Fleet Ditch” in 1812, covered by the mid 19th Century.

Great to see the evolution of one stream – and London, perhaps more than any city, seems to have extensive documentation that tells these visual stories with a richness that adds to the maps and words. Plenty more images on the original article, and load more history of the Fleet and it’s adjacent developments in the captions, as well as this previous article by Tom Bolton from last year.

HEADER: Fleet Market, between Holborn and Ludgate Circus, 1736 – image via Telegraph

Restoring Ancient Rivers

Jason Kingarchaeology, art, athens, canals, case study, city, creeks, cultural, daylighting, history, infrastructure, landscape, maps, parks, places, rivers, streamsLeave a Comment on Restoring Ancient Rivers

An interesting case study in hidden hydrology from a region I’ve yet to discuss, Greece. Via the Telegraph, an article “Athens hatches ambitious plan to uncover fabled river, once the haunt of Socrates, and turn it into a park.” The river in question is the Ilissos, which, due to lack of maintenance on the subsurface tunnel in which the river flows has led to structural issues that has caused issues with the tram line running on the surface, and opened up opportunities for restoration of this ancient waterway. As mentioned:

“An 1821 water colour of the Ilissos River and the Temple of Olympian Zeus” – via Telegraph (image credit Alamy)

“Urban planners have suggested that rather than spending millions of euros on reinforcing the tunnel and repairing the track, the tram line should be diverted along a different route and the river opened up. They are proposing the creation of a park along a one mile stretch of the formerly forgotten river.”

Some context on the significance of this river, via the HYDRIA Project, “Ilissos river was considered in antiquity as the second main river of Athens, forming an horizontal landmark in its southern and eastern sides. Ancient writers mention various activities by its banks, varying from civic processes, cults -including a sanctuary dedicated to the river himself, by Ardittos hill- or social walks and philosophical endeavours in idyllic landscapes, as for Socrates and his disciples (Plato, Phaedrus 229-230, link). “

View of Athens from the River Ilissos – painting by Johann Michael Wittmer – via Greek City Times

Due to the dry climate, the Ilissos and the other river in Athens, the Kifissos, are often dry, as mentioned in the article. “Given Greece’s dry, hot climate, neither is huge – they are nothing like the Thames in London or the Tiber in Rome.” They do, however, act as places for floodwaters to run after winter rains, and the depths can reach up to six feet.

Map of Ancient Athens (Ilissos River highlighted by author) – via Ancient History Encyclopedia

From the BBC “Athens to open up ancient river“, the plan by Nikos Belavilas from the Urban Environment Lab shows the route of the proposed daylighting, restoring it after it was paved over in post-WWII development. You can see the location of the current configuration in the context of the historical routing above, including the Stadium and the Temple of Olympian Zeus, built by Hadrian.

Map of the Ilisos – via BBC (image via Urban Environment Lab)

Beyond daylighting, the restoration also has bigger implications, as a strategy to avoid future issues. As mentioned in the BBC article:

“But it is not just a simple matter of reclaiming the city’s past, but also of saving its present.”If the Ilisos tunnel collapses, it will block the natural course of the river, and could flood the entire city centre,” Mr Belavilas warns – “That doesn’t bear thinking about.”

Currently, only a small section is now visible on its path from the mountains, as mentioned in the Telegraph: “It originates in the mountains on the edge of the city and eventually flows into the Saronic Gulf, after passing almost unseen beneath the streets of the capital. It does emerge briefly, in reed beds behind the Temple of Olympian Zeus, which was built over several centuries starting in the second century BC. “

The only uncanalised part of the bed of Ilissos river that once ran outside the old city of Athens. – via Wikipedia

HEADER: River Ilisos and Stadion Bridge, ca. 1900 – via Wikipedia

A Place for the Senses, Part 2 – Soundscapes

Jason Kingart, creeks, cultural, explorations, history, infrastructure, language, maps, rivers, soundscape, streamsLeave a Comment on A Place for the Senses, Part 2 – Soundscapes

A few months back, I posted part one of this dual post on sensory ways of interpreting spaces and art with a focus on the amazing work around Smellscapes. Part two, as advertised, will shift gears a bit, to think about Soundscapes, and how audio can be used to illuminate places, tell stories, and engage the senses in new ways.  And there’s a lot of exciting stuff happening in this space, and this will barely scratch the surface of what people are doing, but I am focused mostly on that which is relevant to the agenda of hidden hydrology, or in ways that are not directly relevant, could inspire some new methods of intervention and interpretation.

The idea of sound is expressed in a number of interesting ways, and more importance is placed on soundscapes in design, or the larger urban sphere, and the impacts of things like noise and how it impacts humans and other species.  Or conversely, it may just be confronting the dilemma posed by White Noise, in their article about innovative sound artists “The Trouble With Sound Is That It’s Invisible.”  New ways of thinking about these topics more holistically show up under terms like Acoustic Ecology, or Sonic Ecology, which thinks about it from a broader way of thinking.  From the abstract of a introductory paper on Soundscape Ecology , the idea for the authors is that:

“The study of sound in landscapes is based on an understanding of how sound, from various sources—biological, geophysical and anthropogenic—can be used to understand coupled natural-human dynamics across different spatial and temporal scales.”

A great resource on the topic I’ve found is The Acoustic City, which is a book/CD and website focused “on sound and the city…  The book comprises five thematic sections: urban soundscapes with an emphasis on the distinctiveness of the urban acoustic realm; acoustic flânerie and the recording of sonic environments; sound cultures arising from specific associations between music, place, and sound; acoustic ecologies including relationships between architecture, sound, and urban design; and the politics of noise extending to different instances of anxiety or conflict over sound. This innovative essay collection will be of interest to a wide range of disciplines including architecture, cultural studies, geography, musicology, and urban sociology.”  

INTERACTIVE SOUNDSCAPES/WALKS

There’s a number of leaders in the field, but I will lead off with one of the rock-stars of this sub-genre that is doing inspired work around water is Leah Barclay, who seems to be everywhere doing amazing work.  From her bio: “Leah Barclay is an Australian sound artist, composer and researcher working at the intersection of art, science and technology. She specialises in acoustic ecology, environmental field recording and emerging fields of biology exploring environmental patterns and changes through sound. Over the last decade her work has focused on the conservation of rivers, reefs and rainforests through interdisciplinary creative projects that inspire communities to listen.”   One such installation is called Hydrology, which is a collection of sounds “…recorded using hydrophones (underwater microphones) in freshwater and marine ecosystems across the planet.” and River Listening, which is “an interdisciplinary collaboration designed to explore the creative possibilities of aquatic bioacoustics and the potential for new approaches in the conservation of global river systems.”   Her work is also available at this interesting site 100 Ways to Listen, from Queensland Conservatorium Griffith University, which has a ton of great soundscape info, focusing on “exploring the art and science of sound and documenting a decade of innovative music-making.”

The idea of interactive sound around water has a few specific precedents worth focusing on hidden hydrology directly.  A project I mentioned a few years back is relevant, SCAPE’s work in Lexington, Kentucky. which featured that of a series of listening stations and a self-guided ‘Water Walk‘ for their project around Town Branch Commons, to tell the story giving users:  a broad understanding of the biophysical area around the Town Branch, reveals the invisible waters that run beneath the city, and demonstrates some of the impacts each resident of Lexington can have on the river and its water quality. By sharing how water systems and people are interrelated—both locally and globally—the Town Branch Water Walk makes stormwater quality relevant, linking it with the history, culture, and ecology of the city.”

Another project that really embodies the potential of this is a School of the Art Institute of Chicago (SAIC) project from professor Linda Keane and artist Eric Leonardson called  RiverWorks, which is described as “…an interactive transient sound mapping and community engagement series of classes that reimagines and visualizes the sustainable world above and beneath the surface of the Chicago River. Challenging engagement with water, water habitats, water conservation and water quality, students activate new connections and thinking about the Chicago River as a healthy, working and recreational ecology. Inspired by John Cages’ 1978 Dip in the Lake series of acoustical experiences throughout Chicago, the course captures sounds of water, water use and misuse in the city.” 

Students explore and create art, around walking, sensing, and as a project called River Listening, which is exciting as an “interdisciplinary collaboration examines creative possibilities for marine bioacoustics and the potential for new approaches to the conservation of urban global river systems…  students fabricate hydrophones for listening for wildlife diversity below the river’s surface. Connecting invisible riverine life with urban water infrastructure, River Listening activates familiar places with unfamiliar information creating immersive spaces. Students experience interactive listening labs and document field recordings in preparation for sound maps, spontaneous performances, and installations that creatively use everyday technologies.”

An article in Open Rivers Journal from 2017 by Christopher Caskey provides a fascinating context for this work.  “Listening to a River: How Sound Emerges in River Histories” which posits that environmental historians could use sound more to develop inquiry into environments.  Drawing from Peter Coates article “The Strange Stillness of the Past: Toward an Environmental History of Sound and Noise”, in which Coates “argues both for “knowing nature through sound” and “picking up nature’s voices” in his case for analyzing sound in environmental history”, the article focuses this idea on rivers, ending with this important conclusion:

“Rivers are particularly auditory places. They make their own sounds and they have played important roles in influencing aural culture. Whether as a storytelling device, as part of an analysis, or even as an inclusion for the sake of posterity, the sounds of a river, both past and present, are worth documenting as part of the historical record.”

SOUND MAPS

An interesting strategy is to provide maps of sounds, which tie the auditory with the spatial, as mentioned in this abstract “growing research initiatives that take up soundmapping as a way of inquiring into pressing spatial, geo-political and cultural issues primarily in cities and also in the endangered wilds.”  This happens in a few ways, but can include modern soundscapes, where there are no shortage of maps and sites documenting the sounds of places, including global maps, such as this one from Cities and Memory, or Locus Sonus and to cities as diverse as Charlottesville, Virginia, Florence, Italy, Shanghai, China, and  Montreal, Canada (below)

Each map comes with its own agenda, which ranges from nature sounds, biodiversity, urbanization, transit, social spaces, art or even places of quiet.  The key, is that these maps have to have some agenda or viewpoint and have some innovative delivery method, otherwise, they will be boring, as pointed out in this great opinion piece on the subject, “Sound Maps in the 21st Century: Where Do We Go From Here?”

The idea of mapping historical sounds does have a viewpoint, as it allows ways of connecting to the past, and appreciating the changing nature of urban environments.  One of my favorites is The Roaring Twenties, which gives an extensive spatial overview of NY City by coupling noise complaints and newsreels with places and sounds – giving a hint of a place, more focused on the man-made than natural sounds, but the section ‘Harbor & River’ connects a bit with the hydrology, along with some info on Sewer/Water Construction.

Another extensive example is the London Sound Survey, which is a really ambitious project (more here).  There’s interesting maps of a range of topics both contemporary and historical, including the hydrological, focusing on both exportation of the Thames Estuary, and a  map of London’s waterways “An auditory tribute to Harry Beck’s Underground map, the skeleton which has long lent shape to the city in the minds of Londoners. Here sounds were collected from along London’s canals and lesser rivers.”   

MUSIC

A number of interesting projects focus on music, which can be used to creatively engage with the environment.  Re:Sound is an experimental music series which explores the relationship between forgotten spaces, sound abstraction and the natural environment.

The ClimateMusic Project is another sort of endeavor with a larger mission to “…enable the creation and staging of science-guided music and visual experiences to inspire people to engage actively on the issue of climate change.  As an analogy for climate, music is familiar, accessible, and—for most people—much easier to relate to than articles or lectures. We created The ClimateMusic Project to harness this universal language to tell the urgent story of climate change to broad and diverse audiences in a way that resonates, educates, and motivates.”

The use of apps is an interesting option as well, melding GPS and music to orchestrate unique experiences that change and evolve as one moves through space.  One I’ve always been excited about is by Bluebrain from 2011 and their installation“‘Central Park (Listen to the Light)’ … a site-specific work of music that responds to the listeners location within the stretch of green of the same name in New York City…  work by tracking a users location via the iPhones built-in GPS capabilities. Hundreds of zones within the landscape are tagged and alter the sound based on where the listener is located in proximity to them. Zones overlap and interact in dynamic ways that, while far from random, will yield a unique experience with each listen. The proprietary design that is the engine behind the app stays hidden from view as the melodies, rhythms, instrumentation and pace of the music vary based on the listeners’ chosen path…. The app is the work itself. A musical ‘Chose-Your-Own-Adventure’ that does not progress in a linear fashion but rather allows the listener to explore the terrain and experience music in way that has never been possible before now. “Read more about this in a NY Times article ‘Central Park, The Soundtrack‘ from when it was released as well, and check out a short video here.

Phantom Islands is an interesting work that exists in the peripheral vision of Hidden Hydrology.  Developed by experimental musician Andrew Pekler, which was part of an oddly intriguing show called Fourth Worlds, Imaginary Ethnography in Musical and Sound Experimentation.   From the site: “Phantom Islands are artifacts of the age of maritime discovery and colonial expansion. During centuries of ocean exploration these islands were sighted, charted, described and even explored – but their existence has never been ultimately verified. Poised somewhere between cartographical fact and maritime fiction, they haunted seafarers’ maps for hundreds of years, inspiring legends, fantasies, and counterfactual histories. Phantom Islands – A Sonic Atlas interprets and presents these imaginations in the form of an interactive map which charts the sounds of a number of historical phantom islands.”   

A screenshot of it is below of one of the ‘entries’, but you really have to go experience it, let loose and have fun.

And, closing the loop on the musical side, there’s a fun Billboard article ‘10 Songs About Rivers‘ which, I feel, focused a bit much on the contemporary and missed some classics, but fun to think about. The BBC has plenty of interesting music, such as the session on Playing the Skyline, in which “musicians look at how the land meets the air and imagine it as music.”  And if we’re getting fully into the influence of environmental on music, a series of works by composer Tobias Picker inspired by Old and Lost Rivers, and even a Lost Rivers Opera from the Czech Republic, which i had a link to in the past but is now no longer working (anyone help there?)

So much more to explore, but this at least provides a primer on sound, and I’m excited to see more about how people are using this media to explore and expand our awareness, specifically focused on hydrology.  Any ideas in that realm, please feel free to comment.

HEADER:  Franz Max Osswald, contact print of sound photographs in architectural models, from Osswald’s applied acoustics laboratory at ETH Zurich, 1930–33 – taken from “A Visual Imprint of Moving Air – Methods, Modles, and Media in Architectural Sound Photography, ca. 1930 – Sabine von Fischer