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Vanport Mosaic

Jason Kingarchaeology, art, case study, city, cultural, explorations, history, infrastructure, lakes, maps, oregon, photography, places, portland, streams, wetlandsLeave a 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

Vanport, A Story of Loss

Jason Kingcity, creeks, cultural, film, history, infrastructure, lakes, maps, oregon, photography, places, portland, rivers, streams, wetlands4 Comments on Vanport, A Story of Loss

The story of Vanport is a critical narrative woven into Portland’s water history, and gives a hint at the dynamic nature of river/city interactions, along with formative context for race and class relations that shaped the community, both in positive and negative ways.  This 2016 documentary from the Oregon Experience provides a compelling and well illustrated history of the Vanport community that’s worth a watch.

From the cover of the video: “During the early 1940s, Vanport, Oregon was the second largest city in the state and the single-largest federal housing project in the country.  Built quickly to house men and women coming to work in the Portland/Vancouver shipyards during World War II, Vanport boasted some 42,000 residents at its peak and offered progressive services for its diverse population. But one afternoon in 1948, a catastrophic flood destroyed the entire city, leaving about 18,500 people still living there suddenly homeless. Vanport tells the story of a forgotten city: how it was created and once thrived; and how it changed the region forever. It features first hand, personal accounts of former residents and dramatic, rarely-seen archival film and images.”

The origin story here is around World War II, and the wartime shipbuilding, and Henry J. Kaiser, who operated 3 major shipyards that built over – two in Portland, in St. Johns and Swan Island, and another across the river in Vancouver, which built over 750 ships and employed around 100,000 people at their peak in the early 1940s.

Kaiser Shipyards – Oregon Encyclopedia

In order to house the growing and diverse population of shipbuilders, who were coming for a mix of opportunity and patriotism, Kaiser proposed in 1942 to build what would become the largest wartime housing project in the United States, a new community of over 40,000 people in a 650 acre tract wedged between the Columbia River and Columbia Slough in North Portland. The plan of the community, completed in 1943, shows the general layout, including over 9,900 individual apartments, built cheaply and quickly. The size and diversity of the community, which included a diversity of White, Black, Asian, and Native American workers, as well as a large percentage of the workforce made up of women, who were recruited from all around the country to come to Portland to support the war effort.

Map of Vanport – Oregon Encyclopedia

From the documentary, the community also had a hospital, police station, library, fire station, transit, shopping, grocery, schools, recreation centers and even a move theater. While there was an effort to make the community livable, and improve ‘quality of life’, the goal was also production, with buses ferrying workers to and from shipyards, which operated 24 hours a day.

Aerial view of Vanport – from the Oregon Encyclopedia

The relationship of the plan is woven around water, and the history of flooding of the wetlands and sloughs within which Vanport was built could be said to be both amenity and omen. Some images from the documentary show life around these waterways, including beaches on one of the two lakes, and some exploration around the Slough and it’s tributaries that wove throughout the community.

Vanport Location – via Vanport (Oregon Experience)
Vanport Location – via Vanport (Oregon Experience)

As mentioned in the documentary, the cafeteria was located adjacent to the beach on one of the lakes, with water-loving cottonwoods woven throughout. And beyond what was referred to as a “slightly ill-kempt public park”, kids found waters of the Slough the real playground, using make-shift rafts to find turtles, bullfrogs, and tadpoles.

Vanport Location – via Vanport (Oregon Experience)

Post World-War II the idea was for the temporary city to be demolished, and as people starting moving out, some structures were removed. A housing crisis kept Vanport a necessity, as a combination of post-internment Japanese, blacks who could not find housing due to red-lining in the greater Portland area, and lack of housing for post-war returning soldiers, all combining to provide affordable, if somewhat ramshackle, housing for a variety of residents. There was also a Vanport College, founded in some of the vacant buildings, which eventually became Portland State University. For the growing Portland area, “mud on the shoes” meant you were from Vanport, which was seen by the greater Portland community through the lenses of racism as a slum.

In the winter of 1947-48, conditions started to shift towards catastrophe. Heavy snowfall coupled with more intense spring rains swelled the Columbia Rise, which flowed in mid-May at a rate of 900,000 cubic feet per second (cfs), which was almost double the normal flow. This led to the need for reinforcing dikes and sandbagging, along with regular patrols by the Army Corps of Engineers to ensure the perimeter was solid. At this point, there was a question of whether to evacuate, and an emergency meeting was held, but the thinking was that the dikes would hold, and if not people would get plenty of warming. A few days later things changed dramatically.

River Stage levels in late spring 1948 – via Vanport (Oregon Experience)

The entire Vanport area, as former lowlands, was surrounding on all four sides with dikes in order to keep the adjacent waters at bay. The massive vulnerability of the perimeter meant a lot of potential failure points. The dike along the railroad lines to the northwest of Vanport separated Smith Lake from the lower-lying Vanport area was just that failure point, seen in the map below.

Vanport Location – via Vanport (Oregon Experience)
Vanport Location – via Vanport (Oregon Experience)

The 30′ berm was ostensibly about protection of the railroad, so the integrity to hold that massive amount of water back during a huge flood event was less a priority, so water levels from Smith Lake started spilling over the dike, the railroad berm started degrading with water boils appearing and seeping thorugh, and on 4:17pm on the May 30th, the breach happened, as mentioned, a “600 foot section melted away.”

Railroad embankment failure – via Vanport (Oregon Experience)

Sirens blared, and people grabbed anything they could get their hands on to evacuated to nearby Kenton. As people recounted stories of “a wall of water” and climbed to their roofs to be rescued, it was exacerbated by the housing, which was built cheaply and without solid foundations, which began to float around, knocking into each other, as seen in the images below.

Houses in the aftermath – via Vanport (Oregon Experience)

The sloughs filled up with the initial flows, so people had 30 minutes to escape. With only one route available, Denver Avenue, the road was quickly jammed, and people started fearing that this area would also fail, so continued to sandbag and reinforce this zone, and people started walking through water as vehicles and buses were stuck. By Monday morning, Denver Avenue was also breached, along with other perimeter dikes, inundating the entire community. The extent of flooding wasn’t localized to Vanport, as it impacted the entire city and it was estimated to have caused over $100 million in damages throughout the basin. The displacement of 1000s of people meant that the flooding of Vanport was some of the biggest impacts, and they were long-lasting well after the water subsided.

via Vanport (Oregon Experience)

There have been a number of stories that have covered the events around Vanport life and flooding, including loss of life, as well as its aftermath, such as investigating the absence of accountability for inaction on evacuation and the lack of dike maintenance that could have prevented the disaster. I’ve not seen critical analysis in general of the general wisdom of occupying the spaces and places like Vanport and its flood susceptibility, which were chosen hastily to fill a need, such as emergency housing in war-time, but are perhaps much less suitable for people to live long-term. Should the city have been demolished after ship-building slowed? It shows the impacts of larger social forces on disasters, and the brunt of that impact being felt by frontline communities.

Some of that aftermath is capture in this snippet from the Oregon Encyclopedia: “Refugees crowded into Portland, a city still recovering from the war. Part of the problem was race, for more than a thousand of the flooded families were African Americans who could find housing only in the growing ghetto in North Portland. The flood also sparked unfounded but persistent rumors in the African American community that the Housing Authority had deliberately withheld warnings about the flood and the city had concealed a much higher death toll.”

Iconic image of man holding boy – via Vanport (Oregon Experience)

The erasure of that history is part of this larger story, with little remnant or physical marking of the place and event as what was left of Vanport was demolished, burned, or auctioned., which is now occupied in parts with West Delta Park, Portland International Raceway, and Heron Lakes Golf Course. As summed up in the Oregon Experience, there is to this day:

“Little to remind anyone of a ‘once thriving city.'”

It an important piece of history around both race, building, and hydrology to investigate in Portland, so expect to hear more about this. The Vanport Mosaic site provides a great opportunity to learn more, and there are some other films on the topic, including a documentary ‘Vanport and the Columbia River Floods of 1948‘, produced by the National Weather Service, and ‘The Wake of Vanport‘, produced by local independent paper The Skanner in 2016.

HEADER: Image of flooding with newspaper Headline – via Oregon Experience

Atlas for the End of the World

Jason Kingcase study, history, landscape, maps, parks, photography, places, precedents, researchLeave a Comment on Atlas for the End of the World

The Atlas for the End of the World is a great model for a compendium of research and mapping on a focused topic, which has relevance to my endeavor here at Hidden Hydrology.  While the content, scale and goals are different, the structure of information in the format of the ‘atlas’ and the combination of mapping, data, and critical inquiry through essay all resonate as a great precedent.

The project was conceived by Richard Weller from The University of Pennsylvania (UPenn), with collaborators Claire Hoch and Chieh Huang.  A summary of the project, launching in 2017, comes from the site:

“Coming almost 450 years after the world’s first Atlas, this Atlas for the End of the World audits the status of land use and urbanization in the most critically endangered bioregions on Earth. It does so, firstly, by measuring the quantity of protected area across the world’s 36 biodiversity hotspots in comparison to United Nation’s 2020 targets; and secondly, by identifying where future urban growth in these territories is on a collision course with endangered species.  By bringing urbanization and conservation together in the same study, the essays, maps, data, and artwork in this Atlas lay essential groundwork for the future planning and design of hotspot cities and regions as interdependent ecological and economic systems.”

Some background on the project is found in both Précis which provides a roadmap to the site, as well as an essay “Atlas for the End?” which alludes to the first modern atlas of Ortelius, the Theatrum Orbis Terrarum (Epitome of the Theater of the World) and the dawn of a new, albeit already populated, world, ready for exploration and exploitation.  As mentioned: “In 1570, when Ortelius published his atlas, the European imagination could literally run wild with whatever might be ‘out there’. Now, a mere 450 years later, that vast, mysterious world of diverse peoples and species is completely colonized and irreversibly altered by the material and conceptual forces of modernity. Whereas Ortelius marked out modernity’s territorial beginnings, this atlas—by focusing on the remaining habitat in the world’s 36 biodiversity hotspots —rakes over its remains.”

The extensive essay lays a formidable foundation for the research, touching on the impacts of the past 450 years and the loss of biodiversity through urbanization, and the identification of hotspots, as well as how cities play a huge role.  As quoted:

“Although it is not yet well monitored, it is increasingly appreciated that the metabolism of the contemporary city, no matter how divorced it might feel, is interconnected with the sources and sinks of the broader landscape. It follows then that environmental stewardship is as much a matter of urban design as it is landscape ecology. As Herbert Giradet insists, it is in cities “that human destiny will be played out and where the future of the biosphere will be determined. There will be no sustainable world without sustainable cities”.7“

The themes touch on the foundations of the shift towards the Anthropocene, and our changing ideas about nature, stewardship, and it’s relationship to the profession of landscape architecture, touching on McHarg’s environmental ethics of the 1960s and also discussing the work of biologist Daniel Janzen and work on restoration of biodiversity using a metaphor of the garden.  “Janzen’s ‘garden’ is not an idyllic scene constructed for contemplation, nor does it trade in images of pristine wilderness. Wildland “gardenification” as he refers to it, is just damn hard work. As Janzen explains, it involves “fencing, planting, fertilizing, tilling and weeding … bioremediation, reforestation, afforestation, fire control, proscribed burning, crowd control, biological control, reintroduction, mitigation and much more.”36 Janzen’s garden is a continual work in progress.”

The ideas continue in discussions on the role of protected and connected ecosystems, and metrics, in this case, using the Convention on Biological Diversity (CBD).  From the text: “The overarching framework for the project of protecting and reconstructing a biodiverse global landscape is provided by the United Nations Strategic Plan for Biodiversity 2011-2020. The key mechanisms of this plan are brokered and administered through the Convention on Biological Diversity (CBD), one of the three ‘Rio Conventions’ emerging from the UN Conference on Environment and Development (the ‘Earth Summit’) held in Rio de Janeiro in 1992. The primary objective of the CBD is that “[by] 2050, biodiversity is valued, conserved, restored and wisely used, maintaining ecosystem services, sustaining a healthy planet and delivering benefits essential for all people”.   To this end, the focus on hotspots provides a locus for where these values intersect globally, as represented with ideas of protection (and lack there of) and the ability to access massive quantities of data collected through remote sensing and being able to map it using available technologies (while cautioning against the objectivity of mapping as a practice).

A concluding essay “Atlas for the Beginning” talks about the shift to our new reality of the Anthropocene.  A globe view shows “What’s left: the world’s protected areas as of 2015” which illustrates a bleak view of the fragility of the worlds ecosystems.  The takeaway is a research agenda that includes more data and analysis, as well as developing methods of action, including a  “…longer term research agenda is to establish a knowledge sharing network of demonstration design projects across the hotspots which bring landscape architects, environmental planners, conservationists, economists and local communities together to focus on areas of conflict between biodiversity and development. These SEED (systemic, ecological and economic design) projects will show how landscape connectivity can be achieved and how urban growth can be directed in ways that support all forms of life.”

The use of data visualizations, or datascapes, allows for unique comprehensibility of issues, as seen above. “The datascapes show that if the global population were to live (in material terms) as contemporary Americans do, there would be a major discrepancy between levels of consumption and what the earth, according to today’s technologies, can reasonably provide.” One such visual on Carbon Forest (below) shows the theoretical sequestration potential and equivalent size of forest to accommodate current populations, or, in actual numbers, “The 216 billion metric tons of CO2 emitted by a hypothetical global population of 10 billion such Americans would require 9.9 trillion trees to sequester its emissions. 2

“

The series of world maps are both beautiful and informative, spanning a range of topics both physical and social… a wide array of topics.

Each comes with a short blurb and reference.  The map on Ecoregions is described as: “The World Wildlife Federation defines an ecoregion as “relatively large units of land or water containing a distinct assemblage of natural communities sharing a large majority of species, dynamics, and environmental conditions” 1. An ecoregion is a biome broken down even further. There are 867 ecoregions comprising the world’s terrestrial and marine ecology. Nearly half of the world’s terrestrial ecoregions (391) are within the hotspots.”

 

Another interesting subsection is a feature Flora & Fauna, with “the photography of Singaporean artist Zhao Renhui, Director of the Institute for Critical Zoologists, from his 2013 artwork Guide to the Flora and Fauna of the World 1. The guide presents a catalogue of curious creatures and life-forms that have evolved in often unexpected ways to cope with the stresses and pressures of a changed world.”  The species are both amazing and somewhat disturbing, such as the bionic AquaAdvantage salmon (below), “…a genetically modified salmon that can grow to its adult size in 16 to 18 months instead of three years. The AquaAdvantage salmon has been modified by an addition of a growth hormone regulating gene from a Pacific Chinook salmon and a promoter gene from an ocean pout.”

Read more on the project via this post on the ASLA Blog, as well as a relevant article by Weller from the innaugural issue of LA+ Journal, entitled ‘World Park‘

All images and text: © 2017 Richard J. Weller, Claire Hoch, and Chieh Huang, Atlas for the End of the World, http://atlas-for-the-end-of-the-world.com 

HEADER:   Hotspot Cities: cities of 300,000 or more people projected to sprawl into remnant habitat in the world’s biological hotspots

A Fish-eye View

Jason Kingcity, lidar, maps, photography, places, portland, rivers, seattleLeave a Comment on A Fish-eye View

A fun story about an interesting project being developed to provide a version of street view, only for rivers. From the story on knkx, “‘FishViews’ Mapping Tool Provides Virtual tours Of Local Rivers”  which announced they had “…just finished mapping its sixth Northwest river, the Stillaguamish. Other tours include Lake Washington, Lake Union, Shilshole Bay and the Locks. They’re all enabled for virtual reality headsets and you can cruise along at your preferred speed, or zoom around the panoramic images with your cursor, like you might on Google. You can even take a peek underwater. There’s definitely a “gee whiz” factor.”

From their site, FishViews aims to explore waterways and waterway data with virtual reality tours, but they also have a ton of other practical uses.  Focus areas at this point include Seattle area and some more remote locations in the Cascade Range and Olympic Pennisula, including their first, the somehwhat recently dam-free Elwha River (seen in the header above).  Additionally zones in Texas around San Antonio and Houston have also been mapped by the FishViews team.  You can access via guess account, or sign up for full access to some of the info – and other than having to sign in over and over again, I’d highly recommend losing a few hours, as it’s a lot of fun.

The interface is powered through ESRI storymap format, so has a pretty intuitive user experience of selecting through map icons or on a slider, with the ability to search as well.  Lots of these early maps focus around the Seattle.  One worth checking out is the Lower Duwamish, which encompasses the lower 12 miles of the Green River drainage, now so manipulated it lost its designation as a river and is now only “known as the Duwamish Waterway”.  Each ‘tour’ has a bit of introductory info.

Probably few have the chance to boat the 12 mile stretch of the Duwamish, and it’s telling to tour the edges and discover the massive industrialization of the entire shoreline.

And also the moments of sublime beauty, which are reflected in a similar fashion to this previous post on the Duwamish River from the book ‘Once and Future River’, such as what may be the longest waterfront facade without a window, to the industrial beauty inherent in this context.

The access to metrics is sort of an interesting take, with a variety of info available in a pop-up, such as resistivity and conductivity, dissolved solids, temperature, salinity, and dissolved oxygen, as seen below for the Duwamish (at least when this data was being collected).

A few more shots, including the area connecting the Ship Canal to Lake Union.

And for smaller lakes, a nice coverage around the shoreline of Green Lake – also showing, similar to the beauty of Street View in capturing art – there’s some amazing shots of these aquatic resources as well.

In Portland area, they done an initial mapping of the Willamette, which is a nice tour around the city.  An option as well to have the scene data in the lower corner also provides some context – but it drives a lot like Street View.

The ability to animate by linking the frames together is not a terribly enjoyable experience – although you can adjust frame rate. Think along the lines of a boat ride with a queasy stomach,but is a nice way to tour through a route to see what it holds.  A view of the northern section of the Willamette shows this in action.

The underwater view is probably a lot more interesting in shallow water rivers and creeks, but pretty much looks a lot like this in both Portland and Seattle.

Although I was secretly hoping for robot fish, the technology for FishView’s capture technology is similar to information gathering for Street View, with a similar 360 camera rig, along with a variety of other sensors.

While the cameras are catching the views up top, they are employing some selective sub-surface cameras, as well as customized data logging equipment.  Their process also does surveying and “…collects data below the surface. We deploy leading edge sonar technology for mapping, imaging, and exploring underwater. We use EPA standards for detailed water quality assessments and HD photography for below the surface insights. All tailored to our Virtual Reality Platform.”

The company also provides these services, per their site: “FishViews offers interactive 360° virtual tours and virtual reality for aquatic resource management. We incorporate a wide variety of hydrologic survey methods in order to produce a personalized, high-quality presentation that works specifically for your waterway data survey needs. From a stand alone 360° panoramic tour, to a comprehensive virtual reality model of an entire waterway, we create virtual platforms giving hydrologic data a home, complete with a custom-designed user interface. Our individual approach will ensure all your hydrologic survey requirements are met.”

The virtual reality component also sounds interesting, with access via phone based or immersive VR goggles – probably instinctively causing one to hold their breath, at least for a second or two.  Some more coverage via GeoAwesomeness “FishViews: Mapping the world’s waterways one mile at a time”, a video from Vice News on the project, and a PDF of a story from Pacific Standard, ‘Eyes on the River‘.

The possibilities of this seems pretty intriguing.  There’s obviously a scale aspect of , but the examples from Green Lake (seen in a VR snapshot above) Lake Union, and the Ship Canal and Locks and Discovery Park shoreline are all great explorations of urban waters in a way yet to be seen – a true key to unlocking some hidden hydrology.

And thanks to @pugetpeople for the tip on this one!

HEADER:  Screenshot of Fishview map of Elwha River – via KNKX

Playing with Water

Jason Kingart, cultural, landscape, parks, photography, places, projects, riversLeave a Comment on Playing with Water

I tweeted a bit back that I’m reading the book Rivers Lost, Rivers Regained: Rethinking City-River Relations, and so far it hasn’t disappointed.  More info for sure on some of the great content on cities and rivers forthcoming. However, an intriguing  concept mentioned in the intro was the Japanese concept of shin-sui, which the authors loosely define as “playing with water”.  They mention these in an overall trend of cities refocusing on their urban rivers, and specifically of ways to encourage people reconnecting with these urban waterways. The authors bring up urban waterfront parks, and mention these “shin-sui” parks as a way of connecting with natural processes:

” “Although these projects were conducted for recreational rather than ecological purposes, they helped to turn people’s eyes back to nature.”  (18)

Translation being a tricky thing, there’s multiple meanings that emerge when one starts digging into the concept of shinsui (and someone with a grasp of Japanese beyond my total lack thereof please correct me).  Online definitions, include water references, summarily – flood, fuel & water, inundation, as well as having meanings for adoration, cooking, salary.

Another reference in a book that popped up in a Google search, Japan for Kids, has a great way of describing the parks a friendship: “A new concept in neighborhood playground is a ‘shinsui park.’  Shinsui means literally ‘to be friendly with water.’ A shinsui park is one with plenty of water attractions that provide children with a chance to get use to water by playing in it.” (127)

The designs for these transcend the mere “splash play” or water park, but do share some of the same elements of interactivity and immersion.  Owing to the diversity of density of Japanese cities, they are often narrow, but it does show the potential for even abstracted water courses to co-exist with urbanization.

Otonashi Shinshi Park is one of these very urban examples, located in the northern area of Tokyo and literally wedged in a channel between development.  You get a feel for the scale and elements, in this case a high-walled channel that opens up to some more interactive and tactile elements.

A little more lush version from photographer Andy Serrano is found at Oyokogawa Shinsui Park, which he describes: “The park runs alongside the Oyoko-gawa River in the Sumida Ward of Tokyo, and is a popular place for local residents who play, walk, fish, and even swim there. With the Tokyo Sky Tree looming nearby, cherry blossom season gives visitors a taste of Japan’s dual natures: historic traditions side-by-side with ultra-modernity, natural beauty next to futuristic technology and architecture.”

The Tanada Shinsui Park on the Houzuyamma River in the village of Toho in Fuuses some vernacular elements to create a “River pool…for the infant and elementary school children [and the] …”Koinobori pool” river pool is a pool that uses the difference in height of the rice terraces.”

Another urban example is sculptural pools of the Arima River Shinsui Park near Kobe, Japan, which is located near Arima Onsen, one of the oldest hot springs locations in the country.

As mentioned, these few examples I’ve show are not about restoration, and vary from just parks by the river to ones with active recreation elements focused on water.  While natural edges occur, many are somewhat channellized, highly designed and very abstracted river environments — akin the art-side of the conceptual continuum of restoration.  The goal here is more recreational, but, as the editors of Rivers Lost mention, they may provide a powerful precedent for engaging people of all ages with their natural waterways, and informing urban residents on the natural processes

 

HEADER: Otonashi Shinsui Park – Tokyo, via Japan by Web

London: Art, History, Exploration

Jason Kingaquifers, archaeology, art, city, creeks, cultural, explorations, film, general, history, infrastructure, landscape, literature, london, maps, photography, places, precedents, rivers, streamsLeave a Comment on London: Art, History, Exploration

As January is quick turning into London month, we’re wrapped up on the summaries of available books on the subject, including works by Barton, Myers, Bolton, Talling, and Fathers, running a gamut of approaches to walking, studying, and mapping Lost Rivers.  I’d also be remiss if I failed to call back a 2016 post on another take on the subject, Iain Sinclair’s 2013 book ‘Swimming to Heaven: London’s Lost Rivers‘ which rounds out my collection on the subject.  The amazing amount of hidden hydrology literature provides a solid foundation, however, it is merely the tip of a massive iceberg visible layer of a vast and sprawling underground complex of content, and a starting point for discussing many of the other resources and discussion around the subject, including art, history, exploration, and maps.

A quick search of London and Lost Rivers or something along those lines yields plenty of material, including additional resource from the sources as diverse as London Geezer, which contains an extensive amount of information, to city specific hidden hydrology projects such as the Lost Rivers Project in Camden. A lot of ink (at least digitally) has been spent on this topic, with articles from BT like “8 of London’s lost rivers you probably didn’t know about” to BBC “The lost rivers that lie beneath London?“, the Telegraph (authored by none other than Tom Bolton, “The fascinating history of London’s lost rivers“, and perhaps the most prolific, the Londonist which covers this topic often, with titles like “The Secrets of London’s Lost Rivers” and info on specific rivers like “Counter’s Creek: In Search of London’s Unknown River” (authored by David Fathers) to a multi-part “Lost Rivers from Above: The Tyburn“.

Without going into extravagant detail and barrage you with too many links (there are over 100 I have at this point), it’s safe to say that London is by far the city with the most coverage, and it continues to emerge (such as this interactive virtual reality tour on the Guardian of London Sewers), showing that it’s a topic that continues to intrigue people.  For now, we’ll focus on some projects that work directly in the realm of these lost rivers, interpreting them directly through exploration and indirectly through art.

ART/EXPLORATIONS

Much of the interpretive work around hidden hydrology comes from art, in it’s various forms, and much of the art includes exploration, so I’m combining these two ideas in one here. We’ve previously featured artist Cristina Iglesias and her new installation Forgotten Streams in London as more of a site specific example, interpreting the Walbrook in water features outside of the new Bloomberg London HQ.

A spatial approach comes from Sandra Crisp, and her video project from 2010-2012 “Mapping London’s Subterranean Rivers”.  This work was “originally made as a site-specific installation for a group exhibition 2010 held in the semi derelict basement under Shoreditch Town Hall, London”  A soundtrack was added later and you can check out the full video at the link above.

A short blurb (with my one small edit) from the site: “The film allows the viewer to fly through a 3D map of London, revealing the sites of ancient and subterranean rivers based on research using old maps and books such as Nigel Nicholas Barton’s ‘The Lost rivers of London’. Evoking existing and long disappeared waterways that bubble unseen beneath our feet. Including; The Fleet, Tyburn, Westbourne, Quaggy, Counters Creek, Neckinger and more…..”

A detail shows the intricacy of the layering, in this case highlighting the River Wandle – but the stills don’t do it justice – check out the video for full effect.

Crisp also breaks down the research on the piece, where she shows a hybrid version of Barton’s map that was the basis for the piece, along with some of the ‘making-of’ info that’s pretty interesting.

Amy Sharrocks, a London based artist, sculptor and film-maker, created “London is A River City” from 2009.  As she mentions in her bio “For the last four years I have been making work about Londoners and our relationship to water, inviting people to swim across the city with me, floating boats to drift on swimming pools, lake and rivers, tying people together to trace lost rivers and re-create a memory of water.” 

The project included walks of lost rivers, which involved using dowsing as a methodology for walks of the Westbourne, Tyburn, Effra, Fleet, Walbrook, and Neckinger rivers.  Each of these are beautifully documented (with PDFs as well for download), and worth exploring in more detail.  Per her statement “Why I’m Doing it?“, she mentions:

“Tracing these rivers has been a process of layering: new stories over old, our footsteps over others, roads and railways over rivers. Uncovering a past of London I knew nothing about. Connecting to things submerged beneath our streets has uncovered a currency of the city, and enabled a kind of palm reading of London. 

The idea of walking is vital to this endeavor, coupled with the dowsing gives it a pyschogeographic slant. From her site:  “These rivers lost their claim to space in this city, long ago paved over, with their inconvenient tides and smells, to make way for faster roads and railways. These river walks have championed a human speed, that stumbles, stops to look at things, slows down when it is tired. There is a connection to the speed of water, a meandering dérive to battle the rising pace of modern life. We took the measure of London by our own strides, pacing out the city at our own speed.”   Flash-enabled website headaches aside, it’s a good project worth some time to dive in.  Read some coverage from the Independent on the Walbrook walk.  You can see more about some other work as well at SWIM .

Another project, this time with a poetic bent, comes from via ADRIFT, a project by poet Tom Chivers envisioned as a “…personal interrogation of climate through poetry.”, where he “sets out to explore climate as culture, mapping out the territory of climate science within urban space.”  The site has the full list of writings, and a nice archive of some related materials are also on the site.  It’s a project of Cape Farewell, which has a great mission of “bringing creatives, scientists and informers together to stimulate a cultural narrative that will engage and inspire a sustainable and vibrant future society”, namely climate change.  An image from the ADRIFT site as part of a photoset “Walking the Neckinger: Waterloo to Bermondsey”

A graphic design work Hidden Rivers of London by Geertje Debets takes a different, more visual approach, as “A research on the letterpress technique, while developing the concept and design for the visualisation of the underground rivers of London.  London’s terrifying under half… Sometimes you can catch a glimpse of this underground life, but when you look better, you find the underground world everywhere, especially the underground rivers. The names of the underground rivers are used in street names, places, houses, companies, schools and orchestras. The locations of these places show you how the river floats.”

The work of Stephen Walter got a bunch of press a few years back, with this map of London that “…traces the lesser known streams, sewers, springs and culverts of the capital in intense, hand-drawn detail.”   Some enlargements of these maps, via the Guardian:

Another of Walter’s work that is worth seeing is the 2012  “London Subterranea“, which “…aims to shine a light on this clandestine infrastructure and it presents perhaps the first comprehensive map, open to the public, which places so many of its features alongside each other. It geographically tracks the routes of London’s Lost Rivers, its main sewers, the tube network and it’s ‘ghost’ stations including the Crossrail project. It also pinpoints archeological finds, ruins, known plague pits, secret governmental tunnels, the Mail Rail and the Water Ring Main tunnels. Epithets to the ‘underworld’ of crime, and the scenes of notable killings such as the acid-bath murders get a look in. So too does the site of the infamous Tyburn Tree and its many buried corpses that still lie in its wake undiscovered.”  

On the topic of the subterranean, photography as well plays a part, with many of the London area rivers featured in a National Geographic photo-essay, “11 Rivers Forced Underground“.  A book on the subject I’d like to pick up, Subterranean London: Cracking the Capitol (2014), is described via a blurb from Amazon:  “Bradley L. Garrett has worked with explorers of subterranean London to collect an astonishing array of images documenting forbidden infiltrations into the secret bowels of the city. This book takes readers through progressively deeper levels of historical London architecture below the streets. Beautifully designed to allow for detailed viewing and featuring bespoke map illustrations by artist Stephen Walter, this unique book takes readers to locations few dare to go, and even fewer succeed in accessing.”

The publication had some acclaim, with one of the images winning an architectural photography award, along with some controversy as noted in the CityLab article “The Photography Book London Officials Never Wanted You to See” which outlines some of the sticky issues of urban exploration, access, liability, and such. Content addresses more than just hidden waters, but does include some amazing photographs as seen below.

This resource on London sewers from 2011 that looks to no longer be actively maintained, is ‘Sub-Urban: Main Drainage of the Metropolis‘ which looks at the drainage via sewer exploration and photography: “Alongside more traditional study and research practices, such as access to archival materials and the use of other historic and literary resources, we apportion equal importance to the hands on scrutiny of our subject matter. Taking time to explore, investigate and photograph London’s sewers affords us a greater understanding of the often complex architecture and gives practical insight and knowledge that cannot be gained from any amount of time spent thumbing through books and documents.”  There’s a number of links on the site to other endeavors, as well as some great imagery, both current of their explorations, and some historical work, along with the timeless phrasing of the section “Close Encounters of the Turd Kind“.

And when you’re done exploring, you can always grab a pint at Lost Rivers Brewing Company and drink the range of available beers inspired by the rivers themselves, and perhaps peruse Ben Aaronovitch’s 2011 book “Rivers of London“, where he created a story around various water deities and river spirits on the Thames and areas of London.

HISTORY

The concept of hidden hydrology is intertwined with history, so threads weave through all of these art installations and explorations.  The history of the development of London is fascinating and overwhelming, but there are some great resources like British History Online, which has resources on the topic like the six volume “Old and New London” written in the late 19th century, to sites like Connected Histories, which provide timeline based search tools, or links from the London Historians’ Blog.

On the topic of Lost Rivers, the history of the Big Stink is pretty key historical moment, which was a vital impetus behind what became the modern sewage system and led to the demise of many urban rivers.  The idea of this also led to “a piece of Victorian science fiction considered to be the first modern tale of urban apocalypse”, William Delisle Hay’s 1880 novel “The Doom of the Great City”, which is covered in depth via this article in the Public Domain Review.

You can also access primary sources, such as  following along with Sir Richard Phillips as he explored the edges of London in 1817, in “A Morning’s Walk from London to Kew“.

Some visual history comes via ArchPaper “What a difference 400 years makes: Modern and medieval London contrasted in hand-drawn cityscapes” which takes historic drawing viewpoints and redraws them showing the current urban configuration.

A fascinating thread that came from some of the books was the legacy of Spas, Springs, and Wells that have been a long part of the history of London.  There are some good sites to engage with this history, such as London’s Holy Wells, or the resource Holy and Healing Wells, highlighting around around the globe, including London.  There’s some great documentation such as the book mentioned by Barton, Foord’s “Springs, streams and spas of London: history and associations” from 1910, and one mentioned to me by David Fathers, Sunderland’s “Old London’s spas, baths, and wells” from 1915, both great resources for hidden hydrology.  An illustration from Foord, showing a 1733 engraving of one of these places, Tunbridge Wells:

The history of the Thames River Postman is a bit more random but worth a read, outlining H.L. Evans who delivered mail along the Thames. “The Thames Postmen played an important role connecting people who lived on the river with the rest of the world. They also became something of a local celebrity being a constant in the fast changing landscape of the river. Considering that the job was not without its dangers, it was remarkable that the Evans dynasty managed to continue for over a century.”

A visual resource COLLAGE, is an image database of over 250,000 images from The London Metropolitan Archives and the Guildhall Art Gallery, and also includes a picture map so you can locate them spatially in London.  A quick perusal found me in the Serpentine in Hyde Park, which showed this 1795 “View of Cheesecake House, Hyde Park.”

The concept of the larger regional picture is the website Vision of Britain over time, which is full of great information, and specific to the landscape is the book ‘Hidden Histories: A Spotter’s Guide to the British Landscape‘ by Mary-Ann Ochota which helps decipher the immensity of history through interpreting landforms and other traces.  From a review in Geographical:

“There is so much history to the British landscape. What with its stone circles, hill forts, mines and umpteenth century cottages, the land is marked with centuries of use. This can make it hard to read, like a blackboard written on hundreds of times and never erased”

As you can see, plenty of great work has happened and is still happening in London.  This is not an attempt to be comprehensive, and there’s tons more out there on specific rivers and locations, so consider this a teaser of sorts and google away for more.  I’m trying to find a simple way to share the mass of my resources and links online for further reading and reference, so stay tuned there, and future posts will likely expand on this rich history around hidden hydrology.  As a last reference to London, the last post in the series for now, following the lead of New York City, will be on maps.

 

HEADER:  Hand drawn map of the Rivers of London by Stephen Walter.

London: Exploring London’s Lost Rivers with Bolton & Talling

Jason Kingcity, creeks, explorations, history, landscape, language, literature, london, maps, photography, places, rivers, streamsLeave a Comment on London: Exploring London’s Lost Rivers with Bolton & Talling

Following the early publication of ‘The Lost Rivers of London’ by Barton, there emerged in 2011 a set of compact, exploratory volumes by Paul Talling “London’s Lost Rivers” and by Tom Bolton “London’s Lost Rivers: A Walkers Guide”   Based on how they are listed on Amazon, it looks like Tallings book came out in June,  and Bolton’s arrived later in September, so i’ll start with the first.

London’s Lost Rivers by Paul Talling is a small pocket guide offers information on 22 lost rivers, and assorted other canals and water infrastructure.  There’s a companion website as well at www.londonslostrivers.com, which has info on the book as well as more details.  Paul Talling is a photographer and tour guide, so the book adopts that vibe, with great imagery and narrative focused on storytelling and exploration. A few images from the sample chapter on the website show the general format.

The maps are small but clean, with key highlights that reference back to the text, and the size warrants easy access via walks.

A review from May 2011 in the Londonist gives a good synopsis, “The format is spot on. Short bursts of text describe the tell-tale signs (look for ‘stink pipes’, sloping roads, and the sound of gushing water beneath manhole covers). Each watercourse is accompanied by an excellent selection of photos taken by the author.”

The text highlights some stories around the history and use, along with timelines for when the rivers were.  They vary as much as the rivers themselves, with anecdotes on things like the origins of the name, in this case the Effra: “There are two possible explanations for the name Effra. The first is that it is derived from the Celtic word for torrent (given by the pre-Roman tribes) and the second is that it comes from an old London re-pronounciation of Heathrow, as the river flowed through the Manor of Heathrow in Brixton.”

There are lots of info on the site, including recent photos as well as a link to the a poem by U. A. Fanthorpe – “Rising Damp”, which was the 2nd place poem in the 1980 Arvon International Poetry Competition, included below:

Rising Damp by UA Fanthorpe.
A river can sometimes be diverted but is a very hard thing to lose altogether.’ (Paper to the Auctioneers’ Institute, 1907)

At our feet they lie low,
The little fervent underground
Rivers of London

Effra, Graveney, Falcon, Quaggy,
Wandle, Walbrook, Tyburn, Fleet

Whose names are disfigured,
Frayed, effaced.

There are the Magogs that chewed the clay
To the basin that London nestles in.
These are the currents that chiselled the city,
That washed the clothes and turned the mills,
Where children drank and salmon swam
And wells were holy.

They have gone under.
Boxed, like the magician’s assistant.
Buried alive in earth.
Forgotten, like the dead.

They return spectrally after heavy rain,
Confounding suburban gardens. They inflitrate
Chronic bronchitis statistics. A silken
Slur haunts dwellings by shrouded
Watercourses, and is taken
For the footing of the dead.

Being of our world, they will return
(Westbourne, caged at Sloane Square,
Will jack from his box),
Will deluge cellars, detonate manholes,
Plant effluent on our faces,
Sink the city.

Effra, Graveney, Falcon, Quaggy,
Wandle, Walbrook, Tyburn, Fleet

It is the other rivers that lie
Lower, that touch us only in dreams
That never surface. We feel their tug
As a dowser’s rod bends to the surface below

Phlegethon, Acheron, Lethe, Styx.”

The tours are still happening, a recent attendee posted photos of a Croydon Canal Walk, and the Lost Rivers Brewing pays homage to Talling as well in coaster (or shall I say ‘beermat’) form, via.

His other book/passion is Derelict London where he showcases his photography, which you can also see more of via the book of the same name. where he: “blending photographs with accounts of how particular buildings and sights fell into disrepair and what is likely to happen to them.:  He’s on Twitter @derelict_london

Tom Bolton (@teabolton) is a London-based researcher, walker and photographer, and his book London’s Lost Rivers: A Walker’s Guide, is also a small format, aimed at an audience on the go.  As mentioned on the publisher’s site Strange Attractor, “London’s Lost Rivers takes the reader on a series of walks along the routes of eight lost rivers, combining directions for walkers with richly detailed anecdotes outlining the history of each river’s route, origins and decline. Tom Bolton reveals a secret network that spreads across the city, from picturesque Hampstead in the North to the hidden suburbs of South London, and runs beneath some of London’s most iconic and historic sites.”  A great quote also mentioned, from The Great Wen its, “a terrific mix of history, topography and practicality…”  

A foreword by Christopher Fowler sets the scene, as he explains some of the history and demise, summarizing the change in the mid 19th century from a city with vital, flowing waters to “…the water of the common sewer which stagnates, full of … dead fish, cats and dogs, under their windows” (vi).  He ends with the following:

“”This, in a nutshell, is the paradox of the lost rivers. Despite the fact that mere proximity to them eventually became enough to kill you, their mystical significance was once so strong that the Romans floated gods upon their waters. Now, with walking maps to guide us, the journal of the hidden rivers becomes clearer.”

Bolton’s introduction is more succinct, setting the scene by discussing the 50 tributaries of the Thames, and that “Of these, two thirds are partially or wholly lost, buried beneath houses and streets, channelled away in underground tunnels, their flows diverted away by the sewer system.  London lost most of its rivers in less than 100 years, testament to the wave of change that transformed it from a city of 650,000 in 1750 to an industrial metropolis with a population peaking at 8.6 million in 1939.” (vii.)

The rivers are the “veins and arteries” (vii), and were crucial for the development and growth of the city, but the growth led to the eventual demise and disappearance.  Yet, “Today the rivers have a strong symbolic presence, encompassing every aspect of human existence…” describing the connections with birth, healing, renewals, death, religion, and more, concluding (along with the Fanthorpe quote as well), “Such fundamental elements of culture and landscape are not easily dismissed, and do not disappear just because they have been culverted.” (viii)

A typical spread has a image and a pithy quote, followed by what amounts to turn-by-turn directions for a route.

These are complemented with some simple and effective maps, showing the river course as a meandering gray flowline, adjacent with a dotted path that shows the closest walking route.  Key areas are identified with symbols and context is kept pretty spare to aid in legibility.  Tough to pull off with all black & white, these work well, and the pages aligning with the adjacent text, rather than cramming it all on one map, works well.

The text and maps could, with little augmentation, become a GPS enabled tour app that directs you where to go while overlaying the experience with the voice over text, and perhaps some historic maps and photos.  A review of this book in the Londonist gives a summary as well as a comparison to its predecessor: “Tom Bolton’s handbook to the buried tributaries of the Thames offers a very different take on the subject, however. Where Talling’s book surveyed almost 40 watercourses with a punchy combo of colour photos and scatter-gun trivia, his confrere offers a more detailed geographic account of just eight rivers; broad and shallow versus deep and narrow, to put it in riverine terms.”

The review contines, mentioning that the 8 walks highlighted in the text are “…backed up with endearing home-made maps, which match the text’s precise directions. The text itself is more buoyant than your typical guide book, puddled with allusions to folklore and quoting everyone from Norwood News to Coleridge to the Book of Common Prayer. The cultural magpie approach reflects both the author’s sideline in leading tour groups, and the fondness of the publisher, Strange Attractor, for arcane, unusual and ‘unpopular culture’. This makes for a cracking read even if you have no intention of pounding the pavements. Fleet, Tyburn, Neckinger, Wandle…you’ll lap them up.”

The format is similar in nature to Talling’s book, and while the former included the authors own photos, this book includes photos by SF Said (@whatSFSaid), which were part of an exhibition in 2011.  Again from the Londonist “A collection of distinctive photos by SF Said captures the Westbourne, Walbrook, Effra, and others. The photographer pulls some clever Polaroid tricks to give his subjects a murky, subaquatic hue.”  The best resource a post here is this flickr set from Said, and some more pics are on the Time Out London blog Now.Here.This. There’s also a PDF of the gallery show at Maggs, which show these great images.

It looks like 2011 may have been a banner year for London lost rivers and hidden hydrology resources in general, as it was also the year that our next blog topic, ‘Walking on Water’ by Stephen Myers came out (also in June 2011).  Would love to know the unique set of conditions that was happening in London at the time to spawn three books on Lost Rivers in the span of a few month. Something in the water, perhaps?

HEADER:  “Depth marker at (the now blocked) entrance to Hermitage Basin at the London Docks in Wapping”  From London’s Lost Rivers, Paul Talling

São Paulo – Rios (Un/Dis)covered

Jason Kingart, case study, city, creeks, cultural, explorations, film, history, infrastructure, maps, photography, places, rivers, são paulo, soundscape, streams2 Comments on São Paulo – Rios (Un/Dis)covered

A recent article from the Global South Studies Center online publication Voices, as part of the issue on Social Water, discussed a unique project in São Paulo, Rediscovering Rivers in A Brazilian Megacity by Douglas McRae, a PhD Candidate in History at Georgetown University.  The focus of the article was on a project “Rios Des.cobertos” (Rivers Un.covered, or Dis.covered). which is “a collaborative installation between researchers and designers has sought to reignite these questions in the minds of their fellow Paulistanos, imparting a vision of the city’s hydrological reality through an exhibition combining history, geography, ecology, and visual art.”

The work emerged from a collaboration between “…geographer Luiz de Campos and architect José Bueno have coordinated the Iniciativa Rios e Ruas (Rivers and Roads Initiative), raising awareness of the city’s forgotten rivers through educational and community activities.”  The group has been working since 2010 with an aim to “Deepen reflection on the use of public space and bring back to the city the underground and submerged rivers.”   The methods are also outlined below, which includes research, field work, storytelling, and tours, all of which engage in the hidden hydrology of the city.

A map of the over waterways developed by Rios e Ruas shows many of the streams, and as mentioned in an article in the Guardian, “São Paulo has nearly 300 named waterways, says de Campos, and probably closer to 500 in total. A collective map used by Rios e Ruas shows the city looking like a vital organ, encased in a blue web of waterways – a network of mostly buried rivers and streams totalling more than 3,000 km. “There’s plenty of water in São Paulo,” says de Campos. “It’s just very badly managed.”

McRae continues: “In addition to leading walking tours in neighborhoods around the city seeking to uncover its forgotten courses of water, Campos and Bueno also organize educational sessions with students, and in general raise awareness regarding aquatic nature in the city. Another important aspect of their work has involved “reclamation” activities: physically uncovering and rejuvenating submerged headwater springs of forgotten or hidden rivers and streams. “Even the smallest improvement makes a big difference,” Campos told me in an interview, and such improvements can lead to the revival the plant and animal life in neighborhoods otherwise enveloped in concrete and asphalt.”

Some context on the interactivity, via McRae: “In selecting a program on the control panel, visitors trigger an animation of this fluvial drainage in motion, illuminating the component parts that contribute to the Upper Tietê watershed, the region where the Tietê’s headwaters are located. The formerly sinuous curves of the Tietê and Pinheiros in particular vanish with the passage of time. Other rivers are highlighted: for example the Sapateiro River, which flows south of the Espigão into the Pinheiros, feeding the lakes in the city’s sprawling Ibirapuera Park. Another, the Verde River, is artificially split into two different courses, and occasionally causes massive floods in the lower areas of the Vila Madalena neighborhood. One can observe how the city developed at first bounded by these rivers, later growing over them and causing them to fade from both sight and mind. Campos often reminds audiences that Paulistanos are rarely more than 300 meters from the course of a river. “Most Paulistanos have a vision of a city with three or four rivers” Campos explains, when in fact, any stream of water above or below ground can signify a forgotten river.”

I was struck by the use of technology to enliven the story of water, particularly as an installation.  Some more images from Estudio Laborg co-creators of the exhibit “…in partnership with the Rios e Rutas (Rivers and Roads Initiative), the exhibition Rios Des.Cobertos – The Rescue of the Waters of the City is made up of exhibition boards and a model with an interactive map projection that allows the public to discover the rivers and complexity of the relief of the municipality of São Paulo.”

The videos of the display really bring it to life, such as this one Caminho das aquas (Waterway or Water path), is stunning:

The use of a simple topographic relief model is augmented with projected imagery to show additional layers of information like water flows, basins. elevation, and other features.  Seeing it transform seems a powerful way to engage audiences, another here:

MORE FROM SÃO PAULO

A project of a similar nature is documented in this article Project Aims to Uncover Hundreds of Buried Rivers in São Paulo, Brazil which documents Cidada Azul (Blue City) “…implemented in a single week to bring attention to a part of São Paulo, Brazil that has been buried for a long time. In order to bring the smells, sounds, and freshness of the hundreds (yes, really) of rivers that cut through the city”  In addition to audio tours, they

“the blue city that transform our relationship with water in urban environments; for centuries the cities have treated their rivers and lakes as sewage channels and the result is that we can not enjoy their presence or enjoy their water”

The platform provides an awesome map a snap shown here, with their description: “São Paulo is a huge city built over more than 300 rivers. Today they are buried and polluted. Anywhere in the city you are, there is a creek flowing under your feet not further than 200m. Discover!”

There are also interactive audio guides, developed alongside Rios e Ruas, which are described as such. “The best way to discover São Paulo’s rivers is to walk the city. We are developing audio-guides that help you find and follow the river trails. Put on your headphone, choose a river and follow instructions.”  Stops along the way are highlighted by signage and blue paint.

The blue paint also comes up in other ways, with painted manhole covers, and streets to alert passersby of the routing of the hidden streams.  An image via their Facebook page shows one of these installations.

A couple of videos “The Blue City: The Meeting of Three Rivers” and the one below ‘”The Blue City: Green River” shows these endeavors in action.

An article in the Guardian ‘The river hunter of São Paulo – a life devoted to finding its lost waterways” delves into similar territory, following Adriano Sampaio, an “urban explorer who knows all of its hidden rivers and springs”.  Posting on Facebook as Existe aqua em SP, he documents these explorations, augmented by maps.  As mentioned: “He and his friend Ramon Bonzi, an urbanist, use 1930s maps laid over modern-day street maps to track down hidden and forgotten waterways, peering over walls, lifting manhole covers and climbing about in the undergrowth in search of rivers, streams and springs. “We always find something,” says Sampaio.”

Another article from Camila Cavalheiro is The Hidden Rivers of São Paulo, which provides some context for additional activities in the community. A few links are not working, as I’d love to find more about the “Rios (In)visíveis” project, but it seems to be not linked and the map leads to a blank page..  One that’s really interesting is Aqui passa um Rio (Here flows a river) has a more exploratory and performative nature, a project that is a Coletivo Fluvial (Fluvial Collective) which exists “…to generate actions of cartographic-performative character that rub on the surface of the city the awareness of submerged questions, like its waters. We work with multiple languages, actions and investigations in urban space, theoretical research practices, cartography, intervention, stencil, performance, music, space activation and meetings. We call for participation and open dialogue and free expression in the public space.”

Marking the spaces provides a permanence to the locations of the hidden rivers and engages the broader population.

A more studio based but no less beautiful artwork also comes in the form of  RIOS [IN]VISÍVEIS DE SÃO PAULO an installation by Clarissa Morgenroth, Isabel Nassif and Renata Pedrosa as part of a show ‘Connections’.  This interpretation using twine and nails maps the rivers and provides a nice aesthetic for hidden rivers.

A final project mentioned is Entre Rios, a documentary film that “…tells the story of the city of São Paulo from the perspective of its rivers and streams. Until the end of the 19th century, these waterways were the great sources of the city. Today, hidden by the pipes, pass unnoticed by most of Paulista. But in the rainy season, the city stops when floods show the buried face of local nature.”  In Portuguese only, it’s still pretty informative to one who doesn’t know the language.

ENTRE RIOS from Caio Ferraz on Vimeo.

NOTE:  Apologies in advance for any awkward translations, but wanted to distill the gist of info as most of the text is in Portuguese so I’m relying heavily on Google Translate here. (so please correct anything inherently wrong),

HEADER:  Installation from Estudio Laborg – RIOS DES.COBERTOS – EDIÇÃO SESC PINHEIROS – 2017

NYC: Postscript – Tours, Art, History

Jason Kingarchaeology, art, city, climate, creeks, cultural, ecology, explorations, history, infrastructure, literature, new york, photography, places, projects, rivers, streamsLeave a Comment on NYC: Postscript – Tours, Art, History

A follow-up to the previous post allows for a bit more expansion on the fundamental sources for New York City.  This includes the Welikia Project and it’s beginnings as Mannahatta, as well as the comprehensive book by Sergey Kadinsky on the Hidden Waters of New York City.  We delved deep with Steve Duncan’s sewer explorations and blog Watercourses and Undercity,  Together these make up a solid fundamental base of hidden hydrology work in New York City.  This also complements some of the projects I’ve covered, including the project Calling Thunder, which evoked the power of historical ecology via animation, the explorations around hidden infrastructure of photographer Stanley Greenberg, and some of the walks and installations focused on hidden streams with artist Stacey Levy.

That said, there’s still much more, so a postscript is in order to provide a bit of additional context to even claim to be a passable (although not even close to comprehensive) review of some of the city, with a focus on including some tours, art, history, and more.

SOME TOURS

One aspect of any place is explorations, and there is no shortage of tours around hydrology in New York City.  The group NYC H2O is a great resource for this, with a mission “…to inspire and educate New Yorkers of all ages to learn about, enjoy and protect their city’s local water ecology.”  They’ve hosted some great events in the past year alone, including tours with Steve Duncan, Sergey Kadinsky, and artist Stacey Levy as well as many others. City as a Living Laboratory (evolved out of the work of artist Mary Miss) also provides some great events, include walks, such as this one exploring the past and future of Tibbetts Brook with Eric Sanderson and others.

There are some less formal characters as well, like local activist Mitch Waxman, featured here in a NY Times article from June 2012, “Your Guide to a Tour of Decay”.  The article shows how he discovers, teaches and advocates about the hidden history of Newtown Creek in Queens, where, as quoted in the article: ““You have these buried secrets,” he said, explaining the thinking behind the occult conceit. He’s spotted early-19th-century terra-cotta pipes protruding from bulkheads, antique masonry sewers connected to who knows what. He added: “There really is no telling what’s in the ground there.”

And, for a somewhat related example, there’s always the amazing precedent of Safari 7, a self-guided subway based audio tour and map that highlighted “…urban wildlife along New York City’s 7 subway line”.  A map of the guide is found below.

SOME ART

In terms of some hidden hydrology based art installations, there are many that span permanent to ephemeral.  In the site specific realm, is Collect Pond Park, which was located in Manhattan historically as “…a large, sixty-foot deep pool fed by an underground spring” that was filled in the early 1800s.  A post here by Kadinsky & Kevin Walsh on Forgotten New York discusses the project and includes this rendering that highlights the interpretation of previous pond in the design of the new park. This includes a “…footbridge spanning the pond’s waist hearkens to the original pond’s shape, providing a historical link to a pond that has had such a huge role in the city’s history, before and after its burial.”

Another site is a fountain at Albert Capsouto Park, which references some hidden hydrology. From the Parks website:  “The centerpiece of Capsouto Park is a 114-foot long sculptural fountain by SoHo artist Elyn Zimmerman. This fountain bisects the interior space. Water spills from an 8-foot tower into a series of stepped “locks” evoking the canal that once flowed along the Canal Street. A sunning lawn rises up to meet the fountain from the south and granite seat walls adorn the fountain to the north.”

Capsouto Park Water Feature, 2009 – Elyn Zimmerman & Gail Wittwer-Laird

We discussed previously some of the hidden hydrology art of Stacey Levy, which was the tip of the iceberg of vibrant art scene in NYC interpreting hydrology as the medium.  One larger effort worth noting is Works on Water, which is “…an organization and triennial exhibition dedicated to artworks, theatrical performances, conversations, workshops and site-specific experiences that explore diverse artistic investigation of water in the urban environment.”  Their mission statement by the team sums up the potential:

“New York City has 520 miles of coastline. Its waterways are often referred to as “The Sixth Borough”. We are artists and curators dedicated to working with water to bring new awareness to the public of the issues and conditions that impact their environment through art.”

The sum of work there is worthy of it’s own future post.  In the interim, a few of the key contributors to Works on Water have their own complementary endeavors, such as Liquid City, a water based project by artist Eve Mosher, a self proclaimed “…water geek, urban enthusiast and playworker in training”, whom is “…fascinated by our waterways, the space they inhabit the roles they play in our daily life and finding ways to create a greater engagement across disciplines and a greater awareness in the public narrative.”

Liquid City: Currents (Eve Mosher)

Her project aims to be the following  “1. A research database of collected resources and video stories of people working on the urban waterways. An open source compendium for creative inspiration,  2. An interdisciplinary floating think tank/lab working on creative interventions about the urban waterways, and 3. A traveling think tank/lab sharing resources, traveling the Great Loop’s urban waterways.”   A fascinating work on her site is the Waterways System Map below (click the link for the fully interactive version) which involves “mapping the existing system of the waterways” in extraordinary detail.

Below is another of Mosher’s project, from  exhibit: “As part of Works on Water, I collaborated with Clarinda Mac Low to create a large scale floor painting of the NY waterways. Intended to ground people in the specific site of water as material within the exhibition, the waterways acted as a guide into the exhibition space.  Overlaid on the waterways was a video in which I represented the historic waterways and Clarinda imagined the future…”

A different project led by Kira Appelhans, adjunct assistant professor, Integrated Design Curriculum, Parsons The New School and Richard Karty, postdoctoral fellow in Environmental Studies, from 2011 is entitled Waterlogged. The endeavor “…explores the process of mark-making in the landscape from glacial to hydrologic to human.  We will examine the existence of remnant waterways and their relationship to the city’s organizational patterns and forms.   Using printmaking, restoration ecology, public space design we will explore the ecological impact of the intersection of historic waterways and urban infrastructure.”  The diverse artworks are captured in a video as well as a booklet ‘Remnant Waterways‘ (pdf) which showcases the work of students, including prints inspired by buried streams.

Iteration 3 – Eve Neves

Print by Mikaela Kvan

In the realm of photography, the work of Stanley Greenberg and Steve Duncan show two sides of underground New York City, and photographer Nathan Kensinger, who investigates “The Abandoned & Industrial Edges of New York City” shows a third.  He has an ongoing series entitled “New York’s Forgotten Rivers” where he has been documenting “New York City’s last remaining aboveground rivers and streams, in all five boroughs.”  An image below shows one of these photos.

Another recent exhibition “To Quench the Thirst of New Yorkers: The Croton Aqueduct at 175” that just completed it’s run at the Museum of the City of New York, offers a similar theme, with the tag line: “Uncover the hidden history of New York’s original water source, buried beneath the city”, it features “…newly commissioned photographs by Nathan Kensinger, tracing the aqueduct’s route and revisiting sights that Tower had sketched nearly two centuries before.”

Shifting from the visual to the literary, I previous mentioned the great Robert Frost poem covered in Hidden Waters blog, focused on Minetta Creek.  Another literary reference worth a look is this 1998 poem by Jim Lampos “Gowanus Canal” about the partially hidden and very polluted waterway in Brooklyn.  The whole thing is worth a perusal in detail, but I was struck by this passage, which evokes some of the history of place so acutely:

“I’ve come with a notion 
Old Gowanus, to recollect 
the splinters of dreams 
and severed fingers 
you’ve tucked away, 
the stolen pistols 
and sunken treasures 
you’ve saved 
the piss, tears 
dreams and sweat 
you’ve claimed. 
Recollect–shitty Canal 
stinking to the heavens– 
that you were once a river 
and hills rose from both 
your banks.  Brooklyn Heights 
nourished you as it returned 
your borrowed waters sweetened 
with the blood of revolution. 
A city was built 
all around you– 
a city of pizza parlors, churches and 
Whitman.  A city of pigeons, 
ice factories and hit men.”

SOME HISTORY

Tons of possibilities to cover in the history genre, as New York City has a million stories, In picking a few, I decided to focus on the ones that rose to the top due to their sheer uniqueness.  The one that was amazing to read about comes via Geoff Manaugh at BLDGBLOG, referencing a complicated series of posts about Fishing in the Basements of Manhattan that goes back to the NY Times blog ‘The Empire Zone’ and eventually a post link to a comment from 1971 Letter to the Editor, which mentions this potentially tall tale:

“”…We had a lantern to pierce the cellar darkness and fifteen feet below I clearly saw the stream bubbling and pushing about, five feet wide and up-on its either side, dark green mossed rocks. This lively riverlet was revealed to us exactly as it must have appeared to a Manhattan Indian many years ago.  With plum-bob and line, I cast in and found the stream to be over six feet deep. The spray splashed up-wards from time to time and standing on the basement floor, I felt its tingling coolness.  One day I was curious enough to try my hand at fishing. I had an old-fashioned dropline and baited a hook with a piece of sperm-candle. I jiggled the hook for about five minutes and then felt a teasing nibble. Deep in the basement of an ancient tenement on Second Avenue in the heart of midtown New York City, I was fishing.  Feeling a tug, I hauled up in excitement and there was a carp skipping before me, an almost three pounder. I was brave enough to have it pan-broiled and buttered in our upstairs kitchen and shared it with my brother…”

Going way back, a few folks referenced what seems an interesting resource, “Springs and Wells of Manhattan and the Bronx, New York City: At the End of the Nineteenth Century” by James Reuel Smith, in 1938, in which “…he reflects on the rapidly changing city and on the practical and aesthetic pleasures offered by the remaining springs: “In the days, not so very long ago, when nearly all the railroad mileage of the metropolis was to be found on the lower half of the Island, nothing was more cheering to the thirsty city tourist afoot or awheel than to discover a natural spring of clear cold water, and nothing quite so refreshing as a draught of it.” 

A photographer as well (see more in this collection “Photographs of New York City and Beyond” , his images are great documents of these sites which I’d imagine are mostly gone, although recently noted is a new discovery of a well in Brooklyn that dates back to the Revolutionary War era.

James Reuel Smith. Unidentified woman drinking at Carman Spring, on W. 175th Street east of Amsterdam Avenue, New York City. undated [c. 1897-1902]. Glass plate negative. New-York Historical Society.

Some more recent books note I’d love to delve into include the recent “Taming Manhattan: Environmental Battles in the Antebellum City” by Catherine McNeuer (2014), Gotham Unbound: An Ecological History of Greater New York,  (Steinberg 2015) and Water for Gotham: A History. (Koeppel, 2000) all of which paint a portrait of historical ecology that complements the inquiry of hidden hydrology.

Other short reads include Thomas J. Campanella’s essay in Terrain.org, “The Lost Creek”, and a great article connecting west to east worth from Nathan Kensinger, “What Can NYC Learn from San Francisco’s Last Wild Creeks?” where he looks at Islais Creek (and of course includes some amazing photos) as a model for how aboveground creeks can be a model.  He summarizes: “Flowing through an increasingly gentrified city,…this historic stream offers up a refreshingly untamed landscape. Though it travels just five miles from its headwaters in Glen Canyon to its mouth in the San Francisco Bay, and is bisected by a three mile underground segment, Islais Creek provides critical support to two radically different natural environments, both of which are currently undergoing extensive renovations. It also illustrates several approaches to urban planning that are unfamiliar to most New York City waterways.”

Islais Creek – photo by Nathan Kensiger, via Curbed NY

SOME MISCELLANY

With any discussion of hidden hydrology, the concept of daylighting always emerges as certain projects seem to lend themselves to this approach.  A presentation by Steve Duncan is worth a read as it covers this topic in depth, and the project with the most traction is Tibbets Brook, in the Bronx.  Located in Van Cortland Park, the daylighting push garnered a fair amount of press (here, here) and also a petition, with a detailed coverage in Untapped Cities from 2016 which shows an image from a report “Daylight Tibbetts Brook” (PDF file – from Siteation).  A figure from the report shown below identifies a potential route of the daylighted creek.

Before and After views of daylighted creek

Another final item worth discussing, albeit removed from hidden hydrology explcitly, is the image of climate change on the city.  We cover this in the context of modern New York via Kim Stanley Robinson’s New York: 2140, which imagines a flooded, post-catastrophe New York with, a narrative of New York as a “SuperVenice”, rife with political upheaval, class warfare, and and salvage operations referencing historic maps — setting the stage for a new geography that is equally fantastical and plausible.  As mentioned in the New Yorker:

“Another narrator—a nameless urban historian—tells the story of New York from a bohemian point of view. America’s boring losers all moved to Denver, he says, and so the cool kids took over the coasts. “Squatters. The dispossessed. The water rats. Denizens of the deep, citizens of the shallows.” The abandoned city becomes an experimental zone—a place where social innovation (“submarine technoculture,” “art-not-work,” “amphibiguity”) flourishes alongside “free open universities, free trade schools, and free art schools. Not uncommonly all of these experiences were being pursued in the very same building. Lower Manhattan became a veritable hotbed of theory and practice, like it always used to say it was, but this time for real. . . . Possibly New York had never yet been this interesting.”

The connections between this fictionalization and the changing climate that could lead to more frequent flood events, seems a timely connection between history (past) and what it means now and into our our future.  The story told by Robinson may be a bit lacking in places, but the details and context is compelling.

The vision of a flooded city in “New York 2140,” a science-fiction novel by Kim Stanley Robinson, is surprisingly utopian. via New Yorker

As you can see, there are literally hundreds of links for particular creeks, art, history, explorations, tours, and other discussions around New York City.  My original goal was to also include maps in this post, but as you can see it’s already bursting at the seams, so I will conclude New York with one additional post focused on the cartographic as to not overwhelm.

HEADER:  Bronx River, image by Nathan Kensinger as part of his New York’s Forgotten Rivers series.