North Tryon Corridor, Charlotte, NC

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Vacant lot along North Tryon Street, Charlotte, NC

Urban centers of the South have changed dramatically since I last travelled here over twenty years ago. Boldly optimistic, future-forward Charlotte seems to epitomize the New South- on the move, un-nostalgic, innovative, green. I came here with an open mind at the invitation of Charlotte’s Arts and Science Council to be interviewed for a potential streetscape/public art project in the North Tryon Street Business Corridor just Northeast of downtown.

Wowhaus is among a select group of finalists under consideration to work with the City as it embarks upon an ambitious urban redevelopment project along a heavily-trafficked, radial artery connecting downtown Charlotte with the University Center and points North. Over the next six weeks, we’ll develop a proposal for a project that dovetails with Charlotte’s goals to be “a viable and livable community whose extraordinary built environment, interconnected tapestry of neighborhoods and thriving businesses create a memorable and sustainable place.”

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View of downtown Charlotte from the railroad tracks flanking Tryon Street.

Makkeweks

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Last night the City of Oakland approved our preliminary concept for a new public art project to be sited adjacent to Lake Merritt, as a part of the Lakeside Green Streets initiative. This is our biggest commission to date, so we’re very excited to bring the concept into reality. I’ve attached a few images of a scale model I made in clay, and a rendering by Ian Espinoza, the very talented architectural illustrator we hired to help with our presentation. Here is the narrative I wrote to accompany Ene’s excellent powerpoint presentation:

MAKKEWEKS

Lake Merritt formed naturally as a tidal lagoon with a 600’ inlet to the bay, surrounded by thousands of acres of wetland. Since the Ohlone inhabited its shores, the lagoon has been home to a huge variety of sea creatures, including seals and sea lions, otters, leopard sharks and bat rays. Not surprisingly, sightings of these charismatic mega-fauna gave rise to stories of sea monsters and mermaids, originating with the Ohlone and persisting into the mid-19th century, when the lagoon became too polluted with sewage to support much life. ‘Makkeweks’ is the Ohlone/Rumsen word for ‘sea monster’.

The idea of ‘sea monster’ is common to all coastal cultures throughout history, persisting to contemporary times. Whether or not sightings have basis in fact, a sea monster is best understood as a kind of personification of the unknown, a poetic conjecture about the perennial mysteries of the Deep. Most often depicted as giant serpents, sea monsters are usually composite creatures of the imagination, borrowing traits from whatever species actually inhabit a particular body of water. In many ways, the persistence of sea monster sightings is an indication of a healthy marine environment, a folkloric interpretation of scientific evidence.

As Lake Merritt is restored to its natural origins as a tidal, saltwater lagoon, connecting to the Bay and to the sea beyond, one can anticipate an influx of native marine wildlife, perhaps even the occasional bat ray or leopard shark. Our Makkeweks sculpture is an homage to Lake Merritt’s restoration and a harkening of the return of native fauna. Borrowing traits from the bat ray, leopard shark, pipe fish and goby, Makkeweks is a sea monster, perhaps as imagined by the Ohlone or by early European settlers, or by future generations upon glimpsing a mysterious fin or hump rising from the estuary.

Sited in the Rain Garden of Snow Park, the sculpture will be cast in bronze, measuring approximately 12’ long, 7’ wide and 4’ high. As the Rain Garden’s centerpiece, Makkeweks will be an unexpected discovery to pedestrians, attracting viewers from all directions on paths connecting to the Lake, the Promenade and the lower part of Snow Park. The sculpture also makes subtle reference to the history of Snow Park as the site of the original Oakland Zoo, where naturalist Henry Snow displayed the exotic trophies from his hunting expeditions in the 1920s. Snow Park has a robust history as a popular downtown destination; Makkeweks will help to revive this latent tradition, becoming a beloved icon by the shores of Lake Merritt.

To help contextualize Makkeweks, the sculpture will be complemented by a series of photo-etched granite plates depicting marine life supported by tidal estuaries like Lake Merritt. Mounted on various concrete seating elements within close proximity to the sculpture, the 6” diameter plates will be surrounded by stainless steel rings with laser-etched text stating the creature’s common and Latin names, actual size, and whether native or invasive/introduced.

Our goal is for the Makkeweks sculpture to inspire the feelings of awe or wonder that accompany any encounter with the unknown. We believe these feelings are the foundation of all inquiry, and hope that by introducing people to the elements comprising a healthy marine ecosystem from multiple perspectives, we will redirect attention to the need for ongoing stewardship of Lake Merritt and its surroundings. Science works best in tandem with the imagination.

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SEA MONSTER IN RAIN GARDEN PLAN

To learn more about the development of Makkeweks for Oakland’s Lakside Green Streets initiative, please click here and scroll down.

Reconsidering Shellac

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Shellac is a natural by-product of the lac beetle’s secretions.

Like so many craftsy kids who grew up in the 60’s and 70’s, I had my own rock polisher, a wood-burning set, access to my dad’s tools, collections of yarn and twine, old National Geographics, mucelage, rubber cement and shellac, and a basement, attic and garage for a studio. Whether I was making fake antique signs or a decoupage vase, I always seemed to have an open can of shellac, and learned to associate it’s candy amber gloss with other craft icons of the era such as tie dye, macrame, stamped leather, etc. It’s peculiar how such ancient techniques were consistently defamed by their appropriation into middle class America in the 1960’s and 70’s.

I haven’t changed much since then, and I live in a place that is almost entirely and un-self-consciously unreconstructed since about circa 1978, so maybe it’s fitting I should be reconsidering shellac. But there’s more to it. As a wood finish, shellac meets my requirements on several key levels:

1. Shellac is a non-toxic by-product of secretions by the lac beetle (lacifer lacca), whose flakes are easily dissolved in denatured alcohol, another bio-degradable agent, so it uses no harmful chemicals or petroleum products.

2. Shellac can be applied at almost any reasonable temperature or humidity level, so is particularly well-suited to our typically cool, damp conditions; and it dries fast, reducing time for application of multiple coats.

3. Shellac penetrates the wood and seals it while protecting from darkening through exposure to light. Also, by using de-waxed flakes that have been processed to make a clear resin, it’s possible to attain a very pale finish on wood.

4. Shellac is easily repaired, and its surface can be rendered virtually flat either through the use of polishing abrasives or integral ‘flattening agents’.

Shellac has been used in some form since ancient times as a wood finish, gaining wide-spread popularity in the 17th and 18th centuries in the form of a technique called ‘French Polish’, but was rendered practically obsolete during the Industrial Revolution with the introduction of varnishes and oil-based resins. I’ve spent the majority of my wood-working career trying to match my approach to wood with an appropriate finishing technique, having most recently convinced myself that wood is best left raw, gaining a patina through exposure to the elements over time. My recent rediscovery of shellac has me thinking otherwise, and I’ve begun using it exclusively for all of my interior projects. Who knows, maybe I’ll break out the rock polisher next.

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Free Sign #2

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Free Sign #2, found in Bodega, CA


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I always replace Free Signs with my own homemade version.

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Free Sign #2 was made on the backside of a bad painting.

Free Sign

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The first handmade ‘Free’ sign of my collection, found in Bodega, CA.

Driving around the back roads of West Sonoma County on a sunny day, you almost always find a pile of junk by the side of the road with a ‘Free’ sign in plain view. I have yet to find anything of interest, but my eye inevitably lingers on the sign itself. These are almost always handmade and somehow offer a clue as to the character and impetus underlying the otherwise anonymous act of roadside generosity. So I’ve begun collecting ‘Free’ signs, replacing them with my own generic stenciled version, which I sign and date for posterity.

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My first batch of generic ‘Free’ signs, signed and dated, 6″ x 15.5″ each.

An Argument for Transparency

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After making a fairly complex Argument for Simplicity I’m faced with the task of devising a corollary. That is, either clarifying what I mean by simplicity in design, or attempting to make an inverse point, a simple argument for complexity. The latter seems a little facile, bordering on absurd, so I’ll attempt the former.

Simplicity in design is most robust when there is transparency between a thing and the idea behind the thing. In my observations, this occurs when a thing is introduced that represents a new idea, one that is capable of standing up to the test of time (the idea). The idea remains about the same but the thing is allowed to evolve through an iterative process that takes advantage of changes related to its manufacture, distribution, use, etc. The thing, as a stand-in for an idea, becomes indispensable.

Interestingly, the best examples I can think of that support this conjecture are products of leisure, with origins in mobility or transportation- boat hulls, bicycles, skis, surfboards, even frisbees and other flying discs. While ‘classics’ occasionally emerge from these types of things, demarcating a congruence between a thing and the conditions defining a particular time and place, their eventual obsolescence results from improvements in the same conditions- material, , technology, distribution, cost, performance, etc..