1
aff ect + interaction  on atlanta?s beltline
stephen everett 
mla
auburn university
2011
ba psychology
auburn university
2009 

3
acknowledgements
I would like to thank everyone who has helped me complete 
this research project. Without you it would not have been 
dreamt of, much less realized. I want to extend a special 
appreciation to Rod Barnett, my major professor, as well as 
Jocelyn Zanzot and David Hill, my committee advisors, all 
of whom encouraged me to move decisively forward with 
the investigations over the course of the last year. I would 
also like to thank my friends and family for supporting me 
through the process. 
preface
This book is the product of a research by design endeavor. It 
tells the story of a journey through thesis year in a landscape 
architecture program. It seeks to highlight the decision 
making processes that have guided the designs to the stage 
which the reader finds in this book. The story is not entirely 
linear, so the reader is asked to evaluate the results of the 
study (the design proposals) on the basis of a clear and 
sound set of decisions that began with an original research 
interest and question, not on any other set of criteria. It is 
this process that has guided the project, applying techniques 
and ideas in novel ways, exemplifying this work as true schol-
arly research into uncharted territory rather than the results 
of a predetermined idea and end-game.
5
abstract
This project addresses homogenous infrastructural design. 
The research suggests that a reevaluation of infrastructure 
based on a close attention to its social and physical condi-
tions can enable new approaches to its design. Specifi cally, it 
looks at the BeltLine, an upcoming light rail system that will 
connect historic neighborhoods, parks, and other transporta-
tion hubs within and around the heart of Atlanta, Georgia.  It 
assumes that around the BeltLine, design and construction 
will revolve solely around the guidelines of necessary criteria 
set up by the city?s transportation department. This research 
seeks to satisfy these criteria as well as identify and analyze 
what the existing conditions are at an unused site slated for 
through-passage by the BeltLine.  Results of this analysis 
show that there are fragile and unique environments within 
the site, including human and nonhuman migrant colonies, 
an urban fi eld used for the practice of tagging, and materi-
als that have been allowed to weather with rust patterns, 
stains, and cracks and fragmentation. This project is based 
on the proposition that not only are such marginalized and 
undervalued spaces within a city crucial, but they do not 
have to be erased in favor of a rolled out piece of infrastruc-
ture. The BeltLine, instead, can be brought into this site in 
such a way that the ecologies are highlighted and privileged, 
the surfaces embraced, and the materials actively used in the 
design process. In this way, urban infrastructure does not 
have to be homogenous, ineffi ciently utilized, and removed 
from a given site situation.
preface
illustrations
All figures are property of the author unless otherwise noted 
below.
Figure 1. Atlanta BeltLine 2011. http://beltline.org/
Figure 2. Hopper, E. Artist. Nighthawks.  [Painting]. Chicago, 
Illinois. Art Institute of Chicago. http://www.dartblog.com/
data/2010/10/009174.php
Figure 3. Casebere, J. Artist. La Alberca. [Digital chromogenic 
print]. http://jamescasebere.net/group4_0.html
Figure 4. Lewis, J. The Big Combo. [Film still]. http://www.
availableimages.com/movies/1955/bigcombo/pictures-
bigcombo_pph_2.html
Figure 5. Seaside Florida Rentals. http://www.seasidefl.com/
Figure 6. Les beaut?s de Montr?al. http://lesbeautesdemon-
treal.com/2009/08/15/que-faire-dun-terrain-vague/
Figure 7. Duchamp, M. Artist. Fountain. [Sculpture]. http://
upload.wikimedia.org/wikipedia/commons/f/f6/Duchamp_
Fountaine.jpg
Figure 8. H?ch, H. Artist. Industrielandschaft. [Photomon-
tage]. Collection Landesbank Berlin. The Photomontages of 
Hannah H?ch. Walker Art Center, Minneapolis
7
table of contents
Chapter 1: Introduction
 studio and infrastructure
 fi nding site
Chapter 2: Proceeding
 fi nding method
 affect + interaction
 place
Chapter 3: Site investigations
 preliminary spatial mappings
 texture palettes
Chapter 4: Design investigations
 semantic fi ssion
 rail + trail strategy
 industrial strategy
 successive seeding strategy
 transgressive strategy
9
11
12
19
20
26
28
33
35
36
47
48
61
63
65
67
Chapter 5: Design Formulation
 Hannah H?ch: fi ssion revisited
Conclusions and refl ections
Bibliography
Appendix: rejected proposals
71
72
100
102
105
ill ustrations

9
chapter 1: 
introduction
research question transformations
9/13/10 - How can emergent fuel technologies and new 
mechanisms of flow influence large-scale mass transporta-
tion while reducing the spatial impact of transport infrastruc-
ture in the city of Atlanta, GA?
10/3/10 - How can systems of movement be forced together 
to magnify the relationship of people with cargo and infor-
mation?
11/29/10 - How can romantic urban affect inform site design 
for transportation systems?
4/13/11 - How can a heterogeneous and marginalized 
landscape inform site design amidst the connected urban 
network?
7/20/11 - How can semantic fission inform site design in 
a heterogeneous and marginalized landscape within the 
urban environment?
11
This project is born, fi rst and foremost, out of an interest in a 
self-directed, research by design adventure. Although thesis 
projects necessarily differ within any given studio, the theme 
of this studio is infrastructure - the physical and organi-
zational units required for the functioning of a society or 
enterprise (Online Oxford English Dictionary 2011). As Brian 
Hayes writes, an incredibly lucky person might, once in his/
her lifetime, catch a glimpse of an ivory-billed woodpecker. 
A much more common site is a line of utility poles and their 
electrical transformers fl anking a street (Hayes 2005). His 
point is that infrastructure infi ltrates contemporary society 
in complex and unavoidable ways and forms itself into land-
scapes as important and beautiful as any ?natural? landscape. 
It is precisely this angle of landscape architecture that ap-
peals to me. Rather than attempt to create, revitalize, restore 
or otherwise focus on a ?natural? plot of land within a city, I 
wish to focus on the landscapes we interact with everyday to 
study and enhance the interaction patterns themselves. 
With that in mind, the project began by examining a very 
conspicuous infrastructural component: that of transporta-
tion. In one of the fi rst articles that caught my eye, Thun and 
Velikov clearly state that a simultaneous decrease in the car-
bon based fuel supply and the increasing need for mobility 
and urbanization, along with a deteriorating transportation 
infrastructure, must yield ?the emergence of a synthetically 
networked hybrid infrastructure to support and propagate 
emerging urbanisms? (Thun & Velikov 2009, 85). Of course 
they are right. If we are to continue enjoying the freedoms of 
mobility that we currently take advantage of without much 
thought, it is necessary to examine the methods by which we 
travel. 
To do this, I began by looking at metropolitan statistical 
areas (MSAs) on the national scale. Defi ned by the U.S. Bu-
reau of the Census as a set of communities and cities with a 
large population nucleus as well as a high level of social and 
economic integration, MSAs generally must be connected to 
each other for transfer of goods, services, and information 
(U.S. Census Bureau 2010). What I found, however, is that not 
all areas are linked together in the same manner. MSAs exist 
that are serviced by air transportation, rail, and interstate (I 
ignored shipping by water in this process). While some are 
serviced by all, some are not, reminding us that interstate and 
vehicular transportation, although perhaps dominant, is not 
the only means of movement. 
studio and infrastructure
finding site
I chose the city of Atlanta for a more in-depth study. With a 
population of over 5 million in its statistical area, Atlanta is 
the largest city within 3 hours of Auburn University and thus 
seemed like a perfect starting point for this thesis.
On my first trip to Atlanta I visited an abandoned GM plant. 
It proved to be far too large to manage into a project and 
completely inaccessible. I also visited an operating petroleum 
field. For safety reasons this also proved inaccessible. While 
traveling through the downtown area, I accidentally found 
the Hulsey cargo rail yard. Although unusable in itself due 
to current and ongoing operations, near it I found an area 
reserved for through passage by the new Atlanta beltline. 
I was immediately interested in the urban grime of the site. 
Littered and abandoned by corporate use, the small area was 
nonetheless alive with rich ecological and social systems. I 
felt a strange and curious attraction to its affective qualities 
that I will explain more fully later.  
The Hulsey train yard is owned by CSX Transportation and 
provides transport services to the entire continental U.S. It 
ranks 7th in overall freight volume for CSX rail yards and is 
the largest intermodal carrier in the U.S. The most com-
mon products handled at Hulsey include coal, automobiles, 
agricultural products, chemicals, and paper (Metro Atlanta 
Chamber of Commerce 2009). 
The BeltLine is a light rail transportation system that will 
circle central Atlanta. It is touted as an economic develop-
ment project in its own right rather than strictly a method to 
reach citywide destinations like MARTA (Metropolitan Atlanta 
Rapid Transit Authority). It revives a rail line that once con-
nected to the Hulsey rail yard and moved cargo throughout 
Atlanta and into other cities. The project installs a loop of 22 
miles of track around the downtown area along the historic 
line connecting 45 neighborhoods, public parks and multiuse 
trails to each other. 
The idea behind the BeltLine is to create a model for de-
velopment through an ?integrated approach to land use, 
transportation, greenspace and sustainable development? 
(Atlanta BeltLine 2011). It seeks to combat regional sprawl 
that currently pushes Atlanta into ever far reaching suburbs, 
and to attract economic and social development around 
the city?s center. As part of a network design strategy, the 
beltline also links to MARTA (which reaches most of Atlanta, 
including outside of the I-285) and has capabilities of at-
taching to any new transit system.  Pedestrian trail lines 
will follow the 22 mile loop of tracks as well as extend into 
existing and planned parks in the area for a total of 33 miles. 
The 40 parks will increase Atlanta?s greenspace by 40% and 
add 1300 acres of greenspace over the next 25 years to the 
existing 700 acres.  
Economic estimates suggest that the BeltLine will gener-
ate $20b of development over the same period, generate 
nearly 30,000 new jobs, provide 5000 new units of affordable 
housing, and clean up 1000 acres of brownfield for redevel-
opment. In combination with this, the city lists public art and 
13
N
Map of Atlanta, GA. The bold gray lines represent interstates, with the outermost circle (forming the ring that runs off of the pages) being I-285. The bold black ring near the center of the pages represents the future route of the BeltLine. The red circle highlights the intersection of the BeltLine with the Hulsey cargo yard, with my site in the center.
15
Figure 1.
image courtesy of Atlanta BeltLine 2011
17
historic preservation as key BeltLine goals. It will ?show-
case art? along the entirety of the BeltLine as a new way of 
experiencing the districts and seeks methods to identify and 
preserve historic structures (Atlanta BeltLine 2011). 
In terms of this landscape architecture project, there is one 
glaring problem with the stated BeltLine goals. Although 
historic preservation is deemed important, the methods by 
which the BeltLine Organization seek to accomplish this only 
references the historic structures and homes that make up 
the neighborhoods.  All listed preservation methods relate to 
tax-saving mechanisms, either on buildings or property and 
nothing actually describes how the BeltLine will preserve the 
physical, social, and cultural specifi cities of the line and its 
neighborhoods. In light of this, the scarce images of the Belt-
Line relating to the transit and trail line are generic, homog-
enous, and suggest again that the most important aspects of 
the implementation are the economic development, housing 
provisions and fa?ade revitalization, rather than the actual 
landscapes that contribute to the unique conditions. 
My research explores a gap in the BeltLine?s fundamental 
framework. Rather than disagreeing with the processes 
already set in motion, the research adds to their incomplete 
perspective. Historic preservation is more than just buildings 
that make up neighborhoods; it also includes the urban fi eld 
as a networked system of social and physical interactions. It 
is the modest, daily, unremarked operations of this fi eld that 
my project harnesses and develops.  
With new development (and particularly with public space), 
infrastructural procession is typically accompanied by a pro-
gram that serves to obscure the reality of urban conditions. 
If, as landscape architects, we only ever provide this masking 
of the actual social forces that operate in our cities, then we 
are doing a disservice to the various users of infrastructure. 
By ?obscuring? and ?masking,? I mean the act of making 
these conditions less noticeable at a glance or completely 
covered up by facades of commercialism and more affl uent 
neighborhoods. For instance, in city improvement opera-
tions as shown in the graphic to the left, the reality of the 
urban fi eld (left side) is often covered, wiped away, and 
transformed into a happy, productive, and populated scene 
(right side). While the benefi ts of such operations are typi-
cally measurable and apparent, concomitant losses of social 
and ecological systems, accompanied by their respective 
aesthetic characteristics, occur in the transformation that go 
unnoticed or undervalued. 
Therefore, it is worth exploring the full range of possibilities 
with respect to the social relationships that are established in 
LA projects.  This project seeks a marriage between acces-
sibility, safety, & functionality and uncertainty, challenge, 
& discomfort by intersecting the city?s goals of the BeltLine 
with the unmasking of this fi eld as a truly marginalized 
landscape. 

19
chapter 2: 
proceeding
finding method
A theoretical framework is a set of assumptions or claims 
that underlie a project. In other words, it is both the material 
and the means by which to investigate something. More 
broadly, people interact with each other and the world 
around them based on sets of these assumptions. In fact, 
life would be impossible without them. Because of this, 
research also occurs within a theoretical framework, whether 
it is clearly stated and important to the project methods and 
results or not. This project is completely hinged on its frame-
work, and through it, the representational method. There-
fore, the ideal outcome is to marry the representative style of 
the graphics to the framework for a cohesive unity. 
For the purposes of this project, one of these assumptions is 
that most current landscape architecture practice caters only 
to a narrow range of feelings that the human body is capable 
of experiencing. These are primarily the positive emotions 
(i.e. affect of joy, as will be discussed later), and design-
ers are not wrong to cater to these, making places that are 
serene, calm, enjoyable, uplifting, even thrilling, for example. 
However, hotspots of urban grime within the city have insta-
bilities and complexities that are inherently valuable to the 
human-landscape web of interaction. To simply ignore this in 
favor of creating normatively functional and pretty land-
scapes is wrong because it is the landscape architect?s job 
to instigate human-landscape interactions that bring forth 
the entire range of possible emotions. These might include 
wonder, mystery, despair, awe, ecstasy, nostalgia, instability, 
complexity, melancholy, fear, and aversion, to name a few. 
If landscape architects are truly interested in creating places 
for people, they cannot design a world that rests within one 
end of this spectrum of emotions; rather, we must encourage 
the development of all possible emotional responses to the 
environment. This, in turn, allows the user to evaluate their 
engagement with the site in a manner that is more than aes-
thetic; by fostering these previously unrealized engagements, 
new possibilities emerge that stretch beyond the site itself 
into the lives of those who encounter the site. 
In speaking of the theoretical framework in these terms, I 
have suggested that the site has an indeterminate yet capti-
vating thrill. I will demonstrate these characteristics later. For 
now, one of the goals of the project is to manipulate the cur-
rent conditions of the site in such a way that the landscape?s 
grim provocation is magnified and articulated, thus hopefully 
broadening the possible emotional responses elicited from 
the user. In doing so, the site may be celebrated and glori-
fied for fetishistic reasons from the designer?s perspective 
and become clearly framed within its context rather than 
marginalized and erased. In other words, the power of the 
place rests with the establishment of an alternate aesthetic, 
one that enables a wider range of person-landscape relation-
ships on the basis of uncertainty and even discomfort. 
Developing the graphics to scratch the surface of these 
undervalued emotions proves a challenge within landscape 
architectural discourse. The idea of marrying representation 
to content is certainly not new, however. Here I will exam-
ine case studies from three subfields: painting, modeling 
+ photography, and film.  With painting, one example of a 
21
Figure 2. Nighthawks
image courtesy of Dartblog
somber style and extraordinarily uncertain quality is Edward 
Hopper?s Nighthawks, which instantly suggests an ambiva-
lent, provocative atmosphere to the viewer. 
Completed in January 1942, Hopper refl ected in the painting 
the gloomy atmosphere that emerged across the country 
after the bombing of Pearl Harbor in December 1941 (Spring 
1998). He depicted the bar patrons as equally gloomy, seem-
ingly lost in their own unhappy thoughts. It is impossible to 
tell whether the couple is interacting with each other or not. 
The lone man facing their direction has a coffee cup and 
glass of water. His head is tilted slightly downward, possibly 
looking at a newspaper. The bartender appears to be staring 
out of the window onto the empty and eerily glowing street 
outside while doing something behind the counter.  Possibly 
infl uenced by movie stills from gangster fi lms of the 1930s, 
Nighthawks very likely infl uenced the look of some fi lm noir 
movies of the 1940s (Doss 1983).  
Figure 3. La Alberca
image courtesy of James Casebere
23
After James Casebere graduated from Minneapolis College 
of Art and Design with a BFA in 1976 and received an M.F.A 
from Cal Arts in 1979, he began using his training as an artist 
and sculptor to join the ?pictures generation? of ?post-
modern? artists (Casebere 2010). Specifi cally, he explores 
cinematic, architectural, and art historical themes through 
model building and photography of these models. Mounted 
on large sheets of Plexi (e.g. 72? x 90?), the resulting artwork 
blurs the line between real world and fantasy, causing the 
viewer to question the atmosphere within the work. 
Perhaps most interestingly, Casebere?s modeling and 
photography is unpopulated. This seemingly subtle choice 
removes any narrative from his work, drawing readers in and 
encouraging them to formulate their own narratives through 
person-artwork interaction. As Diehl states, the fi ctitious 
nature of the place (although often based on well-known 
architecture) ?[makes] me feel that I, the viewer, had taken 
the place of the photographer? (Diehl 2007, 155). 
One of the moodiest and unsettling of Casebere?s images of 
the last decade is La Alberca, 2005, in which he employs the 
technique of fi lling the model with water and lighting it. The 
room is dark nonetheless, causing the depth of the central 
pool to be unknown and foreboding. The plastered walls of 
the room formulate a sense of deterioration while the lack of 
visible exits adds to the unsettling nature. 
Casebere?s work offers this project several examples of how 
to approach the graphics and content issue. The unpopu-
lated images force the viewer to imagine their own involve-
ment, formulating relationships that would otherwise be 
undeveloped. Additionally, the imagery of the work begs the 
question of the reality of the setting, and it is this fantastical 
quality, along with lighting, color, and material choices that 
give Casebere?s photography the edgy quality this project 
seeks to create. 
Figure 4. The Big Combo
image courtesy of availableimages
25
Film noir settings achieve their visual uncertainty largely 
through camera placement and lighting. Interestingly, even 
the term fi lm noir is vague. French for ?black fi lm,? it was 
fi rst applied to Hollywood fi lms by French critic Nino Frank 
in 1946. It was not widely accepted as a classifi cation until 
the 1970s, however, when scholars began to use the term to 
describe fi lms from the 1940s and 1950s that used low-key 
lighting and asymmetrical composition to explore similar 
themes (Naremore 2008). 
Famous themes of fi lm noir include the inversion of tradi-
tional values and its corresponding moral ambivalence along 
with feelings of alienation, paranoia, and cynicism (Conard 
2006). These motifs are often related to the philosophical 
idea of existentialism. According to Faison, a person?s aware-
ness of their metaphysical reality is obtained through their 
own personal experience (often under physical or emotional 
duress) and their realization that the world is not clean, 
orderly, and sane only comes through such an encounter 
(Faison 2008).  This awareness is triggered by the adverse 
reactions to such experiences and suggests a becoming of 
character, only achieved through the unfolding of stimulus-
reaction (Barnett 2008).
This famous fi lm noir still comes from The Big Combo, direct-
ed by Joseph H. Lewis in 1955. The plot unravels to show the 
obsession of tortured Police Lt. Leonard Diamond to bring 
down violent gangster Mr. Brown and his girlfriend (IMDb 
2011). Here, cinematographer John Alton uses several char-
acteristic fi lm noir moves to portray the sadistic atmosphere. 
The camera is placed lower than the eye level of those in 
the shot, subtly suggesting overwhelming qualities. The 
fi gures themselves are completely silhouetted, yet instantly 
recognizable from their garb and postures which are fi rm yet 
undecided. The fog that engulfs them and the wheelbarrow 
is eerily lit from somewhere in the distance, creating a thick 
(physical and metaphysical) atmosphere. 
Although the purpose of this research is not to create a 
landscape of fi lm noir, the dark moods and personal interac-
tions of the movement contribute to the project and offer 
credence for adopting a representational style suited both 
to suggest and to discover new structures of feeling in land-
scape architecture.
The selected site has a specific affect. It is not unique in 
this regard, as all things have affect. In a basic form, affect 
simply refers to a vibe, or feeling. It also means much more 
than this, however. The philosopher Spinoza (1632-1677), 
for example, perceived affect as a very specific thing. He dif-
ferentiated it from an idea. An idea, he states, ?is a mode of 
thought which represents something? (Murphy 1978, 1). This 
point of view refers to the thing?s objective reality. An affect, 
on the other hand, he defines as ?any mode of thought 
which doesn?t represent anything? (Murphy 1978, 2). 
This distinction has extremely important ramifications for 
this project. For example, as noted above, a feeling such as 
uneasiness or fear represents nothing at all. It can describe 
something, of course, but it does not refer to anything in 
itself. One cannot imagine, in this case, a pure form of un-
easiness or fear because it does not exist. 
Spinoza also formulated a concept which describes the 
extent to which something has power. There is a continuous 
variation of the force (or power) of existing. The variation 
comes in the form of an increase-diminution-increase-
diminution force of existing.  ?This kind of melodic line of 
continuous variation will define affect  . . . . in its correlation 
with ideas and at the same time in its difference in nature 
from ideas. We account for this difference in nature and 
this correlation? (Murphy 1978, 4) (emphasis mine). In other 
words, affect necessarily includes the participatory party (i.e. 
the site?s user). More importantly, along this line of continu-
ous melodic variation, Spinoza assigns to poles: joy-sadness, 
which for him are the fundamental emotions. Sadness, then, 
is any passion that diminishes one?s power of acting, and joy 
is any passion which increases this power. 
What does this mean, and why is it important? 
Simply put, the sad passions are necessary, and inspir-
ing such passions is crucial for the exercise and exchange 
of power. Here, the ?sad? passions refer more to just the 
opposite of happy. Specifically, they encompass all of the 
emotions which I intend to bring to light through the design 
of this landscape, as described in the finding methods sec-
tion. With regard to humankind?s interaction with them-
selves and the world around them, there is a succession of 
encounters with ideas (things) and one?s power is increased 
or diminished in a continuous manner. It is what we call ex-
isting. Without the sad passions, the joyous passions would 
be meaningless. Thus, as a landscape architect interested 
in the entire range of emotions that a person is capable 
of experiencing, I am exploring the darker, uneasy side of 
human-landscape experience to both support and combat 
the traditional motives of landscape architectural design to 
elicit positive emotions.
affect + interaction
27
Collage pieces of a 1911 Sanborn map show the study site in 
relation to the Hulsey cargo yard and the historic rail line. Al-
though the cargo yard is still in operation and this arm of the 
line has been disconnected and removed, it will be replaced 
by track for the new commuter rail system. Also of interest 
here is the degree to which the rail line historically traveled 
through and necessarily infl uenced (and was infl uenced 
by) the surrounding residential, commercial, and industrial 
operations of Atlanta. It is crucial to know that the same will 
be true of the BeltLine. 
place
The person-landscape interaction of this site is different 
from the affective relationship of the surrounding neigh-
borhoods and industrial lots and necessarily different from 
the remainder of the BeltLine. As Cullen masterfully writes, 
place presents itself as a conundrum, born from the sum of 
its parts yet containing a unique soul in itself (Cullen 1962). 
While one can argue that this constitutes all of the landscape 
to some degree, the interest in this project is delving into the 
idea of truly being born from the parts.   
Edward Relph links the concept of place to what he calls the 
?instant environment machine.? He states that historically, 
each place has been necessarily distinct from each other, 
each rising from local and micro-geographies, cultures, and 
unique landscape-economic interactions (Relph 1993). This 
in turn fostered personal interests in townscape upkeep and 
alteration with respect to the micro and regional distinc-
tions with which each place was endowed. Relph admits that 
thinking about place in such a historical manner somewhat 
romanticizes days gone by, but that out of such thinking and 
critique, one can conjure values which may not be present in 
modern built society. Specifically, he writes, ?these ideals and 
images are valuable for a modern world rapidly being over-
taken by the renitent landscapes of rationalism? (Relph 1993, 
25). The process of rational takeover through development 
contextualizes his idea of the instant environment machine. 
This is, in his words, the realization of James Fergusson?s self-
acting machine that could produce city plans and structure 
design with little to no thought. Relph posits that the con-
temporary environment?s equivalent of this self-acting ma-
chine is the ability by architects and contractors to instantly 
create or destroy landscapes of almost any type, mashing 
up styles, cultures, and histories in any manner desired. 
Immensely complex, it consists of ?ideologies, economic 
linkages, institutions and corporations, methodologies for 
planning and design, huge organizations and communi-
cations systems, and veritable panoply of technologies? 
(Relph 1993, 28).
Relph relates the instant environment machine (inflect-
ing within it certain derogatory undertones) to two of its 
operating components: corporatization and telecommu-
nications. During the 20th century, in which cheap energy 
fueled growth at unprecedented speeds, major corpora-
tions, in conjunction with city planning departments, 
reshaped the landscape in crucial ways. Together, they built 
vast suburban tracts, theme parks, shopping malls, and 
even carefully crafted ?natural? parks. Relph suggests these 
landscape operations were born from a post World War 
II desire to ?create rational and efficient developments by 
controlling change and eliminating chance? (Relph 1993, 
29). To control this new enemy of chance, the aforemen-
tioned institutions developed standardized regulations and 
development operations that were applied to all aspects 
of planning and design. This resulted in places that are no 
longer entirely unique. Rather, they are born more from the 
planning approach applied than from the character of the 
landscape and the people within it. 
Telecommunications also fueled the instant environment 
29
machine?s rise to power. Never before the 20th century did 
people have immediate access to all portions of the globe 
as well as the ability to make these places their own. Joshua 
Meyrowitz describes the technological revolution as an 
event that allowed ?electronic media [to] affect us primarily 
not through their content but by changing the ?situational 
geography? of social life? (Meyrowitz 1985, 6). Because of this 
instant situationalism, people are capable of experiencing 
anywhere from everywhere and thus, ?a fl exible and elusive 
vagueness is thereby conferred on everyday experience? 
(Relph 1993, 31). 
Due to telecommunications and the corporatization of the 
instant environment machine, planning and design (from city 
scale to site scale) have been ?normalized.? That is to say, 
as Relph points out, standardized regulations for planning 
and design dominate building permits and zoning require-
ments, while the telecommunicative aspect of site design has 
encouraged site-unspecifi c, normative strokes to be brushed 
across the landscape, forming predictable and even boring 
options for many institutional projects. 
This instant environment machine approach is currently the 
normative practice. It fulfi lls the desires of corporations 
and city planning departments as mentioned above. In 
a sense, many (though not all) of these institutions seek 
to formulate a design palette that can be applied and 
canvassed upon multiple areas of interest. For instance, 
one method by which this happens is through the rigid-
ity of control. Overall, American cites have transitioned 
from places of industrial might to contemporary nodes of 
capitalism and culture over the last half-century, pro-
ducing several unintended consequences, including the 
informal, ever-changing, and open-ended spaces that 
this project investigates. These in-between spaces stand 
in direct opposition to the highly manicured spaces of 
17th Century France and 18th Century England, in which 
obsession with domination over the landscape resulted in 
intensely strong, formal, and spatially geometric spaces 
geared towards the fulfi llment of man?s aesthetic pleasure 
(Jellicoe 1995). Interestingly, many corporative and institu-
tional landscapes continue to impose these enlightenment 
ideals of formal organization of space, suggesting a sense 
of power and timelessness to all who use it. In doing so, 
they succeed in infl uencing the perception of the space as 
controlled, orderly, and tidy. This appeals to many, from 
Figure 5. Seaside, FL. Because of the standardization of design and planning principles, many environments are no 
longer explicitly linked to their geographical or social histories. Instead, a normalized strategy has been applied, re-
sulting in a landscape that is not entirely unique. One example is the new urbanist community of Seaside, FL.
image courtesy of Seaside Florida Rentals
those seeking to live in or use such a space for recreational 
or consumer activities to city officials and entrepreneurs 
seeking to profit from the interest. For these reasons, such 
places ?work:? results are somewhat predictable and case 
studies are plentiful.
A non-normative approach, on the other hand, would allow 
leftover, accidental, abandoned or otherwise un- or ill-used 
spaces to remain as such while contributing to the larger 
context of economic or social growth. It might furthermore 
provoke or heighten disturbance and experiential qualities 
at this end of the emotional spectrum. Cities, like any living 
organism, need constant fluctuation, abrasiveness, even 
turmoil to survive, for it is only with stagnation that they 
die. Such places are, in Alan Berger?s terms, liminal. As he 
explains it, a liminal space is an in-between landscape, not 
fully able to be ascribed to a specific function, category, or 
idealistic endeavor ?because they remain at the margins (or 
limen, which means ?threshold? in Latin), awaiting a societal 
desire to inscribe them with value and status? (Berger 2006, 
29). Similarly, Sola-Morales, Doron, and Levesque have 
written on the subject of in-between landscapes, which they 
term terrain vagues. Their work explores the relationships 
between user and landscape, and not only encourages a 
non-normative design approach to shaping the landscape, 
but even advocates non-normative behaviors (residual, 
transgressive, loose) (Preston & Klingenstein n.d.).
It is an interest in both a non-normative approach to land-
scape design as well as a desire to cater to non-normative 
behaviors that my project engages. It addresses homog-
enous, rigid, predictable design ? the normative, suggesting 
it is only adding to the eventual demise of Atlanta, GA by not 
acknowledging inner turmoil and agitation. Relph?s interest 
in place as reclamation of space is, as he states, somewhat 
shallow in regard to a fundamental design approach. Ac-
cording to him, ?the results are often pleasant, informative, 
and exquisitely restored, but they do nothing to challenge 
the placeless processes of modern development methods? 
(Relph 1993, 33). My critique of this is that the impersonal, 
mass producible environment that emerged from the instant 
environment machine was almost a welcome outcome of the 
technological advances of modernism. Nonetheless, my proj-
ect critiques the very notion of placeless design at its core, 
asking of the populations involved if heterogeneous environ-
ments can offer security while allowing them to be far more 
dynamic than current conventions allow. Through its interest 
in the historical formulation of the site, my thesis project 
allows the city to achieve its goal of historic preservation by 
enabling the processes that have shaped the site and the city 
over the last 150 years to continue, kept constantly in dia-
logue by various parties, user groups, and vested interests.
31
Figure 6. Terrain Vague. Often described as leftover spaces, terrain vague landscapes are plentiful. They represent the 
margins of society and often provide alcoves for the practice of non-normative behaviors. 

33
chapter 3: 
site investigations
Aural Origins. At the northern, woodier edge, subtle bird and insect 
vocalizations can be heard. At the southern edge, however, thunder-
ous rumbles from passing trains overpower everything else.
Ground-plane Textures. Surface material differentiations range from 
newly exposed soil to well-compacted and exposed earth; from bits 
of asphalt and concrete to basins of sludge.
Transportation Network. The terrain of study is enclosed on three 
sides by existing streets and rail lines. The BeltLine rail route on the 
map does not yet exist, although its placement here refers to the 
historic rail location.
Social and Ecological Systems. Most evidence of ecology surrounds 
the historic rail line as well as the bridge overpass at the northern 
edge. Heavy machinery is likely the cause of disturbance for the 
other areas.
35
preliminary spatial map?ings
In terms of isolating important site elements in order to 
investigate spatial relationships, the four maps to the left 
all share a common element: the existing and proposed 
transportation network which forms pseudo site boundaries 
and edge conditions. To the south of the site lies the Hulsey 
cargo yard. Adjacent to it runs the MARTA light rail system 
with DeKalb Avenue underneath. At the north end of the site 
runs Edgewood Avenue which sits at grade except for the 
overpass where the rail travels underneath. Smaller streets 
run along the east and west side, enclosing the site.
The ground plane condition is currently in a unique state. Be-
cause the BeltLine has begun to be implemented in various 
locations around the (proposed) track, some site disturbance 
has occurred (such as the addition of BeltLine markers and 
the movement patterns of construction equipment) but 
no surface material manipulations have yet been initiated. 
Consequently, the study terrain intricacies that beg to be 
manipulated and explored more fully. These will be discussed 
in more detail later. 
For the map of aural origins, the most interesting dichotomy 
comes from the north and south poles of the site. At the 
woodier north end, the sounds originate primarily from birds 
and insects, while at the southern end the airwaves are domi-
nated by sounds of the roaring MARTA and cargo trains.
In the map of social and ecological communities, evidence of 
life seems to occur mostly along the historic rail line where 
the ruderal ecology has begun to reclaim ownership. Outside 
of this line the heavy machinery has prevented much growth. 
The spaces of human interaction primarily occur underneath 
and around the area of the overpass where a migrant com-
munity has set up what appears to be a temporary but stable 
base and sleeping grounds.
texture palettes
The following texture and content palettes seek to reveal 
and accentuate what the maps of spatial relationship in plan 
cannot: intricacies of scale, angle, and application. Together, 
they encapsulate a representation of the site?s affect, an 
initial interpretation of and connection to it. Uninhibited by 
weighted graphic representation, they seek to expose the 
site characteristics in a manner that is easy to engage so that 
the reader may formulate opinions that agree or disagree 
with mine. The beauty of the person-landscape interaction 
is that each interaction is completely different and open 
to interpretation. However, I wish to put forth and explain 
my connection with it to substantiate its affect and, more 
broadly, the project?s goal of justifying the design of spaces 
to support this under-explored set of emotions.
The graffiti palette to the right shows the colorful addi-
tions to the existing concrete and metal while underlying 
the boundaries of contestation and ownership through the 
content of the words. The specific images display various 
colors, symbols, tags and locations of placement. Although 
the majority of the text is difficult to decipher, it appears to 
be deliberately placed. As Sanchez-Tranquilino writes, unique 
insignias of graffiti have, historically, appeared in locations 
relevant to the street culture at hand. Close observation 
of such signs show they often appear on the peripheries 
of youth gang territories, and the inscriptions themselves, 
although readable only by few, convey very specific territorial 
ownership information (Sanchez-Tranquilino 1978). 
37Graffi ti Palette
The palette depicting the variation between light, shade, 
and shadow seeks to draw out the subtleties of microclimate 
across the site. Areas under and around the overpass, for ex-
ample, are always in shade and cooler, while the areas north 
of the overpass are usually dappled in shade and the space 
at the south end of the site is wide open to the sun and 
wind. Less apparent but implied in this palette is the ability of 
the vertical and horizontal elements to affect wind patterns 
as well. These markers can offer just as much spatial orienta-
tion to the user as the specific graffiti insignias, depending 
on seasonal and daily variations. 
In designing with microclimates, thermal comfort zones can 
be taken into account to encourage/ discourage inhabitation 
of particular spaces. Six common conditions that establish 
comfort factor are sun position, wind direction, site topogra-
phy, vegetation, and existing infrastructure (and buildings). 
Moreover, admitting a desired resource at the site scale is 
more important than blocking an undesired resource be-
cause constructed elements can typically reduce the impact 
of the undesired resource while gaining access to the desired 
resource is more a problem of location (Brown & DeKay 
2001).
39
Light and Shadow Palette
The materials palette also moves through scales between ob-
jects and context with displays ranging from small concrete 
surface cracks and rubble to large oil stains, standing water, 
and several species of vine and shrub. 
With respect to the plant communities, succession refers 
to the natural replacement of one species / set of species 
with another. For Georgian fields, the most likely pattern of 
succession after abandonment includes grasslands of aster, 
broomsedge, and horseweed, giving way to shrubs and 
pines and finally oak and hickory hardwoods (Johnston & 
Odum 1956). Although this site is found within the heart of 
Atlanta, some of the early grassland species are evident (i.e. 
broomsedge), although the seed bank is far more diverse 
than a Georgian field.
With respect to the site?s abandonment, the evidence of con-
crete and asphalt in variously sized portions suggests that 
heavy machinery has disturbed nearly all traces of former 
use. In combination, these factors most notably give the site 
its marginalized and heterogeneous status, as discussed in 
more detail later.
41Materials Palette
Another palette draws out the distinctions between the 
permanent and nomadic conditions of the site with elements 
from the long-standing overpass and billboard columns to 
tire tracks, the seasonal leaf bed, and evidence of daily hu-
man interaction. It is this aspect of the site that has contrib-
uted most to its affective potential, most likely due to the 
unpredictable nature of the impermanent elements (i.e. the 
distinct signs of temporary migratory encampment mani-
fested through bedding, clothing, boxes, and food, as well as 
signs of through-passage by machinery.) 
Interestingly, signs of impermanence occur most often near 
the relatively permanent elements (the columns, fences, 
walls, shrubs, and trees). Because of this, the areas with the 
most notable signs of impermanence elicit the strongest 
affective response. These include: vulnerability, dispro-
portionately scaled, intrusiveness, trespassing, suspicious, 
curious, unsafe, unsanitary, dirty, enclosed, cold, sheltered, 
and scared. 
43Permanence & Nomadism Palette
The transportation infrastructure palette includes some ele-
ments from all of the previous photo sets but emphasizes 
the industrial might and quality of the two opposing bridges: 
at the north end the overpass that is Edgewood Avenue and 
at the south end the permanently elevated corridor that 
MARTA runs along. 
Their presence subtly emphasizes the location of the 
site with respect to the city of Atlanta. Already filled with 
infrastructural components, the city is meeting the citizens? 
need for movement. Because the two bridges shown here 
are existing, they serve as both symbols of this marginalized 
landscape and as the functions of transportation and indus-
try. Their aesthetic quality as they pertain to the affect of the 
site comes from their re-appropriation as markers of owner-
ship and boundaries of social groups as well as temporary 
shelters for the nomadic people of the area. 
45Infrastructural Palette

47
chapter 4: 
design investigations
According to Claude Levi-Strauss, every thing (or idea, as 
described by Spinoza) has a context. Implied here is the 
relationship of the thing with its environment (signifier and 
signified). Umberto Eco terms this signifier and signified rela-
tionship the ?sign-vehicle and meaning,? and maintains that 
because of this relationship, the object and its environment 
are interpreted as one thing. 
If the object is moved into another context, the meaning 
changes. That is, we must read the object with its new con-
text. It lives within this context and has a particular meaning. 
This concept Levi-Strauss terms semantic fission (removing 
the object from its current relationship) and fusion (forming 
a new relationship) (Mahsun 1987). Russian formalists call 
this rearrangement operation ?ostranneniye,? or ?making it 
strange.? Eco states, ?we have separated the meaning from 
its significant, and have made the significant available to an-
other meaning or other meanings. The sign object becomes 
ambiguous, strange, loaded with (and empty of) meanings? 
(Eco 1971, 1210). 
With respect to art and the environment, Eco has applied 
Levi-Strauss?s idea of semantic fission to pop art. In prin-
ciple, pop art takes an object or idea and asks the viewer 
to reinterpret the object within a new context. As Mahsun 
states, ?the popular arts, while not concerned with revelation 
but rather entertainment or persuasion, inadvertently reveal 
the values of our society when elements of them are placed 
within the context of fine art? (Mahsun 1987, 46). Pop art, 
because of this, mixes up the visual communication method 
with an elicitation of contemplation by the viewer. ?We are 
being asked to delete our habitual, unthinking reactions, to 
replace them with new, personal responses to our environ-
ment? (Mahsun 1987, 47). The artist then, views the object 
as separate from a context and asks the viewer to instill his/
her own context of reality into the signifier and signified 
relationship.
This project uses a similar mechanism of semantic fission. By 
rearranging given objects within the terrain, it seeks to elicit 
emotional responses from the users of the site through their 
own interpretation of object-environment relationship. 
Initial rearrangement strategies are discussed below. They 
do not add anything to the field that is not already existing 
(save the addition of the BeltLine), nor do they remove any 
objects. By doing so, the affect of the site becomes intensi-
fied. The semantic fission transforms the way in which the 
user will interpret common items. This is a kind of user 
perpetrated semantic fission. It explores the marginality and 
negative social-environmental relationship that cities wish 
to cover up, erase, or otherwise alter through public works 
projects.
semantic fission
49
Figure 7. Fountain. This piece by artist Marcel Duchamp is classifi ed as a ?ready-
made,? due to the fact that the urinal already existed. Signed R. Mutt, the foun-
tain is considered one of the most important readymade pop art pieces.  By view-
ing the urinal in a new context (i.e. drinking from it), the viewer must interpret the 
piece in a radically different way than the context in which urinals are normally 
found. Duchamp explored the semantic fi ssion of the object-environment rela-
tionship, and the user must semantically fuse the object into a new relationship.
image courtesy of Wikimedia Commons
A set of four early design investigations rearranged site ele-
ments to create new user-landscape relationships without 
introducing new material. In this example from the current 
project, the ruderal ecologies are encouraged to overtake 
the concrete in swaths. Shown here, the remaining concrete 
in the northeastern corner of the site would be broken into 
large blocks, allowing the plant species to infiltrate the 
cracks and run along the top of the concrete, forming a new 
relationship between plant and concrete. Rather than remove 
this rubble, this relationship would highlight the differences 
in texture, drainage abilities, and longevity of the matter 
itself. Interestingly, the people in this example detract from 
this relationship. They seem rather into interacting with the 
landscape rather than adding to the rearrangement. 
51
Another rearrangement strategy involves altering the plane 
in which a metal barrier exists. Rather than break up the site, 
it could be simply turned into a platform for entry and exit 
from the train with the leftover oil drums used for trash and 
recycling bins. It would make more apparent to the BeltLine 
passengers that they are entering and exiting this terrain 
of contestation by actually walking on the graffi ti markers. 
By being placed onto the ground plane, the symbols more 
clearly signify their intent as well as indicate that instead of 
serving as examples of vandalism, they are ingrained within 
the social ecologies of the landscape. 
This image shows the application onto the Edgewood Ave. 
bridge surface of a material that rusts, changing the color 
of the metal walls to a permanent feature and juxtapos-
ing it with the green of the vines. By doing this, the grime 
and indeterminate quality is preserved. Careful contempla-
tion would reveal, however, that the materiality of typical 
concrete columns prevents them from rusting. One would 
be left wondering why the concrete is coated in metal and 
whether the rust is intentional or accidental, as well as how 
the soil base for the vines allows them to grow on the side 
of the bridge, maintaining a slight sense of ambiguity and 
room for interpretation by the viewer. A hulking piece of 
rusting infrastructure with new plant growth (that is still in 
use) seems simultaneously confusing and awe-inspiring. 
53
The light and shadow patterns could easily be deconstructed 
with a few well-placed cutouts in the overpass. This strategy 
is similar to a technique Casebere has used to call attention 
to both the shaded and sunny portions of the area of inter-
est. The effect would be further variable according to the 
angle and intensity of the sun. As the sun moves throughout 
the day, different portions of the underpass would be high-
lighted, from specifi c territorial graffi ti markings to evidence 
of nomadic migration and encampment and even shrub 
undergrowth. The user is asked to form interpretations of 
this scene through the simple rearrangement of sunlight. 
This series of six drawings investigates whether the territo-
rial boundaries and the idea of contestation can be visually 
represented in a way other than graffiti. Specifically it uses 
shadows to mark the entry and exit points of the site in 
relation to the remainder of the BeltLine. By traveling under 
objects with different intensities of shadow, site boundaries 
are made more ambiguous, and users are left wondering 
where this study terrain begins and ends. Above is the exist-
ing condition at the north end. Notice the narrowness of the 
permanent shadow underneath the bridge. 
55
Here, the subtlest of dappled shadow extensions enhances 
the transition by adding to the area under shadow. Because 
this rendition specifi cally shows a tree not typically used for 
shade, the slight addition of shadow does not suffi ciently 
demarcate a boundary of transition. The shade produced by 
the tree would most likely not be interpreted as having the 
same meaning as the shade produced by the underpass. A 
more clear approach is necessary. 
Because the shadow created by the addition of a single small 
tree is perhaps too sublte, two larger trees here add to the 
effect in terms of shadow intensities. Also slightly larger 
shade trees have been chosen to corroborate the thick shad-
ow of the underpass, extending it along the path of entry 
and exit as well allowing it to filter into other portions of the 
site. However, the size of these trees still fails to sufficiently 
demarcate the entry point. Additionally, the effect will vary as 
a function of how users move. For instance, those walking or 
running along a path will almost certainly interpret the areas 
of shade in a different manner than those traveling faster 
inside the confines of the BeltLine train. 
57
At the south end of the site no existing structure delin-
eates entry and exit points, so any addition will seem more 
dramatic. Shown here is the existing condition. The train will 
enter from the north end and exit here, crossing Airline St SE 
in the foreground. The goal of this additional investigation 
is to create a canopy above and shadow on the ground that 
creates a similar feeling as the underpass at the north end. 
Because of this, larger trees will be selected to perform this 
function. 
The initial planting and growth of the trees on either side 
of the future track of the BeltLine will not serve the desired 
function. Although the addition of the trees is clearly notice-
able, the desired transitional zone is not of great enough 
effect to suggest a boundary. The marking of boundaries is 
crucial here to allow users to formulate a sense of where the 
site begins and ends especially because no graffiti exists at 
this portion of the site. The goal is to differentiate the terrain 
and its affect from the remainder of the track system as well 
as the surrounding commercial and residential context of the 
city. 
59
Once the trees reach a mature height, however, an edge 
effect is immediately noticeable. Thickly dappled patterns 
of shadow as well as the height and canopy of the trees 
will force users to realize they are moving through another 
boundary. However, and perhaps most importantly, the 
result is that the scene appears normatively romanticized. 
Because this counteracts the desired goals, the study serves 
as a good example of methodologically working towards 
achieving a certain affect, but it is far too ambiguous in this 
regard. Different approaches will follow, adding to the inter-
pretive potential of the site rather than relying on indications 
at the entry and exit points. 
The following graphic series represents a range of possibili-
ties of landscape manipulations based on the normative and 
non-normative behavioral patterns of various user groups. 
The user groups are being studied in insolation here to show 
the wide difference in landscape re-appropriation over time, 
should any of these user groups be given power to manipu-
late the landscape as they choose. This series investigates 
the user-landscape relationship in terms of the dynamic and 
vested interests different groups of people might have over 
the installation?s longevity. It includes a rail + trail strat-
egy, which is perhaps most closely related to the BeltLine 
organization?s proposal series, an industrial strategy, which 
hands control of the study site to the operators of the Hulsey 
cargo yard, a successive seeding strategy, which relies on 
the city arborists and volunteers to craft an initial conditions 
approach to the site?s evolutionary pattern, and a transgres-
sive strategy, which permits any and all behaviors deemed 
inappropriate in the majority of public space. 
From a historical standpoint, Atlanta has been built on con-
stant change, on the transfer of control of plots of land and 
the changes to the landscape that any of these parties has 
willed upon it. One historic preservation strategy that the city 
and the administrators of the BeltLine have not thought of or 
discussed is this strategy of entrepreneurship and capital-
ism. Remaining true to the history of not only the site but 
of the foundation upon which the city sits would mean not 
simply restoring building facades to buildings over a certain 
age, as the city suggests, but holding onto the principles of 
landscape control and manipulation over time.
However, it is not the intent of this project to hand control 
of the landscape over to any of these user groups. Rather, 
this study is designed to determine what consequences the 
normative vs non-normative behavioral patterns might have 
in physical form over time. 
The above image is a photographic montage taken from a 
similar angle as the study of sun and shadow manipulations 
at the south end of the site facing north. It serves as the 
baseline for the changing landscape. 
61
rail + trail strategy
Above: The rail and trail strategy seeks to mimic a possible 
outcome of giving control of the landscape to the BeltLine 
organization, which  might handle it in much the same way 
as it would with its other surrounding property. After the 
tracks are laid and the sidewalk poured, rhythmic planting 
and maintenance would likely occur. 
Below: As the space matures, it would begin to feel more 
comfortable to users of the trail, due to the organization 
of the space, as well as the size, shape, and maturity of the 
plant community. It would, in other words, assume a human 
scale and would foster activities such as running, bicycling, 
and sightseeing. 
Above: As the landscape matures, one likely outcome is 
the park-like feeling of the open landscape to the east of 
the tracks. A meadow might arise, inviting such activities as 
neighborhood sports or picnicking.  This strategy is played 
out like this to discover what benefits such a strategy might 
give to the landscape, although this outcome stands in direct 
opposition to the stated goals of this project. It is the as-
sumption, then, that the activities noted above might arise in 
the other locations along the line.
63
Above: The industrial strategy gives control of the land-
scape to the neighboring Hulsey cargo yard. It is thus used 
in various capacities related to the operation of the yard. In 
this example, the landscape is used as a storage yard for the 
materials passing through Atlanta. Trains would be unloaded 
and the materials hauled across Dekalb Ave. to be stored.
Below: Because the storage of many of these material ele-
ments does not fundamentally require the physical alteration 
of the landscape (although it might cause an alteration), 
these materials would be moved and swapped as needed. 
Some, however, might require structures for storage, such as 
the silo pictured below. 
industrial strategy
Above: The unaltered portions of the site could just as easily 
be used for other functions such as worker and machinery 
parking. Permanent storage structures might remain due to 
the cost of building such infrastructure and the probability 
with which they will be used in the future. 
Below: As heavy machinery traverses the site, it is clear that 
changes must be made (i.e. asphalt) and the ramifications of 
such actions would change topography, hydrology, vegeta-
tion growth, etc. In studying the industrial example, however, 
it is unclear exactly how the Hulsey yard organization would 
transport materials, machinery, and man-power across a 
busy avenue and elevated passenger train line, and whether 
or not storage space is necessary at all. 
65
Above: This strategy explores the changes to the landscape 
if, for instance, control is given to the city arborist organiza-
tion.  Initial planting would occur from seedlings to foster a 
specifi c site atmosphere. 
Below: The seedlings (in addition to the seed bank already 
present in the soil) would give way to a less organized land-
scape, fi lled with plants clearly placed into this environment 
and those which have sprouted up from the soil, blurring the 
line between manicured, desired plants and weeds. 
successive seeding strategy
Above: As the plantings mature, preferential treatment 
would be given to those species likely to perform beneficial 
operations on the landscape, such as trees with dense root 
structures to prevent soil erosion and site runoff, as well as 
to those that perform aesthetic functions, marking the site as 
a clearly public property open for inhabitation.
Below: Within this hybrid planting matrix, some things 
would clearly emerge, such as pathway lines from the most 
traversed points of entry and exit, as well as areas of inhabi-
tation. Such a strategy, however, limits site use to predomi-
nantly ecological functions. 
67
Above: The transgressive strategy caters to a social ap-
propriation of the space such that any behavior becomes 
plausible and permitted, even those that are prohibited 
elsewhere. This remains the truest to the operation of the 
current site, which includes activity by nomadic migrants and 
gang related activity. 
Below: These actions will likely reappropriate any site addi-
tions to match this social organizing strategy so that installa-
tions such as orienting markers, signs, art pieces, train stops, 
etc. might be altered to rearranged according to anyone?s 
will. 
transgressive strategy
Above: Covered structures might be used for makeshift 
shelters or stations of panhandling, while the landscape itself 
might be dug up or altered as any passerby wishes.
Below: Such operations would be cumulative, so that graf-
fiti builds up, trash accumulates, and pits and piles form. 
This strategy offers a dynamic that engenders emotional 
responses from users most closely related to the goals of 
this project, as well as prevents the site from reaching a final 
state of maturation, providing historic preservation only 
to the processes of re-appropriation rather than specific 
objects. 
69

71
chapter 5: 
design formulation
Hannah H?ch, known primarily for her early artwork emanat-
ing from the Dada movement, was one of the most prolific 
artists working in the realm of photomontages. Procuring 
material for her work almost exclusively from current event 
German periodicals, she rearranged and retold modern 
stories of civilization through war, social, and technological 
changes and advances. 
Her career spanned over half a century, and with that, her 
photomontages transformed. She produced pieces that 
advanced Dada, surrealism, abstract art, and even studied 
industry and social change. The one unifying factor through-
out her career and research interests, however, is her devo-
tion to method. By ravenously procuring imagery material, 
she was able to keep on hand the raw materials to create 
anything imaginable (Makela & Boswell 1996). 
She would take the images, remove them from their current 
contexts (within the magazine or newspaper), and rearrange 
them onto canvases and boards, fusing them into entirely 
new creations. This is Claude Levi-Strauss in its purest form. 
Mechanically fissioning images from text and elements from 
images and arranging them into new compositions, she 
performed a singular art form, relying far more on the found 
elements to tell stories than a painter would rely on the paint 
to tell a story, for instance.
Consequently, she was able to create photomontages that 
enhanced an aspect of the affect of the images with which 
she was working. Rather than creating something entirely 
new, she told stories with actual material, completely depen-
dent on the social, environmental, technological, and artistic 
communities within which she lived and worked. 
Because this method so closely mimics the philosophy of 
Levi-Strauss, I have chosen photomontage as the principle 
mechanism to move forward the design strategy. After 
studying the site in terms of the palettes and historic and 
current communities discussed above, I chose H?ch as a case 
study for method. It is clear that her technique and ability 
became more complex and advanced over the course of her 
career, in which time she could weave multiple stories out 
of seemingly almost irrelevant material. Because I have not 
practiced the photomontage technique for this length of 
time, it is necessary to keep the fission and fusion manipula-
tions as simple as possible to maintain a methodical course 
of action. 
Hannah H?ch: fission revisited
73
Figure 8. Industrielandschaft (Industrial Landscape). H?ch?s composition of this 
piece is one of her only landscape montages. It is compelling due to its range 
of depth. Unlike some of her work, this piece seems to draw from many differ-
ent sources and represent a complex fi eld of various operations, depicting plan, 
section, and perspective all in one. On further study, however, it becomes clear 
that she has used a cutout technique to imply busy skylines and industrial units 
on images that originally implied completely different meanings, such as the 
crowded aerial view of people that makes up most of the center of the montage. 
By doing this, she creates an atmosphere of bleak density and mechanized pro-
duction from images of people and water, among other things. 
image courtesy of Makela Walker Art Center
This set of four montages is the first attempt to delve into 
the world of photomontage to represent the design site. For 
a material base, I gathered printed photographs from my 
visits there, as well as magazines and other printed media. 
There were no rules in this process of creation. I was only in-
terested in the processes of cutting, rearranging, and placing 
pieces of images to create new ideas. I did however, make an 
attempt to create montages in the form of different modes 
of representation.
Here, for instance, I chose plan view as the representational 
mode. Out of a photograph of a wall of graffiti, I cut the 
outline of the site and infrastructural movement routes 
around the site. The tarnished, worked-over conglomeration 
of colors, sights, and meanings becomes one thing when 
applied to this surrounding field relationship. On top of this 
I placed an over-emphasized pool of water, wrought with 
pollution and overgrowth, with its source of infiltration and 
a drainage valve in the center. I was particularly interested in 
the juxtaposition of the strategies of fission: the pool is torn 
out while the site edges are carefully cut.
75
This photomontage attempts to create a plan-perspective 
hybrid, exploring simultaneously the themes of ecology and 
sociology. While the ground plane is constructed of rock, 
pebbles, debris, and grasses, clear pathways are installed, 
leading visitors to a dense inner grove, which is lit from the 
ground up with a scheme mimicking the street layout of the 
city. 
Elements are intentionally oversized and undersized, adding 
to the mystique of the scenographic arrangement. Addition-
ally, while there are many people shown in the image, the 
vast majority of them gather on the edges of this land-
scape, remaining faceless and nameless either too afraid, 
unimpressed, or otherwise occupied to enter. One person, 
however, is immensely intrigued by the affect generated and 
must fi nd out what is hiding in the grove. 
77
Here I seek to explore the relationship of the foreground to 
the background, as well as viewer orientation. Rising into 
view at the bottom is a person peering off into the distance 
of the landscape. Opposite her is a clear pathway leading to 
the horizon, while the murky status of the remainder of the 
foreground remains unclear and foreboding. 
Immediately behind this sit an oversized fl ower covered in 
dew and an inverted tree trunk. It is impossible to determine 
whether or not the tree grows from some unseen destination 
or whether it has been intentionally placed here and whether 
its graffi ti has come before or after its possible demise. 
In the center of the image, clouding the horizon, is a forma-
tion of stalactites and stalagmites, representing the rising 
ground plane meeting a downward infi ltration of infra-
structural components and the no-man?s-land it created in 
between. 
79
This photomontage completes the initial set. A void back-
ground heightens the relationship of the object to each 
other, allowing them to bring latent meanings in while obvi-
ously forming new ones when matched with new objects. 
Restrictive color palette forces the collage relationships to 
focus on simple fusion mechanisms, all gated within a purga-
tory of confi nement and condemnation. 
Rusty railroad spikes from the site have assumed character 
and personality, representing beauty, strength, and omnipo-
tence. Industrial debris wreaks havoc on the site?s ecology, 
while the characters watch, either undisturbed or unable to 
aid in the site?s rehabilitation. 
81

83
The next four montages comprise an effort to extend the 
exploratory mechanisms of the previous set. To do this, a 
set of very simple rules was established to begin to ground 
the collages in a way that could lead to a design parameter. 
Thus, they serve as a crucial link between abstract explora-
tion and a series of drawings that fi t into the representational 
form landscape architect?s frequently create: plan, section, 
perspective, etc. A careful analysis of H?ch?s work reveals 
that over her career, she progressed into making more and 
more complicated collages, out of which her own rule mak-
ing decisions can be picked up. This stands in contrast to her 
earliest work, where the rules seem to be very simple. The 
four collages I have created here mimic the simplistic rule 
base of H?ch?s early work in order to most clearly establish 
a link between abstract collage making and a set of design 
proposals. In this series, the collages must have been created 
from photographs only taken from the site. They must also 
be organized in such a way that the organizational structure 
is clear. To accomplish this, I made all of the collages in 
either plan or section format. 
Here, the plan format lends example of possible pathways 
around objects, or zones of differing materiality. These 
pathways intersect at both orthogonal and non-orthogonal 
angles. In critiquing this collage in terms of how the intended 
affect is established, the seeming randomness of the spatial 
format of the objects in relation to the fi eld of pathways sug-
gests a mild chaos that is desirable. However, the elements 
themselves and the shape and size of the pathways seem too 
detracted and random to imply a causal design strategy.

85
Here, a plan is set on a void background. This strategy 
diminishes the relative importance of the ground plane and 
instead heightens the intensity and relationships among 
the fi eld elements. The metal wall is cut to make a platform, 
possibly for the purpose of the train stop. The rock slabs are 
removed and manipulated to suggest both a site pathway 
and a pile of rubble which simultaneously seems out of place 
and perfect for a site like this, leaving the user wondering in 
what state of construction or completion the site lives. The 
pool of slimy water is moved away from the other elements 
to make it a more formidable, stand alone object, while the 
site vegetation is arranged in clear strips across the land-
scape, between which users must navigate. They are given 
the most importance however, forcing all other elements to 
bend to their rules. The growth springs forth from the metal 
platform, extends into the pool, and clambers over the rocks. 
The resulting affective relationship is more successful than 
the previous collage, in part because it has been simplifi ed 
even more into just a few elements, and also because the 
strategy in which it was laid out and that which it implies 
for design is much clearer. In addition, the resulting mental 
imagery of this collage suggests an almost lost or forgotten 
landscape in a state of disrepair, save for the very obvious 
strips of ?weeds? laid upon the ground plane and other ele-
ments, forming an affective relationship of wonder, confu-
sion, vague, and possibly danger.

87
This montage uses aspects of perspective in a sectional for-
mat. Against another void background, the thick foreground 
brush on one side is becomes vertically dominated by a hulk-
ing obelisk of a glass bottle. The bridge forms a canopy over-
head to complement the dark underbrush drawing one?s at-
tention to the created frame, depicting nothing at all, instead 
pushing focus back to the edges of the piece. The theme of 
scale is seen again in the bridge pillars, with fencing of both 
mesh and thick cables covering the openings between the 
concrete. In front of this, stalagmites of bark spring forth 
from the ground, seemingly dripped from somewhere just 
out of the picture. The effect of the piece relies heavily on 
this sense of over-scaled objects and muted color palette, on 
the dark and dense versus the single and clustered shown in 
the spotlight, on the smooth texture of concrete and glass 
juxtaposed against the thicket of brush and rough bark and 
cables. Because these objects arise out of the vague ground 
plane and void background, they serve as pillars of super-
human scale, as exemplars of craft and biological growth 
processes, and as beacons in the sky to this eerie landscape. 

89
The fi nal photomontage in this series is also depicted in the 
form of section. It perhaps furthers the previous collage in 
terms of organization and construction, emphasizing the 
importance of vertical elements jutting out from the ground 
plane. Here, the color palette is focused almost entirely on 
the vertical elements. The black and white nature of the slop-
ing ground plane and the infi nite background cause them 
to blend into one fi eld upon which clear objects are placed, 
again serving as beacons of gritty urban symbolism thrusting 
into the sky. The elements themselves are made of different 
materials, colors, sizes, and forms, creating a loosely clus-
tered connection between them. One can imagine weaving 
through these pieces which at one point forms a portal with 
a constructed canopy of limbs and branches woven together 
like the constituents of a bird?s nest. Furthermore, because 
the vertical columns can be erected with site rubble, the 
arrangement is authentic, unlike that of the previous collage, 
in which oversized statue-like pieces would have to be cre-
ated and placed. This collage remains truest to the concept 
of semantic fi ssion, in which only rearrangement strategies 
of earth, elements, colors, and textures create an organized 
yet unclear landscape welcoming personal interaction and 
interpretation. 
Moving from collage into more concrete and legible meth-
ods of spatial representation, ink wash was used to depict 
the set of final drawings. They fall in line with the project 
goals of methodical affective representation while allow for 
a more detailed understanding of site design initiatives than 
do montages. 
The three images shown here represent the initial transition 
into this form of media, similar to the first set of montages. 
Again they do not follow any organizational rule pattern, 
although they very clearly draw from elements gleaned from 
the montages. Specifically, the plan is meant to depict a 
murky field where water, plants, and soil blend together and 
shard-like columns protrude from the landscape. 
The perspectives to the right begin to flesh these mecha-
nisms out, dealing with size, shape, and orientation of the 
columns to the grasses and water while framing specific 
views that site users might encounter. 
from montage to paint
91
Slowly, a more detailed plan rendition was formulated, ad-
hering to a set of rules of spatial organization. For example, 
the pool of water sits on the west side of the site. Out of the 
concrete slab that currently occupies this location, rock and 
rubble is removed to form the columns. Soil is also removed 
for site regrading, which is shown in the topographic plan 
above as well as the merged image to the right. The contours 
are measured in four foot increments, identifying large land 
formations and dips at the east end of the site. Vegetation 
responds to these topographical and hydrological condi-
tions, creating the most diversity near these areas. 
The light rail tracks sweep through the west portion of the 
site in respect of the historical preservation of their previ-
ous location. In his book, the Machine in the Garden (1964), 
Leo Marx explores the development of machine technology 
against the pastoral ideal of America. Probing deeper than 
the juxtaposition of machines in a pastoral environment, 
Marx touches on the psychological ramifications of such an 
action. He critiques the popular argument of achieving a 
common ground between this pastoral ideal and America as 
an industrial strength, seeking to contradict the urge for rural 
happiness and the desire for the benefits of living in a dense 
city. Here, the landscape design strategy rejects the park-like 
93
environment that is being created elsewhere along the Belt-
Line and gives power to the dynamism of the ecological and 
social possibilities that may spring forth from a site of such 
affect and responds to the grading plan. In addition, one 
maintenance strategy for the site dictates the clearing of the 
ground plane on a six-month basis, restricting the growth of 
trees in favor of a dense ground layer. 

95
The plan also depicts the location of rubble pillars in relation 
to the tracks. It should be apparent that there is no train 
stop, forcing those curious enough to fi nd their own way 
into this landscape, and keeping a distance between the train 
passengers and the pillars, the beacons of organization and 
intrigue in this otherwise vague, dynamic landscape. 
The pillars themselves are constructed from the broken con-
crete removed to create the pool. The structures are formed 
by erecting rebar frames, wrapping them with the chain link 
that currently surrounds much of the site, and fi lling them 
with the pieces of concrete and debris. 
The sections above cut through the site in both NS and EW 
directions, picking up the tracks, columns, pool, and hills with 
respect to the bridges and buildings. 
A A
A
B
C
A
B
C
C
C
B
B
To the east, the view would be of a receding mounded 
topography, overtaking the MARTA train line in the back-
ground, while the columns shoot out of the landscape in the 
middle ground, as seen on the right. 
From the train, passengers would be exposed to two distinc-
tive views. While traveling south, they would view to the 
west the pool at the concrete ledge, grassy embankment, 
and apartment complexes and industrial buildings in the 
background, as shown above. 
97
This detail of the ephemeral pool seeks to show that the 
process  of concrete removal creates scars to the remaining 
ledge, partially overshadowed by the embankment and foli-
age. Also highlighted are potential ecological ramifications of 
creating such a space.
99
A detail of the train trecking through the landscape shows 
how it will interact with the ground plane. A concrete ledge 
raises the structure slightly, subtly differentiating it. Addition-
ally, it is unlikely that the track pattern will mimic historic 
railroad tie formation, instead forming the structure out of 
concrete
conclusion and reflections
This endeavor began as an interest in a self-directed studio 
thesis engaging in infrastructure. Although it changed drasti-
cally throughout the course of the past ten months, the rigor 
of conducting this experiment did not waver. It took me 
into completely uncharted territory of which I was not even 
aware before the process began. Born out of this project, 
then, is not only a proposal for a specific site with respect 
to the infrastructural theme, but also an understanding of 
how to conduct research with unforeseen endings, allowing 
the findings to change the theoretical framework, research 
interests, and methodologies along the way to arrive at truly 
novel outcomes. 
Once a site was found, it was the interest in the person-
environment relationship that reshaped the chronology of 
the research questions as well as the procedures by which 
I progressed. Because of this, the methodology of design-
ing this site differs drastically from the normative models 
of landscape architectural design. Because I completed the 
project as a thesis study, I was able to provide my own con-
cerns and throw out those that I was less interested in. 
The final drawings displayed in this book arise directly out of 
the methodological processes which led the research, both 
in terms of the theoretical framework and the representa-
tional method I set up from the beginning. They propose 
and depict often overlooked dynamic operations in vague 
landscapes. Social implications of the design proposal rely 
on the ability of user groups to re-appropriate the space for 
their own concerns. By advocating this strategy, the terrain 
of study frames the landscape against the backdrop of the 
BeltLine, its goals and objectives, adjacent parks, and the so-
cial, transportational, and ecological networks that are born 
of its existence. The historic preservation strategy of allowing 
changes to the study site to be brought about by necessity 
is held within the context of the pillars and their ability to 
convey these webs of networks as a single, necessary unit 
within the larger urban fabric.
Strengths of the project come from this alternative approach 
to landscape architectural design, ignoring past conventions 
in favor of the interests described throughout the book. Be-
cause of this, rigor was maintained throughout the process. 
Weaknesses arise, however, in response to these decisions 
and the strengths gained. For instance, I rejected clean draw-
ings (as shown in the appendix) in favor of the somewhat 
more murky ink wash depictions. I could have taken these 
one or two steps further, had time permitted, but the effort 
to create such images was far more time consuming for 
me than the computer generated images that are common 
practice today. Other weaknesses include the decisions to 
largely ignore the interests of the BeltLine organization as 
well as the nomadic populations that currently use the site. 
Additionally, the project could have benefitted from a more 
thorough examination of the ecological growth of the site 
after implementation of the tracks and the pillars of concrete.  
Although these faults were somewhat intentional, they only 
occurred as a result of lack of more time. Should the project 
proceed in the future, these are the first things that would be 
revisited. 
101
The success of the project is dependent on the extent to 
which the BeltLine light rail train is able to be reframed with-
in the landscape, specifi cally how it merges with the dynamic 
ecology, sociological patterns of appropriation that arise, 
and the pillars of concrete and rubble. Additionally, this all 
needs to be visited in light of the remainder of the BeltLine. 
Atlanta BeltLine. 2011. Atlanta BeltLine Overview. Retrieved 
from: http://beltline.org/BeltLineBasics/BeltLineBasicsOver-
view/tabid/1691/Default.aspx. 
Barnett, R. 2008. Film Noir and Badiou?s Concept of the Situ-
ation. Art School Press, Manukau School of Visual Arts, ZX 
#4, 80-87.
Berger, A., 2006. Drosscape. Wasting Land in Urban America. 
Princeton Architectural Press, New York. 
Brown, G., & DeKay, M. 2001. Sun, Wind & Light. Architec-
tural Design Strategies. John Wiley & Sons, New York. 
Casebere, J. 2010. Biography. Retrieved from: http://james-
casebere.net/bio.html. 
Conard, M. (Ed.). 2006. The Philosophy of Film Noir. Univer-
sity Press of Kentucky, Lexington. 
Cullen, G. 1962. Townscape. Reinhold, New York. 
Diehl, C. 2007. James Casebere at Sean Kelly. Art in America, 
December 2007, 155-6. 
Doss, E. 1983. Edward Hopper, Nighthawks, and Film Noir. 
Post Script: Essays in Film and the Humanities, 2 (2), 14-36.
Eco, U. 1971. Lowbrow Highbrow, Highbrow Lowbrow. Times 
Literary Supplement, 8 October 1971, 1209-11.
Faison, S. 2008. Existentialism, Film Noir, and Hard-boiled 
Fiction. Cambria Press, New York. 
Hayes, B. 2005. Infrastructure. The Book of Everything for the 
Industrial Landscape. W.W. Norton and Company, New York. 
IMDb. 2011. The Big Combo. Retrieved from: http://www.
imdb.com/title/tt0047878/. 
Jellicoe, G., & Jellicoe, S., 1995. The Landscape of Man: Shap-
ing the Environment from Prehistory to the Present Day. 
Thames and Hudson, London.
Johnston, D. & Odum, E. 1956. Breeding Bird Populations in 
Relation to Plant Succession on the Piedmont of Georgia. 
Ecology, 37, 50-62. 
Makela, L., & Boswell, P. 1996. The Photomontages of Han-
nah H?ch. Walker Art Center, Minneapolis.
Metro Atlanta Chamber of Commerce. 2009. Rail and Inter-
modal. Retrieved from: http://www.logisticsatlanta.com/rail.
asp. 
Marx, L. 2000. The Machine in the Garden: Technology and 
the Pastoral Ideal in America. Oxford University Press, New 
York. 
Meyrowitz, J. 1985. No Sense of Place. Oxford University 
Press, New York. 
bibliography
103
Murphy, T. 1978. Spinoza (translation of lecture notes) 
24/01/1978. Retrieved from: http://www.webdeleuze.com/
php/texte.php?cle=14&groupe=Spinoza&langue=2. 
Naremore, J. 2008. More than Night: Film Noir in Its Con-
texts, 2d ed. University of California Press, Los Angeles.
Online Oxford English Dictionary. 2011. Retrieved from: 
http://www.oed.com/view/Entry/95624?redirectedFrom=infr
astructure#eid
Preston, S., & Klingenstein, S. n.d. Vague-ing Terrain: Tech-
nology and the Popular Reappropriation of Public Spaces. 
http://rknudtson.com/TerrainVague.pdf
Relph, E. 1993. Modernity and the Reclamation of Place. In 
Dwelling, Seeing, and Designing Toward a Phenomenologi-
cal Ecology. David season, Ed. State University of New York 
Press, New York. 
Sanchez-Tranquilino, M. 1978. Space, Power, and Youth 
Culture. In Bright, B. & Bakewell, L. (Eds.),  Looking High and 
Low, 54-88. 
Spring, J. 1998. The Essential Edward Hopper.  Wonderland 
Press, New York. 
Thun, G., & Velikov, K. 2009. Conduit Urbanism. Regional 
Ecologies of Energy and Mobility. New Geographies, 02, 
83-96. 
U.S. Census Bureau. 2010. State and County QuickFacts. 
Retrieved from: http://quickfacts.census.gov/qfd/meta/
long_metro.htm. 

105
appendix: 
rejected proposals 
Along the course of the project, my initial reaction to the 
research presented above was to focus primarily on a 
ground-up approach to Atlanta?s lack of grasp on historical 
preservation. Rather than stay true to the graphic style and 
rearrangement strategies that I have since committed to, I 
formulated a strategy that would allow the ruderal ecologies 
to become permanent. Specifically, this involves the succes-
sion of the site in terms of the most likely Georgian field spe-
cies as well as the presence of any invasive species latent in 
the soil or any that would arrive in the future. The following 
graphics display this process. While interesting in their own 
right, they do not, upon careful reflection, meet the desired 
goals of this thesis project. They seem too focused on the 
possibilities of the non-normative behaviors that add to the 
affect of the site rather than the user-environment interpre-
tive relationship. Consequently, they are shown here as an 
appendix for the failed (first round) final design strategy. 
107

109
8?4?
8?0?
8?0?
6?0?
10?0?
4?5?
affordable (free) shelter
There are organizations like the 
Mad Housers of Atlanta that 
provide make-shift emergency 
shelters for those in need of a 
reliable place to sleep. Although 
they come in various forms and 
sizes, all provide amenities with 
one goal in mind: a f_irst step of 
support from which people may 
begin to help themselves. 
Not devised as a way to end 
homelessness, these huts simply 
offer established homeless or 
migratory camps a tool from 
which to operate. 
111
12?6?
8?0?
12?6?
15?0?
12?0?
11?5?
backpacking shelter
Other types of 
primitive shelter 
include those found 
on many backpack-
ing trails, such as 
these from the 
Appalachian Trail.  
Like the Mad Houser 
huts, they are 
designed with a 
specif_ic clientele in 
mind. They do not, 
however, belong to a 
single person or 
group of people. 
Instead, they are 
used on a day-by-
day basis and often 
require advance 
booking notice .
Because these 
shelters are also 
open, they provide a 
stronger sense of 
security to the 
passerby, and could 
be used for a variety 
of functions, not just 
shelter. 
exibition space for artists
allow shops to develop and front BL
replicate existing ruderal ecology 
through lawn and into junkyard
courtyard space for art studio and corporate complex
urban junkyard
113

115
JAN FEB MAR APR MAY JUN
JUL AUG SEP OCT NOV DEC
8:00 AM 8:00 AM 8:00 AM 8:00 AM 8:00 AM 8:00 AM
8:00 AM8:00 AM
8:00 AM8:00 AM8:00 AM8:00 AM
12:00 PM 12:00 PM 12:00 PM 12:00 PM 12:00 PM 12:00 PM
12:00 PM12:00 PM12:00 PM12:00 PM12:00 PM12:00 PM
4:00 PM 4:00 PM 4:00 PM 4:00 PM 4:00 PM 4:00 PM
4:00 PM4:00 PM4:00 PM4:00 PM4:00 PM4:00 PM