Additional lectures, exhibitions, and an upcoming series of FIPL-funded landscape installations are in development for in variety of publicly accessible venues across Oregon.ĭavid is indebted to HJA’s Fred Swanson, Lina DiGregorio, and Michael Nelson, UO’s Landscape Architecture Department’s Roxi Thoren, and the Fuller Initiative’s Michael Geffel and Liska Chan for this unique opportunity. In addition to teaching studio and environmental communication course work through the lens of his creative practice, David is spearheading a new design-ecology initiative between the Landscape Architecture Department and HJ Andrews Experimental Forest (HJA) with support from the Fuller Initiative for Productive Landscapes (FIPL).Īt present, this initiative includes course work at UO, a wildfire-themed design program at the Overlook Field School with the FIPL, and lectures at Oregon State University, University of Oregon, Spring Creek Project, and HJ Andrews. Trapper Keeper, mixed-media backpack, cotton canvas, silkscreened muslin, furniture plywood, plastic tubes, tree saplings, paracord, rubber band, nickel grommets, and assorted thread and hardware, dimensions vary on payload but generally 8 x 20 x 30 inches, 2022.ĭavid Buckley Borden was invited to join the Landscape Architecture Department at the University of Oregon’s School of Architecture and Environment for a two-year Visiting Professor appointment in the fall of 2020. This pack is a modification of the traditional government-issued design with tactical pockets for bodily autonomy, double stitched strapping for durability and strength, a plywood frame for easy peel apart kindling, wet tube for cottonwood saplings for guerrilla gardening in the forest (to attract beaver), and reinforced cotton lining featuring a decoded environmental wayfinding system to practice, and teach future and fellow environmentalists. This Trapper Keeper is much more than a backpack, it’s a mobile support system for backcountry lookout tower personnel. The Trapper Keeper, packed with a variety of field tech, survival gear, and select choice creature comforts is essential for long treks to remote destinations such as supply sheds, bunk cabins, weather stations, and the wildfire lookout tower itself. Nancy Silvers’ Trapper Keeper was also funded by the Ford Family Foundation through a grant to the Center for Art Research at the University of Oregon. This project is funded by grants to David Buckley Borden from the Fuller Initiative for Productive Landscapes at the University of Oregon and Oregon State University Foundation’s Andrews Forest Fund. Borden, Asa DeWitt, Isaac Martinotti, Helen Popinchalk, Kennedy Rauh, Nancy Silvers, Madison Sanders, Blake Schouten, Ian Escher Vierck, and Sabine Winkler. The speculative research-based work critically explores the relationship between the people, place, and practices of Pacific Northwest forests with a pointed focus on wildfire factors at the intersection of culture and ecology.Ĭollaborators: William Bonner, Rachel Benbrook, Christian D. The mixed media series of personal objects explores the “fashions and fashionings” of a backcountry fire lookout tower on the fictitious Abbzug Butte. Yellowstone’s cultural landscapes are being inventoried to identify landscapes eligible for the National Register and to ensure new undertakings are compatible with them.Forest Fashion, Lookout Edition, is an ongoing interdisciplinary project by Fuller Design Fellow, David Buckley Borden, and collaborators. They also include areas significant to Native American cultures, such as Obsidian Cliff and sacred sites. They include sites such as Artist Point and Apollinaris Spring and the landscape features and patterns that contribute to the character of the Roosevelt Lodge Historic District. In Yellowstone, these landscapes are often a physical record of the early and ongoing efforts to balance resource preservation and facility development for public enjoyment. Yellowstone National Park contains an array of landscapes that reflect the park’s history, development patterns, and a changing relationship between people and the unique Yellowstone environment. A cultural landscape is an indicator of cultural patterns, values, and heritage through the way the land is organized and divided, patterns of settlement, land use, circulation, and the types of structures that are built and their placement in the landscape. They reflect significance of the historic setting and recognize the influence of human beliefs and actions over time on the natural landscape. They are geographic areas that have been shaped by human manipulation of natural and cultural resources and are associated with historic events, people, or activities in the park. Cultural landscapes are settings that human beings have created in the natural world.
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