SW Council Crest & Carl

You might have noticed by now that I have a lot of weird "ongoing projects" here at this humble blog. There's bridges, city parks, public art, the painted intersections that have been popping up around Portland in recent years, and probably a few others I don't remember off the top of my head. The common thread is that I've got a list of something to work from, the obscurer the better, and I go out and take photos of an item on the list and then try to find something interesting to write about it. The subject of today's post comes from one of the weirder "ongoing projects"; some years ago I was searching for info on the nameless city park at SW 14th & Hall, and bumped into a list in the city archives of various obscure places that the Parks Bureau had had some involvement with in the 1970-1995 timeframe or thereabouts. I'm not entirely sure what being on the list signified, and the original document is actually offline now, so it's tough to go back and check again. Fortunately(?) I included the whole list in my SW 5th & Caruthers post a while back, and I have a blog tag for the lot of them, and the really important thing here is that I have a list, and most items on the list are exceedingly obscure. Most aren't on the city parks website, and several technically belong to other city departments, like the place we're visiting this time around.

This installment takes us up into the West Hills, to the Healy Heights neighborhood around Council Crest. At the intersection of SW Council Crest Drive & Carl Place is a small landscaped triangle. It may not look like much, but it was on the list, so here I am writing about it. PortlandMaps says it's owned by the city Transportation Bureau; apparently Multnomah County owned it until 2006, when the city asked them to hand over the keys for some reason. That county document calls the triangle a "traffic divider". I prefer to think I'm not writing about mere traffic dividers, though, because if I am writing about mere traffic dividers, there's just no end to that sort of thing, and I'll blaze boring new trails in internet tediousness.

I checked the library's Oregonian database on the off chance that something fascinating had happened here at some point. No luck this time around, although I did notice that "Carl Place" is the third name applied to this street. I know of at least one Gentle Reader out there who's interested in street names and whatnot, so I figured this was worth noting. The street was previously known as Villard Place until June 1941, when the city council changed the name. Before that, in February 1920, the name was changed to Villard Place from Chilion Circle, which was the original name as far as I know. A mention in Laura Foster's Portland Hill Walks explains that the current street names honor relatives of Joseph Healy, the developer behind Healy Heights. That's kind of standard practice for subdivisions. I almost had a street named after me when an uncle turned his farm into a subdivision, but he decided to go with boring nature-themed street names instead, if I remember right.

If you look in the background of the first photo, you can see the big local landmark around these parts, the ginormous tripod-shaped KGON broadcast tower, sometimes nicknamed the "Stonehenge Tower" for some reason. (A Portland radio history page insists it's named after the investment group that owns it, which if true would be a lame explanation.) It's more or less Portland's answer to San Francisco's Sutro Tower. The tower site sits behind a gate at the end of Carl Place, and another at the end of Council Crest Drive a bit further south. It's off limits to the public, but someone with NorthEast Radio Watch toured the site back in 2007 and posted a bunch of photos. The tower's officially named for KGON, a local classic rock station that used to make weird TV commercials back before radio was lame and corporate; despite the name, the tower is shared by a number of other TV and radio broadcasters. Prior to the current tower, Healy Heights site was home to a forest of transmission towers owned by individual stations, including an abandoned one for Portland's short-lived Channel 27, which went bankrupt part way through tower construction. So part of the idea behind the current tower was to consolidate transmitters on a single, more robust structure.

The broadcast industry and local residents have sometimes been uneasy neighbors. The Oregonian database records ongoing local concerns about towers possibly collapsing onto residents' homes, which is apparently something that happened to at least one tower elsewhere in town during the Columbus Day Storm. A more exotic problem concerned radio-frequency interference from transmitters located here. Neighbors reportedly dubbed the area the "electronic jungle" due to the interference. A 1986 article explained that local residents couldn't videotape TV shows or have working garage door openers due to emissions from the tower farm. Voltmeters would show readings without even being plugged in, just due to electrical fields in the air. There were even reports of residents' toasters "singing" due to the transmitters, though the paper was unable to confirm that story. The article suggests the "close proximity of homes to such a dense collection of transmitters may be unmatched anywhere in the United States".

Before it became a tower farm, the land at the end of Carl Place was home to a very different sort of structure, equally huge in its own way. During the 1920s, the Richfield oil company (now the 'R' in "ARCO") had a penchant for bold advertising. Their basic idea was to advertise their gas stations with signs saying "RICHFIELD", visible from a great distance by land and by air, on the off chance that a barnstorming aerialst might taxi by for a fill up. These Richfield Beacons were often on the roofs of buildings, and sometimes they had their own towers to hold the letters vertically. Portland's sign was a bit different, with the word RICHFIELD sitting along the Healy Heights ridge line, similar to the Hollywood Sign. The Hollywood Sign has 45' letters, and is about 350' long. Portland's Richfield sign was actually quite a bit larger than that, with 60' letters, and a length of 725'. Moreover, the sign was painted orange for daytime viewers, and lit with neon at night. It was supposedly the largest electric sign on the planet when it was built, readable 10 miles away and visible from 50 miles away. The sign went live in September 1928, and went dark in 1931 thanks to the Depression and the bankruptcy of the free-spending Richfield company. The lights came back on in 1933 but went off again in either the late 1930s or at the start of World War II, depending on who you ask. After that it pretty much vanished without a trace, which I find astonishing considering how big it was. It's hard to even find photos of it; I've seen exactly one so far, in a post about vintage neon signs at Vintage and Classic Car Blog. The photo was taken at one of the old OHSU buildings and shows the sign in the distance, so it's not a great photo but it at least proves the thing really existed at one time. The final demise of the sign and the birth of the Healy Heights subdivision happened around the same time, and I imagine the former made the latter possible. 60' high neon signs are great for selling avgas to distant Cessnas, but probably not so great for selling high-end view homes.

lovejoy fountain (2014 edition)

NE 6th & Going St.

Today's painted intersection is at NE 6th & Going, just east of MLK Boulevard and next to King Elementary. The design has trees, flowers, rainbows, birds, musical notes, local community buildings etc., arrayed around a central sun and moon. I wouldn't rely on it as a guide to how the universe is laid out, but it seems nice and cheerful. Intersection painting is often arranged by neighborhood associations, but this one seems to be spearheaded by Envirovillage, a local nonprofit, with some help from volunteers recruited through Alberta St. Last Thursdays, the trendy monthly art party.

A couple of years ago, this intersection got a post on Sonic City PDX, a Tumblr where local artists and musicians contributed interesting soundscapes from around the city. It seems there's a large tumbledown house on one corner of the intersection; parts of the house are painted a loud shade of purple, and whoever lives there is in the habit of blaring classical music at random hours of the day. Because this happened in 2012, the project also involved QR code stickers, which you could scan to take you to the appropriate Tumblr post. Those stickers may not have survived the elements, so here's the link. I'm pretty sure that's easier than scanning a QR code anyway.

I'm fairly sure that house is haunted, actually. I was looking through the Oregonian database for anything interesting that might have happened right here. A bit of juvenile delinquent car theft, but I also came across a long family saga of misfortune spanning several decades, pieced together through occasional newspaper stories. I usually go wherever the search results take me, but I went back and forth about including the story; I think I'll just give a synopsis and not link to the newspaper articles or include exact dates or people's names, since some of them might still be around, and I'm not really in the business of reopening old wounds. You'll just have to trust me that this was in the paper. Or you can find it in the Oregonian database yourself if you care to look. Or we can just call it a ghost story and leave it at that.

The family in question came to Portland during World War II to work in the shipyards, and they settled in shiny new Vanport City. (The husband also worked in construction at Hanford for a while at some point.) They lost almost everything in the Vanport flood, and the paper ran a photo of the family as refugees, showing the parents, their eight children, and their few surviving belongings. Eventually they ended up living at 6th & Going. Some years later, the husband was a witness to a drowning at Swan Island; a few months later he himself was dead, shot by his wife while they were visiting friends elsewhere in town. She insisted it was an accident; she'd never used a gun before, she said, and was just trying to scare him, with a little help from a .38. The state put her on trial anyway. The database didn't tell me how the trial turned out, but a few months later one of the now-nine kids shot and wounded his sister with a .38, possibly the very same gun that killed their father. Other siblings (I think) showed up in the paper at least through the 70s, typically drug and petty crime arrests in the police blotter, as if their world had imploded.

I don't really want to end this on a down note, since that happened a long time ago, and today's intersection is apparently 100% sweetness and light, and birds, and fish, and music, and community spirit, etc., and as far as I know you're probably OK trick-or-treating at the spooky classical music house.

C & A

I was walking in the West Hills along SW Market St. Drive (yes, it's a street and a drive) when I noticed a pair of familiar-seeming sculptures at the entrance to the swanky Vista House condo complex. I thought, hey, those look like something Lee Kelly might have made. As you might already know, I'm not really a huge fan of his stuff, but it's gotten so I can often recognize it on sight. I went over to take a closer look. On the back, each has the cursive word "Lee". The taller one on the left has the number "90" near the signature (which I assume is the date), and a letter "C" on the base. The other has a "96" near the signature and an "A" on the base. I think then numbers are dates (1990 and 1996, the latter being the year the complex went in). I'm going to guess that the letters are titles, so one is just called "C" and the other "A". I have to guess because I can't find any info anywhere about the sculptures, and I've looked.

While searching for any more info, I ran across a 1996 Randy Gragg column detailing the long, strange history of the Vista House Condominiums. The owners of the land had been proposing various high rise tower designs for this location on and off since 1948, and were repeatedly rejected due to zoning, or neighbor concerns about significant trees. Gragg had high praise for the developer, for barreling through small-minded opposition like a true Fountainhead acolyte. But he didn't like the finished product, going so far as to compare the exterior to low income housing, which is possibly the ultimate insult in his lexicon. He may have been on to something this time, though, because the exterior was that infamous mid-1990s synthetic stucco that caused a national epidemic of black mold and leakage problems. In the mid-2000s the buildings were wrapped in protective tarps for over a year while work crews replaced the buildings' exterior surfaces. It was not a pretty sight.

various north portland instagram photos

this is art

tomato flowers (2014 edition)

jade plant

Buckeye Bench

So this is one of the more minor entries in this humble blog's ongoing public art series. Buckeye Bench is a bench next to the playground in NE Portland's Woodlawn Park. The designs on the sides of the blocks are nice, certainly, but if it hadn't been in the city public art database, I doubt I would have even noticed it, much less given it a post of its own. And still, it's basically a set of low cinder blocks to sit on, so don't expect amazing ergonomics here. The RACC database says this is a One Percent for Art project, so I'm guessing the budget here was one percent of some relatively small and cheap project. RACC's description is fairly brief:

“This bench takes its inspiration from the Sweet Buckeye tree that grows in the park just southwest of here.”

The cast forms resemble three views of the tree’s leaves - a complete leaf, a close-up and an even closer view of the leaves’ ends.

Buckeye Bench was created by Anne Storrs, who also created Tall and Fallen at the SE Main MAX station on the Green Line, and Begin Again Corner at SW 5th & Columbia in downtown Portland.

I'm not sure which nearby tree was the inspiration for the bench, mostly because I can't identify buckeye trees on sight. They aren't native to the Pacific Northwest; the sweet buckeye (pictured here, apparently) is native to parts of Appalachia, while the Ohio buckeye (Ohio's state tree) has a wider range across the Midwest. Not to be confused with the buckeye candy, a chocolate-dipped peanut butter ball that happens to be Ohio's state candy. Oregon, I'm sad to say, doesn't have a state candy. Pears are the state fruit, chanterelles are the state mushroom, and hazelnuts are the state nut. Chinook salmon is the state fish, and Dungeness crab is the state crab. Milk -- not IPA or pinot noir -- is the state drink. And that's the entire list, foodwise, unless people out there are eating monarch butterflies and I don't know about it. It's a boring list. I was bored just typing it.

Big Pipe Portal

This stop on our ongoing public art tour takes us to industrial Swan Island, home to Big Pipe Portal, a monument to... um... an enormous sewer pipe. The sculpture is a round archway at the south end of McCarthy Park, on the upstream side of Swan Island. It's a short walk from the McDonalds, in case you need somewhere to park or have a sudden craving for a McRib. The RACC description explains what's going on here:

This sculpture is sited on the banks of the Willamette River at the confluence of the East Side and West Side Combined Sewer Overflow (C.S.O.) tunnels, and is surrounded by a man-made home to heavy industry. The sculpture echoes an ecological approach to the built environment wherein manufacturing is interwoven with our shared natural resources.

Although the Big Pipe Project is the largest infrastructure project in Portland history, it is largely invisible. Working closely with the Bureau of Environmental Services, the sculpture celebrates this hidden work by revealing and readapting massive precast concrete segments of the Big Pipe. These pieces of infrastructure are now put to work in support of art and narrative. Partially buried in the alluvial bank, the sculpture traces out the circumference of the hidden pipe and transforms it from an industrial artifact into a woven arch of currents and eddies.

The page also notes it was created by the design firm rhiza A + D, which also designed Cloud Cavu at the Cascades MAX station near the airport.

The Big Pipe project is a long-running city project intended to keep raw sewage out of the Willamette. Early on, the city made the unfortunate (but common) decision to have city sewers and storm drain runoff use the same pipes. This obviously saved money, and it generally did the job, except when the combined system was overloaded. When that happened, the overflow, um, material had to go somewhere, and unfortunately the only place it could go was directly into the river. And even more unfortunately, the system was overloaded a lot, because it rains here. So the idea behind the Big Pipe was to install enormous underground pipes on each side of the river to catch the outflow before it got to the river, and eventually direct it to the big sewage plant in North Portland. The westside Big Pipe actually tunnels under the Willamette right around here, and a huge (and mostly underground) pumping station here on Swan Island (next door to Big Pipe Portal) sends it uphill for the last leg of its journey to North Portland. As the description above explains, this was the largest and most expensive infrastructure project in Portland history, and yet the only parts of it visible to ordinary citizens are higher sewer bills, and a drop in the number of "ZOMG Don't Touch The River" alerts on the evening news. Don't get me wrong; like most people over eight years old, I'm basically ok with the sewer system being invisible. I can see how the Bureau of Environmental Services (the oh-so-delicately-named sewer agency) might feel their $1.4 billion investment has gone unappreciated, though. So the art helps the public imagine just how big the pipe is, without making people dwell on what's burbling through the pipe.

Coyote VI

Today's item from outside the Portland Art Museum is Coyote VI by Gwynn Murrill. As the name indicates, it's part of a series of coyote designs: Coyotes V and VII are in Jackson, WY, and the latter once was (or another copy of it now is) in Venice, CA. Coyote III, made of koa wood, remains in the artist's collection. Where the others are is left as an exercise for the reader. A post at Fifty Two Pieces has more about Coyote VI, as well as a cute real coyote that managed to sneak onto a MAX train a few years ago.

The collar isn't part of the sculpture, by the way. Some joker must have added that. Wasn't me. Honest.

Here's an article by the artist describing a recent exhibition of her work in Century City, CA. The city took the unusual step of designating the median strip of a major road as a rotating sculpture garden, and it hosted a collection of Murrill's animal and bird sculptures from November 2012 to January of this year, for the enjoyment of passing drivers. That is an extremely Californian idea. Not only would it not happen her; the idea it wouldn't even occur to anyone here. Which is fine, I mean, we aren't really a city of grand boulevards anyway, and I'm not sure where you'd put something like this. Probably out in the 'burbs somewhere, and then nobody would notice except metal-thieving tweakers. I can see how this would work in Southern California though.

Old City Boundary Marker

Here's an odd little object. Along the east edge of NE Portland's Columbian Cemetery, next to a tree and buried in underbrush, is a small stone that isn't a headstone. Its northern and southern faces are inscribed "CITY BOUNDARY", with a scratch mark along the east and west faces that (presumably) indicates the exact line of what was once Portland's northern city limit. I don't have even a rough date for it; I'd guess early 20th century, maybe 1910-1920 going by the typeface, and the fact that it's concrete and sort of shaped like Columbia River Highway mile markers, not the older milestones along Stark St. I don't think there is anything particularly special about this spot, so I assume there are (or were) other boundary stones like this. But I have no idea where any of them might be. The city has a handy Annexations by Decade map, which tells us that this became the city limit between 1891-1900, and stopped being the city limit some time in 1971-1980 when the city annexed up to the Columbia River. So the map's interesting, but it doesn't really give us a narrow date window. It might be a guide to where other city boundary markers are (or were), though. Vintage Portland has a 1915 annexation map with a note that the exact boundary ran "150' N. of and parallel to NL of Columbia Slough Boulevard", and further that it had been annexed in 1891 by the erstwhile City of Albina, the same year Albina and East Portland merged with the City of Portland.

When I visited, I knew precisely two things about this marker: A blog comment from Gentle Reader Aimee Wade alerting me to its existence (thanks!), and someone else's Panoramio photo showing what it looks like. That photo was crucial, and I never would have found the marker otherwise. I sort of wandered around the cemetery for a while, looking for a spot that matched the photo. The surrounding brush was taller than in the photo, partially obscuring the marker, which complicated the search a bit, but I eventually found it. For anyone who's interested in this sort of thing, it's right on the eastern edge of the cemetery. The blank wall of a giant warehouse is just inches away; I think they built it right up to the property line. I found the marker by going to the SE corner of the cemetery, near the entrance, and following the wall north, looking around the base of each tree until I found it. I'd say the marker's about 1/4 to 1/3 of the way back along the wall, on the south side of a small tree. (Alternately you could just measure out 150' from the north edge of Columbia Blvd. and look there, although I assume the street's been widened since 1915.) The marker was shorter than I'd expected, and I had to rummage around in the bushes to get these photos. As I was doing this, an elderly volunteer wandered over and we chatted a bit. He didn't seem know anything more about the marker than I did. He had some other trivia to share about sorta-famous, uh, residents of the place, but I'll save that for another post.

The Lavare Lions

The main entrance to Portland's Washington Park dates back to the early 20th century, and has a formal, old-fashioned feel. SW Park Place ends at the park, becoming the park loop road (Sacajawea Blvd. / Lewis and Clark Way). At the intersection, brick stairs lead to a small garden crowned by a monument to Lewis and Clark. Embedded in the brickwork, greeting visitors, are a trio of stone panels with Art Deco lions. They're low-relief designs and the lions are easy to overlook. I've always liked them, even if they're a bit anachronistic: Everything else in this corner of Washington Park is Victorian or at best Edwardian, so Art Deco looks sort of futuristic in this context. Until recently I didn't know anything about the two lions. None of the public art resources I usually check have anything to say about them. Fortunately the artist signed his work (protip to artists: always do this), and that was enough for me to figure out the rest.

The lions are the work of Gabriel Lavare, who I gather was fairly well known in his day but who seems to have vanished from the annals of Portland art in subsequent decades. Oregon, End of the Trail, the 1930s WPA travel guide to the state, lists him briefly among contemporary Oregon artists:

Gabriel Lavare, who also came from California in the early 1930's, is best known for his bas-reliefs -- carvings over the three entrane doors and the Mother and Child medallion in the foyer of the new Oregon State Library, the lion and lioness at the entrance to Washington Park, Portland -- and for the Town Club fountain.

The lions were apparently a WPA project too. A December 1934 Oregonian article raved about the lions, which had just arrived:

Those who in the future view the plaques will be impressed by the extreme simplicity with which Mr. Lavare has achieved his effect of strength, suppleness and poise which is characteristic of the cat family. Not all will realize the difficulty involved in such simple treatment and appreciate the artist's problem and the real ability which he has shown in solving it.

The designs of the lion and lioness are based on a form approximating a right-angle triangle in a square. In the lioness there is the sinuous line and alert awareness of the female, and in the lion the massive form and the unwavering strength of the male.

Mr. Lavare gives the following brief explanation of his work:

"I desired to obtain the utmost in surface decoration in the most restricted manner of carving. The style of carving was the natural outcome of working in a large, but thin, area of marble. The brittleness of the marble did not allow a depth of carving deeper than three-eighths of an inch.

"Therefore, the masses had to be arranged accordingly and every muscle which was unnecessary eliminated. Only the fewest muscles possible are depicted, and these only in order to define more distinctly the major masses."

In case you're wondering "Why lions?", it wasn't a random choice. The original Portland Zoo was somewhere nearby, just inside the entrance to the park. I haven't figured out where all the various parts of the old zoo were, but its seal pond was at the bottom of the hill near Burnside, where the Loyal B. Stearns fountain is now.

An Oregon Historical Quarterly article about the painter C.S. Price notes that he and a number of other artists, Lavare among them, had studios in the ornate but shabby Kraemer Building, at SW 2nd & Washington. The building was demolished in the name of Progress around 1951-52, and the corner is now home to the westbound offramp of the Morrison Bridge. There is nothing particularly Bohemian about the surrounding area today; like its contemporary, "The Village" on Upper Hall Street, the Kraemer Building has been quite thoroughly erased, and replaced with boring respectability.

Lavare's 1966 obituary mentions that he had moved back to California at some point. Prior to the obit he hadn't been mentioned in the Oregonian since 1941, so I gather he wasn't part of Portland's midcentury arts scene.

Here are a few other Lavare works I came across while looking for information about the Washington Park lions:

• 1937: Photo of Lavare at work on a Magellan statue. Also 2 photos of decorative newel posts for someone's home.
• 1940: photo of a bas-relief pioneer mother at the Oregon State Library
1940: A relief in profile of Dr. John E. Weeks, at the University of Oregon medical school, now OHSU.
• 1941: A panel of various Portland industries, for the United Airlines office at the Portland airport, 1941. Given the date, I think this would have been the current Portland airport, which opened in 1940, but it would have been in the original terminal building near Marine Drive, across the runways from today's terminal. The old terminal now serves as the airport fire station.
• 1941: A trio of decorative panels for Pilot Butte Inn in downtown Bend. The Pilot Butte Inna was listed on the National Register of Historic Places in 1972, but demolished anyway in 1973.
• The 1934 article about the lions mentioned he was working on World War I memorial panels in the Federal Building, which I think is today's Gus Solomon Courthouse / Post Office.
• Gargoyles on the Oregon Portland Cement Building next to the Hawthorne Bridge. I've always liked these little gargoyles. Don't be surprised to see a blog post about them at some point, sooner or later.
• Decorations in Portland's Jantzen Knitting Mills office.

Dance Horse

Today's spooky item from outside the Portland Art Museum is Dance Horse by Deborah Butterfield, who has specialized in abstracted horse designs like this.

I admit this thing kind of creeps me out. There's something sort of primordial about it, like a horse from a Lascaux cave painting. But it also looks like a skeleton, or maybe a horse golem made of driftwood.

I like horses, but they can be kind of creepy even in the best of circumstances. They can kill you umpteen different ways, but they usually just a sugar cube. And when you give a horse a sugar cube, you have to hold it just so, because a horse has an enormous mouth full of nightmare teeth, and it could easily bite your fingers off without even noticing. And that's when they aren't casually trampling you, kicking you to death accidentally, bucking you off, or rolling over on you.

I'm reminded of this one time at Boy Scout summer camp. I was trying for Horsemanship merit badge, one of the highlights of summer camp (especially for those of us who weren't really into swimming or target shooting). The main event involved a big group trail ride out away from the camp. I'm not sure how far; it felt like forever but it was probably just a couple of miles tops. By luck of the draw, I'd ended up with a horse that was highly intelligent and held an abiding hatred for all humanity. It kept ducking under low tree branches, trying to knock me off its back. It would even weave off the trail when it saw a promising tree branch off to the side, despite anything I futilely tried to do with the reins. I think I earned my merit badge that day just by staying on.

I'm also reminded of another time at the Oregon coast, years ago, renting horses to ride on the beach. I realize that's a cliche torn from the cover of a bodice-ripping romance novel; it seemed like a good idea at the time. Anyway, that time was actually fine, with a perfectly docile, non-homicidal horse. Except for the flatulence. Equine flatulence is a force of nature, and not one of the more pleasant ones. All the recycling and walking to work and environmental do-gooding I've ever done probably still hasn't made up for the horse methane from that one day at the coast.

NE 8th & Holman

The next stop on the painted intersection tour is at NE 8th & Holman, which has one of the more elaborate designs I've seen so far. A 2011 BikePortland article about the intersection describes the design:

The design itself, created by local artist Zac Reisner, is a four seasons theme. Each leg of the street represents a different season and it’s all tied together by tree roots and a stream in the middle. The animals in the painting — a coyote, raven, raccoon — are all regular inhabitants of the street.

That article links to a time lapse video of the 2011 painting. The intersection's Facebook page says it was just repainted again a few days ago (now being late May 2014), and links to a Flickr photoset of this year's event. My photos were taken just before that, so if you see anything that loo

The Guardian, of all places, has a slideshow of the 8th & Holman intersection, as part of their surprisingly extensive travel coverage about Portland. Their latest piece, about food carts, isn't bad, even if they didn't include Potato Champion (the poutine cart) in their Top 10. I suppose the Guardian squeeing about us is the new New York Times squeeing about us. At least it's the Guardian; it looks like the Daily Mail still hasn't discovered us, so those British tourists don't have us in their crosshairs quite yet.

NE 8th & Holland

The next painted intersection on our tour is at NE 8th & Holland, in the Woodlawn neighborhood, just south of Lombard. This is an odd awkward intersection, where the normal city street grid meets the goofy Woodlawn street non-grid. Some parts of that neighborhood have diagonal streets; here they're oriented normally but not quite in the right place. Thus Holland jogs about a house width north when it gets to Woodlawn, and 8th jogs about a house width east at the same point. That makes for a very wide expanse of pavement here, and it's not a major intersection, so it practically begs for the City Repair treatment. I can't find a project page for this one that explains what the design's all about, but I did find the Kickstarter that paid for it (since the main expense for these things is always paint). I also located a video of the painting party in June 2013, as well as someone's Flickr photoset of the event.

N. Williams & Russet

The next painted intersection on our ongoing tour is at N. Williams Ave. & Russet St., just north of Lombard, and just a few blocks south of the industrial side of North Portland. This one's also maybe known as "Loveleigh Neighborhood Watch", unless that's just the group that put it together; I'm not entirely sure. I usually just quote from the project page to explain what the design's all about, but this one makes more sense if you have the full About section for context. I've noticed that City Repair web pages seem to come and go unpredictably and the page might vanish at some point, so here's what they had to say:

Our neighborhood is in transition. It has seen illegal dumping, day-time break-ins and theft, drug production and selling, prostitution, gang conflicts. It’s bounded by busy thoroughfares -- MLK to the East, Lombard to the South, Vancouver to the West, and to the North, the railroad, six tracks (some liken the boom and trundle to a heavy day at the coast).

But there is a great potential here -- new families, first homes, neighbors who step forward, at- tend meetings, and contribute their ideas and, most important, their participation. This transition is marked by newly planted trees, children biking, neighbors chatting – and now, a street graphic project.

Our design is simple, a rose (is a rose is a rose, thank you Gertrude) and the cardinal directions formed by leaves. And then there’s the dream: a community garden in an undeveloped street.

Robert Pirsig, in Zen and the Art of Motorcycle Maintenance, wrote about the difference between spectators and participants. Spectators are on the sidelines, watching. Participants are on the field, engaged. Spectators toss their Taco Bell wrappers in the gutter. Participants pick them up.

Our neighborhood is being occupied by participants. OCCUPY LOVELEIGH!

Rhododendrons

Today's object from outside the Portland Art Museum is the smallest of the lot, unless there's an even smaller one I haven't noticed yet. Marie Louise Feldenheimer's Rhododendrons is a small bronze panel on a wall in the museum's outdoor sculpture court. I hadn't noticed it before, but it's been outside the art museum since at least 1978, which tells you something about my powers of observation, or lack thereof.

I wasn't familiar with the artist so I did a bit of digging. It seems she was a local heiress, born in 1894, whose father and uncle owned a Portland jewelry business. Her name first appeared in the paper in the society pages, and then she moved to New York City to study art, before eventually returning to Portland. A 1925 article showcased some Egyptian-influenced granite sculptures she'd recently created, Egyptian being all the rage at the time. These were purchased by "American Museum of New York", whichever one that is. The Smithsonian art database is no help in this case, since the only work of hers it lists is Rhododendrons. The RACC database also lists a Bust of Willem van Hoogstraten, conductor of the Oregon Symphony from 1925 to 1938, now located at the Performing Arts Center. Her work was the subject of a 1985 retrospective at the museum, in honor of her 90th birthday.

On the Oregon coast, south of Seaside, is popular Ecola State Park. Adjacent to the state park is the densely forested Elmer Feldenheimer State Natural Area, named for Marie Louise Feldenheimer's brother. A 1990 Oregonian profile of her explains that she'd donated the land in his memory. This was one of a number of philanthropic conservation efforts she was involved in, including Nature Conservancy projects at Tillamook Head, near Ecola State Park, and preservation work on the Olympic Peninsula with the guy who later started Ecotrust (the group behind the renovated Ecotrust Building in the Pearl District). Feldenheimer passed on in 1993 and left a large bequest to the state park system.

I'm not really in the business of praising rich people. If they're going to exist, though -- and I'm not entirely sold on that point -- they could do a lot worse than creating some art and doing a bit of philanthropy. I'm fairly sure this was the exception to the rule back in the mid-20th century, and it's certainly not very widespread now either. Some of our present-day oligarchs really and truly want to be Bond villains (and I won't list the guys I"m thinking of, because they have lawyers and worse), while others just want their own reality shows (and usually get them).

In the unlikely event that you're a real-life rich person and you're reading this, you've already passed the first test. The fact that you're here means you're far more sophisticated and discerning than most of your peers. So consider sending the kids to art school. Maybe donate to a museum or the state park system, or a local university. They'll happily put your name on something; you'd barely even need to ask. Any one of these things lasts longer than a family fortune does, even with today's crazy-low inheritance taxes. People will speak fondly of your wise and generous nature, and not ask impertinent questions about how you got all that money in the first place. Sorry, that slipped out. I mean, it helps you put your best foot forward, in the eyes of future historians, as well as random internet people of the future who have whatever replaces blogs fifty years from now. I can't really explain why that would be important, but I'm pretty sure it is.

Freda's Tree

The next painted intersection in our ongoing tour is at NE 56th & Stanton, a design known as "Freda's Tree", located a few blocks north of Sandy Boulevard and the big George Washington statue. The project page for this intersection says it "commemorates a magnificent chestnut tree that was at this corner for nearly a hundred years." There's also a leave-a-book, take-a-book free libray kiosk next to the intersection, also part of the City Repair effort. I hadn't brought a book to trade, so I didn't take anything. It didn't seem fair otherwise, me being a tourist from outside the local neighborhood.

Ralph Friedman's 1993 The Other Side of Oregon has the story of Freda Frauendorf and the chestnut tree. Apparently she and her husband moved to the area circa 1908, when it was still a howling wilderness, more or less, and there they stayed while the neighborhood grew up around them. She was an immigrant from the Black Forest of Germany, which she said explained her need to keep planting trees. She'd planted quite a few over the years, and the giant chestnut tree was the last surviving one of the bunch. A neighbor dubbed it "Freda's Tree" and the name stuck. Mrs. Frauendorf had taken to greeting the tree with a "Hi, Freda" when she walked by.

The story first appeared in an Oregonian profile of Mrs. Frauendorf on October 31st, 1972, with the headline "Woman watches tree grow for 50 years". You couldn't get away with a headline like that anymore; your editors would change it to something like "This lady planted a chestnut tree. You won't BELIEVE what happened next!!!". I'm not saying journalism as a whole was better four decades ago, but the headlines were somewhat less of a high-pressure sales job.

The tree was still standing in 1987, when it was nominated for Portland's Favorite Tree for that year. The paper ran this rather twee contest in connection with the 1987 Rose Festival, but that seems to be the only year it was held. Freda's Tree lost out to a redwood tree around 860 SW Vista Avenue, probably due to all the Californians voting. Since the contest hasn't been held again, and (unlike Freda's Tree) the tree's still there, and since the Oregonian is supposedly our fair city's official paper of record, I guess the redwood still reigns as Portland's Favorite Tree. But I suppose that's a matter for a separate blog post.

N. Syracuse & St. Johns

Here's another painted intersection, this time out toward the far end of St. Johns, at N. Syracuse St. & St. Johns Avenue. The big City Repair project map says it's called "Syracuse St. Rockstars", while the project page says that's the name of the group that created it. Whatever it's called, the description says it "represents how through the changing of the seasons our relationships with each other transforms and deepen with the St Johns bridge intersecting the four seasons." Because you can't make art in St. Johns without including the St. Johns Bridge somehow; I'm fairly certain there's a municipal ordinance to that effect.

I like to check the library's Oregonian database for these intersection posts, just to see whether anything exciting ever happened at this spot. I only have one item to pass along this time. A brief item in the March 30th, 1943 paper noted that two young police patrolmen had been suspended, and were awaiting a disciplinary hearing, due to their involvement in a brawl with two other men right here at this intersection. Apparently the two off-duty officers went to a dance elsewhere in St. Johns, then stopped by a residence around here, where they ran into two guys they'd arrested earlier. A fistfight ensued, unsurprisingly. The article says the men "made up and shook hands" afterward and everyone left, but one of the cops later went to the hospital for an injured kidney, which seems to be how their bosses found out about the altercation. Oops.

So maybe, the next time they repaint this intersection, they should consider adding a bunch of fistfighting cops to the design. I'm not sure that would mesh with the existing design very well, but it would certainly liven things up a bit.

PSU Secret Putting Green

Today's secret Portland spot is a weird one. The Portland State campus is home to a tiny putting green, at the west end of SW College Street, tucked away behind some research greenhouses. It's next to the Peter Stott Center, a university athletic facility, but the university's guide to the place doesn't mention anything about a putting green. Which makes sense, I mean, I'm not a golfer or anything, but it doesn't exactly look like a world-class facility. It's astroturf, for one thing, and there were weeds growing up through the hole when I looked at it, which would never fly at Augusta National. The scenery isn't much either: Greenhouses, a blank brick wall of the Stott Center, and I-405 traffic right next door.

A 2002 PSU Vanguard column describes the writer's love for the putting green, not for the golf, but for the seclusion:

The Putting Green may be filled with the sound of traffic and annoying insects, but I have never actually had to get out of the way of someone golfing there, or doing anything else for that matter. It sits just south of Stott Center, and boasts a lovely view of two or three highways. I would not hang out there too late at night if I cared about my personal well being, but if I cared about my personal well being, I wouldn’t have enrolled in summer session in the first place. Regardless, when I sit at the Putting Green, no one asks me to sign a petition. No preachers damn me. No rock bands set up between me and the rock doves. No dogs, no salesmen, and no friends: I love the Putting Green.

(The other out-of-the-way spot he mentions, which he calls "Top Ramen", is the old Fourth Avenue Plaza, which was torn out a few years ago to make room for the university's new engineering building.)

The first time I dropped by to take photos of the place, there was a guy studying there, and he seemed startled to see another person wander by. So I bailed and came back later, because I wanted photos without any people in them, because it doesn't look properly obscure and forgotten when somebody's sitting there with his nose in a linear algebra textbook. (It might not have been linear algebra, I didn't actually check.)

In 2004, PSU's Student Gardening Committee saw the underused space and lobbied to turn it into a community garden. That didn't go anywhere, as the Stott Center insisted they used it now and then as "overflow space". The student gardeners ended up with a lot at 12th & Montgomery instead, which seems like a much nicer spot for gardening than the putting green site, without all the trees and buildings blocking out the sun.

More recently, this spot figured in ChronoOps: Survive the FuturePast, a student-created augmented reality iPhone game set on the PSU campus. Apparently the plot involves time travel, and hunting for a "green technology" artifact, and avoiding mysterious enemies. Which ends up being a walking tour of the PSU campus, basically. It mostly showcases the endless sustainability projects around the campus, but ventures behind the greenhouses for a bit of sci-fi dystopia. As the creators' paper puts it, "Through juxtaposing scenes of modern technology with long-forgotten projects (a desolate putting green, or old landscaping now overgrown), ChronoOps delivers a visceral and lasting experience." Sadly I can't try the game out because it's iOS-only, and I'm on Team Android. But hey, if there isn't an Android version, how good could it be, anyway?

Sedro-Gilbert Intersection

Our next City Repair painted intersection is at N. Sedro & Gilbert, near Lombard & the St. Johns railroad gulch. A description of the design, from the project page:

Come join our diverse neighborhood as we build community and transform our intersection into a beautiful graphic of the Tree of Life. In helping us plant this graphic seed of life you will be part of a much larger movement that is transforming our neighborhoods into diverse, rich sources of connection and support.
...
Our street graphic is inspired by the Tree of Life which stands for many things but definitely includes Love, Hope, Dreams, Smiles, Laughter, Family, Memories, Community...

I'm sorry to say that once again most of the photos are upside down. I hadn't seen the description before tracking it down, and honestly I thought it was supposed to be a nature-themed peace symbol-ish sort of design. The design makes a lot more sense as a Tree of Life though.

Roseway Intersection

Here's another of Portland's painted intersections, located at NE 77th & Beech, a few blocks south of Sandy Boulevard. A City Repair project page for it calls it "Roseway Intersection" (Roseway being the surrounding neighborhood), and describes the design:

The first of hopefully many Roseway projects to come! Our intersection is located on 77th and Beech, a soon to be developed Neighborhood Greenway (Bike Boulevard). We will paint a street graphic on the intersection to create a new com- munity space. The design represents the art-deco era of the houses and buildings in our neighborhood and, of course, the many roses of Roseway!

A neighborhood association bulletin reports this intersection was first painted in June 2012. I didn't realize it was an Art Deco rose design when I took the photos, so they aren't all facing right side up. Feel free to rotate your monitor as needed.

Clifton Street Park Block

This is a story about two of Portland's South Park Blocks, one lost, the other forgotten. The city describes today's park as the twelve blocks along Park Avenue, between Salmon (on the north end) and Jackson (on the south end), ending at the overpass over Interstate 405. Older accounts are slightly different; to pick one example, Oregon, End of the Trail, a Depression-era tour guide from the WPA Federal Writers Project, said there were 13 South Park Blocks, stretching from SW Salmon to SW Clifton. Clifton Street might not ring a bell, so I've embedded a map above. As you can see there, the missing thirteenth block between Jackson and Clifton was where I-405 is today. The overpass that replaced it is wider than it needs to be and includes a series of concrete planters, which usually aren't maintained very well. I suppose that was done as a token replacement for the lost park block. The city parks website fails to mention anything about sacrificing a park block to the almighty freeway. I don't suppose it's an episode they really feel like talking about. More surprisingly, so far I haven't found anything in the Oregonian database about it either. I would have thought it would have generated a few letters to the editor, at least, but if so I haven't seen them.

I did find the original 1964 agreement between the city and the state highway department, in which the city agreed to hand over the land, and further agreed to be responsible for the landscaping on the overpass, in order to "restore thereon as a park as much of the area as is possible on the structure", while the state would be responsible for the overpass itself. So when nobody's trimming the weeds on the overpass (which is the usual state of affairs), at least we know who's neglecting it.

The downtown street grid bumps up against the West Hills just south of I-405, but there are a couple of short segments of SW Park that briefly continue south of Clifton St. One dead-ends into the Park Terrace apartment complex, while the other continues at an angle to Lincoln St. The apartment complex takes up much of the space between the two, but the city parks bureau does own a triangle of land bordering Clifton. It must've been considered part of the South Park Blocks before I-405 ate its neighbor and orphaned it, even though it's small and apparently wasn't included in anyone's count of blocks. It kind of reminds me of Ankeny Park, the oddball North Park Block just south of Burnside, but this one's way more obscure. If the South Park Blocks now officially end at Jackson, and this little place no longer counts as part, I'm not sure what name to call it; I went with "Clifton Street Park Block" in the title, since that's at least a reasonable description.

The orphan park block has looked well-maintained whenever I've been by there, so it's not as if the city's completely forgotten about it, even if they've kicked it out of the exclusive South Park Blocks club. I suppose they just don't know what to do with the place. If I might offer a suggestion, the "mainstream" South Park Blocks include statues of Abraham Lincoln and Theodore Roosevelt. Why not continue the theme here? An obscure park block could be a good home for an equally obscure presidential statue. Franklin Pierce, say, or Chester A. Arthur, or Gerald Ford. Or for extra credit, one of the Articles of Confederation presidents (John Hanson, say), or one of the Continental Congress guys. Hopefully with a plaque explaining who the lucky honoree was.

Upper Hall Street Triangle

Today's adventure takes us to the West Hills just outside downtown Portland. SW Hall St. becomes Upper Hall St. just west of the nameless city park at 14th Avenue, and Upper Hall St. winds its way up the hill before morphing into 16th Avenue. Halfway up, the street makes a tight hairpin corner, which is where these photos were taken. The 'Triangle' of the title is the narrow bit of land on the inside of the hairpin turn. You'd normally expect a location like this to contain a tall, skinny million-dollar modern house, one that won all kinds of awards for working with a difficult site. This particular spot is public right-of-way, though, I suppose to keep it from being a totally blind corner. It's not really a city park or anything, but it's public, so I suppose you could set up a tripod here if you're willing to risk your camera on a slope this steep.

Surprisingly, I haven't found a lot of photos of the city taken from here. An image search on "Upper Hall Street" turns up nothing but real estate photos of ostentatious million-dollar houses. I suppose that makes sense, but the library's Oregonian database indicates this swankiness is a fairly recent development. An August 1934 news item described the community of modest houses along Upper Hall St.:

In passing you may have noticed the "Artists' Colony" which hugs the steep hill just below the hairpin curve on upper Hall street. It's quite an interesting colony, but there are no artists there right now, even though every place is occupied.

Twenty years ago Mrs. A.C. Wells Brown built the small, attractive lodges, 12 in all. They line three different "streets," made of thick plank, on three different levels, and the connecting links are up-and-down steps. The colony commands an excellent view of Portland, and were it not for an intervening apartment house, 'way down near Multnomah stadium, the cliff dwellers might see all the games and parades which take place there.

Everybody has a minute flower patch. All the cliff people work in downtown stores and offices, Mrs. Brown said, and the place is very quiet and orderly. No artists around to kick up didoes and make a Greenwich Village out of it.

There were amenities that would be welcome in any hip Portland neighborhood in 2014. From a Stuart Holbrook "Down Portland By-Paths" column a few days after the previous item:

On a bluff overlooking the city on upper Hall street some friend of man has built a small settee where one may sit and view Portland from the Heights to the buttes and hills east of the city. Carved on the bench, no doubt by its kindly builder, is a welcome to the weary traveler. In plain Gothic characters the legend says "If you are tired Rest yourself."

With a friend I sat on the wayside bench a while and marveled at the broad panorama which unfolded before our eyes. When we got up to leave my friend, a most pedantic fellow, paused to read the inscription. "He should," he announced, with a trace of severity in his tone, "He should have placed a comma between 'tired' and 'rest.'" I hope there will be plenty of commas in my friend's obituary. You can't tell what even a dead pedant will do when aroused.

This cozy state of affairs lasted for a few more decades, but in 1962 the city Bureau of Buildings decided The Village wasn't up to code and tried to condemn and raze the buildings. The city later stayed the razing order, as the owners and occupants were making good-faith efforts to bring the place up to code. I note that the first story called The Village an "artists' colony", while a month later it was a "controversial collection of 'shacks'". In February 1963, the owners reversed course and asked the city for a zoning change, in order to demolish the eleven existing residences and build twelve modern new ones. The city decided this was incompatible with the surrounding neighborhood and denied the request, though the owners were offered a compromise zoning change that would allow six new homes instead. At this point the Oregonian was calling The Village a "group of low-income rental residences". The place mostly vanished from the paper after that, though a December 1963 article on what Mayor Schrunk did over the preceding year mentions that "condemnation of The Village" was one of the crises he'd weathered during the previous twelve months. When not weathering crises, Schrunk also "challenged the mayors of Detroit and Los Angeles to a footrace to Salem -- the winner to get the 1968 Olympics", which is a whole other story.

Polina Olsen's Portland in the 1960s: Stories from the Counterculture (2012) spends a few pages on The Village, with photos, sketches, and reminiscences by former residents. The architect Pietro Belluschi lived in The Village in the 1920s, and Manuel Izquierdo called it home at one point as well, along with various other artists, musicians, and general Bohemians. In the book's account, the Columbus Day Storm is what really finished off The Village. The news stories don't mention this, but it seems quite plausible. Edit: The book says no such thing, and I misread the account. See comment by the author below.

In any case, it doesn't appear that the proposed redevelopment ever happened; instead, the Village was replaced by a single rich-person house on a large lot, because of course that's what would happen.

This wasn't the only controversy along Upper Hall St. in the early 1960s. Further up the hill, where it becomes 16th Avenue, developers proposed to build a huge 21 story apartment tower. Due to the hairpin bend in the road, this site was directly uphill of The Village, if I'm reading things correctly. This proposal ran into zoning difficulties at City Hall, compounded by angry neighbors who didn't want their views blocked. An August 1961 article about the controversy included a panoramic photo from the back deck of a leading anti-tower campaigner, in case it wasn't already clear where the paper's sympathies lay. This article had the tower site at 16th & Montgomery instead, downhill of the previously mentioned site, but still in a very view-blocking position. The paper then editorialized against the building in October. There are a few mentions of the proposal in the following months but no further news; that must have been the end of the proposal, since there are no 21 story buildings anywhere near this spot today.

In other news from the same era, a harrowing car accident happened here in April 1962, apparently right at the hairpin corner. A sedan was trying to park, but the brakes failed, and the vehicle rolled backward, jumped a curb, and plummeted off the cliff. Amazingly, the car got hung up in a tree, which kept it from falling another 150 feet down to SW Montgomery St. The three young men inside escaped without injury.

The area doesn't appear in the Oregonian very often after the mid-1960s, but a 1984 item mentions that a recent book Around Portland With Kids had proclaimed Upper Hall Street part of the best sledding route in Portland, which is kind of terrifying if you've seen how steep it is, and that's without the blind hairpin corner and 150+ foot cliff. This must have been just before the modern era of personal injury lawsuits really got going. I don't even have a real legal department, and I still feel like I need to tell everyone that Legal says, no, begs of you to please not sled here fer chrissakes. Just in case, and all that.

Untitled, NE 72nd & Fremont

Today's adventure in local art takes us to yet another obscure, rusty Lee Kelly sculpture from the early 1970s. Today's example (which I found in the Smithsonian art inventory database, and nowhere else on the internet) is simply called Untitled, and it sits outside a US Bank branch at NE 72nd & Fremont, just south of Sandy Boulevard. The location is quite a busy area, but the sculpture is surprisingly hard to see. It's set back from the street, near the bank drive-thru window; it's really quite small, by Kelly's usual standards; and the rust color makes it blend in with the surrounding landscaping. On closer examination, it's obviously a smaller sibling (and as it turns out, a predecessor) to Leland One, a big Kelly sculpture in my neighborhood that I've snarked about here a few times, by which I mean more than a few times.

As with Leland One, the highlight here is the set of orange enamel panels on the front, which were created by Bonnie Bronson, Kelly's wife. The catalog for a 2011 PNCA retrospective of her work mentions this Untitled briefly in passing, but doesn't include a photo. The only solo work of hers I've covered here (so far) is Nepali Window near SW 4th & Alder downtown, which I was quite a fan of.

I keep pointing out I'm not a huge fan of Kelly's work, yet for some reason I keep tracking these things down anyway. It's totally fair to wonder why I keep doing this. I suppose the sheer snark value is a big reason, but I think it's also that most of these sculptures have lapsed into utter obscurity over the last few decades (perhaps rightly so) and there aren't any photos of them on the net, and they don't appear on the usual walking maps and tourist guides and public art brochures. So the odds are pretty good that I'll have yet another top Google ranking for something nobody on earth will ever search for. That's kind of been a staple of this humble blog since way back in 2005. I've never claimed to be a hipster, but you could say I've been into stuff you probably haven't heard of since before it was cool. Locally sourced, too.

Soldiers & Sailors Monument, Boston Common

A few photos of Boston's Soldiers and Sailors Monument, atop a low hill in the middle of Boston Common. It's a big allegorical Civil War memorial, like the later and more ornate Soldiers and Sailors Monument in Cleveland's Public Square. A page at Celebrate Boston describes the monument's allegorical odds and ends and what they all represent. CT Monuments laments graffiti and vandalism at the monument, and points out a nearby World War I monument made from a converted sea mine, which I'm quite sorry I didn't notice when I was there. Historical Digression talks about the monument a bit and moves on to Martin Milmore, its sculptor. Milmore died young at age 38, and was memorialized by Daniel Chester French's famous Death and the Sculptor, which may actually be better known than Milmore himself these days. French is best known for his Abraham Lincoln statue at the Lincoln Memorial, and he also created the Minute Man statue at the Old North Bridge in Concord, MA.

Public Art Boston's info page for the monument notes that "In honoring ordinary soldiers and sailors, rather than military leaders, this work set an important precedent adopted by the designers of subsequent memorials." and points out that it's available for "adoption" in the city's Adopt-a-Statue program.

On the point about this memorial defining a style for future ones, I came across a paper in the Spring 1988 Journal of American Culture, "Martin Millmore's Soldiers' and Sailors' Monument on the Boston Common: Formulating Conventionalism in Design and Symbolism". It looks interesting but unfortunately it's paywalled, and I'm not a Real Historian who can get it through a university library, and JSTOR does't have it, so -- peon that I am -- I can only see the first page. So this is the part where I put in a plug for Open Access publishing. Here's the first paragraph, in the spirit of fair use, since that hasn't been abolished yet:

The Soldiers' and Sailors' Monument on the Boston Common, designed by Martin Millmore and erected 1870-1877, is one of several types of memorials elevated after the Civil War. The characteristics of this monument, its configuration and iconography, were influenced by popular ideas and eclectic stylistic trends in post-Civil War America. The shaping of this type of monument was especially influenced by the popular tastes of the period. An analysis of the style, sources, and imagery of the design offers insight into the ideologies, the formulating conventions of the age, and the role of the artist in satisfying the prevalent demand for military monuments as art within the public domain.

Without really intending to, I've ended up with a handful of posts here about Civil War memorials. Beyond this one and the one in Cleveland, I've also got Southern contributions to the genre in Edgefield, SC and Tupelo, MS, as well as Portland's own very humble contribution, a couple of puny surplus cannons in Lownsdale Square. So I figured I'd go ahead and add a "civil war" post tag, so it's one stop shopping for visitors who just can't get enough of the Civil War for whatever reason. I don't get that, personally, but I like to feel I'm providing a valuable service here, even when I find it inexplicable.

Johnson Lake expedition

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Today's adventure takes us to another obscure city park along the Columbia Slough. If you take MAX to the Portland Airport (or I-205, I guess), you'll see a big ugly factory a bit north of the Parkrose-Sumner station, and a lake directly north of the factory, right next to the freeway. This is Johnson Lake, home to the city's "Johnson Lake Property", which covers roughly the eastern third of the lake plus some shoreline on the north shore. When I say today's adventure takes us there, I mean in a very broad sense; these photos were taken from a moving MAX train, and I'm not sure what if any public access there is to the lake. The word "Property" in the park's name is usually a clue that it isn't really set up to welcome visitors. (See also the Jefferson St. & Munger Properties in the West Hills, for example.)

As with other places of the "Property" variety, the city's list of park amenities is just the boilerplate "Includes natural area". Unlike the others, though, the page continues with a rather extensive history section. As the story goes, a century ago Johnson Lake was a popular local recreation spot, with swimming, boating, and even a dance hall (although the dance hall burned sometime in the 1940s). I don't have any colorful stories of the era to pass along because the Oregonian database doesn't mention Johnson Lake until the 1980s or so, I suppose because it was too far out of town for the paper to care. Longtime residents remember those days fondly, though. But then, in the 1950s, a giant Owens-Illinois glass plant moved in on the south shore of the lake and began discharging some sort of sludge or goop into the water. And because this was the Good Old Days, there was nothing anyone could do about it. Understandably, recreational use of the lake declined after that.

State environmental testing revealed elevated PCB levels in the area, as well as various other fun substances. A "Projects & Programs" pdf from the Columbia Slough Watershed Council describes various remediation projects that have taken place over the last decade, including a 2008 "pollution reduction facility" on the south side of the lake, built jointly by the Bureau of Environmental Services and the glass company; native turtle population studies beginning in 1999; and a 2012 sediment cap to isolate contaminated lake sediments, which supposedly fixed the lake, at least to the state DEQ's satisfaction. A 2012 Draft Feasibility Study for cleaning up the Portland Harbor Superfund Site cited the earlier and much smaller Johnson Lake cleanup as a precedent on how to handle a couple of technical details. I'm not a biologist, nor am I an EPA regulation expert, so don't ask me to explain what that's all about.

Before we all shake our fists at the horrible glass plant, it's worth pointing out this isn't just any old glass plant, it's a beer bottle plant. It's said to produce a million bottles a day, and the odds are pretty good that your local microbrew bottle came from here, and was made from recycled glass. And for that we have Oregon's Bottle Bill to thank, in part, because it results in a high quality supply of used glass, separated out from plastic and other recylables. Back in the 1950s this plant probably made bottles for your grandpa's beloved Blitz Weinhard or Lucky Lager. So two of our regional obsessions, local beer and saving the world, are sort of in collision here.

Various other environmental items popped up while searching for info about Johnson Lake:

• The lake is mentioned in a study on freshwater mussels of the Columbia Slough. One of the studied sites was Whitaker Slough, a side branch of the Columbia Slough that drains Johnson Lake and flows into Whitaker Ponds. The study found that freshwater mussels in Whitaker Slough tended to be older than in other parts of the Columbia Slough, and they hypothesized that recruitment of juvenile mussels might be a problem here, or might have been a problem until recently.
• A study on native turtles of the Portland area found very few at Johnson Lake. The authors don't have a definite explanation as to why, but they speculate that the poor aquatic conditions can't be helping.
• The sycamore maple trees around the lake are an invasive species, apparently.
• The lake lies within the Columbia South Shore Well Field, Portland's backup drinking water supply when Bull Run is offline or can't meet demand. Here's a Mercury article about a bike tour of the well field. I should point out the city draws underground aquifer water, not surface water, and icky stuff on the surface doesn't necessarily mean icky stuff at well depth. It still seems kind of ooky though. The city does have a program to protect wellhead water quality, but it seems to be focused more on septic tanks and new accidental spills versus existing, persistent contaminants like the ones here.
• Surprisingly, fishing is technically legal here, so long as you don't eat the fish. Boating is off limits, however, since much of the lake is still privately owned. The notion of swimming in the lake didn't even come up in that discussion thread, but I'd imagine you aren't supposed to do that either.

Despite all of this, Johnson Lake is a neighborhood park in an area that doesn't have many parks, and the local neighborhood association's trying to make the best of it. Their website calls it a "hidden gem", and they've organized volunteer cleanup efforts focusing on trash and so forth. Which is great, but I'm not sure what's really doable with the place beyond general habitat restoration. It's a park centered around a lake, but visitors probably shouldn't touch the lake, and the surroundings are mostly industrial and not very scenic. This sort of limits the possibilities. So maybe a nature trail would work here, maybe a birdwatching spot or two, assuming the lake attracts birds. I found one report of a possible "American x Eurasian hybrid widgeon" sighting there, but generally it doesn't seem to be a popular spot right now. And no, I don't know what a hybrid widgeon is; I'm going to assume it's caused by the fun lake chemicals, sort of like Blinky, the three-eyed fish on the Simpsons. Hey, it's a theory.