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It’s not just a place, it’s a lifestyle.

WOODLAND PARKa proposal

C.J. Soukup

University of Houston Graphic Communications Program

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for the love of nature.

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Table of Contents

History of the park

Present–day Woodland

The experience

My concept

My process

The final product

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WOODLAND PARKa history

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which opened in Woodland Heights in 1903, was developed by the

Houston Electric Company to encourage ridership on its new exten-

sion up Houston Avenue. The park was operated by Fred Bishop, who

leased the property from the streetcar company. The park was scheduled

to open to the public on July 4, 1903, but the opening was postponed a

day due to rain. A large crowd was guaranteed because both the clerk’s

union and the Woodmen of the World (Magnolia Camp) held their annu-

al picnics at the park that day. The Galveston newspaper reported that:

“A programme of interesting events fully a yard long had been prepared

and kept up interest at a high pitch from the opening of the festivities

until the day was at an end. Other groups holding picnics at the park in

its opening weeks were the Painters Union and the Houston Civic Club’s

First Ward Division. The Painters Union’s entertainment program includ-

ed James E. Black, a “singer, dancer, and acrobatic high kicker without

legs”; and Charlie Ward, described as “Comedian: blackface specialty.”

However, dancing was the evening’s main feature. In its early days, the

park’s primary attraction was a dance pavilion, where patrons would

waltz and two-step. The park had its own band, the Highland Park Band,

made up of about twenty musicians. By August 1903, a gravel path

had been added between the streetcar stop and the pavilion, but work

continued on the park. In the winter months that followed, most press

coverage related to the park was devoted to the Highland Park Gun

Club, which held shooting tournaments at the park’s gun range.

HIGHLAND PARK,

the park reopened for warm–weather use in 1904–again for the

Woodmen of the World annual picnic, complete with “minstrel

performances”–a lake(formed by damming Little White Oak Bayou,

sometimes called Hollywood Bayou), bridges, boats, fountains, and a cafe had been added, and

the pavilion (which doubled as a summer theater) had been reno-vated. The Galveston newspaper

described the park as follows: Adding grace and beauty to the

park are great, tall, towering majestic pine trees and shrub oaks,

wierdly beautiful with a fantastic drapery of moss suspended from

their branches and festooned around their boughs, bidding

a fond welcome to the visitor and offering a cooling retreat from the

burning rays of Old Sol.

by the time

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he vast crowd which attends Highland Park every Sunday afternoon and night was entertained for the first time yesterday with music from the pavilion built on the island. Water is a natural sounding board and the fine music of the band was greatly enhanced by the background of water. Seats were placed on the incline to the bayou and these were occupied by men, women, and children, who

were enjoying the refreshing breeze wafted up from the lake. Among the entertainments were skiff rides, dancing, and refresh-ment. Fully 5000 people were out during the afternoon and evening.

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gWOODLAND PARKtoday

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a day at the park

in 2012

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&THE LOOK

THE FEEL“Continuous eloquence wearies.

Continuity in everything is unpleasant. Cold is agreeable, that we may get warm.”

BLAISE PASCAL

Grandeur must be abandoned to be appreciated.

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CONCEPTThere was a time when Highland Park was at a peak of interactivity.

People brought their friends, families, and loved ones to interact;to form relationships, to create memories.

This is the inspiration.

The park and it’s amenities became

a piece of history in these people’s

lives and their use and love of the

park granted it with historic value.

With these thoughts in mind and inspiration from the fashion of the 1900s, along with vintage signage, the mission was to create three typographic moments throughout the park that highlight the interesting natural aspects of the venue.

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rTHROUGH THE PROCESS, IT BECAME MORE AND MORE APPARENT THAT THE TYPOGRAPHY NEEDED TO BE SUFFICIENTLY INTEGRATED WITHIN THE LANDSCAPE ITSELF.

In the beginning, the thought was

to place literal signage containing witty comments

that would inform people about the park’s character.

initial concept sketches

WOODLAND PARK

40s SIGNAGE AESTHETIC CONCEPT

WOODLAND PARK

A PLACE FOR YOU,A PLACE FOR ME,A PLACE FOR EVERYONE TO BE.

ju� don’t get crazy

PleaseDON’TPET

theGATORS

THEY’RE UNDERFED

40s SIGNAGE AESTHETIC CONCEPT

YOU SHOULDtotally

go this way

@#

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@ @

@ @

Si�yHUMAN,WOODCHIPS

are for

SALTED AND UNSALTED

beavers

DOO–DOO BAGS #

40s SIGNAGE AESTHETIC CONCEPT

P�pISN’T GOING

pick

sweetie

TO

itself up

the

PROCESS

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1900s INSPIRATION CONCEPT

typography will be carved into the lawn, with the “trenches” lined with plastic or metal so that another plants can be grown in the lawn.

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typography will be engraved into caste stone stumps that can double as seating or a play area for children.

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the spaces around the typography will be carved into a stone tablet so that the type is raised. It will then be placed into the bayou, just beneath the flowing water, so that it can be seen from land.

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Woodland Park is a very man–made structure,

yet it contains purely natural elements that beckon to be preserved and even enhanced.

The presented sculptures are designed to become one with the environment; they

are not meant to jump out at the audience...they are quiet pieces that the viewer

happens to stumble upon.