Artist’s original intent

Log Ramps is a sculpture that was created by Lloyd Hamrol in 1974. Lloyd Hamrol designed this sculpture to be an interacting sculpture, one that could be climbed and sat upon. He also incorporated ceremonial architecture in this piece, architecture that is evident through the circularity that can be seen from within or from above, the triangular shapes, and the protective enclosure that the ramps create. The Log Ramps were also created from timber to give homage to the most abundant natural resource of the Northwest.

Influences of the time period

Log Ramps, built in 1974, was intended to give off a ceremonial, spiritual presence that reflected well off the hippie movement which celebrated peace, love and open mindedness. The use of natural materials gave people the feeling of being “one” with the environment, during a time when the youth was feeling the freedom to be more natural with themselves and their surroundings.

More about the artist

Lloyd Hamrol was born in San Francisco, California in 1937. Hamrol’s philosophical views were greatly influenced by the feminist movements that were beginning in his time, and the assassination of John F. Kennedy. As such the majority of his work revolves around architecture and the environment. Hamrol’s art is made to be interacted with. The success of Hamrol came from his small sculptures as well as his permanent architectural installations such as the Log Ramps.

Other works of art

Lloyd Hamrol is known for many art works other than the Log Ramps, including Uptown Rocker, Sea Look Out, Stone Rise, Park Place, Gate House, Thronapolis, Slide Stone Mound, De Anza Walk, Moore’s Stone Volute, Crown Liar, Coral Square, Serpent Mound, Up Settling Down, Roxhole, Rockwalls, Pier Plaza Ampitheater, Wooven Cone, Press, Highground, Gyrojack. Flagstone Ramp, and City Terrace.

The Log Ramps today

The Log Ramps sculpture was created in 1974 and reconstructed since then two times. Once in 1983 and again in 1995. The fact that this sculpture has been reconstructed so regularly shows the sculptures importance and how it is something that will be around for some time.

Our interpretation

When I first saw the Log Ramps, I was drawn to the shadows the piece castes. I felt that its beauty lied not in in the piece itself, but in its interaction with the environment. The way the piece is elevated on a hill, the way the large towering shapes create striking shadows, how the piece is surrounded by trees. Needless to say, I understood the environment more than I understood the piece.

My research on this piece gave me a broader understanding. I learned that the piece was not originally on a hill, and that the large towering shape was to create a sheltered look, similar to a house, but closer to a temple. I learned that the way each ramp pointed to another was symbolic of circularity. The artist, Lloyd Hamrol, wanted to convey a ceremonial feeling, which he does through the temple shape and simple materials. The materials Hamrol uses are also a homage to the Pacific Northwest.

I have a new appreciation for this piece and the way it reflects its environment and the environment at Western Washington University.

Credits

Tony Bhangal for video and research.

Amanda Lawerence for photography and research.

Andi Palosi for research and interpretation.