RMITLA10-TF3&H3

Wednesday, October 6, 2010

Adam Cox

Hiroshi Yoshinaga

Aryen

Brooke Bisset

Brett

Bonnie Grant

Scott Spargo

Ryan Davis

Tristan Andrews

Kate Jarrett

Friday, September 10, 2010

Natural Appearance

image01: R&Sie I've heard about

image02: Park Guell

image 03: Facade of the house. Paseode Gracia, 43

image04: R&Sie waterflux

Forms and Nature
How can the appearance of landscape give particular impression for those who see it, use it, or feel it? How can they represent the nature? Do they have specific shape or form to do that? And as designers, what do we do can reach the maximum effect on the expression of natural?
“...link and hybrids the human body to the body of architecture by a re-scenarization on the rules of all the natures of each situations...”
--François Roche
“...in natural there is no straight line or plane and that by contract there is an immense variety of curved forms...”
--Antonio Gaudi
There is no doubt that the appearance of one thing can leave the first impression for who see it or even just a glance. Landscape architecture, as an important link between human, nature, and the architecture itself , the structure, the shape, or the form of it can be an essential carrier of the impression for the relationship.
R&Sie use their concept of "spoiled climate" chameleon architecture, which links and hybrids the human body to the body of architecture by a re-scenarization on the rules of all the natures of each situations. In their projects "waterflux" and "I've heard about", they through the smooth irregular curve using to make their theory reality. The structures created by Antonio Gaudi, on the other hand, the "Park Guell" and the "Facade of the house" has fully reflected the completely free development of Gaudi's ideas based on an architecture inspired by nature. Obviously, his theory of there is an immense variety of curved forms is totally been proofed by his own naturalism structures. Compare the concept and actual work of R&Sie and Gaudi, it is not difficult to conclude that the form of shape can highlight the essence of nature is the irregular shape of the curve.
Bibliography：
1. Viewed 12 August 2010http://www.new-territories.com/
2. Viewed 16 August 2010http://www.archdaily.com/
3. Viewed 12 August 2010 http://scriptedbypurpose.wordpress.com/participants/rsie-francois-roche/
4. Aurora Cuito, Antonio Gaudi: Complete Works, H. Kliczkowski (March 30, 2002)
5. Juan Bassegoda Nonell (Author), Melba Levick (Photographer) ANTONIO GAUDI: Master Architect, Abbeville Press; 1st edition (April 1, 2000)
6. Giovanni Vorbellini, Bioreboot: The Architecture of R&sie{n}, Princeton Architectural Press (February 3, 2010)
7. Andrea Ruby& Benoit Durandin, R&Sie... architects: Spoiled Climate, Birkhäuser Basel; 1 edition (Jan 30 2004)

image credits:
image01:http://www.archdaily.com/wp-content/uploads/2008/12/147170475_water-flux-24.jpg http://www.archdaily.com/
image02:http://www.archdaily.com/wp-content/uploads/2008/12/512085260_evolene-a1bis-421x450.jpg http://www.archdaily.com/
image03:Juan Bassegoda Nonell (Author), Melba Levick (Photographer) ANTONIO GAUDI: Master Architect, Page 92 Abbeville Press; 1st edition (April 1, 2000)
image04:Aurora Cuito, Antonio Gaudi: Complete Works, Page 295, H. Kliczkowski (March 30, 2002)
image05:http://www.new-territories.com/I’vehe4.jpg http://www.new-territories.com/ access R&Sie…

Friday, August 27, 2010

Leftovers = Refuge? - Melissa Stagg

Wednesday, August 25, 2010

Habitations Anamorphic Potential-Will Grosby

Monday, August 23, 2010

Point----At the right nod and the right moment: Investigations of Gilles Clement and his “moving garden”

Author: Yan Luo 3262035

This paper is to explore a mode for a designer to guide human landscape to proceed. Clement’s “moving garden” is an aspiration. Instead of confining every element in geometric axes and grids, Clement regards a “moving” way ---- a spontaneous growth to leave the factors in the system to their own devices.

If “moving” can be interpreted as an epitome of nature, it shows that things have their biggest liveness when evolving in their own way to perform excellence in diversity through contradiction rather than being elements in a singular narrative or frame. If so, this research aims to formulate a mode to retrieve our design into a point for activating this liveness in landscape architecture.

This research will discuss in on hand by the practice of “De la vellete” park by Bernard Tschumi, the theory of Gestalt psychology as well as the feature of border in the ecology, which are used to show that acts of design can be streamlined from a normative pattern and diverse contradicted factors embedded in the system of landscape as new dynamics; on the other hand, I will quote the “accretion” theory by architect Kisho Kurkawa , the “process landscape” by George Hargeaves and review the process of how the “less” interacts with the “more” and finally become “between” in the history of architecture, in order to articulate where the point is and how to catch it in the dimension of time.

Finally, by using this framework, this research hopes to reach a consensus that the most suitable mode of design does not mean to make or create an evolution but to activate one at a right node and a right moment.

Keywords:

moving, diversity, contradiction, landscape, evolve, point, node, moment