Exhibition Images Cont'd

Exhibition Images

Assignment 2 YouTube Links

Ahmad Azziz

Will Grosby

Jason Cahill

Ethan Ditterich

Emmaline Bowman

Nick Jenkinson

Joe Waterman

Alistair Kirkpatrick

John Martin

Wen Sun

Benjamin Fleming

Bonnie Grant

Yan Luo

Jing Qu

JiYoung Ryu

Angus Durkin

Adrian Keene

Sarah Hicks

Blaise McDonald

Emma Jeffery

Alistair De Fegely

Seada Besic

Charles Allen

Amy Taylor

William Byrne

Daniel Heskins

Robbie Legator

Julianne Trinh

Emma Warren

Sally Yang

Dylan Holmes

Gianni Dal Forno

James McGuinness

Wen Sun

Simon Meade

Adam Cox

Hiroshi Yoshinaga

Aryen

Brooke Bisset

Brett

Bonnie Grant

Scott Spargo

Ryan Davis

Tristan Andrews

Kate Jarrett

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…

Leftovers = Refuge? - Melissa Stagg

Habitations Anamorphic Potential-Will Grosby

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

A sense of place - Kate Jarrett

FITNESS WITH EXPLICITY- Ryan Robertson

How is knowledge of context translated into the realm of Post-Modern ‘appropriateness’?The projects of EMBT (Enric Miralles/Benedetta Tagliabue) consistently demonstrate an intimate narrative between site and project. How is the ‘Fitness’ of EMBT design engaged by the manifestation of function through form? The intention of this paper is to interrogate the role of form as a vessel for EMBT design in the post-modern era, as a means to understand the complexities of the cultural, social and spatial linkages between site and their design.

The portfolio of EMBT (circa 1970) highlights their insatiable desire to definitively shift Architecture away from the ‘less is more’ Modernist dogma, to their own indelible ‘more is different’ approach. Around the same time, Ian McHarg adopted an environmentally empathetic Post-modernist approach through his book “Design with Nature’. McHarg contended form expresses the process; that they are indivisible, and indicated that fitness with one’s environment is a prerequisite of existence2. How do Fitness, form and function interact with each other in a built environment;indeed is it possible?

McHarg’s definition of Fitness: “If a creature exists, it is fit and its expression is likely to reveal some of its fitness”3, p1-p2. The architecture of EMBT is governed by this important statement. It is designed with consideration for articulation and empathy toward its context. Catherine Spellman’s labelling of EMBT process as ‘reverse archaeology’4, in that their designs are an etching of cultural ideas and references into the landscape is an apt summation. The EMBT design must not sit ‘on’the landscape, but rather ‘in’ it, social links woven throughout and cultural references embedded within through its form.

If we consider EMBT’s practice as not merely fit, but explicitly so, we seek responses through the design to the statements of its immediate context. In examination of the New Scottish Parliamentp5-p9 and Igualada Cemetery Parkp10-p11 the architecture must ‘speak’ the language of the site. Explicitypromotes the most acute of conversations between site and design. Fitness is not engaged by the manifestation of function though form, it is the manifestation of function though form. The intention is how form and function may be considered one and the same in EMBT design.

“Certainly, we can dispose of the old
canard ‘form follows function’. Form
follows nothing- it is integral with all
processes” 1
Ian McHarg


“Form then is communication,
the presentation of meaning”5
Ian McHarg

Nature, Narrative and Urbanisation

The rhythm of site

Key words: rhythm, implication, binary thinking, Zixueyang, s3191595

ABSTRACT

Rene et Madieleine Caille public garden is located in the centre of Etats-unis Quarter, Lyon ( Desvigne & Dalnoky,1997) . Designed by Desvigne & Dalnoky practice, this project is underpinned as a blending of rhythms both from human force and nature, suggesting a way to reject the binary thinking between human and nature. The whole site was divided into two parallel space, one for public garden and the other for traffics flowed from the avenue nearby. Long paving bands stretch across the garden with distribution of blocks in different length with different interval Plane trees followed three main compositional lines with shrubs underneath, and a shorter strip of trees are arranged in the north of the garden which gives an obscure partition of this space. (Fig1)

This project employs proper implication which is significant in spacial design. These elements in this project function as an “absolute origin” to trigger human’s reflection, implying human to locate themselves in this space (Derrida, 1989).Meanwhile, the design endows differences for these two spaces: benches, recreational facility and proper tree shad are arranged in garden while the avenue was covered with asphalt. (Fig2) These differences shape human’s perception of space and make it to be a stable perception after their spatial experience accumulated over time.

Desvigne & Dalnoky is a French practice founded in 1988 whose works are characterized by constant contrast between nature elements and constructed elements. This peculiarity is inherited from their different ways of researching the relationship between architecture and landscape. One of its main designers, Christine Dalnoky explores the relationship by taking research of Italian Renaissance gardens whose layout are largely determined by geometric forms, while her partner Michel Desvigne starts his studies by observing a specific landscape formed by natural force, such as islets formed as a result of alluvial deposits in a stream bed.( Desvigne & Dalnoky,1997) The difference of getting inspiration contributes their concern about the blending of nature environment and geometric layout. This cognition supported post-modernism ideology that characterized by the rejection of binary thinking (H­­­arvey, 1935).

Bibliography

Rhythm: the key word to underpin this project. Constructed elements are read as rhythm of human force while natural changes are read as rhythm of nature.

Absolute origin: implication from design, to direct human’s behaviour.

Binary thinking: a pair of terms or concepts that are theoretical opposites. In binary thinking system, landscape architecture and architecture, nature and human are regarded as opposite standpoints which are rejected in post-modernism thoughts.

Reference

Elizabeth, k. Meyer, 1994, Landscape Architecture as Modern Other and Postmodern Grond, selected from The culture of landscape architecture, edited by harriedt edquist & vanessa bird

Derrida, Jacques, 1989, Edmund Husserl’s Origin of Geometry: An introduction by Jacques Derrida, University of Nebraska Press, Lincoln and London

Desvigne, Michael and Dalnoky, Christine, 1997, White Library Deisign, translated from Italian by Jay Hyams

Harvey, David, 1935, The Condition of Postmodernity: an Enquiry into the origins of Cultural Change, Basil Blackwell, Inc

DESVIGNE & DALNOKY.- John Paul

People are constrained in terms of thought and interpretation, by the particular psychological discipline which functions throughout the broader society, based upon the present culture of time and place. Foucault argues that, “reality is constructed out of human consciousness and its ability to perform interpretations (McHoul & Grace 1993, A Foucault Primer: Discourse, Power and the Subject, p2).” Foucault “does not ask: who is in power? He asks how power installs itself and produces real material effects (McHoul & Grace 1993, A Foucault Primer: Discourse,Power and the Subject, p21).”

In order to understand the distinction between the natural and constructed, the designer must look beyond the subjective, to see through the elements attached by social influence; each element will then contrast between the pure, and the manufactured purity – what is real, and what is made to imitate real. Based on the observation of a landscape, the designer must acknowledge and understand the reason behind its formation; it is then possible to employ those same elements to perpetuate its legitimacy, to reinstall the memory of place. As time continues,different cultures will find new values from the same source (Desvigne, M, Dalnoky, C 1997, The Return of Landscape Architecture).

In regards to the discipline of design from Desvigne and Dalnoky, their intention is to look beyond the normalization of society’s discourse, not to simply return the land to an undulated state, but to restore it to the point that is possible to develop… an ‘intermediate landscape’ (Shedd Reed, P 2005, Groundswell: Constructing the Contemporary Landscape, p30). The design of trees and plants within Rue de Meaux and Greenwich Peninsula were envisioned to be “adaptable and resilient to unpredictable demands as the surrounding areas continue to change in decades to come (Shedd Reed, P 2005, Groundswell: Constructing the Contemporary Landscape, p30).” They are not attempting to combine the two elements, rather, change the landscape through the legitimacy of its authenticity, utilizing historical and present cultures to recreate awareness from the original foundations. Desvigne argues that designing anything more specific “would be premature in the absence of a firm program, an approach that has been described as a kind of calculated detachment (Shedd Reed, P 2005, Groundswell: Constructing the Contemporary Landscape, p30).”

key words:Subjectivity Discourse Normalization Authenticity

References:

- Foucault, M 1970, The Order of Things; An Archeology of the Human Sciences, Travistock

- McHoul, A & Grace, W 1993, A Foucault Primer: Discourse, Power and the Subject, New York University Press, New York

- Shedd Reed, P 2005, Groundswell: Constructing the Contemporary Landscape, The Museum of Modern Art, New York

Image References:

- Truong, Q 8 February 2009, The Lives of Others [online] http://www.quangtruong.net/?tag=michel-foucault [accessed 12 August 2010]

- Greenwich Peninsula London [online] http://www.cabe.org.uk/case-studies/greenwich-peninsular [accessed 10 August 2010]

- Rue de Meaux Housing [online] http://www.mimoa.eu/projects/France/Paris/Rue%20de%20Meaux%20Housing [accessed 10 August 2010]

Making by Knowing…Adam Cox

This research explores the importance of material knowledge and landscape processes both through design and within the physical landscape.

This research poses the question, how can we design when we don’t know the characteristics of themedium that we are designing with? What can material knowledge bring to a landscape? The Wave bridge in Toronto, Canada; designed by the West 8 office uses curvaceous, non conventional form to create the structure of a bridge. The final outcome considers, but rejects; limitations and characteristics of each material chosen along with a strong understanding of how each of these elements cohesively bond and form relationships at the 1:1. Furthermore a sound knowledge of the material adjacencies surrounding this bridge must be understood for this structure to maintain its form and material qualities to withstand the everyday phenomena that will challenge its structural existence through time. Material form and structure are continually shifting and changing, how can this knowledge be employed to test/explore material qualities through design?

The combined knowledge of material form and structural properties can be supported through thework of Convic Designs, in particular their skate parks and youth hubs. With their socialization in using concrete as their most commonly used material for both skate parks and youth hubs the Overall performance rests upon Convic's sound knowledge of the structural properties, application and finishing processes of concrete to design without limitation. This knowledge is evident through Convic's continual ability to push material limitations of application through the construction phase of the design for these spaces both on a local and international scale.

A landscape rich in material relationships and bold structural form is a characteristic adopted by bothConvic and West 8. Comprehensive material knowledge and a strong understanding of structural form should be imposed through all levels of the design process, right through the construction phase to evoke the senses of those submerged within these landscapes and public spaces.

Key words: Manipulation, material knowledge, structural formation, limitations