TOP O GR APH ICAL
TOPO GRAPHICAL INCURSIONS ALEX A ONGO C O S3388923
LOUISA KING TUTOR
Surface Rules The theory of Chaos is one that easily contradicts itself. It is a science that tries to predict the behaviour of seemingly and inherently unpredictable systems. These systems are seen on a daily basis; the ability to self organise without a conscious knowledge of its surroundings. Fireflies are the most common example. On a given Summer’s night, fireflies land in a tree and their tail lights begin to pulse. These pulsations are irregular in comparison to each other and in accordance only to the individual. Suddenly, the pulsing is even, beating in time as if the tree itself is pulsating light energy. This is chaos. A random event that has an unseeable logic behind it; rules, perhaps inherent and programmed within.This logic is invisible and more often than not, seemingly void. In our cities today, there is a phenomenon in which, while buildings and roads are static (cannot move), dynamic movement is present all along its surface. There are forces at work that define how people and vehicles move, where buildings are situated and how roads intertwine these constructed topographies. What follows is an investigation into these invisible forces through a relay of experiments and analyses back and forth between plaster experimentation and site observations in order to make sense of how dynamics can be used as a mechanism for redesigning cities. Can we propose a mechanism that is based on dynamics to allow for open-ended design that continue to re-write their rules and thus, create an everchanging surface? Note: This is a journal of my own working thoughts and reflections not meant to be complete, but rather added on to. A two-column system is proposed in which, those on the left hand side are pre-thoughts; thoughts existing before and during the experiment. The right hand side is for reflection in retrospect and questions or ideas for the next chapter.
Previous page (left): Surface conditions trace of Plaster and Vinegar Mix Previous page (right): Photograph of Intertwining Movements Hybrid model with Food Dye, Salt and Plaster
R
einstate where possible, components of the region’s subtle topography that has
been modified through urban developments by expressing through new features constructed or natural.
Excerpt from the Melbourne City Council Document, Section 3.5 (2012)
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einstate where possible, components of the region’s subtle topography that has
been modified through urban developments by expressing through new features constructed or natural.
MCC Document, Section 3.5
Explorations In this first section of investigations, you will find exactly that: investigations. For myself, it is imperative to understand the mechanisms of the primary material at hand. The idea of ‘grounding’ the project into the site at such an early stage overwhelmed me terribly and so ‘site’, as you will find in this section, is elusive to say the least. Rather, theories are proposed and inspired by how such a material can be used when considering the city. Plaster itself is versatile. It can be tough or fragile, it produces exciting and unexpected results when combined with foreign materials, it can be scraped, torn apart and glued back together. It is obvious then that all of these factors have rendered it to be the most giving material for my own explorations into the logic behind this dynamic material.
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oth the natural and built topography contain their own underlying rules. Without units or any reference to measurement, these rules become arbitrary lines. Through plaster, I aim to explore the possibility of these implications within the vertical plane.
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Most prevalent to me in the document was the need to ‘reinstate where possible the region’s subtle topography through new features both constructed and natural.’ This in itself seemeda contradiction, in that reinstating is to go back to a former presence, but how is that possible when it is done through new materials? Rather, aren’t we creating something completely new? The word perspective drifted in and out as well, for what is this subtle topography we are trying to reference back to? Is it the completely natural world, when Australia was part of Pangea, or was it 300 years ago or 5 years ago? The idea of perspective then gave the rise to another key word of arbitrary. Perspective allows one to look at a certain feature in a specific way, i.e. contour lines with measurements help decipher valleys from hills. Without these measurements, the contours become arbitrary merely lines on a page. These lines can therefore create rules, but are dependent on one’s own perception. The Document may therefore imply that our perception of what the subtle topography is defines the rules for which we need to reinstate. In essence, what are these rules and how do we perceive them?
Using a thesaurus to make sense of the MCC Document, the word ‘natural’ was found to be associated with ‘essential’ - a notion that was explored in this first experiment. Generally, ‘natural’ features are considered to be untouched by human form. The word ‘essential’ extends this view and sees that which is essential to the site . In the case of the city, things both touched and untouched by human form. Buildings and roads now have their own place in the ‘natural’ topography, thus affecting our perception of topographical rules. The final two diagrams within this question begin to explore the natural and constructed landscape working together to create a hybrid rule, and will be considered in the next question. As a small note, for myself, the findings here have begun to ask how one can use these rules and more to redesign cities - a notion which I am sure will become prevalent throughout this journal.
This page: Map of a section of Melbourne showing building outlines. Opposite page: Matching map of a section of Melbourne showing natural topography. Site chosen for mix of enclosed hills/valleys and full building block.
This page: Plaster models of building outlines showing inverses of each other. Opposite page: Plaster models of natural topography outlines showing the inverses of each other, as well as sectional images and drawings to see how topography changes according to specific rule sets.
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Previous page (left): Nolli Map drawings of chosen site. (From top left to top right and downwards): Buildings considered elevated; Roads considered elevated; Contours are rising towards the centre; Contours are lowering towards centre; Hybrid map of the natural and infrastructural; Combining the two topographies, what comes next? Previous page (right): Concept diagram for new exploration.
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f we attempt to change the rules of the natural and constructed topography, what are the implications of this in terms of a new surface? Through changing the tautness of plaster sheeting over a mock-up of a strip of the city, do we gain different results from the same set of rules?
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A sectional drawing of the north end of the Jolimont Rail Yard (done on site) gave the opportunity to continue exploring topography as a hybrid of the natural and constructed. Through this, new layers (not necessarily physical) were noticed. When going past, trains, cars and even pedestrians created their own moving layer, and maintained a parallel relationship to the surface on which they were travelling. A constantly moving layer (in the horizontal plane) was intriguing as it meant that the city existed of layers that were both visible and invisible. A look at the infrastructure only convinced me further, with a look at buildings during construction phase. What is constructed now can change in the future just as easily as any other natural landform - topography is constantly changing. However, this implies there is an ambiguation of the initial structure of the city’s foundations, therefore, making it harder to reinstate the past, especially when these changes are not uniform. Once again, if we try to reinstate something, are we replicating it exactly?
Opposite page: Facing Flinders Street and Jolimont Rail Yard. from the Pop-Up Patch roof top. Sectional Investigation of ‘hidden’ layers.
In retrospect however, these changes are quite subtle and follow already existing rules: buildings continue to grow upwards within the same building boundaries as the previous complex. The actual footprint does not appear to be changing, but rather remains quite static **
BASE
JOLIMONT RAIL YARD (SITE) - BASE
This page: Cardboard model of site from Yarra River to Flinders St building front laid over with Plaster Sheets of different tautness. This page: (Top) Cardboard Site Model side view and analysis, (Bottom) Cardboard Height Explorations Model side view and analysis
This page: Carboard Height Explorations Model in plan view. Analysis of shadows and potential uses of space.
Previously discussed were cities having their own rules that create new surfaces. Originally this question was to investigate and generate new surfaces through placing plaster sheets over the topographical models. However, because of the size of the models and the lack of height variation, this did not go work. Working with the sheets allowed for the ability to change tautness. For this experiment, the material was perfect. It was hard to find a way to calculate how taut the sheet should be each time so instead was played by eye.
**Since the vertical scale is one that can only move up or down, to investigate the ground plane and the dynamic movements existing on top seem more giving. Buildings direct movement but are also products of road placement structure. These road structures therefore create the rules for a topographical surface. By changing these rules on a horizontal plane, one can assume that building footprints will follow and a new topographical surface (albeit a hybrid one of constructed and natural) will form. Thereby, as mentioned before, dynamic movements on a horizontal plane will be investigated further -------------------
The initial model was set up to work with the site, looking at a strip from the Yarra River and up north towards Flinders St. Since infrastructural heights weren’t readily available, a gestimation and exaggeration was necessary to see distinction for each feature (i.e. buildings, rail yard, Yarra and sidewalks).
Working with the plaster sheeting gave the opportunity to think beyond just the vertical scale and incorporate the horizontal.
A second model was created without site reference in order to experiment further with the possibilities of heights and how the plaster sheets could be draped over the top.
A quick study of the angles of the slopes was undertaken, however, while there was a variety of angles, rules could easily be gathered by looking at the model. In this case, rules referred to certain angles allowing for certain types of activities. The lack of scale in this case actually allows for more possibilities in perspective. I have already investigated a few of what these activities could be, but more so at a medium scale. The following shows a quick look into a different scale altogether.
The drawings attempted to identify specific angles that could lead to a framework for movement catergorisation.
Categories could be made from the changes in gradients, indicating that topography played a key in determining the role of movement.
72°
53°
90°
90°
16°
44°
16°
24° 38° 28°
25°
18°
48° 24°
52°
21° 36°
24°
25°
36°
82°
36° 25°
65°
51°
38° 13°
34° 82°
62°
70°
21°
90°
65° 62°
40° 54°
19°
17°
This page: Cardboard Site Model angle drawings with potential uses Opposite page: Cardboard Height Explorations Model angle drawings
150°
85°
44° 114°
112°
84°
125°
47° 35°
62°
38° 17°
90°
90° 68°
90°
90°
82°
76°
36° 25°
20°
57°
38° 34° 26°
23°
82°
62°
70°
90° 90°
65° 62°
40° 54°
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hen plaster mixes with different materials, it reacts in certain ways. Is it possible to create rules and structures to apply to the city using these reactions?
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The idea governing this particular exploration stemmed from a want to more or less experiment with plaster in odd ways. What follows is a documentation of this. However, it was not merely adding ingredients to a tub of plaster. Rather, a level of precision was required, keeping the same amount of plaster for each mould and the same amount of substance to be mixed, the time at which each mixture was created and a set of notes describing the process was also included. The materials used (in hindsight, assuming these would give the most reactive results) included (and in this order): Salt, Bi-Carb Soda, Gelatin, Oil and Vinegar.
Opposite page: Timelapse of model making process. 1) Salt, 2) Bi Carb Soda, 3) Gelatin, 4) Oil and 5) Vinegar
Both pages: Journal entry of model making processes
SALT irregular circular/oblong similar size similar shape clustered in some areas spread out in others
BI CARB SODA clusters of bubbles drawn tiny and exponential amount of individual bubbles elongated or rounded small clusters form beside large clusters similar to salt patterning
GELATIN sharper round shapes smooth contoured surface pores similar size pores evenly spread out and multiple seamless
OIL variety rounded to elongated varying sizes odd patterns sparseness clumped or busy E. Coli Bacteria
Working with the plaster and different materials gave a dynamic response. Each one was different in how they interacted. It would be interesting to see if they would react the same way. Even dynamic processes may have their own rules. It might be worth repeating these movements to see what the characteristics of each material are like.
VINEGAR rough surface depressions abrasive tiny bubbles - were not drawn spreads out from centre elongated
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hen plaster mixes with different materials, it reacts in certain ways. These reactions are dynamic and appear to be unpredictable. However, through repetition, do these dynamic reactions reveal similar patterns or characteristics?
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SALT clusters cracks/depressions smooth sparseness tiny bubbles built up around edges similar size
BI CARB SODA expansive contours airy deep crevasses clumps smooth surface
GELATIN raised bands discoloured voids uneven mixing rough threshold self-organising contours elongated
OIL densely packed circular movement sparse around edges flowing direction large pockets of air followed by tinier pockets elongated on outside
VINEGAR similar sizes smooth + sparse surface in middle cracks tiny bubbles disruption tension contours
By repeating a method, it is almost inevitable to subconsciously make changes to the process to ensure you get the best results. The previous process showed the plaster being made first, poured into the mould and then had the material mixed in. The second time round, it They did appear to carry out the same properties, even if their physicalities turned out differently. The BiCarb Soda for example, came out completely different, because it was contained in the second experiment and was able to set while the first experiment showed a very mushy model for a while. Upon closer inspection however, one could see the same sort of pores or crevasses as well as the beginning formations of the cracks/contours in the first experiment that were dominant in the second. It only reiterates how dynamic this material is, replicating factors found in the Chaos theory - that there is some sort of organisation within a dynamic and otherwise random looking process. The mixtures follow certain rules or limitations, but still manage to come out differently - something I like to call determined randomness. These patterns now yields the opportunity to act as one of two things: 1) A mechanism for defining a surface structure for public spacing or cities OR 2) A mechanism that directly represents how people move through spaces. It is also important to note that a slight change in how the experiment was set up has changed the physical properties of the Bi Carb Soda mix completely, giving it an airy body and the essence of topography. It asks whether topography is an offspring of movement, or if it defines it.
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o rules change based on how they are enforced? To further test these relationships, rather than mixing materials through plaster, they will be placed on top of the plaster to see if positioning affects the dynamic processes in a similar or different way.
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Top Row: Material placed on top pre-setting phase Bottom Row: Materials and Plaster combined post-setting phase. From L-R: Salt, Bi Carb Soda, Gelatin, Oil and Vinegar.
SALT large shapes dense varying sizes
BI CARB SODA patchy dense abrasive to rounded to elongated rough surface powdery
GELATIN rough contoured dense cracks
OIL depressions elongated round and small tiny bubbles - smooth surface generally evenly spread out
VINEGAR contours depressions elongated cracks tiny bubbles - smooth surface
It was obvious within the first few minutes of the experiment that the laws of physics could answer the question itself - there cannot be a chemical reaction if two materials are not in contact. For some of the materials such as oil and gelatin, their physical properties made them too buoyant to sink into the plaster and completely react, meaning that I had to intervene and attempt to push them just under the surface to cause a reaction. Needless to say however, the materials more or less gave the same characteristics, with the models that had the materials placed on top showing results of slightly larger shapes. The two most noticeable ones were the gelatin and the vinegar. In general, gelatin dissolves in water and so when mixed, it turns the plaster into quite a smooth surface. When placed on top however, there is not enough water to be absorbed by the gelatin and instead of leaving a nice evenly distributed chunk of plaster, hard contours are formed. The surface of the vinegar model in the third attempt was contoured, giving it the odd flowing shape, once again due to physical limits. It was buoyant and therefore, sat on top of the plaster
and ended up soaking in just underneath the surface. During the actual process of watching the materials mix, the oil batch gave very interesting results. The way the light worked with it gave it certain reflections based on where the model sat, giving it a new dimension of movement - one that wasn’t necessarily physical and once again, about perspective. While I struggled with understanding light as a concept of movement in the previous models with the plaster sheets, it seems that light could perhaps be used on the surface. It seems that in conclusion, while dynamic, these materials each have their own rules that remain consistent provided their contact with each other (the plaster and material) is sufficient to satisfy the laws of physics.
This page: Experimenting with surface ( vinegar) organisations at various scales
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“H
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ow can topography act as a catalyst for movement?
ow can movement aid in defining (and/ or) creating topography?
The purpose of this model comes from wanting to understand whether topography and rules were reliant on each other. But rather than focus on topography in terms of section, a look primarily at how the material’s surface (in plan) changes over time is favoured. A second question should then also be posed, for it sets up the basis for how these models are created. Therefore:
“While we know that each material reacts in its own way when in contact with plaster, can we create a new level of dynamics by changing the intensity of one specific reactant?� The experiment thus looks at increasing the same material to a constant amount of plaster to see whether the rules identified so far can expand a new field of dynamics within itself. Vinegar is chosen specifically because of its physical properties - it is quick drying and easily malleable, and shows a variety of responses - bubbles, smooth surfaces and raised surfaces in the cases where there was too much vinegar to plaster.
Setting up - 3 boxes for 3 different measurements of vinegar (Model A - 1/4 cup, Model B - 1/3 cup and Model C - 1/2 cup from L - R)
From L-R: Model A (1/4 cup), Model B (1/3 cup), Model C (1/2 cup) - Inital settings stages of plaster. Smoothness of surface is lost quickly from Model A to Model C.
From L-R: Model A (1/4 cup), Model B (1/3 cup), Model C (1/2 cup) - Plaster is set and hard. Cracks have appeared on each surface due to surface tension. Greater cracks are obvious in Model A and this is proportional to how tough the plaster in Model A is compared to the next two.
From L-R: Model A (1/4 cup), Model B (1/3 cup), Model C (1/2 cup) - Breaking up the surfaces. It was interesting to see that the amount of vinegar also affects the relationship of the bottom layers of plaster to the surface layer. Model A broke off in tough chunks, while moving onto B and C showed smaller and looser pieces showing that a weak cohesion between plaster and vinegar. At this point in time, it might be wise to note that these models do show a linear progression i.e. the more vinegar in the mixture = the weaker and more reactive the overall model will become.
From L-R: Model A (1/4 cup), Model B (1/3 cup), Model C (1/2 cup) - Section view of the cut models. A detailed look at the layers form within the model and under its surface. Model A shows a more consistent one, while the others tend to degrade quickly
From L-R: Model A (1/4 cup), Model B (1/3 cup), Model C (1/2 cup) - Small blocks from each model A sample from each of the models were collected and a section of each was mapped directly from the image to determine whether there was a size change in the pores, and whether there were rules for how they organised themselves.
Sections from Model A to Model C. Lines are based on layers analysed in each plaster section.
It is obvious through site alone, that the reactions become more unstable as vinegar increased. Bubbles were tinier, the physical body weaker and no cracks appeared due to a lack of tension between particles. However, when looking at a mapping of a piece of plaster from each mould, markings are generally the same, with large crevasses and tiny little ones. The main difference, but only minute, is the density of them - showing a possible discrepency where Block B shows more density than Block C. The process provoked thoughts in regards to using surface patternings as a means for dynamic mechanics in design. However, I do not believe that looking at increasing the intensity of a particular material adds much to this categorisation technique, unless perhaps a repeat of the experiement could see a much greater change due to the intensity of the increments being exponential. While I did intend to focus more on how the models would set over time, I did not bank on just how many different phases or differences in setting the models would go through. Rather than looking at the whole series of models, it is more reasonable to focus on one model (Model A) and analyse its many setting stages as a new means for categorisation.
At this point, light continues to interest me, however I’m still unsure as to how to use it. It is dependent on the way you move and is not a stable enough (nor physical) rate of change. In some ways however, it does explore how a surface changes over time (provided the source of light and positions remain fixed) and therefore can be indicative of change. In this way, it also increases the possibilities of dynamics of plaster (and vinegar). It could perhaps (when involving shadows as well) be indicative of certain types of places. I.e. the length of a shadow relates directly to height. Light, also being dependent on another material reminded me again of topography. Is it something that is dependent on movement? Or is movement based on topography? The vinegar created its own topography - albeit a bit small to see - but changes were still there, hinting that topography depends on the movement. Application to the real world makes this true. A flat plane would show undulations of different intensities based on who walked where and how many did.
After working on projects that analysed how certain materials moved through a substance, I then tried to (finally) ground the project. To the left is an aerial view of the Jolimont Rail Yard, in which, a strip running up and down the page (North to South) has been chosen as a potential site. On it, the different movements were marked, ranging from the train tracks, to cars along Flinders Street and the carpark towards the South and movement of pedestrians on both Flinders St and the carpark once again. Noticeably, movements were particularly parallel and showed only the slightest possibility of a moment of crossing over as outlined on the image. It may be worthwhile to further explore these moments.
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rom investigations of mixing plaster and vinegar, we can start to make educated guesses about how they may react in certain situations. With this knowledge of the mixture’s setting patterns, can we manipulate the mixture to produce specific results?
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This page: Surface and contour detail Opposite page: Timelapse of model being manipulated and setting
Section images of model - external sides and within the cracks. Topography has formed through manipulation, however the depth, height and width of the undulations could not be completely controlled.
The intent of the experiment was to initially ‘force’ cracks to appear in certain sections along the surface of the model. Unfortunately, what I had forgotten from previous models, was that I had achieved the cracks by directly manipulating the surface during setting to make it set faster. Due to lack of documenting this, I couldn’t repeat the steps. Therefore, external manipulations were necessary. As understood, cracks form when the surface is forced to dry at accelerated speeds and the solvent/drying agent absorbs the water faster than the plaster, resulting in a tension between the bonds and resulting in a crack. While I tried to add salt, this breaking point was still unknown and while the material dried quicker, it wasn’t quick enough to produce the necessary tension. Instead, I needed external manipulation for tension (i.e. a hammer) to get it to crack. While it worked, this was not the result I was looking for as I had directly interferred, rather than indirectly producing cracks through a manipulation of physical bonding. Rather than continue to worry about trying to crack the model, I focused on manipulating the surface to create contours. This was a far more successful exploration, as the material was malleable to push it into certain forms. The forms held their shape more as the material set. This showed that while I was manipulating the material, there were still opportunities for dynamic moments.
For example, contours could be formed in certain places, but their heights and their thicknesses were still a matter of the model’s physical properties and limitations. This has lead me to think that while we can bend the rules ourselves, unless we have the tools to overcome certain limitations, we cannot manipulate an object to completely replicate something else. This references back to the MCC document, in which it is becoming seemingly more impossible to reinstate a surface, unless by chance, the dynamics happen to fall back into that same place. You can come close, but there are slight factors that may form differently, thus changing the rules and subsequently the surface.
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hile we have the mechanisms to track the movements over the surface of plaster, how can we track the movements on a sectional level? Using food dye, we will attempt to track movements of plaster in a vertical state.
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Timelapse of dye being added to model. Dye moves outwards, spreading along barriers such as the wall of the mould at top. Detail in tendril like spreading fades as dye dries and disperses through material
Timelapse gradient drawing of dye spreading through model (dark to light)
To answer the question, no, dye is not the material to use to track motion downwards through the model. However, its spreading out movement across the surface of the model has given rise to a new idea. Referencing back to the quick site drawing, it was noted that movement is fairly parallel. Dye however, is not bound by parallel rules and therefore, is free to wander the surface. Through this, an adjustment to the experiment has been made, incorporating two dye colours and exploring what happens in those moments where two movements intertwine.
Timelapse photomontage of Blue and Red dyes intertwining during setting phase
This page: Sectional cut of model. Dye only reach ~0.5cm below surface however this could have been caused from tools used to slice model in half. Opposite page( top): Timelapse gradient drawing of dyes spreading through model (dark to light) Opposite page (bottom): Timelapse mapping of ‘intertwining’ moment(s).
While there was the idea of exploring movements when they collided, there was no real understanding of what to do when they did. Questions of whether the intertwining was more about the shapes formed (which are fairly similar to general dye movements) or whether it was about what happens when they meet were brought up. On a side note, the dye still failed to dip further underneath the surface and show patterns on the vertical scale.
By the end of the experiment, I chose to disregard looking at whether dye could be used as a tracking mechanism under the surface of the model. Instead, the focus became the mixtures of movement. It dawned on me that it was difficult to make sense of this movement because of the fact the dyes were essentially two of the same materials combining with each other and therefore did not offer much. Instead, highlighting these moments using another material might be the way to go. This may perhaps create a hybrid and give a new mechanism for how different materials and subsequently different movements organise themselves when forced together.
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“A
s observed in a quick analysis of site, movement in the real world is more or less parallel. However, dynamic movements prove otherwise, often leading to an intertwining of movement. Since dye is purely a liquid, an observations of these moments alone is not enough. Using salt, we will highlight these intertwinings to see a more physical reaction.
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Both pages: Timelapse photomontage of model. Notice dye movement is towards where salt is poured into the mixture. Dark circles (especially in the red) show the origins of the first droplets.
Sectional drawings of model along ‘salted’ areas. Top line indicates surface topography while bottom line indicates food dye levels in the models. Sections where salt is added are highlighted.
The salt, when added to the mixing of colours, created a topography. It suggested that in these moments, there was a physical impact. It also gave the model a body, rather than liquids merely mixing together. The amount of salt was added proportionally to the size of the intertwinings. In this way, the dye gave the plaster a more substantial physical effect instead of simply staining it. The salt also allowed for the dye to fall through and sink within the plaster, emphasising places of colour meet up. (However, now that a topography has been craeted along the surface, keeping track of the vertical movement within the plaster may not be necessary.) The salt also proved useful as it created a clearer tracking of intertwinings, leaving lighter marks. Some more models were created to test this process.
Strip of chosen site. Spanning from the edge of the Yarra River (South) and passing Birrarung Marr and Jolimont Rail Yard until the North edge of Flinders Street at the building front.
Grounding What now follows is an application of the knowledge gained from exploiting the possibilities of plaster and its relationships with other materials. The site (shown at left) chosen is a strip running from North to South extending from Flinders St, past Jolimont Rail Yard and down to Birrarung Marr, stopping just at the Yarra. Within it is a variety of movements (all of which are considered in the following experiments) including: pedestrians, bike riders, cars, trams and train. An external site visit allowed me to investigate these different movements and how they worked together. The following results have been gathered and discussed below.
Opposite page: Rough movement diagram of Birrarung Marr This page: Birrarung Marr section of chosen site
Analysis of sectional movement, movement directions and types of movements around sections of site
Taken from this site analysis, it is obvious that lines, materials and even ground height differences create rules for the direction of movement. Overall, these rules are parallel. However, there are moments when they are not. Pedestrians (more so than vehicles) are able to change direction and move through on-coming traffic to get either around an object or move towards one. Using this knowledge as well as knowledge of how plaster (and materials mixed with it) works, is it possible to ‘reinstate’ the same surface into plaster from what exists on site?
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“B
ased on the mechanics we have explored and recognised thus far, can we replicate (and subsequently reinstate) the current movements of the site in plaster?
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Site analysis diagrams to define and break up how people move around in site.
Categorisation of movements observed on site - 5 main types (Barriers, Attractors, Barrier/Attractor, General Direction and Dependent Movement)
Barrier Blue dye
Attractor Green dye
Barrier/Attractor Red dye
Dynamic movement spreading outwards from source (extent of barrier)
Dynamic movement spreading towards source (in retrospect - ‘energy’ from attractor)
Dynamic movement similar justification to attractor and barrier
General Direction Salt + Vinegar
Dependent Movement Vinegar
The main crack follows the path of least resistance and therefore, one general direction.
Primarily due to self-organisation properties especially when salt and vinegar do not mix fully.
This page: Final rule sets with the corresponding materials for the specific types of movement with site section for reference Opposite page: Movement bank with corresponing materials
This page: Timelapse of Model. Problems with not being able to control the dyes in their own places. (I.e. the blue dye from the beginning shows an infiltration to the other end before the rest of the movements were added.)
This page: The final model product. Salt sections are highly noticeable and increase in colour showing areas of possibly high movement. The movements have also created a new topography, indenting into the model and creating crevasses, cracks and even small mounds.
section cut
This page: Surface Drawing with colour intensities included, as well as initial dye drop positions and direction of movement of dye from origin. Opposite page: Surface Drawing of ‘pure’ elements. (Dye Colours, Salt and Contours)
This page (top): New Rule system generated from model surface This page (bottom): Site surface rules Opposite page: Examples of types of movements in action
Recreating the model proved challenging, since there was no way of stopping the liquid materials from spreading out before the other materials were placed in. This then, made it harder to differentiate the different catergories of movement once the model had dried. Instead, pure colours of mixes were looked at initially, to gather where the new clearly defined rules lay. The main concern about this model was at the points of intertwining and what this could mean on ground. While the thought seemed promising, I concluded that movements like this happen on a daily basis (as observed above). People move towards certain objects even if there (for example) oncoming traffic in which they will weave through. Because of this, the categorised movements and their corresponding materials have been revised. Physical barriers (i.e. walls and fences) are different however, and mean that movement follow parallel until it can permeate or go around it. Since I did not gather what was permeable and what was not on site, for the purposes of these models, we will have to assume that all potential barriers are permeable (i.e. stairs, columns, tram stops, car lanes). It may be good to instead address this in a sectional study.
Comparing the existing rules to those made by the model, the final model supported my arguments that we cannot reinstate an old surface. Instead, what this model has brought up is a new question of dynamics, and how surfaces work with each other to produce more and more rules and subsequent surfaces.
Barriers/Attractors Blue/Red/Green Dye A barrier acts simultaneously as an attractor, and they both cause people to step out of the general direction to either move towards or away from. Hence the colours no longer determine a different type of movement. However, different colours highlight mixtures of dye. Salt will be added to where these two colours meet, forming the rules for new barriers/ attractors.
General Movement Contours/Vinegar with Oil as stabiliser Vinegar when poured, runs all over the surface. The oil acts as a stabiliser, so vinegar can be poured into the one spot before it is manipulated to form contours. However due to the inabilty to control thickness and heights of undulations, this allows for a new catergorical approach for defining pathways.
Dependent Movement Bi-Carb Soda placed on top The limitations of how bi-carb soda mixes with plaster when there is a lack of water creates a self-organisation that is similar to the organisation of movements of various speeds. The material is not linear either, since attractors and barriers push and pull people form all directions creating a movement that spreads out from all sides.
This page: Revised image bank
Final rule set with materials to be used for next model
11
“S
urfaces and rules both create and are created by each other. Because we know that plaster - when mixed with different materials and while following its inherent rules - creates dynamic and random patterns of organisation, can we use this process to create an ongoing system using rules to create new surfaces and therefore more rules?
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This page: Detail photographs Opposite page: Timelapse of Model with last image as the final state.
This page: Surface Drawing with colour intensities included, as well as salt (from where two colours mix together). Opposite page: Surface Drawing of ‘pure’ elements. (Dye Colours, Bi-Carb Soda and Oil/Vinegar)
This page: Final Rule set from Model. Rule set is much less parallel but rather blockier with isolated sections. Opposite page: Previous Rule sets in comparison.
Opposite page: Surface Analysis of previous model (from question 10) showing what these movements could be when grounded This page: Comparison of Surface Analysis of model to previous model, showing surface made from new rule set.
ground plane
general direction
empty space attractors/ dependent barriers movement space in two empty space dependent movement in two
empty space divided in two attractors/ barriers divided in two general direction divided into four
rs/bik es
e
car pa rks/si dewa cars ( lk two la nes) trams (two lanes)
of f i ce co mplex strip of f i ce co mplex strip bike t rack runne rs new l ake alcove or gra ss spa ce train netwo rk
of f i ce c ompl exes slopin g gras s land
pedes trians
runne
acces sible slop
of f i ce c ompl ex
lk cars sidew a
trams
(train ) she concre lter te ope n spac train e track s cars concre te ope n spac platfo e r concrem te ope n spac e sidew alk cars
and grassl park/
runne rs grass slope sidew alk sidew pedesalk runnetrians bikes rs lake
pedes trians bikes
sidew alk kiosk sidews/shoppin g kiosk alk s/sho pping
ground plane general empty space movement empty space general movement
attractor/ dependent barrier movement space general movement dependent movement
attractor/ barrier space
attractor/ barrier
attractor/ barrier space
general movement
dependent attractor/ movement barrier attractor/ barrier
Opposite page: Section Analysis of previous model (from question 10) This page: Section Analysis of new model. Comparisons between both - please refer to in conjunction with Surface Analysis. Applied surface type is given based on the movement it is represented by.
Barriers/Attractor Space
Barriers/Attractor
Spread of food dye. These can be treated as the push/ pull factor a barrier/attractor may have. Generally movement here is for leisure; parkland, grassed slopes, small forests.
Found on spots of colour intensity. These are the actual points of an attractor/barrier. I.e. a small shop, a bench or even a topographical feature such as a lake.
General Movement Starting to become less linear and does not reach the full length of the site. Based on topography, can be organised for different users: cars, trams, trains and pedestrians (sidewalk). This page: Revised Movement Bank in reference to Surface Analysis
New Barriers/Attractors Space Where two colours have mixed together showing a growth of barrier/attractor space that was not previously set on the rules.
Dependent Movement Based on topography, dependent movement is now organised and therefore can be referred to as general movement for that particular surface. This movement is generally for runners, bike riders and pedestrians.
Apart from getting the materials to work properly, the models were a succes, showing that surfaces are constantly changing, regardless of the rules they have been given. Even what appears on the surface changes or disappears completely. This provoked a very interesting thought and one I had not considered until now. During the Section Analysis, issues with Dependent Movement called for a slight amendment. On site, dependent movement exists where the area is open and flat - pedestrians and bike riders sharing it together. Using Bi-Carb Soda, the idea was to recreate this organisation of movements as discussed previously. During the experiment, the Bi Carb Soda did exactly that, but it meant that what we were left with was an organised surface, and not a flat plane. The topography gave way to different heights meaning that we could organise certain movements and thus place them under a General Movement category instead. Since the models have already been made, for these and the upcoming models, Dependent Movement will still exist and the corresponding material used, however in the analysis, we will use the topography to show how these movements can be organised.
Throughout this journal, there has been the persistent question of which makes the other: topography or rules. Up until this stage, I have believed it to be that rules create topography. If we are to examine the process taken from these past two questions, rules were given first and as a result, a new topography was created. It’s important to realise however, that in no point here has the topography replicated the initial rules put in place for it. If we look at the process in reverse however, it is only then that we see a replicate. The final rule generated from the model is an exact replicate of the topography - even though that goes without saying. But what this implies, is that it seems as if topography is the one that dictates the rules. Only in retrospect, can we see the rules that this topography was working around. But it seems we cannot work one way or another. If we work in reverse, we come to a standstill straight after the topography, because there is no way to determine the next set of rules. Topography and rules work together. The rules create a basis for how topography can work around it and over time, the topography overtakes these rules to produce a new surface, and consequently, a new set of rules.
12
“I
f we consider that the city of Melbourne is an accumulation (layers upon layers) of defining rules and defined surfaces, how can we use the mechanics tested thus far in order to predict an evolution of these layers for the projected future?
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layer 1
layer 1 dried
layer 2 dried
layer 2
layer 3
layer 3 dried
section cut
Opposite page: Timelapse (Left to Right, Top to Bottom) of Model. 3 Layers in total. Images of initial layer, layer once dried, pouring of new layer and then repeated. Notice similarities and differences between each layer, becoming more skewed each time. A small issue was when the new layer of plaster was poured on top, dye and oil from previous layer would seep through. Each underlying layer directly affects the next new surface. This page: Surface conditions detail photographs
Spread: Section Photographs of Model Sides showing the 3 layers
Barriers/Attractor Space
Barriers/Attractor
Spread of food dye. These can be treated as the push/ pull factor a barrier/attractor may have. Generally movement here is for leisure; parkland, grassed slopes, small forests.
Found on spots of colour intensity. These are the actual points of an attractor/barrier. I.e. a small shop, a bench or even a topographical feature such as a lake.
New Barriers/Attractors Space Where two colours have mixed together showing a growth of barrier/attractor space that was not previously set on the rules.
Dependent Movement Based on topography, dependent movement is now organised and therefore can be referred to as general movement for that particular surface. This movement is generally for runners, bike riders and pedestrians.
General Movement Starting to become less linear and does not reach the full length of the site. Based on topography, can be organised for different users: cars, trams, trains and pedestrians (sidewalk).
Hybrid Moments General + Barrier/Attractor
Hybrid Moments Dependent + Barrier/Attractor
At these cross overs, the general movement tends to change and the attractor acts as a pulling system. If the topography allows, connections to these attractors may be side streets or little alleyways. It is a new categorisation for movements. The type of attractor is also susceptible to the type of general movement. If the movement there requires for a road to be built through, then parks or streetscapes can be established on each side of the street.
Since dependent movement has the ability to self ogranise based on the given situations, hybrid moments such as these may really only impact which type of users are placed next to the barriers/attractors. For instance, if it is a small park, the type of user would more like be a pedestrian.
Spread: Revised Movement Bank in reference to surface analysis including hybrid movements
Spread: Surface Analysis of First (Bottom) Layer + New Rule Set
Spread: Surface Analysis of Second (Middle) Layer + New Rule Set
Spread: Surface Analysis of Third (Top) Layer + New Rule Set
Starting Rules
section cut
New Rules Layer 1
New Rules Layer 2
Final Rules Layer 3 Spread: Comparison of Rule sets from Initial rule set (coming from model in Question 11) to the top layer in most recent model. Note the change in directions, positions and additions of new roads.
Layer 1
ground plane
dependent dependent general attractor/ dependent movement movement movement barrier movement hybrid hybrid hybrid attractor/ attractor/ general dependent barrier barrier movement movement space space hybrid general general movement movement hybrid hybrid
attractor/ dependent attractor/ general barrier movement barrier movement space space hybrid dependent movement hybrid
et flinde rs stre
park
yard rians jolim ont ra il
and
pedst
grassl
pedes trians
runne rs
open court yard pedes trians lake
runne rs hill/lo ok-ou t slope d gro und parkl and bikes trams bikes trams pedes trians slope d foo tpath cars cars pedes trians open court yard
ground plane
attractor/ barrier space
dependent movement hybrid
Spread: Sections of individual layers with corresponding layer drawing
What this experiment once again proved to do, was show that a reiteration of previous rules could not be achieved. Rather, it worked as a mechanism that could show how a site could continuously change and therefore, perhaps give the ability to design around it. The drawings indicated a change in the rules, even though in some cases such as general movement in layers 1 and 2 being subtle, the rules were always changing. Dynamic systems are not static.
I had hoped that the previous layer’s topography would impact on the new layer, however drying time needed to be factored in, so this could not necessarily work. It meant that materials such as dye and loose salt particles would blend in with the new layer of plaster poured and therefore be displaced.
Three key themes were brought to attention after explorations throughout these techniques in various questions: - Topography vs Surface - Mechanisms to organise and make sense of dynamic movements and - (Un)paralleled movements The first of which has been investigated and concluded that both topography and surface are working together. The initial rules that create topography are never seen in the build up of the surface until looked at in retrospect. Rather, they are both elusive, with surface unsucceeding in trying to fit into a set of rules and rules trying to tie surface to it. The second used a variety of materials and their organisations to understand how dynamic movements could aid in categorising our cities and streets. This theme was more a ‘how’ than a ‘what’. How could we use these movements and
which materials best matched, rather than what these materials are? How could we produce these effects, in what way could we manipulate these materials to get what we wanted? And the final theme was finally looked at in more depth in just the previous question, (question 12), in which we were able to ground the key techniques. What had founded this particular set of models was the ability to create a hybridisation of movement and to repel the existing parallel conditions on site. What I only realised until now, was that I had understood parallel to mean linear, and that by eradicating any linearity, we could remove parallelity from site. Instead, I found that producing irregular shapes for categorisation did not mean the aim was met. There needs to be order, otherwise - from a realistic point of view - potential accidents from collisions will occur. But this did not mean that there could not be overlapping of different movements. It meant that these hybrids needed to still be organised, and that is where topography aids, using different levels to determine how these hybrids work and appear. We cannot escape organising movements, but we can manipulate these organisations to redesign a site.
Foundings Titled ‘Foundings’ as a notion back to the information collected throughout these pages. This collection is no where complete, nor was ever expected to be and is rather aimed to be a catalyst for further thought and interrogation. Situated within this journal is a series of mechanisms and provocations into understanding and working with the hidden rules and systems a city has to offer. At this stage, it goes without saying that in my investigations, I have only scratched the surface (no pun intended). However, I have arrived at a point in which using dynamic materials can help us break out of the rigid grid system and yields a system in which rules can be determined and continuously built upon. Design now becomes almost infinite, open-ended, dyamic.
I N C U R S IONS