ABPL20038 | Explorations: Landscape Studio 1
Amanda Ngieng | 377998
The Potter Cafe Open Space Design
Folio
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Explorations: Representing the Site The site is a small green space located adjacent to the Potter Cafe in the University of Melbourne.
1:500 Lino Print The site is orientated in the centre of the print, with a texture given to it to distinguish it slightly from the rest of the print.
1:100 Lino Print This print is an attempt in showing the two main features I want to include in my design - the explosiveness of nuclear and the bringing of light underground, as was determined in the site analysis.
key concepts as derived from the exploration of the site thus far:
the explosiveness of nuclear power the bringing of light into the basement
Concept Design: Model
We were instructed to pick a random object from an op shop to manipulate into a conceptual design model. I looked at puzzles, clothes and other materials, wondering which would be most appropriate to explore the two main concepts derived from the site analysis. In the end, I need not have worried about choosing an inappropriate object, since we were instructed yet again to switch our object with the person next to us, taking us by surprise. To my initial dismay, I ended up with the mug my friend bought - the very mug I suggested not to buy because it was difficult to manipulate; it cannot be cut or carved, and is simply a... mug. However, it is now my mug and I have to do something with it. So I began by doing the one and only thing I could think of doing - smashing the mug.
Model Manipulation Exploration
SMASHING THE MUG (with a hammer)
PIECING IT BACK INCORRECTLY
PIECING IT BACK CORRECTLY
TYING UP THE MUG
SMASHING THE MUG AGAIN
SEEING SHADOW/ LIGHT EFFECT OF BROKEN PIECES
WRAPPING IN ALUMINIUM
ARRANGEMENTS OF PIECES AND LIGHT/ SHADOW EFFECTS
Manipulative Verbs: “To Smash” “To Shatter” “To Reflect”..? When creating this model, I thought it might be a good idea to attempt the reflection of light below ground. It did not work, however, possibly because I chose aluminium foil as the reflective material, and possibly because of
the shape. To reflect I would need smoother surfaces, such as mirrors. I decided to focus on the other aspects of my model. Even without reflection, light passes though the gaps - there is no need to reflect. A very important aspect is the very action of smashing the mug. I had originally decided on smashing the mug as I had no idea what else to do with it. But this idea of smashing up the site to bring light below ground is rather appealing.
key concepts as derived from the exploration of the site and the conceptual design model thus far:
the explosiveness or destruction of nuclear power the bringing of light into the basement which can be achieved by
smashing up the site
With these concepts and a way to set about achieving them, I begin my design development on a strong base. Rather than smashing up the site as suggested by the conceptual model, I decided to incorporate the explosiveness of nuclear power and blow up the site instead. Utilising Rhino and Grasshopper, a set of digital modelling tools I have just begun learning early this year, I began to develop my design.
Design Development
Form Generation | explosion of bunker Generating rigid but random shapes from a grid
Orientating the random surfaces away from a centre point to mimic movement away from the point of an explosion
Moving the surfaces up and down randomly to mimic the random arrangement of rocks in an explosion
Further adjustment of the movement of rocks until a desired arrangement is created
Adding a 1m depth to the rocks to represent the 1m thick bunker ceiling being exploded
Adjusting the depth of rocks in the attempt to capture a more random feel to the rocks
Morphing the centre lines of the rocks to mess up the rigid shapes of rocks, so as to better represent debris
A hole is punched into the site. To do so the entire ceiling/roof of the basement will have to be removed, and a new roof structure placed over it, possibly made of concrete reinforced accordingly to take into account the effect of the hole on structure.
Although the rocks have been exploded, mimicking explosion the best I could, there seems to be a lack of dynamism when I place them above the hole I had punched into the site. There is a sort of emptiness, or of disconnection, between the hole and the exploding rocks. The next part of form generation on protruding concrete debris attempts to correct this.
Form Generation | protruding concrete debris
Extracting the shape of the hole to orient rocks protruding out of the ground
Reusing the shapes used in the exploded rocks
Adding a 1m depth to the protruding rocks
Increasing the depth of rocks and adding an element of randomness
Not only does this connect the hole with the exploded rocks better, it adds an element of complexity to the design and can be used as objects on which people can lean or rest against. Although they are not seats exactly, as proven in the video by William H. Whyte: The Social Life of Small Urban Spaces - The Street Corner (shown in one of the lectures), people can sit anywhere. As a gathering place, or a place to explore, these protruding rocks are sufficient in fulfilling the function of seats. For proper seats, there are those in the Potter CafĂŠ.
Form Generation | site access and modification of boundaries Removal of existing stairs The stairs have been removed as the site has to be levelled for the design, resulting in the fact that much more steps have to be required to get on the site, which will greatly affect the aesthetics of the design. As explained in the site analysis, given that the original site can be said to have only one access, the circulation has not been affected negatively in any way. There should be no tables on this end where a staircase used to be. If left open, chances are that it might be used as steps, such as those in outdoor amphitheatres are sometimes used.
Ramp
Stairs
At the suggestion of my tutor, this ramp was incorporated into the site. Using the metric handbook as a guide, the ramp is on the steep end at approximately 1:12 (8%).
The stairs span across the edge of the site adjacent to the path along Swanston Street, inviting the public up onto the site. Risers are at a decent 150mm, with a generous tread of 500mm.
Extract from Metric Handbook Planning and Design Data 3rd edition: Except for very short ramps (less than 0.5m) they should be no steeper than 8 per cent (preferably 6 per cent) and unbroken lengths of ramp no longer than 10m.
With the nature of the design being an explosion, all green things have been stripped from it, including the two trees originally on site. The artificial concrete debris should be able to provide enough cover for people on the site to not feel daunted, even if they are higher up than those walking along Swanston Street. Extract from Metric Handbook Planning and Design Data 3rd edition:
Seating The seats on this edge of the site cantilever out, and are primarily used as seating for the Potter Café.
Inherent to a particular tread–riser ratio is the ease at which the steps can be used in relation to the person’s natural pace and his or her sense of rhythm [...] Risers for outdoor stairways should be a minimum of 112mm, a maximum of 175mm. Most examples show a more generous tread–riser than that achieved by formula. The steps to the Acropolis in Athens are 494mm tread (going) 173mm rise; the Spanish Steps in Rome are 400 150 mm.
Resolving | artificial concrete How to create artificial polyurethane rocks by Polytech Foam Products http://www.polytechfoam.com/
To create artificial rocks just for decoration: 1. A rough shape of the desired structure will first be created with galvanised fencing wires. 2. Cardboard or lightweight materials will be placed inside this preliminary structure to reduce the amount of foam to be used. 3. Foam will be sprayed over this structure. 4. Do not apply too much resin in one pass. Spray foam expands and cures rapidly. It is advisable to apply thin layers over the structure and build up to the desired thickness in several passes. 5. With gloved hands, end user can adjust the shape of the intended fake rock within 3 minutes after the foam reaches full expansion. If end user desires to imitate the crevices and rough surfaces of natural rocks, the curing foam bun should be squeezed and manipulated to create the effects. 6. All polyurethane foam must be painted. Unprotected foam will be degraded overtime by the UV spectrum of natural lights. The surface of the foam will turn yellowish and powdery. Foam can be coated with any exterior or latex paints. To create artificial rocks with some degrees of structural functions: 1. Create the core structure with lumbers (2x4’s). 2. Staple cardboards over the wood structure. 3. Attach galvanised fencing wires to the structure and further refine the shape by adjusting the fencing wire layers. 4. Spray foam over the completed structure. 5. Refine and adjust the fully expanded foam structure. 6. Protect the final structure with exterior or latex paint.
Images from http://www.artificialrocksfactory.com/
Detail of suspended artificial concrete debris Concrete debris that are not suspended are structural on the interior, so as to be able to take the weight of people leaning/stepping on them.
Steel cable
Suspension wires 50mm thick polyurethane foam over wire mesh Concrete texture applied on surface to mimic smooth face of concrete debris; coated with latex paint and clear sealer Gavanised wire mesh wrapped around foam mould
Rough rock texture to mimic rough face of concrete debris; coated with latex paint and clear sealer Polystyrene foam mould
Resolving | glass over hole While originally I had only wanted glass over the hole to allow light into the basement, with the suspension of rocks and the nature of the design, it seemed like a terrible waste to not allow people to walk among the suspended rocks. Taking into account privacy issues and that there are people working in the basement, the class cannot simply
be clear double-glazed glass. To address privacy issues, I decided on using frosted glass. Frosted glass allows one to see through it to some extent - everything is blurred, and form can be made out only if it is near the glass. To address safety issues, the glass will have to be toughened. There will
be a steel structural grid under the glass supporting it - this grid will be visible from the basement. With people working in the basement, the sounds of footsteps above might prove to be quite distracting. To address this, there will have to be acoustic insulation in the glass.
Extract on acoustic insulation in glass taken from http://usa. saint-gobain-glass.com/ The acoustic glass within a double-glazed unit comprises a special interlayer which acts as a dampening core to prevent sound frequencies from vibrating from one pane of glass to the other. This absorbs and weakens sound energy, helping to act as a barrier to noise. Image from http://www.supaglass.com.au/
Resolving | structural grid to suspend exploded rocks
To suspend the rocks using wires, there will be some kind of grid required above. I decided on a messy grid, so as to conform with the design intention of explosiveness. Not wanting to have poles anywhere near the hole, This grid is suspended again, supported on four ends by stainless steel poles as high as the Physics Building. Originally made thick to support heavy weights, with feedback and the fact that the artificial rocks are relatively lightweight, the grid was made thinner.
This plastic interlayer also has the additional safety and security properties of laminated glass.
Exploding the site and freezing time To bring light underground To create an intriguing space to explore
BOOM.
Amber Lighting at Night At night, there is amber lighting on the site, produced by spotlights recessed in the steel structural support for the frosted glass. As there is little lighting on site, the effect of the “explosion� should be quite spectacular.
Walking Among Suspended Concrete Debris The concrete debris are of a large scale, providing an intriguing space to explore. Although lightweight, they are heavy enough to not move too much with the breeze, giving the impression of suspended heavy masses of rocks.
Surface Cover | marulan white pebbles These brilliant white crushed limestone gravel, screened 10-20mm in diameter, are placed over the site as surface cover. They add to the experience of the site not only aesthetically, but also acoustically as it crunches when walked on. Available from http://www.brookvalesand.com.au/gravel.html
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A Physics Building
Supporting Stainless Steel Pole
Steel Cable
10-20mm Diameter Marulan White Pebbles
Suspended Steel Supporting Grid Structure Suspended Artificial Concrete Debris Existing Brick Wall Existing Shed
Frosted Acoustic Impact Glass with Recessed Amber Spotlights Protruding Artificial Concrete Debris Concrete Stairs Extension of Existing Brick Wall
Ramp Built-in Concrete Seating for use by the Potter CafĂŠ
A Plan 1:100
Front (East) Elevation 1:200
Side (South) Elevation 1:200
Section A-A 1:200
key concepts that drove the design:
the explosiveness or destruction of nuclear power the bringing of light into the basement which was achieved by
blowing up the site
Following up the feedback from the final critique, I’ve looked at the possibility of adding other blown up objects from the basement, such as light fixtures and tables, into the design. A friend even suggested an exploded Betatron. Unfortunately, given the short time span between the critique and submission, I was unable to incorporate them into the drawings of the final design. Nevertheless, this short section is dedicated to two artists and their projects from which my concept could be further developed.
Taking It Further
Cornelia Parker | Cold Dark Matter: An Exploded View This installation and sculpture consists of the remains of a garden shed and its contents that have been blown to pieces with the help of the British Army. As my design requires the removal of the entire ceiling/ roof of the basement, there is the possibility of taking this roof that has been removed, and literally blowing it up. These blown up pieces can then be hung from the struc-
tural grid, similar to what Parker has done. The blown up pieces is likely to be fragments of small rocks and other pieces of metal, very much different from my design where the pieces of artificial rocks are huge. Probably possible, but the increase in wires would mean that the installation would be more of something to look at and walk around, rather than walking through,
which reduces the space to walk about on the already small site. On a different note, rather than exploding everything, the objects in the basement can simply be torn apart (or exploded in a controlled environment), and then attached to either the artificial concrete debris or hung straight from the structural grid.
Image is sourced from http://www.tate.org.uk/art/artworks/parker-cold-dark-matter-an-exploded-view-t06949 More information on this project can be found in http://www.guardian.co.uk/artanddesign/2004/sep/18/art1
DamiĂĄn Ortega | Cosmic Thing
Cosmic Thing | http://www.icaphila.org/exhibitions/past/ortega.php
Ortega also works with suspended sculptures. This project I am focusing on can be said to be an explosion (of a car), however it is a different kind of explosion; rather than “blowing up�, it is taken apart. This brings forward the idea of taking apart the betatron
into its separate parts, or rather than taking apart a real betatron, fabricate artificial parts based on it. Should this idea be taken, the rocks suspended in the centre of my design can be taken out, and replaced by the parts of the betatron. This would make a different
change from the suspended rocks, and make a clearer reference to the history of the site. Perhaps the two designs can be alternated yearly or every few months, bringing a richness into the design and piquing further interest as to what the design is trying to communicate.
Betatron | http://www.ph.unimelb.edu.au/museum/index.php?state=item_view&pm_item=348
The End?