Architectural Design Research, Vol 2, No. 1. by Brent Allpress

Architectural Design Research PRO JEC T-BA SED DESI GN RESEA RCH A ND DI SCOUR SE ON DE SIG N

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ARCHITECTURAL DESIGN RESEARCH Project-based design research and discourse on design. Architectural Design Research is an international refereed academic journal featuring project-based design research and discourse on design. All research projects and articles published in the journal are double blind refereed by scholars actively engaged in project-based design research and in discourse on design research and practices. Architectural Design Research is a journal of the Association of Architecture Schools of Australasia (AASA). The journal is supported by financial contributions from all of the member Architecture Schools and Programs in Australia, New Zealand and Papua New Guinea.

Copyright: All rights reserved. Except as permitted by the Copyright Act, no part of this publication may be printed or reproduced or utilised in any form by electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any storage or retrieval system, without permission in writing by the copyright holder. The authors of manuscripts that appear in this journal take responsibility for securing written permission for the publication or re-publication of any copyright material included in their work and also assume responsibility and liability for any libellous, unlawful, or injurious statements that may appear in their work.

Editors: Brent Allpress, RMIT Architecture, Melbourne, Australia. Michael Ostwald, University of Newcastle, Australia. Communication Design: Stuart Geddes, Chase & Galley, Melbourne, Australia. www.chaseandgalley.com Editorial Board: Mike Austin, Unitec Shane Murray, Monash University John Macarthur, University of Queensland Mark Taylor, Victoria University Sarah Treadwell, University of Auckland

All opinions expressed in material contained in this publication are those of the authors and do not necessarily reflect the views of Architectural Design Research, the Association of Architecture Schools in Australasia (AASA), the Editorial Board or the Editors. ÂŠ 2007 Association of Architecture Schools of Australasia (AASA) Copyright of all drawings and photographs is held by the authors unless otherwise indicated. ISSN 1448-9007

Editorial correspondence should be addressed to: Brent Allpress, Editor, ADR, School of Architecture + Design, RMIT, GPO Box 2476v, Melbourne 3001, Victoria, Australia. Email: brent.allpress@rmit.edu.au Architectural Design Research is published annually in full colour, with occasional special issues. Detailed submission details can be accessed on the Architectural Design Research website: http://adr.tce.rmit.edu.au/

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Project-based Design Research Models

Brent Allpress RMIT Architecture, Melbourne Australia

The research economy for the architecture discipline in Australia is about to change radically with the introduction of the proposed Research Quality Framework (RQF). The existing DEST regime in that country has employed a metric system that simply counted up grant money, refereed publications and postgraduate completions to determine research performance and subsequent Federal funding. This quantitative model privileged the sciences and precluded a whole range of other activities of value to creative industry disciplines.

end the proposed RQF Panel 13, which groups architecture with the creative industries and creative arts, will now assess a range of activities that have struggled to be supported and recognised institutionally in the past. Design research is taking on renewed prominence in this new economy. Architecture academics will be able to submit designs, creative works, exhibitions, awards, competitions and professional reviews for consideration by the RQF panels. Determining how the quality of design research is measured remains a challenge. A range of new qualitative metrics and mechanisms are required.

This â&#x20AC;&#x153;one size fits allâ&#x20AC;? approach has finally been abandoned. The RQF model that is about to be introduced relies on peer review panels that will assess the quality of key nominated research activities for individual academics or groups over the preceding six year period. This brings Australia in line with the United Kingdom and New Zealand, who have already made the shift to a qualitative rather than quantitative research assessment process.

The Architectural Design Research Journal was set up in anticipation of these emerging developments. It is the first academic journal internationally to primarily publish project-based design research, that is, research undertaken by and through design project investigations. It also publishes associated discourse on design. Submitted design research projects are peer reviewed by scholars active in the field of design research.

It will now be up to the architecture discipline to determine what research outcomes and outlets are of primary value in making a contribution to knowledge in the discipline. To this

The academic research journal structure is inherently flexible enough to accommodate projectbased research. It offers a robust 2

peer review model for assessing the quality of submitted design research. It is proving to be an adaptable dissemination medium. How the design research is framed and represented is crucial. Submissions must meet the requirement that the embodied research undertaken through projects is captured and communicated to others in order to make a contribution to knowledge within the field of design research. The communication design of the ADR journal publication is not neutral or generic. It actively facilitates the projects by providing a semiautonomous formatting approach so that each project can be situated on its own terms, against its own criteria. The design research projects published in this issue of the ADR journal constitute a range of emerging approaches to undertaking architectural design research.

Schaik, where practitioners are invited back into the academy to reflect on and extend their professional design mastery in a research context.1 Richard Goodwin is a Sydney-based artist and architect who explores the scaleable prosthetic relations between body and technology across art installation, public art, architectural and urban design projects. In “Porosity” he reports on Australian Research Council funded projectbased design research into categories of transient, event-based public space that might be recuperated within privatised commercial spheres, with Sydney CBD office towers employed as case studies. Latent capacity for alternative modes of inhabitation within office buildings is modelled using simulation software in order to provoke new speculations on the scope for intervention within existing sites and contexts, co-opting and renewing infrastructure.

“Desert Parasols” by Finn Pedersen, Adrian Iredale and Martyn Hook, of iredale pedersen hook architects, documents research embodied within and across a cycle of architectural practice projects involving remote desert Aboriginal housing and community facilities. Difficult constraints of desert environment, remote distance, and cultural difference are drivers for an architecture of communal infrastructure that is modest in materials and generous in its extended spatial arrangements. All three directors of this practice are undertaking design research by project postgraduate degrees at RMIT in the invitational reflective practice stream, directed by Prof Leon van

“The Cotton Caves at Stevenage Newtown” by UK architectural academic Victoria Watson, documents an instance in a cycle of installation projects. Watson proposes the sitespecific construction of lines of coloured thread, producing volumetric colour fields that instil an ephemeral atmosphere of spatial activation. The role of architecture in Lefebvre’s general theory of space is employed as a parallel discourse informing the materialisation of these works. Jane Burry and Andrew Maher, Research Fellows in the Spatial Information Architecture Laboratory at RMIT, present an account of researchled project based design teaching, 3

undertaken in collaboration with RMIT Civil and Environmental Engineering. This cycle of supervised projects trials the “co-rational” integration of emerging digital technologies and techniques into the design process from conception through to design development.

1 Postgraduate models for design research by project are discussed further in Brent Allpress and Robyn Barnacle, “Projecting the PhD: Architectural design research by and through projects” in Changing Practices in Doctoral Education, David Boud and Alison Lee (eds), London: Routledge, forthcoming 2008

The final article by Zeynep Mennan revises and reworks, in English, the essay “Des Formes Non Standard: Un ‘Gestalt Switch’,” which was originally published in French as the catalogue essay accompanying the “Architectures Non Standard” exhibition held at the Centre Georges Pompidou, curated by Frederic Migayrou and Mennan. This article traces a prehistory of non standard architecture within strands of modernist practice associated with the organic. This authoritative account remains highly relevant to current debates on the biological as a model for the role of digital technologies in contemporary architecture, particularly in the development of emergent compositional techniques, and in the generation and curation of complex systems and morphologies.

ARCHITECTURAL DESIGN RESEARCH Project-based design research and discourse on design VOLUME 2, NUMBER 1

2 • Editorial BRENT ALLPRESS PROJECTS 7 • Parasols in the Desert FINN PEDERSEN, ADRIAN IREDALE and MARTYN HOOK 37 • Porosity RICHARD GOODWIN 97 • The Cotton Caves at Stevenage Newtown VICTORIA WATSON 115 • Building Bridges JANE BURRY and ANDREW MAHER ARTICLE 137 • The Question of Non Standard Form: a ‘Gestalt Switch’ ZEYNEP MENNAN 151 • Notes on Contributors

152 • Notes for Contributors and Submission Guidelines

para sols in the de sert

Finn Pedersen, Adrian Iredale, Martyn Hook iredale pedersen hook architects

Over the past 8 years iredale pedersen hook architects have undertaken an ongoing series of projects for indigenous communities in the remote West Australian deserts. The research embodied in this work addresses the complex parameters of this neglected realm of architectural practice and attempts to engage with underlying issues of social equity and sustainability in a West Australian housing context. The projects deal primarily with an architecture of extremes, that is, the production of buildings that must respond to extremes of climate, extremes of remote distance and the challenge of extremes of cultural difference. The typical context of remote indigenous housing projects is that of a series of small

family based hamlets with populations of 50 to 120 people. The current housing stock on these communities ranges from humpies and dongers through poorly designed homestead style houses and concrete block bunkers of a design imported from the Northern Territory to several other more appropriate house designs. In the remote housing designs by iredale pedersen hook there is no attempt to impart or represent any notions of Aboriginality other than through responding to the specificity of the challenging functional and cultural requirements of the brief. The following paper describes three of the projects, focusing particularly on the Walmajarri Community Centre. 1

western desert semi-transportables Mardu Country, East Pilbara, Western Australia

The Western Desert is in the Pilbara Region of Western Australia, bounded by the Great Sandy Desert to the north, the Gibson Desert to the south and the rocky plateau of the Pilbara Craton where much of Australiaâ&#x20AC;&#x2122;s iron ore is mined. Summer temperatures range from 30 degrees Celsius at night to 55 degrees maximum in extreme events, while winter temperatures range from a minimum of minus 5 degrees to a maximum of 35 degrees. iredale pedersen hook was commissioned by the WA Department of Housing and Works, Aboriginal Housing Infrastructure Directorate in 2003 to design 4 prototype semi-transportable houses for Western Desert Mardu Aboriginal Communities. The designs were driven by the need to provide radically different plan forms, while maintaining an approach to the component systems and materials that ensured that the buildings met the difficult challenge of being economic to build, transport and assemble on remote desert sites. The design approach also addressed the aspiration to

achieve qualitative outcomes for the community housing that exceeded the pragmatic requirements of the brief. A population of up to 20 people often uses the infrastructure of the desert house. Each house is conceived as an outdoor house wrapped around an indoor house. This allows extended family members to live in and around the houses. Each house consists of two fully enclosed pavilions on a pre-stressed reinforced concrete slab, with insulated steel frame walls, lined with 9mm fiber-cement sheet internally and clad with corrugated Colorbond wall sheeting externally. In-situ concrete has been replaced with steel pipe piles. The parasol roofs above the pavilions have the effect of dramatically reducing the heat loads on the living spaces to that of ambient air temperature, and the concrete slabs provide a thermal link to the earth, stabilizing the temperature within the pavilions. The designs are now in their third generation, with some 17 houses being built in 6 communities.

tjuntjunjara community houses Great Victorian Desert, Western Australia

Tjuntjuntjara is extremely remote, some 12 hours drive east-north-east of Kalgoorlie on the Western and South Australian borders. Many of the community lived through the British Nuclear tests on their country, Maralinga, in the 1950s. The community is located on the southern edge of the Spinifex homelands and acts as control point for people entering their homelands from the south. This was one of the last ATSIC/NAHS funded projects, allowing the community to interview and directly engage consultants of their choice. This is no longer an option under the current DHW procurement methods. iredale pedersen hook was invited to participate in the project under project management of Perth engineering firm Capital House, with funding manager Parsons Brinkerhoff. These houses were developed in close consultation with the Spinifex people over 3 separate workshops, involving all members of the community working with a multidisciplinary team that included an anthropologist, an architect, an engineer and community staff members. Every family in the community was interviewed as part of this process. After the initial interviews and briefing meetings, cardboard sketch models were used to communicate the initial design responses, and

these were further refined for subsequent meetings. In a continuing development of the design system, the parasol roofs were again used to reduce the heat loads on the enclosed parts of the houses, and new energy management and water conservation systems were incorporated into the designs. All of the houses align on a radial axis focusing on the new community meeting shelter, also designed by the project team. Locations of individual houses relate to the actual direction of the family members specific homeland, an insight drawn from seating arrangements at the community meetings. The site is surrounded by spectacular desert country, with scattered Mulga, Western Myall and Casurina trees, and smaller flowering plants such as cassia species, Sandalwood and Spinifex grasses. As with the western desert projects, these buildings were designed to be simple and robust, and to support a variety of living patterns inside and around the building. The house around a house concept was again applied and extended by the use of a breezeway living zone that contained a fire-pit. This was wind-protected by wide roller doors to mediate the exposure of this semi-enclosed space to harsh external conditions. 24

walmajarri community centre

Djugerari Community, Great Sandy Desert, Western Australia

When Australia was colonized in 1788 there were some 350 individual Aboriginal Nations, each with unique languages and cultures. Today there are less than 200 languages still spoken and all but 20 of these are regarded as endangered. Walmajarri is one of these endangered language groups. The Walmajarri people are a nation of Indigenous Australians who have survived the impacts of colonisation and subsequent government neglect over the past 80 years. In the 1950’s, and within only one generation, the Walmajarri desert dwellers left their homeland behind to face station life and a world beyond the sand hills. The last Walmajarri family who lived a traditional nomadic life left the desert in the early 1980’s. The last massacre by police occurred in the late 1930’s, with several survivors still alive today. The families are faced with almost third world conditions of unemployment, poverty, poor health and social problems. Most critically, they face the question of how their children will tread the path between the modern world and traditional culture. When the Fitzroy River valley to the north of the Walmajarri homelands was opened up by pastoralists, the indigenous people on who’s country the cattle began to roam were coerced to work on the cattle stations as a way of staying on their own country. Familial ties between the language groups had to be maintained and these pulled populations to the north, from the desert into the river valley, and the Walamjarri people began to leave their country.

Djugerari, population 80, is some 600km due east of the West Australian tourist and pearling town of Broome (pop. 15-30,000), 160km north of Fitzroy Crossing (pop. 700) and 2225km from the state capital Perth (pop. 1.5 M). Djugerari community is the beachhead of Walmajarri country. It is the point where the Jilji, the parallel sand hills of the desert, meet the ancient sandstone ranges and mesas that separate the river valley from the desert. It is here where the Walmajarri people could gaze from their own homelands towards the lands to the north, where the new strangers with their cows, horses and guns were steadily encroaching. iredale pedersen hook was selected by the Djugerari community to design an office, a training centre with separate areas for men and women, and a staff house for Walmajarri Inc. an Aboriginal Corporation representing a group of Walmajarri people. The types of learning scenarios would cover practical homemaker and adult education topics, as well as culturally specific learning including language and law teaching. Due to its remote location the facility was designed using transportable modules with prefabricated roof elements as the key construction approach. The complex was again conceived as an arrangement of insulated pavilions, sited on a concrete platform and sheltered with a large parasol roof, with specific outdoor spaces that economically extend the interior spaces. 28

The arrangement of the pavilions was determined by framed views of isolated mesas, pyramid hills and sacred sites, including a massacre site. Each of these views has an important cultural heritage or Dreamtime story, and in this way the building itself becomes a kind of teaching tool that reveals Walmajarri stories to people visiting the building. Wall panels constructed from cement sheet frame these views, ready to receive murals depicting the coded stories of the local painting style. It is extremely expensive and difficult to build in these remote desert locations. To this end, the detailing of the construction systems was simplified, the range of materials was limited and selected to minimise ongoing maintenance costs. A simple portal frame construction was used to create the parasol roofs, while the pavilions are constructed from conventional steel stud framing, clad with corrugated steel and fiber cement sheet. The desert environment is extreme. Summer temperatures reach 48 degrees Celsius at this site and can drop to 28 degrees at night, while in winter temperatures can range from below zero to 35 degrees. Winter brings cold dust storms and willie-willies. Tropical wet season rains can drench the hills every few years. Each wet season the Fitzroy River and Christmas Creek flood and cut the community off from road access. Self-sufficiency is a necessity. The facility has achieved a level of ESD considerations appropriate for this remote

Aboriginal community. Complex or high maintenance systems were avoided due to the isolated desert location and lack of skilled labour. The parasol roof provides a large amount of shaded outdoor activity areas, and shades the enclosed rooms, dramatically reducing heat loads. Doors and windows have to be sealed against dust penetration. Inverter type air-conditioner systems are therefore used to allow for year round use of the facility. These have been modified to have high minimum thermostat settings and run-down timers that shut the units off after 6 hours, minimizing the power consumption of the units. The pavilions have mineral wool insulation in the walls and sub-roof. The parasol roof’s eaves and windows allow for winter sun penetration on cold mornings while providing a large shadow lowering the heat load on the platform and pavilions during the day. The community currently maintains its own electricity supply by diesel generators and energy efficiency takes on a high priority. All light fittings are low energy type. The hot water systems are jacketed solar with a single “Hot-shot” booster switch that shuts off automatically once the water has been heated. The exhaust fans and electric stoves are connected to run-down timers that shut off automatically after 1.5hrs and then need to be re-activated. Water collection was ruled out as there is a reliable water supply taken from an artesian bore and the practicalities of maintaining a collection and distribution system are currently beyond the community’s resources. 30

FIRST FLOOR PLAN

SOUTH EAST ELEVATION�

1. VERANDAH 2. OFFICE 3. MEETING ROOM 4. TRAINING ROOM 5. STORE 6. WC 7. BATHROOM 8. KITCHEN 9. TV SERVER ETC.

communal infrastructure

For these Aboriginal communities, the house is not simply a private realm, it is literally a piece of communal infrastructure. The approach to the design of the houses as an enclosed and sheltered core volume, nested within and framed by extended semi-enclosed canopy spaces, offers generous amenity and spatial flexibility within a harsh and challenging environment. The scalability of this approach is demonstrated in the Walmajarri Community Centre, designed to support and enhance the broader cultural and educational aspirations of this desert community. Outcomes are achieved with a necessary economy of means through the use of transportable modular fabric systems. Construction detailing is direct. Modest materials

are given primary roles. The architecture emerges from the layered assemblage of simple components and singular systems. Across these projects, architectural arrangements reflect ties to the land, patterns of spatial use, family relationships and genealogies, and cultural and spiritual beliefs.2 Desert climate, remote distance and cultural difference are all constraints that confront and challenge conventional architectural concerns. Extensive and inclusive community consultations were crucial to the development of culturally relevant and practical outcomes. These processes need ongoing policy support and funding if the conditions on these remote communities are to be improved.

1 The Walmajarri Community Centre, designed by iredale pedersen hook recently received international recognition with the award of an Honorable Mention at the Architectural Review Awards for Emerging Architecture in London, 200. 2 Narelle Yabuka discusses the community consultation process

in her review article “Tjuntjuntjara Housing,” in Architecture Australia, May/June 2007. Photography: pp7–17, 30–34 Shannon McGrath (some of these images have appeared in Next Wave, published by Thames & Hudson), pp19–27 Finn Pedersen

Porosity:

The revision of public space in the city using public art to test the functional boundaries of built form.

Richard Goodwin

Pore: n. minute opening in surface, through which fluids may pass. Porous: a. full of pores (lit. or fig.); hence of cogn. Porosity: porousness, ns. 1

Ancient Chinese scholars were fascinated with porous rocks that became known as “scholar rocks”. The more richly porous the structures were, balancing air with mass, the more valuable they became. “For the world of Chinese scholars stones has to be a source of inspiration, - mysteriously shrouded in feathery mist – to anyone with an interest in transparency, transformation, immateriality, dynamism, in spectacular surfaces, monoliths, or raw lumps of rock, in minimalist or archaic monuments”. 2 Mine also is a fascination with both exoskeleton and its fleshy centre, as a model for the body and architectural minimums, and the idea of architecture being analogous to the mathematical model of the “Sierpensky sponge”. This is a theoretical cube which is infinitely porous and hence: “more than a surface, less than a volume….Its total volume approaches zero, while the total lateral surface of the hollowings infinitely grows.” 3 This obsession with dissolving architecture runs hand in hand with the idea that art has a role to play in promoting the adaptive re-use of existing urban structure via new “parasitic forms”. Hence the social construction of cities is prioritized over physical construction, program, or any issues to do with aesthetics. My position as a practitioner is fairly unique. I am a registered architect who has practiced almost exclusively as an exhibiting artist since 1976. Only relatively recently has my practice fully engaged with the built environment. This combination of disciplines unites my interest in the city with my interest in minimum architectures of the body or their relative “prosthetic architecture”.

I have explored public art practice since the mid 1980’s and this work has grown to expand the notion of site specificity to encompass the skin of architecture itself. In other words my art/architecture practice has moved from architecture to performance, to performance in the city, to gallery installation, to object making, to site specific public artwork both permanent and temporary, to parasitic architectural interventions, to urban infrastructure and planning projects, and finally to the idea of architecture as a site for art and through which we may reread the city. This line of inquiry builds on the lineage of Dada, Surrealism, and the Situationists. With the aid of an ARC Discovery Grant, I have been able to further investigate a methodology that will help promote the use of “parasitic” public art/architecture attachments to buildings in order to redefine public space within the city. The following text maps the journey of three years of research into the possible re-definition of public space in the city. The title for the project is as follows:

Porosity: The revision of public space in the city using public art to test the functional boundaries of built form. “The work lies in having thought of the action to perform.” 4 This quote from “Walkscapes” by Francesco Careri, follows discussion about the early Dada city interventions in Paris around 1921, which explored the banal spaces of the city. Not only does this research build on the foundations of Dada actions, it also owes much to the lineage which folds the Surrealists into the Situationists and through an “expanded field” (Deutsche) of operations for art into the nomadic “smooth” space of

Deleuze and Guattari as it mediates the “striated” or structured space of our capitalist western cities. “Smooth space and striated space – nomad space and sedentary space - the space in which the war machine develops and the space instituted by the state apparatus - are not of the same nature. No sooner do we note a simple opposition between the two kinds of space than we must indicate a much more complex difference by virtue of which the successive terms of the oppositions fail to coincide entirely. And no sooner have we done that than we must remind ourselves that the two spaces in fact exist only in mixture: smooth space is constantly being translated, traversed into a striated space; striated space is constantly being reversed, returned into a smooth space.” 5 The Porosity research has been performed in the city of Sydney and has depended on field observation by the researcher acting as a type of tourist or in fact nomad. Central to my belief is the following model: if one can visit a toilet adjoining a corridor leading from the lift lobby at level X of building Y and stay within that space comfortably for 1 hour then that constitutes a 1 hour public space. In other words, the city is full of spaces of transition, connection and bodily comfort that have yet to be claimed or classified as types of public space within the city. Clues lie within the networks of these spaces for what cities might become. I believe that by claiming these spaces as types of public space, and connecting their structures to the already sanctioned public spaces ranging from footpaths to parks, that only then will the city reveal to the architect/artist/planner its potential as a three dimensional construction with the possibility of more than one ground plane. This threedimensionalising of public space enables the possibility of both more public space opportunities and also access to valuable facilities such as toilets, landscape and seating

or refuge. That this affects or makes healthier the social construction of the city can then be argued. Porosity (my name for the study signifying the degree of permeability to access a building can have) simply doesn’t believe that public space ends at the front door of highrise city buildings – far from it. Porosity also seeks to engage in the continual flux or state of becoming which constitutes the edge condition of architecture now and architecture in the future. Porosity also believes that art is historically well qualified to interrogate architecture. The research aimed to test the functional boundaries ascribed to the physical dimensions of public space in the city. It aimed to do this via the device of public art and the procedure of comprehensive mapping of both internal and external spaces in Sydney. Sydney’s central business district has been used as a paradigm for the western capitalist city. Public art is ideally suited to the task of interrogating architecture via its symbiotic relationship with built form. The marginality of public art makes it ideally suited to the task of commenting on or contradicting the main body of the text of a culture. Public space is largely misunderstood and under-utilised. Proof of this lies in the endless empty foyers and deserted leftover spaces in subways and beneath freeways. Currently, the boundary for public space exists at the threshold of architecture. However this orthodoxy has left the definition of foyers, toilets and the means of egress within and between buildings within an indeterminate zone. The mapping of all the ancillary spaces, which facilitate public space or movement, will create a comprehensive understanding of the totality of public space in the western city. The study is informed by the theoretical and conceptual ideas of Rosalind Kraus and Vito Acconci whose works negotiate between art and architecture within the public domain.

Architecture is already permeable to public space. Increasing the permeability of architecture will change architectural design and urban planning imperatives. The desired effect of this research is to expand the uses of public space within the city and alter the design of buildings and their linking structures. Porosity challenges the notion of pedestal architecture and engages the existing flux or edge breakdown of buildings, via a range of city structures such as monorails, signs, restaurant seating etc. In particular the investigation sought to: • Revise existing research into what constitutes public space both inside and outside architecture. The theorists Rosalind Kraus, Vito Acconci, Elizabeth Diller and Ricardo Scoffidio have envisaged scenarios where public space, via public art, intervenes in the space of architecture. Their work has moved the idea of “public space” as a space where people gather to a space that is made public. Porosity seeks to take this investigation deeper into the body of building function. Public art will ascribe new meanings via function to these extremities. • Create an index of city spaces (Porosity Index), which analyses a range of physical and cultural properties and characterises them functionally. This index crossreferences the virtual 3D mapping and informs the making of models that describe the internal porosity of the buildings studied. It also gives each individual building a percentage score that indicates its level of porosity or permeability to pedestrian access and inhabitation. • Realise a “parasite” project involving a block of inner city buildings, which tests the theoretical boundaries of public space, as they are currently understood. This parasite would interpret a reading from the MAYA modelling of porosity-indexed spaces (this is explained further on in the text). The study builds directly on Rosalind Kraus’s investigation of “axiomatic structures” which intervene in the real space of architecture. It also builds on a history of

artworks by a range of artists over the last 40 years, in particular the works of Gordon Matta Clark, and the writing and works of Vito Acconci. Gordon Matta-Clark’s physical attacks on architectural fabric illustrated graphically how vulnerable architecture can be to redefinition via art. The image of an artist physically cutting slots and holes in a range of buildings, changed for all time the relationship between art and architecture and reduced buildings to armatures for future actions. This image reinforces the aim of this study to challenge the current perception of buildings in the city as pedestal objects and instead reinforce the idea of buildings merging into a viral mass breathing the oxygen of public space. Lebbeus Woods adds to the predictive power of Matta Clark’s actions by creating images of radical reconstruction of cities damaged by war. Fragmented facades become the platform for scab-like attachments and connectors. The new structures mediate between the armature of the architecture and the diminished public space. These virtual actions mirror the theoretical positioning of Diller and Scoffidio whose practice as artist/architect/academics has used architecture as a surgical instrument to operate on itself. Via installations, which often use devices such as video surveillance, their art activity addresses the pure exteriority of meaning. This work points to another frontier of construction that will invert our perception of what a city is, pushing the emphasis towards attachments and penetrations rather than pedestal objects. “Since any site has the potential to be transformed into a public, or for that matter, a private space, public art can be viewed as an instrument that either helps to produce a public space or questions a dominated space that has been officially ordained as public.” 6 The term “porosity” describes the nature of the edge condition, which exists between

the skin of architecture and the public space of the city. The 60’s and 70’s saw a shift in art practice towards site-specific art. Via “land art” and the work of artists such as Robert Smithson, the restrictions on and the commoditisation of art were broken down. Public art shifted from the self-reverential works of modernism to the expanded field of post modernism. Public art was now positioned between architecture and not architecture, and between landscape and not landscape. To use the terminology of Rosalind Kraus, an “expanded field” was created. This research is situated between architecture and not architecture in what Kraus defines as axiomatic structures. Significant artists first operating within this zone were Robert Irwin, Sol LeWitt, Bruce Nauman, Richard Serra, and Christo. The early work of Joseph Beuys’ is seminal to the research. His artworks made concrete social failure and sought the wound in our urban fabric. Central to this notion is the idea that by selecting wounded sites, and processing them via art, they begin a healing process. Works such as Tallow 1977, in which Beuys chose a leftover space in Munster and made a casting of it in fat, clearly illustrate these ideals. So do such works as Show the Wound 1976, in which Beuys believed there was a need to demonstrate trauma before the healing process can begin. Within this expanded field a complex series of works can be mapped which develop the body metaphor of the city centre. The most significant of these works were carried out by the artist Gordon Matta-Clark in the 70’s. Works such as Office Baroque 1977, in which his situational cuts into the building fabric, pointed to the dysfunctional nature of urban society. This and other actions set up architecture as an interesting first proposition in an ongoing flux. That the public artist can be active within this ongoing flux is pivotal to the future research of Porosity. Other key works, instrumental in the no-

tion of dissolving the edge of architecture and revealing its social structure, include the projection works of Krzysztof Wodiczko. Works such as the projections for the Sydney Biennale 1982 onto the Qantas Building, The Art Gallery of NSW and the MLC office, destroy the notion of stable and permanent structures and explore architecture as a psycho-political experience. The architect/artists Diller and Scoffidio have reinforced this attack on architecture by the use of installations which use as their model the prostheticised body or cyborg. Rather than simply creating architecture for “natural” bodies they define environments for bodies projected outside themselves by means of technologically extended senses. Their practice calls into question the mutant body of architecture and the nature of our existence as the body’s limits literally delaminate in cyberspace. Often they make use of video surveillance to interrogate architecture and public space. Public Space is made and not born.

The aim of Porosity research is to accelerate the process of making public space by re-negotiating corridors of private space that facilitate the “public” on its journey from public to final private destination space. By characterizing these spaces, and colouring them with particular qualities, types of public spaces are invented. By types I mean new types - previously misunderstood spaces, private spaces that share public spaces, public spaces in disguise. What’s produced is a “production”: a spectacle that glorifies the corporation or the state, or the two working together (the two having worked together in the back room, behind the scenes, with compromises and payoffs). The space, then, is “loaned” to the public, bestowed on the public - the people considered as an organised community, members of the state, potential consumers. 8 These “ersatz” public spaces would be even more sinister if the only people enter-

ing them were there for a specific destination purpose. But what of the passer-by, the vagrant or the person seeking a toilet or warmth, or coolness? These participants are subject to the propaganda that can be read within the space. They can equally be in transit to somewhere else or even lost. What might the schizophrenic make of the space or indeed the agoraphobic? Viewing so called “spectacle” spaces as finite destinations is as limiting within the virus of the city as viewing buildings as pedestal objects - something modernist architects are still at pains to do.

Public space is a contract: between big and small, parent and child, institution and individual. The agreement is that public space belongs to them, and they in turn belong to the state. 9 Public space, however, has just grown up. In some circumstances the individual holds a weapon that renders the fabric of buildings, between the circulation space of lift cores and the street, immaterial and endlessly connected. The terrorist explosion immediately invents new public space at the expense of any contract between government and individual. It forever changes our perception of the wholeness and might of buildings. In the wars of the past there was a perception that “cities fell”. Today individual buildings can be vaporized and the public move in to fill the hideous “gap” and contemplate the fragile nature of their journeys. Milling in the crowd, lost in the crowd, are the “others”- the outsiders, the people who have broken the contract, the people who don’t have a home here. 10 To be “outside” is to be disconnected. Disconnected from what exactly? In social and economic terms the reasons are complex and highly specific. In concrete terms the disconnection is specifically from two things. The first is shelter. The second is the sewer. Architecture is an elaborate connection of the body to the sewer - the great human communion. As such Architecture is an elaborate connection to the sewer by definition. Physi-

cally one primarily seeks reconnection at will. Deprivation of such needs soon de-humanises the subject. They can be tourists, transients, scouts; but they can never be inhabitants. For them, public space has to be taken. 11 Being a tourist is the perfect description for the Porosity Researcher. It is from a state of disorientation that new perceptions about city spaces can be made. By entering buildings without a specific agenda or destination, other than to observe and explore, one immediately takes on the non-territory of the displaced tourist. The tourist blunders into spaces that true inhabitants will never find. Seeking both to explore and culturally decode, the tourist de-laminates built form and mixes it with slices of view in an attempt to orient. The tourist leaves an umbilical thread through corridors and spaces - a way to get back. Laying this cable is parallel to the process of exploration by the Porosity Researcher.

ies. The definition includes the dispossessed and homeless as they are destined to operate as nomads. By giving value to transitional spaces within buildings Porosity reduces rent times, in some cases to the time it takes to make another step forward or back. The space to tie a shoe-lace or adjust a tie or answer the mobile phone is rented momentarily within the porous zone beyond the boundary of possession. The mobile phone, another umbilical linkage and system of human communion, facilitates the possible transgression of property and propriety entertained by Porosity Research. The phone allows communication with someone who has deeply penetrated a private building zone. Locations and tracts can be quickly communicated as people move through the labyrinth of marginal spaces that are associated with public spaces. Keep telling yourself: its only a dream… its only a novel…its only a movie…its only a video game…keep telling yourself: it can’t happen here, this is a public space. 13

Each person, having a right to be there, has the responsibility to respect other people’s rights. No person owns a place within the public space; each place changes hands: now it’s occupied by one person, now by another. Each person has the right to a particular place, but only so long he/she stays there, in place only so long as she /he keeps her/ his place (obeys the rules of the public space); when that person moves on (or when that person is moved off, by the authorities), another person can move right in. One person after another “rents” the space, each person has the rights of a tenant; for the time being, each person has her/his own rightful place, in the middle of the public space and contiguous to every other person‘s rightful place. 12

Keep telling yourself you haven’t arrived… you are not there…therefore your journey is interrupted by the formality of entering “the building” …you can only enter the planned encounter, the appointment, the other’s home, the home of destination… It is only a movie. It is a movie in the process of being made. We are all the extras and we never see the stars and the action of the movie being acted out in front of the director. We simply anticipate being called to action. Always ready to be called, we mill around the distant glow of the lights. Tourists are bit part players of movies from other cities. Their anticipation of being called to act is muted by their dislocation. Hence the ability to explore and act in a more dangerous manner, with little or no possibility of being seen by their directors.

This constant sequence of momentary possession or sense of belonging establishes public space and the definition of what constitutes the huge communities of cit-

A public space is not a space in itself but the representation of a space. A public space is a game-board for mating games and war games. 14

Currently public space is mis-represented. It is a numbered and grided board of snakes and ladders on which the snakes and ladders have not been printed. Porosity seeks to play the game of snakes and ladders on the grid, which describes what is public and what is private. Only via the imposition of the metaphorical porous snakes and ladders can the nuances and subtleties of mating and war games be described. War games ultimately describe, in the form of exploded cavities, the snake and ladder forms of catastrophe, hope and despair – the results of violence. The exploded city is a static representation of the umbilical journeys of one moment in a million different love affairs.

elling. These I established early within the process of data collection. Coupled with this modelling was a dependence on field research and direct observation accumulated over many visits to the city. 1.

Tree Models This modelling includes all the zones within a building that facilitate vertical and horizontal movement by visitors and inhabitants. It does not include private “destination” spaces (actual offices or residences). Therefore it embodies and distinguishes stairs, lift cores, corridors, toilets, and carparks. The resulting diagram of connected volumes constitutes a map of possible access for visitors to the building. The extent to which this is possible becomes the objective of Porosity Research. Tree models look like an internal trunk and branch diagram of spaces within buildings – hence the name.

THE STUDY Fundamental to the hypothesis of this research is the characterisation of the interior spaces of city architecture, or towers, as possibly other to private space. The internal configurations of buildings feed off transport and access spaces and the need for amenity and linkage to the sewer, plumbing being the veins and roots of the system. Porosity research has created three categories of modelling, which form the basis of the study. In order to carry out this research all buildings studied had to be re-documented in AutoCad, 3D Studio Max and finally MAYA softwares. Porosity Research depended on the creation of three types of mod-

Cactus Models This modelling qualifies and classifies “tree” modelling. Following field research the Porosity Index is formed which characterises the spaces and measures their respective “porosity”. Sections of the original tree model may prove to be inaccessible and hence disappear from the model. These models are colour coded in a gradation to indicate the degree to which they are accessible to prolonged stays. The Cactus model is like a denuded and swollen version of the original tree model – hence the name “cactus”. This modelling is accompanied by the more detailed index data taken from the field excursions. Over a period of three years many visits were made to the city and the zones being studied. This data results in a porosity score for the entire building which rates its degree of porosity in relation to other buildings in the city as a percentage.

Monkey Models The final cactus models are rebuilt within MAYA software and all the external or perimeter surfaces of each space are given qualities of transparency or softness to pressure according to their measured capacity for access and refuge. Average daily usage of each building including inhabitants and visitors are then counted. Using the power of MAYA software, in relation to particle pressure and fluid dynamics, we are able to convert the numbers of people entering and using the building into a particle pressure, which is then applied to the reconstructed cactus model. That is, the Cactus model becomes an interlocking hollow envelope or balloon into which a pressure can be injected. The resulting deformation of the computer model is dependent on the random action of the particle pressure as it journeys up through the structure and reacts with surfaces of differing strengths or resistances to this pressure. In effect the modelling is subjecting the more remote areas of the building to the total occupancy of the structure on an average day. By doing this, and mapping the deforming model, I believe that it is possible to see what the building desires to do. In other words I am identifying the porous spaces within the building as similar to external public spaces by nature of their ability to facilitate unprogrammed usage and refuge. Then I am subjecting them to a public pressure which forces their morphologies into a possible reconciliation with the spaces outside the building already deemed public. These explorations and diagrams are in no way meant to be read as literal form. They are merely suggestions, provocations for the imagination of the artist/designer. They are also subject to the machine out of control, which parallels the unpredictability of pedestrian movements in the city. These images also form a de-authorised proposition to the problem or equation. In the same way Wolf Prix and COOP HIMMELBLAU used the Surrealist tool of automatic drawing to start a process, MAYA modelling field research, can be used as a tool for suggesting the future public link-

age of city structures via a type of computer automatism. The resulting images are characterised by building envelopes, which sprout arms, appendages and spillages from their uterine inner structures, hence the name “Monkey Models”. As the monkeys link arms, so we see how the city might make these connections and how public space can begin to be more three dimensional. These diagrams, and indeed the data used in their manufacture, are also in a state of perpetual change. They are in fact momentary and respond to the data gathered at a particular time. Monkey modelling has also led to my theory of “newspace” and “newspace engines”.

NEWSPACE Porosity modelling has also led to the formulation of a new structure for the city, which employs 3 dimensional public space or public space at different levels above or below ground. I have named these spaces “Newspace” within the study. The simplest explanation of these nodelike spaces is that they form at the intersection of the deformed monkey model protrusions from different buildings. By subjecting large zones of the modelled city to independent pressures, the rate of intersections between buildings can be mapped and measured. If done over the entire CBD of the city, it is possible to calculate an average “molecular” length for that city if one is to use an atomic metaphor. This length averages the distance between major intersections formed between buildings during the monkey modelling process. The molecular structure may form the basis for a range of functional planning decisions such as the location of stations for elevated transport systems, bridges or parasitic structures. The connecting structures that link these theoretical “Newspaces” are parasitic to their host architectures. As such they are likely to be formed using private capital. The node spaces of intersection, where two or more parasite bridges intersect would be publicly owned spaces. Hence the overlayed new molecular structure for the city is a lattice of public/private construction with parallels to the existing monorail service. Through this theory the ideas of Deleuze and Guattari, merge with the Situationist Constant and the visions of Lebbeus Woods. The molecular linkage of public spaces echoes Constant’s notion of “unitary urbanism” (ie: one continuous city building structure covering the earth in a web-like form). I have further developed this molecular model for the city by characterising the base structure of the city, or striated space, as being similar to the structure of Graphite, ie: layered planes of atoms with strong horizontal bonding. The bonding between the

various layers or storeys is weak. When great pressure and heat is applied to graphite it gradually becomes diamond. The structure of diamond is a 3D interlocking one of consistently strong bonds. The parallel then becomes obvious. The “smooth” space overlay is a diamond form with “newspaces” as its atoms. All the bonds are of equal length and strength. In each city they may have a particular length based on the indexing and mapping of Porosity. The overall aim of this research is to promote the idea of more diamond structure forming over and within the graphite structure of the existing city and that this process is in continual flux.

THE POROSITY INDEX Introduction It took 12 months to develop an index system that accurately reflected the degree to which a building was porous to public usage. Only after extensive field work and testing of results were the parameters of the index finally tuned. The resulting data can only ever be a quasi-science, however after mapping a range of buildings within Sydney’s CBD and analysing the results it was clear that my parameters reflected the experience of dealing with each of the buildings as a member of the

public. In other words if my final calculation was that a building was 75% porous then in relation to a building measuring 40% porosity this had to correlate with and reflect direct experience. The key parameters for measuring and analysing city spaces are formed under the following titles: 1 Permeability Index, 2 Transparency Index, 3 External Connectivity Index, 4 Internal Connectivity Index, 5 Orientation Index, 6 Social Construction Index, 7 Human Movement Index, 8 Environmental Index, 9 Heritage Index, 10 Spatial Quality Index.

1 2 3 4 5

Permeability Index Blue Beige Yellow Brown Red

1 2 3 4 5

PERMEABILITY Impenetrable Entry only Slightly porous Porous Very Porous

EXACT TIME 0 3 Minutes 10 Minutes 30 Minutes up to 5 Hours

SCORE 4 8 12 16 20

TRANSPARENCY COEFFICIENT ratio of transparent / opaque wall area % 10% or less 11% to 20% 21% to 30% 31% to 50% > 51%

SCORE

Transparency Index

Blue Beige Yellow Brown Red

• Opaque surrounds

2 4 6 8 10

}

Transparent surrounds

• m : m • Om2 : Tm2 express as decimal - % • convert to no. 1:10 2

quality

Connectivity Indexes - Possibility of making connections to other spaces or buildings - Connectivity index: based on external and internal possibilities Space Internal possibilities x Link to external skin via lift lobby or other spaces

External possibilities Link to other buildings, adjacent roof or floor level

External Connectivity Index

EXTERNAL 1

CONNECTIVITY TO ADJACENT BUILDING Street level access to adjacent building 2 Roof level access to adjacent building 3 Other level access to adjacent building 4 Access to toilets in adjacent building 5 Access to fire stairs in adjacent building Score out of 10 4

1 1 1 1

Internal Connectivity Index

INTERNAL CONNECTIVITY WITHIN SUBJECT BUILDING 1 Street level external access to skin/ window 2 Direct lobby external access to skin/ window 3 Access through external private office to skin/ window 4 Other access to external skin/ window 5 Access to internal window 6 Access to toilets 7 Access to roof level 8 Access to fire stairs 9 Direct access to from subject transport building 10 NO surveillance cam- of subject eras building Score out of 10

• Scale of 1→10 + Scale of 1→10 = n • n = 1→20, 20 → maximum connectivity • Connectivity Index = Internal possibility + External possibility ÷ 2 • Score out of 10

SCORE 1

SCORE 0.5 0.5 0.5 0.5 0.5 0.5 0.5 0.5 0.5 0.5

Orientation Index

ORIENTATION CUE 1 Access to space with or without view 2 Immediate access to view from lift lobby 3 View from any location accessible on floor 4 View outside 5 View of street 6 View of adjacent buildings 7 View of sky 8 View of harbour 9 View close and far 10 View oriented to north to sun Score out of 10 6 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 ÷ 2 7

SCORE 1 1 1 1 1 1 1 1 1 1

Social Construction Index CUE Access to Access to Access to Access to Access to Access to building Access to building Access to Close proximity to Close proximity to Connectivity between Connectivity between Mixed usage within Mixed usage within Low ext. sound level Operable windows View outside View outside View outside View outside for score out of 10

toilets kitchen phone/ data/ power public rest areas public art recreation service roof area adjacent buildings food outlets transport offices floors floor adjacent floors

any view including street of greater city to north

SCORE 0.5 0.5 0.5 0.5 0.5 0.5 0.5 0.5 0.5 0.5 0.5 0.5 0.5 0.5 0.5 0.5 0.5 0.5 0.5 0.5

Human Movement Index

APPR. NUMB. PEOPLE MOVEMENT PER HOUR 1 1 to 10 2 11 to 20 3 21 to 30 4 31 to 40 5 41 to 50 6 51 to 75 7 76 to 100 8 101 to 150 9 151 to 200 10 200 + Score out of 10

SCORE 1 2 3 4 5 6 7 8 9 10

Environmental Index

CUE 1 Opening windows 2 Cross ventilation 3 Daylight 4 Northern orientation or sunlight penetration 5 Sun shade devices fitted 6 People-friendly finishes + fittings 7 Possibility for rest eg seating 8 Free water fountain access 9 Access to toilets 10 Access to food outlets Score out of 10 9 Age Index 1 2 3 4 5 6 7 8 9 10 Score 10

SCORE 1 1 1 1 1 1 1 1 1 1

AGE

SCORE

1 year 2 years 3 years 4 years 5 years 6 to 10 years 11 to 20 years 49 to 100 years 101 to 200 years 200 years + out of 10

10 9 8 7 6 5 4 3 2 1

Spatial Quality Index SPATIAL QUALITY

SCORE

1 Extreme Discomfort 1 2 2 3 3 Situation comfort/ psychological 4 4 security response. Different zones 5 5 may not be calibrated. 6 6 7 7 8 8 9 9 10 Extreme Comfort 10 Score out of 10 • Situation comfort response – subjective on scale of 1 to 10 • Psychological security response of space • Comfort index • Discomfort index Spatial Quality Index 1 to 10 – 10 being the score for maximum comfort within a particular zone. Different zones may not be calibrated with each other. The final score for each building is represented as a percentage figure.

THE SYDNEY MODEL THE ZONES Introduction The total modelling of any western city is a much larger project than this 3 year research grant could afford. Therefore it was necessary to summarise the Central Business District of Sydney via the selection of a series of zones or building samples which best represented the range of building types and program of this city. Not only was program considered but also a range of issues such as site permeability security sensitive types of buildings and access to public systems of transport. This would ensure that both government buildings and public buildings would be represented. Finally, three zones were chosen for study, each including more than 4 tower structures within the block or blocks. The following text describes each zone and illustrates the data and results achieved during the research process.

Zone 2

Zone 1

Zone 3

ZONE 1 345 - 363 George Street

11 BARRACK STREET

Permeability Transparency External Connectivity Internal Connectivity Orientation Social Construction Human Movement Environmental Age Spatial Quality Overall TOTAL SCORE

Introduction This zone, situated in the mid-city, forms a good example of high-rise mixed use offices for a range of business types. It summarises many similar sites in the city, combining within the city block a range of new and old structures. Predominantly occupied by private companies, it also features the Property Council, restaurants and perimeter shopping in some sections. It is clearly a typical city scenario. The block also features remnants of the old cityâ&#x20AC;&#x2122;s structure via a network of redesigned laneways and interconnections within the block. The site perimeter is formed by George Street, Barrack Street, York Street and King Street. 363 GEORGE STREET

70% 45% 10% 42% 53% 19% 28% 23% 20% 55%

Permeability Transparency External Connectivity Internal Connectivity Orientation Social Construction Human Movement Environmental Age Spatial Quality

41%

Overall

Average 41

345 GEORGE STREET

35% 27% 6% 18% 32% 11% 10% 17% 50% 21%

Permeability Transparency External Connectivity Internal Connectivity Orientation Social Construction Human Movement Environmental Age Spatial Quality

22%

Overall

Average 22

TOTAL SCORE

67% 53% 10% 38% 46% 34% 19% 29% 40% 46% 41% Average 41.1

Very Porous Porous Slightly Porous Entry Only Impenetrable

In order to further test and illustrate the power of the research to suggest results, the original proposal sought to use a public art/architecture intervention that reacted to these results with built form. Public art is privileged to transgress a variety of the cityâ&#x20AC;&#x2122;s proprieties. However this project alludes to a new situation of privilege, which enables parasitic art/architecture interventions to occur in future city developments. The project was physically modelled first, using standard architectural modelling techniques at scale, combined with my use of readymade model pieces from kits for helicopters, aeroplanes, cars, and space technology. These forms, which have functional links back to the body, also provide a suggestive readymade palette for the artist/designer to choose from which echoes the issues of adaptive re-use, recycling and transformation implicit within the Porosity Project as a foundation for renewal. It can be argued

that new shapes and forms do not need to be invented when such a rich choice of forms already enliven the imagination. Central to this practice, which informs my gallery art, is also the notion that we simply cannot rebuild all the bad buildings within the city. Society has neither the time nor the energy resources. We need to adapt and transform existing structures in a process that also reinforces the definition of architecture as a process of continual flux rather than timeless pristine stasis. In other words architecture is at best a continual process of becoming. The reality of the confusion of structures that constitute a street â&#x20AC;&#x201C; from signs to the architecture of cars and buses, light poles, underground access stairs, building construction, paving, awnings, monorails, accidents, and endless renovations, makes a nonsense of modernismâ&#x20AC;&#x2122;s vision for the city.

East Elevation

West Elevation

South Elevation

North Elevation

The final forms of the Zone 1 Monkey Models (MAYA Modelling) were used to inform the possible shaping and configuration of the parasite action. In particular the massive foyer swellings in 363 George Street and its vertical connections with vacant floor protrusions from 345 George Street found links with public access via Barrack Street and York Street. Another extension which penetrated the external skin of 345 George Street formed the perfect possible pick-up point for monorail linkage of the entire parasite to other destinations in the city via George Street. Also informing the parasite was the need to introduce a “newspace” construction or central node in keeping with the possibility of suggesting the “diamond” form over the exist-

ing “graphite” form of the city structure. This node found its position above the foyer of 363 George Street and below that building’s plant rooms. As a result the public/ private foyer space is ghosted from above by a new public link space, which feeds a network of parasite structures adjoining the historic Land Titles Building on Barrack Street and vacant floors in 345 George Street, which the study commandeers as public access and amenity with the possibility of private restaurants and shops etc. These spaces feed back to the public “newspace” and also to a proposed high speed monorail system, which would operate on George Street (Sydney’s main Street running north south between Central Station and Circular Quay).

SNAKES

AND

LADDERS

I have chosen to run parallel to the ARC Discovery Grant a PhD in Fine Arts. The ARC Porosity Research forms a theoretical foundation and source of data, which can be further tested by a series of art actions. This also represents a commencement of the real process within the city, led by art. Running the two programs together further blurs the distinction between art and architecture, art and urban planning, building and ephemeral actions. The artwork events, proposed for the PhD, set out to prove that the research has real substance and also to interrogate both the process of the research and the city itself. I decided early on that the form of these interrogations should be a series of games. Games are extremely refined structures, richly socially encoded and developed to produce results or temporary solutions to a problem. “Snakes and Ladders” is a board game of chance, which pits the players on a numbered grid, against the ups and downs of their progress towards winning the game. Throw the dice, progress like counting, and where you stop may be either a blank square space, or one inhabited by the tip of a snake’s tail, a snake’s head or the end of a ladder. The bottom of a ladder brings a fortunate climb and progress up the scale. The top of a ladder is passed without descent. A snake’s head brings a slippery slide down the scale to a less fortunate position. A snake’s tail cannot be climbed. The game is one of chance only. No tactics can be applied in the race against another player. Fate takes its course. How can this metaphor be used in relation to the western city? Is this metaphor then useful in assessing how spaces are or can be linked? Assuming that it is a useful metaphor, then the following notions might follow about the nature of public and private spaces. I see the ladders as representing the vertical access systems in high-rise buildings,

such as lift towers and fire stairs. These systems can be classified as destination spaces or as spaces of aspiration. They are either completely open to use by the public for 24 hours/day or are mediated and restricted according to the culture of the building. I see the snakes as the hidden or unclassified spaces associated with building circulation. These spaces link with and connect the vertical access systems with a myriad of other corridor options. The options can be classified according to time, spatial quality and outlook. Outlook, in association with specific spaces, forms a measure of the site’s ability to be further connected to adjacent spaces across public space. This is due to the relationship that the space shares with “outside” or conventionally framed public space. It is also due to the positioning of a window or door. Windows and doors are the openings and potential openings in the impermeable layer surrounding both circulation and private space. The potential for building envelope openings does not depend on the precedence of a glass window. The needs and desires of future development will always easily unfold architecture’s skin. The flaw in the metaphor offers other meanings to the city analogy for assessment. This flaw is due to the sense of loss or potential demise associated with going down or backwards and then possibly losing. However there is another way of interpreting this downward spiral of events. The snake or “porosity” on the board is a way back or out. This passage doesn’t imitate the normal passage of entry and is found by chance. The player who descends down many snakes does not necessarily lose the game. Indeed the more snake descents by each player the longer the game. Is it possible to overlay, on the day to day functioning of city spaces, a set of oppositional performative forces, which effect the perception of that space? Is it possible to enact a complex series of games within the structure of a building, which permanently change the way in which that building is used and perceived? One could argue that this al-

ready happens by chance. One could also argue that the pressure exerted by public space and its furniture on private building spaces will continue to perforate and heal those envelopes regardless of affirmative action. Using the umbrella of public art action and the information explosion it is now possible to accelerate the effect of a performative action which signals a rethink of that structure in a dynamic way. The idea is to effect our perception of building in a way, which is as powerful and undermining as the performative and ephemeral actions of Gordon Matta-Clark. The identification process treats the city as a body in much the same way as Joseph Beuys did in works such as “Tallow” and “Lung”. Identifying and acting on or on behalf of those spaces in order to promote a process of healing. “Healing” however is no longer the objective – this is far too uto-

pian a gesture. Renegotiating the boundaries and expanding programs is closer to the mark. These actions have resonance with a great range of artistic and theoretical movements of the last century. From the Situationists to the artists involved in performance happenings of the 60’s to the attacks of Gordon Matta-Clark in the 70s to the installations of Vito Acconci and Richard Wentworth in the 80’s and 90’s. However I believe that never before have the internal circulation systems of the city’s architecture been challenged in a way which will eviscerate the pedestal object ideals of architecture. From this argument the devised game of Snakes and Ladders tests the research results and maps the journeys of participants as a model of Porosity. This performance forms the first art action of my PhD in Fine Arts.

“Inside the Parasite” Artspace 2005 Snakes and Ladders was enacted in conjunction with Artspace Gallery under the curatorship of Nicolas Tsoutas (Director). Snakes and Ladders was played out within Sydney’s CBD at the location 345-363 George St. Orchestrated by myself it involved my assistant Tia Chim and 10 students from UNSW COFA. The students were divided into 2 sets or types of players. 5 students took the role of instructors and 5 became participants in the game. The interiors of two buildings on George St were already comprehensively mapped in relation to the Porosity Index. Therefore it was already known where people could and couldn’t go within these structures, and how long they could stay before being subject to security. Each instructor was given a set position within the two buildings, which he or she had to remain in for the duration of the game. They were given five instructions to give out randomly when approached by a student who was a player. These instructions said either “I am a snake go down to x floor location …” or “I am a ladder go up to y floor location”. Each ticket also formed a marker for the player to leave at the site “see image” which stated boldly “Opened by Porosity” and the date. This had to be left on location as proof of occupation. So there was the possibility within the game that each player would find five instructors and make five plays. If the game was not stopped by security within the hour, then the player at the highest level within the buildings would win. Each player was also instructed to phone the control within the Artspace Parasite and indicate when they had successfully reached each location with a mobile phone photo of themselves and/ or the location plus tag. The instructors were carefully placed in locations known to have minimal surveillance. Again this formed a test of research data. The locations to which each player was sent were of varying degrees of Porosity. Some

would prove very challenging for the players and test the Porosity Indexes. Each player had to roam the two buildings in search of an instructor from which to receive a random note of instruction. This formed a complex web of exploration of both city buildings. Each building had varying degrees of high security and regular office occupancy. The construction of the “Inside the Parasite” installation at Artspace in Sydney formed the centre of the game. After a year of negotiations with Sydney City Council, it was found to be impossible to construct a “parasite” structure on the roof of the building. As a compromise, I improvised a temporary building within the Entrance loading dock of the Gallery. Behind stretch plastic we constructed a dwelling/office from which I could both command the game but also beam the information gathered from the city back into the gallery space for projection onto the walls as an ongoing installation. Hence the “Parasite” was the collection point for all information emanating from the game. Appropriately the Parasite claims parts of public space to become an extension of architecture. It then speaks to spaces within architecture that are trying to become part of public space. Evidence of the occupation is then beamed into the private/ public space of the art gallery to be claimed as new public spaces via the interrogation of a game. The five instructors were given their secret locations and sent to the city to take up those positions for the start of the game at a set time. The players were sent off 15 minutes later, knowing only the address of the two buildings and that each one of them had to attempt to find each of the five instructors and obey the command of the snake or ladder. Once they reached they city location as a group they were instructed to disperse and operate independently. The aim was to win the game by being on the highest level of either two towers after 1 hour. Back in the Parasite, Tia and I awaited the phone communications, ready to immediately download their images and location each

of person within the 3D construction of the porosity “cactus” diagram. The game commenced slowly as the players found their way cautiously through the labyrinth of possible spaces. Eventually the calls started to come in and the excitement began to build. The 25 positions to be occupied by the players constituted a thorough penetration of the possibilities for infiltration of both buildings. Some were in toilets of otherwise secure floors while others were corridors under intermittent surveillance. Once all commands had been negotiated the entire “cactus” diagram (see illustrations) would have been properly interrogated. Within 30 minutes of starting the game, calls came in back to back with pictures at-

tached. They were quickly downloaded into the system and the locations were plotted on our maps. While occupying the Parasite we were filmed by Tania Doropoulos. Ultimately the twin projection within Artspace would reflect the two streams of activity. One projection gave evidence to our occupancy of the parasite and commanding the game of snakes and ladders. This was then mixed with images from the research activity and previous film from the location to set a context for the viewer. The other projection strung together the phone messages and images recreating the space/ time of the game. Remarkably the game finished almost exactly on the hour with all players having reached five separate locations. We had a winner also

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who had reached level 23 within 363 George St just inside the hour. The Parasite at Artspace was maintained throughout the exhibition with both workstation computers displaying the event in loop form. The two simulations were echoed within the gallery space via digital projection. From â&#x20AC;&#x153;Inside the Parasiteâ&#x20AC;? tentacle-like fingers of the exploration reached out into the city spaces within building. The viewer was able to engage in the game of Snakes and Ladders while witnessing the incorporation of these porous types of spaces into the lexicon of city public space. The final performance installation is a record of the interrogation of city spaces and their subsequent redefinition as types of public space.

INSTRUCTOR 1

INSTRUCTOR 2

INSTRUCTOR 3

INSTRUCTOR 4

INSTRUCTOR 5

Position: 345 George st. Level 14

Position: 345 George st. Level 2

Position: 363 George st. Level 25

Position: 363 George st. Level 19

Level 2, Toilet

Level 15, Hallway

Level 3, Vacant Space

Level 30, Lobby

Vestibule Ground Level

Level 7, Toilet

Level 6, Toilet

Level 5, Vacant Space

Level 27, Toilet

Level 25, Toilet

Level 9, Hallway

Level 12, Foyer

Level 4, Toilet

Level 24, Hallway

Level 26, Foyer

Level 14, Vacant Space

Level 1, Artwork

Level 1, Ground Toilet

Level 19, Kitchen

Ground Coffee Shop

Level 16, Foyer

Level 8, Toilet

Level 5, Vacant Space

Level 18, Hallway

Level 23, Foyer

ZONE 2 AURORA PLACE GOVERNOR PHILLIP AND MACQUARIE TOWERS

Zone 2 is bounded by Macquarie Street, Bent Street, Young Street and Bridge Street. The block was chosen as an example of the city in which buildings are occupied by both Government and private corporations. It therefore represents a section of the CBD that is subject to elevated levels of surveillance and security. It is therefore potentially the least porous zone within the city. Acquiring adequate information to re-document the respective buildings was a great challenge. Field work was also very challenging and required a strategy of urban camouflage. This took the simple form of a dress code mimicking wealthy beaurocrats or company executives. The strategy worked extremely well. Without a suit it wasnâ&#x20AC;&#x2122;t even possible to enter the lift lobby without questions in the case of Governor Phillip Tower. In an expensive suit and with my assistant looking like a highly paid executive we were able to pass most checkpoints unquestioned.

GOVERNOR MACQUARIE TOWER

MUSEUM OF SYDNEY

GOVERNOR MACQUARIE TOWER Permeability Transparency External Connectivity Internal Connectivity Orientation Social Construction Human Movement Environmental Age Spatial Quality Overall TOTAL SCORE

AURORA TOWER

MUSEUM OF SYDNEY 10% 0% 0% 0% 10% 0% 0% 10% 40% 10% 6%

Average 6.5

Permeability Transparency External Connectivity Internal Connectivity Orientation Social Construction Human Movement Environmental Age Spatial Quality Overall TOTAL SCORE

GOVERNOR PHILLIP TOWER

GOVERNOR PHLLIP TOWER

AURORA TOWER 75% 60% 20% 40% 60% 50% 70% 50% 50% 70%

Permeability Transparency External Connectivity Internal Connectivity Orientation Social Construction Human Movement Environmental Age Spatial Quality

58%

Overall

Average 56.5

TOTAL SCORE

30% 20% 0% 20% 30% 10% 10% 20% 70% 20%

Permeability Transparency External Connectivity Internal Connectivity Orientation Social Construction Human Movement Environmental Age Spatial Quality

20%

Overall

Average 20

TOTAL SCORE

35% 20% 0% 0% 30% 10% 10% 20% 40% 20% 20% Average 20

NORTH ELEVATION

SOUTH ELEVATION

EAST ELEVATION

WEST ELEVATION

ZONE 3 WORLD SQUARE ERNST & YOUNG Permeability Transparency External Connectivity Internal Connectivity Orientation Social Construction Human Movement Environmental Age Spatial Quality Overall TOTAL SCORE

1.3/20 0.9/10 0.2/5 1.7/5 0.6/10 0.4/10 0.3/10 0.4/10 10/10 0.7/10 15% Average 15

WORLD SQUARE SHOPPING CENTRE

This zone is bounded by George Street, Liverpool Street, Goulburn Street, and Pitt Street. It was chosen to best represent a major mixed development block. As such World Square, adjacent to Sydneyâ&#x20AC;&#x2122;s China Town, is the most significant example of new high-rise inner city apartment blocks mixed with office towers, shopping arcades, and hotels. The block also connects with major bus transport, the monorail service and adjacent underground train stations.

Permeability Transparency External Connectivity Internal Connectivity Orientation Social Construction Human Movement Environmental Age Spatial Quality

20/20 10/10 4/5 4/5 9/10 7/10 10/10 10/10 10/10 6/10

Overall

90%

TOTAL SCORE

L10 90

AVILLION HOTEL Permeability Transparency External Connectivit Internal Connectivity Orientation Social Construction Human Movemen Environmental Age Spatial Quality Overall TOTAL SCORE

WORLD SQUARE Permeability Transparency External Connectivity Internal Connectivity Orientation Social Construction Human Movement Environmental Age Spatial Quality Overall TOTAL SCORE

31% 25% 24% 22% 21% 15% 12% 19% 50% 24% 25% Average 25

Commercial 85% 58% 58% 34% 29% 29% 16% 24% 100% 46%

Residential 6% 6% 2% 2% 5% 0% 2% 5% 100% 1%

51%

14%

Overall 14% 11% 8% 6% 7% 6% 3% 6% 100% 9% 17% Average 17

HIDE AND SEEK The World Square site has extensive ground floor and basement floor access and hence porosity. Above ground the city block includes a series of towers dominated by Sydney’s largest residential building, “World Square”, which includes Hotel accommodation. The commercial towers have a variety of porous qualities that have been measured by the field research. Another major Hotel dominates the north east corner of the block. In relation to the study, Hotels provide another type of public space where members of the public can lease space for short period of time in a climate of openness to the city via lounges, restaurants and lobbies. After assessing this mix of development I opted for the game of “hide and seek” to test the limits and strengths of the research. In order to penetrate the residential towers I devised a strategy that included the booking of 2 hotel rooms for the duration of the performance. Room 1 was situated in the World Tower residential building. Room 2 was situated in the Hotel. By renting these 2 rooms other spaces within the towers, such as gymnasiums, swimming pools, restaurants and lecture or meeting rooms were made accessible. The study classifies these spaces as types of public space also. The hotel rooms became bases from which the simple game of one person hiding while the other seeks could emanate. Strict rules associated with timing of both the act of hiding and the act of finding a hiding place were laid out. These rules included the necessity to return a set number of times to the hotel rooms within the game time. Each of the two players was accompanied by an assistant who kept times and mapped the paths taken. A third assistant moved from team to team, via mobile phone communication, and filmed the action. The final result included a series of captures and a very complex series of paths travelled. These pathways were later fed into the computer and constructed into a series of 3D animations. When viewed as structures

within the buildings “Tree” diagrams the game creates new possible constructions of public space. These models of the game are examples of the porous architectures possible within this zone’s public space.