Portfo io L
andscape Architectural Works
laser cutting contour model for Landscape Studio 4: Designed Ecologies (Sem 2, 2012)
by Han’s selected works 2010 | 2011 | 2012 |
Eko Winardi
1
#1 Sketchbook
History of Designed Landscapes
Frameworking tropical landscape history by basic visual techniques - tracing & sketching
to understand international & historical landscape architecture from the late Middle Ages to present
1961 Burle Marx’s Depiction of Pithecolobium tortum Mart. [3] Yellow & Blue Marker // Contrast [1] Blue Pen // Organic
[4] Blue Marker // Volumetric [2] Pencil // Simpler & Linear Native Pithecolobium tortum Mart.
Stepping stones to ‘ Modernism’ by painting wi th p la n t s , form & colour; adaptation of ‘Biomorphism’ in tropical Brazil by R o b e r t o Burle Marx (1909-1994)
2
sketchbook [cont.]
the plan of Monteiro Garden
the plan of Bogor Botanical Garden
vs.
B r i t i s h Colonial landscapes more formal & picturesque adaption in 41ha of t r o p i c a l B o g o r Botanical G a r d e n , Indonesia
Formerly known as Buitenzorg land (land without care) was faceted by traditional Hinduism, Dutch and British colonies influences Hinduism, God of Ganesha on the entrance symmetrical Baroque entrance to the palace forest & Amazonia giant water lily pond & the palace
3
sketchbook [cont.]
My outreach observation in synthesizing tropical landscape history ere 14C. / late Middle Ages with the subject’s scope
Re s is t a n c e o f B alinese Hinduism from colonial in f lu e n c e s a n d d isplacement of other religions to th e ir l a n d s c a p e as a product of cul tures, linking th e s a c re d n a t u re & human lives for centuries
top: Eka Karya Botanical Garden’s carving gate showcasing animals & mytical beasts. top-left: gateway to Monkey Forest at Sangeh, Bali
sketchbook [cont.]
Plants & their associative characters have been used for human inspirations in valuing cultural landscapes
the unknown tree at this Vishnu temple, a dedication to the God Shiva, inside Prambanan complex may depict a sacredness, like the Bodhi tree that depicts an enlightment & wisdom at Borobudur temple complex
4
Banyan/Waringin tree behind the pool in Ubud’s Monkey Forest has similar appearance to Kepuh tree, only found in cemetery for its death context the endemic Central Sumatra plant, Amorphophallus titanum , known as giant carcass plant for its growth up to 3m, smell to attract insects, and short time blossom that once viewed by 34,000 people in 1970
5
at Royal Melbourne Botanical Garden Appreciating the aesthetic & historical significance of a site by observation & communicating them through own translations
Fern Gully - inspiration & transition from cool temperate Melbourne to tropical landscapes
top (CW): frame of climbing Hydrangea, colour contrast on fern leaves, Agathis robusta (Kauri) colourful bark, natural stone fence, roots cracking asphalt, palm & its merging tuber, big buttress root next to a creek
Temple of the Winds - metaphorical experience of Guilfoyle from Mount Warning, NSW, Australia right: appreciation of the diversity of succulent plants on arid landscapes, their unique inflorescence & leaves and their speculative relations to the cool temperate climate of Melbourne
#2 Fieldwork Analysis
Fieldwork Analysis [cont.]
Interpretative Drawing of Relationship between Fern Gully & Temple of the Winds
6
7
Generating ideas & creating an attitude for sketching, modelling & photo preparations
Virtual Environments
#1 Engender
Introduction to conceptualization & realization of ideas by analogue or digital representations of Google SketchUp in designing a 3D hat spider’s egg
the chosen design: eucalyptus bonsai
isometric view
orthographic projections
sketches
inspirations
yoga posture
#2 Digitize & Elaborate
Using point cloud method & triangular geometry to generate a 3D model, head space and patterns
8
the hat in application
Gluing process
Nesting layout
standing poisition
Fablab printing
Orthographic finish
Unfolding
9 laying out the 3D model onto 3 of 1mm papers prior to laser cut or fablab printing and gluing
#3 Fabricate
1# Site Analysis: Apollo Bay, Great Ocean Road
2
Landscape Studio 2: Site Plan & Design
10
4
DUNES & GOLF COURSE
LEGEND
1
Summer solstice
3
W i n t e r solstice Lagunaria patersonii Cupressus macrocarpa Araucaria heterophylla Cupressus macrocarpa ‘Aurea’ Myoporum viscosum Leptospermum lavigatum
5
11
2# Master Plan: Apollo Bay, Great Ocean Road
Master Plan [cont.]
Fish Cop. >> Tourist Centre with Seafood Restaurant
Golf course >> Emu farm (inspired by Aboriginal Dreaming of Emu Constellation)
Golf course >> Eco Tourism Resort (inspired by the Earthship-recycled material house & the Hobbit’s home)
Golf course >> Star Observatorium & Solar Panel (for sustained energy of the area)
12
13
Landscape Studio 3: Urban Open Place
1# Site Analysis: Urban context Uni of Melbourne
14
1# Site Analysis: Union Lawn Precinct accessibility
bluestone paving seating - type or lack of
dim lighting
intimate & enclosed spaces
circulation space
seating
sightlines
sculpture
colour palatte
surrounding architecture dynamism open space seating
lack of activity
seating
open space
entire space surface materials
location & surroundings
vegetation, grass & trees
surface materials
vehicle traffic
sculpture
vegetation & grass
intimacy shading
surrounding roads
enclosed vegetation
existing connectivity
open space
grass & trees
lack of shelter restricted connectivity physical barriers & edges
bluestone pavers
what do students like about union lawn?
what do students dislike about union lawn?
what components of union lawn should be retained?
what components of union lawn should not be retained?
15 Diagram Analysis explains the cycle of interrelationship between Union Lawn and its Urban Context
2# Master Plan: Analysis & Concept for Union Lawn Precinct Man-made Landscapes & Aboriginal Cultural Flag, Sculptures & Landscapes in Melbourne area
An Aboriginal Flag as a symbol of Australian identity?
Bunjil Statue in Docklands by Bruce Amstrong
Birrarung Marr
It was designed in 1971 by an Australian Aboriginal artist, Elder Harold Thomas. Black represents Aboriginal people; red represents the earth and Aboriginal people’s spiritual relationship to the land; and yellow will represent the sun, it is the giver of life.
Union Lawn is located within the complex of University of Melbourne which has a close proximity to CBD. In designing Union Lawn as an open space, this close proximity is brought into one of the design focus. Because of such proximity, growth of population in Melbourne also brings an indirect effect to the designing aspect for open space. The lawn is indirectly affected by rapid & global knowledge transfer within institution between local & international students. As the population increases, the total number of students will also follow. If the increase is directed properly for better functions and resolutions, the transfer of knowledge from more students will definitely at least inform and better improve our perspectives of our cultures and behaviours. Unfortunately it can blur our identities for who we really are to be in Australia and perhaps being Australian because we may no longer accustomed to those old custom and identity. A question of identity, our purposes of life by getting greater knowledge often brings confusion and require a journey plan. Similarly to what happened with Indigenous Australian who should have been benefitted through greater social interactions and teaching within the university despite the limiting knowledge about this issue in public. The idea of introducing some intangible aspect of Aboriginal Australians’ lives in urban open space, like their legend stories and symbols, into more tangible object and space, like sculptures and land art, can be a part of this journey or even perhaps the answer for the searching of Australian identity.
The idea of my open space is characterised by symmetrical axes that is symbolised by one of Australian Aborigin mytical heroes from the ancestral being, WAA THE CROW. There are many story related to the other mytical hero, Bunjil the Eagle, whose appearace often can be found as a sculpture, such as in Dockland and in Herring Island. In contrast, Waa has not yet appeared in public, but the story about Waa is, I believe, signicant to the overall STORY OF CREATION. Bunjil Land Art in You Yangs Nat. Park, Vic. by Andrew Rogers, 2006
Waa is famous for being a trickster and his role for bringing re to mankind. According to a version of this story told by the Wurundjeri people of the Kulin nation, in the Dreamtime fire was secretly kept by the seven Karatgurk women. These women lived by the Yarra River, where now Melbourne stands, and carried live coals on the ends of their digging sticks, allowing them to cook the yams which they dug out of the ground. One day Crow found one of these cooked yams and, finding it tastier than the raw vegetables he had been eating. He thinks he would cook his food from then on. Sharing fire is not permitted by these women but Waa resolved to trick them until they give up. Crow caught and hid a number of snakes in an ant mound then called the women over, telling them that he had discovered ant larvae were far more tasty than yams. The women began digging but anger snack was soon attacking. The sisters were shreaking and stricking the snakes with the sticks, hitting with such force that the live coals flew off. Crow, who had been waiting for this, gathered the coals up and hid them in a kangaroo skin bag. The women soon discovered the theft and chased him, but the bird simply flew out of their reach and perched at the top of a high tree. Bunjil the Eaglehawk, who had seen all of this, asked Crow for some of the coals so that he could cook a possum. Waa instead asked to cook for him. Soon, a large group had gathered around Crow's tree, shouting and demanding that he share the secret of fire with them. This frightened Waa and at last he flung several live coals at the crowd. Kurok-goru the fire-tailed pinch picked up some of the coals and hid them behind his back, which is why to this day firefinches have red tails. The rest were gathered up by Bunjil's shaman helpers, Djurt-djurt the Nankeen Kestrel and Thara the quail hawk. The coals caused a bush fire which burnt Crow's feathers permanently black and threatened to consume the entire land, until Bunjil's efforts halted its spread. The Karatgurk sisters, meanwhile, were swept into the sky where they became the Pleiades (the stars are said to represent their glowing fire sticks.
2# Master Plan [cont.]: Waa the crow, Land Art & Union Lawn as an Urban Open Space in a Plans Drawing The bird of Waa in Union Lawn consists of the head - picking up the coals (the entrance point of the story, used better for group or private meetings), the body of red soils that symbolizes the warmth & energy of the reddish Australian landscape, the open wings for multiple uses & the higher ground and more lush tail full of Eucalyptus trees for more shaded areas.
16
Waa in the plan view 1:200 C A B
C’ A’ B’
377322 - Hans E Winardi - ABPL30042 - Semester 1, 2012
N
17
2# Master Plan [cont.]: Sections of Waa
Section A-A’ [1:200]
Detail Section C-C’
Section C-C’ [1:200]
Section B-B’ [1:200]
2# Master Plan [cont.]: Details of Waa Details of Waa’s head (group resting area)
Details of Waa’s body (downslope, lighted cubic stools & interactions)
Details of Waa’s tail on Eucalyptus area & slopes
Details of Waa’s left wing (resting area)
Details of Waa’s right wing (resting area)
18