Landscape Studio 1: Explorations by Jesse Osadczuk

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// CONTENTS ASSIGNMENT 1 1.01: Lino Print 1 1.02: Lino Print 2 1.03: Lino Print 3 1.04: Uncanny Similarities 1.05: Site Map//Site in Melbourne Context 1.06: Beta Decay 1.07: Mind Mapping ASSIGNMENT 2 2.01: Anarchy 2.02: Precedence 2.03: Results First 2.04: Application 2.05: Photogrammetry ASSIGNMENT 3 3.01: Inversion + Extrusion 3.02: Lawrence Halprin 3.03: Church to Science 3.04: Bunker/Bunker 3.05: Constructibility 3.06: Materiality: Nature 3.07: Materiality: Artifice 3.08: Product 3.09: Amalgamation 3.10: Site Plan 3.11: Section AA 3.12: Model 3.13: Interior Render1 3.14: Interior Render 2 3.15: Exterior Render

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ASSIGNMENT 1 1.01: Lino Print 1 1.02: Lino Print 2 1.03: Lino Print 3 1.04: Uncanny Similarities 1.05: Site Map//Site in Melbourne Context 1.06: Beta Decay 1.07: Mind Mapping

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1.01: LINO PRINT 1 Hand-Fabricated 1:100 @ A2

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Title: “Bum of the Building” Scale: 1:100 @ A2 Fabrication Technique: Hand-cut silk lino tile 300mm x 300mm

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1.02: LINO PRINT 2 Hand + Computer Fabricated 1:2500 @ A2

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Title: “Paths of Movement” Scale: 1:2500 @ A2 Fabrication Technique: Digital Laser-Etched template into silk lino tile 300mm x 300mm then hand cut

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1.03: LINO PRINT 3 Digitally Fabricated 1:2500 @ A2

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Title: “Important Places” Scale: 1:500 @ A2 Fabrication Technique: Digital-CNC routed curves into silk lino tile 300mm x 300mm

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1.04: UNCANNY SIMILARITIES Malevich’s Black Square

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After completing and compiling my lino cuts, I noticed there was a humorous resemblance between my lino cuts and Kasimir Malevich’s painting, Black Square [1915]. Malevich’s Suprematist work is radically non-representational. “The slab of black paint that dominates the canvas works as grand refusal, repudiating nature in favour of abstraction” [Philip Shaw, “Kasimir Malevich’s Black Square”], “the painting may be read in terms of the Kantian theory of the sublime.

Favouring flatness over depth, Black Square conveys, in the words of Kant’s ‘Analytic of the Sublime’ (1790), ‘the feeling of displeasure that arises from the imagination’s inadequacy’ in an estimation of ‘formlessness’ or ‘magnitude”. Do my lino cuts manage to represent an uncovered aspect of the site in their medium, or are they as non-representational as Malevich?

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1.05: SITE MAP // SITE IN MELBOURNE CONTEXT 1:10,000 Scale @ A3

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1.06: BETA DECAY Two Equations of Addition

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β− decay (electron emission) n → p + e− + ν−e

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“An unstable atomic nucleus with an excess of neutrons may undergo β− decay, where a neutron is converted into a proton, an electron, and an electron antineutrino (the antiparticle of the neutrino)”

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β+ decay (positron emission) p → n + e+ + νe “Unstable atomic nuclei with an excess of protons may undergo β+ decay, also called positron decay, where a proton is converted into a neutron, a positron, and an electron neutrino”

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“Cloud chamber photograph of the first positron ever observed” Source: Anderson, Carl D. (1933). “The Positive Electron”. Physical Review

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1.07: MIND MAPPING Björkian Lyrics and Physics Terms for Basis of Design Response

yin-yang: the idea of two opposing yet balancing forces

constructive + destructive interference: the respective amplification and elimination of the crossing of two waves with

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soil + stratification

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“we are each others’ hemispheres i am fine-tuning my soul, to the universal wavelength no-one is a lover left alone i propose, an ATOM dance”

raditation: the emission or transmission of energy in the form of waves or particles through space or through a material medium

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- björk ð parametric design

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ASSIGNMENT 2 2.01: Anarchy 2.02: Precedence 2.03: Results First 2.04: Application 2.05: Photogrammetry

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2.01: ANARCHY Spiel about Gordon Matta-Clark

A NA R C H Y + A R C H IT E C T U R E = A N A R C H IT E C T

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2.02: PRECEDENCE Select works by Gordon Matta-Clark

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2v + CONICAL INTERSECT Verb-Action Process: To bore through

SPLITTING Verb-Action Process: To split

BINGO Verb-Action Process: To reveal/peel

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2.03: RESULTS FIRST Applying Verb-Action Processes to Found Objects

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2.04: APPLICATION Applying Verb-Action Processes to Found Objects

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INTIAL STATE Verb-Action Process: To Exist Associations: Chalice, Fertility, Offering of Jesus, Water to Wine

2nd STATE Verb-Action Process: To Flatten Associations: Gravy Boat

3rd STATE Verb-Action Process: To Flatten Associations: Hilt, King Arthur

4th STATE Verb-Action Process: To Flatten Associations: -

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FINAL STATE Verb-Action Process: To Flatten Associations: Trampled, artifact

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2nd STATE Verb-Action Process: To Shatter Associations: Accidents happen

3rd STATE Verb-Action Process: To Rebuild Associations: A butterfly emerges

4th STATE Verb-Action Process: To Rebuild Associations: Cancerous growth, stratification

FINAL STATE Verb-Action Process: To Rebuild Associations: Additive

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2.05: PHOTOGRAMMETRY Fun with 123D Catch:: Unintentional Warping/Abstraction

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I produced this 3D mesh of the goblet using the app “123D Catch�, a open-source photogrammetry program developed by Autodesk. I found it intriguing how even though scanned in its initial, pre-deformed shape, the process of digitization [read: analogue>digital] automatically produced deviations and altered features not existing in the physical object. Though it did not directly influence the form or functions of my final proposal, it was of relevance in terms of the process of an existing object or feature being reinterpreted into an altered state.

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2.05: PHOTOGRAMMETRY [CONT.] Fun with 123D Catch:: Unintentional Warping/Abstraction

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This particular mesh was produced by digitally scanning the “brooch” that was produced via the verb-action process “rebuild[ing]”, applied to the found object of a ornamental miniature teapot. What was of particular interest was the undulating form that was produced via this particular photogrammetry, the crests and valleys that were inherent in the mesh. It related back to my initial thoughts and ideas that revolved around the two coexisting forms of beta-particle decay in terms of nodes + anti-nodes i.e. crests + valleys. Because of this, I decided to pursue a similar metaphor/analogy with my final design.

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ASSIGNMENT 3 3.01: Inversion + Extrusion 3.02: Lawrence Halprin 3.03: Church to Science 3.04: Bunker/Bunker 3.05: Constructibility 3.06: Materiality: Nature 3.07: Materiality: Artifice 3.08: Product 3.09: Amalgamation 3.10: Site Plan 3.11: Section AA 3.12: Model 3.13: Interior Render1 3.14: Interior Render 2 3.15: Exterior Render

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3.01: INVERSION + EXTRUSION An extrusion of the Landscape

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I felt that to sufficiently develop a strong proposal, I needed to develop and flesh-out particular themes and motifs that would underpin the actions imposed on the site. With this in mind, I gathered a sequence of particular precedents and supporting material that I found to be of inspiration in the design process.

I found myself consistently going back to the ideas I initially had at the start of the semester when learning about the history of the site in reference to the betatron and the physics building who’s “bum” was directed to the site. These ideas revolved around reflecting or exposing the betatron bunker, as well as subtly making reference or utilising certain scientific concepts that would further reference the scientific nature of what lay underneath.

The Pyramide du Louvre which resides at the Louvre Museum in Paris is an iconic landmark that has engrained itself into the national French identity. Less known is La Pyramide Inversée; an inverted glass skylight that sits directly below the Pyramide du Louvre. The pyramids share a symbiotic relationship, where the reflected forms unspeakingly express the existence of the other to visitors both above and below. Passersby at ground level are often unaware of the existence of the inverted pyramid; only when venturing below do people often become aware of its presence. Similarly, I wanted to pursue a design that spoke of the bunker’s existence; not quite so literally a reflection of the shape of the bunker underneath, plonked onto the site but more a form that echoed the history which had occurred below.

Image by Simon Gardiner: “Night at the Museum - La Pyramide Inversée”

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3.02: LAWRENCE HALPRIN Water + Narrative

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I made it a personal mission to be careful to not let my design proposal deviate too much from a built landscape to purely a building. It was difficult, having studied architecture previously.

As such, Lawrence Halpin’s schemes were of notable inspiration. Particularly, I found his use of water within his to direct a narrative to be of relevance to what I wanted to achieve in my proposal. Halprin uses water and the flow of water to direct the users around his sites and observe the intricacies and details of his designs from different viewpoints. Furthermore, the water often acted as a barrier to demarcate certain aspects of his site.

I similarly wanted to use water as a central aspect of the site. Furthermore, I wanted an aqueous feature to interact with the bunker, in a manner that “uncovered” the bunker in a indirect, in-immediate way. With this in mind, I formulate the proposal to excavate to the level of the roof of the top bunker, and to use this concrete slab as the base of a reflecting pool. The reflecting pool is proposed to be located centrally, used to mediate movement around the site to revolve around this centerpoint and inspire quiet and solitary contemplation.

Freeway Park, Seattle by Lawrence Halprin

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3.03: CHURCH TO SCIENCE Looking at Religious Architecture

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Along the design process to form a strong theoretical underpinning to my design proposal, I referred back to a particular architectural precedent that I found of particular inspiration; the Bruder Klaus Feldkapelle by Peter Zumthor. Specifically, I wanted to incorporate a similarly strong use of light and materiality to strengthen the atmospheric, ephemeral quality of my design. I similarly found the limited light quality and the use of concrete to be similar features in religious architecture through the Shonan Christ Church by Takeshi Hosaka, and noted these as something I wanted to use in my design.

Moreover, religious architecture made me reconsider the use of the site and what I wanted my landscape to be; though I noted that many of the other students in the site were retaining the existing use of the site a place of social gathering and convergence, I wanted to change the use of the site to something other that would enhance the history of the bunker lying underneath. The site is reclaimed as a metaphorical “church to science�, a proclamation to the advancement and power of scientific progression and discovery. As such, I pursued a landscape that would impose itself on both the site and its surrounds through a monumental form, much like a iconic church or a synagogue would. The site would act as a gathering place not for purely social interaction,rather for the appreciation and acknowledgment of a scientific deity, in this case the betatron and the irradiated soil which lies underneath, whilst similarly imbuing a ethereal, unearthly energy in the users.

Shonan Christ Church by Takeshi Hosaka + Bruder Klaus Feldkapelle by Peter Zumthor

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3.04: BUNKER/BUNKER Replicating the History for Everyone to See

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As a cumulation of all the previous precedents and ideas in mind, the best way I could encapsulate my design motif was that it was a “bunker on top of a bunker”. There was to be an secluded, atmospheric internal space, centered around a reflecting pool which utilised the roof of the bunker as the base of the pool, all of which was aimed at inducing a state of quiet contemplation as well as a reverence for the might of science and nature within the visitor.

From here, my designing process within Rhino 3D was as follows: 1. Use the perimeters of the site and the roof of the bunker to inform an excavation down and create a secondary bunker on top of the bunker.

2. This “bunker” has seating integrated into the sides facing the reflecting pool.

3. Use the parametric program “Grasshopper” to generate a series of geometry including pipes and lofted surfaces based on points created around and through certain site-specific features [such as the steps leading to the site from the Potter cafe]. A NURBS-surface was then draped over theses geometries, then the frontage was pulled back to avoid encroaching too much on the Swanston St walkway.

The final landscape is an abstracted form which resembles an extrusion that is both natural and manmade; much like the dichotomy between the organic vs. artificial nature of science.

Image by Scott Wylie: “Bunker fallen from cliff onto beach, Leysdown-on-sea (Warden, Minster)”

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3.05: CONSTRUCTABILITY An Explanation of the Construction Process

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Site Preperation: Excavation [down to bunker level] + Site Stripping [top 100mm] * Funnily, the generation of the site response followed a sequence that also mirrored what I would expect to be the construction sequence.

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3.05: CONSTRUCTABILITY [CONT.] An Explanation of the Construction Process

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Installation of prefabricated Inner Steel Mesh, concrete slab for reflecting pool/sanctum poured

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3.05: CONSTRUCTABILITY [CONT.] An Explanation of the Construction Process

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Modular blocks of mushroom mycelium insulation blocks cut to size and adhered between inner and outer steel meshes

Again, the exterior form was generated parametrically by certain conditions in and around the site, particularly the steps leading from the Potter Cafe, which proceeds to the only entry into the “bunker�.

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3.06: MATERIALITY: NATURE 3xn/Gxn’s mushroom insulation

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Shrooms you may ask?

I recently volunteered at the National Architecture Conference on Risk; there, director Kasper Guldager of Danish-firm 3xn gave a keynote regarding some new material advancements they had pioneered. Amongst them, I was particularly interested in hearing about a new type of insulating material they had harvested from the cultivation of mushroom mycelium. This particular organic matter is able to replicate and manifest itself very quickly, has low embodied energy and is able to effectively insulate a design.

Considering the nature of the secondary “bunker”, it was important to properly insulate the interior space for both acoustic and thermal performance. Acoustically, to ensure that the space was as quiet as possible to serve a paradisaical, meditative silence. Thermally, the mycelium insulates against the exterior warmth providing a cool, even cold interior where it may even induce a touch of discomfort; this reinforces the notion of the hunkered-down bunker.

Image sourced from 3xn/Gxn: “New Materials”

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3.05: CONSTRUCTABILITY [CONT.] An Explanation of the Construction Process

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Fly Ash concrete sprayed onto inner and outer steel meshes [which act as formwork]

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PREMIUM CHOICE

FLY ASH GREEN CHOIC E

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3.07: MATERIALITY: ARTIFICE Benfits and Properties of Fly Ash Concrete

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The second main material used in the fly-ash concrete.

Fly-ash concrete differs from traditional concrete in that replaces Portland cement with fly-ash to be blended with a selection of aggregates and water to form the concrete. Fly-ash is a byproduct in the production of coal, a residue left from burning coal, which is collected on an electrostatic precipitator or in a baghouse.

I opted for this particular material as: - It incorporates an otherwise wasteful byproduct - It reduces permeability to water and aggressive chemicals - It has a similar workability to traditional concrete with less water used; again, less overall environmental impact - Properly cured concrete made with fly ash creates a denser product because the size of the pores are reduced. This increases strength and reduces permeability It lowers the overall embodied energy of the product, thus reducing my scheme’s embodied energy, whilst creating a gray-stalactite finish that makes passersby question whether the form is naturally-occurring or constructed.

Image sourced from PMET Lab Services: “Fly Ash”

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3.08: PRODUCT The Final Landscape

Bum-of-the-Building The built landscape pushes itself right up against the Physics Building.

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Slope There is a steep slope that falls from the top of the built landscape. This may act as a drain to stop a unnecessary built up of water in case of heavy rainfall. It may also be used by particularly brave visitors to climb up onto the extrusion.

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Weep Hole The exterior form slopes down to a hole through to the interior; it allows a dim illumination of the interior, as well as allowing water to drain into the reflecting pool and inform the users of the difference in interior/exterior climates.

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Entry Primary entrance is via the steps leading from the Potter Cafe. It encourages customers of the cafe to explore the site.

Untouched Areas Some areas of the site were left untouched; this may allow for students to sprawl alongside the built-up landscape, however they may be discouraged to do so simply due to its monumental presence.

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Encroachment The built landscape overflows slightly onto the pavement alongside Swanson St; this intrusion imposes itself onto the public realm, and invites the public to come onto the university/cafe domain.

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3.09: AMALGAMATION Harnessing the Natural + Artificial: Are They One and the Same?

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NATURE Mushroom Myeclium

ARTIFICE Fly-Ash Concrete

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Swanston St.

3.10: SITE PLAN Key Design Features + Movement Around Site A 3xi +

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3.11: SECTION AA Other Key Design Features Yet To Be Seen

Exterior Drainage Drainage grates have been placed around the perimeter of the extruded mass to prevent flooding in and around the site.

Existing Trees One of the design parameters was to avoid intersection with the two existing tree trunks at the front of the site; whilst a few branches may need to be culled, the option is there two keep or remove these two trees.

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Entry Visible here is the doorway to the inner sanctum; providing a singular point of entry as well as an opening for light to enter.

Overflow As the reflecting pool is filled via rainfall drained through the ceiling, excess water would need be carried away to prevent flooding

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3.12: MODEL 3D Powder Print + Laser Cut Boxboard Model at 1:200

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3.12: MODEL [CONT.] 3D Powder Print + Laser Cut Boxboard Model at 1:200

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This model is a composite of a 3D Powder Print of the site, with a laser cut boxboard surround. There were certain factors that had to be considered in the model-making process which made it a far lengthier and arduous process that one would expect; the site geometry which existed as a series of NURBSsurfaces/polysurfaces had to be converted to appropriately simplified meshes [polygons]; to ensure a printable file size for the STL output file, this simplification of the geometry meant a loss in detail. The mesh then had to be scaled down to a 1:200 scale to fit within the print bed, and then offset 1mm perpendicular to the faces planes on both sides to give the mesh an approx. 2mm thickness in order to be sufficiently self-supporting when printed by the 3D Printer.

To give the site some context, the surrounds were modeled out of boxboard. This provided another challenge, as the small 1:200 scale translated to a reduction in detail; more specifically, the surrounding Potter, Physics and David Caro buildings had to be remodeled using simpler geometries to be sufficiently put together by hand. Different sides of more or less all of these geometries had to be altered manually by 1mm to account for the thickness of the material. Though it was a finicky process, hopefully the result is sufficiently representational.

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3.13: INTERIOR RENDER 1 Atmosphere inside the Derivative Bunker

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3.14: INTERIOR RENDER 2 Atmosphere inside the Derivative Bunker

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3.15: EXTERIOR RENDER Atmospheric Render of the Exterior Form

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3xix +

/ / e x p l o r a t i o n s L a n d s c a p e . S t u d i o . 1