Nick Newham MLA RMIT 2011 by marieluise jonas

NICK NEWHAM

ENRICHING ‘ROUTINE SPACE ’

ADR

MASTERS OF LANDSCAPE ARCHITECTURE

Nicholas James Carter Newham Student no. 3167384 Email nicknewham@gmail.com School of Architecture and Design RMIT University, Melbourne, Australia 2011

Acknowledgements Great thanks goes to parents, Traci and Greg and my brothers, Ben and Lachlan. They have been for ever inspirational during this process. I must also acknowledge the tutors of Landscape Architecture at RMIT, Marielouise Jonas, Craig Douglas, Bridget Keane, Charles Anderson, Marti Franch, Andy Miller, Claire Martin as well as Jock Gilbert, they continue to push me to do produce my best work. Thank you also to my friends and the other MLA 2011 members. And last but by no means least my Ashini, I could not have completed this without your constant inspiration and encouragement. Thank you.

NICK NEWHAM

ENRICHING ‘ROUTINE SPACE ’

ARAKAWA + GINS

ARCHITECTS

Since 1963, artists-architects-poets Arakawa and Madeline Gins have worked in collaboration to produce visionary, boundary-defying art and architecture. Their design and construction of works of procedural architecture that draw on The Mechanism of Meaning, extending its theoretical implications into the environment, Arakawa and Gins founded the Architectural Body Research Foundation. The Foundation actively collaborates with leading practitioners in a wide-range of disciplines including, but not limited to, experimental biology, neuroscience, quantum physics, experimental phenomenology, and medicine. Architectural projects have included residences (Reversible Destiny Houses, Bioscleave House, Shidami Resource Recycling Model House), parks (Site of Reversible Destiny-Yoro) and plans for housing complexes and neighborhoods (Isle of Reversible Destiny-Venice and Isle of Reversible Destiny-Fukuoka, Sensorium City, Tokyo). (1)

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â&#x20AC;&#x153;Much of the liveliness on this planet registers numb. In the numb register- so much of this that we find around usâ&#x20AC;?

JUHANI PALLASMAA

ARCHITECT

Juhani Pallasmaa, a Finnish Architect, runs his own studio Arkkitehtitoimisto Juhani Pallasmaa KY out of Helsinki. He began his career concerned about standardisation in the 1950’s, but after traveling and becoming exposed to the wider world he became fascinated with psychology, culture and phenomenology (the study of architectural experience). This fascination was expressed in his work as well as his publications, his most well known ‘The eyes of the skin - Architecture and the senses’.

â&#x20AC;&#x153;Significant Architecture makes us experience ourselves as complete... beingsâ&#x20AC;?

MICHEL DE CERTEAU

THE PRACTICE OF EVERYDAY LIFE

In this incisive book, Michel de Certeau considers the uses to which social representation and modes of social behaviour are put by individuals and groups, and describes the tactics available to the ordinary person for reclaiming autonomy from the all-pervasive forces of commerce, politics, and culture. (2)

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â&#x20AC;&#x153;First, if it is true that a spatial order organizes an ensemble of possibilities (e.g., by a place in which one can move) and interdictions (e.g., by a wall that prevents one from going further), than the walked actualizes some of these possibilities. In that way, he makes them exist as well as emerge. But he also moves them about and he invents others, since the crossing, drifting away, or improvisation of walking privilege, transform, or abandon spatial elements.â&#x20AC;?

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AMOS ALCOTT

REFORMER + PHILOSOPHER

Amos Alcott was an American teacher, writer, philosopher, and reformer. As a teacher his philosophies allowed him to pioneer new ways of interacting with his students, acting to discover new methods for creating learning stimulation. Although he is not an architect, his theories and methods of teaching provide a unique way of exploring design concepts.

“The less routine, the more life” “Thought means life, since those who do not think so do not live in any high or real sense. Thinking makes the man”

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Acknowledgments

Research Question

Executive Summary

Everyday user, Routine Bob

Concept of ‘Routine Space’

Testing Ground, Suncorp Plaza

Mechanical Change

Individual Change

Natural Change

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Composite Change

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Conclusion

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Bibliography

EXECUTIVE SUMMARY + RESEARCH QUESTIONS.

How can change-over-time be used as a design tool or strategy for improving everyday urban spaces? What type of change is appropriate for ‘routine space ’?

LANDSCAPES OF CHANGE

ENRICHING ‘ROUTINE SPACE’

My research is focused on the different ways in which people engage with their most commonly used urban spaces; what I term their ‘routine spaces’. Currently, many of the spaces we continually use in our daily journeys offer little in the way of change. These spaces have been designed for one point in time, to endure and in fact, to be changeless. I believe these spaces to be the most important to our lives for the obvious fact that we use them the most, and therefore have the greatest impact on us and how we live. Our ‘routine spaces’ must offer more than a homogenous or monotonous experience; they must invite a multiplicity of engagement and a variety of experience, so that they do not become stale or quickly exhausted over time. This exploration investigates how ‘change’ can be used to improve how we currently design urban ‘routine space’. This is to move from the design of timeless space, to the creation of timely places.

EVERYDAY USER, ROUTINE BOB.

ROUTINE BOB

THE EVERYDAY USER OF SPACE

Routine Bob is a character who epitomises an everyday user of space. He is a typical Melbournian and uses the CBD’s spaces in his daily journey. In this research, Bob acts as somewhat of a narrator or critic of the designs and research being presented in this book. As Bob is the epitome of a user of everyday routine space, which this research is focused on, he acts as the guinea pig that all theories and designs can be tested upon. Routine Bob expresses how he engages with and experiences the design he encounters, stressing the strengths and weaknesses in the design for providing him with change or stimuli. His presence within this research is either within the work itself, in collages or situations where one can view him interacting with the space, on the page expressing his thoughts through speech, and finally through comic depicting his routine journeys. By utilising Bob throughout this work that we get a sense of how this research is affecting its target, positively or negatively. Without him the work would be just another project that doesn’t put enough emphasis on the user and their engagement with the space. Bob is a design tool to explore designing for the routine. He is a means to realisie the experiences of space, with the intention to discover how we might improve and enrich Bob’s life.

CONCEPT OF ROUTINE SPACE.

Soild, flat, unpermeable materials, allows for no attraction or inturption.

Constant repetition of patterns and colours, creating an instant disconnection for the user. Example of unsuccessful Routine Space 01

Solid glass surface, with curtins drawn creates a very harsh surface, leaving no connection between the interior and exterior.

Example of unsuccessful Routine Space 02

Perfectly square enclosure funnels people through, past the shops.

Attention and focus of the inhabitants is drawn down the sidewalk, as the surrounds are solid and flat. Example of unsuccessful Routine Space 03

Lack of greenery creates a cold uninviting environment.

Perfectly straight glass and stone materials allow little variation.

Example of unsuccessful Routine Space 04

ROUTINE SPACE

ITS IMPORTANCE TO LANDSCAPE

“A walk through a forest is invigorating and healing due to the constant interaction…” Pallasmaa.

various design concepts; Mechanical Change, Individual Change, Natural Change and Composite Change. What is ‘Routine Space’?

This research is focused on the everyday routine spaces, the people who use them, and how the act of creating new stimuli or change can enrich them. The quote above from renowned Architect and Philosopher, Juhani Pallasmaa, expresses how a natural forest can benefit the user, through constant stimulation. This project represents observations of the problems with our current everyday urban spaces, exploring and developing a number of methods in order to discover how to design these specific spaces. This is expressed through a number of design phases, beginning with an analysis of a testing ground in Melbourne CBD, and progressing through

‘Routine Space’, the term given to these spaces which this research is focusing on, are those with which users engage repetitively within the urban environment. Landscape Architecture by definition, is the practice of improving people’s lives. This notion drives my research, focusing on exploring and designing the urban spaces that we most commonly use. These spaces are not only those that we use repeatedly, but those that continue to have the greatest impact on us, shaping our lives and who we are as individuals and communities. This is therefore why the design of these spaces is so vital, and should be of the greatest importance in our society and in Landscape Architecture.

Figure 01.

Everyday is the same. Maybe this is something that has to be changed

Figure 01: John Brack’s, Collins Street at 5 p.m, 1955, expresses the repetitiveness of our everyday environments, commenting on the fact that the city is very homogenous, its spaces and perhaps its people. This painting shows workers moving along to their destination, as they did yesterday, last week and will do again tomorrow. Although Brack’s painting is an observation of the 1950’s, the same can still be said of today’s urban conditions.

“It is 5 p.m. and sallow-faced office workers in drab raincoats, their summer tans already fading, troop past the depressing grey facades of the workplaces they have just left. They walk in the same direction down a Collins Street devoid of traffic, together but alone; penned in like sheep by their watchdog workplaces. The workers seem detached, their gazes grimly fixed, intent on their destinations to railway stations, tramways or the ‘six o’clock swill’. No heads turn. They are too overwhelmed or alienated by ‘9 to 5’ life to acknowledge their colleagues or their surroundings” Mike McKiernan

What makes a ‘Routine Space’? The qualities that make up a ‘routine space’, are defined by the everyday people who use them. The location of these spaces come in a variety of configurations, found in nearly every point within our cities. A ‘routine space’ is specific to the individual using it, and is usually paired with a persons work habits. For example, a man going to work walks down the same street and engages with it in the same manner each time. This is a routine space particular to this individual. In common urban ‘routine spaces’, there are three main functions that the users perform; Sitting, walking through, and standing. These three do not have to all be preformed in order for a ‘routine space’ to occur, most of the time only one is present. At the moment the experience of these spaces through continual use over-time, leaves them feeling stale and exhausted. As the user become more and more familiar with

his routine space, the stimuli, which was initially apparent, diminished. Due to ‘familiarity over-time’, engagement with the space become a homogenous and monotonous experience, as the space itself is static. This is best depicted by Australian artists, John Barack, in his painting ‘Collins Street at 5 pm, which any Melbournian can somewhat relate to. This painting incorporates the very characteristics which this research is addressing. The problems with these spaces? Visiting and observing many of Melbourne’s everyday spaces, it was noted that many of these, which we use in our daily journeys, offer little in the way of change. Their designs, or lack of, leave their existence as being static; one of no variety. An exploration and reflection upon my own everyday spaces initiated the idea that to improve these spaces, constant change was needed, designing for the space to constantly evolve, therefore creating new stimuli. This theory became the driver for my investigation into ‘routine space’.

I would like my own journey to be enriched.

Figure 01: Claude Parent’s New York apartment expressing his work on ‘oblique function theory’.

Figure 01.

Figure 02: Synaptic growth studies, expressing enriched and deprived individuals brain activities.

Deprived

Enriched

Figure 02.

Enriching environments

What is change-over-time?

A precedent used as background research is the theory of ‘Enriched Environments’. It is concerned with how the brain is affected by stimulation from its surrounds. Research published by the Florey National Neuroscience Institutes (2006), expresses that by enriching our everyday environments, we could enhance our memory forming and learning capabilities. Enriching one’s environment, i.e. making it more stimulating, also has further long term effects such as decreasing the risk of developing neurodegenerative diseases, such as Parkinson’s disease and dementia, as well as neuropsychological diseases such as depression and addiction. This research confirmed and emphasised the importance of change in stimuli for our ‘routine spaces’ or environments.

This research focuses on change-over-time as a design tool for routine space, is critiquing the common practice design methods and strategies that have ignored or overlooked the potential of change. Existing Design methodologies tend to design for an exact point in time, seeing the design fixed and changeless. Whereas this research begins exploring and embracing change-over-time as a driver for designing ‘routine space’, with the intent of benefiting people and their everyday lives.

Situationists Looking into work and theories by Arakawa + Gins and Claude Parent, introduces exploration of the effects space can have on the user when they engage with it in different ways. Parent’s work, for example, “intended to shake and shock people out of passivity” (Boiteaoutils, 2009) using tilted surface. But their designs set to change how people commonly experience everyday situations, testing and changing the body’s movements and therefore thought processes. This furthers my thoughts on alteration as a means for designing ‘routine space’.

So what classifies change? In this case, it is the transformation or modification of one thing by another overtime, cause and effect. In this case, one of those things must be the way in which the user engages with the space. But this is very broad and raises questions about what type of change is suitable and appropriate for ‘routine space’? This very question is what is being explored through this research. Change-over-time has been investigated over a number of design concepts, which each has informed and evolved from the last, acquiring new techniques and methods for designing change within the ‘routine’.

Diagram expressing existing site conditions, minimal engagement between the users and their surroundings. Basic functions such as standing, walking, and sitting take place in the daily routine.

RESEARCH TESTING GROUND.

Figure 01.

This is the space I spend most of my time in, 9 to 5 every day, of every week, of every month.

Figure 02.

Figure 01: Plaza just on completion Figure 02: Taken day of finished construction, 1964 Figure 03: Taken in April, 2011. Figure 03.

Figure 04: Location map.

Figure 04.

TESTING GROUND

SUNCORP PLAZA, MELBOURNE

Why was this space chosen? To explore and investigate change-over-time in ‘routine spaces’, it was decided to utilize one space, in which to test theories and designs, allowing discovery and progressing the research. Documenting the Melbourne’s CBD, trying to view it as a collection of ‘routine spaces’, I determined a site to base this research. By also using a testing ground, which could easily be accessed on multiple occasions throughout the year, allowed me to document and observe, leading to a more refined understanding of the space and its ‘routine’ users.

Suncorp Plaza was chosen as my testing ground, located on the corner of William and Collins Street in the CBD, as it is a perfect example of a routine space. It offers the characteristics common to the everyday. This plaza was designed and built in the 1960’s. Since then, its appearance and uses have changed very little. The space being somewhat locked in time, has a very structured existence, working in a very specific way. The plaza is divided up into its two main functions, movement (walking) and stillness (standing or sitting). The design of the space, a buildings forecourt, has been a directly derived from the building’s design, its entrances and openings.

The buildings form a strong boundary, enclosing the site and isolating it from the public spaces surrounding it

Main road access, including trams and cars

Site boundary surrounded by footpath Figure 01: Diagram expressing the site conditions and their relationships to the context.

Figure 02: Diagram portraying the movement flows across the testing ground. Figure 03: Site in relation to urban context, showing transport hubs, main roads, and other possible sites of investigation.

Melbourne Central Station

Possible site

e Stre

n nsto Swa

r ke Bou

et Stre

Possible site Southern Cross Station Suncorp Plaza

tree rs S

e Flind

Possible site Flinders Street Station

Figure 03.

The reason for the choice of Suncorp Plaza over other public spaces - like Melbourne’s City Square or Federation Square - was based on the fact that it is solely and more prominently a ‘routine space’ for a specific demographic. The majority of inhabitants of this space have a destination or an objective other than the space itself; for example attending work. To explain this further, this site is not surrounded by other public programs, rather it is bordered only by office buildings, therefore isolating it for the specific demographic of its context. Comparing this to Federation Square, where a mixed demographic is present, Suncorp Plaza is a more relevant testing ground for this research.

08 AM

09 AM

10 AM

11 AM

12 PM

08 AM

09 AM

10 AM

11 AM

12 PM

I spend the most time here but I donâ&#x20AC;&#x2122;t take much notice of whatâ&#x20AC;&#x2122;s around me

Figure 01: Site photos depicting everyday routine and functions within the space. Figure 02: Sun and shadow diagram expressing the shadow movements across the site during a day in the height of summer and one the dead of winter.

01 PM

02 PM

03 PM

04 PM

05 PM

01 PM

02 PM

03 PM

04 PM

05 PM

JANUARY

JUNE Figure 02.

Qualities of the space The inhabitants (ie. â&#x20AC;&#x2DC;routine usersâ&#x20AC;&#x2122; of Suncorp Plaza) are businesses people operating within it on a daily loop, repeating use of the plaza every weekday. The plaza is used only in a very basic superficial manner. In the morning, people walk across the plaza to their offices. Morning break, the space is again used as a thoroughfare, though some sit or stand in the plaza before returning. Lunch is reasonably similar, although more people exit and cross the plaza, as well as sitting for longer periods of time. At the end of the working day people leave the building, crossing the plaza to head home. These actions are repeated on a daily basis, somewhat like clockwork, leaving the space with a specific life cycle.

Str

Wi llia m

Str ee t

llin s

What are the specific problems? This space, like many others, has been designed for one point in time, to endure and in fact to be changeless. As represented by routine Bob’s comic, daily experiences are homogenous and monotonous. The plaza’s main use is as a thoroughfare, which is due to its large expanse of empty space and lack of seating. It offers very little for people to engage with, and for most it is seen merely as a ‘means to an end’, getting to and from work. Through observations of the space over-time, I have come to realise that this is an appropriate site to explore ideas of designing with change-over-time for ‘routine space’. Suncorp Plaza is a typical example of an underutilised, nonstimulating everyday space. The research will be drawing on those activities that currently exist, as they are those of the routine users, for whom this research is being done.

ARRIVE 8:00 AM ARRIVE 8:00 AM ARRIVE OFF TO8:00 WORK AM

THE ADVENTURES OF THE ADVENTURES OF ROUTINE THE ADVENTURES OF ROUTINE BOB ROUTINE BOB BOB

I NEED TO WAKE UP I NEED TO WAKE UP

OFF TO WORK OFF TO WORK

BREAK 10:30 AM BREAK 10:30 AM BREAK 10:30 AM

IF ONLY THERE WERE MORE SEATS IF ONLY THERE WERE MORE SEATS IF ONLY THERE

LUNCH 12:00 PM LUNCH 12:00 PM LUNCH 12:00 PM

I GUESS I’LL SIT HEARE AGAIN I GUESS I’LL SIT HEARE AGAIN

WERE MORE SEATS

I GUESS I’LL SIT HEARE AGAIN

I NEED TO WAKE UP

45 MINS OF THIS! 45 MINS OF THIS! 45 MINS OF THIS!

BREAK 2:30 PM BREAK 2:30 PM ANOTHER BREAK COFFEE TO KEEP ME PM 2:30

GOING ANOTHER COFFEE TO KEEP ME GOING ANOTHER COFFEE

LEAVE 4:30 PM LEAVE 4:30 PM LEAVE 4:30 PM

AND I’LL DO IT ALL AGAIN TOMORROW

9 This is my daily routine

A typical daily experience of Suncorp Plaza. Day in, day out, the use of this space during the weekday doesn’t change. The comic strip depicts a routine user of the plaza and his possible use of the space. Its situations have been based on real everyday users who have been observed over a

6 AND I’LL DO IT ALL AGAIN TOMORROW AND I’LL DO IT ALL AGAIN TOMORROW

TO KEEP ME GOING

number of days. The scenes, only depicting the happenings of one day, could very easily transcribe to any day, of any month, of any year. It is this repetitiveness and lack of new stimulation that this research addresses.

Movements Sitting Standing

3 6

5 2

4 1

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The areas of occupation within the testing site are split into three function types: sitting, standing and walking. These different behaviours are mostly noted in specific locations.

Phase 01: Mechanical Change. The addition of mechanically movable objects, doing this either on their own or by human intervention, allowing for an increase of stimuli.

MECHANICAL CHANGE.

Figure 01.

Figure 02.

Figure 01: Wire mesh model expressing how a form can be transformed through human intervention. Experimenting with the characteristics of the material, testing its flexibility and strength. Figure 02: A series of photos of a model incorporating nails, testing movement and force required in order for change to occur. Figure 03: Steven Hollâ&#x20AC;&#x2122;s facade design using basic forms and hinges to drastically alter the way the space is used and interacted with. The protruding elements act as beacons for people to investigate, as they are something different within the urban environment. The changed form is also produced by human interaction, allowing for the user to decide to what degree the space transforms.

Figure 03.

Figure 04: Initial design exploring the construction of a facade, and how different degrees of permeability alter interaction with users.

This is an interesting way of engaging with whatâ&#x20AC;&#x2122;s around me.

Figure 04.

MECHANICAL CHANGE HOW DOES IT CHANGE ROUTINE?

What is Mechanical Change? Mechanical change is the modification of an object through mechanisms, or working parts. In conjunction with this, mechanical change can also be enhanced by human intervention. This section of the research focuses on implementing change over time using these concepts. This type of change explores manipulating everyday objects that are encountered by routine users as a method of stimulating not only the space, but the individual experiences. What produced this idea? The idea stemmed from changing everyday objects. These objects are familiar to the routine user, allowing for heightened engagement through design. The process

involved altering these elements so that they become more stimulating to the user. The project initially focused on facades as these are the main element in a space which interacts with the user frequently and to the highest degree. Architect Steven Holl’s project ‘Stonefront for Architecture and Art’ is an example of this concept. This design tests how we experience and perceive an object or space. It uses physically transforming elements to achieve this, which only occurs with the physical interaction of a person. Thus the user of the space is determining the space itself, its configuration, and the way it is used and engaged with. Holl describes it as a space that is “exact and suddenly changing into a dynamic ‘combinative’ space” (Holl 1991, p. 41). His design is situated on a major thoroughfare and creates a new type of connection between the individual and the space.

Figure 01: Initial design concept for interaction through mechanical facade.

Figure 02.

Figure 02: The design focuses on the random movement of the facade, creating various engagements between the user and the form.

Figure 01.

The first design attempt involved a movable faĂ§ade, looking into the relationship between transforming and stimulating. The design fluctuated in and out, extending and contracting, making the walking space wider, then narrower. The design aimed to change peoplesâ&#x20AC;&#x2122; movements through and around the wall. This concept tended only to deal with the vertical and lacked a convincing engagement with the user. This lead to the next iteration where the design responded both to the vertical and the horizontal, as well as the individual.

Figure 01 .

Light: - Night and day - Shadows - Light and dark space

Sound: - Loud and sharp relates to aggression - Soft and constant relates to calm - Loud and constant relates to happy

Head Language: - Facial expressions - Eye movements

Temperature: - Hot and cold can have both positive and negativ effects on a space, depending on to what extend it is.

Body Language: - Body posture - Body gestures

Other Bodies: - Space can feel open or cramped - Space can be active or inactive - Contact with other bodies (interaction/participation) - Personal space

Speed: - Fast pace relates to unenjoyment - Slow pace relates to greater enjoyment and interaction

Direction: - Determines a direct point of interest - Shows journey beginning and end

Figure 02.

6:00 - 8:00 am

8:00 am- 10:00 pm

10:00 am- 1 2:00 pm

12:00 p m- 2:00 pm Figure 03.

Figure 01: Precedents of continuous surface creating one object or space. Figure 02: Investigations into various elements, other than physical human interaction, which could trigger movement within a space. Figure 03: Design iteration transforming a continuos form into various spaces, allowing for a variety of activities to take place.

The second design started with an investigation into other elements that influence the space and its inhabitants. For example: light, heat, mood and creating movement within the space by interacting with each other. This focuses more on decreasing the engagement of the user and the space, rather than leaving it to inanimate elements to affect the space’s design. The complexity of this idea lead to a change in direction as the design moved to focus only on one element, time, along with movable forms to create the second iteration. These were then inserted into the site and the daily routine. The continuous form changed according to the time of the day and the function of the space. It curved to create a semi-enclosed space, which provided shelter and seating areas. While remaining flat on highly active periods of the day, e.g. start or the end of the day.

Figure 01.

Figure 02.

Origami looks like a useful way of creating space.

Origami model making allowed for the invention of new forms that were more interactive and innovative. The series of models explained the relationships between the interior and exterior space. They provided a more enriching environment for the inhabitant, playing on different permeability, flexibility and repetition, as well as the relationship between the vertical and the horizontal. Figure 01: Exploring moveable forms through origami model making. Figure 02: Testing models as a design concept on site.

This provided a more spatial investigation into stimulating the space for the routine user. Although these elements provided a large base of information, they acted as individual elements with individual characteristics which did not incorporate the site nor the user.

Figure 01.

Figure 02.

Figure 03.

FINAL DESIGN MECHANICAL CHANGE

Lets design

Figure 01-02: Showing changing of the design components, according to the time of day and the function of the space. eg: at night the seating drops to reveal the open bar. Figure 03: Design concept characteristics tested through model making process.

This idea of people physically interacting to change the form of an object and also the space became my new strategy. The first objective of this was discovering newer and more refined ways of creating movable structures. The moving shapes aimed to create different opportunities for seating, while also being able to be flat for walking across. This would act as stimulation for routine users, as they have the choice of where exactly they want to move the surface. It also acts as a means of constantly creating new obstacles within the space, as others manipulate it.

Initial state

Human input

Reverts back

Initial state Figure 01.

Figure 01: Diagrams representing the changing motions that the design provides. Changing from the initial flat state, being pulled up, and then reverting back to initial state. Figure 02: Expresses the ability of the mechanisms to adapt to the changes put upon them. Figure 03: An example of a possible configuration for the space. Figure 04: Dimensions and detail as to how the mechanism allows for alteration. The structure is designed to be lifted with minimal effort as it incorporates a handle.

Figure 02.

Figure 05: Cross section of the mechanisms, showing the materials used in the design.

Figure 03.

Touch

500 mm

User pulls handle from underneath which activates system to lift vertically

50 mm

Bluestone

Elastomer rubber 1600 mm

Figure 05.

Figure 04.

The areas of occupation within the testing site are split into three function types, sitting, standing and walking. These different behaviours are mostly noted in specific locations. Users are able to interact with the space by altering the ground surface to suit their needs.

Figure 02.

Figure 01.

Intimate seating

Spaced seating

Single seat

Figure 03.

The ability to create my own space could be interesting, but would I always want to do that?

Figure 01: Cross-section of the entire site, portraying a view of all the various spatial arrangements that can occur. Figure 02: Axometric view of the design in its entirety. Showing the locations of the varying spatial configurations, eg. location of the bar or stage. Figure 03: Working sections allowing for views of different moments that can be created.

Working with the existing schedule of use that occurs for â&#x20AC;&#x2DC;routineâ&#x20AC;&#x2122; people, the design acts to accommodate the varying site uses; sitting, standing and walking. By being flexible in its form and configuration, the form is able to be determined by the time of day, i.e. the users needs. The simplistic form of the square allows for ease of use, whilst creating the desired seating options across the site. The manner in which change occurs in this design is through the combination of human interaction and mechanisms. As required, users of the space are able to lift up the surface, allowing them to create their own environment. Overtime, the space slowly reverts back to its original state, ie. flat, in order for change to be constant.

8:00 AM

2:30 PM

Walking through the space on the way to work.

Quick afternoon break standing in the sun with a coffee.

10:30 AM Lifts up a seat from the ground to have a smoke during morning break.

4:30 PM Bar space opens up, while users can lift seats as required.

Figure 03.

Figure 01: Render depicts the bar space during the day, allowing for easy movement over and around. Figure 02: Render depicts the open bar, with the ground form creating a boundary around the space

12:00 PM Lifts a set of seats to create a communal space for lunch.

Figure 03: Expressing how the space works over the routine day, creating the spatial qualities that the user needs at a particular point in time.

Figure 01.

Figure 02.

The specific programs surrounding Suncorp Plaza - office sites - means that the space itself has as life cycle of 9am to 5pm. To extend the longevity of this activity, a new program was incorporated into the design. A bar, opening at night, acts as a continual change within the space. Its existence manipulates the space in a particular way, altering the surface form, which then initiates users to do the same as they occupy the space.

At the end of this phase it became apparent that the space was given too much freedom and lacked progression from the existing conditions. Though it was creating change, it maybe required too much input from the users themselves. Also, it may not create the desired result of change-overtime. As a user of this ‘routine space’, Bob would quickly become used to it, finding his common spots to sit and walk through, effectively creating no lasting change. Perhaps this is not an appropriate type of change for ‘routine space’.

EXISTING

CHANGE

Phase 02: Individual Change. The action of creating change through manipulating perception of an individuals surrounds, allowing for an increase in stimuli.

INDIVIDUAL CHANGE.

Figure 02.

proportion

exit

indirect sunlight

freedom

exit

thoroughfare

sleep

sounds

desk

bed

private

public (family)

density

house entrance choice

sound

warmth

proportion

plants

direct sunlight

layers

density

semi-private smell

proportion change + evolving

darkness

fresh air

relax

density

proportion

exit

family photos inside/out

sounds

density

exit

public

exit

sounds

eat

proportion

window

family

comfortable

sounds

public (family) thoroughfare

warmth

Figure 01.

Figure 02: Images represent a number of various types of space, which each create their own unique experience from the users perception. Particular actions by the user are done because of the spatial nature. Figure 01: Diagram expressing the experiences and perceptions that occur during the use of my own â&#x20AC;&#x2DC;routine spaceâ&#x20AC;&#x2122;

Figure 03: Installed Folly, testing and exploring behaviours of people when confronted with a choice - interest is furthered in decision making.

Figure 03.

INDIVIDUAL CHANGE

HOW DOES IT CHANGE ROUTINE?

What is Individual Change? Individual Change is the alteration of a user’s behaviour and mind-set through perceptual changes. It modifies people’s perception as a means to stimulate, by challenging their subconscious and physical everyday behaviours. It is focused on changing people’s experiences of the spaces that they inhabit on their everyday journeys. This portion of work investigates what elements can produce perceptual change and how that then stimulates, and therefore changes and challenges the inhabitant’s routine. What produced this idea? As in the previous design phase, the manner in which people engage with and experience the project is crucial to the success of creating stimuli. This phase for exploring

change-over-time, was inspired by my own personal interests in human behaviour, and the progression from my previous research phase. Claude Parent, an Architect from the modernist period, and his theory ‘oblique function’ also furthered this interest in perception as a mean of change. “The individual will always be in a state of resistance - whether accelerating as when going down or slowing down as when climbing up, whereas when one walks on a horizontal plane, weight is nil.”(Boiteaoutils, 2009) His work protested against modernity and its lack of stimuli when being experienced and lived in. He constructed spaces (his most famous being in his own apartment in New York) that tested an individual’s common movements and perception of space. As Parent objects to the homogeneity and simplicity of modernity, his designs evolve around producing the exact opposite.

Figure 01. Discoveries of the body can act as a design tool, maybe this will make me think more about how I move

Figure 01: Diagram expressing human body attributes, acknowledging the movements that an individual makes when doing everyday tasks, such as getting up, walking, stepping etc. Figure 02: Section depicting site characteristics; existing and proposed.

BUILDING FOYER

EXISTING

CAFE & SHOPS

3 3 3 EXISTING

BUILDING FOYER

NEW CON & BOUND

CAFE & SHOPS

3 3 NEW CONNECTIONS AND BOUNDARY

The initial research into perception investigated how people interact and experience objects, as well as how space differs for every user. To gather a greater understanding of the decisions we make, a test was set up in order to investigate this very idea. The folly produced was quite simple in form and possible interaction types. It was set up for testing a single decision, whether to step over, or to push through to reach the destination on the other side. Upon conducting these tests I would merely ask the user to â&#x20AC;&#x2DC;walk to the other sideâ&#x20AC;&#x2122;, this allowed for no external influence, and only a simple decision making process for each individual. (Figures 03 on page 50) After the user had made their decision, they would be asked why they did so. The results tended to be repetitive. Although the ratio of people going left and going right was exactly 50/50, each individual stated that they had done so because they believed it was easier. For the research, this highlighted the fact that our actions are most often based on minimal effort, and/or minimal thought.

Figure 02.

Human attributes Perception and behaviour of an individual within their surrounds is the product of experiencing particular circumstances over time. The manner in which we view a situation has a direct connection to the way that we perceive our own bodily attributes. To explore the body itself is to explore how it can be manipulated. A series of tests, using myself as the guinea pig, expressed how the body behaves according to its physical self. For example, how one sits up from a seat as well as the highest and longest ability one has to step. The results of these lead to a number of design rules, which were implemented in the final design for this phase. Context connection As a progression from the previous phase, where the site was isolated from the user as well as the design elements, this phase focuses on integrating the characteristics of the site and its context into producing a design. The push and pull from the movement of the site choreographed the placement of the design nodes.

Usual design

Arakawa + Gins

Disorientation stimulates Figure 01.

Figure 02.

Figure 01: Diagram representing Arakawa + Gins’ most prominent philosophy, that in order to stimulate and reverse death, the user must never be comfortable. Figure 02: Diagram portraying one of Arakawa + Gins’ rules for creating stimulation; the space should disorientate the user. Figure 03: Images expressing the range of tools and spatial elements used in order to stimulate, including those from their own space, Site of Reversible Destiny, in Japan.

Figure 03.

Figure 04: Photo of Arakawa + Gins’ design, Bioscleave House in New York. It represents how the everyday layout of the house is transformed into the unfamiliar.

Figure 04.

Arakawa + Gins, base many of their theories on the Situationists, and focus their work on what effect architecture has on the body. They believe architecture holds the key to immortality, “...we can reinvent ourselves as immortal beings by changing and challenging our perceptions”(20). Their designs force their users to interact and engage with their environments in new ways. This most famously being expressed in their Bioscleave House in New York and The Site of Reversible Destiny - Yoro, Japan. The ideas published in their text ‘Architectural Body’, expresses how in order to cheat death, the individual needs to be continually questioning and being tested by their surroundings. The space is never to become comfortable, as that means the user has become complacent and unstimulated, whereas it should be experienced, re-invented and re-evaluated whilst in use. Both Arakawa + Gins’ and Claude Parent’s work mainly deals with the private sector (the home). How could

their design approach, combined with my research into change-over-time, apply to ‘routine space’ in the public sector? The main body of my work deals with people’s movements, creating opportunities for people to behave differently through the space, resulting in a more stimulating experience. Without in-depth exploration, it is impossible to confirm that these designs would have the desired effect of continually changing-over-time people’s perceptions, i.e. creating new stimuli upon every use. This lead me to question the concept of forcing people’s behaviours, and indeed whether that was the best method for creating change. Could these designs have the opposite effect, pushing ‘routine’ users so far that perhaps they would begin to avoid the space altogether. It was apparent that the sheer intensity, for the user, needed scaling down. Leading to questing the subtlety of spatial changes and using it as means to explore change for ‘routine space’.

Climbing & Stepping

Navigation

These diagrams acknowledge and explore the physical interactions users would have when climbing or stepping. When an individual is faced with the challenge of doing an activity which they are used to, like steps, but in an exaggerated way, their perception of their own movements would be challenged.

How we navigate through a space can be determined by the amount of effort which the spaceâ&#x20AC;&#x2122;s elements require. The diagrams above express how situations of physical actions can alter our decisions. This is most greatly expressed by the choice a user must make, using the shorter yet more intense route, or using the gentler yet longer way.

Acknowledging methods of perceptual change

Ground Surface The physicalities of a ground surface can have a dramatic effect on our behaviours. An uneven surface is a source of constant brain stimulation, as it seeks to create stability. More subtle ground surface changes can also play their part, such as the user preferencing a smooth surface over a rough, and thus changing their movements.

Designing with perception as a means of change-over-time, requires knowledge of many of the varying elements that can change. A catalogue of how a space can be altered was compiled to discover these elements. The diagrams depict the change occurring, as well as the effect that it may have on the user. These range from creating the conditions for an individual to feel enclosed in an open space, to altering the surface conditions, which manipulates the movements of the user. All of the elements aim to transform the behaviour of the person who is engaging with it, with the intention that this may provide stimulation for the routine user. Their routines will be disrupted as these elements twist and change common perception of objects and how to interact with them.

Running

Edge Condition

A means by which to change behaviour, physically, is to encourage the user to act in unconventional ways. This can range from having to exert a little more energy than usual, walking up a steep slope compared to walking on even ground. Creating the slope at such an incline that running up it is required.

Edges act as subtle boundaries or prominent defining points. The differences between these edge conditions have an affect on the intensity of interaction between the individual and the space. Edges that require more physical engagements test common perceptions, therefore testing your understandings of the space and how to behave within it.

Navigation & Perception

Loss of Navigation

The placement of objects can provoke a greater understanding of your spatial awareness, in relation to the individual. This alters/enhances oneâ&#x20AC;&#x2122;s perception, allowing for a more fluent navigation through the space.

To be in a disorientated state means you are continuingly questioning your surrounds. This can be achieved through a number of methods, such as having no visible destination or perhaps by placing multiple obstacles between the origin and the destination. Colours can also stimulate a similar effect.

Open or Enclosed

Scale and Form

Feeling of enclosure and openness alters our spatial perception, manipulating our behaviours. This feeling can spark fast movements as it can be uncomfortable to be within. It can be continual and may never become adaptable to the user, even upon multiple uses.

The scale of an object compared to an individual has an effect on their behaviour. This is commonly noticed when walking past the object. The form of that object also can manipulate the individualâ&#x20AC;&#x2122;s movements, as users subconsciously navigate theirselves around certain shapes.

Proximity The proximity of an individual to an object or person is determined by their perception of the object itself. The above diagrams acknowledge some of the many varying ways by which objects can affect the userâ&#x20AC;&#x2122;s behaviour, by determining the spatial distance they feel they should be from the object itself.

Figure 01: View over site depicting a number of design elements.

Figure 01.

FINAL DESIGN INDIVIDUAL CHANGE

Design take two. This seems to have progressed from the last. It is instantly visually more stimulating, and there’s a lot going on, but how do I get to my office?

Final design The final design project incorporated many of the explored perception altering elements. The core intent of this design was to investigate how these elements could be introduced into the site. The configuration needed to be specific to the routines of the users, creating particular types of change in particular points within the site. People moving through a space creates greater opportunity for stimulation, as opposed to being still. This design, inspired by Parent’s and Arakawa + Gins’ work, uses forms as a means to test the users perception of their movements.

ARRIVE 8:00 AM NOW WHICH WAS IT AGAIN?

THE NEW ADVENTURES OF

ROUTINE BOB

I NEED TO BUILD UP SOME SPEED

1 LUNCH 12:00 PM

BREAK 10:30 AM

I’LL HAVE TO GO OVER THOSE MOUNDS

WHERE SHOULD I SIT?

BREAK 2:30 PM

6 LEAVE 4:30 PM

THIS IS MY OWN LITTLE SPACE

ACTUALLY MAYBE I’LL GO THIS WAY

10 Figure 02.

My different encounters with the space are shown above.

This is my new routine. It’s a lot more vigorous than the last.

Figure 01: Plan of the design, expressing the spatial configuration of the various perception altering elements, which as a whole intend to work to alter the daily routine. Figure 02: Routine Bob comic strip depicting an everyday journey through the design. The situations he encounters are specific to his behaviours within his routine.

2 4 3

1 Figure 01.

The design is explained through Routine Bob. His journey through the space starts in the morning as he enters the site. His objective is to get to work, located in Suncorp Building. In order to enter the space he must navigate his way through a maze like structure which tests his navigational skills and his ability to determine where he is compared with is destination. This is achieved through curved walls, which push Bob in particular directions, his movements also being influenced and disorientated once inside as no view out of the structure is present. His next means of stimulation is the need to change the pace of his movement. The dip at the start and the incline of the slope achieves this goal by encouraging him to run to reach his destination.

a seating position, as well continuing to test your balance whilst walking through them. During Bobâ&#x20AC;&#x2122;s afternoon break he decides to sit within the sunken area, the configuration of this element eliminates the surrounding sounds, as well as removing the view. 4:30 arrives and Bob leaves to go home. He crosses an uneven surface, that manipulates his direction slightly. To complete his journey for the day, Bob moves through cubed shapes which are placed at varying heights and angles. This creates varying sized gaps, forcing Bob to constantly consider his ability to fit between them. The angles and the different heights intend to catch him by surprise, creating the opportunity for collision if he becomes at ease within the space.

On his break Bob makes a decision to get coffee, and climbs over a ball like structure in order to do so, this tests his balance and his perception of his own bodily attributes. Bob then sits on the ball structure to drink his coffee. At 12 he moves across towards the sunny spot to eat his lunch. The position of the sun is where various inclined mounds are located. These mounds create the conditions for choice of

However this is but one variation of his routine, as Bob may use different spaces and elements each day. The decisions can be influenced not only by the elements themselves, but also by colour stimulation, as well as the naturally occurring conditions on the site, such as rain.

The ‘Area of Unbalance and Rest’ uses mounds of varying sloping degrees to continually stimulate the user as the walk through. It requires that when moving within you are constantly thinking about your actions and movements.

‘Area of Physical Choice and Restriction’ requires the most physical involvement as users have to navigate on their hands and knees. It invites movements unfamiliar to the routine individuals of the space.

The ‘Area to Evoke Running and Jumping’ intends to do just that. By using dips and slopes at different lengths and depths the space will lead to users needing to take a running start, jumping in order to get to their work.

‘Area of Scale’ simply uses a steep incline hill that rises from the seated space. It is a simple short cut for users to take, but requires far greater effort than walking around. The question of whether to go this way or not would continue.

Figure 02.

The ‘Random Navigation’ uses the simple shape of a cube that is rotated in many ways. The rotated form then creates a number of protruding elements which become the composition for continual thinking when moving through

The ‘Thinking Proportion Zone’ intends to disorientate the user, using scale and leading curved forms to push the user in a unfamiliar location. It removes any view or destination line, which we require when moving.

The ‘Space of Texture’ engages with the body through changing the ground surface materials. This can have the effect of orientation alteration, as some ground textures are uncomfortable to walk on.

This ‘Navigation Hill Zone’ is based around liner movement. It requires the user to zigzag back and forth when walking up the incline. As this zone is short, the user can see their destination although still challenging. Figure 01.

‘Transition Area’ has the function as being the edge between the plaza and the street. It uses a increasing flat edge to alter the interactions between the two spaces, requiring a new type of engagement for the user.

This is a step forward, but I don’t think I would like to do this everyday.

Figure 01: Views expressing the spatial situations of this design. These all act in their own ways in order to create change, though they are only successful for the routine as a whole. Figure 02: Axometric plan of the space and its various stimulating elements. Its configuration has incorporated surrounding elements, such as greater access to the cafes below the building.

After completing this project for Individual Change, it became clear that this space would still remain static. Although Bob’s daily routine was enhanced, the introduced components, similar to mechanical change, could not provide stimulation over long-term use. It also encouraged/ ‘forced’ people into certain actions and perhaps this would deter people from the space altogether, as it may be viewed as an uninviting or overly challenging. It was then decided that this was not appropriate for the everyday routine, however the research was progressing in the right direction.

Phase 03: Natural Change. The action of harnessing naturally occurring processes of change, in order to intensify their actions.

NATURAL CHANGE.

Figure 01.

This is a better way of moving forward, using whatâ&#x20AC;&#x2122;s already there, though I have never given it much credit before.

Figure 01: Fresh Kills, Field Operations, project in New York used time as a design element to implement change. Figure 02: Teshima Art MuseumRyue Nishizawa, Cloud Gate- Anish Kapoor, High Line- James Corner.

Figure 02.

Figure 03: Four core natural elements, Rain Water, Deterioration, Growth, Sun and Shadow.

Figure 03.

NATURAL CHANGE

HOW DOES IT CHANGE ROUTINE?

What is Natural Change?

What produced this idea?

Natural Change harnesses existing changes found in the landscape environment. These changes act via processes, such as weathering, movement of the sun, climatic conditions and growth. In a collaborative sense, what they achieve is the ability to cover the various degrees of modification attained only with time.

When reinvestigating the site, it was discovered that there were a series of minute changes occurring constantly, which had not been apparent in the initial analysis.

Working with Natural Change within the testing ground created four changing elements; sun/shadows, rainwater, living materials and ‘inert’ materials. To clarify, there is no such thing as ‘Inert’ materials, as all things in one-way or another change-over-time. These natural changes occur in two ways, sequentially or cyclically, and span across varying time scale. This lead to the final phase of design and research, Natural Change.

These existing changes in the site formed the basis of this next exploration. The intention of this final phase is to explore and harness the naturally occurring processes of change into design, making them work across a much larger time scale than previously explored, so that change is not diminished over-time for the routine user. Change-over-time has been the core concept of this research, however until now how the space itself changed and evolved through time had never been fully explored.

Figure 01: Diagram expressing the experiences and perceptions which occur during use of one of my own â&#x20AC;&#x2DC;routine spaceâ&#x20AC;&#x2122; Figure 02: Images represent an number of various types of space, which each create their own unique experience from the users perception. Particular actions by the user are done because of the spatial nature.

Figure 03: Installed Folly, testing and exploring behaviours people exert when confronted with a choice. Furthers interest in decision making.

Before progressing any further on this phase of design, a short project was done using current knowledge of natural change. The design utilises the four natural processes discovered on the site, which are shadows, growth, deterioration and rainwater. These were tested using generic design, with a similar configuration to individual change, such as entrance ways and seating positions. The design utilised a continuous surface as a method for creating the form. This was to unify the space, an aspect that was lacking in previous design phases. The surface also allowed for other programs to be created, for example, a cafĂŠ underneath the raised section. This created the opportunity for new means of changing usersâ&#x20AC;&#x2122; routines. The new design created grassed areas located in points of

sunlight, which were also to be walked across and therefore altered through time. The most prominent feature of the space is a large curved frame. This steel frame creates conditions for patterned shadows to be cast across the space, varying according to the time of day. For Routine Bob, this would be a very noticeable manipulation. The frame itself also gave opportunity for creepers to grow across it, which over time would alter that cast shadow. The other main design component of this space is the manipulation of rainwater. The design harnessed fallen water, channeling it to create stimulating effects, such as waterfalls, and changing the seating position of inhabitants. This design creates a platform of research depicting natural changing processes, which work to stimulate those in their routine.

Used as a waiting spot, as it is located in the sun throughout summer and being at the entrance of the space.

The sun continues to move across the site throughout winter and summer.

East side is preferable as it receives the sun first, therefore can be engaged by the sun in the morning.

This point has winter sun from 9:30 to 12:00, which is the only sun in winter.

Manipulating the shadows within the space came from discoveries into where and when the sun hit various positions within the site. This design captures the changeability of shadows and creates structures to do so. It tested a number of means to create particular shadows on the ground surface of the site.

Vegetation within this design is specifically chosen for the structure on which it grows in or on. Seasonal changes as well as change of plant volume over time enhances the way in which the inhabitant interacts and engages with the space.

PAINT

TIMBER

GRASS

CONCRETE

METAL

GRAVEL

Deterioration of materials and documenting these changing processes offered many means of providing stimulation. These ranged from wearing from physical human contact, to deterioration of surface conditions from natural elements such as water. The type of material chosen highlighted the intensity and the degree of change.

Harnessing water movement as a means of change created a great variety of differences. This design uses waterfalls, as well as pooling to alter the behaviours of the user and the space. It also a visual stimulation, as people are instinctively drawn to movement.

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Figure 01.

Figure 02.

Capture of water Area of capture 505 m2 Rain Light: Moderate: Heavy:

Water is captured from the higher ground and fed into onto the moss.

Captured on site 2 mm per/h 5.4 mm per/h 7.6 mm per/h

1,010 liters per/h 2,727 liters per/h 3,838 liters per/h

0.28 liters per/sec 0.76 liters per/sec 1.07 liters per/sec

The amount of water captured from the area at light rain will be too much to create the desired trickle of water over the moss. The point at which it flows must be altered to create the trickle.

Water tests

Light Moderate Heavy

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mm 40

Calculations for amount of water passing over a second were for 5,000mm, the length on site.

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New figures for water tests:

5,000mm

Hole 5mm diameter After testing 4 sized holes, each with light, moderate and heavy rain. I have come to the conclusion that 5mm holes 40mm apart would be sufficient in creating a trickling effect. The other sizes either didnâ&#x20AC;&#x2122;t allow for any water to flow through, while the other allowed too much through, which was fine at a light rain volume of water, but when the water amount was increased it could wash away the moss and its footings.

Figure 01: Stop motion study of water movement through varying sized holes. Figure 02: Stages of moss growth on window pain.

When dealing with manipulating water or other processes of change, an understanding of how the change occurs is required in order to harness it to its full ability. A rigorous study into the growth of moss on glass, in the design located under a waterfall, was needed to explore the validity of the design. This incorporated calculating the amounts of water captured, the quantity needed, and what form could produce the required growing conditions.

Figure 01: Designed spaces utilising natural change.

Figure 01.

Figure 02: Marti Franch, La Roque des AlbĂ¨res Cemetery La Roque des Alberes, France.

Figure 02.

These are interesting ways of using natural change.

Marti Franch, a Catalonian Landscape Architect, bases his practice on his theory that time is the forth dimension. He uses an observational approach into living materials, â&#x20AC;&#x153;you observe the object itself, and then you see how it performsâ&#x20AC;?(Franch, 2011). He states that itâ&#x20AC;&#x2122;s a very Darwinist approach to Design, observing change then discovering why it has occurred. During talks with Marti, he discussed the importance of acknowledging these processes when designing for time. He was very adamant that, as a Landscape Architect, he is not a theorist but a practitioner, and that we should predict and design with change through experience and not through guessing.

GRAVEL MATERIAL

Loose gravel can instantaneously be changed as it is shifted around on the surface. Patterns can be made from people walking through, or it being scraped.

Gravel can allow for trees to grow through it, as well as be spread around the base of the trees. The direct area around the tree is continually changing as it grows.

The accumulation of gravel in a gutter over-time would alter the flows of water.

PLASTIC

MATERIAL

Continual tracking across granitic sand and then onto bluestone over days results in a spread of granitic dust, which displays the direction by which people move through the space.

The top layer of this porous gravel, after years of being walked over by pedestrians, has chipped away. It has left a smoother surface then before, also a much lighter colour.

Over-time with the right conditions, moss will grow and spread across gravel. This changes the surface from rough in texture, so a more soft one, with also a substantial change in colour.

Clear plastic over-time can become dirty and loose its ability to be seen through.

Coloured plastic can change how people view objects on the other side. If people are walking close to the plastic surface, from the other side their figure is visible, but as the walker moves away, it become less visible.

The transparency of the plastic allows for objects to be seen clearly or not. An increase in non-transparency can occur over-time as the plastic become dirtier.

Rain falling on a plastic cover can dramatically change the soundscape of a space, from quite, to loud.

RUBBER MATERIAL

Weed matting prevents unwanted plants from growing in certain areas. Over time this mats can split and break, which would allow plants to grow through, changing the surface above.

Coloured plastic can be used to create coloured shadows on other surfaces. The location of these shadows would change throughout the day and year with the sun.

Rubber expansion joint overtime has been forced out of its original placement. This is likely to due to the movements of the concretes surrounding it.

Wearing of rubber stoppers in high traffic areas occurs over many years. These stoppers are designed for these frequency used areas, although they will still wear over many years, changing how people walk across them.

After a number of years of repetitious use on the same sections of material, the top rubber coating has worn way, exposing the under layer. This alters the smoothness of the overall surface.

Rubber can be manipulated by people, with a surface completely changing in an instant.

Rubber mulch surface can be altered by areas becoming built up with the material, whilst holes appearing in other areas. This is caused by people either when walking, or from people digging holes.

GRASS MATERIAL

Changes in grass can occur after rain. This change is significant, as it alters from hard and easily walked on, to soft and slippery. This change is likely to occur over a number of days, and will change back to its initial state once dried.

Tracks through grass occur over many times of people walking a particular path. When it occurs, it removes the grass, allowing for the dirt layer underneath. This dirt can be dusty as well as muddy, which can change how people move across it.

When grass is cut, by a lawn mower, the cut pieces are thrown off to the side often covering other surfaces. This changes these other surfaces, as they can become slippery when wet, and also difficult to walk on.

CREEPER MATERIAL

Grass is notorious for spreading, as this is how it covers such large surfaces. Barriers can be pla ced to prevent this spreading, but given the right conditions, such as a build up of dirt, it can still spread. This alters how people view the gras edge.

Sedum roofs contain a mixture of plants and change with the seasons, as well as over-time. When installed they are flat like cut grass, but after months the surface has changed into varying heights and colours.

Creepers can form visual barriers when grown on see through structures. Through time, it can change the way one views surrounding spaces, as views get blocked and changed. (Image: West 8)

Seasonally some creeper or vines lose their leaves, which changes the living surface. In summer the surface is green, but in winter when there are no leaves, the branches are visible and so it the surface in which its growing on.

Ivy over years can spread to cover large areas of surface. As shown, it can hang, and climb objects when spreading. Given the right conditions, it can quickly change a space over-time.

Creepers growing up vertical poles. The pole initially is visible, by as the plant grow it becomes engulfed. The rate of change depends on the specific plant and the conditions in which it is grown.

Creepers can over years, cover entire surfaces, so the object being grown upon become unable to be seen. The form of the creeper can also be trained to change its spread, allowing for change to be controlled.

CATALOGUE OF CHANGE OBSERVED PROCESSES

Progressing from Martiâ&#x20AC;&#x2122;s theory on acknowledging these processes, it was necessary to begin to build up a catalogue of Natural Changes. This was an important design tool, which allowed the gathering of a vast knowledge of elements, as well as a greater understanding into how they evolved and changed over time, as individual units and as part of a group. These processes were discovered upon exploring and studying Melbourneâ&#x20AC;&#x2122;s urban context, which allowed for a more site specific design and a greater connection to the context.

TREE

MATERIAL

Over long periods of time, and dependent on the tree type, roots can alter the surface surrounding the tree trunk. It can leave the surface uneven and crack concrete.

Trees like the Magnolia change entirely with the seasons. This tree looses its leaves in autumn and then for 8 or so days in late winter to early spring, becomes covered in brightly coloured flowers. This is an event in itself.

The density of tree plantings changes how people view and move through a space. Sparsely planted continue over time to be fairly open, whereas denser planting once grown to maturity can become a screen.

Different trees create different visual barriers. Some completely block vision to the other side, while other merely distort the complete view. This is determined by the species of tree and season.

Fallen limbs of trees, including bark, happen without warning throughout the trees life. This provide constant change for the space as at any moment an obstacle could potentially block someoneâ&#x20AC;&#x2122;s path.

Deciduous trees create obvious change seasonally. Changes in the colour of the tree, along with changes in the surrounding spaces, as more light is allowed in and the ground is covered with leaves.

Fallen leaves can occur throughout the year for some species, but for other itâ&#x20AC;&#x2122;s an annual event. Leaves change the surface dramatically, sometimes covering it completely. It also changes how people move, as some like to walk through them.

PLANT MATERIAL

Specific species of trees attract birds and other animals. These can be continuous, but can also occur at different points of the years. These animals, such as birds, can add sound and other things to the tree and its surrounding space.

Tree change over days. These photos show how quickly the look of a tree can change. Leaves on this silverbirch open over one day, creating a fairly instant new effect. Though this does depend on the tree and climate conditions.

Seasonal change from nonexistent plants, to adding colour and form to the space.

Seasonal change from shrubs with no flowers to ones with flowers

Grass plants and strappy leafed plants if planted on boarders can grow to blur the edge. Spaces on the other side of plants can also be blurred by plants, as their thin leaves allow for distorted views.

Many dense plants provide vast blocks of colour in particular times of the year. These bold colours alter the perception of a space at the points when they flower.

Fast growing plants which rejuvenate well can be used to act as change throughout the year. They can be planted and grown, then cut. This changes people views through spaces, as well as shadows and how other nearby plants grow.

Plants as they grow throughout time, they change the volume or space they occupy. They changes how people see across these plants, as well as the overall encloser of the space.

The sequence of growth for plants are specific to the species and the climate condition in which they are grown. Some plants take many years to mature, while others take months. The choice of plants completely effects the rate of growth.

Plants growing next to an object with openings, will over-time grow through that object, creating a different edge condition on the other side. This can change the proximity by which people walk past the edge.

The arrival of flowers at particular times of the year can also produce new fragrances as well. These smells can alter peoples seating positions, and the route in which they walk.

WATER

MATERIAL

Different plants with flowers attract animals and insects to them, and depending on what species depend on what type. This can be a positive or a negative as some insects like bees are mostly stayed away from by people.

The manner in which water falls over objects is determined by that objects form. The amount of water also changes how it falls and moves across the surface. Therefore changing the texture of the water as the amount changes.

Water changes how people react to surfaces. When dry people may walk across a ground surface, but when wet, it becomes a pleasant space to sit next too.

Reflection in water changes how one views their surroundings, as well as individual objects. These reflection pools of water may only last for hours, creating a momentary change.

The natural raise and fall of water bodies alters how people interact with water and the space. Over a period of time water may drop, leaving residue of its presence behind, changing the space.

Fallen water on a surface changes how that surface is utilised. It can have an effect on the direction people take, and how close to the water source they are. If the water source is stopped, then the space changes once again.

Water over a surface can change its colour and the texture, usually creating a material darker and more slippery. This can effect the way people walk and where they walk.

SHADOW MATERIAL

Shadows created by people change through time and as people move around.

A water fall is a continuous source of change, as no too drops of water fall the same way. Around the base of the fall, the surfaces around are splashed with different amounts of water.

A rain storm covers ground surfaces with water, and at lowest points pool with water. This alters the look of the space and changes possible areas of occupation.

Tree shadows change in volume depending on the tree type, whether itâ&#x20AC;&#x2122;s a dense tree, or a sparse tree.

Close together shadows change throughout the day is very dramatic and noticeable.

Distant shadows changing throughout the day is less dramatic than closer shadows, as most of the area is still bathed in sunlight.

Position of coloured shadows change throughout the day and year, as well as when the colours overlap and create different colours on the ground.

The shadow of a deciduous tree changes throughout the seasons. This can change how other living materials grow around the tree and where people may sit.

Holes of various sizes create sunlight patterns on surfaces below. The position of these sunlight spots will change as the light does, as well as the configuration of the pattern.

Light beams from slits in surfaces creates change when one walks through the space. Where the sunlight falls will also change as time goes by.

Single large sun-spotlights change the surface the fall upon. People tend to be drawn to the sunlight, that moves throughout the day and therefore moves people throughout the day also.

TIMBER MATERIAL

Fijian Mahogany Weathering after 5 years. Left in indirect sunlight and Right in direct sunlight. Lacquer worn away exposing timber.

Timber unknown (Cedar) Weathering after 10 years. Direct sunlight. Paint flaking.

Hardwood post. Weathering after 5 years. Left in indirect sunlight and Right in direct sunlight. Lacquer worn away exposing timber.

Fijian Mahogany Weathering after 5 years. Rainwater dripping onto surface. Lacquer worn away exposing timber.

Timber (unknown) Weathering after (unknown) years. (Judge 30 years) Worn from people sitting on surface. Lacquer worn away exposing timber.

Door knobs are an example how being in constant contact with human skin can change the appearance of wood.

Wooden form and structures overtime can begin to fail and can start to create new forms

Mixing woods to weather at different rates emphasises the change. Here is two types of bamboo

Shingles wearing at slightly different rates because of sun/shadow or amount of water directed on wood.

Wood begins to split and crack over-time

Wooden cladding over long periods of time can dry out and begin to split an loose pieces. Not enough moisture

Slightly different coloured wood shingles can allow for multiple change.

Oak wood if left untreated will change to a faded colour, where as if treated over time can hold its colour.

Painted wood over long periods oxidizes and changes appearance

Wood painted with layers of paint, over-time can be revealed

Painted plywood allowed to oxidize can create interesting patterns.

Wood rot, mainly due to wet or moist conditions, can be a way of subtracting form. ie; once it rots away it can be broken off.

A white wash over a coloured paint creates an effect over-time

Wooden edges or corner can overtime be knocked off and broken when the wood is beginning to rot and fail.

Due to dust and other things, wood can acquire a coating of dirt, which can alter the appearance of the wood.

Joins between wood panels overtime can increase or decrease in size, dependent on the amount of moisture around.

Wood exposed to water over time rots

If an object or similar is removed from covering wood, it will be shown.

Wood can be used to be grown upon, and when this does occur, the material can not only become covered, but can also change in colour and texture as its climate will change with the covering.

Wooden structures over years can fail when living growth pushes the wood in various directions. This results in a change in form.

Treated timber, in this case pressure treated, allows the material to sustain the same quality it when first installed. Though it can still change, as this example shows the wood turning green.

This example of timber has also been weather proofed, but as shown it over-time has begun to flake, while the gaps have also changed size. I suspect it has also darkened in colour.

The form of the wood allows for variation in weathering. This cedar colour has darkened more so on the flat of the timber, while in the groves it has stayed lighter. Exposure it has to direct sun.

Painted wood over a very long period of time can create areas of flaking, where a large portion of the paint could come off from one day to another.

The same pieces of timber, installed at the same time can create different rates of change. In this case it maybe the amount of water flowing across the different sections.

The form of a wooden surface can change its rate of change. As wood is soft, any protruding features would be worn down fairly quickly by peoples movements.

CERAMIC MATERIAL

The effect of the weathered door in this example is heightened because it is located next to something which changes at a dramatically different rate, bricks.

Fijian Mahogany Wear after 5 years of use. Located in a high walking traffic area. Lacquer worn away exposing timber

Cracking in tiles from age create a new surface texture over a long period of time.

Differences in the tiles colour creates differences in the surfaces discolouration over-time. This can be harnessed to create new patterns over long periods of time.

Coloured tiles can be used to emphasis the amounts of dirt put upon the tiles.

Splashed substance onto at tiled wall. This is more noticeable on a tiled surface as it is glazed, allowing for any dirt to be easily seen.

Entire tiles can fall or be removed from a surface, which leaves a portion of different material in the shape of the missing tile. Would be interesting if there were multiple shapes of tiles.

Clay terra-cotta broken from age, or from a knock from something else. It exposes another type of material surface, one which is rough and raw.

Glazed tiles can discolour from the grout which surrounds them. This creates interesting effects as the discolouration seeps towards the centre over time.

Tiled walls can be knocked and split at corners, resulting in a new finish or look, which can also allow for the under material to show through.

Tiled surface with substance dripping from above. This causes a new different reaction from the rest of the surface.

Weathered terra-cotta floor has gained and lost colours over-time from people walking across it.

Clay glazed tile smashed from human interference which changes the surface.

Cracked tile surface from age creates a new and interesting effect. One which creates unique cracks not directly determined by the human influence.

Terra-cotta tiles darken over-time from dirt and usage.

Water an dirt over-time have formed mud patches on the stone. Where the water falls, no mud is present, but the splash of the water creates the mud. This changes the look of the stone.

Painted Bluestone has worn and flaked to reveal the stone underneath. This is caused by rain, sun, foot traffic.

Cracks in Bluestone paving subtly breaks up the formality of the paving. Cracks are most likely due to expanding or movements under ground.

A textured finish has been given to this stone surface. It not only gives dirt something to grip to, but overtime the groves can be worn down, changing the surface finish.

A sign was once present in the centre of this stone faรงade, which reacted with the stone and has left a stained mark.

Stone material from 1986 has cracked heavily on the outer areas of the surface, where it is greater exposed to the weather, as well as people standing.

Over years, dust and dirt has accumulated in between the Bluestone pavers changing the formality of the surface and its texture also.

Stone edge has been broken off, most likely a number of small pieces over a long period of time. This is commonly a result of human interaction, as it is located on the side of a footpath.

After many tens of years an algae or mound has formed on the rough textured stone capping. This has altered the colour of the stone from one unified colour to multiple shades of colour.

Dust and fine sand has accumulated around poles from nearby tree planting. The reason it is only present in directly around the poles is because people do not was particularly close to the poles.

Out of direct sunlight and away from pedestrian traffic, moss or mound has grown, turning the colour of the stone to a green colour.

STONE MATERIAL

A portion of stone has chipped away from the block, revealing fresh stone underneath. This shows the original colour of the stone when first carved, and how much it has changed overtime.

Paint or plaster has been trekked by peoples feet across the Bluestone surface. This has created a unique effect as you can see the direction people have traveled, as well as their individual foot steps. A short term change.

A change in the hourly scale is liquid split onto a stone surface. This has created a darkened stain on the stone, which will not be apparent after a few hours as it will dry and disappear.

Mould has formed over-time, which has created one change, but as people walk across this surface they remove the mould, changing again the stone.

Bluestone edging over-time has worn away. This is most prominent on the protruding areas of the stone, which indicates that it was been warn by scraping from people ore machines. This has revealed a lighter colour on the stone.

Over-time this marble flooring has become scratched and worn, leaving it with flakes of missing stone.

Stress cracks change the surface look, as well as the texture. The texture becomes rougher as the cracks slightly expose the unpolished stone. This is caused by a change in climatic conditions or exceeding weight stress.

Metal objects in contact with marble surfaces over-time bleed and stain the stone surface. Most likely the result of water moving across both surfaces, the change creates dark streaks which look as though they are dripping.

Across the top and right sits tooled sandstone blocks, below and left of this are roughly forged sandstone blocks. Over-time this two surface finishes have change differently to each other. The rough, able to catch more dirt, is darker.

This granite stone, with a honed finish, has been stained by water running across another material and then across the granite surface. This has left the stone with a brown colour, which is quite different to its natural colour.

An iron discoluored fountain has changed the white stone to a dark yellow. This change is the result of tens of years of exposure to water containing iron. It also indicated quite well the level the water reaches on the stone surface.

Marble surface before and after being cleaned. The surface over the years has changed its colour dramatically, while its uniformity in colour has also somewhat disappeared.

Bronze material bleeding onto marble surface has turned the stone a green tinge. This change could only have happened over tens of years, as the bronze has changed from its original colour to the green first.

Granite dry wall, uses no mortar to join the stones together. This leaves large holes and gaps between the stones, which in turn allows for living material like moss and plants to grow. This completely changes its look and texture.

Cobweb patterned Sandstone wall uses little stones which large amounts of mortar to hold it together. Over-time the wall cracks between the stones, as the mortar isnâ&#x20AC;&#x2122;t as strong as the stones.

Limestone rendered wall surface stained by attached metal object. The combination of this metal and the limestone has formed a white and black stain.

AGGREGATE MATERIAL

A Limestone columns surface flaking off from exposure to the weather over hundreds of years. The effect removes the stained outer layer and reveals a clean inside stone surface.

Severely weathered Brownstone has darkened in colour and broken/ crumbled. As Brownstone is a fairly soft stone, its weathering is much more dramatic then a harder stone like Granite.

White road line over-time has been worn and chipped away, as well as been imprinted upon by a car tyre. This change left a pattern on the paint, and also changed the colour of almost half of the line.

Cracks in the white road line exposes the asphalt surface below. The cracks may have been caused by climate conditions which over-time have forced the surface to split apart.

A crack in sidewalk asphalt from a tree root. This change may have occurred over a few months, leaving the surface uneven and visually changed. The crack can also lead to living materials growing within its self.

This crack in asphalt does not specifically show its cause. It has been formed by something, possible a root, pushing up from below. This creates a small mound in the surface which will continue to grow in size.

Sap and flower nectar fall from the trees an land on the asphalt surface below, creating a change in the colour of the ground. Patterns can also be created by the distance between one tree to another.

Dust and dirt from the adjacent grass/dirt has splashed and blown onto this concrete wall, changing the colour of its surface. This is likely to have occurred over a number of years in order to get to this amount of colour change.

These concrete blocks are quite porous in structure, which allows for rain to seep in and alter the colour of the block. The rain also leaves the block damp for a number of hours.

Birds usually gather on the edges of objects, as well as in trees, which determines where they will poo. This changes the surface in colour and texture, and can deter people for using a specific space.

Rain discolouration and dust accumulation has allowed for mould to form on the concrete surface. It has formed on the slightly rougher sections of the surface, creating patterns of green.

Poured aggregate corner are often chipped away by vehicles scraping by or skateboarders. The chipped sections reveal a rough, multi-material surface underneath, changing the texture and look of the form.

Water on concrete changes the surface colour, making it much darker. This is a instantaneous change, that can be quickly changed back to its original. People walking through can also increase the spread by which the effect occurs.

New concrete materials can quickly stain. This sandstone coloured concrete is less than 6 months old, but has already become stained at the corner from the material sitting between the two blocks, possibly a metal material.

Weeds and other easily cultivated plants can grow in nearly any situation, as long as there is sufficient dirt and water. This join in the gutter obviously adheres to this and completely alters the concrete conditions, changing quite regularly.

Mud and dust caught on the wheels of cars and bikes leaves flowing patterns on concrete surfaces. The amount of mud alters the distance and intensity of the lines. This change is quick but can also be removed with rain and time.

Graffiti sprayed onto this concrete surface has since been removed, but the removal process has also changed the surface. The chemicals used have dripped down beyond the graffiti and removed the paint from the concrete.

This painted concrete bench has been worn away over-time by skateboarders grinding their boards along the edge. It has exposed the unpainted concrete and completely altered the look of the seat.

Painted render over ten of years has cracked and flaked away from the under surface. It is noticeably worst at the bottom of the wall, which infers that the wearing is heightened by rain splashing or ground dirt and dust.

Extensive damage has occurred to this concrete gutter, which has left it nearly completely broken away. It has resulted from vehicle traffic, and may create an easier entrance for people or similar.

Metal fibres and continuous water over many years has stained this rendered wall, creating a dark green line running down the wall from the bottom of the window. Water has dripped along the window frame edge, to then fall on the wall.

A vine/creeper has grown across and since been removed from this concrete wall surface. In doing so it has changed the texture and look of the wall, as it has ripped fragments off where the vine was attached.

Over-time the top portions of these concrete blocks are worn down while the sections in the valleys between the blocks stay the same. This is due to people or objects moving across only the top of the blocks.

Heavily cracking stucco has changed from a smooth surface, to that which has blistered with pieces falling off the surface.

Split face concrete blocks create small but noticeable shadows on the surface. This would change throughout the day as well as the year.

The plaster wall once covering the entire wall has crumbled and fallen over-time. The change has been from a smooth plaster finish, to being able to see the brick wall which supports it.

With the right conditions, moisture for example, plaster and stucco can become covered with mould and mildew. This alters the look and texture of the surface, whoâ&#x20AC;&#x2122;s effected area can have a random pattered look to it.

Painted plaster exposed to the sun and changing climatic conditions has cracked and peeled away from the surface. This change could also be exacerbated by people picking and pulling off the already falling off paint sections.

Cast aggregate with cut or moulded channels through it can house water when it rains, acting as a drain, but also changing how people walk across the space, whether it be avoidance or variation in speed.

Rust can spread across concrete surfaces, which over-time can completely change the colour of the concrete. The changed surface also has a gradient to it, getting darker as it moves along.

Poured concrete with small bumps will be worn down over many years of traffic moving across them. The wearing of these bumps will alter the speed in which people move across this surface, as the smoother it gets, the faster theyâ&#x20AC;&#x2122;ll move.

BRICK

MATERIAL

Multiple coats of paint over-time being worn away, revealing those multiple layers. The paint layers can flake and peel due to water damage or cracking from the sun. Creates an interesting layered pattern effect.

Heavy blistering paint on a concrete wall from exposure to sun. The wall is heated up from the sun, which then makes the paint bubble and burst. This process depending on paint quality may take years.

Over ten, perhaps a hundred years, this brick drain has had thousands of litres of water pass through it, which has lead the brick wearing. This has altered the colour to a darker one, and created a rougher surface then before.

After a century of exposure to street life, the more horizontal bricks, sheltered from the rain, have accumulated dust and grime. This has caused them to darken dramatically compared to the others.

Mortar is the substance which binds bricks together, but it is less resilient to weathering than bricks are. In this case the mortar has worn away, from wind, rain, etc..., which has left gaps in between the bricks.

Painted bricks somewhat protect the brick and mortar from weathering, but the paint itself will change. Over-time the paint will wear and flake off, revealing the brick surface underneath.

Ancient bricks were fused together with softer mud mortars which wear at a faster rate to modern equivalents. The change between a new brick surface, to a worn one would be increased and more significant over long periods of time.

Multiple types of bricks in the one surface so different rates of change and wear. The less dense white bricks have worn much faster then the red bricks, which gives the surface many textures.

These bricks have had their mortar worn away over-time from exposure to the weather. If these bricks were a ground surface, the now gaps could capture water and allow it to flow between the bricks, changing where water pools.

Cracks in bricks and mortar are ideal spaces for moss and mould to grow. The rough texture allows for something to hang onto. This would change the look and feel of the surface, with the moss following the lines of the mortar.

Corner of brick wall has been chipped and broken away over-time. This example is located at the entrance to a laneway, so its damage most likely came from trucks. The chipping somewhat softens the edge, removing the uniformity of the wall.

METAL MATERIAL

Painted bricks wearing at different rates over-time adds variety to the surface. Wearing, such as in the first picture, maybe due to exposure to water. The second maybe different types of paints.

Removal of the stucco, which may have been the result of weathering or human, reveals a brick surface underneath. This completely changes the look and surface of the wall, from being homogeneous and smooth, to vastly different and rough.

Hairline cracks have begun to appear on the surface of the bricks. This most likely is caused by climatic conditions. The cracks create a new texture to the wall, which is visually different to new brick surfaces.

Over-time the layers of paint have been worn away, mainly from coming in contact with other objects. This has resulted in multiple colours across the metal, as each paint layer is exposed.

Over-time constant rubbing of the surface has taken off the paint from this metal. The process takes years to achieve any results, but does indicate where people are touching objects.

Dents in metal panel, perhaps zinc, has changed the surface from smooth and sharp, to uneven and textured. This change has occurred from people kicking and hitting the panel, and stops at waist height.

Water changes the colour of rusted metal. The water also, if looked at closely, takes on the shape of the individual rust pores, creating an interesting shape. This effect could last for minutes or be present for years.

Chips and flaking of paint has occurred from many years of being exposed to the weather and the contact with people/ objects. This has created a new surface of different textures, as the original metal and paint are now visible.

Human scaring of Corten steel is interesting, as the markings usually only occur where people can reach them, therefor the scale of a person. The amount of changes to the surface also builds up over-time.

Riveted metal sheets can be shaped in multiple ways, creating endless types of shadows on the ground. These shadows would change as the sun moves over, and depending on the metal shape different shadows will appear.

Using metal which has or will oxidize creates an effect which changes colour and texture over-time. The process can be added so the metal sections will oxidize at different rates.

Rust on a steel hanger results from exposure to rain. The rust can be sanded off and polished to near new surface. The steel still holds its structural integrity, although it is rusted, all that has changed for now is the look of the steel.

Aluminium as well as other metals, will wear differently in the folds of the surface compared to the more protruding sections. As the surface changes, it will change at different rates, depending on whether its exposed more so or not.

Over-time Bronze turns from a golden colour to a dark green and black tinged metal. This change take tens of years to occur but the change is very dramatic.

Metallic paint on steel plate has worn away and left the raw steel exposed to the weather. This as allowed for rust to form and change the texture and look of the surface.

Gaps created between metal surfaces allows for different views through. This can instantly change your view of an object behind as you walk past the metal.

Marine coated enamel over steel protects the surface for a number of years, but if it is not maintained it will still rust. This is a dramatic effect for this surface, large portions of enamel peeling away from the surface.

These examples show the difference between natural rust (left) and chemical rust (right). These both change over-time, but the amount and type of change is determined by whether itâ&#x20AC;&#x2122;s natural or processed.

Metal can become scratched over time from objects running and scraping against the polished surface. This effect is one which builds up throughout time, which means there is no certainty when and how much it will change.

Heavy cast iron begins as a black, charcoal material but when exposed to water, oxygen, sun, it rusts and turns colours from light yellow to maroon. A substantial change from the initial.

Rust from the adjacent metal surface has also formed on concrete material. This may have been due to water flowing across the metal onto the concrete. It has changed the white concrete to a dark red colour.

1931 Bronze has changed from a shinny dark colour to a green matt, with various imperfections. Although constant contact with human hands has over the years polished the end of the bronze foot, so it continues to look new.

The corrosive acids in bird poo over-time, change the finish of the bronze statue. This changes the look of the bronze and how it will weather over-time.

GLASS MATERIAL

Reflection in glass changes how you view your self and your surroundings upon every visit. It constantly changes your perception.

Corrugated steel over-time exposed to the natural elements can change in interesting ways. As shown in the picture, it can have rust streaks, fade in certain areas and lighten in colour in other sections.

Weathered anodised aluminium surface has an interesting texture and colour, which can start as dark and progress with age to have light streaks across it. It is a strong visual change over many years.

Living materials can change the view one has through glass. As the mould grows over-time, it covers more of the window, restricting the amount of clear glass.

Frost on glass can be a change which only occurs in the winter months, and most likely only in the morning. The frost itself has a great effect on the glass, as it alters how people can see through it.

Condensation on glass can occur on any cold day and changes how view the glass and objects through it. It is also very inviting to touch, and can change how people react and interact around it.

Painted glass weathers over-time, changing from completely blocking slight through, to being able to see through. Although this change may take tens of years to happen.

Coloured glass creates every changing coloured patterns on different surfaces when sun light passes through it. As the sun moves throughout the day and year, so too do the coloured patterns.

Painting glass panels different colours and with different paint types changes how the glass weathers over-time.

Tinted glass depending on how close the viewer is to it can be reflective or translucent. The change comes from the viewers proximity to the surface itself.

Safety glass begins as being viewed like any other glass, but changes dramatically when smashed because it comes alive and takes on a personality. The patterns change how people view it and through it.

Over-time rope materials, if left exposed to the weather, can grow moss and other living materials. The fine fibres of the rope capture over-time dust and water allowing moss to grow.

Fibrous materials such as door matts can over-time change from being lush and full, to worn away and sparse. This occurs from traffic continually walking over the surface, wearing it away.

Netting over-time because of its thinness, can rip and break. This could be caused from weathering or from an animal. The ripping changes how the structure of the net works and how it looks.

FIBROUS

MATERIAL

SECONDS HUMAN TRAFFIC WEAR

REMOVES VANISH TEXTURE AND FADES IN COLOUR

SUN WEARING

REMOVES VANISH TEXTURE AND FADES IN COLOUR

RAINWATER WEARING

ROTTING TEXTURE AND DISCOLOURATION

HUMAN SITTING

PREVENTS BUILDUP OF DIRT THAT ALTERS COLOUR

PAINTED SURFACE

ROTTING TEXTURE AND DISCOLOURATION

HOURS

DAYS

MONTHS

SEASONS

1 YEAR

5 YEARS

10 YEARS

20 YEARS

REFLECTION IN GLASS

ROTTING TEXTURE AND DISCOLOURATION

BLURRING VIEW

PLANTS CREATE SEMI-TRANSPARENT VIEW

HUMAN SHADOW

ROTTING TEXTURE AND DISCOLOURATION

FORM ALTERS VIEW

ROTTING TEXTURE AND DISCOLOURATION

REFLECTION

TRANSFORMS HOW OBJECTS ARE VIEWED

WATERFALL

MANIPULATION OF WATER DROPLETS

SECONDS

MINUTES

HOURS

DAYS

MONTHS

SEASONS

1 YEAR

5 YEARS

10 YEARS

20 YEARS

SECONDS

MINUTES

HOURS

DAYS

MONTHS

SEASONS

1 YEAR

5 YEARS

10 YEARS

20 YEARS

SECONDS

MINUTES

HOURS

DAYS

MONTHS

SEASONS

1 YEAR

5 YEARS

10 YEARS

20 YEARS

5 YEARS

10 YEARS

20 YEARS

HUMAN TOUCH

WOOD

MINUTES

DISINTEGRATION

WHITE WASH WEAR

WATER MOVEMENT

FORM ALTERS WATERS MOVEMENT & LOOK

METAL INTERACTION

WATER SPLASHING

DIFFERENT SURFACE FINISH

TREATED WOOD WEAR

REMOVAL OF OBJECT

CRACKING OF WOOD

HUMAN SCRATCHING

ROTTING TEXTURE AND DISCOLOURATION

WATER MARKS ON RUST

ROTTING TEXTURE AND DISCOLOURATION

MARKINGS IN GRAVEL

ROTTING TEXTURE AND DISCOLOURATION

ANIMAL LIFE

FLOWERS ATTRACT ANIMALS AND INSECTS

REVEALS PAINT LAYERS

MUD SPLASH

REMOVES VANISH TEXTURE AND FADES IN COLOUR

COLOURED PLASTIC

ROTTING TEXTURE AND DISCOLOURATION

CRACKING

REMOVES VANISH TEXTURE AND FADES IN COLOUR

ATTRACTING ANIMALS

ROTTING TEXTURE AND DISCOLOURATION

GROUT DISCOLOURATION

ROTTING TEXTURE AND DISCOLOURATION

GROUND SURFACE MUD

ROTTING TEXTURE AND DISCOLOURATION

DISTANT SHADOWS

ROTTING TEXTURE AND DISCOLOURATION

LIGHT PATTERNS

ROTTING TEXTURE AND DISCOLOURATION

TREE DENSITY

ROTTING TEXTURE AND DISCOLOURATION

FROST

ROTTING TEXTURE AND DISCOLOURATION

TILE

HAIRLINE CRACKS

MUD BUILD UP

ROTTING TEXTURE AND DISCOLOURATION

PAINT WEARING

ROTTING TEXTURE AND DISCOLOURATION

CLIMATE CRACK

ROTTING TEXTURE AND DISCOLOURATION

DIRT BUILD UP

ROTTING TEXTURE AND DISCOLOURATION

FINE DUST COLLECTING

ROTTING TEXTURE AND DISCOLOURATION

HUMAN FOOTSTEPS

ROTTING TEXTURE AND DISCOLOURATION

MOSS/MOULD GROWTH

ROTTING TEXTURE AND DISCOLOURATION

STRESS CRACKS

ROTTING TEXTURE AND DISCOLOURATION

WATER DISCOLOURATION

ROTTING TEXTURE AND DISCOLOURATION

STONE

DISCOLOURATION

ROTTING TEXTURE AND DISCOLOURATION

MORTAR CRACK

ROTTING TEXTURE AND DISCOLOURATION

METAL STAINING

ROTTING TEXTURE AND DISCOLOURATION

SURFACE FLAKING

ROTTING TEXTURE AND DISCOLOURATION

SURFACE CRUMBLING

ROTTING TEXTURE AND DISCOLOURATION

CLOSE SHADOWS

ROTTING TEXTURE AND DISCOLOURATION

CONDENSATION

ROTTING TEXTURE AND DISCOLOURATION

COLOURED LIGHT SPOT

ROTTING TEXTURE AND DISCOLOURATION

STRIP SUNLIGHT SPOTS

ROTTING TEXTURE AND DISCOLOURATION

HOLE SUNLIGHT SPOTS

ROTTING TEXTURE AND DISCOLOURATION

FALLEN TREE LIMBS

ROTTING TEXTURE AND DISCOLOURATION

WATER ABSORBED

ROTTING TEXTURE AND DISCOLOURATION

WATER STAINING

ROTTING TEXTURE AND DISCOLOURATION

POOLING

WATER BUILDS UP AND RETRACTS

LARGE SUNLIGHT SPOT

ROTTING TEXTURE AND DISCOLOURATION

EVAPORATING STAIN

WATER DARKENED SURFACE EVAPORATES

FALLEN TREE SAP

ROTTING TEXTURE AND DISCOLOURATION

HUMAN DENTING

ROTTING TEXTURE AND DISCOLOURATION

HUMAN TRACKING

ROTTING TEXTURE AND DISCOLOURATION

FINE DUST COLLECTING

ROTTING TEXTURE AND DISCOLOURATION

ASPHALT CRACK

ROTTING TEXTURE AND DISCOLOURATION

FALLEN TREE SAP

ROTTING TEXTURE AND DISCOLOURATION

SECONDS

SPLASHED MUD

ROTTING TEXTURE AND DISCOLOURATION

WATER ABSORBED

ROTTING TEXTURE AND DISCOLOURATION

WATER STAINING

ROTTING TEXTURE AND DISCOLOURATION

WATER OVER SURFACE

ROTTING TEXTURE AND DISCOLOURATION

MOULD GROWTH

ROTTING TEXTURE AND DISCOLOURATION

PAINT CRACKING

ROTTING TEXTURE AND DISCOLOURATION

BRICK

METAL

GLASS

FOOTSTEP WEAR

ROTTING TEXTURE AND DISCOLOURATION

HUMAN DIRT TRACKING

ROTTING TEXTURE AND DISCOLOURATION

CAR CAUSED BREAKAGE

ROTTING TEXTURE AND DISCOLOURATION

RUST SPREAD

ROTTING TEXTURE AND DISCOLOURATION

WEATHERING STUCCO

MINUTES

HOURS

DAYS

MONTHS

SEASONS

1 YEAR

DAILY ROUTINE

HUMAN DIRT TRACKING

ROTTING TEXTURE AND DISCOLOURATION

SPREAD OF GRAVEL

ROTTING TEXTURE AND DISCOLOURATION

GRASS SPREADING

ROTTING TEXTURE AND DISCOLOURATION

HUMAN MADE CHIPPING

ROTTING TEXTURE AND DISCOLOURATION

SPLASHED MUD

ROTTING TEXTURE AND DISCOLOURATION

WEED IN CRACKS

ROTTING TEXTURE AND DISCOLOURATION

GROWTH

PLANTS GROW, BECOMING LARGER

HUMAN WEARING

ROTTING TEXTURE AND DISCOLOURATION

COVERING OF VIEWS

ROTTING TEXTURE AND DISCOLOURATION

REMOVAL OF VINE

ROTTING TEXTURE AND DISCOLOURATION

GRAVEL ACCUMULATION

ROTTING TEXTURE AND DISCOLOURATION

CREEPING VERTICALLY

ROTTING TEXTURE AND DISCOLOURATION

MOSS GROWTH

ROTTING TEXTURE AND DISCOLOURATION

VARIATION IN SURFACE

ROTTING TEXTURE AND DISCOLOURATION

SEASONAL CHANGE

ROTTING TEXTURE AND DISCOLOURATION

CONCRETE, STUCCO & AGGREGATE

ROTTING TEXTURE AND DISCOLOURATION

TREE ROOT CRACK

WEED IN CRACKS

SECONDS

MINUTES

HOURS

DAYS

MONTHS

SEASONS

1 YEAR

5 YEARS

10 YEARS

20 YEARS

SECONDS

MINUTES

HOURS

DAYS

MONTHS

SEASONS

1 YEAR

5 YEARS

10 YEARS

20 YEARS

SECONDS

MINUTES

HOURS

DAYS

MONTHS

SEASONS

1 YEAR

5 YEARS

10 YEARS

20 YEARS

SECONDS

MINUTES

HOURS

DAYS

MONTHS

SEASONS

1 YEAR

5 YEARS

10 YEARS

20 YEARS

SECONDS

MINUTES

HOURS

DAYS

MONTHS

SEASONS

1 YEAR

5 YEARS

10 YEARS

20 YEARS

SECONDS

MINUTES

HOURS

DAYS

MONTHS

SEASONS

1 YEAR

5 YEARS

10 YEARS

20 YEARS

HUMAN MADE CHIPPING

ROTTING TEXTURE AND DISCOLOURATION

WATER WEARING

ROTTING TEXTURE AND DISCOLOURATION

PAINTED BRICK WEAR

ROTTING TEXTURE AND DISCOLOURATION

WEARING OF MORTAR

ROTTING TEXTURE AND DISCOLOURATION

FLOWERING TREES

REMOVAL OF LEAVES AND GROWTH OF FLOWERS

DIRT BUILD UP

ROTTING TEXTURE AND DISCOLOURATION

DECIDUOUS TREES

COLOUR CHANGE, REMOVAL AND REPLACEMENT OF LEAVES

FALLEN LEAVES

ROTTING TEXTURE AND DISCOLOURATION

SEASONAL SHADOWS

ROTTING TEXTURE AND DISCOLOURATION

SEASONAL FLOWERING

FOLIAGE HAS THE ADDITION OF FLOWERS

DIRT BUILD UP

ROTTING TEXTURE AND DISCOLOURATION

GROW THROUGH

VEGETATION GROWING THROUGH AND AROUND OBJECT

HUMAN RUST RUBBING

ROTTING TEXTURE AND DISCOLOURATION

WATER STAINING

ROTTING TEXTURE AND DISCOLOURATION

FORM ALTERS VIEW

ROTTING TEXTURE AND DISCOLOURATION

IRON RUST WEATHERING

ROTTING TEXTURE AND DISCOLOURATION

SALT WATER RUST

ROTTING TEXTURE AND DISCOLOURATION

HUMAN POLISHING

ROTTING TEXTURE AND DISCOLOURATION

PAINT LAYERS ON METAL

ROTTING TEXTURE AND DISCOLOURATION

BIRD POO STAINING

ROTTING TEXTURE AND DISCOLOURATION

HUMAN RUST RUBBING

ROTTING TEXTURE AND DISCOLOURATION

HUMAN DENTING

ROTTING TEXTURE AND DISCOLOURATION

HUMAN TOUCH WEAR

ROTTING TEXTURE AND DISCOLOURATION

WATER MARKS ON RUST

MAN MADE RUST

BRONZE OXIDISING

TRACKING IN SURFACE

ROTTING TEXTURE AND DISCOLOURATION

ASPHALT CRACK

ROTTING TEXTURE AND DISCOLOURATION

CLIMATE CRACK

ROTTING TEXTURE AND DISCOLOURATION

TREE ROOTS

ROTTING TEXTURE AND DISCOLOURATION

LEVEL CHANGE STAIN

FLUXUATING WATER LEVELS ALTERS SURFACE

ROTTING TEXTURE AND DISCOLOURATION

WHITE WASH WEAR

NATURAL RUST

ROTTING TEXTURE AND DISCOLOURATION

HUMAN SCRATCHING

ROTTING TEXTURE AND DISCOLOURATION

LIGHT PATTERNS

ROTTING TEXTURE AND DISCOLOURATION

REFLECTION IN GLASS

ROTTING TEXTURE AND DISCOLOURATION

SHATTERED GLASS

ROTTING TEXTURE AND DISCOLOURATION

MOULD BUILD UP

ROTTING TEXTURE AND DISCOLOURATION

FROST

ROTTING TEXTURE AND DISCOLOURATION

PAINTED WINDOW

ROTTING TEXTURE AND DISCOLOURATION

CONDENSATION

ROTTING TEXTURE AND DISCOLOURATION

MOSS GROWH

ROTTING TEXTURE AND DISCOLOURATION

FIBROUS

MOULD BUILD UP

ROTTING TEXTURE AND DISCOLOURATION

TREE ROOT CRACK

ROTTING TEXTURE AND DISCOLOURATION

COVERING OF SURFACE

ROTTING TEXTURE AND DISCOLOURATION

MOSS GROWH

ROTTING TEXTURE AND DISCOLOURATION

DIRT BUILD ON PLASTIC

ROTTING TEXTURE AND DISCOLOURATION

HUMAN TRAFFIC WEAR

REMOVES VANISH TEXTURE AND FADES IN COLOUR

HEAT EXPANSION

ROTTING TEXTURE AND DISCOLOURATION

SUN WEARING

REMOVES VANISH TEXTURE AND FADES IN COLOUR

PAINTED SURFACE

ROTTING TEXTURE AND DISCOLOURATION

PAINT WEARING

ROTTING TEXTURE AND DISCOLOURATION

TRACKING IN SURFACE

ROTTING TEXTURE AND DISCOLOURATION

RUST SPREAD

ROTTING TEXTURE AND DISCOLOURATION

MARKINGS IN GRAVEL

ROTTING TEXTURE AND DISCOLOURATION

TREE DENSITY

SPACING OF TREES CHANGES VOLUME OF SPACE

MOSS GROWTH

ROTTING TEXTURE AND DISCOLOURATION

MUD BUILD UP

ROTTING TEXTURE AND DISCOLOURATION

GRAVEL ACCUMULATION

ROTTING TEXTURE AND DISCOLOURATION

SPREAD OF GRAVEL

ROTTING TEXTURE AND DISCOLOURATION

HUMAN WEARING

ROTTING TEXTURE AND DISCOLOURATION

GROWTH OF CREEPER

ROTTING TEXTURE AND DISCOLOURATION

GRAVEL

CRACKING OF WOOD

ROTTING TEXTURE AND DISCOLOURATION

COLOURED PLASTIC

ROTTING TEXTURE AND DISCOLOURATION

PLASTIC TRANSPARENCY

ROTTING TEXTURE AND DISCOLOURATION

HEAT EXPANSION

ROTTING TEXTURE AND DISCOLOURATION

WEAR FROM TRAFFIC

ROTTING TEXTURE AND DISCOLOURATION

WEARING DOWN

ROTTING TEXTURE AND DISCOLOURATION

BIRD POO STAINING

ROTTING TEXTURE AND DISCOLOURATION

HAIRLINE CRACKS

RUBBER

DIRT BUILD ON PLASTIC

DISINTEGRATION PLASTIC

VARIATION IN SURFACE

ROTTING TEXTURE AND DISCOLOURATION

GROUND SURFACE MUD

ROTTING TEXTURE AND DISCOLOURATION

PLASTIC TRANSPARENCY

ROTTING TEXTURE AND DISCOLOURATION

MOULD GROWTH

ROTTING TEXTURE AND DISCOLOURATION

WEAR FROM TRAFFIC

ROTTING TEXTURE AND DISCOLOURATION

REMOVAL OF OBJECT

WATER STAINING

ROTTING TEXTURE AND DISCOLOURATION

GASSES

VINES

GRASS SPREADING

ROTTING TEXTURE AND DISCOLOURATION

CAR CAUSED BREAKAGE

HUMAN TRACKING

ROTTING TEXTURE AND DISCOLOURATION

WEARING DOWN

ROTTING TEXTURE AND DISCOLOURATION

MOSS/MOULD GROWTH

ROTTING TEXTURE AND DISCOLOURATION

SEASONAL CHANGE

ROTTING TEXTURE AND DISCOLOURATION

NATURAL RUST

ROTTING TEXTURE AND DISCOLOURATION

COVERING OF SURFACE

ROTTING TEXTURE AND DISCOLOURATION

HUMAN TOUCH WEAR

ROTTING TEXTURE AND DISCOLOURATION

COVERING OF VIEWS

ROTTING TEXTURE AND DISCOLOURATION

GROWTH OF CREEPER

ROTTING TEXTURE AND DISCOLOURATION

CREEPING VERTICALLY

ROTTING TEXTURE AND DISCOLOURATION

TREATED WOOD WEAR

TREE ROOTS

ROTTING TEXTURE AND DISCOLOURATION

ATTRACTING ANIMALS

ROTTING TEXTURE AND DISCOLOURATION

FALLEN TREE LIMBS

ROTTING TEXTURE AND DISCOLOURATION

REMOVAL OF LEAVES AND GROWTH OF FLOWERS

DECIDUOUS TREES

COLOUR CHANGE, REMOVAL AND REPLACEMENT OF LEAVES

TREE DENSITY

SPACING OF TREES CHANGES VOLUME OF SPACE

FLOWERING TREES

METAL INTERACTION

DISCOLOURATION

TREES

TREE GROWTH

TREES BECOMING LARGER IN HEIGHT & WIDTH

FALLEN LEAVES

ROTTING TEXTURE AND DISCOLOURATION

GROUT DISCOLOURATION

ROTTING TEXTURE AND DISCOLOURATION

REMOVAL OF VINE

ROTTING TEXTURE AND DISCOLOURATION

MORTAR CRACK

ROTTING TEXTURE AND DISCOLOURATION

STRESS CRACKS

ROTTING TEXTURE AND DISCOLOURATION

REVEALS PAINT LAYERS

PLANTS

BLURRING VIEW

PLANTS CREATE SEMI-TRANSPARENT VIEW

FOOTSTEP WEAR

ROTTING TEXTURE AND DISCOLOURATION

SEASONAL FLOWERING

FOLIAGE HAS THE ADDITION OF FLOWERS

HUMAN POLISHING

ROTTING TEXTURE AND DISCOLOURATION

ANIMAL LIFE

FLOWERS ATTRACT ANIMALS AND INSECTS

BRONZE OXIDISING

ROTTING TEXTURE AND DISCOLOURATION

GROWTH

PLANTS GROW, BECOMING LARGER

GROW THROUGH

VEGETATION GROWING THROUGH AND AROUND OBJECT

WATER MOVEMENT

FORM ALTERS WATERS MOVEMENT & LOOK

LEVEL CHANGE STAIN

FLUXUATING WATER LEVELS ALTERS SURFACE

REFLECTION

TRANSFORMS HOW OBJECTS ARE VIEWED

WATER SPLASHING

DIFFERENT SURFACE FINISH

WATERFALL

MANIPULATION OF WATER DROPLETS

EVAPORATING STAIN

WATER DARKENED SURFACE EVAPORATES

POOLING

WATER BUILDS UP AND RETRACTS

METAL STAINING

ROTTING TEXTURE AND DISCOLOURATION

WATER DISCOLOURATION

ROTTING TEXTURE AND DISCOLOURATION

HUMAN TOUCH

IRON RUST WEATHERING

GASSES

ROTTING TEXTURE AND DISCOLOURATION

DISTANT SHADOWS

ROTTING TEXTURE AND DISCOLOURATION

TREE DENSITY

ROTTING TEXTURE AND DISCOLOURATION

STRIP SUNLIGHT SPOTS

ROTTING TEXTURE AND DISCOLOURATION

HOLE SUNLIGHT SPOTS

ROTTING TEXTURE AND DISCOLOURATION

COLOURED LIGHT SPOT

ROTTING TEXTURE AND DISCOLOURATION

SURFACE FLAKING

ROTTING TEXTURE AND DISCOLOURATION

PAINTED BRICK WEAR

ROTTING TEXTURE AND DISCOLOURATION

CRACKING

REMOVES VANISH TEXTURE AND FADES IN COLOUR

HUMAN SITTING

PREVENTS BUILDUP OF DIRT THAT ALTERS COLOUR

WATER WEARING

ROTTING TEXTURE AND DISCOLOURATION

SALT WATER RUST

ROTTING TEXTURE AND DISCOLOURATION

PAINT CRACKING

ROTTING TEXTURE AND DISCOLOURATION

PAINT LAYERS ON METAL

ROTTING TEXTURE AND DISCOLOURATION

DIRT BUILD UP

ROTTING TEXTURE AND DISCOLOURATION

PAINTED WINDOW

ROTTING TEXTURE AND DISCOLOURATION

SEASONAL SHADOWS

CLOSE SHADOWS

SUNLIGHT AND SHADOW

WEARING OF MORTAR

RAINWATER WEARING

LARGE SUNLIGHT SPOT

ROTTING TEXTURE AND DISCOLOURATION

HUMAN SHADOW

ROTTING TEXTURE AND DISCOLOURATION

09 SECONDS

HOURS

DAYS

MONTHS

SEASONS

1 YEAR

5 YEARS

10 YEARS

20 YEARS

Figure 01.

ROTTING TEXTURE AND DISCOLOURATION

MAN MADE RUST

ROTTING TEXTURE AND DISCOLOURATION

SURFACE CRUMBLING

ROTTING TEXTURE AND DISCOLOURATION

WEATHERING STUCCO

ROTTING TEXTURE AND DISCOLOURATION

Figure 02.

TIME

ACTIVITY

TIME IN POSITION

ARRIVE

WALK IN

SECONDS

STILL

5-10 MINUTES

WALK OUT

SECONDS

STILL

10-15 MINUTES

WALK IN

SECONDS

WALK OUT

SECONDS

STILL

45 MINUTES

WALK IN

SECONDS

WALK OUT

SECONDS

STILL

1-25 MINUTES

MORNING BREAK

3 HOURS

2 HOURS

DAYS

LUNCH

LEAVE

4 HOURS

Figure 03.

That’s a lot of changing processes.

Figure 01: Diagram depicts the varying types of change grouped together. This shows the range in time for each particular group. Figure 02: A reordering of the change elements so that they are grouped in there time frames. Figure 03: A reference to the side diagrams. Figure 04: A diagram expressing the various activities the routine user has in a daily journey.

The varying levels of change-over-time, depicts a space in constant flux. This was investigated through looking at different time increments, minutes, hours, days, seasons, etc. This has become the time spectrum, as the design as a whole evolves to create continual stimulation for the routine users of the space. In order to observe change, a constant is required to base the modification upon. However in Landscape Architecture there is no constant, as all elements are always changing, although some processes which have a longer life cycle can act as a constant, creating the point for which change can be observed.

CHANGE

SCENE A

HUMAN FOOTSTEPS SUNLIGHT FADING RAINWATER ROTTING + DISCOLOUR CLIMATE + PLACEMENT OF TREES SEASONAL CONDITIONS FALLEN LEAVES + RAINWATER RAINFALL RAINWATER SUN + CASTING OBJECT

10_ POOLING OF WATER 11_ EVAPORATION OF WATER

RAINFALL SUNLIGHT

12_ WEARING OF SURFACE 13_ 14_ MAGNOLIA TREE GROWING 15_ MAGNOLIA TREE LEAF CHANGE + FLOWERING 16_ GRASS GROWING 17_ WISTERIA CREEPER GROWING 18_ WISTERIA CREEPER LEAF CHANGE + FLOWERING 19_ WOVEN TIMBER STRUCTURE DETERIORATING 20_ 21_ WATER RUNNING ALONG GLASS DRAINS 22_ DARKENING OF CONCRETE SURFACE COLOUR

WEATHERING HUMAN FOOTSTEPS CLIMATE SEASONAL CONDITIONS CLIMATE CLIMATE SEASONAL CHANGE WEATHERING WISTERIA CREEPER RAINFALL RAINWATER

23_ REFLECTION IN GLASS 24_ SHADOW POSITION + FORM 25_ SPOTLIGHT SHAPE POSITION 26_ COLOURED SPOTLIGHT SHAPE POSITION 27_ PEELING OF PAINT LAYERS

GLASS PROPERTIES SUN + CASTING OBJECT SUN + CASTING OBJECT SUN + COLOURED PLASTIC OBJECT WEATHERING

28_ SHADOW POSITION + FORM OF SHADOW 29_ CHANGE IN BRONZE COLOUR + TEXTURE 30_ 31_ DARKENING OF CONCRETE SURFACE COLOUR 32_ WATER RUNNING ALONG SURFACE INTO DRAINS

SUN + CASTING OBJECT HUMAN HAND TOUCHING WEATHERING RAINWATER RAINFALL

33_ WATERFALL 34_ WATER POOLING 35_ ACCUMULATION OF WATER RESIDUE ON CONCRETE 36_ WEARING OF STONE BLOCKS 37_ 38_ MOSS GROWING ON GLASS 39_ WOOD FADING 40_ WATER MARK ON CORTEN 41_ SCRATCHING CORTEN

RAINFALL + OBJECT RAINWATER RAINWATER + DIRT WEATHERING HUMAN FOOTSTEPS WATER + SHADE + RUST PARTICLES SUNLIGHT RAINWATER HUMAN SCRATCHING

42_ SHADOW POSITION + FORM OF SHADOW 43_ 44_ MISCANTHUS GRASS GROWING + DYING + CUT 45_ 46_ TULIPS GROWING

CLIMATE SUNLIGHT CLIMATE + HUMAN SEASON SEASON

47_ WEARING A TRACK ACROSS GRASS 48_ GROWING OF SEDUM PLANTING 49_ WEARING A TRACK ACROSS SEDUM PLANTING 50_ FLOWERING OF SEDUM PLANTING

HUMAN FOOTSTEPS CLIMATE HUMAN FOOTSTEPS SEASON

51_ DARKENING OF CONCRETE SURFACE COLOUR 52_ PATHS AND HOLES CREATED IN SEDUM PLANTING

RAINFALL HUMAN SEATING AND FOOTSTEPS

MINUTES

HOURS

CHANGE

CAUSE

SCENE A

01_ TIMBER WEARING + CHANGING COLOUR 02_ 03_ 04_ BIRCH TREE GROWING (SIZE AND VOLUME OF SPACE) 05_ BIRCH TREE LEAVES CHANGING 06_ SLIPPERY GROUND SURFACE 07_ POOLING OF WATER 08_ DARKENING OF TIMBER SURFACE COLOUR 09_ SHADOW POSITION + FORM OF SHADOW