Kristine Marshall DRC by RMIT Landscape Architecture

S E E I N G

Arch

1365

ROYAL

W I T H O U T

Design KRISTINE

V I S I O N

Research MARSHALL Master

S3336983

MELBOURNE

DESIGN

Landscape

Catalogue RESEARCH

Architecture

INSTITUTE

PROJECT

Semester

2013

TECHNOLOGY

S E E I N G

W I T H O U T

V I S I O N

How can elements of landscape be used to redefine experience in the urban environment?

Design KRISTINE Arch

1365

ROYAL

Research MARSHALL Master

S3336983

MELBOURNE

DESIGN

Landscape

Catalogue RESEARCH

Architecture

INSTITUTE

PROJECT

Semester

2013

TECHNOLOGY

INSIGHT SEEING WITHOUT VISION

ABSTRACT How can elements of the landscape be used to redefine experience in the urban environment? The research question responds to the position that contemporary design of the built environment is dominated by visual outcomes and that as result of this bias opportunity for alternative sensory experience within the urban landscape is compromised. The research intends to explore through design intervention the development of design tools and methods that utilize sensory stimuli to enhance the experience within the urban landscape. The project aims to provide opportunity for the stimulation and engagement of the human senses within the urban realm, landscape intervention that are beyond the visual.

The research project will respond to this position through the development of design interventions that aim to stimulate the humanistic sensory responses of smell, touch and sound. The reinterpretation and amplification of preexisting site elements of plants, water and ground will be utilised as the toolbox to explore and develop the interventions. The application of these tools will be checked by their ability manipulate the on site environment and the subsequent ability to activate and evoke sensory responses.

These tools will be realised through the application of material specification and design devices that attempt to amplify sensory awareness and experience. The development of a material pallet that utilises design elements such as scale, texture, repetition, density, form, contrast and movement will support the realisation of research outcomes. The question will be tested through the lense of the vision impaired and the able sighted with the intent of developing and enhancing non predictive legibility and design comprehension.

INSIGHT SEEING WITHOUT VISION

TABLE OF CONTENTS 01 reformatting the question

02 REPOSITIONING THE RESEARCH QUESTION THROUGH A PHENOMENOLOGICAL PERSPECTIVE 2.1 PRECEDENTS 03 DEFINING THE FRAMEWORK 3.1 DEFINING THE DESIGN PROCESS

3.2 SENSORY AFFECT ANALYSIS

04 DEFINING THE SITE 05 REDEFINING THE SITE : TESTING THE FRAMEWORK 06 RECONSTRUCTING THE ELEMENTS 08 ENLIGHTENMENT 09 BIBLIOGRAPHY

Reformatting the Question

from PLEASURE LANDSCAPES How can the design tools of visual illusion be translated and applied to optimise pleasure in hyper dense urban development?

to INSIGHT : SEEING WITHOUT VISION How can elements of the landscape be used to redefine experience in the urban environment?

The development of the INSIGHT , SEEING WITHOUT VISION Project B pathway has developed out of the body of research that was undertaken throughout Project A “PLEASURE LANDSCAPES How can the design tools of visual illusion be translated and applied to optimise pleasure in hyper dense urban development?” The Project A research question was motivated by the perceived risk that future development patterns will be driven by the need to maximise built form areas, with the result being a minimum supply of remnant open space with little regard to landscape outcomes and their necessity in highly populated areas. Project A initially explored the urban art interventions of Anish Kapoor and their ability to distort and create illusion within the urban context. Through this part of the research play of scale distortion and the introduction of the unexpected was investigated on its ability to fit into high density population precedents particularly Hong Kong. The research topic evolved from that basis and pursued an investigation and application of the landscape principles of visual illusion of the French 17 th Century landscape movement, with a key reference and precedent being the Garden of Versailles. The question investigated how the landscape spaces contemporary urban redevelopment sites could be manipulated through the application and control of view point, scale, reflection and play of optical perspective to provide escape and pleasure from the intensifying urban built form. The research centre on view point perspective, predominantly at a plan level, that was relevant to the Docklands subject site, and due to the scale of this element lost the finesse of the detail that was captured in the garden at Versailles or in Kapoor’s work. . The intent of that project was to investigate methodologies that provided alternative outcomes through the use of the precedents design elements to influence the development outcomes and provide pleasure in contemporary Australian cities. This original intent was lost within the project as there was to greater focus on the precedent and its method, rather than a considered application of the precedent to the site context.

SKYMIRROR : ANISH KAPOOR Engagement and distortion of the environment, presenting an alternative way of viewing the environment

TARANDOR : ANISH KAPOOR Insertion of the unexpected within the built environment

CLOUDGATE : ANISH KAPOOR The captivation and engagement of Cloudgate by users was a precedent that was intended to inspire Illusionary intervention in the urban realm. Cloudgate is engulfing the users become immersed in the magic and experience of engaging with it.

studies into manipulation of scale and proportion (Project A) These studies try to bring the manipulation of scale and the effects of vertical distortion and the changes to the ground plane. The model was based on density of hong kong , which relied on tower developments to deliver density numbers. The result was a ground plane that was cavernous and forced the need to elevate ground and habitable spaces into the air.

This research centred on the visual interaction and the play of visual illusion. The manipulation of optical outcomes using the subtlety of the french principles was proving unsuccessful and presented a hindrance to design development and positioning of the research question. In hindsight the optic science Kapoorâ&#x20AC;&#x2122;s installations identified the stronger relevance for responding to the urban condition to that explored through Versaille precedent. However, the findings and experience of the Project A research pathway was the catalyst for the reconsideration of the research question, its methodology and delivery of the core concept position. Project B Insight, Vision Without Seeing (Insight) identifies a significant shift in the research question through the research pathway. Insight reinterprets the question and views the position from a totally different perspective, where once visual outcomes and design manifestations were the primary driver, optical significance has been relegated to support the design outcome of the privileged sensory elements. Project B Insight, Seeing without Vision assumes that current design method and manifestation is primarily driven and reliant upon the sense of sight and questions through research the dependence on sight, and optical ability as the primary design tool. Subsequently the research investigates an alternative design response that removes vision as a primary design tool and allocates the engagement of the other humanistic senses of touch, smell and hearing as the driving design tools. The prominence of these tools is intended to draw awareness to other sensory responses and to utilise these devices as the design language of the site and to interpret and engage with the landscape environment. This position will be tested throughthe redevelopment of an urban parkland and the introduction of design interventions that engage with these non visual senses.

studies into interaction between vertical and horizontal planes. (Project A) These studies investigated the elevation of the ground plane within a vertical built form. Exploring vertical capabilities of view point control and horizontal control of view point. These actions were intended to create the illusion of distance and space within an built up urban context scale and proportion of planting creating discrete walkways removed from transport hubbub. opportunity for delight in the trees

horizontal cuts allowing for views of movement of trams and passers by , not a blatant pornographic view

narrowing of axis scale drawing attention into civic space screening of buildings and reduction of scale through tree program scale of exposure : varying exposure levels to allow for choices of exposure to noise, visual activity,

section main entry axis (Project A)- controlling the view point, providing privacy and areas of the choice providing an alterna-

tive and contrasting experience to the highly dense urban context.

screening of transport axis with height graded planting program

CHANGE STATE 1 At this stage of the design research project I have refrained from completely reinventing the project and gone back to my initial research question to distil the essence of my interest. This review combined with review of the final outcome and critiques given during the Penultimate gateway have led me to the following position : REPOSITION the research question to explore which design elements can be utilized to distort the condition within the urban environment with the intent of harmonizing the sensory environment. ? THE AIM of this arm of the project is intended to explore opportunities for enhancing the sensory experience within the public realm. Project B will explore and further unpack and test the concepts of sensory devices and interventions.

view point movement pathway

PROJECT A : VERSAILLES STUDY INTO VIEW CORRIDORS

view pathway panoramic view controlled view

The question will be tested through the development of design interventions that are a response to sensory site modelling and stakeholder enquiry, and the application of the developed toolbox. The reasoning behind the aim is to provide alternative and point of escape to the existing urban condition. RELOCATE the question into the established urban context. This action will facilitate an established set of constraints and provide the materiality and user groups to respond to. RE-ESTABLISH my own position within the project to ensure that I get satisfaction and enjoyment out of the project

PROJECT A : SITE PLAN VIEW CORRIDORS

physical crossing of site following of view point

cuts in view points allows for inter connectivity to all tiers of

screening of transport axis with height graded planting program

main entry axis - controlling the view point, providing privacy and areas of the choice but always with the destination point in focus

Repositioning The Research Question Through a Phenomenological Perspective

Insight, Seeing Without Vision responds to the position that contemporary design of the built environment is dominated by visual outcomes and that as result of this bias a holistic sensory experience within the urban landscape is compromised. The study intends to research through design, how the role of sight dependent design tools can be deprioritised and replaced with methods that capitalize on the strength and ability of other sensory stimulants to enhance the experience within the urban landscape. The objective of the research is to identify how landscape can be used to redefine experience within the urban environment. To explore this position a research framework has been developed that utilises sensory stimuli to engage with sensory receptors. This framework applies a methodology that provides opportunities for the stimulation of haptic, olfactory and auditory responses that have been generated by site responsive interventions.

and mental captivation within a designed space. The proposed position of immersion needs to be understood within the context of the spiritual position of mindfulness that is concerned with a concentration on the activity that the self is undertaking within a specific moment. For example surfing a wave requires focus and awareness only on the body and its relationship with the movement and form of that wave. Similarly in exploring the desired outcomes of the Project B design research conclusion the facilitation of an awareness of self within the design composition is critical to the resolution of the design research question.

Pallasmaa’s positioning of the sensory terms is supported by specific sensory explorations such as Jasmien Herssen’s “Haptic Design Research : A blind sense of Place” which itself refers to Pallasma’s position on the dominance of visual priorities in design and goes on further to investigate the role of haptic effect and development within the The position that the Project B research question built environment from the position of congenitally nominates is synergistic with the position put for- blind. Herssen utilised this stakeholder group as ward through the experiential design theory of phe- “ they were more attentive to non visual senses.” nomenology, that postulates that the visual sense is an external way of experiencing the world is sim- Like Herssen’s text Insight , Seeing Without Vision plistic and superficial, and that engaging with a de- approaches the research question from a universal sign space that integrates and elevates the other design position, but with the underlying motivation human senses provides a greater physical and for the question stemming from what the experipsychological experience. Juhani Pallasmaa’s The ence of the urban landscape is without sight. As a Eyes of the Skin: Architecture and the Senses is a result the design research measures the proposed key precedent and measure for the research ques- design interventions through their ability to activate tion. Pallasmaa identifies that “the creation of an sensory awareness through the lense of sound, intimate and experiential design intervention that smell and touch. The proposed interventions, their enables a more personal contemplative experience form and resultant sensory affect, support Herswith the environment.” Project B investigates the sen’s position which expands on Lynch’s The Imdevelopment of such moments through design in- age of the City by using sensory landmarks as a tervention and how an experiential quality of space primary navigation tool in place of visual landmarks can be developed that enables a holistic aware- and wayfinding tools. However the Project B quesness of the self within the contextual environment. tion extends the position further to investigate the capabilities of the interventions to act as wayfinders The phenomenological position further ques- but to also evoke sensorial experience within the tions experience through design to consider be- landscape. This experiential intention is supported yond the physical to include a total way of being by the overlay of haptic interpretation and the role that is integral to human existence in the physi- of the body within space. Whilst design intervencal world. The experiential qualities concept of tion provides the opportunity it is the movement and immersion has also been considered through ability for the human body to alter their experience the development of the research question , (with and control of the space with movement that coman understanding of immersion as being a total plements the design intervention. For example sitengulfing of the self in a physical space) , and is ting in sun or shade, experiencing hot or cold and reinforced by the totality of phenomenology and the experience of moving through water slowly or understanding of immersion as both a physical quickly and controlling the flow and touch sensation.

The project investigates the framework required in redefining experience within the urban environment. This framework stems from the nonvisual senses of smell, sound and touch, with an annexure to the experience of touch that involves haptic experience. Insight, Seeing without Vision accepts that a traditional sense of touch that involves physical contact of body with an object. For example toes and feet experiencing direct relationship with ground textures and temperatures. However, the research question extends the understanding of touch to include haptic perception that is not limited to the conventional understanding of touch. Haptic experience includes a holistic experience that engages the body with its environmental conditions, that is through the skin and the nervous system the body is touched by ephemeral activities. Haptic perception is interpreted firstly as an experience where the environmental conditions contact the body, such as hot sun or cool wind. But is also extended to have an active element that includes the affect of environmental conditions due to the movement of the body eg. movement of a body through water and the feeling resulting from this. For example, the effect of wind on a body, is an ambient experience that depends not on an interaction between objects, but between one body and an environmental action. Dr Jackie Bowring’s The Smell of Memory : Sensorial Mnemonics introduces the importance of nostalgia and memory through the senses. The sense of smell can also be connected to haptic perception as has been interpreted by Pallasmaa as a form of touch. The olfactory action undertaken through in effect touches the nasal receptors ( similar to the skin receptors ) and is subsequently perceived by the body. All of the senses have varying impacts on the human psyche but it is the sense of smell that seems to be that which has the ability to evoke memory and imagination and to transform experience. Through this haptic capability the action of immersion in the self can be drawn out. Through smell powerful linkages between past and present can be incorporated to have a greater depth of experience. The impact of the powerful capabilities and delicate sensitivities of the sense of smell is articulated best through a reference from Hellen Keller “ the other day I went to walk toward a familiar wood. Suddenly a disturbing odour made me pause in dismay. The followed a peculiar measured jar, followed by a dull, heavy thunder. I understood the odour and the jar only too well. The trees were being cut down.”

The application of mnemonics to the Insight design interventions can be viewed from the short and long term perspective and are utilised to develop a relationship with the proposed design interventions. The use of established and embedded recognition from a users previous experience is advantageous in the initial uptake and activity within the site. eg. play with water, sitting on the ground. But overtime a new mnemonic relationship is intended to be fostered with the Batman Park site and its proposed composition. This recognition is prescribed to be temporal and seasonal, for example the memory and experience applied to the ephemeral experiences of the changing tide, and with the activation of certain plant species during varying times of the year. Sound plays a very different part in the research, with hearing being the most aggressively assaulted of the senses which prompts the most immediate response. But in developing the response to sound within the delicacy of phenomenology the role of sound can be developed by way of aural mnemonics, and haptic and physical touch. Using Pallasmaa’s interpretation, the sense of hearing and interpretation of sound can exist as a haptic interaction. Through the movement of the sound waves sound is experienced through nerve receptors that creates the sensory experience of hearing. But in addition the vibration of sound can also be experienced through its physical impact on the touch of the body itself. It is this level of detail that is introduced through the proposed interventions that enable experience of sound at large and small scale. Overall Insight investigates the possibilities of phenomenological experience within the urban landscape. The project lends from Anish Kapoor’s captivating and absorbing works that immerse you in the work beyond the visual the detail of the moment, they explore an all of being experience that explores and question the participant and their relationship to the works. Insight probes and investigates the ability of the urban landscape to promote such a personal relationship with the environment that is focussing on the self within the moment. Some of the proposed interventions are apparently large, others intimate and miniature, with the common thread of the research being the capability of the interventions to enable the immersion of the self into the detail of time.

2.1

precedents

The core precedents of phenomenological theory are supported by both realised practical examples and existing codes and standards. The practical precedents that are aligned to the research question and test and actualise the phenomenological position are architecturally focussed solutions. The core landscape precedent is the work and comments of Michael Van Valkenburgh (MVVA). MVVA has many precedent projects that are riverfront schemes, but is primarily the response and design intent that is the true relativity to the Insight project. The engagement and interaction of user groups goes beyond merely passing through their locations and invites their users to interact with their surrounding in a physical way. MVVAâ&#x20AC;&#x2122;s treatment and position in relationship to the urban context is also reflective of the intent of the Insight project and the integration of the design language of the park into its urban context. Further research into landscape precedents produced examples that presented inwardly focussed design response that concentrated on an introspective design outcome such as therapeutic sensory gardens. Examples such as the Gold Coast University Hospital therapeutic garden are relevant to the Insight project in regard to the intended interaction with natural elements and their ability to provide escape and immersion. However, the project seeks to expand beyond this position by intertwining the external reality of the site with the design interventions. The architectural precedents rely and interact with their contextual setting and communicate this interaction through physical responses. These precedents provide learnings to inform the development of a methodology that facilitates sensory interaction with user groups through design intervention. However, where these examples differ from the position of the research question is that they rely on mechanical manifestation of the sensory experience. Through the Insight research the intent is to enhance, amplify or extend the preexisting naturally occurring elements and conditions of the site to draw awareness firstly to these conditions and their context and secondly to develop a sense of mindfulness and contextual relativity to the self.

LAB(au) FLUX ninary waves, Saint - Denis RER D station, paris, 2008. The installation is composed of 3332 rotating panels with integraded LED illumination driven by internal microprocessors that calculate signals captured by infrared sensors from infrastructure flows ( the passage of vehicles, pedestrians and trains) and communication flows (electromagnetic fields produced by radios and cellular phones). The impulses are transmitted from one panel to another to produce luminous waves and rotation. The lights are in two colours white or red depending on whether they represent the frequencies of flows or the intensity of electromagnetic fields. The installation is thus a sort of kinetic wall that reveals human activity in a particular urban space, giving form to invisible matter. This example is a precedent for captivation and activation of an intervention through the ephemeral cause. Where this differs from the project question focus is that it is caused by the effect of movement of people on the device , where as Insight is focussed predominantly on the effect of the natural element on the human receptor.

precedents

2.1

These comments by Michael Van Valkenburgh are precedents that refelct the design psychology behind the Insight project inverventions. They express a need by the client that demands a design approach that is reflective of the position of phenomenology.

“Let me tell you a story. Thirteen years ago we had our first public meeting for Brooklyn Bridge Park. It was very controversial in the beginning, there was a lot of community concern about it. This amazing woman “but we walked in and there was the order who was at least 80 years old of the trees, the serenity, the vastness of the space, the lights, people moving and sitting. stood up. She went to the miA similarly moving moment to me, but very crophone and she said something like, “I’m an old redifferent, is in New York when I am walking down Fifth Avenue with Central Park on tired lady and I don’t have one side and the city on the other—the two money to go to the country realms invigorate each other. I don’t think anymore. And the one thing of landscape as escape from the city, I think that I want you to let me do in Brooklyn Bridge Park is of it as escape in the city.” to go down to the edge of the michel van Valkenburgh water at night and put my toes in the water and to see the reflection of the moon in brooklyn bridge park pier : 1 MVVA. Passive engagement with the the night sky.” And it almost ephemeral qualities of the water front. Composition of different made you want to burst into textures that have different tactile qualities. tears. It was something that everyone could relate to.” michel van Valkenburgh

brooklyn bridge park pier : 1 MVVA. Immersion within the tree canopy. varying tactile and aural textures at ground plane.

brooklyn bridge park pier : 1 MVVA. Active engagement and immersion with the water body

2.1

precedents

What this curving, rolling topography gives us as designers is an opportunity to use the creation, syncopation, and unfolding of space to create provocative sequences that offer surprise without being scary. You go up one side of a hill and you canâ&#x20AC;&#x2122;t see down the other; you go around a curve in this direction and you canâ&#x20AC;&#x2122;t see over here. michel van Valkenburgh

CT WATER TREATMENT FACILITY New Haven, CT : 1 MVVA. Capability of topography to instill feeling of movement and bodily sensation.

2.1

precedents

BLUR : DSR

BLUR : Diller Scofidio Renfro’s (DSR) Blur building “ is impressive, but it becomes impossible to directly appreciate the structure because onlookers can’t actually see any of it.” In fact it is this exact fact of why the building relates to the Insight project it is the experience of the feature element beyond just seeing the building that makes it unique. The cloud element can be access by crossing the water body below giving one perception of the characteristics of water. The activation of the spray cloud theengages the users with a contrasting texture and sound of the water element. The water is a guage of the surrounding environment by articulating the direction of the wind through the water drift and ambient temperature through the temperature of the water.

BLUR : DSR representing immersive capabilities of the water spray

2.1

precedents

TOWER OF WIND : Toyo Itoâ&#x20AC;&#x2122;s exploration into representing environmental characteristics and conditions identifies a mathematical method of representing the quality of natural elemets. While this project is extremely effective and delicate in its consideration, it is inconsistent with the Insight perspective as its method is visually representational and relies on mechanical devices to articulate the phenomenological engagement. Scents of Space is an interactive room allows for the transmission of olfactory stimuli across a three dimensional grid. The objective is that of guiding the user through a narrative using the experience of smell. There are no physical confines in the environment, but rather olfactory zones. The installation is very simple : an empty 9 sqm room that shines inside by day and outside by night. The production of aromas is orchestrated by software, diffused by a system of fans and realised by visual stimul on the walls that indicate the point at which the odour is perceivable. The stimuli are transmitted at 20 cm per second so that users percieve only a a change insmell, and not in the movement of the air.

TOWER OF WIND ,TOKYO: Toyo Ito

Scents of Space : Haque, Plets and Turin, UCL, 2002.

2.1

precedents CLASSIFICATION OF LEGALLY BLIND DIAGRAM o

01 0011 10 degrees

180 degrees o oo

081 008811

081

M 6 M M 66 6 METERS

M 06 M M 0066 60 M METERS 06

NORMAL VISION

Developing an understanding of the restrictions of the visually impaired was important in the development of the research question, studies of existing guidelines and interviews with DDA practitioners assisted in understanding the needs and use methodology of the visually impaired within landscape spaces. Whilst the research question is not focussed on solely designing for the vision impaired, the project has been driven out of the position of an experience that does not depend on vision for experiential outcome. The design for the experience for vision impaired will be considered as a background measure when evaluating the success of the accessibility and experiential qualities of the design outcome. Ultimately final design resolution is intended to provide an all inclusive position for the use of urban landscape.

LEGALLY BLIND

TYPES OF VISION IMPAIRMENT

normal vision

deuteranopia

diabetic retinopathy

glaucoma

colourblind

Macular Degeneration

CHANGE STATE 2 COMMON DESIGN ISSUES FOR THE VISUALLY IMPAIRED

This week has attempted to explore design through iteration, however in order to understand the site and the research question. The development of a framework to support the forthcoming design work was essential at this point in the project. Project Title : INSIGHT SEEING WITHOUT VISION Sub-title : HOW CAN ELEMENTS OF LANDSCAPE REDEFINE AESTHETIC IN THE URBAN ENVIRONMENT

LOGIC (NOT HOW)

CONSISTENCY Identifying need for consistency in layout for vision impaired to wayfind

SHEER DIAGRAM Identifying typical degree of trajectory sheering for vision impaired

CONTRAST Identifying need for contrast in surfaces and material selection. Assist in definition and wayfinding for the vision impaired.

SIZE

LEGIBILITY Identifying importance of scale in the needs of the vision impaired.

current Research Question : The research question a response to the dominance of visual aesthetic on design disciplines, and how this tendency impacts on the experience of the visually impaired. The research intends to explore through design intervention methods and devices that utilize sensory stimuli to enhance the experience of the vision impaired within the urban environment. THE AIM of this arm of the project is intended to explore opportunities for developing the sensory activation within the urban public realm with the specific aim to assist in enhancing the experience for the vision impaired. The question will be tested through the development of design interventions that are a response to sensory site modelling and stakeholder enquiry. This method will be assisted with the application of a project specific toolbox. ACTIVITIES ? These weeks involved further exploration of the current legislative codes that are current and required to be included in contemporary urban projects including AS 1428.1 Design for access and mobility Part 1: General requirements for access— New building work and AS 1428.1.4 Part 4.1: Tactile ground surface indicators.. These studies gave me an understanding of the minimal response requirements and those that are (as identified in current professional literature) preferred inclusions / outcomes. Consultation with DDA consultants from Gold Coast City Council that represent the vision impaired and those with other disabilities on public and civic projects. The response from these investigations was a support for the development and investigation of this research topic as currently there was not such consideration being implemented through design realisation. Diagrams that represent the understanding and consideration of general response to the vision impaired were developed. 1) understanding the status quo for able sight • review and understand current DDA guidelines for the visually impaired • site analysis as it is to be sighted, all of the assumptions that we have • 2) understanding the current status quo for vision impaired and blindness • review and understand what it really is to be blind or vision impaired • understand the site as it is to be blind • understand design elements as it is to • be sighted what do these mean if you cannot see. ?

defining the framework The project framework defines a methodology that intends to maximise engagement and awareness of the human senses. The formulation of a methodology that introduced the logic of a sensory strata that identified where the most effective and powerful sensory devices would be located was critical in the design development. The application of this toolbox methodology was two part firstly defining the strata and secondly selecting of the design elements that would provide the greatest affect on this strata level and maximum impact on the user group. The framework was defined to facilitate maximum engagement with organic landscape elements and ephemeral environmental conditions. The selection of the elements of ground, plants and water was purposeful as there was the intent for the greatest connection of naturalistic characteristics of the user and as they formed the greatest contrast to the surrounding built environment. Through these core design tools specific design elements and material selections have been made that have direct response to the sensory element that is specifically intended to be activated.

PROJECT TOOL BOX SENSES

TOOLS

SOUND

PLANT

TOUCH

GROUND

SMELL

WATER

SENSES

SENSORY PERCEPTION

SOUND

AUDITORY

TOUCH

HAPTIC

SMELL

OLFACTORY

3.1

defining the design process

CHANGE STATE 3

partridge + mushroom + peas + goose liver + chestnuts

Critical to the development of this process is the metaphor and experience of contemporary haute cuisine. My reference point took traditional ingredients and recipe deconstructed and recomposed as a harmonious and insightful composition. The composition presented the solution in a harmonious representation but still allowed each flavour to be discernible from its fellow. The design method for project B has applied this process by deconstructing the sensory elements on site and repositioned them in a reconsidered solution.

The proposed design methodology de constructs the conglomeration of sensory devices to clearly articulate the function and affect of each design element. The purpose being to clearly define each sensory element in order for it to be clearly legible. Each design tool / element has been interrogated for its primary capability to facilitate sensory response and is then applied to a situation that promotes maximum engagement with the senses. The elements are then reconstructed to form a holistic and intertwined design outcome that allows seamless transition between the sensory experiences.

3.2

sensory affect analysis

sensory affect analysis DIAGRAM sensory diagram showing

low zone

medium zone

upper zone

areas of haptic affect and zones of influence as they relate to the average human

SENSORY PERCEPTION AUDITORY

experience of sound through hearing, the ability of interventionary devices to create alternative experiences within the body.

SOUND

is the generated element that is interpretted through hearing

screeching train wheels grrrrrowling car engine

HAPTIC

experiences touch through a holistic experience that engages the body with the environmental conditions in which it existence, that through the skin and the nervous system that the body is immersed in an ability to experience sensations that are generated by physical elements.

hot sunlight on skin wind caressing or whipping skin

TOUCH

implies the direct physical interaction between a living body and a physical element

+ immersion in water on the skin + toes squelching in the mud

OLFACTORY

experience of smell and engagement with specific elements of the design through their capability to draw and create relationships with areas of the site relating specifically to scent.

recognition of earthly river bank fresh rain on hardscape

3.2

upper zone

sensory affect analysis

medium zone

haptic periphery

450

low zone

ambient touch ambient sound

tactile touch

user group 1 - low zone lying

ambient sound 1200-1500

ambient smell

low zone

medium zone

upper zone

haptic periphery

ambient touch

tactile touch tactile touch

user group 2 - medium zone sitting haptic periphery

1800

ambient sound

low zone

medium zone

upper zone

ambient smell

ambient touch

tactile touch

user group 3 - upper zone sitting The Sensory Stratification process was developed to facilitate the interrogation of the desired sensory outcomes and where these may be most effective in each design decision for example activation of touch through feet and ground plane. This process has been applied and utilised through design process to analyse and determine the most effective design intervention for a specific situation, each design element/intervention has been measured to this scale through its selection process.

3.2

sensory affect analysis Sensory affect analysis has been explored through the application of sensory stratification analysis over key the framework elements of ground, water , plants. Design development has been informed by this analysis to locate / position intervention tools that have the most phenomenological impact and immersive affect. The analysis also identified the secondary or flow on affects that were a result of an intervention such as the attraction of birds and insects creating temporal sound within the site.

plant ground water plant

existing on site plants and introduced planting interventions to develop engagement with textures, smell , sounds of plants. haptic effects

personal response opportunity

secondary effects birds / insects sound

touch wind

sound leaves movement smell flower plant

shade touch

tactile touch : ground texture ground touch sound generator

sound : wayfind placement engagement with the urban context

smell

planting density intensity

sound

plant tactile touch

haptic touch

planting density = quiet planting density

touch tactle : warm seat ground texture

sound : water baffle surrounding noise

touch : temperature spray

sound : river bank smell touch

escape touch smell sound

ground ground surfaces and textures as well as ability to create legibility and sense of movement through topographical condition and manipulation

plant ground water sound : ground surface directional wayfinding

smell : wayfinding surface

touch : ambient directional control of wind affect of mound

element 3 : GROUND

touch surface : texture vibration

wind flow path

touch : personal connectivity engagement texture warmth

water

3.2

sound

sound movement Lp,dir Lp,grd

Research into urban acoustic devices and precedents was undertaken to gain an understanding of how sound moves and how it might be manipulated to direct and control sound and to achieve the project intent. The project aims to insert design interventions that do not exclude urban sounds but to draw out key sounds from what can be an overwhelming white noise affect.

unobstructed sound transmission paths

illuminated zone shadow zone

Lp,diff Lp,trans

SOUND ANALYSIS : key sound transmission for screened noise source

sound propagation

SOUND ANALYSIS : spherical spreading of sound

SOUND ANALYSIS : radial spreading of sound

SOUND ANALYSIS : straight edge barrier

SOUND ANALYSIS : random edge barrier

SOUND ANALYSIS : key sound transmission for screened noise source

sensory affect analysis H4 H3 H2 H1

9.5

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3.2 precedent

SOUND

Precedents - Sound Interventions Studies into existing sound attenuation barrier methodology. Importance of these outcomes to provide alternative experience beyond the average , whilst these are exemplar in their genre they are driven by their aesthetic contribution to the driving experience. Their function is to keep out noise impact from development areas or other desirable shelters behind.

EASTLINK, MELBOURNE : WOODS MARSH

3.2

previous design studies into studies into sound attenuation formations

Previous project exploration explores the change in haptic sound impact of a sound intervention. This project was based on a functional acoustic device that also had significant visual design outcomes. This project was of particular learnings and relevance to the Insight project as it provided me with learnings and an understanding of the movement of sound and acoustic intervention devices that contributing to the changing and habitability of a place.

PLAN

ELEVATION KING ST

SECTION : demonstrating diversity of activities within the parkland

VIEW FROM KING AND DUDLEY ST

3.2

sensory affect analysis

sound precedent

These precedent examples explore acoustic interventions that are provide functional sound augmentation and visual contribution to their context.

CRAIGIEBURN BYPASS, VICTORIA. TONKIN ZULAIKHA GREER

BP BRIDGE, MILLENIUM PARK CHICAGO. FRANK GEHRY

CRAIGIEBURN BYPASS, VICTORIA. TONKIN ZULAIKHA GREER

Batman Park is an existing urban park, located on the northern bank of the Yarra River in the Melbourne CBD. ,

defining the site

The park is predominantly open space with some significant Eucalypts. The site is bounded by Spencer Street at the west, Flinders Street Viaduct at the north and King Street to the east. Due to this significant vehicular and transport infrastructure the park is bombarded with significant noise stimulus for most of the day which has a impact on the sensory qualities of the park.

Batman Park was selected for the study site due to its unique location within the urban landscape. The area is a rare parcel of open green space within the belly of the CBD. It is surrounded by a multitude of functions including residential, commercial, hotel and transit hubs, yet it appears under utilised as a recreational destination and is a missed opportunity within its context.

The site also offers extremes of sensory activations that are overwhelming. These include assaulting noise conditions, and under whelming smell and touch experiences. Whilst these on their own were seen as negative aspects to the site as it stands, the ability to intertwine the urban conditions in with the proposed research context was seen as an opportunity for explor- The site in its natural state was part ing and testing the application of the phenomenological position. of an extensive wetland system and was

utilised for traditional practices by lo-

Similarly the existing elements on site that include plant, cal aboriginal people. The site was one of ground plane, built form and particularly water pro- the first landing points for the settlement vide a significant to develop within the research context.

of Melbourne and acted as a port for the nearby Batman’s Hill settlement. As development in the area progressed the site became a wasteland for sewerage and water effluents which ultimately destroyed its ecological significance converting into an urban swampland.

Project A explored the use of Docklands New Quay as a study site to apply interventions, however the contextual landscape of that site was immense in scale and difficult to apply the detail of the research of Project B and to relate it to the existing urban fabric of the CBD.

The park was established in 1982 through the conversion of a disused freight train rail yard. Thus whilst the site has always had a degree of usability and function , it has always seemed a remnant and the back end of the CBD.

site - batman park, Melbourne cbd

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defining the site

The planting regime of the site is predominantly large eucalypts. There are some large deciduous trees across the site that offer seasonal environmental advantage providing shade in summer and allowing sun to penetrate the site in winter.

plant

Where possible it is intended to retain existing specimens through the development of the research. Aside from the benefit of mature species, the retention of these trees is consistent with the phenomenological position that draws on nostalgia as part of its experiential framework. Retaining these trees offers opportunities for memory to be evoked across the site. Ground plane is predominantly covered with grass. There are some other ground covers bordering the street edges of the park. The trees are functional on deeper investigation they have significant textures and opportunities beyond the contribution to environmental benefit. However due to their planning they stand lonely and sparse loosing their impact and ability to capture, immerse and ignite a strong sensory response.

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ground

retail intervention not so successful better opportunities for more suitable use turf

thoroughfare but little invitation for relaxation

elemental planting scheme canopy turf

The ground conditions of the site are not dramatic and relatively flat. There is a slight fall toward the river but generally the site is interpreted as flat. The grass is somewhat inviting to sit on except that the pigeon extermination chamber attracts nesting pigeons to the site which does not make the ground a reliably clean surface to sit on.

functional aspects for play and recreation

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water

There is some access to the river itself due to the battered nature of the bank treatment, however this is uniform along the river edge and offers no variation or undulation of effect. The river is tidal, and subject to variation throughout the day. It is also impacted by environmental conditions such as wind that alternate the way in which the river water itself touches the bank. This water element can provide a place of escape however it is not supported by infrastructure that promotes embracing its frontage. Stormwater is all caught through traditional kerb and gutter and no presence of

recreational waters edge utilised for exercise and dog walking vision to water touch cool grass smell waters edge

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Sound is the dominant existing sensory experience. It is obvious and is expressive of the sites location within the urban realm. The influx of sound comes from all boundaries and is both horizontal and elevated. The core generators are the transport devices that pass the site. Conversly the site also has subtle sounds that eminate from the trees, the movement and activities of people through the site. But these are not overtly obvious.

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overhead train noise ranging from screeching to rhythmic constant growling of cars cacophony of merged sound across site occassional tram ding

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PLAN ANALYSIS : existing noise condition - emotive response

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YARRA RIVER

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CONNECTIVITY : connecting the site back to the greater cbd

key stimulus zones

FRAMEWORK plan : developing a site understanding and usability through zonal analysis

HOSPITALITY

PARKWAY

TRAM WAY

WATER

OPEN SPACE

wayfinding plan

opportunity analysis plan

redefining the site - identifying opportunities

sound DENSITY : how can water be utilised to abstract and eliminate surrounding noise conditions

SMELL PATHWAY : how smell be used to inform the users about the pathways of the site

ATMOSPHERIC DENSITY : intervention creating different degrees of atmospheric density

UNDERSTANDING THE SITE OPPORTUNITIES THROUGH PLAN :

redefining the site - identifying opportunities

sound / noise relationshp study

water engagement study

WATERS EDGE STUDIES : developing experience with the waters edge.

UNDERSTANDING THE SITE OPPORTUNITIES THROUGH PLAN :

redefining the site - testing the research framework The INSIGHT design process and design framework deconstructs the elements and tools of the project to gain a thorough understanding of the qualities and characteristics of each specific part. The following analysis identifies investigations into the phenomenological capability of the spefic tool to a) provide maximum sensory opportunity b) through the most effective solution express a relationship in its form to the specific location of the site (eg water and tidal retreat) c) interweave the design into its contextual environment. the design research subject, design methodology and the development of the applied idea itself have all informed the development of a visual communication method that is investigative in itself. The graphic drawings depect the textures and evoke the sounds and smells of the subjects. The tactility and immersive qualities of the drawings and the captivating nature of the method itself is critical to a legibility of the research concept. This revelation emerged after a series of 3D CAD modelling exercises that while communicating massing concepts they did not convey the experiential qualities and thus core intent of the project.

change state 3 The past weeks have been concentrated on working design up through CAD methodology. With relatively unconvincing communication related to the design intent of the project research. Such feedback to revert back to drawing communication style that is more emotive and sensorially responsive is consistent with preferred method. and is consistent with readings that emphasise the importance of hand drawing to explore .

SENSES

TOOLS

SOUND

PLANT

TOUCH

GROUND

SMELL

WATER

6.1

Evoking the sense of immersion through plants. Developing graphic communication to represent the experiential quality of plants

immersion

6.1plants shade

movement COOL

running immersion

time

memory whispering location

Plants have been explored and utilised to capture and express the sensory framework of the research question. Plants are the greatest measure of haptic conditions on site as due to their form and structure they have the capability to respond immediately to environmental change. Plants have been selected by their ability to capture the touch of movement and turbulence, sound and movement of wind, create shade and temporal experience throughout the daily solar cycle and to relate seasonal change through their scents and olfactory outputs. Species selection has been generated by experiential qualities that are provided. But are also referential to local government planting guides for urban Melbourne.

awareness touch

gentle

6.1

Studies into haptic condition relationship to trees.

Indicative planting and general shadow

Affect of wind on movement of trees.

drift shadow and open areas of sun and clearway

plants 6.1

legend

Melaleuca integrifolia

ACACIA IMPLEXA LIGHT WOOD

BANKSIA ROBUR

BANKSIA ERICIFOLIA

ALLOCASUARINA VERTICILLATA

EUCALYPTUS CAMELDULENSIS

smell experience

haptic ambient touch representation

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plant zones

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plants

The planning and design of the overall parkland has emerged through a number of iterations. However, what is consistent through these iterations is the applications of planting zones that assist with legibility within the site, but also provides a contrast of experiences and conditions. Following are studies into the planning zones and the detailed specification , these selections include reference to the haptic effect of the plants.

ZONE A : ephemeral Grassland

ZONE D : delight

ZONE B : country

ZONE E : urban flow

ZONE C : mounds

ZONE F : seasons

zones A : 6.1 plants

ephemeral grassland

Lomandra longifolia strappy movement whispering linear smooth

EUCALYPTUS CAMELDULENSIS RIVER RED GUM sound leaves insects birds smell

nostalgic aromatic leaves

The ephemeral grassland is bounded to Spencer Street. It is a physical barrier to the traffic corridor but allows the vehicular sounds to penetrate. The planting permeates the site boundary to include traffic medians and tram stops, this lateral action then incorporates the vehicular elements as part of the site not an action that occurs outside its bounds. The grasses are utilised to represent the urban activity of the cars, and will reflect the vehicular turbulence and intensity of speed during various times of the day as the traffic passes by. The movement of the strategically planted grasses allows a soft touch and bend of passers by. The random beds allow for users to chose directional path dependent on their desired level of experience. Retention of Eucalyptus Cameldulensis where appropriate.

TRAMSTOP : waiting for the tram sitting amongst the grasses has the affect that you have not left the parkland and you continue to have a hybrid urban park experience

PATHWAY : passing through the grassland

TRAMSTOP : characteristics of the grasses have the capability to express the movement through the turbulence that is created by the moving vehicles around the stop. Generate sound, touch and movement of smell of grasses.

PATHWAY : passing through the grassland characteristics of the grasses have the capability to express the movement through the turbulence that is created by the moving vehicles around the stop. Generate sound, touch and movement of smell of grasses.Movement of grasses may help generate the chosen pathway. Active interaction with the haptic and tactile touch senses.

6.1

plants

Study into passing through the grassland

Study into movement and the effects on the grassland

turbulence

haptic shadow

Study into movement and the effects on the grassland including haptic experience

6.1

zones b : plants

country

EUCALYPTUS CAMELDULENSIS RIVER RED GUM

sound leaves insects birds

nostalgic aromatic leaves

smell

touch bark smooth leaves wind LEPTOSPERMUM LANIGERUM WOOLY TEA TREE sound

leaves / birds

sour aromatic leaves

smell

flower late spring / summer

touch

bark fibrous leaves

Country is that place of most immersion in the site. Creating a place of contrast and escape within the site and the city. The area sits on an introduced ridgeline and gradually thickens into its core. Country uses highly scented plantings at all stratispheric heirachy, to engulf the visitor with the traditional scents and textures of the australian bush. The scheme promotes awareness of the world outside of the city and draws on the educational work of May Gibbs. The area has been purposefully placed adjacent the play zone and is intended to promote imaginative play that is inspired by sensory engagement. The imagination does not need eyes it only needs the ability to immerse to imagine. The planting allows for crawling under, exploring experiencing enclosure, scale , touching , smelling on the way. The different seed pods and textures of the leaves of the flowers creates a deeper engagement with the mystery of the plants. Varying forms of openness and containment also offer different sensory experiences such as sound and environmental conditions such as air density and temperature.

LEPTOSPERMUM OBOVATUM RIVER TEA TREE sound

Country is not restricted to children it allows a place of equal immersion and escape for adults. Passing through , sitting resting , places of sun, places of leaves + attractors birds, shade. It is the metaphoric sensory pool of the site.

butterflies and caterpillars

smell

aromatic leaves small flower

BANKSIA ROBUR

sound leaves insects birds smell

musky autumn summer flowers

dead

insect to new brush flowers

touch CONTRASTING velveting leaves with sharp spike to leaf edge BANKSIA ERICIFOLIA

sound leaves insects birds smell

musky autumn summer flowers

touch CONTRASTING furry brush plenitudes of medium sharpness leaf

UNDERSTOREY GRASSES

sound leaves insects birds smell

musky autumn summer flowers

dead

insect to new brush flowers

touch CONTRASTING velveting leaves with sharp

spikes

BANKSIA MEN: May Gibbs. Example of the endless capabilities of the result of immersing the mind in the landscape realm. The image represents an attention to the textures and characteristics of the plants, where one can almost feel the textures of the bark and leaves

6.1

plants

DEVELOPING COUNTRY : understanding the feeling of the environment that is being created through graphic representation . Representation of a place for solitude, stilness and contemplation.

DEVELOPING COUNTRY : understanding the haptic effect of the landscape through graphic representation.Penetration of sun, and warmth into an opening . Welcoming texture of grass to sit. Coolness and mystery of shadows.

6.1

zones c : plants

mounds

POA MORRISII VELVETY TUSSOCK GRASS sound

leaves / birds, whispering grass

smell touch TOUCH

soft

Lavandula stoechas Avonview sound

quiet

smell

aromatic leaves and flowers

touch

furry

TURF sound quiet

MOUND PLANTING :studies into noise mound formation with planting

MOUND PLANTING : studies into planting drift to noise mound formation

Noise mounds have been utilised to alter effect of noise within the parkland. These mounds also provide elevated northerly faces that enhance the solar aspect of the western area of the site and allow for alternative microclimates to be formed. Lavender is a traditional homeopathic calming herb that is intended to provide a contrast to the hectic urban environment. Light grasses reinforce the larger grass species with sound and textural repetition. Some areas of turfing is available to optimise northerly aspect and to facilitate haptic experience with inviting places to sit / lounge.

zones d :

6.1

plants

delight

BANKSIA ROBUR

sound leaves insects birds smell

musky autumn summer flow-

ers dead brush flowers

insect to new

touch CONTRASTING velvety leaves Bryophyte Meteoriaceae sound dense

smell

Delight is an extension to Country. It is a place that is shaded and cool and fosters the growth of the underworld. The use of mosses to cover directional and noise attenuation mounds that absorb the sound of the train viaduct and have a secondary use for childrens engagement with textures and smells of the forest floor.

musky moist earthy

touch soft furry Bryophyte Stereophyllum_ radiculosum

sound dense smell

musky moist earthy

touch soft furry

Bryophyte Trachyphyllum_inflexum

sound dense smell

musky moist earthy

touch soft furry Bryophyte Lepyrodon_pseudolagurus

scale 10 : 1

MOUND PLANTING : textural play

mosses combined with recycled rubber surfaces.

zones e : 6.1 plants

urban flow

EUCALYPTUS CAMELDULENSIS RIVER RED GUM

sound leaves insects birds

nostalgic aromatic leaves

smell

touch bark smooth leaves wind ALLOCASUARINA VERTICILLATA DROOPING SHEOK sound smell touch

whispering

smokey

cones spikey needles soft

section through urban flow swale

Use of simple allocasuarina in repetitious radiating lines from the rear of the site develops a rhythm and structure. The casuarinas stretch to the river bank from the edge of the dense country to the sparse river bank. All of the zones planting schemes blur and blend as they mesh the site together. The species have been selected due to their aural characteristics. The textures and touches of the dropped needles and cones provides a contrast of tactile experience with the soft needle beds and the sharp hard little cones. The sound of the casuarina is whispering and mysterious, it denotes movement. Its touch is gentle and is reminiscent of a river in the sky.

PLAN : urban flow swale

exercise mounds

gym / pt hub

covered outdoor gym space

outdoor cafe space

cafe

amenities pavilion

covered outdoor childrens play

10 M

1 : 500 @ A2

exploring ramble

covered outdoor childrens play

cafe

skateable swale

skate shop

skate cafe / bar

5 m

plants

6.1

zones f : plants

seasons

ACACIA IMPLEXA LIGHT WOOD

The use of seasonal flowering plants that have distinct smells have been selected. This specification assists sound leaves insects birds in the development of landmarking across the site, or smell musky autumn summer flowers rather a chain that is the link across the east west. The use of flowering plants that also scent at night have been utilised to assist navigation in the dark. touch ambient leaves Melaleuca integrifolia WEEPING PAPER BARK

sound leaves insects birds smell

nostalgic thick sticky honey like

spencer street

touch bark soft flaking

Plan : planting plan shows verying species that have different smells and

OLFACTORY PLANTING thus provide connectivity across site. PLAN

yarra river

6.1

plants

viaduct over

legend

6.2water Water has been used for its qualities and ability to physically and mentally immerse and to elevate the condition of mindfulness. This direction reinforces the movement away from the optical illusion and metaphor that was identified through research into the Versailles precedent in Project A. The Insight project focus is comletely on the honesty and truth of the water and its relationship to site and to the human body and psyche.

COOL

running immersion

time

memory whispering location

movement cleanse awareness

touch mud

gentle gurgling

SOUND : movement of water

IMMERSION : in water

6.2 VERSAILLES Bassin_de_Flore,_Jean-Baptiste_Tub Illusion : mirror reflection(project a)

VERSAILLES Bassin dâ&#x20AC;&#x2122; Apollon at sun rise : Illusion of the chandelier

PROJECT A : Horizon pond with haha edge distorting horizon line out and blurring edge to real water

Project A focussed on the visual interpretation and metaphor produced by the qualities of water to create experience within its landscape design. The Insight project utilises the sensory characteristics of water to enable immersion sound, texture, smell. The project intents are similar in that they intend to provide an alternate and absorptive experience that places the participant in a captive moment. The use of the view to experience the water created a distancing effect that is not consistent with the intent of Insight. The total engagement and three dimensional experience of engagement with water is critical to the project research and design intent.

PROJECT A : WATERWALL BLURRING THE VERTICAL EDGE water walk distorting vertical vp eyeline locked in corridor with only vertical sky view and corridor end point

6.2 PLAN STUDY into engagement and manipulation of ground plane

PLAN STUDY into engagement and manipulation of water plane to stimulate sound and touch and haptic engagement with water wall

COMBINE PLAN STUDY into engagement and manipulation of water plane to stimulate sound and touch and haptic engagement with water wall

6.2

water

water zones

The development of a variety of water zones was undertaken to 1) amplify and extend the sensory experience within the site. 2) develop a sensory relationship between the user and the water 3) draw awareness to the myriad of ways that water is presented in the urban landscape

C E

10m

CONDITION A : Temporal inundation

CONDITION B : Immersion Pool CONDITION C : Above the waters edge CONDITION D : Tactile and aural spouts CONDITION E : Urban Flow

6.2

water

Tidal inundation amplifies the relationship of the river in the site. The current condition of the bank is a battered stone bank that runs the length of the site. Whilst the bank has greater opportunity for acceptability to the direct water edge than other places in the city reach. The opportunity is tentative and is uninviting creating an obvious divide between water and site. The intervention purposefully breaks the bank and gently terraces it up through a swale to allow the inundation of the daily tide cycle to a certain level within the site. This temporal interaction provides variation in the sounds, movement, smells and access to the tactility of water. The inundation provides opportunity for engagement and awareness of the river itself and the relationship between the body and the rivers elements. Strategically located stone steppers and wetland sedges have been used to filter the incoming flotsam and jetsam into prescribed zones.

section : tidal inundation

condition a : tidal inundation

Tide charts have identified the daily cycle and extent of the rivers tides and have been utilised to determine the sectional change of the inundation terraces.

6.2

water

touch : tidal flow sound : movement of water over rocks on tidal flow

immersion pool river bank

plan : tidal inundation

tidal influx point

yarra river

height and low recordable on the pool edge. Different sounds to the pool haha

sound : movement of water over rocks on tidal flow

smell : closeness to the water touch : tidal water flow

EXPERIENCE : tidal inundation EXPERIENCE: tidal inundation

sound : movement of water through plants and sedges

6.2water

condition b : immersion pool

The pool describes and engages the entire tactility of the haptic self. The pool is gradual banking from ankle deep water to the capability of a full body immersion. The pool is a substitute to swimming in the river, that is it offers filtered conditions that offers little health risk. ( The water for the pool will capture river water and treat and filter it to be freshwater and capable of release into the river itself. The water will be cleaner than the river water and therefore have no negative impact to the natural chemical balance.) The pool utilises a ha ha edge to assimilate with the river adjacent and to create an awareness of the movement of water from the pool into the river. Continuing the metaphor of the river the pool wonâ&#x20AC;&#x2122;t be heated and is intended to provide seasonal temperature experience by the thermal qualities of the seasonal climate.

water spouts

immersion pool

yarra river

section : immersion pool

condition c : above the waters edge

6.2

water

The rivers edge is a subtle intervention that projects over the river water into a depth that is not generally accessible. Being projected out at this levels provides access to different sounds, touches and smells that would other wise be found at the rivers bank.

diagram : representing ambient affect of water

plan : detail relationship study into capabilities and affects of water front

SECTION : Sitting over the rivers edge . Fall of the topography to the bank edge

6.2water

condition d : tactile aural spouts

The spouts purpose is to providing tactility through the power of varying sprays and distances from the spouts. The spouts also create a sound intervention that contrasts to the quiet sounds of the river but that is clearly aquatic. This sound is identifiable with the site and can be utilised as a wayfinding element. The spouts also act similarly to the noise attenuation mounds to the west of the site by creating a muffle to the growl of the road traffic. As with the mounds the spouts let water into the site at certain points and also at varying chronologies throughout the day. Olfactory awareness is also engaged with as the water and its relationship with the textures and its surrounds provides a contrast to the dry areas of the site. The spray elements represent a metaphor to the grasses that are mirrored to the western boundary of the site. They are light and capable of being manipulated by environmental conditions such as wind. They straddle the main thoroughfare that passes by the park and thus engages even the passer by with the premise of the parkland to engage, immerse and make aware. The water spouts also represent the sites relationship to the riverfront by responding to the varying position of the tide, that is when the tide is high the spouts run at full capacity and when the tide is low little water emanates from the intervention. Whilst the energy of the spouts is not derived from the river flow the metaphoric expression represents the temporal nature of the river.

precedents :

examples of water play waterfall and water spray

tactile aural spouts : tide out

The water zone area also acts as a secondary stormwater catchment of the site

tactile aural spouts : tide in

relationship of water play to immersion pool

6.2

water

DECOMPOSED GRAVEL sound crunchy smell dirt touch scratchy

BLACK GRANITE sound smell touch

quiet grass

soft cool

providing contrast to the contextual environment

touching , hearing, immersing within the water

6.2water

condition e : urban flow

The acts as a stormwater catchment for surrounding streets that naturally fall toward the riverbank. The intention is to capture this stormwater through existing kerb and guttering into two central swales that channel the overland flow to the river. These flows have outflow points through the tidal inundation and aural spout locations. The overland flow of water is intended to create opportunities for engagement with aural, tactile and olfactory senses and an awareness of the presence of water in the urban landscape. To further the capacity of this experience the capture of rainwater of the rail viaduct is proposed and intended to be stored in tanks that can be utilised for site irrigation. In addition to this utility purpose the tank will also act as a amplifier for the vibrations of the trains overhead. The water store will vibrate as a result of the movement of the train. On the passing of the trains the water body will vibrate and expel water out of an overflow vent into the swale each time a train passes over head.

vibration of water tanks

flow of water = touch sound smell

section : through water vibration tanks

overland flow of stormwater = touch sound smell

section : urban flow

vibration of water tanks

flow of water = touch sound smel

6.2

water overland flow of stormwater from

overland flow of stormwater from

flinders street catchment

= touch sound smell

wayfinding

flow of water = touch sound smell

overland flow : created swale path

plan : urban flow - stormwater catchment from flinders street

ll flow of water = touch sound smell

iundation of daily tide flow of water = touch sound smell

6.3 ground The manipulation of ground plane has been used as a tool to provide legibility to control sensory elements and to provide tactile interaction with users. This has been explored through topographical manipulation and a variety of different textural specifications. Through the course of the research programme studies into the manipulation of ground plane have identified this tool as critical in delivering the desired design intent. Project A investigated ground and view point perspective and the ability to control the desired optical outcome of the audience. In comparison Project B removes the concept of ground manipulation to control views and vistas, and uses topographical play to stimulate sensory response and to control the influx and magnitude of sound. Where the intentions of the Project B and A works correlate is through the ability to control the movement of the users and determine somewhat their experience. Project B utilises the topography of the ground plane to enhance the feeling of movement across the site, and to amplify the fall toward the river bank.

Studies into relationship of ground plane textures and form.

movement

Ground also incorporates surfaces that are sat, walked or lied upon. They are selected for their ability to interact with the senses for example; percussive nature, touch textures , olfactory ability dry and wet.

COOL

Ground textures have been strategically selected and located to promote interaction or discourage conflicting activities.

whispering location immersion

time memory

awareness

touch

gentle

Studies into ground plane movement and form. Capability of topography to evoke movement.

reference to project a

6.3

versailles : manipulaiton of ground plane and view point scale of form larger in outer section to distort proportion and intend view point to shorten due to scale

scale of form graded to a central civic point emphasising this centre of site

bb cross section - scale diagram grade down of site to water extending site toward CBD context. Increase scale of form integrating with skyline context

apparently open section, but with scale of planting to allow intimacy at one point but allowing expansive view over the top from higher vantage points

bb cross section - topography and scale

water wall pathway

scale and size of built form angled to direct eye to civic point

private contemplative zones amonst open public space and vista

gradient fall toward city view up to civic space and journey pathway utilisation of civic open space

6.3 ground

ground plane formation studies

noise mounds : spencer st internal site changed condition

ground plane : exploring sections and fall

ground plane : internal manipulation of ground plane prior to applying plant layer

noise mounds : spencer st internal site

ground plane : internal manipulation of ground plane prior to applying plant layer

noise mounds : spencer st, isolating the activities inside the park from the urban context

6.3 ground ground zones

ZONE A - noise mounds and topographical manipulation ZONE B - play tactile smell ZONE C - movement and legibility ZONE D - swale type a and b

6.3 ground

zone a : noise mounds and topographical manipulation

Noise attenuation mounds are utilised to control the movement of sound into and through the site. The heavy utilisation of earth mounding to Spencer St allows sound to enter the site at strategic points that assist in the legibility of sound across the site. The mounds muffle sound entering certain points of the site which provides contrast to the areas that focus sound in and seemingly amplify the sound at other locations. For example the sounds synonymous with tram stops are channelled into the site to allow for legibility and location of the tram stop. The control of sound enables the contrast of the urban park experience to be varied and engaged with as preferred. Current site conditions have a white noise effect that is homogenous due to the uniformity of ground plane and vertical elements. The undulating greater mounds across the site have been formed to capture and channel sound to specific locations and to focus and draw awareness to the urban context.

SECTION CROSS - SOUND - showing sound mounds and extent of topographical manipulation

6.3

SECTION DETAIL CROSS - sound movement

6.3

zone a : noise mounds and topographical manipulation

Topographical plan

sound out

effect of noise mounds : absorbing sound letting sound flow over crest gaps in layout allowing for penetraion of clear waves at specified location

SOUND FORMATION DIAGRAM - showing sound mounds and extent of sound movement and attenuation

6.3

zone b : play tactile smell

While tactility and smell occurs over every location of site for this element of ground plane it is the dominant feature. The nature of the mounds themselves is organic and flowing. The moss play mounds offer a special level of interaction with unusual textures coolness, density and smell of the mounds. these areas provide a shelterd area that evokes nostalgia of the forest floor. The contrast of the hardness of some surfaces with the softness of the moss provides differences in sounds, smells and touch that make the elements easily discernible. Incorporated into this area are surfaces of bluestone cobbles and decomposed gravel that mesh the surrounding areas around them. As this area is prescribed in the first instance for quiet introversion the surfaces selected are purposefully textured to discourage urban activities such as skateboards from this section of the site.

mosses

soft slow resting

sound

intriguing scale contrast smell touch

earth

cool soft

furry

RECYCLED RUBBER sound DULL

smell

NOSTALGIC

touch

cool soft

BLUESTONE sound PERCUSSIVE smell

COLD

touch

cool soft

SOUND AND PLAY MOUNDS - multi purpose solution offering play and functional sound absorpbtion

6.3 ground

zone c : movement and legibility

CONTOUR PLAN - Reflecting undulations and manipulated ground plane

Topographical ground manipulation utilises introduced fill to site to elevate areas and manipulate sound movement and attenuation throughout site. Additional function of topographical change has been to alter the gradient to assist in wayfinding and logic of the natural fall of land to a water course and the rivers edge. Playing with gradient has also created a sense of movement through the flowing effect of the subtle undulations that run longitudinally across the site.

6.3 ground

zone c : movement and legibility

mound

swale swale bank

TOPOGRAPHICAL MASSING - Reflecting undulations and manipulated ground plane

SECTION : Fall to river articulates the arrival at the river bank.

swale

6.3 ground

zone d : swale type a and b

Swales have been utilised to multi function 1) stormwater flow 2) allow river inundation 3) skate bowl 4) landmarks to define wayfinding within site

textured ground plane : reverse logic have cobbles to outside pedestrian zone and smooth swale in centre for vehicle, bikes, skateboards. Ties in with existing melbourne laneway fabric.

SECTION LONG - swale

SECTION CROSS - swale skate swale showing fall to river of overland flow from flinders st and laneways.

6.3 ground

Urban activities incorporated into functional aspects of scheme

7.0

reconstructing the elements

Once all of the elements were deconstructed and considered within their detailed response to the sensory activation. They were reassembled to form the integrated solution. The process of testing design iteration and exporation was utilised to question and interrogate the composition and what balance of design ingredients was put together.

plant

+ ground

+ water

+ =

7.0

reconstructing the elements testing the position through iteration

Retention of existing arcade retail use

Developing legibility by the use of the design toolbox and elements. 1) order : development of a rigid spine 2) repetition

ITERATION Testing the relationship with the water front. 1) Altering the line of the waters edge. 2) Bringing the water into the site. 3) Connecting the site with its context through the activity of the toolbox elements.

LEARNINGS : importance to design of connecting to greater urban context even with subtle action. Use of expression of natural occurring elements to express design vision. Formality of normative approach not reflective of intent of project intent.

SITE PLAN DEVELOPMENT : combining the layers through plan ITERATION : developing sensory aspects of the elements of the site and their relationship to the surrounding context. At this point there was a focus on excluding the urban elements such as transport noise. The plan still denotes an island approach that sees a distinct boundary between the â&#x20AC;&#x153;park siteâ&#x20AC;? and its context. This was driven by the desire to have an escapist location within the city. This mentality was supported by the arrival into the site through a mysterious small opening with the revelation of the site made known when you passed through an overhead arbout .

SITE PLAN DEVELOPMENT : testing the reconstruction of the elements

Continuing to be ignored was the issue of the train viaduct and how to deal with that and its wall like presence to the north of the site. The notion of coming through a small opening was also being applied to this area of the site. But as is evident in the plan an unresolved element still existed. LEARNINGS : Contextual blockage formed by design approach Disjunct due to island effect.

7.0

reconstructing the elements

ITERATION 1) Emergence of participation through sound, smell, touch of all toolbox elements. 2) Bleeding the waterfront into the site further by creating interactive sensory experiences. 3)Emergence of the concept of Immersion. 4) Interacting with the sound mounds to experience the urban context 5)Using the movement of the train to influence experience. Movement of plantings. LEARNINGS : Importance of the concept of immersion and mindfulness as a participatory design tool. To be applied to the logic of all design elements. Still issue with viaduct. acting as a wall . Still need for greater bleeding and relationship with site context

SITE PLAN DEVELOPMENT : developing the phenomenological idea ITERATION 1) Emergence of representation of haptic and subliminal sensory opportunity. 2) Integration with the site context : blurring of the edges. 3) Development of drawing technique to articulate design intent 4) Intertwining of site elements to interlink with each other. Linkages and inter- relationships.

SITE PLAN DEVELOPMENT : developing the phenomenological idea

LEARNINGS : Development of drawing techniques specific to project intent. Representing the sensory elements. Still not convinced of the wall of the viaduct and the role of this element. Trouble over the retention of existing function.

7.0

reconstructing the elements testing the position through iteration

high decible urban traffic noise

buffering the sound through the creation of water sound through fountain play

confusing urban sound soup still penetrating aspect of site

density and presence of the river body

flow of urban sounds confusing urban sound soup controlled through positioning of mounds

water fraying layering the density of the qater presence

sound intervention : outcomes of sound condition post intervention

scratchy ground

smooth worn urban stone

river pebble water swale

immersive planting shade cool scratchy ground

lapping water

spray water

moving water

ground interventions : exploring touch elements textures and ground surfaces

7.0

reconstructing the elements

testing the position through iteration

ground interventions : human movement flow following haptic elements for wayfinding

WATER interventions :water touch haptic opportunity for engagement with water element

7.1

reconstructing the elements

The testing process considered the physical components but essentially was driven by the experiential outcome of the design composition. Sensory relationships were key in the testing of how the site would evolve. The emergence of the site within its context and the valuable contribution that the urban context and its characteristics gave to the phenomenology of the site was influential in the site planning. This process identified the fraying and interweaving of the the edges of the park site and its contextual site.

exposed

consciousness

overflow

beat vibrations

woorrrrrr

44 3

ding ding6

contrast

refraction sound confusion movement

relativity

amplification 32

immersion

snarl rrrrrrrrrrrrrrrg

35 1235 17 7 7 10

water

contrast

cool flow

20 20

relativity snarl growl overflow grrrrrrrrrrrrrrr grass running 7 meeeep 7 removed absorbed water growl swish amplification 6 6 swish reinstatement meeeep shade open soft touch interaction sun touch 7 understanding amplification coming restful soft change shadow going transition change 1 immersion tidal influx mindful 13clarity of gentle sound edge amplification

ground river

7.1

reconstructing the elements

plant

: smell diagram defining different species and olfactory capabilities

ground : topographical manipulation

7.1

reconstructing the elements

water tidal inundation river and storm flow

7.1

reconstructing the elements

sound movement touch turbulence describing the ephemeral influence of urban transport arteries.

sound movement touch turbulence describing the ephemeraal influence of urban transport arteries.

7.1

reconstructing the elements

EXAMPLES OF TACTILE AND HAPTIC EXPERIENCE

viaduct

touch : applying the haptic response

combined sensory plan

7.1

reconstructing the elements

section

sound

touch sound smell

touch : expressing the connection back to the greater cbd through overland flow

: vibration of train

touch

movement of water

sound

flow over rocks :

smell

water with surface

touch

section a

: expressing the vibration water

7 2

touch

of leaves of bark of shadow

sound

: movement of trees

smell

of blossoms

touch touch

n of train through movement of

textures of the surfaces to stand sit walk on whilst experiencing the different stratas

sound smell

: water through tidal inundation . expressing the relevance of the river to the site. and to the daily cycle of the natural

7.1

reconstructing the elements

section b

touch

: vibration of train

touch

textures of surfaces

touch

sound

movement of trains

soun

smell

plants and surfaces

smel

touch

textures of surfaces vertical and horizontal

sound

of retail. of ricochet and unique quality of sound under viaduct.

touch

textures of the surfaces to stand sit walk on whilst experiencing the different stratas

7.1

reconstructing the elements

of leaves of bark of shadow

: movement of trees

of blossoms

touch

textures of the surfaces to stand sit walk on whilst experiencing the different stratas

longitudinal section yy

7.1

ephemeral grassland

detail 1

ground: Crunchy

water :

plant :

rain smell of surface plant change whispy fine , delicate whispering dry

STATIC DIAGRAM

KINETIC DIAGRAM

DECOMPOSED GRAVEL sound

crunchy smell

BLUESTONE sound

GRASS

dirt

touch

PERCUSSIVE quiet smell

whispy fine , delicate

whispering

scratchy

grass touch

dry DANCING

sound

touch movement

turbulence

sound

COMBINED OUTCOME

GROUND

PLANT

shadow

turbulence

movement

HAPTIC DIAGRAM : ephemeral grassland

7.1 detail 2

Melaleuca quinquenervia leaves insects birds nostalgic thick sticky honey like touch bark soft flaking

TIMBER DECKING

warm

smooth

percussive aromatic nostalgic

GROUND WATER

DECOMPOSED GRAVEL sound

crunchy smell

SANDSTONE sound NB Atenation of sandstone hard surface with deco to reduce attraction to skater remove conflict with others

PLANT ACACIA IMPLEXA

WATER

dirt

touch

PERCUSSIVE quiet smell

whispy fine , delicate

whispering

scratchy

grass touch

dry DANCING

immersion

Moving through the site with repetition and pathways lead by repetition of planting shadows and smells of the trees. textures of ground.

PLANT

COMBINED

HAPTIC

7.1 detail 3

crunchy smell

DECOMPOSED GRAVEL sound

SANDSTONE sound

dirt

touch

PERCUSSIVE quiet smell

NB Atenation of sandstone hard surface with deco to reduce attraction to skater

ground

scratchy

grass touch

plant

LEPTOSPERMUM LANIGERUM WOOLY TEA TREE

sound

leaves / birds

smell

flower late spring / summer

touch

sour aromatic leaves bark fibrous leaves

ALLOCASUARINA VERTICILLATA sound s mell smokey t

ouch

whispering

cones spikey needles soft

EUCALYPTUS CAMELDULENSIS

s Sound leaves insects birds smell

nostalgic a

touch bark smooth leaves wind

romatic leaves

immersion

haptic

combined - sensory and physical tools

7.1 detail 4

crunchy smell

DECOMPOSED GRAVEL sound

SANDSTONE sound

dirt

touch

PERCUSSIVE quiet smell

NB Atenation of sandstone hard surface with deco to reduce attraction to skater

ground

scratchy

grass touch

ground

LEPTOSPERMUM LANIGERUM WOOLY TEA TREE

sound

leaves / birds

smell

flower late spring / summer

touch

sour aromatic leaves bark fibrous leaves

ALLOCASUARINA VERTICILLATA sound s mell smokey t

ouch

whispering

cones spikey needles soft

EUCALYPTUS CAMELDULENSIS

s Sound leaves insects birds smell

nostalgic a

touch bark smooth leaves wind

romatic leaves

immersion

plant

immersion

7.1 detail 5

RECYCLED RUBBER FLOORING sound

BLUESTONE sound

moss

SOFT absorbive

PERCUSSIVE quiet smell

sound

leaves / birds

smell

flower late spring / summer

smooth bouncy

touch

grass touch

sour aromatic leaves bark fibrous leaves

ALLOCASUARINA VERTICILLATA sound s mell smokey t

ouch

whispering

cones spikey needles soft

moss

s Sound leaves insects birds smell

nostalgic a

touch bark smooth leaves wind

romatic leaves

7.1 detail 6

BLUESTONE sound

tactile aural spouts : tide out

PERCUSSIVE quiet smell

grass touch

tactile aural spouts : tide in

Melaleuca quinquenervia leaves insects birds nostalgic thick sticky honey like touch bark soft flaking

BLUESTONE sound

DECOMPOSED GRAVEL sound

PERCUSSIVE quiet smell

crunchy smell

dirt

touch

grass touch

scratchy

7.1 detail 7

DECOMPOSED GRAVEL sound

crunchy smell

dirt

touch

scratchy

ALLOCASUARINA VERTICILLATA sound s mell smokey t

ouch

whispering

cones spikey needles soft

7.1

realising the phenomenology - through the sites functional prescription

Whilst the research is not about commercial interests on the site, consideration had to be made to the existing retail function and what impact that had on enabling the development of the research question. The site has an existing capacity of temporary type retail intervention structures and while these have some degree of success commercial and on an activation level, their location impacted on the function of the site in a phenomenological sense as well as the ability to connect the site back into the urban fabric. Extensions to the existing on site function have been proposed and are contained within the structure of the rail viaduct and are identified in the zones below. The activation of the park for safety perception reasons is critical to the success and its attractivity. ZONE A - Gymnasium The gym function is an extension to existing personal training activity it promotes physicality and awareness of the body and is thus in keeping with the design intent. The installation of noise mounds composed of a rubber fabric that absorbs excessive sound but doubles as exercise devices integrates this activity with the core design intent and outcomes. ZONE B - transport The tram stop is retained. The extension of the landscape planting and surface textures changes the nature of the transport artery to be a moving sound element of the site. Specification of plant type marries with the sound landmarks that direct people to or away from the area. ZONE C - skate The skate zone brings urban function into the park. It brings sound and movement of urban life. The utilisation of swale and water shed devices as cross functional devices increases awareness of the role of the site and engagement with elements such as water . To support the skate function retail and hospitality stores such as a skate shop and bar are also proposed to heighten all hours activity . ZONE D - children Childrens play areas are identified adjacent a central cafe within the viaduct structure this allows such activity to occur away from traffic and a distance from water. The power of the meeting mothers and commercial success should not be underestimated. The description of the phenomenological experience has been detailed at length previously. Amenities are provided here as well as mechanical infrastructure for swimming pool and water treatment. Smells of coffee , wayfinding to the shop.

gym / pt hub

exercise mounds

cafe covered outdoor gym space

outdoor cafe space

1 : 500 @ A2 10 M

skate cafe / bar amenities pavilion

skate shop

cafe

covered outdoor childrens play

exploring ramble

skateable swale

8.0

enlightenment

INSIGHT : SEEING WITHOUT VISION How can elements of the landscape be used to redefine experience in the urban environment? The research question was formed as a response to the dominance of the visual within the urban landscape. The project set out to explore what the effect of removing vision from the top of the design hierarchy would be and questioned how it would be to approach design from an alternate perspective using a restructured design tool box. The question explored what the experience of the urban landscape could be without vision, and what contingencies could be put in place to compensate for the loss of what is the primary tool of navigation and legibility for the majority of the population. Fundamentally the project explored a universal position for all, vision impaired or not and how this upheaval of design privilege might actually enhance and amplify the overall experience. Interestingly the question evolved out of the study of the 17th century french landscape movement, a time of visual luxury and adornment and excessive visual stimulation and opulence. The Insight question explored how the reliance on the visual sense could be replaced with experience of smell, sound and touch through the strategic implementation of the design tools of ground, plant and water. The design did not set out to be extravagant, its very intent was to juxtapose the construct of the urban environment and provide experience that did not rely on structural intervention. The project engaged detailed interventions that rely primarily on the interaction with natural environmental elements. Whilst there was some manufacture and privilege given to the manipulation of ground plane, with the purpose of affecting the sensory elements, the focus was on the facilitation of opportunity to interact with the human body. From this perspective the project proposes highly considered interventions that are delicate and ephemeral and that manipulate existing conditions to affect this interaction. The risk with the interventions is that the apparent simplicity is regarded as normative and does not advance the position of an urban landscape. However, with considered observation the magnitude of the interventions can be apparent. In measuring the capability of the research to be more than academic, the project proposes a methodology of how it is inserted into the existing urban landscape. The project considers and proposes functional and economic interventions that enhance and support the research question and strengthen the overall capability of success for the site. The project has tested my response to the discourse of landscape architecture and how the landscape has a role in forming the link between the architecture of the built environment and the landscape environment. This project has been focussed on providing experience, creating awareness of the self and the relationship to the natural environment through the contrast to the hardscape of the built environment within a parkland setting. My projection of this position is to further investigate the utilisation of landscape elements and the capabilities that they have in intertwining the conventional architectural form with true landscape elements. The successful intermeshing of the two disciplines is a priority in my future practice and purpose of me undertaking the masters of landscape. The project itself has given much insight to myself about my methodology regarding the practice of landscape architecture. My instinctive response to environmental surroundings is embedded within the scope of the theory. The way I go about experiencing the world is in this textured experiential detail and my most successful projects are those where this perspective is shared with the project. If the Project A intent was to provide alternative experience within the urban realm, that contrasted to the increasing urbanization of Australia, then the methodology applied in Project B provided a more successful and convincing method to do so. Where in project A, I acted untrue to myself, the enjoyment of the exploration of project B through what intrinsically was myself and my way of seeing the world, identifies to me how my practice should evolve.

bibliography

9.0

Kotzen, Benz; English, Colin, Environmental Noise Barriers : A Guide To Their Acoustic and Visual Design, Taylor & Francis, 2009. Lynch,K. The Image of the City, Publication of the joint Centre for Urban Studies. Cambridge, Mass :MIT PRESS, 1960. Pallasmaa,J. The Eyes of the Skin: Architecture and the Senses , Academy, 1995 and John Wiley & Sons, New York , 2005. JOURNALS AND PUBLICATIONS Architectural Design , Special Issue: Territory: Architecture Beyond Environment Volume 80, Issue 3, May/June 2010. (entire publication)

Australian and New Zealand Standard 1428.1 Design for access and mobility Part 1: General requirements for access窶年ew building work, Standards Australia International Ltd, Sydney 2009 Bowring, Jacky (2006). The Smell of Memory: Sensorial Mnemonics. Landscape Australia: IFLA Conference Papers, May 2006, 156170. City of Yarra. Gardening with Native Plants, City of Yarra, Melbourne,2001. Havi.E, Melis-Dankers.B, Steyvers.F, and Kooijman.A, Accessibility Of Shared Space For Visually Impaired Persons: An Inventory In The Netherlands, British Journal of Visual Impairment 2012 30: 132 Hersens,J. Haptic Design Research : A Blind Sense of Place , 2010. http://www.aia.org/aiaucmp/groups/aia/documents/pdf/ aiab087187.pdf Hussein,H. An Exploratory Study of Sensory Gardens, http://www.fandangodesign.com/grs/hussein.pdf Seen august 11 2013 RADFORD, A and SHANNON, S, Iteration as a strategy for teaching architectural technologies in an architecture studio, Architectural Science Review. 53.2 (June 2010): p238. WEB Blur Building窶ｨDiller + Scofidio + Renfro http://www.arcspace.com/features/diller--scofidio--renfro/blur-building/ seen September 2013 Walking in urban design http://usj.sagepub.com.ezproxy.lib.rmit.edu.au/content/49/15/3271.full.pdf+html Seen 15 august 2013 Sound in parks http://ac.els-cdn.com/S0048969713003318/1-s2.0-S0048969713003318-main.pdf?_tid=d5048e66-11c7-11e3-909e-00000aab0f6c&a cdnat=1377903752_308eb5ae52ec7161ce90bee4b3c85b5b noise walls Melbourne http://www.connecteast.com.au/page.aspx?cid=596 Seen august 18 2013 noise mounds http://www.tmr.qld.gov.au/~/media/busind/techstdpubs/Road%20Traffic%20Noise%20Management%20Code%20of%20Practice/ Chapter4F%20NoiseBarrierTypesAppendix.pdf Plants http://www.anbg.gov.au/abrs/Mosses_online/19_Stereophyllaceae.html Tower of Wind, Toyo Ito http://lab-au.com/mediaruimte/digital_territories/projects/cybernetic/Tower-of-Winds_Toyo-Ito.html seen 10 October 2013 IMAGES Eastlink, Victoria. Noise Attenuation Barriers. http://www.lovesfoodandart.com/tag/melbourne/ Seen 18 august 2013 http://architectureau.com/articles/eastlink-freeway-national-architecture/ Seen 18 august 2013 Craigieburn Bypass, Victoria: Tonkin Zulaikha Greer http://www.tzg.com.au/projects/craigieburn-bypass Seen 18 august 2013 BP Bridge, Millennium Park http://well-temperedforum.groupee.net/eve/forums/a/tpc/f/9130004433/m/1011025446 Blur Building,窶ｨDiller + Scofidio + Renfro http://www.arcspace.com/features/diller--scofidio--renfro/blur-building/ seen September 2013 Tower of Wind, Toyo Ito http://lab-au.com/mediaruimte/digital_territories/projects/cybernetic/Tower-of-Winds_Toyo-Ito.html seen 3 October 2013 Plants : Mosses Australian Government, Department of Sustainability, Environment, Water. http://www.anbg.gov.au/abrs/Mosses_online Seen 1 November 2013