S_Hicks_ADR_CONCISE

FIELD WORK INVESTIGATING SITE AS MATERIAL M.L.A - A.D.R

SARAH HICKS

FIELD WORK INVESTIGATING SITE AS MATERIAL M.L.A - A.D.R

SARAH HICKS

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Throughout this investigation, the designer assumes the role of bricoleur , conceiving minimal but obvious/constructive interventions, working from what a site provides in terms of both information and material - the word ‘resourceful’ replacing the jargon of ‘sustainability’. By closely engaging with the pre-existing ‘dialogue*’ occurring on any site, the ill informed decisions behind neglected and inefficient public space infrastructure can be somewhat addressed; while simultaneously reducing the economic and ecological expense of complete transformation.

RESEARCH QUESTION How can the design process directly engage with pre-existing site conditions of material, phenomena and use/behavior as a means of decision-making?

How could such an approach be useful to landscape architecture practice?

ABSTRACT If ‘meaning ’ cannot necessarily be communicated via landscape formalism, but is rather more likely to stem from an experienced ‘transaction ’ between a person and design, which accumulates over time; how can the design process more effectively engage with this particular operation? In response to this understanding, this body of research investigates the reasoning behind the continual decision-making processes encountered in the act of design. By interrogating personal practice, and testing various methods of analysis and design, the research will contribute towards the definition of a particular methodology.

After Debord, the research will seek to understand how the ‘hard ’ of physical constructions can interplay with the less tangible ‘soft ’ ambiances of ‘sound, light, time, the association of ideas.’* To build on this, how the ‘hard’ of formal interventions (constructions) can also be derived from the ‘hard’ ambiances of geomorphology, topography, construction, vegetation, and hydrology. In this approach, the design is an act of articulation, defining or explaining what is there.

By considering existing site conditions of material, phenomena and use/behavior as ‘material’, design brief (purpose) as ‘subject’ and public as ‘participator’, it is intended that formal decisions become a process of response and mediating intervention. The act of curation and analysis of precedent (research about design) provides an ongoing framework for defining design criteria.

The production of design work attempts to further align site analysis to the action of design, exploring the potential of both the dérive and psychogeography , field drawings and on site 1:1 modeling of small-scale interventions, in combination with representational drawing and photography.

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Marc Treib, ‘Meaning in Landscape’, Routledge, 2011 ibid. pxii Debord defines the dérive as “a mode of experimental behavior linked to the conditions of urban society: a technique of rapid passage through varied ambiances.” Guy Debord, ‘Definitions’ Internationale Situationniste #1 ,Paris, 1958 Debord defines as ‘the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals. ‘Introduction to a Critique of Urban Geography’, 1955 ‘In our own time, buoyed by the rise of ecology, the architect is more Robinson Crusoe than scholar, salvaging what he can from the shipwreck of culture and making the most of nature’… The architectbricoleur, shall be neither modern, working for the amelioration of the greater number, nor postmodern, seeking to create a sensation. He shall be, after Bruno Latour, premodern, making the best of both new and old techniques and embracing circumstance and accident in his craft’.

‘Guy Debord’s truest intention was to unify two different factors of “ambiance” that, he felt, determined the values of the urban landscape: the soft ambiance – light, sound, time, the association of ideas – with the hard, the actual physical constructions. Debord’s vision was a combination of the two realms of opposing ambiance, where the play of the soft ambiance was actively considered in the rendering of the hard.

The new space creates a possibility for activity not formerly determined by one besides the individual. Wikipedia: http://en.wikipedia.org/wiki/ Psychogeography#cite_note-0 ibid 9

> Discuss use of Precedent to understand own criterea, how to work towards an appropriate methodology.

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EXTRUSION

MAKING SENSE OF SENSEBILITY

OBSERVATORIUM

PET ARCHITECTURE

Because a ‘position’ is not fixed and continually develops with accumulated sub/conscious knowledge, it is often sensed through intuitive assessments rather than deeply understood.

FRAMEWORK

MATTA-CLARK

..Discuss developing an approach to landscape architecture that is more closely relative to my ‘position’.

I understand my position to be both my conscious opinion of the field and the conscious and subconscious decisions I make in the act of design. I am always aware of my opinion, so it is conscious, however the reasoning behind these preferences can be difficult to articulate or understand. These preferences are built up from endless (often subliminal) observations and experiences, and accumulate to influence each design decision. By addressing the most fundamental, pragmatic problems of landscape architecture regarding networks of passage/flows, provision of amenity and ecological improvements, there are broad - perhaps endless - formal possibilities in terms of from, configuration, and materiality. In this way, a set of guiding aesthetic/ethical principles could be useful as a means of approaching any given design task.

SUBTRACTION

PREFACE

FIELD OP./ D.S +R

CONDITION AS SUBJECT

HOLL

BRIEF AS SUBJECT

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JUXTAPOSE

DE MOURA

ACTION:

AUTHOR:

DISPLACEMENT

HAAKE

INTERSECT

SIZA

INTERACT

MIMESIS

TRANSFORMATION

DETOUR L.A

E.M.F

MOLLER

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ACTION:

AUTHOR:

SITE AS MATERIAL

MARY MISS

SITE AS MATERIAL

DESCOMBES

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‘OPEN’ FORM

MOLLER

EMF

DELINEATING ECOLOGY

AGENCE TERRITORIES

DELINEATING CONTOUR

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READING SITE (ANALYSIS)

percentage of social housing along the creek, as well as the connection of the creek to a linear park/bike network are significant and influence design developments.

Instrumental to the foundation of designing with ‘site as material’ is a grounded and in-depth process of site analysis.

The typological study of different ‘greenspace’ types revealed a strong correlation between social housing to ‘terrain vague’ areas, and re-vegetation areas to high value real estate. The extensive re-vegetation reflects the ideology of an educated left leaning middle class of the northern suburbs, while terrain vague is less romantic in its indication of poor land quality (ex-industrial) and absence of maintenance funding priorities.

Following the conclusion of project A and new gained knowledge, the process of initial site analysis will need to be extended and reviewed. The trajectory of this body of research could begin at this initial point, whereby the act of analysis and design are more consciously connected.

In this case, an act of closely mapping site conditions to a minute level of detail becomes an action of ‘design’. By also researching and tracing various historical layers, Descombes intends to reveal and re-integrate past ‘cultural’ forces (human ideas/decisions). This can be differentiated from an act of ‘making meaning’ because it informs decisions of arrangement rather than formalistic inventions, Initial mappings of site contexts remain a useful starting point. Mapping the contextual green space and defining the open, public space within this body evidence it evidenced to be of high proportion relative to surrounding settlement.

(See right) Given the high proportion of existing open green space, development of the lower tract of Merri creek could be restricted to hydrological/ecological improvements. However, by further analysing the typologies of this public space and various programs and networks- in relation to social context - further development decisions can be determined.

(See following.)

By determining local contextual public institutions and public spaces/recreation facilities in relation to site, programming can be more constructively determined and located. The lack of public pool facilities (one, in blue) and the high 16

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FED S

SIZA_LIGHT SHAPES

SITE AS MATERIAL:TRANSFORMATION

SOCIAL FORM

Duci inte, quam quam vivisque in tanum it, consus, condeffreo mordius cestess oludam nonunc vive, videtorae nirionv oludes? quonfecupio, C. Fui crestra crenterniqua L. Mium forebesidete desis consit, quam obse estra Sciente rdissig nonsin audampos, per acci cessigna, Catus. Ebenteb eribus pariore ponsum prae te nihilicae inaturs ultiam.

Ox scre nume octorum satimus.

Hoctur. Simis? Ivit, quem, que di, nerivid re norem aurnihin scre porteri conside Ox scre nume octorum satimus.

Hoctur. Simis? Ivit, quem, que di, nerivid re norem aurnihin scre porteri conside

MAKING SENSE: ENVIRONMENTAL COHERENCE

CARAJOUD: BLURINGING THE STREET

OBSERVATION SURVEYS Duci inte, quam quam vivisque in tanum it, consus, condeffreo mordius cestess oludam nonunc vive, videtorae nirionv oludes? quonfecupio, C. Fui crestra crenterniqua L. Mium forebesidete desis consit, quam obse estra Sciente rdissig nonsin audampos, per acci ces Hoctur. Simis? Ivit, quem, que di, nerivid re norem aurnihin scre porteri conside

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R&SIE: SUBVERSION (TOPOGRAPHY MADE OF CARPARK)

DESIGN TRAJECTORY: RESEARCH THROUGH PRECEDENT

CONTEXT AS MATERIAL: CONTRAST

CLEMENT: THIRD LANDSCAPE - OPPOSE

SUBJECT AS MATERIAL

DESIGN TRAJECTORY: RESEARCH THROUGH OBSERVATION

EMF: EXAGGERATION/DELINEATE (TOPOGRAPHY)

ENGAGEMENT/INVOLVEMENT: ENVIRONMENTAL COMPLEXITY

DESIGN TRAJECTORY: RESEARCH THROUGH RESEARCH QUESTION

>>>

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SOCIAL FORM Duci inte, quam quam vivisque in tanum it, consus, condeffreo mordius cestess oludam nonunc vive, videtorae nirionv oludes? quonfecupio, C. Fui crestra crenterniqua L. Mium forebesidete desis consit, quam obse estra Sciente rdissig nonsin audampos, per acci ces Hoctur. Simis? Ivit, quem, que di, nerivid re norem aurnihin scre porteri consideUtuamerc eressidemen Ita, sunim intis.

Buterferis sciam til venatam de consilne popoenti, octam ficto esidiem imo escienat, Catu castris furo ete crius tanulti mordies soliis, erfecere, finatis, que ocam nocrita butussim priosterdic tessulum nite re a et voctui inatam in rem opor atum atia opubis acerus nonsultus adhui in dit, dic is si templi perite, consitis laritan telare, nunum inente, omnius aressenicum caes hor in aur aucepoptem dierei sit Catorip temquam ac fac in ata ret, publin di perit puliissi sena, num publict essissat, o moratiam niu vium nos vitatrum denterrae pont?

Ad faci iam omnita o idiente ateritiae prae milinti actoret; entis es re que nes!

Sulium publint ilicatium ac rec ocavocaes ves crum in Etrit; hosto contiu et fue et, ne pro, dint.

Odiis, mis M. On Ita nimius cone ilin ia rei cuperum, pos condum iam praedet imorte inam nos pror auctum omprae acissuamque ia noculium publium pere ta, noximus, tatium quam iae ante culvir unt? O tamqua nes factum ete et; hostus condam idefacciem igno. Mulica L. Muliaet? Ecri pernitiquam simistemore movilius civir ad dionitem publicaedem nos, spio, sunte niquemquem denstam dicie te elina, caeluterium vides? Habus auturaela neq

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SPATIAL

SITE A EMF_GRASS IMPRINT

SITE AS MATERIAL:TRANSFORMATION

SIZA_LIGHT SHAPES

CARAJOUD: BLURINGING THE STREET

PATH DRAWINGS Through a series of rope drawings I was able to test various path iterations within one site. Ostensibly, these actions were a simple means of experimenting with various formal pathway variations, however it was later made apparent that these ‘drawings’ in fact exemplified key design strategies. By objectively analysing a recorded action, further, unexpected insight can be gained.

CLEMENT: THIRD LANDSCAPE - OPPOSE

Processes of design can be analysed by interogating the breif desicions of placement and arrangement of the rope in response to the ground conditions.

The desicions are usually instinctive and relatively straight forward during the action of drawing.

R&SIE: SUBVERSION (TOPOGRAPHY MADE OF CARPARK)

DESIGN TRAJECTORY: RESEARCH 1:1

The sub-conscious decisions (pointed out to me) were suggestive of an underlying approach that I had applied on a broader scale with in my project proposal. (Fig.01) The conscious decisions made in the various iterations were a means of better understanding the effects of drawing decisions made in plan, and intended to ‘interact’ with topography. (Fig.02) DESIGN TRAJECTORY: RESEARCH THROUGH PRECEDENT

SUBJECT AS MATERIAL

CONTEXT AS MATERIAL: CONTRAST

EMF: EXAGGERATION/DELINEATE (TOPOGRAPHY)

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line guides towards existing feature

rope ends at rock surface

traces way of ‘less resistance’

rope traces most even surface

taller grass circumnavigated

existing conditions influence decision

SUB-CONSCIOUS ACTIONS

inter-acts with condition

bends relate to levels

scale is relative to body

corner per few strides

different plant community

delineates vegetation variation

CONSCIOUS ACTIONS

01.

02.

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MATERIALISING PROCESS Following the series of rope drawings on site, it became apparent that the next logical step would be to formalise these markings, either as a proposal or 1:1 intervention. Given that the processes are a continuing examination of the relationship between site and intervention of form, structure and material, it was logic to test at a 1:1 scale. By physically intervening on site it was possible to evaluate the potentials and failures of such a translation.

Despite the additional parameters of budget limitations regarding scale and material and an obligation of noninterference, it was still worth while as a testing process akin to ‘sketching*’ through building.

The extreme difficulty faced in the act of ‘translation’ from such a specific drawing to building could not have been imagined. It is only through the action of ‘making’ that the endless complexities of site and structure can be properly understood. Obviously, the common practice of levelling a site before building, and a preference for right angles in form enables an ease of translation from drawing to construction, in particular when working with ‘straight’ materials such as timber. The prerequisite of affordable and workable material (wood) and of minimal disturbance to existing topography posed multiple - none the less interesting - obstacles.

The subtle variations in topography and surface required multiple adjustments and shifts in placements. The protruding tree root, so easily navigated by a soft rope, was an endless obstacle that required multiple returns to the workshop (and the lugging about of large, heavy wooden stuff.)

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The benefits of building as much as possible in-situ became apparent, as did the requirement to develop more detailed and appropriate drawings of both site and proposed intervention.

A detached critique of the initial intervention in terms of physical outcome and the response of others was necessary to determine the following series of actions. At this particular point, it is necessary to repeat and improve each proceeding step, at the same location, or to continue the design process in a more speculative method, relying solely on representational devices to test ideas.

It is precisely because of the difficulty experienced in translating representational proposals that I want to pursue it further. The risk of failure is admittedly high, but the prospect of gaining new, personal knowledge outweighs this.

EVALUATING OUTCOMES Any process of evaluation is grounded by a set of criteria, which in this particular case should be determined by the intent of my outcome. By first devising a formalised checklist (similar to an academic criteria that is divided into various themes), I can assess various outcomes in a unified, comparable approach from a more detached position.

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OBJECTIVES: Manifests Existing

Reveals Existing

Complements Existing

Self Evidence (Formal)

Relevance

Coherence

Evident Logic

Placement/Order

Flexibility

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+ -------------- -- X ---------------->Traces desire path, connecting trail.

-------- X ----------->Exaggerates topography, but uneven levels distort effect.

------ X ------------->Mostly traces existing path and edge conditions, off set by building process. Physical interfacing imprecise.

---- X ---------------> It’s purpose as a path and a marker/suggestion of direction is clear, despite fragmentation. Length would improve this.

----- X -------------->In terms of content and position it is relevant, but undermined by fence.

(A Stile should accompany this work.)

---- X --------------->Purpose and from is obvious, but perhaps confused by fence.

------ X ------------->As above. Also detail lacking with interfaces reduced coherence.

- X ------------------>The site is an undoubtable point of friction and conflicts. Confirmed by observation during visits.

--------- X ---------->This intervention is too minimal and too closed in form to host appropriation and variability currently.

OVERALL COMMENTS

are always reflective of a particular conditions and features, reflecting accessibility and nodal points. Some tracks are obvious, a steep cliff will be avoided for instance, and often tracks follow assigned paths, except for the short cutting of corners, but some tracks reflect a particular aspect (sun) or vantage point or temporal phenomena.

>I can now recognise that this stage of intervention will need to be conducted differently, and a reassessment of my methodology is required. The form should more coherently represent the intention of this project, which is becoming more apparent by assessing the perceived failures of this initial intervention. For instance:

>The action of critiquing the effect of a design outcome inevitably clarifies the core of the project’s intent.

In this case, if the project can be understood in the terms of literature, there is an over arching theme within the work, while the tone is an effect of the compositional, structural and formal qualities. What I am attempting to achieve is a particular set of tones, in part as a reaction to what I personally perceive to be currently lacking in designed public spaces, but which is also reflected by public use (or lack of use) and space appropriation. I am seeking to achieve a tone which might be translated as generous, democratic, considered, unobtrusive, accommodating, flexible, open.

-Despite the fragmentation of the path’s form, the solidness of this initial interface object is problematic. It is a didactic, closed shape that serves a singular purpose that accommodates only one person a time, but is not enclosed or extended enough to be ‘intimate’ in tone.

-The path serves as a marker encouraging others to climb the fence and take the ‘unsolicited’ path, however, aid in crossing the fence would be far more helpful.

-Issues in achieving correct detailing was largely due to a lack of on site preparation. Gaps and uneven levels undermine the effect.

>In conclusion, the formal development of future interventions must be developed more consciously towards intended effects of tone.

It is apparent that another stage of on site ‘drawing’, conducted in three dimensions, is necessary before proceeding with more permanent materials.

>The operation of representational drawing, including drawing on site, is essentially a linear action. The act of physical movement through space is also progressively linear (as a track).

The line is emerging as an important means of figuring out an idea and articulating certain observations. The lines of movement through public spaces, made by myself and others have become an important means of understanding a public space situation and different site conditions and features. For instance, my own directions of movement and physical actions, as well as those of others, 39

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Stage 2. Succession Planting: Acacia and Bio-Filter Planting

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Stage 1. Development: Path Networks

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Bio Filter Planting Water Path Stage 1.

Succession Planting Stage 1: Bio Filtration Mitigation.

Planting at storm water points and at base of creek, at Yarra River entry points.

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Forest Euc. Forest Casurina Forest Euc. Forest Euc. Forest Euc. Mallee Shrubbery Grass Land Open Woodland Open Woodland.

Marsh.

Pond

Potential Final Planting Stage - 100% Indigenous Species Mosaic of various plant communities of singular tree species forests (bosque/productive), bio-filter planting, shrubbery and grass lands The locations of typologies are relative to views between path and site/ context and hydrology and are delineated by path networks.

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MACHINE FOR THINKING By using a drawing as a ‘Machine for Thinking’ (Downton), I have traced contours in relation to a proposed path section. The contour lines replicate those of old hand-drawn maps, as these drawings are more suggestive of the effect of topography than what a single cad line portrays. The ratio between time and result shifts, and the accompanying thinking process is manifested in the ‘marginalia’ of various observations or new thoughts. This drawing attempts to translate some of the findings of the path drawing, however is limited in success and should be re-attempted in light of new insights.

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