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Ornament: surface and space, art and architecturecamoflaguemass customisationliberty through subjectivty and rescenarioisation

write here how these approaches will be vital to the de-sign and project tiself and why this should be the winner

Herzog and de Meuron - Ornament

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Since the Modernist period, Ornament has been resolutely erased from architectural discourse. Herzog and de Meuron work to reestablish a dialogue between surface and space, art and architecture.

The two dominant walls of the Ricola-Eu-rope SA, Production and Storage building are constructed with translucent poly car-bonate panels which have been printed with a repetitive plant motif. Although weight bearing, the effect of the patterned panels is more like a curtain or robe. Light filtered through the patterning transforms the appearance of the internal space during the day, as the volume seems to shift and recede. At night, the facade material domi-nates, closing and sealing the volume with-in the confines and becoming more akin to the concrete capping ends.

why is ornament vital to this project????semper???

Callum Morton - Art interpreting Architecture

The art of Callum Morton works to analyze our relationship to and interaction with the built environment. Public and pri-vate space are explored, with a focus upon how ‘we encounter, perceive or experience personal or communal space often unconsciously.’

Valhalla was Australia’s inclusion in the Venice Biennial and is 1/3 scale model of the Morton family home which Morton’s architect father aspired to provide. In its representation for the biennial, the building is not idealized as an example of perfect Australian Modernist architecture. Instead the badges of habitation and time are celebrated as Morton presents the both personal and general stories of childhood, family and the society of the time, highlighting the positive as well as the not so. In this way the building becomes a ‘stage for the unpredictable passions and inevitable foibles of humankind.’

Something on the lobby inside.... Public space, perceived ways of negotiating the space. behavior.

why is social expected interaction imp to explore in project. why relates to werribee???? and does this relate to later on and society defined expectations..........

Personal Work - Space and Camouflage

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In my design for a parkour training ground suitable for wheelchair occupants, I explored ideas of privacy, habits of public curiosity and cloaking.

The vacant site of the Melbourne Museum court could not facilitate discretion in the placement of the park away from the curious and intimidating eyes of the public. There-fore my design solution was to mimic the ex-isting entrances of the carpark to camouflage the object. It was hoped that this would ren-der the object as uninteresting, as the func-tion of the other two original forms was not a secret. The skin formed the equipment of the park but also provided shelter from prying eyes and a degree of confidence.

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Mass CustomisationThe International Style, introduced by the Modernists, estab-lished a revolutionary way of living. Although conceived in Europe, this approach quickly spread to many different and often converse conditions to where it originated due to glo-balization. The typology did not perform well when applied to regions with high temperatures such as Australia due to the uniform approach to climate and conditions that the open plan championed. Heat and light streamed in and spread through-out and the stimulus of change and self regulation was removed entirely by the need for active systems. Conditions were treat-ed as black/white, yes/no, light and hvac system on/off. Grey did not exist.

A suggested alternative model is the camp fire. With a gradient of heat and light, the inhabitant is able to adjust their comfort by their proximity to the fire. Additionally external influences such as airflow, drafts experienced by the inhabitant, type/con-dition of wood use etc will change the experience to create a more threshold/dynamic experience and offer a more flexible solution.

In order to convert this transient model into the conclusive mode of built form, a highly complex object must be created. Consideration must occur of both the unit scale and the whole, how each affects the other and is also affected by environmen-tal factors. Computation allows Self organization within the built non organic world. Elements respond and adapt to exter-nal stimuli which in turn affects the configuration of the adja-cent component and the whole until equilibrium is achieved. An entirely unique space is created by an entirely unique mani-festation of the form. In the case of Daniel Coll I Capdevila’s, ‘Strip Morphologies; Design Study for Environmentally Differ-entiated Healing Environments’ a unique wall configuration creates a specialised variety of conditioned spaces in the aim of tailorisation to each hospital, ward (wall itself altered) and ultimately patient (choice of appropriate rooms). As stated by LAB; Industrialization in this case no longer equates to stan-dardization but rather mass customisation.

Like a renaissance sculpture, the piece for Wyndaham site will be viewed from a multitude of different angles, in both direc-tions on the freeway, the service station, the freeway overpass and the side road. It will also be viewed at a variety of different speeds and heights due to this. With parametric design it will be possible to account for each of these instances and create a work that will be successful from all vantage points while still maintain character as a whole.

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Parametric design offers architecture, as a profession, the oppor-tunity to reconsider the role of computers in design. Predomi-nantly, computers have simply been approached as alternative drawing implement to the pen and not to be involved in the conception stage at the risk of thwarting inspiration.

Parametric design places focus primarily upon the process of creation in scripting instead of the final object. This change in focus to the procedure has the potential to radically liberate the manifestation of future architecture. When object driven, archi-tects often limit the design focus through initial impressions and preconceived ideas even before the site analysis and research for the project has been undertaken. Instead parametric design can be a design tool whose determined focus upon the process enables subjective analysis of the site/brief and even concepts previously considered as ridiculous. Historical applications of this design mechanism include Lewis Carrol’s use of mathemat-ics in his fiction, applying mathematics principles of symmetry and proportion to his writing in order to subjectively consider the absurd. R&Sie(n) scripted a **** code for the FRAC Center project which enables the machine to grow from past experi-ences and further add to it’s own process. This will further add to the complexity and seemingly random nature of the building

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as the machine adjusts the location and extension of glass rods which project into the courtyard space to form the circulation spaces for the building. The final outcome of the courtyard space is not a static object which can be ideal-ized by the architects but rather a space which is informed by history of the action of the machine. Although this is impractical for a programme space such as the intended circulation space for FRAC, the idea of dynamism in both conception and manifestation is something sadly lost in architecture today.

As an ever unfinished space, R&Sie(n) believe people will form a sense of nar-rative or history for the space. This allows people to have a dialogue with the building as they feel they were a vital part of that certain stage of the building which they witnessed. The architects hope that this sense of ownership will result in many people relating to the public space in a private manner and consequently confusing how they feel society expects them to behave in the space. Also as this is a space foreign to most, conventions of how to behave are not yet strongly established. Together these elements have the potential to release people from established conventions of behaviour and how people adopt to this situation is a large element of the concept. . This potential is a large aspect of the space and introduces an important human aspect to the mechanically produced project.

For a newly established community such as Wyndham that is yet to establish its character and sense of community, it is important this project offers a sense of identity and relates on a personal level. In such a large scale and inhospi-table situation as the site, Parametric design offers a way in which to form a structure that will enable people to relate and grow with.

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The progressive script also prevents the architect from manipulating the script in order to achieve a certain preconceived notion of form. This fraudulent approach to parametric design is at risk of becoming commonplace, as designers aim for the parametric aesthetic without comprehending the motivations and possibilities of the tool.

( While R&Sie(n) aspire to relase people from conventions of behaviour, perhaps it is more useful to explain it as this release is an awaken of what we do by habit and how we live our lives by habit and architecture should reawaken a intense emotion in us, stir us and the shock/jolt will make us reflect and get perspective)

force people to assess what it means to them to be in the fastest growing suburb, and in the country suburb?? and to be in a car? and to be in a radically changing racial area? and to be a poorer ecomonic area? what it means to loose cultural ele-ments like w cup and H lemp?w

how can i work this in with callum morton.

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Architecture is subjective. It also requires a lot of insight and passion. When successful, a sin-gular object is created that is composed of many different elements that work together in union to create a better whole. The complexity of this seemingly singular object can therefore seem to many to be produced from a singular flash of ge-nius and that something this harmonious could never be worked towards nor taught in elements as suggested by Kalay. This is one reason why it is common in architecture to be means - ends driven, prescribing the product without opening the mind up to possibilities. Although architec-ture cannot be as rational as Louis Sullivan’s ‘form follows function’ prescription, exploration can be structured so as to encourage discovery and flirt-ing with uncertainty. ‘Solution Development’ as outlined by Kalay es-tablishes the parameters of the design not as the end goal but instead as a limited list of compo-nents possible and then a method for working through the possibilities.

While I would like to say that this broad minded approach was undertaken this week with the vari-ous components set, however in order to grapple with the technology I had to work backwards. In-stead this approach was applied in a more smaller scale manner, where i had the parameter of the end design and then slowly adjusted each slid-er and inserted different components to better achieve what i had in mind. Like the Tangram puzzle, you may not know the end effect to the letter but you do have the goal of all things fitting back into the box. So in this manner, I investigat-ed the representation of patterns in both 2 and 3 dimensions. This was undertaken in two manners; the first through applying an attractor to extruded tubes on a grid. It was hoped that this would pull the center point of the radius across but instead the girth and height decreased closer to the point achieving a similar representation. The second method included extruded rectangle responding to an image sampler. It was found with the con-nection of the image to the x,y inputs of the rect-angle, the girth of each rectangle would respond to the image directly in the 2d plane while a unit z component translated the height.