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Final Presentation

To complete the project, as I wasn’t really part of the visualisation side of things as Shanae, Hanne and Tom had this pretty well covered, I decided that I would take over the task of writing up the slideshow. This involved editing the manifesto and site analysis from previously, writing our rationale as well as our conclusion. These paragraphs essentially summarise the project and everything we incorporated, and explain our thinking and process.

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I took a bunch of different photos of the side as well, in order to illustrate it at a different time of day than in previous images, as well as to show some different perspectives.

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I also did a sketch of how I imagined the pond would be laid out/function. As seen in this image, there are two main sides, and an exposed edge along the side of the path. There will be an overflow drain on the edge of this path, which will allow water that is collected through the shelters and poured into the pond to filter out the pond water that has already been collected.

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This is a final layout sketch I did for the transitional space we were working with, in which the design slightly varies from previously. the third shelter was moved from the left corner of entry of the industrial building to the centre, as it did not fully fit there and didn’t quite fit as well as it does in this image. Due to this, there was no longer a central pillar for the path to go around, nor an obvious place to put the pond, so after some different ideas this is what I ended up with.

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Aquatic plants have also been an area that I have been looking into to give the space a bit more diversity, and simply to bring life to the pond rather than it just being stagnant water. After a bit of research on the NIWA website I discovered that there are a few different categories of aquatic plants, that exists in different parts of aquatic environments. 

After going through all the given examples of common freshwater plants in New Zealand, I narrowed them down to the following list, with the criteria of plants that are native and pond suitable;  Low growing submerged plants -

Elatine gratioloides Cunn. (Native)

Ranunculus limosella (Native)

Glossostigma diandrum/Glossostigma elatinoides (Native)

Emergent aquatic plants -

Persicaria decipiens (Native)

Free floating species -

Azolla filiculoides (Native)

Lemna minor (Native)

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I also did some research into different option in terms of sustainable pathway materials. Through all the results I found, I narrowed it down to three main options. The first option I was looking at was reclaimed brick, as obviously the site our group is working with has many bricks already present, but I didn’t like these simply for the fact that they looked quite dated and tacky. The second option was natural gravel, which was what I imagined initially, as it could be a nice colour and would be less square and rigid than using a solid material like concrete or bricks. The third option which I ended up deciding on as they best option for the given circumstance was crushed bricks. This would be a good way to reuse the already present bricks, whilst also not being stuck with the rectangular shape they come in. In order to make the group suitable for wheelchair access, it may be a matter of having the gravel above a solid un-crushed brick path, in order for it to be a bit more solid to use.

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Recently I have been looking at pond design, and how the integration of certain elements can regulate the feel of the space. Initially I was considering a regular pond that was mostly focused on water, rather than having a centre feature of sorts. Through further iteration, we decided as a group on a design comparable to Singapore’s Gardens by the Bay, with a central trunk supporting the majority of the shelter’s weight. To respond to this, I decided that a type of moss rock garden in the centre surrounding this pillar could be quite cool, and the pond acting as a shallow ring around this pillar rather than a pool. The shallow water would then simply facilitate the growth of aquatic plans and the needed moisture for the mosses on the central rocks. I also considered hanging plants around this central pillar as an option, and discovered panneresse kokedama plants. These are essentially mesh fabric balls holding moss and growing medium which facilitate plant growth in the medium, whilst also being easily hang-able.

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This is a concept drawing that I did for the space, in which I focused mainly on using organic shapes, with the least straight lines possible. In this plan I have also set positions for planting, seating, shelter, a central pond and pathways, all in their developmental stages.

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The Kowhai Project

As a group we have decided that we would want our design for this transient space to be inspired by the kowhai tree’s form and behaviour. We wanted something that was significant to the location we planned on developing, and upon a walk down the Pukeahu pathway we saw multiple Kowhai Trees. The seasonal flowering of this tree was also an idea we are wanting to work with, as it reflecting the seasonal behaviour of the academic year, whilst also referencing the blossoming transition that happens to individuals through their studies. The ideas of growth and fertility are also concepts we want to bring into the space, as we believe they are an integral part of the university environment.

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Waitangi Park (Wellington)

This is another example of an effectively redeveloped space that has similar priorities as the project that we have begun as a group. This space positioned by Te Papa and Courtney place was completed in 2006, enhancing both the social and biological ecologies of the space. It is a good example for our project due to the fact that it is also a transient space such as the space we have chosen, and is in Wellington, and has used a range of native plants which we could possibly utilise for our given space.

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The High Line (New York City)

This site is a linear park in the west side of Manhattan, which was created on the site of what was previously a railway track running through the centre of the city. This re-purposing of the site is interesting due to the manner in which plants, seating an pathways are all integrated, creating a hospitable environments for the people who spend time here, whilst also referencing the history of the site. It is a great example of the impact that the reintegration of nature can have in a previously sterile and abandoned space.

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Fallingwater, by Frank Lloyd Wright

Despite being a very obvious example of organic architecture, Fallingwater is still worth a mention in regard to this paper. The method in which this building merges with its surroundings, and took into account pre-existant structures before being built highlights that when this is done properly, it can be done in a beautiful manner. This building highlights that through integration rather than landscaping, the natural environment presented can be a hugely valuable element to any design.

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Initial manifesto

As a group, we have come up with the following initial points for our manifesto in relation to our project in regards to the space between block 10 and 11;

- Design that can improve climate and social conditions - Encourage biodiversity, creating a more inviting environment (biophilia) - Reuse and recycle present materials in the design to decrease impact on environment and overall cost - Utilise the space to its full potential, through harnessing current available - resource - Ensure that the waste streams from the design are reused or recycled - Incorporate environmental and human needs and catering for the future students

Currently, the space between block 10 and 11 is barren, sterile, and unfriendly to any use and exists only as a transient space. It is a space with huge potential due to its open area and the sheer number of students who could make use of this space if it was properly laid out. Currently, there is no dedicated space (apart from a few benches) in which students working in this block are able to relax and take a break from their work, and the redesign of this space would be able to easily facilitate this. 

We plan on utilising this space by introducing plants and green space into the layout, for the purpose of making it more inviting to humans and any local wildlife, as well as to create a wind barrier as currently this space acts as a wind tunnel of sorts. We plan on reusing as much of the existant materials as possible (such as the cobbles) in order to minimise waste streams from this possible development. We also hope to harvest energy and resource sources within the space through the re-purposing of rain water and the use of solar panels, in order to supplement existant use of these resources, as well as to cover any needs that arise in the new layout.

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Last week in class we discussed possible projects and locations that may work, and formed groups for these projects. The space outside the industrial block was suggested as a possible space to work with, and I thought this would be quite a cool space to work on as it is currently super barren. This led me to join this group, and along with Tom, Shanae and Hanne we hope to come up with a brand new concept of how this space could be laid out for the benefit of both the people who use it, and the ecosystem it exists within.

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Fluxus Manifesto (1963) -  George Maciunas  

This is an example of an art specific manifesto in which the artists’ intentions are very clear. Like many other manifestos, this text presents a radical, new vision of how things could be in an absolute sense, rather than a compromised, more realistic vision. There is a strong sense of change in this text as well, which is something that appears to me very much as well. I do however find this sense of change somewhat ironic though, as it is fixed in the permanent form of a manifesto.

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Manifesto

“A manifesto is a published verbal declaration of the intentions, motives, or views of the issuer, be it an individual, group, political party or government. A manifesto usually accepts a previously published opinion or public consensus or promotes a new idea with prescriptive notions for carrying out changes the author believes should be made. It often is political or artistic in nature, but may present an individual's life stance.“ - Wikipedia

According to this description of what a manifesto is, and what I have read about how to write a manifesto, the most important task in doing this is to actually work out what your personal intentions, motives or views are. From there, the only other element is to try present these as clearly as possible, in order for these ideas to be effectively communicated.

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World Saving Machine (2009) - Ralf Sander

“World Saving Machine I and III are focusing on the possibility of transformation and the use of solar energy in fine art. Here it is the “transformation” of solar energy to make ice – this is understood literally, as well as (on a larger scale) metaphorically. The sculptures are part of an art practice inquiry, negotiating environmentalism and the relation of art and scientific research and images. Originally it is a reaction to spectacular exhibitions and artistic projects using resources without environmental consciousness. It also refers to artificial worlds like Tropical Island in Germany and Ski resorts in Saudi Arabia, all realized with fatal use of fossil energy to create illusions, thus destroying the environment.I propose solutions of a thought-provoking sense of humor to visualize human potential. The suggestion is to make ice and to bring it where it is needed.” 

The main argument with this work is essentially that humans can achieve more than consumption, and can actually have an input back into any given ecosystem. Despite being slightly ridiculous, this work suggests that we could and should be doing more direct work to combat the ecological damage we are creating.

Reference;

http://www.ralfsander.info/world-saving-machine-i-and-iii