lloydmccathie is doing MajorProject2004

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c a u s t i c   | r e | o r i e n t a t i o n cau’st|ic a, & n. (Substance) that burns or corrodes organic tissue; sarcastic, biting; (Phys.) (surface or curve) formed by intersection of rays reflected or refracted from curved surface. or'ĭent2 v. 1. ...(fig.) bring into clearly understood relations...

northbank of the yarra at the exit to the pedestrian underpass linking flinders st to southgate.

schedule of areas		square meters
information/foyer		450 sqm
resource shop		90 sqm
café		140 sqm
administration offices		250 sqm
research facilities		200 sqm
"yarra museum"		560 sqm
	indigenous	140 sqm
	white settlers/batman	140 sqm
	port/immigration	140 sqm
	science/recreation	140 sqm
sub total		1690 sqm
circulation	20.00%	338 sqm
gross floor area		2028 sqm
site area		1000 sqm
plot ratio		2.03:1

[] water/brief/site Australia is currently experiencing one of its worst droughts on record. Melbourne water storages are currently sitting on 48.5% and we are still under stage 2 water restrictions. Apart from Antarctica, Australia is the driest continent on the planet; our annual rainfall is lower than anywhere else and because of our climate, evaporation occurs at much higher rates. Meanwhile our population is one of the highest per capita consumers of the resource. Issues relating to water are broader than our current domestic situation. 66% of our planet is covered in water, of this 5% is fresh, 1% is fresh and usable and half of this 1% is fit for human consumption. Yet aside from these facts we still treat water as an infinite resource. One way to begin to influence the use of water is in the provision of information. By considering the city as an intensive information exchange, aligned with the potential to connect the city with its primary body of water, an information centre for Melbourne Water (the organisation responsible for our water supply) will be sited on the Northbank of the Yarra adjacent to the footbridge connecting Flinders St station and Southgate. Apart from providing a connection between city and river the particular site has been chosen because of its situation as a thoroughfare. Water is considered as information in that it can be collected, stored, displayed and retrieved. Water will be collected from the roof and stored in a transparent tank so that the amount stored is evident to users. Water collected will be treated for potable uses while reuse will include recycling grey water for flushing and irrigation of landscaping. [] information The function of an information centre is frequently introspective and privileged. The aim here is to invert this diagram and externalise the display of information. The project also considers two aspects of information: the qualitative and the quantitative. Quantitative information includes instances of hard data, be they numeric or abstract, used to analyse any number of systems and displayed in both graphic and non-graphic modes. This information is displayed in a way not dissimilar to stock market readouts or lcd billboards now populating the city centre. Qualitative information describes phenomenon whose variety of qualities are open to perception. The use of both qualitative and quantitative information sources in the derivation of the project then is quite deliberate. [] movement revised ...on way.... [] non-linear/user defined narrative + non-symbolic SOLÀ-MORALES, Ignasi de, "Liquid Architecture" "A liquid architecture signifies a system of events in which space-time are simultaneously present and open, multiple... not driven by a desire to impose heirachy and an order but by a composition of creative forces." p.40 An architecture of phenomenon, of the senses, acknowledges that each experience will be different, it facilitates a variety of paths along the move from absence to presence and embraces this as its very method of multiplicity.

liquid\Liq"uid\ (l(i^)k"w(i^)d), a. (L. liquidus, fr. liquere to be fluid or liquid; cf. Skr. r(=i) to ooze, drop, l(=i) to melt.) 1. Flowing freely like water; fluid; not solid. 2. (Physics) Being in such a state that the component parts move freely among themselves, but do not tend to separate from each other as the particles of gases and vapors do; neither solid nor a"eriform; as, liquid mercury, in distinction from mercury solidified or in a state of vapor. 3. Flowing or sounding smoothly or without abrupt transitions or harsh tones. 4. Pronounced without any jar or harshness; smooth; as, l and r are liquid letters. 5. Fluid and transparent; as, the liquid air behavioural agents as method of describing liquid motion i.e. ‘component parts move freely among themselves, but do not tend to separate from each other’ . behavioural agents are particle groups where the trajectories and velocities of individual particles are driven by input algorithms which search for other members of the agent grouping and either "align" and/or "cohere" and/or "seperate" site forces | water_agents set out water paths across site based on attractors of station, river and views... | simultaneous circulation_agents set out circulation paths acrros the site by seeking water paths and arriving at destination... | simultaneous caustic_corrosion of particle field by way of Radial Field using circulation_agents as source on per particle basis and with Magnitude linked by expression to circulation_agents Velocity. The corrosion creates the internal form of the circulation paths. | brief requirements are reverse_programmed into pockets of non-circulation spaces based on phenomenal depth... hard and soft hard and soft space hard(quantitative) and soft(qualitative) data hard and soft water - hard water has a high pH ie/ is alkaline - sodium hydroxide(caustic soda) is an alkaline. caustic soda becomes corrosive when in solution ie/ is combined with water. this solution is now liquid caustic and the water is now hard. space corroded by caustic_agents then becomes a hard space

ALLEN, Stan, “From Object to Field” in AD Architecture After Geometry Vol 67 No. 5/6, Academy Editions, London, 1997, pp 24-31 BATES, Donald L + DAVIDSON, Peter, “Editorial” in AD Architecture After Geometry Vol 67 No. 5/6, Academy Editions, London, 1997, pp 7-11 BENJAMIN, Walter, "The Work of Art in the Age of Mechanical Reproduction" in Illuminations, H Arendt (ed), Schocken Books, New York, 1968, pp 211-44. CARPENTER, Rebecca, “Force Affect” in AD Hypersurface Architecture II, Vol 69 No. 9/10, Academy Editions, London, 1999, pp 20-25 EDNIE-BROWN, Pia, “The Will to Animation” in AD Architecture and Animation, Vol 71 No. 2, Academy Editions, London, 2001, pp 64-73 FOX, Michael A. “Ephemeralization” from kinetic design group GROSZ, Elizabeth, “Lived Spatiality” and “The Future of Space” in Architecture from the Outside, MIT Press, Cambridge, 2001 LYNN, Greg, Animate Form, Princeton Architectural Press, New York, 1999

MACARTHUR, John, “The Picturesque Movement-Effect: Motion and Architectural Affects in Wölfflin and Benjamin” in Australian and New Zealand Journal of Art, Vol. 2, No. 2, 2001/Vol. 3, No. 1, 2002, pp 137-157.

MASSUMI, Brian, “The Bleed” and “Strange Horizon” in Parables For the Virtual, Duke, London, 2002, pp 46-67 and pp 177-207 NIO, Maurice + SPUYBROEK, Lars, “The Strategy of Form” available here

SOLÀ-MORALES, Ignasi de, “Liquid Architecture” in Anyhow, MIT Press, Cambridge, 1998, pp 36-43

v2

olafur eliasson

water link 01

water link 02

t e c h n o l o g y

60L Building

Glass Fibre Reinforced Plastic

p r e c e n d e n t s

Matsumoto Performing Arts Center by Toyo Ito

R & Sie.P - Venice Project