Around the World in 80 Ga rd en s

RMIT LANDSCAPE ARCHITECTURE SEMESTER 01, 2010 STUDIO PAMPHLET

studio abs tr ac t
Around the World in 80 Gardens in a student design
compeon where they are given the task of design-
ing an open space for the 2013 Internaonal Garden
Show in Hamburg.
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The selected exhibion site is larger than 100 hect- 0DKOEXVHQ

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ares, with the theme of the Garden Show being aimed

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The exhibion is expected to be one of the largest

tourist aracons for Hamburg, with more than 2 image of the Hamburg site
million visitors and spectators expected to aend.

google image of Internaonal Garden Show site


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PROJECT DATES

Information session:
Friday 5 March (12.30 - 1.30)

Workshop:
WK 3; Fri 19, Sat 20, Sun 21 March

RMIT Submission:
WK 12; Fri 28 May

3 Finalists Submission:
15 July

Jury:
August 2010

Awarding of Prizes and exhibition

of entries in Germany:
September / October 2010

Construction of winning entries:

IGS 2013

ENTICEMENTS!!!

* Cash Prizes from RMIT for Top Three

Entries

* 1,000 Euros Cash Prize for winner as

chosen by Jury.

* Realising a BUILT WORK in a major

International Garden Expo.

* Involvement in International
Competition involving the top 10
Landscape Architecture Schools in
the world.........!!

* Possible 12 Credit Points

***THE GLORY!***
***THE POWER!!***
***THE PASSION!!***

student compeon poster

conten ts
Brock Hogan

William Welsh

Heloise Chaigne

Irene Laplance

Michaela Prescott

Matt Hamilton

Nick Schwabe
Chromac as c ad e
+ Bro 1
ck H
+ Will ogan s3
Garden of the symbols of cultures
GARDEN In the Name of the Rose + Interpreting the wall as a structure for innovation.

47
iam W 13
elsh 7211 # World of Cultural Diversity Walls are defined by many different forms and materials.
s316
5523 However, symbolism resides in how these structures operate.
CHROMACASCADE shifts how cultures perceive the symbolism of the wall .

EVERY WALL HAS TWO SIDES... Within the realms of an international garden show.

Woomera
- Au stralia
South
Africa
- Zimba
U.S - bwe Border
M exico
Palest Border
ine W
Wagah all - Is
Borde rael
38th r - Pa
Paral kistan
lel - No & India
Berlin rth &
Wall - South
Ge rman Korea
y

We build walls around, through and between cultures. This symbol is globally
recognised as a barrier or a divider, for many walls are a physical form that
dictates how day to day life is played out.
+ PLAN The wall has played a fundamental role in differentiating groups of people into
cultures, generating unique identities on either side of these monolithic
structures.
THE GARDEN
In some respects, walls are a man-made variation of the Earth’s natural
surface – separating cultures and forcing them to develop differently from
- as -
A their neighbour.
Walls exhibit a particular monotone quality. They have become the genesis for A CASCADING FORCE
jealousy, economic advantage and control of the surrounding environment.
- crashing open the walls limitations -
What can be achieved when the typical form of the wall is manipulated with?
What does this allow us to do? How does this shift it’s typical qualities as a barrier?
How does this influence how we perceive the social constructions of culture?

This ‘unravelling’ is started through the initial acts of drastic defiance

(Cottonwood tree) – actions that are intended to make a statement, actions
with seemingly little thought. From this stems smaller, yet just as powerful
demonstrations (Princess trees) , carefully targeted at the community
rather than the overarching body. Intended to begin the process of change.
In the mean time, we start to question the glimmers of information that
begin to slowly seep through the wall (Cladding system) – the wall now
begins its transformation, slowly the barrier disfigures until ultimately the
wall generates its own path and cross-over locations.
This informs a subtle roll or flow of change. As an individuals direction
02 (Single white flower) is taken up by those who surround them
(Cluster of same white flower). In turn influencing other clusters, whilst who
are different - are now progressing along with the flow.
Ideas blended, cultures merged – unveiling the beauty of both sides of the wall.

05

06 09
10
15 18 22
07 19 22 23
11
16 21
01 17 B
20 24
03 14
08 19
12 23
04 13
02
B

01

2.0m 10.0m
1:100 1.0m 5.0m
A democratic decision
which overturns the issue.

eratted,
A movement is generated, d
oadeer
questioning the broader
+ CONCEPT : The breaking down of a social construct... ssuee.
complexity of the issue.
A collective forms in
A burst of initial activism response to a defiant act
brought upon by an and pushes the growth of
individual with a radical a minority.
vision.

RES
RE OLUTTIION
SO

EFFECT
IDEA
GE
COURAG

+ VISUALISATIONS

A B

APPROACH APPROACH
FROM FROM

NW SE

B rock Hog an, William W el sh

We build walls around, through and between cul- In some respects, walls are a man-made variaon of
tures. This symbol is globally recognised as a barrier the Earth’s natural surface – separang cultures and
or a divider, for many walls are a physical form that forcing them to develop dierently from their neigh-
dictates how day to day life is played out. bour.

The wall has played a fundamental role in dieren- Walls exhibit a parcular monotone quality. They
ang groups of people into cultures, generang have become the genesis for jealousy, economic ad-
unique idenes on either side of these monolithic vantage and control of the surrounding environment.
structures.
This ‘unravelling’ is started through the inial acts of
 2

+ PLANTING: VIC (AUS) Wildflowers + SEASONAL CHANGE

The planting range has been developed based on three defining factors:

1. The chosen Victorian (AUS) Wildflowers have been selected because they
are a suitable match for the climatic conditions during Spring, Summer and
Autumn found in Germany.
2. Due to the diversity of a particular colour range inherently found in Victorian
wildflower species . 23
Colour ranging from a dark bottle green (Inland) to a lighter mint-grey (Coastal).
3. All of these plants exhibit white flowering. While similar, are all unique and
24
bestow an ever-changing bloom through the garden’s ‘gradient flow’. era
coc um
Mala rnis phal
Tric
o soce osum d
Chry ipapp urce
Sem lly so s
Loca Mos

17 01/05/2013 01/072013 30/10/13

18 SPRING SUMMER AUTUMN
ia 19 + First blossoming of garden. + The garden is in full blossom, the + The garden now experiences its most

Op
Cain ifolia
hyta

en
+ Cottonwood tree hasn’t reached green is overun by masses of white spectacular time as the cottonwood tree
Long

in
cop 20

g
Leu nii its vibrant golden colour. flowering. This varied display of white turns its vibrant autumn colours.

of
a

G
Brow renci

ard
21 + Garden is slowly beginning to flower, exhibiting flowers symbolically represent the force that This, in composition with the soft pink foliage
Law hae

en
m a gradient of green colour along the flow line. individuals are able to create when working of the Princess trees, produce interesting

Sh
Bert rysu

ow
coch 22 + The moss specimens (acquired locally ) begin to towards a common goal. air-born and ground covering colour as the
Leu icans a
Alb nther slowly shift colour according to the lighting effects + The moss continues to change colour in particular leaves fall away due to the approaching winter.
Pora phylla produced by the wall. locations along the wall in accordance with the sun + The steady drop in temperature allows the
Micro lium
ntipal shitfing in rotation and temperature increase. moss to develop a fantastic spectrum of
Arge wskienum greens along the wall, producing an
do
Blan excellent backdrop to the rest of the garden.
11 30/10/13

um
12 5 YEARS ON...
hrys + The moss establishes itself in conditioned positions along
Helic m 13 + MATERIAL CATALOGUE
e the wall, slowly spreading across the cladding system.
Elatu anth
Rhod oides 14 + The trees, which are able to cope with the European climate
em
Anth isia
continue to grow and ‘control’ the site.
Celm hylla 15
op n
Seric chyo
Leuon 16
an liun
Albic ntipal
Arge ifolium
Obtus um
phal
05 soce
Chry
ri
Baxte
06
a
thec
Philo rides
07
Myopo nii
is Gun
Epacr 08
heca
Philt ens 09
g AER CONC
Pun hera
tant
Pros a
( Aerated Concrete )
Nibe nthe
10 + Interior paneling
AER CONC
Rhodaaca ( Rough )
Pygm lla + Interior moss paneling
Pusi AER CONC
rula
Aspe ( Polished )
01 + Exterior paneling
+ Wall capping GRAVEL
e 02 + Pathways
men
Trachy s + 5-8mm Aggregate
ili + Light colour to match wall
Hum a 03 STEEL
keni + Wall Structure
Fran
flora
Pauci ia 04 + Matte Black
gton CONCRETE
Babin i
Behri os + Interior space
ocare
Cottonw Ricin olius
ood Tr
ee - Popu Pinif
lus Cot
tonwoo
d

Prince
ss Tree
- Paulo
wnia To
m entosa

AA

+ SECTIONS 1:100

BB

+ TECH

1:500

STRUCTURE + SPATIAL ORGANISATION

EXPLODED VIEW

+ Aer conc capping.

SECTIONAL KEY
+ Interior steel framing set. SHIFTING FORM OF THE WALL

+ Interior aer conc paneling

+ ‘Moss Milkshake’ application

+ Moss
A
B
DC
E
F
G
H
L K I
M J
O N

Q
R
S

< Barrier Crossover >

‘Push Pin’ Mounting system +

Exterior steel framing set +

Exterior aer conc paneling + A B C D E F G H I J K L M N O P Q R S

drasc deance– acons that are intended to make This informs a subtle roll or ow of change. As an individ-
a statement, acons with seemingly lile thought. uals direcon is taken up by those who surround them.
From this stems smaller, yet just as powerful demon- In turn inuencing other clusters, whilst who are dier-
straons, carefully targeted at the community rather ent - are now progressing along with the ow. What can
than the overarching body. Intended to begin the pro- be achieved when the typical form of the wall is manipu-
cess of change. In the mean me, we start to queson lated with? What does this allow us to do? How does
the glimmers of informaon that begin to slowly seep this shi it’s typical qualies as a barrier? How does this
through the wall– the wall now begins its transforma- inuence how we perceive the social construcons of
on, slowly the barrier disgures unl ulmately the culture? Ideas blended, cultures merged – unveiling the
wall generates its own path and cross-over locaons. beauty of both sides of the wall.
Once U po n a C ra te

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Heloise, Chaigne, Irene Laplance, Michaela Prescott

Through a broad sweep of mythology and fairy-tales thing. It can be joyous and exhilarang, but it can also
it is possible to read a number of dierent expres- at the same me be uncomfortable and terrifying.
sions of the same primive emoons of happiness,
love, fear, isolaon, discovery… if this is so, are there Thus, the site is an exploraon of experience and we
commonalies between the ways that people react wish to invesgate: if there are similar reacons?
to and experience space? Does the seasonal and daily change across the site
evoke dierent feelings like those of cultural experi-
The project, as a scenario, aims to test the impact of ence? Do human beings feel variaons of the same
spaal typologies on individuals and to invesgate di- emoons? Is there such a thing as a universal feel-
versity as a changeable state. Diversity is not an easy ing or emoon? Or is the world too diverse for this
to exist?
The milk crate [an Australian container for the distri-
buon of milk] has been taken as a simple module to
express the individuals that make up cultural diver-
sity. The form also references pixels, symbols of our
modern society, driven by communicaon and tech-
nology. Through the use of the module we wish to
express our understanding of diversity as individuals
having shared values that are shaped by experiences.
The milk crate is expressed through a series of spaal
morphologies – stacks, topographies, vessels - and is
further dierenated through colour and seasonal
vegetaon, light and temperature changes. With
each layer a new level of complexity is represented.
The site is itself then seen as a symbol of cultural
diversity seeking to understand the experience of di-
versity and culture through spaal dierenaon and
experience.
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Preconcepons is a crique on mulculturalism and ideas over thousands of years. The Secret Desert Gar-
the negave eects that racial tensions have on our den within the exhibit oers a place of innocence for
youngest generaon across the globe. our most precious resource, our children. This garden
can only be accessed through tunnels by children al-
Immersed within an evocave landscape of Australian lowing for a place to play, get dirty and enjoy them-
grasses, Preconcepons uses the rainbow serpent, a selves away from their parent’s preconceived ideals.
symbol borrowed from our most ancient of cultures Within this space they can play as equal’s ankle deep
as a foundaon for the gardens narrave. Red earth in red sand and surrounded by a rainbow of desert
is symbolic of the Australian landscape and has pro- succulents from around the world.
vided a canvas for communicaon and expression of
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Whilst children are able to play within secret heart tres and refugee camps, in their millions to this day.
of the rainbow serpent, the adult occupants of this An all too familiar concrete wall will sr up feelings
garden can enjoy being immersed within the cultural for some and yet represent a reality of life for others
cric of mulculturalism. today. For those children who are exploratory enough
they will nd the tunnel to pass through this symbol
The structural growing frame is covered in a diverse of division. This is a comment about the innocence
and colourful skin that is punctuated by symbols of of children transcending the preconcepons and in-
oppression and social division. Elements of razor wire grained atudes that exist within society.
immersed in exoc planng, remind us of the plight
of the misfortunate who dwell within detenon cen-