UNIVERSITY OF NEW SOUTH WALES COLLEGE OF FINE ARTS PROGRAM CODE 1287
PHD FINE ARTS 2007 THESIS
P O R O S I T Y
The revision of public space in the city using public art to test the functional boundaries of built form
BY
RICHARD GOODWIN 8870211
1 2 STATEMENT OF WORK
This volume is presented as a record of work undertaken for the degree of PhD Fine Arts at the College of Fine Arts, University of New South Wales.
Previous page: Fig.1. Richard Goodwin, Berlin Performance with Bärbel Rothhaar, 1997
3 TABLE OF CONTENTS
Acknowledgements 5 List of Illustrations 6 Summary of Work 10 Abstract 11 Definitions of Terms 12 INTRODUCTION 13 CHAPTER ONE: POROSITY THEORY 21 Exoskeleton 22 Parasite 27 Porosity 30 Porosity Influences 34 The Porosity Researcher 44 Beijing Narrative - The Birth of Porous Thinking 47 CHAPTER TWO: POROSITY RESEARCH 54 Establishing a Base 54 The Porosity Index 55 Representations 55 Models 57 Newspace Theory 65 CHAPTER THREE: POROSITY GAMES 79 Framing the Games 79 The Sydney Models and Zones 81 Porosity Game 1: Snakes and Ladders 83 The Territory of Game 1: Zone 1 85 Snakes and Ladders - A Narrative 108 Porosity Game 2: Hide and Seek 118 The Territory of Game 2: Zone 3 119 Porosity Game 3: Jenga 135 The Territory of Game 3: Zone 2 136 CONCLUSION 155 BIBLIOGRAPHY 161 APPENDIX 1 - 5 164 POROSITY GAMES 1, 2 & 3 FILMS on 4 DVDs inside the back cover
4 ACKNOWLEDGEMENTS
Research Assistants: Maria Capussela Tia Chim Louise Hoelzl Nicole Leuning Kris Bird
Visualisations: Robert Beson Tia Chim Jimmy Gunawan Gabriele Ulacco
UNSW COFA Staff: Dr Liz Ashburn Professor Neil Brown Professor Ian Howard
Artworks: Camera & editing: James Rickard Camera: Danielle Farrow-Prike Editing: Samar Kauss Soundtrack & sound editor: Dave Sims
Players: Maria Capussela Ada Fung Catherine Hartung Marion Hertford Amie Hu Sarah Jamieson Karl Logge Tessa Rappaport Huong Tang Nadia Wagner Richard Wong
5 LIST OF ILLUSTRATIONS * Images referenced in Bibliography
Fig.1 Richard Goodwin, Berlin Performance with Bärbel Rothhaar 1997
CHAPTER ONE Fig.2 Richard Goodwin, Birth Ritual 1975 Fig.3 Richard Goodwin, Exoskeleton Arm 1981 Fig.4 Richard Goodwin, Prosthetic Resort 1997 Fig.5 Monorail, Sydney CBD Fig.6 Bibao, Spain Fig.7 Richard Goodwin, Parasite Car 1997, Kassel, Germany Fig.8 Richard Goodwin, Glebe Island Arterial 1993-1996, Pyrmont, Sydney Fig.9 Richard Goodwin, Parasite Roof 1998, Union Hotel, North Sydney Fig.10 Lebbeus Woods, Transforming Walls: Monuments 1994* Fig.11 Lebbeus Woods, Sarajevo Series 1992-1994* Fig.12 Gordon Matta-Clark, Office Baroque 1977* Fig.13 Herzog & De Meuron, The New Tate Modern, London* Fig.14 Richard Goodwin, Porosity Games 2006, Sydney Fig.15 Joseph Beuys, Tallow 1977* Fig.16 Hutong, Beijing
CHAPTER TWO Fig.17 Richard Goodwin, Porosity Research 2003-2006 Concept Sketches Fig.18 Richard Goodwin, Porosity Research 2003-2006 Concept Sketches Fig.19 Richard Goodwin, Porosity Research 2003-2006 Concept Sketches Fig.20 Richard Goodwin, Tree Model 2003-2006 Concept Sketches Fig.21 Richard Goodwin, Tree Model: Zone 2: Governor Macquarie Tower, Governor Phillip Tower, Aurora Place, Museum of Sydney 2003-2006 Digital 3D Modelling Fig.22 Richard Goodwin, Cactus Model 2003-2006 Concept Sketch Fig.23 Richard Goodwin, Cactus Model: Zone 2: Governor Macquarie Tower, Governor Phillip Tower, Aurora Place, Museum of Sydney 2003-2006 Digital 3D Modelling Fig.24 Richard Goodwin, Monkey Model 2003-2006 Concept Sketch Fig.25 Richard Goodwin, Monkey Model Linkage diagram 2003-2006 Concept Sketches Fig.26 Richard Goodwin, Zone 2: What a Building Desires 2003-2006 Digital 3D Modelling Fig.27 Richard Goodwin, Zone 2: What a Building Desires 2003-2006 Digital 3D Animation Stills Fig.28 Richard Goodwin, Newspace 2003-2006 Concept Sketches 6 Fig.29 Richard Goodwin, Graphite / Diamond model 2003-2006 Concept Sketches Fig.30 Richard Goodwin, Graphite / Diamond model 2003-2006 Concept Sketches Fig.31 Richard Goodwin, Newspace Engine 2003-2006 Concept Sketches Fig.32 Richard Goodwin, Cactus Model and Newspace Engine linkages 2003-2006 Concept Sketch and Model Fig.33 Richard Goodwin, Newspace Engine – Parasites 2003-2006 Concept Sketches Fig.34 Richard Goodwin, Newspace Engine 2003-2006 Concept Sketches Fig.35 Richard Goodwin, Newspace Engine 2003-2006 Digital 3D Modelling Fig.36 Richard Goodwin, Newspace Engine 2003-2006 Digital 3D Modelling Fig.37 Richard Goodwin, Graphite / Diamond City Model 2003-2006 Digital 3D Modelling Fig.38 Richard Goodwin, Graphite / Diamond City Model 2003-2006 Digital 3D Modelling Fig.39 Richard Goodwin, Graphite / Diamond City Model 2003-2006 Digital 3D Modelling Fig.40 Richard Goodwin, Graphite / Diamond City Model 2003-2006 Digital 3D Modelling
CHAPTER THREE Fig.41 Constant Nieuwenhuys, New Babylon (detail) 1971* Fig.42 Richard Goodwin, The 3 Research Zones Sydney CBD 2003-2006 Digital 3D Modelling Fig.43 Snakes and Ladders Board Fig.44 Richard Goodwin, Zone 1: 345-363 George Street Sydney CBD 2003-2006 Photographs Fig.45 Richard Goodwin, Model Containing Tree & Cactus Analysis 2003-2006 Digital 3D Modelling Fig.46 Richard Goodwin, Zone 1: Monkey Model 2003-2006 Digital 3D Modelling Fig.47 Richard Goodwin, Zone 1: Parasite Model 2003-2006 Photographs of Maquette Fig.48 Richard Goodwin, Zone 1: Parasite Model 2003-2006 Photographs of Maquette Fig.49 Richard Goodwin, Zone 1: Tree Model 2003-2006 Digital 3D Modelling Fig.50 Richard Goodwin, On-Site Research Sketches 2003-2006 Fig.51 Richard Goodwin, 345 George Street Site Research 2003-2006 Sketches Fig.52 Richard Goodwin, 363 George Street Site Research 2003-2006 Sketches Fig.53 Richard Goodwin, Zone 1: Cactus Model 2003-2006 Digital 3D Modelling Fig.54 Richard Goodwin, Zone 1: Monkey Model 2003-2006 Digital 3D Modelling Fig.55 Richard Goodwin, Zone 1: Monkey Model 2003-2006 Digital 3D Modelling Fig.56 Richard Goodwin, Zone 1: Monkey Model 2003-2006 Digital 3D Modelling Fig.57 Richard Goodwin, Porosity Game 1: Snakes and Ladders Game Cards Fig.58 Richard Goodwin, Inside the Parasite 2005 Exhibition Poster Fig.59 Richard Goodwin, Inside the Parasite 2005 Performance / Installation Artspace, Sydney Fig.60 Richard Goodwin, Snakes and Ladders in Zone 1 2003-2006 Photographs 7 Fig.61 Richard Goodwin, Snakes and Ladders in Artspace Headquarters 2003-2006 Photographs Fig.62 Richard Goodwin, Inside the Parasite 2005 Artspace, Sydney Performance / Installation Photographs Fig.63 Richard Goodwin, Inside the Parasite 2005 Artspace, Sydney Performance / Installation Photographs Fig.64 Map of Jerusalem Fig.65 Hide & Seek, Photograph Fig.66 Richard Goodwin, Zone 3: World Square 2003 Sydney Photograph Fig.67 Richard Goodwin, Zone 3: Tree Model 2003-2006 Digital 3D Modelling Fig.68 Richard Goodwin, Zone 3: Tree and Cactus Model 2003-2006 Digital 3D Modelling Fig.69 Richard Goodwin, Zone 3: Cactus Model 2003-2006 Digital 3D Modelling Fig.70 Richard Goodwin, Zone 3: Cactus Model 2003-2006 Digital 3D Modelling Fig.71 Richard Goodwin, Zone 3: Artist on Site 2003-2006 Photograph Fig.72 Richard Goodwin, Porosity Game 2: Hide & Seek 2003-2006 Photographs and Computer Animation sequence Fig.73 Richard Goodwin, Porosity Game 2: Hide & Seek 2003-2006 Computer Animation Fig.74 Richard Goodwin, Porosity Game 2: Hide & Seek Cards 2003-2006 Fig.75 Richard Goodwin, Zone 3: Hide & Seek 2003-2006 Computer Animation Still Fig.76 Richard Goodwin, Porosity Game 2: Hide & Seek 2003-2006 Performance Photographs Fig.77 Richard Goodwin, Porosity Game 2: Hide & Seek Path Maps 2003-2006 Fig.78 Richard Goodwin, Porosity Game 2: Hide & Seek 2003-2006 Performance Photographs Fig.79 Richard Goodwin, Porosity Game 2: Hide & Seek 2003-2006 Computer Animation Fig.80 Richard Goodwin, Porosity Game 2: Hide & Seek 2003-2006 Performance Photographs Fig.81 Jenga Game, Photograph Fig.82 Richard Goodwin, Zone 2: Governor Macquarie Tower, Governor Phillip Tower, Aurora Place, Museum of Sydney 2003 Photographs Fig.83 Richard Goodwin, Zone 2: Tree Model 2003-2006 Digital 3D Modelling Fig.84 Richard Goodwin, Zone 2: Site Analysis Sketches 2003-2006 Fig.85 Richard Goodwin, Aurora Place Site Research 2003-2006 Sketches Fig.86 Richard Goodwin, Zone 2: Cactus Model 2003-2006 Digital 3D Modelling Fig.87 Richard Goodwin, Zone 2: What a Building Desires, Monkey Model 2003-2006 MAYA Digital 3D Modelling Fig.88 Richard Goodwin, Zone 2: What a Building Desires, Monkey Model 2003-2006 MAYA Digital 3D Modelling Fig.89 Richard Goodwin, Zone 2: What a Building Desires, Monkey Model 2003-2006 MAYA Digital 3D Modelling 8 Fig.90 Richard Goodwin, Zone 2: What a Building Desires, Monkey Model 2003-2006 MAYA Digital 3D Modelling Fig.91 Aurora Place, Sydney 2003 Photograph Fig.92 Richard Goodwin, Jenga Model 2006 Maquette Photograph Fig.93 Richard Goodwin, Porosity Game 3: Jenga 2003-2006 Game Cards Fig.94 Richard Goodwin, Game 3: Jenga 2006 Still from Video Sequence Fig.95 Richard Goodwin, Game 3: Jenga 2006 Stills from Video Sequence Fig.96 Richard Goodwin, Game 3: Jenga 2006 Stills from Video Sequence
9 SUMMARY OF WORK PRESENTED FOR EXAMINATION
DESCRIPTION OF RESEARCH WORK Porosity Research Porosity Research refers to an area of my studio research encompassing public and studio practices which relate to my use of public art to test the functional boundaries of built form. This work embraces the art practices of performance, installation, film and urban infrastructure as ways to research, explore and stimulate a revision of public space in the city.
Australian Research Council Research This thesis is in part based upon the outcomes of research I completed with the aid of an ‘ARC Discovery Grant’1 between 2003 and 2005. This research investigated methodologies with which to survey and redefine public space within the city and its outcomes provide a research foundation for this thesis.
DESCRIPTION OF STUDIO WORK Porosity Games The Porosity Games (2005-2006) are three performances or art actions which were developed as part of this thesis to be enacted live, within the Sydney CBD during 2005 - 2006. These actions were devised to play in the territory of the research, to test the functional boundaries of built form through haptic experience. They include Game 1: Snakes and Ladders, Game 2: Hide and Seek and Game 3: Jenga.
Performance DVDs Video artworks of each of the Porosity Games, are also included for presentation as part of this thesis. These films are to be projected at a large scale within a series of gallery rooms. These DVD’s are found at the back of this thesis.
Exhibition Images In the main body of the gallery key images from the research, which depict the spaces in which the games were played, will be displayed at A0 size. These images are featured throughout this thesis and are also provided in Appendix 5.
1 In 2003, I was awarded an Australian Research Council Discovery Grant in order to create an index of spaces within the Sydney Central Business district. This research is not part of this degree but provided essential information from which to generate models which describe the internal porosity of buildings in which the Porosity Games were played.
10 ABSTRACT OF THESIS
This thesis tests the theories of Porosity which are part of my ongoing investigation into the revision and extension of public space in the city. Porosity Research seeks to classify spaces which exist deep within the skin or fabric of privately owned city buildings. The primary vehicle for this interrogation is the use of public art in the form of a set of games called Porosity Games – Snakes and Ladders, Hide and Seek and Jenga.
These games are played out or performed within the territory of my Australian Research Foundation Discovery Grant outcomes. Their aim is to prove the validity of the research and to provoke interrogation of that research. The marginality of public art makes it ideally suited to the task of commenting on or contradicting the main body of the text of public space in the city. This contradiction is central to the work of this thesis.
One of the vital needs or reasons for this work lies in finding ways of preventing cities from being shut down as a result of rampant capitalism in the ‘Age of Terror’. Porosity as a strategy attacks this trend. It seeks the dissolution of architecture through a type of mapping which dissolves existing boundaries associated with rights of access. Capitalism needs to be continually measured by mapping or defining what is public against what is private. It can be argued that the social construction of a city is as important as its physical manifestation as buildings. It can also then be argued that a city which allows public space to penetrate its private space enables a healthier social construction.
Fundamental to this thesis is the idea that the survival of the Western city depends on an increased density of public space and multiple ground planes as opposed to one. This creates three dimensional public access and alleviates congestion at the level of the street both for cars and for pedestrians.
The Porosity Games are a first step in the transformation of the city through their successful re- invention of internal circulation spaces as game space. Game 1: Snakes and Ladders and Game 2: Hide and Seek both operate without interruption by the propriety of the buildings. Game 3: Jenga then intentionally heightened the risk of capture and eviction of the players for transgression within the climate of fear. Both the framework of surveillance and the intention to claim private space for public use, make the performances and the Porosity Research a useful progression in the project of transformation and the city as a plastic medium for the artist to interrogate.
11 DEFINITIONS OF TERMS Over my career I have developed various terms to specifically describe my ideas and artworks. These ideas underpin this thesis and are described below.
“Exoskeleton” This refers to my gallery practice which is devoted to experimentation with the body and minimum architectures. These minimum or small architectures are architectural propositions which defy human habitation. They are analogous to the outer shells or casings which protect insects. Exoskeleton works suggests the poetics of a symbiotic relationship between body and technology.
“Parasite” This term refers to both my public art and architectural projects. By transferring the site of site- specific artwork to the skin of architecture, in projects of transformation, the metaphor of the parasite is useful. The notion of parasite builds on the existing dissolution of the autonomous building. It must be remembered that not all parasites destroy their hosts. Many are symbiotic in nature. Either way there is a tendency towards transformation.
“Prosthetic architecture” The art/architecture of prosthesis involves the attachment or insertion of parasite projects to or in buildings. Hence the term prosthetic in relation to the idea of attaching a new proposition which responds to a perceived lack.
“Porosity” This term is based on my notion of the permeable edge that exists between public and private space and refers to the scale of the city. Amalgamating the concepts associated with exoskeleton and parasite, porosity is an assessment of the way in which the public and private realms can be made to mesh. The desired outcome of this re-envisioning of public space has led to a methodology for the production of new linkages, which help to make three dimensional the reality of public space in the city and the dissolution of architecture.
12 INTRODUCTION
The research which underpins this thesis began with a desire to consider a series of questions based upon the city:
Is it possible to drive the creation of new public space, within the city, via public art practice?
Is it possible to help liberate the three dimensional form of public space within the city via the interrogation of public art practice?
Can it be proven that types of public space exist within the circulatory and access spaces of private buildings?
Do these new types of public space and their various linkages to amenities, such as toilets, have an impact on our understanding of the city as a three-dimensional form?
Is there such a thing as a one-hour public space?
My earlier work had brought me to value the concept of ‘porosity’ in considering these questions, and in doing so, I had developed a series of understandings. Porosity2 rethinks public space by implying it has possible extensions within the private spaces of city buildings. Public art has a role to renegotiate this space and to grow new structures of public space via connections and other parasitic architectural forms or propositions.
Fundamental to this rethinking of public and private space within the city is an understanding of how the capitalist system makes demands on the public realm. These demands require constant measurement and testing in order to set the border between what is privately owned and what is owned by the public. Without this measurement and debate the demands of capital will make architecture impermeable to the street (gated communities) in order to control and own more space. This is the nature of capitalism. This in a sense is the task of capitalism or its momentum if unchecked.
2 The term ‘porosity’ within the context of this paper, is used to explain my notion of the permeable edge that exists between public and private space. The terms ‘Porosity’ and ‘Porosity Research’ are used to explain my research into this condition of permeability and that, which has become, my studio practice. 13 My interest in this debate and indeed the reason I came to this research occurred after observing the difference between a range of capitalist cities in relation to the permeability of their architecture in conjunction with the street and how this quality effected that city’s social construction. It was also compounded by a growing frustration with the restrictions placed on site specific public art.
Tokyo is a city of great architectural porosity or pedestrian permeability in relation to the street. It can be argued that Tokyo is both socially stimulating and relatively safe as a place of habitation. By comparison Los Angeles is a city of rampant capitalism and with limited permeability to the street. The social equation of Los Angeles is divided and potentially violent. To be on the street in many parts of this city is to be in danger.
This condition can be paralleled with the idea that an impervious city is ruled by rampant and out of control capitalism based on the reduction of public space. It also renders capitalism as a type of fascism when allowed to run its course. I base these obviously general statements on my own observations and experience.
The power of art to interrogate this equation via public art actions or projects led me to this research and finally to the specific actions (games) created for this PhD as public artworks. The importance and relevance of these actions, building on the research, is to relocate public art back into a position of power over architecture and to join the chorus of actions which continue to question capitalism and keep it healthy.
The growing movement for closure of private buildings at the street line, driven by fear and security, only succeeds in making the social equations of our cities less complex and the streets less safe.
My research into Porosity has therefore led me to the following statements:
Public Art is a powerful tool for the interrogation of architecture within the city.
Porosity Research3 sets out to classify types of public spaces, never before included within this definition.
3 The terms ‘Porosity’ and ‘Porosity Research’ are used to explain my research into the condition of permeability, in relation to the access of the pedestrian, of the edge that exists between public and private space in the city. It also describes my studio practice and primary project over the past decade. 14 Porosity Research sets out to prove that public art projects can drive future city developments and shifts in thinking about both architecture and public space.
Porosity Research provides a way of analysing and visioning built form that analyses what built structures want to do.
Porosity Research has a vision of extensions to public space, which exist deep within the fabric of the privately owned city envelopes.
This new vision or re-envisioning of public space has led to a methodology for the production of new linkages, which help to make three dimensional the reality of public space in the city. The post-structural theories of French philosophers Gilles Deleuze and Felix Guattari, in relation to the idea of “smooth and striated space”4, create the basis for a concrete system of new structures which enable the city to be seen as a three dimensional landscape. The actions of Porosity Research and the art actions of this thesis create pathways and openings within the “smooth” space of the city. Porosity seeks a new balance between the “striated” and “smooth” spaces of the city leading to the dissolution of architecture as we know it. The haptic space of the city is therefore given equal emphasis to the privately owned space.
This research is important and timely in relation to the extremes of our current world predicament. We live in ‘The Age of Terror’.5 The destruction of New York’s World Trade Centre on September 11, 2001 finally established this territory for the Western World and it can now be argued that the city as we know it will change forever. As U.S. writers Kersten Schagmann and Stephan Truby explain in their essay, “Exit Architecture Design Theory, Architecture and Maximal Stress Cooperation after 9/11”:
Western culture, which has forgotten that it wages war, has a name: Modernism. This can be defined as an epoch of waging war without admitting it. Modern ‘culture’ means culture minus war. Modernism means that the military and culture go their separate ways. 6
As the city changes, so must democracy and capitalism change. The balance between what is privately owned and what is publicly owned has always been the way that capitalism is
4 Deleuze, Gilles, & Guattari, Felix, A Thousand Plateaus Capitalism and Schizophrenia, University of Minnesota Press, Minneapolis, London, 1987, p474. 5 ‘The Age of Terror‘ being the commonly used term for the post-9/11 age in which we currently live. 6 Igmade, Ed. 5 Codes Architecture, Paranoia and Risk in Times of Terror, Birkhauser, Basel, 2006, p218. 15 measured through legislation and regulation. Security issues are paralleled with a perceived need for surveillance, closure and control at the expense of complex social interactions. Impervious, gated communities are already forming around the world. Outside, the general public or those without ownership are excluded and increasingly fearful. Architecture is protected, from a distance, by flimsy bollards and security systems, which are easily subverted by trucks, planes and missiles.
Our cities are not only at physical risk but they are also at risk of becoming lifeless ghettoes devoid of complex cultural and social structure. Porosity seeks to open pores within the boundaries between public and private ownership, which will otherwise be sealed up. We are facing the death of cities either way. A balance must be drawn. Porosity seeks this balance between the need for security and the need for complex social interaction both in the street and within buildings.
It is within this climate, that the Porosity Games, as a basis for this thesis, have been played. Both the research and the games break the rules of propriety in the city and also play within the territories that capitalism wants closed. However the system still requires the movement of people both workers and clients to remain fluid and open in order to operate. We are capitalism’s symbionts.7
It is no coincidence that my practice has developed out of architecture and then via performance and sculpture returned to public space. Having suffered from the condition of agoraphobia8 in my middle twenties, the relationship between crude approximations of public spaces as those spaces outside of buildings, and a sense of anxiety associated with not being allowed to ‘go back in’, have always interested me. In her essay titled “Agoraphobia” Rosalyn Deutsche questions what it means for spaces to be ‘public’, and what invokes this anxiety. She explains, that from a sociological perspective, a person suffering agoraphobia may devise strategies to negotiate the potential threats found in public space, defining and staying within what he/she considers the a zone of safety. Deutsche goes on to suggest that the sufferer may invent “covers stories” or false explanations to hide their fear of public space.9
7 Defined as ‘an organism living in symbiosis’, Australian Concise Oxford Dictionary, Fourth Edition, Oxford University Press, UK, New York, 2004, p1447. 9 Definition of ‘Agoraphobia’ (Psych.) - morbid dread of public places or open spaces (opp. claustrophobia); hence agoraphobic, The Concise Oxford Dictionary, Clarendon Press, London, 1982, p19. 9 Deutsche, Rosalyn, Evictions: Art and Spatial Politics, MIT Press, London, 1996, p325. 16 In this situation the story of the ‘lost public sphere‘ might function in a manner analogous to an agoraphobic’s cover story, so that:
The lost public sphere is a place where private individuals gather and, from the point of view of reason, seek to know the social world objectively. There as citizens, they ‘find’ the object – ‘society’ – that transcends particularities and differences. There, society becomes possible.10
From the perspective of agoraphobia, I have been subjectively driven to an exploration into the spaces I seek, in order to reconcile my anxiety. Through this extension of anxiety I seek to identify the social anxiety of the city and to confront the anxiety of the ‘Age of Terror’. It is part of my therapy and makes me a good Porosity Researcher.
None of the arguments associated with Porosity, which seek to extend public space inside private space, can be understood without the idea that, if we close down architecture to the outside, democracy itself is at stake. Thus the war against Terror is fought on two major fronts. One of these fronts is therefore from within. Again this idea can be understood within the model of agoraphobia and the individual. Deutsche cites Claude Lefort’s analysis of totalitarianism as an attempt to reach solid social ground. According to Lefort:
Totalitarianism … originates in a hatred of the question at the heart of democracy – the question that generates public space but also ensures that it remain forever in gestation. Totalitarianism ruins democracy by attempting to fill the void created by the democratic revolution and banish the indeterminacy of the social. It invests ‘the people’ with an essential interest, a ‘oneness’ with which the state identifies itself, thus closing down the public space, encircling it in what Lefort calls, ‘the loving grip of the good society’.11
Deutsche also discusses “the loving grip of the good society” by warning us of “the dangers inherent in the seemingly benign fantasy of social completion”12, a fantasy she explains, that:
…negates plurality and conflict because it depends on an image of social space closed by an authoritative ground. This image is linked to a rigid public/private
10 Deutsche, Rosalyn, Evictions: Art and Spatial Politics, MIT Press, London, 1996, p326. 11 Lefort, Claude, as cited by Rosalyn Deutsche, ibid. 12 Deutsche, Rosalyn, Evictions: Art and Spatial Politics, MIT Press, London, 1996, p326. 17 dichotomy that consigns differences to the private realm and sets up the public as a universal or consensual sphere – the privileged space of politics.13
It is exactly this pressure against the emergence or creation of public space that democracy must be employed to understand. The misrepresentation of democracy as consensus, as opposed to the meritocracy of ideas and its embrace of conflict and discourse is core to the problem.
This thesis is also informed by the theoretical and conceptual ideas of Rosalind Krauss and artist/architect Vito Acconci. Their works, like mine, negotiate between art and architecture within the public domain. Krauss is responsible for defining the “expanded field” in which we as architects and artists now operate. Without this perception of the way in which our very professions are now permeable to each other it would be impossible to truly understand the permeability of architecture to public space or to accept that artists may have an indelible effect on the operations of urban planners.
Following this discourse the desired effect of the thesis and its associated artworks is to expand the uses of public space within the city and ultimately to alter the design of buildings and their linking structures. Porosity challenges the notion of pedestal architecture (architecture as finished object analogous to modern abstract sculpture within a gallery) and engages the existing flux or edge breakdown of buildings. For example structures such as monorails, signs, public lifts, pedestrian bridges and links, restaurant seating and illegal extensions etcetera.
In order to make this challenge, I needed to know how public and private space is constituted within the Sydney Central Business District (used as a model for the Western city). I also needed to test the idea which is central to my thesis and which was drawn from observations over many years: that types of public space exist deep within private structures and that these spaces can act as a catalyst for future structures which may extend and make more three dimensional the public space of the Western city.
In 2003 I was awarded an ‘Australian Research Council Discovery Grant’ to create an index system for the classification of these porous city spaces and to give each city building a percentage score for its relative porousness in relation to other city buildings (see Appendix 1). I was also able to generate computer images of where these spaces occurred within the structure of each building. Although this index is not part of this degree, it does provide the information
13 Deutsche, Rosalyn, Evictions Art and Spatial Politics, MIT Press, London, 1996, p326. 18 essential for the generation of models to describe the internal porosity of particular buildings and therefore describes the territory within which the Porosity Games are played. These models and Porosity Games form the basis of analysis and the public art actions constituting this thesis. Public art, through the Porosity Games, will ascribe new meanings via function to these extremities.
The ARC Porosity research also set out to revise existing research into what constitutes public space both inside and outside architecture. The theorists Rosalind Krauss, Vito Acconci, Elizabeth Diller and Ricardo Scoffidio have envisaged scenarios where public space, via public art, intervenes in the space of architecture. Their work has moved the idea of public space as a space where people gather to a space that is made public.
In the first chapter of this thesis, entitled Porosity Theory, I develop the concepts of exoskeleton, parasite and porosity14 and locate them both in my practice and in their theoretical underpinnings. Each of these terms represents a scale of operation and a metaphor for the outcomes.
Exoskeleton refers to my gallery practice which is devoted to experimentation with the body and minimum architectures. These minimum architectures are analogous to the outer shells or casings which protect insects. Hence the word exoskeleton.
Parasite refers to both my public art and architectural projects. By transferring the site of site- specific artwork to the skin of architecture, in projects of transformation, the metaphor of the parasite is useful. Public art endows these projects with license to break urban planning restrictions in some cases. For example height limits or floor space ratios. Hence also the aptness of the term parasite. It must be remembered that not all parasites destroy their hosts. Many are symbiotic in nature. Either way there is a tendency towards transformation.
Porosity refers to the scale of the city and the sponge-like quality of the built edge to public space.
The section ‘Beijing Narrative’, is a creative exploration of the birth of porous thinking. In a sense it is parasitic to the body of this text and parallels my thinking in three dimensions.
14 See Definitions of Terms p12. 19 In Chapter Two Porosity Research, the development of the ‘Cactus’ models from the ARC research and the concept of a new structure for the city called ‘Newspace’, is discussed as a way into the notion of the games. This leads to Chapter Three Porosity Games, in which three art actions test the functional boundaries of built form. These public art events are titled: Snakes and Ladders, Hide and Seek and Jenga.
The conclusion considers the Porosity Games as a first step in a process of transformation of the city. It classifies the research, the films and the Porosity Games in relation to the lineage of art practice which uses the city as a starting point (from the Dadaists to the Surrealists to the Situationists to Stalker to Porosity). The films which constitute the artworks for this thesis form the main body of the conclusion. That the games progressed to a conclusion without the intervention of the security services was proof of both the intentions of the works and of the existence of other types of public space within the city. As artworks however these performances provoke a response and commence a process of change.
It is important to imagine these films projected at a large scale within a series of gallery rooms. In the main body of the gallery key images from the research, which depict the spaces in which the games were played, will be displayed. These images are featured throughout this thesis and are also provided in Appendix 5.
20 CHAPTER ONE: POROSITY THEORY
EXOSKELETON, PARASITE AND POROSITY In order to understand the concepts of Exoskeleton, Parasite and Porosity as I use them within this project, I need to explain how they developed through my previous work.
My position as a practitioner is unique. I am a registered architect who has practiced almost exclusively as an exhibiting artist since 1976. Only relatively recently has my practice fully engaged with the built environment. This combination of disciplines unites my interest in the city with my interest in minimum architectures of the body or their relative prosthetic architecture.
I have explored public art practice since the mid 1980’s and this work has grown to expand site specificity to include the skin of architecture itself. In other words, my art/architecture practice has moved from architecture to performance, to performance in the city, to gallery installation, to object making, to site specific public artwork both permanent and temporary, to parasitic architectural interventions, to urban infrastructure and planning projects, and finally to the idea of architecture as a site for art and through which, we may re-read the city. This line of inquiry builds on the lineage of Dada, Surrealism, and the Situationists.
My practice has three scales. The first can be described as: sculpture, performance and installation within the gallery. The second is site-specific installation and structure outside the gallery, and the third involves urban infrastructure projects and the scale of the city.
The current fetishisation of the site and preoccupation with context has reinforced my resolve to locate work at the disjunction of architecture and public art and engage constructively with the following three distinctions: firstly, between body and architecture which in my work I describe as prosthetics/exoskeleton; secondly, between architecture and public art which I class as parasite; and thirdly, between urban infrastructure and public space, which I label porosity.
Each of these zones involves me in attachments or prosthetics, rather than autonomous works. For each of the three scales I have formulated a theme or strategy that I have used in relation to the idea of prosthetics. Within the gallery, prosthesis is manifest as exoskeleton. At the scale of the site-specific installation it is manifest as parasitism. Within the urban landscape prosthetics are manifest as degrees of porosity.
21 It can be said that most public art projects expressing contextual significance over form remain largely objects in space. The parasite or prosthetic attaches itself as an alternative proposition. There is the possibility that the new limb replacement might create an itch, which provokes social or political change. Thus the appearance of function is subtly subverted by the new apparatus’s ability to question. My work is located in the itch created by the attachment. If the itch is great enough then the whole structure may be moved to change or at least question.
EXOSKELETON In 1975, while studying architecture, I completed my first performance utilising the devices of used clothing, a readymade object and photography. Birth Ritual (1975) (Fig. 2) employed a handmade guitar as prosthesis for the birth of a rag effigy.
Fig.2 Richard Goodwin, Birth Ritual 1975 Photographs.
By 1991, the over-riding theme of my sculptures was exoskeleton and the manifestation of models, which might suggest the poetics of a symbiotic relationship between body and technology.
True to my roots in Arte Povera, I continued to employ used clothing as the material symbolising the flesh. The ability of this material to contain the memory of its former owners is both actual and imaginary. The smell of the material and its wear and tear are testament to its former function as skin. The combination of this material and a range of ready-mades or other simple constructions formed the basis of each exoskeleton work.
22 Fig.3 Richard Goodwin, Exoskeleton Arm 1981 Steel, aluminium, leather.
These sculptures I named body/buildings15, to use the terminology of New York architects/artists Elizabeth Diller and Ricardo Scofidio. The exoskeleton sculptures and installations are essentially body and prosthesis. The clothing contained within each structure is in essence the body requiring this prosthetic action, devoid of any clear lack. These forms are abstractions of the idea of the body no longer defined by skin.
This symbolism refers to the insect-like quality of our existence and the further evolution or devolution of our bodies in relation to technology. Insects have a carapace which protects their fleshy body and also forms a skeleton. In the most part they are trapped within this articulated machine. It is their lasting architecture. Humans have an internal skeleton and fleshy breathing exterior skins. Our continuing evolution has seen us employ, via technology, a wide range of attachments to both protect and enhance our activities and movements. These include the car, boats, motor cycles, planes, helicopters, tents, clothing, prosthetic limbs, glasses, telephones and internet etc. Our difference from the insect lies in our ability to shed and change these devices, liberating us also from the hideous dangers of becoming robots.
Exoskeleton denotes a body of work about minimum or small architecture. These are architectural propositions which defy human habitation. To exist in public space, these sculptures require not only a change of scale, but also an acknowledgment of the effects such work can have on the functioning of the city machine. The argument for any form of prosthesis is
15 Diller, Elizabeth and Scofidio, Ricardo, Flesh: Architectural Probes, Princeton Architectural Press, New York, 1994, p12. 23 predicated on the notion of incompleteness that then requires attachment. The question then becomes one of literal or metaphoric extension. If one is to take the line (as French architect/artist Le Corbusier insinuated16), that prosthesis is literal, then we may as well leave it all to evolution. Adrian Forty in his article “Industrial Design and Prosthesis”, foretells:
If we were to take the view that artifacts are literally extensions of limbs, and therefore subject to the same laws of evolution as the body itself, then the development of designs must ultimately be a matter of biological evolution, and so outside the control of human consciousness. 17
The position I am taking in relation to the prosthetic embraces both metaphor and symbolism in its attempt to expose social information to the public realm of the city via public art projects. My work in the gallery can be seen in the context of work already carried out by Diller and Scofidio who coined the term ‘parasite’ in 1992 for the Machines D’Architecture exhibition, and who have worked extensively with the notion of ‘body/building’ and prosthetics.18 Anthony Vidler describes their work as follows:
...the objects–types of Diller and Scofidio neither serve nor dictate; they simply reveal. Peeling back the layers of consumer coverings, Bauhaus black or suburban veneer, they show the form of the guts inside. 19
However, this work is not in response to their position or practice. Where their installations such as Loophol (1992) and Para-site (1989)20 deal with surveillance and interrogation of the public realm, my exoskeleton structures build connections and possibilities for inhabitation and the critique of function.
16 Le Corbusier, “My Work” (London 1960) p155, quoted by Philip Steadman in The Evolution of Designs: Biological Analogy in Architecture and the Applied Arts, Cambridge and New York, Cambridge University Press, 1979. 17 Forty, Adrian, “Industrial Design and Prosthesis”, Ottagono, 96, Sept., 1990, p124. 18 Diller, Elizabeth and Scofidio, Ricardo, Flesh: Architectural Probes, Princeton Architectural Press, New York, 1994. 19 Vidler, Anthony, “Homes for Cyborgs: Domestic Prosthesis from Salvador Dali to Diller and Scofidio”, Ottagono, 96, Sept. 1990, p52. 20 ibid. p163. 24 Fig.4 Richard Goodwin, Prosthetic Resort 1997. Photographed by Anthony Browell.
One cannot talk about the guts inside without some reference to Gordon Matta-Clark and his effect on our perception of architecture as a body. Like Matta-Clark, I see architecture as an interesting first proposition in an ongoing program of flux and decay. Matta-Clark, however, removed material in order to transform our perception of both the iconography and archaeology of the built form. This body of work is also stamped with a particular psychopathology, as was his work with rubbish and performance. Modelling work in this way, subjective trauma and psychosis may be revealed to the public as expressions of structure and architectural program. This is in marked contrast with the rationalism of functionalism, and as explained by Adrian Forty:
Functionalism’s great shortcoming as a theory of design was its asocial quality. The prosthetic view of design, although it too is central upon the body, need not fall into this error, for prosthesis is not just a literal process of bodily extension, but can also be symbolic. 21
21 Forty, Adrian, “Industrial Design and Prosthesis”, Ottagono, No. 96, Sept. 1990, p116. 25 Fig.5 Monorail, Sydney CBD, Photograph.
This argument has also long engaged the Modern movement. But what of clothing as a starting point for prosthetic discourse? Again Forty reminds us, that:
Naked we are socially incomplete, but clothes, as Carlyle said in Sartor Resartus, ‘have made Men of us’, given the body a completeness without which it would be difficult or impossible to carry on as social beings’ 22
The idea revolves around the notion that architecture may supersede clothing and itself become more impermanent.
22 Forty, Adrian, “Industrial Design and Prosthesis”, Ottagono, No. 96, Sept. 1990, p116. 26 Fig.6 Bilbao, Spain. Photograph.
PARASITE In my work I have employed the strategy of applying new structure to architecture which operates between public and private space and between site-specific art and architecture. The ‘site’ in this work is relocated from the site of public art, typically the spaces between buildings, to the skin of architecture.
Site-specific artworks, within the realm of the city, are in crisis. Increasingly artists are divorced from the process of site selection by ‘Council Arts Officers’ and subjected to rigorous and compromising briefs, which dictate contextual thinking rather than opening themselves to a broader definition of place making. Collaboration is being used to enact works, which are limited to and by the sanctioned site. The sanctioned site is defined within the proprieties of the city. Sandwiched in this way by private ownership, the site is mediated by the curator’s relationship to both government planning bodies and private owners. Community interests are usually manipulated and controlled via interest groups and those who attend workshop meetings. The real community, or old community, has already been displaced. 27 Fig.7 Richard Goodwin, Parasite Car 1997, Kassel, Germany. Photograph.
Architecture is the new site for public art in the city. The notion of parasite builds on the existing dissolution of the autonomous building via the steady progression of attacks by bus stands, foot- bridges, signage, graffiti, vandalism, electrical wires, landscape devices, decay and renovations not in keeping with the existing built form, which constantly challenged the modernist tenets of purity of form and function. (Fig. 6)
The model for the parasite is by its nature impolite. The parasite attacks architecture to reveal to the public realm socially hidden information. The sculptural prosthesis as other to the self- contained building, replete with its own history and sculptural and social identity, is able to project a new identity for the building. The idea of parasite, therefore, formalises an already existing trend of transformation. It locates the action for both art and architecture within the interstices of the city. The individuated building is dissolved. This is the dissolution of architecture.
I define architecture as an elaborate way of connecting the body to the sewer. Belonging and ownership are continually and ritualistically refined through this system in a form of communion that links people with soil and water via vast intestines. To be an outcast from this same system
28 is to be denied the right to dignity and demeanor via the toilet. Thus the division between private and public space might be elaborated as a simple sewage-drawn delineation between connected and non-connected space. It also points to a weakness in traditional architecture – to separate, exclude, shut out, compartmentalise – that invites radical reconsideration of the practice of architecture as a whole. Returning to the organic model, this divided city falters and breaks down; it clots, bruises, seeps, erupts and thromboses.
It’s a far cry from a vision of the modern city (with clean public toilets for all!) in which private and public, art and architecture, flow together accessible to all urban dwellers and nomads alike. The works of parasite provide an invitation to review the structure of the city and intervene where architecture ends.
Architecture needs a certain opacity for its ideas and existences to be revealed. The equation, which links property and ownership to boundaries and public access, is controlled by city councils, planning authorities and government architectural agencies. Individuation of buildings across which I am working, creates a series of signs of the cities’ proprieties. Opacity and porosity in relation to architecture are of key importance in my analysis. By this I mean the degree to which you can or cannot enter the architecture. Porous architecture is accessible; it has pores. Opaque architecture has seamless walls.
This is where the equation between capitalism and possession becomes particularly complex. The parasite works to create a greater balance between the modalities of public art projects and the modalities of ownership. The property boundary is the site.
Functionalism saw prosthesis as an extension of function. Designs and objects that mediated between the body and a specific task were to be denuded of any semblance of the subjective. Against this thesis is the position most clearly expressed by the Surrealists, and in particular André Breton. For Breton, Modernist functionalism was:
…the most unhappy dream of the collective unconscious, a solidification of desire in a most violent and cruel automatism. 23
23 Vidler, Anthony, “Homes for Cyborgs: Domestic Prosthesis from Salvador Dali to Diller and Scofidio”, in Ottagono, No. 96, Sept. 1990, p42. 29 POROSITY Pore: n. minute opening in surface, through which fluids may pass. Porous: a. full of pores (lit. or fig.); hence of cogn. Porosity: porousness, ns.24
Fig.8 Richard Goodwin, Glebe Island Arterial 1993-1996, Pyrmont, Sydney. Photograph by Anthony Browell.
Pores are minute openings in a surface through which fluids may pass. To be porous is to be full of pores. Porosity is the state or quality of being porous.
The strategy I have adopted relating to this quality is at the urban scale. Amalgamating the concepts associated with exoskeleton and parasite, porosity is an assessment of the way in which the public and private realms can be made to mesh. Using sculpture or installation, as parasitic attachments at the urban scale, architecture or unusable spaces can be made more accessible to the pedestrian or city dweller. (Fig. 8) Similarly buildings may be opened for
24 The Concise Oxford Dictionary, Oxford University Press, New York, 1964, p798. 30 access to amenities such as the sewer or as part of the pedestrian walkways or space systems such as roads and footpaths.
From this position I have built the rationale for my research under the same banner of ‘Porosity’. Through my research (and using Sydney as a model) I have invented a way of measuring the porosity of a building via an Index system and site research that maps and classifies spaces within corporate structures as types of public space. From this ARC research it has been possible to create images of ‘what a building desires’ to do next or how it might connect to other structures. In so doing, the designer can accelerate the flux of architecture. This flux or viral growth is or has been to date inevitable, but so slow that the public do not detect it.
The body of architecture is in a perpetual state of defect in the city. It is already subject to infinite and perpetual prosthesis. Bridges, bus stops, signs, extensions, window changes, public toilets and so on, all fight in various ways to increase the porosity of the architecture. Art can do this but with an extended and ambiguous program. What is the aim of this entire repair to the body of the city? Ultimately the vision for the city is parallel to the ongoing flux of a great forest.
What is at stake, if art is to truly infiltrate public space, is the skin of architecture. Its static and rigid manifestations, created in a vain attempt to individuate both the architect and the owner, will dissolve with the need for more porosity. Freedom from the sewer is freedom from architecture of the twentieth century.
The art/architecture of prosthesis (via the attachment or insertion of parasite projects to buildings) is a way of reassessing the role of public art in shaping the transformation of architecture and the urban structure of our cities. Within my own practice, this shifting of scale and site has led to projects such as Parasite Roof (1998) (Fig. 9) and Shellharbour Workers Club solar roof and balcony extension (2003). In each case the transmutation of the concept of exoskeleton for the body into a parasite helps to transform existing architecture into a new proposition. The license to make this transformation is extended by employing the strategy of public art. As a public artwork these additions are entitled to exceed height and boundary limitations subject to approval.
Ultimately these works seek to extend and expand on the work of artists such as Gordon Matta- Clark and Lebbeus Woods in terms of artworks which challenge and change architecture. It can be argued that we no longer have the time or energy resources to rebuild all the poorly performing structures within our cities. Parasitic actions seek to transform the existing armatures of buildings and grow them towards new solutions. 31 The 20th century sought to make progress look easy. Why? Does the structure of an elephant or fish or great tree look easy? No, but it does look elegant and inevitable. Inevitable over easy – this would be a shift. The Miesian box feels like an answer. How can you inhabit an answer without feeling finished or sated or just plain bored? This explains why the aesthetics of Modernism feels like death. It feels like no thought at all.
Fig.9 Richard Goodwin, Parasite Roof 1998, Union Hotel, North Sydney. Photograph by Anthony Browell.
The prosthetic is struggling for an answer even more intensely than its host architecture. That is a beautiful dynamic. If humans were stable structures and the natural order was not so murderous then maybe this would be different. But humans are in a constant state of falling over. That’s how we walk. Architecture has always compensated for this frailty by providing horizontal surfaces. The next revolution in architecture will throw out this paradigm. In the meantime this thesis advocates the need for transformation rather than demolition. It also
32 advocates that public art is equipped to lead these actions, operating within the space or gap which exists between public and private space in the city.
Mind the Gap On every London underground station platform and in every train, the loudspeakers broadcast the phrase ‘Mind the Gap’. I find myself transfixed by these words on the pavement. Francis Leotard identifies ‘the gap’ as the space for art to be constructed25, but I see the necessity for delay. It is the crucial ten seconds within which the truth lurks, like Swiss video/ installation artist, Pipilotti Rist’s Rauschblasenmachine (1999), where soap bubbles of smoke fizz out of existence with haunting little clouds. 26
Fig.10 Lebbeus Woods, Transforming Walls: Monuments 1994
The gap where you chill to the universe as it takes care of the account. The space where you finally witness what happened when you left the room. The space to cry is the architecture of the mind at its best. Finding those spaces is finding the gap. Through every pore of this breathless space speaks the great reminder of first experience - the place where the hissing of summer rain is a foyer of Gothic proportions to the main room which exists in the humid wedge beneath a mother’s breast.
25 Leotard, Jean-Francois, Les transformateurs Duchamp (Paris: Galilee, 1977); trans. Ian McLeod, Duchamp’s TRANS/Formers, Venice, Calif.: Lapis Press, 1990, pp29-37. 26 Rist, Pipilotti, Rauschblasenmachine (1999), Venice Biennale 1999 33 POROSITY INFLUENCES A causal chain links a range of movements and practitioners with the work of Porosity. From the outset it is important to delineate the role and effectiveness of Porosity in relation to these comparative forms.
Fundamentally, Porosity, as demonstrated in the Porosity Games, makes one particular leap forward which is unique. The study claims parts of private space in the city as types of public space, and then sets about to catalogue, characterise and test these spaces through public art. The end result transforms our perception of the city in the ‘Age of Terror’ and uncovers architecture’s desires in relation to transformation.
If a line exists between Marcel Duchamp, Dada, the Surrealists, the Situationists, Constant Nieuwenhuys, Stalker, Robert Smithson, Gordon Matta-Clark, Michael Sorkin, Lebbeus Woods, Vito Acconci, Herzog and De Meuron, Porosity (Richard Goodwin), via Walter Benjamin, Deleuze and Guattari, and Paul Virilio, then the criteria for its inclusion would be summarised as follows.
Firstly, following the polarisation of the world by the Cold War and its nuclear arms race we now find ourselves in a protracted Third World War which pits Moslem against Christian, developed against undeveloped, have against have not, and ultimately population against global warming. War has again re-invented itself to suit an economically weak opponent rich in religious fanaticism. This has led to the ‘Age of Terror’. Within this particular political climate the idea of exploring cities or even observing them has taken on a different meaning. The drunken city ramblings of either the Situationists or Surrealists would now be subject to the scrutiny of security services and political leaders of conservative persuasions. In the Porosity Games, the Porosity researcher must travel in disguise or as a tourist.27
Secondly, the visions of Lebbeus Woods in his book Radical Reconstruction include transformations of architecture, which have been damaged by war using ‘scab-like’ additions and sinews of new connecting forms, 28 which predict the desired future outcomes of my practice
27 In the Porosity Games and to this end both my assistants and I wear the corporate camouflage of senior executives and business managers in order to escape eviction while gathering data. This data was then used to make Game 1: Snakes and Ladders and Game 2: Hide and Seek, which both operate without interruption. Game 3: Jenga then intentionally led to the possible capture and eviction of the players for transgression within the climate of fear. Both the framework of surveillance and the intention to claim private space for public use, make the performances and the research a useful progression in the project of transformation and the city as a plastic medium for the artist to interrogate. 28 Woods, Lebbeus, Radical Reconstruction, Princeton Architectural Press, New York, 1997. 34 and thesis. Without employing a utopian vision for the future shaping of cities, I nonetheless embrace the work of Woods as a vision of our need to transform rather than to re-build where possible. They also represent the need for an endless flux of architecture within the viral form of the city - if only for reasons of environmentally sustainable design. Hence the rethinking of the internal spaces of architecture via Porosity replaces Wood’s war zone perforations.29
My work shows that these perforations can be found in the existing fabric of buildings and that by understanding these spaces, new ‘scab-like’ structures can be planned and made permanent. In other words, my practice builds on the work of Woods and brings to fruition new parasite forms of architecture via the license to transgress given initially by public art. Only by using this license can limitations such as height restrictions, floor space ratios and overhangs into public space be overcome. Ultimately Porosity Research seeks a mechanism to change urban planning legislation in favour of new development.
Fig.11 Lebbeus Woods, Sarajevo Series 1992-1994
The new structures created by Woods mediate between the armature of the architecture and the diminished public space. These virtual actions mirror the theoretical positioning of Diller and Scoffidio whose practice as artist/architect/academics has used architecture as a surgical instrument to operate on itself. Via installations, which often use devices such as video
29 Woods, Lebbeus, Radical Reconstruction, Princeton Architectural Press, New York, 1997. 35 surveillance, their art activity addresses the pure exteriority of meaning. This work points to another frontier of construction that will invert our perception of what a city is, pushing the emphasis towards attachments and penetrations to architecture via site-specific art. In the words of Rosalyn Deutsche:
Since any site has the potential to be transformed into a public, or for that matter, a private space, public art can be viewed as an instrument that either helps to produce a public space or questions a dominated space that has been officially ordained as public.30
Fig.12 Gordon Matta-Clark, Office Baroque 1977
30 Deutsche, Rosalyn, Evictions Art and Spatial Politics, MIT Press, London, 1996, p288. 36 In the 1970’s Gordon Matta-Clark sliced and carved away from buildings’ pieces and evidence of their archaeology, in order to transform architecture at its most fundamental level.31 These actions forever changed the relationship between art and architecture, proving how effective art is as an interrogator of the city. Works such as Office Baroque (1977) (Fig. 12), in which his ‘situational cuts’ into the building fabric, pointed to the dysfunctional nature of urban society. This and other actions set up architecture as an interesting first proposition in an ongoing flux. These actions were necessarily carried out on buildings soon to be demolished. This in no way diminished the power and resonance of the work. However it leaves the way clear for a generation to interpret this direct action into the accepted language of new architecture in the city. This is the intention of Porosity.
Gordon Matta-Clark’s physical attacks on architectural fabric illustrated graphically how vulnerable architecture can be to redefinition via art. The image of an artist physically cutting slots and holes in a range of buildings reduced buildings to armatures for future actions. This image reinforces the aim of this study to challenge the current perception of buildings in the city as pedestal objects and instead reinforce the idea of buildings merging into a viral mass breathing the oxygen of public space.
The practice of the Swiss architects Herzog and De Meuron has always involved artists and often uses the skin of buildings to function as images.32 It is hard to summarise such a complex and extensive practice. However it is in the field of transformation of existing structure and understanding the primal sources of building, that I build on their practice. Herzog and De Meuron indicate that:
If we are convinced that the existing structure has potential and something to contribute that could not be achieved by starting all over again from scratch, then we advocate preserving the structure….Tate Modern has nothing to do with the former power station; it is an entirely new museum. We were not interested in the brickwork as a means of tracing history, but much more in finding out to what extent it could enrich a new building.33
This simple statement is so important, both in understanding Herzog and De Meuron’s work as well as in articulating a platform for Porosity. Diametrically opposed to the tabula rasa approach
31 Diserens, Corinne, Gordon Matta-Clark, Phaidon Press Limited, New York, 2003. 32 Ursprung, Philip, Herzog & De Meuron Natural History, Canadian Centre for Architecture Lars Muller Publishers, Montreal, 2003. 33 ibid. p148. 37 of Modernism, both practices employ existing structure and limitations of context as possibly enriching the process of transformation. Also fundamental to this practice is a less reverential approach to heritage than is evidenced today within planning guidelines. The results speak for themselves – the new Tate Modern Museum in London. (Fig.13)
Fig.13 Herzog & De Meuron, The New Tate Modern, London
In his essay “To Paradise through Stone: Tales and Notes on Chinese Scholars” Albert Lutz seeks ways to explain Hertzog and De Meuron’s obsession with external surface. Ancient Chinese scholars were fascinated with porous rocks that became known as ‘scholar rocks’. The more richly porous the structures were, balancing air with mass, the more valuable they became.
For the world of Chinese scholars stones has to be a source of inspiration - mysteriously shrouded in feathery mist – to anyone with an interest in transparency,
38 transformation, immateriality, dynamism, in spectacular surfaces, monoliths, or raw lumps of rock, in minimalist or archaic monuments.34
Lutz also explains:
The notion of stepping through a gap in a cliff, not into the sharply defined space of a cave, or some other dwelling, but to disappear into a paradise where neither time nor space apply, has always been seductive.35
Mine also is a fascination with the skin of architecture, and its fleshy centre, as a model for the body and architectural minimums, and the idea of architecture being analogous to both the Scholar Rock and by way of extending this idea, the mathematical model of the ‘Sierpensky Sponge’. This is a theoretical cube which is infinitely porous and hence
…more than a surface, less than a volume….Its total volume approaches zero, while the total lateral surface of the hollowings infinitely grow.36
This obsession with dissolving architecture, via its skin or pores, runs hand in hand with the idea that art has a role to play in promoting the adaptive re-use of existing urban structure via new parasitic forms. Hence the social construction of cities is prioritised over physical construction, program, or any issues to do with aesthetics. In his book ‘Walkscapes’, Francesco Careri suggests that:
The work lies in having thought of the action to perform.37
This quote follows discussion about the early Dada city interventions in Paris around 1921, which explored the banal spaces of the city. Not only does this research build on the foundations of Dada actions, it also owes much to the lineage which folds the Surrealists into the Situationists and through an ‘expanded field’38 (Krauss) of operations for art into the nomadic
34 Lutz, Albert, “To Paradise through Stone: Tales and Notes on Chinese Scholars” in Ursprung, Philip, Herzog & De Meuron Natural History, Canadian Centre for Architecture Lars Muller Publishers, Montreal, 2003, p111. 35 ibid. p117. 36 Deleuze, Gilles, & Guattari, Felix, A Thousand Plateaus Capitalism and Schizophrenia, University of Minnesota Press, Minneapolis, London, 1987, p487. 37 Careri, Francesco, Walkscapes: Walking as an Aesthetic Practice, Editorial Gustavo Gili, Barcelona, 2002, p3. 38 Krauss, Rosalind, “Sculpture in the Expanded Field” in Allocations: Art for a Natural and Artificial Environment, Exhibition Catalogue edited by Jan Brand, Catelijne De Muynck, Jouke, Kleerebezem, Zoetermeer, 1992, p29. 39 ‘smooth’ space of Deleuze and Guattari as it mediates the ‘striated’ or structured space of our capitalist Western cities.
Smooth space and striated space – nomad space and sedentary space - the space in which the war machine develops and the space instituted by the state apparatus - are not of the same nature. No sooner do we note a simple opposition between the two kinds of space than we must indicate a much more complex difference by virtue of which the successive terms of the oppositions fail to coincide entirely. And no sooner have we done that than we must remind ourselves that the two spaces in fact exist only in mixture: smooth space is constantly being translated, traversed into a striated space; striated space is constantly being reversed, returned into a smooth space.39
The Porosity research has been performed in the city of Sydney and has depended on field observation by the researcher acting as a type of tourist or nomad. Central to my belief is the following measure: ‘If one can visit a toilet adjoining a corridor leading from the lift lobby at level X of building Y and stay within that space comfortably for one hour then that constitutes a one hour public space’. In other words, the city is full of spaces of transition, connection and bodily comfort, which have yet to be claimed or classified as types of public space within the city. Clues lie within the networks of these spaces for what cities might become.
Fig.14 Richard Goodwin, Porosity Games 2006, Sydney. Photograph.
39 Deleuze, Gilles & Guattari, Felix, A Thousand Plateaus Capitalism and Schizophrenia, University of Minnesota Press, Minneapolis, London, 1987, p474. 40 I believe that by claiming these spaces as types of public space, and connecting their structures to the already sanctioned public spaces ranging from footpaths to parks, that only then will the city reveal to the architect/artist/planner its potential as a three dimensional construction with the possibility of more than one ground plane. This three-dimensionalising of public space enables the possibility of both more public space opportunities and also access to valuable facilities such as toilets, landscape and seating or refuge. That this affects or makes healthier the social construction of the city can then be argued. Porosity simply does not believe that public space ends at the front door of high-rise city buildings – far from it.
Porosity also seeks to engage in the continual flux or state of becoming which constitutes the edge condition of architecture now and architecture in the future. Public art is ideally suited to the task of interrogating architecture via its symbiotic relationship with built form. The marginality of public art makes it ideally suited to the task of commenting on or contradicting the main body of the text of a culture.
Public space is largely misunderstood and under-utilised. Proof of this lies in the endless empty foyers and deserted leftover spaces in subways and beneath freeways. Currently, the boundary for public space exists at the threshold of architecture. However this orthodoxy has left the definition of foyers, toilets and the means of egress within and between buildings in an indeterminate zone. The mappings of all the ancillary spaces, which facilitate public space or movement, have created a comprehensive understanding of the totality of public space in the Western city.
This study builds directly upon Rosalind Krauss’s investigation of ‘axiomatic structures’40 which intervene in the real space of architecture. It also builds on a history of artworks by a range of artists over the last forty years, in particular the works of Gordon Matta-Clark and the writing and works of Vito Acconci.
The 1960’s and 70’s saw a shift in art practice towards site-specific art. Via ‘land art’ and the work of artists such as Robert Smithson, the restrictions on and the commoditisation of art were broken down. Public art shifted from the self-referential works of Modernism to the expanded field of Post-modernism. Public art was now positioned between ‘architecture and not architecture’, and between ‘landscape and not landscape’. To use the terminology of Rosalind Krauss, an ‘expanded field’ was created. My work for this thesis is situated between
40 Krauss, Rosalind, ‘Sculpture in the Expanded Field’ in Allocations: Art for a Natural and Artificial Environment, Exhibition Catalogue edited by Jan Brand, Catelijne De Muynck, Jouke, Kleerebezem, Zoetermeer, 1992, p36. 41 ‘architecture and not architecture’ in what Krauss defines as ‘axiomatic structures’. Significant artists first operating within this zone were Robert Irwin, Sol LeWitt, Bruce Nauman, Richard Serra and Christo.
Fig.15 Joseph Beuys, Tallow 1977
The work of seminal German artist Joseph Beuys made concrete notions of social failure and sought the wound in our urban fabric. His work forms another foundation for my city interventions. Central to this notion is the idea that by selecting wounded sites, and processing 42 them via art, they begin a healing process. Works such as Tallow (1977) (Fig.15) in which Beuys chose a leftover space in Munster and made a casting of it in fat, clearly illustrate these ideals. So do such works as Show the Wound (1976) in which Beuys believed there was a need to demonstrate trauma before the healing process can begin.
Within this ‘expanded field’ a complex series of works can be mapped which develop the body metaphor of the city centre. Other key works, instrumental in the notion of dissolving the edge of architecture and revealing its social structure, include the projection works of Polish artist, Krzysztof Wodiczko. Works such as the Poetics of Authority41 projections for the Sydney Biennale in 1982 onto the Qantas Building, The Art Gallery of NSW and the MLC office, destroy the notion of stable and permanent structures and explore architecture as a psycho-political experience.
Building on this lineage of work underpinning Porosity, architect/artists Diller and Scoffidio have reinforced the attack on architecture by the use of installations, which use as their model the prostheticised body or cyborg.42 Rather than simply creating architecture for ‘natural’ bodies they define environments for bodies projected outside themselves by means of technologically extended senses. Their practice calls into question the mutant body of architecture and the nature of our existence as the body’s limits literally delaminate in cyberspace. Often they make use of video surveillance to interrogate architecture and public space.
Fundamental to the progression of the role of artist/architects in the transformation of the city lies the work of legendary New York performance artist, now architect, Vito Acconci. His practice more than any other influences my current work. In line with the direct action of Beuys and Diller and Scofidio, Acconci makes fundamental claims to the future morphology and understanding of public space. He points out clearly that:
Public Space is made and not born.43
The aim of Porosity Research and the Porosity Games created for this thesis is to accelerate the process of making public space by re-negotiating corridors of private space, which facilitates ‘the public’ on its journey from public to final private destination space. By characterizing these
41 More information on these works can be found in the book Krysztof Wodiczko: Instruments, Projections, Vehicles, Fundació Tàpies, Barcelona, 1992, pp108-111. 42 Diller, Elizabeth & Scofidio, Ricardo, Flesh: Architectural Probes, Princeton Architectural Press, New York, 1994. 43 Acconci, Vito, “Making Public: The Writing and Reading of Public Space” in Vito Acconci: Writings, Works, Projects ed. Gloria Mouve, D.A.P. (Distributed Art Publishers), New York, 2001, p394. 43 spaces and colouring them with particular qualities, types of public spaces are invented. By types I mean new types - previously misunderstood spaces. Private spaces which share public spaces. Public spaces in disguise. Acconci further asserts that with public space:
what's produced is a ‘production’: a spectacle that glorifies the corporation or the state, or the two working together (the two having worked together in the back room, behind the scenes, with compromises and pay-offs). The space, then, is ‘loaned’ to the public, bestowed on the public - the people considered as an organised community, members of the state, potential consumers.44
These ‘ersatz’ public spaces would be even more sinister if the only people entering them were there for a specific destination purpose. But what of the passer-by, the vagrant or the person seeking a toilet or warmth, or coolness? These participants are subject to the propaganda that can be read within the space. They can equally be in transit to somewhere else or even lost. What might the schizophrenic make of the space or indeed the agoraphobic? Viewing so called ‘spectacle’ spaces as finite destinations is as limiting within the virus of the city as viewing buildings as pedestal objects. Acconci again reminds us that typically:
public space is a contract: between big and small, parent and child, institution and individual. The agreement is that public space belongs to them, and they in turn belong to the state.45
THE POROSITY RESEARCHER Public space, however, has just grown up. In some circumstances the individual holds a weapon, which renders the fabric of buildings, between the circulation space of lift cores and the street, immaterial and endlessly connected. The terrorist explosion immediately invents new public space at the expense of any contract between government and individual. It forever changes our perception of the wholeness and might of buildings. In the wars of the past there was a perception that ‘cities fell’. Today individual buildings can be vaporized and the public move in to fill the hideous "gap" and contemplate the fragile nature of their journeys. Acconci turns our attention:
Milling in the crowd, lost in the crowd, are the ‘others’- the outsiders, the people who have broken the contract, the people who don't have a home here.46
44 Acconci, Vito, “Making Public: The Writing and Reading of Public Space” in Vito Acconci: Writings, Works, Projects ed. Gloria Mouve, D.A.P. (Distributed Art Publishers), New York, 2001, p394. 45 ibid. 44 To be ‘outside’ is to be disconnected. Disconnected from what exactly? In social and economic terms the reasons are complex and highly specific. In concrete terms the disconnection is specifically from two things. The first is shelter. The second is the sewer. As previously stated, architecture is an elaborate connection of the body to the sewer - the great human communion. Physically one primarily seeks reconnection at will. Deprivation of such needs soon de- humanises the subject and is aptly described by Acconci:
They can be tourists, transients, scouts; but they can never be inhabitants. For them, public space has to be taken.47
Being a tourist is the perfect description for the Porosity Researcher. It is from a state of disorientation that new perceptions about city spaces can be made. By entering buildings without a specific agenda or destination, other than to observe and explore, one immediately takes on the non-territory of the displaced tourist. The tourist blunders into spaces that true inhabitants will never find. Seeking both to explore and culturally decode, the tourist de- laminates built form and mixes it with slices of view in an attempt to orient. The tourist leaves an umbilical thread through corridors and spaces - a way to get back. Laying this cable is parallel to the process of exploration by the Porosity Researcher. Acconci points out:
Each person, having a right to be there, has the responsibility to respect other people's rights. No person owns a place within the public space; each place changes hands: now it's occupied by one person, now by another. Each person has the right to a particular place, but only so long he/she stays there, in place only so long as she/he keeps her/his place (obeys the rules of the public space); when that person moves on (or when that person is moved off, by the authorities), another person can move right in. One person after another ‘rents’ the space, each person has the rights of a tenant; for the time being, each person has her/his own rightful place, in the middle of the public space and contiguous to every other person‘s rightful place.48
This constant sequence of momentary possession or sense of belonging establishes public space and the definition of what constitutes the huge communities of cities. The definition includes the dispossessed and homeless as they are destined to operate as nomads. By giving value to transitional spaces within buildings Porosity reduces rent times, in some cases to the
46 Acconci, Vito, ‘Making Public: The Writing and Reading of Public Space’ in Vito Acconci: Writings, Works, Projects ed. Gloria Mouve, D.A.P. (Distributed Art Publishers), New York, 2001, p394. 47 ibid. 48 ibid. p395. 45 time it takes to make another step forward or back. The space to tie a shoelace or adjust a tie or answer the mobile phone is rented momentarily within the porous zone beyond the boundary of possession. The mobile phone, another umbilical linkage and system of human communion, facilitates the possible transgression of property and propriety entertained by Porosity Research and the Porosity Games. The phone allows communication with someone who has deeply penetrated a private building zone. Locations and tracts can be quickly communicated as people move through the labyrinth of marginal spaces, which are associated with public spaces.
Keep telling yourself: it’s only a dream… it’s only a novel…it’s only a movie…it’s only a video game…keep telling yourself: it can’t happen here, this is a public space. 49
Keep telling yourself you haven’t arrived…you are not there…therefore your journey is interrupted by the formality of entering ‘the building’ …you can only enter the planned encounter, the appointment, the other’s home, the home of destination…
It is only a movie. It is a movie in the process of being made. We are all the extras and we never see the stars and the action of the movie being acted out in front of the director. We simply anticipate being called to action. Always ready to be called, we mill around the distant glow of the lights. Tourists are bit-part players of movies from other cities. Their anticipation of being called to act is muted by their dislocation. Hence the ability to explore and act in a more dangerous manner, with little or no possibility of being seen by their directors. Acconci’s incantation continues in our ears:
A public space is not a space in itself but the representation of a space. A public space is a game-board for mating games and war games.50
Currently public space is misrepresented. It is a board of snakes and ladders with a numbered grid on which the snakes and ladders have not been printed. Porosity seeks to play the game of snakes and ladders on the grid, which describes what is public, and what is private. Only via the imposition of the metaphorical porous snakes and ladders can the nuances and subtleties of mating and war games be described. War games ultimately describe, in the form of exploded cavities, the snake and ladder forms of catastrophe, hope and despair – the results of violence. The exploded city is a static representation of the umbilical journeys of one moment in a million different love affairs. Hence the birth of Porosity Games.
49 Acconci, Vito, “Making Public: The Writing and Reading of Public Space” in Vito Acconci: Writings, Works, Projects ed. Gloria Mouve, D.A.P. (Distributed Art Publishers), New York, 2001, p396. 50 ibid. 46 BEIJING NARRATIVE – THE BIRTH OF POROUS THINKING51 Following is an extract from my notebooks which are an essential part of my creative process and which elucidate the beginning of my lateral thoughts about porosity.
Fig.16 Hutong, Beijing
51 This is an extract from my notebooks. These narratives are an essential part of my creative processes. 47 She sang in that lilting high-pitched tone which immediately transported me across cultures and back in time. Singing a traditional Chinese song as I videoed her in the back of a Beijing rattle- can Citroen cab. Blurring backdrop of white sky, grey crowds laced with bikes, soft-focus walls crumbling in reds and browns under spider-webs of makeshift black wires and the occasional lantern. The city is so extensive that it flattens you like a lizard on a frypan, the car welds itself to the traffic till it stops moving and it is time to step out again and find a door. Negotiating the pavement, bamboo baskets with small drying fish amidst all the feet and broken stones, then smoothness and glass doors suctioned to a new silence and the lift light ping. “Mr Richard do you have your speech?” “Yes…., remember the translation of “parasite”? A nod as the lift closes and we shuffle together amidst the sinus clearing hacks and muted chat. All other occupants have pressed numbers to light up destinations before our 35th floor. I think of my reassuring opening lines, complete with twist and humour to start me off on the right foot, in order to negotiate the rather complicated territory of redefining public space within a capitalist system. So far the speaking tour has netted the usual band of interested students and wary academics trying to define their own theoretical pursuits. Always hard to speak about in the east, my relationship to the anti-art movements from Dada to the Situationists, has again caused my translators such headaches that their quick responses to my phrasing, are a dead give away that it is all too hard.
The hackers have left us to spread out and even touch the stainless steel as we head up. Stainless steel lifts, the endless tubular journeys we take, comforted by the proximity of several others as we peer at the changing numbers in red or white and feel the sexy deceleration and soft suction of the opening and closing thick doors.
The anti-room, the room without a view, the aeroplane within, the toilet without a toilet, the restaurant without a kitchen, the car without a steering wheel, the container without the freedom of a truck tray, the room without seats, the moving alleyway, the sex venue under surveillance, the smallest street, the shortest passageway, the foyer on the move, the above ground mine, and the only place beyond the mobile phone. Except for sometimes.
My mind is wandering and remembering those first architecture lectures explaining the revolution affected by the lift. The new ability to transport people vertically and break the 8- storey holding pattern. So simple and reliable and yet so little understood as a public space. Accepted as the eternal gulag of transportation, it remains a place where, despite limited conversation and the occasional sex act, we are revealed within as cattle within culture. One toils on the staircase and its architecture remains connected to both the fabric of the building 48 and of the city. Only external glass lifts and the rare open lift begin to decipher the culture of this cubicle of ancient modern space. It belongs to the family of spaces which includes the car, aeroplane, helicopter, hospital confinement room, and gaol cell.
All of these spaces need research as social constructions if the project of redefining public space is to expand and develop. This was where my mind was fiddling when the lift stopped in its reliable and rubbery way at 35. Ping and slide. I stepped forward with my briefcase and let the cab behind me swallow more air before its decent. Jean had failed to leave the lift with me. Strange. “Are you the guy who was photographing the foyer?” The light from windows beyond an adjacent entrance was hard and flashed blue sky. This plus the Australian accent shifted my daydream. “Yes I was photographing the foyer, along with my assistant. I’m researching public space..” “Do you have permission from the governing bodies?” “I’m not with you, I was in public space”. “You were within the building boundary..” “Yes, I could have been legitimately going to any office..” “Are you aware Mr Goodwin that this building is partially occupied by the Government of NSW”? “Yes, but it is also the home of X Insurance Brokers. Can’t I at least gain permission to record the foyer as an example of Sydney’s corporate interface.. ?” “Wait here Mr Goodwin.” As he left the room flashing his little flaming badges and leather holster, it occurred to me that his knowledge of my name meant that I had been under surveillance. Those shadowy meetings at the Lands Department Building three months ago had now fulfilled my deepest paranoia.
The guard’s door was slightly ajar and I took the opportunity to trick the lift locking system. The small security office was so close to the lifts that I was able to enter as a woman extracted her card for the task enabling me to ascend to her floor of destination. Not even a hesitation or twitch of anxiety gave my escape away. The exit at the 43rd was of little use. At each end of the marble hall security card readers prevented entry. The trump card I held within this monolith was in the form of a friend who worked for ABY Solicitors. This contingency plan had at least been rehearsed. He could usher me into sanctuary and escort me from the tower with adequate camouflage.
In order to reach him undetected I had to re-enter the lift system and stay there until his floor came up. The trick would be to avoid the surveillance cameras within the lift or at least confuse 49 my identity enough to evade the possibly slack or asleep security attendant on duty. Re-entry to the lift-system came quickly. The ensuing journey was both nerve-racking and comical as I shifted positions and wedged myself into corners while waiting for an exit at 43. It took 35 minutes but finally the opportunity came and I was able to front the receptionist at ABY and ask for Michael. “Mate, what are you doing here?” “Long story, can we shuffle off to your room?” “Sure….I expect you are back to bother me about the contents of this building?” “Well actually yes..and this time was once too many it seems. I need you to get me out with my dignity in tact.” “I did warn you about security”. “Yes I know, but the bloody foyer….!” “Calm down, come outside and let the view distract you”.
43 floors above the ground and directly above the gardens and Opera House, with the Sydney Heads in full view. The grandeur of this private view was almost obscene. Too open, too blue, too sparkly and too unimpeded. Such privilege in the sky, unconnected from the flat plane of habitation known by the city multitudes. Oh what a tragedy has befallen us since 9/11. Closure, closure, closure. The end of Porosity as I had envisaged it. With it the Gordon Matta-Clark canvas. The Vito Acconci explosion. The James Wines building landscape. The Lebbeus Woods parasite heaven. The Michael Sorkin city fusion. The Stephen Holl sponge. The Richard Goodwin toilet matrix and parasite web. The city as landscape. The dissolution of architecture as we know it. “Look Richard I have a meeting, I will put you in the lift and flash my card for an exit in the car park level 3. From there it is an easy and obscure exit to Hunt Street…OK?” “Great, thanks Michael, and don’t forget my occupancy list”. “You never give up, do you?”
The decent was like pouring cream and I managed a small daydream as people entered and exited around me. The escape had been so easy and the place of exclusion was paradoxically comforting despite its corporate stainless steel. Opulence is so seductive when you belong. CP3. Once outside the oily grey and slightly chill air-con breeze was harsher than I had expected for the Governor Phillip Tower. “Mr Richard where have you been, I wait all over for you!”. “Jean?” “Late, you late for lecture, no time, follow me, Jason is here.”
50 Jason’s familiar blue BMW, with dents and all over Beijing film screeched beside me. Once inside with Jean I was lurching left and right as we negotiated the car-park exits and sped past the skinny guard with his pretend Red Army uniform complete with gold braid and peaked cap. We emerged into the white sky landscape of Beijing, only a few blocks from Tiananmen Square. “The Dirt Market is almost closing, you need we go there yes?” “Yes the Dirt Market…great…but what about the talk?” “Re-scheduled Mr Richard. Tomorrow 10am. I will breakfast you tomorrow at Hotel. 7.30”.
The entrance to the Dirt Market was now a little familiar, with its grey steel gates opened against the tile capped perimeter wall and bustling throngs. We pulled up onto the pavement only meters from the opening scattering a group of trolley workers and their smoking friends. By the time our doors were opened the crowd had re-absorbed us and our vehicle into a scuffle between a group of police, a middle aged woman and man and two small children. The family was being frog-marched through the crowd to jeers and yelling which included the police. We were being swept along also by the group entering the Dirt Market. As more and more interesting little stalls and shops were passed the realisation that none of us was able to resist the momentum of the police action began to dawn on me with more than a little apprehension.
Reaching to push hair from my eyes a weight and force of attachment to my wrist revealed steel handcuffs linking me to a uniformed arm. The family of four were now in step with my faltering progress through the market. Each of us was manacled to a soldier and each of us was scared. The tide of people focused on the family group and now myself, finally collapsed through the gap of a police wagon door and onto a steel floor. Umbilically attached to the three other uniformed men, the adults and children in the wagon now numbered eight. The children were dirty and strangely silent as we all assumed seating positions around the perimeter of our cell.
As the vehicle started to move the joisting and rocking caused by the crowd subsided into rhythmic gear movements and the more familiar rocking of a bus in city streets. Through the bars in the door window various cameos of Beijing appeared and blurred. Wall, glass, towers, head, face, tree awning, poles, leaves, building. Mesmerised and silenced by terror my eyes fell to the reclined body of the incarcerated mother. Her children were now nuzzling into her upper torso as if feeding from a sow pig. The simple frock which folded into her creased form contradicted the greasy shed floor with its grubby exuberance. Red, yellow, tan, black woven roots and foliage of patterns. Following the logic of a twisted root over the mound of flesh saddling her middle body the way seemed more clear. The black outline felt spongy at first, like a soft fungus, which partly dissolved to the touch. It was difficult to manoeuvre my head in such a way as to avoid the yellow electrical conduits. They were fastened in regular intervals with the 51 thin black ties now often used by police and army on prisoners’ wrists. Tangled brown roots over and under, forking and thickening in a foreground of warm misty air and prickly small flowers.
The background was less clear, weaving a structure like bone marrow against a distant blue sky. Cellular growth, an osteoporosis of plaster frames with holes into the future as the brown roots folded into brick vaults. The confusion of conduits plugged into haphazard small sockets and steel grate fluorescent light fittings, some lit while others flashed a Morse code into the soft terror. The vaults were oozing and gushing and the flowers had gone. Every time a ladder appeared within reach I took its offer for higher ground and passed through another vault in hope of a flash of blue sky beyond the white green dazzle of fluorescent tubes. The water was rising, lapping at my belt, my shoes moulding through the slime. Conduits and wires multiplied across the changing ceilings and served as hand leverage and a chance to relieve the weight from my sodden footwear.
The cave was now enclosing me with little or no glimpse of a middle ground. Her eyes flashed as the water bubbled around my neck. I was swimming in a current, my hair smoothed by the liver brick slime of the vault. Light shafted through the green and I caught its lip, causing the surge to engulf my head and force my body into a horizontal fall against its terrible tide. I pulled myself in and onto a dry floor and a room of ladders. Between the distant forest of silver structures, the glimpse of a retreating figure plus a gesture of fingers and a flash of light from an inclined and beautiful eye. Gone into darkness, shielded by light from above as dramatic as the cone of rays from the Pantheon “hole”.
Ladder after ladder he climbed and swung, choosing and hesitating each way forward beyond the terror. The eyes, hair and gesture belonged to the past. He saw his aunt’s backyard with its giant central oak tree and mysterious perimeter sheds. The tennis court, mowed and glistening to the hollow sounds of gut rackets connecting in their work. His mother in white, red lips happy and then the elegant approach and angled eyes. Cigarette, Becall, slender fingers on the hip, woman, girl, giant above his slender five year old frame. The memory was now revisited but by whom? The desperation to move his body above the wet was masking the evidence that he was not alone. Moving upwards through his game of ladders was another figure. A woman who brought messages of the past and who warned of the future. A woman at ease with the ladders but with less of a reason to retreat in ascent. Her hesitation and mimicry of some of his movements only proved that she sought his lead. At least for a moment. The dwindling choice of ladders was bringing them closer by the minute. They caught each others eye as the floor changed to white pebbles. The sound distracted them from their frenzy of steel decisions and led to her curled lips and their mutual smirk. They stopped. They were dry and breathing the 52 same air. He reached for one of the many books closest to the door, and opened “The Skin of the Lion”. She was gone as the pages flashed. Moving forwards the library narrowed into a hallway of stacked books on simple shelves amid familiar sounds. Traffic, birds and muffled feet above. He felt inside. At the end of the corridor the walls collapsed into a view of the city. The clock of the G.P.O. made 12.51 look like a cartoon, only verified by the milling throngs of people in Martin Place. He knew exactly were he was. The 15th Floor of 345 George Street, Sydney. He rushed to the lift and left the building.
53 CHAPTER TWO: POROSITY RESEARCH
ESTABLISHING A BASE In order to set the parameters for both the artworks (the Porosity Games) and their theoretical conclusions, it was first necessary to complete research and establish the data associated with my hypothesis about public spaces within private spaces. The ability to measure the porosity of buildings in relation to public space, and to establish a ‘Porosity Index’, was made possible by the Australian Research Council Discovery Grant received in 20031.
Fig.17 Richard Goodwin, Porosity Research 2003-2006 Concept Sketches
1 The ARC Grant was used in order to create an index of spaces within the Sydney Central Business district in Sydney. Although this research is not part of this degree, it provided essential information from which to generate models which describe internal porosity of buildings in which the Porosity Games were played. 54 Following is an outline on how this information was gathered. It also establishes a way of representing the data via computer imaging, which has been further developed over the course of this thesis research.
THE POROSITY INDEX It took twelve months to develop an Index system, which accurately reflected the degree to which a building was porous to public usage. Only after extensive field work and testing of results were the parameters of the index finally tuned (see Appendix 1 ‘Porosity Index’).
The resulting data can only ever be regarded as quasi-scientific. However after mapping a range of buildings within Sydney’s Central Business District, and analysing the results and data, it was clear that my resulting figures reflected the experience of dealing with each of the buildings as a member of the public. In other words if my final calculation resulted in a building being seventy- five percent porous, then in relation to a building measuring forty percent porosity, this had to clearly reflect the real experience. The key parameters for measuring and analysing city spaces were formed under the following titles:
1. Permeability Index 6. Social Construction Index 2. Transparency Index 7. Human Movement Index 3. External Connectivity Index 8. Environmental Index 4. Internal Connectivity Index 9. Heritage Index 5. Orientation Index 10. Spatial Quality Index
REPRESENTATIONS Fundamental to the hypothesis of the ARC research project was the characterisation of the interior spaces of city architecture, or towers, as possibly ‘other’ to private space. The internal configurations of buildings feed off transport and access spaces and the need for amenity and linkage to the sewer, with plumbing being the veins and roots of the system.
In order to carry out this research, all buildings studied had to be re-documented (architectural documentation) in AutoCad, 3D Studio Max and finally MAYA softwares. From this documentation Porosity Research has created three categories of modelling, which form the basis of the study. They are the ‘tree models’, ‘cactus models’, and ‘monkey models’. Coupled with this modelling was a dependence on field research and direct observation accumulated over many visits to the city.
55 Fig.18 Richard Goodwin, Porosity Research 2003-2006 Concept Sketches
Fig.19 Richard Goodwin, Porosity Research 2003-2006 Concept Sketches
56 MODELS This study has enabled me to develop systems of representation of the following theoretical models. These images are integral to the final artworks and to the understanding of the concepts involved in Porosity.
Tree Models This modelling includes all the zones within a building which facilitate vertical and horizontal movement by visitors and inhabitants. It does not include private ‘destination’ spaces (actual offices or residences). Therefore the tree model embodies and distinguishes stairs, lift cores, corridors, toilets, and car parks. The resulting diagram of connected volumes constitutes a map of possible access spaces for visitors to the building. The extent to which it is possible to inhabit or travel through these spaces with impunity becomes the objective of Porosity Research. Tree models look like an internal trunk and branch diagram of spaces within buildings – hence the name.
Fig.20 Richard Goodwin, Tree Model 2003-2006 Concept Sketches
57 Fig.21 Richard Goodwin, Tree Model: Zone 2: Governor Macquarie Tower, Governor Phillip Tower, Aurora Place, Museum of Sydney 2003-2006 3D Modelling
Cactus Models This modelling qualifies and classifies ‘tree’ modelling subsequent to actually visiting and studying the spaces. Following field research the ‘Porosity Index’ is formed which characterises the spaces and measures their respective ‘porosity’ (see Appendix 1). Sections of the original tree model may prove to be inaccessible and hence disappear from the cactus model. These models are colour coded in a gradation to indicate the degree to which they are accessible to prolonged stays. The ‘cactus model’ is like a denuded and swollen version of the original ‘tree model’ – hence the name ‘cactus’. This modelling is accompanied by the more detailed index data taken from the field excursions. Over a period of three years many visits were made to the
58 city and the zones being studied. This data results in a porosity score for the entire building which rates its degree of porosity as a percentage, in relation to other buildings in the city. (See Appendix 2-4 for individual building indexes.)
Fig.22 Richard Goodwin, Cactus Model 2003-2006 Concept Sketch
59 Fig.23 Richard Goodwin, Cactus Model: Zone 2: Governor Macquarie, Governor Phillip, Aurora Place, Museum of Sydney 2003-2006 3D Modelling
Monkey Models The final ‘cactus models’ are rebuilt within MAYA software and all the external or perimeter surfaces of each space are given qualities of transparency or softness to pressure according to their measured capacity for access and refuge.
Average daily usage of each building including inhabitants and visitors are then counted. Using the power of MAYA software, in relation to particle pressure and fluid dynamics, we are able to convert the numbers of people entering and using the building into a particle pressure, which is then applied to the reconstructed cactus model.
60 Fig.24 Richard Goodwin, Monkey Model 2003-2006 Concept Sketch
That is, the ‘cactus’ model becomes an interlocking hollow envelope or balloon into which a pressure can be injected. The resulting deformation of the computer model is dependent on the random action of the particle pressure as it journeys up through the structure and reacts with surfaces of differing strengths or resistances to this pressure. In effect the modelling is subjecting the more remote areas of the building to the total occupancy of the structure on an average day.
By doing this, and mapping the deforming model, I believe that it is possible to see what the building desires to do. In other words I am identifying the porous spaces within the building as similar to external public spaces by nature of their ability to facilitate un-programmed usage and refuge. I am then subjecting them to a public pressure which forces their morphologies into a possible reconciliation with the spaces outside the building already deemed public. These explorations and diagrams are in no way meant to be read as literal form. They are merely suggestions or provocations for the imagination of the artist/designer. They are also subject to the ‘machine-out-of-control’, which parallels the unpredictability of pedestrian movements in the city. Porosity Games are played within the territory of these ‘cactus’ models.
61 These ‘monkey models’, deformed within the Maya software, are the precursors to the Porosity Games. The exploded envelopes as shown in Fig. 27 are in fact the first games to be played within the territory of the research. By saying this I mean the following. ‘Cactus diagrams’ identify and code all the building spaces which mimic aspects of the qualities of external public spaces. They are spaces of delay and possible occupancy by members of the public for short durations. As such they are usually the spaces least frequented by people and are largely ignored by surveillance. The ‘monkey model’ injects into the network of these spaces a pressure which relates to the total load of visitors to that building in a random particle pressure and allows the envelope of this model to deform the building. A game is being played which provokes the structure into telling the researcher what that structure might do next in order to stabilise this pressure. In other words, where that structure may wish to vent its load and make a new connection.
Fig.25 Richard Goodwin, Monkey Model Linkage diagram 2003-2006 Concept Sketches
These images also form a de-authorised proposition to the problem or equation. In the same way that Austrian architect Wolf Prix of Coop Himmelblau use the Surrealist tool of automatic drawing to start a process, MAYA modelling field research can be used as a tool for suggesting the future public linkage of city structures via a type of computer automatism.2 The resulting
2 Coop Himmelblau is a cutting-edge Viennese architectural practice, well known for the importance it places on drawing in the process of architectural design. In his Dresden lecture (1995) Wolf Prix states: “…we think that drawing in architecture, that is, the unconscious act which calls logic into 62 images are characterised by building envelopes, which sprout arms, appendages and spillages from their uterine inner structures. Hence the name ‘monkey models’. As the monkeys link arms, so we see how the city might make these connections and how public space can begin to be more three-dimensional.
These diagrams, and indeed the data used in their manufacture, are also in a state of perpetual change. They are in fact momentary and respond to the data gathered at a particular time. Monkey modelling led to my theory of ‘newspace’ and ‘newspace engines’.
Fig.26 Richard Goodwin, Zone 2: What a Building Desires 2003-2006 Digital 3D Modelling
question, could be the “blind spot”…Free from physical constraints, without thinking about spatial consequences, the drawing comes into being in an instant, and “administrates” the building. And when you see the drawing, created in an explosive moment, you see the superimposition of plan, elevation and section. Everything is in the drawing. As in cubist drawings, where not only the complete view, but in reality the psyche of the drawn object is also made visible.” Cited from Coop Himmelblau Austria; Biennale Di Venezia: Sixth International Exhibition of Architecture, Ritter Verlag, Klagenfurt, 1996, p54. 63 Fig.27 Richard Goodwin, Zone 2: What a Building Desires 2003-2006 Digital 3D Animation Stills
64 NEWSPACE THEORY Porosity modelling has led to my hypothetical formulation of a new structure for the city, which employs three-dimensional public space or public space at different levels above or below ground. These spaces, I refer to as ‘Newspace’ within this paper.
Fig.28 Richard Goodwin, Newspace 2003-2006 Concept Sketches
The simplest explanation of these node-like spaces is that they form at the intersection of the deformed monkey model protrusions from different buildings. By subjecting large zones of the modelled city to independent pressures, the rate of intersections between buildings can be mapped and measured. If done over the entire CBD of the city, it is possible, using an atomic metaphor, to calculate an average ‘molecular’ length for that city. This length averages the distance between major intersections formed between buildings during the monkey modelling process. The molecular structure may form the basis for a range of functional planning decisions such as the location of stations for elevated transport systems, bridges or parasitic structures.
The connecting structures which link these theoretical ‘newspaces’ are parasitic to their host architectures. As such they are likely to be formed using private capital. The node spaces of intersection, where two or more parasite bridges intersect would be publicly owned spaces. Hence the overlayed new molecular structure for the city is a lattice of public/private construction with parallels to the existing monorail service.
65 Fig.29 Richard Goodwin, Graphite / Diamond model 2003-2006 Concept Sketches
The molecular linkage of public spaces echoes Constant’s notion of ‘unitary urbanism’ in which one continuous city building structure covers the earth in a web-like form.
I have further developed this molecular model for the city by characterising the base structure of the city, or ‘striated’ space, as being similar to the structure of graphite. That is, layered planes of atoms with strong horizontal bonding. The bonding between the various layers or storeys is weak. When great pressure and heat is applied to graphite it gradually becomes diamond. The structure of diamond is a three-dimensional interlocking one of consistently strong bonds. The parallel then becomes obvious, whereby the ‘smooth’ space overlay is a diamond form with ‘newspaces’ as its atoms. All the bonds are of equal length and strength. In each city they may have a particular length based on the indexing and mapping of Porosity.
The overall aim of this research is to promote the idea of more diamond structure forming over and within the graphite structure of the existing city and in a process of continual flux.
66 Fig.30 Richard Goodwin, Graphite / Diamond model 2003-2006 Concept Sketches
The Newspace Engine It can be argued that if Western cities are to survive then they will need multiple ground planes (ground plane equating to existing street level). This also means multiple levels at which roads, footpaths, bridges, living bridges (that is, those including an architectural program) and parks can exist.
Fig.31 Richard Goodwin, Newspace Engine 2003-2006 Concept Sketches
67 Cities like Shanghai and Hong Kong are already transformed by the beginnings of these actions, in this case, via the proliferation of elevated freeways. However instruments and mechanisms need to be created, at the level of planning and legislation, which enable the further acceleration of this phenomenon in city development.
Roads systems and elevated monorails are only the beginnings of this movement. Multiple ground planes means multiple pedestrian levels which access ‘front door’ situations. This also represents a possible revolution in the way in which architecture arranges its program around the entrance or lobby.
This theory of transformation and adaptation is diametrically opposed to both the failed Modernist idea of utopia3, such as those espoused by architects such as Le Corbusier and the model of complete urban and political control exercised by the likes of Baron Haussmann4 on Paris.
During my 2005 Porosity Studio, held in Beijing’s Central Academy of Fine Art, the work Parasite Car (2005) was undertaken with students from a range of disciplines and countries. This collaborative project revealed frightening data about the future of that city, which underline the necessity for a multi-layered public and transit space. For example, it is estimated that by 2008 (according to current data) Beijing will have a plan area of car mass equal to forty square kilometres. Apart from the obvious environmental and social implications of this equation it remains necessary to multiply the cities ground plane layers for survival itself. Although a relatively crude example, this data proved a valuable starting point for ideas about cars, the body and architecture, which challenge the idea that these elements of our city should remain disparate.
3 “The Modern Movement has failed to fulfil the utopian predictions of some of its proponents, but it has not been buried either. For the majority of contemporary architects it remains their most significant point of reference.” Quoted from Fletcher, Sir Bannister, A History of Architecture, Ed. Dan Cruickshank, Architectural Press, UK, 1996, p1317. 4 Baron Georges-Eugene Haussmann (1809-1891) was a French civic planner who was commissioned by Napoleon 3rd to instigate a program of planning reforms in Paris. Haussmann’s renovation of Paris in the 1860’s transformed Paris by means of a series of major axes and wide boulevards which could not be barricaded by revolutionaries. 68 Fig.32 Richard Goodwin, Cactus Model and Newspace Engine Linkages 2003-2006 Concept Sketch and Model
69 Fig.33 Richard Goodwin, Newspace Engine – Parasites 2003-2006 Concept Sketches
70 Fig.34 Richard Goodwin, Newspace Engine 2003-2006 Concept Sketches
71 The Newspace Engine Diagram In order to deduce a theoretical diagram, which best explains the city of new connections, I positioned building symbols within a circle. The circle condenses the focus on potential connection between each building unit. The shortest distance between these units crosses the centre of the connecting circle. The crossover space forms the nucleus of the circle and must have different characteristics from each arm as it combines a network of links in one. The spokes of connection to the nucleus represent the desired connections formed during the deformation of my ‘cactus models’ using MAYA software. I have called the nucleus space ‘newspace’ or new public space as previously described. This diagram is also multi-layered and three-dimensional. (Fig.35)
Fig.35 Richard Goodwin, Newspace Engine 2003-2006 Digital 3D Modelling
72 By drawing a sequence of these wheel forms or city molecules, the modelling can then reflect the idea of connecting the ‘newspaces’ in three dimensions. The space surrounding the building forms is public on the ground plane of origin. The spaces between the parasite spokes are public airspace. The spokes generate deep within the architecture in toilet spaces, which are already types of public space as defined by this study. The spoke then travels through corridor space and foyer space to become a desired parasite connection. The parasite connection is essentially privately built public access – similar to the transit corridor. Within these spaces public amenities of a commercial nature, such as restaurants and cafes, may occur. The parasite spokes combine to form a linked hub around the ‘newspace’ nucleus.
In order to establish a new network of three-dimensional public spaces at different ground levels I have theorised that these spaces would be publicly owned and funded. As a new structuring order, free from the layered discipline of the existing city, these nodes need to be connected, either back to the ground or potentially to each other with bridges or rapid transport systems such as elevated monorails. As the structure will develop in a series of new growths in a range of positions, I call these linkages ‘The Haphazard Monorail’.
Fig.36 Richard Goodwin, Newspace Engine 2003-2006 Digital 3D Modelling 73 As previously stated, the city can be characterised as a type of graphite-like structure: stacks of floor spaces in even layers with weaker interconnecting bonds represented by stairs, lifts and facades. The idea of an overlaid conchoidal structure of equal strength connections, similar to diamond, gives form to the ‘newspace engine’ theory or modelling.
The objective of the Porosity study, and its deformation of built form, which is porous in a variety of ways, is therefore to find a system of mapping and analysis which seeks answers from the reality of the haptic or smooth spaces of the city.5 It is also to find what buildings desire and hence what cities desire. This represents a starting point and in fact, an endlessly changing series of starting points to the process of adaptation and transformation. Ultimately the public experience or space of the city should equal the private special experience. This equilibrium can be equated with the measuring and testing of capital or the capitalist system in which we live.
Measuring capital against public ownership is a social equation of inverse proportionality. The politics of this balance fills the spectrum between right and left politics. As in nature this equilibrium can never be reached. We engage the process of flux, as it exists.
City Valence The possible end result of all this modelling would be the establishment of an atomic valence for buildings within an individual city. By deforming the entire city model (MAYA Monkey Modelling), in cactus form, it would be possible to check the rate at which parasitic extensions intersect and the average bond length or strength between building forms.
By ascribing these nodes with an average rate of connection the degree to which a city desired connection, could be given a relative number or building valence. Coupled with graphs of every building’s Porosity score or percentage, the nature of a future three-dimensionalising of that city could be interpreted by both designers and planners.
5 Deleuze, Gilles, & Guattari, Felix, A Thousand Plateaus Capitalism and Schizophrenia, University of Minnesota Press, Minneapolis, London, 1987, p474. 74 Fig.37 Richard Goodwin, Graphite / Diamond City Model 2003-2006 Digital 3D Modelling
75 Fig.38 Richard Goodwin, Graphite / Diamond City Model 2003-2006 Digital 3D Modelling
76 Fig.39 Richard Goodwin, Graphite / Diamond City Model 2003-2006 Digital 3D Modelling
77 Fig.40 Richard Goodwin, Graphite / Diamond City Model 2003-2006 Digital 3D Modelling
78 CHAPTER 3: POROSITY GAMES
The Porosity Games refer to three art actions undertaken to interrogate the ARC research into public space in the city. I decided early in my research for this paper, that the content of these interrogations should take the form of a series of games. Games are extremely refined structures, richly socially encoded and developed to produce results, or temporary solutions to a problem or series of interconnected problems.
The outcomes of this body of work, test and prove the hypothesis of the original thesis and its associated ‘Porosity Index’, but also act independently as art.
FRAMING THE GAMES The Dada movement, via the concept of ‘deambulation’1, created the foundation of all Western art exploration within the city, by its representation of a type of automatic writing in real space. The ‘Banal City’ of Dada2, or the exploration to find this construction in the early 1920s, forms a clear echo of the aspirations of this study. Dada sought to create a union of art and life. Prior to these actions in 1917, French conceptual artist Marcel Duchamp proclaimed the Woolworth Building in New York as his own readymade artwork in the ultimate act of appropriation. This single act resonates today with the power of artists to change the way we perceive the city. From this point onwards, Dada launched the application of Freud’s notion of the ‘unconscious of the city’ in a range of performances, which harness ‘psychic automatism’. Hence the Dada myth of going beyond art is here shifted to going beyond architecture.
Porosity also seeks the dissolution of architecture through a type of mapping which dissolves existing boundaries associated with the rights of access. This is primarily a simple manipulation of perception and time, which begs the question: ‘How long is ownership?’
The next art group to manipulate the city as a medium were the Surrealists. André Breton transformed Dada anti-art into surrealism via the expanded field of psychology. Surrealists abandoned the nihilism of Dada for a more positive project of city mapping with the idea that something powerful was hidden. André Breton’s maps included places you like, places you avoided and zones where attraction and repulsion alternated.
1 Dada’s concepts involved art actions such as ‘deambulation’, in which groups of artists searched city spaces. These ideas are cited by Francesco Careri, in Walkscapes: Walking as an Aesthetic Practice, edited Gustavo Gili, Barcelona 2002, p79. 2 The ‘banal city’ of Dada cited by Careri, ibid. p86. 79 The Situationists then challenged the Surrealists who they believed had not taken the potential of the Dada project to its extreme consequences within the city. They attempted to transform anti-art into a unified discipline through its expansion into politics. The Lettrist Situationists believed in art without artwork or artist. Under Guy Debord the Lettrist International believed in a conscious collective construction of a new civilisation. They created Lettrist texts as travel guides for using the city and believed in spontaneous play within the city as a vehicle for mapping. The creation of ‘metagraphs’, which are superimposed maps on maps, created by the Situationists, form another echo of the mapping carried out for Porosity. The resulting actions created psychographic maps of Paris. Ultimately the Lettrists believed that their roaming might lead to this new civilisation.
Dutch artist Constant Nieuwenhuys emerged from the Situationists to create his models and theories of ‘unitary urbanism’ . He formulated the concept of ‘New Babylon’ (1960), which was the vision of a continual city with fluid programs in which inhabitants roam and play like nomads. Its project would form the worldwide city of the future. Work would be replaced by the nomadic life of creative play in which daily life would become art; the performances of the Situationists becoming a way of achieving the first stages of this city transformation.
Fig.41 Constant Nieuwenhuys, New Babylon (detail) 1971
80 In 1995 the post-Situationist group Stalker emerged to again embrace the idea of interpreting the city from the point of view of ‘roaming’ based on theory of ‘transurbances’. Fundamental to their practice was the belief in urban voids waiting to be filled with meaning. Operating at the periphery of the city, their vision of a non-city, like a suburban cancer with its realities beyond modernism, would form as a nomadic system of voids.
It is my intention to build on this lineage and to continue to affect our perceptions of the city if not its actual fabric. To do this I have invented three art actions in the form of games, called Snakes and Ladders, Hide and Seek and Jenga. Following is an account of the rules of each game and how they were played in order to interrogate both the research conducted up to this point, as well as the city itself. In other words these existing games were adapted to suit the purpose of the research and the specific site of Sydney.
THE SYDNEY MODEL AND ZONES The total modelling of any Western city was a much larger project than the three year ARC research grant could afford. Therefore it was necessary to summarise the Central Business District of Sydney via the selection of a series of zones or building samples which best represented the range of building types and program of this city. Not only was program considered but also a range of issues such as site permeability, security, sensitive types of buildings, and access to public systems of transport. This would ensure that both government buildings and public buildings would be represented. Finally, three zones were chosen for study, each including more than four tower structures within the block or blocks.
81 Fig.42 Richard Goodwin, The 3 Research Zones, Sydney CBD 2003-2006 Digital 3D Modelling
Zone 1 includes 345 – 363 George St; Zone 2 includes Aurora Place, Governor Phillip and Macquarie Towers and the Museum of Sydney; and Zone 3 is the World Square block. These zones and their architecture along with the research maps and the 3D ‘Cactus’ models are the territory of the Porosity Games. Game 1 Snakes and Ladders is played in Zone 1; Game 2 Hide and Seek in Zone 3; and the final Game 3 Jenga is played out in Zone 2. This chapter describes and analyses these games and their associated territory.
82 POROSITY GAME 1: SNAKES AND LADDERS ‘Snakes and Ladders’ is a board game of chance, which pits the players on a numbered grid, against the ups and downs of their progress towards winning the game. Throw the dice, progress by counting, and where you stop may be either a blank square space, or one inhabited by the tip of a snake’s tail, a snake’s head or the end of a ladder. The bottom of a ladder brings a fortunate climb and progress up the scale. The top of a ladder is passed without descent. A snake’s head brings a slippery slide down the scale to a less fortunate position. A snake’s tail cannot be climbed. The game is one of chance only. No tactics can be applied in the race against another player. Fate takes its course.
Fig.43 Snakes and Ladders Board
How can this become a metaphor to be used in relation to the Western city? Is this metaphor then useful in assessing how spaces can be linked? Assuming that it is a useful metaphor, then the following notions might follow about the nature of public and private spaces.
I see the ‘ladders’ within this metaphor as representing the vertical access systems in high-rise buildings, such as lift towers and fire stairs. These systems can be classified as destination spaces or as spaces of aspiration. They are either completely open to use by the public for twenty-four hours per day or they are mediated and restricted according to the culture of the building.
I see the ‘snakes’ within this metaphor as the hidden or unclassified spaces associated with building circulation. These spaces link with and connect the vertical access systems with a
83 myriad of other corridor options. The options can be classified according to time, spatial quality and outlook.
Outlook, in association with specific spaces, forms a measure of the site’s ability to be further connected to adjacent spaces across public space. This is due to the relationship that the space shares with ‘outside’ or conventionally framed public space. It is also due to the positioning of a window or door. Windows and doors are the openings and potential openings in the impermeable layer surrounding both circulation and private space. The potential for building envelope openings does not depend on the precedence of a glass window. The needs and desires of future development easily unfold architecture’s skin.
The flaw in the metaphor offers other meanings to the city analogy for assessment. This flaw is due to the sense of loss, or potential demise, associated with going down, or backwards, and then possibly losing. However there is another way of interpreting this downward spiral of events. The snake or ‘porosity’ on the board is a way back or out. This passage does not imitate the normal passage of entry and is found by chance. The player who descends down many snakes does not necessarily lose the game, for the more snake descents by each player the longer the game. The game sought answers to questions such as:
Is it possible to overlay, on the day-to-day functioning of city spaces, a set of oppositional performative forces, which effect the perception of that space?
Is it possible to enact a complex series of games within the structure of a building, which permanently change the way in which that building is used and perceived?
One could argue that this already happens by chance via the complex social interactions of pedestrians. One could also argue that the pressure exerted by public space on private building spaces will continue to perforate and heal those envelopes regardless of affirmative action.
Using the umbrella of a public art action and the information explosion, it is now possible to accelerate the effect of a performative action.
My aim is to affect our perception of building in a way, which is as powerful as the performative and ephemeral actions of Gordon Matta-Clark, for example, his iconic Conical Intersect (1975) which was located adjacent to the Pompidou Centre in Paris, while it was under construction.3
3 Diserens, Corinne, Gordon Matta-Clark, Phaidon Press Limited, London, New York, 2003, p96. 84 Porosity Games, I believe, challenge the internal circulation systems of the city’s architecture in a way they have never been challenged before.
THE TERRITORY OF GAME 1 ZONE 1 : 345 - 363 George Street This first zone, situated in the mid-city, forms a good example of high-rise mixed-use offices for a range of business types. It summarises many similar sites in the city, combining within the city block a range of new and old structures. Predominantly occupied by private companies, it also features the Property Council, restaurants and perimeter shopping in some sections. It is clearly a typical city scenario. The block also features remnants of the old city’s structure via a network of redesigned laneways and interconnections within the block. The site perimeter is formed by George Street, Barrack Street, York Street and King Street.
Fig.44 Richard Goodwin, Zone 1: 345-363 George Street, Sydney CBD 2003-2006 Photographs
85 In order to further test and illustrate the power of the research to suggest results, the original proposal sought to use a public art/architecture intervention, which reacted to these results with built form. Public art is privileged to transgress a variety of the city’s proprieties. However this project alludes to a new situation of privilege, which enables parasitic art/architecture interventions to occur in future city developments.
The project was physically modelled first, using standard architectural modelling techniques at scale, combined with my use of readymade model pieces from kits for helicopters, aeroplanes, cars, and space technology. These forms, which have functional links back to the body, also provide a suggestive readymade palette for the artist/designer to choose from which echoes the issues of adaptive re-use, recycling and transformation (implicit within the Porosity project), as a foundation for renewal. It can be argued that new shapes and forms do not need to be invented when such a rich choice of forms already exist to enliven the imagination.
Fig.45 Richard Goodwin, Model Containing Tree & Cactus Analysis 2003-2006
86 Central to this practice, which informs my gallery art, is also the notion that we simply cannot rebuild all the bad buildings within the city. Society has neither the time nor the energy resources. We need to adapt and transform existing structures which reinforces the definition of architecture as a process of continual flux rather than timeless pristine stasis. In other words architecture is at best a continual process of becoming. The reality of the confusion of structures which constitutes a street - from signs to the architecture of cars and buses, light poles, underground access stairs, building construction, paving, awnings, monorails, accidents, and endless renovations - is the city.
Fig.46 Richard Goodwin, Zone 1: Monkey Models 2003-2006 3D Digital Modelling
The final forms of the ‘Zone: 1 Monkey Models’ (MAYA Modelling) were used to inform the possible shaping and configuration of the parasite action (Fig. 46). In particular the massive foyer swellings in 363 George Street, and its vertical connections with vacant floor protrusions from 345 George Street found links with public access via Barrack Street and York Street. Another extension which penetrated the external skin of 345 George Street formed the perfect possible pick-up point for monorail linkage of the entire parasite to other destinations in the city via George Street.
Also informing the parasite was the need to introduce a ‘newspace’ construction or central node in keeping with the possibility of suggesting the ‘diamond’ form over the existing ‘graphite’ form of the city structure. This node found its position above the foyer of 363 George Street and below that building’s plant rooms. As a result, the public/private foyer space is ghosted from above by a new public link space, which feeds a network of parasite structures adjoining the
87 historic Land Titles Building on Barrack Street and vacant floors in 345 George Street, which the study commandeers as public access and amenity with the possibility of private restaurants and shops etcetera. These spaces feed back to the public ‘newspace’ and also to a proposed high- speed monorail system, which would operate on George Street (Sydney’s main Street running north south between Central Station and Circular Quay).
Fig.47 Richard Goodwin, Zone 1: Parasite Model 2003-2006 Photographs of maquette 88 Fig.48 Richard Goodwin, Zone 1: Parasite Model 2003-2006 Photographs of maquette
89 The process of re-documenting all the buildings within the study area, via AutoCAD and 3D Studio Max softwares, took one and a half years to complete. The subsequent MAYA modelling, as illustrated, has taken the study into areas not envisaged when I first setout on this project.
The net result proves the original hypothesis of this project; that within buildings there are many spaces and sequences of spaces, which can be classified as types of public space. The study proved that the reality of city spaces and their usage is far less defined than one would expect. The city is porous to pedestrian access in many complex ways.
But what does this information tell us? My theory for the city is based on a belief in the endless flux of architecture, and that an engagement in this state of perpetual becoming, will further enable designers and artists to adapt and transform existing buildings.
That this action involves a more fluid attitude to boundaries is implicit. We are able to initiate tests via ‘art actions’ because, for all the problems of public art, it does have license to transgress planning laws, which govern architecture. This is proven by my actions and those of other public artists to date. For example Parasite Android (2002) projects beyond building boundaries and Parasite Roof (1999) (Fig.9) could only be built on a heritage building as an art project. It does however blur the boundary with architecture by having program.
The following Figures 49-56 illustrate the documentation of research Zone 1 into ‘tree’, ‘cactus’ and ‘monkey’ models as well as on-site research drawings.
90 Fig.49 Richard Goodwin, Zone 1: Tree Model 2003-2006 Digital 3D Modelling
91 Fig.50 Richard Goodwin, On-Site Research Sketches 2003-2006
92 Fig.51 Richard Goodwin, 345 George Street Site Research 2003-2006 Sketches
93 Fig.52 Richard Goodwin, 363 George Street Site Research 2003-2006 Sketches
94 Fig.53 Richard Goodwin, Zone 1: Cactus Model 2003-2006 Digital 3D Modelling
95 Fig.54 Richard Goodwin, Zone 1: Monkey Model 2003-2006 Digital 3D Modelling
96 Fig.55 Richard Goodwin, Zone 1: Monkey Model 2003-2006 Digital 3D Modelling
97 Fig.56 Richard Goodwin, Zone 1: Monkey Model 2003-2006 Digital 3D Modelling
98 GAME RULES Snakes and Ladders was enacted between an installation called Inside the Parasite, 2005 at Artspace4, Woolloomooloo, and Zone 1: 345-363 George Street in Sydney’s CBD. It included my assistant Tia Chim and ten students from the University of New South Wales College of Fine Arts5.
Fig.57 Richard Goodwin, Game 1: Snakes and Ladders Game Cards
4 Artspace, a publicly owned gallery at Woolloomooloo Wharf, provided the space for the installation called Inside the Parasite, under the curatorship of then director, Nicholas Tsoutas. 5 Refer to the Acknowledgements on p5 for names of all the players involved. 99 Fig.58 Richard Goodwin, Inside the Parasite 2005 Exhibition Poster
100 The students were divided into two sets or types of players. Five students took the role of instructors and five became participants in the game. The interiors of two buildings on George Street were already comprehensively mapped in relation to the ‘Porosity Index’.6
It was therefore already known where people could and could not go within these structures, and how long they could stay before being subject to security. Each instructor was given a set position within the two buildings, which he or she had to remain in for the duration of the game. The instructors were given five instructions to give out randomly when approached by a student who was a player. (Fig. 57)
These instructions said either ‘I am a snake go down to “x” floor location …’ or ‘I am a ladder go up to “y” floor location’. Each ticket also formed a marker for the player to leave at the site (Fig. 57) which stated boldly ‘Opened by Porosity’ and the date. This ticket had to be left on location as proof of occupation.
There was the possibility within the game that each player would find five instructors and make five plays or reach five destination spaces. If the game was not stopped by security guards within the hour, then the player at the highest level within the buildings would win. Each player was also instructed to phone the control within the Artspace installation: Inside the Parasite (Fig. 59) and indicate when they had successfully reached each location with a mobile phone photograph of themselves including the location plus tag.
The instructors were carefully placed in locations known to have minimal surveillance. Again this formed a test of the research data. The locations to which each player was sent were of varying degrees of porosity. Some would prove very challenging for the players and test the ‘Porosity Indexes’.
Each player had to roam the two buildings in search of an instructor from which to receive a random note of instruction. This formed a complex web of exploration of both city buildings. Each building had varying degrees of high security and regular office occupancy.
6 Refer to Appendix 2 for the ‘Porosity Index’ for Zone 1: 345 and 363 George Street, Sydney. 101 INSIDE THE PARASITE, 2005 The construction of the Inside the Parasite installation at Artspace in Sydney, formed the centre of the game. After a year of negotiations with Sydney City Council, it was found to be impossible to construct a parasite structure on the roof of the building. As a compromise, I improvised a temporary building within the entrance of the gallery.
Fig.59 Richard Goodwin, Inside the Parasite 2005 Performance/Installation Artspace, Sydney
Behind temporary walls of stretched clear plastic sheeting we constructed a dwelling/office from which I could both command the game but also beam the information gathered from the city back into the gallery space for projection onto the walls as a time-based installation (Fig.60). Inside the Parasite was therefore the collection point for all information emanating from the game. Appropriately the Parasite claims parts of public space to become an extension of architecture. It then speaks to spaces within architecture via my occupancy, which are being claimed temporarily as part of the city’s public space network. Evidence of the occupation is then beamed into the private / public space of the art gallery to prove the claim that they are new public spaces (‘newspace’).
102 Fig.60 Richard Goodwin, Snakes and Ladders in Zone 1 2003-2006 Photographs
The five instructors were given their secret locations and sent to Zone 1 to take up those positions for the start of the game at a set time. The players were sent off fifteen minutes later, knowing only the address of the two buildings and that each one of them had to attempt to find each of the five instructors and obey the command of the snake or ladder. Once they reached the city location as a group they were instructed to disperse and operate independently.
The aim was to win the game by being on the highest level of either two towers after one hour. Back in the Parasite, Tia Chim and I awaited the phone communications, ready to immediately download their images and location and insert the information into the 3D construction of the Porosity ‘cactus’ diagram.
The game commenced slowly as the players found their way cautiously through the labyrinth of possibly spaces. Eventually the calls started to come in and the excitement began to build. The twenty-five positions to be occupied by the players constituted a thorough penetration of the possibilities for infiltration of both buildings. Some were in toilets of otherwise secure floors while others were corridors in under intermittent surveillance.
103 Fig.61 Richard Goodwin, Snakes and Ladders in Artspace Headquarters 2003-2006 Photographs
Once all commands had been negotiated the entire ‘cactus’ diagram (Fig.53) would have been properly interrogated. Within thirty minutes of starting the game, calls came in back to back with pictures attached. They were quickly downloaded into the system and the locations were plotted on our computer maps.
While occupying the Parasite we were documented on film by Tania Doropoulos. Ultimately the twin projection within Artspace would reflect the two streams of activity. One projection gave evidence to our occupancy of the Parasite and the action of commanding the game of Snakes and Ladders, which in turn mixed with images from the Porosity Research. The other projection strung together the phone messages and images recreating the space / time of the game.
104 GAME ENDS Remarkably the game finished almost exactly on the hour with all players having reached five separate locations, with the winner having reached level 23 within 363 George Street just inside the hour.
Fig.62 Richard Goodwin Inside the Parasite 2005 Artspace, Sydney Performance/Installation Photograph
The Parasite at Artspace was maintained throughout the exhibition with both workstation computers displaying the event in loop form. The two simulations were echoed within the gallery space via digital projection. The final form for the artwork collapses the 3D game images and the two looped films of the Game and Parasite into a split screen movie. The enclosed DVD marked Snakes and Ladders contains the film of this Porosity Game.
105 GAME REWARDS The viewer is able to see the game as a 3D spatial form, which becomes a construction of public space. The resulting porous form is temporarily extracted as a new building.
To see it removed from the encasing building, or with that encasing made transparent, is an exercise in transformation of architecture without changing or manipulating material. This construction contradicts the forms made by regular building usage, that is, inhabitants journeying to their offices or seeking particular destinations.
Fig.63 Richard Goodwin, Inside the Parasite 2005 Artspace, Sydney Performance / Installation Photographs
It can be argued that the continual playing of interlocking games within the porous zones of the building could fundamentally change the nature of that building. The game also creates a test for the assertions of the research. In this case it proved that by identifying the possibility of access and areas of prolonged stay within the subject buildings, it was possible to play a game, which interrogated and re-invented internal spaces as a new interconnected structure or series of structures.
106 From Inside the Parasite tentacle-like fingers of the exploration had reached out into the city and within buildings to claim new public spaces. The art gallery viewer was then able to engage in the game of Snakes and Ladders while witnessing the incorporation of these porous types of spaces into the lexicon of city public space.
The final performance/installation is a documentation record of the interrogation of city spaces and their subsequent redefinition as types of public space.
107 SNAKES AND LADDERS – A NARRATIVE7 Following is another extract from my notebooks which are an essential part of my creative process. This narrative elucidates the beginning of my lateral thoughts concerning the metaphor of Snakes and Ladders.
“I’m a snake, go down five floors and stand outside office suite 305”. “I beg your pardon…” “You heard me, do as instructed or leave the building and the game!” After two hours of nomadic game playing I had achieved only three ladders and risen to the eighth floor of an obscure building on the west side of downtown Sydney. My own game was working against me and I had not yet intersected with the particular person whose sleek form now filled most of the images I preoccupied myself with, on an hourly basis.
Suite 305 proved uninhabited, with its glass infill door slightly ajar. At last the possibility of increased penetration and the prospect of a ladder to that impermeable layer beneath the roof, which would form the winning destination for my own construction of transgression within the city. One hundred collaborators were also engaged in this attack on Sydney’s private property, and yet I had only encountered ten players in my ambulation so far.
305 was illuminated by a total of three windows, each partially shielded by stacks of boxes or taped brown paper. This would at least qualify as a five-day public space, complete with toilet down the hall. At the first window the view across Kent Street gave me the strangest clue of future success within the nerve centre of the game. Here on the third floor I gazed across the street at a 20 storey tower block built in the mid ‘70’s.
Almost immediately my eye was drawn to the 15th floor and one static figure standing at the window. Strange how noticeable one static human form can be within a city, especially at a window. Strange how few people stand and gaze out, whilst remaining motionless, even though this would seem to be the action most applicable to the function of the material and its space. There she was, gazing out, the connection. I stood still and stared, two figures motionless within the blur of human movement and prosthetic machines. As static as the building, yet breathing, one looking towards the other in umbilical connection, the other looking towards a third point. It took only seven minutes for the eyes of the other to gravitate to focus on mine. The irresistible force of recognition, of noticing, of seeing the mirrored other within the static building frame and
7 This is an extract from my notebooks. These narratives are an essential part of my creative processes. 108 against the blur of the sky and the vibration of moving flesh and machines. The bridge of sight, the connection of eyes, the dissolution of architecture, the negation of the horizontal, I could stand there forever. “I’m a ladder, pass through this door and ascend twenty three storeys to the lift motor room”. The voice startled me in the scenic darkness, its slightly muffled tones emanated from the pile of boxes about ten metres away from the window at which I stood. The woman repeated the summons. “I am a ladder. Follow me to the door and mind you don’t trip over the tools…we are building a wall you know”. “A wall..?” I was a little thrown by the extra information; it somehow didn’t fit the game. Three-dimensional “Snakes and Ladders” had seemed such an appropriate way to test the transitional spaces of private property, which might be classified as types of public space. Three-minute public spaces, spaces of delay, spaces for the nomad and tourist. The porous zones yet to be classified and defined within the towers of vertical spaces, which constitute a city. To seek and rediscover the nomadic city of the Situationists.
What the rovings of the artists discover is a liquid city, an amniotic fluid where the spaces of the elsewhere take spontaneous form, an urban archipelago in which to navigate by drifting. A city in which the spaces of staying are the islands in the great sea formed by the space of going. 8
As I brushed past the woman on my way to the stair I became aware that she was wearing what appeared to be the battle fatigues of some unrecognisable army. Not just camouflage gear, there appeared to be equipment and weapons hanging in ordered bundles around her body. Distracted, I entered the stair and she closed the door behind me.
The stair was very small and dark, the sort of fire escape long forgotten at the rear of older structures. Light from a single globe, several storeys above enabled me to climb quickly and surely in a monotonous spiral. After ten storeys I sat to regain my breath within the brown lifelessness of this non-space. Resting my head on the round rail I dozed momentarily and was startled awake by what could only be described as the sound of gunfire in the distance, followed by a strange punctuation of impact sounds or thuds. The dead thud of metal on stone. The sounds were strong yet heavily muted by the dense building fabric, which separated me from the outside.
8 Careri, Francesca, Walkscapes, Ed. Gustavo Gili, Spain 2002, p21. 109 I climbed to what I expected to be my easy victory in the game. Winning your own game does lack a degree of credibility, however it was the overall impact of such a game on the consciousness of the city which counted and not just the ability to find one’s way to the forbidden zones of loosely defined public importance.
“Snakes and Ladders” was an elaborate attack on one quarter of the city by 100 players. The players were divided into either tourists or seekers and the snake or ladder markers. The markers loitered adjacent to their respective lifts and stairwells waiting to instruct players of their fate. Go up or proceed down and start again. Hence a carefully researched three-dimensional game of snakes and ladders guided or impeded the remaining 50 players between office blocks and eventually enabling only one to reach a pre-determined roof space and become the winner who closed the time frame of the game.
The idea of winning “Snakes and Ladders” was already exciting speculation about the possibility of "City Chess" as I continued to climb. The door of the lift motor room was open and wedged with a small piece of wood. As I claimed the door handle the floor trembled and the building responded to distant thuds and the delay of muffled explosions. The lift motor room purred in the background and a small shaft of light in the back of the room drew me in. On entering the timber door wedge was dislodged and the sprung door snapped shut with a resolute clap.
A shaft of light appeared in the distance. Pausing to adjust to the darkness I remembered that the destination space would contain a messenger and a phone on which to contact control. The space felt like it was expanding and collapsing at the same time. I assumed that the smoky atmosphere was created by the attendant machinery and the general lack of ventilation. What was not expected was an undulating interruption in the distant light source closing and opening the aperture of light and modelling it into moving parcels and columns. “Take my hand and remain covered…” “So I made it..great…..and the phone thing?” “Remain covered” “Pardon”. The unfamiliar hand of a man took mine and moved forward in a space, which was inhabited by many other bodies milling in the darkness. Was this the entire hundred players, the game concluding with us all together? The surrounding bodies were now more obvious, although cloaked and shrouded. There was no doubt that they were not the players and that my hesitancy
110 to call out was appropriate if not necessary for survival itself. My body was now sandwiched and pressed between mumbling figures all moving in the same direction. Then light and “Oh my God” a huge Mosque…The Blue Mosque! “Stay covered, look down, and keep steady”. The hand let go and I reached for the familiar territory of my pockets, kept a bowed head and moved towards the safety of the perimeter colonnade. Tile after tile, stone after stone I studied the patterns as I shifted to the edge of darkness. In the farthest corner of the colonnade I lent into the back of an ancient stone column and pushed my face into its waxy surface. Why was this happening? I had done so much work with Dr. Able in order to close this door once and for all. “I am a small snake, but my back is supple and my geometry will pleasure you as you pass through the forbidden territory” “I need an explanation…” “Ride now, your only option is to leave this space, return and leave again, return and re- enter your world…goodbye”. An extremely small timber door, no higher than my waist, was open and waiting for a decision. Insistent hands and persuasive pushes made it difficult to do otherwise as I entered a stony tunnel and felt the door, once again, close.
The passageway ramped downwards on a progressively steeper incline. I estimated it was tending towards 1:5 as I stooped and slipped downwards. Ahead I could just make out an archway and stronger light. Through the archway the space suddenly increased in volume and stone changed to steel. The sound of steel plate underfoot introduced a balcony structure above a complex multi-storey framed building, not unlike the interior of a naval Destroyer or fighting ship. With a father who was formerly in the Navy, this architecture was familiar. Ladder after spiral ladder descended below in 3 metre increments. At the bottom of 5 storeys many heads with hats fitted, were congregating in manic eddies. Their mumbling tones were deep and distant. They appeared to be organised and working together on something. Building, they were definitely building. The wall at which they clotted together in groups of heads was too massive and scared to be mistaken for anything other than the hidden source of the Wailing Wall.
The snake was taking me back to the stone…back to the messages on crumpled paper jammed in its sandy crevices. I remembered the shock and amusement as I unwrapped its little parcel to be confronted by that silly biro sketch of Donald Duck kissing Mini Mouse. The caption was even more random: “As they say in the classics…whatever”.
111 Spiral after spiral the descent continued like a prayer cord into the sea of hats. The final snake? Its geometry had been exquisite as promised, moving through a labyrinth of cell-like stone caves and cloth curtains. Down, down, down until face-to-face with a sea of beards and white shirts under black seamless coats. Ignored. The breach was clearly understood by those who did not belong, those who did not see, and those outside the blood argument. Jostled and clipped, teetering on the edge of a quadrangle-like space where again I could lean against a wall, head wedged, watching. The static stone blade of the Wailing Wall swarming with the swaying gestures of prayer. Outside. “Step inside I am your last ladder” Convinced I had left the game for the forbidden territory at the foundation of my thoughts these tones were welcome. Turning towards the source of this clearly articulated sentence there was no figure, only the damaged entrance to a public toilet. White tiles smashed at the entrance revealed mud and under-fired pale bricks crumbling and wet. Inside damp and smelling of the sewer the space nevertheless heralded a sense of sanctuary and hope.
The wet entrance soon turned into a long and unexpected corridor, dimly lit at regular spacings by naked bayonet bulbs protruding from the walls. The passage was leading back underground, past the steel stair construction. At times the passage walls were lined only in plywood and I could hear the sounds of people ascending and descending steel stairs not far from the wall’s skin. If this was correct then I was directly underneath the Blue Mosque. Several hundred metres were traversed before reaching the toilet cubicle. Only one was available. I pushed the door and entered, not a toilet, but a small aluminium lined lift, heavily graffitied and damaged. The doors closed and the choice of only one vertical stop made itself known. Ground Level 2. The floor of departure was Ground Level 1. The button responded with a pink glow and gave a sense of hope after 3 hours of nomadic movement. As the small car clattered upwards, the muffled sounds of distant gunfire reminded me that the game was still a distant memory and that this puzzle had to be solved if I was to return.
The vertical distance travelled felt considerably more than 1 floor as the lift came to an abrupt halt. The doors faltered open to another shocking destination. The landing space was completely dark except for a vertical sliver of light, several metres from the lift, indicating a door. Reluctant to leave the familiar metal box the sliver persuaded with its promise of spaces beyond. The total lack of sound at this station slowly reassured the movement between and the transaction was made. The lift closed and vibrated away as I pushed the lowest corner of the door with my foot. Slowly a brightly lit space was revealed with an increasing sense of familiarity. The room was filled with people, sitting, standing, eating and talking in hushed enthusiastic
112 tones. Only a few gazed at the new arrival as I entered and moved around the periphery looking for some sense of what I was encountering. The room was definitely underground, as there were no obvious windows, or links to the outside, which might interfere with the interrogation of fluorescent tubes above. Pretending to manoeuvre for a seat my attention was focused on what it was that people were doing in this room. As many seats that were seats, there were others which were toilets. In fact they were being used while people talked drank and ate food. The program of this underground tavern of bodies was strangely mixed. Some people were seated as if in a restaurant eating, while others were clearly involved with the actions of a toilet as they stood or sat at various receptacles. Floor levels cleverly shifted to provide all manner of juxtapositions and at least partial screening to allow for conversation and convenience. This was indeed a restaurant/toilet. The ceiling was cris-crossed with fluorescent tubes as described but patterned around a series of tube-like holes about one metre in diameter. Though little light emanated from these tubes it became obvious when I stood under one that they were skylights and that their respective shafts were at least ten metres deep. Above the light was dappled and muted, at times completely blacked out. Focused vision and some concentration finally revealed the reality of the situation.
I could see the distinct forms of feet through each hole, marking out ant-like patterns of scurrying black soles and sandals. Mesmerised by the patterns I continued to watch and another layer of telescoped vision emerged. Above the feet, in grey and murky blue tones interrupted by what could only be described as mist, were glimpses of what was unmistakably the Blue Mosque ceiling. I was now determined to return to the Mosque and connect with the snake through whom I made this strange transition. “I have a message for you Mr Goodwin”. I wheeled around to confront the voice. “The game is over and you have lost”. It was a female voice, the air of which ruffled a plain silk scarf wrapping the head beyond recognition, of the figure before me. Taken again by the hand we floated out of the toilet/restaurant just as a type of “Yum Cha” procession of trolleys started filling the aisles. Those on toilets politely declined as others seated with white tablecloths greedily pointed and gesticulated at the colourful range of dishes. The last fleeting glimpse of activities on entering another tiled tunnel alerted me to the observation that this crowd was a mixture of Arab and Israeli people. The reading was superficially based on dress and modes of eating, but was beyond doubt. At least in my mind at that moment. The tunnel smelt of death. Bayonet globes were replaced by small cubic openings, each with its own candle, and residue of many hours of burning. The floor was wet and sticky again, and uneven in texture as it ramped slightly upwards. We walked without speaking in what felt like a giant clockwise spiral. The tunnel
113 perspective faded to the right as the ascension was made. At least 15 minutes passed before the sounds of people milling and talking started to fill the shaft. Ahead the distinct patterns of shafts of light from the ceiling appeared and the sounds of people increased. “Don’t look up Mr Goodwin…we must make haste”. It was however irresistible as we passed under each light source to snatch a glimpse. There was now only a metre of pipe left before a cast iron grate closed the hole. Sandalled feet clopped overhead and patches of blue and gold betrayed a different ceiling. Not the blue of the Mosque, but ancient streets and sky….Jerusalem.
The shafts began to thin out and soon the way was again led by recessed candles and semi- darkness. Finally the journey ended at a door barely large enough for any human to fit through. Fabricated in steel and recessed into the stone with heavy hinges and a simple bolt. “Goodbye Mr Goodwin…this is your destination…remember to build a balcony before you open your window…sleep with your bicycle and hold your suitcase from the inside when you travel. Remember also that the race has been won by others. Your invention of the game was accurate but not insightful. Take your pleasure where you can, always touching the feet first and watching the space under the tongue. I am your last snake”.
The door opened easily within the thick wall recess. Fresh air and light streamed in less than two metres away as the struggle led to outside beyond the considerable wall space and into the day. If it hadn’t been for the black steel railing I would have plunged to my death many storeys below. Outside but with barely enough room to turn as I lay in a foetal position I struggled like a bird in a cage into a seated position with knees and shoes jammed against the rail. This was the smallest Juliet balcony in history positioning me at least 20 metres above a plan view of many Hasidic hats. In the other direction only 2 metres to the battlement top over which the occasional draped Arab head gazed in curious pause. Re-entry of the tunnel was not a favoured option after what seemed like days in the labyrinth of two distinct cities. Yet the meagre two metres of pediment was a far from easy option. Standing on top of the rickety iron railing a few wall boltholes offered little purchase to stake one’s life on. Several people above had noticed my mute predicament and appeared to be discussing a solution as their heads bobbed in and out of view. “Ping…crack crack…ping ping” I was being shot at. Stone dust filled my nostrils, hands released and I fumbled frantically at the tiny door. Last remembered glimpses revealed an arm with handgun positioning an aim from above as distant fire continued to pepper the wall with playful holes of deadly intent. Another second and luck would have run its course and catered for both sides of the equation. The door
114 slammed and I heaved for air inside the wall space. As my eyes adjusted, adrenalin prevented me from collapsing in complete despair. The heat of outside was now in strong contrast to the cold of the wall thickness and the even colder steel plate on which I sat. It was circular and at least as large as me and mirrored above. Inspection revealed Arabic and Hebrew script and a number of finger-sized recesses in a circle made for the hand. I set five fingers of my right hand into the holes and optimistically attempted the turn counter clockwise. Immediately a smaller plate within the large plate rotated and the trap door swung down as if hydraulically assisted. What was revealed was nothing less than spectacular. I had underestimated the thickness of the stone wall because there before me was a space at least 3 metres wide.
The space from which I now emerged was in fact a tube of stone with 2 doors, which traversed this interior wall space. The interior was reminiscent of brightly lit building sites at night, deep within encased steel framing, laced with wires and tubes of every diameter, material and colour. Interconnecting ladders, stairs and platforms combined with scaffolding-like structures and aircraft fuselage-like frames in a space, which collapsed below at least 30 metres. Once inside the dazzling web-like interior, with the trap door shut, it was possible to make out moving figures at almost every level. Horizontally, the perspective of walls faded into a distance impossible to accurately estimate. The realisation of being inside a wall, which was a building, was both reassuring and terrifying at the same time. The porosity of this space was evident. It would be difficult to hide or escape.
I had to get my bearings and visualise an outcome beyond being shot. The closest figures were still far enough away not to notice my emergence from the tube. Some were at my level while many more busied themselves at various levels below, flashing in and out of light and making clattering noises of every pitch on the steel mesh floors and barriers. Again, like the restaurant/toilet, there appeared to be a mix of Arab and Israeli people within the space. Soldiers from both sides mingled and chatted amongst the activities associated with the walls maintenance and ongoing construction. Several storeys below I could make out a well-marked double doorway with many stairs and ramps approaching it. I descended as quickly as possible.
People were passing in and out and I wondered whether it was a possible exit. On approach a man opened the door and nodded as he pushed past me without any hostility or threat. Much noise was emanating from within as I parted the doors. The restaurant/toilet came into view. A picture or map was emerging and I felt at least familiar if not secure with my lack of understanding. I remained in the porous wall space, moving to one side to again rest my forehead into the corner of a cool frame and hide momentarily from my anguish. Below the
115 distinctive hats of the Hasidics toiled at their digging and scraping. However they were screened off from entering this space by thick steel mesh. This wall floated above and through their wall and toil. They seemed oblivious to those above and never looked up. The double doors of the restaurant/toilet were repeated at regular intervals along the outer wall as far as the eye could see. People were entering and exiting the sponge wall, changing levels, stopping to converse and then re-entering other doors in yet to be discovered spaces. Overcome with fear, curiosity, desperation and fatigue I opened another door some distance from the original entry point in the tube and almost at the base of the wall space.
Inside a collection of Rabbis and Moslem clerics were speaking to an audience who were in large part engaged in the process of painting a giant mural on the floor with their bare feet. As far as I could make out the work was abstract, colourful and without formal resolution or significant meaning, other than the communion of its participants, some of whom had died and were now mixed into the paint surface. Each of the paint-splattered participants was so absorbed in their work that I wasn’t noticed. I watched and listened for an hour as the painters’ collective and matted hair formed a large tapestry of heads above which loomed a singular chanting figure whose disapproval seemed to cripple the fluidity of the overall performative action. The painting continued layer upon layer, engulfing the participants’ bare feet and the spent bodies of those who obviously couldn’t cope, mixing in places to form marbled pools of pure colour. I declined a gesture to participate and turned to leave. “You forgot your suitcase Mr Goodwin”. “What?” “Your bag, sir, it’s right here”. At the sandalled feet of an elegantly robed man a black suitcase was being pushed towards me with the nonchalant nudge of his left leg. “I have no case to collect or answer for, thankyou anyway…” “I think you are mistaken sir, this case must leave with you or indeed you will not leave…we can’t have packages left anywhere for security reasons and you have been identified as the owner. In fact, if you look closer here is your name inside the owner’s identity patch…Richard Goodwin…etc. Kindly take it and leave”. “I insist it is not mine and nor do I want it”. “Mr Goodwin, I am a snake…take it and leave via the lift, to the left of this door. Don’t be a sore loser Mr Goodwin, the game is up, you lost, and we are busy building balconies and bicycle toilets for this wall…so be a good fellow and leave”.
116 The case had no handles, only dark and ominous holes, three in all, penetrating the top surface of the case. I plunged my hand inside the middle hole and it was met by a warm and supple foot. I held the foot and lifted the case, at the same time tilting towards the door in hope of final escape. Outside and in the wall space again, the plastic arrow-lights of a lift attracted me first and past several mesh screens the distinctive stainless steel doors gave faint hope of release into real architecture. This thought amused me, even within my fear, as the buttons of the lift responded to the downward arrow and the doors opened into a perfectly normal lift. It was only as the doors closed that I realised my mistake. I had inadvertently left the case outside the doors as I pressed the buttons. Escape was the only thought possible as floor after floor flashed onto the screen at eye level. Finally the doors opened as the lift stopped and I was greeted with the machine humming of a plant room. This was a typical high rise building plant room. One further option remained. A door above simple steel steps. It opened with a cheery crack to the skyline of Sydney. Beyond at a distance of three buildings a girl waved and I felt my knees give way to a sobbing descent onto the slab floor.
Fig.64 Map of Jerusalem
117 POROSITY GAME 2: HIDE AND SEEK ‘Hide and Seek’ is an ancient game of primal importance. There could be no more direct way to analyse the effectiveness of the principles of Porosity, than to subject the buildings being studied to a game of hide and seek, using the information previously gathered, which identifies areas where one might delay or stay for an extended period of time.
The hider, in this case myself, becomes the interrogator of the spaces in question, while the seeker performs a task analogous to the role of security guard or surveillance monitor. The hider also takes on a sense of transgression or guilt, which could be linked to the roles of entitled city explorer, tourist, criminal, mentally unstable inhabitant, agoraphobic, lost person or terrorist.
Associated with these roles is a raised sense of anxiety and anticipation appropriate to the role of explorer. Ultimately the job of proving the validity of the idea that types of public spaces exist within private architecture runs hand in hand with Acconci’s claim that we must ultimately construct public space like we construct buildings.9
Fig.65 Hide & Seek, Photograph
9 Acconci, Vito, “Making Public: The Writing and Reading of Public Space” in Vito Acconci: Writings, Works, Projects ed. Gloria Mouve, D.A.P. (Distributed Art Publishers), New York, 2001. 118 THE TERRITORY OF GAME 2 ZONE 3: World Square This zone, within Sydney, is bounded by George Street, Liverpool Street, Goulburn Street, and Pitt Street. It was chosen to best represent a typical high-rise mixed development block within the city. As such World Square, adjacent to Sydney’s China Town, is the most significant example of new high-rise inner city apartment blocks mixed with office towers, shopping arcades, and hotels. The block also connects with major bus transport, the monorail service and adjacent underground train stations.
Fig.66 Richard Goodwin, Zone 3: World Square 2003 Sydney Photograph
The World Square site has extensive ground floor and basement floor access to the street and hence innate porosity or free access to existing city public spaces. Above ground the city block includes a series of towers dominated by Sydney’s largest residential building, World Tower which includes hotel accommodation, apartments and commercial offices.
119 The Avilier Hotel dominates the northeast corner of the block, while World Tower fronts Liverpool Street to the north and an office tower forms the south west corner to George Street. In relation to the study, hotels provide another type of public space in which members of the public can lease space for short periods of time and enjoy in a climate of openness to the city via lounges, restaurants and lobbies. Figures 67-70 show the documentation of Zone 1 World Square into ‘tree’ and ‘cactus’ models based on field research. 10
Fig.67 Richard Goodwin, Zone 3: Tree Model 2003-2006 Digital 3D Modelling
10 Refer to Appendix 3 for the ‘Porosity Index’ for Zone 3: World Square, Sydney. 120 Fig.68 Richard Goodwin, Zone 3: Tree and Cactus Model 2003-2006 Digital 3D Modelling
121 Fig.69 Richard Goodwin, Zone 3: Cactus Model 2003-2006 Digital 3D Modelling
122 Fig.70 Richard Goodwin, Zone 3: Cactus Model 2003-2006 Digital 3D Modelling
123 After assessing this mix of development I opted for the game of ‘hide and seek’ to test the limits and strengths of the research, and through which I could construct an artwork.
In order to penetrate the residential towers I devised a strategy, which included the booking of two hotel rooms for the duration of the performance. Room One, was situated in the World Tower residential building. Room Two, was situated in the Avilier Hotel. By renting these two rooms, other spaces within the towers, such as gymnasiums, swimming pools, restaurants and lecture or meeting rooms were made accessible. The study classifies these spaces as types of public space also. The hotel rooms became bases from which the simple game of one person hiding while the other seeks could operate.
Fig.71 Richard Goodwin, Zone 3: Artist on Site 2003-2006 Photograph
Strict rules associated with timing of both the act of finding a hiding place and the act of hiding, were laid out. These rules included the necessity to return a set number of times to the hotel rooms within the game time. Each of the two players was accompanied by an assistant who kept times and mapped the paths taken. A third assistant moved from team to team, via mobile phone communication, and filmed the action.
The final result included a series of captures and a very complex series of paths travelled. These pathways were later fed into the computer and constructed into a series of 3D animations. When viewed as structures within the building’s ‘tree’ diagrams, the game creates new possible constructions of public space. These models of the game are examples of the porous architectures possible within this zone’s public space. (Fig. 72 & 73)
124 GAME RULES Time of play: 24th January, 2006 Number of games: 3 Duration of each game: 1.5 hours each Number of players: 2 Hider: Richard Goodwin Seeker: Tia Chim Assistants: Tia Chim, Robert Beson, Huong Tang, Danielle Farrow-Pryke 1 film crew Game Plan: The hider must find 10 hiding places within the 1.5 hour game. The hider must stay in each place for 5 minutes. The hider has 4 minutes between hiding places to find another position. The hiding places must be distributed between the hiding zones as follows Rented Hotel Room 1 World Tower, Rm 6501 Rented Hotel Room 2 Avilier Hotel, Rm 1824 At least 3 visits shared between both hotel complex areas. 2 visits to office space area. 5 visit to units anywhere in Ground Floor public shopping areas. The hider and the seeker must map their progress. The hider and the seeker will be escorted by their own assistant who will film or take stills at their progress. The seeker must find the hider and touch him/her to win the game. If the hider is not found within the 1.5 hours then he/she has won the game. They both return to Room 1. The hider will leave a tag in each hiding place stating: ‘Opened by Porosity: “Hiding Place” (Fig. 74) The seeker will leave a tag in a range of spaces visited during the chase stating: ‘Opened by Porosity: “Where are you?”’ (Fig. 74)
125 Fig.72 Richard Goodwin, Game 2: Hide & Seek 2003-2006 Photographs and Computer Animation sequence
126 Fig.73 Richard Goodwin, Game 2: Hide & Seek 2003-2006 Computer Animation
Fig.74 Richard Goodwin, Game 2: Hide & Seek Cards 2003-2006
127 END GAME Snakes and Ladders was a self-contained game, the players and instructors becoming complicit in the outcome. Hide and Seek goes one stage further by insinuating that the seeker is possibly part of a system of surveillance or closure, which is the enemy of Porosity research. The hider is the interrogator or Porosity Researcher.
The game includes the delay involved in hiding, which implies the beginning of habitation or a type of habitation. This might also be read as criminality or terrorism by the authorities. There is a sense that in some hiding places, deep within the fabric of architecture, one could hide forever or one could be lost forever, never to be found. There is anxiety about being found, as there is anxiety about never being found. What is architecture in which the body cannot be found other than a tomb or coffin? It could be argued that being found or never being found are both models for death.
Fig.75 Richard Goodwin, Zone 3: Hide & Seek 2003-2006 Computer Animation Still
Played against these imaginary odds, the resulting 3D animations of each game become compelling interlocking structures of chase, resulting in the punctuations of intersection or being
128 found; a kind of birth – life – death modelling of space. The 3D animation and the game itself, in digital projection, make the viewer and players acutely aware of the infinite parallel universes, which exist with or without connection with every building. They also tell us a lot about the buildings in which they exist, by comparison, to the blank expressions which building facades give to the street. These external surface images must invariably lie about the true nature of their content.
129 Fig.76 Richard Goodwin, Game 2: Hide & Seek 2003-2006 Performance Photographs
130 Fig.77 Richard Goodwin, Game 2: Hide & Seek Path Maps 2003-2006
131 Fig.78 Richard Goodwin, Game 2: Hide & Seek 2003-2006 Performance Photographs
132 Fig.79 Richard Goodwin, Game 2: Hide & Seek 2003-2006 Computer Animation
133 Fig.80 Richard Goodwin, Game 2: Hide & Seek 2003-2006 Performance Photographs
134 POROSITY GAME 3: JENGA The game of ‘Jenga’ involves the precarious stacking of interlocking blocks in a match of brinkmanship. As a model it gives the player an immediate sense of building or architectural scale. The game’s relationship to a toppling high-rise building is irresistible. As a result I was drawn by the game’s power to evoke a sense of developing or increasing porosity within a multi- level building structure, and the prospect of its effects on the overall architecture of the changing form as the game progresses.
The game of ‘Jenga’ consists of a multi-level stack of small timber blocks usually approximately 50mm x 12mm x 12mm. The instructions might follow this way:
Set the stack up and take turns removing one piece at a time, placing it on top of the tower without toppling it over.
As the tower grows higher and shifts its weight to one side, some blocks become looser and easier to remove. Try finding one of the loose blocks, but using one hand only. The stack starts with 18 storeys. A real professional can build a tower 36 storeys high or more according to experts. The original game was devised for one or more players.
Fig.81 Jenga Game, Photograph
135 THE TERRITORY OF GAME 3 ZONE 2 : Aurora Place, Governor Phillip and Macquarie Towers, Museum of Sydney The final game/artwork was enacted within Zone Two of the Porosity Research. This choice is significant for two reasons. Firstly it means that a game/artwork was played in each of the three study zones. Secondly, Zone Two is the least porous area of the city to be studied. As such it presented the ultimate test for all three game sequences.
Zone Two is bounded by Macquarie Street, Bent Street, Young Street and Bridge Street (Fig. 82). The block was chosen as an example of the city in which buildings are occupied by both Government and private corporations. It therefore represents a section of the CBD which is subject to elevated levels of surveillance and security. Acquiring adequate information to re- document and analyse the respective buildings in this zone was a great challenge.
Fig.82 Richard Goodwin, Zone 2: Governor Macquarie Tower, Governor Phillip Tower, Aurora Place, Museum of Sydney 2003 Photographs
136 Fieldwork was also very challenging and required a strategy of urban camouflage. This took the simple form of a dress code mimicking wealthy company executives. The strategy worked extremely well. In the case of Governor Phillip Tower, without a suit it was not even possible to enter the lift lobby without questions. Wearing expensive suits we were able to pass most checkpoints unquestioned.
The following Figures 83-86 show the result of intense research and documentation of Zone 2 into ‘tree’ and ‘cactus’ models, which were then developed further into the set of ‘Monkey’ model images called “What a Building Desires” (Fig. 87-90)11. These are the territory of Game 3: Jenga.
11 Refer to Appendix 4 for the ‘Porosity Index’ for Zone 2: Aurora Place, Governor Phillip and Macquarie Towers and Museum of Sydney. 137 Fig.83 Richard Goodwin, Zone 2: Tree Model 2003-2006 Digital 3D Modelling
138 Fig.84 Richard Goodwin, Zone 2: Site Analysis Sketches 2003-2006 139 Fig.85 Richard Goodwin, Aurora Place Site Research 2003-2006 Sketches
140 Fig.86 Richard Goodwin, Zone 2: Cactus Model 2003-2006 Digital 3D Modelling
141 Fig.87 Richard Goodwin, Zone 2: What a Building Desires, Monkey Model 2003-2006 MAYA Digital 3D Modelling
142 Fig.88 Richard Goodwin, Zone 2: What a Building Desires, Monkey Model 2003-2006 MAYA Digital 3D Modelling 143 Fig.89 Richard Goodwin, Zone 2: What a Building Desires, Monkey Model 2003-2006 MAYA Digital 3D Modelling 144 Fig.90 Richard Goodwin, Zone 2: What a Building Desires, Monkey Models 2003-2006 MAYA Digital 3D Modelling
145 GAME PLAY It was necessary to select a single building from within the zone to simulate the game of ‘Jenga’. I chose the Aurora Place building designed by Renzo Piano, within Zone Two, as the subject.
Fig.91 Aurora Place, Sydney 2003 Photograph
This game involved two teams and three players – the propriety of the building vs the artist (myself) and my assistant Maria Capussela. The idea of this game was to claim for Porosity and public space, as many spaces within the building as I could and record the event as an artwork.
The core of this building (Cactus Model – Fig.86), as modelled by my research, forms the stack of blocks which mimic the original ‘Jenga’ game. This model also codifies the spaces available according to their respective porosities and is coloured according to the Porosity scale. This forms a new representation of the data gathered during research. The game is played out within the space opened up by the research.
146 The act of claiming spaces, by both occupying them and leaving evidence, via cards and film, simulates the process of extraction of a block during a conventional game of ‘Jenga’. As the spaces or blocks are removed from the tower, the balance between void and mass is made less stable until a new order of balance is achieved. This new order of balance between public and private space is essential to the project and this thesis.
The ultimate collapse or instability within the architecture, created by my actions, is in this case conceptual rather than physical. Getting caught is the collapse. However, the long term implications of such actions may result in physical transformation.
Fig.92 Richard Goodwin, Jenga Model 2006 Maquette photograph
Hence the game plays at two speeds. The first speed, via the performative action by the artist (myself), is fast and virtual. The second speed is slow, effecting collapse or change through a complex grid of future actions, started by this process.
147 In previous games I left evidence of my presence or position via a printed card. For Jenga the same principal continued but the card was different. (Fig. 93). Each card was a right-angled corner with the inscription “Claimed” meaning this space is claimed for Porosity by Jenga. A card was placed at every corner (either inside or outside folding) of the space chosen. Following this action of placement the space was photographed and the space number recorded and sent to the studio base. On receiving the information my assistant would record the time and remove that module from the ‘cactus’ model.
The idea of the Jenga game was to make even stronger demands on the research, via an art action, than the previous two games had made. The research had given me a complete model of the existing porous zones in the building with fully indexed qualities as shown. Armed with the maps of this knowledge and previous experience of the space, I re-entered the building and claimed for public space as many of the spaces in the model that I could before being caught and evicted. This constituted the game.
I designed that this last game would be played until I was caught by the building’s security guards and asked to leave or when it was obvious that I was about to be evicted. Only through this confrontation could the game sequence be closed. An engagement like this would signal both the reality of the context and its innate dangers, and also the switch to activate the next chapter in the sequence of transformation.
Fig.93 Richard Goodwin, Game 3: Jenga 2003-2006 Game Cards
148 GAME RULES Time of play: 12th December, 2006 Number of games: 1 Duration of the game: 1 hour Number of players: 3 - Richard Goodwin and Maria Capussela vs the propriety of the building Film crew: Camera: James Rickard Editor: Samar Kauss Sound: David Sims
The performance was continuously filmed in the city by cameraman James Rickard. Back in my studio the process of receiving my phone messages, by Maria Capusella, and the removal of model pieces under my instruction was also filmed. These digital videos were then spliced into the finished artwork sequence.
The game was played out as planned. In order to ensure that the results were properly recorded it was necessary to conceal a camera within the cameraman’s shoulder bag by cutting a hole in the side of the bag for the lens and using a coat as a drape for extra protection.
As the subject of this record I was also fitted with a lapel microphone so that all my conversation, either with the public or via mobile phone was also recorded. Wearing a suit and carrying an attaché case I was camouflaged as an office executive followed by the cameraman as my assistant.
Instead of carrying maps of all my possible destinations (each being already known and indexed) I converted these places into numbers and code fitting on one small piece of paper. The prospect of being caught with architectural documentation of the building, which qualifies particular places, and with microphone and concealed camera was considered too high a risk.
The concealed camera coupled with my plan to occupy the building for at least one hour proved to be a very stressful and dangerous decision12. It was also the culmination of nearly four years of work including many infiltrations of some of the city’s most security conscious structures.
12 This assertion is made in relation to the new anti-terrorist legislation. 149 The main entry foyer of the Aurora Place features a large coffee shop and extensive seating for the public and occupants of the building. This space is clearly open to public use, however it also features a central control desk with security guards who question any person appearing to either be unsure of his/her destination or whose appearance seems out of place. Such knowledge was tested by numerous previous visits. The first of these visits, for which I was dressed very casually and had a camera, were quickly terminated by the guards. Subsequent visits, dressed in a suit, were successful by entering the building with confidence and moving directly to a lift and exiting the foyer. This tactic was well employed for the performance, and we headed immediately for a floor which provided a safe retreat within its toilet.
Thus the game had begun. Each space was marked with cards and a phone call back to the studio. Staggering the sequence of floors I was able to negotiate suspicion, especially within lifts accompanied by tenants.
Most floors within the building are under constant CCTV surveillance so that records were being made of me laying out calling cards and entering a strange sequence of spaces. On one level an entire half floor space was vacant and awaiting future tenancy. This space provided respite from the tension and a possible alibi for being there. However I could never explain the camera.
It was not until the 41st floor that we were questioned. Interestingly, this is the location from which I was previously evicted after being followed to a lower floor. In this instance I claimed to be looking for the building manager to ask permission to view spaces for rent. The resident receptionist appeared very suspicious and made it clear that she was interested in my microphone.
Fig. 94 Richard Goodwin, Game 3: Jenga Still from Video Sequence
150 Aware that she would alert the authorities I headed for the foyer. Back in the foyer, and with eighty percent of the spaces possible to reach achieved, I felt determined to make a final play for the 41st floor before retiring from the game. We re-entered the lift and on reaching the 41st floor I marked the lift foyer with cards before descending again to the ground floor foyer.
Exiting the lift we were followed by a security guard. Adjacent to the exit I delayed long enough to drop a final card on the floor of the south east lobby before exiting. The cameraman had already left the building to film my escape. The security guard stayed close to the doors and watched, as we talked and then left, in as relaxed-a-fashion as possible.
I had avoided capture, but the game was clearly over.
Fig. 95 Richard Goodwin, Game 3: Jenga Stills from Video Sequence
151 Fig. 96 Richard Goodwin, Game 3: Jenga Stills from Video Sequence
152 GAME OVER? A game was played and recorded. The digital video and sound form proof of entry and exit into new spaces. These spaces form an architecture of invagination, an interior world of crevices in which to attach the flesh of new ideas of connection. Against waves of entry the sedimentary stone of modernist architecture is very weak.
The imagery of all these experiences challenges the forms they inhabit. This fact is now held and broadcast through our ability to image and record their forms. These images, reinforced by artworks played deep within their territories, render the city formless.
From invade to invent – from Porosity to Parasite – the causal chain of this thesis, follows a semantic and definitive evolution from the verbs to ‘invade’, to ‘invaginate’ and ‘invent’. invade / verb 1. to enter as an enemy; go into with hostile intent: Caesar invaded Britain. 2. to enter like an enemy: locusts invaded the fields. 3. (of a disease, etc.) to enter, as to cause disease, injury, etc.: the poison invaded his system. 4. to enter as if to take possession: to invade a friend’s quarters. 5. to intrude upon: to invade the privacy of a family. 6. to encroach or infringe upon: to invade the rights of citizens. 7. to penetrate: the smell of cooking invaded the bedrooms. – verb. 8. to make an invasion – invader, n. invaginate / verb 1. to insert or receive as into a sheath; sheathe. 2. to fold or draw (a tubular organ, etc.) back within itself; introvert; intussuscept. – verb 3. to become invaginated; undergo invagination. 4. to form a pocket by turning in. – adjective 5. invaginated. invagination / noun 1. the act or process of invaginating. 2. Embryology the inward movement of the outer layer of cells of a blastula in the formation of a gastrula. 3. Pathology – intussusception. invalid1 / noun 1. an infirm or sickly person. 2. a member of the armed forces disabled for active service. – adjective 3. deficient in health; weak; sick. invalid2 / adjective 1. not valid; of no force, weight, or cogency; weak: invalid arguments. 2. without legal force, or void, as a contract. invalidate / verb (invalidated, invalidating) 1. to render invalid. 2. to deprive of legal force or efficacy. – invalidation – invalidator. invaluable / adjective that cannot be valued or appraised; of inestimable value. – invaluableness, - invaluably. invasion / noun 1. the act of invading or entering as an enemy. 2. the entrance or advent of anything troublesome or harmful, as disease. 3. entrance as if to take possession or overrun. 4. infringement by intrusion: invasion of privacy. invasive / adjective 1. characterised by or involving invasion; offensive: invasive war. 2. invading, or tending to invade; intrusive. invective / noun 1. vehement denunciation; an utterance of violent censure or reproach. 2. a railing accusation; vituperation. – adjective 3. censoriously abusive; vituperative; denunciatory. – invectively, - invectiveness. 153 inveigh / verb to attack vehemently in words; rail: to inveigh against democracy. – inveigher, n. inveigle / verb (inveigled, inveigling) 1. to draw (into, sometimes from away, etc.) by beguiling or artful inducements: to inveigle a person into playing bridge. 2. to allure, win, or seduce by beguiling., from F aveugler blind, delude – inveiglement, inveigler. invent / verb 1. to originate as a product of one’s own contrivance: to invent a machine. 2. to produce or create with the imagination: to invent a story. 3. to make up or fabricate as something merely fictitious or false: to invent excuses – verb 4. to devise something new, as by ingenuity. (Inventus, pp., discovered, found out) – inventible, adj.
154 CONCLUSION
The Porosity Games of Snakes and Ladders, Hide and Seek, and Jenga are artworks which embody this conclusion. The effect they have on the viewer and the city discourse are yet to be determined but they are put forward as a step in the continuing debate which surrounds the interior space of the city and the three-dimensionalising of public space in the so called ‘Age of Terror’.
This work could only be possible as a construct built momentarily on the real observations carried out during my ARC Porosity Research work. This thesis has been one of both imaging these results and using them as the space in which the work is created.
When Vito Acconci enacted his performance/installation Seed Bed (1972)13 under a false floor in the Sonnabend Gallery in New York, every assumption that one might have about private and public space within buildings was put into question. That this performance involved the private act of masturbation was one contributor, but the accompanying action of hearing or responding to that person’s statements (Acconci’s), transgressed boundaries of privacy, dissolving physical boundaries for the period of the event.
In particular, what constitutes ‘private’ within the public space of the gallery, was put into question. In the film Being John Malkevich14 a building contains a half floor previously undetected by inhabitants of that structure. Strange activities and even a new dimension are to be found in this space. In the film, a person can enter a worm hole-like space via this half floor, which ultimately ejects the traveller into a public space adjacent to a freeway somewhere else in that city.
The idea is compelling. What are we missing? What can’t we see or find? How can we get permission to enter? Who will ultimately give that permission? What are the consequences of such a journey in the ‘Age of Terror’?
Porosity Research proves that this ‘other’ realm exists and that its spaces are related to public space by virtue of their accessibility alone. But how do we reveal these spaces? What permission do we need to subvert and then transform these spaces? Why do we want to convert
13 Acconci, Vito, “Making Public: The Writing and Reading of Public Space” in Vito Acconci: Writings, Works, Projects, ed. Gloria Mouve, D.A.P. (Distributed Art Publishers), New York, 2001, p154. 14 Being John Malkevich, a feature film by Charlie Kaufman, directed by Spike Jonze, LA, 1999. 155 these spaces? Should they remain hidden for a later discovery? After all, the pattern and specifics of these spaces is in perpetual flux. To identify and locate these spaces opens the possibility that they will either be closed or cemented into a new permanent life as types of public space or passages to new parasite constructions to which I have eluded earlier.
The Porosity Games, as works of performance art, are the first step in this possible city transformation.
They are both the disclosers of truth and the tellers of stories and/or lies. These narratives, when disclosed within the gallery, undermine and change the main body of text of public space in the city. Is there a precedent for this type of modelling within the history of Western cities? What are these existing models?
One model which I would put up as proof of this textual change lies in the city transformed by excessive tourism – ‘The Tourist City’. You could choose Amsterdam or Venice or Rome or Prague or many others, which lie on the verge of total transformation through excessive quantities of visitors. In some cases the numbers of visitors outnumbers the residents. I would like to argue that the phenomenon of exploration or tourism, within these cities, becomes a type of city acid, an eater of spatial divide.
In response to this attack the city creates capture points, on as many new journeys as it can, through cafes, shops and businesses, in order to exploit the situation. What happens to architecture and urban planning when too many people are merely looking for something, or even lost?
Action: Find a toilet or a lounge or a kitchen or a chair with a nice view or a bench on which to have a sandwich or as a place to kiss someone. Delay. Knit. Sleep. Use the toilet. Dry your underarms on the hand blow-dryer like Madonna did in Desperately Seeking Susan. Open your laptop and work. Phone somebody. Text Bono.15
I think it can be claimed that their constant roaming and endless collisions with boundaries or blockages has an effect on the porosity and social construction of the city. The city does become more porous. This is why we love these cities. We can continually go in deeper and deeper.
15 Extract from my notes 2005. 156 Tourists open cities from the inside. They play games with the city because they are not at work. They are tied to the economies of the city because they are spending, but they are not part of the city’s working engine. Their movements transgress the paths of those at work often to the annoyance of the inhabitants. Their constant burrowing must suggest new pathways to the real inhabitants and vice-versa.
Both the action of Porosity Research and the Porosity Games prove the point made here. At first I was anxious and too obvious in my attempts to infiltrate certain corporate structures. As a result both my assistants and I were questioned and asked to move on. We lacked both the camouflage of office clothing and/or the natural demeanour of the lost or inquisitive tourist. With time and perseverance came both the right attire and the confidence to look purposeful. The results built on each subsequent visit at an exponential rate. Spaces where we were questioned were revisited on another day until we had found the right passages and no-go zones.
The mapping of these results were continually reassessed until the resulting occupation could be re-enacted with confidence. Only then did I record the final indexing for that space and the building as a whole. Hence the sense of dissolving boundaries and dissolving architecture.
The game, however, has another agenda. It uses the vulnerability of private spaces to form new public spaces and amenities. Thus it constructs a symbiotic three dimensional parasitic form within a building which, for the space of the game, is a type of public space or even multi-level park.
The permission to endlessly create these types of spaces within the city would balance the ‘smooth and striated spaces’ of Deleuze’s and Guattari’s theories for structured and haptic space within the city.16
The relationship between Porosity and the Situationists, in particular Constant Nieuwenhuys, has already been identified. However it remains to clarify this relationship in relation to the outcomes of this thesis and the three films produced as evidence or proof in relation to the claims. In his essay, “Fluid Spaces: Constant and the Situationist Critique of Architecture”, Thomas McDonough describes Constant’s utopian vision of the city ‘New Babylon’ this way:
16 Deleuze, Gilles, & Guattari, Felix, A Thousand Plateaus Capitalism and Schizophrenia, University of Minnesota Press, Minneapolis, London, 1987. 157 Constant’s New Babylon, his designs for a future Situationist city, may in fact be accurately characterised as an architecture of presence. For Constant, the automation of work heralded a future of temporal freedom that would be matched by a concomitant freedom of movement. Humanity’s future would be inscribed in the liberating image of the nomad, and Constant’s city would provide these wanderers with an appropriate setting.17
Many things can be said about Constant Nieuwenhuys and his vision of ‘Unitary Urbanism’18 in relation to the study of Porosity. To start with there is a relationship founded in the graphic representation of architectural ideas which interrogate the city. As Catherine de Zegher states in her ‘Homage to Constant’:
Graphics became a site of political intervention, not only to illuminate the architectonics and strategies of the bureaucratic consumer culture of late Western capitalism, but also to develop the architectonics of a utopian space of creativity in an increasingly computerised society. In fact, Constant considered New Babylon to be neither a determined urbanist plan nor a utopian project, in the sense that its realisation belonged to the real environmental possibilities for a social space, with an ever-changing shape intended ‘to avoid any restriction of the freedom of movement and any limitation with regard to the creation of mood and atmosphere’.19
From the practice of urban wanderings (the derive) to the use of montage aesthetics (détournement)20, the Situationists attempted to measure capitalism and post war consumerism, while challenging architecture through performance and drawing. This was carried out post- World War Two in a climate of optimism tempered by the Cold War.
Porosity is an attempt to continue the interrogation of the city with similar tools but in a climate of acute paranoia and instability which falls under the banner of ‘The Age of Terror’. In his essay “Paranoiac Space”, Victor Burgin relates the space of exile to the concept of paranoid delusions. In particular he states:
In psychosis boundaries fail, frontiers are breached. In psychotic space an external object – a whole, a part, or an attribute of a person or thing – may be experienced as
17 de Zegher, Catherine, Wigley, Mark, The Activist Drawing Retracing Situationist Architectures from Constant’s New Babylon to Beyond, The MIT Press, New York, 2001, p93. 18 ibid, p9. 19 ibid, p10. 20 ibid, p93. 158 if it had invaded the subject….The sense of being invaded may be projected into some larger screen than that of the psychotic’s own body; the threat may be seen as directed against some greater body with which the psychotic identifies: for example, the ‘body politic’ of nation, or race. 21
A relationship exists between the space and construction of the Porosity Games and this ‘paranoiac space’. The experience of the player is framed by paranoia and at the same time threatens the greater body of the city.
Like the Situationists, Porosity makes no claims to a utopian vision or a determined urbanist plan. However Porosity is more determined to find mechanisms for future action based on the pseudo-science of the ‘Porosity Index’ and the vision that it may be used by urban planners as a tool to identify what buildings desire to do next. This seemingly irrational idea, which has its roots in simple observation of what is happening inside our cities, has its roots in the ‘derive’ of the Situationists.
The imaging of the ‘Cactus Models’, and their subsequent interrogation via the games, leads to the possibility of architectural transformation.
Porosity has no overriding image of the theoretical future of cities like those of ‘Unitary Urbanism’, or one building covering the earth or country. The actions, described in three films, both measure and test capitalism in its new regime of combating Terror, and seek new connections between structures which already exist.
The imagery and drawing associated with Porosity depend heavily on real documentation of existing structures. Every detail and space is carefully included within the equation. The new vision is extracted via a process of delamination of spaces and structure which is clearly independent from any public participation. In this way Porosity is very different from the Situationist experiment. The subsequent representation of the Porosity Games as films, form the final public artworks. They constitute structures which question the social construction of the city within a capitalist system, city planning codes and security systems in the ‘Age of Terror’.
These artworks pave the way for future real projects of transformation via parasitic architectural constructions within my practice as an artist and architect.
21 Cited in Igmade, 5 Codes Architecture, Paranoia and Risk in Times of Terror, Birkhauser, Basel, Boston, Berlin, 2006, p183. 159 160 BIBLIOGRAPHY
Text References Acconci, Vito, “Making Public: The Writing and Reading of Public Space” in Vito Acconci: Writings, Works, Projects ed. Gloria Mouve, D.A.P. (Distributed Art Publishers), New York, 2001 Archigram, Sites, Situations and Provisional Utopias, edited by Stan Allen with Kyong Park, Lusitania Press, New York, 1997 Bear, Liza, Gordon Matta-Clark, IVAM Centre Julio Gonzalez, Valencia, 1993 Being John Malkevich, a feature film by Charlie Kaufman, directed by Spike Jonze, LA, 1999 Bois, Yve Alain and Krauss, Rosalind E. Formless: A Users Guide, Zone Books, New York, 1997 Borja-Villel, Manuel J, Kryzsztof Wodiczko, Fundacio Antoni Tapies, Barcelona, 1992 Careri, Francesco, Walkscapes Walking as an Aesthetic Practice, Ed. Gustavo Gili, Barcelona, 2002 Coop Himmelblau Austria, Biennale Di Venezia: Sixth International Exhibition of Architecture, Ritter Verlag, Klagenfurt, 1996 Deleuze, Gilles, & Guattari, Felix, A Thousand Plateaus Capitalism and Schizophrenia, University of Minnesota Press, Minneapolis, London, 1987 Deleuze, Gilles, The Fold: Leibniz and the Baroque, University of Minnesota Press, Minneapolis, 1998 Deutsche, Rosalyn, Evictions Art and Spatial Politics, MIT Press, London, 1996 de Zegher & Wigley, Mark, Eds. The Activist Drawing: Retracing Situationist Architecture from Constant’s Babylon to Beyond, The MIT Press Cambridge, Massachusetts, London, 2001 Diller, Elizabeth and Scofidio, Ricardo, “The withdrawing room; a probe into the conventions of a of private rite” in AA Files #19 Spring, 1990 Diller, Elizabeth and Scofidio, Ricardo, “A Delay in Glass: Architectural performance from a work by Marcel Duchamp” in Lotus International, no.53, 1987 Diller Elizabeth and Scofidio, Ricardo Flesh: Architectural Probes, Princeton Architectural Press, New York, 1994 Diserens, Corinne, Gordon Matta-Clark, Phaidon Press Limited, New York, 2003 Edminston, Jeremy, “The Green Cyborg” in Sites Situations and Provisional Utopias, edited by Stan Allen with Kyong Park, Lusitania Press, New York, 1997 Evans, David, “Machines d’architecture” review in AA Files #24 Autumn, 1992 Fletcher, Sir Bannister, A History of Architecture, Edited by Dan Cruickshank, Architectural Press, UK, 1996 edition Forty, Adrian “Industrial Design and Prosthesis” in Ottagano, no.96 September 1990 161 Foster, Hal, “Exquisite Corpse”, in Compulsive Beauty, MIT Press, Cambridge, Massachusetts, 1993 Guillerme, Jacques, “Theses on Prosthesis: the pretext of latent needs” in Ottagano no.96 Sept 1990 Herzog & De Meuron. Natural History. Edited by Philip Ursprung. Canadian Centre for Architecture and Lars Muller Publishers, Montreal, 2002 Holl, Steven, Simons Hall. Edited by Todd Gannon. Princeton Architectural Press, New York, 2004 Igmade, 5 Codes Architecture, Paranoia and Risk in Times of Terror, Birkhauser, Basel, Boston, Berlin, 2006 Klein, Yves, Air Architecture, Edited by Peter Noever and Francois Perrin. Hatje Cantze Verlag Publishers, Germany, 2004 Krauss, Rosalind, “Sculpture in the Expanded Field” in Allocations: Art for a Natural and Artificial Environment, Exhibition Catalogue edited by Jan Brand, Catelijne De Muynck, Jouke Kleerebezem, Den Haag-Zoetermeer : Foundation World Horticultural Exhibition Floriade, 1992 Krauss, Rosalind E. Passages in Modern Sculpture, MIT Press, Cambridge, Massachusetts, 1985 Lacy, Suzanne, Mapping the Terrain, New Genre Public Art, Bay Press, Seattle, 1996 Le Corbusier, “Types Needs, Type-Furniture” in The Decorative Art of Today, Trans. James Dunnet, Architectural Press, London,1987 Leotard, Jean-Francois, Les transformateurs Duchamp (Galilee, Paris, 1977); trans. Ian McLeod, Duchamp’s TRANS/Formers, Lapis Press, Venice, California, 1990 Maeda, John, Creative Code, Thames and Hudson, London, 2004 McAnulty, Robert, “Body Troubles” in Strategies in Architectural Thinking, ed. John Whiteman. The MIT Press, New York, 1992 Miles, Malcom, Art Space and the City, Routledge, London, 1997 Parker, Andrew and Kosotsky Sedgwick, Eve, Performativity and Performance, Routledge, New York, 1995 Santacharia, Denis, “Superprosthesis: New Menus for New Projects” in Ottagano No.96 September, 1990 Sorkin, Micheal, Exquisite Corpse, Verso, New York, 1991 Steadman, Philip, The Evolution of Designs: Biological Analogy in Architecture and the Applied Arts, Cambridge and New York, Cambridge University Press, 1979 Sudjic, Deyan, The 100 Mile City, Flamingo Harper Collins, London, 1992
162 Teyssot, Georges, “Erasure and Disembodiment: Dialogues with Diller and Scoffidio” in Ottagano, No.96 September, 1990 The Australian Concise Oxford Dictionary, Fourth Edition, Oxford University Press, UK, New York, 2004 The Concise Oxford Dictionary, Clarendon Press, London, 1982 Ursprung, Philip, Herzog & De Meuron Natural History, Canadian Centre for Architecture, Lars Muller Publishers, Montreal, 2003 Vidler, Anthony, “Homes for Cyborgs: Domestic Prosthesis from Salvador Dali to Diller and Scofidio” in Ottagano, No. 96 September, 1990 Virilio, Paul, Art and Fear, translated by Julie Rose, Continuum London, New York, 2003 Virilio, Paul, Unknown Quantity, Fondation Cartier pour l’art contemporain, Thames & Hudson, Paris, 2002 Wigley, Mark “Recycling Recycling” in Interstices 4, 1996 Woods, Lebbeus, Radical Reconstruction, Princeton Architectural Press, New York, 1997
Illustration References Fig.10 Lebbeus Woods, Transforming Walls: Monuments 1994, p40 in Woods, Lebbeus, Radical Reconstruction, Princeton Architectural Press, New York, 1997
Fig.11 Lebbeus Woods, Sarajevo Series 1992-1994, p83 in Woods, Lebbeus, Radical Reconstruction, Princeton Architectural Press, New York, 1997
Fig.12 Gordon Matta-Clark, Office Baroque 1977 in Bear, Liza, Gordon Matta-Clark, IVAM Centre Julio Gonzalez, Valencia, 1993, p304
Fig.13 Herzog & De Meuron, The New Tate Modern, London in Herzog & De Meuron. Natural History. Edited by Philip Ursprung. Canadian Centre for Architecture and Lars Muller Publishers, Montreal, 2002, p414
Fig.15 Joseph Beuys, Tallow 1977 in Tidsall, Caroline, Joseph Beuys, Thames and Hudson, London, 1979, p250
Fig.41 Constant Nieuwenhuys, New Babylon (detail) 1971 in de Zegher & Wigley, Mark, Eds. The Activist Drawing: Retracing Situationist Architecture from Constant’s Babylon to Beyon,. The MIT Press Cambridge, Massachusetts, London, 2001, p59
163 APPENDIX
APPENDIX 1: THE POROSITY INDEX
1 PERMEABILITY INDEX PERMEABILITY EXACT TIME SCORE 1 Blue Impenetrable 0 4 2 Beige Entry only 3 Minutes 8 3 Yellow Slightly porous 10 Minutes 12 4 Brown Porous 30 Minutes 16 5 Red Very Porous up to 5 Hours 20
2 TRANSPARENCY INDEX TRANSPARENCY COEFFICIENT SCORE ratio of transparent / opaque wall area % 1 Blue 10% or less 2 2 Beige 11% to 20% 4 3 Yellow 21% to 30% 6 4 Brown 31% to 50% 8 5 Red > 51% 10 Opaque surrounds } quality Transparent surrounds m2 : m2 Om2 : Tm2 express as decimal - % convert to no. 1:10
CONNECTIVITY INDEXES - Possibility of making connections to other spaces or buildings - Connectivity index: based on external and internal possibilities Space Internal possibilities External possibilities
164 Link to external skin via lift lobby or other spaces Link to other buildings, adjacent roof or floor level
Scale of 1 10 + Scale of 1 10 = n n = 1 20, 20 maximum connectivity Connectivity Index = Internal possibility + External possibility 2 Score out of 10
3 EXTERNAL CONNECTIVITY INDEX EXTERNAL CONNECTIVITY TO ADJACENT BUILDING SCORE 1 Street level access to adjacent building 1 2 Roof level access to adjacent building 1 3 Other level access to adjacent building 1 4 Access to toilets in adjacent building 1 5 Access to fire stairs in adjacent building 1 Score out of 10
4 INTERNAL CONNECTIVITY INDEX INTERNAL CONNECTIVITY WITHIN SUBJECT BUILDING SCORE 1 Street level access to external skin/ window 0.5 2 Direct lobby access to external skin/ window 0.5 3 Access through private office to external skin/ window 0.5 4 Other access to external skin/ window 0.5 5 Access to internal window 0.5 6 Access to toilets 0.5 7 Access to roof level 0.5 8 Access to fire stairs 0.5 9 Direct access to transport from subject building 0.5 10 NO surveillance cameras of subject building 0.5 Score out of 10
165 5 ORIENTATION INDEX ORIENTATION CUE SCORE 1 Access to space with or without view 1 2 Immediate access to view from lift lobby 1 3 View from any location accessible on floor 1 4 View outside 1 5 View of street 1 6 View of adjacent buildings 1 7 View of sky 1 8 View of harbour 1 9 View close and far 1 10 View oriented to north to sun 1 Score out of 10
6 SOCIAL CONSTRUCTION INDEX CUE SCORE 1 Access to toilets 0.5 2 Access to kitchen 0.5 3 Access to phone/ data/ power 0.5 4 Access to public rest areas 0.5 5 Access to public art 0.5 6 Access to building recreation service 0.5 7 Access to building roof area 0.5 8 Access to adjacent buildings 0.5 9 Close proximity to food outlets 0.5 10 Close proximity to transport 0.5 11 Connectivity between offices 0.5 12 Connectivity between floors 0.5 13 Mixed usage within floor 0.5 14 Mixed usage within adjacent floors 0.5 15 Low external sound level 0.5 16 Operable windows 0.5 17 View outside any view 0.5 18 View outside including street 0.5 19 View outside of greater city 0.5
166 20 View outside to north 0.5 2 for score out of 10
7 HUMAN MOVEMENT INDEX APPR. # PEOPLE MOVEMENT PER HOUR SCORE 1 1 to 10 1 2 11 to 20 2 3 21 to 30 3 4 31 to 40 4 5 41 to 50 5 6 51 to 75 6 7 76 to 100 7 8 101 to 150 8 9 151 to 200 9 10 200 + 10 Score out of 10
8 ENVIRONMENTAL INDEX CUE SCORE 1 Opening windows 1 2 Cross ventilation 1 3 Daylight 1 4 Northern orientation or sunlight penetration 1 5 Sun shade devices fitted 1 6 People- friendly finishes + fittings 1 7 Possibility for rest eg. seating 1 8 Free water fountain access 1 9 Access to toilets 1 10 Access to food outlets 1 Score out of 10
9 AGE INDEX AGE SCORE 1 1 year 10 2 2 years 9
167 3 3 years 8 4 4 years 7 5 5 years 6 6 6 to 10 years 5 7 11 to 20 years 4 8 49 to 100 years 3 9 101 to 200 years 2 10 200 years + 1 Score out of 10
10 SPATIAL QUALITY INDEX SPATIAL QUALITY SCORE 1 Extreme Discomfort 1 2 2 3 Situation comfort/ psychological security response Different zones 3 4 may not be calibrated. 4 5 5 6 6 7 7 8 8 9 9 10 Extreme Comfort 10 Score out of 10 - Situation comfort response – subjective on scale of 1 to 10 - Psychological security response of space - Comfort index - Discomfort index
Spatial Quality Index 1 to 10 – 10 being the score for maximum comfort within a particular zone. Different zones may not be calibrated with each other. The final score for each building is represented as a percentage figure.
168 APPENDIX 2: THE POROSITY INDEXES for Zone 1: 345 and 363 George Street, Sydney
169 345 GEORGE STREET
- 14 of 18 levels are accessible POROSITY INDEX BUILDING : 345 GEORGE ST CONSTRUCTION DATE: 1993 - 345 George St. is 692 out of possible 1800 Porous
1 PERMEABILITY INDEX - Average Porosity is 41.1 - i.e. Porous PERMEABILITY EXACT TIME SCORE GF L1 L2 L3 L4 L5 L6 L7 L8 L9 L10 L11 L12 L13 L14 L15 L16 L17 AVERAGE - Most Porous Level outside Ground floor is L5 1 Blue Impenetrable 0 4 2 Beige Entry only 3 Minutes 8 x 3 Yellow Slightly porous 10 Minutes 12 x x x 4 Brown Porous 30 Minutes 16 x 5 Red Very Porous up to 5 Hours 20 xxxxxx xx x TOTAL 20 20 20 20 20 20 12 20 20 16 12 20 12 8 17.1
2 TRANSPARENCY INDEX TRANSPARENCY COEFFICIENT SCORE ratio of transparent / opaque wall area % GF L1 L2 L3 L4 L5 L6 L7 L8 L9 L10 L11 L12 L13 L14 L15 L16 L17 AVERAGE 1 Blue 10% or less 2 xx 2 Beige 11% to 20% 4 x x x x 3 Yellow 21% to 30% 6 4 Brown 31% to 50% 8 x x 5 Red > 51% 10 x x x x x x Permeability 67% TOTAL 10 8 8 10 10 10 4 4 10 4 4 10 2 2 6.9 Transparency 53%
3 EXTERNAL CONNECTIVITY INDEX Possibility of making connections to adjacent spaces including roof or floor levels of other buildings External Connectivity 10% EXTERNAL CONNECTIVITY TO ADJACENT BUILDING SCORE GF L1 L2 L3 L4 L5 L6 L7 L8 L9 L10 L11 L12 L13 L14 L15 L16 L17 AVERAGE Internal Connectivity 38% 1 Street level access to adjacent building 1 x x 2 Roof level access to adjacent building 1 x x x Orientation 46% 3 Other level access to adjacent building 1 x x x Social Construction 34% 4 Access to toilets in adjacent building 1 x Human Movement 19% 5 Access to fire stairs in adjacent building 1 x TOTAL 3301020000 0 0.500 0.7 Environmental 29% Age 40% 4 INTERNAL CONNECTIVITY INDEX Possibility of making connections to other spaces and to external skin INTERNAL CONNECTIVITY WITHIN SUBJECT SCORE GF L1 L2 L3 L4 L5 L6 L7 L8 L9 L10 L11 L12 L13 L14 L15 L16 L17 AVERAGE Spatial Quality 46% 1 Street level access to external skin/ window 0.5 x x 2 Direct lobby access to external skin/ window 0.5 xxxx x x x 3 Access through private office to external skin/ window 0.5 x x x x Overall 41% 4 Other access to external skin/ window 0.5 xxxx x xx x 5 Access to internal window 0.5 xxxxxxx x x xxx 6 Access to toilets 0.5 x xxxxxxxxx x x 7 Access to roof level 0.5 x 8 Access to fire stairs 0.5 xxxxxxxxx x xxx 9 Direct access to transport from subject bdlg 0.5 x x 10 NO surveillance cameraof subject building 0.5 xxxx x x TOTAL 3 3.5 3.5 4 2 3.5 1.5 1 3 2 2.5 2 1 1 2.4
5 ORIENTATION INDEX POROSITY INDEX FOR 345 GEORGE ST ORIENTATION CUE SCORE GF L1 L2 L3 L4 L5 L6 L7 L8 L9 L10 L11 L12 L13 L14 L15 L16 L17 AVERAGE 1 Access to space with or without view 1 xxxxxx xx x x 90 2 Immediate access to view from lift lobby 1 xxxxxxx xx x x 17.1/20 82.5 3 View from any location accessible on floor 1 xxxx x xx x x 6.9/10 80
4 View outside 1 xxxxxxxxxx x x 0.7/5 70 70 67.5 5 View of street 1 xxxx x xx x 2.5/5 65 64 61 6 View of adjacent buildings 1 xxxxxxxxxx x x 5.9/10 60 59 54.5 7 View of sky 1xxxxxxxx 4.4/10 50 49.5 81View of harbour x 2.5/10 9 View close and far 1 x xxx xx x x 44 44 4.1/10 40 10 View oriented to north to sun 1 x x x x 35.5 4/10 TOTAL 9679593288 8 900 5.9 30
5.7/10% OF POROSITY 24 20 19.5 6 SOCIAL CONSTRUCTION INDEX ial quality. CUE SCORE GF L1 L2 L3 L4 L5 L6 L7 L8 L9 L10 L11 L12 L13 L14 L15 L16 L17 AVERAGE 10 1 Access to toilets 0.5 x xxxxxxxx x x 0 00 0 0 2 Access to kitchen 0.5 x xxxxxx xxx GF L1 L2 L3 L4 L5 L6 L7 L8 L10 L11 L12 L13 L14 L15 L16 L17 3 Access to phone/ data/ power 0.5 x x x x x 345 George St 82.5 61 59 67.5 54.5 70 35.5 44 65 0 0 44 0 64 24 19.5 0 4 Access to public rest areas 0.5 x x x x 5 Access to public art 0.5 x x x LEVEL 6 Access to building recreation service 0.5 x 7 Access to building roof area 0.5 8 Access to adjacent buildings 0.5 x x x x x 9 Close proximity to food outlets 0.5 x x 10 Close proximity to transport 0.5 x x x 11 Connectivity between offices 0.5 x x x x x 12 Connectivity between floors 0.5 x x x 13 Mixed usage within floor 0.5 xxxxx xxx x 14 Mixed usage within adjacent floors 0.5 x x x xxxx x x 15 Low external sound level 0.5 xxxxxxx x xx 16 Operable windows 0.5 x POROSITY INDEX FOR 345 GEORGE ST 17 View outside any view 0.5 xxxx xxxxx x x 18 View outside including street 0.5 xxxx x xx x 90 19 View outside of greater city 0.5 x x x x x x x x x 82.5 20 View outside to north 0.5 x x x x 80 TOTAL 7.5 5.5 4.5 5.5 3.5 5.5 4 4 5 5.5 3.5 6 1 0.5 4.4
70 70 7 HUMAN MOVEMENT INDEX 67.5 APPR. NUMB. PEOPLE MOVEMENT PER HOUR SCORE GF L1 L2 L3 L4 L5 L6 L7 L8 L9 L10 L11 L12 L13 L14 L15 L16 L17 AVERAGE 65 64 111 to 10 xxxxx 61 60 59 2 11 to 20 2 xxxxx 3321 to 30 xx 54.5 4431 to 40 50 49.5
5541 to 50 x 44 44 6651 to 75 40 7776 to 100 35.5 88101 to 150 % OF POROSITY 99151 to 200 x 30 10 200 + 10 24 TOTAL 9511222223 1 311 2.5 20 19.5 8 ENVIRONMENTAL INDEX CUE SCORE GF L1 L2 L3 L4 L5 L6 L7 L8 L9 L10 L11 L12 L13 L14 L15 L16 L17 AVERAGE 10 11Opening windows xx 21Cross ventilation xx 0 00 0 0 3 Daylight 1 x xxxxx xx x x GF L2 L4 L5 L7 L9 L11 L13 L14 L16 4 Northern orientation or sunlight penetration 1 xx xx x 345 George St 82.5 59 54.5 70 44 49.5 0 0 64 19.5 51Sun shade devices fitted xx 6 People- friendly finishes + fittings 1 xx xxxx x x x LEVEL 7Possibility for rest eg seating 1xxxx xxx 81Free water fountain access 9 Access to toilets 1 x xxxxxxxx x 10 Access to food outlets 1 x x x TOTAL 8534453253 4 411 3.7
9 AGE INDEX AGE SCORE GF L1 L2 L3 L4 L5 L6 L7 L8 L9 L10 L11 L12 L13 L14 L15 L16 L17 AVERAGE 111 year 0 292 years 383 years 474 years 565 years 656 to 10 years GF L1 L2 L3 L4 L5 L6 L7 L8 L9 L10L11L12L13L14L15L16L17A 7 11 to 20 years 4 xxxxxxxxxx x xxx 8349 to 100 years 83 61 59 68 55 70 36 44 65 50 0 0 44 0 64 24 20 ## 92101 to 200 years 10 200 years + 1 TOTAL 4444444444 4 444 4.0 AVERAGE 10 SPATIAL QUALITY INDEX SPATIAL QUALITY SCORE GF L1 L2 L3 L4 L5 L6 L7 L8 L9 L10 L11 L12 L13 L14 L15 L16 L17 AVERAGE 4 11Extreme Discomfort 22xxx 33Situation comfort/ psychological security 44response. Different zones may not be xx 55xx 66 x 77 88x 99xxxx 10 Extreme Comfort 10 x TOTAL 9989492584 5 622 5.9
GF L1 L2 L3 L4 L5 L6 L7 L8 L9 L10L11L12L13L14L15L16L17AVERAGE TOTAL SCORE 83 61 59 68 55 70 36 44 65 50 0 0 44 0 64 24 20 ## 41.1 363 GEORGE STREET
- 15 of 24 levels are accessible POROSITY INDEX DATE : 24/06/05 BUILDING : 363 GEORGE ST CONSTRUCTION DATE : 1993 - 363 George St. is 523/2400 porous 1 PERMEABILITY INDEX - Average Porosity is 21.8 - i.e. Slightly Porous PERMEABILITY EXACT TIME SCORE GF L1 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 AVERAGE 1 Blue Impenetrable 0 4 - Most Porous Level outside Ground floor is L18 2 Beige Entry only 3 Minutes 8 3 Yellow Slightly porous 10 Minutes 12 x x x x x x x 4 Brown Porous 30 Minutes 16 xx 5 Red Very Porous up to 5 Hours 20 x x TOTAL 20 20 12 12 12 16 12 12 16 12 12 14.2
2 TRANSPARENCY INDEX TRANSPARENCY COEFFICIENT SCORE ratio of transparent / opaque wall area % GF L1 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 AVERAGE 1 Blue 10% or less 2 2 Beige 11% to 20% 4 x x x x x x 3 Yellow 21% to 30% 6 xx 4 Brown 31% to 50% 8 x 5 Red > 51% 10 x x AVERAGE INDEX TOTAL 10 10 8 4 44466 44 5.8
3 EXTERNAL CONNECTIVITY INDEX Possibility of making connections to adjacent spaces including roof or floor levels of other buildings Permeability 14.2/20 EXTERNAL CONNECTIVITY TO ADJACENT BUILDING SCORE GF L1 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 AVERAGE Transparency 5.8/10 1 Street level access to adjacent building 1 x x 2 Roof level access to adjacent building 1 External Connectivity 0.7/5 3 Other level access to adjacent building 1 x x Internal Connectivity 4 Access to toilets in adjacent building 1 x x 1.9/5 5 Access to fire stairs in adjacent building 1 x x Orientation 7- Oct TOTAL 4 4 0 0 00000 00 0.7 Social Construction 2.5/10 4 INTERNAL CONNECTIVITY INDEX Possibility of making connections to other spaces and to external skin Human Movement 2.2/10 INTERNAL CONNECTIVITY WITHIN SUBJECT SCORE GF L1 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 AVERAGE 1 Street level access to external skin/ window 0.5 x x Environmental 3.6/10 2 Direct lobby access to external skin/ window 0.5 x x x Age 5/10 3 Access through private office to external skin/ window 0.5 x 4 Other access to external skin/ window 0.5 x x x x Spatial Quality 4.6/10 5 Access to internal window 0.5 x x x x xxxxx xx 6 Access to toilets 0.5 x x xx xx x 7 Access to roof level 0.5 8 Access to fire stairs 0.5 x x x x x x x 9 Direct access to transport from subject bdlg 0.5 x x 10 NO surveillance cameraof subject building 0.5 x TOTAL 3.5 3.5 3 4 0.5 2 1.5 0.5 1.5 0.5 0.5 1.9 Permeability 35% 5 ORIENTATION INDEX Transparency 27% ORIENTATION CUE SCORE GF L1 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 AVERAGE 1 Access to space with or without view 1 xx xx x xxx xx External Connectivity 6% 2 Immediate access to view from lift lobby 1 xx xx x xx xx Internal Connectivity 18% 3 View from any location accessible on floor 1 xx xx x x x 4 View outside 1 xx xx xxxxx xx Orientation 32% 5 View of street 1 xx xx x Social Construction 11% 6 View of adjacent buildings 1 xx xx x xxx xx 7 View of sky 1 xx xx x xx xx Human Movement 10% 81xView of harbour xxxEnvironmental 17% 9 View close and far 1 xx xx x xx xx 10 View oriented to north to sun 1 x x Age 50% TOTAL 9 9 9 8 91377 69 7.0 Spatial Quality 21% 6 SOCIAL CONSTRUCTION INDEX CUE SCORE GF L1 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 AVERAGE Overall 22% 1 Access to toilets 0.5 x x x x x 2 Access to kitchen 0.5 x x 3 Access to phone/ data/ power 0.5 x x 4 Access to public rest areas 0.5 x x x 5 Access to public art 0.5 x 6 Access to building recreation service 0.5 7 Access to building roof area 0.5 8 Access to adjacent buildings 0.5 x x 9 Close proximity to food outlets 0.5 x x POROSITY INDEX FOR 363 GEORGE ST 10 Close proximity to transport 0.5 x x 100 11 Connectivity between offices 0.5 x 77 77 53.5 43.5 47 12 Connectivity between floors 0.5 x x 39 35.5 33 40 37.5 40 13 Mixed usage within floor 0.5 x 0 000000000 000 0 14 Mixed usage within adjacent floors 0.5 GF L1 L9 L10 L11 L12 L13 L14 L15 L16 L17 L18 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 15 Low external sound level 0.5 x x xxxxx xx 7 L18 777700000000053.5 0 0 0 39 35.5 33 40 47 0 37.5 40 16 Operable windows 0.5 8 L29 17 View outside any view 0.5 x x x x xxxxx xx LEVEL 18 View outside including street 0.5 x x x x 19 View outside of greater city 0.5 x x x x x x x 20 View outside to north 0.5 TOTAL 4.5 4.5 3.5 2.5 1.5 1.5 1.5 1.5 2.5 2 1.5 2.5
7 HUMAN MOVEMENT INDEX APPR. NUMB. PEOPLE MOVEMENT PER HOUR SCORE GF L1 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 AVERAGE 1 1 to 10 1 x xxxx xx POROSITY INDEX FOR 363 GEORGE ST 2211 to 20 x 33x21 to 30 90 4431 to 40 5541 to 50 80 6651 to 75 xx 77 77 7776 to 100 70 88101 to 150 99151 to 200 60
10 200 + 10 53.5 TOTAL 6 6 3 1 11112 11 2.2 50 47 43.5 40 39 40 40 8 ENVIRONMENTAL INDEX 37.5 35.5 CUE SCORE GF L1 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 AVERAGE 33 % OF POROSITY 30 11Opening windows xxx 21Cross ventilation xx 20 3 Daylight 1 xx xx x xx xx 41Northern orientation or sunlight penetration xx xxx 10 51Sun shade devices fitted x 6 People- friendly finishes + fittings 1 xx xx xxxxx xx 0 000000000 000 0 71Possibility for rest eg seating xxx GF L9 L10 L12 L13 L15 L16 L18 L19 L21 L22 L24 L25 L27 L28 L30 81Free water fountain access GF L1 L9 L10 L11 L12 L13 L14 L15 77 0 0 0 0 0 0 53.5 43.5 0 0 35.5 33 47 0 40 9 Access to toilets 1 xx xx L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 10 Access to food outlets 1 x x x TOTAL 7 7 4 4 32223 33 3.6 LEVEL
9 AGE INDEX AGE SCORE GF L1 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 AVERAGE 111 year 0 292 years 383 years 474 years 565 years 6 6 to 10 years 5 xx xx xxxxx xx Mid Rise High Rise 7411 to 20 years GF L1 L9 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 A 8349 to 100 years 92101 to 200 years 77770000000005444################################# 10 200 years + 1 526 TOTAL 5 5 5 5 55555 55 5.0
10 SPATIAL QUALITY INDEX SPATIAL QUALITY SCORE GF L1 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 AVERAGE AVERAGE 11Extreme Discomfort 22 22 3 Situation comfort/ psychological security 3 x xxx 44response. Different zones may not be xxx 55 x 66x 77 88xx 99 10 Extreme Comfort 10 TOTAL 8 8 6 3 33354 44 4.6
Mid Rise High Rise GF L1 L9 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30AVERAGE TOTAL SCORE 77770000000005444#################################21.8 APPENDIX 3: THE POROSITY INDEXES for Zone 2: Aurora Place, Governor Phillip and Macquarie Towers and Museum of Sydney
170 AURORA PLACE
POROSITY INDEX BUILDING : Aurora Place CONSTRUCTION DATE : 2000 1 PERMEABILITY INDEX PERMEABILITY EXACT TIME SCORE GF L04 L05 L06 L07 L08 L09 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 AVERAGE 1 Blue Impenetrable 0 4 xxx 2 Beige Entry only 3 Minutes 8 x x x 3 Yellow Slightly porous 10 Minutes 12 xxxxxxx 4 Brown Porous 30 Minutes 16 x x x x xx x 5 Red Very Porous up to 5 Hours 20 x TOTAL 16 16 16 20 8 16 8 8 16 12 16 12 12 4 16 12 12 4 4 12 12
2 TRANSPARENCY INDEX TRANSPARENCY COEFFICIENT SCORE ratio of transparent / opaque wall area % GF L04 L05 L06 L07 L08 L09 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 AVERAGE 1 Blue 10% or less 2 x xx xx 2 Beige 11% to 20% 4 x x x x x x x x 3 Yellow 21% to 30% 6 x x xxx 4 Brown 31% to 50% 8 xx 5 Red > 51% 10 x TOTAL 10 44662 4 4442442666228 4.5
3 EXTERNAL CONNECTIVITY INDEX Possibility of making connections to adjacent spaces including roof or floor leve Average Index EXTERNAL CONNECTIVITY TO ADJACENT BUILDING SCORE GF L04 L05 L06 L07 L08 L09 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 AVERAGE 1 Street level access to adjacent building 1 x 2 Roof level access to adjacent building 1 3 Other level access to adjacent building 1 x Permeability 12/20 4 Access to toilets in adjacent building 1 x Transparency 4.5/10 5 Access to fire stairs in adjacent building 1 x TOTAL 400000 0 0000000000000 0.2 External Connectivity 0.2/5 Internal Connectivity 1/5 4 INTERNAL CONNECTIVITY INDEX Possibility of making connections to other spaces and to external skin 5.7/10 INTERNAL CONNECTIVITY WITHIN SUBJECT SCORE GF L04 L05 L06 L07 L08 L09 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 AVERAGE Orientation 1.9/10 1 Street level access to external skin/ window 0.5 x Social Construction 2 Direct lobby access to external skin/ window 0.5 xxxxx 1.6/10 3 Access through private external skin/ window 0.5 x Human Movement 4 Other access to external skin/ window 0.5 x x x x 3/10 5 Access to internal window 0.5 x x x x x x x x x x Age 7/10 6 Access to other public space 0.5 x 7 Access to roof level 0.5 x x Spatial quality 3/10 8 Access to fire stairs 0.5 x x x x x xxxxxx xxx x 9 Direct access to transport from subject bdlg 0.5 x Aurora Place scored high in permeability, orientation (view) and age 10 NO surveillance cameraof subject building 0.5 TOTAL 3.5 1 1 1.5 2 1 0.5 1 1 0.5 111010.50.5001.51.0
5 ORIENTATION INDEX ORIENTATION CUE SCORE GF L04 L05 L06 L07 L08 L09 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 AVERAGE 1Access to space with or without view 1 xxxxxx xxxxxx xxx 2Immediate access to view from lift lobby 1 xxxxx xxxx 3 View from any location accessible on floor 1 xxxxx xxx xx x x 4 View outside 1 xxxxx xxx xx xxx x 5 View of street 1 xxxxx x 6 View of adjacent buildings 1 xxxxx xxx xx x x 7 View of sky 1 xxxxx xxx xx xxx x 8 View of harbour 1 xxx xxx x xxx x 9 View close and far 1 xxxxx x xx xxx x Permeability 30% 10 View oriented to north to sun 1 xxxx xx x x x Transparency 20% TOTAL 8 10 10 10 9 1 0 9771780866007 5.7 External Connectivity 0% 6 SOCIAL CONSTRUCTION INDEX Internal Connectivity 20% GF Low Low Rise Low Rise Mid Rise High Rise CUE SCORE GF L04 L05 L06 L07 L08 L09 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 AVERAGE Orientation 30% 1 Access to toilets 0.5 x x x x xxx x Social Construction 10% 2 Access to kitchen 0.5 x 3 Access to phone/ data/ power 0.5 Human Movement 10% 4 Access to public rest areas 0.5 x 5 Access to public art 0.5 x Environmental 20% 6 Access to building recreation service 0.5 Age 70% 7 Access to building roof area 0.5 x 8 Access to adjacent buildings 0.5 Spatial Quality 20% 9 Close proximity to food outlets 0.5 x 10 Close proximity to transport 0.5 x 11 Connectivity between offices 0.5 x x Overall 20% 12 Connectivity between floors 0.5 13 Mixed usage within floor 0.5 14 Mixed usage within adjacent floors 0.5 15 Low external sound level 0.5 x x x x xxxxxx xxx 16 Operable windows 0.5 xxx 17 View outside any view 0.5 xxxxx xxx xx xxx x 18 View outside including street 0.5 xxxxx xx x 19 View outside of greater city 0.5 xxxx xxx xx xxx x 20 View outside to north 0.5 xxxx xx x x x 7 HUMAN MOVEMENT INDEX GF Low Low Rise Low Rise Mid Rise High Rise APPR. NUMB. PEOPLE MOVEMENT PER HOUR SCORE GF L04 L05 L06 L07 L08 L09 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 AVERAGE 11 to 10 1 xxxx x x xxxxx xxxxx 22x11 to 20 xx 3321 to 30 POROSITY INDEX FOR AURORA PLACE 4431 to 40 5541 to 50 90 6651 to 75 7776 to 100 80 77.5 88101 to 150 99151 to 200 70 10200 + 10 x TOTAL 10 11112 1 1211111211111 1.6 60 61
8 ENVIRONMENTAL INDEX 51 51.5 50 49.5 GF Low Low Rise Low Rise Mid Rise High Rise 47.5 47 CUE SCORE GF L04 L05 L06 L07 L08 L09 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 AVERAGE 43.5 40 41 1Opening windows 1 xx xx x 38.539 36 36.535.5 21xxxCross ventilation x 35 35 3Daylight 1 xxxxx xxxxxx x x % OF POROSITY 30 41Northern orientation or sunlight penetration xxx xx x x x 24 51Sun shade devices fitted xxx x 20 6 People- friendly finishes + fittings 1 xxxxx x xxxx x xxx x 15 1515 71Possibility for rest eg seating xx 10 81Free water fountain access x 91Access to toilets xxx x xxx xxx x 0 0000000000 000000000 10 Access to food outlets 1 x GF L06 L09 L12 L15 L18 L21 L24 L27 L30 L33 L36 L39 TOTAL 7 6 2.5 7 3 1 1 2433240422007 3.0 AURORA 77.5 61 0 0 0 0000473951.5 15
9 AGE INDEX LEVEL GF Low Low Rise Low Rise Mid Rise High Rise AGE SCORE GF L04 L05 L06 L07 L08 L09 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 AVERAGE 1101 year 292 years 383 years 44 years 7 xxxxxx x xxxxxxxxxxxx 565 years 656 to 10 years 7411 to 20 years x 8349 to 100 years 92101 to 200 years 10200 years + 1 GF Low Low Rise Low Rise TOTAL GF L04L05L06L07L08L09L10L11L12L13L14L15L16L17L18L19L 777777 7 7777777777777 7 785148614135000000000024 78 50.1 37 10 SPATIAL QUALITY INDEX GF Low Low Rise Low Rise Mid Rise High Rise SPATIAL QUALITY SCORE GF L04 L05 L06 L07 L08 L09 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 AVERAGE 11Extreme Discomfort xxx Mid Rise High Rise 22 xxxxx 9L20L21L22L23L24L25L26L27L28L29L30L31L32L33L34L35L36L37L38L39L40L41A 33xxxSituation comfort/ psychological security xxx x 00000000036473935394415523736151550 44response. Different zones may not be x x 0 35.2 55 66x 77 88x 99 10 Extreme Comfort 10 AVERAGE TOTAL 833634 2 2323331422113 3.0 20 GF Low Low Rise Low Rise Mid Rise High Rise GF L04L05L06L07L08L09L10L11L12L13L14L15L16L17L18L19L20L21L22L23L24L25L26L27L28L29L30L31L32L33L34L35L36L37L38L39L40L41AVERAGE TOTAL SCORE 78 51 48 61 41 35 00000000002400000000036473935394415523736151550 19.6 78 50.1 37 0 35.2
Description: 41 Level office tower, including Ground floor restaurant and cafe and 39 levels of officw space. Share 4 levels of basement parking with Macquarie Apartments Architects: Renzo Piano Owner: NSW Government through the Minister of Public Works and Services. 99 years leasehold is owned by Commonwealth Property Investment trust. Occupant: ABN AMRO Bank NV, Challanger International Ltd, LEK Consulting, Minter Ellison and The Stephens Partnership. Estimated cost: $ 270 million for Aurora Place and Macquarie Apartments GOVERNOR PHILLIP TOWER
POROSITY INDEX DATE : 23/06/2005 BUILDING : Governor Phillip Tower CONSTRUCTION DATE : 1993 - 20 of 40 levels accessible - 6 levels of Mid Rise accessible 1 PERMEABILITY INDEX - 4 levels of Mid High Rise accessible PERMEABILITY EXACT TIME SCORE GF L21 L22 L23 L24 L25 L26 L27 L28 L29 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 L53 L54 L55 L56 L57 L58 L59 L60 L61 AVERAGE 1 Blue Impenetrable 0 4 - 7 levels of High Rise accessible 2 Beige Entry only 3 Minutes 8 x x x x x x x 3 Yellow Slightly porous 10 Minutes 12 x x x - 2 levels of Mallesons Stephen Jacques - Sky Rise accessible 4 Brown Porous 30 Minutes 16 xx x x x 5 Red Very Porous up to 5 Hours 20 x x x x x - GPTis 781 out of possible 4000 Porous TOTAL 12 20 8 8 20 20 16 12 16 8 16 16 8 8 16 12 8 16 16 8 13.2 - Average Porosity is 19.5% - ie Slightly Porous 2 TRANSPARENCY INDEX TRANSPARENCY COEFFICIENT SCOR - Most Porous in Mid Rise (vacany floors) ratio of transparent / opaque wall area % E GF L21 L22 L23 L24 L25 L26 L27 L28 L29 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 L53 L54 L55 L56 L57 L58 L59 L60 L61 AVERAGE 1 Blue 10% or less 2 x x x x x x x - Most Porous level outside Ground floor is L21, L27 and L28 2 Beige 11% to 20% 4 x x x x xxxxx 3 Yellow 21% to 30% 6 x 4 Brown 31% to 50% 8 5 Red > 51% 10 x x x TOTAL 4 10 2 2 10 10 4 4 4 2 4 2 4 4 2 4 4 2 2 6 4.3
3 EXTERNAL CONNECTIVITY INDEX Possibility of making connections to adjacent spaces including roof or floor levels of other buildings CONNECTIVITY TO ADJACENT BUILDING SCOR EXTERNAL E GF L21 L22 L23 L24 L25 L26 L27 L28 L29 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 L53 L54 L55 L56 L57 L58 L59 L60 L61 AVERAGE 1 Street level access to adjacent building 1 x 2 Roof level access to adjacent building 1 3 Other level access to adjacent building 1 4 Access to toilets in adjacent building 1 x Average Index 5 Access to fire stairs in adjacent building 1 x TOTAL 3 0 0 0 0000 0 0 000 000 00 0 0 0.2 Permeability 13.2/20 4 INTERNAL CONNECTIVITY INDEX Possibility of making connections to other spaces and to external skin Transparency 4.3/10 CONNECTIVITY WITHIN SUBJECT SCOR 0.2/5 INTERNAL BUILDING E GF L21 L22 L23 L24 L25 L26 L27 L28 L29 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 L53 L54 L55 L56 L57 L58 L59 L60 L61 AVERAGE External Connectivity 1 Street level access to external skin/ window 0.5 x Internal Connectivity 0.9/5 2 Direct lobby access to external skin/ window 0.5 x 5.6/10 3 Access through private external skin/ window 0.5 Orientation 4 Other access to external skin/ window 0.5 2.3/10 Social Construction 5 Access to internal window 0.5 x x xxxx x xxx xxx xx x x 1.8/10 6 Access to other public space 0.5 x Human Movement 7 Access to roof level 0.5 3/10 8 Access to fire stairs 0.5 x x xxxx x xx xx x x Age 3.8/10 9 Direct access to transport from subject bdlg 0.5 x 10 NO surveillance cameraof subject building 0.5 x x x Spatial quality 3.9/10 TOTAL 3 1.5 0 0 1.5 1.5 1 1 1 0 1 1 0.5 0.5 1 1 0.5 1 1 0.5 0.9
5 ORIENTATION INDEX Governor Phillip Tower scored high in permeability and orientation (view) ORIENTATION CUE SCORE GF L21 L22 L23 L24 L25 L26 L27 L28 L29 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 L53 L54 L55 L56 L57 L58 L59 L60 L61 AVERAGE 1 Access to space with or without view 1 xx xxxx x xxxxx x 2 Immediate access to view from lift lobby 1 xx xxxx x xxxxx x 3 View from any location accessible on floor 1 x xxxx x x x x 4 View outside 1 xx xxxx x xxxxx x 5 View of street 1 xx xxxx xxxx x 6 View of adjacent buildings 1 xx xxxx xxxxx x 7 View of sky 1 xx xxxx x xxxxx x 8 View of harbour 1 x xxx x xxxx x Permeability 35% 9 View close and far 1 xx xxxx x xxxxx x 10 View oriented to north to sun 1 x x x x Transparency 20% TOTAL 7 10 0 0 10 10 9 8 6 0 6 0 9 9 0 8 9 0 0 10 5.6 External Connectivity 0% 6 SOCIAL CONSTRUCTION INDEX Internal Connectivity 0% CUE SCORE GF L21 L22 L23 L24 L25 L26 L27 L28 L29 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 L53 L54 L55 L56 L57 L58 L59 L60 L61 AVERAGE Orientation 30% 1 Access to toilets 0.5 x x xxxx x xx xx x x 2 Access to kitchen 0.5 Social Construction 10% 3 Access to phone/ data/ power 0.5 x Human Movement 10% 4 Access to public rest areas 0.5 x 5 Access to public art 0.5 x Environmental 20% 6 Access to building recreation service 0.5 Age 40% 7 Access to building roof area 0.5 8 Access to adjacent buildings 0.5 x Spatial Quality 20% 9 Close proximity to food outlets 0.5 x 10 Close proximity to transport 0.5 x 11 Connectivity between offices 0.5 x Overall 20% 12 Connectivity between floors 0.5 13 Mixed usage within floor 0.5 14 Mixed usage within adjacent floors 0.5 15 Low external sound level 0.5 x x x x xxxx x x xxx xxx xx x x 16 Operable windows 0.5 17 View outside any view 0.5 x x xxxx x xxxxx x 18 View outside including street 0.5 x x xxxx x xxxx x 19 View outside of greater city 0.5 x x xxxx x xxxxx x 20 View outside to north 0.5 x x x x TOTAL 12 3 0.5 0.5 3 3 2.5 2.5 2 0.5 2 1 2 2 1 2.5 2 1 1 2.5 2.3 7 HUMAN MOVEMENT INDEX APPR. NUMB. PEOPLE MOVEMENT PER HOUR SCORE GF L21 L22 L23 L24 L25 L26 L27 L28 L29 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 L53 L54 L55 L56 L57 L58 L59 L60 L61 AVERAGE POROSITY INDEX FOR GOVERNOR PHILLIP TOWER
1 1 to 10 1 xxxxxx x xxxx x 80 2211 to 20 xxxxxxx 3321 to 30 70 4431 to 40 68.5
5541 to 50 63.5 63.5 63.5
6651 to 75 60 7776 to 100 88101 to 150 50 99151 to 200 x 46.5 10 200 + 10 41 TOTAL 9 1 1 1 1121 2 1 221 121 12 2 1 1.8 40 40 39.5 38.5 38
33.5 33.5 33.5 % OF POROSITY
31 31 31 8 ENVIRONMENTAL INDEX 30 30 CUE SCORE GF L21 L22 L23 L24 L25 L26 L27 L28 L29 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 L53 L54 L55 L56 L57 L58 L59 L60 L61 AVERAGE 11Opening windows xxx 20 2 Cross ventilation 1 xx xx x 18.5 18.5 18.5 3 Daylight 1 xx xxxx xxxx x 4 Northern orientation or sunlight penetration 1xx xxx x xxxx x 10 51Sun shade devices fitted x 6 People- friendly finishes + fittings 1xx x xx x xxxx x 0 00 0 000 0 0 0 0 000 000000 0 7 Possibility for rest eg seating 1 xx xx GF L21 L22 L23 L24 L25 L26 L27 L28 L29 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 L53 L54 L55 L56 L57 L58 L59 L60 L61 GPT 68.5 63.5 18.5 0 0 18.5 0 63.5 63.5 46.5 38.5 0 0 0 40 0 18.5 0 41 31 33.5 0 33.5 31 39.5 0 33.5 31 0 0 0 30 0 00000380 81Free water fountain access LEVEL 9 Access to toilets 1 xx xxxx x x x 10 Access to food outlets 1 x xxx TOTAL 8 6 1 1 6643 2 1 213 314 31 1 3 3
9 AGE INDEX AGE SCORE GF L21 L22 L23 L24 L25 L26 L27 L28 L29 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 L53 L54 L55 L56 L57 L58 L59 L60 L61 AVERAGE 111 year 0 292 years 383 years 474 years 565 years 656 to 10 years Mid Rise Mid High Rise High Rise Sky Rise 7 11 to 20 years 4 xxx x xxxx x x xxx xxx xx x x GF L21L22L23L24L25L26L27L28L29L32L33L34L35L36L37L38L39L40L41L42L43L44L45L46L47L48L49L50L51L52L53L54L55L56L57L58L59L60 L61A 8349 to 100 years 6964190019064644739000400190##313403431400343100030000000380 92101 to 200 years 69 28 16 27 8 10 200 years + 1 TOTAL 4 4 4 4 4444 4 4 4440444 44 4 4 3.8
10 SPATIAL QUALITY INDEX SPATIAL QUALITY SCORE GF L21 L22 L23 L24 L25 L26 L27 L28 L29 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 L53 L54 L55 L56 L57 L58 L59 L60 L61 AVERAGE AVERAGE 11Extreme Discomfort 22xxxxxx 20 33Situation comfort/ psychological security xxxxx 44response. Different zones may not be xxxxx 55 66 77x 88xxx 99 10 Extreme Comfort 10 TOTAL 7 8 2 2 8843 3 2 442 243 24 3 3 3.9
Mid Rise Mid High Rise High Rise Sky Rise GF L21L22L23L24L25L26L27L28L29L32L33L34L35L36L37L38L39L40L41L42L43L44L45L46L47L48L49L50L51L52L53L54L55L56L57L58L59L60 L61AVERAGE TOTAL SCORE 69 64 19 0 0 19 0 64 64 47 39 0 0 0 40 0 19 0 ## 31 34 0 34 31 40 0 34 31 0 0 0 30 00000038019.538
Description: 64 level tower, 40 levels of office space. Ground floor, Mid Rise (21-29), Mid high Rise (32-40), High Rise (31-45) and Sky Rise (50-61) Level 31+31 Plant room, 10 basement levels Architects: Denton Corker Marshall Owner:1/2 Perpetual Trustee Co Ltd on behalf of Deutsche Office trust-1/2-SAS Trustee Corporation on behalf of the state Authorities Superannuation Schem Occupant: A.T. Keamey Australia Pty Ltd, Alliance Capital Management Australia Ltd, Corrs Chamber Westgarth Solicitors, Heidrick & Struggles Australia Pty Ltd, Mallesons Stephens Jacques, Sumitomo Metal Mining Oceania Pty Ltd and UBS Warburg Estimated Cost: $300 millions
GOVERNOR MACQUARIE TOWER
POROSITY INDEX DATE : 2 - 4 of 25 levels accessible BUILDING : Governor Macquarie Tower CONSTRUCTION DATE : 1994 - 4 levels of Low Rise accessible 1 PERMEABILITY INDEX PERMEABILITY EXACT TIME SCORE GF L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 AVERAGE - No levels of High Rise accessible 1 Blue Impenetrable 0 4 2 Beige Entry only 3 Minutes 8 x x x - GMT is 168/2600 Porous 3 Yellow Slightly porous 10 Minutes 12 x x 4 Brown Porous 30 Minutes 16 x - Average Porosity is 6.5% - ie Impenetrable 5 Red Very Porous up to 5 Hours 20 - Most Porous in Low Rise TOTAL 8 12 8 8 16 10.4 - Most Porous level outside Ground floor is L23 2 TRANSPARENCY INDEX TRANSPARENCY COEFFICIENT SCORE ratio of transparent / opaque wall area % GF L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 AVERAGE 1 Blue 10% or less 2 x 2 Beige 11% to 20% 4 x 3 Yellow 21% to 30% 6 x 4 Brown 31% to 50% 8 x 5 Red > 51% 10 TOTAL 2 6 0 0 4 2.4
3 EXTERNAL CONNECTIVITY INDEX Possibility of making connections to adjacent spaces including roof or floor leve EXTERNAL CONNECTIVITY TO ADJACENT BUILDING SCORE GF L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 AVERAGE 1 Street level access to adjacent building 1 x 2 Roof level access to adjacent building 1 3 Other level access to adjacent building 1 4 Access to toilets in adjacent building 1 Average Index 5 Access to fire stairs in adjacent building 1 x TOTAL 2 0 0 0 0 0.4 Permeability 4 INTERNAL CONNECTIVITY INDEX Possibility of making connections to other spaces and to external skin 10.4/20 INTERNAL CONNECTIVITY WITHIN SUBJECT SCORE GF L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 AVERAGE Transparency 4.5/10 1 Street level access to external skin/ window 0.5 x External Connectivity 0.2/5 2 Direct lobby access to external skin/ window 0.5 x 3 Access through private external skin/ window 0.5 Internal Connectivity 1/5 4 Other access to external skin/ window 0.5 5.7/10 Orientation 5 Access to internal window 0.5 x x x x x 1.9/10 6 Access to other public space 0.5 x Social Construction 7 Access to roof level 0.5 1.6/10 8 Access to fire stairs 0.5 x x Human Movement 3/10 9 Direct access to transport from subject bdlg 0.5 x 10 NO surveillance cameraof subject building 0.5 Age 4/10 TOTAL 3 0.5 0.5 0.5 2 1.3 Spatial quality 3/10
5 ORIENTATION INDEX ORIENTATION CUE SCORE GF L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 AVERAGE Governor Macquarie Tower is Impenetrable 11xxxAccess to space with or without view 21xxxImmediate access to view from lift lobby 31xView from any location accessible on floor 41xxxView outside 51xxxView of street 61xxxView of adjacent buildings 71xxxView of sky 81xView of harbour 91xxxView close and far 10View oriented to north to sun 1 Permeability 10% TOTAL 7 8 0 0 8 4.6 Transparency 0% 6 SOCIAL CONSTRUCTION INDEX External Connectivity 0% CUE SCORE GF L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 AVERAGE Internal Connectivity 0% 1 Access to toilets 0.5 x 2 Access to kitchen 0.5 Orientation 10% 3 Access to phone/ data/ power 0.5 Social Construction 0% 4 Access to public rest areas 0.5 5 Access to public art 0.5 x Human Movement 0% 6 Access to building recreation service 0.5 Environmental 10% 7 Access to building roof area 0.5 8 Access to adjacent buildings 0.5 x Age 40% 9 Close proximity to food outlets 0.5 x Spatial Quality 10% 10 Close proximity to transport 0.5 x 11 Connectivity between offices 0.5 12 Connectivity between floors 0.5 13 Mixed usage within floor 0.5 Overall 6% 14 Mixed usage within adjacent floors 0.5 15 Low external sound level 0.5 x x x x x 16 Operable windows 0.5 17 View outside any view 0.5 x x x 18 View outside including street 0.5 x x x 19 View outside of greater city 0.5 x x 20 View outside to north 0.5 TOTAL 3.5 2 0.5 0.5 2.5 1.8 7 HUMAN MOVEMENT INDEX
APPR. NUMB. PEOPLE MOVEMENT PER HOUR SCORE GF L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 AVERAGE POROSITY INDEX FOR GOVERNOR MACQUARIE TOWER 11 to 10 1 x xxx 60 2211 to 20 3321 to 30 4431 to 40 50 5541 to 50 49
6651 to 75 44.5 77x76 to 100 40 88101 to 150 38.5 99151 to 200 10200 + 10 TOTAL 7 1 1 1 1 2.2 30
8 ENVIRONMENTAL INDEX % OF POROSITY CUE SCORE GF L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 AVERAGE 20 18 18 11Opening windows 21xCross ventilation
31xxDaylight 10 41xxNorthern orientation or sunlight penetration 51xSun shade devices fitted
6People- friendly finishes + fittings 1 x x xxx 0 000 00 0000000000000000 GF L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 71Possibility for rest eg seating AURORA 49 0 0 0 38.5 0 0 18 18 44.5 0 0 0 0000000000000 81Free water fountain access LEVEL 91xAccess to toilets 10Access to food outlets 1 x TOTAL 6 2 1 1 3 2.6
9 AGE INDEX AGE SCORE GF L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 AVERAGE 111 year 0 292 years 383 years 474 years 565 years 656 to 10 years GF Low Rise Office 7 11 to 20 years 4 x x xxx 8349 to 100 years GF L15L16L17L18L19L20L21L22L23 L24L25L26L27 92101 to 200 years 4900039001818450000 10 200 years + 1 TOTAL 4 4 4 4 4 4 49 9.2
10 SPATIAL QUALITY INDEX SPATIAL QUALITY SCORE GF L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L30 L31 L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 AVERAGE 11Extreme Discomfort High Rise Office 22 33xxxxSituation comfort/ psychological security 7L30L31L32L33L34L35L36L37L38L39L40L41 44xresponse. Different zones may not be 000000000000 55 66 0 77 88 99 10Extreme Comfort 10 TOTAL 3 3 3 3 4 3.2 AVERAGE
GF Low Rise Office High Rise Office AVERAGE TOTAL 6.5 GF L15L16L17L18L19L20L21L22L23 L24L25L26L27L30L31L32L33L34L35L36L37L38L39L40L41 TOTAL SCORE 49 0 0 0 39 0 0 18 18 45 0000000000000000 6.5 168.0 49 9.2 0
Description: 46 level tower, 25 levels of office space. Level 28+29 Plant room, Balconies level 15-27. Architect: Denton Corker Marshall Owner: 1/2 perpetual Trustee Co Ltd Pty on behalf of Deutsche Office trust - 1/2 SAS Trustee Corpoartion on behalf of the state Authorities Superan- nuation Scheme Occupant: Mallesons Stephens Jacques, State Government Offices MUSEUM OF SYDNEY
POROSITY INDEX DATE : 24/06/05 BUILDING : MUSEUM OF SYDNEY CONSTRUCTION DATE : 1995
1 PERMEABILITY INDEX PERMEABILITY EXACT TIME SCORE GF L02 L03 L04 AVERAGE 1 Blue Impenetrable 0 4 2 Beige Entry only 3 Minutes 8 3 Yellow Slightly porous 10 Minutes 12 4 Brown Porous 30 Minutes 16 5 Red Very Porous up to 5 Hours 20 x x x TOTAL 20 20 20 20
2 TRANSPARENCY INDEX TRANSPARENCY COEFFICIENT SCORE ratio of transparent / opaque wall area % GF L02 L03 L04 AVERAGE 1 Blue 10% or less 2 2 Beige 11% to 20% 4 3 Yellow 21% to 30% 6 x 4 Brown 31% to 50% 8 x 5 Red > 51% 10 x TOTAL 8 6 10 8 Average Index
3 EXTERNAL CONNECTIVITY INDEX Possibility of making connections to adjacent spaces including roof or floor levels of other buildings EXTERNAL CONNECTIVITY TO ADJACENT BUILDING SCORE GF L02 L03 L04 AVERAGE Permeability 20/20 1 Street level access to adjacent building 1 x Transparency 8/10 2 Roof level access to adjacent building 1 3 Other level access to adjacent building 1 x External Connectivity 1.7/5 4 Access to toilets in adjacent building 1 x 2.3/5 5 Access to fire stairs in adjacent building 1 x x Internal Connectivity 7.7/10 TOTAL 1 2 2 1.7 Orientation 6/10 Social Construction 4 INTERNAL CONNECTIVITY INDEX Possibility of making connections to other spaces and to external skin 8.7/10 INTERNAL CONNECTIVITY WITHIN SUBJECT SCORE GF L02 L03 L04 AVERAGE Human Movement 1 Street level access to external skin/ window 0.5 x 6.7/10 2 Direct lobby access to external skin/ window 0.5 xx Age 5/10 3 Access through private external skin/ window 0.5 x Spatial quality 4 Other access to external skin/ window 0.5 x 9.3/10 5 Access to internal window 0.5 xx 6 Access to other public space 0.5 xx MOS scores high in all aspects of the porosity index except connectivity. 7 Access to roof level 0.5 x ie permeability, transparency, orientation, social construction, human movement 8 Access to fire stairs 0.5 xxx environment, age and spatial quality. 9 Direct access to transport from subject bdlg 0.5 x 10 NO surveillance cameraof subject building 0.5 TOTAL 3.5 2 1.5 2.3
5 ORIENTATION INDEX ORIENTATION CUE SCORE GF L02 L03 L04 AVERAGE 11Access to space with or without view xx 21Immediate access to view from lift lobby x 31View from any location accessible on floor xx 41View outside xxx 51View of street xxx 61View of adjacent buildings xxx Permeability 75% 71View of sky xx 81View of harbour x Transparency 60% 91View close and far xxx 10 View oriented to north to sun 1 xxx External Connectivity 20% TOTAL 878 7.7 Internal Connectivity 40% 6 SOCIAL CONSTRUCTION INDEX Orientation 60% CUE SCORE GF L02 L03 L04 AVERAGE 1 Access to toilets 0.5 x x Social Construction 50% 2 Access to kitchen 0.5 Human Movement 70% 3 Access to phone/ data/ power 0.5 x x 4 Access to public rest areas 0.5 x x x Environmental 50% 5 Access to public art 0.5 x x x 6 Access to building recreation service 0.5 x x x Age 50% 7 Access to building roof area 0.5 x Spatial Quality 70% 8 Access to adjacent buildings 0.5 x 9 Close proximity to food outlets 0.5 x x 10 Close proximity to transport 0.5 x 11 Connectivity between offices 0.5 Overall 58% 12 Connectivity between floors 0.5 x x 13 Mixed usage within floor 0.5 x 14 Mixed usage within adjacent floors 0.5 x 15 Low external sound level 0.5 x x 16 Operable windows 0.5 x 17 View outside any view 0.5 x x x 18 View outside including street 0.5 x x x 19 View outside of greater city 0.5 x x 20 View outside to north 0.5 x x x TOTAL 8 4 6 6.0
7 HUMAN MOVEMENT INDEX POROSITY INDEX FOR MUSEUM OF SYDNEY APPR. NUMB. PEOPLE MOVEMENT PER HOUR SCORE GF L02 L03 L04 AVERAGE 90.0 111 to 10
2211 to 20 81.5 80.0 3321 to 30 75.5 4431 to 40 70.0 5541 to 50 69.0 6651 to 75 7776 to 100 60.0 88101 to 150 xx 99151 to 200 50.0 10 200 + 10 x TOTAL 10 8 8 8.7 40.0 % OF POROSITY
8 ENVIRONMENTAL INDEX 30.0 CUE SCORE GF L02 L03 L04 AVERAGE
11Opening windows x 20.0 21Cross ventilation
3 Daylight 1 xxx 10.0 4 Northern orientation or sunlight penetration 1 xxx 51Sun shade devices fitted x 0.0 0 6 People- friendly finishes + fittings 1 xxx GF L02 L03 L04 AURORA 81.5 69.0 75.5 0 7 Possibility for rest eg seating 1 xxx LEVEL 81Free water fountain access xx 91Access to toilets xx 10 Access to food outlets 1 x x TOTAL 9 5 6 6.7
9 AGE INDEX AGE SCORE GF L02 L03 L04 AVERAGE 111 year 0 292 years 383 years 474 years 565 years 6 6 to 10 years 5 xxx 7411 to 20 years GF L02 L03 L04 8349 to 100 years 92101 to 200 years 81.5 69.0 75.5 0 10 200 years + 1 TOTAL 5 5 5 5
10 SPATIAL QUALITY INDEX AVERAGE SPATIAL QUALITY SCORE GF L02 L03 L04 AVERAGE 11Extreme Discomfort 56.5 22 33Situation comfort/ psychological security 44response. Different zones may not be 55 66 77 88 99xx 10 Extreme Comfort 10 x TOTAL 9 10 9 9.3
GF L02 L03 L04 AVERAGE TOTAL TOTAL SCORE 81.5 69.0 75.5 0 56.5 226.0 APPENDIX 4: THE POROSITY INDEXES for Zone 3: World Square
171 ERNST & YOUNG
POROSITY INDEX BUILDING: Ernst & Young CONSTRUCTION DATE: 2006 1 PERMEABILITY INDEX PERMEABILITY EXACT TIME SCORE L10 L12 L13 L14 L15 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 AVERAG 1 Blue Impenetrable 0 4 xxxxxxx xxxxxxxxx xxxxxxxxxxxxxxxx 2 Beige Entry only 3 Minutes 8 3 Yellow Slightly porous 10 Minutes 12 x 4 Brown Porous 30 Minutes 16 x x 5 Red Very Porous up to 5 Hours 20 TOTAL 12 000000016000000000160000000000000000 1.3
2 TRANSPARENCY INDEX TRANSPARENCY COEFFICIENT SCORE ratio of transparent / opaque wall area % L10 L12 L13 L14 L15 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 AVERAG 1 Blue 10% or less 2 2 Beige 11% to 20% 4 3 Yellow 21% to 30% 6 4 Brown 31% to 50% 8 5 Red > 51% 10 x x x TOTAL 10 000000010000000000100000000000000000 0.9
3 EXTERNAL CONNECTIVITY INDEX EXTERNAL CONNECTIVITY TO ADJACENT BUILDING SCORE L10 L12 L13 L14 L15 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 AVERAG 1 Street level access to adjacent building 1 x 2 Roof level access to adjacent building 1 3 Other level access to adjacent building 1 x 4 Access to toilets in adjacent building 1 x x 5 Access to fire stairs in adjacent building 1 x x x TOTAL 30000000200000000020000000000000000 0.2
4 INTERNAL CONNECTIVITY INDEX Possibility of making connections to other spaces and to external skin INTERNAL CONNECTIVITY WITHIN SUBJECT SCORE L10 L12 L13 L14 L15 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 AVERAG 1 Street level access to external skin/ window 0.5 x 2 Direct lobby access to external skin/ window 0.5 x 3 Access through private external skin/ window 0.5 x Average Index 4 Other access to external skin/ window 0.5 x x x 5 Access to internal window 0.5 6 Access to other public space 0.5 x Permeability 1.3/20 7 Access to roof level 0.5 8 Access to fire stairs 0.5 x x x Transparency 0.9/10 9 Direct access to transport from subject bdlg 0.5 External Connectivity 0.2/5 10 NO surveillance cameraof subject building 0.5 TOTAL 2.5 1 1.5 1.7 Internal Connectivity 1.7/5 0.6/10 Orientation 5 ORIENTATION INDEX 0.4/10 ORIENTATION CUE SCORE L10 L12 L13 L14 L15 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 AVERAG Social Construction 11Access to space with or without view xxx 0.3/10 21Immediate access to view from lift lobby xx Human Movement 0.4/10 31View from any location accessible on floor Age 41View outside xxx 10/10 51View of street x x Spatial quality 0.7/10 61View of adjacent buildings xxx 71View of sky xx 81View of harbour xx 91View close and far xx 10 View oriented to north to sun 1 x x TOTAL 40000000800000000090000000000000000 0.6
6 SOCIAL CONSTRUCTION INDEX
CUE SCORE L10 L12 L13 L14 L15 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 AVERAG 1 Access to toilets 0.5 x x 2 Access to kitchen 0.5 x x 3 Access to phone/ data/ power 0.5 4 Access to public rest areas 0.5 x x x 5 Access to public art 0.5 6 Access to building recreation service 0.5 7 Access to building roof area 0.5 8 Access to adjacent buildings 0.5 x 9 Close proximity to food outlets 0.5 x 10 Close proximity to transport 0.5 x 11 Connectivity between offices 0.5 12 Connectivity between floors 0.5 13 Mixed usage within floor 0.5 x 14 Mixed usage within adjacent floors 0.5 x 15 Low external sound level 0.5 x x x 16 Operable windows 0.5 17 View outside any view 0.5 x x x Permeability 1.3/20 18 View outside including street 0.5 x x x Transparency 0.9/10 19 View outside of greater city 0.5 x x 20 View outside to north 0.5 x x External Connectivity 0.2/5 TOTAL 4.5 0000000400000000040000000000000000 0.4 Internal Connectivity 1.7/5 7 HUMAN MOVEMENT INDEX Orientation 0.6/10 APPR. NUMB. PEOPLE MOVEMENT PER HOUR SCORE L10 L12 L13 L14 L15 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 AVERAG Social Construction 0.4/10 111 to 10 2211 to 20 xx Human Movement 0.3/10 3321 to 30 Environmental 0.4/10 4431 to 40 5541 to 50 Age 10/10 6651 to 75 Spatial Quality 0.7/10 7776 to 100 x 88101 to 150 99151 to 200 Overall 15% 10 200 + 10 TOTAL 70000000200000000020000000000000000 0.3
8 ENVIRONMENTAL INDEX
CUE SCORE L10 L12 L13 L14 L15 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 AVERAG 11Opening windows 21Cross ventilation 31Daylight xx 41Northern orientation or sunlight penetration xx 51Sun shade devices fitted x 61People- friendly finishes + fittings xxx 71Possibility for rest eg seating xxx 81Free water fountain access 91Access to toilets xx 10 Access to food outlets 1 x TOTAL 40000000500000000050000000000000000 0.4
9 AGE INDEX
AGE SCORE L10 L12 L13 L14 L15 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 AVERAG 111 year 0xxx 292 years 383 years 474 years GF LOW RISE MID RISE 565 years 656 to 10 years L10L12L13L14L15L20L21L22L23L24L25L26L27L28L29L30L31L32L33L 7411 to 20 years 65 10 10 10 10 10 10 10 65 10 10 10 10 10 10 10 10 10 68 8349 to 100 years 92101 to 200 years HIGH RISE SKY RISE 10 200 years + 1 3L36L37L38L39L40L41L42L43L44L45L46L47L48L49L50L51 TOTAL 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
10 SPATIAL QUALITY INDEX AVERAGE SPATIAL QUALITY SCORE L10 L12 L13 L14 L15 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 AVERAG 15 11Extreme Discomfort 22 33Situation comfort/ psychological security 44response. Different zones may not be 55 66 77x 88x x 99 10 Extreme Comfort 10 TOTAL 80000000700000000080000000000000000 0.7
TOTAL SCORE GF LOW RISE MID RISE HIGH RISE SKY RISE AVERAG L10L12L13L14L15L20L21L22L23L24L25L26L27L28L29L30L31L32L33L36L37L38L39L40L41L42L43L44L45L46L47L48L49L50L51 65 10 10 10 10 10 10 10 65 10 10 10 10 10 10 10 10 10 68 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 15
Description: 75 storeys. 366 units with 78 commercial units and 288 residential units. The tower will be Sydney’s tallest residential building at a height of 248m Architect: Nation Fender Katsalidis Owner: Meriton Apartments Occupant: World Tower Display Unit Estimated cost: $ 41,265,000 WORLD TOWER
POROSITY INDEX BUILDING : World Tower - Commercial and Residential CONSTRUCTION DATE : 2005 1 PERMEABILITY INDEX PERMEABILITY EXACT TIME SCORE GF L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 1 Blue Impenetrable 0 4 2 Beige Entry only 3 Minutes 8 3 Yellow Slightly porous 10 Minutes 12 4 Brown Porous 30 Minutes 16 x x x x x x 5 Red Very Porous up to 5 Hours 20 x x x TOTAL 16 20 16 16 20 16 16 16 00000000000000000000000000000020000
2 TRANSPARENCY INDEX TRANSPARENCY COEFFICIENT SCORE ratio of transparent / opaque wall area % GF L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 1 Blue 10% or less 2 2 Beige 11% to 20% 4 x x x 3 Yellow 21% to 30% 6 x x x 4 Brown 31% to 50% 8 x x 5 Red > 51% 10 x TOTAL 8 8 6 6 644400000000000000000000000000000010000
3 EXTERNAL CONNECTIVITY INDEX EXTERNAL CONNECTIVITY TO ADJACENT BUILDING SCORE GF L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 1 Street level access to adjacent building 1 x 2 Roof level access to adjacent building 1 3 Other level access to adjacent building 1 xxxxx xx 4 Access to toilets in adjacent building 1 xxxxx xx 5 Access to fire stairs in adjacent building 1 xxxxxx xx x TOTAL 2 3 3 3 33330000000000000000000000000000001000
4 INTERNAL CONNECTIVITY INDEX Possibility of making connections to other spaces and to external skin INTERNAL CONNECTIVITY WITHIN SUBJECT SCORE GF L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 1 Street level access to external skin/ window 0.5 x 2 Direct lobby access to external skin/ window 0.5 x 3 Access through private external skin/ window 0.5 xxxx x 4 Other access to external skin/ window 0.5 xxxx 5 Access to internal window 0.5 xxxxxxx x 6 Access to other public space 0.5 x 7 Access to roof level 0.5 8 Access to fire stairs 0.5 xxxxxxxx x 9 Direct access to transport from subject bdlg 0.5 x 10 NO surveillance cameraof subject building 0.5 TOTAL 2 1.5 1 1 22220000000000000000000000000000001.5000
5 ORIENTATION INDEX ORIENTATION CUE SCORE GF L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 1 Access to space with or without view 1 xxxxxxxx x 21Immediate access to view from lift lobby x 31View from any location accessible on floor 4 View outside 1 xxxxxxxx x 51View of street xx x 61View of adjacent buildings xxx x 71View of sky x 81View of harbour x 91View close and far x x 10 View oriented to north to sun 1 x TOTAL 5 4 2 2 42220000000000000000000000000000008000
6 SOCIAL CONSTRUCTION INDEX
CUE SCORE GF L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 1 Access to toilets 0.5 xxxxxxx 2 Access to kitchen 0.5 xxxxxxx 3 Access to phone/ data/ power 0.5 4 Access to public rest areas 0.5 x 5 Access to public art 0.5 x 6 Access to building recreation service 0.5 x 7 Access to building roof area 0.5 8 Access to adjacent buildings 0.5 x 9 Close proximity to food outlets 0.5 x 10 Close proximity to transport 0.5 x 11 Connectivity between offices 0.5 xxxx 12 Connectivity between floors 0.5 13 Mixed usage within floor 0.5 xxxx 14 Mixed usage within adjacent floors 0.5 x 15 Low external sound level 0.5 xxxxxxx x 16 Operable windows 0.5 17 View outside any view 0.5 xxxxxxxx x 18 View outside including street 0.5 x x x x 19 View outside of greater city 0.5 x 20 View outside to north 0.5 x TOTAL 3.5 2.5 2 2 4.5 3330000000000000000000000000000004.5000
7 HUMAN MOVEMENT INDEX
APPR. NUMB. PEOPLE MOVEMENT PER HOUR SCORE GF L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 1 1 to 10 1 xxxxxxx 2211 to 20 x 3321 to 30 4431 to 40 5541 to 50 6651 to 75 x 7776 to 100 88101 to 150 99151 to 200 10 200 + 10 TOTAL 611111110000000000000000000000000000002000 8 ENVIRONMENTAL INDEX
CUE SCORE GF L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 L 11Opening windows x x 21Cross ventilation x 31Daylight x 4 Northern orientation or sunlight penetration 1 xxxxxxxx x 51Sun shade devices fitted x x 61People- friendly finishes + fittings x x 71Possibility for rest eg seating x 81Free water fountain access 9 Access to toilets 1 xxxxxxx 10 Access to food outlets 1 TOTAL 5 2 2 2 22220000000000000000000000000000006000
9 AGE INDEX
AGE SCORE GF L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 L 1 1 year 10xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx 292 years 383 years 474 years 565 years 656 to 10 years 7411 to 20 years 8349 to 100 years 92101 to 200 years 10 200 years + 1 TOTAL 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
10 SPATIAL QUALITY INDEX
SPATIAL QUALITY SCORE GF L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 L 11Extreme Discomfort 22 33Situation comfort/ psychological security 4response. Different zones may not be 4 xxx 5 5 xxx 66x x 77 88x 99 10 Extreme Comfort 10 TOTAL 8 6 5 5 43330000000000000000000000000000006000 Display Centre COMMERCIAL LOW RISE MID RISE GF L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 L TOTAL SCORE 66 50 48 48 57 46 46 46 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 69 10 10 10 WORLD TOWER
L53 L54 L55 L56 L57 L58 L59 L60 L62 L63 L64 L65 L66 L67 L68 L69 L70 L71 L72 L73 L74 L75 L76 L77 L78 L79 AVERAGE Average Index - Residential + Office
Permeability 2.8/20 xx Transparency 1.1/10 0000000161600000000000000000171.12.8 External Connectivity 0.4/5 Internal Connectivity 0.3/5 0.7/10 Orientation L53 L54 L55 L56 L57 L58 L59 L60 L62 L63 L64 L65 L66 L67 L68 L69 L70 L71 L72 L73 L74 L75 L76 L77 L78 L79 AVERAGE 0.6/10 Social Construction 0.3/10 Human Movement 0.6/10 Age xx 10/10 0 0000001010000000000000000005.80.61.1 Spatial quality 0.9/10
L53 L54 L55 L56 L57 L58 L59 L60 L62 L63 L64 L65 L66 L67 L68 L69 L70 L71 L72 L73 L74 L75 L76 L77 L78 L79 AVERAGE
xx Commercial Residential Overall xx xx Permeability 85% 6% 14% 0 00000033000000000000000002.90.10.4 Transparency 58% 6% 11% External Connectivity 58% 2% 8% L53 L54 L55 L56 L57 L58 L59 L60 L62 L63 L64 L65 L66 L67 L68 L69 L70 L71 L72 L73 L74 L75 L76 L77 L78 L79 AVERAGE Internal Connectivity 34% 2% 6% Orientation 29% 5% 7% xx Social Construction 29% 0% 6% xx xx Human Movement 16% 2% 3% Environmental 24% 5% 6%
xx Age 100% 100% 100% Spatial Quality 46% 1% 9%
0 00000022000000000000000001.70.10.3 Overall 51% 14% 17%
L53 L54 L55 L56 L57 L58 L59 L60 L62 L63 L64 L65 L66 L67 L68 L69 L70 L71 L72 L73 L74 L75 L76 L77 L78 L79 AVERAGE xx
x xx xx xx xx xx xx xx 0 00000087000000000000000002.90.50.7
L53 L54 L55 L56 L57 L58 L59 L60 L62 L63 L64 L65 L66 L67 L68 L69 L70 L71 L72 L73 L74 L75 L76 L77 L78 L79 AVERAGE xx x x
x
x
xx xx xx COMMERCIAL LOW RISE xx xx GF L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L39 L40 L41 L42 L43 L44 L45 L46 L47 xx 66 50 48 48 57 46 46 46 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 0 0000004.54.5000000000000000002.900.6 MID RISE HIGH RISE PENTHOUSE L46 L47 L48 L49 L50 L51 L52 L53 L54 L55 L56 L57 L58 L59 L60 L62 L63 L64 L60 L62 L63 L64 L65 L66 L67 L68 L69 L70 L71 L72 L73 L74 L75 L76 L77 L78 L79 10 10 10 69 10 10 10 10 10 10 10 10 10 10 73 72 10 10 73 72 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 L53 L54 L55 L56 L57 L58 L59 L60 L62 L63 L64 L65 L66 L67 L68 L69 L70 L71 L72 L73 L74 L75 L76 L77 L78 L79 AVERAGE x x AVERAGE 17
Average Index - Shopping centre
0 00000021000000000000000001.60.20.3 Permeability 20/20 Transparency 10/10 L53 L54 L55 L56 L57 L58 L59 L60 L62 L63 L64 L65 L66 L67 L68 L69 L70 L71 L72 L73 L74 L75 L76 L77 L78 L79 AVERAGE External Connectivity 4/5 xx xx Internal Connectivity 4/5 xx 9/10 Orientation xx 7/10 xx Social Construction xx 10/10 xx Human Movement x 10/10 xx Age 10/10 Spatial quality 0 00000098000000000000000002.40.50.6 6/10
L53 L54 L55 L56 L57 L58 L59 L60 L62 L63 L64 L65 L66 L67 L68 L69 L70 L71 L72 L73 L74 L75 L76 L77 L78 L79 AVERAGE xxxxxxxxxxxxxxxxxxxxxxxxxx Permeability 20/20 Transparency 10/10 External Connectivity 4/5 Internal Connectivity 4/5 Orientation 9/10 Social Construction 7/10
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 Human Movement 10/10 Environmental 10/10 Age 10/10 Spatial Quality 6/10 L53 L54 L55 L56 L57 L58 L59 L60 L62 L63 L64 L65 L66 L67 L68 L69 L70 L71 L72 L73 L74 L75 L76 L77 L78 L79 AVERAGE Overall 90%
x L10 90 10 0000000810000000000000000004.610.9
HIGH RISE PENTHOUSE AVERAGE 2 L53 L54 L55 L56 L57 L58 L59 L60 L62 L63 L64 L65 L66 L67 L68 L69 L70 L71 L72 L73 L74 L75 L76 L77 L78 L79 10 10 10 10 10 10 10 73 72 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 51 14 17 AVILLION HOTEL
POROSITY INDEX BUILDING : Avillion Hotel CONSTRUCTION DATE : 1999 1 PERMEABILITY INDEX PERMEABILITY EXACT TIME SCORE L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 AVERAGE 1 Blue Impenetrable 0 4 xxxxxxx 2 Beige Entry only 3 Minutes 8 3 Yellow Slightly porous 10 Minutes 12 x 4 Brown Porous 30 Minutes 16 x 5 Red Very Porous up to 5 Hours 20 x x TOTAL 12 16 20 0000000206.2
2 TRANSPARENCY INDEX TRANSPARENCY COEFFICIENT SCORE ratio of transparent / opaque wall area % L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 AVERAGE 1 Blue 10% or less 2 2 Beige 11% to 20% 4 3 Yellow 21% to 30% 6 x x 4 Brown 31% to 50% 8 x x 5 Red > 51% 10 TOTAL 88600000006 2.5
3 EXTERNAL CONNECTIVITY INDEX EXTERNAL CONNECTIVITY TO ADJACENT BUILDING SCORE L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 AVERAGE 1 Street level access to adjacent building 1 x 2 Roof level access to adjacent building 1 3 Other level access to adjacent building 1 x x xx 4 Access to toilets in adjacent building 1 x x xx Average Index - Residential + Office 5 Access to fire stairs in adjacent building 1 x x xx TOTAL 43300000003 1.2 Permeability 6.2/20 4 INTERNAL CONNECTIVITY INDEX Possibility of making connections to other spaces and to external skin Transparency 2.5/10 INTERNAL CONNECTIVITY WITHIN SUBJECT SCORE L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 AVERAGE 1.2/5 1 Street level access to external skin/ window 0.5 x External Connectivity 2 Direct lobby access to external skin/ window 0.5 x x x x Internal Connectivity 1.1/5 3 Access through private external skin/ window 0.5 x x x 2.1/10 4 Other access to external skin/ window 0.5 x x x Orientation 1.5/10 5 Access to internal window 0.5 x x x x Social Construction 6 Access to other public space 0.5 x x x 1.2/10 7 Access to roof level 0.5 Human Movement 8 Access to fire stairs 0.5 x x x x 1.9/10 9 Direct access to transport from subject bdlg 0.5 x x Age 5/10 10 NO surveillance cameraof subject building 0.5 Spatial quality TOTAL 3 3 3.5 00000002.51.1 2.4/10
5 ORIENTATION INDEX ORIENTATION CUE SCORE L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 AVERAGE 1 Access to space with or without view 1 xxx x 2 Immediate access to view from lift lobby 1 xxx x 31View from any location accessible on floor 4 View outside 1 xxx x 5 View of street 1 xxx x 6 View of adjacent buildings 1 xxx x 71xView of sky 81View of harbour 91xView close and far 10 View oriented to north to sun 1 x TOTAL 55500000008 2.1 Permeability 31% 6 SOCIAL CONSTRUCTION INDEX Transparency 25% External Connectivity 24% CUE SCORE L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 AVERAGE Internal Connectivity 22% 1 Access to toilets 0.5 x x x 2 Access to kitchen 0.5 x Orientation 21% 3 Access to phone/ data/ power 0.5 x x Social Construction 15% 4 Access to public rest areas 0.5 x 5 Access to public art 0.5 x x Human Movement 12% 6 Access to building recreation service 0.5 x x Environmental 19% 7 Access to building roof area 0.5 8 Access to adjacent buildings 0.5 x Age 50% 9 Close proximity to food outlets 0.5 x x Spatial Quality 24% 10 Close proximity to transport 0.5 x x 11 Connectivity between offices 0.5 12 Connectivity between floors 0.5 x Overall 25% 13 Mixed usage within floor 0.5 x x 14 Mixed usage within adjacent floors 0.5 15 Low external sound level 0.5 x x x 16 Operable windows 0.5 17 View outside any view 0.5 x x x x 18 View outside including street 0.5 x x x x 19 View outside of greater city 0.5 x 20 View outside to north 0.5 x x TOTAL 3 5.5 3.5 00000004.51.5 7 HUMAN MOVEMENT INDEX
APPR. NUMB. PEOPLE MOVEMENT PER HOUR SCORE L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 AVERAGE 111 to 10 xx 2211 to 20 3321 to 30 4431 to 40 POROSITY INDEX FOR HORDERN AVILLION HOTEL 5541 to 50 x 6651 to 75 x 7776 to 100 88101 to 150 99151 to 200 10 200 + 10 TOTAL 65100000001 1.2
8 ENVIRONMENTAL INDEX
CUE SCORE L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 AVERAGE 11Opening windows xxx 21Cross ventilation x 31Daylight x 4 Northern orientation or sunlight penetration 1 xxx x 51Sun shade devices fitted 6 People- friendly finishes + fittings 1 xxx x 71Possibility for rest eg seating xx 81Free water fountain access 91Access to toilets xxx 10 Access to food outlets 1 x x x TOTAL 56400000006 1.9
9 AGE INDEX
AGE SCORE L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 AVERAGE 111 year 0 292 years 383 years 474 years 565 years 6 6 to 10 years 5 xxxxxxxxxxx 7411 to 20 years 8349 to 100 years 92101 to 200 years 10 200 years + 1 TOTAL 55555555555 5 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 576456555555564
10 SPATIAL QUALITY INDEX
SPATIAL QUALITY SCORE L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 AVERAGE AVERAGE 11Extreme Discomfort 22 25 33Situation comfort/ psychological security 44response. Different zones may not be 55x 66x 77x 88x 99 10 Extreme Comfort 10 TOTAL 67500000008 2.4
L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 AVERAGE TOTAL SCORE 57645655555556425
Description: 55 levels residential bulding and the Avillion Hotel with basement parking, services shops, cafes. Apartments contains 278 units + recreational facilities including a 25m pool, spa, sauna, gymnasium and squash court. The Avillion Hotel is 445 room 4 star hotel in a 10 level podium to Liverpool St and Pitt St. Includes 280 seat Avery restaurant, lobby bar, business centre, gym, conference and banquet centre for 250 people, ballroom, special shops and Monorail station to Liverpool St Architect: Davenport Campbell Owner: Hordern Arcade Pty Ltd. Residential units owned by registered proprietors Occupant: Antoni’s Pasta Deli Cafe, Avery’s Restaurant and bar, Cafe La Rosa, Capital Art, Hordern Propertie, Makoto Sushi Pty Ltd and World Square Newsagency APPENDIX 5: EXHIBITION IMAGES
LIST OF IMAGES
GAME 1: SNAKES AND LADDERS in ZONE 1
Fig. 1 345 George Street Site Research Fig. 2 363 George Street Site Research Fig. 3 Tree Model Fig. 4 Cactus Model Fig. 5 Monkey Model_1 Fig. 6 Monkey Model_2 Fig. 7 Monkey Models - What A Building Desires
GAME 2: HIDE AND SEEK in ZONE 3
Fig. 8 Tree Model Fig. 9 Cactus Model_1 Fig. 10 Cactus Model_2 Fig. 11 Tree and Cactus Model Fig. 12 Hide and Seek Animation Fig. 13 Hide and Seek Game Animation and Sequence
GAME 3: JENGA in ZONE 2
Fig. 14 Aurora Place Site Research Fig. 15 Tree Model Fig. 16 Cactus Model and Key Fig. 17 Cactus Model Fig. 18 Monkey Model - What A Building Desires_1 Fig. 19 Monkey Model - What A Building Desires_2 Fig. 20 Monkey Model - What A Building Desires_3 Fig. 21 Monkey Model - What A Building Desires_4
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