Group Development

REUBEN MARGOLINKINETIC SCULPTOR

Moving by Mechnical means, Manipulation of waves, the beauty of adjusting the amplitude, period, wave lengths and combining with motors and pullies to become sculpture. The combination of subtle movements, generating curiosity with the people who are looking at it. This engagement with the sculpture is particularlly interesting in a built scale of a room. What we can learn from Reuben Margolin is the inspiration behind using nature and the way in which we can generate interest for the people who will experience the sculpture. Reuben talks about the need to distinct the need of where to look for inspiration. If too complex, the beauty is lost. The movement is not exclusive and can engage with anyone.

“This tension between the need to look deeper and the beauty and the mediacy of the world, or if you try look deeper, you’ve already missed what you’re looking for. This tension is what makes the sculptures move. For me, the path between these extremes takes the shape of a wave.” Reuben Margolin (TED Talks, 2012)

NED KAHN“Architects play a lot with transparency, translucency and reflectivity but here’s something that does all the same things, but it’s the atmosphere that makes the decision” Ned Kahn, 2010

JANET ECHELMANSCULPTURAL ARTIST

Famous for transforming dense heavy masses into free flowing volumetric shapes made by weaving. The initial inspiration was using fish nets, that led her to study indepth how to manufacture as large scaled pieces of architecture. Within this process from her first art installation to the engineering of her larger scale projects, she has developed her own processes using yacht sail design programs and a industrial fishnet factory. She learnt the processes and created a language to create her lace net sculptures. What we can learn from Janet Echelman is her pushing of processes to manufacture these sculptures on a larger scale, but also her need for people to experience this sculpture. She describes a need for people to get lost in the sculpture and to the cheography of the wind. This interaction with the public is a need for the city of Wyndham, to turn the site into a place maker for the city.

EXCITING

WYNDHAM GATEWAY PROJECTEYE CATCHING

INSPIRIN

GENRICHES MUNIPALITY

VISUAL ARTS

LONGEVITY

ABS

TRA

CT

ASPIRATIONAL INTENT

ASPIRATIONAL FEELING

PLACE-MAKINGFOCAL POINT

BRAVE IDEAS

NEW DISCOURSE

The Wyndham gateway project brief specifically specifies what it wants to

achieve out of this highway monument. These words extracted from the document are the feelings we want to capture in our

proposal.

VISUAL ARTS

The other projects were either mechanical or wind blown. Because of the complexity of motorised dynamism, the choice was to use the air pressure produced by a passing car. This way, the car would have a big impact on how the sculpture would move. On analysis of the car piercing the wind, we see that the wind is pushed into another direction. This leads us to consider how to position our sculpture to maximise the amount usable wind.

The use of movement as a tool for reconnection on the site came from the precedents. Their ideas of movement as an re-engagement was perfect for the Wyndham Gateway project, as they were place making sculptures but also captured the imagination of the public. The idea of movement works in a different dynamic, as people are in cars. So we chose to link the movement of the car to the movement of the sculpture.

The nature of wind is that it can be pushing in all directions. To isolate the vehicles as the soul producer of the movement of the sculpture, or control the amount of wind through the site, we researched how to block or direct the wind. The use of “Wind Breaks” are commonly used on farms as trees that line plots to shelter from wind and reduce heat, cooling and save energy. The idea also stems from a wind tunnel, that is one direction wind influencing the designs of cars.

The ideas to do with reconnection are not limited to one section of the road, but relate to the inbound and outbound city lanes on the Princes Highway. By placing these mounds and the sculptural walls along the side of the road, we can use the effect of the car wind to move the sculpture.

The nature of the wind alters the interaction within a car. The driver will not see his reaction with the wall, but the car behind it willl. The experience for the passengers is enhanced, as a car can have close to 360 degree view of the site (If you turn your head around), so the experience for each passenger can be different. They can see their own interaciton, but also the interaction of others.

WIND FREQUENCY ANALYSIS (in km/h)WYNDHAM STATION NUMBER 001013Latitude: -15.49 ° Longitude: 128.12 °

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Wind directions are divided into eight compass directions. Calm has no direction.An asterisk (*) indicates that calm is less than 1% .An observed wind speed which falls precisely on the boundary between two divisions (eg 10km/h) will be included in thelower range (eg 1-10 km/h). Only quality controlled data have been used.

Copyright © Commonwealth of Australia 2004Prepared by the National Climate Centre of the Bureau of Meteorology.Contact us by phone on (03) 9669 4082, by fax on (03) 9669 4515, or byemail at [email protected] . We have taken all due care but cannotprovide any warranty nor accept any liability for this information.

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SPRINGWind on the site explains that as a constantly changing variable it needs to be controlled to the point where it has little effect on the outcome of the sculpture. Instead of freeing it to the elements, we can limit the direction of the wind by forcing it through a trench that it can only go through as a linear direction with the car.

Idea: Reconnection. How to reconnect?- Reconnection through interaction with the site, influencing uncontrolled variables outside the car, with the car influencing the interaction.Form: Derived from the best way to use the car’s piercing of the air, to achieve the maximum effect out of this effect.Fabrication: What other effects we can get out it? Which type of element can be the best way to react against the wind. Further experiments: Fixed and non-fixed joints, Ability to limit the span of spin on each joint. Research: Car streamline reaction to wind (Fluid Dynamics), Ideas to do with Wind tunnels, Wind breaks, etc. Directional wind barriersTechniques to control wind on site, maximising the effect of the sculpture.Further enhancements: Lighting, Material effect over time, transitions at different points of the day.

Group Development

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