Love at first sight : Sanja Pahoki

I am a landscape architect, a non-photographer, and in reviewing this exhibition, it seems that in a critical discourse on photography the nature of the view and its relation to the observer (presumably the camera) is inevitably a key focus of creative inquiry, in an epistemological sense. In conducting such a review, of 'self-portraits' by 'female photographers' in relation to 'the landscape', one cannot help but ask what priority this critique should allocate to each of these conceptual agendas, quite apart from the simple formal quality of the individual pieces themselves. Analytically, each could form the axes of a matrix that might allow for a number of quite different permutations and therefore differently conclusive commentaries on the others: the view vs landscape; the view vs sexuality; the self-portrait vs the landscape picture. All of these would be productive in their own right and each is alluded to in the works themselves and in the narrative of the catalogue. Considering this range of possible permutations, this show is certainly rich and this richness sits well with the relative formal saturation of the images themselves.

Critical matters

This year, as it has been during most of the years that I can remember, AILA's various state awards have been controversial (depending on who you talk to). In at least one state, after only a small number of awards have been handed out, the local chapter is thinking of modifying the awards to (presumably) bring them into synch with the values of local member practices. In almost every case when an awards-related complaint has been made, the judges have been seen as the problem. After all, the judges make the determination so they must have poor judgement.

Eco-retrofitting with building integrated living systems

Building integrated living systems (BILS), such as green roofs and living walls, could mitigate many of the challenges presented by climate change and biodiversity protection. However, few if any such systems have been constructed, and current tools for evaluating them are limited, especially under Australian subtropical conditions. BILS are difficult to assess, because living systems interact with complex, changing and site-specific social and environmental conditions. Our past research in design for eco-services has confirmed the need for better means of assessing the ecological values of BILS - let alone better models for assessing their thermal and hydrological performance. To address this problem, a research project is being developed jointly by researchers at the Central Queensland University (CQ University) and the Queensland University of Technology (QUT), along with industry collaborators. A mathematical model under development at CQ University will be applied and tested to determine its potential for predicting their complex, dynamic behaviour in different contexts. However, the paper focuses on the work at QUT. The QUT school of design is generating designs for living walls and roofs that provide a range of ecosystem goods and services, or ‘eco-services’, for a variety of micro-climates and functional contexts. The research at QUT aims to develop appropriate designs, virtual prototypes and quantitative methods for assessing the potential multiple benefits of BILS in subtropical climates. It is anticipated that the CQ University model for predicting thermal behaviour of living systems will provide a platform for the integration of ecological criteria and indicators. QUT will also explore means to predict and measure the value of eco-services provided by the systems, which is still largely uncharted territory. This research is ultimately intended to facilitate the eco-retrofitting of cities to increase natural capital and urban resource security - an essential component of sustainability. The talk will present the latest range of multifunctional, eco-productive living walls, roofs and urban space frames and their eco-services.

Eco-retrofitting - from managerialism to design

As all environmental problems are caused by human systems of design, sustainability can be seen as a design problem. Given the massive energy and material flows through the built environment, sustainability simply cannot be achieved without the re-design of our urban areas. ‘Eco-retrofitting’, as used here, means modifying buildings and/or urban areas to create net positive social and environmental impacts – both on site and off site. While this has probably not been achieved anywhere as yet, myriad but untapped eco-solutions are already available which could be up-scaled to the urban level. It is now well established that eco-retrofitting buildings and cities with appropriate design technology can pay for itself through lower health costs, productivity increases and resource savings. Good design would also mean happier human and ecological communities at a much lower cost over time. In fact, good design could increase life quality and the life support services of nature while creating sustainable‘economic’growth. The impediments are largely institutional and intellectual, which can be encapsulated in the term ‘managerial’. There are, however, also systems design solutions to the managerial obstacles that seem to be stalling the transition to sustainable systems designs. Given the sustainability imperative, then, why is the adoption of better management systems so slow? The oral presentation will show examples of ways in which built environment design can create environments that not only reduce the ongoing damage of past design, but could theoretically generate net positive social and ecological outcomes over their life cycle. These illustrations show that eco-retrofitting could cost society less than doing nothing - especially given the ongoing renovations of buildings - but for managerial hurdles. The paper outlines on how traditional managerial approaches stand in the way of ‘design for ecosystem services’, and list some management solutions that have long been identified, but are not yet widely adopted. Given the pervasive nature of these impediments and their alternatives, they are presented by way of examples. A sampling of eco-retrofitting solutions are also listed to show that ecoretrofitting is a win-win-win solution that stands ready to be implemented by people having management skills and/or positions of influence.

Yet to be known

TBA: Triptych: Digital Print, PVC Text, Acrylic Sheet Total Size: 252cm x 119cm---------- The work employs text based representations of indigenous plants (3500 species names) and quotations from an eminent botanist. This information is spatialised to represent the geographic area within which the plants where recorded (by others-Gov’t database).---------- The work was exhibited at Eyes wide open (curators K Bradby and A Brandenberg) which was held at Gorepani Gallery, Albany WA to coincide with the first national screening on SBS Television of the Western Australian documentary A Million Acres a Year (Rijavec, F, Harrison, N & Bradby K (directors), Snakewood Films & Film Australia, c2003).

Many Mount Barrens

Cibachrome photographic prints, Digital print, Acrylic Sheet , wire & card.--------- Total size: 170cm x 119cm x 15cm---------- The work employs a terrestrial photography and cartographic technique to represent a diversity of landscape types surrounding West Mt Barren in Western Australia. Sixteen views of West Mt Barren were captured over a two week period from map grid coordinates in the surround landscape. These images are configured in Many Mount Barrens in a manner which corresponds to the position from which they were recorded.---------- The work was exhibited at Eyes wide open (curators K Bradby and A Brandenberg) which was held at Gorepani Gallery, Albany WA to coincide with the first national screening on SBS Television of the Western Australian documentary A Million Acres a Year (Rijavec, F, Harrison, N & Bradby K (directors), Snakewood Films & Film Australia, c2003).

Sandplain

Triptych: Digital print, Acrylic Sheet--------- Total size: 252 cm x 119cm---------- The work employs text based representations of agricultural plants (26 species names). This information is spatialised to represent the geographic area within which the plant species are harvested.---------- The work was exhibited at Eyes wide open (curators K Bradby and A Brandenberg) which was held at Gorepani Gallery, Albany WA to coincide with the first national screening on SBS Television of the Western Australian documentary A Million Acres a Year (Rijavec, F, Harrison, N & Bradby K (directors), Snakewood Films & Film Australia, c2003).

Blackcloud

The work was derived from terrestrial laser scan data of a bio-diverse landscape on the SE coast of Western Australia. The digital three dimensional scan data has been converged and then a portion of that computer aided design (CAD) file has been captured via ‘screen capture’ to produce Blackcloud.---------- The primary intention behind the production of the work was to expand understanding on the means of representing and then designing for sites in ‘kwongan’ landscapes which are constituted by highly biodiverse, bushfire prone heath vegetation.

Before and after the fire

The work was derived from terrestrial laser scan data of a bio-diverse landscape on the SE coast of Western Australia. The scanning was conducted both before and after a significant bushfire event. The digital three dimensional scan data has been converged and then abstracted into a two dimensional vertical sections or slice which reveals the vegetal surface of heath vegetation and the surface of the landform.---------- This abstraction converts the complex data into spatial information so that it is meaningful in the context the architectural and landscape architectural design process. The primary intention behind the production of the work was to expand understanding on the means of representing and then designing for sites in ‘kwongan’ landscapes which are constituted by highly biodiverse, bushfire prone heath vegetation.

Heathsections

The work was derived from terrestrial laser scan data of a bio-diverse landscape on the SE coast of Western Australia. The three dimensional scan data has been abstracted into two dimensional side sections or slices – in a manner which converts the complex data into spatial information which is meaningful in the context of the act of architectural and landscape architectural design. The primary intention behind the production of the work was to expand understanding on the means of representation of ‘kwongan’ landscapes which are constituted by highly biodiverse - and thus difficult to measure - heath vegetation.

Windscape

Windscape is a graphic work produced from information gathered in the field by the author. A number of measurement methods were employed including: Real Tine Kinematic Global Positioning System survey (RTKGPS), still photography, plant distribution studies and handheld GPS survey. This creative work is one outcome of the author’s research into a design methodology wherein the designer conducts their own measurements and then produces their own maps of sites. Windscape is a test of the hypothesis that such maps have greater relevance to the design process due to the manner in which they are created (site based research) and the information they depict, namely the relationships between landscape processes and structures.

Botanical matrix

Botanical matrix is a graphic map produced via a process involving an initial site installation (350 m contour transect), a botanical survey and photographic documentation of species. The site is a housing subdivision at Point Henry, on the SE coast of Western Australia which is a landscape which is host the most botanically diverse vegetation found worldwide - known locally as 'kwongan'. Notoriously difficult vegetation to measure and map, kwongan is a visual 'engima', for paradoxically it appears to the lay person as visually bland and highly homogenous. There is thus is a critical need for the development of new forms of representation which overcome the barriers between the perception and reality of this botanical condition. Botanical Matrix is one result of the author's research which seeks to address this important problem.

Can't see the water for the trees

The work was both conceived and constructed in-situ within Gnombup Swamp a seasonal water body at Bremer Bay, Western Australia. The work interacts with site-specific conditions including wind patterns and a datum of seasonal water levels marks. The work is the result of collaboration between soil scientist Paula Deegan and Ian Weir. The installation was documented with a series of 30 still digital photographs, later animated in Microsoft Powerpoint.