Volume 02

THE ARCHITECTURAL DESIGNER AND THEIR DIGITAL MEDIA
An investigation into the extent to which it is advantageous to include digital media as part of
the designers toolset in the early stages of design
VOLUME 2
A thesis submitted in fulfilment of the requirements for the degree of

Doctor of Philosophy
Sarah.K.Benton
B Sc(Arch) B Arch
School of Architecture and Design

Design and Social Context
RMIT University
March 2008
DECLARATION
I certify that except where due acknowledgement has been made, the work is that of the author
alone; the work has not been submitted previously, in whole or in part, to qualify for any other
academic award; the content of the thesis is the result of work which has been carried out since
the official commencement date of the approved research program; and, any editorial work, paid
or unpaid, carried out by a third party is acknowledged.
Sarah Benton
4th October 2008
TABLE OF CONTENTS
References - General...................................................................................................................................4
References - My own publications..........................................................................................................15
References - TERROIR ...........................................................................................................................16
APPENDIX...............................................................................................................................................20
Appendix A TERROIR Selected Exhibitions and Awards................................................................21
Appendix B Various unpublished documents ......................................................................................23
Appendix C Various TERROIR unpublished documents .................................................................26
Appendix D Project study: Communications.......................................................................................46
Appendix E Project study: Digital media in the early stages..............................................................51
Appendix F Project study: Fern Tree House........................................................................................57
Appendix G Project study: Hazards Hotel ...........................................................................................73
Appendix H Project study: Hobart Waterfront Urban Design Competition..................................99
Appendix I Project study: Maitland City Bowling Club....................................................................116
Appendix J Project study: Modelling ...................................................................................................131
Appendix K Project study: Montpelier Retreat Commercial Building ...........................................135
Appendix L Project study: Prague National Library Competition ..................................................148
Appendix M Project study: 86-88 George Street Commercial Building ........................................166
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12
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REPORTS
APESMA and J. Waldock (2000). Women in Professions Survey Report 2000.
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14
Regions. Melbourne, RMIT University: 150.

Lab3000 (2004). Lab report 02 - Growing Digital Design: Melbourne's Emerging Cluster.
Melbourne, RMIT University: 74.
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THESIS
Edmonston, P. (1961). A methodology for inquiry into one's own studio processes. School of
Fine and Applied Arts. Ann Arbor, Mich, Ohio State University. Doctor of
Philosophy: 211.
Holzer, D. (2006). Transdiscipinary Collaboration Towards Optimising Building
Performance:Architect-Engineer Interaction in the Early Stages of Design Using
Evolutionary Techniques. School of Architecture and Design, Design and Social
Context Portfolio. Melbourne, RMIT University. Master of Architecture: 105.
Lloyd, J. S. (2006). An analysis of the artistic creative process : as experienced in the writing of
an opera. Faculty of Education. Sydney, University of Technology. Doctor of
Philosophy: 349.
Tombesi, P. (1997). Travels from Flatland: The Walt Disney Concert Hall and the specialisation
of design knowledge in the building sector. Architecture. Los Angeles, Univesity of
California. Doctor of Philosophy: 330.
REFERENCES - MY OWN PUBLICATIONS

Benton, S. (2007a) Mediating between Architectural Design Ideation and Development through
Digital Technology: Dynamic Animation Toys and Mediation Methods in Designing,
Predicting the Future. eCADDe 25 2007 Conference, September 26-28 2007, FH
Frankfurt Germany.
Benton, S. (2007b). Modelling Ideas. HomoFaber Modelling Ideas Catalogue. R. University.
Melbourne, RMIT University.
15
REFERENCES - TERROIR
LITERATURE ON TERROIR
BOOK SECTIONS
Izhar Jinich, I. (2005). Casas Houses Australia. Casas Houses Australia. Buenos Aires,
Argentina: 54-59.
Jackson, D. (2007). Next Wave: Emerging Talents in Australian Architecture, London: Thames
and Hudson.
Marreiros, S. (2007). Australia: Architecture and Design. Australia: Architecture and Design.
Cologne, daab: 192-203.
McNeill, B. and L. Woolley (2002). Architecture from the Edge. Hobart, Australia: 34.
JOURNAL ARTICLES
Ancher, J. (2000). Puzzle Box. Architecture Review Australia. 71: 96-99.
Australia, A. R. The AR 25 Year Survey of Australian Architecture. Architectural Review
Australia, AR100 special edition: 101.
Benjamin, A. (2007). On the Library. Architectural Review Australia, AR100 special edition: 5052.
Dyson, S. and M. R (2005). Restaurant Reviews. QANTAS. 148: 181.
Gatley, J. (2006). Street Works. Monument: 30-32.
Goad, P. (2002). Architektur Archipel Australien. Baumeister. 3: 46-53.
Goodwin, R. (2001). Back to the Future. Monument: Residential Special 2004: 48-52.
Inside (2006). IDEA Awards 2006. Inside. 43: 110-111.
Johnston, E. (1998). Competition Review: Andrew Boy Charlton Pool. Architecture Review
Australia. 66: 100-106.
Kaiser, H. (2001). Making The Earth Move. Blueprint. 187: 116-118.
Malpas, J. (2006). Liverpool Crescent House. Architectural Review Australia: Residential, 2006.
97: 72-79.
McEoin, E. (2001). Sugo. Inside. 21: 26-27.
McLeod, P. (2007). Heavy Metal. Tasmanian Life: 36-4.
Mocatta, G. (2005). Building Society. Houses: 100-104.
Penn, S. (2002). Urban Parasite. Monument: 64-69.
Rice, C. (2001). RadarProcess: Modes of working become modes of making at the scale of
both landscape and fittings in a new project by RBB TERROIR. . Architecture
Australia. 9: 16-18.
Schaffer, B. (2005). Olympic Ideals. Landscape Australia. 27: 30-40.
Specifier (2002). Last Word: Gerard Reinmuth. Specifier (Architectural and Interior): 96.
Spence, R. (2001). Fractured Landscape. Architecture Review Australia. 75: 78-83.
Spurr, H. (2006). Liverpool Crescent House (Tas). Follow Gentlemen. 2: 119.
Tolke, A. (2004). Anderland. H.O.M.E.: 110.
van Schaik, L. (2004a). Ugly Duckling. Monument: Residential Special 2004: 98-102.
van Schaik, L. (2004b). Peppermint Bay. Architectural Review Australia. 87: 64-71.
van Schaik, L. (2005). Australasia The new mix : culturally dynamic architecture. Architectural
design. Chichester, Wiley-Academy. 75: 84-90.
Watson, F. e. (2003). Theres no place like Home. Monument. Residential Special .2003: 100101.
Watson, R. (2005). Tailor Made. Australian House and Garden: 112-119.
16
NEWSPAPER ARTICLES
Barns, G. (2004). Hugging the outer edge of nature. The Age: A3: 9.
Barns, G. (2004). Trust me, Pauls right. The Mercury: 16.
Crafti, S. (2004). Steel an honest and inexpensive material for the great Aussie shed. The
Australian Financial Review: 30-31.
Jackson, D. (2001). To The Mainland. Sydney Morning Herald. Sydney: 14-15.
Kolbe, B. (2004). Melding into the Bush. Sunday Tasmanian: 32.
Lowe, M. (2004). New vision for Gorge unveiled. The Examiner: 4.
Millwood, R. (2000). An Eye for Detail: School Adaptation Reels in RAIA Design Award.
Examiner Newspaper: 38.
Mocatta, G. (2005). Citys soul recycled. Home: 10-11.
Sunday Tasmanian (2004). International Accolades, People in Architecture and Design Feature.
Sunday Tasmanian. Tasmania: 62.
Susskind, A. (2004). The Bulletin Smart 100: Design. The Bulletin: 60-61.
The Mercury (2004). Landmark to get a makeover. The Mercury. Tasmania: 11.
LITERATURE BY TERROIR
BOOKS
Blythe, R. (2000). The Dressing and Re-Dressing of the Cataract Gorge Launceston. Alexandria,
USA.
TERROIR (2007c). TERROIR Cosmopolitan Ground. Sydney, DAB Documents, UTS.
BOOK SECTIONS
Balmforth, S., A. Benjamin, et al. (2007c). On Complexity; Symposium Excerpts Part Three.
TERROIR: Cosmopolitan Ground. S. Balmforth and G. Reinmuth. UTAS Launceston,
DAB Documents: 151-163.
Balmforth, S., A. Benjamin, et al. (2007a). On Images; Symposium Excerpt Part One.
Balmforth, S., A. Benjamin, et al. (2007b). On the Line; Symposium Excerpts Part Two.
Blythe, R. (2007a). Afterword: On Models. TERROIR: Cosmopolitan Ground. TERROIR.
Sydney, DAB Documents, UTS: 164-165.
Blythe, R. (2007c). Designing Ground. TERROIR Cosmopolitan Ground. S. Balmforth and G.
Reinmuth. Sydney, DAB Documents: 11-45.
TERROIR (2006a). TERROIR: modelling architecture. HomoFaber modelling architecture. B.
Marshall. Melbourne, Spatial Information Architecture Laboratory (SIAL): 86-88.
CONFERENCE PAPERS
Blythe, R. (1997). Monumental Change: The Post-War School Architecture of S.W.T. Blythe in
On What Ground(s). SAHANZ. Adelaide, Australia.
Blythe, R., G. Reinmuth, et al. (2005). Placing Design (abstract). Cosmopolitism: The Designs of
Resistance Conference, UTS Sydney: 52-53.
Blythe, R. and R. Spence (1999). Thresholds: Papers of the Sixteenth Annual Conference of the
Society of Architectural Historians. Sixteenth Annual Conference of the Society of
Architectural Historians. Australia and New Zealand. Society of Architectural
17
Historians. Launceston and Hobart, Australia.
JOURNAL ARTICLES
Balmforth, S. (2002). Mantis: Residential Issue. Architecture Review Australia: 24.
Balmforth, S. (2007). The Bigger Picture. Tasmanian Life: 116.
Blythe, R. (1999b). Cultura Ecologica E Soglia Architettonica. LArchitectura Naturale: 4-5.
Blythe, R. (2000d). The Cataract Gorge Launceston: Wilderness and the Aesthetic Landscape.
Habitus.
Blythe, R. (2000e). Magic Realist Tendencies in Architecture. Australian and New Zealand
Journal of Art. 1: 92-104.
Blythe, R. (2002a). On Wilderness. Archis.
Blythe, R. (2002b). Royal Connections. Monument: 94-98.
Blythe, R. (2002c). Celebrating Women in Architecture. Architectural Review Australia. 80: 14.
Blythe, R. (2002d). Wild at Heart. Architectural Review Australia. 79: 26-27.
Blythe, R., G. Reinmuth, et al. (1999). The Masonic Club of Tasmania. AASA Referred Design
Scheme.1999-2000: 50-53.
Reinmuth, G. Central Coast House. Architecture Review Australia. 76.
Reinmuth, G. (1997). Beyond Parochial Boundaries. Architecture Review Australia. 60.
Reinmuth, G. (1997). The Young Horse. Architecture Review Australia. 61.
Reinmuth, G. (2000). Between Myth and Reality. Monument 38-44.
Reinmuth, G. (2001). Council House Revisited. Architecture Review Australia. 71.
Reinmuth, G. (2001). Faulty Towers: Then and Now. Architecture Review Australia. 74.
Reinmuth, G. (2001). Industrial Diversions. Architecture Review Australia. 74: 62-67.
Reinmuth, G. (2001). The Martian Embassy. Architecture Review Australia. 66.
Reinmuth, G. (2001). NGA: Then and Now. Architecture Review Australia. 76: 72-79.
Reinmuth, G. (2001). Shelley Penn and the DPWS. Architecture Australia.
Reinmuth, G. (2001). Sydneys GPO. Architecture Review Australia. 72.
Reinmuth, G. (2002). An Audience in Rome. Monument: 42-46.
Reinmuth, G. (2002). The Politics of Art. Monument: 100-104.
Reinmuth, G. (2002). Product Lines. Monument: 93.
Reinmuth, G. (2002). Review: Geometries of Power. Monument: 111.
Reinmuth, G. (2002). Review: Glenn Murcutt, A Singular Architectural Practice. Monument: 95.
Reinmuth, G. (2002). Shear outback (Australian Shearers Hall of Fame by Paul Berkemeier).
Architecture Review Australia. 79: 60-67.
Reinmuth, G. (2002). Two Shacks. Architecture Review Australia. 78.
Reinmuth, G. (2003). Beautiful Minds. Monument: 104.
Reinmuth, G. (2003). Creative Tension. Monument: 58.
Reinmuth, G. (2003). Rebuilding Ground Zero. Monument: 40.
Reinmuth, G. (2003). Review: Harry Seidler, The Grand Tour: Travelling The World With An
Architects Eye. Monument: 10.
Reinmuth, G. (2006). Model Making as Thinking. Inside: 36.
Reinmuth, G. (2006). Review: Land Values. Monument: 58-59.
TERROIR (2005a). The Joys of Shedism.
TERROIR (2005c). TERROIR Peppermint Bay Architectural Interior Review.
TERROIR (2005d). TERROIR Project Statement Peppermint Bay. Archis.
TERROIR (2005e). Marking Time. Blueprint.
TERROIR (2005f). Home Magazine Germany. Home Magazine Germany.
TERROIR (2005g). Peppermint Bay. Steel Profile 89.
NEWSPAPER ARTICLES
Blythe, R. (1999a). Magic Moments in Ward P. The Australian: 40.
Blythe, R. (2000b). Architecture Awards. Mercury Newspaper.
18
Blythe, R. (2000a). Honours For Top Building Projects. Sunday Examiner: 14.
Reinmuth, G. (2002). Depth Charge. Domain, Sydney Morning Herald. Sydney: 6-7.
ONLINE MEDIA
TERROIR. (2007a, 9 November 2007). "TERROIR Profile." 2007, from
http://www.terroir.com.au/Office_PracticeProfile.htm.
TERROIR. (2007b, 8 November 2007). "TERROIR Developing Ideology." 2007, from
http://www.terroir.com.au/PracticeProfile_text/Developing_Ideology.htm.
TERROIR. (2007d, Thursday, 8 November 2007). "TERROIR Projects: Hazards at Freycinet."
http://www.terroir.com.au/images/Hazards/projects_hazards.htm.
TERROIR. (2007e, Friday, 16 November 2007). "TERROIR Projects: Ferntree House 1."
http://www.terroir.com.au/images/Ferntree%201/Projects_Ferntree_1.htm.
TERROIR. (2007f, Monday, 17 December 2007). "TERROIR Projects: Maitland City Bowling
Club." Retrieved 27 January 2008, 2008, from
http://www.terroir.com.au/images/Maitland/projects_maitland.htm.
TERROIR. (2007g, 8 November 2007). "TERROIR Project: Montpelier Retreat." Retrieved
27 January 2008, 2008, from
http://www.terroir.com.au/images/Montpelier/projects_montpelier.htm.
TERROIR. (2007h, 16 November 2007). "TERROIR Projects: Prague Library Competition."
http://www.terroir.com.au/images/Prague_Library/Projects_Prague_Library.htm.
TERROIR. (2007i, 17 December 2007). "TERROIR Project: 86-88 George Street." Retrieved
27 January 2008, 2008, from http://www.terroir.com.au/images/8688_George_Street/project_SHFA_GeorgeSt.htm.
PODCASTS
The Architects on RRR., S. Harrison, et al. (2006). The Architects on RRR: Podcast 71.
TERROIR. The Architects on Triple R FM. T. A. o. T. R. FM. Melbourne, Triple R
FM.
19
APPENDIX
The following appendix material includes unpublished material and project study material that I
have referred to in Volume One of my thesis.
I have included unpublished material on my industry partner firm, TERROIR, that clarifies
aspects of the practice and verifies the observations and references that I make in Volume One.
Appendix D-M includes various reference materials of my project studies that I discuss in
Volume One. I have codified each piece by the type of material and the date of creation. A full
list of these codes and the material is provided at the start of each project study Appendix. I have
included a brief project description to contextualise the project studies. I then include file notes
and emails that I refer to in Volume One.
The emails included in this Volume were made in private conversations. Although I have filtered
the highly personal information, they may contain jargon and familiar synonyms coined within
the TERROIR design team.
The project study appendices have been censored at various levels.
As per RMIT ethics requirements I have removed the identification of team members
and I asked permission to include the sensitive material
As the research involves the close collaboration with the directors of my industry partner
firm, I have included the firm and the directors identity. I have sought and gained their
approval for this inclusion.
As this is a study focussing on practice within an architectural firm, I have not included
client or consultant information. The project names are included as publicised on the
website of my industry partner firm, TERROIR.
20
APPENDIX A TERROIR SELECTED EXHIBITIONS

AND AWARDS
EXHIBITIONS
TERROIR have participated in various exhibitions featuring projects from the practice, as well as
artwork and installations produced specifically for exhibitions and larger scale installations in the
landscape. These exhibitions include:
Living the Modern - Australian Architecture - Berlin, DAZ (Deutsches Architektur Zentrum)
September 2007
TERROIR was selected as one of 25 Australian architecture firms to showcase the tradition and
transformation of the architecture of modern Australian housing.
OUT FROM UNDER: Australian Architecture Now
March April 2007
TERROIR were selected to participate in OUT FROM UNDER: Australian Architecture Now,
an exhibition of young Australian Architects who are establishing unique new trajectories in
design that combine innovative material and spatial research with high quality building. The
exhibition included work by: TERROIR, Dale Jones Evans, Neeson Murcutt Architects, Sean
Godsell, John Wardle Architects, Kerstin Thompson Architects, among others. Curated by
Anthony Burke, Senior Lecturer and Director, Masters of Digital Architecture, University of
Technology, Sydney.
Second Nature Exhibition - Nanjing China
October 2006
TERROIR were selected to participate in Second-Nature Australian Modern Architectural
Design Competition, Nanjing Planning and Architecture Exhibition Centre. This exhibition,
curated by Peter Davidson of LAB Architecture Studio, featured the work of 9 Australian
practices, of which TERROIR was the only practice featured from outside Victoria.
AAA Young Architects Exhibition - Customs House, Sydney
October 2005
The AAAs Young Architects Exhibition was opened by founding president Glenn Murcutt and
Gerard Reinmuth. Gerard curated the exhibition. The Young Architects Exhibition was a display
of innovative architecture being held to mark World Architecture Day and Architecture Week.
Venice Biennale, Australias Virtual Pavilion
August 2004
TERROIR was selected as one of ten Australian practices working in the public realm to feature
in Australias contribution to the 2004 Venice Biennale of Architecture. TERROIR were one of
only three young practices from across the country to be selected, while the remaining seven
practices were well-established firms. The Biennale exhibition was hosted by
www.lab.3000.com.au.
ALTS + ADDS
August 2004
21
TERROIRs Ryde House was selected for a travelling exhibition as an example of contemporary
alterations and additions to housing in Sydney.
2007
2007 Kenneth F. Brown Architecture Design Awards:
Honourable Mention: Peppermint Bay
SELECTED AWARDS
2006
Tasmanian RAIA Awards:
Residential New Commendation: Liverpool Crescent House
Interior Architecture Commendation: Fish 349
Interior Design Awards:
Emerging Practice Award: TERROIR
Commercial Interior Design (Tasmania): Fish 349
Residential Interior Design (Tasmania): Liverpool Crescent House
Commendations:
Hospitality Interior Design: Fish 349
Residential Interior Design: Liverpool Crescent House
Colour in Residential Interior Design: Liverpool Crescent House
2005
Commercial Award: Peppermint Bay
Residential New Award: Tolmans Hill
2004
Interior Architecture Commendation: Peppermint Bay
2001
Residential Award: Tranmere House
2000
Interiors Awards: Hobart Boutique Hotel
22
APPENDIX B VARIOUS UNPUBLISHED

DOCUMENTS
Appendix B includes file notes that I have made in lectures that I attended in 2006 and 2007. I
have highlighted specific notes that I refer to in Volume One.
The following table categorises and codifies the material included in this appendix:
FILE NOTES
REFERENCE /
DATE
FN Tue 01/08/2006
AUTHOR
SUBJECT
Sarah Benton
FN Fri 28/09/2007
Sarah Benton
FN Thu 09/03/2006
Sarah Benton
Notes from lecture at Tusculum entitled

Architecture Theory & Practice in the Digital Age
Martens, B., A. Koutamanis, et al. (2007). Predicting
the Future from Past Experience. Predicting the
Future [25th eCAADe Conference Proceedings],
Frankfurt am Main (Germany).
Adelaide Possible World Conference
23
FILE NOTES
R E F E R E N C E / D AT E :
FN Tue 01/08/2006
SUBJECT:
Notes from lecture at Tusculum entitled Architecture Theory & Practice in the Digital Age
NOTES:
Andrew Benjamin gave a lecture at Tusculum entitled Architecture Theory & Practice in the
Digital Age.
He discussed digital use in architectural education. His main points were that we
should develop a philosophy of software (I used this phrase in this thesis and in
reference to what I aim to do in my own research)
He also argued that we should look at the inherent qualities of materials to validate
digital forms and to question whether it they are architecture. This discussion leads to
an understanding that within TERROIR materiality is not a driver or validation for the
architecture. Detail is important but it exists as a secondary informant as it is the idea
that is primary.
FN Fri 28/09/2007
SUBJECT:
Martens, B., A. Koutamanis, et al. (2007). Predicting the Future from Past Experience. Predicting
the Future [25th eCAADe Conference Proceedings], Frankfurt am Main (Germany).
NOTES:
In Martens, Bob; Koutamanis, Alexander; Brown, Andr presentation of their paper Predicting
the Future from Past Experience mention argument that digital media should have either no
place or centre stage in the architectural design process
FN Thu 09/03/2006
SUBJECT:
Adelaide Possible World Conference
NOTES:
This conference was aimed at challenging the conventions of architecture and proposing how
our cities may look in the future
Through watching the three main presenters Lars Sproybroek (NOX), John Bell, (England)
and Andrew Benjamin (UTS) it seemed as though there was also a conversation going on
about an apparent schism between using digital to seek a form that is pre-existing versus
using the digital to provide abstraction, representation and potentiality and therefore provide
radical de-contextualisation which can then be translated into architectural interventions.
24
LA RS SPUYBROEK
Lars Spuybroek was the first of the speakers.
He started out with The digital is full of impossibility, noting that anything goes in the digital
and therefore it can be up to the users to choose a moment to freeze the program and
capture an architectural form but, more importantly, architecture is about habitation. In regard
to the designing of cities there is the architecture of default, that is, what happens when no
architect is present. The question then becomes about freedom and about pre-formation and
the pre-existing form.We generate form; we do not design it
That emerging from his experience of a video and installation artist for years was his
approach to architecture: "Architects can misconceive habit for useWhat I learned through
art brought a different experience: how do you feel and what are your moods, rather than
what are you supposed to do."
He suggests "Architects are divided up, if you do technical things in architecture, you are
more like a determinist, like (leading British designer, Sir) Norman Foster, whose architecture
is very functionalIf you are a conceptual architect, normally your interest is not in
technology, so we are actually mixing things that are culturally very separated. That makes it
very new"
ANDR EW B ENJA M IN
Has an arts and philosophy background and teaches the masters of digital at UTS. Here he
discussed narrative, context and time in paintings. He discussed the development of
perspective and how digital is basically set up on the premise of these done hundreds of
years earlier.
He referred to Klay and Mondrian : where the work over the 1908/1930 and constructivism
developed and created the line as internally regulated, ontological & static.
Whereas Malevichs work with lines, and artwork is marked by potentiality and allegory
suggesting an after life.
So how is relevant in architecture?
Benjamin again noted Semper in discussing meaning vs production. Talked about digital
images and the potentialities created in working on them via various software packages &
programming. I.e.: software packages have a language of their own. So not about using
digital for process but by using mixed processes the outcome and transfers between
packages create the potential of the line and an allegory. The software packages are sites of
potentiality. And this realization has radically changed what we do and these changes have
reconfigured the relationship between practice and digital.
(Reference: Author as producer)
He suggested we need to rethink the definition of:
technique
technology
machine
practice
Noted that the image not abstract because it lacks substance but is abstract because it
contains potentiality and that this provides a radical de-contextualisation and an application
for architecture.
25
APPENDIX C VARIOUS TERROIR UNPUBLISHED

DOCUMENTS
Appendix C includes file notes and unpublished material gathered from various conferences. I
have highlighted specific notes that I refer to in Volume One.
I have included PowerPoint presentations made by TERROIR directors. The PowerPoints
include rhe images projected. Notes made by directors against these images are also provided.
I have also included various email correspondence that I refer to in Volume One. The emails
were made in private conversations. They may contain jargon and familiar synonyms coined
within the TERROIR design team. The Appendix material has been censored. As per RMIT
ethics requirements I have removed the identification of team members and asked permission to
include the sensitive material. As the research involves the close collaboration with the directors
of my industry partner firm, I have included the firm and the directors identity. I have sought
and gained their approval for its inclusion.
26
FILE NOTES
REFERENCE /
DATE
FN Thu 02/06/2005
FN Fri-Sat 2122/10/2005
AUTHOR
SUBJECT
Dale Jones-Evans
05 06 02 TERROIR intro RAIA NSW Source 490 Lecture Series

Cosmopolitism: The Designs of Resistance
Conference, UTS Sydney Placing Design
(abstract)
Richard Blythe,
Gerard Reinmuth,
Marcelo Stamm,
Jeffrey Malpas
Gerard Reinmuth
FN Mon 24/01/2005
22:39
FN Tue 07/02/2006
Scott Balmforth
FN Tue 08/09/2006
Sarah Benton
FN 11/2006
Sarah Benton/
Gerard Reinmuth
truly digital practice

What are the 3 corners of the debate
WITHIN TERROIR?
Internal TERROIR office meeting held on
the 8th September 2006
TERROIR Position Description Ideation
POWERPOINTS
REFERENCE /
DATE
PP Tue-Fr2-5/03/2004
AUTHOR
TITLE
Richard Blythe;
Gerard Reinmuth
frascari pres.ppt
Symposium On Drawing
Louis Laybourne-Smith School Of
Architecture and Design, University of
South Australia, March 2 & 5
source490-180804.ppt
PP 18/08/04
Gerard Reinmuth
PP 11/2004
Gerard Reinmuth
PP Fri-Sat 2122/10/2005
Gerard Reinmuth
04174-theory.doc 'Theory and Practice',

RAIA, Tusculum, Sydney, Australia.
05174-cosplaceUTS2005.ppt
EMAILS
REFERENCE /
RECEIVED DATE
Tue 25/04/2006 12:49
FROM
TO
SUBJECT
Gerard
Reinmuth
'Sarah Benton' ; 'Scott

Balmforth' ; 'Richard
Blythe'
'Sarah Benton' ;
'Richard Blythe' ;
'Scott Balmforth'
Sarah Benton
where might this surface stuff

take us?
RE: Hobart Waterfront
TM01
RE: Hobart Waterfront
Scott Balmforth;
Richard Blythe; Sarah
Benton
some sial feedback from

today
Wed 29/06/2005 12:29
Gerard
Reinmuth
Tue 09/01/2007 15:45
TM01
Mon 29/01/2007 14:59
Sarah
Benton
Gerard
Reinmuth
Thu 14/07/2005 18:00
Uncanny SIAL
27
UNPUBLISHED OR RARE LITERATURE

FN Thu 02/06/2005
AUTHOR:
Dale Jones-Evans
SUBJECT:
05 06 02 TERROIR intro RAIA NSW Source 490 Lecture Series
NOTES:
Good evening everyone, my name is Dale Jones-Evans and I welcome you all to another
Monday evenings architectural discourse.
Tonight I have the pleasure of introducing the architectural practice, TERROIR,
geographically a Tasmanian and Sydney based practice, started in 1998. Its run by three
good looking hunks, who on a first name basis, go by the names of Scott, Richard and
Gerard. S, R, and G are a Trans-Tasman, via the Pacific East Coast operation with deep
roots to Tasmania. A practice, glued together by aeroplanes and emails, and a tri-polar
configuration of intra-state minds.
Its easy to introduce people through their achievement-data. I dont need to do that, after all,
the reason TERROIR are present tonight, is because their achievements are high. Besides we know theyre smart, we know they have accumulated a nice little bag of institute awards,
we know they take the discourse and making of architecture seriously. In short, they want
to make a mark. Not bad for a mob with only a 6 year trajectory.
So the professional, academic and media reverberations suggest they are wanting to tell us
something. Imagine, a bunch of Tasmanian architects appropriating the French word
TERROIR as their mantle. I mean, what is that about - this you give me a French word and
Ill tell you, what it means, in Tasmanian, in fact in architectural Tasmanian. This is
confident and cheeky stuff, and we all know wine from French soils are good. So is this a
reference to their boquette of course it is. This is the need for a younger generation to flesh
out a new Tasmanian architectural language. Their architecture is about their story of their
landscape. And it is made from the conscious intersection and manipulation of three
ingredients; Culture / Architecture / Landscape.
Theirs is not a monochromatic reading of land - the New South Wales formula, its definitely
not, the humidity blowing through the slatts stuff Queensland, nor is the discourse inscribed
in and of the architectural body Melbourne. It is, east coast, but its neither exclusively
ecological or psychotic, its richer and may be wiser than that, with a leg in both
understandings. There is a monumentality and delicacy in their contextual swipes. Their linetraces and buckled architecture can traverse the most delicate tree or force the ground to rise
in a chorus of mountainous reflections. Specificity of site is critical, but lets not overlyromanticise this its not everything.
I think, TERROIR are experimenting, setting up the template for future urban work.
I
believe their buildings are acts of architectural erudition, urban constructs, rooted in the core
discipline of architecture, and stage set to meet the tamed-wilderness locations of Tasmania.
Though they do have, an eye - on land art. They reach out to the land and the land reaches
back, while the viewer looks in awe, at both.
28
TERROIR is a space we shall watch, sharing their growing pains and highlights. Tonight we
look at Tasmania and that States global search to underpin a natural asset ecotourism
investment.
And that requires exceptional architecture.
Could you warmly welcome TERROIRs Sydney persona - the 6 + man
Gerard Reinmuth.
FN Fri-Sat 21-22/10/2005
AUTHOR:
Richard Blythe, Gerard Reinmuth, Marcelo Stamm, Jeffrey Malpas.
SUBJECT:
Cosmopolitism: The Designs of Resistance Conference, UTS Sydney Placing Design (abstract)
ABSTRACT:
Designing in architecture is a 'pli' activity, always multiple by virtue of its interests: site,
budget, use, legislation, context etc. The modernist role of architect was singular - to unite the
multiple in a single expression, and therefore style and design were understood as singular.
The multiple was consequently defective and multiple authorship excluded from the modernist
canon.
The practice of TERROIR began as, and is sustained through conversation and is thereby
fundamentally pli and in which designing occupies the space between interlocutors. In this
form of practice, the question 'what is designing?' reveals a condition, which is both
specific/bounded and multiple/light.
Designing, it will be argued, can be understood as occurring in a place. This paper will
explore this notion of the place of designing through an exploration of the overlay of the
concepts of chora and TERROIR and in consideration of the plied nature of emergent
architectural practice.
These theoretical concerns underpin the work and design practice of the architectural firm
TERROIR. A reflective critical review of this body of work and
practices will test the proposition that the place of designing might be understood as
multivalent and nested and therefore that at the level of design there is a legitimate correlate
to cosmopolitanism.
29
FN Mon 24/01/2005
AUTHOR:
Gerard Reinmuth
SUBJECT:
truly digital practice
NOTES:
Andrew Benjamin has referred to TERROIR as a "truly digital practice" due to the remote
nature of the directors and their means of communication. The SIAL PhD then, is a prime
opportunity to fully explore the potential of the "digital practice" idea as suggested by
Benjamin and make it a reality at all levels of the practice.
FN Tue 07/02/2006
AUTHOR:
Scott Balmforth
SUBJECT:
What are the 3 corners of the debate WITHIN TERROIR?
NOTES:
(nb; using 3 directors as reference. Staff coming through key in also but generally under the
same umbrella)
Proposition for the three aspects TERROIR operate under;
Client/Brief/Program etc.
Usually locale dependent
Usually singular (ie GR or SB. Nb. Others coming through but still operating under guidance
of GR or SB)
Site
Where to stand/How to stand?
Singular or Plural, ie sole Director (ie especially of late in busy times) or at times all 3 (refer
Hazards, Bronte etc)
The Story
Zone for weak intelligence
This zone is where our sensibilities are aired.
Aspect that needs to be shared and understood between all 3
The point of engagement by the other(s), ie those with no role to play on points 1 and 2
(generally refer GR on Hbt projects/SB on Syd projects)
RB generally ALWAYS engages with 3, ie refer early stages referencing of;
Peppermint Bay; Bacon/17c gardens;
Bronte; Batholith image, Gregotti
30
Sals; Jam-making history

How weve generally answered the question of how we work is a version of the above, i.e.;
Director in charge in location is usually responsible for project management, ie 1
We often come together on site and reach a consensus on what position we take
in relation to the site
Richard floats in and out on key projects...some input in fact arises on projects
different from its intended original propositionrefer weak intelligence as being
able to make connections between seemingly unconnected elements.
FN Fri 08/09/2006
AUTHOR:
Sarah Benton
SUBJECT:
Internal TERROIR office meeting held on the 8th September 2006
NOTES:
This meeting debriefed staff from the workshop held with Martin Kornberger on the 1-2
September 2006.
The aim of the meeting was to provide a general reporting and to get further inputs from
the staff on the UTS concurrent research.
Director noted that on any project in TERROIR, two main architectural roles exist of an
Ideator and a Project Architect. Following Stamms idea of conflict and antagonism
TERROIR directors identified that these two positions interplay, through their
engagements, as hero and villain, battling and coordinating aesthetics and style with
pragmatics and realities.
Staff generally agreed/discussed that the two roles work independently of each other but
are simultaneously dependant of each other and thus the individuals share a sort of
duelling co-dependency.
31
FN 11/2006
AUTHOR:
Sarah Benton/ Gerard Reinmuth
SUBJECT:
TERROIR Position Description Ideation
NOTES:
Position Title: Ideation
Classification: Senior, Level C or D
Date: November 2006
1. POSITION SUMMARY
The Ideation staff are required to undertake design tasks within the practice in collaboration with
Directors; work towards further developing the reputation of the practice via its design work, nationally
and internationally; work with other members within the practice taking into account their inputs;
continue research and development of ideation techniques within the practice.
2. SUPERVISION
2.1 Immediate Supervisor
Director
2.2 Direct reports to this position

Junior Ideation staff and other team members as required.
3. PRIMARY TASKS
3.1 Listening
As TERROIR continues to be a conversation between people it is the ideators role to listen very hard to
the conversations surrounding the project,.
3.2 Reflection, Positioning

Upon gathering this body of information it is the ideators role to act on this information and reflect and
distill it into a position that they present to the team. The ideator needs to defend and argue the position
against the propositions of others in order to critique and verify the quality of idea.
3.3 Guarding
As the design develops the ideator needs to manage and maintain the essence of idea throughout the
project and continue to remind and critique the teams documentation.
3.4 Mediation
The ideator needs to be open and approachable so as to gather the most out of the contributions of the
team. The ideator needs to mediate between the parties so as to effect an agreement or reconciliation.
3.5 Designing
In designing, the ideator needs to think intelligently about the modes of representation used and work
through item 3.1, 3.2 in determining which modes of representation are best for a current design
investigation.
3.6 Speed
The ideator should endeavour to work at the speed of the conversation
4. LEVEL OF RESPONSIBILITY
4.1 Level C:
You will undertake ideation work on projects in direct contact with the Directors. In doing this work you
will make an independent contribution through your understanding of the TERROIR design process and
32
your involvement in it, and co-ordinate and/or lead the activities of other team members, as appropriate
to the task.
4.2 Level D:
You will make a significant contribution to the ideation process at the practice. In doing this work you will
make original contributions, which expand the knowledge of the practice in your discipline area.
You will make a significant contribution to the advancement of the design agenda of TERROIR and will
be able to articulate these advancements back to staff. You will also play a major role or provide a
significant degree of leadership in these activities across the whole practice and in the public realm via
lectures and/or wider study, to a national level of recognition.
5. POSITION RELATIONSHIPS
The appointee must relate effectively with:
Directors
Staff members
Students
Members of other practices with whom we collaborate
Members of the public and clients
Industry members and leaders.
33
POWERPOINT PRESENTATIONS
(frascari pres.ppt) PP Tue-Fr2-5/03/2004
Slide 1/28

Slide 2/28
Marco Frascari's workshop, Recto Verso conducted at

the University of South Australia 2004, challenged
participants to consider the difference between the
drawing on paper, a three dimensional object, and
drawing on the computer screen which was described
as two-dimensional and having no depth. How does the
data-set nature of the digital mark affect notions of
authorship normally associated with marks drawn on
the three dimensional piece of paper? Do questions of
artistic authenticity and authorship impact on
architectural designing? Do traditional drawing
techniques predicate the idea of the individual designergenius over collectives? Are there examples of
drawings made by collaboratives that are highly valued
in designing? If drawing is understood as delineation of
something or as drawing forth then are marks on paper
the only ways in which things can be drawn in
architectural designing? These questions form the basis
for a discussion of the work and practices of TERROIR
(Blythe Friday, June 10, 2005 11:59 AM book chapter
proposal on the architectural drawing)

Slide 3/28
34
Slide 5/28
Slide 6/28
Slide 7/28
Slide 9/28
The canova contraption is interesting in relation

to the technological projection in computer/Evan
example
35
(source490-180804.ppt) PP 18/08/04 Slide
Slide 10/28
27/184
At this point, need to explain that, the system has

been presented as a lineal one when in fact it is
of course iterative.
(04174-theory.doc) PP 11/2004 Slide 2/35
(04174-theory.doc) PP 11/2004 Slide 3/35
BOTH how we design AND how we manage that

over 16 people
36
(05174-cosplaceUTS2005.ppt) PP Fri-Sat
21-22/10/2005 Slide 1/51
21-22/10/2005 Slide 2/51
Cosmopolitanism and Place: approximate places
WHY is this interesting? Temporal fast and

instant response Diagram -insistent to explain
things, which helps drive a larger practice With
time process has become more formalised and
understood Ownership diagram becomes part
of ether and is multi-owned Important opposite
of our training separate partners doing separate
things
21-22/10/2005 Slide 8/51
21-22/10/2005 Slide 51/51
37
EMAILS
REFERENCE:
Tue 25/04/2006 12:49

DETAILS:
From: Gerard Reinmuth
To: 'Sarah Benton' ; 'Scott Balmforth' ; 'Richard Blythe'
Sent: Tuesday, April 25, 2006 12:49 PM
Subject: where might this surface stuff take us?
CONTENTS:
Hi,
Going to start a conversation about the surface stuff, very uncertain on my part so accepting there will
be a range of reinforcement and challenges as we work through it. I will also probably run foul of
Richard in terms of nomenclature so his critiques will be helpful no doubt.
RB/SB and I have been mulling over our recent theoretical realisations and coincidence (in that the
material we are all working through intersects and intersects and this week all trains seemed to arrive
at the station). It has opened up possibilities of what a set of research might be, from our perspective,
into the way in which we project forward our work in a digital context (this was not the reason the
theorisation but a byproduct).
We have been circling a number of issues, the inner/outer, the double skins of the houses and
hazards, the way in which our line is a productive tool that yields to surfaces/walls, the bluntness of the
exteriors, the uncanny, the acceptance of a decorative quality within the logic of the formal actions that
produced these surfaces etc etc.
Andrew Benjamins surface stuff has been a profound moment (RB and I cant stop banging on about
it) as it ties together nearly all these issues in one bundle. As per my previous notes, Andrewss
descriptions of the productive line and surface may as well be a discussion of the yellow-trace sketches
we have relied on so much in the past. A clear and analytical look at their structure, formal
relationships and so on will reveal that they are exactly aligned with Andrews text. Andrew then, has
explained to us what we do, what is significant about the way we draw. We could never do this as
clearly before. What is also of interest is that Andrews essay was written to contextualize the digital
paradigm and the interest in the surfacing ability of software.
The question then arises, is there something we can learn from this in how we approach digital tools?
Is AutoCAD the best design tool, given its need to construct things from lines (not the conceptual Lines
I talk of but small l lines 4 of which bare needed to describe square column). When I see fidgeting
by say, TM12, in 3D studio, I see lines adjusting and cluttering but not the smoothness of the yellow
trace sketches... Not a conceptual awareness or operational accommodation of the surfacing of spaces
that forms according to spatial or landscape logic. What is interesting is that in AutoCAD you have
managed very well to retain the spirit of the sketches, have discovered the value of the quick dump
and the like, but is this software working operationally in the correct way give a meditation on the
nature of our work?
Is Maya worth a more focused look? Or is it all in AutoCAD and 3DS but we are just not operating in
the correct way
A lot of questions. I am interested in how we can move forward and get into the ideation abilities of the
digital tools as they can reinforce and expand upon what we already do well, and make it better?
G
38
REFERENCE:
Wed 29/06/2005 12:29

DETAILS:
To: 'Sarah Benton; 'Richard Blythe; 'Scott Balmforth'
Sent: Wednesday, June 29, 2005 12:29 AM
Subject: where might this surface stuff take us?
CONTENTS:
the question is, how does the computer assist, until the computer gets to the point that it understands
that it needs to create something uncanny?
so, how does the idea of SIAL intervention/PhD get worked into this Sydney comp? There are some
interesting issues in here about the computer and its potential
REFERENCE:
Thu 14/07/2005 18:00

DETAILS:
Sent: Thursday, 14 July 2005 18:00
To: Scott Balmforth; Richard Blythe; Sarah Benton
Subject: some sial feedback from today
CONTENTS:
the sial opportunity seems to be twofold- how can sarah illustrate to us how all this
technology may affect our work (at a conceptual and technical level) and secondly, how can
sarah simultaneously think about communicating her newfound knowledge back UP the tree
to directors and DOWN the tree to staff, so that what she is doing is relevant for the directors
and understandable to staff who then take over her projects
REFERENCE:
Tue 09/01/2007 15:45

DETAILS:
From: TM01
Sent: Tuesday, 09 January 2007 15:45
To: Sarah Benton
Subject: RE: Hobart Waterfront
Ive used design techniques or actions as headings listed in chronological order and because
of this its quite repetitive. The repetition though is indicative of the way we move across
different fields and methods of inquiry and often repeat similar processes at various times
i.e. wasnt a linear process of completing one stage before moving onto the next. Also Ive
been quite brief and there are some chunks that Ive skimmed through when the process we
were going through when the design process was similar. Going back through the emails Ive
realised not much of the drawing that we were doing down here in the Hobart office was
being communicated
Analysing the Site
Director produces a diagram sketched over a photo to describe initial site issues.
39
Drawing on Precedents
Imagery of other similar architectural projects
Projects dealing with similar problems of making a project out of nothing
I dont think this precedent and ensuing email discussion went anywhere perhaps
because they were very much derived from a CAD process
Investigating the Site Directors conversing Transcribing Directors conversation
I suppose this site visit and conversation formed the basis of where to start.
Discussing (verbal)
Individual words are associated with ideas and start to gather meaning.
Around this time I think we had a phone conference where we discussed the nature
of the site apron and its relationship to the city key words emerge such as
turbulence and triangulation.
Also discussed connection of the apron to the city as a hook movement as
opposed to an axis.
Diagramming
Words such as turbulence which have emerged are diagrammed (using CAD drawings and
3D models) as a way of investigating their potential.
Prompted by these visual representations a discussion ensued involving the
directors of what to investigate and what methods to be used in investigation. I
suppose this is the important thing here that the diagram in itself might not be as
important as the discussion which occurs around it
Reviewing (brief)
Not really yet understanding what the project is the brief is reviewed to work out what the
problem is.
Defining (words)
Key design trajectories are listed which prompts further discussion from Directors e.g.
The concrete apron is extremely artificial, and hence its nowhereness is at odds to Hobart
generally where the landscape PLACES one
I wondered whether the rivulet is not in fact the 3rd element which in a way completes the
triangulation between mountain and harbour
KEY focus is starting to shape up here in words.
Researching
Search for images of metaphors or key words which have appeared in conversation to date umbilical cords, water, spillways, estuaries etc.
The descriptions / images found in this research were not really picked up as I think
they were too detailed and strayed from core ideas. Later on however imagery of
estuaries was incorporated into diagrams.
Recap-ing
recapped comp requirements and design issues (in words). Imagery was then used to
investigate key ideas.
40
Representing
At this stage the first series of presentation imagery emerges which attempts to represent
the key design issues.
Drawing (hand)
Testing various stylistic approaches to working over the site some referring to earlier
researched precedents.
Diagramming
Further diagramming incorporating various design ideas together.
Investigating (Physical Models + Photomontage overlay)
Used to test the word or idea of turbulence in an architectural outcome.
This worked well I think because it was a simple method of testing whether an idea
can be transformed into an architectural element.
This imagery prompted a request to go to the Prague project and test some elements from
there.
use Prague form as a quick-n-dirty object, transform it by mirroring to get the kick action to
gesture the landscape valley shown following and then set in relation to an image of the
landscape valley (either a picture or cad topography).the point being to render an image to
present to US (the project team) to describe the action of working the dunn st apron to
reference the greater landscape bowl
This is then developed as a series of cad images.
Investigating (New tool software)
New water modelling software is used to test flooding the site still thinking about the word
turbulence.
A discussion on the accuracy of the model then ensues this is more to do with the capacity
of the software.
revert to a more poetic area of discussion and uses other metaphors to describe the essence
of our site and its characteristics glacier and lava.
Researching
Internet research into words glacier and lava produce descriptions and imagery.
Imagery of the metaphor lava strikes a cord with the Directors.
Drawing on Precedents
Images of Chillida sculptures provide an interesting precedent for a particular architectural
manoeuvre:
An image showing the turning up of a monumental element
Drawing
Testing an architectural response which is conceived as a composition on the site though
drawing.
Presenting
A discussion over many emails ensues about the final layout / quality of the presentation
panels. produce imagery for the main image and discuss its relevance to the key design
ideas. I think the production of this image is hindered by the communication channel set up
41
REFERENCE:
Mon 29/01/2007 14:59

DETAILS:
From: Sarah Benton
Sent: Monday, 29 January 2007 14:59
To: TM01
Subject: RE: Hobart Waterfront
attached my take on the process. Many of the words that you identified were the same as
what I had, although I did put some of your extra words into it.
The thought was to write about the characteristics of undertaking the role
ASPECTS OF THE IDEATION ROLE

The role is twofold; conversation and visuality
C O N V E R S AT I O N
The role of Ideator is a social activity requiring an Ideator to collaborate, which includes the ability to
listen, mediate, facilitate and articulate.
LISTENING
1. To make an effort to hear something
2. To pay attention; heed
As TERROIR ideation is a conversation between people it is an Ideators task to listen very hard to the
conversations surrounding the project. They need to take it all on board
M E D I AT I N G / M E D I A- T I N G
1. to settle disputes as an intermediary between parties; reconcile.
2. to bring about an agreement as an intermediary between parties by compromise,
reconciliation, removal of misunderstanding, etc.
3. to effect a result or convey a message by or as if by an intermediary.
verb (used without object)
4. to act between parties to effect an agreement, compromise, reconciliation, etc.
adjective
5. to occupy an intermediate place or position.
6. acting through, dependent on, or involving an intermediate agency; not direct or immediate.
As an Ideator I mediate within an intermediate position between technology and idea to effect a
result/convey a message. I also bring about agreement by compromise/misunderstanding through the
production of certain images. So what is settling the dispute ? As in law it is the third party that
mediates the dispute being between the directors and the idea I act with the image/technology to
convey image .
EG: Maitland, Prague, 86-88 GEORGE STREET
I also can act with judgement to progress the debate.
EG: Prague
I also can act without judgement to progress the debate.
EG: Maitland, Hazards
F AC I L I T AT I N G
1. to make easier or less difficult; help forward an action, a process
2. to assist the progress of
Acting without judgement is a part of my facilitating.
By doing this it removes unnecessary debate to allow the idea to develop and be presented (necessary
part of completing an architectural presentation) and reduce frustrations in conversation
42
Eg: Newcastle didnt work well as my weak facilitation (assisting the progression) didnt make the
process easier/ successful. However in Prague etc facilitating other peoples comments into images
assisted the progression of the work by not contending the issue like the dump, just getting the work
done so that one can critique it visually.
AR G U I N G
1. to present reasons for or against a thing
2. to contend in oral disagreement; dispute
verb (used with object)
3. to state the reasons for or against
4. to maintain in reasoning
5. to persuade, drive, etc., by reasoning
6. to show; prove; imply; indicate.
I dont often enter into the argument and persuasive aspects (ie: form a judgement) but examples do
exist
EG: Prague, Hazards
AR T I C U L AT I N G
1. expressed, formulated, or presented with clarity and effectiveness
2. made clear, distinct, and precise in relation to other parts
3. having parts or distinct areas organized into a coherent or meaningful whole; unified
4. Zoology. having joints or articulations; composed of segments.
verb (used with object)
5. to utter clearly and distinctly; pronounce with clarity.
6. to give clarity or distinction to: to articulate a shape; to articulate an idea.
7. to unite by a joint or joints.
8. Anatomy, Zoology. to form a joint.
noun
9. a segmented invertebrate.
Having clear precise relations to other parts is a part of my task to project manage a design. Im not
sure how significant this is in terms of Ideation. However making connections is a part of networks and
remembering, which some would suggest is a part of creativity.
EG: Prague, Hobart I increasingly reiterate the conversation to establish the links and assist the
development of the story. However these tasks are then finalised by the directors as I move into the
development of the images.
EG: Prague images (attempt) articulate the idea clearly and distinctly. They are also conveyed in a
(romantic) style
DISTILLING
1. To separate or extract the essential elements of: distill the crucial points of the book.
2. To fall or exude in small quantities.
As with articulating separating the conversation into essential elements is a task of distillation of the
information.
V I S U AL I T Y
In the Prague case study I identified 3 ideation stages: conversation, speculation, presentation. The
Hobart competition reinforced these stages.
The speculation and presentation stages are more visual than the conversation stage.
In Prague, I thought that the process held a level of linearity such that by the end of a project one shut
down and not-think-just-produce as work has to be done. In Hobart this was not correct. Rather whilst
someone did need to sit and produce the work at the end of the day, an overlapping and ongoing
interaction between the stages of conversation, speculation and presentation occurred all the way
through the projects development. This suggests a circularity to the stages.
S P E C U L AT I O N
Speculation includes ideas generation, form generation, and presentation.
43
I D E AS G E N E R AT I O N
For each new project this is typically undertaken and derived by the directors. On commencement of
the office they agreed that the practice should develop a consistent body of work and continue to
address (and re-address) their founding interests. So whilst there is not an aspiration for TERROIR to
do a particular work, they have an aspiration to make the best of a place or a situation no matter where
it is and try to strip back a problem to an understanding of where it is in the world and how it can relate
to that place, as a way of then scribing some sort of meaning to the problem that then might unite
people around that place. So there is a considerable body of work that has already been undertaken in
scribing a TERROIR ideology. This mass of work, and its ever-evolving nature, makes it challenging for
any new Ideator to enter into a conversation about the higher ideology of the practice without a
dedicated and thorough training and engagement. But the Ideator needs to gain an understanding of
this and the sensibilities of the directors and learn how to operate within it whilst continuing to critique it
in a productive way - such that they do not fall into a pattern of trying to guess what the director may do
but rather to present what they believe would be the appropriate TERROIR proposition in respect to a
current project and its own constellation of ideas.
Due to the complexity of the existing body of work, projects in TERROIR undergo a process of idea
setting prior to the project being shared with a larger team. At an everyday level Ideators are invited
into the first conversations with the directors in order to brainstorm and distill an initial idea set.
C O M M U N I C AT I N G ( D R AW I N G O N P R E C E D E N T S , R E S E AR C H I N G )
1. to impart knowledge of; make known
2. to give or interchange thoughts, feelings, information, or the like, by writing, speaking, etc.
3. to express thoughts, feelings, or information easily or effectively.
4. to be joined or connected
My research is normally given as an interchange and an expression of my own thoughts, connected to
the conversation. However it is not a time for judgment to be made.
F O R M G E N E R AT I O N
There is then a period of idea cultivation where initial comments are extrapolated, passed around,
added to and critiqued. During this time it is their responsibility to ensure that potentialities behind the
metaphors of the ideas being discussed are investigated and provided. It is also their responsibility to
ensure that the information is managed and continues to address the initial set of questions.
The Ideator is key in the evolution of a formal response in a manner appropriate for the project and the
construction of representations. Through this stage the Ideator needs to seek, develop and present the
idea. The Ideator is much like a role of an illustrator that works alongside an author, they bring richness
to the storyline of a TERROIR project. This richness may not just be an articulation of the story, but
may project this story in a speculative way, seeking out potentialities, insights or abstractions that fit
within the scaffold of the idea that bring forth new possibilities and provide the team with new ways of
seeing.
REFLECTING
1. To give back or show an image of (an object); mirror.
2. To make apparent; express or manifest
intr.
3. To give evidence of the characteristics or qualities of someone or something
4. To think seriously.
5. To express carefully considered thoughts:
Mimesis is a (contentious) part of representation. I do sometimes reflect objects in images but they are
normally used in an abstract way
In terms of thinking I do think seriously about the conversation, which helps me to develop the
appropriate image
EG: Most images
T R AN S C R I B I N G / T R AN S L AT I N G
1. to turn from one language into another
2. to change the form, condition, nature, etc. of
3. to explain in terms that can be more easily understood; interpret.
4. to bear, carry, or move from one place, position, etc., to another; transfer.
5. Computers. to convert (a program, data, code, etc.) from one form to another
44
In translate verbal conversation into a visual format. Not necessarily to understand easily but to
translate into a new form
Eg: SHFA, Currant
C R E AT I N G / I N V E S T I G AT I N G
1. to cause to come into being, as something unique that would not naturally evolve or that is not
made by ordinary processes.
2. to evolve from one's own thought or imagination, as a work of art or an invention.
3. Theater. to perform (a role) for the first time or in the first production of a play.
4. to cause to happen; bring about; arrange, as by intention or design: to create a revolution; to
create an opportunity to ask for a raise.
5. to do something creative or constructive
Sometimes I act creatively without direction.
EG: Bicheno, Prague
PRODUCING
1. to bring into existence by intellectual or creative ability: to produce a great painting.
2. to make or manufacture: to produce automobiles for export.
3. to bring forth; give birth to; bear: to produce a litter of puppies
I definitely produce representations/images to bring into existence. But not only to make but to bring
forth in a way that provides new insights to a conversation.
Includes
Physical Models, Photomontage overlay, New tool software, Diagramming, Drawing (hand)
Ie: operational images (going back to cofa interior image is a good example of this), like most card
models we make and the dialogue that happens between us, would not contain peoplefor arguments
sake just like they would not contain representation of everyday things, but;
P R E S E N T AT I O N
The Ideator can be used in the realization of the forms ideation image and or the projects descriptive
images. Renderings for descriptive purposes are also neededeg: some by moritz for shfa
DIRECTING
Next would be directing? This would be contentious and a part of the next step. However I am
currently directing the production of works by people
45
APPENDIX D PROJECT STUDY:

COMMUNICATIONS
Appendix D includes file notes and email conversations gathered over the research timeframe. I
have highlighted specific notes that I refer to in Volume One. I have included various email
correspondence that I refer to in Volume One. The emails were made in private conversations.
They may contain jargon and familiar synonyms coined within the TERROIR design team. The
Appendix material has been censored. As per RMIT ethics requirements I have removed the
identification of team members and asked permission to include the sensitive material. As the
research involves the close collaboration with the directors of my industry partner firm, I have
included the firm and the directors identity. I have sought and gained their approval for its
inclusion.
TEAM MEMBER PARTICIPANT CODES
Team Member No 3
TM03
Team Member No 9
TM09
Team Member No 12
TM12
FILE NOTES
REFERENCE /
DATE
FN Fri 06/10/2006
FN Mon 27/02/2006
PARTICIPATING
SUBJECT
Gerard Reinmuth, Sarah Benton
WIKI/Email
Scott Balmforth, Gerard Reinmuth, Sarah

Benton
WIKI/Email
EMAILS
TOTAL EMAILS
Received
60
Sent
REFERENCE /
RECEIVED DATE
Fri 25/08/2006 11:12
16
FROM
TO
SUBJECT
TM09; TM03; TM12
FW: embedded
Fri 25/08/2006 11:20
Sarah
Benton
TM03
RE: embedded
Fri 25/08/2006 11:23
TM03
Fri 25/08/2006 11:26
TM12
'Sarah Benton'; TM12;

TM09
TM09
TM03
RE: embedded
RE: embedded
46
FILE NOTES
FN Fri 06/10/2006
PRESENT:
Gerard Reinmuth, Sarah Benton
DISCUSSION:
WIKI/Email
NOTES:
1. Reasons for questioning use of email
GR mentioned that he agreed that Mark Burrys suggestion that the office may be complacent or are
you just relying on the system was useful to question. One question was are there any disadvantages
in the system.
2. The interface.
We discussed the different interfaces for commenting and editing wiki. I suggested that directors had
an easy tool for adding comments but for the upload of information they would need to engage in
another language. GR said that they want to use it properly and will agree to use and learn the manual
interface. But it should be acknowledged that this will be a frustration and if it becomes too
cumbersome then email would be reverted to.
3. Heterotopia of Information and Weak Intelligence
The project will just be a competition. The office system allows for emailing in regard to not only design
but project management; admin, client, consultants. But for this project the wiki will be only be used for
design discussion.
GR noted that this is a heterotopia of discussion and this allows for a weak intelligence, that is, in one
sentence many things may be covered or uncovered.
It is a precise process that is not overt. As it is for design a certain type of intelligence ensures and
means that you not want to put yourself in a box (or segregate the information into managed folders).
You want to keep it flat structured and open. You do not want to thwart the discussion. Not boxing it
up. If you look at the email there is a level of flick back and forth on one issue.
So GR imagined that the front page of the wiki would be similar to that of an email inbox which is just
a long page of discussion.
4. Searching
The good thing with email is that you have search facilities. So if you want to find something you can
search by date or use the title which the team has appropriately or approximately named.
There are high importance and hierarchy marks that can be used to make a notification of a particular
comment.
5. Scrolling
In email the interface allows you to scroll over the discussion and get an overview of its development.
This link to chronology shows and reminds the team of how the story unfolded and how it may be
repacked. In wiki you would want to be able to scroll back and see the chronology of the discussion.
6. Legitimacy of Information
The concern with the wiki is the legitimacy of the information as the edit function allows team members
to corrupt the sequence of events
7. Parallel Conversations
We discussed that directors and team members use separate lines of emails to have private
conversations that are separate to the main discussion. GR noted the beauty of this is that these are
not explicit.
Although in the WIKI you can create separate pages for these to occur the problem is that their link
cant be invisible. So whereas on the email, and with our system that is not linked by exchange, all
conversations are hidden and private.
Without these hidden links the team would need to accept the social reality of private conversations.
47
FN Mon 27/02/2006
PRESENT:
Scott Balmforth, Gerard Reinmuth, Sarah Benton
DISCUSSION:
WIKI/Email
NOTES:
Main issues that were agreed:
Tablet PC hardware facilitates scribbling
Windows Explorer gives file management and is quick and easy to navigate.
Microsoft Outlook facilitates conversation
Basically many hybrid tools exist to do a lot of different things. It is not a database approach
Senior people use curation and manage the process through agreed and evolving office
protocols
Other Issues raised:
Some communication media assists a mode of operation that is a flat structured, open sharing
and collaborative resource.
However TERROIR process is arguably more conversational. TERROIR uses email to hold
design conversations.
In the set up of TERROIR design emails it is common that one travels through many
programs to make all sorts of adjustments to images and texts, including marking up or
colouring images sent through by another.
Noted that there was a level of trustworthy collaboration and individual control at TERROIR.
One gets shown and shared into what another wants to show and share.
In email each person has there own version of the conversation, each individual has their own
control of events and access to all the points of the conversation for them to refer back to if
necessary. It is not collaboration in an open sense. A hierarchy is required and exploited.
There is a human component in the curation and presentation of emails to get a point across.
There is an editing process in the emails including deleting, editing via copy and paste of
other peoples versions.
The chronology of the conversation is important. Having an interface that allows the user to
sort and rearrange the conversation visually is useful in the re-curation of an argument.
Email automatically saves old versions. Then one copy and pastes from old versions to put a
point across.
Three discussions can occur at once over sequential emails. Different issues or areas of a
building can be discussed simultaneously across parallel email banters.
There is a self management available for those that chose to enter conversation
No email folders are shared across the office. This has been due to having no exchange
services. Discussed that this has facilitated a privacy and individualistic approach to the email
process.
There is personalization, self management, organization and interpretation in the email
program as each user can set up the filing systems as it suits there own individual practice.
Noted that the interface of Google images was useful for viewing images. But it is a rarely
used tool in the development of a design.
In WIKI there is an effort to replicate in a similar manner to the email and someone needs to
decide for the team when a version is old. Someone needs to be positioned to manage it
48
EMAILS
Fri 25/08/2006 9:28

DETAILS:
Sent: Friday, August 25, 2006 9:28 AM
To: Sarah Benton
Subject: embedded
RELEVANT CONTENTS:
The amount of innovation bought to the office is in Sarahs hands. There is no Directorial view that we
should not explore new innovations. But, where we have existing systems (email communication for
example) that works well, we are not going to enact changes unless Sarah makes a case for us to do
it. If she does not introduce innovations such as the wiki we simply assume that she is too busy, or has
thought it through and has decided it would not help. This is totally Sarahs department and does not
involve Directorial meddling. I suspect some of these decisions will come out in her case studies. For
this reason, I support the enablement of systems such as a wiki in the interests of a more rigorous
research process and thus more justifiable conclusions
Fri 25/08/2006 11:12

DETAILS:
From: Sarah Benton
To: TM09; TM03; TM12
Subject: FW: embedded
CONTENTS:
(There is a) suspicion that the office is complacently under the illusion that email is a system that is
working.
There seems to be two issues:
1- That the office uses email (this is convenient and reliable but it could be any web based
application) to generate, moderate and manage designing in particular discussion and
representations. This is an INTERNAL process for TERROIR in the interests of holding,
protecting and manipulating the idea/story of a project.
2- That the office especially on bigger projects needs to start to more rigorously assessing
how EXTERNAL contributors engage in this interest in the priority of the project idea/story.
So I would like to debate the finer details of this
49
Fri 25/08/2006 11:20

DETAILS:
From: TM03
To: 'Sarah Benton'; TM09; TM12
Subject: RE: embedded
CONTENTS:
Yes, I think this would be a good move forward.
I find that not being the one of the top players in the design process, I get left out of a lot of emails and
design discussions which means that when Im asked to model something, part of the idea or story is
missing and the results arent quite in tune with the latest design discussions. If the communication was
centralized such that I could access it, this would solve the problem of what g referred to as a forgetting
of ideas. I question the value of the hierarchical discussions because if the bottom people dont know
the ideas or story properly, the documentation wont reflect them.
Fri 25/08/2006 11:23

DETAILS:
From: TM03
Sent: Friday, 25 August 2006 11:23
CONTENTS:
Further, having access to these discussions could greatly help in educating the younger members of
the office in how the design process works and how ideas develop and translate into design.
Fri 25/08/2006 11:26

DETAILS:
From: TM12
Sent: Friday, 25 August 2006 11:26
CONTENTS:
As a very quick answer Id say YES!
Definitely needed!
The story line in a project gets lost easily due to the given reasons!
As u are jumping back and forth between projects there is simply no way that you can keep track of
what was happening (hazards2-3 years!?)
And I have the suspicion that the directors with the large variety of projects they try to handle lose the
overview as well!
Things get forgotten and losttime and quality is wasted!
Dont know much about wikisbut I assume it has sort of a blog-structure which would already solve
some problems as everything can easily be accessed vie a timeline. U scroll through and or pick
stages of interest. SoYES!
50
APPENDIX E PROJECT STUDY: DIGITAL MEDIA

IN THE EARLY STAGES
Appendix E includes file notes and email conversations gathered over the research timeframe.
In long documents, I have highlighted specific notes that I refer to in Volume One. I have
included various email correspondence that I refer to in Volume One. The emails were made in
private conversations. They may contain jargon and familiar synonyms coined within the
TERROIR design team. The Appendix material has been censored. As per RMIT ethics
requirements I have removed the identification of team members and asked permission to
Team Member No 1
TM01
Team Member No 4
TM04
Team Member No 5
TM05
Team Member No 6
TM06
Team Member No 7
TM07
Team Member No 8
TM08
Team Member No 10
TM10
Team Member No 11
TM11
FILE NOTES
REFERENCE /
DATE
FN Thu 12/07/2007
FN Tue 17/07/2007Wed 18/07/2006
FN Thu 26/10/2007
PARTICIPATING
SUBJECT
Sarah Benton, Gerard Reinmuth
Review of Presentation for

Digital Media In TERROIR
Sarah Benton, TM08, TM11, TM01,

TM05, V6, TM04, TM07, TM10, Scott
Balmforth
Sarah Benton, TM08, TM11, TM01,
TM05, TM06, TM04, TM07, TM10, Scott
Balmforth

Summation
EMAILS
REFERENCE /
RECEIVED DATE
Thu 9/08/2007 16:35
FROM
TO
SUBJECT
Sarah Benton
TM08; TM09
sial
Thu 9/08/2007 16:45
TM09
'Sarah Benton'; TM08
RE: sial
51
FILE NOTES
FN Thu 12/07/2007
PRESENT:
Sarah Benton, Gerard Reinmuth
DISCUSSION:
Review of Presentation for Digital Media in TERROIR
NOTES:
Gerard in discussing 86-88 George Street Foyer:
Looking at the imagery as an operation, we are operationally working on them and we need
to look at them in their totality
FN Tue 17/07/2007-Wed 18/07/2007

PRESENT:
Sarah Benton, TM08, TM11, TM01, TM05, TM06, TM04, TM07, TM10, Scott Balmforth
DISCUSSION:
Digital Media in TERROIR
NOTES:
Scott Balmforth: On a general levelI think the last 12-18 months we have probably or
the past 2 years we are getting better as a collective and that is lead by Sarah and her
SIAL stuff but its also naturally seeping through. People can invent ways of showing things
that it doesnt matter if you want to do a bit of performance dance to explain something its all
about using tools which is what SIAL is using tools and knowing when technology isnt
going to give you that tool. To back away. And thats probably the best position to be explain
that we are not searching for answers solely by technology so what has happened is the
general skill set which once upon a time used to be cardboard has grown as a family.
Cardboard models still stay there as a valid toolset as Sarah will attest; velvet and
plasticine, weve actually got better at producing the quick and dirty images internal images
to convey designso what has happened is that skill set is growing exponentially and Ive
spoken to Sarah about this before that even I sarah wasnt doing SIAL that would still
growand that was even happening before Sarah did SIAL. For example on Hazards there
is an evidentiary account of just day one we were just making funny cardboard models by
just before Sarah entered SIAL which to me is an important aspect we were doing
cardboard models and a cut across the office - and getting into some early spa images ..
.to me that becomes the raw case of saying that unaided we are developing skills happening
through this office
TM11: On the same token, I think the Hobart office has become more rigorous than the
Sydney office in terms of everyone wanting to do it the same way and there being some sort
of standardised foundation in the way that we document
Scott Balmforth: Yeah I am away from the 2D traditional documentation sense I am more
turning putting that aside momentarily to developing a design project, there is various ways
TM01: Its actually seeing whats been produced by various people and working out what
skills are required to do that thing
52
Scott Balmforth: Yeah everyone being able to reflect and look at someone not because
they choose greens and salmons, pinks its more being able to see that that person is
different but that will have a particular strength in some circumstances. We were talking
about it with TM10 and Sarah on UWS (another competition project) (it was) understood that
TM10 and Sarah have completely different presentation techniques, Sarahs is graphically
strong but of a particular quality, TM10s can be seen in North Sydney competition. And what
we were talking about was overlapping those. Each one, TM10 and Sarah know what there
strengths are and the others strengths are to ultimately get the best version. (Its) not (about)
trying to jam TM10 into Sarahs presentation and I think graphic presentation in AutoCAD
also has that quality or ability.
TM05: Id say at the moment in terms of documentation we are all at a certain level and its
probably happening like you say certain people and certain things and areasid say in the
design side, especially as we step into the 3D stuff we are probably not at that stage at the
moment where we can have a conversation about how you would potentially do it cos I dont
think enough people know about it and I think at the moment its more a case of so how did
you do that and then you go and do it yourself rather than you did it this wayand I think
that will come in the stage
Sarah Benton: A Hobart generalisation has been the documentation office.and in
Sydney we are looking at design with 3D toolsso, its not across the board, but some of us
are at a similar level in terms of how we do it and our own personalities are coming through
in the way that we are using it. So now, I think because of the pressure and the way that the
office is moving we are trying to integrate the whole office across the two sites. (Sydney)
downloading a bit more of design to you (Hobart) I think will relieve pressure
TM11: Designing tools have probably been less computer orientated in Hobart in a 3D sense
Sarah Benton: At one sense its a bit of a problem that youve got to have your own
personality and fostering that is great for presenting your ideas and the way you work and
we like to see that but at the same time not using the same languages is a problem as well.
There is benefit in being able to do the same things so I dont know how that works in terms
of if UWS went ahead I would want TM10 to be able to do exactly the same brazil
renderings that I could do not because I expect it to be exactly the same but because if need
be he can interpret it in his own way
TM08: I think that is exactly what Scott is saying. Weve got AutoCAD as TM11 was saying
is a general program and powerful program which gives you a common platform and I think
or what I would see is that we give everyone that basic platform to work from and each
person will develop that platform in the way that they want to do it. So it is about
standardising things at a very base level and lay down the foundation, what then comes out
of that foundation is something completely differentif we lay down those sorts of
analogiesif we lay down a solid foundation building and the thing that we get off those
foundations will be strong but strong in their individual ways.
Scott Balmforth: There is another good point in the things you were saying Sarah. 12
months or so or whatever there was a sense that there was an imbalance in the tools being
taken up. Now there is not that sense. In the end that is the optimum for the way we operate.
Not be constantly worrying that everyone doesnt share your Rhino or Brazil knowledge and
confident that there is an organic take up in a way. So for instance as you say on UWS if
there was a reason why it was valuable for TM10 to become conversant in Rhino it would be
an urgency to at least introduce him to it but acknowledge that he has been on it after one
day. Where as you have been on it after 1000 days and acknowledge that its not panic
stations if his immediate skill set and that is almost a natural way of looping more packages
in. Because we all know that to sit down here for 2 days and a presentation on Rhino and
walk out of here and not use it on a real project you are just going to forget about it
Sarah Benton: The pressure is on us in Sydney to use Rhino when it is probably more
appropriate for you to be using it
Scott Balmforth: Taking that point up that is a way of explaining that if via a project TM05
needs to pick up Rhino its probably a comment to both Sarah and the office in general
TM05 has taken up Rhino and we wake up in a couple of months to find TM08 knows Rhino
via another discussion we have had where its almost by osmosis he has taken it up. And
TM06 has taken it up Rhino and something else. You get to a point there to think hang on we
do need to come in and fix up those that do not know the basic level of Rhino. Because all of
53
a sudden we go from specialists via circumstance to a general base level in Rhino that TM08
said. And you will always have the peaks because TM05 has been on Rhino for 3 months
already and things like that Id say that is a lot of how our computer take up has been
anyway. Someone becomes a specialist, then we have three specialists and then everyone
just hovers themselves up to that base level and it goes on from there. So that is probably
just a general circle. As soon as you people on the ground or someone from afar notices
hang on I thin the remaining 30% people need to know Rhino thats when it becomes a
surgery and we get in there and fix that and then that is fixed
Sarah Benton: And that is what I would say is how we look to continue the ongoing
discussions on CAD stuff
TM08: How we keep that base level at its optimum, which will naturally develop, and the
more we actually invest in keeping that base level. Its almost coming up in a line together
rather than having gaps in the system. We are all coming up together. We all know where we
are with the program so we can just handball it off and its not going to be, you know, you are
not going to drop it, you know everyone is going to be at a similar stage.
TM01: It seems that the surges that occur are project related. So one person might introduce
to a project but then because of, and generally the larger projects, with two or three people
then become users of that tool then a surge happens then because so youve got three
people talking about and really refining it to a particular point and that tends to be where you
get people and certain groups who will be very articulate
TM08: I think that is where this is valuable where you then bring everyone in so if there is a
tool that has been discovered via a larger project those sorts of things and those should be
trickled down to the smaller projects because if it is going to be used in a smaller project then
of course you are going to want to that is where it has to filter down where I dont think it
necessarily does trickle down and that is the thing of trying to keep everyone at a base level
and making sure that everyone is sort of on the same playing field
FN Thu 26/10/2007
FILE NOTE:
Digital Media In TERROIR Summation
NOTES:
Ideation
The process seems to falter prior to submission
How much should one be a generalist/specialist particularly if the culture of the office
is to have a common level of knowledge
Development
The role of the digital model simulation versus the reality on site. Noted that
documentation act to convey design intent and on site one must acknowledge
changes will occur
Documentation
Which tool should the office take up
General
Discussed the culture of the office
Generally:
we are not searching for answers solely by technology
the general skill set which once upon a time used to be cardboard has grown as a
family.
got better at producing the quick and dirty images
Standard of Office
We are getting better as a collective and that is lead by Sarah and her SIAL stuff
but its also naturally seeping through.
There was a sense that there was an imbalance in the tools being taken up. Now
there is not that sense.
54
We are trying to integrate the whole office across the two sites.
its almost about coming up in a line together rather than having gaps in the
system. We are all coming up together. We all know where we are with the
program so we can just handball it off and its not going to be, you know, you are
not going to drop it, you know everyone is going to be at a similar stage.
Hobart has reached a general standard
New tools
being able to see that that person is different but that will have a particular
strength in some circumstances
seeing whats been produced by various people and working out what skills are
required to do that thing
we are probably not at that stage at the moment where we can have a
conversation about how you would potentially do it because I dont think enough
people know about it
Knowledge transfer/Uptake
We dont want to be constantly worrying that everyone doesnt share your Rhino
or Brazil knowledge and confident that there is an organic take up in a way.
Question is how we keep that base level at its optimum which will naturally
develop and the more we actually invest in keeping that base level
Someone becomes a specialist, then we have three specialists and then everyone
just hovers themselves up to that base level and it goes on from there. So that is
probably just a general circle
Large projects are the key to knowledge transfer however it isnt necessarily
trickling down to the smaller projects and that is the thing of trying to keep
everyone at a base level and making sure that everyone is sort of on the same
playing field.
Required:
How we look to continue the ongoing discussions on CAD stuff
Sydney high skilled employees need to download a bit more of that design to you
guys I think will relieve that pressure
Sydney skill sets lags behind the standard
55
EMAILS
Thu 9/08/2007 16:35

DETAILS:
From: sarah benton
Sent: Thursday, 9 August 2007 4:35 PM
To: TM09; TM08
Subject: sial
CONTENTS:
a criticism (to the integration of media in TERROIR) was that the skill sets that I was aiming for
seemed somewhat boring and very traditional
in response - my conclusion is reinforced by an external researcher who clarified the way TERROIR
wanted to practice.TERROIR is not trying to be pioneering in a technological sense. they prefer to
focus on the idea, delivering that idea at a reasonable cost, operating with a collaboration of people
that have different roles to play that dont all need to be revolutionary in the entire use of digital tooling
they actually have various skill sets and skill sets in more influences on architectural practice, for
example how to construct or design the thing and that we are ultimately working in an industry that is
mostly traditional.
even though the trajectory and structuring seems rigid - any employee can extend into other areas
to put together my conclusion I spoke with the three people here in Sydney office that have high skills
in this stuff and we all put that together. I spoke to the directors and gained their support and then
presented it to the office for confirmation
Thu 9/08/2007 16:45

DETAILS:
From: TM09
Sent: Thursday, 9 August 2007 16:45
To: sarah benton; TM08
Subject: RE: sial
RELEVANT CONTENTS:
Just had a discussion with the project manager on site how the industry is generally
lacklusterSo I would say that we are in fact revolutionary in the sense that we are using the
appropriate tools at the appropriate times
56
APPENDIX F PROJECT STUDY: FERN TREE

HOUSE
Appendix F includes file notes and email conversations gathered over the research timeframe.
included file notes and various email correspondence that I refer to in Volume One. The emails
FILE NOTES
REFERENCE /
DATE
FN Wed 06/04/2005
FN Tues 05/07/2005
PARTICIPATING
SUBJECT
Scott Balmforth, Gerard Reinmuth, Sarah

Benton
Scott Balmforth, Sarah Benton
Fern Tree House

Fern Tree House
EMAILS
TOTAL EMAILS
Received
10
Sent
REFERENCE /
RECEIVED DATE
Thu 14/09/2005 09:26
33
Fri 16/09/2005 23:47

Sun 18/09/2005 18:06
Sun 18/09/2005 20:53
Mon 19/09/2005 09:43
Tues 20/09/2005 20:46
Wed 21/09/2005 09:59
Wed 05/10/2005 07:03
FROM
TO
SUBJECT
Sarah
Benton
Sarah
Benton
Gerard
Reinmuth
TM11
RE: FERN TREE HOUSE
Gerard Reinmuth; Scott

Balmforth; Richard Blythe
Sarah Benton; Scott
Balmforth'; Richard Blythe
Cc:TM11
Sarah Benton; Gerard
Reinmuth Cc:TM11
'Scott Balmforth'; 'Gerard
Reinmuth'
Sarah Benton Cc: Gerard
Reinmuth'
'Scott Balmforth'
THIS ONE NEEDS SOUND
Scott
Balmforth
Sarah
Benton
Scott
Balmforth
Sarah
Benton
Sarah
Benton
Scott Balmforth; TM11
Re:THIS ONE NEEDS

SOUND
Re:THIS ONE NEEDS
SOUND
RE: THIS ONE NEEDS
SOUND
RE: THIS ONE NEEDS
SOUND
RE: THIS ONE NEEDS
SOUND
FERN TREE
57
REFERENCE /
RECEIVED DATE
Wed 05/10/2005 21:44
Thu 06/10/2005 17:17
Fri 07/10/2005 14:08
Tue 11/10/2005 22:22
FROM
TO
SUBJECT
Scott
Balmforth
Sarah
Benton
Sarah
Benton
Scott
Balmforth
TM11; Sarah Benton
Re: FERN TREE
'TM11'; 'Scott Balmforth'
RE: FERN TREE
'Scott Balmforth'; 'TM11'
RE: FERN TREE FACADE
TM11; Sarah Benton
Re: FERN TREE
PROJECT DESCRIPTION
The site for this project is located on the escarpment of a hilltop at Fern Tree, a suburb located
in the foothills of Mount Wellington, Hobart. The site has two significant views to the
waterways of the Derwent River mouth and North West Bay. The project design draws
inspiration from the winding and weaving nature of the approach road. The house itself
explores the idea of poche space, which is created between a main timber wall and a darkcoloured metal-clad wall beyond.
58
FILE NOTES
FN Wed 06/04/2005
PRESENT:
Scott Balmforth, Gerard Reinmuth, Sarah Benton
DISCUSSION:
Fern Tree House
NOTES:
Visit Hobart Office
Discussion regarding the redesign of Fern Tree House
Sarah Benton:
Mention redesign to Scott and comment to Gerard as to whether I will work on the project again given
my involvement in the previous two versions.
Scott Balmforth:
Scott acknowledged my involvement and noted that TM11 in Hobart office was already in line to
undertake the project
FN Tues 05/07/2005
PRESENT:
Scott Balmforth, Sarah Benton
DISCUSSION:
Fern Tree House
NOTES:
Scott Balmforth
Visit Hobart Office, discuss TM11s developed design. Scott Balmforth noted however that the design
was not achieving the directors intentions. Scott noted my sense is that the answer lay somewhere
between the previous two designed versions
59
EMAILS
Wed 14/09/2005 09:26

DETAILS:
From: Sarah Benton
Sent: Wednesday, 14 September 2005 09:26
To: 'TM11'
Subject: FERN TREE HOUSE
CONTENTS:
Hi TM11
I was wondering if you could send me some files for your design on FERN TREE house?
I wanted to see what happened if you built a model of old version then one of new and put it in Maya or
3DS and pressed transfer from old to new and it came up with a design that was exactly halfway
between yours and mine
Sounds kinda silly but im trying to run in as much software as I can before RMIT review in OCT.
Thanks
S
Wed 16/09/2005 23:47

DETAILS:
From: Sarah Benton
To: Gerard Reinmuth; Scott Balmforth: Richard Blythe
Cc: 'TM11'
Subject: THIS ONE NEEDS SOUND
Attachments: currant_0002.wmv
CONTENTS:
60
Sun 18/09/2005 18:06

DETAILS:
To: Sarah Benton; 'Scott Balmforth' ; 'Richard Blythe'
Cc: 'TM11'
Sent: Sunday, September 18, 2005 6:06 PM
Subject: RE: THIS ONE NEEDS SOUND
CONTENTS:
Wow
Amazing little thing, and the last couple of images seem better than the current design . . !!
Sun 18/09/2005 20:53

DETAILS:
From: Scott Balmforth
Sent: Sunday, 18 September 2005 20:53
To: Benton, Sarah; Gerard Reinmuth
Cc: TM11
Subject: Re: THIS ONE NEEDS SOUND
CONTENTS:
yes, very interesting
is the last still image a half-way point of the transformation?
Mon 19/09/2005 9:43

DETAILS:
From: Sarah Benton
Sent: Monday, 19 September 2005 09:43
To: 'Scott Balmforth'; 'Gerard Reinmuth'
Cc: 'TM11'
Attachments: currant.avi
CONTENTS:
Hmmm, well yes the last images are half-way point of this transformation. But there are of course many
paths of transformation.
61
Tues 20/09/2005 20:46

DETAILS:
Sent: Tuesday, 20 September 2005 20:46
To: Sarah Benton
Cc: Gerard Reinmuth
Subject: Re: THIS ONE NEEDS SOUND
CONTENTS:
s
can you send through a suite of static plan views of this original transformation (from original to new) in
particular Im looking at the intermediate moment you've captured in the last couple of still shots at end
of this first video
s
Wed 21/09/2005 09:59

DETAILS:
From: Sarah Benton
To: 'Scott Balmforth'
Attachments: PLAN-8.jpg; PLAN-9.jpg; PLAN-10.jpg; PLAN-11.jpg; PLAN-1.jpg; PLAN2.jpg; PLAN-3.jpg; PLAN-4.jpg; PLAN-5.jpg; PLAN-6.jpg; PLAN-7.jpg; 50%-1.jpg; 60%1.jpg; 60%-4.jpg
CONTENTS:
--R E F E R E N C E / D AT E :
Wed 05/10/2005 07:03

DETAILS:
From: Sarah Benton
To: 'Scott Balmforth' ; 'TM11'
Sent: Wednesday, October 05, 2005 7:03 PM
Subject: FERN TREE
CONTENTS:
Just a couple of renderings
I have been playing with the terrain which wasnt working.after a bit I figured out the problem. So
tomorrow ill look at the model images and make the adjustments to suit the STUDENTS model and
perhaps an email or something from you may assist in clarifying what you want.
I wouldnt mind doing a series of animations that change parts of the building aroundparticularly the
roof line and the deck and then perhaps one or two that move between the option where the glass
goes to ground to where the ground comes up
62
Wed 05/10/2005 21:44

DETAILS:
Sent: Wednesday, 5 October 2005 21:44
To: TM11; Sarah Benton
Subject: Re: FERN TREE
Attachments: view to storm bay- living.jpg; combined views.jpg; view to NW Baybedroom 2.jpg
CONTENTS:
s/TM11
Refer attached for some comments/suggested investigations.
s, TM11 will need to fill you in on some things referenced, also we had a good discussion late today re;
how the triangle front corner is carry over from original formal model but has yet to be ratified against
the building's 'diagram'...animation may wash something out on this too?
Attached is a version I think worth testing but not solely
I think front concept of crumpled 'windscreen' locking in the ground formed up to form deck is strong.
Windscreen thus enters a dialogue with the view....refer attached for some of these images as
inspiration also.
elsewhere, primary 'shed' remains generally as is but the thinking we have to bedroom side wall
windows as stuck ons but that subtlety misalign to wall line (get TM11 to explain...subtlety as per 349
glazing)...the stuck ons thus engage with adjacent trees etc.....this concept is carried over to treat
garage door and egress from living (formerly the canted wall/deck)...both as sliding elements across
the surface and may be offset from primary wall or just their 'head' lines?
63
64
Thu 06/10/2005 17:17

DETAILS:
From: Sarah Benton
Sent: Thursday, 6 October 2005 17:17
To: 'TM11'; 'Scott Balmforth'
Subject: RE: FERN TREE
Attachments: 051006-MOVIE002.wmv
CONTENTS:
I had a play with the deck and morphed tender into the modified and suggested earth movement. The
first series of still images start addressing the comments in Scotts last email and then the final still
images are snap shots from the morph
Fri 07/10/2005 14:08

DETAILS:
From: Sarah Benton
Sent: Friday, 7 October 2005 14:08
To: 'Scott Balmforth'; 'TM11'
Subject: RE: FERN TREE FACADE
CONTENTS:
This is a collection of the front faade investigation, for your information and comment. I realise they
are abstract and not quite right but I am just trying to understand what a crumpled faade would be
A few mapping investigations
65
Internal view
66
Just seeing what happened when overlay two images. One inlayed in glass and then the view
beyond
Living
Pretty much the faade used on Cameron the other daythe big verticals tend to break the view up
and dont really match the sketch that you draw of the horizon view?
67
Wondering whether the faade should emphasis the line of trees somehow
Externals with majority verticals and a bit of a horizontal starting to look at line to view
68
This one starts to be a lot more horizontal than vertical as per Cameron House model. Bit more Pepp
bay This model isnt complete the glass is a mistake but it looked interesting and the horizontal is a
bit simple and doesnt match the rest of the buildingbut I thought the interior shot looked more
interesting esp. with such a low ceiling?
69
So perhaps this image is interesting if you look at the cracks.it picks up horizontals and some
verticals and really is a broken windscreen
Any preferences on where I should go from here?

Thanks
S
70
Tue 11/10/2005 22:22

DETAILS:
Sent: Tuesday, 11 October 2005 22:22
To: TM11; Sarah Benton
Subject: Re: FERN TREE HOUSE
Importance: High
Attachments: gf plan-commented 2.jpg; 02-commented.jpg; 05-commented.jpg; 06commented.jpg; 07-commented.jpg; gf plan-commented 1.jpg
CONTENTS:
s/TM11
very good!
in conjunction with what TM11 and i discussed today i think we're getting there!...i think there's clarity in
understanding/accepting the objects (bathroom, kitchen block etc) that are crafted and generated by
key building lines (not always 'built')
refer attached for comments in line with this and others...relevant to both (with TM11 needing to fill
sarah in on some things)
meeting with CLIENT at 1pm so priorities;
- finalise plans
- modify 3d cad model in line with comments herein
- also get STUDENT doing a 'tag along' card model to explain overall form, connection to ground,
grafted on windows etc
S
71
72
APPENDIX G PROJECT STUDY: HAZARDS

HOTEL
Appendix G includes file notes and email conversations gathered over the research timeframe.
Team Member No 2
TM02
Team Member No 5
TM05
Team Member No 7
TM07
Team Member No 8
TM08
Team Member No 2
TM02
Team Member No 5
TM05
FILE NOTES
REFERENCE /
DATE
FN 00/2004
PARTICIPATING
SUBJECT
Gerard Reinmuth, Scott Balmforth, Sarah

Benton
Hazards Design
EMAILS
TOTAL EMAILS
Received
621
Sent
REFERENCE /
RECEIVED DATE
Tue 20/02/2007 16:56
243
FROM
TO
SUBJECT
Sarah Benton
Gerard Reinmuth
HAZARDS ROOF
Mon 23/07/2007 19:51
Sarah Benton
UNIVERSITY; Gerard
Reinmuth
sarah benton; Gerard
Reinmuth; Scott Balmforth
Cc: TM08; TM05
Gerard Reinmuth; Scott
Balmforth Cc: TM08; TM02;
TM05
Model Making Hazards
Mon 23/07/2007 19:11
TM02;
Sarah Benton
TM02
Thu 10/03/2007 15:12
RE: HAZARDS: roof form

RE: HAZARDS: roof form
73
PROJECT DESCRIPTION
The project proposal consisted of a monumental copper roof plate which crowns the site,
providing an abstract and iconic synthesis of the site and the characteristics of the natural
Hazards granite mountains which the site faced (Terroir 2007d, Thursday, 8 November 2007).
Hazards Resort is a 100 room, $35M, 5-star hotel in one of Tasmanias signature landscapes.
The project was won in a limited design competition in mid 2003 with a design that addressed
the markets requirements for a responsible design within a site with a precious environmental
condition (Terroir 2007d, Thursday, 8 November 2007).
74
FILE NOTES
FN 00/2004
PRESENT:
Gerard Reinmuth, Scott Balmforth, Sarah Benton
DISCUSSION:
Hazards design
Travel to Hobart office to discuss Hazards design. During meeting directors discussed the overall form
of the roof. Suggested it needed to be more fluid and subtler than the design based on planes and
fillets. A project had just been completed with another architectural firm and directors speculated on the
potential in digital media to assist in ideas of fluid forms
I mentioned that I did not have the equipment to support such an investigation and that I would need to
investigate new processes to accommodate such an investigation.
75
EMAILS
Tue 20/02/2007 16:56

DETAILS:
From: Sarah benton
Sent: Tuesday, 20 February 2007 16:56
To: Gerard Reinmuth
Subject: HAZARDS ROOF
CONTENTS:
As per a discussion with Gerard the roof designing has arrived at two clear character options for
progression. We require conversation/debate/analysis on these options
OPTION 1:
Amorphous Character
The conversations about applying a greater fluidity into the Hazards design has produced an
amorphous roof form.
This form started with the plasterboard studies:
76
which were taken in to digital 3DS studies sent through last week,
and finally reproduced in a more controlled Rhino environment by TM02 yesterday,
77
Slope analysis (qualitative. green = steepest, yellow = flattest)
This form attempts to keep the faade to the agreed tight elevation that we have been seeing for the
past 3 years and then intuitively morph backwards to hit a rear elevation line that angles its way over
the entry. The theory to the shells has been to get them as splayed at the rear as possible . This results
in a mostly curved and fluid form.
Digitally it is based on a FIELD concept where a continuous surface has been created and any curving
and filleting is complete dependant on the relationships of any adjacencies. Basically it is problematic
to convey this as a series of flats and curves as per our old Hazards geometry.
78
Going forward we would be able to use Rhino to analyse any areas that are, for example, lower than 4
degrees and rebuild according to construction constraints
OPTION 2:
Euclidean Version
We have the option to take the amorphous version and reduce it into a series of flats and straight
geometries as per our old Hazards 1 design.
79
Digitally if this is chosen we would need to spend sometime approximating the fluid curves that we see
in the amorphic version. Thus potentially rationalising the form into a series of standard fillets and
curves similar to our old design roof rules.
We have already had a conversation about the geometrical issues on such a roof, that is, the junction
where the shells hit the roof creates a complex intersection that geometrically would need some
thought and debate
Thu 10/03/2007 15:12

DETAILS:
From: TM02
Sent: Thursday, 10 May 2007 15:12
To: UNIVERSITY
Cc: Gerard Reinmuth; Sarah Benton
Subject: Model Making Hazards
Flag Status: Red
CONTENTS:
Hi!
Below is a description of the journey that Sarah and I mentioned moving out from our digital
models to make a physical model of the latest Hazards Hotel.
Some background:
The Hazards Hotel has been in design development for the past 4 years.
In 2004 Gerard, Scott and Sarah acknowledged that we desired, but were not able to create, a more
fluid design for the Hazards Hotel roof as we were limited by our digital toolset. Fast forwarding to
today we have advanced those skills and have been able to produce the more fluid version however,
as we found about a month ago, we were faced with the problem of how to make a physical version.
80
We needed the physical to check the proportion and form of the current design which had been
developing in the computer for the past 6 months. I had done some initial investigations for the Prague
competition, which although we didnt use, allowed us to see the potential for the Hazards. Below is a
summary that Sarah initially put together to explain our process to the office.
Some initial images of the design:
An early hand made plaster model.
The digital model
81
Then I made some investigations into Milling
82
We then organised file formats and setup tool paths
In order to make some initial foam tests
83
The aim was to create a vacuum formed plastic plate of the roof molded from the foam part.
We quickly learned that rigid insulation melts under the heat of the plastic forming
84
The next solution was to mill directly into a block of laminated poplar, but after 12 hours the collet
heated up and the tool slipped down causing a motor lock. We also found that the timber debris
needed to be cleared away regularly so leaving the machine unattended was problematic.
85
The key was to mill the negative quickly out of blue foam at a high quality then cast directly into the
foam.
86
Plaster casting
We used 50mm foam next time we would use 100mm thick foam so that we dont end up with the
unsightly and unintended joint detail.
87
The final plaster cast. At this size, plaster takes a while to set.
The 3mm plastic before we took to it with the bandsaw. Again you can see that the surface finish is a
direct result of the part finish. You get back what you put in.
88
The laser cut timber
89
The final model just a working model with a level of accuracy, but the very exciting thing was that, by
getting it out of the computer and into the office, it allowed everyone to see and interact physically with
the design in a way that we werent getting from the digital versions.
90
As we continue moving down the digital road, it is becoming more and more necessary to complement
our digital tools and techniques with equally sophisticated techniques for physical modelling. As you
can imagine, the problem is getting access to the tools to enable the exploration.
91
Mon 23/07/2007 19:11

DETAILS:
From: TM02
Sent: Monday, 23 July 2007 19:11
To: Sarah Benton; Gerard Reinmuth; Scott Balmforth
Cc: TM08; TM05
Subject: RE: HAZARDS: roof form
CONTENTS:
This is an example of the problem area. I know that everyone is familiar with this.
The image shows a Gaussian curvature analysis. It highlights areas of compound (double) curvature.
The blue area has negative Gaussian curvature ie. it is a like a hyperboloid or saddle.
The red area is positive like a sphere.
Areas of zero Gaussian curvature are flat.
Note this area is quite contained - it is slight and occurs over a very small area. The reason for this is
because most of the double-curvature is spread (or diffused) along the whole of the surface. This
strategy was implicit in building the original surface (a rational creation).
When we reduce this area to three filleted planes all resolving themselves in a point it concentrates all
of the curvature and deposits it in an area that is problematic to resolve and will result in some strange
junctions as can be seen in the image below:
92
The problem
As far as I understand the problem, we are rebuilding the curvaceous roof as a collection of planes and
surfaces based on arcs and cones. The purpose of doing this is to make it easier to describe and
build.
The problem area
This area can be minimized or covered, but it wont go away. Any strategy will result in a hole or a
gash where the planes intersect. This area can be minimized by decreasing the radius of the fillets;
however, this will also make the whole roof more angular.
Also, it is worth noting exactly what is being rationalized by rebuilding the roof out of conic / cylindrical
sections: it means that the surfaces used are developable. This means that they can be unrolled to a
flat piece of material that can be re-bent to form the drawn surface.
It does not mean that any material will bend into the particular radius we have chosen. Neither does it
mean that the sections drawn through the rationalized roof will be composed of straight lines and
arcs. When you take a section through a tilted and angled cone you get a parabola.
TM02
93
Mon 23/07/2007 17:51

DETAILS:
From: Sarah Benton
Sent: Monday, 23 July 2007 5:51 PM
To: Gerard Reinmuth; Scott Balmforth
Cc: TM08; TM02; TM05
Subject: HAZARDS: roof form
CONTENTS:
Hazards roof investigations:
As we discussed we are trying to move the roof from the fluid surface we have been looking at to the
rationalised version made up of a series of planes meshed together by arcs, cones and other Gaussian
geometries
The first thing we have done is to check over the constraints we are working with including:
The Constraints
Thickness of roof: 800mm
RL at entry is RL20.70
RL to underside of roof at entry needs to be above: RL23.80 (+3.5m)
RL to underside of roof at the roof tail : nom RL 20.30
MAX RL to roof shell: nom RL 32.00
Min 4d to flat plate of roof
We used this to draw a frame that forms the underside of the roof which sits against the plan belowagainst which to compare the fluid version and the new versions.
The first thing we found was that the flat plate needs to be 1.8d
94
We then offset this base framework by 800 to get the upper side of the roof
The next thing we did was create 2 versions
1- Creates planes that sit perpendicular to the Hazards:
2- Creates planes as per the fluid version this means that the planes have no real logic to them
and
ultimately the elevation will be quite dynamic
95
We continued on with Option 1 as that was based on an ongoing concept to see what happens
We then started creating the fillets to match the old roof
96
And have looked more closely at the junction points:

Attempt 1:
In this version you can see that it is not possible to resolve the junction in arcs some cones need to
appear. And the arc that connects the flat plate to the shell at the rear is unresolvable by a curve we
would end up with an odd surface see impossible area outlined below
Attempt 2:
Similar to the old hazards roof we have a main arc (which turns to a cone so that it becomes more fluid
that hits the flat plate and another cone to resolve the valley curve again its impossible to resolve the
rear fillet this way
97
Attempt 3:
To resolve the rear fillet we would need a patched infill that curves in two directions TM11 suggested
it would be based on a Gaussian geometry or a piece of a sphere. TM11 is modelling this up at the
moment
It seems to me that if we can get an idea about the Gaussian geometry piece or the series of cones to
make up this piece wed be able to work our way around the shells and create the rationalised roof
based on the fluid formwe would then have another problem to solve which is where the last shell
over the restaurant folds down over the terrace
98
APPENDIX H PROJECT STUDY: HOBART

WATERFRONT URBAN DESIGN COMPETITION
Appendix H includes file notes and email conversations gathered over the research timeframe.
Team Member No 1
TM01
Team Member No 2
TM02
FILE NOTES
REFERENCE /
DATE
FN 09/2006
AUTHOR
SUBJECT
Sullivans Cove Waterfront Authority
Hobart Waterfront urban

design competition brief
EMAILS
TOTAL EMAILS
Received
266
Sent
REFERENCE /
RECEIVED DATE
Thu 28/09/2006 12:41
168
Sun 08/10/2006 19:16

Tue 10/10/2006 00:14
Mon16/10/2006 15:02
Thu 09/11/2006 12:17
Thu 09/11/2006 12:45
FROM
TO
SUBJECT
Scott
Balmforth
'Sarah Benton'; 'Gerard

Reinmuth'; 'Richard Blythe';
'TM02'
TM02
RE: Hobart Waterfront - Initial

Meeting
'Sarah Benton'
TM02
RE: 06218 waterfront

HOBART WATERFRONT
Scott Balmforth; 'TM01';

'Gerard Reinmuth'; 'Richard
Blythe'; 'TM02'
'Sarah Benton'; 'TM01';
Blythe'; 'TM02'
HOBART WATERFRONT:
first flood
Sarah
Benton
TM02
Sarah
Benton
Sarah
Benton
Scott
Balmforth
06218 waterfront
Re:HOBART
WATERFRONT: first flood
99
REFERENCE /
RECEIVED DATE
Thu 09/11/2006 13:15
FROM
TO
SUBJECT
Sarah
Benton
Re:HOBART
Thu 09/11/2006 13:30
Scott
Balmforth
Thu 09/11/2006 14:20
Sarah
Benton
Thu 16/11/2006 16:02
Sarah
Benton
Scott
Balmforth
Scott
Balmforth
'Scott Balmforth'; 'TM01';

Blythe'; 'TM02'
Blythe'; 'TM02'
Scott Balmforth; 'TM01';
Blythe'; 'TM02'
'TM01'; Gerard Reinmuth;
Scott Balmforth
'Gerard Reinmuth'
'Sarah Benton'; 'TM01'
Cc: Gerard Reinmuth
Tue 21/11/2006 12:40
Gerard
Reinmuth
'Scott Balmforth'; 'Sarah

Benton'; 'TM01'
Wed22/11/2006 10:13
Sarah
Benton
Gerard
Reinmuth
Gerard
Reinmuth
Sarah
Benton
Scott
Balmforth
Gerard
Reinmuth
Scott
Balmforth
Gerard
Reinmuth
Gerard Reinmuth
Thu 16/11/2006 16:50

Mon20/11/2006 22:47
Wed22/11/2006 10:20
Sat 25/11/2006 18:57
Tue 28/11/2006 13:49
Tue 28/11/2006 13:59
Tue 28/11/2006 14:03
Tue 28/11/2006 14:07
Tue 28/11/2006 14:12
'Sarah Benton'
'TM01'; 'Scott Balmforth';
'Sarah Benton'
Gerard Reinmuth; 'Scott
Balmforth' Cc: TM01
Reinmuth; Cc: TM01
Sarah Benton; 'Scott
Balmforth' Cc: TM01
Reinmuth; Cc: TM01
'Scott Balmforth'; 'Sarah
Benton'
Re:HOBART
RE: HOBART
HOBART WATERFRONT:
paper tests
RE: HOBART
WATERFRONT: paper tests
RE: HOBART
WATERFRONT: panel
requirements
FW: HOBART
WATERFRONT: panel
requirements
HOBART WATERFRONT
RE: HOBART
WATERFRONT
RE: WATERFRONT
HOBART WATERFRONT
Re:HOBART
WATERFRONT
Re:HOBART
WATERFRONT
Re:HOBART
WATERFRONT
RE: HOBART
WATERFRONT
100
PROJECT DESCRIPTION
The project, Hobart waterfront urban design competition, was an ideas only competition. The
brief for this project requested innovative ideas for a master plan for a site surrounding the city
of Hobarts dockland area and the brief was very open in terms of pragmatic limitations.
TERROIRs idea for the project was derived from the directors own personal experience and
knowledge of the Hobart area. TERROIRs idea for the master plan was to create a sense of
connection on the dockland concrete apron to this mountain and recognise on site the
significance of the outlet. Furthermore, the idea was to reinforce the uncanny nature of the
existing dockland concrete apron by further differentiating the apron to the adjacent Hobart city
(Appendix I Sat 25/11/2006 18:57).
Figure 1: Final competition panel
101
You are here: Home / Competition Brief
Hobart Waterfront International Design

Competition
The Invitation
Hobart's historic waterfront, Sullivans Cove, faces south towards Antarctica
and is bordered by the River Derwent and the imposing Mount Wellington
Range. This dramatic backdrop creates a natural amphitheatre and at its
lowest point, where water meets land, is a unique opportunity to revitalise
this part of the city.
The Hobart Waterfront International Design Competition seeks visionary design proposals
for one of the city's historical sites, an area where cultural importance is reflected in a unique
collection of heritage buildings.
The Competition Area is a broad band of space framed by the street-grid of the city. As the
place where the Hobart Rivulet met the cove, it played an important role in Aboriginal life.
The safe anchorage and fresh water supply were a vital factor in the early occupation of
Tasmania and the foundation of Hobart.
The Competition Area is located on the least active side of Sullivans Cove and is currently
the weakest connection between the city centre and the waterfront.
The creative challenge is to embrace the area's rich history and design a contemporary
cultural hub to revitalise the space.
This web site provides an overview of the competition. The complete Competition Brief is
available as a free download, if however you would like to receive a hard copy of the
Competition Brief, please send your name and address and a A$50 cheque or money order,
made out to the Sullivans Cove Waterfront Authority to:
Competition Registrar
Hobart Waterfront International Design Competition
C/- Sullivans Cove Waterfront Authority
GPO Box 2114
HOBART TAS 7001
AUSTRALIA
Download the Competition Brief:
https://www.hwidc.tas.gov.au/brief/ (Sullivans Cove Waterfront Authority 2006)
102
EMAILS
Thu 28/09/2006 12:41

DETAILS:
From: Sarah Benton
Sent: Thursday, 28 September 2006 12:41
To: Gerard Reinmuth; Richard Blythe; TM02; Scott Balmforth
Subject: Hobart Waterfront - Initial Meeting
CONTENTS:
Hi
Gerard TM02 and I met on the Hobart Waterfront this morning and the project is now underway. A
summary of our discussion is as follows:
Coffee Meeting Minutes (28 Sept):
Brief breakdown
We havent found a clear list of detailed requirements from the brief as yet. It seems to be an ideas
only competition and so is very open in terms of pragmatic limitations.
Research recent international urban planning competitions
As the brief seems very vague TM02 is starting to collate some other examples of International
standard urban design projects for comparison. These include Hadid but focus more on the works of
Pinos (who is a judge) and whose work seems more appropriate for the vast expanse of the Hobart
waterfront (versus perhaps issues of density, networking and porosity as in the works of Hadid and
even Goodwin)
Jurors:
o Carme Pinos
o Wiel Arets
o Catherine Bull
Juror for previous competition looking for something subtle
Site and climate issues:
Pulled from the brief and knowledge of the place:
o Concrete apron wall of the cove
o Rivulet (and the recovering of) and turbulence check with Scott
Gerard mentioned that Scott has some opinions on this issue and that we should ask him to
forward them for our information

o
o
o
Vastness
Danish Black wall dealing with the weather
Coal
Timetable for TM02:

We discussed the operation of the project and whilst I will be working on this as well over the next
month the focused work will come via TM02 whose schedule is as follows:
October:
day per week Thursday / Friday morning
November:
Full time
Competition Timetable:
We discussed our overall schedule of works for the next 2 months:
October
Research and initial ideas
November
Weeks 1 2: Full time
Weeks 3 4: Tweak
Week 4:
Print
December 1: Hand In
103
Sun 08/10/2006 19:16

DETAILS:
From: Sarah Benton
Sent: Sunday, 8 October 2006 7:16 PM
To: 'TM02'
Subject: 06218 waterfront
CONTENTS:
.The waterfront presents an interesting conundrum. SIAL has allowed me to be more aware that in
TERROIR the idea is primary and all else supports it. My occupation is ideation which is considered
and encouraged to be separated from the realities of pragmatics, brief, and materials. TERROIRs
primary interest is in the architectural idea and utilizes abstraction and the process of divorcing oneself
from practicalities to push the idea to its limits or into new potentialities. Digital seems to suggest that
we are missing something. That we need to reassess or change the way we think about our way of
designing as digital technology presents such an amazing opportunity for generation and potentiality
.I am not researching production and material and architectural structuresThe origin of TERROIRs
ideas emerges from their readings and reinterpretations of place and experience. The theory of nature
and digital techniques are not what the directors would consider primary order questions.
Of course, to a level, a house style is unavoidable. So there are a series of prerequisites and
parameters that are characteristic to every project and there does become a series of characters for
each individual project. It is these characters that become the rules.
In previous case studies Ive undertaken, particularly idea competitions, Ive found that the quality of
these rules are too implicit and lightweight to be applied and mapped onto digital technology such as
CATIA, which demands considered, articulated and complex explication of interrelationships. In early
stages of design studies the idea is abstract and undetermined.
In the Hobart competition we have started to talk about turbulence which I basically think is complexity
due to an overlapping of many things. So seems perfect for some algorithmic or complex layering of
digital data. So my question is what are the limitations of the rules because as I understand it its these
characters that should be able to become the parametric or algorithmic machine?
If nothing else I would like to know what program it is you have used before where you have managed
to generate form and complex relationships
s
104
Tue 10/10/2006 00:14

DETAILS:
From: TM02
To: 'Sarah Benton'
Subject: RE: 06218 waterfront
CONTENTS:
Complex relationships:
Maya scripting (basic)
Rhino scripting (basic)
I think I would need about three months (of fooling around at night) before I felt comfortable writing
scripts on a project specific basis.
Other ways include:
RealFlow (www.nextlimit.com) - great for turbulence and flow studies; might be like using a
sledgehammer to open an egg. Researched and used it for Richards porosity.
I think you can build in a lot of complexity and keep it organized, ie. within a rule-based relationship,
using the animation and dynamics tools found in Maya and studio max (the poor persons scripting).
One benefit of this is that is does give you real-time graphical feedback of what is happening.
Mon 16/10/2005 15:02

DETAILS:
From: Sarah Benton
Sent: Monday, 16 October 2006 15:02
To: TM02
Subject: HOBART WATERFRONT
CONTENTS:
Just spent hours this morning trying to create the Hobart terrain
First the rhino join went swimmingly well
Second the contours dont have numbers so I spent hours figuring out where Mt Wellington is.
Particularly as google earth has its aboriginal name as default
Then I finally got all the contours to the right level (mt Wellington is at 1270m) and the bloody computer
crashed
So I am back to start point
Damn it
S
105
Thu 09/11/2006 12:17

DETAILS:
From: Sarah Benton
Sent: Thursday, 9 November 2006 12:17 PM
To: TM01; Gerard Reinmuth; Richard Blythe; TM02; Scott Balmforth
Subject: HOBART WATERFRONT: first flood
CONTENTS:
This is Hobart flooded via Real Flocool stuff and I guess if we were suckers we could take the mesh
that its created over the pier and turn it into something
Thu 09/11/2006 12:45

DETAILS:
To: 'Sarah Benton'; 'TM01'; 'Gerard Reinmuth'; 'Richard Blythe'; 'TM02'
Subject: RE: HOBART WATERFRONT: first flood
CONTENTS:
Hmmbut my dubiousness would lead me to ask;
why the confluence over the foreground was created where in fact the barren topography once was
(and presumably would still allude to) a swampy mess in and around our competition site, hence the
flood would be completely dissipated beyond the CBD???
Scott
Thu 09/11/2006 13:15

DETAILS:
From: Sarah Benton
To: 'Scott Balmforth'; 'TM01'; 'Gerard Reinmuth'; 'Richard Blythe'; 'TM02'
CONTENTS:
Yeah totally - the confluence is computer calculated based on nerd principles.
There are so many other adjustable and non sensical parameters that are just as dubious like
the thickness of the water
The inaccuracy of the site contours limited by computer power
The inaccuracy of site materials that effect things like water soaking into the ground
The number of meshes created that effects the location of the form generated
The location of the origin of waterfall
These simulations have provided me an insight into the fall of the land the valley folds that surround
Mt Wellington which were a little difficult to read without this overlay
The other interesting thing is that yes the water would have dissipated and Ive used the image below
to suggest that dissipation a zone between the solid ground and the salt water which is the flattest
106
space in that area - is visually expressed / appropriated or formalized as the concrete apron. The way
Ive drawn it shows Dunn place as the mixing point between waterfall and dissipation area
This means - not much? - but it was an interesting experiment
Thu 09/11/2006 13:30

DETAILS:
To: 'Sarah Benton'; 'TM01'; 'Gerard Reinmuth'; 'Richard Blythe'; 'TM02'
CONTENT:
Yes, all good.
Some other equally nature-inspired quirky ways of thinking about it are;
the apron as last remnant of a receding GLACIER, or
the apron as solidified lava having flowed down from Mt Wellington and fused having hit the
water.?
107
Thu 09/11/2006 14:20

DETAILS:
From: Sarah Benton
Sent: Thursday, 9 November 2006 14:20
To: Scott Balmforth; 'TM01'; 'Gerard Reinmuth'; 'Richard Blythe'; 'TM02'
CONTENT:
Mt Wellington: The mountain's past includes an igneous intrusion in the Jurassic, and is the site of periglacial processes : Igneous rocks that have cooled and solidified from a magma (A largely molten
fluid formed within the crust or upper mantle) below ground, eg granite. So I guess saying the
following is ok. The flat blunt nature of the concrete could be explained by Lava + Water = megabomb
Lava and water don't mix. They can explode like a giant bomb. The blast wave of steam, volcanic ash
and rock flattened everything in an area of almost 4 square kilometers, killed animals over 300m
Thu 16/11/2006 16:02

DETAILS:
From: Sarah Benton
To: 'TM01'; Gerard Reinmuth; Scott Balmforth
Subject: HOBART WATERFRONT: paper tests
CONTENT:
Trying a few ways to find an overlay for the bigger gestures of the concrete apron like a Chillida image
but its a bit difficult. I just seem to keep drawing the same crosses. But this was just a first attempt so...
108
Thu 16/11/2006 16:50

DETAILS:
Sent: Thursday, 16 November 2006 16:50
To: 'Sarah Benton'; 'TM01'; 'Gerard Reinmuth'
Subject: RE: HOBART WATERFRONT: paper tests
CONTENT:
Just as a painting this image is very alluring.
Not necessarily taking it too literally, but it is a good reminder of the sensitivity/beauty we should be
aiming for in the 2nd panel in particular
Well done!
S
Mon 20/09/2006 22:47

DETAILS:
Sent: Monday, 20 November 2006 10:47 PM
To: 'Sarah Benton'; 'TM01'
Cc: 'Gerard Reinmuth'
Subject: RE: HOBART WATERFRONT: panel requirements
CONTENTS:
Sarah
Quick comment is the angle of presentation of the concrete apron in ideation part looks good. It all
loses something in the city on to landscapeIll give you a call in the morning to discuss but in interim
look to simply finding the best landscape image (may be real photo or digital) and placing in as a
simple collage between it and the apron you currently have
Scott
Tue 21/09/2006 12:40

DETAILS:
Sent: Tuesday, 21 November 2006 12:40
To: 'Scott Balmforth'; 'Sarah Benton'; 'TM01'
Subject: FW: HOBART WATERFRONT: panel requirements
CONTENTS:
Are they either A0 size, or 2 x A0 size?
I am not sure that the image yet captures this drain quality its a bit too ephemeral at the junction
between the city image the apron such that there is no sense of the forces at play.
Also, I think using a real photo and manipulating it might be better than the composite which looks a bit
dinky in some way. If a real photo is no good I would make the whole thing abstractly digital
109
Wed 22/09/2006 10:13

DETAILS:
From: Sarah Benton
Sent: Wednesday, 22 November 2006 10:13 AM
To: Gerard Reinmuth
CONTENTS:
Scott said the drain was the red line
Look at the real flow, which is a bit of a visual description
Wed 22/11/2006 10:20

DETAILS:
Sent: Wednesday, 22 November 2006 10:20
To: 'Sarah Benton'
Subject: RE: HOBART WATERFRONT
CONTENTS:
That is fucking amazing
Can Scott get VPN access to download that? Is it email-able? Is it extendable to the docks?
Sat 25/11/2006 18:57

DETAILS:
Sent: Saturday, 25 November 2006 18:57
To: 'TM01'; 'Scott Balmforth'; 'Sarah Benton'
Subject: RE: WATERFRONT
Attachments: hbt waterfront_design_statement_(7)-GR.doc
CONTENTS:
Hi
This is the latest version of the txt I have seen. Its Scotts turn so put this one on the panel and await
further versions
Cheers
G
110
t e r r o i r
R e
i n
u t h
l y t
B a
l m f
r t h
sydney
02 9279 2226
02 9279 2227
hobart
03 6234 6372
03 6231 4939
P r o j e c t
s t a t e m e n t
Project:
@terroir.com.au
PO Box Q1053
QVB Post Office
Sydney NSW 1230
802/32 York Street
Sydney 2000
Telephone
Facsimile
@terroir.com.au
181 Elizabeth Street
Hobart 7000
Telephone
Facsimile
www.terroir.com.au
abn 37 101 656 535
Hobart Waterfront competition
(Panel 1)
Hobart is held within a powerful landscape - a landscape which is central to the form, character and
experience of the city. Thus, the competition site must be thought of in the context of this greater realm.
The site can be understood as the delta within this landscape, the moment where the folds of the
mountains and foothills open out to meet the sea and the literal location of the Hobart Rivulet, the leyline at the centre of this mountainous place.
The concrete apron has and continues to operate as the focus of this delta into the sea and exists in
a state of flux - negotiating time, spatial and use differences but with a continuity in its uncanny nature a non-place between the active arms of the Cove and suspended as an artificial topography between
the landscape and Southern Ocean. (too specific referring to Salamanca/hunter st?...what about
describing the non-place as being suspended between an artificial topography/landscape and a
frozen edge of the ocean, the ultimate non-place?)
Once this delta action and the uncanny nature of the open apron is understood, notions such as axis
recede. These ideas from a formal city-planning sensibility, are attempts to impose an order onto this
place rather than working from the order which exists. (cracker and v good lead in to panel 2)
I. Hobart exists within the landscape. The phone book shot best typifies this; the city held (and
negotiating) between mountain and river.The Hobart rivulet often a poetic reminder of the link
of Mountain and water is understood as the centre-line or ley line within this (greater) action
of the landscape BOWL. And a literal umbilical cord connecting these two dominant elements of
the landscape. Further, the development of Hobart as a city occurred in a FOLD in the
landscape, between ridges and offcourse dictated by the line of the rivuletThus the city
occupies a CREASE at the bottom of the landscape bowl.this also defines an interesting
difference between the Murray/Elizabeth street Axes which cut across the natural ridge to
connect city and cove, with a hook-like movement formed by the greater landscape bowl
(intensified by the city nestled in the valley) meeting the cove of the city (think from say the mall
swooping down akin to course of the rivulet to around dunn place and then adjusting course
to connect to the river)
II. The concrete apron has historically and continues to be the site of transience, a threshold
between worlds (ie the apples arriving and being distributed). The concrete apron fills a sensory
and spatial VOIDit infact generally fills IN that which the natural topography has never. The
natural topography is still sensed; refer walking down from the city, theres a moment of
transition where one feels theyre stepping from the LAND on to the APRON.. this is particularly
so at this point where the impact of the city is at its least.
(Panel 2)
(given the 2 panels are joined, we dont have to reintroduce ideas from panel 1 text in to panel 2, so
here we could jump straight in)
t e r r o i r French term that describes the soul of a particular site as resulting from the interplay between natural elements at that
site and from the role played by human occupation in its transformation over time
t e r r o i r
R e
i n
u t h
l y t
B a
l m f
r t h
The location of the apron at the delta and its uncanny nature suggest opportunities - working with
inherent patterns and qualities, and revealing these with greater veracity, rather than imposing new
ones. Firstly then, the character of this place as the delta of the larger landscape and historic entry
point to the city can inform new work. In detail, the juxtaposition of the monumental and intimate so
characteristic in the Tasmanian landscape is evident here in the points of intensity and use that
punctuate this broad uncanny field.
I. Inhabitants ON the apron need a variety of systems to define place on this otherwise desolate,
OTHERNESS plane..when in the landscape and/or able to feel/understand/see the
landscape, people understand their place.except for a few places such as where one can get
near the water and orientate oneself to the natural or built (which in fact in its better light
accentuates the natural order, ie by providing a built definition of the Macquarie st ridge and
adding another layer to the amphitheatre behind the cove etc) form, the docks apron is
UNCANNY (unhomely), and our intervention/insertions reinforce this sense. The layering of
systems/orders is about finding ones place on the vastness of the BLUNT APRON.this could
be an intensification and betterment of current uses; carparking, recreation, relaxation,
commerce, marina etc.?? The point on the apron is to retain its uncanny and placeless quality
while using new elements to reinforce the greater triangulation. The triangulation issue here
takes it out of the specific and thus retains the uncanny.
Left over text;

Dunn Place is the DRAIN of the landscape beginning at the pinnacle of Mount Wellington then
dishing down to ooze out in the Derwent around the former swamp-land of Wapping etc, ie Dunn
Place. Our action on Dunn Place in understanding it as an extension of the apron is the point where
the APRON MEETS THE NATURAL TOPOGRAPHY and thus is a key between the water and land.
The place where the harbour folds in to the landscape. This validates our site of intense action TO the
apron FROM the landscape interface as a key junction of potentiality and turbulence
(THIS IS HANG OVER FROM A PREVIOUS ANGLE WHERE WE WERE LOOKING AT DUNN
PLACE TO BE CENTRE OF ACTIVITY OF OUR SUBMISSIONTHIS IS NO LONGER THE CASE)
City Halls historic use is one of general purpose hall FOR THE CITY. Its firmly anchored and
should stay so on Hobarts ceremonial street; Macquarie St which in turn is located beyond
the original junction between the rivulet and river
Using the concrete apron over Dunn Place locks away the archaeological concerns with this
site (this could be a big player and one that from an understanding of peter freemans latest
report could sink many a wilful development on this sitehave TM01 researching the key
findings of freemans report further)
Our initial proposition for action to Dunn Place is to harbour a dramatic new landscape, one
incorporating a body of freshwater in some manner, that relates to the nearby existing
dockspassing through (and importantly OVER the apron now, as opposed to its current
typical Hobart street status) on Davey Street between sea (docks) and fresh (new Dunn
Place) is an intensification of place.
Future development on Dunn Place is a further intensification of the energy of the apron
meeting and harnessing the landscape, in the form of a gallery extension to TMAG.to
complete the BLOCK as a cultural precinct etcthis new gallery could focus on the link to
Southern Ocean and Antarctica (the OTHER), one that is burgeoning and successful in a
recent permanent TMAG exhibit.
Further action on to the apron (ie in opposite direction, out to where the current marina is) is
less cleardont have the impetus to CHANGE it for a reason.perhaps the answer lies in
not pulling the apron out in to the cove accept this was of a former time when multiple piers
prevailed for numerous ships to accentuate our action of PUSHING the apron further IN to
the city (dunn place etc)?
This series of independent but potentially interrelated elements cast across the apron is where
I see the turbulence aspect of the land-meeting-water also of assistance as a
t e r r o i r
R e
i n
u t h
l y t
B a
l m f
r t h
metaphorthis is potentially interesting where BOTH key actions are given character by the
meeting of land and water/freshwater meeting sea water/local meeting the other etc; but
keeping them blunt so not turbulent in a busy sense but how little can we do that is blunt but
deals with turbulence. TM01s symbiotic stuff might help here.
o
Primary; blunt apron with intensification where were most jamming it in to the
landscape (dunn place)
Secondary; scattering over the apron of place-making elements.
Tue 28/11/2006 13:49

DETAILS:
From: Sarah Benton
Sent: Tuesday, 28 November 2006 1:49 PM
To: Scott Balmforth; 'Gerard Reinmuth'
Cc: 'TM01'

CONTENTS:
Animation stills
Tue 28/11/2006 13:59

DETAILS:
To: 'Sarah Benton'; 'Gerard Reinmuth'
Cc: 'TM01'
CONTENTS:
Cracker!
Tue 28/11/2006 14:03

DETAILS:
To: 'Scott Balmforth'; 'Sarah Benton'
Cc: 'TM01'
CONTENTS:
Yep, I think these are really really good
114
Tue 28/11/2006 14:07

DETAILS:
To: 'Gerard Reinmuth'; 'Sarah Benton'
Cc: 'TM01'
Importance: High
CONTENTS:
Theyre going to nestle in well after the second para of main text (which describes the folds turning in to
delta etc). each still will be about 40mm x 40mm to suit text block.
Last minute query is whether this run of stills warrants more prominencewondering about a string
along the top of panel 1 (above the ideation mountain range) similar to Prague panels btm string.
Thoughts?...is this possible at 11th hour in Indesign etc?
s
Tue 28/11/2006 14:12

DETAILS:
Sent: Tuesday, 28 November 2006 14:12
To: 'Scott Balmforth'; 'Sarah Benton'
Cc: 'TM01'
CONTENTS:
I think that given some of the issues with ramming home what the ideation image really means so
someone other than us, more prominence would be good as they would ram it home . . .if it can be
made to look good etc
115
APPENDIX I PROJECT STUDY: MAITLAND CITY

BOWLING CLUB
Appendix I includes file notes and email conversations gathered over the research timeframe. In
long documents, I have highlighted specific notes that I refer to in Volume One. I have
Team Member No 2
TM02
Team Member No 2
TM02
Team Member No 2
TM02
Team Member No 3
TM03
Team Member No 9
TM09
EMAILS
TOTAL EMAILS
Received
371
Sent
REFERENCE /
RECEIVED DATE
Fri 21/10/2005 17:27
51
Mon 24/10/2005 18:05

Tue 25/10/2005 10:49
Tue 25/10/2005 11:09
Thu 12/01/2006 10:22
Thu 02/03/2006 18:31
FROM
TO
SUBJECT
Sarah
Benton
TM09
'Gerard Reinmuth'; TM09

'Scot! Balmforth'
'Gerard Reinmuth'
Cc: 'Sarah Benton'
'Sarah Benton'; TM09'
Hunter Club
RE: landscape
'Sarah Benton'; TM09'
RE: landscape
TERROIR
MAITLAND
TM09; Gerard Reinmuth;

TM07; Scott Balmforth
Cc: Richard Blythe
MAITLAND: side tracking...
Gerard
Reinmuth
Gerard
Reinmuth
Sarah
Benton
Sarah
Benton
Progress on slides
116
PROJECT DESCRIPTION
An existing bowling club requested a significant transformation to address energy and
occupation issues while providing an iconic new form that signalled a new identity for the club.
TERROIR won the architectural competition with a submission that proposed a re-branding of
the Club and a master plan that could be implemented over a five to ten year period (TERROIR
2007f, Monday, 17 December 2007).
Three key design elements emerged as essential to the initial phase of work: a new roof, new
servicing, and a new faade to the bowling greens. Functionally, the roof acts a new backpack
of sorts, enabling and containing new and more efficient building services, while also acting as a
giant rain harvester, and as a solar parasol protecting the building from the harsh Maitland sun.
The elevation of the roof to the Bowling Green mimics the line, which a bowled ball should
take along the bowling green in plan. The topographic roof plane ties the building complex to
the rolling hills of the surrounding Hunter Valley (TERROIR 2007f, Monday, 17 December
2007).
117
118
EMAILS
Fri 21/10/2005 17:27

DETAILS:
From: Sarah Benton
Sent: Friday, 21 October 2005 1727
To: 'Gerard Reinmuth'; TM09
Cc: 'Scott Balmforth'
Subject: Hunter Club
CONTENTS:
Whats yr thoughts?
TM09 and I have discussed and think it could look something like this
We looked at the thick pink line at the edge of the roof and thought that the craggy edge suits the
topographical idea
We moved away from the constantly parallel lines in favour of the more fluid contour lines in pink as we
thought it represented almost contour lines
119
Alternatively I thought there could be a bit more solidarity to the building
or where the solid pink is could just represent a higher density of louvres(which is maybe the better
option??)
120
We discussed the constructability of it and I started drawing not plate louvres but something of a
significant triangular section (more like saw tooth roof) this could become just a triangular truss clad to
one edge or if necessary reduce right back down to pure pepp bay with just a crazy
application of hi-ten decking.
Mon 24/10/2005 18:05

DETAILS
From: TM09
Sent: Monday, 24 October 2005 18:05
To: 'Gerard Reinmuth'
Cc: 'Sarah Benton'
Subject: Progress on slides
Attachments: Maitland progress.pdf
POWERPOINT SLIDES:
121
Tue 25/10/2005 10:49

DETAILS:
From: Sarah Benton
Sent: Tuesday, 25 October 2005 10:49 AM
To: 'Gerard Reinmuth'

Cc: TM09
Subject: RE: landscape
Importance: High
CONTENTS:
Here is a history and a bit on the topography.
My understanding is that Maitland is located on the plain of the Hunter River. It is a clay base and the
hills literally move and it is quite unstable. I would imagine it would also suffer from mine subsidence. It
used to be quite a lovely place until it was cleared of all trees, the war and industry moved in and
slagged up the river
The bowling club sits on the edge of east Maitland. So it sits on the edge of the city next to horse and
wheat paddocks. If the roof is mimicking the topography then it should be pretty flat unless its looking
out toward the ranges of sugarloaf to the south (the best mountain in Newcastle) or north to the
rosebrook range.
it used to be beautiful, probably will start to upgrade its standards in the next decade (Newcastle has
started so it will surely infiltrate down the river) and Morpeth (a close suburb) has great lollies and pulls
a lot of tourists
122
123
Maitlandflat
Map of the River Hunter and its branches
124
Geology and soils
The topography of the Hunter catchment is strongly controlled by the underlying geology. A
major fault line separates Carboniferous rocks exposed along the northern side of the
catchment, coal measure sequences of Permian age in the central and south-eastern areas,
and Triassic sandstones in the south
The Carboniferous rocks have been extensively faulted and folded, and form the steep rugged country
leading up to the Barrington Tops. The Permian rock sequence has been eroded to form the main
corridor of the broad Hunter River Valley. The Permian rocks are derived from ancient marine
sediments and contain salt. Consequently, many streams of the central valley floor are naturally high in
background salinity. A thick Triassic sandstone layer lies over the coal measures in the southern
areas of the catchment, forming a plateau with heavily dissected tributary valleys.
Soil types are dependent on parent rock type and rainfall levels. Floodplain soils include alluvials,
podzolics and cracking clays
125
Aboriginal history
The Wanaruah ("people of the hills and plains") have occupied the upper Hunter for at least 30 000
years, with traditional knowledge holding that occupation extends back to the early stages of the
Dreaming. The Dreaming, in Aboriginal culture, is the period of creation.
Wanaruah tradition holds that, prior to creation, the Hunter Valley was a vast empty flat plain devoid of
life. The Creation Ancestors awoke and moved across the landscape, caressing it to life through their
activities. In so doing, they left their imprint upon every living thing and non-living feature of the
landscape.
European history
The Hunter catchment was one of the first settled for agriculture in Australia, with rapid expansion
occurring between 1820 and 1860. Prior to this, between 1804 and 1820, coal and cedar were the
primary economic pursuit of local settlements. The region now produces 80% of New South Wales'
coal and 35% of Australia's aluminium, and 40% of NSW's electricity.
Agriculture including thoroughbred horse studs (particularly in the upper Hunter), vineyards and
wineries are key contributors to the economy of the upper Hunter.
Hunter vegetation
Prior to clearance the floodplains and rolling hills of the Hunter Valley were probably dominated by
ironbark, grey box, white box , yellow box, and forest red gum (all Eucalyptus spp.) over an
understorey of grasses and shrubs. The river margins were dominated by a dense corridor of river oak
(Casuarina cunninghamiana) and river red gum (E. camaldulensis)
126
Tue 25/10/2005 11:09

DETAILS:
To: 'Sarah Benton'

Cc: 'TM09'
Subject: RE: landscape
CONTENTS:
As well as being bloody quick that is quite useful. Thankswill brew on it and get into the spiel
I think it is ok to play with this gradual wobbly roofscape that does look out toward sugarloaf I think
TM09 and I saw some mountain range in the distance and in a way the unsettled nature of the
topography with moving wobbly hills
Thu 12/01/2006 10:22

DETAILS:
From: Sarah Benton
Sent: Thursday, 12 January 2006 10:22
To: TERROIR
Subject: MAITLAND
CONTENTS:
127
Thu 02/03/2006 18:31

DETAILS:
From: Sarah Benton
Sent: Thursday, 2 March 2006 18:31
To: TM09; Gerard Reinmuth; TM07; Scott Balmforth
Cc: Richard Blythe
Subject: MAITLAND: side tracking...
CONTENTS:
I have done the following as a result of trying to articulate the design story of Maitland:
Export information into hard core Excel spreadsheet which meant that repetitive iterations of the form
could be cardboard modeled based on the 3d model that I had created in digital space. This is
delegation allowing the design to be seen.
Upgrade the way we use blocks to extract that raw data from AutoCAD into three Cartesian points in
space (x,y,z) the building starts to be understood as the relationship of joining points in space
Need to give form to those points to address the fundamental requirements of architecture ie:
shelter/enclosure/quality of space
128
Need to produce a flexible approach to the design to accommodate the consultant requirements
Being aware of the tool of programming create a script to draw the points in space:
Find that this allows the production of a 2d drawing but need to start adding the 3D, which means that I
need math to work out angles and find that excel can calculate it and create a flexible model that
means I will be able to create repetitive iterations of digital models which presents an avenue into VB
scripting and linked files AutoCAD promote the idea of Small Drawing = Fast Drawing. It becomes
both this:
And this
129
And this:
And this
Currently I have found that if I turn my architecture into textual information it does two things: 1. PRO:
is exportable and transferable to others. 2. CON: it is no longer architecture it creates data and if you
refer to 86-88 George Street you can see that I am grappling with thatI am raising this as just an
example of what is happening. To me it in no way rejects the diagram but does facilitate a controlled
and directed flexibility.
130
APPENDIX J PROJECT STUDY: MODELLING

Appendix J is a paper I submitted as a part of the HomoFaber 2007 exhibition.
Homo-Faber: Modeling Ideas

SARAH BENTON
Embedded Practice PHD Candidate - TERROIR
TERROIR began as a conversation between 3 people and the model emerged early
on as a tool for giving material form to ideas emerging from that discussion. We
reached the conclusion (at HomoFaber 2006) that physical models were conceptual
and sought to capture an idea rather than to represent a building. We found they
related closely to our conversations (words) and diagrams (lines) that were used,
they allowed for very rapid adjustments and that in making these models the project
was understood in new ways and in a manner that cannot be achieved in the
absence of this iterative process 1. See Image Set 1: Burns MacDonald models
Over the past few years TERROIR have cautiously integrated digital modelling into
the design process. Through my involvement in SIALs embedded research within
architectural practice program the firm as a whole has gained a greater awareness
of the implications of expanding the conventional toolset of an architectural
designer. This experimental stage has challenged the office with ideas about how
and why this form of modelling may enhance or indeed impede the ideation design
process. See Image Set 2: Various idea models used in the process of design
Early experiments gave us confidence in the potential of the digital where a digital
model/animation resulted in a conceptual breakthrough in a project and presented a
way of seeing the projects concept with greater clarity. See Image 3: Fern Tree
House Animation
These modelling explorations enhanced contained design exercises in the ideation
process and we became aware that certain digital techniques were not about to
become formulaic or their usefulness easily reproducible.
1
Blythe, R. (2007). Afterword: On Models. Terroir: Cosmopolitan Ground. Terroir. Sydney,
DAB Documents, UTS: p164-165.
131
So again we faced the question of what exactly is the benefit of the digital media to
our design process. After focusing more closely on how we design we became
aware that media can be far more than merely tools to be deployed for already
determined ideas. Rather media can begin to be interactive, be understood as
operative and play a role in shaping our intentions. Thereby, whilst TERROIR design
remains driven by overarching ideas that result from the collective conversation and
that these are held as primary, the role of the model, both traditional and the digital,
can play a part in working up the idea.
For example in a project for a New National Library in Prague ideas began through
gathering a comprehensive and wide ranging body of information about the project.
One of the first visualisations of the project was an abstract speculative physical
model that I constructed in response to an idea about how the building could be an
articulation of a violent landscape rupture. This idea was based on the teams
assumption that there needed to be a visual and circulation link to the existing
Prague Castle. See Image 4: Model 1 Prague Library Competition
This physical model was complemented with a digital model in which it was possible
to work with a larger and more accurate context. Through the digital model it could
be seen that the fall of the land and the circulation patterns through it differed from
our initial readings. The previous idea was thereby built upon a somewhat distorted
and contrived understanding of the landscape and a debate ensued. See Image 5:
Model 2 Prague Library Competition
In TERROIR, particularly in response to multiple peoples opinions, the firm often
works through ideas and models to look for the best outcome. In the Prague project,
the physical and digital models were integrated into the conversation to assist at
points of crisis. Resulting from differing readings of the site a contrary idea was put
forth to build upon the sites immediate context; a park with a smooth velvet
character. Iterations of both of these ideas were modelled and compared. Ideas
about mysterious cases rupturing from below the park, to house the archive section
of the library, were added to the mix. In the Prague competition the final design for
Prague was critically selected from this pool of many ideas and models. The
132
projects final idea intertwined this mix resulting in rupturing cases shielded under a
velvety roof. See Image set 6: Models Prague Library Competition
As the firm continue to integrate digital tooling into the ideation process, it is
becoming more necessary to complement those digital tools and processes with
equally sophisticated physical modelling techniques. The idea of the velvet parkland
was modelled in a digital simulation by locating control points across the site,
applying a surface to those points, and then modifying the smoothness and fall of
that simulated surface with the computer. Due to the many controlling factors and
the laborious nature of the task the digital simulation seemed to suppress the
potential of the idea. On viewing the digital iterations attempted the design team was
not convinced that we were gaining any understanding into how such a material may
want to operate. At this point physical models were used to investigate the operation
of actual velvet material. These explorations were much more convincing and the
knowledge was taken back into constructing the digital model. See Image set 7:
Models Prague Library Competition
In TERROIR, where designing occurs during an email conversation, representations
of the digital models sit alongside photos of physical models. As such the firm fully
integrates the traditional craft and more modern modelling methods. In TERROIR
today the term model is used abundantly and ambiguously to describe physical and
computational explorations. The final image of Prague was modelled in the
computer, rendered and then manipulated. It is both a digital model that holds a high
level of information and an ambiguous image that presents a strong idea framework
but which could go onto be modified within the confines of that idea framework. See
Image 8: Final Image/Model Prague Library Competition
The Prague competition called for a physical model to be submitted. Having
designed the building with an exterior form with the characteristics of smooth velvet
in a digital model we faced the problem of translating that into a physical form. Our
first attempt produced an average quality vacuum formed model. Seeing this result
the team looked for other methods. See Image 9: Presentation Model Attempt 1
Prague Library Competition
133
In working up an idea a body of work goes into finding and visualising the idea and
an equally important body of work goes into presenting that idea. If it is done well,
the production of the representation can become a continuation of the ideation
process. With the time constraints of the competition the team agreed to create a
Perspex laser cut model. This was not meant to directly mimic the images on the
presentation panels rather by being abstract the presentation model maintained a
sense of a working model. It was meant to maintain a level of ambiguity and thereby
reinforce that we were presenting an idea framework upon which the client and
TERROIR could build on in the future. See Image 10: Presentation Model Final
Prague Library Competition
TERROIR acknowledges that the exciting thing about a working model is not
accuracy and beauty rather it is the understanding and discoveries that happen
through the process of making. Through modelling our own ideas, or a team
members idea, we can see that a level of interpretation occurs. Only by making the
idea can the TERROIR design team see and interact with them. This interaction can
result in unexpected results and this ultimately expands our ideation design process.
Blythe, R. (2007). Afterword: On Models. TERROIR: Cosmopolitan Ground.

TERROIR. Sydney, DAB Documents, UTS: p164-165.
134
APPENDIX K PROJECT STUDY: MONTPELIER

RETREAT COMMERCIAL BUILDING
Appendix K includes email conversations gathered over the research timeframe. In long
documents, I have highlighted specific notes that I refer to in Volume One. I have included
various email correspondence that I refer to in Volume One. The emails were made in private
conversations. They may contain jargon and familiar synonyms coined within the TERROIR
design team. The Appendix material has been censored. As per RMIT ethics requirements I
have removed the identification of team members and asked permission to include the sensitive
material. As the research involves the close collaboration with the directors of my industry
partner firm, I have included the firm and the directors identity. I have sought and gained their
approval for its inclusion.
TM13
Team Member No13
Team Member No13
TM13
EMAILS
TOTAL EMAILS
Received
67
Sent
REFERENCE /
RECEIVED DATE
Fri 02/09/2005 10:24
23
Sat 03/09/2005 19:43

Mon 05/09/2005 15:56
Mon 05/09/2005 16:09
Tue 06/09/2005 01:42
Tue 06/09/2005 08:59
FROM
TO
SUBJECT
Gerard
Reinmuth
Gerard
Reinmuth
Scott
Balmforth
Scott
Balmforth
Sarah
Benton
Gerard
Reinmuth
TM13; Sarah Benton; TM14;

Scott Balmforth
Balmforth'
Gerard Reinmuth; TM13;
Sarah Benton
Sarah Benton
Gerard Reinmuth; 'Scott
Balmforth'
Balmforth'
montpelier - position
RE: montpelier
Re: MONTPELIER VIEW
AND BOX STUDY
Re: MONTPELIER VIEW
AND BOX STUDY
RE: mont image
RE: mont image
135
PROJECT DESCRIPTION
Montpelier Retreat project brief requested a commercial building design to house commercial
offices and carparking. The site is on Montpelier Retreat near the popular Salamanca Market site
in the city of Hobart Australia. The final TERROIR proposals included two building options,
the first was a tower format and the second was a low-rise design.
136
FILE NOTES
FN Tue 22/06/2005
AUTHOR:
PROJECT DEVELOPER/TERROIR
DETAILS:
Design + strategy for Montpelier retreat
Outcomes generated from Workshop 22 June 2005
Urban + architectural.
Building form generated from protection of key vistas.
1: Salamanca (knopwoods and beyond)
2: Sandy Bay Road
3: Salamanca mews
New building mass to respond to the smaller scale of urban context as opposed to the single
heroic gesture. Avoiding big box, through scaling and fragmentation.
Building to respond to controlled and calculated views. What do we want to see? What do we
want to hide? Buildings and mountains. By cutting we add to public amenity.
Topography driven architectural massing. climbing the hill. Instant city vs. topographic
response.
Competing connections from Kirksway and Sandy Bay Rd to Salamanca place.

Design by rules - not by composition.
Political Strategies
Public destination point.
Solving the urban design problems of the whole site due to possession of adjoining site. A single
vision can be achieve to resolving issues of height, scale, views ,interface, car parking etc etc etc.
Multiple options. Some commercial value adding, where we offer back to the public.
137
Emphasis on the locals rather than the mainlanders. (architect + developer)

Programmatic Desires
1 cross over only.
Flexibility in offering multiple options. Not locked into single vision. We can accommodate all
and offer many solutions.
Flexible office spaces to allow for multiple of end uses. Maybe SOHO edge liners.
Proposed programme options + outcomes:
Full car park + Edge liner. With 2 levels underground, 1200 cars.
800 Cars (equal to Alis maximum). Office + Public programme incorporated. We now match
Alis best option + add greater amenity.
Less Cars better public and commercial amenity. Flexibility in the programme.
Need to demonstrate clear flexibility in submission through diagrams.
Strong architectural vision and language to compliment the apparent flexibility.
Our advantage is we control the whole site and therefore
Alis scheme educated guess - car park and serviced apartments. Max Cars approx 800. 5 floors above ground
+ 3 below.
Need to clarify how many car parks exist today.
Random quotations from workshop.
Unlock future potential
as part of the overall cove not just the site
maximise the benefit within the cove
public amenity vs. private
138
EMAILS
Fri 02/09/2005 10:24

DETAILS:
Sent: Friday, 2 September 2005 10:24
To: TM13; Sarah Benton; TM14; Scott Balmforth
Subject: montpelier - position
Importance: High
CONTENTS:
A series of previous studies (to be summarised by TM13 for next week) have resulted in the
establishment of some basic principles in regard to the building size, layout, core split, etc etc etc. This
results in a blob that we now understand.
In addition, thoughts regarding the potential of a taller element to exist on site (again, a series of
arguments that can be outlined by tam) has resulted in this also appearing as an option.
So, the only question now is how this thing forms into a building appropriate for a site and not a
commercial exercise where the blob is developed via pattern-making etc etc
We are evolving a set of design principles:
1. An understanding that the building site BEHIND the wall of the Salamanca Place. So, while
the building may dimensionally need to relate to this wall, the building location is more
reminiscent of the sheds that site behind this wall (a plan could be drawn of these and
STUDENT or TM01 take pics)
2. This typology (behind the wall) is a shed typology of numerous angled roofs that results in a
texture and detail that is familiar to Hobartians. This complex roofscape is a key characteristic
of the city. Therefore, the funnel building adjacent is considered as bad practice as its bulk
and scale do not attempt to reconcile with this textured roofscape.
3. This roofscape, like the trad indurtcirla roofscape, would be driven by pragmatic concerns
(getting light in) and we can expand this to programmatic and view and environmental and
core issues that will mould this
4. Under this roofscape sits topography. This topography infiltrates Salamanca at numerous
point (Kelly Steps, Quarry) and suggests a built up base that reconciles this topography and
the need for humans to move around it (so again, a complex platform based upon human
scale is proposed rather than a wall of commercial building
5. This combination (roof and base) provide an armature around which our building can form. A
middle layer (the standard building walls) may exist but we can think about this and look at
stretto house
When we get into the tower, this same diagram negotiates either an extra element, or a modification of
an existing element from above. I go for the latter where the ground plane is simply chiseled away
from the tower so it all reads as a major landscape elements modified. See pic coming through from
TM14.
This element then would be chiseled as organ pipes etc etc etc
139
Sat 03/09/2005 19:43

DETAILS:
From: Sarah Benton
Sent: Saturday, 3 September 2005 7:43 PM
To: 'Gerard Reinmuth'; 'Scott Balmforth'
Subject: Montpelier
CONTENTS:
Layers of building in different materials
Matches mountain beyond
More cuts could be inserted to respond more to the views
Layers of building in different materials
Matches mountain beyond
More cuts could be inserted to respond more to the views
Started with metal at top with glaze shop front at bottom level
140
But could be flipped etc so top glaze to views and base a masonry base
03/09/2005 20:10
DETAILS:
Sent: Saturday, 3 September 2005 20:10
To: Sarah Benton; 'Scott Balmforth'
Subject: RE: Montpelier
CONTENTS:
This is starting to look quite promising Scott send any comments if you see this overnight/early tom
Mon 05/09/2005 15:56

DETAILS:
From: Sarah Benton
To: TM13; 'Scott Balmforth' ; 'Gerard Reinmuth'
Sent: Monday, September 05, 2005 3:56 PM
Subject: MONTPELIER VIEW AND BOX STUDY
CONTENTS:
CYAN INDICATES PRIMARY VIEWS EG: TO WELLINGTON AT TOP LEVEL, DERWENT AND PARK
AT MID LEVEL AND DERWENT AT LOWER LEVEL
141
142
143
Mon 05/09/2005 16:09

DETAILS:
Sent: Monday, 5 September 2005 16:09
To: Gerard Reinmuth; TM13; Sarah Benton
Subject: Re: MONTPELIER VIEW AND BOX STUDY
CONTENTS:
first impression is that it wiggles in all directions a little too much?...might have to reign in the
differences in
developing?
S
Tue 06/09/2005 01:42

DETAILS:
From: Sarah Benton
Sent: Tuesday, 6 September 2005 1:42 AM
To: 'Scott Balmforth'; 'Gerard Reinmuth'
Subject: RE: mont image
CONTENTS:
I hope these are useful. The bottom images start to look at linking panels etc and I would prob
continue on with this a little more. The glass is a toughie. It could be conceived as part of the rock base
but if you agree that it is almost a third material (steel fold roof over rock base) the glass infill could
144
become an interesting installation in the elevation-for the glass I quite like the first couple of images as
there is a bit of delicacy in the break-up/ and then the last images start to indicate a rock bracket
145
146
Tue 06/09/2005 08:59

DETAILS:
Sent: Tuesday, 6 September 2005 08:59
To: Sarah Benton; 'Scott Balmforth'
Subject: RE: mont image
CONTENTS:
These are starting to look good thoughts Scott?
147
APPENDIX L PROJECT STUDY: PRAGUE

NATIONAL LIBRARY COMPETITION
Appendix L includes email conversations gathered over the research timeframe. In long
TM02
Team Member No02
Team Member No11
TM11
EMAILS
TOTAL EMAILS
Received
618
Sent
REFERENCE /
RECEIVED DATE
Tue 04/07/2006 10:17
303
Mon 07/08/2006 22:29

Mon 07/08/2006 22:30
Mon 28/08/2006 14:11
Mon 28/08/2006 17:38
FROM
TO
SUBJECT
Scott
Balmforth
Scott
Balmforth
Gerard
Reinmuth
Gerard
Reinmuth
Sarah
Benton
TM11; Gerard Reinmuth;

Sarah Benton
Richard Blythe; Sarah Benton
'Scott Balmforth'; 'Richard
Blythe'; Sarah Benton; TM11
Blythe'; Sarah Benton;TM11
Blythe'; Gerard Reinmuth;
TM11
'Sarah Benton'; 'Richard
Blythe'; TM11; 'Scott
Balmforth'
'Sarah Benton'; 'Richard
Blythe'; TM11; 'Scott
Balmforth'
library; public space
Mon 28/08/2006 18:51
Gerard
Reinmuth
Mon 28/08/2006 20:31
Gerard
Reinmuth
Re: PRAGUE: bg_velvet

Re: PRAGUE: bg_velvet
prague progress
RE: prague progress
RE: prague progress
RE: prague progress
148
PROJECT DESCRIPTION
This competition project based in the city of Prague requested a building design for a new
national library to house a modern library space, protection for an archive collection and a series
of public gathering spaces. The site was situated on the periphery of Pragues historical city, on
the corner of a flat park called Letna Park. The park sits on an escarpment overlooking the old
town and adjacent to the historical medieval Prague Castle.
The TERROIR competition entry was submitted to the Prague competition panel, passed
through four rounds of assessment. The TERROIR entry made it through to the top 16 of
selections in the international competition against a jury that included the internationally
renowned architect Zaha Hadid.
Figure 2: Images used on the competition panels
149
EMAILS
Tue 04/07/2006 20:17

DETAILS:
Sent: Tuesday, 4 July 2006 10:17 PM
To: TM11; Gerard Reinmuth; Sarah Benton
Subject: library; public space
CONTENT:
Have previously mentioned the importance of delivering a public space that manages climate,
connection to landscape etc
refer attached journal note, where it's proposed our ground plane is a 3dimensional interweave of
public open/closed spaces...rather than defined open plaza or enclosed plaza looking out on to
adjacent landscape.
This arctic painting by friedrich explains (in a heavy-handed manner!!!) the cracking open of the upper
'crust' of the hill in which the competition site occupies;
not only is this in the tradition of other TERROIR projects seeking landscape actions to articulate a
response to site - something akin to Hadids manner of seeing a site as an "alien" in a similar manner,
i.e. neglecting that which is not important in favour of a 'fresh outlook" - it also articulates, pointed out
by matt, the energy and effort involved in the mega-tunnel vehicle system to which we are adjoining
(especially where the cars will spiral out of the ground and "pop up!" next to the library. This influence
deserves acknowledgement.
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Mon 07/08/2006 22:29

DETAILS:
Sent: Monday, 7 August 2006 11:29 PM
To: Gerard Reinmuth
Cc: TM11; Blythe, Richard; Benton, Sarah
Subject: Re: PRAGUE: bg_velvet
CONTENTS:
the shape/attachment etc of inside box's is a hard one...if we go with velvet lid and cars
anchoring ground plane (as per my previous email on knotted carpark ground-scape inside) i
think they should engage with both lid and base...get's back to a sort of porous section like
an aero bar but with more defined enclosures...as for their shape/size, dunno....but if i think
too hard after reading kafka's Metamorphosis (a weird story about a bloke waking up as a
man-sized bug for those who dont know) i'd suggest a cranky jumbo-scaled cockroach
cocoon!!???
Mon 07/08/2006 22:30

DETAILS:
To: 'Scott Balmforth'
Cc: TM11 ; 'Blythe, Richard' ; 'Benton, Sarah'
Sent: Monday, August 07, 2006 11:30 PM
Subject: RE: PRAGUE: bg_velvet
CONTENTS:
Have heard worse ideas. Whats a roach nest look like
I dont mind the aero bar, what I was suggesting was an aero bar but managed so there was also some
vantage point to look at it rather than just a loose assemblage of eggs
Mon 28/08/2006 14:11

DETAILS:
To: 'Scott Balmforth'; 'Richard Blythe'
Cc: Sarah Benton; TM11
Subject: prague progress
Importance: High
CONTENT:
Have been discussing this with Sarah, quick update is as follows:
Sarah has a good handle now on the roof geometry. She is triangulating it, which I like in
Czech cubist sort of a way
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The eggs are running behind and she will send more stuff in the next day or so
As the eggs and roof triangulation need to relate, they need to fuse together before more work
occurs. We are hoping this set occurs by Thursday
Mon 28/08/2006 17:38

DETAILS:
From: Sarah Benton
To: 'Scott Balmforth'; 'Richard Blythe'; Gerard Reinmuth; TM11
Subject: RE: prague progress
CONTENT:
I am looking at the eggs at the moment and trying ot understand them so that I can take that back up
the tree to influence the roof sensuousness. But in doing so I needed to understand the basic panel
that it derives from. So I started looking at concrete as cubism is based on looking at the material
logics of conc/crystals etc /also Andrew Benjamin argues that material logic is a basis for generation of
form so in doing so I came up with the following images
Zooming in on a stratified composite material
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So it doesnt tell me how the eggs look in elevation but as a language in plan is it starting to align ?
Thoughts . and there are answers to your question below
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Mon 28/08/2006 18:51

DETAILS:
To: 'Sarah Benton'; 'Richard Blythe'; TM11; 'Scott Balmforth'
Cc: TM02
CONTENTS:
All good
Keep going with the KEY driver being the relation of the eggs to the roof plate at top, so they ultimately
need to be sorted in relation to the building/interiority as opposed to the source image/exteriority.
Then TM02 might be able to enter the frame and adjust the geometry to enable a familial presence
between eggs
G
Mon 28/08/2006 20:31

DETAILS:
To: 'Sarah Benton'; 'Richard Blythe'; TM11; 'Scott Balmforth'
CONTENTS:
I suppose the trick is tick-tacking until the eggs relate more to the top . . still a way to go?
Might try and draw later to assist
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SYMPOSIUM NOTES
FN Fri 03/11/2006A
AUTHOR
Gerard Reinmuth
DISCUSSION:
PRAGUE IDEAS
NOTES:
The slide above is from a summary sent around our team at a critical point in the design process for a
recent competition project, a new library in Prague. I put it on the screen not so you might engage with
the issues, or even read them, but at the very least you might count them. These contexts lie in the
specificity of that project and thus are worked through as a result of a body of research carried out in
response to that project.
The broadness of the list in this particular case a list developed through an extended discursive
process taking 6 weeks of the competition process is typical. Subsequently, we have investigated
various constructs over the past few years to try and understand and to describe how to best harness
the potential of this approach. Words like indeterminacy and multiplicity have become common while
Andrew Benjamins suggestion of the cosmopolitan as a potential frame have provided windows
through which to view what we are doing.
As Andrew explained back to me earlier in the week, any practice with a name like TERROIR is
inevitably going to be concerned with a broad range of contexts around a specific project. He has
noted that the development of place must be specific but that specificity is not just the evocation of
place . . but pertains to that which will always have been involved in the thinking of place, of the
location of a site. This, indeed, is a broad project.
So, each project is specific and each contains multiple contexts: the geology of the place, the way
people move through the site, the weather, economics, precedent, and histories long and short. There
is an ethics at play in the sorting of these issues: which ones will become the project which ones will be
abandoned. This is not a case of bricolage but of choice. The choice happens in the discovery of
resonances that emerge between certain instances in their elongation and synthesis, the way in which
a world of relations opens up between them.
PRAGUE EMAIL DISCUSSION
How do we find these resonances? Andrew suggests that writing about place any place
necessitates that the place will be identified, that it be located and thus that it be placed He notes that
each of these moments is an activity: identifying, placing, locating, and that as activities, they being
with them the ineliminable mark of mediation. It is this process of mediating that I will turn to now and
which Sarah will focus on in her talk.
I will start with a quick summary, and an extension. It is our position that architectural works should
emerge from a broad set of contexts and issues, and awareness of these multiple contexts emerge and
are mediated in practice via a discursive process embedded in the structure of a practice which has 3
Directors who are all designers. Thus, in TERROIR, the multiplicity inherent in the project is extended
to the authorship of the project.
What has all this got to do with things digital? Well, in the reality of architectural practice, these issues
multiple Directors, multiple ideas, multiple locations led us down a very pragmatic path the early
digitization of our practice. That is, from the very beginning, we used email as a core component of the
design process as it was absolutely necessary if the multiplicity I have referred to was going to exist.
So, while we watch other practices consider a range of communication techniques as an optional
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attempt to refine or tweak their design process, in our case, these issues were present and essential to
address at the very beginning and came not through an evangelical position or even curiosity in regard
to digital technology but through the pragmatics of constructing a viable circumstance within which we
could operate.
This use of email within the practice is now so second nature that its constraints and weaknesses are
well understood. This is not to say we may not develop improvements to the system or test alternate
systems, but that the complexity, time delay or acceleration, conversation stream, dystopia,
robustness, and overall structure of the communications that emerge via this medium are used with
great confidence and to productive effect.
EMAIL JOKE RUN
An important part of this conversation for the medium is used with the lightness of a conversation is
in the way that the personalities and skills of the players remain central to the design process. So
again I can return to Sarahs role and her use of her skills and sensibility to stake out a place within this
process which has been a successful part of a widened collaborate design undertaking.
TOLMANS HILL
So, this interest in multiplicity - and the deployment of digital technology to enable this multiplicity in
both a project context and collaborative context - has resulted in the completion of a body of work over
the past 6 years. However, due to their economy and constraints on procurement, they have been
delivered using fairly standard forms of contract, documentation, and construction. Critical feedback to
the work would suggest that these constraints have not led to lesser work necessarily, but it is of
course clear that we are not at the vanguard in terms of new geometries, new delivery methods and so
on.
TOLMANS, PEPP BAY
Peppermint Bay does contain a range of other collaboration and digital issues the relation between
our CAD files to the engineers files to the subcontractors use of XSTEEL and so on - that had to be
worked through and which of course need working through to limit inconvenience and to expand what
is possible in these areas. But the critical potential of the architectural project lies in its conceptual
framing of specific places in response to understandings or readings of those places and projections to
desire outcomes. We have then deployed projects that have been formed in response to these
concerns rather than in response to some geometric novelty or new delivery technique. Personal
virtuosity or novelty, or the simplification of interdisciplinary collaboration is interesting enough but it is
a second order issue when seen from our position.
So, with this realization of what we do, and a desire to test what we do against a greater engagement
with a wider range of digital techniques, the opportunity emerged to work as an industry partner with
Mark Burry and SIAL on a new ARC-funded program. Our position was, and is, that the value of this
program would be in enabling a greater understanding of what we do and the potential to overlay digital
technologies onto this existing process with the aim of extending or amplifying the potential of this
process as opposed to thwarting or distracting it.
Given this position guided our assessment of the potential value of this program, we agreed with Mark
that Sarah might be the one to do it an invitation she accepted. In Sarah having opportunity to evolve
a greater understanding of what she does and the specific role she has carved out in the practice, we
also had the potential for an expansion of knowledge about ourselves and about the way our practice
designs.
There is a key aspect of Sarahs work that is gaining note, both within the practice, but also outside it via a diverse range of people such as Dennis Sheldon who dared to suggest last week that her work
could change the way design practice is understood and thus change practice itself that is Sarahs
feeding of a discursive process with carefully curated material that assists in the refinement of that
discursive process.
In particular, it is in Sarahs ability to use a range of media from the analogue to the digital to
explore, illuminate or extend the range of conversations at the speed of the conversation itself which is
key. Thus, Sarahs work constitutes an intense exploration of the role and nature of representation in
this digital age or non-representation as that may be and which I am still to fully clarify with Andrew!
The issue of authorship is equally complex and happily unresolved for power structures and the
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reality of Directorial vetoes are ameliorated somewhat by the fact that the very material being assessed
is supplied by and pre-curated before by Sarah herself before she enters it into the email conversation.
RABBITS BOOK PHOTO
We have used a range of descriptions for this but the strongest one in my mind is that of the illustrator
in a childrens book. With these images a discursive mode becomes specifically described, or focused,
and this focus results in further mediation via the confirmation or rejection of the image, of the
discussion, or both, as they are measured and re-measured against the multiple contexts within which
the project is taking place. Further, with the production of these images in the digital realm an
information or data set is simultaneously developed as an outline description of the project.
So, I will now hand you over to Sarah who will provide a review of her PhD work to date and will show
a specific exemplar project in the form of the recent Prague competition I mentioned at the start.
Importantly, as with our design process, Sarahs work is fully embedded in what we do but of course is
being explored through a perspective which is not Richards, Scotts or mine but is her own which of
course is an essential part of a design process tending to the cosmopolitan.
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SYMPOSIUM PAPER
FN Fri 03/11/2006B
PRESENT:
Sarah Benton etc
DISCUSSION:
Productive Representations
INTRODUCTION
This paper discusses the role of representation in the TERROIR ideation process and how they act as
not only reflections of a building but as productive devices for idea generation. As an architect and
designer embedded in a design firm undertaking research into mapping Digital technology onto modes
of practice I have seen a transformation in the attitudes that we have in the tools that we are using. As
the ubiquity of Digital tools and our familiarity with them increases, I have seen the fascination in the
instrument reduced such that our creative discipline is exploiting the tools instrumentality. One outcome
of this has seen the forms of our representations expand and their nature transformed beyond an
interest in the act of making and into spaces for mediation and accommodating questions about
signification. The neutralization of the instrument sees our focus return from understanding the act of
making to investigate the affect and potentiality of the drawing not just as a representation of a
prospective building but as a fundamental productive operative design tool.
My view of negotiating these representations as a productive concern is fashioned by the ideation role I
hold in TERROIR which sees me using visual representations, which are increasingly Digital in format,
as a way of communicating my opinion within a four way conversation taking place in a architectural
firm about what architecture and its intention is.
As someone who operates within a practice, as a designer, at the front end of the architectural
process, rationalization and procurement concerns are just an effect of where my main interest lies.
That is my interest is to understand how to communicate in the pivotal position that I operate in,
communicating to directors about ideas and communicating to staff about how to deliver and protect
those ideas and it is the representation that is a key tool that I use.
Discussing these interests, and the transformation of our focus from instrument to instrumentality, is
the intention of this paper. The paper will firstly overview the debate surrounding the representations
and go onto present TERROIRs position within this debate through one case study that shows the
representations as a productive technique in a generative, poetic and creative design process, how
representations bring about a progression in our collaborative design process and finally how those
representations stand as a description of design intent to guide and protect an idea through the design
development process.
REPRESENTATION
The context of representation in architecture includes a debate that has continued for millennia
between philosophers, designers and architects.
Etymologically the word representation is an interesting puzzle. It has a lengthy history, and changing
and vast meaning. Representation has played a central role in understanding literature, aesthetics and
semiotics. It has been suggested that representation originates from the Greek word mimesis, which in
art means to re-present, by showing rather than telling, human emotions in new ways {wikipedia}.
The debate in regard to the term representation focuses around the concern that it bridges a binary
discrepancy. It can refer to something that embodies an idea, is a fiction or artificiality of the subject (in
architectures case mostly a building) and / or is a reflection, reproduction, substitution or proxy (for a
building) {Art & representation}. The term also extends into explaining how people know and
understand reality {wikipedia} and rather than being a reproduction it stands as constructions that are
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not 100% accurate portrayals of reality but are versions of reality influenced by culture and peoples
habitual thoughts and actions {OShaughnessy & Stadler 2002}.
This attack on representation is basically an attack on the traditional way of thinking, that is, the otherworldly way of thinking originating in Plato and continuing to Kant through Christianity. In the search for
the True World of Realitythe world of Idea, a permanent, eternal, unchangeable entity, a Logos that
is to be cognized by human reason by way of conceptsthis tradition has consistently undermined,
subordinated the World of Appearance, the real world of senses in which people live and function as
human beings
Early contributors of the debate include philosophers Plato and Aristotle, where Aristotle argued toward
the representations as reflections of reality in contrast to Plato who saw representations as illusion
leading one away from the 'real things' which should therefore be controlled to avoid fostering
antisocial emotions or encouraging the imitation of evil {Mitchell 1990}.
A fear within the representation is that they are in some way inferior due to binary discrepancies. That
is they are always attempting to bridge a impossible contrast leading to inappropriate inconsistency.
The types of contrasts include true-false, subjective-objective, genuine-fake reality-appearance {Art &
representation p 11}.
Moving forward in time in the 1980s the philosopher Derrida argued that;
Today there is a great deal of thought against representation. In a more or less articulated or rigorous
way this judgment is easily arrived at: representation is bad. {Derrida, Sending, p. 304}.
At a similar time and drawing from the likes of Derridas comments, were Architects such as Eisenman
who begin to enter the debate and argue that
those relying on technological infrastructure, capable of being medium in its own right, are relegating
architecture to a pure technical extension of capital, that is, it denies creativity and architects are thus
replacing all ideology for architecture and are extracting the life giving sap to architecture {Digital
Eisenman}.
Today this attack on representation continues into the Digital paradigm. It sees two contrasting parties
either seeking a form of truth or control delivered by Digital technique that can validate an architectural
form or those who question the static, determinant and fake nature of the image and acknowledge that
the desire for control and truth is somewhat unrealizable creatively limiting and can thus open up new
forms and validations of what architecture can be.
An example of a truth or control, that is, generating or basing the source of architectural form on
theories of self organization and scientific processes, can be seen in the Beijing Watercube which was
presented bu Chris Bosse of PTW Architects at the UTS Transcapes Symposium. In this example his
team took mathematical analysis of bubbles through various Digital processes to generate and procure
a building that became a box of bubbles{Transcapes Conference 2006}.
In terms of the validation Anthony Burke discussed this at the same UTS Transcapes Symposium,
discussing that he was trying to work in the meta design. He argued that databases of information,
generated by pragmatic infrastructure, enable this and are thus a worthy process for architectural form
ideation and validation {Transcapes Conference 2006}.
However, in contrast, Andrew Benjamin continues the interest in representation as an illusion which
could be used as a device to further the potentiality in architectural form. He argues that architects in
their ideation should embrace the binary discrepancies which lead to indeterminacy and transience
such that architecture may go beyond the limitations of style and re-imaging of reality and take
advantage of the Digitals ability to enable non-representational representations that act as operative
devices for design {Transcapes Conference 2006}.
WHERE DOES TERROIR SIT IN THIS DEBATE?

This brings me to the TERROIR process. My own work is a designing process that needs to
accommodate sources that originate in a conversation and can be diverse and inconsistent. To
accommodate the individuality of each project my ideation visualizations are, as Benjamin argues,
operative material that do not search for truth and go beyond just being a substitution for a building or a
re-appropriation of an image, rather they are used as a trajectory for posing questions about and
around ideas.
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To ensure and assist this operative process occurs, we have extended our toolset into the Digital and
endeavored to develop a certain savoir-faire, intuitive sensibility and familiarity in a variety of
representation techniques. This has meant that we are getting to the point where our tools are
becoming second nature. We focus on their instrumentality rather than the instrument and we do not
privilege the representation or, as Marshall McLuhan would term, the mediums we are using but
question the messages that we are sending {the massage is in the medium}.
This transience sees the perception of representations as not a static one. Rather it leads to an
interactive debate within the design team where the representation, and the sources or rules that they
are based on, is approached with a high level of skepticism and through this process our architecture
emerges based on an multi-leveled and ethical agreement. In TERROIR we do not attempt to justify
architecture by scientific truths.
The following case study presents an example of this approach.
CASE STUDY: PRAGUE LIBRARY

This project is a competition project in Prague for a New National Library that would house a modern
library space, a protected archive collection and a series of public gathering spaces. The site was on
the outskirts of Prague historical city on the corner of the flat Letna Park which sits on an escarpment
overlooking the old town and which sits adjacent to the old castle.
The examples of representations I am going to talk about in this project include forms of diagrams and
digital montages which are not meant to be static representations of a building but are put forward to
the internal TERROIR design team as provocative engines for debate over what the idea of the project
should be and digital renderings, and more traditional presentations devices, used to convey a
message of design intent to an exterior party (the competition board) but which are still not seen as
conclusive proposals but as suggestions or the potential form that the idea might take.
Before we manage to get to a visual representation in a project in TERROIR we begin with a
conversation between myself and the directors. Discourse is of high importance in TERROIR as a
primary aspect of the collaborative practice is conversation In Prague these conversations and the
ideas began through gathering a comprehensive and wide ranging body of information about the
project over TERROIRs standard email based design process which we then distilled into a series of
key headings mounted with detailed texts and images. This distillation process provided a trajectory for
the formation of an opinion and gave a way into the problem.
From this my own contributions in finding the visual form begin. Due to the nature of ideation the first
representations emerge in a scatter gun approach as I seek for the idea and a way to portray the idea
of the project. They included photographs of a model (Figure 1) that was constructed in response to the
interests that one of the directors had in the paintings of Freidrich and the idea of creating a building
about a violent rupture action.
Figure 1. Friedrich painting and Photograph of Concept Model.

As in several other projects these early models are not meant to be solutions but are questions. The
model that was constructed did not have a scale and was not meant to be a building but by drawing on
the abstracted discrepancies it was meant to capture an idea to provoke a debate over the validity of
the violent rupture action. The outcome of the model was a debate that actually saw this idea and the
line of enquiry defeated in favour of a new idea that emerged in the work that followed.
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Throughout my research journey the diagram, a lightweight operative design device, has remained
fundamental to my process. This is mainly because my tasks require lightweight, rough and suggestive
techniques to complement my operation within a conversation and my duty to provide representations
that ask questions rather than provide solutions. In the Prague competition the first series of visual
representations were diagrams used in a productive capacity to discuss context and ideas about what
the action of the building should be. So within the first set of images were figure ground diagrams used
to clarify and critique the surrounding context.
Figure 2. Figure ground diagrams in 2D and 3D.

As an advance on a 2 dimensional black and white figure ground I developed 3 dimensional Digitally
generated figure ground studies (Figure 2) that represented the relationship of certain elements, for
example the edge of an escarpment and a location of a freeway. These quickly allowed us to see that
our argument about how a road wrapped up one of Pragues valley folds was contrived. It again saw
the line of enquiry defeated and the team revert back to find a different idea.
In TERROIR the story is a rich part of our process. The directors used storytelling to each other from
very early in their practice as a way of describing things to each other and to find ways of gaining a
common understanding. Today this still occurs and each story often features a metaphor. In Prague
one visual metaphor was velvet carpet which captured one of our stories about how we saw the Letna
Park as a large carpet (Figure 3). These visual metaphors are used as a start point where we simply
take their very obvious visual counterpart as a trajectory for generating a form and representation to
critique. However after an agreement the metaphor falls out of the discussion as it has got us to where
we want to go. Hence their use remains at a surface level and as a trajectory for progressing toward a
cohesive formal and ideological design proposition.
Figure 3. Velvet carpet representation.

Another metaphor in Prague emerged late one night at a point where the team seemed to be a little
exhausted by the project. One comment by a director, who had just been reading Kafkas
Metamorphosis {Kafka 1992}, that the precious archive collection should be protected within cases that
took the quality of cockroach eggs that had emerged from the underground. This cue saw a series of
representations develop trying to formalize this idea. We began with re-appropriating other images and
tried animating a series of emerging egg forms through our digital model but as we sometimes find
161
these werent as successful as simply drawing what we thought we would want to see rather than try to
get the computer to generate a form for us (Figure 4).
Figure 4. Cockroach egg representations.

As often happens in the office, and has occurred in previous case studies, due to the interplay of
people, an answer is not found in a representation but is coordinated or argued through them. This
means that in TERROIR a project proposition emerges as the mediated opinion of the practice. My
contribution in this is the curation and generation of many representations around which an argument
can happen. An example of this coordination is the mixing of two re-appropriated visual metaphors.
The first was a representation of a smooth form, that was referred to as toothpaste compared to a
jagged form, that was referred to as a crowbarred landmass. As the qualities of both were promising
the project did not develop into either the toothpaste or crowbar, but it took the qualities of both and
galvanized them (Figure 5).
Figure 5. Toothpaste and crowbarred landmas representations.

Not all of my representations are Digital; stopping and integrating traditional techniques are a
fundamental way of understanding and finding new directions for a design. Fig 6. shows an example of
using physical modeling materials to gain an understanding of how a material naturally acts. This was
taken back into the Digital model and directed the choice of tools used to simulate the material in the
Digital format (Figure 6).
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Figure 6. Traditional physical model representations.

After the team agrees on a direction the project advances into development. At this stage the idea and
proposition is checked against the pragmatics of the brief. This process, a tic-tac between an agreed
form and pragmatic realities, sees the scale and form of the building representation alter and continue
to move away from a re-appropriation of a scientific or realistic idea. At this stage images of the
proposal need to be repeatedly generated from a series of views and shared with the team to ensure
that the project is not diverting from an agreed direction. It also ensures that the proposal is realizable
and compositionally and contextually appropriate and not fabricated by digital tricks or delusions.
With the major elements of the design in place the team started to discuss the materials of the project.
Materiality in TERROIR architecture is a transient aspect. Projects are rarely conceived based on a
material and are rarely driven by a material, rather the opposite is true. The buildings are normally
conceived as cardboard. At this stage Digital representations do represent materials; for example grass
is green and stones are stones, but the conversation of the design team centers on how surfaces and
elements should relate to one another, that is, should the roof be a part of the park or the freeway or
something entirely new (Figure 7). This immateriality and virtuality affords a freedom for the team to
investigate the discrepancy accommodated and enhanced by Digital tools.
Figure 7. Materiality in representations.

At about this point the project turned from a process of generative designing to a process of preparing
the presentation panels for the competition. The discussion changed from discussing the essence and
qualities of what the idea could be to questioning the qualities and character and preparing a suite of
representations or reproductions of the ideas.
The main representation for this competition was aimed at capturing the conversation and aspirations
so as to sell the idea to the competition board. As the idea in TERROIR is primary, the idea image is a
primary component of the presentation of a project. But the team was not looking for glossy
presentation snapshots of a Digital or physical simulation of a building but an ideological and illusionary
representation that would capture the essence of the idea and have a subtly that suggested more.
Enigmatically this image needed to be an answer to the competition that proposed a new set of
questions.
In developing the image a level of debate centered on the images perspective, its content and its
quality. At one point the image and debate hit a dead end and in pure frustration I took to a tablet PC
and set about constructing a sketch in a more traditional sense (Figure 8). It led to the directors
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critiquing its subtle qualities, particularly the placement of shadings. It was noted that the subliminal
and intuitive qualities captured a spirit appropriate for the idea image. Through this process a new
knowledge was taken back into the development of the digital idea image.
Figure 8. Hand drawn representation.

Over its development the idea image was tweaked, added to and reduced until the team all believed
that it encompassed the breadth of the idea (Figure 9). It therefore became far from a simple snapshot
of a model and was highly curated and controlled. The team agreed that the final images manipulation
and layered nature stood as a testament to how TERROIR designers work together. That is a
collaborative artwork where discourse and diagram is galvanized together.
Figure 9. Idea image.

In addition to the idea images, four perspectives were required for the submission. The banality of the
base photographs was deemed detrimental to the rest of the panels. So I set about deleting all colour
and irrelevant information with the intention of reducing the core images to there essential ideas.
Probably because of their banality I found that I was pushed to learn new techniques for manipulating
Digital representations.
Other drawings for the panels included an interior view, a series of diagrams that went alongside the
design strategy, building plans and a lazer cut model. Having captured the form into these
representations the panels operated to convey the design intent to the competition board.
Furthermore, rather than verifying the project against a Digital calculation or a comparison to a reappropriation of an image, the presentation was also used as our tool to verify and judge the validity of
the idea. That is, judgment of the poetic output becomes a self evaluation conducted by the team. This
team may include TERROIR, consultants and clients and what that team deems as good is that which
has occurred via the just described negotiation and debated design process. So for each project the
process becomes and generates a self-autonomous qualitative assessment system, which is there is
no scientific truthful evaluation that takes place.
SUMMARY
The Prague competition was a project that chronologically fell into 3 stages. At an early stage the
representation took second place to a verbal conversation. As the project developed the use and
generation of representations increased and they became a primary and productive tool in the
searching for an inherent action or idea and the formal language of the project. At this point the
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representation was at its most dynamic and productive. Finally the 3rd stage saw the representation
become a tool for capturing design intent.
As an architectural designer in TERROIR visual representations are my voice. I take advantage of
binary discrepancies to generate architectural potentiality.
In TERROIR a representation is not just as a presentation device used for clients and consultants or a
substitution or proxy for the building but as you have seen they are operational devices used in a
conversation between members of staff about intention and ideas.
Furthermore, TERROIRs approach to the representation, both Digital and traditional, is not precious. It
allows for the multiplicity of the design team and our familiarity with our tools has allowed us to become
much more intuitive and comfortable in negotiating or moving between the different types not for
production but for a productive concern.
REFERENCES
Art & Representation: Contributions to Contemporary Aesthetics. Sukla, Ananta Charana (Editor).
Greenwood Publishing Group, Incorporated 2000
Digital Eisenman : an office of an electronic era. Luca Ga Garofalo ; [translation into English, Lucinda
Byatt]. Boston, MA. Birkhauser-Publishers for Architecture, 1999.
File Note from meeting with Andrew Benjamin. Professor of Architecture, UTS University, Sydney,
Australia on 30th October 2006.
Media and society: an introduction. OShaughnessy, M & Stadler J. 2nd edn, Oxford University Press,
South Melbourne, 2002.
Mimesis (arts) From Wikipedia http://en.wikipedia.org/wiki/Mimesis
Metamorphosis and other stories. Kafka, Franz. 1883-1924. London :Minerva,1992.
Representation (arts) From Wikipedia http://en.wikipedia.org/wiki/Representation_%28arts%29
Representation. Mitchell, W. F Lentricchia & T McLaughlin (eds), University of Chicago Press, Chicago,
1990.
Sending: On representation. Jacques Derrida
http://www.newschool.edu/centers/socres/vol49/issue492.htm
The medium is the massage. Marshall McLuhan, Quentin Fiore ; co-ordinated by Jerome Agel. New
York : Bantam, c1967.
Transcapes Symposium arranged by Gavin Perin. UTS University, Sydney, Australia on November 3rd
2006.
165
APPENDIX M PROJECT STUDY: 86-88 GEORGE

STREET COMMERCIAL BUILDING
Appendix M includes email conversations gathered over the research timeframe. In long
TM13
Team Member No13
Team Member No 12
TM12
EMAILS
TOTAL EMAILS
Received
266
Sent
REFERENCE /
RECEIVED DATE
Wed 22/02/2006 18:08
72
Thu 23/02/2006 20:09

Thu 23/02/2006 23:15
Fri 24/02/2006 19:48
FROM
TO
SUBJECT
Scott
Balmforth
Sarah
Benton
Sarah
Benton
Richard
Blythe
Reinmuth; Benton, Sarah;

Blythe, Richard
'Scott Balmforth' ;
'Reinmuth' ; 'Blythe, Richard'
'Scott Balmforth; 'Gerard
Reinmuth; 'Blythe, Richard'
Scott Balmforth
Cc: Sarah Benton ;
Reinmuth ; Blythe, Richard
TERROIR model tools

RE: TERROIR model tools
RE: TERROIR model tools
Re: TERROIR model tools
166
PROJECT DESCRIPTION
The 86-88 George Street project is a redevelopment of a high-rise building at 86-88 George
Street, Sydney. The project provided an opportunity for the Sydney Harbour Foreshore
Authority (SHFA) to deliver an exemplar boutique heritage office accommodation with high
environmental sustainability credentials (TERROIR. 2007i, 17 December 2007). The 86-88
George Street foyer forms one section of a larger redevelopment of a heritage listed Sydney
high-rise located in the historic precinct, The Rocks.
Figure 3: Image of the constructed 86-88 George Street Foyer
167
EMAIL
R E F E R E N C E S / D AT E :
Wed 22/02/2006 18:08

DETAILS:
Sent: Wednesday, 22 February 2006 18:08
To: Gerard Reinmuth; Sarah Benton; Blythe, Richard
Subject: TERROIR model tools
CONTENTS:
following is a quick and dirty summary on one issue we've been discussing around the last day or so
on a variety of fronts (i.e. not only sial related but rb's homofaber stuff)...and i think is getting good
development of thinking on what we do and what this means for further research...
naturally, these are not intended as commentary on the respective authorship!!;
Within minutes today, the following 2 images appeared in separate emails which both form part of a
very large discussion on each project...
168
again, with gross lack of appreciation of the degree of work going on by all parties in regards to these,
the model still holds the opportunity in the project to me, and a view shared, more so than the
rendering which still provides a basis for further commentary but via it's inherent exactness (or
something we havent been able to pinpoint yet) closes down opportunity which is important in the
TERROIR psyche etc.
But this is not a ditty on anti digital of course, so an equal vox pop from me on a recurring digital image
of relevance in enhancing the trajectory of the project's character (and a character that is then easily
entered in to discussion by all of us) is;
169
Apologies for the simplification, but to me this poses more questions than riveting revelations, such as;
- does this simplified view expand to the wider TERROIR server/experience?
- What does it inform for maximum digital presence at a design level (i.e. more than rendered versions
of card models or ghost-like imagery?)
Thu 23/02/2006 20:09

DETAILS:
From: Sarah Benton
To: 'Scott Balmforth; 'Gerard Reinmuth; 'Blythe, Richard'
Sent: Thursday, February 23, 2006 8:09 PM
Subject: RE: TERROIR model tools
CONTENTS:
the funny thing about your comments is that you are trying to say that the two images you received VIA
EMAIL are different when actually they arentboth are snapshots are in a 2D format upon which you
will sketch onto on your digital screen.
So is it not more about resistance, suspicion and fear of loosing something which you dont have right
now anyway?
Is it about those that are and those that arent used to seeing and fully understanding the digital model?
Hence why I sent through the DWG reader so you too can read the digital format
TM12 problem is that he tries to make a physical too good but actually just wants to be quick. We
discussed that we are both finding that we are searching for perfection and are frustrated that we are
just not achieving it
Thu 23/02/2006 23:15

DETAILS:
From: Sarah Benton
To: 'Scott Balmforth; 'Gerard Reinmuth; 'Blythe, Richard'
Sent: Thursday, February 23, 2006 23:15 PM
Subject: RE: TERROIR model tools
CONTENTS:
i think the digital issue has something to do with scale...be it our ability to scale ourselves against the
object (as we can with a card model say) or the actual object or image's representation of itself in a
context...not made myself clear here, will think more about it.
re; your comment on TM12's trying to make things good but quick...i wonder (and hope) it's not entirely
about digital = speed. such that the 2 images i just happened to pull out for comparison purposes of
TM12'...i sense the George Street foyer concept in the context of the building (in ghost form) image
may've taken longer and in fact had more detail in a technical manner?
...again, not using as a card v digital model debate, but another misc thought Ive had is the
comparison of sensation between card and digital is;
170
- Multiple images (say pics sent through on email) of a card model have a singular entity to them...with
multiple views sensed of the SAME thing.
- whereas i can recall on many occasions the sense of being SPOILT by the array of digital
images sent through conveying so many different aspects of say a project (refer Maitland, 86-88
George Street et al)...yet there is not the same wholeness of object again, a random thought on the run
so havent filtered this with common sense!!
Fri 24/02/2006 19:48

DETAILS:
From: Richard Blythe
To: Scott Balmforth
Cc: Sarah Benton; Gerard Reinmuth; Blythe, Richard
Sent: Friday, February 24, 2006 7:48 AM
Subject: Re: TERROIR model tools
CONTENTS:
The 3d digital model exists only in the liminal thin space of the screen. It is one sided and has depth
only through virtue of tricks of the eye generated by centuries of understanding perspective. It is no
more advanced than perspective was several hundred years ago other than it renders a little faster.
This is extremely different to a physical model that can be held in the hand and rotated etc
The big issue is how do we adapt these digital techniques to aid in our development of the conceptual
richness of a project? What does the digital show us that a card model doesn't? How does it assist in
moving the project forward?
171

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THE ARCHITECTURAL DESIGNER AND THEIR DIGITAL MEDIA

A thesis submitted in fulfilment of the requirements for the degree of

School of Architecture and Design

Park, Calif., Sage Publications.

practice. London, SAGE.

Routledge, New York, London.

Achten, H. H. Requirements for Collaborative Design in Architecture. Sixth Design and

MAGAZINE/ NEWSPAPER ARTICLES

Regions. Melbourne, RMIT University: 150.

REFERENCES - MY OWN PUBLICATIONS

Historians. Launceston and Hobart, Australia.

APPENDIX A TERROIR SELECTED EXHIBITIONS

APPENDIX B VARIOUS UNPUBLISHED

Notes from lecture at Tusculum entitled

APPENDIX C VARIOUS TERROIR UNPUBLISHED

05 06 02 TERROIR intro RAIA NSW Source 490 Lecture Series

truly digital practice

04174-theory.doc 'Theory and Practice',

'Sarah Benton' ; 'Scott

where might this surface stuff

RE: Hobart Waterfront

RE: Hobart Waterfront

some sial feedback from

Wed 29/06/2005 12:29

Tue 09/01/2007 15:45

Mon 29/01/2007 14:59

Thu 14/07/2005 18:00

UNPUBLISHED OR RARE LITERATURE

Sals; Jam-making history

2.2 Direct reports to this position

3.2 Reflection, Positioning

(frascari pres.ppt) PP Tue-Fr2-5/03/2004

Marco Frascari's workshop, Recto Verso conducted at

(frascari pres.ppt) PP Tue-Fr2-5/03/2004

(frascari pres.ppt) PP Tue-Fr2-5/03/2004

(frascari pres.ppt) PP Tue-Fr2-5/03/2004

(frascari pres.ppt) PP Tue-Fr2-5/03/2004

(frascari pres.ppt) PP Tue-Fr2-5/03/2004

The canova contraption is interesting in relation

(frascari pres.ppt) PP Tue-Fr2-5/03/2004

(source490-180804.ppt) PP 18/08/04 Slide

At this point, need to explain that, the system has

(04174-theory.doc) PP 11/2004 Slide 2/35

(04174-theory.doc) PP 11/2004 Slide 3/35

BOTH how we design AND how we manage that

21-22/10/2005 Slide 1/51

21-22/10/2005 Slide 2/51

Cosmopolitanism and Place: approximate places

WHY is this interesting? Temporal fast and

21-22/10/2005 Slide 8/51

21-22/10/2005 Slide 51/51

Tue 25/04/2006 12:49

Wed 29/06/2005 12:29

Thu 14/07/2005 18:00

Tue 09/01/2007 15:45

Mon 29/01/2007 14:59

ASPECTS OF THE IDEATION ROLE

APPENDIX D PROJECT STUDY:

Gerard Reinmuth, Sarah Benton