Beneath the Surface: Taking the Waters in Moree. by Andrew Hannah-Davies

Design Research Project Beneath the Surface Andrew Hannah-Davies 17.11.17 Submitted for the Master of Architecture Program School of Architecture and the Built Environment University of Newcastle NSW Australia Special thanks to. Kira Martin Derren Lowe Richard Leplastrier Peter Stutchbury Anna Cater Mary Davison Mum & Dad 2

b e n e at h t h e s u r fa c e Ta k i n g t h e wat e r s i n m o r e e

"I have never been able to be on the water without wanting to be in it". L'Ĺ&#x201C;uvre de Swinburne, Paul de Reul

The photos and sketches presented in this book are a record of the research, understanding, reflections and solutions produced for my final year project.

01 0 2 0 3 0 4

8 Rev i s io n o f S c he me Sp atial E xp erience

DEV E LOPE D DE SIGN

Philo s o phy I nteg r at io n Sp a ce Generatio n

S C H E M AT IC D E S IGN

T he D ive Ide a E x p e r i me nt at io n

CONC E P T DE SIGN

I N I T I AT IO N

I nj u r y & A d d i c t i o n Sit i ng & Ide a G e ne r at io n

P R OJ E C T

contents

C ONC LU S ION

P r e s e n t a t i o n Fo r m u l a t i o n Co nclu sio n

F I NA L DE SIGN

A r c hite c t u r e Re fi ne me nt D et ail O r ie nte d D e sig n

T E CH N ICA L DE SIGN

05 0 6 0 7

I N I T I AT IO N

I nj u r y & A d d i c t i o n Sit i ng & Ide a G e ne r at io n

P R OJ E C T

Damage to the Costotransverse ligement within the thoracic spine, acts as the junction between ribscage T1-T12 vertebrae.

I n 2 0 1 6 I h a d h e a v i l y i nj u r e d m y l o w e r b a c k l e a v i n g m e w i t h o u t t h e p o we r t o m o ve fo r s e ve r a l d ay s . A s s o o n a s I g a t h e r e d e n o u gh s t r e n g t h t o le ave t h e h o u s e , I we nt s t r a i ght t o t h e o c e a n . It w a s t he e nd o f wi nte r , t he cold w ate r s h a d s e t i n n i c ely , t hi s w a s p e r fe c t t o nu m b t he p a i n . W it h i n o ne we e k o f b at h i n g e ve r y m o r n i n g i n 14 de g r e e w a t e r I w a s b a c k t o b a s e l i n e . I g r e w t o ye a r n e a rl i e r b e dt i m e s ju s t s o I c o u ld h ave m o r e t i m e i n t he mo r n i n g ju s t to b e e nvelo p e d b y t he o c e a n a nd c h at to t he lo c a l s . Mo s t m o r n i n g s I wo u ld s p e a k t o p e o pl e f r o m a l l d i f fe r e nt b a c kg ro u nd s a nd a ge s , I ’ d e s p e c i a l ly lo ve c h at t i ng to t he s a me 3 o r 4 o ld t i m e r s go i n g fo r t h e i r r o u t i n e l ap s i n b u d g y ’ s mu g gle r s w it h o u t a c a r e i n t h e wo rld fo r e ve r yo n e e l s e ’ s e ye s i ght , a n d s o t h e y s ho u ld n ’ t . T h e r e wo u ld b e t h e r u n n e r s t r a c k i n g t h e i r e ve r y he a r t b e at wit h fit b it s , a nd o f co u r s e t he p e o ple f u l ly de c ke d o ut i n a c t i ve we a r t o ge t a c o f fe e w it h a s ide o f e x e r c i s e . A s I le f t fo r wo r k , I wo u ld n o t i c e f a m i l i e s b e g i n n i n g t o a r r i ve fo r t h e i r k id s t o le a r n t o t h e Au s t r a l i a n b i r t h r i ght t h a t i s s pl a s h i n g a r o u n d i n t he s hallow wate r s.

I lo ve d t he s e b r ie f e n c o u nte r s wit h p e o ple yo u o t he r wi s e w a l k r i g ht b y i f i t we r e a n y w h e r e e l s e . Ev e n i f t h e s e c o n v e r s a t i o n s we r e a b r i e f “ t h e w a t e r i s b e a u t i f u l / s we e t t h a n k s m a t e ” , t h e o c e a n h a d a s p e c i a l p o we r t o b r e a k d o w n t h e c o m m u n i c a t i v e b a r r i e r s we h o l d u p fo r w h a t e v e r r e a s o n s t h e y m a y b e . A n d m o r e i mp o r t a nt ly , to he a l . T hi s d a i ly r it u a l o f m i ne i n o ne o f t he m a ny b e a c he s & b at h s a l o n g t h e Ne w c a s t l e c o a s t l i n e l e d m e t o t h e q u e s t i o n o f m y f i n a l ye a r p r oje c t .

A l l I k ne w i s t h at I w a nt to e x plo r e w ate r p r a c t i c e s & b at hi ng a r c h i t e c t u r e i n a l l t h e i r fo r m s t o g r e a t e r u n d e r s t a n d i t s p o t e n t i a l fo r h e a l i n g .

"I do laps every morning rain, hail or shine. It's what gets me up every day and really, what better way is there to start the day in Newcastle?"

Now the stock have started dying, for the Lord has sent a drought, But we're sick of prayers and Providence - we're going to do without, With the derricks up above us and the solid earth below, We are waiting at the lever for the word to let her go. Sinking down, deeper down, Oh, we'll sink it deeper down: As the drill is plugging downward at a thousand feet of level, If the Lord won't send us water, oh, we'll get it from the devil; Yes, we'll get it from the devil deeper down. Now, our engine's built in Glasgow by a very canny Scot, And he marked it twenty horse-power, but he didn't know what is what. When Canadian Bill is firing with the sun-dried gidgee logs, She can equal thirty horses and a score or so of dogs. Sinking down, deeper down Oh, we're going deeper down: If we fail to get the water, then it's ruin to the squatter, For the drought is on the station and the weather's growing hotter, But we're bound to get the water deeper down. But the shaft has started caving and the sinking's very slow, And the yellow rods are bending in the water down below, And the tubes are always jamming, and they can't be made to shift Till we nearly burst the engine with a forty horse-power lift, Sinking down, deeper down, Oh, we're going deeper down: Though the shaft is always caving, and the tubes are always jamming, Yet we'll fight our way to water while the stubborn drill is rammingWhile the stubborn drill is ramming deeper down.

But there's no artesian water, though we're passed three thousand feet, And the contract price is growing, and the boss is nearly beat. But it must be down beneath us, and it's down we've got to go. Though she's bumping on the solid rock four thousand feet below, Sinking down, deeper down, Oh, we're going deeper down: And it's time they heard us knocking on the roof of Satan's dwellin', But we'll get artesian water if we cave the roof of hell inOh we'll get artesian water deeper down. But it's hark! the whistle's blowing with a wild, exultant blast, And the boys are madly cheering, for they've struck the flow at last: And it's rushing up the tubing from four thousand feet below, Till it spouts above the casing in a million-gallon flow. And it's down, deeper downOh, it comes from deeper down: It is flowing, ever flowing, in a free, unstinted measure From the silent hidden places where the old earth hides her treasureWhere the old earth hides her treasures deeper down. And it's clear away the timber and it's let the water run, How it glimmers in the shadow, how it flashes in the sun! By the silent belts of timber, by the miles of blazing plain It is bringing hope and comfort to the thirsty land again. Flowing down, further down: It is flowing further down To the tortured thirsty cattle, bringing gladness in its going; Through the droughty days of summer it is flowing, ever flowingIt is flowing, ever flowing, further down. Song of the Artesian Water - Banjo Patterson

Testimonial from Ana Vulic, February 2011

"I came to Moree on crutches 37 years ago suffering many pains, which began when I worked in a goldmine underground for ten years in Yogoslavia. I came to Australia in 1950 and when I was passing through Moree, I discovered the Moree Artesian Spa Baths. Feeling good striaght away, I decided to make regular visits from Melbourne three times a year. I moved to Brisbane and then came to the Baths every three months, but 10 years ago I moved to Moree and now visit the Spa up to three times a day. All my life I have worked hard, shovelling snow, chopping wood, milking cows, working in the fields, and I am now 76 years old and still do a good day's work. I like Australia and enjoy meeting so many friends at the Moree pool and as I speak eight languages, I can talk to just about any of visitors. I believe the Moree Artesian Spa Pool has restored my life". The Fountain of Youth: The Elixer of Life The Story of Moree's Healing Waters Ron O'Mullane 2012

Moree Artesian Baths in 1905 The Males Bore 22

Moree Artesian Baths in 1905 The Females Bore 23

"MATE, best bloody way to end the day!"

The site ot the existing Moree Artesian Aquatic Centre on the corner of Anne & Gosport Streets. Situated on the south side of town separated from the majority of the public infrustructure, the Bore baths abuts a truck stop, the famously resiliant Victoria Hotel, Newell highway and the Moree train station. The current planning breaks the laneway link from north to south residencies and treats the boundary with steel fencing only addressing the north facade of Anne Street. 31

"No person, being a full-blooded or half-caste aboriginal native of Australia, or being a person apparently having an admixture of aboriginal blood, shall use or occupy or be present in or upon, or be allowed or permitted or invited to use or occupy or be present in or upon, the premises of the Counci known as Memorial Hall... AND THAT no such person as asforsaid shall use or occupy or be present in or upon, the premises of the council known as the Bore Baths or in or upon any of the Buildings or places enclosed herewith". Freedom Ride: a freedom rider remembers, Ann Curthoys 2002

Partly inspired by the African-American civil rights activists bus trips through the American South, Charles Perkins formed the organisation Student Action for Aborigines (SAFA) leading thirty-five students to western New South Wales so students could see the conditions of life aboriginal people in rural areas live in. The Freedom Ride challenged colour bans and local governement legislation in Wellington, Gulargambone, Walgett, Moree, Boggabilla, Tenterfield, back to Moree, Grafton, Lismore & Cabbage Tree Island, Bowraville and Kempsey. Picured, photographer Robert McFarlane captured Charles Perkins on a bus from Bondi in 1963.

Pictured, Charles Perkins leads 33 students of a variety of backgrounds from the Univeristy of Sydney in the Freedom Ride in 1965. These students were: Ann Curthoys, Jim Spigelman, Darce Cassidy, Gary Williams, Aiden Foy, Alan Outhred, Alex Mills, Barry Coy, Beth Hansen, Bob Gallagher, Brian Aarons, Chris Page, Colin Bradford David Pepper, Derek Molloy, Hall Greenland, Helen Gray, John Butterworth, John Gowdie, John Powles, Judith Rich, Louise Higham, Machteld Hali, Norm Mackay, Paddy Dawson, Pat Healy, Ray Leppik, Rick Collins, Robyn Iredale, Sue Johnston, Sue Reeves, Warwick Richards and Wendy Golding. Also on the bus was Gerry Mason, Bill Pakenham (driver of the bus until Grafton) and Ernie Albrecht (driver of the bus from Grafton onwards). 35

News of the clash at Moree made international headlines. Under pressure from public opinion, the colour ban was lifted once again but this time the Mayor stated categorically that he would be prepared to sign a motion to rescind the 1955 statute they were protesting against alongside to other alderman to co-sign the ordanance. The freedom ride and specifically the clash at Moree Baths raised public awareness of Indigenous human rights and the overt racial discrimination in rural Australian communitites and thus was key to the 1967 referendum including Aboriginal people in the Australian Census.

Clipping from the Sydney Daily Mirror 21st February 1965, Gerry Stone 38

Moree sits over the Surat Basin of the Great Artesin Basin, the largest and deppest underground water source in the world.

Moree sits within the Gwydir region of the Murray Darling Basin, streching from Adelaide to Brisbane.

From the ealiest point of design, the most significant component of the site was the link to the great artesian basin. I explored the regions geological structure and interpreted it in my own way.

T he D ive Ide a E x p e r i me nt at io n

CONC E P T DE SIGN

My concept grew from the practise of freediving. Surrendering oneself to the crushing pressure of the ocean at such depths. I applied this notion by the means of analysis of the current river catchments and flood prone areas in effort to mitigate flooding by providing water senetive urban design. Or, to go with the flow...

The Dive

Experimenting with acrylic flow art, this assisted me representing the potential usages of the threshold space in the Moree landscape.

Oikos / Agora

The 2012 Moree Floods which inunadated the town and some key infrustraucture. The flood reached approximately 10.7metres above urging the town to be evacuated. Heavy flooding occurs in Moree apprixmately 5-10 years.

From as early as 2nd year, Jeanne Gang of Studio Gang was a highly influencial architect and practice for me, then I came across their project called Polis Station. The Polis Station proposes reorienting police stations toward their communities to become sites of social connection where police officers and neighborhood residents can find many opportunities to interact in nonenforcement situations. It lays out a series of physical and programmatic steps that can be taken to activate police stations as civic assets. This project inspired me to think about what a local swimming pool can be to a community...

The concept model aimed to express the greater landscape of Moree. Dry, flat, stricken by mans touch with hundreds of boreholes only revealing the surface of what lies beneath.

Philo s o phy I nteg r at io n Sp a ce Generatio n

S C H E M AT IC D E S IGN

Following concept submission, it appeared that in order to provide safer streets without the deisgn becoming a civic landscaping project a merger of architecture and urban design principles had to be applied. This brought me to the "other" or "between" spaces referenced in post-civil societies and the urban philosophy of the Heterotopia. The Heterotopia emboies the tension between place and non-place that today reshapes the nature of public space. The Italian Architect and Surveyor Giambattista Nolli best known for his ichnographic plan of Rome, now universally known as the Nolli Map. Firstly, Nolli reorients the city from east (which was conventional at the time) to magnetic north, reflecting Nolli's reliance on the compass to get a bearing on the city's topography. Secondly, though he follows Bufalini in using a figure-ground representation of built space with blocks and building shaded in a dark pochĂŠ, Nolli represents enclosed public spaces such as the colonnades in St. Peter's Square and the Pantheon as open civic spaces.

The Arch. A traditional form found within the architecture of the Heterotopia. Additionally, this form is found heavily undergound.

The "bogan' Arch. The form began to become something more, transforming into the Australia arch, the bogan arch housing steel roller door forming a temporary pavillion corridor. Is the the Moree Heterotopia?

Taking precedence from projects such as the Polis station and Victoria Park, the theory addressing the privitisation of public space: 'oikos' versus 'agora'. Heterotopia's belong to the inclusive character of the Polis. The Polis is the concept of the ideal city-state, the balance between the public and private / Oikos and Agora. In the Post-civil society, the heterotopia resurfaces as a strategy to reclaim places of otheness on the inside of economised 'public' life. Traditionally these concepts and philosophies have been applied in dense population heavy cities, where little nook & crannies are few & far between but somehow link closely to existing infrustructure. Applying this to a rural setting would a challange given how sparce the landscape of Moree is. It was clear that my project must include interactive public space along the threshold or boundary of the site to become successful.

Richard Leplastrier

Following schematic submission, feedback was mixed. My research and concept thinking of the Heterotopia in regards to the site at Moree Artesian Baths had not applied as originally intended. The solution proved to only mask the existing building and context as opposed to building up on whats existing. Richard Leplastrier mentioned what Llyod Rees would do if he was unhappy with one of his famous landscape paintings. Start again, recreate the poetry.

Rev i s io n o f S c he me Sp atial E xp erience

DEV E LOPE D DE SIGN

During the mid-year break, I came accross this photo of a water hole someehere in regional Australia. This influenced every design decision made through the final leg of 5th year. Inpiring me to peel back the layers of research harkening back to what make the place of Moree and the Great Artesian Basin so special. The Bore, the Sandstone, the Water, and the Air.

The Forest Edge Garden by Jane Irwin. Stutchbury mentioned this project's inate ability to blend nature & man-made pools organically and seamlessly. A linear pathway of varying material finishes and landscaping features creates and narative of experience to the user. 94

Use what exists to create what is to be. Soichiro Fukutake, Chairman of the Board, Fukutake Foundation

Pictured: Inujima Seirensho Art Museum Hiroshi Sambuichi

Going back to basics... Developing my revised Architecture in Moree required another look at the greater context in relation to the site. This included the Gwydir regions active social health facilities, opportunity for tourism and passers by veiwing the project from the nearby highway and train station. Most importantly this included the identification of what make the region so special, the link to the great Artesian Basin. The sandstone aquifers purifying the water from recharge zones to the north east & south east. These were the moving materials of Moree.

100

101

What kind of table would rather sit at, a round or square table? Derren Lowe asked me this question in regards to my moethod of planning and form generation to produce a place of therapy that does not resemble an institution.

102

103

104

105

106

Additive Architecture. Jorn Utzon Following discussion with Derren Lowe, it was identified that what separated the Moree Baths and regional hot springs of Australia to European Baths houses of old and new was the subtractive/additive nature of built form. Where Zumthor's famed Therme Vals subtracted from the site to create comfortable individual spaces, maybe the Australian typology had to do the opposite. Add to the site. This however is not the interpretation of the phrase Addititve Architecture coined by Jorn Utzon in 1965. He saw it as part of an additive world where both natural and cultural forms contributed to additive systems and hierarchies. He realized that his own architecture reflected the same principle, just as the transitions in primitive societies between family, village and the surrounding world have visible links revealing differences, relations and distances. The meaning of Additive Architecture basing itself development of architectural projects on the basis of growth patterns in nature assisted to develop the flowing and evolving spatials qualities for Developed Architecture.

107

108

109

110

Developed Achitecture at the refurbished Moree Artesian Baths aimed to provide quality usable public space closely linked to recreation facilties encouraging access off the street through the site. Targeting access paths north-east to south-west / public to private, the scheme highlited how ineffective the existing parks and recreation area in Moree in their current state.

111

112

113

114

The circle, and following... The yarning circle. A place where participants are provided with an opportunity to have their say in a safe space without judgment. The activities carried out within this space involves and develops deep listening, sharing of knowledge and development of higher order thinking skills and establishing rules of respect. The form of the circle embodied the core concept of the programme for the refurbished Moree Artesian Baths. 115

116

117

118

119

"I don't want to see a building in a park". The statement in rebuttle to the Prince Alfred Pool proposal from Neeson Murcutt informed the rationalisation of the landscaped built form. 120

121

122

123

124

125

An ode the past. Designed to hang over the user, the large steel water tanks contain the preserve the mineral rich Artesian water to recycle and resue for the local community highlighting the arrogance and misuse of the great artesian basin in the past. 126

127

128

129

A r c hite c t u r e Re fi ne me nt D et ail O r ie nte d D e sig n

T E CH N ICA L DE SIGN

130

131

132

133

134

Working Drawings brought me to where I was most comfortable. Due to where I was at with the overall scheme (on the 6th revision), I chose to focus in detail on a component of the scheme that was typical throughout all past revisions. This was the circular hydroptherapy pool space. Composite masonry and steel construction permitted the radial vault structure comprising concrete block buttress' leading to steel reinforced gabien walls housing SHS columns. 135

136

137

138

139

140

141

142

The Bore

143

On the precipice of disposal.

144

Cast Unearthed

145

F I NA L DE SIGN

P r e s e n t a t i o n Fo r m u l a t i o n Co nclu sio n

146

147

148

149

150

151

152

153

154

It seemed before every submission, I brought myself back to site analysis and the base images and influences of mine throughout the year. One aspect of Moree that had been brushed over was the relationship of the white & black fella' community. This however did not refer to racial segregation and backlash against the community but the visual correlation between Indigenous dot paintings and Art Deco styling native to the town of Moree.

155

156

157

158

159

160

161

162

163

Beneath the Surface

https://youtu.be/mkBICjGSPQA 164

165

166

C ONC LU S ION

167

168

This year has brough me many things... New relationships, new experiences and the much needed ability to trust in my own design skills, much to my detriment and benefit. I owe half if not all I've learnt this year to the design studio and the many architectural creatures housed within; Victor, Scotty to hotty, Patrick & Dick. ...PUBG?

169

170

Taylor Tilbrook I cannot thankyou enough for all your support and understanding this year. I would be a decaying mess of a human without you this year.

171

172