STUDiO i you
01
REMEBER REMEBER S2
/
2016
ABPL90143 MASTER OF ARCHITECTURE STUDIO D SEMESTER 2 / 2016 STUDIO 01 : I REMEMBER, YOU REMEMBER DR REBECCA MCLAUGHLAN STEPHANIE LIDDICOAT CATHERINE MEI MIN WOO 562729
INDEX VIDEO :
MEMORY / PAIN
....................
A
PRECEDENT STUDY STORYBOARD OUTCOME
.................... .................... .................... ....................
03 05 11 13
....................
B
SCULPTURE 1 : THRONE OF RUIN DESCRIPTION SITE AND PLAN MODEL
SCULPTURE 2 :
. . . . . . . . . . . . . . . . . . . . 15 . . . . . . . . . . . . . . . . . . . . 17 . . . . . . . . . . . . . . . . . . . . 19
ARCH OF PAIN
....................
C
GROUP WRITEUP SITE PLAN SECTIONAL COLLAGE MODEL
.................... .................... .................... ....................
27 29 31 33
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D
BRIEF PROGRAM STORIES OUTCOME
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39 41 43 49
RESOURCES / BIBLIOGRAPHY
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E
FINAL :
SHORT ViDEO / remembering
A
03
A
PRECEDENT STUDY THE USS ARIZONA WORLD WAR 2 MEMORIAL BY ALFRED PIERS
04
05
DEFEAT
Alfred Preis
PRIDE
MIGHT
USS ARIZONA MEMORIAL
@ 1:500
A
Chrome Accents
Stone Tile Flooring
White Concrete Walls
Marble Feature Wall
Materiality
PRIDE
Section
Elevation @ 1:200
DEFEAT
&
MIGHT
Wind
Light (am)
Views
Circulation
Pathfinder
A
06
A
Sequence/Circulation
Thresholds
Plan @ 1:200
SHRINE
Threshold #3
ASSEMBLY
Threshold #2 ENTRY
Threshold #1
ENTRANCE
07
EXIT
TURRET VIEW
USS MISSOURI VIEW
VIEWING DECK
Roof @ 1:200
Index
Lighting
A
What do these mean? Nothing, apparently :(
21-gun salute 7 for December 7
Light Diffusers Turrest Aesthetic
SECTION
08
A
09
PATHFINDER I
A
Diffused light through nautical accents: windows or turret hulls? Serves as ambient lighting at the entrance of the structure
RELICS OF THE PAST II Viewing a piece of the past by looking down into the depths of the USS Arizona wreckage Leis were historically thrown into the water but became a threat to the marine life Why not use biodegradable attachments? Black Tears of Arizona / the oil seepage, can be seen still seepign out to this day.
PATHFINDER 21 penetrations along exposed facades 21 gun salute Intervals fo 7 for December 7 (date of tragedy) Pathfinder via light throughout the day 7am-5pm
10
A
1.
2.
3.
4.
5.
6.
7.
8.
11
A
8 7 6 4
5
3 2
1
12
A
1.
2.
5.
6.
9.
10.
13.
14.
13
A
3.
4.
7.
8.
11.
12.
15.
16.
14
Sculpture 1 / throne of ruin
B
17
CHAOS A
THRONE
OF
PAIN
The Throne of Ruin, with the seating positioned to face the Dalai Lama Peace Gar-den is a symbol of reflection that reminds users to never take their privilege for granted. The Throne’s chaotic composition of architectural elements are derived from architectural components (in)famously used in detention centres akin to the infrastructure of the ones at Christmas Island. To serve as a reminder for those who have the privilege of peace to be able to sit in front of a meditation pond, that all privilege arose from chaos, and to never forget it.
B
Upon direct approach, the fallen ladder serves as a visual and physical director to the ruin, of what can be aesthetically identified as walls are the back and seating of the sculpture. Users are made to sit within the ruin and look upon the Dalai Lama Peace Garden & Pond to meditate. However, the materiality of the sculpture, rough and unforgiving, seeks to intentionally chafe and disrupt the user. This sense of con-stant intrusion is constant no matter what position the user attempts to adhere to, a phenomenal physical reminder that pain is universal and complacency is to never be ignored. This approach also overlooks the indirect access to the sculpture, a vo-yeuristic perspective of artefacts of lives, which if lived by the users, would have re-sulted in similar decisions & outcomes. The indirect approach is a grounded meditation area, littered with artefacts of oc-cupants in a mirrored life, that are not so different. This change of elevation forces users to physically humble themselves as a part of their meditation and humanize the tabloid desensitization of desperation and apathy. The two main zones of the throne are emphasized progressively throughout the day, with the direct approach being highlighted in the morning and progressively the indirect approach is highlighted towards the evening, depicting the meditative journey throughout the structure: From conflicted chaos to subdued empathy. The structure was assembled according to hierarchy, with the walls as supportive structures for the seat, the fences & barbed wire as a visual parameter for the sculp-ture with poles that both support & enhance the dystopian ruin, & finishing off with the details & personal effects to humanize chaos. The white coat finish is intended to bring attention to the stark reality of refugees that is not confronted and dissect-ed with enough sincerity by the complacent (literal) greenery of the everyday per-son. 18
B A THRONE OF RUIN
CARLTON GARDENS
DALAI LAMA PEACE GARDEN
STUDIO 01
CHAOS: THRONE OF RUIN
Catherine Woo 562729
SCALE 1:20
This sculpture aims to demolish institutionalised apathy, and engage users in the reflection of individual and communal values and relationships through space, especially in the presence of chaos, where empathy and dialogue is needed the most. 19
G
NIN ZO
B
ZONE 2 REFLECTION
VO YEU
R’S
PER
SPE
CTI VE
ZONE 1 CONFLICT
INDIRECT APPROACH
DIRECT APPROACH STUDIO 01
CHAOS: THRONE OF RUIN
Catherine Woo 562729
SCALE 1:20
20
B
21
B
22
B
23
B
24
sculpture 2 / arch of pain
III
ARCH OF PAIN
CATHERINE MEI MIN WOO COLLECTIVE MEMORY
MEMORY
MELBOURNE MUSEUM
THRESHOLD
ROYAL EXHIBITION BUILDING 1M
4M 1:50
C
Elevation
EXPLOSION TRAJECTORY
SITE PLAN @ 1:1000
III
27
BLACK: COPPER & TIMBER
MEMORY IN PHASES AN
ARCH
OF
PAIN
The Throne of Ruin, with the seating positioned to face the Dalai Lama Peace Gar-den is a symbol of reflection that reminds users to never take their privilege for granted. The Throne’s chaotic composition of architectural elements are derived from architectural components (in)famously used in detention centres akin to the infrastructure of the ones at Christmas Island. To serve as a reminder for those who have the privilege of peace to be able to sit in front of a meditation pond, that all privilege arose from chaos, and to never forget it. Upon direct approach, the fallen ladder serves as a visual and physical director to the ruin, of what can be aesthetically identified as walls are the back and seating of the sculpture. Users are made to sit within the ruin and look upon the Dalai Lama Peace Garden & Pond to meditate. However, the materiality of the sculpture, rough and unforgiving, seeks to intentionally chafe and disrupt the user. This sense of con-stant intrusion is constant no matter what position the user attempts to adhere to, . PLAY
I
VICKY HUIQI HUO COLLECTIVE MEMORY PAVILION
MEMORY
II
IMPRINT
C
HEATHER W ARD- WALTON COLLECTIVE MEMORY
MEMORY
PAVILION
MELBOURNE MUSEUM 1M
4M
1M
SECTION A-A
1:50
4M 1:50
B
A
A
MUSEUM
B
COPPER
SITE PLAN @ 1:1000
I
TIMBER
AGING COPPER
SITE PLAN @ 1:1000
AGING TIMBER
II
28
FRO
MM USEU
M PL
AZA
THE MELBOURNE MUSEUM
C
NORTH ENTRANCE ROYAL EXHBITION BUILDING
29
FROM ME
LBOURNE
MUSEUM
OM
RE BE AS TE RN
EN TR AN CE
ROYAL EXHIBITION BUILDING
FR
C
FROM REB
SOUTHERN
ENTRANC
E
CE
AN
TR
EN
M PLA MUSEU
RN
TE
FROM
ES
BW
RE
ZA
OM
FR
<N NOT TO SCALE
30
III
ARCH OF PAIN
CATHERINE MEI MIN WOO COLLECTIVE MEMORY
MEMORY
THRESHOLD
HO
W
DO IM TH YO A ME GES ES MO , V U I RY DE TO , O IM WA AG , SIG RD ST IN H HE AT ME IO LB O UR
NE
THRESHOLDS SUSPENDED PERCARIOUSLY
M
SENSORY DEPRAVATION
C
MELBOURNE MUSEUM
ROYAL EXHIBITION BUILDIN 1M
4M 1:50
EXCEPT FOR A MOMENT OF CL
THRESHOLDS & DIS SED
THE
ENT
Elevatio
EXPLOSION TRAJECTORY
31
SITE PLAN @ 1:1000
BLACK: COPPER & TIMBE
MUSEU M PLA ZA FROM
O
T BE HE S U L OU IEF M SPEN A S C UF ONS DE P ION FE HY OF RIN UME SIC G AL O HT TH OF , ER S? ON
VIOLENCE
CAPTURED IN IMAGES SUSPENDED ANIMATION OF
SE
EXPLOSION & DESTRUCTION IN
GO
N
O
TI
ING
UC
INT
D RE
NG
BR
N AS RE
UD
BU
5M
N
2.
ED
to
DE
4M
3.
NS
M
O
ITY
FR
IO
BIT
HI
EX
DIRECTIONAL CUE FOR USERS FOR ENTRY/EXIT
G
IN HE
RT
NO
SCOMFORT DUCTION
OF
O
DE
I AT EV
L YA
ANGLES : MAPS EXPLOSION OF RUBBLE EMMITING FROM THE ENTRANCE
C
IS
EL
RO
LARITY
O
TH
ET
HR E
SH OL D
UM
INC
MU
CONFLICT ZONES THAT HAVE ESCALATED TO
RN
E PROMISE OF COMPRESSION / CHANGE CLAUSTROPHOBIA TRY / EXIT OF MEMORY IN MOTION ANGLES : MAPS EXPLOSION OF RUBBLE EMMITING FROM THE ENTRANCE CE
AN
TR
EN
THWAY WIDTH RCULATION PA
UM
IDE TO M 4M W
SE
MU A
Z PA
TIMBER / METAL / RUBBLE / SCORCHED EARTH FOUNDATIONS OF REB = DESTRUCTION OF FOUNDATIONS/MEMORY/ HERITAGE.VALUE
REDUCT ON FRO
on
1M
CI REDUCTION IN
CONFRONTING: MEMORIES WE CHOOSE TO IGNORE/FORGET
ER
32
C
33
C
34
C
35
C
36
public building / remembering
D
39
BRIEF Whatâ&#x20AC;&#x2122;s the key idea driving the design? This project is an exploration of architecture and death, and how a concept that is typically so confronting, can be reconciled within an urban community through architecture. This is inspired by the lack of communication, understanding, and community engagement with the inevitable death of a loved one. The architecture responds to the tendency to avoidance, and does not adhere to the clinical functionality that currently predominates in spaces of death. A shared experience across all walks of life should be investigated further to overcome societal prejudices and trauma, which this project intends on challenging to make the topic of death more accessible in an urban setting.
What is the primary function of the project? The project is a combination of a crematorium and living memorial public garden.
Where is the project sited, and why? At the corner of Collins & Williams St, and Market St & Flinders Lane: The area is in need for a green space to complement amenities, and an area within the CBD that requires public engagement thats still within an urban setting.
Clients: Family
members
of
the
deceased
who
live
in
Victoria,
Australia.
.
D
Relation to precedent studies: The World War II Pearl Harbor USS Arizona Memorial, Hawaii by Alfred Preis : A haunting personal memory of a space used to commemorate the lives of marines killed in WW1, and a representation of the state of America at the time as a symbol of strength and community. This was an interesting take on death that I would like to explore on a more vernacular/accessible level that has cross program integration.
Key Spaces: 1 2 3
The Entry Threshold : The Interstitial Pathway : The Cremation Chamber :
Garden of Mourning Corridor of Passing Flue of Ash
40
D
41
PROGRAM DISTRIBUTION
FLOW: PUBLIC SPACE CEREMONIAL STAIRS
GENERAL GARDENS
LOBBY / SELECTION CHAMBER
PRIVACY ROOM
PUBLIC SERVICE
REFLECTION SPACE
GREEN HOUSE DISPLAY
PUBLIC SERVICE
PRIVACY ROOM
D
PUBLIC SERVICE
PRIVACY ROOM
REFLECTION SPACE
REFLECTION SPACE
INCINERATION GALLERY
42
D
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THE ENTRY THRESHOLD GARDEN OF MOURNING The threshold between city and the garden of mourning is a gradual transition that stretches from the roads and towards the central axis of the crematorium. An axis of steps sits between the landscaping, creating a visual barrier that only allows for divergence from its formality when the users are not involved in the ceremony. The steps lead the procession through the gardens towards the spire occasionally emitting puffs of white smoke, indicating that a session has ended, and has been filtered out into the skies. With soft awnings diffusing the sunlight, the illusion of a bubble surrounding the procession amidst the gardens leads the procession forward, with only the directions of the shadows cast by the arches to tell if any time had passed at all. The slow pace enforced by the large steps brings the procession to focus on the journey and meditate in the presence of the moment of mourning to keep moving forward. The incline brings the procession to the top of the hill, where the spire sits surrounded by trees and activity. As the threshold between the physical and ashes reaches the end, the view is but a retrospect of the journey of a life once lived, that must now enter the next phase. The activity of a typical park continues, as does life and the world around us, as this garden intends to remind the living. In death we return to life, through the collected ashes a tree is born, and another, and another, and another â&#x20AC;Śâ&#x20AC;Ś
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D
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THE INTERSTITIAL PATHWAY CORRIDOR OF PASSING The procession enters the building, and is greeted by curved corridors, and is guided to their floor and chamber. The walk is solemn as the dark, rich tones of marble stand sombrely across the trees, separated only with a curtain of glass. The separation from the outside world reflects the sense of dissociation when faced with death, and how even as life is held in stasis for mourning, there is a constant reminder that the world is still spinning. The light ring around the walls guide the procession through the building and past the chambers, allowing for an uninterrupted flow of circulation from entry to exit with undisturbed view of the garden. This space allows for some privacy by dividing the circulation, and serves as the transitional space between the public realm of the garden, to the privacy of the chambers. The interior of the building is resilient and unchanging in its structure and its materials. The strength of the materiality to contrast the vulnerability of its users with the intention of giving strength to the procession as they draw closer to their final departure of the intendedâ&#x20AC;&#x2122;s physical vessel. The light diffused by the trees becomes the shade that brings the architecture to life throughout the day as its patterns dance across the walls and the processions as they shuffle through. The sense of stasis is unrelenting in the heat of the moment, yet is experienced differently by different users at different stages of mourning: from confrontational to
peace.
D
46
D
47
THE CREMATION CHAMBER FLUE OF ASH The chamber is entered. The procession is greeted by a solitary cantilevering furnace in the centre of the sitting in a world of white. The ceiling stretches with the singular vertical opening high above the procession, and as the intendedâ&#x20AC;&#x2122;s physical body is placed in the furnace, the final phase of the physical vessel begins. The tall white walls blend seamlessly with the floors, enhancing the ethereal nature of the private space for the procession to mourn freely. As the physical form is broken down, the smoke is filtered and white puffs of smoke are released into the flue, which can be observed through the singular vertical opening above the furnace. As the last cloud of white smoke passes the vertical opening, this signals to the procession that the physical vessel has now turned into ash, and has been tipped down the incline of the flue to the basement, where they are collected and processed before being returned to the earth. The ashes are then safely returned to the earth as a living memorial, giving life to a desired tree, or plant which adorns the garden around the crematorium, joining the many loved ones that continue to live through the garden. The procession is then dismissed, and is allowed to wander the gardens and pay their respects to the community their loved one is joining, and mourn in solidarity rather than isolation. The transition from stagnation to movement, cues the procession to allow themselves to grieve, yet not to be consumed.
D
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FINAL INFERNO
DEATH IN THE CITY D
51
This project is an exploration of architecture and death, and how a concept that is typically so confronting, can be reconciled within an urban community through architecture. This is inspired by the lack of communication, understanding, and community engagement with the inevitable death of an individual or their loved ones. This active avoidance is translated to how the architectural spaces for death is designed, and as the world is moving towards phenomenologically designed spaces, it is no longer sufficient for fear to dictate the clinical functionality that dictates spaces of death. A shared experience across all walks of life should be investigated further to overcome societal prejudices and trauma, which this project intends on challenging to make the topic of death more accessible in an urban setting.
D
52
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LAN
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SITE PLAN
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R
IVE
R RRA
SCALE 1:2000
FL
IN
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LA
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RE
ET
ST
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A
M
ET
DE
T
CO
E E R
LL
IN
SS
TR
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W
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A LI
ST
D
ROOF IN PERSPECTIVE
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D
STAIRS OF MOURNING
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D
56
D
CORRIDOR OF PASSING
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58
D
FLUE OF ASH
59
D
60
Heat Converter
SOLAR FLUES
D
SUMMER (T) / WINTER (B) PEAK PROJECTIONS 61
Morning Sun (E)
Morning Flue
STREET LEVEL COLLINS STREET
STREET LEVEL FLINDERS LANE
Power Grid Pathway Evening Sun (W)
Evening Flue
STREET LEVEL COLLINS STREET
STREET LEVEL FLINDERS LANE
Power Grid Pathway
SOLAR HARVESTING PATHWAY IN ELEVATION
D Sun path
15.
Reflected Ambient Lighting
DIAGRAMATIC SECTION C-C: LIGHTING AMBIANCE PROJECTION 62
BIOS URN & INCUBE HOUSED IN THE COLUMBARIUM / GREEN HOUSE
D
63
D
64
A2 A
11. 12. 12.
18. 15. 16.
7.
14.
18.
15. 7.
D
A2
16.
B
15.
12.
A2
16.
B
18. 7. A2 C
A2 C
17.
G FLOOR PLAN SCALE 1:200 on A0 65
A2 A
18. A2
13.
B
15. 13.
18.
15.
13.
D
18.
A2 15.
B
12.
A2 D
A2 A 17.
A2 C
A2 C
B1 FLOOR PLAN SCALE 1:200 on A0 66
A2 A
1. 2. 1. 4. 7.
3.
8. 5. 6.
9.
A2 B
D
A2
10.
B
A2 A2
17.
C
B2 FLOOR PLAN SCALE 1:200 on A0 67
C
A2 A
PROGRAMS 1. MAINTENANCE 2. CHEMICAL TREATMENT LAB 3. COLD STORAGE 4. DRY STORAGE 5. BODY PREP (PRE) 6. BODY PREP (POST) 7. STORE ROOM 8. UNISEX OFFICE TOILET 9. OFFICE 10. CARPARK & LOADING BAY 11. CEREMONIAL STAIRS 12. REFLECTION SPACES 13. INCINERATION CHAMBERS 14. SELECTION ROOM 15. TOILETS 16. CEREMONIAL PAVILION 17. COLUMBARIUM/GH 18. PRIVATE ROOM
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D
PERSPECTIVE SECTION A2-A
69
D
SCALE 1:200
70
D
PERSPECTIVE SECTION A2-B
71
D
SCALE 1:100
72
D
DETAIL PERSPECTIVE A2-C
73
D
SCALE 1:25
74
D
GREEN HOUSE DETAILING A2-D 75
D
SCALE 1:5 76
77
1
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LEV
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EXPLODED PERSPECTIVE
T
TEX
ON
EC
SIT
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EV
TL
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LO
VE
EN
EN
SEM
BA
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resources / bibliography
BIBLIOGRAPHY Avenue, F. (no date) Mapio.Net. Available at: http://static.panoramio.com/photos/ original/34903852.jpg (Accessed: 1 October 2016). Bertolini, C.D. (2013) Architecture post mortem: The diastolic architecture of decline, dystopia, and death. Edited by Donald Kunze, David Bertolini, and Simone Brott. United Kingdom: Ashgate Publishing. Didion, J. (2006) The year of magical thinking. London: HarperCollins Publishers. Eldemery, I. (2009) ‘Globalization Challenges in Architecture’, Journal of Architectural and Planning Research, , pp. 343–354. Harrison, R.P. (2003) The Dominion of the Dead. Chicago and London: The University of Chicago Press. Heathcote, E. (1999) Monument Builders: Modern Architecture and Death. Great Britain: Academy Editions. Keister, D. (1997) Going Out In Style: The Architecture of Eternity. New York: Facts on File Incorporated. Maddrell, A. and Sidaway, J.D. (eds.) (2010) Deathscapes: Spaces for death, dying, mourning and remembrance. Farnham, England: Ashgate Publishing. Ostwald, M.J., Tucker, C. and Chapman, M. (2007) Residue: Architecture as a condition of loss. Melbourne, Vic.: Royal Melbourne Institute of Technology, RMIT. Parkes, C.M., Laungani, P., Young, B. and Parkes Colin Murray Laungani Pittu Young Bill (2014) Death and bereavement across cultures. London: Routledge. Winter, C. (2009) ‘TOURISM, SOCIAL MEMORY AND THE GREAT WAR’, Annals of Tourism Research, 36(4), pp. 607–626. doi: 10.1016/j.annals.2009.05.002.
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