On Heritage The Patina of Paradox by Francis Thompson

By Francis Burne Thompson Supervised by Tania Davidge University of Melbourne Melbourne School of Design, Semester 01, 2022

To my father, David, whom I wish could be here To my Mother, Rosemary, who lead me here And to my partner, Maddy, who is somehow still here

Melbourne School of Design Design Thesis S1 2022

iii

On Heritage: The Patina of Paradox

Frank Burne Thompson

This project was undertaken on, and located in, the lands of the Bunurong Boon Wurrung and Wurundjeri Woi Wurrung peoples of the Eastern Kulin Nation. I acknowledge they are the traditional owners of the land and pay respects to elders past, present, and future. Sovereignty was never ceded

Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

Contents

Frank Burne Thompson

Proposal

Questions

Statement

Elaboration

The Design

Design Development

Site History and Information

Precedents

On Dissociative Display

Development and Outcome

Bibliography

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On Heritage: The Patina of Paradox

Proposal

Frank Burne Thompson

Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

Questions How can the stasis that a heritage declaration necessitates be reconciled with the continuous shifting of occupation and context through and around the building?

+ How might these intangible shifts and flows of occupation be brought fourth and made tangible as a mode of preservation through adaptation rather than repair?

Frank Burne Thompson

Proposal

Statement A building changes, cities around a building change, modes of inhabitation change. Yet, ‘heritage’, as a framework for recognising value, favours tangible matter over intangible significance and use. Effecting change continuously, inhabitation resists the singular point that heritage is predicated upon. This is the paradox of patina: the accreted markers of use and age are valued for the history they embody yet they are often discouraged from further development, at odds with the continuous flow of history.

Melbourne School of Design Design Thesis S1 2022

This thesis proposes a reconception of the heritage object into a self-evident signifier of its own history, key themes of display and amplification have been explored as a means of bringing forth the patina of a building whilst facilitating its continued development. The idiosyncratic history and occupants of the Nicholas Building (built 1926) has here been dissected, its internals exposed to bring the building and its occupants into productive confrontation. Resulting in a frictional yet generative tandem: With each other and their own tangled histories.

On Heritage: The Patina of Paradox

Elaboration “Because We want the building to always look new!” Harry Norris, the architect of the Nicholas, whilst speaking to his own proto-modernist aspirations of cleanliness, inadvertently demonstrates the inherit paradox of a static edifice amongst the flows of time and taste. Buildings change, regardless of aspirations of monumentality and completeness, they heave and shift with the forces of technologic advancement, cultural turns, and economic growth and contraction1. This is true both tangibly – materials are invariably stripped back and updated for new fashion– and intangibly: tastes change but so to do the economic forces of gentrification that shift demographics into 1

Brand, How Buildings Learn.

“Because

we want the building to always LOOK NEW! - Harry Norris

Architect of the Nicholas building, on his specification of Wunderlich terracotta tiles

and out of neighbourhoods and the buildings that constitute them. A paradoxical relationship between cities and their buildings, and buildings and their history, emerges from this understanding. Cities seethe with endless rebuilding, and through this continuous cycle of demolition and building the city becomes a synthesis of its own collectivised memory2. This synthesised memory (history), despite its fallibility, becomes the basis for the system of heritage 2

Rossi, ‘The

Architecture of The City’.

Frank Burne Thompson

Proposal

Within the city, a facade becomes a means to keep up appearances Anthony Reed, 2022, Shanghai

Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

which seeks to preserve given areas and buildings; to be left in stasis to the highest degree possible as a means of retaining history yet too often becoming a tyrannical obstacle to the buildings own continued development3,4. This is the paradoxical city of heritage: a shifting field composed of static elements. The question then becomes: How might a shifting and changing city abut with a shifting and changing building, in such a way that the building is changed yet kept abreast of its contextual changes?

This thesis seeks to reconfigure heritage by shifting a declaration of significance from a point of fixity to a point of projection. To facilitate such a change, an approach that is sensitive to not only the built assemblage 3

Otero Pailos,

‘Experimental Preservation’. 4

Koolhaas, ‘Preservation

Is Overtaking Us’.

but also its occupants has been proposed, through which the heritage body will be not only maintained but projected forward. Importantly, this does not suppose that the literal building no longer holds historic value but merely secedes its hagiographic primacy to its occupants and contemporary use. Too often, yet another paradox emerges when facadism deems only the skin to be of value for its aesthetic presence, reducing heritage to a surface, discarding the building itself and erasing value where it sought to preserve it. Heritage is a necessary tool in tempering and guiding changes to the city – this thesis does not seek to discard heritage, but instead critically evaluate its intent of preservation against the too common outcome of facadist reductionism through a contradictory aversion to change5. 5

Australia ICOMOS and

International Council on Monuments and Sites, The Burra Charter.

Frank Burne Thompson

Proposal

The Burra Charter: The Australia ICOMOS Charter for Places of Cultural Significance

“

Article 15. Change 15.1 Change may be necessary to retain cultural significance, but is undesirable where it reduces cultural significance. The amount of change to a place and its use should be guided by the cultural significance of the place and its appropriate interpretation.

15.4 The contributions of all aspects of cultural significance of a place should be respected. If a place includes fabric, uses, associations or meanings of different periods, or different aspects of cultural significance, emphasising or interpreting one period or aspect at the expense of another can only be justified when what is left out, removed or diminished is of slight cultural significance and that which is emphasised or interpreted is of much greater cultural significance.

”

Excerpt from The Burra Charter, The Australia ICOMOS Charter for Places of Cultural Significance.

Although a non governmental body, ICOMOS here lays out and acknowledges the occasional necessity for change

Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

figure 01: Ville Radieuse, Le Reproduced by Author

Corbusier, 1928

Frank Burne Thompson

Proposal

Through the 20th century, the design discipline, amongst an increasingly industrialised society, demonstrated a contentious and shifting relationship with the city. From the mechanistic aspirations of Corbusier’s Ville Radieuse (1928) (figure 01) and Sant’Elia’s La Città Nuova (1914), early modernists demonstrated a fetishised understanding of the industrial city that was divorced from both physical and historic context as (anachronistically) ‘green field’ projects. The later works of the Metabolists such as Tange’s Tokyo Bay Plan (1960) (figure 02) demonstrate a similar interest in expansive growth, but within a real urban context and with a sensitivity to change at the so-called cellular level 6. Finally, the speculative and evocative works of Lebbeus 6

Lin, ‘Metabolist Utopias

and Their Global Influence’.

Woods (e.g., Free-ZoneBerlin (1990)) (figure 03) demonstrate a more recent albeit extreme, attitude towards the city, one that sees an anxiety towards and dislocation of the new and the existing7. The existing city becomes a distinct landscape incontiguous with Woods’ insertions. The organic and alien forms depicted by Woods are not beholden to the notions of scale, proportion or even orthogonality that conventionally construct the city. Now, the contemporary context has shifted, the discipline must navigate between its role within construction and looming economic and climatic crises.

Woods, Free-Zone-Berlin : Ein

Projekt Für Das Zentrum Der Metropole.

Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

figure 02: Tokyo Bay Plan, Kenzo Reproduced by Author

Tange, 1960

Frank Burne Thompson

Proposal

figure 03: Free Zone Berlin, Lebbeus Reproduced by Author

Melbourne School of Design Design Thesis S1 2022

Woods, 1990

On Heritage: The Patina of Paradox

Grappling with an inherited body, be it conceptual or literal, is by no means limited to the discipline of architecture. Both practicing artists and philosophers have long dealt with the complexities of weaving the old and new together and apart, as a means of examination through juxtaposition and interrogation.

With a Derridean understanding of language and meaning and its intimate connection with context in the transmission of information has obvious parallels to architecture given its propensity to communicate socio-political values8, 9. Combining this with Stewart Brand’s systematised understanding of the living building (figure 04), we can demonstrate the inherent futility of preservation as a means of stasis. Similarly, through careful removal and addition of material, artists such as Jorge Otero-Pailos, Gordon Matta-Clark, and Stelarc have demonstrated the 8

Derrida, Margins of Philosophy.

Kohn, ‘Language, Power,

and Persuasion: Towards a Critique of Deliberative Democracy’.

Ethics of Dust: Old United States Mint

Jorge Otero-Pailos, 2016, San Francisco

Frank Burne Thompson

Proposal

STUFF SPACE PLAN SKIN SERVICES STRUCTURE SITE figure 04: Shearing layers of Change. “Because of the different rates of change of its components,a building is always tearing itself apart” - Stewart Brand Reproduced by Author with additions in orange

Melbourne School of Design Design Thesis S1 2022

CONTEXT

On Heritage: The Patina of Paradox

The Third Hand

Stelarc, 1980, Tokyo, Yokohama, Nagoya

“To alter its [the body] architecture is to

adjust its awareness and manipulation of the world. Coupled with technology, the body now performs beyond the boundaries of its skin and beyond the local space it inhabits.

Frank Burne Thompson

Proposal

Conical Intersect

Gordon Matta-Clark, 1975, Paris

Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

1: Grand Louvre Modernisation, Pei Cobb Freed & Partners, 1993, Paris ,2: Reichstag New German Parliament, Fosters + Partners, 1993, Berlin ,3: The Hill House Box Museum Carmody Groarke, 2019, Glasgow ,4: Service Tower for Student Housing, Nicholas Grimshaw, 1967, London ,5: The Bruges Diptych Jon Lott, 2021, Bruges ,6: The Museum of Natural History Diener & Diener Architekten, 2010, Berlin ,7: Rooftop Remodeling Falkestrasse COOP HIMMELB(L)AU, 1998, Vienna ,8: FRAC Dunkerque Lacaton & Vassal, 2013, Dunkirk (all reproduced by Author)

Frank Burne Thompson

Proposal

powerful ability to completely recontextualise an inherited body through surgical means.

Thus, the capacity for the inherited body to continually accrete meaning through re-contextualisation and parasitic/ prosthetic expansion is established. There is an established pattern of working with the existing, contemporarily dubbed ‘adaptive re-use’, however this nomination precludes a continuation or expansion of current use. Across a range of typologies and times, each demonstrating an attitude ranging from harmonious integration to declarative difference (even violence) (figure 05). Deconstructivist and Hi-tech avant-gardes of the late 20th century establish difference through explicit formal and material

difference10. The more contemporary works of BAST and Lacaton and Vassal demonstrate a softer sensitivity and languages of material lightness and tectonic excavation, albeit with the latter threatening to become at times a simulacrum, rather than extension of, the existing 11, 12 (see appendix ii for further precedent information).

Those projects that bring forth the otherwise intangible and buried are of the most interest to this thesis. In doing so the project simultaneously treats the heritage object that is the Nicholas Building as an extension of the urban fabric 10

Bardzinska-Bonenberg,

‘Parasitic Architecture: Theory and Practice of the Postmodern Era’. 11

Vexler, ‘Untitled,

Working Out the Work of Bureau Architectures Sans Titre’. 12

Melbourne School of Design Design Thesis S1 2022

Abrahams, ‘Adapt and Survive’.

On Heritage: The Patina of Paradox

through Walter Benjamin’s reading of the porous city 13 and as an archaeologic object that brings forth the imminent data that has been embedded in the building through occupation14. The building’s heritage listing is ill-equipped to capture its unique occupation, despite amendments to the heritage criteria it is the buildings terracotta façade and leadlight arcade that are deemed significant in a continuation of the facadism that heritage systems promote 15, 16, 17. In opening the building to the city, the pair is allowed to flow into 13

Benjamin and Lacis, ‘Naples’.

Mattern, ‘A City

Is Not a Computer’. 15

Heritage Council Victoria,

‘The Victorian Heritage Register Criteria and Threshold Guidelines, Criterion G’. 16

Heritage Council Victoria,

‘Victorian Heritage Database Report, Nicholas Building’. 17

Wunderlich Limited

Manufacturers, ‘Architectural Terra Cotta and Faience’.

and through itself, with the project found at the turbulent intersect. The building, its occupants, and its context have all been brought into a productive confrontation that allows each of these constituent parts to combinatorically amplify each other and expand its unique collection of idiosyncratic, cellular, creative tenants. The building has become a cultural hub with the capacity for an extension that can concentrate the collectivised power of its tenants in a post pandemic city 18, 19, 20, 21.

Nitch, ‘Nicholas Building:

Save Melbourne’s Creative Hub’. 19

Eltham, ‘The Nicholas

Building: A User’s Manual’. 20

Dovey, ‘Informal Urbanism

and Complex Adaptive Assemblage’. 21

Brugmann, Welcome

to the Urban Revolution.

(Opposite) Pennsylvania Railroad Terminal (Union Station), Pittsburgh, 1948, Photographer Unknown © United States Library of Congress Frank Burne Thompson

Proposal

Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

The Design

Francis Burne Thompson

* Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

On Heritage: The Patina of Paradox Frank Burne Thompson

| 757 758

A building changes, cities around a building change, modes of inhabitation change. Yet, ‘heritage’, as a framework for recognising value, favours tangible matter over intangible significance and use. Effecting change continuously, inhabitation resists the singular point that heritage is predicated upon. This is the paradox of patina: the accreted markers of use and age are valued for the history they embody yet they are often discouraged from further development, at odds with the continuous flow of history. This thesis proposes a reconception of the heritage object into a self-evident signifier of its own history, key themes of display and amplification have been explored as a means of bringing forth the patina of a building whilst facilitating its continued development.

The idiosyncratic history and occupants of the Nicholas Building (built 1926) has here been dissected, its internals exposed to bring the building and its occupants into productive confrontation. Resulting in a frictional yet generative tandem: With each other and their own tangled histories.

A Site, An AxiS Site Plan 02 | on heriTage: The paTina oF paradox

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The Design

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“An assemblage

is a whole that is formed from the interconnectivity and flows between constituent parts — a socio-spatial cluster of interconnections between parts wherein the identities and functions of both parts and wholes emerge from the flows between them. ‘A whole of some sort that expresses some identity and claims a territory’ - Kim Dovey,

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From: Informal Urbanism and Complex adaptive assemblage

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“This collapsing of time – patina of

old against new, juxtaposed but also in parallel use, different parts of a process changing ever-so-slowly . . . - Adrian van Allen

(Folding Time: Practices of Preservation, Temporality and Care in Making Bird Specimens)

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“To alter its [the body] architecture is to

adjust its awareness and manipulation of the world. Coupled with technology, the body now performs beyond the boundaries of its skin and beyond the local space it inhabits. Stelarc

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Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

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Melbourne School of Design Design Thesis S1 2022

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Frank Burne Thompson

The Design

On ground, the leadlight arcade that links Swanston and Flinders street is the main point of interest, however the porosity promised by the arcade isn’t realised. What is proposed is a removal of the external walls and the creation of a number of market stalls at a range of scales, around several axes that link the four sides of the building – simultaneously linking the building to its street scale fabric and lifting it above it

0m 2

Melbourne School of Design Design Thesis S1 2022

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On Heritage: The Patina of Paradox

For the tenancy floors that make up the bulk of the building, the southern offices have been shifted and pushed against the light core to create a loggia along the southern edge of the building. Each floor receives accessible toilets and lifts, as well as a platform connecting to the stairs that will tentatively host amenity that promote ad hoc encounters

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Frank Burne Thompson

The Design

The blank and bituminous rooftop has been reconfigured into striations of intensity the correspond to the activity of the loggia stairs (and bar that terminates them) and the low intensity escape that is currently offered by the existing fire stair that acts as a smoking space for the occupants

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Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

edifice comPlex 0m 2

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The Design

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Melbourne School of Design Design Thesis S1 2022

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The Design

“An assemblage

From: Informal Urbanism and Complex adaptive assemblage

loggiA 0m 1

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Melbourne School of Design Design Thesis S1 2022

1 : 100 @ A3

On Heritage: The Patina of Paradox

“To alter its [the body] architecture is to

adjust its awareness and manipulation of the world. Coupled with technology, the body now performs beyond the boundaries of its skin and beyond the local space it inhabits. Stelarc

urbAn Amenity occuPation Section 02 11 | on heriTage: The paTina oF paradox

Frank Burne Thompson

1 : 50 @ A3

The Design

“This collapsing of time – patina of

old against new, juxtaposed but also in parallel use, different parts of a process changing ever-so-slowly . . . - Adrian van Allen

(Folding Time: Practices of Preservation, Temporality and Care in Making Bird Specimens)

A tAle of tWo corniceS 0m

cornice Junction detail 12 | on heriTage: The paTina oF paradox

Melbourne School of Design Design Thesis S1 2022

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On Heritage: The Patina of Paradox

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The Design

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Melbourne School of Design Design Thesis S1 2022

Above ground 39

On Heritage: The Patina of Paradox

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Ambi theAtre Frank Burne Thompson

The Design

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Melbourne School of Design Design Thesis S1 2022

verticAl Street 41

On Heritage: The Patina of Paradox

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Store front Frank Burne Thompson

The Design

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Melbourne School of Design Design Thesis S1 2022

ArcAde 43

On Heritage: The Patina of Paradox

Design Development

Frank Burne Thompson

Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

Site History and Information Located at the intersection of Flinders Lane and Swanston Street, the Nicholas building will be the site of investigation for this thesis. Designed by Melbourne Architect Harry Norris, the Nicholas building takes its name from the pharmaceutical Nicholas company, who built the tower on a speculative basis using funds from a proprietary aspirin brand, which exploded in popularity during WWI.

Built to the 132’ height limit in effect at the time of its completion in 1926, the 11-storey building (including basement) is clad in self cleaning Wunderlich terra cotta tiles. It’s Chicago-Italianate palazzo style sees a tripartite facade with ionic and Doric pilasters capped with a (now patinated) copper cornice.

The lowest three floors were, and still are, a commercial internal street, with a heritage noted fan lit lead light arcade that runs from Swanston Street to Flinders Lane. The remaining

Frank Burne Thompson

Design Development

office floors are composed around a central light well, with two layers of tenancies creating what recent tenants call an internal street. In the 96 years intervening its completion, the Nicholas building has become a hub of creative, small scale tenants - perhaps as a result of its small scale tenancies rather than the more contemporary whole or subdivided floor arrangements that dissuade larger corporate tenants.

Although the building was granted a listing of registered heritage significance in 2007, it has since been listed for sale in 2021. Given that the heritage listing is largely focused on the facade and ground floor commercial fit outs, a group comprised of some number of the 124 current tenants has sought to purchase the building as a collective traders association, fearful of developers propensity to gut and subsequently infill the heritage facade with the aforementioned contemporary tenancies

Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

Since its initial building application (highlighted) the building has seen numerous extensions and alterations - a majority related to signage and new internal partitions: A reflection of the flow of occupations through the building, and their appropriations

Frank Burne Thompson

Design Development

Building application permits for 37 Swanston Street, 1916 - 96, Public Records Office of Victoria (via ancestry.com.au) Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

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Design Development ME D I A SALON PRODUCTIONS

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A graphic mapping of the tenants, arranged by floor and grouped broadly by type, reveals the complex and fine-grained community within the building, however despite this complexity, these tenants aren’t necessarily acting in any form of cohesion and unity, especially in terms of selfdetermining the future of the building. Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

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Frank Burne Thompson

Design Development

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LOUISE MACDONLD MILLINERY

V.KASSIORAS

MARC DIXON ARCHITECT

MORTAR DIGITAL

CELLA 620

ALEX AVERY

COURTNEY KIM BRANDING STUDIO

CURLYSIOUXSIE

AIMEE SUTANTO JEWELLERY

MEGHAN WEBB JEWELLER

THE POWDER ROOM

INFORMALE

B & VO TRICKEY

WELCOME TATTOO

LUMOS NAILS & EYELASH

HEART & SOUL TATTOO

YUII NAIL ART STUDIO

MUSES OF MYSTERY

REINA MELBOURNE

VINTAGE SOLE

KUWAII

CATHEDRAL COFFEE

SUBWAY

7 ELEVEN

A more accurate graphic map of the tenants as they are currently positioned.

Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

Existing Conditions

Ground Plan 0

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L1 Retail Plan 0

Melbourne School of Design Design Thesis S1 2022

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L2 Retail Plan 0

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Roof Plan 0

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Original Fourth floor plan submitted along side building application 6697, courtesy of Public Records Office of Victoria.

The corridor to the left of image was subsequently shifted towards the light core - presumably to allow all tenants access to the facade.

Frank Burne Thompson

Design Development

Typical Studio Plan 0

Melbourne School of Design Design Thesis S1 2022

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In section, the light core at the centre of the building is revealed as both the literal and conceptual centre in the way that it facilitates the fine-grained smaller tenancies that make up the building

Light Core Section 0 2

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On two sides, the building is bounded by neoclassical self-cleaning proto modernist façade (in its aspirations of cleanliness) However to the south and west, the façade is left blank, sheer and a site for service reticulation

Southern Elevation 0 2

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Swanston Street Elevation

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Nicholas Building, 1962 Photo by Mark Strizic

Nicholas Building, 1926

From: Building : the magazine for the architect, builder, property owner and merchant

External Photos of the

3 Nicholas Building 09381393 These demonstrate a largely Library of Australia

unchanged facade (bar nationalistic signs changed for corporate ones )

Nicholas Building, 2021 Photo by Peter Lawrence

Frank Burne Thompson

Design Development

Internal Photos of the Nicholas Building

Internally, the scars, scuffs, upgrades and updates that the building has collected over its life are revealed very much at odds with its external appearance and heritage statement Photos by Author

Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

Nicholas Building Roof Top

Leaking and disused, the roof of the building is currently inaccessible for safety reason, yet the space and aspect offered by the height and expanse of the space position it as a key site for augmentation and reconfiguration Photographed by Stuart Murdoch, 2000

Frank Burne Thompson

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Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

Frank Burne Thompson

Design Development

Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

Frank Burne Thompson

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Melbourne School of Design Design Thesis S1 2022

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Frank Burne Thompson

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Melbourne School of Design Design Thesis S1 2022

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Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

SWANSTON STREET

Figure 6: CBD South (Town Hall) Station – entry on corner of Flinders and Swanston streets

FLINDERS LANE

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The currently under construction Townhall train station is emerging between the Nicholas Building and Young and Jackson Hotel. The development plans for the site show intent for a commercial development around the stations main entry - although this was discovered partway through design development, the proposals align with each other.

This plan shows a minimum of built fabric to the south of the Nicholas building, with report words indicating a sensitivity to the views opened up by keeping the site low. An OSD (Over Station Development) is noted, but not otherwise shown sectionally

(opposite) Development plans for the under construction Townhall Station produced by CYP (Cross Yarra Partnership) for “CBD South Precinct Development Plan Ministerial Submission”, 2018 Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

Precedents

Service Tower for Student Housing Nicholas Grimshaw, 1967, London

This early project from the now global firm demonstrates the potential for a concentrated addition of amenity to reposition an entire building that may otherwise be unsuitable for a new context and legislative requirements.

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The Hill House Box Museum Carmody Groarke, 2109, Glasgow

By enclosing an aging and decaying heritage building, Carmody Groarke preserve yet reposition a significant project. In allowing circulation above and around the object, it is repositioned from a domestic artefact to a museum object. Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

Roy and Diana Vagelos Education Center Diller Scofidio + Renfro, 2016, New York City Photographed by Iwan Baan

Diller Scofidio + Renfro’s Vagelos Education Centre becomes an important precedent for its use of program as expression in volumetric external form, although it should be noted as photographed here and elsewhere, the reflectivity of glazing has been purposefully downplayed though careful curation of internal against external lighting

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Tschumi’s Le Fresnoy Art Center becomes a useful precedent for its approach for simultaneous preservation and transformation, using added elements as weather protection that also acts as a substrate to host further interventional elements

Le Fresnoy Art Center

Bernard Tschumi, 1997, Tourcoing Photographer Unknown

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Gifu Kitagata Apartment Building Kazuyo Sejima & Associates, 1998 Photographed by Shinkenchiku Sha

Although more regulated and repetitious, Sejima’s Gifu Kitagata stairs act as a linkage between externally occupied spaces. The project diverges with a more meandering and singular stair that is revealed strategically beyond the facade, rather than sitting externally, although it does sit externally to the original blank facade of the building

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Maiji Mountain Grottoes in Gansu MarsmanRom, 2009

This ad hoc and precarious occupation of a shear cliff provides a fitting demonstration of the sort of colonised monolith that the project is beginning to resemble

The stair takes a unique position within the compositional elements of the architectural toolkit - with a form dictated by legislated gradients and landings, the stair becomes a sculptural element that dissolves monumental scale and provides a point of haptic interaction with a building, recognisable from a distance Melbourne School of Design Design Thesis S1 2022

On Heritage: The Patina of Paradox

Queen & Collins

Kerstin Thompson Architects, 2021, Melbourne

(description provided by architect) The strategy was to align urban design imperatives with heritage celebrations. A new interstitial network forged the primary pedestrian route and re-prioritised the Cathedral Room as a focal point of the site. In contrast to the usual corporate lobby’s, the site is layered and dynamic, with a series of semi open-air lanes, courtyards and intimate squares – campiellos

Although discovered in the late stages of the project, this contextually highly similar project has similar concerns of heritage within the city and was useful in affirming and positioning the thesis project within the discourse AND the city. The strategy of contraction and expansion of public spaces within an urban fabric are found in both projects

Frank Burne Thompson

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Repair

Baracco + Wright, 2018, Australian Pavilion, Venice

As well as speaking to the displacement of, and damage to, greenery by architecture. This project communicates the requirement for a degree of generosity in allowing for un-built space. Additionally, the ability for planting to act as a dynamic threshold that redefines space constantly speaks to the inherit movement in any building that has been made manifest throughout this thesis.

(opposite) Spaces of the newly completed Queens and Collins redevelopment, which stitches together multiple unique heritage buildings. Photographer unknown, retrieved from: https://kerstinthompson.com/index.php?id=434 Melbourne School of Design Design Thesis S1 2022

(above) Photographed by Rory Gardiner

On Heritage: The Patina of Paradox

On Dissociative Display Display has acted as a consistent thematic through this investigation. Rather than understood as a means of whole object deification, it has instead been positioned as a means of selective augmentation (i.e., curation). Heritage too often falls into this trap of dissociating appearance from significance, positioning buildings as flattened images, simulacra, whose significance is sourced from an aesthetic presentation to street1. From the scale of museum vitrine to civic monument, display often acts a dissociative force. Just as the conventional postenlightenment museum is susceptible to a perverted and singular version of history, so too is the city susceptible to a presumed hierarchy of display that when experienced, has 1

Baudrillard,

Simulacra and Simulation.

Westin Bonaventure Hotel John C. Portman Jr., 1976 Photographer Unknown

a dissociative affect through its overlapping accumulation of display and inhuman scale. This reading of the postmodern city was distilled in Fredrich Jameson’s reading of John Portman’s Bonaventure hotel as the archetypical paragon of this affect 2. 2

Jameson,

‘Post Modernism and Consumer Society’. Frank Burne Thompson

Design Development

Exodus, or the Voluntary Prisoners of Architecture: The Baths

Rem Koolhaas, Elia Zenghelis, Madelon Vriesendorp, Zoe Zenghelis, 1972

The delirium of the city and its fragmentation in section are further exacerbated by circulatory paths that segment city from building and by separate tactile and visual experiences. The Nicholas building has here been subjected to and transformed by these readings of dissociative display. Countering, yet also subscribing to them: by treating the building as an object within the city, it has been encapsulated and put

on display within a vitrine as a means of ironic examination. Within this vitrine, the dissociative affect of display is countered with the recognisable form of the stair which connects the city to the striations of the building. The existing building object is dissected and allowed to spill out in an exploratory mode that a museum facilitates through its recontextualising of objects. The building is contained by, and acting as, its own vitrine as a living museum.

Melbourne School of Design Design Thesis S1 2022

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Development and Outcome The culmination of this thesis is a series of operations upon the Nicholas building. Here, the development and outcome of each of the constituent parts that make up the intervention have been broken down in order to better understand them - their genesis and their affect.

A Note on Representation In representing the design, there have been a number of key concerns that have driven graphic decisions: The juxtaposition between existing and added is of key importance in establishing the moves that have been made. A dichotomous style maintains this difference, however, when describing space and experience, the distinction is collapsed such that the result can be understood wholistically

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Design Development

1. Inherited Condition

4. Amenity

2. Material Removal

5. Enclosure and Display

3. Vertical Transport

6. Proposal

Melbourne School of Design Design Thesis S1 2022

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Early investigations of the building revealed an highly developed patina of occupation within the building, alongside numerous updates to the services throughout the building - including cable trays and other conduits fitted by one of the current occupants of the building

As evidenced by the original drawings of the building however, the accessibility of the building had fallen behind modern standards, with only a single accessible toilet to service the entire building and the remainder relegated to landings between floors

Photo by Author

Frank Burne Thompson

Design Development

Original Cocker Alley elevation submitted along side building application 6697, courtesy of Public Records Office of Victoria. toilet tower highlighted

Melbourne School of Design Design Thesis S1 2022

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The response to this condition was to capitulate to the technologic forces acting on the building and uplift the servicing aspects of the building, with the below diagrams indicating the potential for programmatic expansion

WC M

TENANCY

WC F

TENANCY

WC M

WC F

WC M

TENANCY RETAIL

WC FIRE STAIR

LIFT x 2 + STAIR

TENANCY

WC WC WC ACC

WC F

WC M

RETAIL

L 09 L 08 L 07 L 06 L 05 L 04 L 03 L 02 L 01

STORE

RETAIL

L 00

L -01

RETAIL 31 - 41

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PLANT WC

ROOF DECK GALLERY & EVENTS

ACC

TENANCY

ACC

FLEXIBLE SHORT DISCORDIA TERM & EVENTS

RETAIL

ACC

WC WC

RETAIL

WC F

TENANCY

FIRE STAIR

TENANCY

LIFT x 2 + STAIR

ACC

TENANCY

ACC

BAR

ACC LIFT x 2

AMENITY FLOOR WHOLE

SIGNANGE & DISPLAY

ACC

ASSOCIATION MEETING & OFFICES

WC M

WC F

WC M

TENANCY

WC F

WC WC WC& THEATRE FORUM ACC F M WC ASSOCIATION MEETING & OFFICES

RETAILOPEN PLAZA

L 09 L 08 L 07 L 06 L 05 L 04 L 03 L 02 L 01

STORE

L 00

RETAIL

MARKET

L -01

31 - 41

29 Melbourne School of Design Design Thesis S1 2022

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Physical tests to articulate new accumulations of program were informed by a desire to move away from the developer led vertical extrusion, given that the light core within the building is what facilitates its uniqueness The degree to which these different components would be expressed as a whole or a metabolic clip on element was tested, with an more fragmented element preferred for its ability to communicate its own function.

Melbourne School of Design Design Thesis S1 2022

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The decision to expand the building southwards was driven by the aforementioned desire to avoid vertical extrusion, but also in a realisation of a previous condition - now (concerningly) outdated evacuation plans show that the since demolished adjacent building was once connected to the building

Frank Burne Thompson

Design Development

Although it went on to be condensed almost entirely into the 7.5m band to the south of the building, the typical office plan retains many of amenities that building and its community are in need of

tyPicAl Studio PlAn, ProPoSed 0m 2

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Melbourne School of Design Design Thesis S1 2022

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The expansion to the south, given the position of the building along the civic spine of Melbourne, provided further opportunities for display on a larger civic scale

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0 km

0.25

0.5

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The Meandering stair becomes the sculptural element that expresses and brings forth the intangible elements of the buildings occupation, displaying it to the city.

Melbourne School of Design Design Thesis S1 2022

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Although it would come to be refined, the genesis for the facade was in expressing the irregularity of the volumes and program beyond the facade first volumetrically. but then through opacity and porosity As a manufacturing process, vacuum forming creates a simulated skin of an object, imitating, protecting and encasing it all at once. With this understanding in mind, the process becomes a generative concept underpinning the facade logic of the added systems unifying and expressing the underlying volumes whilst presenting and packing the building as an object

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By altering the transparency of the facade panels according to the stairs and platforms beyond, a pattern emerges that is simultaneously resolved yet moves away from the strict proportioning and rhythm of the neo-classical facade to Swanston Street and Flinders Lane.

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102

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PoroSity 0m 2

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The volumetric articulation of the prosthesis, although flattened on the vertical plane, becomes the sort of tensile arcs that a vacuum formed wrap produces to the crown of the building.

The continuation of the catenary arcs across the new roofscape becomes a reference to the leadlight arcade at the ground floor of the building, which, while beautifully ornamented, functions awkwardly given the lack of connectivity it actually provides

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The roof and ground planes of the building fulfil similar roles, in that they dissolve the dichotomy between public and private, amplifying the existing community by exposing it

The striations of the roof, referencing the extant panel joins, created bands of intensity across the plan, with a higher intensity band servicing public, whilst the more fragmented right hand band recalls the existing role of the escape stair in the building, as a smoker’s escape from the bustle of the studios below

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roof PlAn, ProPoSed 0m 2

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The ground, where building and city physically meet, has seen some of the most violent interventions to the building in order to actualise the poristy that arcade proports to offer.

In lifting the building above the ground, it is paradoxically brought closer to it, i.e. the delineation between city and ground is dissolved. The removal of the 5m awning also further connects the classical character of the building back to the path below it and eliminates the separation between the pedestrian city and the commercial city that sits above it.

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PoSed 0m 2

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Above ground

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Extending from the porous ground plane, the meandering stair that plays host to the bulk of the intervention becomes a vertical street along the side of the building.

Beyond making the occupation of the building tangible from a distance the stair contains alternating amenity that the studio tenancies within the building lack - a water source and a meeting point. By alternating the program across levels, the occupants are encouraged to mix, breaking the separation between floors that lifts create.

ProSthetic conduit 0m 2

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“An assemblage

From: Informal Urbanism and Complex adaptive assemblage

loggiA 0m 1

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Exposed by incised walls and a repositioned corridor, new studio tenancies offer a transparent but distorted view into the life of the building. A reference to the frosted glass in the retained doors found in the new loggia.

“To alter its [the body] architecture is to

adjust its awareness and manipulation of the world. Coupled with technology, the body now performs beyond the boundaries of its skin and beyond the local space it inhabits. Stelarc

“To alter its [the body] architecture is to urbAn Amenity occuPation Section 02 11 | on heriTage: The paTina oF paradox

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adjust its awareness and manipulation of the world. Coupled with technology, the body now performs beyond the boundaries of its skin and beyond the 0m 2 local space it inhabits. Stelarc

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verticAl Street Frank Burne Thompson

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Although this thesis is a complete re-positioning of the Nicholas Building, it also acknowledges its history and the ad hoc nature of its previous alterations by adding yet another layer of conduit to the building yet remaining structurally discrete with the potential for future removals and alterations.

This is by no means an end state, but rather a next step in the life of the building: amplified, changed, but the same

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Bibliography Abrahams, Tim. ‘Adapt and Survive’. The Critic, 2021. https://thecritic.co.uk/issues/ june-2021/adapt-and-survive/.

Allen, Adrian van. ‘Folding Time: Practices of Preservation, Temporality and Care in Making Bird Specimens’. In Deterritorializing the Future: Heritage in, of and after the Anthropocene, edited by Rodney Harrison and Colin Sterling, 120–54. London: Open Humanities Press, 2020. https://www.doabooks.org/ doab?func=fulltext&uiLanguage=en&rid=46772.

Australia ICOMOS and International Council on Monuments and Sites. The Burra Charter: The Australia ICOMOS Charter for Places of Cultural Significance 2013, 2013. http://australia.icomos.org/wp-content/uploads/ The-Burra-Charter-2013-Adopted-31.10.2013.pdf.

Bardzinska-Bonenberg, Teresa. ‘Parasitic Architecture: Theory and Practice of the Postmodern Era’. In Proceedings of the AHFE 2017 International Conference on Human Factors, Sustainable Urban Planning and Infrastructure, 600:3–12. Los Angeles, USA: Springer International Publishing, 2018. https://doi.org/10.1007/978-3-319-60450-3.

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Bibliography

Baudrillard, Jean. Simulacra and Simulation. The Body, in Theory. Ann Arbor: University of Michigan Press, 1994.

Benjamin, Walter, and Asja Lacis. ‘Naples’. In Walter Benjamin, Reflections: Essays, Aphorisms, Autobiographical Writings, edited by Peter Demetz, translated by Edmund Jephcott, 163–73. New York and London: Harcourt, Brace, and Jovanovich, 1978.

Brand, Stewart. How Buildings Learn: What Happens after They’re Built. A Pengiun Book Architecture. New York, NY Toronto London: Penguin Books, 1995.

Brugmann, Jeb. Welcome to the Urban Revolution: How Cities Are Changing the World. 1st U.S. ed. New York: Bloomsbury Press, 2009.

Caygill, Howard. ‘Stelarc and the Chimera: Kant’s Critique of Prosthetic Judgment’. Art Journal, Aesthetics and the Body Politic, 56, no. 1 (1997): 7.

Dahlgren, Peter. ‘Doing Citizenship: The Cultural Origin of Civic Agency in the Public Sphere’. European Journal of Cultural Studies 9, no. 3 (2006): 267–86.

Derrida, Jacques. Margins of Philosophy. Chicago: University of Chicago Press, 1982. Melbourne School of Design Design Thesis S1 2022

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Dovey, Kim. ‘Informal Urbanism and Complex Adaptive Assemblage’. International Development Planning Review 34, no. 4 (January 2012): 349– 68. https://doi.org/10.3828/idpr.2012.23.

Eltham, Ben. ‘The Nicholas Building: A User’s Manual’. Meanjin Quarterly, 2010, 66–74.

Gandy, Matthew. ‘Cyborg Urbanization: Complexity and Monstrosity in the Contemporary City’. International Journal of Urban and Regional Research 291, no. March 2005 (2005): 26–49.

Haraway, Donna Jeanne. Simians, Cyborgs, and Women: The Reinvention of Nature. New York: Routledge, 1991.

Heritage Council Victoria. ‘The Victorian Heritage Register Criteria and Threshold Guidelines, Criterion G’. Heritage Council Victoria, 2019.

———. ‘Victorian Heritage Database Report, Nicholas Building’, 2007. https://vhd. heritagecouncil.vic.gov.au/places/2764.

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Bibliography

Jameson, Fredric. ‘Post Modernism and Consumer Society’. In The Cultural Turn: Selected Writings on The Postmodern, 19831998, 1–20. London ; New York: Verso, 1998.

Kohn, Margaret. ‘Language, Power, and Persuasion: Towards a Critique of Deliberative Democracy’. Constellations 7, no. 3 (2000): 408–29.

Koolhaas, Rem. ‘Preservation Is Overtaking Us’. Future Anterior: Journal of Historic Preservation, History, Theory, and Criticism 1, no. 2 (2004): xiv,1-3.

Lin, Zhongjie. ‘Metabolist Utopias and Their Global Influence: Three Paradigms of Urbanism’. Journal of Urban History 42, no. 3 (May 2016): 604–22. https://doi.org/10.1177/0096144216635169.

Lourie Harrison, Ariane. ‘Charting Post Human Territory’. In Architectural Theories of the Environment: Posthuman Territory, 3–33. Taylor & Francis Group, 2012.

Lynch, Kevin. What Time Is This Place? Nachdr. Cambridge, Mass.: MIT Press, 2009.

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Mattern, Shannon. ‘A City Is Not a Computer’. Places Journal, no. 2017 (7 February 2017). https://doi.org/10.22269/170207.

Miessen, Markus. ‘Crossbencing, Towards a Proactive Mode of Participation as a Critical Spatial Practice’. Doctoral Thesis, Centre for Research Architecture, University of London, 2017. Nitch, Wolf. ‘Nicholas Building: Save Melbourne’s Creative Hub’, 25 August 2021. https://www.wolfnitch.com/blog/ architecture-photography-nicholas-building-melbourne.

Otero Pailos, Jorge. ‘Experimental Preservation’. Lecture, AA School of Architecture, 5 October 2015. https://www.youtube.com/watch?v=wIqx97nAwJM.

Otero Pailos, Jorge, and Mechtild Wildrich. ‘Ex Situ: On Moving Monuments—Introduction to Future Anterior’. Future Anterior: Journal of Historic Preservation, History, Theory, and Criticism 15, no. 2 (2018): iii–vii.

Rossi, Aldo. ‘The Architecture of The City’, 16. print., 126– 37. Oppositions Books. Cambridge, Mass,: MIT Press, 2007.

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Sevtsuk, Andres, Bahij Chancey, Rounaq Basu, and Martina Mazzarello. ‘Spatial Structure of Workplace and Communication between Colleagues: A Study of E-Mail Exchange and Spatial Relatedness on the MIT Campus’. Social Networks 70 (July 2022): 295–305. https://doi.org/10.1016/j.socnet.2022.03.001.

Building : the magazine for the architect, builder, property owner and merchant. ‘Terra Cotta in Building: The Nicholas Building, Melbourne (Vic.), an Example’, 1926.

Vexler, Colby. ‘Untitled, Working Out the Work of Bureau Architectures Sans Titre’ 8 (2021): 68–73.

Woods, Lebbeus. Free-Zone-Berlin : Ein Projekt Für Das Zentrum Der Metropole, 1990.

Wunderlich Limited Manufacturers. ‘Architectural Terra Cotta and Faience’. Wunderlich Limited, n.d.

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