FRANKENSTEIN: AN ARCHITECTURAL THESIS ON FRANKENSTEIN AND HORROR IN ARCHITECTURE

ARCH_6006 MASTERS OF ARCHITECTURE THESIS PROJECT

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Curtin University School of Design and the Built Enviro ment Department of Architecture Thesis Project Report Hugh Michael Bailey O’Sullivan 18836879

REUSE: An Architectural Thesis of Adaptive Reuse & Fran kenstien Architecture 70% Design, 30% Written 6249 words Annette condello ANNETTE CONDELLO 1/11/2022

Declaration

This thesis contains no material which has been accepted for the award of any other degree or diploma in any university. To the best of my knowledge and belief this thesis contains no material previously published by any other person except where due acknowledgement has been made

The following sections have been adapted from my previous works titled “Frankenstein, an architectural thesis of Franken stein and horror in architecture” Research question, Abstract, Objectives, Background, The Issue, Design aspirations, Caser studies

Signature:

Date:

This thesis became an idea over a cup of coffee at university with a close friend in 2021. The summer Olympics were being displayed and the question was asked

ACKLOWLEDGMENTS

My gratitude goes out to everyone that has helped me through this thesis project and my final two years of Masters.

Annette Condello for constantly pushing my full potential and work the best of my ability, SHE HAS BEEN ONE OF THE BEST AND HIGH QUALITY MENTOR AND SUPERVISOR I HAVE EVER HAD

My family for their constant support from both Perth and back home in Adelaide.

To PLUS Architecture for the conTINUED support through resources, learning and flexibility on work hours

My close friends FOR THEIR CONSTANT SUPPORT THROUGHOUT THE ENTIRE SEMESTER: Michael, Libby, Alex, Idriss, Ash, Bec, Kaela, Charlie, Danny, Sam, Doug, Tony.

Research Question

GIVEN THE INCREASING ISSUE OF ABANDONMENT OF OLYMPIC VENUES, HOW CAN FRANKENSTEIN ARCHITECTURE AND ELEMENT OF HORROR INFLUENCE THE DESIGN?

ABSTRACT

The lead upto the global phenomenon that is the Olympics and the event itself is an overwhelming and at times, all-consuming time for countries, their national and regional governments, com munities, stakeholders, athletes and support teams. However, the excitement and glamour that comeswith the Olympics overshadows the consequences that persist for decadesafterthe event. The significant financial obligation involved in hosting the Olympics and its consequences including massive debt and abandoned or underutilized infrastructure, espe cially Olympic venues. resonate for years. Ongoing and significant maintenance costs often exacerbated by non-use push governing bodies to invest less and less money and care into keeping these venues maintained. Ultimately, a number of these once high- class structures deteriorate to the point where they are left derelict and deserted. Using the Beijing Olympics as an example, adaptive reuse and the theory of Frankenstein Archi tecture, can give once great structures new life and purpose after serving their prima ry purpose. In so these structures become valuable social assets after their primary but short-term purpose has been met, and are able to be used for the benefit of society, po tentially for decades. Brining a new purpose and identity within the urban fabric.

OBJECTIVES

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- EXPLORE

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INTENT

The project serves as a catalyst to exposure and push the limits of adaptive reuse, working outside the constructs and foundations of adaptivre reuse. Using the concept of frankenstein architecture and the genre of horror as drivers, these should highlight exagerated design elemtns that engage the site, desiganted building and occupant.

background

history of sport & beijing

China has been hailed as a of the Olympics for decades, since joining the Olympics in 1932, China has won 262 gold medals (Brennan, 2008 Chapter 1). China wasn’t always a powerhouse competitor, nor were they even interested in Olympiad competition. The concept of “Sport” was complicated as there was nothing in their vocabulary to describe the Western term.

It wasn’t until the 19th century that sport started to be introduced slowly into Chinese culture, first through the military training program, then into education and school curriculum. The introduction of sport into Chinese culture was deemed as a social introduction to Western culture. As such, Chinese officials engaged Western instructors to provide insights to drills and training in certain areas of sport such as athletics, boxing, football, swimming and gymnastics. (Brennan, 2008 Chapter 1) The introduction of Western Cultures into the Chinese communist regime was a massive step. Not all agreed with the introduction, Since the opium wars in 1839-1842 Western Powers such as Britain, France and the United States have all attempted to inject their beliefs such as religion, economics, social and political views into China. (Brennan, 2008 Chapter 2).

The introduction of communism throughout China by Mao Zedong in 1949 resulted in sport being seen as an important part of China’s new national culture. In 1950, Mao called on China’s sport federation to develop a physical culture, requesting that the strength and physicality of the populace be incorporated into their day to day lives (Brennan, 2008 Chapter 4). By 1954 the central government of the communist party of China had reallocated responsibility for physical culture and sport to the Ministry of Civil Affairs. (Brennan, 2008 Chapter 4) The introduction of what was a “Western” ideology soon flowed through Chinese society, with it being introduced into schools and forming Chinese way of life. It would soon be one of the main driving forces of communist China and with one of their allies the USSR. Sport became a way to compete with western powers such as the USA and Great Britain, by spreading communist ideology through the Olympics, displaying that communism is a powerhouse with a winning mentality.

background

THE OLYMPIC ISSUE

When the Olympics is assigned to a host, it is assigned to a host CITY and not a country. Although, the country is not liable for financing and marketing the Olympics, the reality is that the event is marketed as a boon to the country. Nonetheless, the host city is contracted to the International Olympic Committee and is responsible for any financial consequences pre, during and post Olympics (Brennan, 2008 Chapter 6). The construction, infrastructure and labour of sporting facilities are embedded within this construct, meaning that Beijing was responsible for the planning, design, construction, labour and upkeep of venues pre, during and post Olympics in 2008. (Brennan, 2008 Chapter 6).

This financial responsibility by the host city has extreme impacts. The community can be won over by the promise and hope that the Olympics will bring everyone together, benefit the economyand advance the culture of the city for the better. This is to be achieved by state-of-the-art facilities, new infrastructure, transportation, all leading to economic growth. Not all agree. The head of Montreal’s city council Michael Walker was against hosting the summer Olympics in 1976, as he believed that the financial stress would impact the city. Ultimately Montreal outsourced to private stakeholders to fund the massive event. The infrastructure, marketing, work force and design, cost $1.6 billion in cost, which Montreal eventually repaid, 30 years later in 2006. (Lenskyj, 2020)

The inevitable consequence of incurring debt such as this is economic austerity. Elements of the work force are laid off, marketing expenses for the venues are reduced and capital and maintenance costs for major venues used for the Olympic is either reduced or removed altogether. The consequences emerge post Olympics, but these issues are a sleeping giant. With no post-Olympic plan, this will be a recurring pattern (Baeumle, 2018).

Figure 4: Athens beach Volley ball Arena, Abandoned

Figure 5: Berlin Athlete Village, Berlin, Germany, Abandoned (The Guardian, 2014)

Figure 6: Beijing National Stadium (The Birds Nest), Beijing, China, Semi-Abandoned (The Guardian, 2014)

adaptive reuse

FRANKENSTEIN ARCHITECTURE

The method of adaptive reuse requires taking an existing dwelling and adapting it to a new purpose. A structure’s purpose and importance in a certain society will be made clear by how it is treated. Existing structures which are re-written, adapted and knitted in between new and developed fabric of a city are the structures that live forever (Wong, 2021, Chapter 2)

In Liliane Wong’s “Adaptive Reuse: Extending the Lives of Buildings” Wong discusses “Frankenstein” syndrome, a play on words from its predecessor Mary Shelly’s 1818 Novel “Frankenstein”. A creature that is assembled from different body parts of deceased persons, coming to life through large amounts of energy. Wong then translates Frankenstein syndrome into the built environment, explaining “The failure of this new creates, therefore, lies in the introduction of a new and incompatible order within an existing one. This incompatibility is the Frankenstein Syndrome” (Wong, 2021, Chapter 1, Pg 34)

Wong further explains that Frankenstein syndrome is the failure of two typologies, spliced together to create a “Monster” building. Wong’s Frankenstein syndrome can be manipulated and twisted as it creates potential for already existing structures to play an active role in mixing architectural trends and typologies. Exploring different amalgamations and combinations through various design techniques. Much like Doctor Frankenstein creating his monster through various medical techniques, forcing Frankenstein to come alive, so is the method of Frankenstein architecture, making the architect the mad scientist and the design their monster. (Comaroff, 2006) Frankenstein comes under the genre of Horror. Horror is the driver of Frankenstein to make it so iconic, these same drivers can be translated into architecture to mold a Frankenstein building.

Figure 7: Greasy Spoon Cade, Lincolns’ Inn Fields

Figure 8: Conceptual Collage depicting Franken stein Architecture ( Aquino, 2010)

Figure 9: Section through greasy spoon café (Gouldstone, 2008)

adaptive reuse

HORROR IN ARCHITECTURE

Joshua Comaroff’s “Horror in Architecture”, there is belief that Frankenstein Syndrome can be transformed into Frankenstein Architecture. Horror in Architecture taps into the monstrous side of architecture. Comaroff talks about the definition of “Monster” and how it can be misinterpreted, such as how the author of Mary Shelley’s “Frankenstein” refers to the monster as “Frankenstein”, where in fact “Frankenstein” is the mad doctor. Similar to architecture, the” monstrous” building is the creation of the mad architecture, which allows all reigns of design, thereby allowing the architecture to exaggerate and experiment without any boundaries. (Comaroff, 2006) Comaroff describes the use of different aspects of Horror which is then used within architecture. Horror can exaggerate certain elements within film and these elements can be translated across into architecture

CLONING

The broad term of symmetry can be a core driver for most designs. Having an age-old relationship with architecture, symmetry can be broken down into different elements, one of these elements is cloning. Depicted in Stephen kings “The Shining”, a set of twins stand in a hallway, this is translated to the Bahrain world trade Centre, two angled shards protruding out of the ground, giving a sense of symmetry while also having a psychological impact on the viewer, making them second guess on if they have seen these shapes before, while also potentially confusing them on where they are placed on the site. (Comaroff, 2006)

Figure 10: Twins from Stephen Kings ‘Shining’ (Kubrick, 1980)

Figure 11: World Trade Centre, Isa Al Kabeer Ave Manama, Bahrain

DEADHitting closer to the theme of abandonment or “Dead” creates urban nightmares, shells of buildings and apartments. Which are destroyed due to neglect and infestation (Comaroff, 2006). Herbert Bayers “Humanly Impossible” is an experimenting of art, depicting a self-portrait. Bayer is physically still there, his body giving off the idea that he is dead and falling apart. This can be translated to Ryugyong Hotel in Pyongyang. Standing tall and proud in the middle of the city, however the building stood dead and abandoned from 1992 to 2008.

Figure 13: Ryugyong Hotel, Pyongyang, North Korea (Baikdoosa Architects, 2011)

Figure 12: Herbert Bayers Humanly Impossi ble (Bayers, 1932)

REITERATION

Reiteration creates a sense of transformation of multiple elements. Removing mid-points and creates a sense of transition. Merging of different elements, using different fractals creating a sense of freedom, allowing the building to be depicted as multiple objects and reiterations. Like a three headed mutant frog, Frank Gehry’s InterActiveCorp headquarters creates a freedom and fluidity, removing mid points from the design, each element merges between each other.

Fig 14: Mutant Frog

Figure 15: InterActiveCorp Head quarters, Frank Gehry (Gehry, 2003)

GIGANTISM

Living in an era where extremes are pushed to its limits every day, gigantism gives an opportunity where we exaggerate a sense of scale, allowing the building to monster over its surroundings. Not only does this allow the unique design to standout, it gives off an overbearing feel to the visitor (Comaroff, 2006). Nathan Juran’s “Attack of the 50-foot woman” can be translated to “The Pinnacle” by ARC studio, soaring at 50 stories, the dense high rise living quarters overshadows its surrounding dwellings, making any building around it microscopic.

Figure 16: Nathan Jurans ‘Attack of the 50 foot woman’ (Juran, 1942)

Figure 17: The Pinnacle, ARC Stu dios (Arc Studios, 2009)

DISTORTION

While distortion can be confused with a sense of ugliness, horror invokes distortion to bring a sense of uniqueness to the character, whether to express reaction, physical appearance or over exaggeration of a scene. Using distortion, disproportion and deformity throughout architecture reacts opportunities for hierarchy, allowing elements to stand out or hide away (Comaroff, 2006). Frank Gehry’s Lewis Building in Cleveland, taking inspiration from Tiffany & Co’s “Fish Toggle bracelet”, giving off deformed and warped objects, provides fluidity, taking aspect from reiterations, removing mid points, allowing the geometry to flow and protrude in and out of the building.

Fig 18: Tex Avery’s Droopy

Figure 19: Lewis House, Frank Gehry (Gehry, 2004)

adaptive reuse

THE HOST & GUEST

Characterized as “Soft, Squishyand vulnerable”, hermit crabs seek out hard shells or objects to fortify themselves for protectionagainstthe outside world. (Wong, 2021 chapter 7) The hermit crab canadaptto certain hard objects if it cannot source a shell, its body morphs to the hard object to the point where it fits the object or shell. (Wong, 2021 chapter 7) When the shell or object has no more use, the Hermit crab moves on to a larger shell as the original shell or “Host” does not serve the purpose it once needed.

The same principle applies to the built environment. Host buildings are assigned a full or half use in order to re-energise and repurpose the structure. Host buildings can come in many different forms and their ultimate use comes down to a certain number of factors such as: condition, potential to sustain increased load, spatial features, their memory and their role within the urban fabric. Different hosts come in different types. These types can be: a shell, semi-ruin, fragmented, relic or grouped.

Fig

Fig

Minimal guest take over, function of host changes but still keeps most of appearance

guest take over. Host start to resem ble feature of the guest

Fig

large scale guest take over, identity of host is un-reconisable, guest is now the main feature becoming new “Host”

adaptive reuse THE HOST & GUEST CASE STUDIES

SHELL HOST

A common host which displays qualities of an intact building that can be converted for a new use. Design and changes can be made on both interior and exterior of the building, creating subtraction or addition depending on the scope of works wanting to be done. (Wong, 2021 chapter 7)

Located in the vibrant night life of Beirut, the design is based around the two different vaults in an old abandoned bank. one vault contains a bar and the other vault a restaurant. Keeping the original vaults, Paul Kaloustain decided to use the dense heavy rooms in his favour by controlling the light, creating certain moods within the shell of the old bank. (Kaloustian, 2006)

Figure 24: MYU Bar, Beirut, Paul Kaoustian (Kaoustian, 2006)

Figure 23: Shell host Structure (Wong, 2021)

adaptive reuse

SEMI-RUIN HOST

Similar to a shell host, semi-ruin hosts suggest that the host is not entirely intact and is missing certain elements, whether that be structure or infrastructure. Semi-ruin hosts are a longer process of adaptation. The first step is to bring the original host back to a standard where it can be manipulated or recompleted. The second step is to create a de sired form to host into a different purpose or keep it the way it is. (Wong, 2021 chapter 7)

A perfect example of military architecture, the 15th century German stone castle needed many alterations in order to adapt it to a new form. Leaving behind its solid walls and foundation, Neito Sobejano Arquitectos needed to tip toe around the ruin structure in order to preserve it.

A new light weight roof, equipped with light wells is lowered into the semi-ruined host, using the light wells to bring natural light into the building without hav ing to change the form of the original building. (Neito Sobejano Arquitectos, 2008)

Figure 25: Semi-Ruin Host struc ture (Wong, 2021)

Figure 26: Moritzburg Castle, Halle, Nieto Sobejano Arquitecto’s (Nieto Sobeja no Arquitecto’s, 2014)

adaptive reuse

FRAGMENTED HOST

Fragmented hosts suggest that the host is un-inhabitable. Implementing adaptive reuse becomes an arbitration. Depending on the historical value and importance of the fragment, the addition has to be justified as it can greatly impact or overshadow the original fragmented host. (Wong, 2021 chapter 7)

Functioning as a new central piazza of Salemi, the ruins of the old church slowly been falling apart over many years. The fragments of what was remained were used to turn the old church into a new piazza, for children to play and concerts/ events to be held quite regularly. The rubble of the ruins was cleared and the remaining ruins were structurally secured. (Wong, 2021 chapter 7)

Figure 28: Ruins of Chiesa Madre, adapted to an urban plaza, Alvaro Siza (Siza, 1997)

Figure 27: Fragmented Host Structure (Wong, 2021)

adaptive reuse

GROUP HOST

Group hosts refer to the unbound buildings or a cluster of buildings. Examples of this could be mining stations or religious compounds where different sections of the area have different roles to play. If multiple buildings are to be preserved, they turn more into exhibits rather than reforms. (Wong, 2021 chapter 7)

The Zollverein XII coal mine was at the forefront of European economic significance. The was considered of high architectural quality and design during the modernist architecture movement. Architects Fritz Schupp and Martin Kemmer adapted the old mine to a group of buildings, combining form and function. Transforming the mine into a world cultural Centre, reassigning each building to a different purpose, adapting the entire group to a new role keeping the original architecture of the coal mine. (World heritage Committee, 2001)

Figure 29: Group Host Structure (Wong, 2021)

Figure 30: Zollverein Coal mine, Separate elements of the coal mine, brought together to create a culture centre (2002)

adaptive reuse RELIC HOST

Relic hosts are forms of history or memory. It doesn’t need necessarily to be reformed but in fused but rather highlighted into the new construction of the project. An example of this can be a fragmented wall or statue, sitting directly in the middle of the site (Wong, 2021 chap ter 7). Located at the bank of Huangpu River in the Xuhui District, the site was used for coal transportation. Housing a coal unloading bridge spanning 110m long and 10m wide, tower ing at 8m tall it was the only relic left on the Warf. The design mimics the original coal un loading bridge, rather than incorporating the bridge into the design, the long museum sur rounds the relic. Taking its heavy characteristics of steel and concrete. (Atelier Deshaus. 2014)

Figure 32: Long Museum, Shanghai. Bult around an unloading coal bridge (Atlelier DeHause, 2014)

Figure 31: Relic Host Structure (Wong, 2021)

CASE STUDIES

Case Study 1: Moritzburg Museum Extension. Neito Sobejano Aruitectos

The Moritzburg Museum aims to protect what the Moritzburg castle has represented for centuries. Keeping the existing building intact, light structures that evolve the interiors of the castle. Using steel framing, the frame is carefully connected to the original stone work. Along with the frame work, being lightweight steel, there is no need for structural columns thus no affecting the castle floor. ( Neito Sobejano Arquitectos, 2008)

Figure 33: Moritzburg castle per spective (Nieto Sobejano Arqui tecto’s, 2014)

Figure 34: Moritzburg castle sec tion 1 (Nieto Sobejano Arquitec

Figure 35: Moritzburg castle sec tion 2(Nieto Sobejano Arquitec

CASE STUDIES

Case Study 2: Perry Lakes, Perth, Western Australia

Perry lakes stadium was built for the British Empire and commonwealth games in 1962, turning into a multi-use sporting venue.

In 2005 the Perry lakes redevelopment act was passed; a replacement sporting facility could be built nearby. To replace the original venue, a development of twenty-two terrace housing lots, two apartment sites and three group housing dwellings are proposed, creating more than 600 dwellings to be built on 134 lots (Development WA, 2022). The project was broken up into four different goals: Recycling, heritage, Environmental benefits & Sustainability. Aiming to use recycled materials to make sure the build has low emissions and as close to net zero as possible. The environmental benefits of the development bring a connection between environment and occupant. Combining that with the use of heritage aims to keep the iconic pieces displayed around the venue, creating memories of the past and how this design can connect future occupants to the past (Development WA, 2022).

Even though the council believes they are repurposing the venue, there seems to be a lack of the original venue and mem ory throughout the concept design. The development looks more like your everyday residential design than a homage design to the original site. This is an important factor to adaptive reuse by keeping original artifacts to sustain memory.

Figure 36: Perry lakes (DevelopmentWA, 2022 )

CASE STUDIES

Case Study 3: Subiaco Development, Perth Western Australia

Through a 20-year plan, the City of Subiaco proposes to redevelop the old Subiaco oval site into a multi-use $1 billion precinct. Creating more than 2600 jobs and a further 600 once completed, this development will become home to more than 4000 people with 7.5 hectares of public space. Closing in 2017 the only physical memorabilia of the stadium is the heritage listed gates and the footprint of the oval (The Urban Developer, 2020). This 20-year plan is a good example of economic boost through adaptive reuse and development. Using this tactic to bring into the Olympic board and design as a framework may help with the financial and abandonment issues they are facing at the moment.

Figure 37: Subi oval 1 (DevelopmentWA, 2022 )1

Figure 38: Subi oval 2 (Develop mentWA, 2022 )

CASE STUDIES

Case Study 4: Netherlands Pavilion, MVDRV

Merging and arranging nature over numerous levels creates a continuation and development over numerous levels. The layered architecture creates unexpected spaces that takes the visitor by sur prise. Not only does the architecture save space but layering vertically. The pavilion displays aspect of Frankenstein architecture. The change of geometry between each level brings a collage/stitched together ambience to the architecture. Creating an ill-formed body, MVDRV created avenues for exploration in artificial conventions and environments, placing spacing in unexpected areas.

Figure 39: Netherlands Pavilion, MVDRV (MVDRV, 2000)

Figure 40: Netherland Pavilion Section (MVDRV, 2000)

METHODOLOGY

TEST SKETCHES

A small snippet of the journey and testing design options. Looking at what the host can potentially offer, mass design iterations, first conceptual mass sketch and testing finer details such as lightwells and construction connections

Figure 41: Site Study of Beijing national stadium

Fig 44: Photgraphy of Curtin Unviersity DBE Biejing National Stadium model, handsketch over the top to experiment with form.

Fig 45: Hand sketch of first massing of proposed design

METHODOLOGY Frankenstein Architecture

Frame work

& Physical Properties

(Birds NEst Facade)

ASPIRATIONS

- Establishing a new function for the stadium

- Preserving the history of the orginal structures

- THe design needs to establish a connection between one and new material

- The design needs to reflect the different elements of horror in architecture

FUNCTIONAL BRIEF

Ground Level : Retail/public space

for occupants

space to interior

connection to Grand Skylight hotel

Level 2

level

to be facing outwards (EAST), incorporating the birds nest façade as a structural element

Level 3

to be facing outwards (EAST), incorporating the birds nest façade as a structural element

Level 4

Apartments to be facing outwards (EAST), incorporating the birds nest façade as a structural element

Level 5

garden for occupants

to feed natural light into complex

SITE/BUILDING

The building of choice is Beijing National Stadium, Located 20 minutes North of Beijing CBD. The entire site is 1,907,921m2 with the stadium itself at 126,700m2

The stadium being a large dwelling, in order to apply and test the Frankenstein design, a section of the stadium will be used. This section is located on the eastern face of the stadium, spanning 43,987m2. This is including a bridge extension, docking area for boats as well as an electric train line.

This location has the potential to re-energize not just the stadium but the surrounding area. The site was once the centerpiece of the Beijing Olympics, now almost no reconnection to the area is established. By adapting the stadium to a new purpose, it will create a ripple effect to re-energize the entire area.

SITE LOCATION: Beijing National Stadium, Beijing, China, 39.9929° N, 116.3965° E

CURRENT SITUATION

The classification of Beijing National stadium is a mixture of a “Shell Host” and a “Relic Host”. The bird’s nest is too large to host small to medium scale events. With a seating capacity of 90,000, opening up the stadium to these small events does not justify the expenditure. However, the stadium does serve as a tourist attraction as does the rest of Olympic Park. Due to its large capacity, the stadium sits idle, a mere shell of a building. Howev er, that means the interior and exterior of the stadium can be used. The stadium has a significant role in that it was the host of the opening and closing ceremony of the 2008 Beijing Olympics, making it a relic with rich history.

Fig 47: Mass Context Map of Biejing CBD to Beijing National Stadium

MATERIAL

a clash of sytle & typology

The approach to materiality is to show the differences bewteen styles and typology. Mimicing frankensteins stiched body and patch work. displaying the transition of raw mateials creates not only the difference between the old structure and new structure but also displays divides and highlights the modernist design features from the brutalist design features. “I found the material that people hated the most and use it the most. So, I was going and try to see if I could play with it sculpturally” – Frank Gehry

arrival via bridge

The architecture greets the arriving occupant with a deep hall way. concrete paves the depths of the walkway, joining it is the first sense of brutalism, with long concrete prongs supporting the bridge. Crawling up the walls is a mimic of the monstrous building the plat form leads to. cold black steel is met with a cool orange light at night, set every 3 meters, occupants will want to admire the sur rounding architecture while at the same time avoid the darkness.

Fig 70: Conceptual Sketch of hallways and Walkways

Fig

Bridge Section

arrival via boat

If visitors arrive by boat, they are welcomed by a lake house style dock. situated away from the entrance of the building. Having the pier base off set downwards, allows the architecture to tower over the arrivals, displaying its gigantism and monstrous features.

Fig 73: Bridge South Elevation

arrival an overbearing feeling

Once exiting the arrival spaces, visitors start to get a feeling just of how colossal and elevated the architecture is. The concrete foundation supporting the architecture creates a sense of density and security, while the protruding lightwells creates mystery as to where the core of the wells lead. Changing perspectives, to add to the feeling of overbearing and overwhelming, the distortion of perforated screens wrapping around the architecture. A reiteration of timber framed boxes breaking up the repetition of the deformed façade, removing a mid-point from the architecture. Like characters entering a haunted house or unknown locations, the architecture gives visitors an impression that they fully exposed to the watchful eyes of the residents.

Fig 75: Conceptual Facade Sketch

Fig 76: Final EASTERN FaCADE

Fig 77: GIGANTISM OF THE VISITOR

AND DISTOR TION

Fig 81: Conceptual sketch of lightwells, cone shape to ex tract light

interior revelation of light

Upon entering the belly of the beast, visitors’ questions are soon answered, piercing through the mass of concrete, Timber & steel large concrete wells provides a bed of fauna much needed exposure to the core elements they need to survive: light, air & water. Being laid and embedded withing the building, natural sun light is hard to come by, thus having the large light wells forcing themselves through the monster like an infestation allows natural light to enter into the ground floors. Extruding different wells at different angles, growing off the top like a fungus allows the sun to be captured at different times of the day, allowing as much natural light as possible to fill the building.

Fig 82: Conceuptual Sketch of light wells, using hard angles to create a softer and more ambient light

Fig 83: Conceptual sketch of light wells, Mimicking the three headed frog, using three dif ferent cones to extract cetain hours of the day

Fig 85: South section of medium sized light wells

bringing

to the

interior Attria

This brings an overwhelming experience to the dwelling; the atria plays so manyimportant rolls within the function ofthearchitecture. Theatriaat full length are the skeleton, foundation and nervous system of the architecture.

When first entering the space, meeting the occupants is a maze of walkways and enormous voids. The psychotically effect of the atriums distorts and reiterate the same element over and over, merging all the walkway into crisscross geometry, confusing the occupant. The walkways start to lose their function at first glance and the occupant has to recompose themselves, allowing the brain to process what it is looking at.

Being such a large-scale building, the assistance of lightwell providing access to natural light, the atria allow for light to seep down into the lower floors. This allows for heavier amounts of ambient light be flood through the building, allowing for a softer glow during the day.

Furthermore, the architecture and form of the atria allows passive cooling in the building during the humid months, allowing hot air to escape through the top of the building through the light wells.

interior walkways

When circulating through the architecture, a visitors would circulate differently to a resident of the building. When living in the dwelling, residents will become accustomed to how the circulating walkways work with each catwalk lining up an apartment door. This feature plus having the number of the apartment imprinted on the floor provides way finding for residents as well has pay a small homage to how stadium seating is used.

To the visitor the circulation between floors is a different experience. When entering the residential space. visitor’s walkout to a maze of walkways. Greeted with strange numbers on the ground, the perforated metal barriers allow for the atria to feel open yet at the same time binds the visitor to their lane way, controlling how they move throughout each floor.

Slicing the architecture in half, wall, red brick walls change the contrast from timber and concrete. The moon gates punctured through the brick is incorporated through Chinese architecture, representing renewal. Having a central piece that’s is made of completely different material, elevators and stair wells allows for visitors to re-center themselves from the architecture. When traveling horizontally through the building, residents and visitors will be taken by surprise, like a jump scare, when they enter a mass of brick and glass, a juxtaposition from the usual programming of the architecture.

Fig 89: Diagram displaying Walkways structure and lin ing up with apartmetn doors

A large factor when adapting this section of the stadium into a residential complex is the noise pollution which may affect the residents. Whether the entire stadium turns into a residential complex or still keeps is role for small sporting events, noise is be an underlying factor, especially for residents on the western face of the building.

To counter and adapt to the noise pollution, resident’s apartment’s are fitted with a noise canceling balcony.

The balcony will have four separate elements to counteract the noise, these elements being tangible and non-tangible.

As seen in Figure 91, different shapes can be used in order to reflect sound waves the source of the noise pollution. Moving up towards the apartments, coming at an angle of 35 degrees to 60 degrees (as shown in figure 93) (Leader, 2018)

Figure 91: Different acoustic bal cony shapes (Leader, 2018)

Figure 92: Sound wave travel and affect on balconies (Leader, 2018)

Figure 93: Issue with open balco nies (Leader, 2018)

ADAPTATION ACOUSTICS

The overhang of the slab as well as the curved barrier allows for noise to be passively reflected. If residents still find that the noise pollution is still affecting them, a manual slide window can be put into effect in order to block out any excess noise. This manual window is a double glazed, argon filled window. (Leader, 2018)

Pairing with the sliding window and overhang, the ceiling with cladded with KVADRAT acoustic paneling. The paneling is a soft, dark timber, used to clad walls and ceilings. The soft timber absorbs the sound waves produced, therefore minimalizing the echo and sound reverberation around the area. This cladding will assist with softening the noise pollution. (Leader, 2018)

ADAPTATION

LIGHT WELL CONSTRUCTION

The lightwells are a key inclusion to the design, not only are they used to bring direct sunlight down to the bottom floor of the dwelling, but they also act as structural elements for the new floor connections.

Using a rebar frame, the lightwells are poured and set off site and brought in sections. They are then locked into place piece by piece.

Steel beams are then inserted into the wells for the CLT slabs to then click into place.

Supporting the wells from underneath are the same heavy steel beams which are then imbedded into the ground. These ‘I’ Beam columns are used to house the glazing as well as support both the wells and slabs above.

ADAPTATION

OLD TO NEW CONSTRUCTION

Each level of the stadium only protrudes out to the certain point. Along with this, between each level is 7000mm. Therefore, extra structure and material is brought in, this creates a large a large building platform for residents. Drilling cavities into the pre-existing concrete slab as well as the Cross Laminated Timber slab, steel beams are then inserted into the concrete slab and secured. The cross laminated timber slab is then inserted onto the steel beams. Once the two slabs have made contact, a water proof membrane is laid, followed by a steel bracket plate. Once the base plate is secured, M20 bolts are used to secure an addition base plate on top to hold the slab in place.

Fig

ADAPTATION

OLD TO NEW CONSTRUCTION

The stadium facade is a large factor of the design, not only in terms of appearance but serves many functions to the original stadium, one of these being a foundation for each level.

The first thought was the cut through the facade, creating space for the new addition to protrude out into the open. The facade however, is an iconic piece and the driver behind the stadiums name “Bird Nest”. Incorporating the facade within the building not only serves to preserve the history of the building but also serves as a strong foundation to attached the additional floors.

Using a steel bracket plate, it is bent and shaped to match the protruding steel façade. The base plate is then connected to the CLT floors through a small but thicker base plate, bolted down by m20 bolts.

Detail of Beijing National stadi um façade (Word press)

Fig

SIGNIFICANCE

We all perceive aspect of horror or fear in different ways. It sometimes may be quite straight forward as a towering monster, created out of different body parts. Others you to tap in a bit deeper, it may be from the feeling of being watched, dark spaces, losing sense of di rection or being overwhelmed in giant spaces. For others sense of horror may come from abandonment, an overwhelming sense of insecurity whether it be within themselves, their community or government. For some the Olympic games is the peak of their sport, they train their entire lives to create this monumental event that will stay with them forever.

For others, the 99% who don’t compete or take part in the Olympics, it can cre ate an overbearing fear factor, governments and electoral parties barely being able to sort their own political and financial issues taking control of a mass event that involves coordination of teams and finances on the extreme scale.

These finances going into mass construction of infrastructure like the Beijing national stadium and being drained away from other important ventures that keeps low-income communities alive and thriving. The end result of abandoned venues is an outcome of the broken system of the Olympics. This thesis serves as an example that negotiating an architectural impact with in the Olympic built environment can help with adapting host cities to post- Olympic living. It also serves as an example for past host cities to use to clear up the already derelict venues.

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BIBLIOGRAPHY

• Baeumle, Patrick. 2018. The Forgotten Olympic Villages. 1st ED. Purdue Univeristy Northwest. Indiana; USA

• https://www.pnw.edu/college-of-humanities-education-social-sciences/wp-content/uploads/sites/50/2020/01/26th-Clement-Stacy-Final-Pro ceedings-2018.pdf#page=5

Brennan, Mel, 2008, “Sport, Revolution and the Beijing Olympics”, Bloomsbury Publishing Plc https://ebookcentral.proquest.com/lib/curtin/reader.action?docID=452584&ppg=1

• The Urban Developer, 2020. WA Unveils $1Bn Subiaco MasterPLan

• https://www.theurbandeveloper.com/articles/wa-unveils-1bn-subiaco-masterplan

• Lenskyj, Helen. 2020. The Olympic Games: A critical approach. 1st ED. Bringly, UK; Emerald Publishing Limited

• https://ebookcentral.proquest.com/lib/curtin/reader.action?docID=6158240&ppg=74

Misirisoy, D. 2016. Interntional Journal of Sustainable Development and Planning. ASSESSMENT OF THE ADAPTIVE REUSE OF CASTLES AS MUSEUMS: CASE OF CYPRUS, Vol 11, Iss 2. Southampton, UK; WIT Press

• https://www.proquest.com/docview/2254651702/abstract/743811FA3F4C4253PQ/1?accountid=10382

• Wong, Liliane. 2021. Adaptive reuse: Extending lives of buildings. 1st ED. Berlin, German; Walter de Gruyter GmbH

• https://ebookcentral.proquest.com/lib/curtin/detail.action?docID=4793914&pq-origsite=primo

Comaroff. Joshua. 2006. Horror In Architecture, Novato, United States, ORO Editions

• Daffner, Lee Ann. 2001. OBJECT PHOTO, Gelatin Silver Print. New York, ARS

• https://www.moma.org/interactives/objectphoto/objects/83703.html#:~:text=Although%20the%20picture%20is%20playful,was%20completed%20 in%201932%2C%20the

Kaloustian. Paul. 2006 MYU bar & Restaurant. Beirut https://www.paulkaloustian.com/projects.php?Id=7

• Neito Sobejano Arquitectos. 2006 Moritzburg Museum, Halle, Germany

• https://nietosobejano.com/project.aspx

• World heritage Committee. 2001. WHC nomination Documentation. Zolleverein Coal Mine Industrial Complex. Essen, Germany https://whc.unesco.org/uploads/nominations/975.pdf

• Atellier Dehaus. 2014. Long Museum, Xuhui District, Shanghai

• http://www.deshaus.com/En/Script/detail/catid/8/id/6.html

• MVRDV. 2000. 2000 Pavilion, Hannover, Germany https://www.mvrdv.nl/projects/158/expo-2000

• Leader. James. 2018. Acoustic Insertions Loss of Balconies and Building Facades: Trapped modes and computation methods. School of Engineering, The University of Western Australia, Perth, Western Australia

• https://api.research-repository.uwa.edu.au/ws/portalfiles/portal/46659868/THESIS_DOCTOR_OF_PHILOSOPHY_LEADER_James_2019.pdf

LIST OF FIGURES

Figure 1: Traditional Chinese Wrestling (Baeumle, 2018)

Figure 2: Illustration of Chinese Gymnast (public pictures, 2020)

Figure 3: Painting depicting traditional Chinese gymnast (Public pictures, 2020)

Figure 4: Athens beach Volley ball Arena, Abandoned (The Guardian, 2014)

Figure 5: Berlin Athlete Village, Berlin, Germany, Abandoned (The Guardian, 2014)

Figure 6: Beijing National Stadium (The Birds Nest), Beijing, China, Semi-Abandoned (The Guardian, 2014)

Figure 7: Greasy Spoon Cade, Lincolns’ Inn Fields (Gouldstone, 2008)

Figure 8: Conceptual Collage depicting Frankenstein Architecture ( Aquino, 2010)

Figure 9: Section through greasy spoon café (Gouldstone, 2008)

Figure 10: Twins from Stephen Kings ‘Shining’ (Kubrick, 1980)

Figure 11: World Trade Centre, Isa Al Kabeer Ave Manama, Bahrain (Atkins, 2009)

Figure 12: Herbert Bayers Humanly Impossible (Bayers, 1932)

Figure 13: Ryugyong Hotel, Pyongyang, North Korea (Baikdoosa Architects, 2011)

Figure 14: Mutant Frog

Figure 15: InterActiveCorp Headquarters, Frank Gehry (Gehry, 2003)

Figure 16: Nathan Jurans ‘Attack of the 50 foot woman’ (Juran, 1942)

Figure 17: The Pinnacle, ARC Studios (Arc Studios, 2009)

Figure 18: Tex Avery’s Droopy

Figure 19: Lewis House, Frank Gehry (Gehry, 2004)

Figure 20: Minimal guest take over, function of host changes but still keeps most of appearance

Figure 20: Minimal guest take over, function of host changes but still keeps most of appearance

Figure 21: Medium guest take over, host starts to resemble features of guest

Figure 22: Large scale take over, identity of host is un-recognisable, guest is now the main feature becoming the new “Host”

Figure 23: Shell host Structure (Wong, 2021)

Figure 24: MYU Bar, Beirut, Paul Kaoustian (Kaoustian, 2006)

Figure 25: Semi-Ruin Host structure (Wong, 2021)

Figure 26: Moritzburg Castle, Halle, Nieto Sobejano Arquitecto’s (Nieto Sobejano Arquitecto’s, 2014)

Figure 27: Fragmented Host Structure (Wong, 2021)

Figure 28: Ruins of Chiesa Madre, adapted to an urban plaza, Alvaro Siza (Siza, 1997)

Figure 29: Group Host Structure (Wong, 2021)

Figure 30: Zollverein Coal mine, Separate elements of the coal mine, brought together to create a culture centre (2002)

Figure 31: Relic Host Structure (Wong, 2021)

Figure 32: Long Museum, Shanghai. Bult around an unloading coal bridge (Atlelier DeHause, 2014)

Figure 33: Moritzburg castle perspective (Nieto Sobejano Arquitecto’s, 2014)

Figure 34: Moritzburg castle section 1 (Nieto Sobejano Arquitecto’s, 2014)

Figure 35: Moritzburg castle section 2(Nieto Sobejano Arquitecto’s, 2014)

Figure 36: Perry lakes (DevelopmentWA, 2022 )

Figure 37: Subi oval 1 (DevelopmentWA, 2022 )

Figure 38: Subi oval 2 (DevelopmentWA, 2022 )

Figure 39: Netherlands Pavilion, MVDRV (MVDRV, 2000)

Figure 40: Netherland Pavilion Section (MVDRV, 2000)

LIST OF FIGURES

Figure 41: Site Study of Beijing national stadium

Figure 42: Potential opportunities to incorporate façade and design

Figure 43: hand sketch to establish whether to protrude internally or externally

Figure 44: Photograph pf Curtin University DBE Beijing National Stadium model, hand sketch over the top to experiment with form

Figure 45: Hand Sketch of first massing of proposed design

Figure 46: Experimentation of light wells protruding through the architecture

Figure 47: Mass context map of Beijing CBD to Beijing National Stadium

Figure 48: Medium Scale context plan

Figure 49: New site Plan

Figure 50: map indicating scale compared to designated building

Figure 51: Sun rotation of the site

Figure 52: Vehicle Circulation throughout the site

Figure 53: Building access from site

Figure 54: Surrounding Architecture of site

Figure 55: Exploded axonometric displaying structure, circulation and program

Figure 56: Ground floor

Figure 57: Level 2

Figure 58: Level 2.5

Figure 59: Level 3

Figure 60: level 3.5

Figure 61: Level 4

Figure 62: level 4.5

Figure 63: Level 5 (Roof)

Figure 64: East elevation

Figure 65: West elevation

Figure 66: Materials

Figure 67: South Section

Figure 68: West Section

Figure 69: South Section, Displaying Brutalist Structure

Figure 70: Conceptual Sketch of hallways and walkways

Figure 71: Bridge Section

Figure 72: Approach via bridge

Figure 73: Bridge South elevation

Figure 74: Approach Via Boat

Figure 75: Conceptual façade sketch

Figure 76: final Eastern Façade

Figure 77: Gigantism of the visitor

Figure 78: Light well protrusions

Figure 79: Reiterations and Distortion of Façade

Figure 80: An overbearing feeling

Figure 81: Conceptual Sketch of lightwells, cone shape to extract light

Figure 82: Conceptual sketch of light wells, using hard angles to create softer and more ambient light

Figure 83: Conceptual sketch of light wells, mimicking the three headed frog, using three different cones to extract certain hours of the day

Figure 84: ground floor, source of the light wells, bring life to internal landscaping

Figure 85: South section of medium sized light wells

Figure 86: Light wells bring direct sunlight to landscaping within

LIST OF FIGURES

Figure 87: Void forms

Figure 88: Atria

Figure 89: Diagram displaying walkway structure and lining up with apartment doors

Figure 90: building atria and walkways

Figure 91: Different acoustic balcony shapes

Figure 92: Sound wave travel and affect on balconies

Figure 93: Issue with open balconies

Figure 94: Acoustic balcony detail

Figure 95: impact of sound waves with acoustic balcony

Figure 96: Light well detail

Figure 97: pre-existing concrete slab to new CLT floor connection

Figure 98: Detail of Beijing National stadium façade (Word press)

Figure 99: new CLT slab connecting to pre-existing stadium façade