Railway Lane Clinic

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Introduction Throughout the progression of 20th and 21st century consumerism, there has been a shift in focus from the idea of ‘status through materiality’ to an increasing focus on the ‘body beautiful’ as representative of social self-identity. This shift has subsequently been reflected in architecture, in the evolution of the market to the main street to arcades and malls and also in other sites of consumption; such as bars, day clinics, spas and gyms.

21st century medical science is now able to sculpt the status conscious human body into any form or veneer it desires.

This consumption and display of the body beautiful partially relies on its architectural framing; specific spaces and sites will encourage or highlight consumptive behaviours relating to self and ego.

Specifically, this project pivots around a discussion of Michel Foucault’s notion of the socially constructed Body. It dissects behaviours of public consumption and commodity, false facades and masques, and indulges in dissemination of ritual and theocratic lifestyle modification. Architectural elements focus on heightened awareness of self, of others, and of a critique of ‘measurement’ in a variety of ways.

This book serves as a chronological record of ideas that have be of interest and influence [big, small and disregarded] upon my final year project. [Sketches and presentations interspersed] Special thanks to Poppy, Luke and Adam.

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Contents 003 Introduction Project overview and acknowledgements

007 Site Orientation Newtown Tramsheds [9], ‘Crash’: J.G. Ballard [23], Food/Architecture/Urbanism/Biopolitics [27], Sarah Suohoff [33], InceptionMaintainence/Alteration- Termination [41].

043 Concept The Downtown Athletic Club: Rem Koolhass [47], Neues Museum; David Chipperfield [69], The Clinic for Sleep Disorders: Douglas Dardan [73], Oxygen House: Douglas Dardan [77], House of Hope: Raimund Abraham [79].

081 Schematic Stairways of the Mind: Julian Pallasmaa [91], Fellini’s Dreamwork [111], Aldo Rossi [139]

0143 BCA Building Compliance to the Australian Standards and Building Code of Australia.

0149 Developed Tomb, Temple, Machine and Self [157], Modern Mannequin [157], Sovereignty? [157], Hans Bellmer Dolls [158], The Watched and Gazed Upon Body [165], Chruch, Religion, Power and consumption [181], Lequeu [185], MONA [195], John Hejduk [201], Bernard Khoury [215], Architectually Humane: Dr Temple Grandon [235], Consuming Pigs: Christien Meindertsma [237], ‘Mechanization Takes Command’ : Siefried Giedion [243], Terry Gilliams Animated Shorts [245], American Psycho: Excessive Consumption [249], ‘ The Loves of Lady Purple’ : Angela Carter [255].

0257 Technical ‘Drowning by Numbers’: Peter Greenaway [259], The Rules of ‘Hangmans Cricket’, [261], Counterweights and Measurment [263].

0269 Dissertation ‘ Urban Flâneuse: Sex and the City, consumer culture and the metropolis’: Jemima Manton [271]

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Site Orientation “... [the] material basis for the production of space consists of a practical and fleshy body conceived of as a totality complete with spatial qualities (symmetries, asymmetries) and energetic properties (discharges, economies, waste)” - Lefebvre, ‘The Production of Space’, 1991. p. 302

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Newtown Tram Sheds TRAM STORAGE SHED (1899)

The former Newtown tram depot has state

Rolling stock was kept on a railway siding at

historical significance as it formed an integral part

Newtown. In 1889 the line was extended to

of the electrification of the NSW tramway system

Dulwich Hill. In 1891 a line opened to St. Peters

External: This is essentially a large single storey

which commenced in 1899. Being the second of the

Bridge which was changed to a horse-tram in 1893

structure with a major internal storage space and

tram depots built to service the new electric tram

because not enough people used the tram in those

flanked on the north and south by small single

fleet the buildings, it represents the high level of

depressed times. Steam trams did not replace the

storey annexes. Construction is of load bearing

commitment by the government to providing a

horses on this line until 1898. At the same time a

English bond face brickwork with attached piers

mass electric transit system service for Sydney’s

through service from Bridge Street was introduced

to all four facades, the open end is supported now

suburbs at the start of the 20th century.

on this line.

by steel RSJ posts and in-filled with corrugated steel vertical sheets on steel frames. The north and

The tram depot site and its buildings are

In 1899 it was decided to convert the Newtown Lines

south brick gables enclose the iron sawtooth roof

representative of the typical electric tram depot

to electric traction and so the Newtown Tram Depot

structure and has a series of large circular vents

layout constructed as part of the NSW tramway

was built in 1900. The Newtown Chronicle reported

bordered by polychromatic brickwork.

system. The large tram shed and the associated tram

during trial runs that ‘everything was found to work

offices exemplify the common architectural style of

smoothly.’ Electric services commenced on 1st

The vents enclosing the interior roof structure are

the NSW tramway buildings built during and just

April 1900 with steam trams being withdrawn on

fitted with timber louvres while the adjoining ones

after the time of Federation. It is considered rare

20th August. Power was generated at the Depot.4

are completely open. Windows to the south-west

as it is one of the few NSW tramway buildings to

In 1900 a line was opened from St. Peters Bridge

areas of the façade, in the area of the converter

survive and it is the oldest in essentially its original

to Cooks River. In 1909 the Addison Rd. line was

room, are generally steel-framed with cement

form.

opened to Dulwich Hill and in 1912 the line to

rendered external surrounds. The main roof is of

Undercliffe opened. Lines from Dulwich Hill to

corrugated steel and the skylights are of original

In 1911 the Newtown Depot had a capacity for 96

Wattle Hill and Marrickville to Cooks River opened

wire-reinforced glass in steel glazing bars, except

cars and an allocation of 138 so Tempe Depot was

in 1913 and 1917 respectively.

where the roof is fire-damaged.

Depot employed 420 men with 107 tram cars which

Funerals often left Newtown for Rookwood by rail

The annex buildings, where they have survived in

travelled 43, 000 miles and carried over 50, 000

in the late 19th and early 20th centuries before

near original form, are constructed of face brickwork

passengers every week. Trams ran in Newtown

motor cars dominated the profession. A mortuary

in Flemish Bond with timber windows. The roofs

until 1957.

station was provided at Newtown from 1875 with

are clad with unglazed terracotta tiles in Marseilles

a new building being erected in 1884. The building

pattern, generally in a hipped form. Exterior

The trams which originated at Newtown were

was located at the western end of the tram depot

detailing includes the use of bricks of special

popularly known as the “Green Lines” because green

by 1907. A new platform was extended in 1927. The

profile to give an ogee to the lower course under a

symbols were displayed on the end destination

building was demolished in 1965

window or an elegant scotia to the lower edge of an

built to relieve the situation. In 1922 the Newtown

rolls. From the last day of 1881 steam trams ran

abutment.

from Newtown Bridge via Enmore to Marrickville, the line soon being connected to the Parramatta

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Internal: The interior of the main spaces are formed

Toilet Wing: (to the northern elevation): Built as

The offices on the first floor have timber floors,

by the iron framed sawtooth roofing, supported

original staff toilets, now semi-demolished with no

painted brick walls (which were originally plastered)

on four arcades of cast iron circular columns. The

roof and the access from the tram shed bricked-up.

and a plaster ceiling with the original cornices intact. Each of the rooms has an original fireplace.

northern most row has had most of the columns replaced with fabricated welded steel RSJ posts.

Electrical Stores: (to the northern elevation): Built

The eastern most room has been converted into a

The surrounding walls are painted brickwork. The

originally as stores and offices but now mostly

bath room with a tiled floor and shower bath.

riveted frames are constructed of lightly framed

demolished.

MAIN TRAM TRACK AREA (1899)

roof principals spanning between lattice girders bracketed off stub posts, over the tops of the

TRAM OFFICES (1900) This large open area was formed in 1899 with

main columns. The floors are largely of reinforced concrete, or similar, with a long vehicle ramp at

External: Originally built in 1900 as tram traffic

a series of 16 tram tracks fanning out from two

the west end in the centre. There are considerable

offices with attached toilets in the Federation Period

tracks at King Street. Now partly paved over there

areas of missing roofing (the total enclosed area of

style with a single storey only. In c1914 another floor

is evidence of much of the original tram tracks

the former battery and converter rooms is roofless).

was added in a similar manner for additional office

remaining particularly obvious on the northern

space. The building is constructed from English

boundary with the railway line. A boundary wall on

Former Battery Room: (to the south-east corner):

bond brickwork with a hipped form roof clad with

Railway Lane is part of the 1918 railway institute

Built and partitioned within brick walls to roof

Marseilles terracotta tiles. There are timber-framed

building now demolished while the other boundary

for a battery room in 1914 as part of the system

double-hung windows, and a timber bracketed

brick wall is an original retaining wall. The main

associated with the large sub-station installed.

terracotta tiled awning survives at first floor level

sewer line connecting to the station travels in a

Roofing material is now completely removed.

while the ground floor veranda has been removed.

north-south direction from the station platform

The attached toilet block has a skillion roof behind

across the site to Railway Lane.

Former Converter Room: (to the south-east

brick parapets. The veranda to the north of the 1900

corner): Built 1914 as a substation occupying

building has an open deck of concrete on a brick

the same space as an earlier small sub-station.

base; the timber veranda has now been demolished.

All equipment has been removed except for the

The single storey offices to the west were originally

This is a slightly smaller yard leading off Angel

overhead crane 6 ¼ tonne overhead crane which

built c1905 as offices in Flemish Bond brickwork

Street which contains a later railway signal and

remains on its track. The substantial foundations

with red ‘rubbing’ brick voussoirs over the windows

communications building but now is virtually

for the rotary converters and the steel reinforced

and doors. The building is now semi-derelict as the

vacant. This area is accessed through chain wire

concrete sub floor remain. Roofing material is now

roof has been removed.

gates from the street. It may contain the foundations

SECONDARY TRAM YARD (1899)

of a number of buildings which were once on the

completely removed.

Internal: All of the ground floor offices are now used

site including the Mortuary Station, stables and

Former Meal Room: (to the south-east corner):

as storage areas. They have timber floors, painted

Blacksmith’s shop. It also was on the north frontage

Built shortly after opening of the tram depot in 1900

brick walls (which were originally plastered) and a

of the tram storage shed with amenities and the

it remains largely intact as a single room accessed

plaster ceiling with the original cornices intact. The

electrical stores. •

by a flight of stairs.

stair hall to the eastern end was originally part of the offices but converted c.1914 to give access to the

Staff Amenities: Room and Passage (to the south-

first floor. The stair is of timber construction with

east corner): Built early 20th century to supplement

original boarded wall on the ground floor to the old

the original meal room. The ceilings have been

storeroom. The open passage to the east of the stair

completely removed from this area

is a concrete paved access way to the attached brick toilet block, which is reached by a steel stair.

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ruinous newtown tram sheds angEL st, newtown Currently being used as temporary storage for the construction of the new newtown station adjacent

newtown tram sheds corner of railway lane and angeL st

photo taken in morning light, 6.30am march, 2012

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newtown tram sheds corner of railway lane and angEL st

photo taken in morning light, 6.30am march, 2012

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NEWTOWN TRAMSHEDS: DRAWING BY JEMIMA MANTON

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newtown tram sheds corner of railway lane and angEL st

photo taken in morning light, 6.30am march, 2012

surrounding morphology of the site 1-2 story victoria era townhouses

tight one way streets

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Railway Lane proposes to be a workshop

of urban space is fundamental to the reproduction

on the contradictory, conflictual, and, ultimately,

for the body as an architectural

of society,hence capitalism itself.

political character of the processes of production of

manifestation will explore current and historical

space. Queensland social scientist Susan Hopkins

notions of consumerism, commodification, gender,

The social production of space is commanded

observes that “the mind set of contemporary

sexuality, identity, subjective social aesthetics,

by a hegemonic class as a tool to reproduce its

culture seems to think that the physical body is

beauty

sublime,

dominance. Lefebvre’s argument in The Production

a never-ending project: something that we can-

ethics, morality and taboo. Corpus mechanicus

of Space is that space is a social product, or a

indeed, should- work on. In particular, people

is a theoretical redefinition and exploration of a

complex social construction (based on values, and

are preoccupied with bodies as a form of self

traditional cosmetic/re-constructive surgery in

the social production of meanings) which affects

expression. Today the body is seen as an expression

which the life through death cycle of a human body

spatial practices and perceptions. This argument

of who you are and who you wish to be.” Taking

is subject to industrialization

implies the shift of the research perspective from

control of ones body is seen as a mark of good

space to processes of its production; the embrace of

character: its something you work at. A constant

and

the multiplicity of spaces that are socially produced

exposure to social media and the ability for one to

philosopher Henri Lefebvre argues that the social

and made productive in social practices; and the

edit their appearance has resulted in an acceptance

production

focus

and participation in the practice of body alteration.

French

and

its

manipulation,

sociologist,

Marxist

the

intellectual,

Descartes addresses this problem in the Meditations on First Philosophy by creating a division between mind and body. For example, in Meditation Six he explains the causes of bodily sensations—such as pain, pleasure, thirst, and hunger—in terms of the motions of material particles and the mechanisms by which these motions are transmitted via the nerves to the brain. But the sensations themselves are located in a separate substance—the thinking thing—which Descartes describes as that which senses, imagines, remembers, doubts, thinks abstractly, and wills freely. By making the mind and body two distinct and separable substances, Descartes was able to redefine matter so that all its properties could be described mathematically while preserving personal immortality and freedom of the will for the human soul. However, it was not clear how these two distinct substances could form one unified human being and interact with each other through the pineal gland in the brain.

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FILM STILL, CRASH A FILM by DAVID CRONENBERG

looks like lady diana and the paparazzi [adaptation of J.G BALLARDS NOVEL CRASH]

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Salo A FILM by Pier Paolo Pasolini [adaptation of Le Marquis de Sade’s 120 days of Sodom]

Before the XVIIIth century, French

The goal of technology – and by extension

of control of food, hygiene and security at the scale

(and by extension European) State’

of architecture – consists in the invention of

of the whole city.

sovereignty was applied on territories and on

apparatuses used to regulate and normalise the

their subjects’ life and death. The Enlightenment

bodies submitted to them. We are all familiar with

Capitalism, in order to exist, has therefore to take

and the constitution of Parisian literary groups and

the object “panopticon” as such an apparatus.

advantage of the shift from what Foucault following

bourgeoisie (in opposition to Versailles’ nobleness)

However, architects tends to stubbornly consider it

Sade calls a society of blood (power embodied by

questioned

omni-powerful

as a literal architecture forgetting that it is before

war and death) to the society of sex (power applied

monarchy embodied by Louis XIV and inherited by

all, a system of power relation providing a scheme

on bodies’ anatomy and biology). The ecological

less strategic kings Louis XV and Louis XVI. This led

for the entire society – and therefore for the city.

crisis being its next obstacle, capitalism seems to

the

status

of

an

mutate towards the last step of the Sadian journey

to the French Revolution of 1789 and the creation of a Constitutional monarchy then a Republic in

The panopticon is not just applied to prison. It

(and following the article of Dana Simmons)

1792. This whole institutional dislocation, followed

adapts itself literally (meaning architecturally) or

the society of shit that will apply power on raw

by a very strong centralized power (again) from

abstractly to other institutions of control such as

materials, objects from now on more valuable than

Napoleon Bonaparte, brought up and applied some

barracks, schools, factories and hospitals.

human’ life and body.

new means of sovereignty that established what Michel Foucault calls bio-politics.

Food being part of the “bios” (life), it is interesting to study the way the whole process of production is

Bio-politics consists in a power to foster life or

also submitted to those apparatuses. The Halle au

disallow it to the point of death. Life is not anymore

Bléin Paris seem then paradigmatic by the extreme.

“let” by the sovereign institution but is sustained and

In fact, building such a centripetal building in the

organized in an ambiguous mix of philanthropy (at

center of Paris in such a centralized country that

first perhaps) and precise control on the manpower

France is, constitutes an incredible symbol of the

of the country. The result is a subjectivication of

institutional control of food supply. La Halle au Blé

bodies which become as many pieces of a machinist

was prophesying the Napoleon III and Haussmann’

system aiming towards what we now know as global

tremendous plans for Paris, during the second part

for Meredith Tenhoor’s Pratt seminar Food/

capitalism.

of the XIXth century, that applied such policies

Architecture/Urbanism/Biopolitics

-Short article written by Léopold Lambert

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Sale REPOSITORY BY SARAH SUDHOFF self-portraiture of private rituals

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SITE SECTION 1.200 INITIAL SKETCH OF PROPOSED BUILDING

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SITE PLAN 1.500 INITIAL SKETCH OF PROPOSED BUILDING

DIAGRAM OF PERMEABILITY 1.500 INITIAL SKETCH OF PROPOSED BUILDING

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Inception:

Maintenance/Alteration:

Termination:

This stage of the process will comprise of the two

This component of the project dissects, critiques

Death, like birth, is part of a process. However, the

juxtaposing and contradicting functions of IVF

and re-packages the way in which society fetishises

processes of death – the events leading up to the

and abortion, as binary opposites yet in dialect

aesthetics. Plastic surgery presents a myriad

end of life, the moment of one’s last breath, and the

with one another. With the incidence and demand

of themes that can be explored architecturally

aftermath of death — are often shielded from view

for IVF impregnation on the rise and pregnancy

through both suppressing and highlighting certain

and considered taboo. The idea this death should

terminations an intrinsic function and right within

aspects of the processes involved. Themes such as

not be “aided” in specific circumstances will be

Australia’s health care system, there is an increased

pathological waste and reuse; containment of the

challenged within this part of the programme in the

need for infrastructure and research that addresses

body and its parts; fragmentation and violence

form of a specifically designed euthanasia clinic.

both fields. The idea that human (both born and

against the body; a subject’s relationship to a

unborn) tissues, genes, and organs are becoming,

specific environment: visual display, exchange and

in the words of the head of one pharmaceutical

concealment in correlation to the role humans have

company, ‘the currency of the future’ and will be

at protecting their bodies and the lengths we will go

further dissected.

to achieve a sense of health

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Concept “Picasso’s cruelty toward the body, particularly the female body, which he tortures in a thousand ways and caricatures without mercy, is dictated by the dominant form of space, by the eye and by the phallus- in short, by violence.”

- Lefebvre, ‘The Production of Space’, 1991. p. 302

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breasts Silicone implants displayed and backlit breast implants

This project is one of peripheral architecture that confronts the natural life cycle of the human body. Inspired by the Deleuze and Gauttari assumption that the body is a machine, or rather, an assemblage of machines- juxtaposed by the Freudian view that the body is a stage for performance. I have amalgamated the typologies of the factory, the theatre and the surgery to explore the artificial manipulation of the 3 main stages of life.

Inception or conception Maintenance/alteration Termination The ruinous tram sheds located in Newtown will be adapted to house the new functions of an IVF clinic, an abortion clinic, a plastic surgery, and a euthanasia clinic. This project proposes to engage with the role of decaying architecture within the urban fabric. Ideas of consumption and commodity; display and exchange; violence against the body; spectacle and ritual; and ethics will be explored.

The concept of the body as commodity is not a new one. Historically, society has functioned upon the exchange of women or slaves as commodity essential to the life of the group.

Instead of a gratification that could be perceived as purely sexual and male orientated- I propose a universal gratification in that of the pleasure of aesthetics and an autonomous control over the functioning of one’s own body. Ideas of the commodification of the body, autonomy over the body and a violence over the body in the form of surgery- facilitates a means to ones own desired end.

Linking the clinics and acting as the public face of the project, is the Redmarket (‘redmarket’ is the colloquial term for black market organ trafficking). The Redmarket will architecturally and symbolically express and question the morality, supply and disposal of the “raw material” that is required to indulge the fore mentioned desired to manipulate the body to achieve a ‘sense’ of mental and physical health.

The Redmarket acts as the binary opposite within the project and challenges the notion of universal autonomy over the body and highlights the illegal human organ trade that is required to feed ‘western’ desire.

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A machine for metropolitan bachelors...

Delirious New york The downtown athletic club

Rem Koolhaas: Delirious New York The Downtown Athletic Club

The notion and reality of buildings devoted to

Skyscraper is used as a Constructivist Social

synthetic bacterial cultures that rejuvenate man by

the theocratic worship of the human body. The

Condenser: a machine to generate and intensify

improving his metabolism...”

Downtown Athletic Club located in Battery Point,

desirable forms of human intercourse.”

In the Downtown Athletic Club each “plan” is an

New York City is one such building. Built in 1931, its 38 stories reach a height of 534 feet. Large abstract

Internal program of my project proposes to be

abstract composition of activities that describes,

patterns of glass and brick make its exterior

devoted to an array of body-manipulation facilities

on each of the synthetic platforms, a differ· ent

inscrutable and almost indistinguishable from the

and spaces whereby one can display their ‘wears’,

“performance” that is only a fragment of the larger

conventional Skyscrapers around it. Koolhaas in his

similar to the Downtown Athletic Club; “ To the

spectacle of the Metropolis, Such an architecture

seminal text, Delirious New York writes that; “This

financial jungle of Wall Street, the Club opposes

is an aleatory form of “planning” life itself: In the

serenity hides the apotheosis of the Skyscraper as

a

hyper·refined

fantastic juxtaposition of its activities, each of

instrument of the Culture of Congestion.”

civilization, in which a full spectrum of facilities -

the Club’s floors is a separate installment of an

all ostensibly connected with athletics - restores

infinitely unpredictable intrigue that extols the

“Successful lobotomy made this apotheosis of the

the human body... On the southern side, the

complete surrender to the definitive instability of

Skyscraper as an instrument of revolutionary

same locker room is also serviced by an oyster

life in the Metropolis.

metropolitan culture amongst indistinguishable

bar with a view over the Hudson River. Eating

from surrounding Towers.” - Rem Koolhaas

oysters with boxing gloves, naked, on the nth

Koolaas begins his critique of the Athletic club with

floor - such is the “plot” of the ninth story, or, the

a quote from Benjamin de Casseres;

complementary

program

of

Similarly to the Downtown athletic Club, my

20th century in action. In a further escalation, the

project proposes to be hidden from sight, masked

tenth floor is devoted to preventive medicine. On

from the passerby’s eye. Display of the body will

one side of a lavish dressing lounge an array of

only occur internally to those who are privy to those

body·manipulation facilities is arranged around a

insular spaces. Koolhaas goes on to write that; “The

Turkish bath: sections for massage and rubbing, an

Club represents the complete conquest - floor by

eight·bed station for artificial sunbathing, a ten·bed

floor - of the Sky· scraper by social activity; with the

resting area. On the south face, six barbers are

Downtown Athletic Club the American way of life,

concerned with the mysteries of masculine beauty

know-how and initiative definitively overtake the

and how to bring it out... But the southwest corner

theoretical lifestyle modifications that the various

of. the floor is the most explicitly medical: a special

My project hopes to embody these notions of

20th century European avant-gardes have been

facility that can treat five patients at the same time.

body, matter, energy, motion and change for

insistently proposing, without ever managing to

A doctor here is in charge of the process of “Colonic

all genders and sexualities.

impose them. In the Downtown Athletic Club the

Irrigation”: the insertion to the human intestines of

“We in New York celebrate the black mass of Materialism.

We are concrete.

We have a body.

We have sex.

We are [fe]male to the core.

We divinize matter, energy, motion, change.”

- Benjamin de Casseres, Mirrors of New York

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Conceptual drawings jemima manton Sketches of proposed clinic, surgeries, recovery, theatre and connection to rail

Conceptual drawings jemima manton DETAIL SKETCHES OF EXISTING COLUMN BASE

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CONCEPTUAL DRAWING BY JEMIMA MANTON

CONCEPTUAL DRAWING BY JEMIMA MANTON

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redmarket economics Price comparison of legally sourced vs illegally trafficked organs

redmarket economics Price comparison of legally sourced vs illegally trafficked organs

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redmarket economics Price comparison of legally sourced vs illegally trafficked organs

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in motion ballerina the human form, in a state of controlled perfection

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THE RED MARKET: DRAWING BY JEMIMA MANTON

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neues meseum david chipperfield architects old and new

Neues Museum David Chipperfield Architects in collaboration with Julian Harrap

Winner of the prestigious Mies van der Rohe 2011

Venice, respecting the historical structure in its

Formed from the same concrete elements, the

Award, The Neues Museum on Berlin’s Museum

different states of preservation. All the gaps in the

new main staircase repeats the original without

Island was originally designed by Friedrich August

existing structure were filled in without competing

replicating it, and sits within a majestic hall that

Stüler and built between 1841 and 1859. In 1997,

with the existing structure in terms of brightness

is preserved only as a brick volume, devoid of its

David Chipperfield Architects won the international

and surface.

original ornamentation. Other new volumes – the

competition for the rebuilding of the Neues

Northwest wing, with the Egyptian court and the

Museum in collaboration with Julian Harrap.

David Chipperfield has created a new building from

Apollo risalit, the apse in the Greek courtyard, and

The design focused on repairing and restoring the

the remains of the old, a new building that neither

the South Dome – are built of recycled handmade

original volume, respecting the historical structure.

celebrates nor hides its history but includes it.

bricks, complementing the preserved sections.

Both the restoration and repair of the existing is

Cleverly, the scars of the past are preserved in the

With the reinstatement and completion of the

driven by the idea that the original structure should

new. There is a clear sense of the rejection of three

mostly preserved colonnade at the Eastern and

be emphasized in its spatial context and original

common approaches;

Southern side of the Neues Museum, the pre-war

materiality – the new reflects the lost without

urban situation is re-established to the East. A

imitating it. The Neues Museum suffered extensive

• The buildings literal reconstruction- to visually

new building, the James Simon Gallery, will be

bombing during the Second World War which left

simulate its original glory

constructed between the Neues Museum and the

the building in ruins, with entire sections missing

• The ruin’s monumentalisation - to preserve the

Spree, echoing the urban situation of the site pre-

completely and others severely damaged. Few

buildings fabric in it’s ruined condition as physical

1938.

attempts at repair were made after the war, and the

• Evidence of history.

structure was left exposed to nature. The key aim of

• A collage between the remaining fragments and

the project was to recomplete the original volume

the new parts.

of the parts that remained after the destruction of

• The rejuvenation of the above approaches is

the Second World War.

relevant to the position of the proposed project which too places itself outside the traditional

The original sequence of rooms was restored with

approaches of adaptive re-use.

new building sections that create continuity with the existing structure. The archaeological restoration

The new exhibition rooms are built of large format

followed the guidelines of the Charter of

pre-fabricated concrete elements consisting of white cement mixed with Saxonian marble chips.

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neues meseum david chipperfield architects old and new

neues meseum david chipperfield architects old and new

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The Clinic for Sleep Disorders [a rondo on the study of sleep] Douglas Darden

The Clinic for Sleep Disorders [a rondo on the

As is known, some sleep disorders are serious

study of sleep] is one of the ten projects designed

enough to interfere with normal physical, mental

by Douglas Darden that are included in his book

and emotional functioning. That’s why designing a

Initiation: descent to boat docked in interior

Condemned Building. As all the projects included

clinic to treat them is a serious task that has to reach

canal, patient drawn upstream (low tide)

in the book, it is an unbuilt project but encapsulates

some medical and psychotherapeutic approaches.

Suspension: patient lifted by crane to second

the kind of peripheral and experimental architecture

Each person experiences the environments in a

level, ambulatory undulations downstream (mean

regarding the treatment of the human psyche and

different way and the architecture designed by

tide)

body.

Darden is prescribed to the needs of the individual,

Diagnosis: sleep and EEG monitoring (high tide)

Clinic for Sleep Disorders is slipped into the Morris

mixing up different environments as Terra Firma

Remission: prescription/theraphy/surgery (flood

Canal on the periphery of Liberty State Park, New

[an earth mound that obscures the south elevation’s

tide)

Jersey. The canal empties into the Hudson River,

views], Drawn Boat [the first level transportation,

Release: voluntary movement of patient back

west of lower Manhattan. Entry into the site is

driven by skilled operator] and the Cut Box [rotating

across canal; almost complete return (dry land)

from a cobblestone road adjacent to an abandoned

surgery room] among others.

Stages:

ferry terminal once used by commuters traveling from New Jersey to Manhattan. The clinic plots for incoming patients a nearly clinical course of travel through the canal and existing hill.

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Clinic for sleep disorders Douglas darden Initiation

Clinic for sleep disorders Douglas darden suspension

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Oxygen house Douglas darden Elevation and plan

The House at the End of Time: Oxygen House Douglas Darden Dardens oxygen house presents the concept of

Instead of dealing with the pervasive image of the

him life.

stages in life being framed by architecture. In this

house as ‘home, sweet home,’ it deals with the

transformed into his sepulcher and his tomb at his

case it’s the final phase, the act of dying. Louis

images found in its shadow. It is about the house

death. This was to be a house that would hold and

Kahn said that “The beauty of architecture is that

that anxiety designed, and buried. Instead of being

mark the end of a history, Abraham’s history.

it deals with the recessions of the mind from which

concerned with a house for living in, it deals with a

come that which is not yet said and that which is

house for dying in. And not just a house for dying

not yet made.” Seen in these terms, architecture

in, but a house for being buried in, entombed in. In

deals rather directly with the dilemma of origins. It

that house, the image of home is no longer sweet,

also deals with the archetypes in and through which

secure and comforting. It is dangerous, treacherous

the images of those origins are brought once again

and disquieting. It is ‘home, wicked home.’ This

into the present. The primordial image that holds

‘home, wicked home’ is called Oxygen House. It is a

those recessions of the mind is that of the primitive

two-room house that is located at both the end of a

hut. The simple, one-room hut is architecture’s

time and at the end of a history. It is the archetypal

first artifact: the aedicule (a small shrine, temple or

last house. Douglas Darden, a young and very

house ). The stories of its origin set up architecture’s

talented architect, designed the house for Burnden

enduring and central mythology

Abraham, a disabled signalman for the Southern

33

He also asked that the house be

Pacific railroad, on a site near Frenchman’s Bend Louis Kahn also commented that “when you make

in rural northern Mississippi. The drawings

a building, you make a life. And it talks to you!”

were completed in 1998. Abraham died shortly

To build is to give life. It is to call forth a life and

after the footings for the house were poured. The

to embody and instance it in the world. All things

construction of the house was abandoned. Oxygen

though, as the archetypal psychologist James

House was not built.

Hillman states, have a shadow. In making a building and thus making a life, one inevitably shapes the

Burnden Abraham was confined to an oxygen tent

end of that building, the end of that life34. Within

because of disabling chest injuries. Those injuries

the compelling idea of the first house - the house

were caused by the derailment of a Southern Pacific

at the beginning of time - is buried the equally

train on precisely the spot that was later intended

compelling image of its shadow: the house at the

as the site for his house. The house he wanted was

end of time. This is a place for dying in. Its fragility

to be his oxygen house: a shelter and setting that

and hostility, its ephemeral and temporary aspects,

would sustain and support his life. t was to be, quite

change our delight to anxiety, our ease to dis-ease.

literally, the place that ‘held’ his breath and gave

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hospital raimund abraham section

Hospital: House of Hope, Houses of Birth, Houses of No Return project Venice, Italy Raimund Abraham

In 1977, Abraham began a series of speculative projects for the transformation of Venice. He was fascinated by the Cannaregio, a distressed area of the city that had suffered damage from bombs in World War I, and for which Le Corbusier designed an unrealized hospital in 1967. Abraham envisioned a new Venice free of historical pastiche, which would intensify the original elements of the city—the lagoon, winding canals with stone bridges, and the interplay between light and shadow. Like many architects in the 1970s, Abraham was interested in the essential nature of architecture and the topographical forms of the built environment. He wrote texts to accompany his drawings, which he considered to be autonomous works, not auxiliary to the act of building. Of his Hospital project he wrote, “Outer walls are torn open by gates to pass through images/forms/imprints/passages dissecting the House of Hope crossing the hidden rivers of the opaque Lagoon connecting the Houses of Birth with the Houses of No Return.”

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Schematic “Space- my space- is not the context of which I constitute ‘textuality’: instead, it is first of all my body, and then it is my body’s counterpart or ‘other’, its mirror-image or shadow; it is the shifting intersection between that which touches, penetrates, threatens or benefits my body on the one hand, and all other bodies on the other. ” - Lefebvre, ‘The Production of Space’, 1991. p. 184

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•

•

•

The art of architecture elaborates existential themes, which echo the primordial depths of human experience. “Architectural forms are a language confined to the joining of a few ideographs of immense ramification” One of the symptoms of alienation in the modern age is the widespread sense of meaninglessness, “Modern man’s most urgent need is to discover the reality and value of the inner subjective world, to discover the symbolic life” The symbolic life in some form is a prerequisite for psychic health.-Pallasmaa This project is involved in the discussion and dissection of the human body and its occupation and interaction within peripheral architecture within the city. This project is situated in the abandoned and decaying Newtown Tram Sheds located in South West Sydney City. Newtown was initially chosen as a site due to its peripherality to the Sydney CBD. It is a place where one can ‘slip into to get work done’, then re-assimilate into social construct. The project looks at the Newtown Sheds as isolated urban ruins; that require retainment in a manipulated form; to preserve a sense or urban identity; whilst creating a whole new entity.

The Body Workshop aims to plug this site back into mainstream urban awareness and reconnect with the existing infrastructure of the heavy rail. The Body Workshop is a medical clinic that focuses on the manipulation of the human body. Specifically the stages of; Inception, Manipulation and Alteration, and Termination.

The clinic comprises of the function of IVF, abortion, both plastic and re constructive surgery, ‘injectables’ and a euthanasia clinic.

I was initially inspired by the Deluze and Guatari idea that the body is an assemblage of Machines and the Freudian notion that the body is a stage for performance.

Conceptually this project is concerned with notions of Tschumi’s metaphorical violence against the body, consumption and commodity, perceived ‘taboo’, autonomy and machines as a device for liberation. The Body Workshop consists of a public ground level and 3 subterranean levels. Level minus 1 is the main entry to the clinic.

This component of the project consists of specific systems and classifications of procedures and movements. These are: Cosmetic, Reconstruction, Injectables, Abortion, IVF, and the Red Market. Throughout these spaces and function there is the notion of metaphorical violence against the body, Such as the constriction and release with the narrowing of a passageway or a stairwell that physically affects the cardiovascular system. The idea of a release for emotional trauma in the form of a visual release to the sky from the subterranean levels has also been explored. The mechanical progression of the production line has been used to conceptually inform pathways through the building. Specific classification of procedures within the building and their specific pathways reflect the nature, length of time required and the complexity of the procedure or experience. All pathways are one way valves, except IVF: which is cyclical in nature, entering and exiting the same way- reflecting IVF’s need for multiple a reoccurring visits and procedures.

One example of a specific path though the clinic is injectables (or botox), A typical visit would require the user to enter into the Hall off Railway Lane. The user is triaged according to their prearranged appointment and allocated an automated SMS that will let them know when their specific surgical consultant is ready to see them. Until this time, the user is free to roam the grounds until summoned. This alleviates anxiety and preserves a sense of anonymity.

Once summoned, the user moves though the ‘gates’. There is a spatial constriction just before entering that indicates the conformation of a decision or action. The gates filter and allow for lateral movement, further preserving anonymity.

Once within ‘Injectables’, the user steps into a mirror lined nook in the wall, and are administered. The user then steps though a door concealed within the mirror and moves with a passage to a lift that places them back onto the public ground level 1. However, more complex surgeries and procedures will move down to level minus 3, where the sterile operating theatres are housed. After operation, the user proceeds up to one of the 3 recovery towers that overlook the train line and the park.

The Red Market forms part of the Surgery entrance foyer, and acts as a regulatory body and to the current illegal organ trade that occurs in third world countries. he Red Market, places a price tag on the human form and serves as commentary on current but little know human right and ethical issues fuelled by western desire for a sense of health, and the repercussional consumption of human flesh. A Marxist reading of the human body as an ‘object’ in correlation with an architectural framing commodifies the human form.

A shift in conspicuous consumption within the city, has resulted in a human behavioural change. instead of surrounding ourselves with nice things: We become the nice thing The Red Market is a heuristical tool where the user can lightly regard, or whole encounter the complexities of the human body. It is a place where knowledge and awareness is collected as one progresses downwards, with the idea that the further down one ventures, the more confronting the experience becomes, until the user is faced with views into the labs where the body parts are treated and stored for distribution to university and training faculties.

The ground plane of the project, is connected physically to the train line below via a grand stair that punctures the wall and the site. Pallasmaa presents the notion that stairs address both the body and the senses. They are an architecture that expresses the human existential condition. The notion of violence against the body is employed here as the stairs physically interact with the users cardiovascular system. The act of ascending stairs also symbolises the higher consciousness and the solidifying of an idea. and therefore is intrinsically linked to the euthanasia clinic located in the top of the eastern most tower. The stairs also act as circulation into the amphitheatre. Based around the morbid human fascination with bloodsports and spectacle- the public are able to view the main operating theatre via the amphitheatre. Modelled on the idea that Roman heirachy was most clearly expressed within the amphitheatre, providing varying levels of participation with the ‘action’, the idea that narrow corridors that spiral downwards around the amphitheatre wall (providing a personally dictated interaction with the spectacle) has been designed.

The corridors that peel off the stair landings present moments of constriction and release in the narrowing of the space with release in the form of viewing platforms and peep-holes that descend with the theatre walls. The park acts as the binding mechanism for all of the functions of the project , and acts as a urban leisure site that provides refuge and release from the mechanistic progression of the consumption and exhaustion on-site.

Utilising the onsite urban memories of the now demolished mortuary station (demolished 1965); My major site strategy is the utilisation of what currently is an incredibly constricted site though the re implementation of the rail infrastructure to feed the onsite consumption and production: the essence of the machine as the device in pursuit of bodily liberation.

•

•

•

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the surgeon jemima manton schematic presentation

death womb jemima manton schematic presentation

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ground showing exiSting walls, the redmarket, the amphitheater, recovery towers and stairs not to scale

basement 1 showing redmarket, ‘the gates’, entrance to surgery, botox, abortion and ivf. not to scale

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basement 3 showing redmarket and the surgeries, adjacent to the rail line not to scale

tower plan showing towers in relation to the ground plane not to scale

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tomba Brion-vega carlo scarpa stainless- steel counterweights and off form concrete

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tomba Brion-vega carlo scarpa entrance

tomba Brion-vega carlo scarpa interior of chapel

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CAKE SHOP FACADE, LONDON JOHN PAWSON FRAMING OF A COMMODIFIED OBJECT

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8 1/2 Directed by federico fellini italy 1962, 138 min

le notti de cabiria [nights of cabiria] Directed by federico fellini italy 1957, 110 min

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FELLINI’S DREAMWORK •

•

•

Sigmund Freud considered dreams “the royal road to the unconscious,” a glimpse into a world of mind we inhabit without knowing it, except when we dream. Even then, we do not know it as we do the world we are conscious of, because this world—the unconscious—is revealed to our conscious minds only in fragments that often seem irrational and incoherent. Freud, however, believed they made a great deal of sense, if only they could be ‘translated’ in terms of our conscious experiences. Not only that, but understanding the sense they made was vital to our mental health.

This is hardly the place to explain Freud’s theories or argue for or against their validity. A great many books doing just that have been written in the hundred or so years since the publication of The Interpretation of Dreams, a founding text for the field of psychoanalysis. It must do for now to know that over this past century Freud’s theories have been applied with success to aid in the treatment of various forms of mental illness—including everyday stress, anxiety, and depression brought on by the demands of modern living. Of equal importance, perhaps, is that these theories have entered our culture in ways that enlighten our understanding of what it means to be human, influencing both our critical and creative capacities in art and science.

I feel fairly certain that Federico Fellini, one of greatest film-makers in the history of cinema, which just happens to span the same century as psychoanalysis, knew all about its theories and even spent time on the psychoanalytic couch.

Regardless of whether he did or not, he did spend a great amount of his time recording his dreams, in exactly the way Freud would have appreciated: noting every detail he could remember in words and drawings. The good Doctor would have had a field day with them!

If you can read Italian, there are Fellini’s notes in the samples below from a recent publication entitled Federico Fellini: The Book of Dreams. If, like me, you cannot, you can refer to English translations in the book’s appendix, or, have your own field day with appreciating the drawings, both for their startling originality and freedom of technique, and as points of departure for making your own psycho-analysis of Fellini and his films. For example: what part of the human anatomy does he seem most obsessed with? And why? That, as they say, is only the beginning.

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Moments of constriction and release jemima manton drawing from sketchbook

image of the redmarket jemima manton schematic presentation

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photograph of schematic model jemima manton model 1.200

photograph of schematic model jemima manton model 1.200

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photograph of schematic model jemima manton model 1.200

sketch model of ‘filter’ gates jemima manton model 1.200

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section jemima manton schematic presentation

peep holes into amphitheater jemima manton schematic presentation

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newtown tramsheds jemima manton taken from newtown station platform

filtering gates jemima manton schematic presentation

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urban memories the mortuary station that was on site until it was demolished in 1965 schematic presentation

sketch schematic design from the rail side of the site schematic presentation

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sketch section diagrammatic thumbnail sketch schematic presentation

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mirror lined halls of botox & injectables sketch showing layout of botox, the masked exit though mirrored doors schematic presentation

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ink drawing of the redmarket next to precedent; the intelligence market. schematic presentation

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light wells jemima manton schematic presentation

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Progression though the filter and into botox jemima manton schematic presentation

commodified ‘object’ jemima manton schematic presentation

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congressional palace [preliminary plans] aldo rossi milan, italy 1982

ALDO ROSSI Urban artifacts and Theory of the city

Typological questions and critique of

Any element capable of accelerating the process

naive functionalism

of urbanization in the city is a primary element, including an empty space.

According to Rossi, construction is a process that is inseparable in value to time. Ever from its evolution,

Since architecture is distinct with reasons of its own;

mankind has built favorable surroundings with its

typology, classification and their characterstics

At the end of the pax romana cities had marked

roots in its civilization. These built forms transform

influencing the city are important features of urban

boundaries by erecting walls around them, at

themselves over the years overlapping the theme of

perspective. The individual classicism to lowest

times well furnished items were abandoned and

its own development and thus there is a contrast in

classifications initiates the theory of typology.

cities enclosed a smaller surface area, but the

the existence of the structure over time. The change

The lowest featured element that is co-product in

potential of the urban artifacts helped develop

of nature of the ‘urban artifact’ may diminish the

different constructions is a vital basic element of the

the new cities in their current form. For example

value of the evolution, overriding the rational

city. Type is thus constant and manifests itself with

the amphitheatre at Nimes was transformed to

design of ‘locus’. Singularity of one region of the

the character of necessity. Even though it is pre-

a fortress and became a small functional city of

city is what characterizes them as locus solus.

determined it reacts dialectically with technique,

two thousand inhabitants. The city beyond the

Urban singularity has to take care of these artifacts.

function and style.

wall grew with the form of the amphitheatre as a major element.

The development of the city about these artifacts or a group of them in a certain locality constitutes the

The term function is not being discussed for typology

nature and morphology of the city and this frame of

considered with urban artifacts. For urban artifacts

reference helps Rossi to define ‘Urbanism’.

the function changes with time and its typology

Monuments, Geography and History

may become uncertain for the instance. If cities

Rossi advancing this theory for urban artifacts

were classified on a broader perspective, it would

and with a novel vision for urbanism says that

delimit its typology to the commercial, cultural,

a city is a collective memory of its people, and

The form of the city can be studied with respect to

military etc. Rossi questions the change of function

like memory it is associated with objects and

the works of engineering and massive structures,

for urban artifacts. The change of its naive function

places. The city is locus of collective memory.

and structures characterized by their own history.

may obstruct the transfer of culture, of which the

This relationship between locus and citizenry

The mis-corelation of these two entities implies

city is an important element. Urban artifacts are

then becomes a city’s predominant image, a great

the complex reality which needs to be addressed

not the elements of consumption for the city, till

shape history moulds its future to. A related

for an urban future. Richness of the history is the

considered in the domain of architectural and

example of the roman forum will explain the co-

characteristic of an urban artifact, its auspicious

moral value. Typology and functions contradict if

relation between the parameters talked about

character and ominous moments of life makes it

they are studied from the urban artifact point of

here.

an indispensable part of the city. An urban artifact

view, hence the naive functionalism of the structure

is a work of art. A city is always seen as a piece of

in time is considered.

Individuality of urban artifacts

valley. The principal city was formed by tribes

human achievement over the years and this piece of art holds the major contribution for the collective individuality of the city.

The Latins and the Sabines lived near the forum

Primary elements and dynamics of urban

which scattered throughout the hills. The fifth

elements

century forum ceased as a market place and changes its function to a place of worship. The

Rossi defines urban artifacts as primary elements

dynamism of these urban artifacts played an

because their existence has contributed to the morphological and cultural evolution of the city.

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SAN CATALDO CEMETARY aldo rossi MODENA, italy

SAN CATALDO CEMETARY aldo rossi MODENA, italy

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BCA Compliance “It is one hand a relationship of the human with [her] own body, with [her] tongue and speech, with [her] gestures, in a certain place and with a general whole, and on the other hand, a relationship with the largest public space, with the entire society and beyond it, the universe.”

- Lefebvre, ‘The Production of Space’, 1991. p. 235

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Fire Isolated Compartment Required Fire Isolated Compartment Exit to Outdoor Area on Ground Exit & Travel Path to Isolated Fire Compartment

20m

40m

Distance Travel to Exit

D1.4 Exit travel distances (c) (i)

(ii)

(d) (i) (ii) (e)

Class 5 to 9 buildings — Subject to (d), (e) and (f)— no point on a floor must be more than 20 m from an exit, or a point from which trav el in different directions to 2 exits is avail able, in which case the maximum dis tance to one of those exits must not ex ceed 40 m; and in a Class 5 or 6 building, the distance to a single exit serving a storey at the level of access to a road or open space may be increased to 30 m.

Class 9a buildings — In a patient care area in a Class 9a building— no point on the floor must be more than 12 m from a point from which travel in dif ferent directions to 2 of the required exits is available; and the maximum distance to one of those ex its must not be more than 30 m from the starting point.

Open spectator stands — The distance of travel to an exit in a Class 9b building used as an open spectator stand must be not more than 60 m.

D1.5 Distance between alternative exits Exits that are required as alternative means of egress must be— (a)

distributed as uniformly as practicable within or around the storey served and in positions where unobstructed access to at least 2 exits is readily available from all points on the floor including lift lobby ar eas; and

(c) (ii)

not more than— in a Class 9a health-care building, if such required exit serves a patient care area — 45 m apart; or in all other cases — 60 m apart.

(iii)

Scale 1:200

Newtown, Sydney, NSW

DRAWING: GROUND: TRAVEL PATHS AND DISTANCE TO EXITS Date: 28/05/2012 Drawing Number: SK01

Corpus mechanicus [Body Workshop] Jemima Manton

Fire Isolated Compartment Required Fire Isolated Compartment Exit to Outdoor Area on Ground Exit & Travel Path to Isolated Fire Compartment

20m

40m

Distance Travel to Exit

D1.4 Exit travel distances (c) (i)

(ii)

(d) (i) (ii) (e)

Class 5 to 9 buildings — Subject to (d), (e) and (f)— no point on a floor must be more than 20 m from an exit, or a point from which trav el in different directions to 2 exits is avail able, in which case the maximum dis tance to one of those exits must not ex ceed 40 m; and in a Class 5 or 6 building, the distance to a single exit serving a storey at the level of access to a road or open space may be increased to 30 m.

Class 9a buildings — In a patient care area in a Class 9a building— no point on the floor must be more than 12 m from a point from which travel in dif ferent directions to 2 of the required exits is available; and the maximum distance to one of those ex its must not be more than 30 m from the starting point.

Open spectator stands — The distance of travel to an exit in a Class 9b building used as an open spectator stand must be not more than 60 m.

D1.5 Distance between alternative exits Exits that are required as alternative means of egress must be— (a)

distributed as uniformly as practicable within or around the storey served and in positions where unobstructed access to at least 2 exits is readily available from all points on the floor including lift lobby ar eas; and

(c) (ii)

not more than— in a Class 9a health-care building, if such required exit serves a patient care area — 45 m apart; or in all other cases — 60 m apart.

(iii)

Scale 1:200

Newtown, Sydney, NSW

DRAWING: LEVEL -1: TRAVEL PATHS AND DISTANCE TO EXITS Date: 28/05/2012 Drawing Number: SK02

Corpus mechanicus [Body Workshop] Jemima Manton

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hop]

anton

Location of Accessible ramps through the Building Vertical Access through Building Sanitary Facilities Waste Disposal and Collection/Managment Accessible Vehicular Drop Off/Pick Up

D3.2 Access to buildings D3.3 Parts of buildings to be accesible D3.5 Accessible Car parking F2.3 Facilities in Class 3 to 9 buildings F2.4 Accessible sanitary facilities F2.8 Waste management Scale 1:200

Newtown, Sydney, NSW

DRAWING: lEVEL -1: ACCESSIBILITY AND FACILITIES Date: 28/05/2012

Drawing Number: SK06

Corpus mechanicus [Body Workshop] Jemima Manton

Location of Accessible ramps through the Building Vertical Access through Building Sanitary Facilities Waste Disposal and Collection/Managment Accessible Vehicular Drop Off/Pick Up

D3.2 Access to buildings D3.3 Parts of buildings to be accesible D3.5 Accessible Car parking F2.3 Facilities in Class 3 to 9 buildings F2.4 Accessible sanitary facilities F2.8 Waste management Scale 1:200

Newtown, Sydney, NSW

DRAWING: LEVEL -3: ACCESSIBILITY AND FACILITIES Date: 28/05/2012

Drawing Number: SK07

Corpus mechanicus [Body Workshop] Jemima Manton

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Developed “A body so conceived, as produced and as the production of space, is immediately subject to the determinates of that space... the spatial body’s material character derives from space, from the energy that is deployed and put to use there.”

- Lefebvre, ‘The Production of Space’, 1991. p. 195

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This project revolves around a critique of Michel Foucault notion of the socially constructed human form and associated behaviours of consumption and commodity. The building serves as a research facility, Plastic surgery and IVF clinic for the UNSW’s facility of Medicine’s, Surgical and Orthopaedic research division. With a focus on research and practise that encompasses the biology and biomechanics of connective tissues and strategies to improve clinical outcomes and bodily sovereignty through using biomaterials and biotechnology. Primary fields of research overlap with orthopaedics, plastic and vascular surgeries.

Railway lane clinic is located in the ruinous Newtown tram sheds in Newtown, Sydney and responds to a social climate of conflicting cultures, political status and socioeconomic class. The site has a strong link to the adjacent rail and this project proposes to maintain and capitalise on this existing infrastructure to service the building.

This developed design focuses on the public interface of the building- the Red Market. (the term red market is the colloquial term for the black-market trade of human organs) Concealed behind the existing tram shed walls, the Red Markets constructs space that aggressively explores notions of the panopticon, constriction and release, and binary opposites.

The Redmarket is designed parallel to Walter Benjamin’s 19th century Parisian Arcades and plays on the associated notion of a store fronts acting as false façades and masking other program (it was widely known that the arcades paraded as millinery shops but truly acted as brothels) The Redmarket incorporates a variety of architectural folly’s and accommodates a variety of users that facilitate nearly 24 hour functioning within the building.’

These functions are: The entry’s to the Plastic Surgery, Botox and IVF clinics, the arcade stalls, the Slaughter house, the tea room, two separate bars and the counterweight. The pre-mentioned notions of panopticon, visual constraint and release and binary opposites and existing site conditions inform the materiality of theses spaces.

The main bar cantilevers over the void of the arcade and is situated right above the entry to the clinics. The bar punctures the mechanistic and dominating space with lush and tactile ornamentation.

The bar is veiled with rope curtains that mask and constrain the space. The rope also symbiotically denotes a revealing as the curtain is manipulated by the user; peeking through the rope curtains into the void reveals to the clinic and arcade user that they are in fact, being watched.

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Drawing on the urban memory of the demolished mortuary station on the site, the red market also houses a slaughterhouse. This function directly serves the research labs located under the Red market.

The pig in this project acts as both the commodified object and metaphor for human body, as well practical implementation and use in Avant guard medical research and the everyday object.

This end of the red market focuses on the existing industrial and mechanistic materiality.

The slaughter house is located next to the copper counterweights that are formatted in a way that suggest the alter of a church.

They act as visual acknowledgment and offer a subjective conscience to the project with their movement signifying the delivery of the consumerable pig.

The counterweights connection though the delicate wires and pulleys puncturing the thick skinned existing walls, , herniates glimpses of the internal architectural folly into public scrutiny.

The main stair that extends from the counterweight to the arcade and surgery below is veiled by a suspended mesh canopy. Passing under the cantilevered bar space, the mesh canopy conceals the user until very nearly, but not quite, the end of their decent to their desired destination. •

•

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Poupée, variations sur le montage d’une mineure articulée [The Doll, Variations on the Assemblage of an Articulated Minor] hans belmer: published in surrealsit journal minoraure, 5 december 1934

Tomb, Temple, Machine and Self I’ve been looking at Michel Foucault's notion of societal construction of the body to inform and edit my thoughts on my final design.

Anthony Synnott's paper, 'Tomb, Temple, Machine and Self: The Social Construction of the body', explores the idea that the body is socially constructed; and that the various and ever-changing constructions of the body, and thus of the embodied self, from the Greeks to the present. The one word, body, may therefore signify very different realities and perceptions of reality; and we consider briefly how and why these meanings changed. Plato believed the body was a 'tomb', Paul said it was the 'temple' of the Holy Spirit, the Stoic philosopher Epictetus taught that it was a 'corpse'. Christians believed, and believe, that the body is not only physical, but also spiritual and mystical, and many believed it was an allegory of church, state and family. Some said it was cosmic: one with the planets and the constellations. Descartes wrote that the body is a 'machine', and this definition has underpinned bio- medicine to this day; but Sartre said that the body is the self. In sum, the body has no intrinsic meaning. Populations create their own meanings, and thus their own bodies; but how they create, and then change them, and why, reflects the social body.

Modern Mannequin Another secondary concept Iv been looking at is Hal Fosters notion that humans have a Commodity fetishism with the Romantic Ruin and the Modern Mannequin from his book Compulsive Beauty. Meaning: the ‘Romantic Ruin’ evokes the displacing of cultural forms by the regime of machine production and commodity consumption- not only archaic feudal forms, but also ‘Outmoded’ capitalist ones. The ‘Modern Mannequin’ evokes the remaking of the body, (especially the female body), as a commodity, just as the automation, its complement in the surrealist image repertoire and evokes the remaking of the body (particularly the male body) as machine.

Sovereignty?

The body was therefore, in a sense, the last bastion to fall before the new, modern, intrusive government. There were precedents for this conquest, however. The state had always exercised the right to take away life, to inflict pain, to remove parts of the body, to tattoo or brand the body; to quarantine individuals, houses, ships and even towns in times of plague; to imprison people or banish them; and both church and state had traditionally forbidden many physical activities, as in matters of sexual intercourse, masturbation, self-mutilation, abortion and suicide. In this sense, the body had never been entirely private or autonomous; it had always been under some surveillance and some control. But such control had been individual, specific, and localized in time and

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Hans Bellmer Dolls Bellmer 's concerns are with the fetishising of body parts and fragmentation of the sexual form. This comment highlights the Bataillian concerns: "The fetishising of body parts and fragmentation of the sexual form ignored the constraints of physical actuality. ...Bellmer's sense of taboo lay not in what convention condemned but what was hidden in the darkness of the psyche (where it is far from safe). Bellmer's psychological confrontation and violence may constitute a spiritual jolt that liberates from habit and known codings. He dragged terrible desires out of the darkness and into cognition so that we could assimilate the full reality of our passions and the content of evil in them. How else were we to transcend them (in whatever way we ought) if not by first knowing them?"

This is the Bataillan moment of surrealism, its darker side. An art given over to the uncanny, to the compulsion to repeat and the drive toward death. The uncanny or the return of familiar things (dolls) made strange by social, sexual and historical repression. Bellmer's collection of dolls constitute a traumatic tableaux with connections between sadism and masochism and between surrealism and fascism.

We should find this disturbing familar.

Consider the violence and repression wrought upon asylum seekers (including women and children) in Australia.

Is not the way we treat children made strange by the political repression by the state.

Are there not connections between sadism of the security guards in the Detention centres and the liberal state?

Are not these mutilated bodies the bodies of children living in detention centres that are run as prisons by private enterprise?

These images of the constructed female body are far more disturbing than the routine pornographic work on the Internet.

On Bataille's account the violence and desire in the mutilated bodies opens up a way of thinking which breaks the patterns of liberal thought, opens the possibilities of new ideas and bypasses instrumental reason and utility, and explores the body's potential capacity to imagine, dream and invent. This is otherwise to the current glorification of the pornographic that is everywhere and which is anything but emancipatory. >>

>> German photographer, sculptor, printmaker,

Bellmer was acclaimed and adopted by the

After World War II Bellmer concentrated on

painter and writer. When the Nazis gained power

Surrealists during a short visit to Paris at Eluard’s

meticulous drawings and prints, many of which

in 1933, with his father among their keenest

invitation in February 1935. In the wake of his

illustrated erotic texts by the Marquis de Sade,

supporters, Bellmer announced that he would give

visit he published a French translation of his

Heinrich von Kleist, Charles Baudelaire, Georges

up all work that even indirectly could be useful to

book (La Poupée, Paris, 1936) and contributed

Bataille and the poet Unica Zurn, his companion of

the State. He began his new career as an artist by

photographs and drawings to the major group

16 years; these books included A Sade (Paris, 1967)

building a life-size Doll (destr.) inspired by nostalgic

exhibitions of Surrealism in the late 1930s; a street

and Madame Edwarda (Paris, 1965), illustrating

memories of his secret garden and by a production

of his elaborate mannequins was featured in the

Bataille’s text. He also wrote L’Anatomie de l’image

of Jacques Offenbach’s Les Contes d’Hoffmann;

Exposition Internationale du Surréalisme at the

(Paris, 1957) in which he explained the mental

it was designed to fulfil his need to escape from

Galerie Beaux-Arts in Paris in 1938.

processes that determined his work. He enjoyed

reality and to arouse desires associated with the

Bellmer’s success with the Surrealists gave him a

particular success and recognition, in terms of

secret sexual encounters of his adolescence. By its

new confidence. In summer 1935 he amended his

exhibitions and books about his work, during

provocative eroticism it would strike a blow against

Doll (Paris, Pompidou) with ball-joints to give it

the last 20 years of his life. While his work was

tyranny and authority. This first Doll, built with

increased mobility; the stomach was represented by

sometimes condemned as violently misogynistic,

the help of his brother from broom handles, metal

a large sphere around which could be articulated two

it was also treated sympathetically by at least one

rods, carved wood and plaster of Paris, contained a

pelvises, each with its own legs and feet, enabling

feminist critic, Xavière Gauthier, and by writers

small panorama enabling scenes lit by a torch bulb

Bellmer to go far beyond naturalistic representation

and critics such as Jacques Lacan, Claude Lévi-

to be seen through the navel. Bellmer published ten

. The limitless possibilities of what he termed his

Strauss, Michel Butor and Patrick Waldberg.

photographs of this work as Die Puppe (Karlsruhe,

‘experimental poetry’ were demonstrated in a

1934), accompanied by a short introduction in the

volume of hand-tinted photographs, Les Jeux de

form of an intricate prose poem in which he clearly

la poupée (Paris, 1949), incorporating poems by

demonstrated how the seemingly innocent games

Eluard and in other such photographs presented

of the young child had developed into the far from

as independent works (e.g. The Doll, c. 1937–8;

innocent sexual fantasies of the adult.

London, Tate). The expressions of suffering and

Bellmer felt artistically isolated and vulnerable in

pain in many of these depictions of the violated Doll

Berlin, where far less provocative works had been

resonate with visual references to martyrdoms in

branded degenerate by the Nazis (see Entartete

Renaissance art and to staircase scenes in German

Kunst). Having read about Surrealism in art

Expressionist cinema. When Bellmer escaped

magazines, he sent a copy of Die Puppe to André

from Nazi Germany to Paris in 1938, his Doll was

Breton and Paul Eluard in Paris; the publication

among the few items that he was able to take with

of the photographs in the Surrealist magazine

him. He produced further variants of this sculpture

Minotaure in December 1934 caused enormous

throughout his life: notable examples include the

excitement among members of the group, who

Machine-gun in a State of Grace (1937, remade

immediately appreciated the Doll as an ideal

1961; New York, MOMA) and Doll (aluminium, h.

Surrealist object because of its conjunction of desire

464 mm, 1936, remade 1965; London, Tate).

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Poupée, variations sur le montage d’une mineure articulée [The Doll, Variations on the Assemblage of an Articulated Minor] hans belmer: published in surrealsit journal minoraure, 5 december 1934

Poupée, variations sur le montage d’une mineure articulée [The Doll, Variations on the Assemblage of an Articulated Minor] hans belmer: published in surrealsit journal minoraure, 5 december 1934

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Poupée, variations sur le montage d’une mineure articulée [The Doll, Variations on the Assemblage of an Articulated Minor] hans belmer: published in surrealsit journal minoraure, 5 december 1934

Poupée, variations sur le montage d’une mineure articulée [The Doll, Variations on the Assemblage of an Articulated Minor] hans belmer: published in surrealsit journal minoraure, 5 december 1934

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The Watched and Gazed Upon Body The transformation of the political anatomy of the body has been prevalent. One of Foucault's principal contributions to social science has been to describe this ordering of the body politic in and through and (o)ver the body physical (biopower). The ordering of, surveillance over, and control of the body in schools and universities, barracks and camps, prisons and scaffolds, monasteries and factories, asylums and hospitals, indeed in all the micro-institutions of society, shape 'obedient subjects' and 'docile bodies' and society itself. Foucault summarizes the matter epigrammatically, and enigmatically: 'The soul [psyche, subjectivity, personality, consciousness, etc.] is the effect and instrument of a political anatomy; the soul is the prison of the Tomb, temple, machine and self body'. This is not only a capsizing of Platonist and traditional Christian values, but it also creates a fresh political-economy of the body.

Thus: 'The body becomes a useful force only if it is both a productive and a subjected body'.' The body as an instrument of production and the property of the state is now under constant surveillance. Furthermore, all physical actions are now ideological: how a soldier marches, the gestures of a school-boy, even the mode of intercourse. George Orwell's futuristic vision in 1948 of 1984 was considered ominous: 'Big Brother is watching you'. Yet ironically this equates precisely with Foucault's historical summary of the eighteenth and nineteenth centuries: 'The gaze is alert everywhere'. Past and future meet in the watched and gazed upon body.

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l’église abbatiale [the abbey] an typical church plan. in this project will be subverted into the ‘arcade ‘, a dias to consumption

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kievo-pecherskaya larva education and consumption. yes ornament and crime. no

Church, Religion, Power and Consumption “As a cultural story, consumerism exerts a shaping influence on virtually every aspect of life. Philip Sampson observes that “once established, such a culture of consumption is quite undiscriminating and everything becomes a consumer item.” Similarly, Don Slater notes, “If there is no principle restricting who can consume what, there is also no principled constraint on what can be consumed: all social relations, activities and objects can in principle be exchanged as commodities.” Even the gospel and the church can be overtaken by the consumerist spirit. When the church takes up the role assigned it within a consumer culture and allows itself to be shaped by that story, it becomes merely a vendor of religious goods and services. Clearly, the church must not accept this role in society; as Sampson argues, the “challenge for the church here is to take up its task in the reformation and renewal of all life, rather than becoming another isolated customer center.” - A Light to the Nations: The Missional Church and the Biblical Story by Michael W. Goheen Alain de Botton makes a poignant argument regarding the usefulness of religion in society. He talks of religion and church based power structures as being “foremost educational machines”. He states that; “They [the church] do community really well. They bring people together around a shared set of values, and that works well.

They’re also very good on ethics. They’re good at reminding us to be nice and to be kind - we’re not so good outside of religion.

That’s not to say religious people always are like that, but there’s a mechanism in place. Religions are great at educating people.

One way to look at religions is, these are the world’s foremost educational machines, and part of the reason they’re so good is that they recognise in order to reach somebody you can’t just sit them in a classroom at the age of 15 or 20, and just pour in some knowledge, and then it’s going to stick there forever. Education is an ongoing thing, and it needs to accompany you throughout your life, and it needs to reach you through all the arts”.

Similarities can be made between this model of ‘education’ the masses and that of popular culture and mass media advertising, that being that; messages are clear and repeated. Often. Stewart Hoover in his text Religion in the Media Age presents this as four main points. These being; SIMILARITY: Media and religion involve similar processes of mediation between the self and the sacred; DISTINCTION: Media and religion are distinct ‘fields’, the one affects the other; MEDIATISATION (or convergence): Religion has become a thoroughly mediatised experience; ARTICULATION: The way media and religion are related to each other is not stable, nor predictable and depends on audience uses and interpretations.

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saint rufo bishop preaching vincent l贸pez, public control, for the greater good

victoria secret show new york, 2008 thou shall always and only wear victoria secret underwear

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Orthographie du tombeau de Porsenna roi d’Etrurie, appellÊ le labyrinthe de Toscane j.j. lequeu. 1792 colour plate from the architectural enigma

Lequeu Why no cinematic biography of Jean-Jacques Le-

which seem dominated by an obsession with petri-

queu has been produced yet is a mystery to me. All

fied forms and a recurring preoccupation with sex.

the elements of an Oscar-winning drama are there.

Interleaved with the drawings are curious autobio-

You have a genius protagonist, a visionary, who

graphical papers. And it is here that Duboy's inves-

toils not in the hallowed halls of the Academy but in

tigation of Lequeu begins to reveal strange clues.

decrepit offices, out there in the margins of the art

He discovers that Lequeu was not an architect at

world. By day, he is surrounded by bureaucrats and

all but a government bureaucrat, a draftsman who

the machinations of the state, but by day's end, he

ended up living in a brothel. Between the brothel

walks home to a brothel.

and the obscure office from which he was eventu-

In post-Revolution and Napoleon France, Lequeu

ally fired, he produced his "encyclopedia of the

produced some of the most imaginative landscape

universe" - bizarre portraits of nuns baring their

and architectural designs, some a masterful combi-

breasts and other lewd figures, and architectural

nation of the Gothic, the Egyptian, the Greek, the

fantasies of vast imaginary cities.

Chinese, and a smattering of hallucinations. How-

Duboy takes his study further, into the realm of

ever, except for two follies in Rouen, none were ever

Charles Fourier and his brother-in-law Anthelme

constructed. He was somewhat of a pornographer

Brillat-Savarin and from there to the world of the

as well and at least in his self-portraits, a cross-

dadaists, surrealists, and futurists, particularly the

dresser. As there are too few sources to go by, the

circles of Marcel Duchamp and Le Corbusier. He

screenwriter can easily color his life some more. Af-

suggests that Duchamp and Raymond Rousell tam-

ter all, he did create portraits of nuns bearing their

pered with the Lequeu drawings to concoct a char-

breasts.

acter and oeuvre even more puzzling.

An Architectural Enigma - part speculative biog-

There are glimpses of Duchamp’s convolutions

raphy, part meticulous research, with hundreds of

of mind that will stir a reassessment of his work.

intriguing drawings, many in color - that unravels

“Duchamp emerges here, for the first time, as an

the mystery of this eighteenth-century maveick

intrepid and unwavering despiser of Le Corbusier.

artist whose drawings have established him

Twentieth-century reputations are as much at stake

variously as a visionary architect associated with

in this study as those of the eighteenth-century art-

Boullée and Ledoux, forerunner of surrealism, and

ist,” notes Robin Middleton.

inventor of bad taste.

Lequeu’s architectural drawings from the legendary portfolios Architecture civile and Nouvelle methode are presented here in their entirety, along with his “Lewd Figures,” perhaps the oddest feature of the whole collection. The drawings are accompanied by long captions, misspelt and ungrammatical, but written in a flawless bureaucratic hand. The artist’s marginalia provide insights into his visions,

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d’une alcôve pour le baron j.j. lequeu. 1788 colour plate from the architectural enigma

exit gate of the pleasure park of the prince’s hunt j.j. lequeu colour plate from the architectural enigma

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Detail of Chinese game of tilt the ring, executed in the Chinewse garden at le monceau j.j. lequeu plate from the architectural enigma

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Lick Line # 23 julia randall Lick Line is a series of disembodied mouths floating in space. Rendered in exacting detail, the tongues protrude and beckon the viewer to come close. The mouth is the body’s critical site, where we eat, speak, kiss and bite; it is both ferocious and tender. We see the mouth and tongue all the time, yet they are highly intimate. Seen as a group the mouths undulate and bounce. Like many voices talking at once, they strangely invade our space with humor and perversity.

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Decoy # 5 julia randall The “Decoys” are surreal riffs on genetically modified plants, and hint at the perils of human intervention and biotechnical “advances” in the natural world. Nature has signed up in the service of seduction, for the purpose of entrapment. Sex play, violence and scientific exploration all merge in hybrid botanical drawings, that are at once beautiful and disturbing, erotic and fanciful

Lovebird # 6 julia randall The Lovebirds take the fetishisation of animals to the extreme. Various exotic birds are depicted with heads and beaks that have morphed into mouths and tongues. Reminiscent of wind-up toys redesigned for human pleasure, these wacky and disturbing hybrids leave the world of Audubon, and tweak our desire to capture and consume exoticism.

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mona mona mona! l.p i need to come up with a symbol this good

Museum of Old and New Art THIS GUSHY ARTICLE WAS WRITTEN BY Da-

constructing a gallery at his Moorilla Estate winery

court conspicuously occupies the foreground. The

vid Neustein, Sydney editor of Archi-

in Hobart, dedicated to the themes of sex and death

court is not an artwork. It is there because Walsh

tectural Review Australia. I also have

(by which he claimed all art was inspired). Asked

likes tennis. The two approaches to the museum

fallen in love, having recently visited David Walsh’s

the journalist: ‘What will you do if no one comes?’

speak volumes about his relationship to his home-

MONA in Tasmania . I share Neustein’s opinion on

Walsh responded that this would be fine. He would

town Hobart and his simultaneous need for recog-

this Fender Katsalidis designed building and cant

simply switch off the air-conditioning system, open

nition and autonomy. Research curator, Delia Nich-

get enough.

a bottle of wine, and enjoy watching the art rot on

olls, describes MONA as a ‘peninsula complex’, but

the walls. I immediately thought of Gail Wynand,

the term could apply equally to Walsh’s persona.

the eccentric and ruthless newspaper magnate in

Having grown up in ‘a council flat on the wrong side

Disclosure: I love David Walsh. I love him like

Ayn Rand’s novel The Fountainhead. Wynand, like

of [Hobart’s] Mount Wellington’, he feels the need

a 12-year-old girl loves Justin Bieber: from a

Walsh, is an autodidact and self-made man. He has

to both celebrate the magnitude of his accomplish-

distance, with cartoon hearts for eyes. I love

an idiosyncratic collection of art that he displays

ment and remain true to his roots. Walsh tells me

him for being arrogant, single-minded and

for his pleasure alone: ‘The top floor of the building

that his is the first new jetty on the Derwent ‘in a

unapologetically intellectual, and for build-

under his penthouse was his private art gallery. It

very long time’, and that he’d happily now demol-

ing an institution that will shake the conser-

was locked. He had never admitted anyone, except

ish the museum and just enjoy access to the river.

vative foundations of Australian culture. The

the caretaker.’ Walsh, however, has never intended

Like its site on a peninsula in suburban Berriedale,

tone of this article, which reviews Walsh’s newly

for his gallery to be hidden away. In the late 1990s

MONA is an island of aspiration that remains teth-

opened art museum, will therefore be biased. It will

he opened a small antiquities museum at Moorilla,

ered to the mainland.

not match the standard of dispassionate architec-

within a house designed by modernist architect Roy

tural writing that you might expect from an estab-

Grounds. No one came, says Walsh, so he decided

On the far side of the tennis court, a mirrored portal

lished journal such as this. I visited Walsh’s MONA,

to build something bigger. ‘I started something and

attached to the 1958 Roy Grounds house announc-

the Museum of Old and New Art, a month before

then I got carried away a bit,’ he quips.

es the entry. The spiral staircase that descends, like

•

•

•

a corkscrew in a bottle, from the courtyard of the

it opened to the public. The art was half-installed.

A giant celestial painting by Anselm Kiefer lay on

Arriving by ferry from Hobart, gridded concrete

house, through a glass cylinder, and into the subter-

its side. In the library, workers furiously trowelled

walls, punctuated by Corten steel battlements, loom

ranean museum, was closed during construction.

grout. I have since spent months deciding what to

over the Derwent River. From the jetty, a flight of

So at the outset of my MONA visit I had to enter

write about it. This is because there is far too much

steps rises dramatically within a sandstone cutting.

via the loading dock, donning hardhat and vest. At

to write, too many narratives and details and pithy

The steep path to the temple atop the Greek island

the bottom of a seemingly endless flight of stairs, I

quotes. My editor was pulling his hair out.

of Naxos, says Walsh, inspired this sequence. If you

emerged into a dark, lofty space contained by walls

instead arrive from the winery, only the protruding

of sheer rock. It is like going down into Petra, or al-

parapets of the river walls are visible. Tucked in be-

ternatively, like entering a mine. Rock clamps pro-

hind the winery’s sheds, this aspect of the museum

trude from the 20-metre-tall sandstone walls, >>

I first learned of MONA three or four years ago. David Walsh, stated a magazine story, was the multimillionaire owner of a gambling syndicate; he was

is deliberately underwhelming. A synthetic tennis

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>> while the foundations of the house above are

however, Walsh sought a ‘sense of danger’ that

demanding that stones in a rebuilt retaining wall be

exposed, seemingly hanging overhead. Contrasting

would enliven the experience of viewing art. His

reordered. For his part, Katsalidis appears to have

with the raw rock is the precise geometry of a con-

dark and labyrinthine institution is about as menac-

toned down his typically expressive, sculptural

crete waffle slab ceiling, which flattens, folds, or is

ing as a public space can be. A trip to Kiefer’s (now

style. Reminiscent of Steven Holl’s Simmons Hall

thickened by beams in accordance with the gravita-

former) house and studio in the South of France in-

student centre at MIT, the repeated grid element

tional loads above.

spired MONA’s ominous atmosphere. Walsh vividly

that defines the ceiling and river walls, while nev-

recalls the house’s underground tunnels, its ‘horri-

er monotonous, is certainly more monolithic than

At the foot of the spiral staircase, the museum

fying and beautiful’ walls of raw earth. Another key

much of Katsalidis’ recent work. Walsh paraphras-

lobby hosts a charred timber bar and a collection

reference was Paris’ Palais de Tokyo, a 1937 pavil-

es the architect’s ethos, saying that, ‘the best archi-

of eclectic furnishings. Behind a frayed curtain by

ion that was converted into a museum by architects

tecture is a site in chaos, trying to bring it together.’

Melbourne artist Julia deVille, is a columbarium

Lacaton and Vassal in 2003. The architects chose

MONA reflects the singular bringing together of a

in which urns containing the ashes of Walsh’s fa-

to preserve the pavilion in a state of elegant decay,

cacophony of ideas and influences. Soaring, con-

ther and brother are installed. MONA’s vast 6500

like an artists’ squat, setting the scene for uncon-

founding, and full of memorable spaces, MONA is

square metre subterranean gallery space extends

ventional contemporary art. ‘A museum has to fol-

testament to a productive collaboration.

over three levels, but has no windows. With its ma-

low codes, it has to have a certain amount of polish,’

cabre contents (including the urns, an Egyptian

Walsh laments. While there are certainly handrails

‘David doesn’t like to hide anything,’ says Nicholls.

mummy in a sarcophagus, rotting beef carcasses

and exit signs at MONA, lighting is kept to a mini-

This is why, on the intermediate level that houses

and a mutilated corpse sculpture by the infamous

mum, surfaces are often painted black and shadowy

the building’s ventilation system, visitors can enter

Chapman brothers), you could describe the muse-

corners abound. Visitors are given an iPod touch,

a cage to view the mechanical services at work. Mo-

um as a sort of catacomb. However, as the sounds

rather than a spool of thread, to find their way.

nanism is a play on the word onanism, or masturba-

of power drills and warning tones echoed, the im-

tion. Unlike the reclusive Wynand, Walsh has here

age of the mine lingered. This impression was only

Playing Daedalus to Walsh’s Minos, Imhotep to his

laid himself bare. The exhibition both acknowledg-

strengthened by the discovery of a round tunnel,

Djoser, is architect, Nonda Katsalidis. Katsalidis

es the self-involvement that underlies his vision,

like a storm drain or a Mexican smuggling shaft,

was commissioned to design the museum following

and sincerely attempts to share his unflinching

leading to the library. It seemed appropriate in

a suitably maze-like schematic design by young Mel-

worldview, predicated on ‘spirituality without the

Tasmania, a state with a long history of resource

bourne practice, Tandem Design Studio. The entre-

undercurrent of belief’. In person, Walsh was less

extraction and exploitation, that Walsh should be

preneur and architect became friends after Walsh

gruff and autistic than his mythology had led me to

digging his artefacts out of the ground. Or perhaps

moved into the penthouse of Katsalidis’ Republic

believe. He was disarmingly forthright in answer-

MONA attempts a prehistory, going below the bed-

apartment building in Melbourne. ‘He is the great-

ing questions. When I suggested that many in the

rock to an authentic stratum of Australian culture.

est architect in the world for my purposes, in terms

art establishment would see Walsh’s new enterprise

The use of rusted metal throughout would seem to

of what I wanted to do,’ claims Walsh. ‘He doesn’t

as a shameless attempt to purchase credibility, he

confirm this interpretation. Connecting the muse-

build the same building over and over again.’ When

was unperturbed. ‘Let’s imagine that I was trying to

um’s three levels, a tortured Piranesian staircase is

I enquired about the pair’s creative relationship,

buy credibility and I did something interesting ac-

clad in Corten steel.

Walsh stated, ‘Most of this reflects Nonda and not

cidentally,’ he said. ‘Wouldn’t that be good anyway?

me.’ I countered that Katsalidis had said the exact

If I had too many drinks and built a gallery, would

Walsh says that he was forced to place his museum

opposite. ‘That’s because we’re both honest,’ Walsh

that be such a bad thing?’ •

underground to preserve the heritage setting of the

replied with a shrug. There is no question that this

two Roy Grounds houses on the property. He also

building has been jointly authored. During my visit,

says that he wanted to create an ‘anti-British Muse-

Walsh carefully scrutinised the construction and

um’, a building that could sneak up on visitors rath-

fitout. He made notes of paintings to be raised or

David Neustein is the Sydney editor of Architectur-

er than broadcast its presence. More importantly,

lowered, or dictated orders into his mobile phone,

al Review Australia.

internal mona david walsh basement levels 2 & 3

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Cloaca Professional Wim Delvoye It was built by Belgian artist Wim Delvoye to mimic the actions of the human digestive system. A series of glass receptacles hang in a row with the machine being “fed” twice a day on one end. The food is ground up “naturally,” the way it is in the human body, and the device produces feces on the clock at 2 p.m. at the other end.

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John Hejduk Hejduk’s text Vladivostok, is designed as a dictionary to read the architectural drawings that track a ten-year eastern journey from Venice and Berlin to Prague; from Riga, Lake Baikal, to Vladivostok on the Sea of Japan, this is the second volume of John Hejduk’s trilogy.

The reader is introduced to the cast of iconographic sketches named in english and in russian. These icons identify the architectural subject within the frame of the drawing in order of appearance. A text introduces each structure within the masque of the book, incorporating fiction, expository writings, descriptive prose, and poetry, until text runs out and the icons become words.

These projects are a new a approach to urban form—an intensive investigation of programs that are a catalyst for an architecture deeply concerned with the metaphysics of objects and subjects, and their associations with a place. The projects include designs for such structures as The Museum for the Preservation of Icons, Buildings of the Informers, The Ministry of Culture, among others...

“The journey I have been on for the past ten years followed an eastern route starting at Venice, then moving north to Berlin through Prague, then northeast to Riga, from Riga Eastward to Lake Baikal and then on to Vladivostok. This has been, and is, a long journey.

Bodies of water mark the trek. Venice of the Adriatic, the lagoons, the Venetian canals, the river Vitava of Prague with its echoes of Rilke and Kafka, the waterways of Berlin, the Gulf of Riga, Lake Baikal, and the Sea of japan in Valdivostok. The elements giving off their particular atmospheres, and sounds, impregnate my soul with the spirit of place, place actual…place imagined.

The works from this journey are named and form trilogies.

In Venice; The Cemetery of Ashes of Thought The Silent Witnesses and The 13 Watchtowers of Cannaregio In Berlin; Berlin Masque Victims, and Berlin Night In Russia; Riga, Lake Baikal, and Vladivostok [ ] I state the above to indicate the nature of a practice. [ ] I have established a repertoire of objects/subjects, and this troupe accompanies me from city to city, from place to place, to cities I have been to and to cities I have not visited. The cast presents itself to a city and its inhabitants. Some of the objects are built and remain in the city; some are built for a time, then are dismantled and disappear;some are built, dismantled and move on to another city where they are reconstructed.

I believe that this method/practice is a new way of approaching the architecture of a city and of giving proper respect to a city’s inhabitants.

It confronts a pathology head-on”

- John Hejduk, 1989

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reaper’s house john hejduk the upper elevation of the house is a series of rotating blades which move the mechanism of a pendulum. the blades complete one arched cycle in a year. a 24-hour-glass is suspended on the side of the reaper’s house. the prime shape of the house is like that of a metronome, with its section exposed. the reaper sleeps at grade level. his privaTE LIBRARY CONSISTS OF THE HISTORY OF REAPERS. DIFFICULT TO TRACE THEIR ORIGINS...

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old farmer’s house john hejduk berlin house of the eldest citizen modified to the lancaster/hanover masque.

animal hospital john hejduk a modified animal barn, with an entry ramp running along one side. the ramp is based on those of the chicago stock yards. the veterinarian’s house is elevated, directly on the the side of the ramp. a small section of his house bridges over the entry ramp, which is divided into a series of locks. when an emerging animal is below this bridge it is locked within two gates. the veterinarian then examines incoming stock. after inspection the locK gate opens and the animal continues along the ramp into the barn and into a stall for treatment. the veterinarian wears white gloves, a blue smock and a red mask when examining the animals. he insists on the stricT maintenance of barn hardware. he is loved by the farmers and feared by the animals.

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MARKET john hejduk THE PLAN IS AXONOMETRIC. THERE IS NO OTHER LIKE IT. THE MERCHANT BUYS WHOLESALE, SELLS RETAIL. THE FARM IS CONSIDERED A COOPERATIVE BY THOSE IN POWER. THE MERCHANT IS PART OF THE LIFE ON THE FARM. HIS HANDlING OF GOODS IS A LINKAGE. THE CONCEPT OF AN ISOMETRIC PLAN CAME FROM HIS INTEREST IN THE PROBLEM OF FORESHORTENING. THE REMBRANDT PAINTING OF AN AUTOPSY EXPOSED THE PHENOMENON OF A CONVEX CHEST CAVITY (PAIN HAS NO MEMORY). HE SPECULATED ON THE SIZES OF THE FOOD CELLS DRAWN IN PLAN TO APPEAR AS ISOMETRIC. HE DEVELOPED THE IDEA OF A COMPRESSED VEGETABLE STAND. THE VEGETABLES AND FRUIT ARE NORMAL SIZE BUT SEEM TO BE MAGNIFIED BY THE TILT. HE HAS NEVER VISITED NEW ORLEANS YET IS ABLE TO SKETCH its PLAN FROM MEMORY. HE SUSPECTS PERSPECTIVE. HE CANNOT ACCEPT ITS SUCTION. HE PROVES THAT THE WORLD IS FLAT BY CRUSHING BEER CANS WITH THE STUMP OF HIS ARM.

HOUSE OF THE SUICIDE john hejduk STRUCTURE: MADE OF STEEL PANELS- PAINTED WHITE ENAMEL. THERE IS AN EYE SLIT IN ONE ELEVATION. A DOOR IN THE OTHER. ROOF MADE OF VERTICAL VOLUMETRIC TRIANGULAR SLIVERS DIMINISHING TO A TINY TOP OPENING. HE LIKED TO WATCH THE POINTS OF LIGHT MOVE ALONG THE WALLS AND FLOOR. THE FARM COMMUNITY SEALED UP THE DOOR BY WELDING. WHEN ALIVE HE WAS OBSESSED WITH CéZANNE. HE Believed THAT THE FARM PUBLIC MISSED ESSENTIAL AND IMPORTANT CHARACTERISTICS ABOUT CéZANNE. HE FELT THAT CéZANNE DIDNOT WANT TO BE TOUCHED. THE SUiCIDE COULD EVEN IMAGINE THAT CéZANNE IN HIS PRIVACY PUT ON WHITE GLOVES THAT BUTTONED DOWN THE INNER WRIST. HE KNEW THAT CéZANNE DEALT WITH THE MAJOR THEMES OF MURDER, RAPE, INCEST, FEAR, FOREBODING, VOLUPTUOUSNESS, SUICIDE, SEXUALITY AND NATURES SILENT HORROR.

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THE THIRTEEN WATCHTOWERS OF CANNAREGIO john hejduk, 1978 INK ON PAPER. COLLECTION OF THE ARCHITECT

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B 018 BERNARD KHOURY B 018 is a music club, a place of nocturnal survival. In the early months of 1998, the B 018 moved to the “Quarantaine”, on a site that was better known for its macabre aura. The “Quarantaine” is located at the proximity of the port of Beirut. During the French protectorate, it was a place of quarantine for arriving crews. In the recent war it became the abode of Palestinian, Kurdish and South Lebanese refugees (20,000 in 1975). In January 1976, local militia men launched a radical attack that completely wiped out the area. The slums were demolished along with the kilometer long bordering wall that isolated the zone from the city. Over twenty years later, the scars of war are still perceptible through the disparity between the scarce urban fabric of the area and the densely populated neighborhoods located across the highway that borders the zone. The B 018 project is, first of all, a reaction to difficult and explosive conditions that are inherent to the history of its location and the contradictions that are implied by the implementation of an entertainment program on such a site. B 018 refuses to participate to the naïve amnesia that governs the post-war reconstruction efforts. The project is built below ground. Its façade is pressed into the ground to avoid the over exposure of a mass that could act as a rhetorical monument. The building is embedded in a circular concrete disc slightly above tarmac level. At rest, it is almost invisible. It comes to life in the late hours of the night when its articulated roof structure constructed in heavy metal retracts hydraulically. The opening of the roof exposes the club to the world above and reveals the cityscape as an urban backdrop to the patrons below. Its closing translates a voluntary disappearance, a gesture of recess. The building is encircled by concrete and tarmac rings.

The automobiles’ circular travel around the club and the concentric parking spots frame the building in a carousel formation. At night, the continuous motion of the visitors’ cars animates the parking and becomes an integral element of the club’s scenario. The entrance is located at the south end of the low-lying metal construction where a stair leads to two concessive “airlock” spaces manned by scowling bouncers. Strewn across the concrete pavement floor of the underground hall, the sofas with collapsible backs serve as elevated dancing surfaces that stage the performers

Bernard Khoury

Co-founder of "Beirut Flight Architects", concerned with architecture and design.

Behind numerous experimental projects including "Evolving Scars", implemented in 1993 in the form of recovery and progressive modification of war-damaged buildings in Beirut. Alongside his theoretical projects, Khoury proposes ways of implementing and developing them in practical projects and proposals for construction. He is in charge of the conversion of Berlin's Pfefferberg complex and construction of various additions. Khoury has served a quite a strong influence in my work. I’m a big fan.

“I don’t love architecture, I think this is the right answer to your question. Well, of course I like architecture: saying that I don’t love is definitely too much, but I think that in this situation, just like in many other situations, I belong to that group of people who believe that sometimes we should free ourselves a bit from the “constraints of architecture” and from what I consider the failure of our “medium” especially at the end of the 20th century. I think that I have worked with very unrefined and very basic means; there’s not any architectonic sophistication in this project, probably there is some technical virtuosity, there are some gestures which are a little bit gratuitous, but I’m not worried by them. There’s not any complexity in the writing of this building. I believe that my future works - those that I am going to start - enter this way of thinking as well” - Bernard Khoury

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centrale BERNARD KHOURY The Centrale project is housed in a recuperated ruin of a 1920’s residential structure that is placed under historical protection. It is located in an area that was deserted during the civil war due to its proximity to the demarcation line that separated east and west Beirut. To the vicinity of the site is the Beirut Central District historical quarters that have been subject to a general rehabilitation scheme through which the formal features of ottoman, colonial and other various influences were restored to their “original” state. For the purpose of implementing the required space for the restaurant within the remains of the existing house, the internal partitioning walls of the building and the slab of the first floor level had to be demolished. In the process of voiding out the interior of the existing structure, the outer envelope of the house had to be reinforced by placing horizontal beams that embrace the skin from the outer perimeter of the façade.

Our rehabilitation scheme implements this temporary process in the final configuration of the edifice. The steel beams used in the temporary reinforcement process are preserved. They now imply a new reading of the non-restored façade. Furthermore, we chose not to re-plaster the damaged facade, as it would have been the case in a traditional rehabilitation, instead, it is covered with a metallic mesh behind which the plaster finishing of the old façade remains in a state of decomposition.

The mesh now enhances the poetic dimension of decay.

centrale BERNARD KHOURY In the double volume of the main hall lies one central table. The service personnel remains trapped inside the table and communicate directly through a flight of stairs with the kitchen underground. Every dish on the table is lit with its own pilot lamp. Such a formal aspect - similar to a conference table for a general assembly - is further enhanced by the proportions of the high back chairs that line the table to insure the secrecy of the assembly.

Above the main hall, structural beams inscribe a circular section that inhabits a 17m-long bar. The beams also serve as tracks for the rotating movement of the cylindrical envelope of the bar space. The construction process of the Centrale project relied heavily on the know-how of the local craft industry. Low-tech and non-standard techniques were particularly in use in the metal works. This is part of a more general concern we have with the making of architecture. It is a reaction to the prevalent construction industry that relies on standardized modes of production and an attempt to escape the typical process of construction by re-enacting traditional ways of making.

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the slaughterhouse jemima manton The pig in this project acts as both the commodified object and metaphor for human body, as well practical implementation and use in Avant guard medical research and the everyday object. This end of the red market focuses on the existing industrial and mechanistic materiality. The slaughter house is located next to the copper counterweights that are formatted in a way that suggest the alter of a church.

They act as visual acknowledgment and offer a subjective conscience to the project with their movement signifying the delivery of the consumerable pig

poster #1 jemima manton developed design submission

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the ‘veil’ jemima manton The main stair that extends from the counterweight to the arcade and surgery below is veiled by a suspended mesh canopy. Passing under the cantilevered bar space, the mesh canopy conceals the user until very nearly, but not quite, the end of their decent to their desired destination

gates to the clinics jemima manton The Redmarket is designed parallel to Walter Benjamin’s 19th century Parisian Arcades and plays on the associated notion of a store fronts acting as false façades and masking other program [it was widely known that the arcades paraded as millinery shops but truly acted as brothels]

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main bar [trough bar] jemima manton The main bar cantilevers over the void of the arcade and is situated right above the entry to the clinics. The bar punctures the mechanistic and dominating space with lush and tactile ornamentation. The bar is veiled with rope curtains that mask and constrain the space. The rope also symbiotically denotes a revealing as the curtain is manipulated by the user; peeking through the rope curtains into the void reveals to the clinic and arcade user that they are in fact, being watched.

the long bar jemima manton the long bar joins the main bar via a concealed stair. it is wedged between the new and old structures. it is open to the elements.

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GROUND LEVEL: DRAWING BY JEMIMA MANTON

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BASEMENT LEVEL 1: DRAWING BY JEMIMA MANTON

Developed model jemima manton the redmarket in relation to the whole site and the rail

detailed Developed model jemima manton detail of the bar

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Architecturally Humane Animal Slaughter Dr. Temple Grandin has been a thought leader in both the animal agriculture and autism realms for decades. Grandin, the world’s most well-known autistic person, is a New York Times best-selling author, a professor of animal science, a consultant to the leading food companies, and a noted speaker on animal behavior and autism. She attributes her success in improving humane handling systems for livestock, systems that now impact around half the cattle in North America, to her different way of thinking. “As a person with autism, it is easy for me to understand how animals think because my thinking processes are like an animal’s,” she says.

Curved walls; no-slip floors; no 90-degree corners; adjustable ramps not steeper than 25 degrees. These design guidelines sound like they could belong to any progressive architecture agency, but in fact they're rules intended for structures that house animals.

Dr. Grandin designs facilities for both efficiency and the reduction of animal stress, and the U.S., Canada, Mexico, Europe, Australia, and New Zealand are all populated with structures of her design

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SHOW PIGS EXPORT PIGS KILLED AT NEWCASTLE ABATTOIR, 1938 courtEsy of newcastle university archives

Consuming Pigs Christien Meindertsma ‘Pig 05049’ Christien Meindertsma has spent three years researching all the products made from a single pig. Amongst some of the more unexpected results were: Ammunition, medicine, photo paper, heart valves, brakes, chewing gum, porcelain, cosmetics, cigarettes, conditioner and even bio diesel.

Meindertsma makes the subject more approachable by reducing everything to the scale of one animal. After it's death, Pig number 05049 was shipped in parts throughout the world. Some products remain close to their original form and function while others diverge dramatically. In an almost surgical way a pig is dissected in the pages of the book - resulting in a startling photo book where all the products are shown at their true scale (1:1).

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185 CONSUMERables pig 05049 heart valves, automobile paint, to ammunition, train brakes, soap and washing powder, bone china, and cigarettes

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all animals are equal, but some animals are more equal than others man serves the interests of no creature except himself Man is the only real enemy we have. Remove Man from the scene, and the root cause of hunger and overwork is abolished for ever. Man is the only creature that consumes without producing. He does not give milk, he does not lay eggs, he is too weak to pull the plough, he cannot run fast enough to catch rabbits. Yet he is lord of all the animals. He sets them to work, he gives back to them the bare minimum that will prevent them from starving, and the rest he keeps for himself.

- geprge orwell, Animal farm, chapter 1

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Apparatus for catching and suspending hogs 1882 ‘The hog M acts as a decoy for the others, and much time and labor are thus saved.’ (U.S. Patent 252,112, 10 January, 1882).”

Mechanization Takes Command: A Contribution to Anonymous History Siefried Giedion In 1948, Swiss art historian Sigfried Giedion published Mechanization Takes Command, an epic investigation into the origins, evolution, and impact of mechanisation on human civilisation.

Subtitled “A Contribution To Anonymous History,” the book draws on patent drawings, promotional leaflets, and even business cards to piece together the incursion of machines into domestic, agricultural, and industrial space.

Along the way, Giedion makes a passionate plea for the preservation of such ephemera, as his already enormous task was made nearly impossible in places due to “an amazing historical blindness” that “has prevented the preservation of important historical documents, of models, manufacturer’s records, catalogues, advertising leaflets, and so on.”

“Later periods,” he concludes, “will not understand these acts of destruction, this murder of history.”

Following a short but fascinating sketch of the “Springs of Mechanization” analysed in terms of attitudes to movement over time (from the representation of movement in the fourteenth century to its “capture” in the nineteenth century), and a thorough casestudy of the process of mechanisation in bank locks, starring Linus Yale, Giedion embarks on the meat — quite literally — of the book. In an amazingly titled section, “Mechanization Encounters The Organic,” he covers “Reaping Mechanized,” “The Oven and the Endless Belt,” and “The Mechanization of Death,” “How did mechanization alter the structure of bread and the taste of the consumer?” Giedion asks. “What are mechanization’s limits in dealing with so complex an organism as the animal? And how does the elimination of a complicated craft — such as the butcher’s — proceed?”

After tracing its conceptual forebears back to Oliver Evans’ grist mill, the British sea-biscuit factory, and “J.G. Bodmer’s layout of a Manchester machine tool factory,” Giedion explains that the pork packing industry saw “the birth of the modern assembly line,” in large part because the devices invented to mechanise slaughter “proved, with few exceptions, unfit for practical use.”

“Even when dead, the hog largely refuses to submit to the machine,” as Giedion puts it.

The machines invented in an attempt to tame the hog nonetheless provide some of the book’s most captivating illustrations — an array of devices that conjure up Rube Goldberg and medieval torture chambers simultaneously.

MECHANIZATION AND DEATH: MEAT Centralization and Handicraft: Paris, the Slaughterhouse of La Villette (1863-7) The prefect of the Seine Department, George Eugene Haussmann, so wielded his almost dictatorial powers that in the space of seventeen years he changed the whole aspect of Paris and recast its technical organisation from top to bottom. After the steps initiated by Napoleon 1, the city had failed to keep pace with the times; Haussmann transformed Pris into a 19th century metropolis.

He was the first to perceive the city primarily as a problem in engineering and organisation. In keeping with his foresight and his preference for large scale, he did not hesitate to provide, in his master plan, for a central slaughterhouse demanding an outlay of 23 million francs. And this he accomplished while his downfall was being openly contrived at every step. He began the building in 1863, opening it 1 January 1867, the year of the lavish International Exposition; yet the installation was not complete when the second Empire collapsed.

It was the first slaughterhouse to cater to a population of millions. Its lairages, as Haussmann pointed out, could accommodate ‘the number of beasts needed for Parisian consumption over a period of several days’.

The operations of the butcher, slaughtering by handicraft methods, are often so merged into one another as to be difficult to separate. As soon as mass production was used to turn the live animal into salable meat, sharp and thorough division into single operations be came necessary, as in all mechanization. This interest in the rapid conversion of the animal into meat centered first from around the pig.

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hyperbole is something i’d better avoid terry Gilliam This style was born half out of necessity and half out of inspiration. When he was living in New York, he had the opportunity to see ‘Death Breath’ (1964, Stan van der Beek). This simple, short, stop-motion animation featured Richard Nixon, in photographic form, trying to talk with a foot in his mouth. The simplistic surrealness of it made a significant impact on Gilliam.

Terry Gilliam’s Animated Shorts The animated shorts that Gilliam created are organic pieces, moving along with a twisted purpose. The actions of the animation may appear outrageous to the viewer but the objects performing these actions do them in a logical and completely realized (for them) way. This only renders them even more absurd. Each object and action are unrelated and yet related to the animation preceding it through some sort of (often-incidental) link. An item in one scene (say a car) will play a background part and then open up to be the lead for the next scene. He often creates fully realized stop motion colleges full of images that may seem unrelated to each other but are in fact part of a larger action.

If you really watch a Gilliam animation, you'll pick up the incredible detail he layers his frames with. This detail helps tie all of the pieces together while providing a richness to each individual segment. This detail also helps to visually sell the joke and makes the action seem that much more absurd. When you're viewing Donald Duck, you prepare yourself for a certain reaction because of the unreality of the situation. When you view a criminal standing in a darkened alleyway (in animation), you're not sure how to prepare yourself because of the reality of the images. You're thrown even further when the criminal jumps in front of an innocent man and demands that he raise his arms. After a moment, the man raises his left arm, than his right one, than another left and another right and another left and so on and on. And as the arms keep raising, your emotions go from unease to humor as the absurdity of the situation goes on. This is the genius of Gilliam, being able to take a situation and play it in a number of ways before taking it in a completely unexpected direction.

Another mark of Gilliam's animations is that they often focus on the macabre. He underpins his animations with a dark undertone (using skulls, monsters, etc.) to provide the viewer a sense of uneasiness and to heighten the disorientation that the animation may invoke. The actions of theses (macabre) films still elicit a smile but it's a smile tinged with nervousness.

An example of Gilliam's use of the macabre can be found in one episode where a live action actor visits the 'Home for the Sever OverActor'. Behind one door he finds four Gilliam animated figures dressed as Shakespearean actors reciting 'To be or not to be.' As they chant this over and over, they proceed to open their heads, remove their skulls and give the speech to them. Then they remove their heads, place the skulls on their shoulders and speak from skull to head.

'The job of an animator is to inject humanity into the bits and bytes of pixels.' - Terry Gilliam On December 5, 1974 the last of 45 episodes of 'Monty Python' aired. The group was not out of work for long though as that same year they created their first original feature film 'Monty Python and the Holy Grail'. For fans of Gilliams' animations, this was a good/bad situation. Good because Gilliam contributed several animated sequencesto the film (including some inspired appearances

by God, which are both reverential and absurd), bad because he also was co-director of the film.It's not to say that his direction was poor, rather it's that this first foray into live action direction sparked his creativity in a completely new way. (Holy Grail was not Gilliam's first foray into film though, in 1969 he created the opening animated title sequence for the forgettable Vincent Price film 'Cry of the Banshee')

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I hate being dragged into genres. I like movies that are full of a lot of conflicting and interesting things terry Gilliam ww People used to think we just faked all that stuff... it was all written, rehearsed. The fact that it looks as cobbled together as it does is just that we weren’t very good.

Hello, good evening and welcome to the middle of the film. terry Gilliam Actually, I began to think that maybe there is a god, after all. Or maybe it’s a different one. The old one got fired.

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American Psycho Writen by Bret Easton Ellis, 1991 Directed by Mary Harron, 2000

“I live in the American Gardens Building on W. 81st Street on the 11th floor. My name is Patrick Bateman. I'm 27 years old. I believe in taking care of myself and a balanced diet and rigorous exercise routine. In the morning if my face is a little puffy I'll put on an ice pack while doing stomach crunches.

I can do 1000 now.

After I remove the ice pack I use a deep pore cleanser lotion. In the shower I use a water activated gel cleanser, then a honey almond body scrub, and on the face an exfoliating gel scrub. Then I apply an herb-mint facial mask which I leave on for 10 minutes while I prepare the rest of my routine. I always use an after shave lotion with little or no alcohol, because alcohol dries your face out and makes you look older. Then moisturizer, then an anti-aging eye balm followed by a final moisturizing protective lotion.�

- Patrick Bateman [Christian Bale]

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Bret Easton Ellis’ American Psycho

assured, Bateman is an ironic personification of the

and the audience gets the impression that they are,

(1991) is his second novel adapted for

Wall Street Übermensch. The director Mary Har-

at least partly, figments of his imagination. Yet, in-

the screen. American Psycho is one of

ron (I Shot Andy Warhol [1996]) shows Bateman

stead of playing with audiences’ expectations, or

the most significant works of late

spending his working hours watching television,

drawing clear demarcation lines between fiction

20th century American literature. It

browsing through pornographic magazines, and or-

and ‘reality,’ Ellis examines the narratives that form

recreates the social landscape of the 1980s, a world

ganising drinks and restaurant bookings with rich

the culture and society in which the gruesome acts

in decline with little or no moral complexity, a so-

socialites and business partners. In this claustro-

of violence, committed in fits of narcissistic rage,

ciety based on monetary power and preoccupied

phobic environment, marred by emptiness and ob-

by excessive consumption, pragmatism and

sessed by greed, relentless competition, hedonism

When Bateman meets other people he al-

conformity. American Psycho is first and foremost

and desire for stimulation, a business card is the

ways describes the clothes they wear, names

a period work about urban life in the 1980s, seen

sole evidence of spiritual and emotional identity,

their brands. The clothes become more impor-

through the eyes of a serial killer. Nevertheless, El-

and the ability to book a table at a high class res-

tant than the person wearing them for everybody

lis’ satirical social commentary also suggests nu-

taurant brings a triumphant sense of achievement.

in American Psycho seems to be empty, the clothes

merous contemporary resonances of the not so dis-

Faceless and desensitised, bereft of love, family or

stand for the persons. The surface matters in Bate-

tant era in which the novel is situated, revealing the

real friends, Bateman is obsessed by physical per-

man’s materialist New York. Bateman excessively

continuous decline of the culture that has blatantly

fection and preoccupied by the desire to ‘fit in,’ des-

works out, he follows a healthy diet to shape his

traded its vision for the trinkets of late capitalism.

perately trying to look and behave like every other

body in accordance with the common ideal of beau-

businessman in his circle. He succeeds in creating

ty. He buys paintings of Ornica to show to others

Ellis’ allegorical tale evokes familiar narrative mod-

a personality that blends in with his environment;

that he is interested in art (but he hangs one up-

els from the past. Georg Buchner’s 19th century

his friends and fiancee fail to notice the signs of

side down), he watches French movies he does not

play, Woycezk, and its successful 1980s re-incarna-

his psychotic behaviour and his lawyer can’t even

understand just because he thinks it is chic. This is

tion, David Mamet’s Edmond, also focus on a con-

recognise him. Bateman’s inability to disclose his

a run for a perfection that cannot be achieved by

fused, violent and misogynic male character who

emotional self and control his urges, transforms

human beings. In fact objects work better than hu-

embodies societal contradictions and fails to con-

him into a psychotic murderer, randomly targeting

man beings:” ‘Few things perform in life as well as

trol his unleashed, rage-filled aggression. However,

his acquaintances, unknown females, prostitutes,

a Kenwood’” , emphasises Preston, a pal of Bate-

unlike his theatrical predecessors, Ellis uses his

the homeless, destitute and unprotected. As Chris-

man’s. Bret Easton Ellis about his book:

central protagonist’s inability to control his violent

topher Lehmann-Haupt of The New York Times

urges to create a revealing portrait of a late 20th

noted, “Patrick Bateman lives in a morally

Surface, surface, surface was all that anyone found

century monster, an allegorical figure of the Ameri-

flat world in which clothes have more val-

meaning in... I was writing about a society in which

can Nightmare.

ue than skin, objects are worth more than

the surface became the only thing. Everything was

bones, and the human soul is something

surface - food, clothes - that is what defined people.

Patrick Bateman (Christian Bale), a 27 year old

to be sought with knives and hatchets and

So I wrote a book that is all surface action; no nar-

Manhattanite, is Vice President of the stockbroker

drills.” As the story progresses, the lack of narra-

rative, no characters to latch onto, flat, endlessly

firm, Pierce & Pierce. Perfectly groomed, outspo-

tive causality, the accompanying music, dialogue

repetitive. •

ken, dressed in designer clothes and seemingly self-

and artificiality of props and setting make Bate-

patrick bateman american psycho Well, you can always be thinner... look better.

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‘The Loves of Lady Purple’ Angela Carter

This beautifully written short story by Angela Carter was recommended to me in my Developed design critique by Richard Leplastrier. It poetically narrates the tale of a puppeteer and his once living ‘Shameless Oriental Venus’. ‘“She was the queen of the night. There were glass rubies in her head for eyes and her ferocious teeth, carved out of mother o’ pearl, were always on show for she had a permanent smile. Her face was as white as chalk because it was covered with the skin of the supplest white leather which also clothed her torso, jointed limps and complication of extremities. Her beautiful hands seemed more like weapons because her nails were so long, five inches of pointed tin enamelled scarlet, and she wore a wig of black hair arranged in a chignon more heavily elaborate than any human neck could have ever endured.”

“The Loves of Lady Purple” explores notions of objectification, power, erotic sexuality, consumption, excess and regret.

“Flesh was the speciality of the house and it came piping hot... All along the street, the women for sale, the mannequins of desire, were displayed in wicker cages so that potential customers could saunter past inspecting them at leisure.”

0257 RAILWAY LANE

Technical “To belong to a given society is to know and use its codes for politeness, courtesy, affection, parley, negotiation, trading, and so on- as also for the declaration of hostilities.”

- Lefebvre, ‘The Production of Space’, 1991. p. 215

0259 RAILWAY LANE

Peter Greenaway ‘Drowning by Numbers’ This film was used as precedent for both developed and technical design. I enjoyed the idea that counterweights within the Red Market would ‘measure’ something, cryptically. Readable only to those are ‘playing the game’.

The film's plot centers on three women — a grandmother, her daughter and her niece — each named Cissie Colpitts. As the story progresses each woman successively drowns her husband. The three Cissie Colpitts are played by Joan Plowright, Juliet Stevenson, and Joely Richardson. Bernard Hill plays the coroner Madgett, who is cajoled into covering up the three crimes.

The structure, with similar stories repeated three times, is reminiscent of a fairy tale, more specifically the Billy Goats Gruff, since Madgett is constantly promised greater rewards as he tries his luck with each of the Cissies in turn. The link to folklore is further established by Madgett's son Smut, who recites the rules of various unusual games played by the characters as if they were ancient traditions. Many of these games are invented for the film, including: Bees in the Trees Dawn Card Castles Deadman's Catch Flights of Fancy (or Reverse Strip Jump) The Great Death Game Hangman's Cricket The Hare and Hounds Sheep and Tides Number-counting, game rules and the plot's repetitions are devices that emphasize structure and symmetry in Drowning by Numbers. Through the course of the film the numbers 1 to 100 appear in order, sometimes seen in the background, sometimes spoken by the characters

0261 RAILWAY LANE

The film is about games, rituals, methods. The plot is less important than the curling, meandering way in which human foibles, and the systems we create, are explored. So arbitrary are the absurd conventions of these lotus-eaters that they lend a magnifying glass to our own rituals, practises, customs. Are we not equally absurd? Folly, frivolity, flippancy have never been so carefully woven into games that are so heedlessly played. Perhaps the nicest thing about this film is the richness and fullness of a world devoid of neuroticism and overly-psychoanalytic-self-reflective-mawkishness. Socrates told us that the unexamined life is not worth living, and perhaps this film shows us that examining, magnifying, classifying are worthwhile pursuits, but the plumpness and fat-suckling-pigness of life comes from pursuing life, and not your neuroses.

Foucault, in his 'The Order of Things', writes about a passage in Borges: "The passage quotes a 'certain Chinese encyclopaedia' in which it is written that 'animals are divided into: (a) belonging to the Emperor, (b) embalmed, (c) tame, (d) sucking pigs, (e) sirens, (f) fabulous, (g) stray dogs, (h) included in the present classification, (i) frenzied, (j) innumerable, (k) drawn with a very fine camelhair brush, (l) et cetera, (m) having just broken the water pitcher, (n) that from a long way off look like flies'....

It is not the 'fabulous' animals that are impossible, since they are designated as such, but the narrowness of the distance separating them from (and juxtaposing them to) the stray dogs, or the animals that from a long way off look like flies. What transgresses the boundaries of all imagination, of all possible thought, is simply that alphabetical series (a, b, c, d) which links each of those categories to all the others....

It appears that certain aphasiacs, when shown various differently coloured skins of wool on a table top, are consistently unable to arrange them into any coherent pattern; as though that simple rectangle were unable to serve in their case as a homogenous and neutral space in which things could be placed so as to display at the same time the continuous order of their identities or differences as well as the semantic field of their denomination. Within this simple space in which things are normally arranged and given names, the aphasiac will create a multiplicity of tiny fragmented regions in which nameless resemblances agglutinate things into unconnected islets; in one corner they will place the lightest-coloured skeins, in another the red ones, somewhere else those that are softest in texture, in yet another place the longest, or those that have a tinge of purpose or those that have been wound up into a ball. But no sooner have they been adumbrated than all these groupings dissolve again, for the field of identity that sustains them, however limited it may be, is still to wide not to be unstable; and so the sick mind continues to infinity, creating groups then dispersing them again, heaping up diverse similarities, destroying those that seem clearest, splitting up things that are identical, superimposing different criteria, frenziedly beginning all over again, becoming more and more disturbed, and teetering finally on the brink of anxiety."

Michel Foucault; Les Mots et les Choses / The Order of Things

The Rules of ‘Hangman’s Cricket’

“The object of Hangman’s Cricket is for each competitor to retain his allotted nine lives by scoring runs with the ‘Cat’, or bat, defending his lower leg from being struck by the ball. There is no limit to the number of players as long as each has an identity agreed by the two referees. Each identity has its own characteristic which must be obeyed.

The more important identities are the Emperor, the Widow, the Judge, the Hangman, the Ghost, the Red Queen, the Fat Lady, the Dunce, the Businessmen, the Adulterer, the Harlot, the Gravedigger, the Maiden, the Twins, the Chinaman, the Savage, the Cook, the General, the Prisoner, the Beggarman, the Thief and the Priest.

The full flavour of Hangman’s Cricket is best appreciated after the game has been played for several hours. By then every player has a fair understanding of the many rules and knows which character he wants to play permanently.

Finally an outright loser is found and is obliged to present himself to the Hangman…who is always merciless.”

0263 RAILWAY LANE

drowning by numbers peter greenaway The object of this game is to dare to fall with a noose around your neck from a place sufficiently high enough off the ground, such that the fall will hang you. The object of the game is to punish those who have caused great unhappiness by their selfish actions. This is the best game of all, because the winner is als the loser, and the judges decision is always final.

Counterweights and Measurement NOTE: Categorisation of type and result of procedure is displayed to a user privy to the information presented though the semiotics of the measuring weights. All measuring weights begin in a position flush with the alter top, and incrementally rise as numbers of surgeries within a particular category are preformed within the building. All measuring weights operate independent of each other and the three main counterweights. They are each constructed of a different material, but are identical in size and proportion. A layering of plates strung together with 15mm stainless steel rigging, separated with M40 stainless steel bolts acts as the measurement notches. Measurement is cyclical with and symbiotic with fashion seasons. (4 months per cycle). After which, the measuring weights will fall back flush with the alter and begin their rise again. Categorised data of surgeries that are a la mode is displayed.

Surgeries that may fall into each category are open to one’s own personal interpretation and attitudes.

Fertilise- created of rose gold plate. Wet gilded over a copper and steel carcass. Rose gold is a material that does not occur naturally and requires the artificial mixing of pure gold and copper, commonly at a 75/25 ratio. Gold is a highly coveted element within society.

Enlarge- vulcanised rubber layers of solid black rubber derived from latex. Rubber is the most expansive material on earth and when valcanised, deforms and reverts to original state Remove- constructed of 20mm clear sheets of toughened safety glass. A transparent and lustrous substance created from common silica combined with sodium oxide and calcium oxide, resulting in a transparent, unseen material that can also reflect, disperse and distract.

Tighten- constructed of 2x12mm sheets of plywood wrapped with 0.05mm sheets of aluminium, directly fixed. Aluminium is a metal that shrinks more than any other directly after manufacturing, up to 6.6%. It is highly malleable, light and corrosion resistant. However it marks easily and is often never found on its own due to its high rate reactivity.

Inject- formed from hollow bricks of unfinished lead. Highly toxic,lead accumulates in animal soft tissue and bones.

It has a high resistance to corrosion and tarnishes to dull grey where exposed to air. All radio active material becomes lead.

0265 RAILWAY LANE

M 1 A204

200

5,000

O

200

3,292

200

P

1,308

2,763

500

Q

1,737

5,478

181

R

319

2,535

S

300

440

T

884

U

V

6,245

351

300

W

500

60 1,600 340

X

354

1 A206

*REFER TO SHEET A206 PROPOSED RAIL PLATFORM AND SERVICES

135

*REFER TO SHEET A204 PROPOSED BOTOX AND SURGERY SUITES

N

871

5

1,710

65 986

G02 ML3

100

2,763

1,746

500

CT1

1 A600

G11 CT1

745

200

F A L L

2,220

2,219

285

285

1,932

1,932

285

283

464

285

283

600

1,935

1,934 965 600

1,935

950 600

285

1,934 200 400

400 9,569

G01 CPT1

3,095

G18 PCONC.2

5 A605

TEA ROOM CT

3

18

CT3

BAR

CCON

19

elf

SIDEWALK

sh

G02 ML1

J.05

EX

J.03

FW

FW

SEE A506 FOR BAR JOINARY DETAILS

D.G30

J.02

01 RE

COOLROOM

ENTRY TO BAR ABOVE

500

PREP COUNTER

1,715

FW

3

EX

W.G07

20

J.04

CT EX

CURB

elf

sh

1,215

CT2

3

elf

3,547

868

3,095

1 A400

RAMP UP 11°

sh

500

2 CT

BAR FOYER

elf

1 A504 W.G08

1,785

D.G02

ADMIN

G02 ML1

EX

W.G09

200

3

sh

EX

W.G10

LIFT 1

D.G01

CT

BS

CONSULT 1

G02 ML1

FW TO COMPLY WITH AS1428

D.G42

BS

CONSULT 2

G02 ML1

WC

16

1,900

2,100

6,312

FFL 0.400

D.G43

BS

OFFICE

D.G03

FIRE EGRESS.

CT

BS

WC

HYD

SKYLIGHT ABOVE

SKYLIGHT ABOVE

SKYLIGHT ABOVE

SKYLIGHT ABOVE

400 864

928

591

W.G07

FFL 0.400

FFL 0.800

D.G44

WC

FFL 0.400

1 A504

D.G45

D.G08

ACCESS BTH G17 CT1

COL

RECEPTION

1 A502

19

W.G01

D.G07

17

1 A503

G02 PCONC.2

FW

D.G06

D.G04

WC

1,166

PLASTIC SURGERY

FFL 0.800

PCONC.1

2 CT

2,217

ENTRY TO PLASTIC SURGERY

283 283

5,736

200

1,788

1,314

CCON

1 A501

UNISEX BTH G16 CT1 D.G05

COL 2,500

283 6,046

1,942

COL

283

566

1,935

FFL 0.800

283

J.01

W.G02

285

G15.5 PCONC.1

950

SHOP 1

UP

510

2,500

283

15 COL

FFL 0.300

2,627

285

600

1,935

283 1,934 283

285

FFL 0.800

950

J.01

FFL 0.400

W.G03

285

2,500

G15.4 PCONC.1

600

SS1

ENTRY TO 'BOTOX' AND INJECTABLES

SHOP 2

UP

2,215

MIR SS1

SKYLIGHT ABOVE

887

MIR

G15 CPT1

950

14

'ARCADE' 'VEILED' STAIRWAY FROM LEVEL ABOVE. RIDGED BRASS MESH VEIL TO BE STRUNG TO EXISTING TRAMSHED TRUSSES WITH STAINLESS STEEL WIRE AND HARDWEAR. SEE DETAIL SHEET A703.

COL

725

SKYLIGHT ABOVE

ENTRY AND EXIT TO IVF CLINIC

285

1,934

285

FFL 0.800

283

W.G04

935

G15.3 PCONC.1

1,390

2

1

3

7

4

5

6

2,500

SHOP 3

UP

MIR

283

13 2 A604

COL

J.01

MIR

1,436

FFL 0.800

285

283

J.01

COL

FFL 0.400

12

2,100

23

22

25

28

24

27

20

26

17

16

19

18

21

20

21 8

9

13

14

11

12

2,500

G15.2 PCONC.1

UP

1

W.G05

SHOP 4

TGSI

SS1

1,766 283 283

SS1

Y1 PL

FFL 0.600

21

3 2

COL

HYD

17

20

FFL 0.800

COL

4

1,474

G03 PCONC.2

16

18

COL

COL

3 A603

1,934

SKYLIGHT ABOVE

BOTOX

SKYLIGHT ABOVE

SKYLIGHT ABOVE

SKYLIGHT ABOVE

PLY1

SKYLIGHT ABOVE

SKYLIGHT ABOVE

SKYLIGHT ABOVE

SS1

283

SKYLIGHT ABOVE

SKYLIGHT ABOVE

SKYLIGHT ABOVE

1,607

J.01

6 5

1 A603

BAL1

IVF RECEPTION

PLY1

SKYLIGHT ABOVE

4,216 283 1,934

15

150

G15.1 PCONC.1

7

HYD

G04 ML2

SHOP 5

UP

10

D.G46

FFL 0.400

14

ELECTRICAL

D.G50

SEE A504 FOR ARCADE JOINARY DETAILS

9

15

PLY1

D.G47

PLY1

11

12 11

8

TGSI

FFL 3300

1,607

G05 ML2

200

RAMP UP

J.01

13

2 A603

COMMUNICATIONS

D.G51

FFL 0.400

CONSULT

TGSI

1,040

150

1,544

285

283 COL

10

6,653

HYD

SS1

17

14

PCONC.1

MECHANICAL

D.G52

D.G48

13

200

16

D.G53

CONSULT

BOTOX

1,685

18

15

G05 ML2

G04 ML2

1,452

19

TO COMPLY WITH AS1428

FW

1 A604

20

HYD

D.G54

PATIENT CHANGE

SHW

22

2,500

FW

10

23

BLACK ROPE CURTIN TO BE INSTALLED IN FASHION IDENTICALTO MAIN BAR. SEE BOTH A601AND A400

D.G55

G10 ECONC.1

2,590

25 24

D.G49

G02 CT1

26

FW

D.G56

ACCESS BTH

11

28 27

281

D.G57

9

29

FFL 0.400

SKYLIGHT ABOVE

SKYLIGHT ABOVE

PLY1

SKYLIGHT ABOVE

3,881

F01

LIFT 2

285

283

FFL 0.400 D.G59

EX

31 30

200

IVF LABS

2,100

D.G60

D.G58

FFL 0.400

FW

2,500

PLY2

G07 ML3

D.G61

VOID

1 A601

RECOVERY

1,934

STORAGE

2,211 250

PCONC.1

VOID

D.G63

D.G62

8

VOID

COUNTERWEIGHTS AND MEASUREMENT

D.G27

21

CURB

277 1,460

SIDEWALK

200

D.G64

12

500

500 227

VOID

D.G66

2,863

5,685

4,199

CT1

1 A600

VOID

600mm DEEP CUT OUT FOR COUNTERWEIGHT TENSION BLOCK COG

SS1

200

400

SS1

3,246

2,759

S T R E E T

200

1,949

TGSI

200

SS1

SS1

179

VOID

VOID

500 1,737

FFL 1700

'ALTER' RAISED 1300mm ABOVE FFL

SS1

8

VOID

1,162

261

HYD

CT1 REFRIGERATED STORAGE

2,500

2,166

FFL 0.400

MIR

VOID

VOID

F01

A N G E L

G08 ML3

CT1

VOID

3,875

ANAESTHETIC INDUCTION

PLY2

VOID

VOID

400

4,039

BAL1 D.G71

RE01

BOTTOM OF COUNTERWEIGHT POCKETS FFL-1500

9,843

HYD/GAS/RELEVENT SERVECES. SEE MECH ENGINEER

FW

1,035

500

VOID D.G67

PLY1

SS1

VOID

SS1

277 1,482

FFL 0.400

VOID

VOID

D.G65

FIRE EGRESS AND ACCESS TO EXTERNAL, ABOVE GROUND TERRACE.

392 1,005

D.G68

W.G06

MIR

7

150

200

D.G69

10

FFL 0.400

D.G28

FFL 0.400 D.G72

600

100 210

285

SS2

FFL 1600

1 A602 6

1,247

G13 PCONC.1

F01 FFL 0.500

SS1

EXISTING WALL ABOVE

210

913

FAT BANK

F01

MIR

962

HYD

D.G29

FFL 0.400

G09 ML3

325

G12 PCONC.1

OPERATING THEATRE

ST01

20 x 199 = 3,971

FAT LAB

OPEN TO SKY

720

FW

SS2

277

2,996

SKYLIGHT ABOVE

SS1

6

9

LIFT 3

1 A407 HYD

D.G70

D.G73

7

3,330

200

SET UP

F A L L

5

5 A605

738

F A L L

409

1,100

391

3,162

4,209

745

400

1,100

401

5,000

3,155

4,199

761

400

1,100

400

5,000

3,139

4,200

400

400

1,988

3,272

400

5,000

11,373

5,138

122

1,145

5,660

1,709

705

2,850

R A I L W A Y

918

844

1,625

1,985

1,793

1,718

2,635

925

911

2,643

705

868

1,632

2,854

1,616

1,632

2,854

595

200

395

400

2,227

L A N E

U

V

W

X

JCLM ARCHITECTURE

ACN 007 812 925 ABN 82 794 649 235 12 Henry St MEREWETHER NSW 2291

COMPLETION OF THE QUALITY ASSURANCE CHECKS IS VERIFICATION THAT THE DOCUMENT CONFORMS WITH THE REQUIREMENTS OF THE QUALITY PROJECT PLAN. WHERE THE QUALITY ASSURANCE CHECK IS INCOMPLETE THIS DOCUMENT IS PRELIMINARY FOR INFORMATION PURPOSES ONLY, OR SUCH PURPOSES AS STATED IN THE REVISION COLUMN. THE IDEAS, INFORMATION AND CONCEPTS CONTAINED IN THIS DOCUMENT ARE THE PROPERTY OF JEMIMA MANTON. PHOTOCOPYING OR REPRODUCING THIS DOCUMENT AND PASSING IT ONTO OTHERS WITHOUT THE EXPRESS PERMISSION OF JEMIMA MANTON IS AN INFRINGEMENT OF COPYRIGHT. ©

0

25mm

Ph : 0411702073 Fax : (02) 4963 4453 Email : jemima.manton@gmail.com Web Site : jemimamanton.com

40mm DIAMETER STAINLESS STEEL CONTINUOUS HANDRAIL CONTROL JOINT

COL

STRUCTURAL COLUMN

CPT

CHOLLETON 'FALL AMINSTER' WOVEN PATTERNED CARPET WITHOUT BOARDER.

CT1

EXISTING BUILDING TO BE RETAINED

WALL TYPES

###

WALL TYPES

CCON

D## #.##

PROPOSED DOOR NUMBER (REFER TO A800 SERIES)

W## #.##

PROPOSED WINDOW NUMBER (REFER TO A800 SERIES)

40mm RED IRON PIGMENT ADMIXTURE ON BOTH SIDES OF A 300mm STUD FRAME- SLAB TO SLAB INSULATION. CONCRETE CAST IN PLACE, SMOOTH FINISH WITH MIN SEAM VISABLE. CONCRETE TO FOLLOW INVERSE RIBBING OF THE BEAMS OVERHEAD. SEE DETAL A910.

BS

BOOK SHELF JOINERY, (SEE A700), FIXED TO 16mm FRPB BOTH SIDES OF 150mm STUD FRAMESLAB TO SLAB INSULATION

CT1

CERAMIC TILE 1FIXED TO 16mm FRPB BOTH SIDES OF 150mm STUD FRAME- SLABE TO SLAB INSULATION

EX

EXISTING MASONRY WALL- MAKE GOOD TO EXISTING AS SPECIFIED BY HERITAGE ARCHITECT

CT2

CERAMIC TILE 2 FIXED TO 16mm FRPB BOTH SIDES OF 150mm STUD FRAME- SLABE TO SLAB INSULATION

RE01

150mm INSULATED COOL ROOM WALL PANELREFER TO MANUFACTURER DETAILS

CT3

CERAMIC TILE 3 FIXED TO 16mm FRPB BOTH SIDES OF 150mm STUD FRAME- SLABE TO SLAB INSULATION

ST01

4mm MILD STEEL CLADDING BOTH SIDES, FIXED TO BOTH 65mm TOP HATS AND DIRECTLY TO 250mm HOT ROLLED STEEL C BEAM

SS01

3mm STAINLESS STEEL FIXED BOTH SIDES 200mm STUD FRAME- SLAB TO SLAB INSULATION

SS02

3mm HOSPITAL GRADE SEAMLESS STAINLESS STEEL ONE SIDE OF 200mm STUD FRAMESLAB TO SLAB INSULATION. SEE MANUFACTURER DETAILS

ROOM IN WHICH DOOR IS INSTALLED

CERAMIC TILE FINISH 1

CT2

CERAMIC TILE FINISH 2

FFL

FINISHED FLOOR LEVEL

FW

FLOOR WASTE

GD

STAINLESS STEEL GRATE DRAIN

ML1

MARMOLEUM DUEL 3127 'BLEEKER STREET'

ML2

MARMOLEUM VIVACE 3403 'ASIAN TIGER'

ML3

MARMOLEUM VIVACE 3221 'HYACINTH'

ROOM IN WHICH WINDOW IS INSTALLED

ROOM TAG FORMAT

ROOM NAME ROOM NUMBER FLOOR FINISH

PCONC1 POLISHED CONCRETE FLOOR FINISH 1

*REFER TO A001 WALL TYPES SHEET FOR FURTHER INFORMATION ON WALL COMPOSITION Dirty Utility/ access to laundry

33

32

31

30

29

<MARKERDRAWINGNUMBER_R> <MARKERSHEETNUMBER_R>

28

27

26

25

24

PCONC2 POLISHEDCONCRETE FLOOR FINISH 2

23

SC

STEEL COLUMN. SEE HERITAGE CONSULATANT FOR DESIGN

TGSI

TACTILE GROUND SURFACE INDICATOR

T.O.W.

TOP OF WALL RL

VSR

VERTICAL SERVICE RISER

VVR

VERTICAL VENTILATION RISER

MIR

DRAWINGS IN THIS ISSUE: A102 A407 A603 A900

100mm

- PARTIAL FLOOR PLAN - DETAIL SECTION OF ALTER, FAT BANK AND VOID - DETAILS - EXPLODED AXONOMETRIC

200mm ON ORIGINAL A1

22

21

20

19

18

17

16

15

14

13

12

11

10

9

8

7

6

5

4

3

2

1

REV

DATE

DRN

CHKD

VRFD

A

02/03/12

COMMENTS

JM

MW

LP

B

06/04/12

JM

LP

C

18/05/12

PB

MW

LP

D

21/07/12

LP

PB

JM

E

11/09/12

JM

MW

LP

ster stor ial e

(BLACK PIGMENT ADDED, HIGH GLOSS FINISH )

staf f

GENERAL NOTES REGARDING EXISTING STRUCTURE: 1. REUSE MATCHING BRICKS FROM DEMOLITION WHEN PATCHING AND INFILLING EXISTING WALLS 2.MAKE GOOD TO ALL AREAS AFFECTED BY THE REMOVAL OF REDUNDANT SERVICES 3. CONTRACTOR TO ASSESS EXISTING BRICKWORK FOR HOLES IN EXTERNAL WALLS, MISSING BRICKWORK, POORLY PATCHED BRICKWORK, MORTAR DAMAGE TO BE REPAIRED USING NEW BRICKWORK.

BAL-1 CJ

33 x 182 = 5,995

GENERAL FLOOR PLAN NOTES: 1. CHECK ALL DIMENSION ON SITE 2. ALL DRAWINGS TO BE READ IN CONJUNCTION WITH CONSULTANT DOCUMENTATION DRAWINGS 3.ALL PROPOSED FLOOR PLANS TO BE READ IN CONJUNCTION WITH DEMOLITION FLOOR PLAN & STRUCTURAL SET OUT AND SLAB SET OUT PLANS 4.ALL LOOSE FURNITURE TO BE SUPPLIED AND INSTALLED BY OTHER. 5. ALL TILE FLOOR SET OUT TO BE CONFIRMED ON SITE.

20 x 199 = 3,971

T

IVF

S

Abor tion

R

s

Q

Injec table

P

A N G E L

O

SIDEWALK

N

CURB

M

S T R E E T

Existing one and two story balconies of iron lace and Victorian-era houses with stuccoed facades, moulded architectural ornam ents.

MIRROR DIRECTLY FIXED TO 16mm FRPB BOTH SIDES OF 150mm STUD FRAME- SLABE TO SLAB INSULATION

KEY PLAN 1.500

PROJECT :

NEWTOWN TRAMSHED CLINIC

SITE :

CLIENT :

UNSW FACULITY OF MEDICINE, SURGICAL AND ORTHOPAEDIC RESEARCH DIVISION

DRAWING :

PB

CORNER ANGEL STREET AND RAILWAY LANE, NEWTOWN NSW

WORK IN FIGURED DIMENSIONS IN PREFERENCE TO SCALE. CHECK DIMENSIONS AND LEVELS ON SITE PRIOR TO THE ORDERING OF MATERIALS OR THE COMPLETION OF WORKSHOP DRAWINGS. IF IN DOUBT ASK. REPORT ALL ERRORS AND OMISSIONS.

DRAWN :

DATE :

JM

SCALES :

11/09/2012

1.100

A102 PROJECT No :

PHASE :

DRAWING No :

A102

REV :

E

D01 A603

8

D03 A603

7

6

REF SECTIONAL DWG A406

REF SECTIONAL DWG A408

PARAPET OF PROPOSED STRUCTURE

1800

RL 21 550

1

TOP OF ROOF FLUTES

RL 19 750

1665

1650

2 3

PEAK OF EXISTING NORTHERNSAW TOOTH WALL

320

RL 18 100

2450

2700

27 4

TROUGH OF EXISTING NORTHERN SAW TOOTH WALL

815

800

RL 15 400

BASE OF ROOF FLUTES

26

1065

405

RL 14 600

5

6 25

8600

4595

7

1495

8

24 9

BAL2

1190

BAL1

LEVEL ONE RL 6000

240

RL 6000

23 2070

10 11

22 5600

12

D04 A603

3680

FAT BANK

13

GROUND LEVEL RL 0400

1900

GD

BOTTOM OF CONCRETE COUNTERWEIGHT BED RL -1500

21

20

19

18

17

4150

8

GENERAL FLOOR PLAN NOTES: 1. CHECK ALL DIMENSION ON SITE 2. ALL DRAWINGS TO BE READ IN CONJUNCTION WITH CONSULTANT DOCUMENTATION DRAWINGS 3.ALL PROPOSED FLOOR PLANS TO BE READ IN CONJUNCTION WITH DEMOLITION FLOOR PLAN & STRUCTURAL SET OUT AND SLAB SET OUT PLANS 4.ALL LOOSE FURNITURE TO BE SUPPLIED AND INSTALLED BY OTHER. 5. ALL TILE FLOOR SET OUT TO BE CONFIRMED ON SITE. GENERAL NOTES REGARDING EXISTING STRUCTURE: 1. REUSE MATCHING BRICKS FROM DEMOLITION WHEN PATCHING AND INFILLING EXISTING WALLS 2.MAKE GOOD TO ALL AREAS AFFECTED BY THE REMOVAL OF REDUNDANT SERVICES 3. CONTRACTOR TO ASSESS EXISTING BRICKWORK FOR HOLES IN EXTERNAL WALLS, MISSING BRICKWORK, POORLY PATCHED BRICKWORK, MORTAR DAMAGE TO BE REPAIRED USING NEW BRICKWORK.

JCLM ARCHITECTURE

ACN 007 812 925 ABN 82 794 649 235 12 Henry St MEREWETHER NSW 2291

Ph : 0411702073 Fax : (02) 4963 4453 Email : jemima.manton@gmail.com Web Site : jemimamanton.com

BAL-1

40mm DIAMETER STAINLESS STEEL CONTINUOUS HANDRAIL

CJ

CONTROL JOINT

COL

STRUCTURAL COLUMN

CPT

CHOLLETON 'FALL AMINSTER' WOVEN PATTERNED CARPET WITHOUT BOARDER.

CT1

CERAMIC TILE FINISH 2

FFL

FINISHED FLOOR LEVEL

FW

FLOOR WASTE

GD

EXISTING BUILDING TO BE RETAINED

###

WALL TYPES

D## #.##

PROPOSED DOOR NUMBER (REFER TO A800 SERIES)

W## #.##

MARMOLEUM DUEL 3127 'BLEEKER STREET' MARMOLEUM VIVACE 3403 'ASIAN TIGER'

ML3

MARMOLEUM VIVACE 3221 'HYACINTH'

250x150 RHS COLUMN

2

4mm x1200 x 2400mm MILD STEEL PLATES, FASTENED TO VERTICAL 65mm TOP HATS.

3

STEEL HEAD BLOCK

PROPOSED WINDOW NUMBER (REFER TO A800 SERIES) ROOM IN WHICH WINDOW IS INSTALLED

(BLACK PIGMENT ADDED, HIGH GLOSS FINISH ) STEEL COLUMN. SEE HERITAGE CONSULATANT FOR DESIGN

TGSI

TACTILE GROUND SURFACE INDICATOR

T.O.W.

TOP OF WALL RL

VSR

VERTICAL SERVICE RISER

VVR

VERTICAL VENTILATION RISER

DATE

A B

THE IDEAS, INFORMATION AND CONCEPTS CONTAINED IN THIS DOCUMENT ARE THE PROPERTY OF JEMIMA MANTON. PHOTOCOPYING OR REPRODUCING THIS DOCUMENT AND PASSING IT ONTO OTHERS WITHOUT THE EXPRESS PERMISSION OF JEMIMA MANTON IS AN INFRINGEMENT OF COPYRIGHT. ©

100mm

200mm ON ORIGINAL A1

DRN

CHKD

02/03/12

JM

MW

LP

06/04/12

JM

LP

PB

18/05/12

COMMENTS

PB

VRFD

MW

LP

D

21/07/12

LP

PB

JM

E

11/09/12

JM

MW

LP

PROJECT :

CLIENT :

16

COUNTERWEIGHT GEARS AND FEEDER PULLEYS

23

10

UNDERPINNED EXISTING MASONARY WALL SEE STRUCTURAL ENGINEER FOR SPECIFICATIONS

17

STAINLESS STEEL OPERATING LINE TRACK

24

11

15mm STAINLESS STEEL OPERATING LINE

18

POLISHED CONCRETE 'ALTER'

25

19

MILD STEEL COUNTERWEIGHT TENSION BLOCK AND ASSOCIATED PULLY. TO BE FINISHED IN SEMIGLOSS DULUX PROFESSIONAL RED OXIDE PRIMER

26

20

15mm STAINLESS STEEL OPERATING LINE

21

100MM THICK POST-TENSIONED, IN-SITU PRE-CAST CONCRETE FLOOR PANELS. 300MM EDGE AND RIB THICKENING, 2 PART CLEAR EPOXY FINISH AND NON-SLIP TREATMENT

22

POLISHED CONCRETED STAINED. BLACK IRON OXIDE TO BE ADDED TO CONCRETE, 2 PART CLEAR EPOXY FINISH AND NON-SLIP TREATMENT

COUNTERWEIGHT RIGGING SYSTEM HOISTING CABLES AND TURNBUCKLES. TO MECHANICAL ENGINEERS SPECS.

12

SHOP WELDED 'T' COLUMN -20mm PLATE FLANGE-16mm PLATE WEB TAPERED WELDED TO RHS COLUMN

5

EXISTING STRUCTURAL TRUSS

6

EXISTING NORTHERN SAWTOOTH WALL. TO BE MADE GOOD TO HERTIAGE ARCHITECT DWGS.

13

CRYLOIPOLYSIS FRIDGES (FAT BANK) INSTALLED TO MANUFACTURER SPECS SEE ALSO HYDRAULIC ENGINEER

7

CENTRE COUNTERWEIGHT

14

POLISHED CONCRETE BED

8

REV

60x7.5mm MILD STEEL STRAPPING, BOLTED TO 250 RHS COLUMN, BRACING 75x50 UNEQUAL ANGLE WALL FRAME

9

4

PCONC1 POLISHED CONCRETE FLOOR FINISH 1 PCONC2 POLISHEDCONCRETE FLOOR FINISH 2

C

25mm

1

ROOM NUMBER FLOOR FINISH

COMPLETION OF THE QUALITY ASSURANCE CHECKS IS VERIFICATION THAT THE DOCUMENT CONFORMS WITH THE REQUIREMENTS OF THE QUALITY PROJECT PLAN. WHERE THE QUALITY ASSURANCE CHECK IS INCOMPLETE THIS DOCUMENT IS PRELIMINARY FOR INFORMATION PURPOSES ONLY, OR SUCH PURPOSES AS STATED IN THE REVISION COLUMN.

0

ROOM IN WHICH DOOR IS INSTALLED

ROOM NAME

SC

14

6

ROOM TAG FORMAT

STAINLESS STEEL GRATE DRAIN

ML1 ML2

15

7

CERAMIC TILE FINISH 1

CT2

16 5150

300mm C BEAM, BOLTED TO RHS COLUMN

15

4mm MILD STEEL PLATE MAINTAINENCE PANELS

NEWTOWN TRAMSHED CLINIC

SITE :

CORNER ANGEL STREET AND RAILWAY LANE, NEWTOWN NSW

UNSW FACULITY OF MEDICINE, SURGICAL AND ORTHOPAEDIC RESEARCH DIVISION

DRAWING :

A407

27

0.4mm ALUMINIUM RIDGID MESH 'VEIL', SUSTPENDED TO EXISTING STRUCTURAL TRUSSES WITH 16mm STAINLESS STEEL WIRE SLING IN SWIVEL SOCKET. REFER TO STRUCTURAL ENGINEERS DWGS. NEW 250mm POLISHED CONCRETE FLOOR SLAB TO LYSAGHT BONDEK STEEL SHEET FORMWORK SUPPORTED BY 180UB22.2 JOISTS @ 1200CTS

16mm STAINLESS STEEL WIRE SLING IN SWIVEL SOCKET

EXISTING TRAMSHED STRUCTURAL IRON TRUSS SKYLIGHT 'FLUTES'. BETWEEN FLUTES- 0.55mm GAUGE HIGHLY POLISHEDCOPPER CLADDING SCREW FIXED TO PLYWOOD ROOF FLUTE TRUSS. BRASS SCREW AND WASHER FINISHED WITH COPPER CAP SOLDERED OVER. (TO AS1566) BETWEEN FLUTES- 0.55mm GAUGE COPPER CLADDING SCREW FIXED TO PLYWOOD ROOF FLUTE TRUSS. BRASS SCREW AND WASHER FINISHED WITH COPPER CAP SOLDERED OVER. (TO AS1566) SEE DRAWING A603

WORK IN FIGURED DIMENSIONS IN PREFERENCE TO SCALE. CHECK DIMENSIONS AND LEVELS ON SITE PRIOR TO THE ORDERING OF MATERIALS OR THE COMPLETION OF WORKSHOP DRAWINGS. IF IN DOUBT ASK. REPORT ALL ERRORS AND OMISSIONS.

DRAWN :

DATE :

JM 0267 RAILWAY LANE PROJECT No :

SCALES :

11/09/2012 PHASE :

DRAWING No :

A407

1.50 REV :

E

A900

DETAILS JEMIMA CAROLINE LOUISE MANTON

THE IDEAS, INFORMATION AND CONCEPTS CONTAINED IN THIS DOCUMENT ARE THE PROPERTY OF JEMIMA MANTON .

PHOTOCOPYING OR REPRODUCING THIS DOCUMENT AND PASSING IT ONTO OTHERS WITHOUT THE EXPRESS PERMISSION OF JEMIMA MANTON IS AN INFRINGEMENT OF COPYRIGHT. ©

0

25mm

100mm

D02 ROOF FLUTE SECTION DETAIL A603 1.10

FLASHING FLASHING CLEARGLASS CLEARGLASSG1 G1SPIDER SPIDERFITTING FITTING

D02 A603

5°

NEWTOWN TRAMSHED CLINIC

COMPLETION OF THE QUALITY ASSURANCE CHECKS IS VERIFICATION THAT THE DOCUMENT CONFORMS WITH THE REQUIREMENTS OF THE QUALITY PROJECT PLAN. WHERE THE QUALITY ASSURANCE CHECK IS INCOMPLETE THIS DOCUMENT IS PRELIMINARY FOR INFORMATION PURPOSES ONLY, OR SUCH PURPOSES AS STATED IN THE REVISION COLUMN .

12.38mm 12.38mmTOUGHENED TOUGHENEDSAFETY SAFETYGLASS GLASS FIXED FIXEDTO TOPLY PLYFLUTES FLUTESWITH WITHCLEARGLASS CLEARGLASSG1 G1 SPIDER SPIDERFITTING. FITTING.MIN MIN50mm 50mmEXTENSION EXTENSIONOVER OVER GUTTER GUTTERTO TOPREVENT PREVENTCAPILLERY CAPILLERYACTION ACTIONOF OF WATER. WATER.TO TOAS1170.

AS1170.

D01 ROOF FLUTE DETAIL A603 1.10

SNUG SNUG

200mm ON ORIGINAL A1

12.38mm 12.38mmTOUGHENED TOUGHENEDSAFETY SAFETYGLASS GLASS FIXED FIXEDTO TOPLY PLYFLUTES FLUTESWITH WITHCLEARGLASS CLEARGLASSG1 G1 SPIDER SPIDERFITTING. FITTING.

5°

STAINLESS STAINLESSSTEEL STEELBOX BOX GUTTER GUTTERPROFILE PROFILE400x165 400x165

CAPPING CAPPING GUTTER FALL 1 IN 200 MIN

GUTTER FALL 1 IN 200 MIN

STAINLESS STAINLESSSTEEL STEELBOX BOXGUTTER GUTTER PROFILE PROFILE400x165 400x165

25mm 25mmSTRUCTURAL STRUCTURALPLY PLYROOF ROOFFLUTE FLUTETRUSS, TRUSS, CNC CNCROUTED ROUTED@300 @300CTS, CTS,SLOTING SLOTINGON ON2x300 2x300 RHS RHSROOF ROOFBEAMS. BEAMS. BRACED BRACEDWITH WITH25.4mm 25.4mmDia. Dia.ALUMINIUM ALUMINIUM THREADED THREADEDRODE RODEBRACING BRACINGWITH WITHM14 M14 SECURING SECURINGBOLTS BOLTS

25mm 25mmSTRUCTURAL STRUCTURALMARINE MARINE PLYWOOD PLYWOODBACKING BACKING BOARD BOARDDIRECT DIRECTFIXED FIXED@600 @600CTS CTSTO TO ROOF ROOFFLUTES FLUTES PLYWOOD PLYWOODBEAM BEAMSPANNING SPANNING BETWEEN BETWEENROOF ROOFFLUTES FLUTES@1200 @1200CTS CTS

300x150 300x150BLACK BLACKSTEEL STEELRHS RHSROOF ROOFBEAMS BEAMS

25.4mm 25.4mmDia. Dia.ALUMINIUM ALUMINIUMTHREADED THREADED RODE RODEBRACING BRACINGWITH WITHM14 M14BOLTS BOLTS SECURING SECURINGPLY PLYROOF ROOFFLUTE FLUTETRUSS TRUSS 300x150 300x150BLACK BLACKSTEEL STEELRHS RHSROOF ROOF BEAMS BEAMS

25.4mm 25.4mmDia. Dia.ALUMINIUM ALUMINIUMTHREADED THREADEDRODE RODE BRACING BRACINGWITH WITHM14 M14BOLTS BOLTSSECURING SECURING PLY PLY ROOF ROOFFLUTE FLUTETRUSS TRUSSBEYOND. BEYOND.SHOWN SHOWN DASHED DASHED

75x50 75x50UNEQUAL UNEQUALANGLE ANGLEWELDED WELDEDTO TO RHS RHSROOF ROOFBEAMS. BEAMS. 25mm 25mmSTRUCTURAL STRUCTURALPLY PLYSOFFIT SOFFIT BOLT BOLTFIXED FIXEDTO TOUNEQUAL UNEQUALANGLE ANGLE

75x50 75x50UNEQUAL UNEQUALANGLE ANGLEWELDED WELDEDTO TORHS RHS ROOF ROOFBEAMS. BEAMS. 25mm 25mmSTRUCTURAL STRUCTURALPLYWOOD PLYWOODSOFFIT SOFFIT BOLT BOLTFIXED FIXEDTO TOUNEQUAL UNEQUALANGLE ANGLE

25mm 25mmSTRUCTURAL STRUCTURALPLY PLYROOF ROOFFLUTE FLUTETRUSS, TRUSS, CNC CNCROUTED ROUTED@300 @300CTS, CTS,SLOTING SLOTINGON ON2x300 2x300 RHS RHSROOF ROOFBEAMS. BEAMS. BRACED BRACEDWITH WITH25.4mm 25.4mmDia. Dia.ALUMINIUM ALUMINIUM THREADED THREADEDRODE RODEBRACING BRACING WITH WITHM14 M14SECURING SECURINGBOLTS BOLTS

300

25mm 25mmSTRUCTURAL STRUCTURALPLY PLYROOF ROOFFLUTE FLUTETRUSS, TRUSS, BEYOND BEYONDSHOWN SHOWNDASHED DASHED

INSIDE INSIDEOF OFFLUTEFLUTE-1.5 1.5mm mmMILD MILD STEEL STEELSHEETING, SHEETING,PAINT PAINTFINISH FINISH DULUX DULUXTRUEBLACK TRUEBLACKHIGH HIGHGLOSS. GLOSS. DIRECT DIRECTFIXED FIXEDTO TOPLYWOOD PLYWOODROOF ROOF FLUTE FLUTETRUSS. TRUSS.

D03 WALL SECTION DETAIL A603 1.10

BETWEEN BETWEENFLUTESFLUTES-0.55mm 0.55mmGAUGE GAUGE HIGHLY HIGHLYPOLISHED POLISHED'PEACH' 'PEACH'COPPER COPPER CLADDING CLADDINGSCREW SCREWFIXED FIXEDTO TO PLYWOOD PLYWOODROOF ROOFFLUTE FLUTETRUSS. TRUSS. BRASS BRASSSCREW SCREWAND ANDWASHER WASHER FINISHED FINISHEDWITH WITHCOPPER COPPERCAP CAP SOLDERED SOLDEREDOVER. OVER. (TO (TOAS1566) AS1566)

12.38mm TOUGHENED SAFETY GLASS FIXED TO PLY FLUTES WITH CLEARGLASS G1 SPIDER FITTING. MIN 50mm EXTENSION OVER GUTTER TO PREVENT CAPILLERY ACTION OF WATER. TO AS1170.

4mm BLACK STEEL SHEET CLADDING WITH PAINT FINISH

5°

25.4mm 25.4mmDia. Dia.ALUMINIUM ALUMINIUMTHREADED THREADED RODE RODEBRACING BRACINGWITH WITHM14 M14BOLTS BOLTS SECURING SECURINGPLY PLYROOF ROOFFLUTE FLUTETRUSS TRUSS

300

1.5 1.5mm mmMILD MILDSTEEL STEELSHEETING, SHEETING,PAINT PAINT FINISH FINISHDULUX DULUXTRUEBLACK TRUEBLACKHIGH HIGHGLOSS. GLOSS. DIRECT DIRECTFIXED FIXEDTO TOPLYWOOD PLYWOODROOF ROOFFLUTE FLUTE TRUSS. TRUSS.

FLASHING

STAINLESS STEEL BOX GUTTER PROFILE 350x165

300x150mm RHS ROOF BEAM 7.5mm FIXING PLATE WITH M16 BOLTS

4mm MILD STEEL CLADDING WITH PAINT FINISH SCREWED TO 40mm FURRING CHANNEL 75x50 UNEQUAL ANGLE

25.4mm Dia. ALUMINIUM THREADED RODE BRACING WITH M14 BOLTS SECURING PLY ROOF FLUTE TRUSS

25mm STRUCTURAL MARINE PLYWOOD BACKING BOARD DIRECT FIXED @600 CTS TO ROOF FLUTES VAPOUR PERMEABLE SARKING

4mm MILD STEEL CLADDING WITH PAINT FINISH SCREWED TO 40mm FURRINGCHANNEL FIXED TO 250C GIRT

INSULATION AS SPECIFIED

60x7.5mm MILD STEEL STRAPPING, BOLTED TO 250 RHS COLUMN, BRACING 75x50 UNEQUAL ANGLE WALL FRAME

D04 LOWER WALL AND ALTER WINDOW OPENING SECTION DETAIL A603 1.10

4mm MILD STEEL CLADDING WITH PAINT FINISH SCREWED TO 40mm FURRING CHANNEL FIXED TO 250C GIRT INSULATION AS SPECIFIED

190

250C GIRT BOLTED TO 5mm STEEL PLATE CLEATSHOP WELDED TO 250x150 RHS COLUMN

D05 A603

60x7.5mm MILD STEEL STRAPPING, BOLTED TO 250 RHS COLUMN, BRACING 75x50 UNEQUAL ANGLE WALL FRAME

HEAD RL 2740

TYPICAL COLUMN WALL PLAN DETAIL 1.5

S 250x150 RHS COLUMN BEYOND SHOWN DASHED

EXTERNAL EXTERNAL

785

1165

INTERNAL 60X40 RHS SPACER SHOP WELDED TO 250X150 RHS COLUMN

6

SILL RL1955

190

SHOP WELDED 'T' COLUMN -20mm PLATE FLANGE -16mm PLATE WEB TAPERED WELDED TO RHS COLUMN

D05 A603

4mm BLACK STEEL SHEET CLADDING WITH PAINT FINISH SCREWED TO 40mm FURRING CHANNEL FIXED TO 250C GIRT

1555

REINFORCED CONCRETE SITU WALL REFER TO STRUCTURAL ENGINEERS DRAWNGS FOR FURTHER DETAIL 1,362

VAPOUR PERMEABLE SARKING

530

SHOP WELDED 'T' COLUMN -20mm PLATE FLANGE -16mm PLATE WEB TAPERED WELDED TO RHS COLUMN

7

350 REINFORCED CONCRETE FLOOR SLAB 695 GROUND LEVEL RL 0400

250C GIRT BOLTED TO 5mm STEEL PLATE CLEAT SHOP WELDED TO 250x150 RHS COLUMN

CONCRETE EXPANSION JOINT

POLYETHYLENE WATERPROOF MEMBRANE 50mm BLINDING SAND PILE CAP BEYOND SHOWN DASHED

1

NEW STEEL TRUSS, TO MIMIC EXISTING TRUSSES BOLTED TO 300 RHS. TO SUPPORT COUNTERWEIGHT HEAD BLOCK AND ASSOCIATED LOFT BLOCK

2

MILD STEEL COUNTERWEIGHT HEAD BLOCK AND ASSOCIATED LOFT BLOCK. TO BE FINISHED IN SEMIGLOSS DULUX PROFESSIONAL RED OXIDE PRIMER NOTE: Categorisation of type and result of procedure is displayed to a user privy to the information presented though the semiotics of the measuring weights. All measuring weights begin in a position flush with the alter top, and incrementally rise as numbers of surgeries within a particular category are preformed within the building. All measuring weights operate independent of each other and the three main counterweights. They are each constructed of a different material, but are identical in size and proportion. A layering of plates strung together with 15mm stainless steel rigging, separated with M40 stainless steel bolts acts as the measurement notches. Measurement is cyclical with and symbiotic with fashion seasons. (4 months per cycle). After which, the measuring weights will fall back flush with the alter and begin their rise again. Categorised data of surgeries that are a la mode is displayed.

Surgeries that may fall into each category are open to one’s own personal interpretation and attitudes.

JCLM ARCHITECTURE

ACN 007 812 925 ABN 82 794 649 235 12 Henry St MEREWETHER NSW 2291

Ph : 0411702073 Fax : (02) 4963 4453 Email : jemima.manton@gmail.com Web Site : jemimamanton.com

COMPLETION OF THE QUALITY ASSURANCE CHECKS IS VERIFICATION THAT THE DOCUMENT CONFORMS WITH THE REQUIREMENTS OF THE QUALITY PROJECT PLAN. WHERE THE QUALITY ASSURANCE CHECK IS INCOMPLETE THIS DOCUMENT IS PRELIMINARY FOR INFORMATION PURPOSES ONLY, OR SUCH PURPOSES AS STATED IN THE REVISION COLUMN. THE IDEAS, INFORMATION AND CONCEPTS CONTAINED IN THIS DOCUMENT ARE THE PROPERTY OF JEMIMA MANTON. PHOTOCOPYING OR REPRODUCING THIS DOCUMENT AND PASSING IT ONTO OTHERS WITHOUT THE EXPRESS PERMISSION OF JEMIMA MANTON IS AN INFRINGEMENT OF COPYRIGHT. ©

0

25mm

STRUCTURAL COLUMN

CPT

CHOLLETON 'FALL AMINSTER' WOVEN PATTERNED CARPET

ML3

10

POLISHED CONCRETE ALTER

11

MILD STEEL COUNTERWEIGHT TENSION BLOCK AND ASSOCIATED PULLY. TO BE FINISHED IN SEMIGLOSS DULUX PROFESSIONAL RED OXIDE PRIMER

11

20mm MILD STEEL ANCHOR. BOLTED TO CONCRETE ALTER WITH GALVANIZED M20 BOLTS, FINISHED IN A MATT DULUX PROFESSIONAL BLACK OXIDE PRIMER. STEEL ANCHOR ALSO TO BE FINISHED IN A MATT DULUX PROFESSIONAL BLACK OXIDE PRIMER

D01 A603

WALL TYPES

D## #.##

PROPOSED DOOR NUMBER (REFER TO A800 SERIES)

8

D03 A603

7

6

REF SECTIONAL DWG A408

REF SECTIONAL DWG A406

PARAPET OF PROPOSED STRUCTURE

RL 21 550

1

TOP OF ROOF FLUTES

RL 19 750

1665

1650

2

TOOTH WALL

RL 18 100

2700

27 2450

4

TROUGH OF EXISTING NORTHERN SAW TOOTH WALL

PROPOSED WINDOW NUMBER (REFER TO A800 SERIES)

RL 15 400 800

W## #.##

3

PEAK OF EXISTING NORTHERNSAW

ROOM IN WHICH DOOR IS INSTALLED

BASE OF ROOF FLUTES

26

RL 14 600

ROOM IN WHICH WINDOW IS INSTALLED

5

6 25

7

ROOM TAG FORMAT

8

ROOM NAME

24

ROOM NUMBER FLOOR FINISH

MARMOLEUM VIVACE 3403 'ASIAN TIGER' MARMOLEUM VIVACE 3221 'HYACINTH'

9

BAL2 BAL1

RL 6000

LEVEL ONE RL 6000

23 10 11 22

12 5600

ML2

INJECT- FORMED FROM HOLLOW BRICKS OF UNFINISHED LEAD. HIGHLY TOXIC,LEAD ACCUMULATES IN ANIMAL SOFT TISSUE AND BONES. IT HAS A HIGH RESISTANCE TO CORROSION AND TARNISHES TO DULL GREY WHERE EXPOSED TO AIR. ALL RADIO ACTIVE MATERIAL BECOMES LEAD.

8600

MARMOLEUM DUEL 3127 'BLEEKER STREET'

9

815

ML1

MAIN COUNTERWEIGHTS- MILD STEEL COUNTERWEIGHTS TO BE FINISHED IN MATT DULUX PROFESSIONAL GUNPOWDER OXIDE PRIMER. CONSTRUCTED OF LIGHT WEIGHT STEEL CARCASS. MILD STEEL PLATES ARE TO BE WELDED DIRECTLY TO FRAMEWORK. WELDS SHOULD BE GROUND SMOOTH AFTER SHEET METAL INSTALLATION, PRIOR TO PAINTING. COUNTERWEIGHTS ARE TO OPERATE THE RAIL DELIVERY GATE.

405

STAINLESS STEEL GRATE DRAIN

8

1065

FLOOR WASTE

GD

TIGHTEN- CONSTRUCTED OF 2X12mm SHEETS OF PLYWOOD WRAPPED WITH 0.05mm SHEETS OF ALUMINIUM, DIRECTLY FIXED. ALUMINIUM IS A METAL THAT SHRINKS MORE THAN ANY OTHER DIRECTLY AFTER MANUFACTURING, UP TO 6.6%. IT IS HIGHTLY MALLEABLE, LIGHT AND CORRSION RESISTANT. HOWEVER IT MARKS EASILY AND IS OFTEN NEVER FOUND ON ITS OWN DUE TO ITS HIGH RATE REACTIVITY.

4595

FW

7

1495

FINISHED FLOOR LEVEL

REMOVE- CONSTRUCTED OF 20mm CLEAR SHEETS OF TOUGHENED SAFTY GLASS. A TRANSPERENT AND LUSTROUS SUBSTANCE CREATED FROM COMMON SILICA COMBINED WITH SODIUM OXIDE AND CALCIUM OXIDE, RESULTING IN A TRANSPARENT, UNSEEN MATERIAL THAT CAN ALSO REFLECT, DISPERSE AND DISTRACT.

1190

FFL

6

240

CERAMIC TILE FINISH 2

VULCANISED RUBBER- LAYERS OF SOLID BLACK RUBBER DERIVED FROM LATEX. RUBBER IS THE MOST EXPANSIVE MATERIAL ON EARTH AND WHEN VALCANISED, DEFORMS AND REVERTS TO ORIGINAL STATE

EXISTING BUILDING TO BE RETAINED

###

CERAMIC TILE FINISH 1

CT2

5

320

WITHOUT BOARDER. CT1

FERTILISE- CREATED OF ROSE GOLD PLATE. WET GILDED OVER A COPPER AND STEEL CARCASS. ROSE GOLD IS A MATERIAL THAT DOES NOT OCCUR NATUARALLY AND REQUIRES THE ARTIFICIAL MIXING OF PURE GOLD AND COPPER, COMMONLY AT A 75/25 RATIO. GOLD IS A HIGHLY COVETED ELEMENT WITHIN SOCIETY.

1800

40mm DIAMETER STAINLESS STEEL CONTINUOUS HANDRAIL CONTROL JOINT

COL

4

2070

D04 A603

PCONC1 POLISHED CONCRETE FLOOR FINISH 1

FAT BANK

13

PCONC2 POLISHEDCONCRETE FLOOR FINISH 2

GD

GROUND LEVEL RL 0400

1900

GENERAL NOTES REGARDING EXISTING STRUCTURE: 1. REUSE MATCHING BRICKS FROM DEMOLITION WHEN PATCHING AND INFILLING EXISTING WALLS 2.MAKE GOOD TO ALL AREAS AFFECTED BY THE REMOVAL OF REDUNDANT SERVICES 3. CONTRACTOR TO ASSESS EXISTING BRICKWORK FOR HOLES IN EXTERNAL WALLS, MISSING BRICKWORK, POORLY PATCHED BRICKWORK, MORTAR DAMAGE TO BE REPAIRED USING NEW BRICKWORK.

BAL-1 CJ

HARVEST- COMBINATIONOF REGISTERED ANTIQUE ENDANGERED IVORY AND LEGALLY FARMED ELK IVORY. TILED. REPRESENTATIVE OF A MATERIAL THAT IS NOT READILY AVAILABLE AND MUST BE GATHERED, TRADED, MANIFACTURED, STOLEN OR INVENTED

3680

GENERAL FLOOR PLAN NOTES: 1. CHECK ALL DIMENSION ON SITE 2. ALL DRAWINGS TO BE READ IN CONJUNCTION WITH CONSULTANT DOCUMENTATION DRAWINGS 3.ALL PROPOSED FLOOR PLANS TO BE READ IN CONJUNCTION WITH DEMOLITION FLOOR PLAN & STRUCTURAL SET OUT AND SLAB SET OUT PLANS 4.ALL LOOSE FURNITURE TO BE SUPPLIED AND INSTALLED BY OTHER. 5. ALL TILE FLOOR SET OUT TO BE CONFIRMED ON SITE.

3

(BLACK PIGMENT ADDED, HIGH GLOSS FINISH ) SC

STEEL COLUMN. SEE HERITAGE CONSULATANT FOR DESIGN

TGSI

TACTILE GROUND SURFACE INDICATOR

T.O.W.

TOP OF WALL RL

VSR

VERTICAL SERVICE RISER

VVR

VERTICAL VENTILATION RISER

21

100mm

20

19

18

4150

8

DRAWINGS IN THIS ISSUE: A102 A407 A603 A900

BOTTOM OF CONCRETE COUNTERWEIGHT BED RL -1500

- PARTIAL FLOOR PLAN - DETAIL SECTION OF ALTER, FAT BANK AND VOID - DETAILS - EXPLODED AXONOMETRIC

200mm ON ORIGINAL A1

REV

DATE

COMMENTS

DRN

CHKD

MW

VRFD

A

02/03/12

JM

B

06/04/12

JM

LP

C

18/05/12

PB

MW

LP

D

21/07/12

LP

PB

JM

E

11/09/12

JM

MW

LP

PROJECT :

NEWTOWN TRAMSHED CLINIC

SITE :

CORNER ANGEL STREET AND RAILWAY LANE, NEWTOWN NSW

CLIENT :

UNSW FACULITY OF MEDICINE, SURGICAL AND ORTHOPAEDIC RESEARCH DIVISION

DRAWING :

A900

LP PB

17

16

15

14

5150

7

6

WORK IN FIGURED DIMENSIONS IN PREFERENCE TO SCALE. CHECK DIMENSIONS AND LEVELS ON SITE PRIOR TO THE ORDERING OF MATERIALS OR THE COMPLETION OF WORKSHOP DRAWINGS. IF IN DOUBT ASK. REPORT ALL ERRORS AND OMISSIONS.

DRAWN :

DATE :

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11/09/2012 PHASE :

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A900

1.15 REV :

E

big love Annie Leibovitz, 2008 Sex and the city characters, carrie and â&#x20AC;&#x2DC;bigâ&#x20AC;&#x2122;, photographed for vanity fair

Dissertation Urban Flâneuse: Sex and the City, consumer culture and the metropolis Abstract- The increasing presence of the flâneuse within the city construct can be attributed to her emerging involvement in public consumption in the early 19th century. Since that time, an inversion of traditionally gendered behaviours and spatial mappings has occurred, with not only the appearance of women in conventional patriarchal spaces, but the incidence of traditionally male attributed behavioural patterns. It is a 20th and 21st century phenomena of autonomous women using urban spaces to pursue pleasure in a way similar to that of the flâneur. This current trend in modernity relies and is derived from a persistent undertone of continuity in the realmof consumerism and exchange within social (urban) spaces. Many buildings and cities are highly codified and mechanistic, deliberately and systematically abstracting symbols from their historical and social context. Within the case study, Sex and the City (a reflection of contemporary society in the form of popular culture media), the protagonist of the series, Carrie Bradshaw interacts with Manhattan in a manner that signifies the intrinsic relationship between architecture, production, consumption, signification, representation and bodily experience within the city and it’s urban spaces.

As contemporary urban flâneuse Carrie expedites her ability to reflect and inflect her independence and self-sufficiency within her own complexurban realm, a liberated female celebrating and demonstrating her independence through consumer culture, based on her own urban epistemology.

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Throughout the progression of 20th and 21st century consumerism, there has been a shift in focus from the idea of ‘status through materiality’ to an increasing focus on the ‘body beautiful’ as representative of social self-identity. This shift has subsequently been reflected in architecture, in the evolution of the market to the main street to arcades and malls and also in other sites of consumption; such as bars, day clinics, spas and gyms.

21st century medical science is now able to sculpt the status conscious human body into any form or veneer it desires. This consumption and display of the body beautiful partially relies on its architectural framing; specific spaces and sites will encourage or highlight consumptive behaviours relating to self and ego.

Specifically, this project pivots around a discussion of Michel Foucault’s notion of the socially constructed Body. It dissects behaviours of public consumption and commodity, false facades and masques, and indulges in dissemination of ritual and theocratic lifestyle modification. Architectural elements focus on heightened awareness of self, of others, and of a critique of ‘measurement’ in a variety of ways.

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