Final Thesis_MCARCH2020 by Juu L

O S C I L L AT I O N S

O F T I M E: A T H E S I S

Time, Societies, and The Pavilion

ACKNOWLEDGMENTS

We acknowledge the Traditional Custodians of the Land, the Wurundjeri People of the Kulin Nation, on whose land this studio us developed on.

We pay our respects to the

Elders, of the past, present and future. We extend these acknowledgments and respects to other Indigenous Australians present. The land has always had an Aboriginal connection- it has always been and always will be, Aboriginal Land.

Project Thesis Presented to the University of Melbourne The Melbourne School of Design

Fulfillment of Requirements for the Degree of Masters of Architecture MC-ARCH August 2020

Student: Joo Liew Coordinating Professor: James Bowman Fletcher

C O N T E N T S

T H E S I S

S TAT E M E N T

Thesis Statement 005 Thesis Elaboration

008

Past Forms of Pavilions

012

Case Study I: Museo de Castelvecchio

015

Case Study II: Acropolis Museum

021

Case Study III: Barcelona Pavilion

025

Case Study IV: Serpentine Pavilion

033

Concept Research Site Location 042

Timeline of Discoveries

045

M1: Relapse

050

M2: Stagnation

053

M3: Progression

058

Schematic Ideas

Design Development 6

M1: Relapse

068

M2: Stagnation 070

M3: Progression

074

Oscillations of Time

Institutions, Calendar & Materials

082

Production-Consumption 084

The Worker Context

086

Time has existed as a concept since the start of human comprehension. Cornelius Castoriadis’ ontological analysis argues that humans have demonstrated understanding that time is more than quantifiable; it includes beliefs, values and norms, each developed differently in any individual society. The thesis focuses on how societies continue to oscillate between the different states of time according to their beliefs in the past (Relapse), present (Stagnation) and future (Progression). These states are distinct yet interconnected institutions of time and architecture is one such way that gives societies opportunity to form and institute their perception of time. These relate to re-occurrences of familiar experiences, beliefs existing in the present and faith in future innovation. These transitions are independent phases but not mutually exclusive. The Pavilion will allow for exhibiting collections of the past, present activism and support public platforms for creation at the 8 Hour Reserve, adjacent to the Victorian Trades Hall. The conceptual direction investigates variations in material forms, its influence on users and denotes the oscillating shifts in social beliefs throughout time.

Glossary of Assembly 088 Inventory 090

Pavilion 1: Relapse

110

Pavilion 2: Stagnation

114

Pavilion 3: Progression

118

Oscillation diagrams

130

Oscillations: A synopsis

132

Appendix: Miscellaneous

138

References

146

M 32

M 31

E L A B O R AT I O N What does the Pavilion hold exactly? Is it a building? Or a sculpture? Is it a vessel for innovation? The form of the Pavilion is sensitive, it is strongly influenced by the shifts in a society’s time. The thesis includes analysis of architecture that adhere to these three phases in time; Carlo Scarpa’s intervention of the Castelvecchio which beliefs rely on past faith and religion, Bernard Tschumi’s Athenian’s Acropolis designed as means of preservation for the present, and the ways of life that require us to question future institutions. These are examples of societies according to each institution. The oscillations occur and develop nonlinearly, however there are exceptions, such as the First People’s Nation, whose beliefs can span across past, present and future. As the concept of Time is constantly reworked and oscillates in its development, this thesis will explore the materiality and changes that are a result of the complex interactions and changes in beliefs of societies of the past, present and future. These created beliefs, along with oscillations in social times, form relationships between the architects/ designers, builders and occupants and will be explored on the 8-Hour Reserve, adjacent to the Victorian Trades Hall. The Castelvecchio is a display of power, wealth and status. These were highly valued factors in the Medieval Ages’ society. Scarpa’s design intervention in Castelvecchio converts the castle into a museum that treats its material form and its installations as one whole exhibit which depicts the life of the wealthy in history. The construction methods available to Scarpa in the 1950s allowed him to underlay material existing at the time to support the pre-existing structure of the past Castelvecchio. Steel components were typically hidden, to emphasize on the structural remains of the past. Although modern material such as brass and treated pine were integrated in the facade and interior items i.e. handrails, these were left exposed to elements and time to allow the material to fade from new to old. The intervention allows decay of material forms of the present, to visually and metaphorically succumb to the ‘beliefs’ of the past, indicating that values of the past strongly influence development of social changes in a particular society. Museo de Castelvecchio makes use of material decomposition rates and demolition. This amplifies the historical form, showing that the past belief system is extremely influential to the point that it engulfs the present system of beliefs. The Relapse Pavilion was a relic of the past, which will exhibit collections of works from Australia pre- and post- settler history. The New Acropolis Museum in Athens by Tschumi encases old material forms and excavations with existing technologies. It presents both regression through being able to look down into the foundations below and also preservation by sealing and protecting important subjects with glass. This presents changes in social thinking of the past compared to present society. It continues to value aspects of the past through preservation of excavations and sculptural collections that were considered masterpieces in history. This provides a platform for the current society to have a background of past knowledge and improve on what currently exists. Modern societies’ priorities have shifted-- exhibitions for public viewing show that it is more accepting to share any form of knowledge and growth with the community regardless of status and power. The Pavilion of Stagnation will provide spaces for live events that focus on present circumstances such as live talks, presentations and for public gatherings.

For the third oscillation; there are societies that span across all these distinct categories in time, such as the First People’s Nations, whose social construct have remained respective of their past, present and they continue to reintegrate this construct into their futures. The Relapse(past) Pavilion will not only hold collections of historical artifacts but also provide an environment that symbolises the past celebratory spaces of the First People’s Nations. The Stagnation(present) Pavilion then preserves and encapsulates fragments of Relapse and continues to respect the past whilst intertwining current societal values with the past’s. The Progression Pavilion will enable public platforms for unbridled creativity, catering for different needs of future beliefs, each iteration formed by its creator(s).

progression

relapse

stagnation

The traditional labour of Australia vastly contrasts from what is seen in today’s society. Where beliefs were strict and practices were inflexible (represented by Relapse), postindustrial times allow for a more lax system of work and its relative conditions (explored in Stagnation). The future can be presumed to evolve further from what has been experienced in the previous institutions of time, and engages with the community on an even wider scale for further social growth and innovation. The future is difficult to predict. It is overwhelming. Although it is informed by understanding the past and present, Progression does not engage with either of the two, instead it engulfs them. What each society values is vulnerable to critical changes that can happen at any time. In the future, architecture should learn to be versatile- it should address and deal with this critical state of the environment and cater to societies’ needs as efficiently as possible. Sou Fujimoto’s Serpentine Pavilion is an insertion of the public realm, allowing for fast construction and disassembly, whilst being versatile in catering to a large range of programs for public users, whether it be as consumers or suppliers. This particular Pavilion will be the most ‘freeform’ of the Pavilion oscillations as it intends to show that societies can tread on any given route possible. The thesis will investigate the shifts in beliefs and values in a society’s time, primarily considering material form transformations. It also includes, but is not limited to, providing for a broad range of programs across all three institutions of time, installations that celebrate the beliefs associated with a specific institution.

S O C I A L A C T I V I S M

Trust in the 21st Century, is a complex interpersonal construct. Both parties, in this case, governance and public require favourable perceptions of one another in order to fulfill the dynamics of trust. The more trust a party has for each other, the more efficient the cyclical flow of social/economic/political relations there could be between the two. There are variants in ‘trust’ (Blind, 2006) , of which are: 1. Political trust; when citizens acknowledge and appraise the efforts and commitments of the governance over them, providing an efficient and fair environment of work and social relations.

TRUST

2. Individual trust; within the political context, this refers to when trust from the public is directed toward a government individual/official. It is an issue that eventually can cause system-based distrust and lead to disapproval and conflict within the community due to lack of belief in their appointed leader(s). 3. Social trust; which determines the trust factor and belief in those within the community, engaging with civil and social elements.

Effective leadership Coordination Communication

political

social

motivations

target

civic engagement

social capital

civil society

micro organization issue

behind the ‘screen’/media; digitalised sense of detachment and disconnect between viewers and the officials

Cultural change Technological progress

macro organization issue

Potentially the Pavilion will enable for spaces that allow the public to interact with authorities on a non-destructive level, perhaps a more casual basis. This is for the party to get to know the needs of the public they are helping, and vice versa. The intent is to promote peace in our current day society, to enable pathways to a better future and quality of life.

Graphs by the AES, 2019. Political trends. As with the amount of distrust increasing through the Australian government systems, more people are turning to the internet to trust, regardless of risk of misinformation or censorship.

The foundational factors of Australian trust toward the government.

According to the 2019 Australian Election Study (AES), the most important issues people were concerned with were economic management (24%), health (22%), and environmental issues (21%). With political trust, only 25% of the Australian population places major trust on their government. All parties have received a decline of approximately 5% in trust votes as indicated in AES 2019.

56% see that the government is running for their ‘own interests’ 12% feel that the government is running for the people’s welfare, 32% remain skeptical.

Sustained investment Capability and sufficiency Change in nature of work

collaborative aspects public relations established in person may provide space for residence temporarily

diffuse system

specific individual or institution directed

rational order psychological order

We can be assured that trust also relies on the sufficiency and quality of public goods and services to which the Government has granted its population. Compared to other Western democracies, Australian government’s trust rate remains relatively high, perhaps due to the medical ‘Medicare’ system’s moderately efficient methods of practice. From here, trust is also perceived as a “notion of confidence” (Bean, 2015). The confidence in Australian institutions show about 36% have placed full trust in the Armed Forces, whilst in comparison the Federal governments receive between 2.-4% of the people’s trust. Confidence in smaller parties and non-government institutions police also declined as a result. From an observation level, there is a persistent decreasing trend of local trust that lies as a cause for concern. There is a struggle of political parties throughout Australia, to maintain their rates of trust from the Australian people. From this, the pavilion phase, presumably the secondary phase ‘stagnation’ , will attempt to provide an area of opportunity, or an environment to which any government or NGO officials may reside in at seasonal times, and also allow for the people to build a relation to them. It can potentially provide a space for the public to be introduced to the officials at a personal level and thus get to know them as ‘people’ and not merely ‘officials in power, seen only behind the media/digital screens’.

Graphs by the AES, 2019. Political trends. Accordingly, it is noted that business expenditure and costs have been prioritised by the government, following the decline in trust as more investment into larger economic investments progress.

Graphs by the AES, 2019. Political trends. In an APS report that signifies objectives toward 2030, overall trust in government has reduced 22% in the past 20 years. Every year there is an approximate 1% decrease in the population’s trust.

1700

‘Tent’ structures used in warfare; temporary.

Temple forms; political and cultural representations.

1800

Parks & Garden structures; with presence.

Power and wealth significance.

1850

Advertisement of goods

Temporal shelters, fleeting features like

Holy structures

the papilio

Memorial forms

1900

Imperial aspirations, symbolic presentations

Storytelling & spectatorship

Cultural respect

Space for global cultures to emanate,

Exhibition spaces

facilitate, partake

Cultural spaces, also available for engagement & gathering

Symbol of warfare, economic status, regionalism, universalism

Displays of power, integrity

2000

Adaptation to publicity

Maintained standard of temple structures

Reflection of an image/identity

Space for exhibition

Facility that nourishes interactivity on a communal scale.

Emergency shelters, recycled spaces, temporal lodging

Public installations for community engagement

2020

Representation of ‘time’- the event associated,

ownership & materialization from production-

fabric

timber

stone glass concrete

stone sculptural

mixed use bricks, concrete

technology; parametrics steel

PA S T F O R M S O F PAV I L I O N S

Landscape’s ornamentation

Space to question, civic participation between architecture, its creators, the users, the environment and all that which are placed and consumed in its making toward a deliberate composition.

diversity; according to appropriations of context

basic typological representation

base materials

consumption means. Responsive to change.

An open ‘narrative’. Potential social and/or political statement.

Etc.

M U S E O D E C A S T E LV E C C H I O C A R L O S C A R PA

SPATIAL ANALYSIS Utility

Residence

Traversing Exhibition

Security

experience

& Office

Galleries

Architect: Carlo Scarpa Project Location: Verona, Italy 9

Completion: 1975

12 2

Tectonics: Massing, planar facade treatment (when adding) Materials: Granite, marble, concrete / brass, row plaster

Typology: Medieval castle turned temporary exhibition space

before finally treated as a museum (permanent exhibition space).

13 1

Scarpa has the opportunity to design anew yet still heavily relied on the existing structure. The pavement in the ground floor was

Horizontal circulation: 1 Courtyard 2 Temporary installation of Galleria Wing 3 Entry/exit 4 Sculpture gallery 5 Sacellum 6 Installation of Galleria wing 7 Lighting of False Ceilings 8 Cangrande Statue 9 Reggia wing 10 Passage from Reggia to Mastio wing 11 Mastio 12 North-east tower, Sala Avena, offices 13 Sala Boggian

layered with concrete and plaster later to reflect water. The notion of preservation rather than complete restoration overlaps with the idea of time stagnating in the architecture, however the main difference is that history is heavily relied 0M

100M

on. His designs highlight the areas, forms and structural combinations representing what was valued in the past.

Carlo Scarpa, Museo de Castelvecchio design, 1975.

C H A N G E S T H R O U G H T I M E

PRE-RESTORATION Arch of Gavi 2nd Century

Original Arch existing on site since second century.

N O RT H E A S T TO W E R I N T E R N A L C H A N G E S

The initial typology was a castle, of military construction of the Scaliger dynasty in the Middle Ages. It reflected Gothic treatments, use of red brick and M-shaped merlons along the walls. The 7 towers

The museum has demolished and added program and structures through time in the past, before

Church of San Martino

with 4 main buildings inside was surrounded by the

Added in 12th Century

Adige river, which discouraged infiltration.

RESTORATION COMMENCES

finally settling into what it is today.

Added Commune Wall Showcase civic values

Restoration of Castelvecchio. The Commune Wall traces from 1354 included. Additions to the entrance and galleries in Caserma and Regia sections added.

Phase 1: 1957.

Design themes include:

Statue of Cangrande exhibited. Other sculptural

a) Retaining the balance between the new

Scagheri Residence

renovation of the museum and its already existing

Added housing

elements,

Layered restorations during demolishment to reflect the building’s past through being able to see parts of the structure and form’s breakage.

b) Allowing for space for each installation to be seen in a specific sequence but remain independent

installations placed.

1 North East tower 2 Lightwell 3 Library window 4 Windo to Sala Averia 5 Added pine cladding 6 Exit stair with layered plaster 7 Room 8 Soffit of stair 9 Downstand beam notch 10 Entry room desk 11 Lobby

Phase 2: 1964.

of one another c) To give the user a vivid experience between

Napoleonic Barracks

Integrated remains of the Roman pavement from a

the installations and user, focusing on spatial

Addition

second century domus, Mosaic room renovation. Addition of floors to vary visual pathways created

configuration and daylighting.

by light, space and the art installations.

Phase 3: 1967.

Gallery; Castelvecchio

New exhibition hall connection to the courtyard via

Museum Addition

Sala Bogia entry. Also served as a conference area.

The Northeast tower, over time, changed from a watchtower to become support for the library and office spaces below. The overall architecture only reserves space for official services and necessary rooms to exhibit all its historical collections.

Phase 4: 1975.

Window restorative and existing connections Horizontal section detail study of Sala Bogia’s connections

F I X I N G S & D E TA I L S H I G H L I G H T S

brass frame with steel bolt

nailed to timber layer add-on

Figure 3. Scarpa, Carlo. Original detail section of Sala Bogia and vaulted roof. 1957.

steel members layered over to connect and restore other granite fragments existing granite

In conclusion, Castelvecchio’s pre-existing forms with Scarpa’s intervention appears to focus on his preferences (such as extensive use of plaster layering to represent his personal love

Second floor

for water) of design, however allowing it to still retain its own identity and historical origin. Vaulted roof interventions repositioning fragments of existing structure for continuity steel reinforcement column

Figure 6. Scarpa, Carlo. Museo de Castelvecchio section. 2009.

1 Regia 2 Torre del Mastio

Exhibition support study for heavy marble installations Figure 5. Scarpa, Carlo. Museo de Castelvecchio exhibition installation details. 2009.

added timber beam for support existing structure (granite)

Through critical selection of which parts to demolish or hide, his decisions allow for new structural technologies to be integrated within the original forms and thus reinstate there is a strong belief or preference for the past. Though the intervention can also be seen as

First Floor: Napoleonic

‘preservation’ , it is less focused on encapsulating the present than it is the memory of the past,

wing, statue installations

due to its overall form, every detail and connection mostly emphasizing on visualizing the original fragments of the architecture.

3 Caserma (gallery) 4 Sala Avena

Due to construction methods available at the time, Scarpa’s redesigns used a lot of structural channels, favouring right-angles and rigid supports directly layered over the pre-existing form before being bolted down. Timber blocks and planks would be used as a protective layer for the bolting.

Support member for Window frame 500x380mm

Steel member to allow roof/window addition 1000x500mm flange channel rigid support

Burnt pine cladding treatment

5 Sala Bogia

Ground Floor; administrative and museum

In the thesis, Relapse represents beliefs in the time of the past. Despite some overlap with

Steel components were usually hidden, only enhancing the historical structure unless it was brass (which simulated decay over time).

Stagnation interpretations, Scarpa’s interventions further amplify the past aspects to show what has happened in the past- it is not completely focusing on the shift of societal beliefs from past to present.

Channel and angle for holding parts of the intervened facade steel flange channel structural add-on

In Scarpa’s original sketch for the design in the north east tower,

existing structure

layers of steel channels are the hidden beneath the facade and plasters for structural purposes. At the time his intent was to

Figure 2. Scarpa, Carlo. Museo de Castelvecchio. 2009.

North East Tower Internal restoration (Preservation)

bond the ‘new’ and the old parts together without distracting

with pre-existing historical structure

from the old, so the new construction technology at the time consisted of him hiding any glaringly new structures to the preexisting form. This shows a far stronger emphasis on what is

Figure 2. Scarpa, Carlo. Museo de Castelvecchio. 2009. http://www.archiviocarloscarpa.it/web/disegni_scheda.php?scheda=1068. Image detail. Figure 3. Scarpa, Carlo. Original detail section of Sala Bogia and vaulted roof. 1957. http://www.archiviocarloscarpa.it/web/disegni_scheda.php?scheda=348a Figure 4. Scarpa, Carlo. Sketch design of North East tower. 1957. Figure 5. Scarpa, Carlo. Museo de Castelvecchio exhibition installation details. 2009. Figure 6. Scarpa, Carlo. Museo de Castelvecchio section. 2009.

available from the past rather than his present design. Figure 4. Scarpa, Carlo. Sketch design of North East tower. 1957.

ACROPOLIS MUSEUM BERNARD TSCHUMI Project Location: Makryianni district, Athens, Greece. Site Footprint: 21000 m2 (14000 m2 for exhibition space) Completion: 2009 design, includes the Acropolis Museum from 19th century. Tectonics: Planar; contemporary. Materials: •

Reinforced concrete for structure

•

Precast concrete with acoustic dampening

•

Purified low-iron glass with UV coating (ramp & circulation, facade treatment)

•

Frosted glass panels for facade treatment

•

Glass panels and steel handrails for stairs

•

Marble for flooring (dark marble for circulation and light beige for galleries)

•

Heat-strengthened, laminated safety glass with anti-slip texture

•

For displays- marble pedestals, glass vitrines, steel niche

“To the pleasures of the text I substitute the pleasures of architecture, an absolute pleasure for the senses, I walk, I understand, I see. I play all the roles: agent, because I design, and patient because the building desires me. It is to every perversion that I give in, the building being my victim, and now I am its victim. The building never ceases to desire me, it seeks to seduce me, it needs me as its prolongation.” -- Bernard Tschumi

The New Acropolis Museum features and stores the permanent collections, offers spaces such as a 200-seat auditorium, multimedia space, Museum store, restaurant/bar and support facilities, surrounded by landscaped gardens. Structural statistics: •

Columns in Excavations: 43

•

Columns in Archaic Gallery: 28

•

Parthenon Gallery: 39 x 84 meters

•

Frieze: 21 x 58 meters

•

Glass Panels in Parthenon Gallery: 348 (1302 m2)

Bernard Tschumi, New Acropolis Museum, 2009.

The classical collections of the Museum date from the prehistoric, to the Archaic, Classical, Hellenistic, Roman and

SPACE

UTILITY

up to late Antiquity periods. It was designed to feature all the collections from Ancient Greece, considered masterpieces, as one complete narrative of the Athenian Acropolis. The project focuses on 3 concepts: light-electricity, motion/ tectonic and programmatic enhancement. Material analysis

Axis asymmetry

Enclosed areas

Division in thirds

Semi-enclosed

Transfer of Artifacts:

Concrete

Main diagonal axis from the main entry

Open areas

September to December 2007

Low-iron glass

leading to the excavations site

Timber fittings

Beige marble

Dark marble

Limited viewing of installations: Winter 2008 Viewing opened to public: June 20, 2009

Programs & Spaces: •

A 250 m2 theater with 180 seats, translation booth and projections.

•

A 770 m2 cafe/restaurant opens onto a public terrace with views of the Acropolis. Shading devices are integrated, allowing for use during the day and night.

•

2 of 125 m2 shops located on level ‘0’ and second floor.

•

Landscaped with local flora eventually blends with the natural flora of the Acropolis. Essentially a public reactivated space and converges with the neighbourhood.

•

Access: Parking is not provided on site, but is available in

Second floor: Signage is designed to

Third floor: Panoramic views across the

the nearby neighbourhood. Public transit can be accessed

Facade

be subtle, so that wayfinding does

Acropolis and celebrating views of the

from northeast of Athens Metro’s Acropolis Stop.

not compete with artifact exhibits.

Parthenon from inside out.

First floor Structural columns

Circulation

Material changes from the dark marble

Access points on North and East sides.

to timber and beige also assists with guiding.

Figure 11. Bernard Tschumi Architects. Exploded Axonometric sketch. 2012.

Figure 13. Shortle, Cathy. HDA Glass Design. 2009.

Similar to Scarpa’s interventions on the Castelvecchio, the New Acropolis Museum focuses on a

The

skin

Simplicity and lack of monumentality

play of light across the galleries to emphasize the narrative sequence between the installations.

facade with shading screens on exposed

was the focus of this design in order

However the difference between the two is that the Museum preserves these artifacts for the

elevations. The low-iron glass is used to

to showcase and emphasize on the

present audience and society to admire. The purpose of viewing such sculptures in modern

maintain colour integrity and dense black

remains of the former Museum’s

society compared to those in Castelvecchio, is that:

fritting is added for anti-glare. The glass

exhibits. The architecture extensively

For the New Acropolis- this tells a story of a society that focused on mathematical and

itself was integrated into the glass floors,

uses glass for external and internal

conceptual clarity and forward thinking at the time. It is a preservation of the past, for the

balustrades and skylights to allow for

treatments to represent preservation,

present society to gain insights from. It is a base to compare from and improve on what is

light and views down to the excavations

in encasing the installations and

currently occurring.

in the lower floor.

archaeological excavations.

detail

features

double

For the Castelvecchio- this showcases a set of monuments and sculptures that celebrate the Scaliger family, the higher-class rulers of society back then and not representing other classes included in the society itself accurately. Essentially it emphasizes on respect for the ruling power of higher-classes in their society back then.

Figure 11. Bernard Tschumi Architects. Exploded Axonometric sketch. 2009. https://arcspace.com/feature/new-acropolis-museum/ Figure 12. Bernard Tschumi Architects. Section. 2009. https://www.archdaily.com/61898/new-acropolis-museum-bernard-tschumi-architects Figure 13. Shortle, Cathy. HDA Glass Design. 2009. https://www.hda-paris.com/project/new-acropolis-museum-athens-greece/

BARCELONA PAVILION LUDWIG MIES VAN DER

PRODUCTION CONSUMPTION

ROHE

Category: Production-Consumption Project Location: International Exposition in Barcelona, Spain. Site Footprint: 901 m2 Completion: 1929. Tectonics: Planarity; Modernist style. Materials: •

Roman Travertine

•

Steel for structure

•

Reinforced concrete cover

•

Chrome

•

Marble (Roman travertine, Alps green marble, Ancient Green marble from Greece, Onyx dore Atlas)

•

Glass panels

•

Water (reflective pool)

Reusability: A specific chair was designed for the Pavilion, with a silver metal profile as indicative of modern design, to match the timelessness of the building as the design itself continues to sell to this day. The bronze Georg Kolbe Dawn sculpture decorates the pond located at the back of the building and gives an organic impression to the overall atmosphere of the building, softening the geometric purities of the planar forms. The silhouette and form of the statue is able to reflect onto the water, crystal or marble materials due to the polished surfacing.

Ludwig Mies Van der Rohe. Barcelona Pavilion, 1929.

Initially the face of Germany post-WWII, this pavilion was renamed the Barcelona Pavilion. Renowned for its elegant modern design, its intention was grand-- to welcome King Alphonso XIII of Spain, and German officials at an inauguration. It was intended not to store artworks, rather it would be a place of serenity and escape from the lively bustling of the exposition at the time. In this sense, the Pavilion serves as a sculptural artwork in and of itself. The structure is raised on a travertine plinth, situated away from the busy streets of Barcelona city. Heavy emphasis on material, experience and atmospheric quality is most distinct in this building. Regarding its design, it is based on a grid system determining the Circulation

Axis

Light

Main slab structure

Materials

pattern of travertine pavers along with the composition of wall systems. The narrowness of the site profile further accentuates the low horizontal orientation, causing the flat roof structure to seem as though it is suspended over the interiors. This low position also guides the line of sight to adjust to the framed views and encourage circulation throughout the building. In terms of experiential qualities, the building allows its users to feel inclined to explore the site and reminisce, basking in its tranquility. The low profile of the roof further enhances this blur in boundaries, between the interior

Geometry Joo Liew. Analysis diagrams. 2020.

Structure

Shapes

Roof structure

Water bodies

and exterior, openness and closeness. The interior further adds to the atmosphere by juxtaposing itself alongside two reflection pools, in which generate sleek, mirrored planes that establish a sense of solitude and reminisce. In addition, the main materials that contribute to this powerful essence are primarily steel, chrome, marble and glass. The steel meshes along with integration of the marble, is created through a process to create the patterns within. Travertine was mostly used for wall coverage, as when light illuminates its surface, it washes a dissolved layer of light across the interior volume. The Pavilion was deconstructed in 1930, after International Exposition.

Chrome clad

Reflective columns to impress the column is not holding the ‘floating’ roof.

original state (uncovered)

Galvanised steel bracket to keep right angle

Cruciform steel column.

Internal fixing to tightly connect marble panel to concrete structure

4 pieces of steel, fixed with screws.

Marble panel

construct for the exhibition; grand greetings

changes appreciated by visitors for a short time before reversion to the original state.

white plaster; homogenous material. Showcase modernity for a temporary exhibitive event.

*Similarly, other events of material changes also took place, with SANAA architects adding acrylic curtains in 2008, artist Ai Wei Wei filling pools with cafe latte, architect Andres Jaque furnishing the interior with objects stored in the hidden basement in 2013. In 2016, temporary steel columns were placed outside of the Pavilion, made from recycled steel drums, by architect Luis Martinez Santa-Maria, in celebration of Catalan monuments. The intent was to express the relationship between the industrial landscape and the beauty of time and age upon its materials.

In 1980, Oriol Bohigas, the head of the Urban Planning Department of Barcelona City Council,

ceremony & celebration occurs on site during the time of exhibition

Stucco Flashing

assigned reconstruction and redesign to architects Ignasi de Solà-Morales, Cristian Cirici and Fernando Ramos. Construction work began in 1983 and was reopened in 1986. The materials gave an essence of timelessness, possibly due to the temporal effects of reflecting light and colour off one another. The dynamism of the elements allowing the building to seem as though it transitioned its form slightly throughout the seasons and days. The state of

Salvaging materials; reconstruction. Later led to covering the marble with modern white ceramic panels, to preserve the ‘modernity’ of the interior (Bach, 2017).

LIFE CYCLE

council decision to disassemble the pavilion after the necessary use

the Pavilion is currently sustained by a re-modification of the interior, covering the original marbled walls and stucco with a protective white ceramic material. This was intended to Wall material (marble) fixing detail & column detail.

upkeep with the current trends of minimalism and modernity (Bach, 2017). Some consider the salvaged building as a “faithful replica” (Hosey, 2018). However it still allows for users of the modern day to experience mediated ranges of space, light and colour, in accordance to

international materials from Greece, local site. Was salvaged for reconstruction later.

deconstruction in <1 year; short lifespan

the current generation they are in. Thus maintaining the standard of modernity it previously had before, despite catering for different needs of a past generation.

The free facade notion was integrated, wherein supporting capacities was transferred to exterior walls to handle, or support columns. Another element that was applied was the spatial principle of the open floor plan, wherein the volume would act as a single coherent space. Utilising the marble material, despite its variant colours and visual texture, allowed for a seemingly homogeneous impression whilst remaining dynamic at the same time due to its temporal reflective qualities. The structure appears elevated by the steel columns that form a cross shape, holding up the roof slab and relieving the weight from the other vertical glass structures. The overhang of the roof further contributes to this effect on ‘weightless mass’ alongside the

Georg Kolbe sculpture; located at the end of a small pool that reflected in the water and also in the surrounding marble material. With multiple light reflections and projections, this gave a dynamic impression to the atmosphere of the inside of the building for visitors to bask in its serenity. A permanent installation, this serves as an intervention that brings permanence to the space, and stagnates, despite its dynamic reflective quality.

column integration. Alongside with the furnishings, statue and interior installations, the Pavilion showcases a balance between art and architecture, one that seems to remain the same constant no matter how much time has passed.

Barcelona chair; the furniture was an important indicator of moving forward to modern aspects of ‘timelessness’. The black carpets combined with the furnishing and beige coloured marble walls represented the German flag and celebrated their culture. Analysis plans and sections. 2020.

SERPENTINE PAVILION SOU FUJIMOTO

OWNERSHIP

Architect: Sou Fujimoto Category: Ownership Project Location: Hyde Park, London Site Footprint: 357 m2 (ext), 142 m2 (int) Completion: 2013. Created by the architects, for the visitors, in place with the environment. Public interaction with a structure. Its lattice form is derived from the cloud-like shape it undertakes, with a strong sense of lightness and transparency invoked by its grid structure. It consists of a three-dimensional steel grid of approximately 40 centimetre modules, capable of morphing on every side. Its form and materials allow for user access all-around, both below as well as above the structure. Its translucent figure impresses a hovering atmosphere, providing users with a terrain of versatility of use to explore the site in various creative ways. The feasibility of structure is similar however the response as shown in the comic, was intended to be invasive and destructive, whilst Fujimoto intended his pavilion form to peacefully blend with its surroundings, embracing its environmental and user-cultural context.

Figure 9. Sou Fujimoto. Serpentine Gallery Pavilion detail model Plan & Section. 2013.

With the structure giving very similar impressions to the 1985 artworks of Schuiten and Peeters, in a sense, some of the ownership too, goes to the older concept creators.

Sou Fujimoto, Serpentine Pavilion, 2013.

“The future is a spreading matrix rather than a straight line. What I am making now can be seen as seeds for the future, although those seeds are created by the past seeds of past histories. So, it is a continuity of creations, ideas, and inspirations.” -- Sou Fujimoto

Figure 9. Sou Fujimoto. Serpentine Gallery Pavilion detail model Plan & Section. 2013. https://www.detail-online.com/article/interactive-art-serpentine-gallery-pavilion-by-sou-fujimoto-16577/.

Figure 10. François Schuiten & Benoît Peeters. La fievre d’Urbicande. 1985.

FIXINGS

The cube shapes were used in repetition to build this dynamic form that hovers between the natural and the abstract, testing the boundaries of what is presently perceived as interior and exterior. The lattice also allows for shelter in utility, exploration and diversity of use, access and interpretation. The Pavilion contains 2 entrances, with multi-purposed social spaces, seating/walls/roof all derived from the same fine steel element. Users are able to perceive the utility and novelty of the Pavilion in their own varying degrees of suspense within this architecture. Semicircular glass panels are overlaid on each other, creating a multilayered transparent roof. The panels are rotated to enable multi-directional interlocking.

Thinner steel rods for safety (anti-fall for children playing on the steps) Glass panel with anti-slip surface Sealant material

Figure 3b. Model of roof & ‘wall’/window fixings based on observation and research. 2020.

Alongside it is the greenery of the park, well established to enhance the stark contrast the grid structure has with the rest of the natural environment. It is noted that it is inspired by geometric formations that could emulate the movement of natural organisms including the human body, whilst maintaining its geometric sharpness. Although the structural component, by itself, is seemingly fragile-- when fixed together the structure maintains rigid support. Designed for versatility, the multi-purpose lattice frames encouraged social events, as well as entry and interaction for visitors, bringing in activity to the site. The temporal quality of this architecture can contribute to the socio-cultural sustainability of urban heritage-- ultimately it is a preservation of the heritage and historical moments that surround it (Wozniak-Scpakiewicz, 2020). The Pavilion, in this case, should respond to the needs of its inhabitants and users, leading from present use to future potential use. For Fujimoto’s Serpentine Gallery, it is indicated that it could only be accepted on to placement in the site, if: a) it would not materially damage the site in any way, b) of high quality of design and execution that is valued in both present and for future use, and c) that consequences occurring from the proposal positions would be benign and otherwise allow the ‘environment’ to remain unaffected.

Analytical sketch of fixings based on observation and research. 2020.

The Pavilion generates cyclical movement throughout the park, enriching the site’s character (Wozniak-Scpakiewicz, 2020). In this regard, it is perhaps not incorrect to define one of the ‘owners’ of the pavilion, being the site location itself. The community, that is part of its environmental context, further contributes to this relationship. The structure only allowed for visitor access for 4 months on site, an all-day exhibit to facilitate the program of the park. Security was monitored by the visitors, over the other visitors, moreso for safety reasons. Fujimoto himself was able to witness the Serpentine Pavilion as a useful place to promote and enhance brand positioning.

MADI A-FRAME HOUSE

Pen drawings by author, 2020.

FIXINGS

MADI houses by Renato Vidal were portable, foldable, flatly packed houses that are said to be able to complete assembly in under six hours. Its relatively low structure with a variety of rotational and fixed forces at fixings allow for rigidity to endure even earthquakes. It can be installed without footings so long as the unit is placed on level ground or a flat ‘base’. For long term use however, it is recommended to install the frame with concrete footings and prepared foundations. Vidal currently has designs for MADI houses that range from 26 m2 to 84 m2, offering a variety of choice depending on the number of users. In relation to the thesis pavilion research, perhaps a similar principle can be applied-- the notion of efficient assembly and disassembly via structures that fold. It is almost ideal that the contours of the site remain relatively flat as well. This notion could potentially be harnessed in the ‘stagnation’ phase of the project, where the design may be on site for up to several weeks for temporary or seasonal residence/use. The idea is to be able to provide a comfortable environment to which allows for discussion between the public communities and address issues of ‘today’, or discuss concerns within a ‘shelter’/space.

Pen drawings of the Madi unit, fixings and foldings. By author, 2020.

PAVILION MARTELL JOSE SELGAS & LUCIA CANO

EVENT

By architects SelgasCano; Jose Selgas and Lucia Cano, spanning 1340 sqm with dimensions of 17.50x76.80m, Pavilion Martell was installed for the exterior courtyard of the Fondation d’entreprise Martell building. The aesthetic is defined by the foundation’s values, that is, to have transparency and openness to the world/public. The steel frames are cable-tied to translucent material created by French brand ‘Onduline’. The pavilion is formulated into segments with flexible and organic planes in shape, allowing for diverse program utility and able to host and shelter large crowds and events. Inflatable seats are attached to the frame through straps, which allow for visitors to sit, lean on or be comfortable throughout the entire space. The straps and cable tie usage allow for more effective disassembly for when the event closes. SelgasCano have since then spread the pavilion design into multiple parts for multiple destinations for reconstruction. A limited portion is kept at Fondation d’entreprise Martell for archive and visitor purposes. Other parts have been scattered for social and community utility internationally with plans for using parts alongside local materials. The ability to be easily assembled, disassembled and scattered, embodies the notion that regards time as multilayered, with many complexities and potentials. It implies that any given perception of time can occur at any ‘moment’ and also within any space; it is versatile and left to open interpretation to what society, the user, or community prefers to perceive it as.

Pen drawings by author, 2020. Jose Selgas & Lucia Cano, Pavilion Martell, 2016.

progression

relapse

stagnation

CONCEPT RESEARCH

S I T E

L O C AT I O N The Trades Hall, situated at the corner of Lygon and Victoria Street, this was one of the earliest trade union buildings, financed and built by workers as an icon to showcase labour movement. It was used to platform the Eight Hour Day, which allowed for more conventional work hours and reduced exploitation of labour. Trades Hall was first opened as a wooden building in May 1859 but was upgraded further between 1874 to 1925 by architectural firm, Reed and Barnes.

The Pavilions of Relapse, Stagnation and Progression will be located at the 8 Hour Reserve. These institutions of time will change frequently on site, showing the oscillations of time physically and figuratively. The site was selected due to the Pavilions’ relation with the 8 Hour Monument, which marks the important event of Australian workers collectively fighting for their worker rights in 1856, on 8 hours of work, 8 hours of play/rest and 8 hours of education/other. It is facing opposite of the Victorian Trades Hall and is readily accessible, whilst its relatively empty lawn leaves great potential for dynamic opportunities.

Eventually this was replaced with a two storey building with a classical facade, bluestone foundation and cement rendered brick walls. In 1884, a Council Chamber and Female Operatives Hall was added. Over the years, more amenities and facilities were added, such as the bookshop, to which represents celebration of the Eight Hour Day and also serve as a literary institute, combining both political and educational aspects. This shows that, over time, the construct of a building may become grander and far more complex, leading to progression of itself and progression of the evolution of its users. Victorian Trades Hall Stats:

VICTORIAN TRADES HALL

VICTORIA ST

RUSSELL ST

BO MEL

URN

ENT

TIO STA RAL

8 HOUR RESERVE

40m

Construction: Architect: Overlay no.: Location:

1873 Reed & Barnes HO68; registered 2 Lygon Street, 172 Victoria Street, Carlton

Rural Water Co.: Power distributor: Legislative Council:

Southern Rural Water; City West water CITIPower Northern Metropolitan

Planning Zone: Schedule: Parking: Heritage:

MUZ (mixed use) DDO44; HO68 (heritage overlay) PO12 (Precinct 12 overlay) VHR no. HO663. Affected by Heritage Registry.

Pavilion stats:

~650m2, a Prescribed Structure Design for wind speed 20-30m/s

Rooms:

Quilt room, Solidarity Hall, ETU Ballroom, Meeting room x3, Loading bay Old Council Chambers (Union use only) Common Rooms (anchor tenants)

Smaller spaces (community use), larger (Union, political, environmental, book publishers, theatre companies etc.)

The Pavilion proposal will also cater for a range of unions, in which its ownership will change depending on the oscillation of time of the Pavilion being used. Trade unions represent Australian workers who require services, advice and other industrial support for their own field of work. According to the ABS Government report in 2016, approximately 1.5 million Australians are members of the trade unions in their own industry. However contrary to the demographic teeming in the Carlton area, approximately 88%, the majority, of trade union members are around 55-59 years of age. Corporations and group hosts at the Trades Hall are: • • • • • • • • • •

Comedy Festival Australian Council of Trades Union We Are Union: OHS representative RTBU Women’s Conference 2020 Young Unionists Climate Activists’ Network Australian Labour Party Union Contingent Open House Melbourne Australian Unemployed Workers Union Australian Nursing and Midwifery Federation

A B O R I G I N A L T I M E L I N E

O F

D I S C O V E R I E S

Astronomy and meteor craters were also part of the Aboriginal cultures, being referred to as a “star bin”. A Djaru Elder, Jack Jugarie (1927-1999) referred to a crater at Wolfe Creek: “A star bin fall down. It was a small star, not so big. It fell straight down and hit the ground. It fell straight down and made that hole round, a very deep hole. The earth shook when that star fell down” (Sanday 2007:26) (Hamacher, 2016) They are not to be regarded as mythology or fables, being very much ingrained in the land and with life and spaciotemporal elements itself. The Dreaming is religiously passed down via rituals, celebrations, dancing and illustrations, rather than text in order to be reflective of their culture, which is always progressing together with the span of time.

P H A S I N G Brief summary of contents in the phases of Oscillations in time

PHASE

RELAPSE

STAGNATION

An autopsy of the future. Here, time is perceived as moving towards changes in society, culture and technology.

The equilibrium moment between Progression and Relapse, if they were to occur at the same time.

Local community, consumers, bystanders. Active and passive participative uses. Public users.

The residents within the immediate vicinity, activists or temporary residents advocating for a cause included.

For mixed use. Platform of inventory kits for other users to become their own designer and be fully involved in the process of designing their own futures.

Tectonics

Massing

Massing, framing

Planar, framing

Materiality

Remains from other Solid component

Remains from other Solid component (concrete/stone/glass)

Steel

Lifespan

Long-term structure that uses ‘recycled’ components from Stagnation and Relapse. Difficult to disassemble, but can be done. Possibly years on site.

Stays on site for a longer period of time than Progression. Can disassemble for use to support the long term structure of Progression.

LIFESPAN - EVENT

The user’s initial perception of time that is least open to interpretation. The users are free to actively or passively participate with the structure.

The user’s secondary perception; influenced by the changed environment and also the set program. Space for improvement of issues of concern, in order to head toward the ‘progression’ phase. For gatherings concerning social issues. Potentially a temporary residence.

Pre-modern rituals performed by the Aboriginals, were also translated into modern events (Laing, 2014.) The following sequence adopted throughout time, were as follows: •

Preservation- Events that were stage d continuously, with great value placed on maintenance of the sequence and materials/props used as to how they were conducted in the past. This was mostly to help build authenticity in the practice.

•

Adaption- Event would be assumed to evolve over time, integrating new aspects but also retaining its old ones, allowing for a evolutionary function.

•

Appropriation- Event may incorporate factors from other cultures or the environmental context, to suit appropriately. This may also be impacted by the geographical location within which the event/ ritual would take place.

•

Invention- New creation of symbolic meanings that are incorporated into the practice of the rituals, but do not overwhelm the traditional customs of the practice. This may take place in order for the tradition to be appropriated to modern times.

The chief rites common to Indigenous events and rites were: • Valorisation: Time and space claimed for the event. Usually begins with an opening ceremony to mark its importance. • Purification: Cleansing practices for safeguarding and security of the event and its participants. • Passage: Practices during the event that may mark milestones or transitions. • Reversal: Normality of behaviours and roles are reversed or changed, such as the ‘leader’ becoming part of the ‘common folk’. • Conspicuous display: Display of valuable objects and subjects • Conspicuous consumption: Relishing in food and drink, as well as the waste of. • Drama: Dramatic performances to provide entertainment, storytelling. • Exchange: Symbolic exchange of goods, riches or tokens • Competition: Games and sports may take place as part of the celebration. • Devalorisation: Conclusive part of the ceremony to mark return to a normal time and space; repeat of the festival may be promised.

OWNERSHIP

PRODUCTION - CONSUMPTION

Permanent on site.

LOCATION

PROGRESSION Changing faiths and priorities of society of the future. The most dynamic form out of the three phases.

Intended fastest disposal/disassembly out of the 3 phases. Stays on site for a shorter period of time. Can disassemble for use to support the long term structure of Stagnation.

Potentially, revisiting this aspect of the pavilion will allow for re-contemplation and thus ‘progression’ in the users’ perception of time. Spaces that introduce and encourage design and showcases evolution in beliefs of the public. Where man is no longer limited to the perception that only one ‘plane’ of dimension exists in any given opportunity of time.

8 Hour Reserve

The personal perception of Time, is kept relatively unbiased. This is due to the multidimensional aspects in Time, that there is no clear-cut, black or white understanding. Where Dystopia is considered a negative societal evolution and Utopia is the positive counterpart, it is difficult to say if either of the two are truly extremes of negative and positive outcomes of time. Both types of societies have the most potential for change- whether this is good or bad for the society itself, is not up to all individuals to decide for each other.

Designer: Nendo; Oki Sato Variations of Time. This particular project was designed for an exhibition in Milan, Italy. It is a collection of four hourglasses that show the passage of time and also designs ‘time’ in its varied ways. The designs only concern the use of minutes, the flow of the polished sand controlled by the diameter of the conduits. The changes in direction and shapes of the glass cavities also affect the speed of fall of sand, controlling the rate at which it depicts its designated time. The hourglasses also have ‘alternative’ routes at which the sand may flow through, which presents the notion that ‘time’ itself is never truly linear. It is something in which an event can happen at any opportune moment, but it is not predictable either.

MATERIAL RESEARCH SCHEMATIC IDEAS 48

The form of alternative routes forms the concept that there is a certain amount of ‘freedom’ and ‘consequence’ to which the user can temporarily affect or control a certain phase in time.

M1: R E L A P S E & R A M M E D

E A RT H W O R K

rams to compress clay

rammed clay wall

moist clay (sand/gravel etc) formwork

concrete footings plywood formwork filled with moist clay

clay layers compacted with backmill tamper rams

layers added, repeat process

formwork lifted and removed after drying

Process of making rammed earth panels.

earthwork walls (raw structure and facade)

Sketch iterations 2 1

Initial phase (first time built)

[remains] from other Pavilion phases can start aggregating here after an event is passed

Eventually returns to its initial form, but also holds remnants of what has already occurred in the other Pavilion phase/s.

experience that is ‘grounded’, like living in the past

glazing or opening; gap that allows light and ventilation

Event: The Previous Life. When the past is more highly regarded, with strong sustenance and a rigid perception of life. Primarily respects and acknowledges the traditional custodians of the land. The design will take some influence from the vernacular Victorian context.

(external level)

Material: Rammed earthwork The strata of the materia illustrates the transience of societies over time and how it preserves the complexities of the past.

FLOOR PLAN RELAPSE 1) Living area 2) Add-ons from [remains] 3) Communal area 4) Celebratory space

10M

20M

Designing for permanency and long-tern use on site. Where Relapse works on the perception that there is more faith in the ‘past’-- what has existed/already happened. The Relapse pavilion takes inspiration from the case study of Barcelona Pavilion in terms of the metaphorical meaning that no matter how many times it is ‘rebuilt’, it continues to have the same atmosphere as it did in the ‘past’.

ground

earthwork alt. concrete footings

Sketch, potentially using concrete slab for the footings, rammed earthwork for walls. If steel frames [remains] from another phase of the Pavilion is taken, how could this be integrated into the more permanent pavilion?

rammed earth wall

[remains], not in the initial structure but can be integrated parts from the other pavilion phases.

Figure 1. Muller, N. House Gulm by Aicher Ziviltechniker GmBH Architects, 2010.

if using a concrete slab, additional reinforcement may be needed. compact fill

Figure 1. Muller, N. House Gulm by Aicher Ziviltechniker GmBH Architects, 2010. Photograph.

water proof membrane

M2: S TA G N AT I O N & G L A S S

Material 3

C O N C R E T E

Potentially GRC or other remains from Stagnation

Additional fixing and waterproofing structure might be required

Material 1: Rammed earthwork Sketch of materials layered over the initial structure in Relapse Pavilion. Intended to illustrate the re-occurence of an event that has already passed and/or change in ownership that happened in the other Pavilions (Stagnation/Progression).

Where materials aggregate over the other from previously completed events.

The events must occur in Stagnation/Progression before materials from those two can be reused into Relapse. ROOF PLAN

Material 1: Rammed earthwork

Material 2

*see above detail sketch; potentially integrating material 2 into 1 (earthwork)

Material 3

Old sketches of the pavilion phase. Initially intended to hold 2 main programs: one for living, and another space for meetings/ serious gatherings. This was later changed to have more emphasis on the ‘living’ and residential aspect-- to test how living in the current-day society can be perceived. Projector from Progression

Massing remains from Stagnation

Rammed earthwork (Relapse form)

Frames from Progression

Pre-made wall indents to be able to place frames inside

Massing remains from Stagnation Sketch of how the materials could be ‘layered’ over the other at an eventual time.

FLOOR PLAN STAGNATION 1) Living pods (private) 2) Storage but organised as a space of ‘items’ that never change 3) Stagnation event space (communal) 4) Entry/exit

Sketch of space to convey stillness and stagnant nature of form and materials in this phase. Compared to Progression and Relapse, it is a lot more rigid and ‘routine’ in order of spaces users can experience. 0M

10M

20M

This is to illustrate the stagnant nature of some lifestyles experienced in the current society, where work and schedules must be inclined to run consistently, organised and routinely.

Raw material: Silica weighed, mixed and furnaced

batching: filtering contaminant elements in the mix

Raw material extractions (limestone, gravel aggregate, cement, water)

melting: breakdown of material to mixture

Crushing refinement: glass is homogenized and removed air bubbles

Grinding

GLASS PROCESSING

Forming: taking shape from a mould of molten material

fining: temperature control for the next moulding

annealing

TO CONCRETE BLOCK PROCESSING

Dry mixing; homogenize materials

Preheating

inspect: quality control cutting: trimming units to appropriate size

Heating in rotary kiln

slag or coal fly ash input optical glass fibres into mould at 2-5mm distance

Dry laying of panels to check colour and support consistency

Clinker cooler

packing for transport

Complete grinding

plywood formwork if the concrete panels need to be

MRF (materials recovery facility)

recyclers/drop off centers

Market beneficiators The process of glass bricks, a potential material, from manufacturing to consuming.

consumer packaged goods companies

customised

storage

prefabricated blocks about 600x300mm size

distributors

pavilion integration

customisation

versatility: full

solidity or semipermeable

packaging and shipping retailers/consumers

SECTION STAGNATION 1) Living pods (private) 2) Storage but organised as a space of ‘items’ that never change 3) Stagnation event space (communal) 4) Entry/exit

10M

20M

Production-Consumption L-angle to keep right angle rigid

Ideas for Pavilion 2.

steel column; remains from Progression

showing

steel frame that supports GRC block

residing/ maintaining

exhibiting

STAGNATION

storing

An entryway. Solid interior walls with GRC blocks so the masses may appear ‘stopped’ in time, suspended.

steel reinforcement but should be concealed in design development

The interior wall, which the user can see the potential of time being stopped.

Resting; material panels suspended in ‘air’. Unmovable. additional reinforcement

smaller panels of GRC blocks

steel frames in place of reinforcement

glass (GRC) block

MATERIAL STRUCTURE

concrete structure

Event: The Present Life. Can be represented as architecture that has ‘stopped’, and/or reflects what is present in the moment. Users experience living in the present day, where routine and consistency in work and lifestyle is the norm; where the understanding of time and lifestyle does not grow or regress. ALTERNATIVE

Sketch of potential GRC block detail, also using the remains of steel frames from the Progression pavilion as reinforcement.

Material: Glass reinforced concrete blocks Opaque properties do not reveal the internal program and can maintain the same appearance throughout time on site.

M3: P R O G R E S S I O N & W E AT H E R E D

S T E E L

Sensory deprivation pod provided with VR set. Intended user experience is to experience a time and reality that runs differently from the physical reality.

Previous sketches that focused on it being an installation though this was later converted to a building typology instead, which will go through changes in what users perceive to be the potential futures of living and residential life.

1 2

1 PLAN PROGRESSION 1) Tech area 2) Living areas

10M

20M

Progression as the phase where there are aspirations and beliefs that good things happen when there is belief in any potential future.

SECTION PROGRESSION 1) Tech area 2) Living areas

10M

20M

PAVILION

designer

[design]

steel forms (first use) [pavilion use]

PROGRESSION

Sketch iterations of how the pavilion could change.

forms & furnishings

STAGNATION (WITH ADD-ON TO RELAPSE)

[disassembly and/or shift to other pavilions]

steel forms (2nd use)

STAGNATION

[pavilion use]

eye box of user’s choice, containing a variety of ‘memories’ or virtual experience

To show the shifts in time, how Relapse/ Stagnation/Progression are independent aspects of time yet are not mutually exclusive-- materials can be aggregated on top of each other. Remains from each Pavilion phase can also add and subtract on to each other during certain months of the year, or depending on the change in ownership at the time.

holographic combiner; forms the hologram RELAPSE

[disassembly and/or shift to other pavilions]

architect/ designer

clamped connection to steel frame

[design]

Smart glass panel system Alternatively, LED input

recycling facility [transport]

initial steel frame

remodified steel for 3rd use in RELAPSE moment

initial steel frame (column support)

[continuous casting, hot and cold rolling simultaneously]

Subtraction and relocation of material that establishes part of the form.

[package + delivery]

Converting from a shared living module to a technological space that constantly changes.

Tech space. *see right detail

structure

[reform into new design

installations + appliances]

PAVILION 2 or 3

potentially loose inventory [remains] from Stagnation

Sketch of a small part of the potential structure. The steel frames itself will change in tone when under weather exposure and can be disassembled and fixed in different compositions each time the Progression pavilion is set up.

‘shelves’ made from frames, reusable

angled projector

~48 hrs A: ~48 + 168 hrs

(slower oxidation process; less modification to alloys during manufacturing process)

Corten steel visual lifecycle

B: 72 hrs

(fast oxidation process; stronger coating)

Event: The Progressive Life. Represented by materials that change over time/ exposure. Users experience living in the future, where technological progress is highly celebrated and potentially the physical boundaries between private and public space are blurred. Alongside the physical reality is the Virtual Reality, where spaces of technology allow users to live inside another world and interact with other users on a anonymous yet personal level. Computers are a protective ‘screen’ that allows users to freely communicate without the social anxiety of face-to-face connection or physical identity threats. This enables a space for increasing trust between users, on a mentally internalised level. Material: Steel types that change under weather and time exposure, such as Corten steel, copper or brass alternatively. Higher practicality for disassembly. It will take influence from modern and metabolic perceptions of time.

Interior technological exhibit - Using the steel frames as a ‘platform’ for a separate space. Potentially for current residents, to contemplate the technological changes in society.

fixing

glass panel steel frame

steel frame lightbox

If looking to potentially install fabric-related or tensile exhibitions, there would need to be a permanently embedded fixing into one of the steel frames provided.

Lightbox insertion diagram. Sits within the steel frames.

circuit connector to wiring

A C C E S S

D I A G R A M S / P R O C E S S

R E V I E W S

exploring access to the pavilion/s sketches to further develop the thesis, changed architectural forms

Locations of Stagnation and Progression are at the Front lawn of the Victorian Trades Hall whilst Relapse is permanently on the 8-Hour Reserve. Shifts in mode of access and transport can occur differently throughout the pavilions. • • •

Progression: Primarily pedestrian access. Stagnation: Present-day transport. Trams, road & pedestrian access. Relapse: Primarily pedestrian access.

Proceeding sketches due to the issue of the concept being fragmented. The ideas of time being a continuum were later addressed, with oscillations being a more nuanced word for description, as time is not cyclical, but is constantly shifting between different phases.

Relapse, Stagnation and Progression drafts. The program required more coherent connections. This particular draft was still very disconnected and it was easier to think of it as one holistic program/event to cater for. The issue then was, which specific program?

DESIGN RESEARCH DESIGN DEVELOPMENT

A vessel dedicated to holding collections of the past such as memorabilia and exhibits. It emphasizes on the beliefs of what has already existed. The material used is primarily rammed earthwork, as a presentation of an excavated experience relating to worker conditions in the mines, pre-8 hour day protests and worker activism rights.

COLLECTIONS

M1: RELAPSE

METAMORPHIC STONE

concrete - structure

marble - masonry - form/coverage

Inspired by the notion that people have strong faith in what currently exists. This includes preserving moments of the past as well as items that exist at the present moment. The structure transitions into a form that also accommodates spaces for exhibits, galleries of both past and present artifacts and also an amphitheatre stage for live events and talks. Materials shift from rammed earthwork to using semi-translucent precast concrete, to show the change in beliefs and how society has grown to be more receptive of things that have happened and are happening.

stone/weathered rock - installations

Material choice and utility for this phase are determined by temporary and long-term circumstances. For temporary use-- exhibition, showroom utilities For long-term considerations-- temporary residence. The materials chosen are intended for little to no maintenance, simply only assembly and disassembly of the components will be done. This is to portray the varying aspects of time through aging of a material that contradicts that of the Relapse and Progression phase.

SECURITY / STORAGE STAFF FACILITIES Not accessible to non-management

M2: STAGNATION

Glass

230 110

From Pavilion 1 to 2, the structure transitions into a form that preserves some aspects of the past but mostly focuses on the current-day conditions. The materials chosen will allow light and ventilation into the building as well as allow viewers from outside and within the building to fully realize any event occurring within the vicinity of this Pavilion. That is, nothing is kept hidden. Remnants of the previous oscillation of Pavilion 1, are disassembled and stored away. It is changed from earthwork to semi-translucent concrete, to represent the shift in beliefs and how viewers could grow to be more receptive of things that have happened and are happening currently.

Litracon semi-translucent concrete

Steel bar

Layer of rammed earthwork [feature of Pavilion 1] Loose custom furnishing

Corten steel bar frames, unexposed [to be reused in Pavilion 3]

CONNECTION & LAYERING DETAIL SCALE 1:2 @A1 Loose inventory Relapse remains, concrete & glass units

M3: PROGRESSION

Cluster

Dorm/residence Short-term workspace

Open cluster

Open-air amphitheatre Open square

Hub

Multicultural facility

Pavilion 3 is progressive. Its structure and form is dynamic and changeable according to the user groups that happen to use the site in the future. As it is highly speculative, the plans and sections are samples of possible configurations that will be assembled by users, architects, other designers, builders etc. It is a public platform to which every user can shape their own futures and be constantly invented anew on site as the years pass.

GLASS & WHITE STEEL CORTEN STEEL

~48 hrs

physical clarity

A: ~48 + 168 hrs

visual clarity

(slower oxidation process; less modification to alloys during manufacturing process)

Pavilion 3. Progression. It speculates that the better parts of society’s beliefs are further developed. In the Australian context this could preempt that there is more emphasis placed on the flexibility of function, and that society becomes even more multicultural and accepting of its conditions in the future.

B: 72 hrs

(fast oxidation process; stronger coating)

informative clarity

interaction increase

Material choice for this phase should be able to have a moderately long lifespan, whilst being honest to the notion of ‘trust’ that is built over time, in the community or within users. It is based on long-term circumstances. Whilst it is active on the site, it will require maintenance. Maintenance will also be an active ‘event’ that happens in this phase more frequently than in other phases. This is to maintain the pavilion and also recognize the societal progression of work culture in Victoria (of the 8 Hour Day Movement).

The design process allows any user to become their own designer and create something new out of the architectural kits provided on site. Others can also watch the process of new invention and displays. The design will provide this public platform for any who are interested in the process and product of ‘new creation’.

concrete - structure

Use of steel frames as a potential material for this shift in Time. The specified steel that will be focused on is Corten Steel. The coating allows for the steel to become weathered, and oxidisation can occur from two hours to as long as a few days. The material itself transforms over a fast-paced period of time, but still retains its strength and physical properties. Reasons for choice of potential material: - Changes permanently, over time and under weather exposure. - Brass as an alternative but changes occur over a longer time period (years).

Loose inventory Series of attachable components

Configuration example 1: Resident pods, small units for users to build up on site, for multi-use. Example usage such as stalls, stands, rest areas, private retreats, community gatherings.

N/A

Configuration example 2: Gallery spaces, open-air multifunctional use. Could be a collaborative space or serve as a virtual hub.

Configuration example 3: Multicultural facility. A built form that possibly could represent the values of society in the future, wherein multicultural values are prioritised.

N/A

O S C I L L AT I O N S O F T I M E

ARTIFACT EXHIBITS Holloway & Sons Manufacturers of Ballarat

I N S T I T U T I O N S

O W N E R S H I P C H A N G E S C A L E N D A R

O F

O S C I L L AT I O N S

M AT E R I A L S H I F T

Miners’ Rights; William Edwell Harcourt of Castlemaine district

Private Collection Bendigo; tinware collection from Gold Rush era

WORK HISTORY Charlton Golden Grains Museum Inc-

Colac and District Historical Society

Research, museum collections

Public Record Office Victoria Koorie Services

Artefact collection of Charlton’s pioneer experiences

Carlton Community History Group - Preserved art

Royal Historical Society Victoria

EVENT HOLDERS

East Melbourne Historical Society artworks, exhibitioners, entrepreneurs

Heritage Council of Victoria

Preservation of historical materials

Andrew Ross Museum -

State Library Victoria

Ian Potter’s Museum

old education significance

Australian Lamplighters Guild Inc. - antiques of mines

Kensington Association - collaboration project events

Australian Manufacturing Workers’ Union

National Gallery of Victoria Arts Centre Melbourne

Ballarat Historical Society -

Private Collections of Ballarat

Good Old Days Working Farm Museum Inc

Australian Major Performing Arts Group AMPAG

Archiving collections of heritage and present, static displays and exhibits

Collections of historical significance

Craftsman and war artifacts, memorabilia, records

Creative Victoria

City of Melbourne Makerspaces

Items from life in the gold fields and local farm areas

Cobden and District Historical Society Inc

Professionals Australia

EVENT HOLDERS

Maritime Union of Australia Brunswick Community History Group Inc.

WORK ACTIVISM

Brookton & Districts Historical Society

Koorie Heritage Trust Cape Clear and District Historical Society Inc-

PRODUCTIVITY State Library Victoria

Australian Worker’s Union Work activism United Worker’s Union

Australian Jazz Museum

Christine O’Loughlin Cultural Rubble

Balwyn Historical Society 8h, 5d

Birchip Historical Society - Australian war memorabilia

Preservation

24h, 7d

Boxhill Historical Society local historical artefacts, including international worker archives

Architects Builders Designers (Product, graphic, concept designers etc) Interested Public

intervals

MSD Next Lab Hub Australia

Service provision

Interaction Design Lab

Manage, monitor, redefine spaces to the user’s innovation preferences.

VCA Visual Arts Australian Institute of Machine Learning

- delivering benefits to the community via IT mechanics

Melbourne Human Robotics Laboratory

RMIT Design Hub

City of Melbourne

Festo Australia

Tech and system designers

Ian Potter Museum

The users

Australian Centre for robotic vision

Dromana and District Historical Society Inc

Architects and student designers

Tech designers, IT systems

IT designers

Artists and sculptors

Providing ‘smart’ spaces, enhancing the work environment. AI and humans become the animate group that defines a time of Progress.

Contributing to the holistic design process as much as the Architect/other.

MATERIAL SHIFTS

Photographers, collectors

Process & Invention 82

P R O D U C T I O N-C O N S U M P T I O N

RELAPSE

S TA G N AT I O N

PROGRESSION

T H E W O R K E R

RELAPSE

C O N T E X T

S TA G N AT I O N

1790

1850

1856

1969

British settlement at Rouse Hill, with the gathering of convicts. The forming of a working class system initiates.

The Gold Rush decade; wealth and economic opportunities and fortunes come flooding in for the individuals and communities in Victoria. Miners could not own the land however, and were threatened to be evicted or extorted.

The Stonemasons Society is created in Melbourne, launching a campaign to reduce working hours from 10 hours to 8 hours a day. The 8 Hour day protests have been won.

In a post war era, Bob Hawke represented a new generation of unionists and more issues were raised, including gender inequity

1824 Newspaper typographers and various trades opened up, such as bakers, shoemakers, carpenters, seamen. Protests due to low wages and poor work conditions begin. Some withdrawing from the labour altogether.

1882

2007

Strike of women’s clothing workers led to establishing the Tailoresses’ Union, the first union for women in Australia.

Relating to work conditions and undermining the efforts of the labour force, disputes against the Federal Government under John Howard’s reign were addressed. The ACTU launched a community campaign, ‘Your Rights At Work’ to insist on improving workers’ rights.

1896

1828 New South Wales established the Masters and Servants Act, in which refusal to work would incur prosecution.

Due to the emerging of unions, Victoria established a minimum wage rate.

PROGRESSION

2019

20X X

ACTU led the Change the Rules campaign, which was aimed at loopholes in industrial laws and unethical work practices such as wage theft, cuts or low wage growth, and unsafe working conditions.

On the change of beliefs and perception in societies in the future, regarding the Australian Worker’s context, labour practices may become less ‘traditional’ and more integrative, constituting of clients, users, the wider public and professionals collaborating in one design. This relates to: The design process (innovation process), The construction stage (assembly process) and The Postconstruction stage (uses after assembly).

2017

2018

ACTU wins the claim for Fair Work Commission, in which casual workers have the right to request transfer to a permanent position after working for 12 months.

ACTU led the Fair Work Commission, allowing for 5 days of unpaid leave for workers experiencing family and domestic violence. Whilst the community’s role is still significant, Worker Unions begin to focus on the needs of the individual and thus aim to improve the quality of life of the community, starting from a smaller scale.

Wherein the wider society and users participate in a creation of their own identity, culture, practice and beliefs in the future (Jenkins and Forsyth 2009).

2010 The Australian Services Union launched a campaign for Equal Pay to also address chronic underpayment and gender disparity.

1830 Labourers formed societies to represent and express their interests for change, particularly against work-health related issues and unemployment.

Jenkins, Paul, and Leslie Forsyth. 2009. Architecture, Participation and Society. Google Books. Routledge. https://books.google.com.au/ books?hl=en&lr=&id=BhKPAgAAQBAJ&oi=fnd&pg=PP1&dq=architecture+society+participation&ots=8qqFfCxqOh&sig=ysuoIyoeZg8pFlWZNdm7barQsEs&redir_esc=y#v=onepage&q=architecture%20society%20participation&f=false. ‌

G L O S S A RY O F A S S E M B LY

RELAPSE

S TA G N AT I O N

PROGRESSION

PAV I L I O N 1 / 2 / 3

PA S T R E L A P S E

P R E S E N T S TA G N AT I O N

The Pavilion consists of three major oscillations in time, with Pavilion 1 (M1) as Relapse, Pavilion 2(M2) as Stagnation, and Pavilion 3(M3) as Progression. Each of the pavilions cycle structural and formal elements into one another to varying degrees, with any remaining spare parts kept away from public view in an inventory to be reintroduced and purposed into Pavilion 3: Progression. The diagrams are glimpses of the construction for each of these Pavilion oscillations. The set of drawings as follows will provide further detail into the assemblage and disassembly of the material, also informed by various phases of change over time, in the Australian worker context.

F U T U R E P R O G R E S S I O N

I N V E N TO RY

A S S E M B L A G E

PAV I L I O N 1

R E L A P S E

LOOSE INVENTORY

1000mm(L)x200mm(W), 100mm thick prefabricated Rammed Earthwork panel. Length can be changed up to 3000mm depending on height required.

Loose furnishing, seats Exhibition frames, stands Curated artifacts from example institutions and organisations, including worker artifacts related to the 8 Hour Movement, Gold Rush era, etc. Stacking additions from Pavilion 2’s glass facade units. 2mm waterproof flashing

FIXED INVENTORY For structural support; 100mm(L)x50mm(W), 5mm thick Rectangular Hollow Section for roof tie down system. 100mm(L)x50mm(W) C-section steel channel 90x45mm pitching timber plate, secured with M12 screws. 12mm embedded rod to secure roof system to panels.

200mm steel reinforced module.

50mm steel plate connector. Structural fixing.

200mm x 25mm hot rolled steel channels with corten effect powder coating. Visual degradation & fracture effect over time.

Fixed steel plate connectors, 2mm flashing for waterproof

[First oscillation of Pavilion 1] Earthwork panels overlaid with steel channel for visual fragmentation.

[After several oscillations] Eventual visual degradation of the earthwork material for the sense of being inside an architecture of the past. Appears to have been ‘traditionally’ constructed.

D E TA I L D E TA C H A B L E WA L L 1000mm(L)x200mm(W), 100mm thick prefabricated Rammed Earthwork panel. External (with drip groove) Internal (with waterproof flashing)

1000mm(L)x200mm(W), 100mm thick prefabricated Rammed Earthwork panel. 50mm steel plate connector. Structural fixing.

External (with drip groove) Internal (with waterproof flashing)

2700mm Inspired by Scarpa’s intervention, the form of the Pavilion remains ancient and homogeneous in the material that is visible to the public eye. However the structural components rely on steel for more efficient assemblage and disassembly. Despite being prefabricated, the components can be fixed on site and the detachable walls can be reused into other Pavilion oscillations. With the components that can be efficiently taken away, this allows all oscillating phases of the Pavilions to show that time does not move in a linear nor cyclical pattern. It changes according to society, influenced by values including but are not limited to: what the social needs are, what has been learnt, what is expected from society, etc.

200mm steel reinforced module.

200mm x 25mm hot rolled steel channels with corten effect powder coating.

50mm steel plate connector. Structural fixing. 200mm steel reinforced module.

Concrete levelled footings (base on site)

200mm

D E TA I L R O O F

S Y S T E M

15mm thick powder coated cold- formed steel capping 50mm thick panel bolted from underside of C-section rafter

Detail A

200mm(L) x 100(W)mm box section. Hot-rolled galvanised mild steel.

Detail B

200mm(L) x 50mm(W) hot rolled galvanised steel C-section Detail C

The roof system however, is influenced by the construction of archways in medieval times, similar to the Museo de Castelvecchio before Scarpa’s design came into play. It does incorporate some construction and waterproofing tactics that were a key component to the hidden structure of Castelvecchio. It enabled the structure to change and age visually, but still maintained its core support.

D E TA I L

R O O F

S Y S T E M

D E TA I L A

S Y S T E M

D E TA I L B

15mm

12mm gap to surface

50mm Neoprint gasket weather strip

Tongue & groove joint with weather strip screws

200mm 200mm hot rolled galvanised steel C-section

50mm

200mm 200mm hot rolled galvanised steel universal ‘I’ section

Side fascia, surface finish to match, screwed to C-section Internal ceiling lining, surface finish to match

D E TA I L R O O F

S Y S T E M

D E TA I L C

Fascia, surface finish to match, screwed to C-section

200mm hot rolled galvanised steel C-section

Steel components are mostly ‘hidden’ from sight in order to emphasize the presence of the rammed earthwork material, to give users a sense of being in a worned place.

Side fascia, surface finish to match, screwed to Box section

The steel materials are hidden so as to allow for more efficient disassembly for the next pavilion oscillation, but at the same time focus solely on the notion that society’s beliefs dwell in the past for the Relapse Pavilion.

175mm x 100mm Box section fascia beam

{see ‘Detachable Wall’ details)

250

500mm

I N V E N TO RY

A S S E M B L A G E

PAV I L I O N 2

S TA G N AT I O N

LOOSE INVENTORY Glass reinforced(GRC) bricks for facade. Custom transparent polycarbonate loose seats. User’s customised items from the remnants. (Including additions from Pavilion 1) Loose furnishing, seats. Exhibition frames, stands. Remnants of panels from Pavilion 1, that become part of the ‘exhibit’ on site Steel reinforcement rods re-purposed.

FIXED INVENTORY GRC bricks. Custom steel mullions for the glass encasement of the 8 Hour Monument. Repurposed steel rods and structural embedments from Pavilion 1. Detached lighting (for indoor night use)

All that is important to the present society, will not be concealed. The encasing of the 8 Hour Monument contains visually noninvasive components that will enable the monument itself to be viewed from all directions when accessing the site. The simplicity does not distract from the moments of experiences and live events that are presented within the Pavilion itself. Similarly to the main event building itself, the glass form remains transparent from inside out, based on the notion that society currently has faith in what exists, and what they can see at this current point in time.

100

200

500mm

101

D E TA I L

T R A N S PA R E N T

M O N U M E N T E N C A S E M E N T

F O R M & FA C A D E

50mm

105mm

Remains from Pavilion 1 turn into an ‘exhibit’ of sorts in Pavilion 2, encased and stagnant in glass. Many of the previous structural elements are either stored away or purposed into the structure that forms this oscillation. The excavated basement level becomes a staff-exclusive utility area, inaccessible to the public user but still remains of use to inventory storage and storing kits away, in preparation for the next Pavilion 3, Progression. In consistence with Tschumi’s New Acropolis Museum, this Pavilion will enable light to display across the galleries and live event spaces, also allowing for public viewing from insideout. Programs are visible to the public eye from every direction. The set of drawn details focuses on this concept of visual clarity and a state of living and experiencing the ‘present’, through the architecture itself and the events that are happening at the present moment. This Pavilion oscillation extensively uses glass for treatments within and outside of the exhibited spaces, to symbolise stagnation, the stillness of time and preservation of the 8 Hour Monument.

102

50mm

ELEVATION VIEW

The detail features white steel mullions attached to glass panels to form a large case that would encase the 8 Hour Monument and allow for light and views into the Pavilion from the any part of the site. This is intended to ‘stagnate’ the monument, allowing viewers to see the monument but not actually interact with it, thus preserving a state of stillness in time.

125mm

PLAN VIEW

200mm

103

C ATA L O G U E O F ‘F U R N I T U R E’

Furniture that can be stacked from glass bricks and panels provided. As Pavilion 2 eventually oscillates into Pavilion 3, this is but a glimpse of the opportunities for collaboration and innovation that is to come.

104

105

I N V E N TO RY K I T

P L AT F O R M A S S E M B L A G E

PAV I L I O N 3

P R O G R E S S I O N

LOOSE INVENTORY (Additions from Pavilion 1 and 2 can be applied depending on the iteration) Glass reinforced(GRC) bricks to stack Custom transparent polycarbonate loose seats. Exhibition frames, stands/stalls Steel reinforcement rods re-purposed. 2/3-dimensional rotation

FIXED INVENTORY Renewed steel skit of components that interlock and can twist depending on the rod’s positioning. Steel rods and braces are re-purposed from Pavilion 2. Reinforcement components may be added from Pavilion 1 and 2. Lighting from previous Pavilions.

106

Structural components become a system that operates in 6 directions, depending on the position of the build and where users decide to place the steel rod and brace that is available from Pavilion 2. The construction becomes a main event itself, allowing the community to cobuild, witness the cobuilding and thus progress collectively as a society through a new interpretation of ‘working’ in unison. Although the kit itself is prefabricated, collaboration between the public user and a diversity of groups is encouraged for the forming of this Pavilion and its relative events.

6-multidirectional rotation

107

C R E AT I V E

P O S S I B I L I T I E S

Pavilion 3 enables numerous creative opportunities to come to light. With the additional kit and formal elements that are reused from the previous oscillations of the pavilions, people can choose to assemble their own hubs from the components that will be placed on site. The diagram shows iterations that can be included, but are not limited to. It is also colour coded in accordance to the variation of material and from which oscillation it originally was derived from. With the versatility of the assembly of the kits, come various innovations to suit the dynamic and ever changing needs of the people during that given time.

108

109

PAV I L I O N 1 . R E L A P S E

Pavilion 1, Relapse will allow for spaces that will exhibit work-related artifacts from the past. This enables the user to ‘relapse’ to rediscover a time where traditional labour culture contrasts the current industrial society. The pavilion will physically represent a grounded society associated with an overlapped workplace and imply a homogeneous labour culture. This is where the ‘rigidity’ of the mindset of the working society at the time comes into play, with social status, industry, occupation and many other factors were distinctly separated and thus closed off from other societies that differed from their practices and beliefs. This is represented through the architecture, by using rammed earthwork walls to create an enclosed environment that is metaphorically discomforting, symbolising the strict and clearcut rules of the working society in history. This particular oscillation revolves around the 8 Hour Monument, forming an open courtyard that surrounds the monument itself, but hides this from the rest of the environment through the curved earthwork walls. It is placed as a centrepiece of the ‘courtyard’ to represent the spaces of protest and the discomfort in work-related conditions of the past.

20m

0 110

20m 111

PAV I L I O N 1 . R E L A P S E S E C T I O N & P R O G R A M

0 112

10m 113

PAV I L I O N 2 . S TA G N AT I O N

In Pavilion 2, Stagnation, times have considered to have drastically changed from Pavilion 1. It focuses on the beliefs and practices of the people in this current day and age, but does not completely diminish aspects of the past. Instead, history is collected and stored for viewing, so that the current society may learn not to repeat undesirable aspects of history. To portray this, Pavilion 2 encases fragments of Pavilion 1 in glass, which turns parts of Pavilion 1 into a passive exhibition of Pavilion 2, where people may learn and observe, but never again have to experience what has already happened. Instead, they will be able to focus on the present. To focus on the ‘present’, the Pavilion changes to accommodate for live events, talks and performances. This can range from curator talks from critical artists whose works are temporarily curated in the National Gallery of Victoria to engage the public in more serious issues for discussion, or even live performances by Victorian orchestras that allow the users to relish in the peace of current-day circumstances. It is suggested that the written form provides a means of “communicating experiences to the rest of Australian society”. However, oral histories tell these stories, as well as “reveal meanings with which workers invested their common experiences” (Taksa, 1994). Outdoor meetings provided workers with an “arena in which recreational” would mix with the social, political and industrial aspects of reflection (Taksa, 1994). This particular institution, unlike Pavilion 1, is transparent and honest, down to its core material, glass. This encourages public viewing from inside out, for all audiences, for all events, and nothing is kept hidden. In relation to the Australian worker context, Pavilion 1 was a relapse into the undesirable conditions of the past. Pavilion 2 has developed away from those conditions and provides a supportive environment for people to live in the present moment instead. 0

20m

Taksa, Lucy. 1994. “Toil, Struggle and Repose: Oral History and the Exploration of Labour Culture in Australia.” Labour History, no. 67: 116. https://doi.org/10.2307/27509279. ‌

0 114

20m 115

PAV I L I O N 2 . S TA G N AT I O N S E C T I O N & P R O G R A M

0 116

10m 117

PAV I L I O N 3 . P R O G R E S S I O N S H A R E D

P L AT F O R M

Pavilion 3 is highly versatile in form finding, bending itself to the creator’s innovation from the resources provided on site. This particular iteration of Pavilion 3 is one of many possibilities. It is currently catering for (but not limited to) an environment provided for small retail, conventions and public gatherings of the like. The concept of versatility in the built form is motivated by Fujimoto’s Serpentine Pavilion, in which the original structure used forms of joinery techniques which allows the pavilion to change its form and semi-enclosed spaces according to the type of program involved. It also is multifunctional, in which its components were further repurposed into small stairways and loose framed furniture. The Progression Pavilion attempts to establish a similar concept of building, however it is a public platform that now encourages users to design their own spaces. This was intended to respond to the presumption that there is improvement from social beliefs that were relevant to Pavilion 1 and 2 (past and present societies); that future societies may become more unified in their beliefs or practices and are more likely to work collectively. The following set of drawings were made to convey few potential iterations of what the provided kit of the Pavilion may be conjured into, depending on the people’s needs and social requirements at the time Pavilion 3’s kit is placed on site.

20m

0 118

20m 119

PAV I L I O N 3 . P R O G R E S S I O N S E C T I O N & P R O G R A M

0 120

10m 121

PAV I L I O N 3 . P R O G R E S S I O N A N 8-H O U R ‘M O N U M E N T’

This particular iteration for Pavilion 3 reuses components from Pavilion 2 and a panel from Pavilion 1 to complete the monument’s new edition. It is an edit of the 8-Hour Monument, split into two frames as compared to its old version. The old original monument is intended to be dismantled and moved away from sight, but not destroyed. The new monument is to serve as a representation that society’s beliefs no longer look toward the past or present occurrences, but rather, belief in what is to occur in futures instead. 0

20m

0 122

20m 123

PAV I L I O N 3 . P R O G R E S S I O N S E C T I O N & P R O G R A M

0 124

10m 125

PAV I L I O N 3 . P R O G R E S S I O N M U LT I-U S E

FA C I L I T Y

This iteration for Pavilion 3 relies mostly on the newly added resource kit for users to create the building forms from. However it still does reuse components from Pavilion 1 and 2, as part of the structural foundation and loose furnishing respectively. It is intended to be assigned as a multi-use facility, one that can be changed according to the variety of users it may serve, being the most versatile and dynamic in form-changing, structure and event. 0

20m

0 126

20m 127

PAV I L I O N 3 . P R O G R E S S I O N S E C T I O N & P R O G R A M

0 128

10m 129

O S C I L L AT I O N S The following set of drawings illustrate the passing of time and its oscillation from one phase to the next. As material, building form and function, events, all change, society’s beliefs transform alongside it.

Pavilion 1. Relapse. Exhibits of the past.

130

Pavilion 2. Stagnation. Present events, for the people of the present.

Pavilion 3. Progression. Collaborative innovation & the versatility of creation.

131

RELAPSE

O S C I L L AT I O N S

S TA G N AT I O N

PROGRESSION

A S Y N O P S I S

S O C I A L

Includes, but not limited to, the quality and type of needs in a particular society represented by each oscillation of the Pavilions.

M AT E R I A L

Governed by the construction constraints and technologies available at that period of time.

U S A G E

The events that are held within the pavilions may change throughout time, but they always cater for the society’s needs and beliefs during that given time period.

132

Consistent with buildings of the past, the Relapse Pavilion is a show of status, wealth, power, or even a general representation of the economy at the time. It also re-emulates the physical labor and work practices of the past, in which conditions were unsuitable and insecure. This is just the beginning of a society who works as a collective, to reach their objectives.

With regard to the social context of today’s Australian society, some issues have been addressed while others not so much. This pavilion’s objective is to remain ‘transparent’ and honest to the public, wherein no events go unhidden and every corner is visible to the public eye. It contains remains from the past pavilion in order to preserve the memory and beliefs of what has already occurred, so that we may learn from it but not dwell on it.

With the expansion of technology, comes progressive change. This is a Pavilion that represents the people’s beliefs in the future, for the future. It is one that acts independently from the past and present occurrences and has improved from social circumstances that were left unresolved in former oscillations.

Previously using earthen materials for the structure and form, monumentality and rigidness was the intent of the material choice, in order to simulate similar conditions of the past, and as such, visitors will be able to have experiences of those who lived and held beliefs in the past.

In this second pavilion oscillation, it consists of glass encasements that are laid over remnants that were not dismantled from the previous oscillation, Relapse. White steel may be re-purposed into providing support for the reinforcement of the structure. Its form is transparent to convey the transparency of events and for users to feel more at ease with the environment’s conditions, compared to what had occurred in the previous pavilion, Relapse.

The latest oscillation to occur, the third pavilion is primarily composed of a provided resource kit that will be made available to members of the public. The boundaries of the site are the only limitations as to what users may create, but everything provided is left to the innovative minds of the future society.

The main event would be holding exhibitions of the past, however the Relapse Pavilion also serves to give a feel of the work conditions of Australia from the past, especially in regards to the miners and Gold Rush era. As this is the first oscillation, the formation of the Pavilions start with this particular form and becomes a place that focuses on past circumstances. The use of primarily rammed earthwork is intended to give a sense of rigidity and enclosure within the earth, or ‘mines’ itself. It is intended to simulate conditions that may partially disregard the user’s beliefs at times due to the representation of the excavated areas.

A place that facilitates and hosts a variety of live events from host institutions and curators, this pavilion form has transformed from Relapse’s non-optimal conditions to something that is far more comfortable, where there are no secrets hidden and all programs may be seen from the inside out, vice versa. It is beginning to provide for the members of the community and serves the public.

The events in this third oscillation of the pavilion are intended to be dynamic and diverse, being built and rebuilt frequently according to user needs and social requirements at that given point in time in the future. It is intended to adapt to the needs of the people, who look toward and believe in what is to come.

133

M 32

M 31

134

MISCELLANEOUS RESEARCH SCHEMATIC IDEAS GRASSHOPPER SCRIPTS REFERENCES

136

137

K O U-A N T E A H O U S E

Architect: Tokujin Yoshioka The rippling glass material captures the passage of time throughout the day on a short-term basis, as well as on a long-term one, with regard to its materiality. As glass essentially never ‘changes’ in its physical properties (unless deliberately altered otherwise), the structure is able to capture the movement of daylight and people’s changes, movements and reflections. With its physical image shifting throughout the day as well as the dispersion of reflected light cast a different angle at any given time. With the angles and environmental conditions, wind and seasonal/temperate conditions changing every day, this presents the notion that time is ever existent, yet fleeting at the same time. Made solely of aluminium steel frames and glass paneling, the Glass Tea Room is simplified in its interior finishings than the original Japanese traditional tea house. There is no sense of the olden tatami mats, instead this is replaced with heavier, dense slabs of glass with a rippling texture to provide patterns of light reflection and also to soften the cold visual harshness of the glass. Yoshioka suggests that in using glass, the translucency of the material allows for direct absorption of the energy from nature to humans. Only when users are inside can they experience the vivid rainbow reflections that is cast onto human skin as a result of the internal light refraction and reflection inside. It is a rediscovery of Japanese culture and tea traditions, a far more futuristic version of its origins. It is sculptural as it is inhabitable and has lived on a variety of sites and environments throughout the past decade. Not only does this imply the materials used are suitable for longlasting activity but also gives the impression that it is accepted by any occuring and recurring trend of ‘society’. Thus, while it is subject to witnessing the flow of time of its users and all around it, the structure itself is not subject to the same flow as them. This particular design, runs on a different dimension of time. It is potentially in a stasis, similar to crystals that reflect light and colours at every edge but simultaneously exists in the same space (Castoriadis). The structure is not ‘eternal’, however, as nothing can last forever. However it does exist on a different interpretation or plane of time to which society’s trends evolve with.

138

139

VA N TA B L A C K

PAV I L I O N

event

Architect: Asif Khan Category: Event Project Location: Pyeongchang, Korea.

LED cold white light.

Internal gap from structure 3m.

Completion: 2018. Areas: •

Building area: 1225 m2

•

Interior area: 449 m2

•

Height: 10 m

•

Water room: 228 m2

•

Hydrogen room: 89 m2

•

Lounge: 33 m2

•

Reception: 29 m2

•

BOH container: 144 m2

An Olympic pavilion, covered with Vantablack VBx2 carbon nanotubes, with its luminescent source mostly from miniature white light rods. The rods extend from the facade to create the illusion of a cosmic sky. As the Vantablack material absorbs 99% of light, the absence of light and colour brings a distorted perception of space from various viewing angles, testing the definitions of 3D to 2D elevation. Upon entry, the feeling of descent into shadows

Prefabricated timber cassettes’

is the most invoked by the viewer. The program contains an expansive water room, with a

spanning horizontal and vertical

hydrophobic installation. Users can interact with the droplet sensors in the room and a ‘lake’

(5 3x6 Containers, 2 3x9 Containers)

Materials: •

Construction: Hyundai Engineering, LED iart

•

Veneer: VantaBlack on Galvanised metal sheets

•

Water installation: Gray Korea (Artificial Marble)

•

Wall: White paint over plaster

•

Ceiling: Barisol

•

Floor: FRP grating (anti-slip reinforced plastic)

directions.

may accumulate, to which is open to viewer perception. The room symbolizes water as the essence of life, strongly supporting the notion of hydrogen particles as the ‘beginning’. The spatial elements and materiality places great emphasis on contemplating the temporality and vastness of the concept of life, space and the universe. It is a space that appears to invoke

LED cut out

nostalgia, awe and reflection simultaneously as a result.

Sequence of events. Activity flow through the spaces as follows: Flexible carbon fibre rods for parallax effect.

Play/rest/play/rest.

Vantablack-coated; CNC-routed holes in plywood panels

Plan view. Prefabricated timber truss in its structure.

Figure 10. Joo Liew. Digital sketch analyses of Vantablack Pavilion-plan and section. 2020.

140

141

Event. Type:

Exhibition; interactive space. Advertisement for Hyundai

Spaces:

4 (excluding ‘intro’ entry and conclusion exit)

Format:

Linear travel through program sequence (Water-solar-electrolysis-finale)

Activities:

Inciting play on the mechanisms throughout each of the spaces.

Support of the modern growing love for photography and selfies;

SEQUENCE OF EVENTS IN A LINEAR GUIDED FASHION

memory-collection.

hydro activity

one leading circulation/flow

encourages creative play; provide energy in spaces polaroid activity

generates a cyclical system of ‘life’, showing the watersunlight cycle, hydrolysis etc.

Water room:

Solar room:

•

Entry to a bright white-lit room of interactive water mechanism

•

After the water room, visitors enter this space.

•

Visitors are given cups to play with the water channels

•

Process of electrical generation from solar energy.

•

Air switch pushes the water (hydrophobic mimicking) when a hand is

•

Wall panels have tinted black mirrors embedded

placed over a air hole.

•

Ambient heat in the room was intended to form the sense of

•

The water travels at 0.5-0.8 m/s, presenting a seed form.

intangible tactility of the warmth of solar energy, without any

•

These collect into a single central lake, allowing participants to emerge

solar energy panel usage however.

their ‘time’ in the architecture.

Digital sketch of atmosphere of water room. 2020.

Figure 12b. Badalge. Solar room. 2018.

Figure 12a. Block, India. 2018. “Asif Khan Reveals Super-Dark Vantablack Pavilion for Winter Olympics 2018.” Dezeen. February 7, 2018. https://www.dezeen.com/2018/02/07/asif-khan-coats-pavilion-super-dark-vantablack-vbx2-pyeongchang-winterolympics-2018-worlds-darkest-material/. Figure 12b. Block, India. 2018. Figure 12c. Block, India. 2018.

142

143

R H I N O/G R A S S H O P P E R

Electrolysis space: •

Electricity from the solar energy, converted to Hydrogen

Hydrogen Fuel stack:

These were the scripts used in Pavilion 3 specifically, for the material

•

Designed to represent a hydrogen fuel stack, where

iterations. It assisted in form finding through quantifiable numbers,

hydrogen ions create electricity.

also relating to the notion that the ‘progressive’ phase of the Pavilion

Light rods that extend about 15cm from the surface

has its opportunities expanded more flexibly by technology, and will

can be interacted and played with.

continue to grow further.

ions is the process that is symbolized in this room. •

•

Material of the surfaces are chrome veneer on acrylics, which creates a amalgamation of mirrored surfaces for

•

people to enjoy taking photographs/selfies.

Final recreation of Water:

Encourages the selfie culture and memorability.

•

Final exhibition; recreation of water in Hydrogen fuel engine representation.

Figure 12c. Badalge. Electrolysis room. 2018.

Figure 12d. Badalge. Hydrogen Fuel Stack. 2018.

•

Main material is reinforced glass, to show rippling effects that water droplets make when they come in contact with a (walled) surface.

144

S C R I P T S

The scripts somewhat delve into using graph maps later, which gave a more calculated model, but also had the most flexibility in changes of iterations due to having more quantifiable aspects for experimenting. The more advanced the algorithm, the higher the number of opportunities for invention.

145

_ACTIVISM

_SITE CONTEXT & ANALYSIS

Hamacher, Duane, and Ray Norris. 2016. “Australian Aboriginal Geomythology: Eyewitness Accounts of Cosmic Impacts?” Archaeoastronomy -The Journal of Astronomy in Culture. https://www.atnf.csiro.au/people/rnorris/papers/n243.pdf.

Cameron, Sarah, and Ian Mcallister. 2019a. “ANU Australian Election Study.” https://australianelectionstudy.org/wp-content/uploads/The-2019Australian-Federal-Election-Results-from-the-Australian-Election-Study.pdf.

Heyes, Scott. 1999. “The Kaurna Calendar.” University of Adelaide, School of Architecture, Landscape Architecture & Urban Design. July 1999. https:// d1wqtxts1xzle7.cloudfront.net/37184505/honours.pdf?1427921076=&response-content-disposition=inline%3B+filename%3DThe_Kaurna_Calendar_Seasons_ of_the_Adela.pdf&Expires=1597053564&Signature=eHhzZx-Ul6NvYNSYNES9AXz00u3XTdVGpqx-8ztBCoLJITnBnm6SGCSfSHcpzfKe99NFHq2uUU3VoKaeX~Kfv EUPvTn3VgMzXTPj8WwPuZ91MJLVjPvfR19e6mQBBmdbZ2CpD6S1LP9ud6EnV0tHqJN2rk01JNBt5l9huWUsa2PmeGUdQlDx7dkXjjsCSoTStJapJrH3ks~4YeWNagd ZDOtM~uU0sWhBFQctW-KEyChErt2X5vqO~ieBHjkW1oQtct3iL-sYR5-mLOqLQU3j1zA20WCHLkppZvwP80ur4MNH7mcz2obzpRM0jKnFMon2OYYe85Oi12onz3N2 0S904Q__&Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA.

———. 2019b. “Trends in the Australian Political Opinion.” https://australianelectionstudy.org/wp-content/uploads/Trends-in-Australian-PoliticalOpinion-1987-2019.pdf. Department of the Prime Minister and Cabinet. 2019. “OUR PUBLIC SERVICE OUR FUTURE INDEPENDENT REVIEW OF THE AUSTRALIAN PUBLIC SERVICE.” https://pmc.gov.au/sites/default/files/publications/independent-review-aps.pdf. Farr, Malcolm. 2020. “Australians’ Trust in Government and Media Soars as Coronavirus Crisis Escalates.” The Guardian, April 7, 2020, sec. Australia news. https://www.theguardian.com/australia-news/2020/apr/07/australians-trust-in-government-and-media-soars-as-coronavirus-crisis-escalates. Flew, Terry, Uwe Dulleck, Caroline Fisher, and Ozan Isler. 2020. “Trust and Mistrust in Australian News Media.” https://research.qut.edu.au/best/wpcontent/uploads/sites/244/2020/03/Trust-and-Mistrust-in-News-Media.pdf. Job, Jenny. 2015. “How Is Trust in Government Created?” Australian Review of Public Affairs 6 (1): 1–23. Leins, Kobi, Chris Culnane, and Benjamin I. P. Rubinstein. 2020. “Tracking, Tracing, Trust: Contemplating Mitigating the Impact of COVID-19 through Technological Interventions.” The Medical Journal of Australia, May, 1. https://www.mja.com.au/journal/2020/tracking-tracing-trust-contemplatingmitigating-impact-covid-19-through-technological. Lupton, Deborah. 2019. “‘I’d like to Think You Could Trust the Government, but I Don’t Really Think We Can’: Australian Women’s Attitudes to and Experiences of My Health Record.” DIGITAL HEALTH 5 (January): 205520761984701. https://doi.org/10.1177/2055207619847017. Stoker, Gerry, Mark Evans, and Max Halupka. 2018. “Democracy 2025: Trust and Democracy in Australia.” NSW: Museum of ’m _^ Australian Democracy ll PJ Old Parliament House. https://www.democracy2025.gov.au/documents/Democracy2025-report1.pdf. ‌

_CASE STUDIES

Architecture Associates, and Chitika. 2012. “Architecture as Aesthetics: Barcelona Pavilion.” Architecture as Aesthetics. December 8, 2012. http:// architectureassociate.blogspot.com/2012/12/barcelonapavilion-commentary-thesite_7943.html. Badalge, Keshia. 2018. “Architecture as Experiential Marketing: The Surprisingly Bright Vantablack Olympic Pavilion in PyeongChang.” ArchDaily. February 22, 2018. https://www.archdaily.com/888808/architecture-as-experiential-marketing-the-fascinating-hyundai-pavilion-designed-by-asifkhan-for-pyeongchang-2018. Block, India. 2018. “Asif Khan Reveals Super-Dark Vantablack Pavilion for Winter Olympics 2018.” Dezeen. February 7, 2018. https://www.dezeen. com/2018/02/07/asif-khan-coats-pavilion-super-dark-vantablack-vbx2-pyeongchang-winter-olympics-2018-worlds-darkest-material/. Bordeaux, Pierre. 2019. “Barcelona Pavilion: The Sleeping Beauty of Power | Contemporary Architecture of Ludwig Mies Van Der Rohe.” Contemporary Architecture 1 (June). https://www.researchgate.net/publication/333948773_Barcelona_Pavilion_The_Sleeping_Beauty_of_Power_Contemporary_ Architecture_of_Ludwig_Mies_Van_Der_Rohe. Dodds, George. 2001. “The Body in Pieces: Desiring the Barcelona Pavilion (2001).” RES 39 1 (1). https://www.academia.edu/28728542/The_Body_in_ Pieces_Desiring_the_Barcelona_Pavilion_2001_. Hosey, Lance. 2018. “The Ship of Theseus Identity and the Barcelona Pavilion(S).” Journal of Architectural Education 72 (2): 230–47. https://static1. squarespace.com/static/5b02144036099bfb3462f20c/t/5bbce7f1e4966b235e1f15e4/1539106817658/Hosey_ShipOfTheseus.pdf. Kaltenbach, Frank. 2013. “Interactive Art: Serpentine Gallery Pavilion by Sou Fujimoto.” Detail.Online. July 29, 2013. https://www.detail-online.com/ article/interactive-art-serpentine-gallery-pavilion-by-sou-fujimoto-16577/. Kroll, Andrew. 2011. “AD Classics: Barcelona Pavilion / Mies van Der Rohe.” ArchDaily. February 8, 2011. https://www.archdaily.com/109135/adclassics-barcelona-pavilion-mies-van-der-rohe. Portilla, Daniel. 2013. “Serpentine Pavilion / Sou Fujimoto.” ArchDaily. June 7, 2013. https://www.archdaily.com/384289/serpentine-pavilion-soufujimoto.

_DOCUMENTARIES/INTERVIEWS

Lisa Kay Solomon. 2013. “Designing Time: Meaning, Not Management: Lisa Solomon at TEDxConstitutionDrive 2013.” YouTube Video. YouTube. https:// www.youtube.com/watch?v=nmLL3BBmyZQ. McGill University. 2012. “Social Imaginaries, Human Action, and History - Craig Calhoun.” YouTube. https://www.youtube.com/watch?v=2_lUGru20dE. TEDx Talks. 2015. “The “Imaginary Institution of Society” | Alexdrina Chong | TEDxPenangRoad.” YouTube Video. YouTube. https://www.youtube.com/ watch?v=vU9r3-bhm3A.

REFERENCES

Bean, Clive. 2015. “Changing Citizen Confidence: Orientations towards Political and Social Institutions in Australia, 1983-2010.” The Open Political Science Journal 8 (1): 1–9. https://doi.org/10.2174/1874949601508010001.

Jones, David S, Richard Tucker, Scott Heyes, Grant Revell, Susan Bird, and Darryl L Choy. 2018. Indigenous Knowledge in The Built Environment. 1st ed. Vol. 1. Canberra, ACT: Australian Government Department of Education and Training. https://researchsystem.canberra.edu.au/ws/portalfiles/portal/24156189/ ID12_2418_Deakin_Jones_2018_Guide.pdf. Laing, Jennifer, and Warwick Frost. 2014. Rituals and Traditional Events in the Modern World. Google Books. Routledge. https://books.google.com.au/ books?hl=en&lr=&id=-A0hBQAAQBAJ&oi=fnd&pg=PA1&dq=indigenous+folklore+wurundjeri&ots=29Yh7Reqxm&sig=tzDZ2dY6qxTSpdsT-tSfuPMOIu8&redir_ esc=y#v=onepage&q&f=false. Manningham Council. n.d. “Wurundjeri Stories at Pound Bend Visitors Information Guide.” Victoria: Manningham Council of Victoria. Accessed August 10, 2020. http://www.manningham.vic.gov.au/. McLean, Ian. 2016. Rattling Spears: A History of Indigenous Australian Art. Google Books. 1st ed. Vol. 1. Reaktion Books. https://books.google.com.au/ books?hl=en&lr=&id=MnlODQAAQBAJ&oi=fnd&pg=PP8&dq=indigenous+folklore+wurundjeri&ots=gRIBOC98iD&sig=lbZNIwATMEnY54vR8aTtEZoCt9I&redir_ esc=y#v=onepage&q&f=false. Phillips, Nadia. 2020. “Aboriginal Art UK | Aboriginal Signs & Symbols.” Nadiaphillips. 2020. https://www.aboriginalartuk.com/signsandsymbols. Tidemann, Sonia C., and Andrew Gosler. 2012. Ethno-Ornithology: Birds, Indigenous Peoples, Culture and Society. Google Books. Earthscan. https://books.google. com.au/books?hl=en&lr=&id=8u2nUWLYx18C&oi=fnd&pg=PA153&dq=indigenous+folklore+wurundjeri&ots=bR-rVboEul&sig=_28SsGnoNWQsXQ3_36AjIl0sdw&redir_esc=y#v=onepage&q&f=false. ‌

_BOOKS/JOURNAL ARTICLES

Buchli, V. 2013. ‘An Anthropology of Architecture’. London, United Kingdom: Bloomsbury Publishing.

_MISC.

“GRC (Glass Reinforce Concrete).” n.d. PMI International. https://www.pmiint.com/grc-glass-reinforce-concrete.html.

Castoriadis, C. 1987. ‘The Imaginary Institution of Society’. Cambridge, United Kingdom: Polity Press.

Muller, Norman. 2013. “House Gulm / Aicher Ziviltechniker GmbH.” ArchDaily. May 16, 2013. https://www.archdaily.com/372826/ house-gulm-aicher-ziviltechniker-gmbh?ad_medium=gallery.

Castoriadis, C. and Curtis, D. A. (1997) ‘World in Fragments: Writings on Politics, Society, Psychoanalysis, and the Imagination’. Stanford, California: Stanford University Press.

Nerd, Divi. 2019. “Rammed Earth Construction.” First In Architecture. July 23, 2019. https://www.firstinarchitecture.co.uk/rammedearth-construction/.

Elliott, Anthony. 2002. “The Social Imaginary: A Critical Assessment of Castoriadis’s Psychoanalytic Social Theory.” American Imago 59 (2): 141–170. https://www. jstor.org/stable/26304787?read-now=1&seq=1#page_scan_tab_contents.

Gahrana, Siddhesh, Vivek Raj, Sudhanshu Chouhan, and Snesh Krishnia. 2018. “Application Of Transparent Concrete In Green Construction.” INTERNATIONAL JOURNAL OF SCIENTIFIC & TECHNOLOGY RESEARCH 7 (1). https://www.ijstr.org/final-print/apr2018/Application-OfTransparent-Concrete-In-Green-Construction.pdf. Macarthur, John. 2017. “QUOTATION: What Does History Have in Store for Architecture Today? The Semblance of Use History, Function and Aesthetics in the Serpentine Pavilions.” https://www.sahanz.net/wp-content/uploads/macarthur-j-the-semblance-of-use.pdf. Schmid, Helga. 2018. Designers in Residence. 1st ed. Vol. 1. https://uchronia.world/wp-content/uploads/2019/01/DiR-Magazine-Helga-Schmid.pdf.

İSKENDER, Muhammed, and Bekir KARASU. 2018. “Glass Fibre Reinforced Concrete (GFRC).” El-Cezeri Fen ve Mühendislik Dergisi 5 (1): 136–62. https://doi.org/10.31202/ecjse.371950. Oikonomopoulou, F., T. Bristogianni, F. A. Veer, and R. Nijsse. 2017. “The Construction of the Crystal Houses Façade: Challenges and Innovations.” Glass Structures & Engineering 3 (1): 87–108. https://doi.org/10.1007/s40940-017-0039-4. Rammed Earth Enterprise. 2019. “Rammed Earth Technical Information.” Rammed Earth Enterprises. 2019. https://www.rammedearthenterprises. com.au/rammed-earth-information-for-professionals/.

_THE AUSTRALIAN WORKER CONTEXT

Adams, Kelly. 2009. “The Perseverance of Aboriginal Australian Time Philosophy and Its Impact on Integration Into the Mainstream Labor Force.” Independent Study Project (ISP) Collection, April. https://digitalcollections.sit.edu/isp_collection/618/. Berndt, Ronald Murray, Catherine Berndt, Ronald Berndt, and Catherine Helen Berndt. 1988. The World of the First Australians: Aboriginal Traditional Life : Past and Present. Google Books. Aboriginal Studies Press. https://books.google.com.au/ books?hl=en&lr=&id=KjYvRxUzzgMC&oi=fnd&pg=PR4&dq=aboriginal+societies+and+time+analysis&ots=NQIkD86Hs1&sig=Kw2RD_74DrZw6ULeqlRmPwtBu8I&redir_esc=y#v=onepage&q=aboriginal%20societies%20and%20time%20analysis&f=false. Cameron, Michelle. n.d. “Two-Spirited Aboriginal People Continuing Cultural Appropriation by Non-Aborigina Society.” CANADIAN WOMAN STUDIES/LES CAHIERS DE LA FEMME 24 (2, 3): 123–27. Guy, Bradley. n.d. “Download Limit Exceeded.” Citeseerx.Ist.Psu.Edu. Accessed November 9, 2020. http://citeseerx.ist.psu.edu/ viewdoc/download?doi=10.1.1.482.8512&rep=rep1&type=pdf. Hearn, Mark, and Harry Knowles. 2004. “Struggling for Recognition: Reading the Individual in Labour History.” Labour History, no. 87: 1. https://doi.org/10.2307/27515995.

Sugunan, Sisira, and Nisha Babu. 2016. “Study Of Translucent Glass Concrete.” IOSR Journal of Mechanical and Civil Engineering. https://www. iosrjournals.org/iosr-jmce/papers/ICETEM/Vol.%201%20Issue%202/21-39-45.pdf.

Jenkins, Paul, and Leslie Forsyth. 2009. Architecture, Participation and Society. Google Books. Routledge. https://books.google. com.au/books?hl=en&lr=&id=BhKPAgAAQBAJ&oi=fnd&pg=PP1&dq=architecture+society+participation&ots=8qqFfCxqOh&sig=ysuoIyoeZg8pFlWZNdm7barQsEs&redir_esc=y#v=onepage&q=architecture%20society%20participation&f=false.

Tornatora, Marina. 2015. “Ephemeral vs Eternal. The Architecture of Pavilion.” Www.Academia.Edu, 30. https://www.academia.edu/30271109/Ephemeral_vs_ eternal_The_Architecture_of_Pavilion.

Kolig, Erich. 1995. “A Sense of History and the Reconstitution of Cosmology in Australian Aboriginal Society. The Case of Myth versus History.” Anthropos 90 (1/3): 49–67. https://www.jstor.org/stable/40463104?seq=1.

Wozniak-Scpakiewicz, Ewelina. 2020. “Image of a Place: The Relationship between Urban Heritage and Temporary Architecture.” 2020. https://suw.biblos.pk.edu. pl/downloadResource&mId=1630450. ‌Yaneva, A. 2011. ‘Mapping Controversies in Architecture’. Burlington, Vermont: Ashgate Publishing. Yaneva, A. 2017. ‘Five Ways to Make Architecture Political: An Introduction to the Politics of Design Practice’. London, United Kingdom: Bloomsbury Publishing.

Taksa, Lucy. 1994. “Toil, Struggle and Repose: Oral History and the Exploration of Labour Culture in Australia.” Labour History, no. 67: 110–127. https://doi.org/10.2307/27509279. TenHouten, Warren D. 2000. “On Durkheim’s Notions of Time and Mind in Australian Aboriginal Cosmology and Social Life.” The Living Legacy of Marx, Durkheim & Weber 2 (January): 371–77. https://www.researchgate.net/publication/282219827_On_ Durkheim’s_Notions_of_Time_and_Mind_in_Australian_Aboriginal_Cosmology_and_Social_Life

Final Thesis_MCARCH2020

Articles inside

M3: Progression

Case Study I: Museo de Castelvecchio

Case Study II: Acropolis Museum

Thesis Statement

Past Forms of Pavilions

M2: Stagnation