COCKATOO ISLAND 2191

U R B A N I S L A N DS 2 0 1 5

COCKATOO ISLAND: 2191 P EDR O R ESSAN O G AR C IA

Studio Leader

Pedro Ressano Garcia Layout

Jun Yi LOH Narration & Editing

Jun Yi LOH Adiba RAHMAN Jerome SAAD

Physical Modelling

Rina Yuen Ming CHAN Yan LEUNG Vinesh R. RAMESH Emma SPRATT Chung Yan YUEN Photography / Video Recording

Video / Animation

Jay GRIFFIN Josh I. JUNG

Graphic Production

Rina Yuen Ming CHAN Javier GONZALES Shiyang HE Yan LEUNG Vinesh R. RAMESH Evan Xuanbo SHEN Ara Lu WANG Lingyu WANG Chung Yan YUEN 3D Modelling

Javier GONZALES Jong Chul LEE Evan Xuanbo SHEN Lingyu WANG

Jong Chul LEE Installation Team

Jay GRIFFIN Kamuran SOLMAZ Emma SPRATT Installation Animation

Yan LEUNG Vinesh R. RAMESH Presentation Graphics Production

Rina Yuen Ming CHAN Shiyang HE Evan Xuanbo SHEN Ara Lu WANG Lingyu WANG Publication Date

JULY 2015

This publication is a result of the collaborative effort outlined above guided by Pedro Ressano Garcia for: Urban Islands 2015

FO R E WO R D Pedro Ressano Garcia R e s s ano G ar cia Ar quit ect os

The uniqueness of Cockatoo Islands relies on its geographic condition. From its primitive stage covered in wildlife to its first colonial occupation in 1839, the territory has been inhabited by people that used it in various ways. Each generation shaped the island to fit their needs.

At present the island is on hold, like a motion picture that stopped on one particular frame. The image nevertheless is powerful as it reveals the juxtaposition of the layers, offering the viewer the possibility of reconstructing a narrative. The central question though is what is next?

To answer that question, we are challenged to hold a wide understanding of the present, and investigate various fields that affected and influenced previous generations. Why was the prison settled on the island? Who took advantage of the natural isolation? And why did the school operate here? Did the industry reshape the surface of Cockatoo Island to better serve their activity? What was their vision of modernity that compelled them to cut the hill and use landfill to double the surface of the island?

Such questions have been relevant to the process of imagining the future. The complexities held within layers of interventions imprinted on the territory construct a narrative that combines both natural and human actions on Sydney Harbour. The identification of multiple parameters and the combination of research from each subject make use of multidisciplinary information.

Permanence and the current abandonment encourage the continuous process of transformation. Parameters touch a number of fields of knowledge, hydrology, geology, and industrialization. To achieve a wider perception it requires one to interpret the materiality, motion and floating, and address the metaphysics.

The ideas and proposals published in this book aim to produce a holistic vision to the present problem - how to avoid the “museumification” of the site. The island’s improvement is dependent on creative and innovative solutions. To contribute towards a desirable sustainable development, the solutions merge historic, geographic, and economic competitiveness. They are culturally rooted, guided by human life, and inspired by a common goal - to find a better way of living.

Food shortage and the necessity to use renewable sources for energy are the main topics that each community is facing while dealing with the threats of climate change and increased urban density. The good balance between wildlife and human presence has been in the centre of the proposals developed for the future of the island. If the excessive protection of the natural and built environment leads to its abandonment, and consequently towards an unsustainable use of the territory, it is necessary to find a better strategy.

The solutions envisioned for the future use an interdisciplinary methodology that is useful to integrate a wide range of parameters. The solutions presented implement fishing and hydroponic agriculture to produce food. Renewable sources of energy were proposed such as photovoltaics and offshore hydraulic turbines. Greenhouses and vertical gardens were planned to support the community and the neighbourhoods around it. The production of both food and energy, combined with the fisher’s and farmer’s market, offer an excellent conditions for the “chefs” to enhance the experience of futuristic gastronomy.

Cockatoo 2191 offers a holistic vision, a path to follow towards the regeneration of the islands. It presents solutions that will gather economic activities, artistic artefacts and public use. It enhances the understanding of the place, and promotes knowledge of the past with ambition for the future.

I ND E X

FOR EW OR D CO CK ATO O I S L A N D 2 0 1 5 I n tro d u c ti o n H y d ro l o g y Ge o l o g y M a te ri a l i ty I n d u stri l i z a ti o n l e v i ta ti o n N a tu ra l v s A rti f i c i a l M e ta p h y s i c s S e n se s M o ti o n E xp l o ra ti o n M o d e l s CO CK ATO O I S L A N D 2 1 9 1 I n tro d u c ti o n M a s te rp l a n T h e Wa te rf ro n t B e e S q u a re B i o d o m e & A l g a e Fa rm Ve rti c a l A g ri c u l tu re Fi sh i n g M o d u l a r P o n to o n CO N CL U S I O N CR E DI TS

C OC K AT OO ISLAN D 2015 Intro du ctio n

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H ydro l o gy Geo l o gy M aterial ity Indu s trial iz atio n Lev itatio n N atu ral v s Artificial M etaphys ics Sens es M o tio n

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Expl o ratio n M o del s

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C OC K AT OO ISLAN D 2191 Let The Pro v o catio ns Begins ...

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M as terpl an

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The W aterfro nt Bee Squ are Bio do me & Al gae F arm Vertical Agricu l ture F is hing M o dul ar Po nto o n

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C ON C LU SION

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C R EDIT S

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COC K AT O O I S L A N D - 2 0 1 5 RESEARCH - EXPLORATIONS

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IN TR OD U CTION

Cockatoo Island has always played a significant role in Sydney’s development. Its sandstone punished re-offending convicts while dressing the city. Its isolation enhanced its jail. Its walls reformed delinquent youth and housed the orphaned.

Its docks helped defend and connect the city. Yet what remains now are mere scars on the landscape, reminding all of its once continuous contribution.

176 years ago, the first occupants carved away at the island’s fabric, creating the cliffs and the Fitzroy Dock. Latter interventions doubled the land mass facilitating the growing industry on the island. It makes one wonder whether the next 176 years will see a similar expansion of the island’s programs and physical boundaries.

Several attempts have been made to revive the island to varying degrees of success. While the increasing list of artefacts has been helpful in enriching its character, they also

reinforced the emerging mania of memorabilia on the island; ranging from colonial and industrial remnants, to blockbuster props.

The result of a western understanding of permanence, commonly manifesting itself in strict material preservation, can be seen all over the island. This view is not only practically impossible, but an illusion at best, as all structures inevitably erode away.

Eastern thought has evolved differently, recognising that the only imperishable elements are moments of human experience. This understanding informed cultures which value the process of making and remaking, rather than making and holding. This notion of temporality parallels modern practice and theories of architecture, where both concepts and forms are disposable and ever changing.

So the question arises: Does the loss of material authenticity coincide with a loss of identity and value? Or does an object’s inherent value lie in a more ephemeral quality?

It can’t be denied that what survives is always a fragment of what existed. Each fragment, old or new, implies the history of both its deposit and recovery. The expression of this fragmentation is better suited to the island, allowing for more fearless interventions, as ultimately preservation is only a means to an end – When it becomes an end in itself, it ceases to advance its prime functions of use, instruction, and delight.

We attempted to explore both its ephemeral and enduring features through physical investigations, to inform a proposal that transcends pure contemporary utility, and the trending museumisation of the island.

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H Y D R OL OG Y VINESH REDDY RAMESH RINA YUEN MING CHAN LINGYU WANG

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Despite our perceived mastery of the elements, to what extent can we exercise control over the coastal environment?

Human settlement has always been heavily dependent on the presence of water. This is apparent in the concentration of Australia’s cities along the perimeter of the continent. Our attempts to manipulate the coastal environment are becoming more and more ambitious; from the use of sea walls and breakwaters, to more audacious land reclamation projects in the Middle East. Despite our perceived mastery of the elements, to what extent can we exercise control over the coastal environment?

Our models tried to explore the relationship between the strong unpredictable hydrological forces and the perceived longevity of our man made environment. The strong geometric pattern generates various still pools which are aesthetically pleasing. The recording of waves acts as a reminder that despite the seeming stillness and resilience of our interventions, the environment still has the power to reshape the land and provide new opportunities.

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G E OL OG Y EVAN XUANBO SHEN SHIYANG HE ARA LU WANG

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Land is susceptible to being crafted and moulded by both man and its surrounding hydrological conditions. This is evident in the fact that despite 20,000 years of human occupation in Sydney, the landscape was radically redefined by the inundation of the river valley 10,000 years ago. Regardless of water’s dominant influence, man has continued to reshape Sydney’s foreshore.

Both land and water can be viewed as complimentary, each an inverse of the other. Both geological and hydrological conditions are therefore intertwined and reversible, allowing the land and the water to be restructured and repurposed. The process of subtraction and addition, sedimentation and erosion, continue today due to both manmade and natural interventions.

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Both geological and hydrological conditions are intertwined and reversible, allowing the land and water to be restructured and repurposed.

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MAT E R I A L I T Y ADIBA RAHMAN KAMURAN SOLMAZ CHUNG YAN YUEN

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The island can be explained as a timeline through its materials, a patchwork of all the elements that make it.

Each material has a story of its own. It has its own way of interacting and fitting in with the others. The materiality of the island was explained by studying the relationship between its existing and man-made elements. The inherent properties of each element – the weathering of sandstone, the reflective quality of water, the natural texture of timber, the rust of iron, the human touch on brick and concrete – were brought together to form the definition of the built environment.

The island’s materiality is a reflection of its history, culture, and new technologies. The island can be explained as a timeline through its materials, a patchwork of all the elements that make it. Our objective was to interpret its progression within the installation and suggest how materiality can initiate the development of the island itself.

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INDUSTRIALIZATION JAVIER GONZALES JONG CHUL LEE

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On an inspection of the island, stripping it down to its basic form, void of its industrial past, we can take a closer look at the forces that hold it together. The cranes are an obvious reminder of the use of tensile technology on the island among many others. Though they were in motion at the time, they lie still today. ‘Tension’ can be seen as a reflection of the industrial and political background of the island.

Although industrial activities are no longer dominant on the island, an effort was made to address that past not merely as a reflection but in order to incorporate our visions of the future. We ventured by exploring opposite forces; the tensile with the compressive; pushing and pulling; vertical and horizontal movement, inspired by the working of a crane. The findings were reflected in the model achieved by magnets of different polar fields to create a dynamics of the forces.

By addressing the past and glimpsing the present while being rooted in the present, our vision was an attempt to reconcile the forces of the different time periods – industrialization with suspension and levitation. This attempt was presented in the model, exploring and reversing the perception of material and physics, by levitating the metal mesh while being pulled down by the wires.

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‘Tension’ can be seen as a reflection of the industrial and political background of the island.

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L E V I TAT I ON JAVIER GONZALES JUN YI LOH

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By addressing the past and glimpsing the present while being rooted in the present, our vision was an attempt to reconcile the forces of the different time periods – industrialization with suspension and levitation. This attempt was presented in the model, exploring and reversing the perception of material and physics, by levitating the metal mesh while being pulled down by the wires.

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Our vision was an attempt to reconcile the forces of the different time periods : Industrialization , Su spensi o n , Levi t at i on .

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N AT U R A L / A R T I F I C I A L ARA LU WANG LINGYU WANG

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Landscape is capable of curing itself with natural forces like wind and water. And yet it is artificially modified by man who changes its shape and form.

The island that was once a pure product of nature is now an integration of the artificial interventions of mankind. If an animal manipulates its environment, it is considered to be a natural phenomenon but if a human intervenes, it is marked as “artificial�. Why should that be so? Humans are also animals. They originate from nature and return to nature, as do their interventions. So at what point does an object become artificial? More than 150 million years ago dinosaurs dominated the planet and left behind fossils with their footprints. It is a legacy from nature. Perhaps the artificial architecture can also formulate a sequence of legacy over time.

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Perhaps the artificial will always remain a part of nature.

In the exploration of this installation, the history of man’s activity has been denoted to form a foundation like that of the plaster. The natural and artificial cannot be clearly defined as they have a cyclic relationship, influencing one another without a clear boundary between them. They cannot be separated from one another for the process of regeneration or re-establishment.

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Humans originate from nature and return to nature, so do their interventions.

At what point does an object becomes artificial?

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M E TA P HY S I C S JAY GRIFFIN JOSH I. JUNG

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The metaphysics of the island was investigated in the forms of its past identity(s); Metaphysics is the branch of philosophy that deals with the first principles of things. This includes the concepts of being, knowing, identity, time and space. The metaphysics of the island was investigated in the forms of its realities: past identity(s); preserved present and; deconstructed future. The ability to see the changes of these realities is something that can only be seen over time in the form of a temporal passage. The model shows the time shift in the form of dimensions in which we can see the island’s layered composition.

The past can only be seen as a flat image which cannot be viewed from another point. The present is viewed alike the past but in a form which cannot distinguish between these layers. The future is a form of hindsight by the action of removing the portal, the complexities of layers can be viewed and deconstructed from a myriad of points.

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MOT I ON JAY GRIFFIN JOSH I. JUNG YAN LEUNG

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The island can be seen as a blank canvas and without motion becomes deserted and remains a ‘blank space’.

Motion can be seen as the action or process of an element moving or being moved. With each motion comes a relationship between the movement and the time taken for that to take place. On Cockatoo Island there are numerous processes of motion, both physical and metaphysical.

This exploration looks to quantify motion on the island through a mapping of these two forms. The island can be seen as a blank canvas and without motion becomes deserted and remains a ‘blank space’.

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SENSES SHIYANG HE EVAN XUANBO SHEN

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Common sense dictates our perception of simple reactions Motion has been frozen as a snapshot in the installation to allow a broader exploration of all five senses by means of imagination. Common sense dictates our perception of simple reactions, but by providing an opportunity for further inspection, unexpected sensory stimuli can be revealed and experienced.

The floating shards of glass with its spilling water evokes the cracking of glass and the scent of water. At the same time one can imagine the sharpness of the broken glass.

Led by one’s sense of vision, the viewer is invited to explore other sensory experiences by interacting with this frozen moment in time.

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E X P LO R AT I ON MOD E L S

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H YD RO L O GY

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M ATE R I A L I TY 1

M AT ER IALIT Y 2

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E ROSI ON OF LAND

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P E R CE I V E D S E N S E S

N AT U R E vs AR T IFIC IAL

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PER C E P T IO N O F M O VE M E NT

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F L O ATI N G

EV OC AT ION FOR A V ISION

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M ETA PHYS ICAL

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P E R MA N E N CE / / I MP E R M A N E N CE

P ER C EP T ION OF M OV EM EN T

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LEV ITAT IO N

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F L U I DI TY I N N ATU R E

DYN AM IC S OF FOR C ES

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FINAL MODEL The model captures the motion of the island with its stillness. It is an interpretation of previous physical explorations of the island that have been added, subtracted, inverted, mirrored, and reshuffled to create new opportunities.

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C O C K AT O O IS L A N D - 2 1 9 1 VISIONS - PROPOSALS

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LE T T H E P RO V O CATIO NS BEGIN...

Our series of investigations aimed at addressing the island over time and space to help propose a new culture for the island apart from its museumisation. By adopting a more liberal view towards preservation, and rather than packing various isolated programs and producing a taxidermied version of the Island, we should strategically and boldly address fragments of the relic to make way for a development that benefits not only the island, but on a larger scale, the Sydney metro.

Modern society will be increasingly pressed to address the issue of global warming, sea-level rise, and increased urban density with more sustainable production and distribution methods for energy and fresh produce. We felt that, in the spirit of the island’s industrial past, its culture should move away from that of a museum to a modern industry that responds to Sydney’s future demands.

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PROPOSED MASTERPLAN

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The Waterfront

Bee Square

Vertical Agriculture

Modular Pontoon

Biodome and Algae Farm

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PR OP OS A L S

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T H E WAT E R F R ON T JUN YI LOH EVAN XUANBO SHEN ARA LU WANG LINGYU WANG

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Liiing

Shiiing

Hydrology and geology are dependent on one another as the landform evolves with the time and tides.

Liiing

We decided to expand this now detached part of the island by deconstructing the existing landfill and the water’s edge, in an attempt to further explore the relationship between the water and the land. Hydrology and geology are dependent on one another as the landform changes with the tides forming variousShiiing rock pools.

A multitude of functions can be integrated under and above this artificial landscape such as solar farms, hydroponic plantations, oyster farming. The expansion of the southern border also provides more space for a commercial strip to develop on the island. A new dock has been Seeng proposed here as the entrance for visitors and tourists who are taken through a tour of all the other industrial plantations proposed around the peninsula and have the opportunity to taste the fresh produce produced.

Seeng

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Liiing

Shiiing

Seeng

Flood Tide Ebb Tide

Salt Water Filter

Plug-in Floating Solar Panel

Flood Tide Ebb Tide

Salt Water Filter

Plug-in Floating Solar Panel

Ebb Tide

Ebb Tide

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BE E S QU A R E RINA YUEN MING CHAN SHIYANG HE YAN LEUNG VINESH R. RAMESH

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An attempt is made to thrive the bee population that plays a vital role for the population of about a third of the play species.

The idea for a bee farm and botanical garden within “Bee Square” was generated from the bee shortage crisis that the world is facing today. Bees are close to extinction due to the spreading of the “Nosema” parasite. Without bees pollination would be impossible, and this would put mother nature into the risk of existing at all. The objective was an attempt to preserve plant species and help sustain

a healthy bee population by incorporating a bee farm and botanical garden.

The botanic garden is a place for peace, relaxation and entertainment. These gardens are similar to museums as they curate a collection of living and preserved plant species and so help to conserve plants while educating the visitors about the various species of flora and fauna. At the same time, an attempt is made to help the bee population, which plays a vital role for the pollination of approximately a third of all plant species,thrive. This proposal also helps deliver a harvest of high-quality honey.

The gardens and beehives are each arranged to allow the plants ample access to sunlight, while also providing shade for the bees and a pool of water at the base. Sea water is filtered in chambers within the stem before reaching the pool. The pod rotates to follow the path of the sun.

The larger pods contain the gardens and pools, while the smaller pods contain the bee hives.

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BIOD O M E A N D A LG A E FA R MS ADIBA RAHMAN JEROME SAAD

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The floating bodies of algae pools and solar panels depict the addition of fragments to the island reversely to the segregation of land from the island.

Algae are emerging to be one of the most promising longterm, sustainable sources of biomass and oils for fuel, food, feed, and other co-products. They grow fast using sunlight and consume carbon dioxide to release oxygen into the environment. At the same time they do not hamper agriculture and can be grown in salt water, obtaining its main nutrients present in the sea. Since they can purify waste waters, the incorporation of algae pools floating along the west of the island can help by consuming the waste from the fish farms to the south. The cultivated algae can also help to produce a variety of products such as

feedstocks for fish and fertilizers for the farming.

The floating bodies of algae pool and solar panels depict the addition of fragments to the island without the need for large landfills. The walkways around the algae farms can be composed of solar panels maximising use of all horizontal surfaces.

The biodome structures, to the north-east of the island, have been designed efficiently to address both space and material. Facilitating the functionality of a greenhouse,

each dome is a hex-tri-hex space frame comprising two layers. Steel tubes form the structural frame of the domes.

The cladding panels consist of triple-layered pillows of high performance ETFE. Selected hexagonal panels open to allow fresh air to enter and help regulate the otherwise isolated environment.

With the emergence of photovoltaic textiles and membranes, the biodomes’ membranes can also contribute to reducing the carbon footprint of the island.

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VE R T IC A L A G R I C U LT U R E JAVIER GONZALES JONG CHUL LEE CHUNG YAN YUEN

Cockatoo Island

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Schnapper Island

Archipelago

Cockatoo Island

Vertical Farm Layout

Spectacle Island

Cockatoo Island

Schnapper Island

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Vertical Farm Layout

Each floor is designed to rotate independently, and the entire tower is powered by solar panels and wind turbines.

The United Nations have predicted the global population to exceed 9 billion by 2050. It is expected that 80% of this population will be residing in urban centres. To keep pace with the demands of the increased population, an estimated 109 hectares is needed for agriculture. We wish to address this problem and believe that vertical farming may be a possible solution.

Vertical Farm Layout

With this proposal, people will be able to live both within urban areas as well as grow their own crops. This is an experiment to suggest agriculture to be independent of weather and land. This is an advantage as transportation

costs would be reduced and healthy standards of living would be encouraged within a sustainable environment.

Our design of vertical farming aims to re-use partly existing structure and to maximise the use of space within Cockatoo Island. With the application of electro-magnetism and solar energy, the tower components are elevated during the day enhancing maximum sunlight and natural ventilation. This allows for an optimal growth rate for the different species in a well conditioned environment.

By sunset the solar panels cease to power the magnets

allowing the components to return to their original location points within the tower and compressing the gaps in between them. This feature protects the plants inside from harsh weather and also acts as incubators during the night.

Each floor is designed to rotate independently, and the entire tower is powered by solar panels and wind turbines.

Furthermore, each level can also be rotated in compartments or operable “drawers� to bring in the desired level of sunlight and natural ventilation for the plants.

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OBSERVATION TOP DECK/ RESTAURANT

OBSERVATION TOP DECK/ RESTAURANT

RE-USE EXISTING WATER TOWER: GREEN ROOF

RAISING UP LEVELS TO MAXIMIZE SUNLIGHT IN ALL DIRECTION ROTATABLE LEVELS TO MAXIMIZE VERTICAL FARMING

CONTOLLED SUN PENETRATION TO PROVIDE WEATHER PROTECTION

NATURAL WIND/ CIRCULATION TO EACH LEVELS

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M O DU LA R P ON T OON JAY GRIFFIN JOSH I. JUNG KAMURAN SOLMAZ

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The malleable recycled plastic platform structure moves with the natural surface of the water.

The environment of a species can directly translate to its physical, social and emotional well-being. Looking at current fish farming strategies, it is evident that economic conditions take a dominant position to this valuable resource. Many of these commercial industries lack the standard conditions needed for the mass breeding of aquatic species. As a result, poor quality persists and plagues this sector of the food market.

Aiming to provide an environment that is akin to that of the natural born fish species, modular floating pontoons can be assembled in order to create larger pens for the cultivation of fish. The malleable recycled plastic platform structure moves with the natural surface of the water and is able to be constructed in a multitude of forms. Fish are attracted to the air bubbles aerating from the under-

ground pipes. They are drawn to the pens and hence are cultivated.

This floating platform also looks to become a sustainable model by harnessing the energy below the surface. Large three blade propellers turn the generators with as little as 0.5knots of current and would be able to power the farms aerated water system.

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CON CLU SION

The past two weeks have allowed us to re-imagine our city’s future while exploring a small part of Sydney’s past. The physical explorations conducted in week 1 framed our approach towards the island, and catalysed multiple creative provocations. The purpose of these provocations was to re-purpose the island into a modern industry that responds to the demands of a denser city in a sustainable manner.

Sydney is no stranger to modified foreshores, and Cockatoo Island is no exception. Our vision of the future explored ways of reviving this never-ending process of transformation. By rebuilding, extending, and further deconstructing the landmass and its boundaries, we hoped to inspire others to continue re-imagining the infinite possibilities available to revive the island from its dormancy.

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ARA LU WANG Un i versi ty of Sydn ey 5 th Year

C R ED I T S

E MMA SPRAT T University of Newcastle 4 th Year PED RO RES S ANO GARCI A S TU D I O L EAD ER

E VAN XUANBO SHE N Un i versi ty of Sydn ey 5 th Year

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JAV IER G O N ZALES

JU N Y I L OH

RINA YUEN MING CHAN

University of Canberra 4 th Yea r

Un i ve rs it y o f N S W 4 th Ye a r

U n ive rs it y o f N S W 5 t h Ye a r

JERO ME SAAD

KAM U R A N S OL M A Z

VINESH REDDY RAMESH

University of NSW 4 th Yea r

University of Newcastle 3 rd Ye a r

University of Newcastle 3 r d Ye a r

JO SH I. JU N G

LIN G Y U WA NG

YA N L E U NG

University of Tech. , Sydney 5 th Yea r

Un i ve rs it y o f S y d n e y 5 th Ye a r

University of Canberra 5 t h Ye a r

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ADIBA RAHMAN

SHIYANG HE

U n i v e r s i t y of S y d n e y 4 th Ye a r

U n i v e r s i ty o f S y d n e y 5 t h Ye a r

J AY G R I F F I N

JONG CHUL LEE

University of Tech. , Sydney 4 th Ye a r

U n i v e r s i ty o f S y d n e y 5 t h Ye a r

CH U N G YA N Y U E N University of Canberra 5 th Ye a r