Admix | Justeen (Hsin Te ) Tsai by Justeen Tsai

A D M I X

JUSTEEN TSAI

Master of Architecture Thesis Studio at The University of Melbourne

1ST Edition - 2021

TITLE UNIVERSITY OF MELBOURNE Melbourne School of Design

by Justeen Tsai

Master of Architecture: Thesis Studio with Studio Leader: Yvonne Meng

CONTENT PART I

Site and Research

p. 08

PART II

Concept Design

p. 56

PART III

Sketch Design

p. 98

PART IV

Final Design Proposal

bibliography

p. 120

p. 168

HYPOTHESIS

Total House, an architecture representing an era of automobile ownership during the 1960s.1 An architecture that was conceived to encourage patrons to come to the city. An outdated model, the function gradually turns less valuable and will no longer bring people to the city and participate in city life. Architecture has manifested into individual structures that led to the decline of urban life.2 People liveliness has increasingly become privatised with limited social interaction.3 Public spaces are critical in improving interaction.4 This thesis will challenge the current relationship between the building and its environment. Using the strength of Total House as an accessible development for the city, the project will explore how to develop a high-rise tower that provides social opportunities. It aims to explore, experiment, and negotiate between the public and private program.

Jan Gehl, Cities for People (Island Press, 2010), 15 Gehl, Cities for People, 196 “The Young Australian Loneliness Survey,” VicHealth, published October 3, 2019, https://www.vichealth.vic.gov.au/media-and-resources/ publications/young-australian-loneliness-survey 1 2 3

Uro Publications., Kerb 27: Selective Perceptions (2020)., ISBN: 9780648435570

PART I SITE AND RESEARCH

HYPOTHESIS_v1. March 2021

Total House, an architecture representing the era of automobile ownership during the 1960s and was part of the “Doughnut City” in the 1980s.5 An architecture that was conceived as an invitation to encourage patrons to come to the city. As the society and economy have become organized. Today, Melbourne’s CBD has gradually turn exclusive. Architecture has manifested into individual structures that led to the decline of urban life.6 People liveliness has increasingly become privatized with limited social interaction.7 Public spaces are critical in improving social interaction; however, spaces deemed for the public is often not for everyone – groups that are considered unwanted are often excluded and marginalized. This thesis will challenge the current design practice of public space and reinterpret Total House to be an inclusive architecture. It aims to act as a platform to provide opportunities and access for the public to explore, express, and reshape urban life. Focusing on the human scale and behaviour to answer architecture as an individual structure.

J an Gehl, Cities for People (Island Press, 2010), 15 Gehl, Cities for People, 196 “The Young Australian Loneliness Survey,” VicHealth, published October 3, 2019, https://www.vichealth.vic.gov.au/media-and-resources/ publications/young-australian-loneliness-survey 5 6 7

11 HYPOTHESIS STATEMENT

OFFICIAL VALUE OF TOTAL HOUSE

ARCHITECTURE STYLE HISTORICAL VALUE

Built during the post World War II period, Total House is one of the earliest and best representations of Brutalist architecture in Victoria.8 The expression of material, structure, and function highlights the ideology of Brutalism. The parking structure displays its ‘honest’ material and structure to the streetscape. Total House, however, “has pretensions to the Japanese Brutalist style, but it is unoriginal, derivative, offers nothing new in its interpretation and captures none of the vision or energy of the movement.”9

13 RESEARCH - TOTAL HOUSE

Fig01. Kagawa Prefectural Government Office, D e s i g n e d b y K e n z o Te n g a

8 Heritage Council Victoria Victoria Herirtage Database, Total Carpark (Melbourne: State Government of Victoria, 2015), https://vhd.heritagecouncil. vic.gov.au/places/65572 9 Alan Davise, “Architectureal merit: has this building got enough to save it?” Crikey, Independent Inquiry Jornalism, published March 21, 2013, https://blogs.crikey.com.au/theurbanist/2013/03/21/architectural-merit-has-this-building-got-enough-to-save-it/

F i g 0 2 . “ Yo u c a n s t e e r H o l d e n w i t h a f i n g e r - t i p ” proclaims this 1948 advertising brochure for the 48/21

Fig 03. “The Fabulous Lido Theatre Restaurant

Heritage Council Victoria Victoria Herirtage Database, Total Carpark. “Show Business A developer who wants to be his own client”, The Bulletin Sydney, N.S.W: John Haynes and J.F. Archibald, September 7, 1974, http://nla.gov.au/nla.obj-68375465 10 11

15 RESEARCH - TOTAL HOUSE

CELEBRATION OF CAR OWNERSHIP HISTORICAL VALUE Total House reflected the significant increase in car ownership post World War II and was developed to accommodate Melbourne’s massive automobile influx.10 The development of an off-street parking facility was deemed critical to the economy’s growth within Melbourne’s CBD. During this period, multi-storey parking facilities, motels, drive-ins, drive-through, service stations, and the roadside were booming together with the automobiles industry. Total House represents the narrative of Melbourne’s growth and history. However, in the era where reducing car usage is rising, is a free-standing car park necessary?

THE LIDO THEATRE CULTURAL VALUE Total House is culturally significant due to its long history of entertainment. The Lido Theater restaurant and nightclub was once located in the basement of Total House. In the mid1970s, it operated as a 600-seat Total Theatre. It houses theatre production, including Guys and Dolls’ Australian premiere and the controversial production of “Let My People Come”.11 Today, it operates as 170 Russell, famously known as Billboard. Without considering the entertainment history of Total House, can it still be considered heritage?

HYBRID BUILDING FIRST OF A KIND Compared to other multi-stories car parks built around the same time, Total car park is significant due to its hybrid function. Unlike other car parks that only serve the parking function, Total House provides entertainment, nightlife, retail space and office. However, this characteristic is no longer unique; most of the building in Melbourne CBD is hybrid architecture. New development building like Collins Arch includes office, residential, retail, parking and hotel.

THE "TV" BOX VISUALLY SIGNIFICANT The most visually significant aspect of Total House is the design of the office block, known as the “Floating TV screen”, resemblance to the general public. The resemblance, however, is diverse. Commentators in Melbourne Heritage Action, the group leading the batons for the registration of the building, argued that the building is worthy of preservation as it resembles a “1980s Apple’s Mac,” “something out of the Thunderbirds,” and an “old-fashioned TV set”.12 On the other hand, it is known as the “upturned tissue box” to specific groups of people”.13 The general findings from this research, the building fabric of the car park is undeniable significant within Melbourne’s skyline for good reasons or not.

17 RESEARCH - TOTAL HOUSE

F i g 0 4 . To t a l H o u s e

Alan Davise, “Architectureal merit: has this building got enough to save it?” Simon Johanson, “Planning Minister Richard Wynne’s new rules claim first development victims,” The Sydney Morning Herald, September 29, 2015, 11:23 a.m. https://www.smh.com.au/business/companies/planning-minister-richard-wynnes-new-rules-claim-first-development-victims-20150929gjwzz1.html

12 13

CRITERIA FOR ASSESSMENT OF PLACES OF CULTURAL HERITAGE SIGNIFICANCE - HERITAGE COUNCIL REGISTRATIONS COMMITTEE

CRITERION A cultural history.

- Importance to the course, or pattern, of Victoria’s

CRITERION B - Possession of uncommon, rare or endangered aspects of Victoria’s cultural history. CRITERION C - Potential to yield information that will contribute to an under-standing of Victoria’s cultural history. CRITERION D - Importance in demonstrating the principal characteristics of a class of cultural places or objects. CRITERION E characteristics.

- Importance in exhibiting particular aesthetic

19 RESEARCH - TOTAL HOUSE

CRITERION F - Importance in demonstrating a high degree of creative or technical achievement at a particular period. CRITERION G -Strong or special association with a particular community or cultural group for social, cultural or spiritual reasons. This includes the significance of a place to Indigenous peoples as part of their continuing and developing cultural traditions. CRITERION H -special association with the life or works of a person, or group of persons, of importance in Victoria’s history.

Total House’s significance based on Heritage council registrations committee

14 Heritage Council Victoria Victoria Herirtage Database, The Victorian Heritage Register Criteria and Threshold Guidelines, (Melbourne: State Government of Victoria, 2012, reviewed and update 2019), https://heritagecouncil.vic.gov.au/wp-content/uploads/2019/05/ VHRCriteriaandThresholdsGuidelines_2019Final.pdf

OTHER HERITAGE-LISTED CAR PARK AND ITS SIGNIFICANT

VICTORIA CAR PARK Marcus Barlow, 1938 - Art Deco The car park is Victoria’s first commercial car park and Melbourne’s first multilevel car park. Architect Marcus Barlow designed it to have Art Deco facades with a restrained streamlined style that fitted the street-scape rather than revealed its car park function.15 The car park is only functional up until 1944. During World War II, the building was used by the Department of Labor and National Service and the Australian Women’s Land Army and by many other government departments and agencies. Heritage listing helped save the Little Collins Street facade during a redevelopment that started in 2012, but the rest was demolished for a renewable project.16

Fig 05.

Fig 06.

21 RESEARCH - OTHER HERITAGE CAR PARK

UNDERGROUND CAR PARK UNIVERSITY OF MELBOURNE Loder and Bayly, 1972 - Brutalism The iconic Melbourne University underground car park is architecturally, historically, and socially significant at a state-level recognition. Because of its innovative structure solution, inventive design strategy integrates the existing historical garden and the successful incorporation with two Atlas figures from the demolished Colonial Bank at the entrance.17 From a cultural perspective, this car park is used in the Movie Mad Max.

Fig 07.

Fig 08.

15 Heritage Council Victoria Victoria Herirtage Database, Former Victoria Car Park (Melbourne: State Government of Victoria, 2015), https://vhd. heritagecouncil.vic.gov.au/places/12496 16 Heritage Council Victoria Victoria Herirtage Database, Former Victoria Car Park 17 Heritage Council Victoria Victoria Herirtage Database, Underground Carpark – Melbourne University. (Melbourne: State Government of Victoria), https://vhd.heritagecouncil.vic.gov.au/places/65785

Welbeck Street Car Park Michael Blampied, 1970 - Brutalisim

Welbeck Street car park is considered as a brutalist landmark of London. The car park was nominated as a historical building in England; however, it was denied in 2016 by Historic England.18 They described the building as ‘an exemplar of 1960s car park,’ Historical England deemed that it did not satisfy the standard for listing due to its innovative structure and possesses flaws in the design.19 Shortly after the listing was denied, it was sold to Shiva Hotels for £100 million for the lucrative site located close to UK’s busiest street. In 2017, it was officially announced that the car park would be demolished to be developed as a hotel.20

23 RESEARCH - OTHER HERITAGE CAR PARK

Fig 09.

Fig 10.

Fig 11.

18 India Block, “Architects grieve as demolition starts on “design icon” Welbeck Street car park,” Dezeen, published May 10, 2019, https://www. dezeen.com/2019/05/10/demolition-starts-on-design-icon-welbeck-street-car-park/ 19 India Block, “Architects grieve as demolition starts on “design icon” 20 India Block, “Architects grieve as demolition starts on “design icon”

What values should be retained?

25 REINTERPRETATION

AESTHETICAL VALUE While to some, Total House might hold aesthetical value. However, the function of the space is deemed to be obsolete in the coming years. Heritage is not merely valuing places based on their materiality, human interaction that gives the place “identity, continuity, and inspiration” is as valuable.21 The materiality of a place is important; however, the attachment to a place is developed from human interaction within the fabric. While most urban renewal project today seems to take the shallow approach of “facadism” retaining its visual quality as nostalgia (fig. 12-14.), it disregards the value of human interaction that makes a place unique.

Thompson M. Mayes, Why old places matter: how historic places affect our identity and well-being (Lanham, Maryland: Rowman 7 Littlefield, 2018), 49

27 REINTERPRETATION

Fig12. 271 Spring Street, J o h n Wa r d l e A r c h i t e c t

Fig13. Melbourne School of Design, J o h n Wa r d l e A r c h i t e c t

Fig14. Swanston Central, E l e n b e r g Fr a s e r

29 REINTERPRETATION

HUMAN TRACES IN TOTAL HOUSE Total House poses challenges in recognising its value besides its aesthetical value, as its primary function is a car park and was designed for cars. Beyond its fabric, Total House is a vessel of Melbourne’s rich narrative, growth and history that should be inherited to the future generation. Enhancing the stories is a catalyst in ensuring heritage places stay relevant.22 As the current fabric does not tell the narrative enough, the public is not able to embrace the building aesthetic and historical value. In acknowledging this, the thesis will aim to enhance the stories embedded in Total House with an architecture that is human-focused.

Miles Glendinning, The Conversation Movement: A history Of Architecture Preservation (Taylor & Francis Group, 2013), 429

TOTAL HOUSE AS PUBLIC SPACE While the historical and architectural values are valuable. Total House can be defined as a public space; it is an open, accessible, and 24/7 building in the city. A space for people to explore regardless of their preferences – from large gathering to individual. While it might be illegal for these “wonderers” to walk through the building, it is undeniable that the significant trait of Total House is how people can find intimacy within themselves in a commercialised car park. Social value is defined as ‘social connection’ and ‘network’ and help reinforce the concept of ‘place attachment’.23 Place attachment is a crucial aspect of heritage that is constantly in conversation and relates to identity, affiliation, and cohesion.24 Total house value to the city today illustrates the need for more common space in the city in an effort to revitalise urban life. Revitalising urban liveliness is an ongoing topic in the built environment industry, as Gehl argued that there is a demand for “strengthening contacts to the civil society at large.”25 Total House value to the city illustrates the need for such spaces in the city, and the public has acted in the quest for such spaces.

23 Randall Mason, “Assessing values in conversation planning: methodological issues and choices”, Assessing the Values of cultural heritage, 2002: 12, url: https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/assessing.pdf 24

Lynne C. Manzo and Patrick Devine-Wright, Place Attachment: advance in theory, method and applications (Routledge, 2014), 11

Gehl, Cities for People,28

31 REINTERPRETATION

THERE IS A SPOT FOR EVERYONE

PUBLIC

SEMI - PUBLIC

SEMI - PRIVATE

Russell Street

Coverlid Pl

PRIVATE

Car Park Level 2

INDIVIDUAL Car Park Terrace

33 REINTERPRETATION

HUMAN TRACES IN TOTAL HOUSE Upon doing research on the site and how human inhabit and interact with the building. The social value of Total House is in how people can roam freely and utilise the current space. However, social value is not “necessarily directly tied to physical fabric,” and preserving the fabric might not necessarily enrich the social value.23 As the function of the current fabric will be outdated soon, preserving the entire fabric might not be the best move forward. Looking at why Total House is socially significant, the project will aim to amplify the essence of Total House - on how diverse groups of people with different motives can find their spot within the development.

James Lesh, “Social value and the conservation of urban heritage places in Australia,” Historic Environment 31, no. 1 (Jan, 2019): 56, ISSN: 0726-6715.

34 34

SCHOLARLY RESEARCH W M el Lo ich bec nd ae k on l B Ca la ro m ar pi k, ed an

Pa r

SIGNIFICANT

INCLUSIVE

HUMAN SENSES

TRACE

How to define architecture as “significant”? cultural, social, programmatic, or building fabric.

Redefine the idea of public space, public space should be more inclusive and welcoming.

Human senses as starting point for design then leads to spatial arrangemnt, experences, and circulation.

Trace could be made both physical and intellectual. Physical – mark and erase ; Intellectual – memories or thinking. Also, leaving trace means both ways - people to building and building to people (memory/experience).

SIG

Why Old Place Matter - Memory Mayes Thompson, 2018

Interpertation: Heritage Revealed, Linda Young

INTERPERTATION

For heritage to be significant and valued, a re-interpretation needs to be made for the new decade and audiences to continue the meaning of heritage.

Social value and the conservation urban heritage places in Australi James Lesh

Heritage Values a Conservation Plan Randall Mason

35 35

Park ‘n’ Play, JAJA Architects, Copenhagen

Q N VM H Ar elb ch ou ite rn ctu e, re ,M

el b

ou rn e

ey dn Sy e, Lif om, o rk Pa e Br Le

GNIFICANT

ry,

Lib id br Hy ruck n b ba ns Ur , In P2 AC LA

INCLUSIVE

HUMAN SENSES

TRACE

INTERPERTATION Hapticity and time.(discussion of haptic, sensuous architecture.) Juhani Pallasmaa

The Death and Life of Great American Cities, Jane Jacob

n of ia,

Cities for People Island Press (2010), Jan Gehl

and Challenges of nings,

Place Attachment, Lynne C. Manzo, Patrick Devine-Wright

‘Hostile Architecture’: How Public Spaces Keep the Public Out, New York Time, Jon Ritter

Moving

Waitin

37 CURRENT TOTAL HOUSE ANALYTICAL DRAWING

g Trash

Office Building Entrance - Hi Bye

Chilling and Chatting

Smoking

Queuing for Hakata

Waiting for Tram

Out Door Dinning

ng for Crossing

Grocery Shopping

SURROUNDING SITE CONDITION

WHAT IT MEANS OF PUBLIC SPACE

In the built environment, we often design and label spaces as ‘public.’ However, are these spaces genuinely public? In public spaces like parks, plazas, or street benches, we often see strips of metal teeth, bars between bench or bolts at edges (figure 4 -5). Although these spaces are considered public, the design often excluded groups of people such as the homeless, teenagers, loiterers, etc. As argued by Ritter, “We are building barriers and walls around apartments and public spaces to keep out the diversity of people and uses that comprise urban life.”27 Since the birth of the modern movement during the 1930s to 1960s, architecture has not prioritised public space, pedestrian, and urban life.28 Modern architecture shifted its focus to individuality and free-standing buildings, resulting in the decline of urban life and spaces.

WHAT IT MEANS OF PUBLIC SPACE

Fig15.

Fig16.

27 Winnie Hu, “Hostile Architecture: How Public Spaces Keep the Public Out,” The New York Times, November 8, 2019, https://www.nytimes. com/2019/11/08/nyregion/hostile-architecture-nyc.html. 28

Gehl, Cities for People, 3

QV MELBOURNE Location: Melbourne CBD

Client: Overland Properties

Architect: NH Architecture

Completed: 2015

QV Melbourne is a significant location for the people of Melbourne and tourists. A development that has an ideology of creating an urban village, the design responds to Melbourne’s nineteenth-century history while creating an urban area for the public to enjoy. Melbourne’s laneway culture informed the project; it is a city within a city. Qv is a notable hybrid development, including office building, retails, restaurants, food court, clinics, car park, fitness centre, service apartments and private apartments. The design of QV in Melbourne has successfully separated the public and private function by incorporating laneway typology and levelling technique in the complex. At any given time, diverse crowd and activities are occurring in the complex. However, the function of public space is highly commercialised and is dictated for the benefit of the complex.

PRECEDENT ANALYSIS

Fig18.

Fig17.

Fig19.

Personal

Intimacy

Individual

Social

Crowd

43 INITIAL PROPOSAL

PROPOSAL

TOTAL HOUSE AS A PUBLIC SPACE

Recognising the value of Total House today as a public space. The public space proposed in this thesis intends to answer the demand for common spaces in the city. A space that gives the much-needed space to the city to strengthen social engagement, encourage incidental activity, and allows a diverse scale of interaction to occur in the public realm.

"Being together and being alone can be done outside norms of market and ceremony."29 Ian Woodcock

29 Ian Woodcock, “Provoking new encounters: Prahran Square,” Landscape Australia: Design Urbanism Planning, published November 7, 2020, https:// landscapeaustralia.com/articles/provoking-new-encounters/

Human Scale | a strategy

For a public space to work, it must be designed based on “human mobility and the human senses” as it acts as a platform for “activities, behaviour, and communication in the city.”30 For a city life to thrive with diverse uses, activities, and people, scale and distance play an essential role. Therefore, the importance of a human scale must be considered as the driver for the development. The proposal will be developed based on a human-scale study, particularly the distance between the different groups.

Gehl, Cities for People, 33

INITIAL PROPOSAL

Individual 0 cm

Social 1.2 - 3.7 m

Intimacy 0 - 45 cm

Crowd 3.7+ m

Personal 45 -120 cm

100 m

50 - 70 m

22 - 25 m

INITIAL PROPOSAL

The study will act as a framework for the design development to address the five different privacy level. As the human body is linear in orientation – we can see people and their body language up to 100 meters, recognise a person between 50-70 meters, and read people’s facial expression between 22-25 meters.31 In public spaces, the public must feel safe and comfortable regardless of the gathering preferences. Visual clarity is essential to promote a sense of safety, provide sight, and stimulate familiarity.

Gehl, Cities for People, 34

SPOT C

SPOT B

SPOT A

Levels | Streetscape

49 INITIAL PROPOSAL

TOTAL HOUSE AND THE SURROUNDING | A STRATEGY Total House verticality has a significant span of opening to the surrounding. The vertically of the building has untapped potential for a more significant relationship to the street. An understanding of how the current vertically interacts with the street is crucial in gauging its potential. As human tend to look horizontally or down, they do not see much above us.32 At Total House, the ground floor and first floor, it has a direct connection between the building, the street, and the surrounding. From the second floor to the fourth floor, it offers a visual connection and has the potential to develop a relationship with the street. Based on visual and hearing senses, the first floor up to the fourth floor can be categorised as vertical threshold space, spaces where there is still a solid sensory connection to the surrounding and possessed the most untapped potential for further intervention. However, from the fifth level upwards, the experience is much more isolated and provides a more significant challenge in developing a connection to the street.

Gehl, Cities for People, 41

H TAL TO

VERTICAL THRESHOLD

Levels | Vertical Senses

Level 01

Level 02

Level 03

Level 04

V E R T I C A L I S O L A T E Z O N E

Level 05

Level 06

Level 07

51 INITIAL PROPOSAL

Level 07 Level 06 Level 05 Level 04

Level 03

Level 02

Level 01

52 52

POTENTIAL PROGRAMS - Public Space - Offices - Gallery - Micro Brewery - Retails

53 INITIAL PROPOSAL

SPATIAL & EMOTIONAL TRANSITION

SEM I PUB LIC

TRAN

& P RI

VAT

SITI

PUBL

PRIVATE PROGRAM

GALLERY

55 INITIAL PROPOSAL

In summary, the thesis seeks to investigate what it means to be a public space; it intends to amplify the value of Total House today as an open and accessible space for the city. It acknowledges the importance of enhancing the stories embedded in Total House as a part of Melbourne’s narrative. The proposal focuses on the human scale and behaviour to revive the much-needed common spaces in the city and break architecture patterns as individual structure.

PART II CONCEPT DESIGN

59 HYPOTHESIS STATEMENT

HYPOTHESIS_v2. April 2021

Total house, an architecture representing the era of automobile ownership during the 1960s, was part of the “Doughnut City” solution in the 1980s.33 An architecture that was conceived as an invitation to encourage patrons to come to the city. As the society and economy have become organised today, Melbourne’s CBD has gradually turn exclusive. Architecture has manifested into individual structures that led to the decline of urban life.34 People liveliness has increasingly become privatised with limited social interaction.35Public spaces are critical in improving social interaction; however, spaces deemed for the public is often driven by a “profit motive.”36 This thesis will challenge the current relationship between the building and its environment. It aims to reinterpret Total House to be an inclusive architecture. Inclusive in the way that patrons do not have to partake in commercial activities to enjoy the space. It aims to explore, experiment, and negotiate the relationship between the public and private realm.

Jan Gehl, Cities for People (Island Press, 2010), 15 Gehl, Cities for People, 196 35 “The Young Australian Loneliness Survey,” VicHealth, published October 3, 2019, https://www.vichealth.vic.gov.au/media-and-resources/ publications/young-australian-loneliness-survey 33 34

Uro Publications., Kerb 27: Selective Perceptions (2020)., ISBN: 9780648435570

FURTHER ANALYSIS

TOTAL HOUSE | POTENTIAL

In acknowledging the historically significant of Total House, that represent automobile boom and one of the first mixeduse development in the city. An architecture of an era that is slowly fading, this project will utilise the existing Total House as a platform to develop a human-centric project that represents the current ambition of The City of Melbourne. An architecture that once celebrates an era is to be reinvented to celebrate another period.

61 FURTHER ANALYSIS - TOTAL HOUSE

TOTAL HOUSE OFFICE ENTRANCE

63 FURTHER ANALYSIS - TOTAL HOUSE

WHY IS IT SO PUBLIC? Entrance and Programe Design Total House achieved a high level of publicness due to its clever separation of functions and entry. The private features of the building are only accessible through a small entry. In comparison to the building footprint, it is marginal, and the public hardly notice. The arrangement has manifested into the public being invited to wander in.

Total House’s value to the city today illustrates the need for more common space in the city to revitalize its urban life. Revitalizing urban liveliness is an ongoing topic in the built environment industry, as Gehl argued that there is a demand for “strengthening contacts to the civil society at large.”37

Jan Gehl, Cities for People (Island Press, 2010), 28

ISSUE AND GOAL

CURRENT PRACTICE OF A PUBLIC SPACE

In the discourse of public spaces, the current development model is often driven by private developers. Marking space as public but maintain and manage the space as private properties. Development such as QV and Collins Arch – the location of public spaces is often limited on the ground floor to manage pedestrian flow base on commercial activities.

65 ISSUE AND GOAL

Fig20.

Collins Arch | Woods Bagot

Fig22.

Fig21.

Fig23.

QV Melbourne | NH Architect

GOAL NEGOTIATING THE IDEA OF PUBLIC SPACE As public spaces are increasingly developed by a commercial and private developer, public spaces located in such development are often utilized based on a commercial motive. Certain activities are discouraged, and acceptable activities often must align with their profit motive as a space that provides incentives to the business. The project will challenge the relationship between programmes and public spaces. Invitation to utilize public spaces should not be dictated by businesses or programs present at the site. Instead, the public spaces should be the main attraction point that will draw patrons to enjoy the programs or business on site.

67 ISSUE AND GOAL

Current Deveopment Commercial Motive

Public Space

Design Goal Public Space

Programs

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77 DESIGN ITERATION

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Degree of Retainment The degree of retainment is based on where activities are spotted in the current fabric of Total House and where there is untapped potential to be a successful public space.

On Russell street – The office entrance and the carpark are kept as most of the activities occur at that interface. On Coverlid Pl – the original car park ramp and floor plates will be retained and reinterpreted into a gallery. As a means to showcase Total House’s original structure and atmosphere One of the most significant aspects of Total House is the open terrace. The terrace will be retained and transformed into a public space above ground. The terrace has been a destination for people as a unique spot to enjoy Melbourne’s view without any commercial activities involved.

79 HERITAGE

DESIGN APPROACH

PARTI DIAGRAM

The concept begins with breaking the public space. The publics spaces are broken apart and scattered within and out the building program, allowing the public spaces to be located anywhere on site. Public Program that is hidden within the office tower aims to create a new dimension of the relationship between the public and private program.

81 DESIGN APPROCH

83 DESIGN APPROCH

GROUND FLOOR ACCESSES The design begins with the question how to guide pedestrian into the site. 01. The corner of Lt Bourke Street and Russell Street will be the main entrance to the site. The corner has the most pedestrian flow, and the setback design aims to expand the pedestrian walkway and guide the public into the site. 02. Another entry point to the site will be through the laneway access on Russell Street. This was done to drive pedestrian into the site, creating a loop that will merge the pedestrian with the ground floor public area.

MASSING DESIGN

Reflecting the total house arrangement of programs, the development adopted similar strategies of minimizing office entrance to alter the focus of the building towards the public spaces.

85 DESIGN APPROCH

87 DESIGN APPROCH

Bar

Intimate Public Space

Gallery Retails

89 DESIGN APPROCH

PUBLIC CIRCULATION There are four different public journeys through the building: 01. From ground floor outdoor ramps to the retail area -> leading to intimate public space and -> and to office terrace 02. Office tower I entrance -> leads to gallery ramp -> bar -> and to the office terrace 03. Office tower I entrance -> hidden public space -> open terrace 04. Office tower II entrance -> hidden public space -> open terrace

ENTRANCE DESIGN

Another strategy going forward is entrance design at both office tower. The entrance design will promote and encourage the public to utilise the public spaces located above. The public entrance will be visually more inviting, open and visible to allow the public into the vertical public spaces located within the office tower. The office entrance will be less visible, smaller in scale. By placing the two entrance close to each other, the difference between the two entrances design will help guide the public into the more open entrance that leads to the hidden public space.

91 DESIGN APPROCH

PARTI DIAGRAM II

For a public space to work, it must be designed based on “human mobility and the human senses” as it acts as a platform for “activities, behaviour, and communication in the city,”.38 For a city life to thrive with diverse uses, activities, and people, scale and distance play an essential role.

Individual 0 cm

Intimacy 0 - 45 cm

Personal 45 -120 cm

Social 1.2 - 3.7 m

"Being together and being alone can be done outside norms of market and ceremony."39 Ian Woodcock

Crowd 3.7+ m

93 DESIGN APPROCH

Gehl, Cities for People, 33

Ian Woodcock, “Provoking new encounters: Prahran Square,” Landscape Australia: Design Urbanism Planning, published November 7, 2020, https:// landscapeaustralia.com/articles/provoking-new-encounters/ 39

DIAGRAMATIC GROUND FLOOR PLAN The strategies aim to allow different group size of participants in the public realm to coexist in the proximity, however, still ensuring privacy. It also aims to break the physical boundary between the private program and the public space.

LITTLE BOURKE STREET

GROUND FLOOR PROGRAME

OFFICE TOWER I and GALLERY ENTRANCE

ORIGINAL CAR PARK RAM

GF PUBLIC SPACE

NEW RAMP - TO LEVEL 1 RETAIL A INTIMATE PUBLIC SPACE

95 DESIGN APPROCH

SECRET PIBLIC SPACE

OFFICE TOWER II ENTRANCE

ALLERY

RETAILS

AND

RUSSELL STREET

Secret Public Space

97 DESIGN APPROCH

POTENTIAL PUBLIC PROGRAMME

PART III SKETCH DESIGN

100

HYPOTHESIS_v3. May 2021

Total house, an architecture representing the era of automobile ownership during the 1960s, was part of “Doughnut City” solution in the 1980s.40 An architecture that was conceived as an invitation to encourage patrons to come to the city. As the society and economy have become organised, today, Melbourne’s CBD has gradually turn exclusive. Architecture has manifested into individual structures that led to the decline of urban life.42 People liveliness has increasingly become privatised with limited social interaction.42 Public spaces are critical in improving social interaction; however, spaces deemed for the public is often driven by a “profit motive.” 43 This thesis will challenge the current relationship between the building and its environment. It aims to reinterpret Total House as an accessible development for the city. The proposal will provide the city with a building typology that caters to its needs and activities as a high-rise building that is specifically designed for the city. It aims to explore, experiment, and negotiate the relationship between the public and private realm.

Jan Gehl, Cities for People (Island Press, 2010), 15 Gehl, Cities for People, 196 42 “The Young Australian Loneliness Survey,” VicHealth, published October 3, 2019, https://www.vichealth.vic.gov.au/media-and-resources/ publications/young-australian-loneliness-survey 40 41

Uro Publications., Kerb 27: Selective Perceptions (2020)., ISBN: 9780648435570

101 HYPOTHESIS STATEMENT

102

REFLECTION

Criticism of my preliminary hypothesis was directed towards the lack of clarity around the idea of public space. The main question was, what makes a public space, genuinely public? Looking back, it is evident that on the first submission, the thesis proposal was too broad and lacking specification on whom the main group is catering to. For the second submission, through further research, I have identified a pattern on the current practice of public space – as public space, today is mainly developed for commercial purposes. The refined thesis proposal is now centred on the relationship between commercial space and public space. It aims to answer how to design a public space that is not motivated by commercial activities. The main feedback on the submission was that the concept is not translated enough on the proposal. The main critique was directed on the ground floor and how is it not activated enough as a public space.

103 REFLECTION

104

TOTAL HOUSE

L u

B e

t l S

sel

Rus

105 REFLECTION

TRANSFORMATION FROM PREVIOUS FEEDBACK For the third submission, I have attempted to address the feedback. I started to explore publicness through a diverse programme that will cater to diverse groups of users. The relationship of programme and ‘shared’ spaces are considered both on the ground floor and vertically. TThe ground floor is further activated by catering for daily usage and as a venue space for greater Melbourne’s seasonal activities. Landscaping and sectioning the ground floor to cater for multiple and diverse needs and usage of the patrons in the city. The feedback on the submission directed towards who is the public the proposal is catering fo? The concept of extending the public space vertically is well received. The major takeaway is how retargeting on who is the public and being more specific on it will make the proposal richer.

106

DESIGN STRATEGIES PROGRAM DISTRIBUTION

The program distribution aims to challenge conventional highrise development. In the current norm of high-rise development, the public program is often limited to the ground floor area. This thesis aims to break the relationship between the private and public realm and introduce the public space vertically up, merging into what is typically just a private office. From bottom to top - The basement will be retained as the famous entertainment venue, Billboard - The entire ground floor area is designed with the purpose to give spaces back to the city. It is an open space for everyday use and caters for Melbourne’s seasonal activities as a venue space. - Commercial activity such as retail, microbrewery, restaurant, bar and café will be located within the original Total House parking fabric from level 1 to 4. - Level 5 is an open terrace, which is retained from the existing Total House. It is a significant aspect of the building; many people utilize the space currently as a destination to linger and enjoy the view of Melbourne CBD. - Level 6 to 16 will be mainly office space – at a certain level, such as level 9, 14, and 15, the office space will intersect with other programs that are accessible for the public within the tower (highlighted yellow) - The rooftop will be a public garden that overlooks the city and acts as a destination.

107 DESIGN STRATEGIES

108

CIRCULATION CAPSULE

The circulation of the building is connected through a linear circulation. Starting from the open terrace at level 5, the public can access the tower through the stairs going up, and they can stop as they wish. The public circulation is designed like a capsule, weaving through the private programs and ties all the accessible program together.

109 DESIGN STRATEGIES

110

SECTION AA 1:200 5

ROOFTOP GARDEN

OFFICES OFFICES CO-WORKING SPACE

LEISURE SPCAE

ACTIVE SPACE

PLAYGROUND

OFFICES OFFICES GALLERY

GALLERY WORKSHOP OFFICES

OPEN TERRACE

RETAILS

RESTURANT AND BAR MICRO BREWERY

PUBLIC VENUE FLEA MARKET BILLBOARD

111 DESIGN PROPOSAL

SECTION AA PROGRAM RELATIONSHIP

The section aims to paint a clearer picture of the relationship between the vertical spaces accessible to the public and the private office space. The section is cut diagonally through the site and facing towards Russell Street. The public activity spaces are scattered around the office tower, except for the co-working area that spans the entire level. Public spaces such as gallery are designed as a void that cuts through the office level. It will then branch out at certain levels to accommodate for gallery workshop or playground, creating an intersection within the two levels of the office. The addition of the leisure space facing the corner of Lt Bourke Street and Russell street breaks the vertical linear relationship between the vertical public spaces and the office tower; it is connected through the active space and co-working level.

112

O TI

113 DESIGN PROPOSAL

GROUND FLOOR PLAN

The ground floor was designed for public access and public activity. It aims to give the ground floor space back to the city. N

Outdoor space includes three different types of gathering space. A terrain design allows gathering to face the streets or internally, creating a different atmosphere from left to right. The step design in the centre can act as seating or acts a performance stage. On the right there will be a series of sunken gathering space that accommodates for different group sizes, allowing people to have a more private atmosphere in a public setting. Lastly, on the most right, there will be a rock-climbing wall that can transform into a large screen for festival or open-air movie nights.

The ground floor interior space will be a sheltered public space venue that can be extended outdoor. The ramp within the space is a reinterpretation of the car park essence that will lead the visitors to the retail above.

GROUND FLOOR PLAN

1:200 30

On the other side of the site, the outdoor stairs reinterpret the balcony in the current Total House – where the most public activities are spotted during the site visit. The stairs connect the microbrewery, restaurant, bar and lead directly to the open terrace. The proposal adopted a small office tower entry located at the current Total House office entry. There is another office entry at Cloverlid Pl that is only limited to office access, the lifts located on Russell Street are shared between the public and office tenants.

114

UPPER-LEVEL PLAN

CULTURAL PUBLIC SP

CULTURAL SPACE AND OFFICES

The upper-level floor plan showcases here are located at level 9 – serving the public cultural space and office tower program. The floor plan illustrates the tower’s public and private program relationship.

RU SS EL L

BO UR KE Lt .

Lt. BOU RKE St.

RUS SEL L S T.

CO VE RL I

BO UR KE

St .

COV ERL ID Pl

Lt .

The public circulation capsule in the gallery leads to an extended program space – the gallery workshop. It branched out from the capsule in between the two office levels (see section detail).

St .

As office user, they can access the office through the lift. As the public, they can access the vertical public space through the Russell Street lift entrance or through the circulation capsule. The boundary between the gallery and office will be a semi-transparent material such as glass brick or polycarbonate to ensure privacy while still allowing a limited visual connection, blurring the boundary between the public and private.

115 DESIGN PROPOSAL

PACE and OFFICES

ST .

LEVEL 9 FLOOR PLAN 0

1:200 30

116

LEVEL 9 | GALLERY DETAIL SECTION

117 DESIGN PROPOSAL

GALLERY DETAIL SECTION 0

1:50 4

118

GROUND FLOOR PERSPECTIVE

The street view illustrates the ground floor design and how the public spaces blend into the surrounding streetscape, creating a sense of permeability from the pedestrian flow. The design intends to give back the much needed spaces to the city and essentially act as an extension of the city. It also depicts the ground floor landscape and section strategy that offers multiple different uses with different groups in mind. It also showcases the possibility of the space as venue space with wall spaces that can be utilised for movie nights and vast floor space for multiple different venues hosted in Melbourne.

119 DESIGN PROPOSAL

120

PART IV FINAL DESIGN PROPOSAL

121

122 HYPOTHESIS STATEMENT

HYPOTHESIS_final. June 2021

Total House, an architecture representing an era of automobile ownership during the 1960s.44 An architecture that was conceived to encourage patrons to come to the city. An outdated model, the function gradually turns less valuable and will no longer bring people to the city and participate in city life. Architecture has manifested into individual structures that led to the decline of urban life.45 People liveliness has increasingly become privatised with limited social interaction.46 Public spaces are critical in improving interaction.47 This thesis will challenge the current relationship between the building and its environment. Using the strength of Total House as an accessible development for the city, the project will explore how to develop a high-rise tower that provides social opportunities. It aims to explore, experiment, and negotiate between the public and private program.

Jan Gehl, Cities for People (Island Press, 2010), 15 Gehl, Cities for People, 196 46 “The Young Australian Loneliness Survey,” VicHealth, published October 3, 2019, https://www.vichealth.vic.gov.au/media-and-resources/ publications/young-australian-loneliness-survey 44 45

Uro Publications., Kerb 27: Selective Perceptions (2020)., ISBN: 9780648435570

123

MASTER PLAN

FINAL DESIGN PROPOSAL

124

View from Russell St.

125 FINAL DESIGN PROPOSAL

View from Russell and Lt. Bourke St. intersection

126

127 FINAL DESIGN PROPOSAL

VERTICAL NEW SPACE New building typology The program distribution aims to challenge conventional high-rise development. In the current norm of high-rise development, the public program is often limited to the ground floor area. This thesis aims to break the relationship between the private and public realm and introduce the public space vertically up, merging into what is typically just a private office. In order to achieve that, the public space within the tower mainly caters for the programme allocated within. The main driving force is creating a “mix” zone whereby open spaces intersect with the programme, resulting in the blurring of public and private boundaries.

128 FINAL DESIGN PROPOSAL

NEW VERTICAL SPACE PROGRAM DISTRIBUTION

From bottom to top: - The basement will be retained as the famous entertainment venue, Billboard nightclub, formerly the Lido Theatre - The entire ground floor area is designed with the purpose to give spaces back to the city. It is an open space for everyday use and caters for Melbourne’s seasonal activities as a venue space. - Commercial activity such as retail, microbrewery, restaurant, bar and cafe will be located within the original Total House parking fabric from level 1 to 4. - Level 5 is an open terrace, which is reinterpreted from the existing Total House. It is a significant aspect of the building; many people utilise the space currently as a destination to linger and enjoy the view of Melbourne’s CBD. - Level 6 to 16 will be mainly office spaces. At certain levels, such as level 9, 14, and 15 - the office spaces will intersect with other programs that are accessible for the public within the tower (highlighted yellow) - The rooftop will be a public garden that overlooks the city and acts as a destination.

129

PROGRAM DISTRIBUTION DIAGRAM

130

1:200 0

PARENTS CHILD PLAYGROUND / DAY CARE

GALLERY

RETAILS

1:200 0

131 FINAL DESIGN PROPOSAL

ROOF TOP GARDEN

CO-WORKING SPACE

OPEN TERRACE / VENUE SPACE

RESTURANTS / BREWERY

132

NEW VERTICAL SPACE PROGRAM CIRCULATION Circulation is key to mixing or separating the public and private program, depending on its function and desired environment.

From bottom to top: 1) exterior stairs located at the boundary of the side at Russell Street - recapturing the atmosphere Total House fabric, where most human inhabitation and activities occur. 2) The terrace stairs located at level 5 open terrace - a “mix” zone that allows for social activities to occurs. The stairs will lead to level 6, 7, and 8 private office. The final destination of the terrace stairs is the gallery located at level 9.

3) Public circulation capsule - located within the gallery that will reach a split level that hosts the gallery workshop. It will then cut through level 12 private office, leading to the co-working level (refer to 3.1). The intersection acts as a boundary between the private office, gallery, and co-working area. 4) Located at the co-working space, level 13 - The stairs within the lounge and event space leads to level 14 and 15 private office. It was designed as a social space that will allow office users and co-working users to interact. 5) Located at the Parents Children Fun Palace, level 15, will lead to the daycare.

133 FINAL DESIGN PROPOSAL

TOWER PUBLIC CIRCULATION

L16+ DAY CARE PLAYROOM PARENTS CHILD FUN PALACE AND DAY CARE

TOWER PUBLIC CIRCULATION

OUTDOOR LOUNGE & EVEN SPACE CIRCULATION

L14 PRIVATE OFFICE

PUBLIC CAPSULE

L15 PRIVATE OFFICE

3.1

MIX ZONE II

PRIVATE OFFICE

TOWER PUBLIC CIRCULATION

MIX ZONE I

GALLERY WORKSHOP

L05 OPEN TERRACE L09

L09 - L12

PUBLIC CIRCULATION

1. PROGRAM DISTRIBUTION DIAGRAM

GF - L05 OPEN TERRACE

134

TOWER ENTRANCE DESIGN The proposed entrance for the tower is adapted from the original Total House characteristic. Where the offices are only accessible through a small entrance lobby at Russell Street. The entrance lobby is reinterpreted, and this lift core is accessible for the public and office goers. To accommodate with the bigger footprint, the second lift core is located at Cloverlid Ln. The second lift core is only accessible for office users and services.

1:300 0

135 FINAL DESIGN PROPOSAL

FACADE DESIGN The facade design follows the study undertaken during the site visit, whereby only up to level 4 of the proposed development will allow for street connection. Above level 4, the facade design is derived from the idea of framing. Where the facade contour frames the publicly accessible area that is located vertically, it also offers opportunities for surrounding high-rises to develop a relationship with the proposed development.

136

137 FINAL DESIGN PROPOSAL

PUBLIC SPACE ELEMENTS CATALOGUE The catalogue illustrates the public space elements incorporated in the design. It is developed based on a human scale study undertaken during the research period. The elements are placed in-between the public and private programme. The spaces aim to allow different group sizes to utilise the space and encourage a new interaction between diverse users.

Individual

Intimacy

Personal

Social

Crowd

0 cm

0 - 45 cm

45 -120 cm

1.2 - 3.7 m

3.7+ m

138

GROUND FLOOR PLAN The ground floor planning is developed to give back the much needed public spaces for Chinatown. Russell Street and Lt Bourke Street corner is a setback to allow for integration to the open plaza. The ground floor interior space is an indoor venue space for the city. The spaces can be extended outdoor. The ramp located in the indoor venue space is a reinterpretation of the Total House car park that will lead to the retail above. The public toilet is accessible for the public; additional details such as shower space, nursing room, and children toilet are incorporated to support the whole development and programme function.

139 FINAL DESIGN PROPOSAL

1:200 0

140

GROUND FLOOR DETAIL SECTION The ground floor detail section depicts the human inhabitation in the ground floor open spaces. The landscaping caters for four or more different type of atmosphere for people to experience. From left to right, - The closest interfaces to the corner of Russell Street and Lt Bourke Street - a terracing method is adopted, to create a series of informal spaces for people to wait, gather, and take a break as a means to extend the pedestrian flow. - The social stairs can be used for everyday use. In the event where there are busker performing, the stairs can be used as a performance space. A.07 GROUND FLOOR DETAIL SECTION 1:75

141 FINAL DESIGN PROPOSAL

- The sunken gathering space aims to accommodate different group sizes, allowing people to have a more private atmosphere in a public setting. - Lastly, the boundary walls are transformed into a rock-climbing wall that can be transformed into a large screen for festival or open-air movie nights. Overlooking the open space, the brewery, retail, and restaurant is suspended above the sunken gathering space and social stairs. During event nights, the atmosphere of the programme will change and follow. 1:200 0

WELCOME TO

142

TOTAL HOUSE

143 FINAL DESIGN PROPOSAL

144

145 FINAL DESIGN PROPOSAL

GROUND FLOOR EVENT SETTING

This vignette illustrates how the open spaces can be transformed for an event such as White Night.

146

RETAIL RAMP

This interior render illustrates a reinterpretation of the current Total Car Park’s car ramp. The final destination of the ramp leads to Level 5 open terrace and pass by level 1 to 4 retails also leads to basement Billboard Club.

147 FINAL DESIGN PROPOSAL

148

1:200 0

149 FINAL DESIGN PROPOSAL

LEVEL 05 OPEN TERRACE PLAN

The level 5 plan is a reinterpretation of Total House rooftop as a destination for people to visit. Level 5 acts as a transition zone between the tower and the lower level. It mimics the relationship of the parking and the office block of the original Total House. The staircase is an accessible vertical circulation that will lead visitors up to the gallery and office. The rooftop can be used as a formal events space with a view of Melbourne CBD. the enclosed fabric host the services to support the event space.

150

151 FINAL DESIGN PROPOSAL

152

153 FINAL DESIGN PROPOSAL

LEVEL 05 TERRACE STAIR MIX ZONE The terrace stairs that lead up to the gallery and office spaces, at a certain level, the stairs will intersect. It acts as a “mix” zone where it provides opportunities and possibilities for encounters between different offices and gallery visitors. Between the stairs, there will be pockets of social spaces that can be utilised differently. The mesh layer creates an additional layering effect between the public, semi-public, semi-private, and private.

154

155 FINAL DESIGN PROPOSAL

TERRACE STAIR DETAIL, MATERIAL, AND ATMOSPHERE

156

LEVEL 09 GALLERY AND OFFICE PLAN Level 9 showcases the intersection between the private office, gallery, and the “mix” staircase. It illustrates the tower’s public and private program relationship. Office users can access the office through the two lift core. While the public can access the gallery and the “mix” staircase from the share lift core through the public circulation capsule. The materiality of the boundary between the gallery and office will be semi-transparent glass brick to ensure privacy while providing a limited visual connection (shown in the detail section below). The stairs located in the gallery leads to an extended program space - the gallery workshop. It is an extension of the public circulation capsule in between two offices (shown in detail section below). The stairs will then cut through level 12 office floors and leads to co-working space.

157 FINAL DESIGN PROPOSAL

1:200 0

1:200 30

158

A.10 SECTION DETAIL

159 FINAL DESIGN PROPOSAL

160

LEVEL 13 CO-WORKING SPACE PLAN Level 13 is a co-working space, where there are two key areas. The open lounge and event space are connected to level 14 and 15 private offices to share the lounge area—an area for the private offices and co-working users to intermingle and interact with each other. The back stairs are connected to the gallery level at level 9.

161 FINAL DESIGN PROPOSAL

1:200 0

162

CO-WORKING SPACE DETAIL, MATERIAL AND ATMOSPHERE

163 FINAL DESIGN PROPOSAL

OUTDOOR LOUNGE AND EVEN SPACE

164

TYPICAL OFFICE FLOOR TO FLOOR FACADE DETAIL The detail section depicts the relationship between the facade design and the typical private office level. The second layer of the double-skin facade is a semi-transparent polycarbonate sheet with a contouring effect.

165 FINAL DESIGN PROPOSAL

166

FINAL REFELCTION

Reflecting on the process throughout the semester, I initially struggled to frame my research concept into a design. The idea of creating a ‘public space’ was challenging to translate into architecture. Upon multiple iterations involving reframing, testing, and experimenting, I believe that I eventually managed to synthesise my research into a set of design principles. The preliminary presentations’ feedback pushed me to review and reflect on my design decision and concept, and eventually helped me to use my ideas derived from my research into design decisions.

167 FINAL DESIGN PROPOSAL

168

BIBLIOGRAPHY

Benjamin Jameson, Emily Sinyavker, Gary Ward, Reuben Chan, Shanley Price. “Kerb 27: Selective Perceptions.” (2020). ISBN: 9780648435570 Block, India. “Architects grieve as demolition starts on “design icon” Welbeck Street car park,” Dezeen. Published May 10, 2019. https://www.dezeen.com/2019/05/10/demolition-starts-ondesign-icon-welbeck-street-car-park/ Davise, Alan. “Architectural merit: has this building got enough to save it?” Crikey, Independent Inquiry Journalism. Published March 21, 2013. https://blogs.crikey.com.au/ theurbanist/2013/03/21/architectural-merit-has-this-building-got-enough-to-save-it/ Dovey, Woodcock, and Stephen Wood. “A Test of Character: Regulating Place-identity in Inner-city Melbourne.” Urban Studies, NOVEMBER 2009, Vol. 46, No. 12, Special Issue: RegulatingDesign: The Practices of Architecture, Governance and Control (NOVEMBER 2009), pp.2595-2615. URL: http://www.jstor.com/stable/43197930 Francis, Mark. Urban Open Space: Design For User Need. Island Pres, 2003. Gehl, Jan. Cities for People. Island Press, 2010. Gehl, Jan. Life Between Building. Island Press, 2011. Glendinning, Miles. The Conversation Movement: A history Of Architecture Preservation. Taylor & Francis Group, 2013.

169

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update

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170

Johnson, Simon. “Planning Minister Richard Wynne’s new rules claim first development victims.” The Sydney Morning Herald, September 29, 2015, 11:23 a.m. EDT. https://www.smh.com. au/business/companies/planning-minister-richard-wynnes-new-rules-claim-first-developmentvictims-20150929-gjwzz1.html. Lesh, James. “Social value and the conservation of urban heritage places in Australia.” Historic Environment 31, no. 1 (Jan, 2019): 56. ISSN: 0726-6715. Manzo, Lynne, and Patrick Devine-Wright. Place Attachment: advance in theory, method and applications. Routledge, 2014 Mason, Randall. “Assessing values in conversation planning: methodological issues and choices.” Assessing the Values of cultural heritage, 2002: 5-30, url: https://www.getty.edu/conservation/ publications_resources/pdf_publications/pdf/assessing.pdf Mayes, Thompson M. Why old places matter: how historic places affect our identity and wellbeing. Lanham, Maryland: Rowman 7 Littlefield, 2018. Montserrat Degen, Monica and Gillian Rose. “The Sensory Experiencing of Urban Design: The Role of Walking and Perceptual Memory.” Urban Studies , Vol. 49, No. 15 (NOVEMBER 2012), pp. 3271-3287. URL: https://www.jstor.org/stable/10.2307/26144146 The Bulletin Sydney, N.S.W: John Haynes and J.F. Archibald. “Show Business A developer who wants to be his own client.” September 7, 1974. http://nla.gov.au/nla.obj-68375465 Vic Health. “The Young Australian Loneliness Survey. ” Published October 3, 2019. https://www. vichealth.vic.gov.au/media-and-resources/publications/young-australian-loneliness-survey

171

Woodcock, Ian. “=“Provoking new encounters: Prahran Square.” Landscape Australia: Design Urbanism Planning. Published November 7, 2020, https://landscapeaustralia.com/articles/ provoking-new-encounters/ Woodcock, Ian and John Gollings. “Provoking New Encounters.” Landscape Architecture Australia , No. 167 (August 2020), pp. 38-45. URL: https://www.jstor.org/stable/10.2307/48574921

172

LIST OF FIGURES

Figure 01. Nd., Kagawa Prefectural Government Office., Nd., . https://blogs.crikey.com.au/ theurbanist/2013/03/21/architectural-merit-has-this-building-got-enough-to-save-it/ Figure 02. Simpson, Margret. You can steer Holden with a finger-tip. proclaims this 1948 advertising brochure for the 48/215. MAAS Collection, 2015/18/1., MAAS. https://www.maas. museum/inside-the-collection/2018/08/22/the-1950s-australian-dream-holdens-victas-andmixmasters/ Figure 03. Nd. The Fabulous Lido Theatre Restaurant. Nd. http://cinematreasures.org/ photos/329270 Figure 04. Justeen Tsai, Total House, 2021. Figure 05, 06. Nd. Victoria Car Park Photography., Nd., https://vhd.heritagecouncil.vic.gov.au/ places/12496 Figure 07, 08. Nd. Underground Car Pak – University of Melbourne Photography., Nd., https:// vhd.heritagecouncil.vic.gov.au/places/65785 Figure 09, 10, 11. Faris, Marcus. Nd. May 2019., https://www.dezeen.com/2019/05/10/ demolition-starts-on-design-icon-welbeck-street-car-park/ Figure 12. John Wardle Architects. Nd., https://www.johnwardlearchitects.com/projects/271spring-street/

173

Figure 13. John Wardle Architects. Nd., https://www.johnwardlearchitects.com/projects/ melbourne-school-of-design/ Figure 14. KPA. Nd., https://kpa.net.au/projects/swanston-central/ Figure 15, 16. Etheredge, George. Hostile Architecture. Photography. Nd., https://www.nytimes. com/2019/11/08/nyregion/hostile-architecture-nyc.html Figure 17, 20. NH Architecture., Nd. https://nharchitecture.net/projects/qv/ Figure 18, 21. QV Outdoor Cinema., Nd. https://concreteplayground.com/melbourne/event/ qv-outdoor-cinema-flick-fest-2018 Figure 19. QV Apartment entrance., Nd. https://www.apartmentguru.com.au/buildings/qv-152477 Figure 22, 23. Woods Bagot., Collins Arch Melbourne. https://www.woodsbagot.com/projects/ collins-arch/