Hereafter giving (Project of Advocacy for Organ Donation)

hereafter giving project of advocacy : a new tier of scared gifts

KERYN LIEW

“Hereafter Giving” An architectural thesis by KERYN LIEW Supervised by Christina Bozsan STUDIO : GIVE A DAMN 2017 Melbourne School of Design

contents.

009 PROLOGUE 015 BACKGROUND 020 SITE 030 PLACEMAKING 046 PROGRAM AND LAYERS 074 EXPERIMENTATION 098 DESIGN 111 NARRATIVE 126 APPENDIX 144 REFERENCES

4

“acknowledgment�

To every mentors that I encounter in the past 5 years of architecture, I am truly thankful for the guidance. Special thanks to Christina Bozsan for the insights and directions through the semester. Not forgetting our intimate studio of four, friends, family and God for the continuous support and dedication. Life would be tough without every single soul I engaged with.

5

6

HEREAFTER GIVING : PROLOGUE

WHAT ARE YOU ANGRY ABOUT? WHAT ARE YOU ANGRY ABOUT? WHAT ARE YOU ANGRY ABOUT?

ORGAN TRAFFICKING. 7

HEREAFTER GIVING : PROLOGUE

8

HEREAFTER GIVING : PROLOGUE

9

HEREAFTER GIVING : PROLOGUE

“a project of advocacy.�

Could architecture assist in the idea of rethinking the body of human and its ownership?

The question of a loop cycle of life and death is to be considered.

In the current debate of organ donation registration system in Australia, with further relation to the global issue of organ trafficking, a speculative architecture of advocacy is to be investigated.

How can architecture aid in creating a positive tribute to a conversation on death that is a taboo?

How can a revitalisation in a necropolis stir positive awareness on organ donation?

How can architecture display a celebration of life while assisting the process of mourning?

10

11

HEREAFTER GIVING : THESIS STATEMENT

This thesis explores how a new cemetery for organ donors could be integrated into existing cemetery models.

A new morality of death, driven by the concept: act of giving is a celebrated aspect upheld in this project.

The Melbourne General Cemetery was selected as a testing ground for such a proposal, given the significance of the site within Melbourne and it is already at capacity.

The ultimate gesture of this project is an advocacy for the current debate circulating organ donation and transplant.

Hence, this thesis speaks for a bold intervention in which the obscurity of topic is revealed.

This is done in order to test the celebrated implementation of a new tier of “sacred gifts� that grows from the existing necropolis.

The project is directed into an architecture that programs circulation routes and form compositions derived from placemaking of the site with existing identities and surrounding assets (tombstones, gateways, path routes and existing buildings). Such elements are then experimented to align with spaces that provide the act of giving.

A narrative journey that provides a give and take in balancing both personal grieving and public awareness is utilized. Thus, illusions and voyeurisms are the main drives in informing these values. The experience of a gradual build up to a parade of an architecture that facilitates the celebration of cadaver organ donation is focused. Niches that contain these sacred gifts are to be seen beyond as just a memorial. Stripping away from any grounded classification of religions, the discovery of a new lineage for both the families of deceased givers and receivers is enhanced.

This thesis hence is a search on the embracement of a new morality of death that stimulates the advocacy of organ donation as a celebrated sacred gift to the public sphere.

12

BACKGROUND

13

HEREAFTER GIVING : BACKGROUND

ORGAN TRAFFICKING medical industry

WORLDWIDE SHORTAGE on average, an individual wait 3.5 years for organ available for transplant

ILLEGAL ORGAN TRADING human trafficking, organ harvesting

CHINA : ORGANS TAKEN OUT FROM EXECUTED PRISONERS

organ trade is not legalized lack of organ transplanting regulations no follow up on organ donors kidnapping

IRAN

only country : organ trading is legalized

TRANSPLANT TOURISM

2013 AUSTRALIA & SINGAPORE

financial compensation for living organ donors

URBAN MYTH : ORGAN THEFT

HUMAN TRAFFICKING

Organ traffickers operate in the vast chasm that exists between the world’s wealthy and the world’s poor. In developing countries, economic stagnation and deficiencies in law enforcement combine with increasing globalization and improved communications technology to create the perfect space for this criminal enterprise. The lack of economic opportunities forces people to consider options they might otherwise find dangerous or reprehensible, while inadequate law enforcement enables the traffickers to operate with little fear of being arrested or fined

Individual needs Multiple Individual needs Increase in organ demand Hospitals - Prisons - Black markets Online “trading” platforms Parliament House - Supreme Court

14

POOR GIVING UP ORGANS FOR MONEY

patients in need of organs and immediate family members professionals in medical field traders involved in organ black market general public awareness

HEREAFTER GIVING : BACKGROUND

“my body, my choice.” should organ trading be legalized to combat illegal black market of organ trafficking?

Iran, the only country that legalise commercial trade in human organs.

1. Place restrictions to limit transplant tourism.

2. Market is only contained within the country.

3. System is largely charity and volunteer based.

and...The plus point of this system in Iran?

No waiting list transplantation.

for

kidney

Despite being named as a “legalised system”, those tasked with matching donors and patients are not paid for their work.

In fact, the improving results as seen from the supply of available human organs is because of clear awareness of a transplant operation system.

15

HEREAFTER GIVING : BACKGROUND

global kidney trafficking order

2013 AUSTRALIA AND SINGAPORE Financial compensation for living organ donors are legalised.

BELGIUM AND FRANCE Presumed consent to increase amount of legal organs available for transplant UNITED STATES Federal law prohibits the sale of organ, however, government has created initiatives for organ gifting and compensation.

In Australia, around 1600 people are on the transplant waiting list at any one time.

Only 6 million Australians have registered to donate their organ when they die.

Only 1 in 3 people registered.

16

HEREAFTER GIVING : BACKGROUND

dead

HOUSING

living

vision the ceremony of afterlife reinvent the ceremony of mourning revitalise the space of the dead for the living

HUMANITARIAN ISSUES AND POLITICS 1. Australia is well known for its transplant industry globally, most citizens are aware of the opportunity for organ donation, yet many did not register to be a cadaveric donor.

2. Ongoing human organ harvesting in developing countries due to serious organ shortage in the global medical industry.

3. International trend for opt-out organ donation on policy is resurfaced, generating a discussion in Australia whether the policy of presumed is suitable or violating a decision making process based on human rights.

17

SITE

18

19

20

HEREAFTER GIVING : SITE

“a dead city within a living city.”

Melbourne General Cemetery, located merely 2.5km away from the CBD – is seen as a city within a city. Strongly exempted from the surrounding neighborhood, the free form landscape with undulating monuments frames an ambiguous escape from the city to a place of contemplative meandering.

21

22

HEREAFTER GIVING : SITE

“traits of the necropolis.�

1. Designed like a large park 2. Wide wavy paths 3. Separated denomination of religious area It is definitely a landscape with flowing curves as a park cemetery.

Historical event: Big public funerals with shiny accoutrements of military pomps and free entertainment for the public.

23

HEREAFTER GIVING : SITE

“where in the necropolis?�

1. A possibility of provocative visual access to different passers-by : cars, public transports, pedestrians 2. Landscape that has the opportunity to set consistent spatial polarities.

3. A location with a balance to control the atmospheric condition of public versus private.

4. An existing road that is rather linear than curved.

5. A balanced distribution of older and newer funeral monuments.

The specific targeted area to intervene and investigate the site is thus as demonstrated on the next page.

24

HEREAFTER GIVING : SITE

25

HEREAFTER GIVING : SITE

top: recent funeral tombs since 2014 onwards middle: east gate of MGC, Lygon St bottom: funeral tombs since 1990s

26

HEREAFTER GIVING : SITE

To break the exclusiveness of the existing cemetery barrier it sets in the city, implementation of civic impact is highly driven in the architecture. This project of advocacy seeks to serve as a gateway to a new public bridge that ties the east and west of the site, giving new opportunity of a public connection within the necropolis.

27

PLACEMAKING

28

HEREAFTER GIVING : PLACEMAKING

“The question of the fragment in architecture is very important since it may be that only ruins express a fact completely... I am thinking of a unity, a system made solely by reassembled fragments.”

Aldo Rossi The Architecture of the City (1966)

29

HEREAFTER GIVING : PLACEMAKING

“essence of the necropolis �

The project is directed into an architecture that programs spatial experiences, circulation routes and form compositions derived from the essence of the necropolis.

The many fragmented identities of the site is extrapolated and heightened; to engage in a narrative journey that aligns with the new tier of activity, similar yet different to the existing layer on the ground.

30

HEREAFTER GIVING : PLACEMAKING

main gate

west gate

east gate

THRESHOLD ACCESSIBILTY DISPERSION FROM POINT

thresholds

31

HEREAFTER GIVING : PLACEMAKING

REPITITIONO

VERLAY

tombstones

32

HEREAFTER GIVING : PLACEMAKING

funeral monuments

33

HEREAFTER GIVING : PLACEMAKING

LANDSCAPE

ENT ENVELOPE

IRREGULAR SILHOUETTE

LANDSCAPE

INCONSISTENT ENVELOPE

monumental land

34

IRREGULAR SILHOUETTE

LANDSCAPE

HEREAFTER GIVING : PLACEMAKING

FRAMED PATH

UNKNOWN ENDPOINT

routes

35

HEREAFTER GIVING : PLACEMAKING

the wall.

Overall Aerial Observation of Melbourne General Cemetery and its surrounding context.

36

HEREAFTER GIVING : PLACEMAKING

Melbourne General Cemetery as an invisible exclusive wall that breaks the public park and residential area.

37

HEREAFTER GIVING : PLACEMAKING

the density.

Overall Aerial Observation of the placement of tombs within the “cemetery park”.

38

HEREAFTER GIVING : PLACEMAKING

Highly densed funeral monuments marks for narrow walkways within, serving as a subtle corridor of solemn steps.

39

HEREAFTER GIVING : PLACEMAKING

the parade.

West-gate that opens to Princes Park where joggers/walkers weave through.

40

HEREAFTER GIVING : PLACEMAKING

The revolving doors that requires force to curtain into and out of the cemetery park, synchronizing the congression of human flow.

41

HEREAFTER GIVING : PLACEMAKING

the territory.

Fences around tombstones marking boundaries of their own.

42

HEREAFTER GIVING : PLACEMAKING

The inconsistency of tombstones as an additional layer of landscape to the “cemetery park” serves as an experience of walled maze.

43

PROGRAM AND LAYERS

44

HEREAFTER GIVING : PROGRAM AND LAYERS

“how to advocate �

While the ultimate goal is to establish a platform to advocate organ donation, the project is grounded to an architecture that focus on the additional new layer to the site itself. A mortuary exclusively for organ donors, administration office for organ transplant/donation and lastly a columbarium of celebrated givers are the key elements to be investigated in creating a cohesive architectural intervention.

45

HEREAFTER GIVING : PROGRAM AND LAYERS

“new morality : hereafter giving” definition: 1. no religion grounded 2. celebration of the donation of sacred organ gift 3. rebranding of Melbourne Cemetery’s exclusiveness

General

4. experience of discovery, beyond just a memorial The values to be celebrated and upheld would be the infinity souls while also allowing a discovery of givers’ past and recipients’ situation.

Givers are grouped not based on religions but based on “absence in body”.

46

HEREAFTER GIVING : PROGRAM AND LAYERS

47

HEREAFTER GIVING : PROGRAM AND LAYERS

“project chapters” Chapter 1 : Billboard Advocacy centre, consultation adminstration office, archive centre Chapter 2 : Cleansing Morgue Chapter 3 : Offering and Ceremony Mourning Chapter 4 : Cenotaph/Columbarium Honouring and advocacy

“stakeholders” Givers (Recipients’ compatriots) ceremonial celebration Family and friends of givers mourning Recipients and families give thanks Researches lineage research (success rates) Mortuary workers cleaning of body Public awareness

48

desks,

HEREAFTER GIVING : PROGRAM AND LAYERS

49

1

2

3

4 50

HEREAFTER GIVING : PROGRAM AND LAYERS

“layer experimentation�

1.The Density Identifying spatial opportunities from the densely packed ground.

2.The Wall Marking of spatial polarities for structural supports 3.The Parade Heightening corridors for a new tier of ceremonial experience.

4.The Territory Selecting boundary of a new tier that serves for the cenotaph/columbarium/ceremonial hall of new morality.

51

HEREAFTER GIVING : PROGRAM AND LAYERS

52

HEREAFTER GIVING : PROGRAM AND LAYERS

“program representation�

1.The Ceremony - Funeral Formality Representations of different architectural typologies (i.e. the symmetry of cathedral, the consistency of cubicle laboratories, the distribution of amphitheater seating and views) were taken. This is to investigate the in-betweenness of the layered architecture, teasing out atmospheric experience of unexpectedness.

53

HEREAFTER GIVING : PROGRAM AND LAYERS

54

HEREAFTER GIVING : PROGRAM AND LAYERS

“program representation�

2.The Advocacy - Insertion Opportunity A third layer of representative plans that determines new entry points, circulation and hybrid symmetries are intervened. This is to envision the complexity of different stakeholders that would be involved in the atmospheric experience.

55

HEREAFTER GIVING : PROGRAM AND LAYERS

Envisioned atmospheric experience from ground to the new tier.

56

HEREAFTER GIVING : PROGRAM AND LAYERS

Envisioned intersection of new tier from non-sacred ground

57

HEREAFTER GIVING : PROGRAM AND LAYERS

58

HEREAFTER GIVING : PROGRAM AND LAYERS

“project chapter 1 : billboard” Memorial Precedent 1 Significant Feature : Minimal but grandeur extrusion that speaks for boldness out of nowhere, sparking curiousity in within.

59

HEREAFTER GIVING : PROGRAM AND LAYERS

60

HEREAFTER GIVING : PROGRAM AND LAYERS

“project chapter 1 : billboard” Memorial Precedent 2 Significant Feature : Scale of architecture that glorifies the content of memorial, allowing subtle elaboration on conveying its significance through experience within.

61

HEREAFTER GIVING : PROGRAM AND LAYERS

62

HEREAFTER GIVING : PROGRAM AND LAYERS

“project chapter 1 : billboard” Memorial Precedent 3 Significant Feature : Structure constructed based on response to landscape, providing a continuous new layer that provokes new context to site.

63

64

HEREAFTER GIVING : PROGRAM AND LAYERS

“project chapter 2 : cleansing ” Public

Family

Workers/Dead

Crematorium Sample Plan 1 Significant Feature : Open courtyard as a diffused partition between three distinct programs of various privacies.

65

66

HEREAFTER GIVING : PROGRAM AND LAYERS

“project chapter 2 : cleansing ” Public

Family

Workers/Dead

Crematorium Sample Plan 2 Significant Feature : Different portals that determine entry points of users without disruptions.

67

68

HEREAFTER GIVING : PROGRAM AND LAYERS

“project chapter 3 : offering ” Public

Family

Workers/Dead

Funeral Parlour Sample Plan 1 Significant Feature : Linearity in program placements that are partitioned through grandeur but narrow walkways.

69

70

HEREAFTER GIVING : PROGRAM AND LAYERS

“project chapter 4 : cenotaph ” Public

Family

Workers/Dead

Funeral Parlour Sample Plan 2 Significant Feature : Consistent modular columbarium with no priority in personal identities.

71

EXPERIMENTATION

72

HEREAFTER GIVING : EXPERIMENTATION

DESIGN EXPLORATION 1.0

73

HEREAFTER GIVING : EXPERIMENTATION

SYMMETRICAL FRAMEWORK OF GATEHOUSE

74

HEREAFTER GIVING : EXPERIMENTATION

With Design Exploration 1.0, forms are focused solely on the “essence of necropolis” : the wall, density, parade, territory.

The framework thus set as a base to consider further implementation on structure, material and atmosphere.These are set to align with space provision that are “giving” personally to users within and socially in a larger scale.

75

HEREAFTER GIVING : EXPERIMENTATION

76

HEREAFTER GIVING : EXPERIMENTATION

NARROW TRANSITIONAL CORRIDOR

77

HEREAFTER GIVING : EXPERIMENTATION

ARCHIBED TOMBSTONES

78

HEREAFTER GIVING : EXPERIMENTATION

Collages on structure and tectonic experimentation in the following pages would thus be used to analyse its effectiveness in a giving architecture.

Details on its composition would further serve as traits to be incorporated into the design of “hereafter giving� when the complexity of program would be later considered.

79

HEREAFTER GIVING : EXPERIMENTATION

80

HEREAFTER GIVING : EXPERIMENTATION

Experimentation : Through the core structure that lifts the elevated platform above, exposed stairways are the highlight of the bracing element merging to the above.

While the new tier of sacred gifts are envisioned to be laid out dispersedly, the elevated layer would be seen as fine branches , leaving some openness to be given to the ground below. The brutal heaviness of above is reduced, giving slits of natural light that resonates to the pattern of the branching beams below.

Possible Traits : Consideration of beams that give response to the new covered space on the ground.

81

HEREAFTER GIVING : EXPERIMENTATION

82

HEREAFTER GIVING : EXPERIMENTATION

Experimentation : Extra sleek and thin columns that forest through the tombstones on the ground, adding a new layer of maze-like territory to the already full ground. In response to a mirrored architectural form of the vaults underneath, the columbarium above is set to provide extra giving space in waiting zones, an “exclusive space of breathing� through corridors.

Possible Traits : Consideration of a layer of giving space whether it is protuding outwards or being a middle in-between layer from the existing ground and above.

83

HEREAFTER GIVING : EXPERIMENTATION

84

HEREAFTER GIVING : EXPERIMENTATION

Experimentation : The placement of Peter Cook’s Entertainment Tower, Montreal 1963 is considered on site in regards to responses to the advocacy segment of the project. By duplicating its bold forms that might seem out of place in the existing cemetery, the element of giving is explored more on how its impact of the new could contribute to the context to be delivered through the project.

Possible Traits : Consideration of an architectural language that speaks about the context to be delivered in this project of advocacy. Modular-like units could be considered in response to how the modules could “give” and deliver the context.

85

HEREAFTER GIVING : EXPERIMENTATION

86

HEREAFTER GIVING : EXPERIMENTATION

Experimentation : The new tier above is to be considered as a continuous connection from the ground. Such idea thus leads to monolithic architecture that entirely capture the new architecture to be a total new building that seamlessly grows from the ground.

Possible Traits : The traits of giving is less seen in the form but its continuity in circulation and programmed experiences. Such key idea of a monolithic continuation of architecture would thus be incorporated in the planning of the project.

87

HEREAFTER GIVING : EXPERIMENTATION

88

HEREAFTER GIVING : EXPERIMENTATION

Experimentation : As a continuation of the collage considered in the placement of Peter Cooks’ project on site, this project of Antonio Sant’Elia for Milan Central is remodified and reconsidered. This is done in the context of how to engage a giving architecture that merges the “outside” and “inside” of the cemetery.

Possible Traits : A gateway or an entrance threshold would serves as an important feature of the project.

The consideration of what the bold and new architecture could give not only to the context to be delivered in the project but also to the existing surrounding is thus crucial.

89

HEREAFTER GIVING : EXPERIMENTATION

90

HEREAFTER GIVING : EXPERIMENTATION

Experimentation : More towards the bridging component of the architecture, experimentation on the overall cantilevered structure of corridors is the focus of this collage. The inclination towards a clear exposed circulation from one program to another serves as a structure that gives to the voyeuristic experience that one could encounter.

Possible Traits : The element of voyeurism could be incorporated in the consideration of the multi-leveling of the different programs allocated to the various range of users in this project.

91

HEREAFTER GIVING : EXPERIMENTATION

92

HEREAFTER GIVING : EXPERIMENTATION

Looking into materiality, copper plating would be used to glorify the architecture without losing its features that shines and reflects the gloomy landscape of funeral monuments existed on ground.

93

HEREAFTER GIVING : EXPERIMENTATION

94

HEREAFTER GIVING : EXPERIMENTATION

As the new tier focuses on advocating a new morality to the existing necropolis, an inversion of experience is intended.

Materials are thus primarily considered to provoke such inversion.

The inverted color of copper is blue.

With copper plating material for balustrades and walls on the ground level, blue is used for columns and the underceiling of the elevated tier. The illusion of reflected false sky would be therefore be illuminated.

Similarly, rose quartz is used to highlight the new tier, responding to the inverted color choice of green, (i.e. the landscape of the existing ground).

The combinations of material and color palette is used to provoke curiosity due to its significant traits that would stand out from the existing necropolis that is rather dull.

95

DESIGN

96

HEREAFTER GIVING : DESIGN

With the series of architectural typologies on mortuaries and columbariums investigated, a translation of cohesive facility on site is produced.

The addition of experimentation in form, structure and materiality thus enhance the response of design to the element of giving, while not forgetting about the traits that are used to enhance the experience from the site to the new tier.

97

HEREAFTER GIVING : DESIGN

Essence of necropolis are brought back into considering the circulation and program of the proposed design.

98

HEREAFTER GIVING : DESIGN

combined floor plans of “hereafter giving”

99

HEREAFTER GIVING : DESIGN

100

HEREAFTER GIVING : DESIGN

present of “hereafter giving� : the advocacy centre, the mortuary and the first columbarium, along with a 500m long bridge that connects the east and west gates of Melbourne General Cemetery.

101

HEREAFTER GIVING : DESIGN

102

HEREAFTER GIVING : DESIGN

An abstracted exploded diagram of the analysis derived from “essence of necropolis� and design experimentations.

Each form and element of the final architectural tectonic is driven from these fundamental essences.

103

HEREAFTER GIVING : DESIGN

future of “hereafter giving” : where the modular niches grow vertically till its maximum capacity of four, and continues to extend along the bridge to the west.

104

HEREAFTER GIVING : DESIGN

105

HEREAFTER GIVING : DESIGN

106

HEREAFTER GIVING : DESIGN

107

108

axonometric view of overall proposal from its present to future.

NARRATIVE

109

HEREAFTER GIVING : NARRATIVE

110

HEREAFTER GIVING : NARRATIVE

Walking along the edge of Melbourne General Cemetery, he realizes that there’s a new stairway that leads to a seemingly public space of engagement.

To the left, he sees friendly staffs greeting him with a smile; to the right, he sees panels with moving words that express gratitudes.

111

HEREAFTER GIVING : NARRATIVE

“Oh now there’s a faster path to Princes Park!” she takes the new route and jog through to the park.

Moving pass the bridge, she takes a glance at people grieving; yet these vertical humongous facade that shines catches her attention.

112

HEREAFTER GIVING : NARRATIVE

She realizes that the bridge is also framed with moving light. Looking closer, she sees the words that she wasn’t aware when she walk through to the park.

She sees the amazingly packed monuments on the ground, she immediately realizes that there are so many bodies under. She reflects on how this beautiful life would just end one day.

113

HEREAFTER GIVING : NARRATIVE

In the car, he sees a crowd celebrating inside the building.

People are smiling, “What is this?” he wonders, and he sees the banners of gratitudes.

“Something positive is happening in the cemetery, one day, I must visit this.”

114

HEREAFTER GIVING : NARRATIVE

115

HEREAFTER GIVING : NARRATIVE

“And now I would like to express my utmost gratitude to the donor.”

The crowd realises that this is a public platform to celebrate the sacred gift of cadaver organ donation.

116

HEREAFTER GIVING : NARRATIVE

Inside this glowing columbarium, she sees a tiny cubicle shining bright to the ground.

The reflective floor tiles are now displaying the wonderful deeds the deceased giver contributed in his life.

117

HEREAFTER GIVING : NARRATIVE

Setting up for the ceremonial event, he sees that the entire structure. It has no real envelope. The facade itself is a just a backdrop to whatever is happening behind. It contains nothing.

118

HEREAFTER GIVING : NARRATIVE

119

HEREAFTER GIVING : NARRATIVE

Walking through the cemetery, she finds the narrow stairways to the new tier above.

She sees the reflective glittering ceiling. The old tombs are not overshadowed.

120

HEREAFTER GIVING : NARRATIVE

“Oh there it is,” the shining cube that lights up directs her to the niche she was looking for.

The “dual” niche that shines to the opposite side too, uniquely glorifies the one who is dearly missed.

121

HEREAFTER GIVING : NARRATIVE

122

HEREAFTER GIVING : NARRATIVE

future : the bridge of organ advocacy, the necropolis is living.

123

APPENDIX

124

HEREAFTER GIVING : APPENDIX

SUBVERSION : A design exploration on subversions on buildings Melbourne.

125

126

“Parliament House�

The exterior is quite a Melbourne icon.

Moments of happiness are captured here as a background. These moments serve as a beginning to a journey.

Despite being cliche, the parliament house is a magnificent backdrop. Many came in wedding gowns, suit and tie.

The majestic stairs, the doric columns and the arched doors form a symmetrical rhythm.

The formal composition of the parliament house is spoken.

The rejoicing moment captured in a grandeur uniformity is indeed interesting. It is as if the vows made in weddings is similar to the laws created in the house.

Yet, subtlety of surveillance is experienced.

There is a sense of solemnness in this area.

Sitting on a podium, the house is monumentally solemn.

Be it for wedding ceremonies or open forums , a parade should be celebrated. Linear extensions could be protruding outwards from the house.

Just like its neighboring Parliament station with long escalators, long laneways could be created.

An extension of stairways, with repeating columns that serve as urban lights in the night; a potential parade could be held. client : newly wed couple

127

128

“HM Prison Pentridge�

More like dungeons, the prison cells are brutally enclosed.

Prisoners scream, fight and bash.

They have no trust with one and another.

Extra surveillance is needed when these prisoners have strong desires to escape.

Guards have to keep an eye of these prisoners 24/7.

They ought to walk along the corridor back and fro.

What would be the best to make sure the prisoners behave?

Shifting the layout of prison cells might be an option.

A layout that psychologically threaten the prisoners.

Panopticon, a symbol of disciplinary society of surveillance.

An idea where prisoners would feel that they are always being watched.

They might behave better with this psychological consciousness.

client : police guards

129

130

“Meat Market, North Melbourne�

The space that was once a meat market, has came through an evolution to the present as a venue hall for arts and cultural events.

Amazingly, many various events were held, from fashion runway, live performances and installations, with its purpose of the main hall being utilized as a festive celebration area.

The expansive hall has a barrel vaulted ceiling, serving as a shelter, an enclosure to the festival happening within.

The barrel vaulted ceiling is pretty much a stunning feature of what makes this event hall appealing to organisations.

What if this captivating area becomes a festive tunnel?

A tunnel that guides visitors to understand the evolution of this market?

A tunnel that narrates a timeline loop of this heritage?

A sunken tunnel.

A sunken tunnel that has an architecture reflecting what is above.

To the public, it is a new feature that provides the potential of a new atmospheric experience.

To the event organizers, it is a new feature that enhances the experimentation of a new performing experience.

The additional underground experience of such, would speak to people of what makes meat market the meat market.

client : event coordinator

131

PROTEST : A research on advocating issues that are alarming

132

CAPITAL PUNISHMENT justice and rights

- DISAGREEMENT - possibility of error - unfair judgement - financially cost government and taxpayers

+ AGREEMENT + - discourages people from committing crimes - justifiable for atrocious crime - prevents criminals from repeating crimes

CASE STUDIES possibility of error many cases’ overturned where convicted people are innocent of their crimes but sentenced to death

JUSTICE human rights : right to life

racial discrimination and gender affects decision of death penalty

1945 After WWII most First World nations abolished capital punishment EXCEPT US, China, South Korea, Japan

Criminal cases Collective of related cases

victims and immediate relatives murderer lawyers, judges public citizens

Parliament House - Supreme Court - Prison

133

AN E Y E F O R E Y E T H E

134

A N M A K E S

W O R L D

B L I N D

135

MARRIAGE INEQUALITY justice and rights

DEFINITION OF MARRIAGE family organisation, parenting roles, religious beliefs

CIVIL RIGHTS social and cultural benefits gay couple cannot have a legal marriage a breach of human rights? discrimination of LGBT as equal citizens?

gays and lesbians children of homosexual couples religious awareness general public awareness

2001 COUNTRIES THAT LEGALISE SAME-SEX MARRIAGE 2001 : Netherlands 2003 : Belgium 2005 : Spain 2009 : Sweden 2010: Portugal 2012: Denmark

Individual choice Multiple Individual choices Collective of unions

MARRIAGE ACT

Penaly of $500/Imprisonment for six months = Minister of religion for holding religious marriage ceremony for same-sex couple

136

INSTITUTION OF MARRIAGE detriment of homosexual community

2004 AUSTRALIAN MARRIAGE EQUALITY campaign to amendments to the Marriage Act entrenching marriage only between a man and woman EQUAL LOVE CAMPAIGN to end discrimination against LGBT community

RALLY SYMBOLISM OF LGBT COMMUNITY - rainbow flag Public Open Spaces - Parliament House

rights = everyone

137

138

FAST FASHION garment industry textile industry

Previously : Spring/Summer and Fall/Winter 2014 : 52 “micro-seasons” per year.

ECONOMIC SUPPLY CHAIN

GOAL: buy as many garments as possible, as quickly as possible.

CONSUMERISM Fashion “Supermarket” 2000 EXPLOSIVE EXPANSION

fast fashion led by brands H&M, Zara

QUICK RESPONSE (QR) METHOD removing time from production system 2000-2014 CLOTHING PRODUCTION

doubled from 2000 to 2014 (2014 : no. of garments > 100 billion)

TEXTILE WASTE/OVERCONSUMPTION supply - consumers

Australians are the world's 2nd largest consumers of textiles 27kg of new clothing and other textiles each year. (ABC News)

impact consciousness transparency of production line

GREENHOUSE GAS

Decay of synthetic fabrics Cotton demand : Genetically modified cotton Built-in obsolescence : short life span

CAPITALISM & OPPRESSION

20-60% of garment production is sewn at home by informal workers (Lucy Siegle // To Die For: Is Fashion Wearing Out the World?)

GLOBALISATION

MEDIA

textile material from farms social influencers factories/sweatshops transportations (air cargo) warehouses outlets Shopping malls - Town halls - Public Area retails

Sweatshops : poor working condition in developing countries (2013 Savar Building Collapse)

Design Privacy Prohibition Act Intellectual Property Society as a collective

139

OBEY. CONSUME. REPEAT. OBEY. CONSUME. REPEAT. OBEY. CONSUME. REPEAT.

140

141

REFERENCES

142

Kerr, J. S., and K. S. Inglis. 2009. Death and Glory: a guide to cemetery monuments in a Christian society. n.p.: Cremorne, N.S.W.: James Semple Kerr, 2009.

Koolhaas, Rem. “EXODUS, OR THE VOLUNTARY PRISONERS FO ARCHITECTURE.” (1972).

Rossi, Aldo. “The Architecture of the City, trans. by Diane Ghirardo and Joan Ockman.” 1982.

West, Michael D., Robert A. Freitas, and Arthur L. Caplan. Timeship: The architecture of immortality. 2009.

LIST OF BUILDINGS / ART WORKS / PROJECTS INCOPORATED IN RESEARCH Barajas Airport, Madrid Spain by Richard Rogers - structure Isle of the Dead (painting) by Arnold Bocklin 1880-1886 - on grandeur experience and atmosphere Renovation on Kaiser Wilhelm Memorial Church - on grandeur experience and atmosphere The Weather Project (installation/Tate Modern) by Olafur Eliasson 2003 - illusional impacts The New Crematorium, The Woodland Cemetery by Johan Celsing Arkitektkontor - scale and programs of spaces Shinjuku Rurikoin Byakurengedo, Japan - modern columbariums

143

Hereafter Giving Š 2017 KERYN LIEW All rights reserved.

This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review.

2017 MELBOURNE SCHOOL OF DESIGN