Commemoration and Contemplation in a Culture of Amnesia

Jiahui Liu 1058680 Thesis2021

Design Statement

PART 1: Initial Research and Context 1.1 Showcasing and Analyzing a gallery of representations of commemoration and contemplation through a collection of cemeteries, memorials, monuments, art and rituals 1.2 Reflection of Commemoration and contemplation in a local civic setting 1.3 The historical narrative of the broader context of the land and water before Flagstaff Garden 1.4 Understanding the hidden layers of Flagstaff Garden though a historic timeline PART 2: Site Observations and Analysis 2.1 Flagstaff Garden nowadays and situated in a broader context 2.2 Flagstaff Garden in local context 2.3 Observations of occupation and The tangible and intangible qualities of Flagstaff Garden

Contents

PART 3: Design Explorations 3.1 Design intent 3.2 Precedent studies on designing for sensory engagement + Designing for contemplation and commemoration 3.3 Summary of key design principles from precedent studies 3.4 Site selection and analysis of individual sites 3.5 Brief for individual sites PART 4: Design Outcome Design stategies and outcome for individual sites Site I - Recovering the sensory Site II - Passage to the hill top Site III - A calming place to be found

Contents

Commemoration and contemplation in a culture of amnesia re-interpreting Flagstaff Garden

Contemporary demands challenged the traditional forms of commemoration and contemplation over the track of a history of cemetery and memorial designs.

Living In a culture of amnesia, we all belong to part of an ocular-centrism world that Juhani suggested in the ‘Eyes of the skin’ to be perceived predominantly by the privileged vision under the elimination and suppression of other senses, reinforcing a sense of detachment and alienation, causing us to live in a perpetual present, flattened by speed and simultaneity. We are disconnected with the land and water from the day they vanish from our sight, as well all creatures of living form that used to be all around us, now replaced by super blocks of buildings and busy streets, provoking no sense of sensory experiences, emotions or personal feelings. The city became an empty vessel that drifted long from its history, rejecting ideas of commemoration and contemplation, yet both historic and contemporary rituals cross cultures have proven them to be in an integral part of us that cannot be separated from everyday living.

Using Flagstaff garden as a testing ground, the project explores opportunities to restore the connection we once had with land and water through linking sensory experiences tightly to the spatial, physical and intangible qualities that constitute spaces of commemoration and contemplation.

The new generation Flagstaff garden would enable users of the next century to regain the ability to root their own feelings, memories and narratives in the civic domain, while having access to the forgotten narratives of the past; Granting people with the space and opportunity for commemoration and contemplation in civic living to bypass the culture of amnesia.

Design Statement

PART1: Initial Research and Context 1.1 Showcasing and analyzing a gallery of representations of commemoration and contemplation through a collection of cemeteries, memorials, monuments, art and rituals

C

ontemporary demands challenged the traditional forms of commemoration and contemplation over the track of a history of cemetery and memorial designs.

Yet cemeteries still vastly remained distant from our culture and memorials often convey a historic point in time that one may find difficulty to connect with the significance behind. Memorials often remain as static objects in the civic domain that faces neglect. living in a culture of amnesia, public spaces in the civic domain themselves do not enable modern commemoration and contemplation, we are separated from the past and history of the city, as well as the story of the land we stand upon with the traditional custodians of the land.

On the other hand, exploration into rituals across different cultures and regions suggest commemoration and contemplation are already an integral part of us that cannot be separated from everyday living.

Reflecting back on memories and our being helped us gone through difficult emotional times while bringing joy through the celebration and cherish of the birth and very presence of all live forms. Using Flagstaff garden as a testing ground, the project explores opportunities to restore the connection we once had with land and water, grant us with the space and opportunity for commemoration and contemplation in civic living.

Precedent Study - Cemeteries

-Order -Solemn -Visibility, Depth of field -Contrast

Arlington National Cemetery, Washington DC

Precedent Study - Customisation - Accumulation/ - Cemeteries congestion - Linear Access/path determined by graves - Path + Seat + Greenery Cimetière du Père Lachaise, Paris - Père Lachaise Cemetery https://tayloronatrip.com/pere-lachaise-cemetery-parisian-pilgrimage

Cemeteries

Precedent Study - Cemeteries

- Open - Scattered and situated in topography - A blend between landscape and passive recreation (gravestones are small in comparison to the vast landsacpe - Access/path determined by people

Mount Auburn cemetery, Boston, U.S.

Precedent Study - Cemeteries

- vibrant/diverse vegetation - planting does not follow a linear pattern

Boroondara General Cemetery, Kew

Cemeteries

- open - deliberate varied planting shape the character of the place that carry different functionality whether collective/individual - distance are set apart between amenities that encourage reflection and conversation than getting straight to the point of visit - commemoration not limited to a single spot Skogskyrkogården, Stockholm (Woodland Cemetery) Precedent Study - Cemeteries

skogskyrkogarden.stockholm.se

Sk og

sd

un

ge

ns

The Southern Jewish Cemetery

vä g

The Chapel of Resurrection

by Sigurd Lewerentz was completed in 1925.

It reflects classic temple architecture with numerous carefully considered details.

57S

60

59 58

55

57

56 g s vä jörken sb og Sk

53E en dsväg anvin

53

Sunn

väg Sko gsf ura ns

51K

18Z

ens

en anv ind

svä g

24S 23

49S

17S

Kapellsl

48S

en lsväg

14

Greta Garbo’s grave

29S

glim

The Woodland Chapel

32

33

lls

WC

The New Crematorium

grav

n

ga

slin

40

39

Remembrance Place Children

Garden of Remembrance

N

Show consideration and respect The city’s cemeteries are resting places for the dead and places of peace and tranquillity for the living.

The cemeteries are beautiful shared spaces for reflection.

We ask all visitors to respect this and

Information

Entrance Metro

45

Bus

WC

Wall

Cemetery block Accessible toilet Café

A memorial is the architectural piece we can find the showin thewhich utmost consideration.

Dogs the remembrance and 0 100 Parking always be kept on a lead and cars memory of the culture and history;must in the particular case of the Memorial of the metres may only be parked in designated spaces.

Victims of the Violence in Mexico, we materialize, in terms of architecture, one of the most important and current issues of Mexican society: violence. This is the big and open wound; in response to this, we propose an open project in the site, open to the city and open to the apropiation by the citizens; a project with a strong Entré space as Världsarvsinformation relationship with the city and her actors.

The recuperation of the public Entrance World Heritage information well as the remembrance of the victims of violence are the essence of the project.

Precedent Study - Monuments

Information

- use of light - vertical momuments serve as canvas - space only accessible by walking - a long journey before arriving at the core of design

https://www.archdaily.com/359698/memorial-to-victims-of-violence-gaeta-springall-arquitectos

Tunnelbana Underground

The violence is suggested in two dimensions: the void and the built.

Gravkvarter Buss Cemetery blocks

Bus

The void proposed in the project is theToalett space created between theMur steel walls and Toilet Wall the trees. This void or empty space could remind us the concept of the Parkering Parking no–presences and absenses of the peoplemeter to remember, and the surfaces of the steel walls, rusty or mirroring, show that we can lose ourselves, add ourselves, or mutiply ourselves. Besides that, if we think of violence as destruction, the construction of seventy steel walls plays as the great antidote against the violence.

The big projectual action consists on building seventy metalic walls in corten steel rising between the trees; it is a dual play between nature and architecture: the forest of trees and the forest of walls. The society of the trees and the visitors play the living beings; the society of the walls play the unmateriality of the memories of the victims.

Memorial To Victims Of Violence, Mexico Vertical

Almhöjden The meditation grove is reached via Sigurd Lewerentz’ long flight of steps, with each step gradually becoming lower the higher you climb. This is to make the climb easier.

Main Entrance

V

Ö

In the central space, which is the main space of the Memorial, there is a 1,200 spm fountain with an undetermined form and open geometry, to remind us that the violence issue is still opened. The fountain is covered with a grid so that the visitor can walk over the water. Water means life; water cleans, and water heals.

Cemeteries - Memorials

The Granite Cross was designed by Asplund in 1939 and funded by an anonymous donor. It is not intended as a symbol of faith but more as a symbol of the site being a funeral place.

36

Sockenvägen

S

35A Ash graves 35B

Ash graves 39A–C, 39AL

39Z

The Woodland Crematorium and Memorial Hall with iFaith, Hope and the Holy Cross Chapels by Gunnar Asplund was completed in 1940. Its construction shows clear characteristics of modernism.

38

ell

40S

p Ka

40Z

30A–F

35 g vä

lunds

en

Gunnar

Gunnar Asp

43S 43Z

35K

Almhöjden

WC Asplunds

41

dsv äg

30 30K

34

The Granite Cross37

Faith, Hope and the Holy Cross Chapels

Öst an vin

34K 34S

n We

11

44

30S 31

Seve

WC

The Woodland Crematorium and Memorial Hall 42

46

Way of the Seven Wells This stunning long path is intended as the route for mourners to follow to attend funeral services at the Chapel of Resurrection.

en lsväg

f the

n

ge tsvä

45

28F

15 Vårso

13 12

16K

o Way

Ljus

45E

43

The New Crematorium by architect Johan Celsing was taken into use in 2014.

The building was awarded the 2013 Kasper Salin Prize, Sweden’s most respected architectural award.

29

16

14E

ingan

12A

46S 46E

17K

imme

Vårh

22 48E

29Z 29T 28

väg

Visitors Center

18K

salm Skog

24Z

50S

28

18

ägen ndsv

WC

50K

18K

24

21

Sunn

27

llsling

Kape

51S

50E

47E

The Woodland Chapel by Gunnar Asplund, opened in 1920, is the cemetery’s first and smallest chapel. Its roof is adorned by the sculpture “Angel of Death” by Carl Milles.

19K

52

The Chapel of Resurrectionan

neslu Min

The graves Nature is the central focus at Skogskyrkogården. The burial plots are therefore primarily within the woodland areas and the gravestones are low and simple. By the main entrance there is also a remembrance garden, opened in 1961; designed by, amongst others, Sigurd Lewerentz.

26

19 20

52S

49E

The Wall A wall 3.6 kilometres in length surrounds Skogskyrkogården.

The wall was erected by unemployed workers in a relief project 1923—1932.

25 25

52K

51E

54A

54F 54B

53K 51

51K

25K

g s vä uran 54

sf Skog

väg ens slönn Skog

Visitors center Gunnar Asplund’s attractive estate building from 1923 now houses a visitor center for the Skogskyrkogården world heritage site.

It includes an exhibition about this world heritage site, tourist information services, a shop and café. Opening hours: skogskyrkogarden. stockholm.se

200

Main Entrance The design of the main entrance begins with a double avenue of lime trees along Sockenvägen and with the wall leading onward through the entrance. Visitors are greeted by a magnificent semicircular forecourt.

Precedent Study - Monuments - The narrow linear structure limits people’s sight to focus on the narrative that born on this land, yet concealed or forgotten - The seemingly inflated void carry the breath, the living prove of the victims - the link between surrounding landscape - Varied Materiality

Steilneset Memorial to Victims of Witch Trials, Norway The Steilneset Memorial, often called the “The Witches’ Memorial”, is a monument to 91 people who were burned as witches during the period of 1598 to 1692 in Vardø. The memorial consists of a building, designed by Swiss architect Peter Zumthor, and the “Flammehuset” artwork featuring a sculpture by the Franco–American artist Louise Bourgeois.

Linear

Precedent Study - Monuments

- Spatial linkage to sites of significance - Provide guidance to people between different events in time and history - The linear and fixed nature of the memorial encourage collective commemoration - The separation between materials of the pedestrian demonstrate respect to people whether staying or walking past The memorial invites the viewer below ground level to read the names of the war’s more than 58,000 dead and missing inscribed on the face of two 247-foot black-granite walls. Decried as an insult to veterans, the simple structure elicited such powerful emotions upon opening to the public that its critics were almost immediately silenced.

Vietnam Veterans Memorial, Washington DC

Spatial Relationship

Lincoln Memorial

Vietnam Veterans Memorial

Memorials

Washington Monument

Precedent Study - Monuments

Dizzying feeling of unsteadiness and disorientation

Garten des exils , Jewish Museum Berlin - The Garden of Exile

Aura

The Garden of Exile The Axis of Exile leads to the Garden of Exile, which is located outside the Libeskind building. Forty-nine concrete stelae are laid out in a 7-by-7 square on slanting ground. The Russian olive bushes growing atop the stelae are a symbol of hope. Forty-eight are filled with soil from Berlin and the forty-ninth, at the center, with soil from Jerusalem.

The slanting ground of the Garden of Exile gives visitors a dizzying feeling of unsteadiness and disorientation. The only vegetation is located high out of reach. Libeskind wanted this spatial experience to recall the lack of orientation and instability felt by the émigrés forced out of Germany.

Forty-nine concrete stelae are laid out in a 7-by-7 square on slanting ground, photo: Jens Ziehe https://www.jmberlin.de/en/libeskind-building

Precedent Study - cemeteries

- the use of materials of earthy tones - the use of varied shade of color - the use of light and shadow, how the sky light filtered through the roof creates spots of light on the ground - the deploy of repetition have stripped back emotions, instead, giving the place a unified look, individual difference are removed and replaced with a sense of collectiveness

Cremation Unit and Ashes Temple https://www.archdaily.com/869727/cremation-unit-and-ashes-temple-juan-felipe-uribe-de-bedout-plus-mauricio-gaviria-plus-hector-mejia?ad_source=search&ad_medium=search_res ult_projects

Memorials - service architecture

Precedent Study - Monuments

- The use of light and shadow - People are able to experience from different dimensions through bodily movement of walking past, looking up and bending down to observe the different interventions on site.

- Visibility and heaviness provided by bold materials - Repetition

National Memorial for Peace and Justice, Alabama Heaviness

Precedent Study - Cemeteries

- the space shows a combination of openness and enclosure - Emotions of heaviness is depicted through materiality and intervention - the visit became a journey embracing the subtle elememts framed by the concrete structures, such as sky became noticeble or more prominent through the openning up of the ceiling

Igualada Cemetery, Spain This site corresponds to the plan submitted by Enric Miralles and Carme Pinos.

Away from the concept of a traditional cemetery, the new project aims to show the installation of a park to stroll without being surrounded by the typical images of such premises. The proposal was to cut into the floor, and locate the tombs into the walls.

The cemetery is mainly mostly located within in a large pit grave integrated with the terrain and landscape. The whole enclosure contains corners, objects and details that constantly play with light and shade, giving a great symbolism to the entire building.

Journey

Memorials - Service architecture

Precedent Study - Citizen Participation 32 dead, 32 stones Memorial for the victims of the shooting on May 7th, 1945 at Dam Square in Amsterdam.

- Engagement that extend commeration of individuals to a collective movement - Subtle yet bold in its expression as the former order of the pedestrain became no longer dominant under the disruption

Commemoration - Expressing lost in the form of apparel personlisation - Feeling beloved ones close at heart

Bryan Thomas documents south Floridians memorialising loved ones lost to gun violence on T-shirts

Lavish Printing’s somewhat niche offering is actually similar to many shops in the area: merchandise memorialising lost loved ones.

“Every south Floridian has grown up seeing rear-window decals, murals, billboards, and T-shirts memorialising lost loved ones, with their birth and death dates,” writes Adam Weinstein for an article titled Their Hearts on Their Sleeves for Topic.

Titled Sunrise/Sunset, the series is a moving documentation of real people who have lost family members, largely to gun violence, all of whom used Lavish Printing to create T-shirts after their loved one’s death.

Other forms of commemoration

Inspirations of Story-telling The “Voids” The voids cut through the entire vertical axis of the building. The concrete shafts are neither heated nor air-conditioned and largely lack artificial lighting. Only some of them can be accessed. In the upper floors of the exhibition space, the voids are clearly discernible from the void bridges, whose walls are painted black. One of the five voids contains the Shalekhet (Fallen Leaves) installation by Israeli artist Menashe Kadishman (further information on the installation is available on our website).

https://www.jmberlin.de/en/exhibition-veiled

Daniel Libeskind uses the voids to address the physical emptiness that resulted from the expulsion, destruction, and annihilation of Jewish life in the Shoah, which cannot be refilled after the fact. He wanted to make this loss visible and tangible through architecture.

The installation Shalekhet by Menashe Kadishman, captured by one of our visitors, 2012; Manuel Liniger https://www.jmberlin.de/en/shalekhet-fallen-leaves

Inspirations of Story-telling - Moving Mural JR concludes 'homily to country' with mural procession through dried landscape

the ‘homily to country’ portraits are captured by JR to draw attention to the plight of individuals affected by the darling / baaka river’s decline. by engaging the large-scale photographs with the environment — a recurring motif last seen in rural italy — the procession symbolizes the ways in which their stories are inextricable from the ecosystem itself. the artwork draws attention to the ecological decline of the darling (baaka) river, australia’s third longest river, caused by intensive water extraction due to irrigation, climate change and drought.

Expressing lost and grief

Rituals of Fire, Japan 炎之祭典

京都五山送火祭

吉田火祭

“炎之祭典”是爱知县三河地区最大的手筒焰火庆典表 演，历史悠久。这个手筒烟花，是在竹筒里塞满火 药，由人怀抱燃放，火柱冲到空中后火花如雨般飘 落。整场表演长达2个多小时，最多有23人同时点燃 手筒烟花，火柱可以升空10m之高，非常惊心动魄！ 在和太鼓雄壮有力的鼓点声中，手筒烟花、速射连 环创意烟花的多种烟花腾空升起，非常美丽。

五山送火又称为大文字送火，是8月在环绕京都市的 各山上点燃篝火的仪式。在江户时代初期已经有了 大文字送火的历史纪录。五山送火是弘法大师为了 驱散当时在世间流传的疫病，在山上点燃“大”字形状 的篝火开始。

每年8月26日和27日在日本山梨县富士吉田市举行的 拥有400多年历史的“吉田火祭”，又被称为“镇火大 祭”，是日本国家指定重要无形民俗文化财产。该活 动是北口本宫富士浅间神社与诹访神社两家神社的 秋季祭祀活动。 https://www.mfi.or.jp/himatsuri/

京都市东面、西面和北面的山顶会分别点燃五座篝 火，其中三座是汉字的形状，另外两座分别是鸟居 （神社大门）和船的形状。这些篝火的火势很大， 在京都市的各个角落几乎都观赏得到。

そのため、浅間神社の祭神の神徳は火伏せ・安産・ 災厄除け・産業守護などといわれています。祈求 fire-fighting, safe delivery/pregnancy, disaster/bad-luck prevention, and property protection.

手筒花火，其实是一种全手工制作的竹筒花火，拥 有400多年的历史。根据《三河古老传》等文献记载 ，手筒花火的发祥地就是日本爱知县丰桥市的吉田 神社，奉纳者在神社的例祭仪式上使用这种花火以 慰藉亡灵。

https://ja.kyoto.travel/event/major/okuribi/ https://www2.city.kyoto.lg.jp/somu/rekishi/fm/nenpyou/htmlsheet/bunka30.html

https://www.toyohashi-cci.or.jp/event/honoo.php

大文字送り火は従来から護摩木に自分の名前と病 名を書いて火床の割木の上に載せて焚くと、その 病が癒るという信仰があります。There is a belief that the sickness can be cured by writing your name and disease name on Gozan no Okuribi and placing it on the split tree on the fire floor.

「無病息災・悪疫退散」

又消炭を持ち帰って粉末にして服すると、持病が 癒るともいわれています。８月15日から16日にかけ て先祖の霊や生存する人の無事息災が護摩木に記 されます。It is also said that if you take the charcoal-free powder home and take it as a powder, your illness will heal. From August 15th to 16th, the spirits of ancestors and the safe breathing of survivors will be recorded on Gomaki.

吉田の火祭

京都では8月に入ると個々の家で精霊(先祖)迎えの 行事が行われます。16日に行われる五山の送り火は ，この精霊(しょうりょう)を再び冥土に送り帰すと いう意味をもっています。In Kyoto, an event to pick up spirits (ancestors) will be held at each house in August. The Gozan no Okuribi on the 16th means that this spirit will be sent back to the dark soil. また，送り火の消炭は疫病除け・魔除けになると伝 えられており，盆やコップに注いだ水に送り火の 灯りを映して飲めば，中風にかからないという言 い伝えもあります。In addition, it is said that extinguishing okuribi will protect against plague and amulets, and there is a legend that if you drink the light of the okuribi on the water poured into a tray or cup, you will not be exposed to diseases .

炎の祭典

Rituals of Fire, Japan 鬼夜 Oniyo 鬼夜（おによ）は、『吉山旧記』によれば仁徳天皇五六年（三六八年）一月七 日、藤大臣（玉垂命）が勅命により当地を荒し、人民を苦しめていた賊徒・肥 前国水上の桜桃沈輪（ゆすらちんりん）を闇夜に松明を照らして探し出し、首 を討ち取り焼却したのが始まりだと言われています。According to "Yoshiyama Koki", Oniyo is afflicting the people by the decree of Emperor Nintoku on January 7, 368, when Minister Fuji (Tamataregu) devastated the area. It is said that it began when the thief, Hizen Kunimizu, found Yusura Chinrin in the dark night by illuminating the torches, defeated his head, and incinerated it 毎年一月七日の夜に行う追儺の祭事で、一六〇〇年余りの伝統があり、松明六 本が境内を巡る火祭りです。平成六年（一九九四 年）には国の重要無形民俗文 化財に指定され、日本三大火祭りの一つに数えられています。It is a memorial festival held on the night of January 7th every year, and has a tradition of more than 1600 years. It is a fire festival in which six torches go around the precincts.

In 1994, it was designated as an important intangible folk cultural property of Japan and is counted as one of the three major fire festivals in Japan. 大晦日の夜から一月七日まで、神官が斎戒沐浴して燧石（ひうちいし）でとっ た御神火（鬼火）を護り天下泰平、五穀豊穣、家内安全、災難消除を祈願しま す。 これを鬼会（おにえ）といいます。その結願の行事が七日の追儺祭（つい なんさい）・鬼夜です。鬼夜は、一月七日の午後一時から夜の〸一時すぎまで 行われます。From New Year's Eve to January 7th, we pray for Taihei Tenka, abundant harvest, family safety, and extinguishment of disasters by protecting the sacred fire (demon fire) that the priest took in the flint. This is called Onie.

The event of the petition is Oniyo, the 7th day of the religion festival. Oniyo is held from 1 pm on January 7th to past 11 pm. 紅蓮の炎を上げて燃え上がる光景は、圧巻。その火の粉がかかると難を逃れる といわれています。The sight of the flames of Guren rising and burning is a masterpiece. It is said that the sparks will escape the difficulty. https://tamataregu.or.jp/oniyo https://www.tabirai.net/sightseeing/column/0008244.aspx

那智火祭（那智扇祭） 那智の火祭り（那智の扇祭り） 自古以来水是生命的源泉，而火则是赋予万物活力的根本。扇祭在水与火的交融下 ，排除一年中所有的邪恶并祈祷万物的再生和繁荣。 http://www.lmihe.com/minsu/2052.html

Rituals

Gozan no Okuribi <<<

京都五山送り火

Rituals of Fire - United States Nevada, USA

Burning man

The Burning Man festival in Nevada showcases an example of a modern ritual that has grown and transformed over time.

The tradition of burning a wooden temple began in the year 2000, constructed by an artist to commemorate the death of a friend who died en route to the festival. Since then, the temple has grown in size and significance – each year 70,000 people from all over the world build the 30m structure from scratch as a place to express emotion and reflect on the loss of friends and loved ones.

Ritual - dispel of evil spirits, Bulgaria Aron Klein's captivating images of the Bulgarian demon chasers “Kukeri is an ancient pagan ritual practiced annually across the Balkan mountain regions where local men wear carved wooden masks of beasts’ faces and hang heavy bells around their waists as they perform arcane dances,”says London-based photographer Aron Klein. The Kukeri Project is Aron’s magical and dreamlike series that consists of hypnotic images of large men in carnivalesque costumes, posing menacingly in the wintry Bulgarian mountains. These figures are intended to dispel evil spirits and protect their community from ill fortune.

Rituals

Ritual - Mourning of beloved ones - Water

The Ritual of Awumbuk: Gazelle Peninsula, Papua New Guinea, 1652, A mother has come to visit her adult daughter and grandchildren, for a few weeks in a village community of the baining tribe. Now is time to say farewell.

There is sadness all around and the mother and her guide head off through thickly forested hills. It may be a long time until mother and daughter will see each other again.

The bainings have developed a special word to describe the feeling that can come over you when a friend or relative you love has left. They call it ‘Awumbuk’.

Symptoms of ‘Awumbuk’ include sleeping in, losing a sense of purpose and an inclination to burst into tears.

But the baining have also developed an accompanying ritual to deal with the sadness of Awumbuk: The people who have been left are granted three days during which they’re not expected to do any gardening or hunting. Everyone is supposed to behave very gently around them. Then, on the third day the sufferers have to leave a coconut shell of water on the veranda of their house.

It is believed to soak up sadness and with a few ritual words they then throw the water out into the garden there by purging their emotions and signaling a return to active life.

The ritual of Awumbuk is similar to mourning rituals all over the world. It legitimates what might otherwise be a guilty or confused melancholy. It gives sadness a shape and a direction. It demarcates划分 a time for it and then gently creates a moment when we meant to overcome it and rejoin the group. https://www.youtube.com/watch?v=q_xJpVlry14

Context - Indigenous smoking ceremony and Religious use of incense Aboriginals have elaborate funeral rituals. The practices are most vividly observed in Northern Territory. The first ritual is a smoking ceremony that is usually held in the living area of the loved one who has died. This custom is specifically to drive the spirit away. The next ritual is a feast. The feast is attended by mourners. The family and the community get together, dance and feast during the ritual. The body of the deceased is placed on a platform and it is covered with leaves.

On other occasions, Smoking cememony is also held to acknowledge ancestors, ward off evil spirits, and heal and cleanse the place and the participants.

The burning of incense can be observed across religions as a worship of ancestor and god, the smoke as a visible substance carry the wishes to heaven and gods. It is also reputed to be a method of purifying the surroundings of religious grounds.

Indigenous smoke ceremony

Burning of incense

Rituals

PART1: Initial Research and Context 1.2 Reflection of Commemoration and contemplation in a local civic setting

S

ituating the issue in the local context of Melbourne CBD, spaces for commemoration and contemplation are not well incorporated into the civic fabric. Memorials suggest limited conversation among people and the surrounding landscape as they often convey a historical point in time that one may find difficulty to connect with the significance behind, therefore they largely remain as static objects that faces neglect. Cemeteries are located in distant locations and often gated. Melbourne cemetery is the only cemetery within a 5k distance from the CBD. Flagstaff garden and Queen Victoria Market being Melbourne’s first burial ground and the latter being the former Melbourne Cemetery have long drifted from its past and given a new civic identity.

Momuments in Melbourne CBD Bali Memorial

Standing by Tunnerminnerwait and Maulboyheenner

8 Hour day Monument

John Batman’s grave

The Memorial fountain commemorates the innocent victims of the 2002 Bali Bombing.

The work is produced in commemoration of two Tasmanian Aboriginal men, Tunnerminnerwait and Maulboyheenner, who were publicly hung in the first execution conducted in Melbourne on the corner of Bowen & Franklin Streets (Behind the City Baths) on January 20, 1842. in 1842.

A monument commemorates the 8 Hours Movement which was initiated in Victoria in 1856. The monument was originally unveiled in Spring Street in 1903. In 1924, the monument was removed to Russell and Victoria Streets and unveiled for the second time on February 13th, 1924.

The monument commemorates John Batman ( 1800 -1839) who is best known as a founding father of Melbourne.

202 people perished in the bombings, including 99 Australians and 22 Victorians. The memorial features a fountain, which includes 202 lights, one for every person who lost their life in the catastrophe.

Their execution was the biggest story of the day in the newspapers. It is understood that Tunnerminnerwait and Maulboyheenner were buried on the site of the Queen Victoria Market between sheds E and F.

Batman was buried in the old Melbourne cemetery (since 1922 the Queen Victorian Market), but no headstone marked his grave. When interest in Batman arose 40 years later it was near impossible to establish his burial place. Once found, a bluestone monument was erected in his memory in 1881 and publicly unveiled on the 3rd June 1882.

Space for commemoration are often spaces forgotten in the civic domain

Melbourne General Cemetery Radius(km) 20

15

10

5

Melbourne General Cemetery

Queen Victoria Market (Old Melbourne Cemetery, 1837 -1922) Flagstaff Garden,West Melbourne (The colony’s first burial ground) Melbourne CBD

- Cemetery Shortage - Melbourne General Cemetery being the only cemetery in 5km range from the CBD and is already at its capacity - As an alternatice response for Cemetery Shortage - Demand for incorporating commemoration into part of civic living

PART1: Initial Research and Context 1.3 The historical narrative of the broader contextof the land and water before Flagstaff Garden

S

ince the current characteristics of the site only reflected major changes made in the early 20th century and all its connection to the past remain hidden, I aim to gain a better understanding of its past through the historical narrative of the land before the reconfigure of space and functionality, questioning myself about things worth commemorating. I started with the birth of land and water, how volcanic activity and shifting sea level shaped the land, water, its flora and fauna, the very foundation of Melbourne today.

Then the inseparable relationship formed between the land, water and traditional custodians of the Kulin nation. But the narrative soon turned into sorrow since the arrival of Europeans.

The formation of the land and water - The foundation of Melbourne

volcanic activity + the flow of lava

Water of Birrarung once locked in mountains, in the huge lake called Moorool, or Great Water.

The forming of glaciers and dropping of water level, exposed the topography and forming indigenous flora and fauna.

The forming of glaciers and dropping of water level, exposed the topography and forming indigenous flora and fauna.

Mapping of yarra river and its tributaries. based on resource retrieved from: https://www.vewh.vic.gov.au/rivers-and-wetlands/central-region/yarra-river#!

Flooding raises the sea level up again, forming Birrarung and its tributaries.

WOI WURRUNG

BOON WURRUNG

Pre-1836

1836

An early view of Melbourne from the south of the Yarra, probably reconstructed after 1836.

R. Hofmann, after 1838. Oil on linen, mounted on masonite. Melbourne, 1836. Retrieved from http://ergo.slv.vic.gov.au/node/868

Wild life: On the water of a large marsh or swamp gracefully swans, pelicans, geese, black, brown and grey ducks, teal, cormorants, water hen, sea gulls...disported themselves, while curlews, spur winged plovers, cranes, snipe, sandpipers and dotterels eitehr waded in the shallows or ran along its margin, and quail and stone plover... were plentiful... eels, trout, perch inhabited its waters.

(Presland, 2014) Vegetation: Vegetation of the North: Grassy woodlands dominated by River Red Gum (Eucalypyus camaldulensis) and Yellow Box (E.melliodora).

Black Wattle and Black Wood is also often present.

In some parts, drooping Sheoak and Black Sheoak (Allocasuarina Littoralis) were the dominant species. The Ground Layer was grassy.

In addition to the more usual grass species - common Tussock-grass(Probably the dominant species), Kangaroo Grass, and Wallaby Grasses - a range of salt water-tolerant species were present.

Floodplains of major stream courses (the Yarra, Maribyrnong and Plenty Rivers and Darebin Creek) were dominated by Eucalyptus.

BRACKISH GRASSLAND (EVC 934) Prodominant structure BRACKISH LAKE AGGREGATE

EASTERN HILL Vegetation of the South: Plains Grassy woodland is replaced by Plains Grassland. Trees and large shrubs have become less common. There may have been scattered shrubs of prickly tea-tree and Heath Tea-tree but generally the vegetation was dominated by kangaroo grass or Smooth Wallaby Grass with Common Love-grass, Weeping Grass, and Wetland Wallaby Grass(Notodanthonia Semiannularis), usually present.

(EVC 636)

FLAGSTAFF HILL WEST MELBOURNE SWAMP BRACKISH LAGOON BOUVERIE STREAM

BATMAN’S HILL THE ‘Falls’

Significance of Birrarung:

BIRRARUNG

the source of fresh water a variety of natural materials markers to the boundaries of clan estates

THE ‘Pond’

The specific location chosen for a settlement by Europeans in the Port Phillip area in 1835 was determined largely by the presence of a reliable source of portable water (Presland, 2014)

COASTAL SALTMARSH (EVC 9)

EMERALD HILL

SANDRIDGE LAGOON

The widest section of the river known as ‘The pond’ is a natural basin in the river that was also deeper, through the action of the water falling over the rock ledge. This natural pond became the place for docking and undocking boats in the earliest days of Melbourne.

(Presland, 2008)

Significance of wetlands: The presence of wetlands had supported the regular meetings of clans from across the entire territory of the Kulin. These gathering provided opportunities for a range of necessary activities such as exchange of marriage partners and the enacting of religious and initiatory ceremonies. (Presland, 2014)

A depiction of Pre-1836 Indigenous landscape

PART1: Initial Research and Context 1.4 Understanding the hidden layers of Flagstaff Garden though a historic timeline

T

he contrast in the European and Indigenous perception of land and water lead to the continuous destruction of land, the Birrarung and the wetlands due to colonisation, settlement and the industrialisation. The connection to the land and water were at the edge of vanish with the introduce of the city grid. Back in 1837, the land where flagstaff garden occupies today was firstly depicted as a lightly wooded hill, taken a predominant spot on the northern side of the Birrarung, then the land transitioned from being named burial hill to be used as the location of a signal station, then to be established as the colony’s first observatory and meteoro-logical station, to being established as a public park.

Map shewing the site of Melbourne and the position of the huts & buildings previous to the foundation of the township Creator: Russell, Robert, 1808-1900, artist.

Retrieved from https://viewer.slv.vic.gov.au/?entity=IE1287762&mode=browse

1835

Good Land Poor Soil

1837

Good Grass Lightly timbered country

Plan of the Port Phillip District,

by John Helder Wedge Retrieved from: http://ergo.slv.vic.gov.au/image/plan-port-phillip-district

In 1845, the Melbourne Bridge Co. Built Melbourne’s first bridge - a crude, timber, trestle-bridge just downstream of the present Princes Bridge.

Melbourne’s first bridge over the Yarra River, by Ham Brothers, lithographers, 1850.

Retrieved from https://www.oldtreasurybuilding.org.au/yarra/crossing-the-river/

1845

1839 Map of central Melbourne showing location of brick houses, mud buildings, public buildings and boarded houses.

J. Williamson, c. 1839, map.

Retrieved from: http://ergo.slv.vic.gov.au/node/813

The Settlement and industrialization

Retrieved from: https://www.oldtreasurybuilding.org.au/yarra/taming-the-river/

The City of Melbourne, Australia, by N.Whittock

1853 Within 20 years of European settlement, chimneys abound and industry lines the banks.

Yarra from south side of Prince’s Bridge, Melbourne,

by Edmund Thomas, 1853 Retrieved from https://www.oldtreasurybuilding.org.au/yarra/crossing-the-river/

The Yarra below the Falls, 1858

Wool washing on the Yarra, 1872

1886 The Yarra was vital to the emerging township, facilitating trade and immigration. But within a few short years of settlement, people and industry had created a putrid, noxious waterway. A vital element for industry, the Yarra also served as the city’s unofficial sewer.

Until 1857 Melbourne's only source of water was the Yarra River.

As the population grew during the gold rush, the river water became polluted and undrinkable: In the 1880s the government took control of all rivers and the supply of water through the Water Conservation Act of 1883 and the Irrigation Act of 1887, and built dams on many of Victoria's major rivers.

The exploitation and destruction of land and water

1855

1839 1842 1844 1849 1862 1863 1872 1891

In the period from the mid 1970s through to the earlist years of the 20th century almost all of the swampy areas within a two kilometre radius of central melbourne were reclaimed, under the European exploitation of the Port Phillip environment. (Presland, 2014) Significant Wetlands lost in the reclamation of swamps

Events of Flooding in history

NO

LONGER HERE

1891 Great flood of July 1891, at Queen’s Bridge.

Retrieved from https://www.oldtreasurybuilding.org.au/yarra/yarra-flood/

1864 Map of Hobson Bay and Yarra River leading to Melbourne. https://emhs.org.au/catalogue/emdf0041

Flood mitigation

From the late 1870s major engineering works were underway to ‘tame the river’.

In 1878 the Melbourne Harbour Trust hired a British engineer, Sir John Coode, to improve shipping access.

He suggested dredging and the removal of reefs (notably the ‘Falls’ at the present Queen’s Bridge site). He also recommended a new course for the Yarra, removing a bend in the river known as Fishermans Bend, and ‘straightening’ the river from its erratic course. Work began on this in 1880.

The ‘Falls’ were removed with explosives from 1883 making way for Queens Bridge. ThE ‘Pond’ was widened and deepened progressively to allow bigger ships to turn or moor.

Victoria Dock was also built on the reclaimed site of the West Melbourne Swamp. It enclosed 96 acres of water. Its completion in 1892 initiated the downstream migration of the wharves and docks to Hobsons Bay. 1879 Sir John Coode’s plan for the Port of Melbourne An unknown hand has coloured in the planned alteration to the course of the river and the proposed docks.

Retrieved from: https://www.oldtreasurybuilding.org.au/yarra/taming-the-river/

1862

Two wide bends in the river’s course near the Botanic Gardens were removed in the late-nineteenth century, allowing floodwaters to move to the bay more readily.

In about 1924 the Melbourne and Metropolitan Board of Works began a de-snagging program, removing dead and collapsed trees from the river to speed the flow of flood waters.

1872 75mm of rain fell on Melbourne over a short period sending waves of water down Elizabeth St

The exploitation and destruction of land and water

Depiction of Flagstaff hill in maps and paintings

1838

1837

1839 Flagstaff Hill

The City of Melbourne, Australia, by N.Whittock

Retrieved from: https://www.hothamhistory.org.au/flagstaff-gardens-once-a-cemetery/

Retrieved from: https://www.oldtreasurybuilding.org.au/yarra/taming-the-river/

1855

1858

1836-1837 It was originally called Burial Hill by the European settlers and The site of Melbourne's first burial ground. Seven burials took place there and as there is no evidence that the bodies were exhumed the site probably has archaeological potential.

After1837 The cemetery was moved to the current site of the Queen Victoria Market.

Burial Hill (later known as Flagstaff Hill), 1837

In 1854 An electric telegraph was established between Melbourne and Williamstown. The introduce of the electric telegraph led to the redundancy of the signalling station

1840-1857 Melbourne plans, 1948.

by Mahlstedt's (Vic.) Pty. Ltd.

The site was used as a signal station due to its prime location of having a direct sightline to Port Gellibrand (Hobson's Bay), and 39.6 metres in elevation.

https://viewer.slv.vic.gov.au/?entity=IE8819713&file=FL15883124&mode=browse

1864

It was used to communicate with a similar station at Point Gellibrand at Williamstown. Flags flown from the flagstaff indicated shipping arrivals in the Bay and shipping lists were posted on a bulletin board near the station building.

A Later depiction of Queen Victoria Market As the Cemetery https://emhs.org.au/catalogue/emdf0041

At the base of the flagstaff was a cannon and a single shot was fired if an important ship arrived.

1857-1862 The building of the signal station became the site of the colony's first observatory and meteorological station in 1857. It was used as a magnetic and meteorological observatory under Professor Georg von Neumayer between 1857 and 1862, the hill is a significant archaeological site.

Due to iron in new buildings around his observatory, Neumayer was not able to take measurements accurately and the observatory was shifted to Kings Domain.

the site of the colony's first observatory and meteorological station on Flagstaff Hill,1858.

Original signal station on Flagstaff hill https://www.hothamhistory.org.au/flagstaff-gardens-once-a-cemetery/

Retrieved from: https://www.hothamhistory.org.au/flagstaff-gardens-once-a-cemetery/

In 1862 The site was established as a public garden.

The site was designed in an informal gardenesque style by the Deputy Surveyor General Clement Hodgkinson, with the planting of planted Moreton Bay Figs and Bunya Pines still growing today.

In the 1890s

1890s -1920s

In the 1930s

It was later redesigned by John Guilfoyle , inlcuding the act of thinning out trees and introducing European natives, shrubs and flowers. Numerous trees of scientific and aesthetic importance, many of which remain today.

The current appearance of the gardens reflects changes made between the 1890s and the 1920s although the original pathways are still evident as are several of the original tree plantings.

The Flagstaff Gardens has been the less respectable component in the city's collection of public parks. it was observed that if the Fitzroy Gardens was the city's drawing room then Flagstaff Gardens was its kitchen.

Earlier in the century it was also perceived to be the most notorious of the public parks as a site for illegal activities. This informality and diversity of public behaviour has distinguished it from other city gardens and also is an important part of its character today.

Historic Timeline

PART 2: Site Observations and Analysis

T

oday, Flagstaff garden occupies a large green space, offering generous open lawns and amenities that enable a diversity of active and passive recreations for city dwellers of all ages. The informality of the site enabled an open interpretation of space. The elevated nature of the site provided a prime location for viewing the sunset. The dense canopy cover created by a range of different plantings, together with the different ground texture enabled varied experiences across the landscape. The shifting shade of light and shadow also contributes to the unique characteristics of Flagstaff garden. The place also provided habitat for abundant birdlife with their pleasant chanting often lingering in the air.

However, several constraints are inherent to the site due to its close proximity to the CBD and the broader spatial context. The graphic at the bottom half of the page demonstrated a fragmented cookie-cutter type of cityscape shaped by geometries that enforced by road networks and building blocks. The full panorama view of the distant land and water are no longer viable as the site became submerged by the surrounding buildings. The site encounter disturbance from the chaos of the city traffic and construction sites, the unavoidable surrounding cityscape, the glare generated from reflective facades and the order suggested by the road network and placement of park infrastructure.

PART 2: Site Observations and Analysis 2.1 Flagstaff Garden nowadays and situated in a broader context

View enforced/dominated by tall buildings Flagstaff Garden

View to docklands through the gaps of buildings

Yarra River

LEGEND Green Space Waterway A fragmented landscape shaped by geometries enforced by organised road networks and bounded building blocks, promoting a sense of order

Medium Density Building Blocks

High Density Building Blocks

A cookie-cutter space

High Density Building Blocks

A fragmented landscape shaped by geometries enforced by organised road networks and bounded building blocks, promoting a sense of order

Being at the major conjunction of different traffic mode, noises from surrounding roads and public transport circling around the city are the dominant source of sounds you would hear

Building reflecting a strong glare from direct sun exposure, leading to discomfort to the eyes

NOISE DENSITY GLARE ORDER

First impression of the site

Surrounding buildings form the cityscape that appear unavoidable despite the vegetation provides great canopy cover

Slopes created by the topography and street infrastructure(seatings and lighting) laid out following edges of the road determined the way people seat and engage with the landscape

Sites of construction, destruction, demolition and road works are carried out constantly that shaped the identity of an city in evolving. Such image simultaneously established an implied pressure on city dwellers under a symbolism of speed and efficiency.

PART 2: Site Observations and Analysis 2.2 Flagstaff Garden in local context

Topography Elevation at 36m

Tram Route No. 58

Tram Route No. 30+35

Vehicle, bike and Pedestrian Access Network

LEGEND Open Space

Staircase

Planted Retaining Wall

Bus Stop

Pedestrian Traffic Only

Tram Stop

Pedestrian + Bike Pedestrian + Bike + Vehicular Traffic All Traffic + Tram Roadside Parking

Train Station Station Exit/entrance (only main roads are highlighted)

Dog park Hill top Monuments Open Lawn

Canopy cover and left over spaces directly underneath the sky

City of Melbourne Bowls’ Club Children’s Playground + Picnic Area

Basketball Court Flagstaff gardens Caretakers’ Residence Outdoor stage Pioneer memorial Separation Monument

Amenities and Features of Interest

PART 2: Site Observations and Analysis 2.3 Observations of occupation and The tangible and intangible qualities of Flagstaff Garden

Flagstaff Station

LEGEND Restricted access low usage passive Mixed passive + active Active And High-use (with assigned functionality)

City of Melbourne Bowls’ Club Dog Park

Spaces with a passive interface

Flagstaff Station

Active recreational area - Basketball Court - Children’s Playground - Picnic Area

View of the sunset Surrounding Buildings

Flagstaff Station

The vegetated retaining wall and staircases

Ground textures

Flagstaff Station

Shade of sunset reflected on buildings facades

Open lawn with a mixed of active and passive recreation

Sky textures

Flagstaff Station

Observations of occupation on site

CENTRAL STAGE

PART 3: Design Explorations 3.1 Design Intent

b

ased on the exploration of both the historical narrative and existing site condition, the intention of the project is then focused on 1) transforming Flagstaff Garden for the new century to accommodate growing needs of commemoration and contemplation; 2) Address the history left underrepresented in the making of Flagstaff Garden today; 3) While re-establishing our lost connection to land and water in acknowledgement of the traditional owners of the land and the precolonial landscape.

It is further achieved through providing guidance for people to notice the subtle beauty in the landscape by highlighting the presence of different elements and their significance; Engaging people with elements of air (including sky, wind, light and shadow), water, ground and fire for a heightened sensory experience; while working with the existing vegetation and site condition to facilitate people with commemoration and contemplation in Flagstaff Garden, both as individuals and a collective.

T

he project intend to link sensory experiences tightly to the spatial, physical and intangible qualities constitute spaces of commemoration and contemplation that bypass the ocular-centrism of the current culture what Juhani suggested in the ‘Eyes of the skin’ how it created a world perceived predominantly by the privileged vision under the elimination and suppression of other senses, reinforcing a sense of detachment ad alienation, causing us to live in a perpetual present, flattened by speed and simultaneity. Experiences would be the major focus to contrast with the pressure inherent in the current culture which we are taught to look faster, to experience things more quickly, to make quicker understanding, to decipher and have things explained rather than experience, regaining the ability to root our own feelings, memories and narratives in the civic domain.

Bring back the connection to land and water Activate different sensory experiences through the exploration of sky and ground narrative, engaging people with the four elements of air, water, earth and fire Provide guidance for people to notice the subtle beauty in the landscape by highlighting the presense of different elements and their significance establish connection among two narratives and existing features of the site to allow smooth transition in a spatial context

Design intent

1

Dedicate opportunities for

individual contemplation Dedicate opportunities for

2

collective commemoration

3

Potential for guiding people through sites of commemoration and contemplation

Design intent Sky Narrative SKY -The ever changing canvas that shows the shifting of time Cloud - The gentle movement that follows the wind WIND - drifting aimlessly, leaving its trace as it goes Rain- A Falling motion that connects the sky and the below

Ground Narrative Light and shadow - guidance and element of reference that indicate time and space Water - A nourishing element that ripples with wind and rain Fire - light up the dark night and produce heat, expel of evil spirits, celebration and gathering Smoke - The continuous threads sending wishes to the above, sometimes comes with scent, expel of evil spirits Breath - The exchange of oxygen and carbon dioxide between our body and the outside air Bark - the outer layer of a tree, a protective and durable material, used as canoes to travel on water, can be painted Void - space that has the capacity to hold either things tactile or intangible

PART 3: Design Explorations 3.2 Precedent studies on designing for sensory engagement + Designing for commemoration and contemplation

Designs with sensory engagement component

Precedent Study - Projects/installations enhancing sensory engagement AMARNA

by James Turrell

Wearing the light Wearing the sky

Location: Tasmania, Australia - the access through staircase demonstartes the motion/energy of going upwards, reaching closer to the sky “Turrell harnesses the numinous potential of light and space; kind of like what God would do if he decided to build a gazebo.

We see Amarna as an elevation of the museum’s hitherto subterranean ponderings of the human condition. If that sounds vague, that’s because Turrell’s art must be seen to be believed; or, perhaps, not seen, but believed nonetheless.” - MONA !""#$%&&'()*+),"+*-&$"-../"(/0(&1*',$/"-22,33/*'*2)*

Precedent Study - Projects/installations enhancing sensory engagement Allowing adaptation Shrine to the shot protester Location: Tamwe, Yangon, Myanmar - The guerilla memorial demonstartes the local way of commemorating passed lives.

- The hand-made/man-made nature of the memorial envolves a high degree contemplation during the preparation process.

- It also allowed individuals to add on to the existing ones freely, while establishing a sense of belonging through the use of bricks and flowers.

Precedent Study - Projects/installations enhancing sensory engagement

Guided by light in the darkness

Bruder Klaus Field Chapel

by Peter Zumthor Location: Mechernich, Germany - The filtering of light - Comparison between darkness and light - The contrast between a ray of light and the darkened interior - light is not only captured in the gap but also reflected on the texture of the walls - The linear lineworks creates a force of growth and rootedness connecting the ground and spaces upper

Precedent Study - Projects/installations enhancing sensory engagement

Steilneset Memorial to Victims of Witch Trials

by Peter Zumthor and Louise Bourgeois Location: Norway - Transparency - The narrow linear structure limits people’s sight to focus on the narrative that born on this land, yet concealed or forgotten - The seemingly inflated void carry the breath, the living prove of the victims - The overall structure seems like a hot balloon that ready to depart yet fixed to the ground to allow time for taking passengers on broad - The fabric as a canvas reflecting the changing light of the surrounding landsacpe, capturing the warmth of the sun

Syncing the breath with the landscape through transitions of different spatial qualities

Precedent Study - Projects/installations enhancing sensory engagement Walking into the history Ghitello Mill Park

by Enrico Sassi Architetto Location: Switzerland - The creation of a pedestrian and educational path for disabled people serves as a place where they can learn about the geological and rocks composition of the natural landscape of this important site.

Courtyard - The project for the arrangement of the courtyard set itself evidence of the agricultural production processes and vestiges of the cultural and natural heritage, using historical and material elements that characterize the geology of the park. Ancient abandoned millstones were used to the sedimentary rocks that characterize the geological landscape of the park and other stones that were already laid inside the courtyard.

Designing for commemoration and contemplation

!"#$%&"'()"*)+,(#%-.%,"/")) 01)2.%-", 3%456)75#8"1 9./4*:);<=>) Contemplation - Place that allow people to gather thoughts - Through the act of seating or lying down - The broad surface of the timber seating allow conversation with people seating next to each other - but when a person’s body is fully in sync with the reclining angle suggested by the back of the bench, they will able to land their sight on the surrounding landscape than meeting the eye of the person seating opposite of them - The warmth of the sun is able to anyone seating

=,&6&#&"2'829#) 2#(&($(?*)@*.$1

!"#$%&'()*%+*"&'#,*-.'/"'01/.*'1&,$2*3&' 4/,'$51/"3/' - (Material) Clay, being an ancient material intuitively gives .&*2$"3'6/%%&62$/"' people a sense of nostalgia or familiarity that accepts people Commemoration

into the space

- The use of clay not only bring warmth to people approaching the stools, but the diverse, seemingly random range of color resulted on clay objects also made them easier to approach for people - (Form) The free-form created by the hand-building technique applied with clay objects + the circular arrangement of objects combine to present a sense of unity that connects everyone gathering on the same ground disregard of their individual identity and difference - The distance set between each seating offered a comfortable distance that capable for people to start a chat without making the occasion overwhelming for all

!"#$%&'()*+,-&,)$*.$&'-/*01&23,04,-15.&.+#06$#),0& *7%"-8"&.1,$*-8&+"001+$*"-&9,.&+),($1/&()":& %,-/;+"*01/&+0,3&,-/&*-("):1/&<3&.*8-*(*+,-$& 9")/.&*-&$%1&=%".,&0,-8#,81>&7%1&+1),:*+&/1.*8-; 1)5.&+"001+$*"-&+"-.*.$.&"(&?@&.$""0.&,-/&+%,*).& 9*$%&1,+%&6*1+1&)16)1.1-$*-8&"-1&"(&"41)&ABB& .3:<"0.&$%,$&23,04,-1&%,.&+)1,$1/>&C,+%&.3:<"0& .$,-/.&(")&,-&*:6")$,-$&9")/&*-&$%1&0,-8#,81& .6"D1-&<3&21&'01/.*'7&/7%&'$"'8/921'!4,$6*:.' ;*.2&,"'<*7&!&9%1)1&$%1&,)$*.$&9,.&<")-> %$$6.EFF999>/1G11->+":FABA?FBHFBHF*$%"-8";.1,$; *-8;+"001+$*"-;,-/*01;/3,04,-1;I%".,;%1)*$,81F

- (Focal point) The fire-place at the centre of the attention sets the tone for the event of gathering. As all the attention lands in the middle, the focal point then becomes vital in establishing the initial conversation with people with a clear indication of the purpose of the gathering that is held. Otherwise, people would be lost and the arrangement of seating in a circular form loses its purpose - (Ground Texture) The separation between the gallery ground and the exposure the earth give people a subtle indication of a new journey upon stepping on the bare earth. The space strip back all the unnecessary layers that set us apart from the pure substance that support us in the first place. The sound of stepping on bare earth would also prepare people for events of commemoration

=,&6&#&"2'829#)

Different ways of representing water

!"#$#%&#'()*#+%,-".-/%)0%%12'% 34%5#+/)2( !"#$#6%7#8#*6%9::;

Contemplation by the water - sound - touch - visually soothing of the mind

<+#=#%>.+%?.2@(A()%#%+#%<#'2(#%% 34%B#%,.'2)8)+('#*# ,.C(A)%D('46%,.C(A)6%9:EF

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

!"#$#%#&'()'*%+ !"#$%&'()*!+,-.$!/0$%,-($!12%&3'().($4!

5*!%#'#-#.# 6&37.!8&*,-!+()#.,9(!:#.(;!6&7.)(,-;! <3(5(%;!=,7,1, ! >3#-.?!@ABC Commemoration

Contemplation - The marking of lines on the ground clears out/designates a space that allow the mind to enter a different mind-space - The markings of line also would make other people aware of respecting others who are already occupying the site and give them the space they needed without interference, giving people the peace/privacy that may became difficult to include in public place-making - (Material) The different use of material and treatment between the surface of the seating (curved-in concrete) and the rest of the structure (granite) dedicated the space to cater for small gatherings of 2-4 people

- Despite being a spot that encourage solidarity and small gatherings - the space can also serve the purpose of commemoration for a larger group of people due to the difference in elevation of the two spaces separated by a single row of seating in between. The elevation made people intuitively gaze to the bottom part of the smaller space.

- People are not only offered the place to relax, enjoy the lake view, but they are also given the opportunity to interpret the text(poem) engraved on the ground when their gaze land on the text while seated.

!"#$#%#&'()'*%+

PART 3: Design Explorations 3.3 Summary of key design principles from precedent studies

- Contemplation in the landscape -

- Contemplation by the fire pit -

Inclined seating guide people’s vision upward to the landscape above eye level, creating a contemplative space cleared from the typical street view dominated by pedestrians passing by.

Is especially empowering at night when fire became the apparent focal point in a landscape. The changing light, sound, heat generated from the uprising movement of fire tend to filter out the surrounding noises and became a calming element to observe for long period of time.

Line markings designating a contemplative space that respect solitary presence or small gatherings.

Ground level line markings also help people to notice the ground texture and the surrounding landscape feature through the visually tracing of lines from grasp. utilizing the slope to position the seating towards the direction of view

- Contemplation by the waterAchieved by the soothing of mind through the sound and movement generated by water falling, as well as comfort received from the interaction with water.

Summarize Design principles/Prompts from precedents

Contemplation

individual seatings among the trees reserved for a more private and contemplative experience. individual seatings positioned at different (Interventions) Line markings heights to get people closer to the ground and Inclined seating hence notice ground qualities that might missed from usual filtering of surrounding observations.

(Functions) movement and Sound Different set of line markings indicating subtle but clear access to view, leading people from the main road to the edge of the landscape designated for sunset viewing.

Individual seatings/space among the trees

Earth(ground) Water Fire Air(sky,wind, light&shadow) Vegetation

seatings positioned close to the ground

Summary

- Collective Commemoration (Form+topography)Utilizing the existing slope to determine natural audience and let the audience form the place for large gatherings of commemoration (Materiality) Switch of materiality on the ground to allow clear indication of event space and audience space (Form) the application of circular form of space seen in rituals and gatherings create a space that is open and welcoming than spaces that got set ways of entry/exits. It invites people to the space with a sense of unity and belonging.

Since circular grounds are regarded as a widely recognized form of gathering place, it would allow people to join without insecurity.

(Form) Use of fire as a central element for collective commemoration. As the focal point of the landscape, the fireplace is the start of the initial conversation one would encounter.

(Materiality)Establishing a connection to the hidden layers of the land through the exposure of soil.

(Form+Materiality) Demonstrating the different form/process/product of fire through a range of materiality to reveal the beauty of fire as an essential part of ancient life style and how usage of fire are also tied to contemporary living. People are able to get a deeper understanding of fire and feel its warmth in different ways, such as the firing of clay seatings, the timber generating the fire, etc.

Summarize Design principles/Prompts from precedents

Use of timber and corten steel demonstrating age and beauty Determine natural audience using existing Topography Exposure of soil

- Commemorating the age and beauty of the land and all its creature (Materiality)Use of timber and corten steel to help the intervention to integrate into the historic landscape, hence highlighting the age of landscape features that worth commemorating.

Creating a central element as point of gathering

Commemoration

Earth(ground) Water Fire Air(wind,sky, light&shadow) Vegetation

Commemorating the age and beauty of the land in different forms Sensory engagement

Summary

inclined seatings/space that shift people’s focus to subtle landscape elements and details

Summary

calming and soothing of mind

Line markings Inclined seating Filtering of surrounding movement and Noise Soothing of mind Individual seatings/space among the trees

Earth(ground) Water Fire Air(wind,sky, light&shadow) Vegetation

Seatings positioned close to the ground

Contemplation individual space cater for solitary activity a designated mind space shaped via line markings +filtering of surrounding movement and noise

Utilize of topography to determine natural audience and event space allow and promote conversation and interaction Place of gather Commemoration Ode to the age and beauty of the land and all its creature connect people with the historic layers and narratives of the site

Use of timber and corten steel demonstrating age and beauty Determine natural audience using existing Topography Exposure of soil Creating a central element as point of gathering

Commemorating the age and beauty of the land in different forms Sensory engagement

Earth(ground) Water Fire Air(wind,sky, light&shadow) Vegetation

Contemplation

Earth(ground)

1.Line markings

Commemoration

7.Determine natural audience using existing Topography

2.Seatings positioned close to the ground

8.Exposure of soil

Water

Fire

3.Filtering of surrounding movement and Noise 4.Soothing of mind 3.Filtering of surrounding movement and Noise 4.Soothing of mind

/

9.Creating a central element as point of gathering 10.Commemorating the age and beauty of the land in different forms 11.Sensory engagement

5.Inclined seating Air(sky,wind, light&shadow)

6.Individual seatings/space among the trees

3.Filtering of surrounding movement and Noise 6. Individual seatings/space 5.Inclined seating among the trees 1.Line markings

Vegetation

/

12.Use of timber and corten steel demonstrating age and beauty

Summary of analysis

PART 3: Design Explorations 3.4 Site selection and analysis of individual sites

A

selection of three focused sites are chosen based on the significant landscape features of the site that worth commemorating and contemplating.

The combination of topographic feature and vegetations separate the characteristics of different parts of Flagstaff Garden and largely informed the design interventions.

Site Selection

EL

Eucalyptus Leucoxylon (Yellow Gum)

ECA

Eucalyptus camaldulensis (River Red Gum)

ECL

Eucalyptus cladocalyx (Sugar Gum)

ECA

Eucalyptus polyanthemos (Red Box)

EP

AC CM

Angophora costata (Smooth barked apple)

EL

ECA

ECL

ECL

Prevalent groups of planting

Focus Sites ECL

Corymbia maculata (Spotted gum)

ECL CM CM

Eucalyptus Planting

AC

Elm

ECL EP

Eucalyptus +Corymbia, Angophora

EP

Moreton Bay Fig Oak Corymbia citriodora (Lemon scented gum)

Moreton bay fig + central stage Eucalyptus camaldulensis (River red Gum)

Lophostemon confertus (Brush Box)

Deciduous

Native

Evergreen

Exotic

Elm centred boulevard planting (Linkage to Colonization)

Morten Bay Fig

Informal Planting (Possible the location of the old cemetery)

Dead sugar gum tree hollow + Eucalyptus planting

Eucalyptus Planting

Moreton bay fig + central stage

Open lawn

Elm centred boulevard planting (Linkage to Colonization)

Morten Bay Fig

Informal Planting (Possible the location of the old cemetery)

PLAN @1:2000

0

50

100

200

400

SCALE BAR 1:500 0

10

20 30

40

50

100

Dead sugar gum tree hollow + Eucalyptus planting

Moreton bay fig + central stage

Open lawn

Individual Site Analysis

Dog Park

Eucalyptus Planting

Dead sugar gum

Weekday

Weekday

SCALE BAR 1:500 0

10

50

100

1 Dog visitor

Picnicng

B’

Yoga

Resting Photogrphy

Sunset watching

Dead sugar gum Weekend

Weekend

A’ A

There is a clear distinction between the number of occupants and activities take place on different side of the Dead sugar gum.

1

Hill Top

Eucalyptus Planting

Dog Park

B B’ B

SECTION @1:1000

Dead sugar gum tree hollow + Eucalyptus planting

0

20

50

100

200

View to the East

SCALE BAR 1:500 0

10

50

100

Materiality

View to the West

A’ A

A’

A

SECTION @1:250

Dead sugar gum tree hollow + Eucalyptus planting

0

10

50

Features of interest on site

SCALE BAR 1:500 0

10

50

Central Stage

100

4

2 Pioneer Memorial

3

4

C

2

Separation monument

Occupation under the canopy of morten bay fig

C’

3

C

C’ Moreton bay fig + central stage SECTION @1:250

0

10

20

30

40

50

SCALE BAR 1:500 0

10

50

100

The low lying part of the branches hang low to the ground, offfering a great opportunity for people to interact with the tree.

D’

The vegetation around formed a barrier against the city secne filled with high-rise buildings, creating a serene environment.

D

D’

D

Moreton bay fig + central stage SECTION @1:250

0

10

20

30

40

50

SCALE BAR 1:500 0

10

50

100

E

People seated against the gentle slope on either side of the lawn

E’ A’

E’

E

Open lawn SECTION @1:500

0

10

50

100

The openness of the lawn allow infinite choices of getting across to the other side of the park

PLAN @1:500 0

10

50

100

F Picnicing and sunbathing

A’

Occupation across the middle section of the lawn

Group and family sports

F’

F F’

Open lawn

fallen leaves covering the ground in autume and winter months

stunning pattern of light and shadow through the elm trees

0

10

SECTION @1:500

50

100

Eucalyptus Planting

Morten Bay Fig

Open Lawn

PART 3: Design Explorations 3.5 Brief for individual sites

Existing Condition

Intention +Intervention

spatial quality (sound, trees, materiality, sun&shade) earth quality occupation

dimension capacity functionality purpose/meaning

Brief

Existing condition

- (Location and Age) The eucalyptus claimed the relatively flat ground at the North West corner of the site. They are not the remnant vegetation of the landscape, the marjority of the mature trees were planted in 1998 and 2000, following by new ones planted in 2006, 2013 and 2018.

- (Uniqle tree and ground quality) Sugar gum dominanted the space, yet different species from the Eucalyptus, Corymbia and Angophora genus shared similar qualities, therefore giving the place a sense of unity, while the tree and ground quality stay separated from the rest of the site. It is also an attractive location for birds.

- (Surrounding landscape) located at the edge of the CBD, the nearby building and housing type became mainly medium to low-rise, creating a clear vision of the sky and plenty sun explosure. It is a great place to watch the sunset.

- (Neighbouring functionality) A bustling dog park during late afternoon hours located to the south of the place and City of Melbourne Bowls club at the eastside.

- (Occupation) Despite being located next to the often crowded dog park, it’s observed to be an adored space for strolling, having a picnic and yoga. Both solitary and small group gatherings are present at the site.

Inclined seatings/ seatings close to the ground that able to shift people’s focus to subtle landscape elements and details - Inclined seatings for lifting people’s vision towards the sky and canopy of trees

Potential design strategies and Intervention

- Seatings close to the ground level to reveal more ground qualities and allow engagement with the ground individual space cater for solitary contemplation ground line markings highlight and help people noticing the ground texture and the surrounding landscape features through the visually tracing of lines ground line markings indicating clear direction from the main pathway to the edge of the space for sunset viewing

Brief-A

PLAN @1:200 0

5

10

20

30

40

Eucalyptus planting

- (Location) The site is situated on a triangular block in the central location of the park. Due to its central spot, the site is surrounded by main axis of access.

Existing condition

- (Existing intervention and Occupation) Despite the central stage is the main intervention of the place, the stage itself does not carry the functionality as a formal stage for announcement or performance. The usage is rather informal. The stage is observed to be a point of gather, yet the current stage does not cater for interactions among the group. In one obervation, the group remained standing for the entire duration of the gathering and only used the stage as a . At other occasions, the stage is shared between solitary and

collective uses for groups of 2-3. The rest of the area reamin open of interpretation, the most observed activities fall under picnicing and chitchatting. The gentle slope also enabled sports activities taking place in groups of 2-3. Benches are placed along the edge of the triangular site facing outwards to the adjacent roads, they serve mainly as spots for resting than positioned towards a certain view.

- (Landscape feature) the morten bay fig presents extrodinary beauty with its vast canopy, trunk and extensive root system, standing out amongst the dominant elm plantings.

- (Neighbouring functionality) noise coming from the basketball court and group sports on the open lawn on the east side remian a great concern for the space.

facilitate with commemorating the age and beauty of the Morten Bay Fig - engaging people with different qualities of the tree: canopy+shade; trunk+root systems; foliage, fruit +ground quality - Opportunities of engagement can be achieved through the introduce of more level change combining strategic positioning of seating options around different part of the tree.

- The use of corten steel and timber to demonstarte age Respect both solitary and collective needs: creating opportunities for solitary activities through materiality, while allowing room for interactions between individuals in a collective gathering.

Contemplating the historic significance of the Topographic feature of the site through highlighting the slope

Potential design strategies and Intervention

Brief-B

Filtering Noise through the application of water interventions

PLAN @1:200 0

5

10

20

30

40

Morten Bay Fig

- (Location) the site occupies an open lawn on the South east corner of the park, close to the road traffic.

Existing condition

- (Vegetation) The planting remains largely informal.

The space houses the most deciduous trees across all focus areas, allowing plenty sun explosure from autume to winter months, while leaving the ground a carpet of autume leaves. In the late afternoons, The sun filtered through the leaves and gaps of elm trees resulted in a stunning patten of shade on the ground.

While sports activities taking over the relatively flat part of the topography in the middle, The gentle slopes to the west and east each provided view to the rest of the space. The slopes largely directs the way people sit and engage with the site.

- (A disrupted landscape) high-rised buildings of the CBD have became the dominant view in the backdrop. Drawing people’s eyes back onto landscape features of the site would be the central consideration of the design intervention. The informality of the site also make it hard to summarize or memorize the site, resulting in an absense of character.

- (Occupation) The vast open space it offers hold the capacity for both solitary and collective activities.

the focus of the site is commemoration by the fire place, it would be achieved through: Utilizing the existing slopes to determine natural audience and let the audience form the place for large gatherings of commemoration.

Establishing the fire place as the central point for meeting and gathering

Potential design strategies and Intervention

Representing the cultural significance of fire as an essential element of rituals, and a catalyzer for large gatherings.

While also acknowledging the presense of fire around us through startegic use of materiality. Aim to bring people closer to fire and develope deeper understanding of fire as an element, a process, a friend even that not only bring warmth to us, but how it comforts and sooths our mind.

Brief-C

Expose the soil underneath the grass, allowing people to sense the age and beauty of the land from the moment they step onto the soil and begin experiencing the site.

PLAN @1:200 0

5

10

20

30

40

Open Lawn

PART4: Design Outcome Design strategies and outcome for individual sites

Spatial relationship across three focus sites

SCALE BAR 1:500 0

10

50

100

A’

SITE III A CALMING PLACE TO BE FOUND

SITE II PASSAGE TO THE HILL TOP

SITE I Recovering the sensory

SITE III

SITE II

SITE I

SITE III

SITE II

SITE I

SITE I and II are visually connected to encourage exploration of the site features, while SITE III are focused on being distant and secluded from the rest of the site and being contenplative when found by individuals than directing people to the spot.

The design intervention introduced in SITE II features two ends with indicative lines and edges one pointing towards the hilltop at the highest elevation of the site, and another guiding people towards SITE III at the lower elevation.

location of three focus sites with canopy cover

Spatial connection among three sites of intervention

Individual sites

SITE I RECOVERING THE SENSORY

SCALE BAR 1:500 0

10

50

100

A’

SITE III A CALMING PLACE TO BE FOUND

SITE II PASSAGE TO THE HILL TOP

SITE I Recovering the sensory

Design Strategies

T

he open lawn is situated at the lower elevation of the site, closest to the road traffic and blocks over blocks of tall buildings. The site harbours both beauty from the openness and informality from the lawn and disturbance of its surrounding context. Potentially being the first site people would approach from their visit, the site carries the goal of recoving the lost sensory capability of people and enable them to sense elements of land and water again.

The pavilion: A gathering ground that unite commemoration and contemplation Observations of the site lead to an intervention with the focus of providing the space, context and aura for both collective commemoration and individual contemplation. The semi opened circular form of the pavilion invite people to enter at multiple entrances for events of commemoration and solitary contemplation from their own willingness.

The circular form is especially chosen to bring a sense of belonging and inclusiveness to the space where there is no indication of any ownership or culture privileges, everyone can be united by wearing the light reflected from the flaming fire.

Site I - recovering the sensory

Central feature: Fire and soil situated in the middle of a bed of soil, fire claims to be the central element of the design, a focal point that attracts one’s attention that built to be the meeting place where majortity of the people would come or bypass during their visit to the park.

The bed of soil aim to commemorate the presense of the raw substance that supported all creatures of life. light, perforation and commemoration The close distance to the surrounding vegetation allowed the facade of the structure to capture direct shades of light and shadow. Through the perforated panels, the beautiful shades also able to be present inside the structure. Perforation is also utilised to commemorate the wisdom of humankind through the application of fire across borders from precolonial periods to modern rituals through graphic and text descriptions.

Site I - recovering the sensory

SCALE BAR 1:500 0

10

20 30

40

50

100

The site claims the largest piece of open lawn out of the whole park

Tram Route No. 58

LEGEND Open Space Planted Retaining Wall Pedestrian Traffic Only Pedestrian(P) + Bike(B) P + B + Vehicular Traffic All Traffic + Tram Roadside Parking Staircase Bus Stop Tram Stop Train Station Station Exit/entrance (only main roads are highlighted)

Tram Route No. 30+35

main axis of access to the park for city dwellers and visitors

The site situated at the conjunction of vehicle, bike and pedestrian traffic Network

Medium Density Building Blocks

High Density Building Blocks

Being at the major conjunction of different traffic mode, noises from surrounding roads and public transport circling around the city are the dominant source of sounds you would hear

A cookie-cutter space

High Density Building Blocks

A fragmented landscape shaped by geometries enforced by organised road networks and bounded building blocks, promoting a sense of order

Density

Traffic

Sites of construction, destruction, demolition and road works are carried out constantly that shaped the identity of an city in evolving.

Such image simultaneously established an implied pressure on city dwellers under a symbolism of speed and efficiency.

Noise(physical and mental)

Building reflecting a strong glare from direct sun exposure, leading to discomfort to the eyes; Surrounding buildings form the cityscape that appear unavoidable despite the vegetation provides great canopy cover

Glare

Design Outcome

Contemplation in a dimmed light environment centered by fire

EARTH (Soil)

AIR (Light and shadow)

FIRE

- Soil is selected to to bring people close to the land. It strip off a covered up landscape/world that always aiming to make people comfortable, clean, well represented, it exists as a ‘pure’ substance that support us whenever we go.

-The unique sound generated by walking on the soil hoping to provide a different mind space which facilitate people with contenplation.

- The semi open stucture of the pavilion allows moderate amount of light to filter through and kept the space darker than the surroundings.

- The light and shadow allowed people staying at the pavilion to notice the passage of time in a visual way

- The main element explored in the intervetion belongs to fire. Inspired by the application of fire from rituals across cultures, it is regarded to be the focal point of the site, the place people gather and commemorate.

- it is also a contemplative element that provide light, heat, color, combining to achieve a calming environment for contenplation.

FOCUS ELEMENTS

Lawn

Timber

Canopy with trunk

Concrete PLAN @1:200 Design intervention

LEGEND Main/front access to the pavilion

Secondary/back access

0

5

10

20

30

40

Spatial diagrams - Access and Occupation The act of limiting entrances to the pavilion encourage people to find their way through the surrounding vegetation.

Main/front access to the pavilion Fenced + Entrance/exit of Flagstaff Station

Accessibility Garden beds

Accessible Inaccessible Indicative flow of people

Secondary/back access

Potential Access from William St Street Access Indicative flow of people

Potential Access from La Trobe St Street Access Indicative flow of people

FIRE

SOIL

PEOPLE

Design Intervention

A break down of different layers of the pavilion

GATHERING GROUND -- THE COMMON

Celebrating the memorable moments in life Gathering as a Collective

Fire

being individuals Commemorating the loss of beloved ones Solitude

Sending love and wishes through the flame

contemplative

+light +warmth

expel of evil spirits and illness cleanse

The central element of the site -- Fire, inspired by rituals

Rituals

Burning man

Fire Rituals火祭 in Japan

Burning of incense

Indigenous smoke ceremony+ The presence of Fire-stick farming

Perspectives

SITE IIPASSAGE TO THE HILL TOP

SCALE BAR 1:500 0

10

50

100

A’

SITE III A CALMING PLACE TO BE FOUND

SITE II PASSAGE TO THE HILL TOP

SITE I Recovering the sensory

Design Strategies

S

ince the site is situated on the main axis stretching to the highest point of Flagstaff garden. The flow of water is introduced to highlight the descending topography, encouraging people to contemplate the significance of the elevation of Flagstaff hill in a Historic context.

contemplating the Significance of topography and water represented through water features The water itself traverse through a structured waterway across a landscaped seating structure that aim to represent the narrative of water of how water once stored up the mountains and flowed to form Yarra River and all its tributaries. Fresh water is also the foundation of life for both indigenous people and colonial settlers, it signifies the birth of Melbourne. Information about the significance of river in the historical context can be retrieved from reading the inscribed concrete slabs, as well as the historic significance of Flagstaff Hill for contemplation. Spaces for gatherings are also reserved for collective commemoration that can be based on either history of the land and city, or personal matters of heart.

Site II - Passage to the hill top

Sensory expereince and contemplation The seatings is placed in close proximity to the lower end of the branches of the grand canopy of Moreton Bay Fig, allowing fragile parts of the tree to be fallen on to the water, the seating or the surrounding ground.

The positioning of the seating also allowed people to contemplate the age and beauty of the tree closely. The inclined back of the seating encourage people to look up and contemplate the age and beauty of the tree from another angle.

Opportunities of interacting with the water are enabled from different access point among the seatings to create a contemplative space while the presence of water filters noise from adjacent sports amenities.

Site II - Passage to the hill top

SCALE BAR 1:500 0

10

20 30

40

50

100

Central location

C

C’

SECTION @1:250

0

10

20

30

40

50

E’

E

SECTION @1:500

0

10

50

100

A lack of indication between pathway and the uprising topography Hill Top Elevation at 36m

Uprising topography

Depiction of Flagstaff hill in maps and paintings demonstrae the significance of its height and location in history

1838

1837 Original signal station on Flagstaff hill https://www.hothamhistory.org.au/flagstaff-gardens-once-a-cemetery/

Flagstaff Hill

The City of Melbourne, Australia, by N.Whittock

Retrieved from: https://www.hothamhistory.org.au/flagstaff-gardens-once-a-cemetery/

Retrieved from: https://www.oldtreasurybuilding.org.au/yarra/taming-the-river/

1840 - 1857

1839

1855

1858

As topography travels uphill towards the hill top, water flows downhill to highlight the uprising nature of the topography

The introduce of water

Existing Topography

C

C’

Design Strategy

Design Outcome

Contemplation By the water

EARTH (Slope)

- The slope enabled the connection between the lower elevation and the hill top, it is highlighted through introducing water on site.

- The site is devided into 3 spaces by three sides to accommondate the needs of both collective gatheing and soltary activity, yet the circulation remain open for passersby.

- Water being a medium of filtering the noise from adjacent sports amenities.

Water

VEGETATION

- The sound and movement of water flowing through the designated course and falling into the pool of water at the end create a soothing effect in the landscape.

- The intervetion directed users to be walking and sitting among the vegetation, allowing them to pick up more subtle details of the landscape through wearing the light filtered through the tree leaves, taking a look at a fragile leaf fallen on the bench or end up moving with the water flow.

FOCUS ELEMENTS Pedestrian Lawn

Lawn Central stage

LEGEND Concrete

Canopy with trunk Timber

PLAN @1:200 Design intervention

Water

Existing central stage

0

5

10

20

30

40

Spatial diagrams - Access and Occupation

Existing axis of access

Access around the design intervention

Spaces for collective gatherings

Spatial diagrams - Access and Occupation

Water basin

Pool of water

Location of seatings (Existing + Added)

Sight of view (indicative) from seatings

Access to water features

Design Intervention Inspired by the narrative of water

Flooding raises the sea level up again, forming Birrarung and its tributaries.

volcanic activity and lava first formed the land we stand on today.

Water of Birrarung once locked in mountains, in the huge lake called Moorool, or Great Water.

The forming of glaciers and dropping of water level, exposed the topography and forming indigenous flora and fauna.

Mapping of yarra river and its tributaries. based on resource retrieved from: https://www.vewh.vic.gov.au/rivers-and-wetlands/central-region/yarra-river#!

The formation of the land and water - The foundation of Melbourne

Perspectives

SITE IIIA CALMING PLACE TO BE FOUND

SCALE BAR 1:500 0

10

50

100

A’

SITE III A CALMING PLACE TO BE FOUND

SITE II PASSAGE TO THE HILL TOP

SITE I Recovering the sensory

Design Strategies

A

natural devision of occupation is present in this corner of the Flagstaff garden where a dead sugar gum separates the space into half. One side is used as a dog park and extensively occupied during after business hours and weekends. however, the other side presents a totally different vibe even when there is full of movement and energy at the dog park. Being located at the very edge of Flagstaff Garden where the sun sets in the west, the site is naturally and already a contemplative space that adored by many either remain solitary or present in groups of 2-3.

A place that stand alone to facilitate contemplation titled a calming place to be found, it is a place designed with no indication of its location, no linkage provided between the other 2 sites of focus, a place can only be found only when you followerd your intuition to the corner of the site, walked past all the popular spots filled with people and then settle your feet on the ground.

Site III - A calming place to be found

A low profile design approach +Engaging people with the full potential of the site My objective for this site is therefore retaining the exisiting landscape elements and try to settle my design in the site with little obstruction as possible. Working with the site in acknowledgment of the wonderful vegetation qualities of the eucalyptus plantings, the deign interventions focus on not only providing places to allow people to seat in stills, but also maximixing sensory engagement with the entire canopy of eucalyptus through walking the ground.

The line markings provide guidence for a short walk among the eucalyptus with seatings that attempt to represent the fallen nature of eucalptus leaves. the interventions jointly help people to perceive the site better from exploring the site following the line markings, sensing the changing of light and texture from different locations, while ocassionly looking down to notice the subtle beauty of the unique ground quality that different from the rest of the park that lead them to look around and look up more, freeing them from a life dominated by screens.

Site III - A calming place to be found

ECA

EL

ECA

ECL

ECL

ECL ECL CM CM AC

ECL EP

EP

SCALE BAR 1:500 0

10

20 30

40

50

100

EL

Eucalyptus Leucoxylon (Yellow Gum)

ECA

Eucalyptus camaldulensis (River Red Gum)

ECL

Eucalyptus cladocalyx (Sugar Gum)

EP

Eucalyptus polyanthemos (Red Box)

AC

Angophora costata (Smooth barked apple)

CM

Corymbia maculata (Spotted gum)

Feature of the site - Eucalyptus planting

Seatings

+

=

Line markings on the ground

Prominent Vegetation

Intervention

SCALE BAR 1:500 0

10

20 30

40

50

100

Design Outcome

Contemplation through walking the ground and feeling the surrounding elements.

Grass

Fallen bark

EARTH (GROUND QUALITY)

Fruits

Birds

Leaves

Sunset Clouds

AIR (SKY AND CLOUD)

Changing light of the sky

Rain

Canopy

BARK

Sweeping leaves

VEGETATION

Street Level Pedestrian

Lawn

Height Scale

FOCUS ELEMENTS

Pedestrian

Vegetated retaining wall PLAN @1:200 LEGEND

Canopy with trunk

Design intervention

0

5

10

20

30

40

Perspectives