Stratification & Erosive Profiles by livern.lim

STRATIFICATION & EROSIVE PROFILES LI VERN LIM

GRADUATION STUDIO 2014

PROGRAMMATIC SCULPTURE III STRATIFICATION & EROSIVE PROFILES LI VERN LIM (309175615) TUTOR: FRANCOIS BLANCIAK Email: livernlim@gmail.com

ABSTRACT Technological advancements and the development of our culture have resulted in a societal shift, from one that engaged all senses to one that has an over-dependence upon a single sense: vision. This distancing of human relation to reality and the over-emphasis on the intellectual and conceptual dimensions of architecture further contributes to a loss of the physical, sensual and embodied essence of architecture. Through the materiality and the experiential beauty of wabi-sabi, this project will attempt to create an architecture that encourages the senses to act as a mediator between ourselves and the world.

force for the creation of habitable spaces? To answer this question, the design strategy that I engaged in for the development of the geometry and form of the building was highly process-based, where I gained insight and direction from rigorous physical modelling exercises at every stage.

The Museum of Mining and Geology is a multifunctional centre for galleries and exhibitions, research, education as well as cultural events. The function of the building is divided into 7 key areas: Entrance, Retail, Museum Galleries, Education & Learning, Admin & Research, Events, and Logistics.

For the main material which constitutes the cube, sandstone was chosen due to it tactile materiality and responsiveness to the time, weather, and human action. As the building takes on the properties of actual sandstone, it harnesses sandstoneâ&#x20AC;&#x2122;s honest materiality and natural characteristics as well as its inevitable aging process over time to inform the profile and overall form of the structure - creating cave-like habitable spaces through weathering and erosion. Referencing the museums curatorial premise, the outer layer of the building is partially temporal and responsive to climatic events, changing over time as the earth changes.

The buildings on the site in McMahons Point sit elevated on beautiful sandstone rock formations which can be seen and experienced from the street level. I was particularly fascinated by these natural rock formations and the diversity in which erosion and weathering patterns occurred on the rock surface despite being exposed to the same weathering and erosion agents. These sandstone formations and rock erosions became the departure point of the design. The geological nature of the site created an opportunity for the project to build

The museum is to be constructed by the creation of sandstone from sand using technologies like Microbialinduced calcite precipitation which involves flushing bacillus pasteurii through loose sand and turning it into solid sandstone. This is a recent innovative technology and has the capabilities of producing a large block of structurally strong sandstone in less than 24 hours for less than 1/10 the price of concrete without any adverse effect on the environment. It also replicates the natural erosion of sandstone, being completely made of sand.

on the richly layered history of the area and act as an extrusion of the ground by embodying the materiality of the surroundings. The main question I asked myself at the start of the design process was: How can erosion, which is usually seen as a destructive force, be harnessed as a constructive

This project values honesty and authenticity in materiality above all else, and aims to excite and arouse the senses through a heightened awareness of materiality, texture, sound, space, scale and light.

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CONCEPTUAL FRAMEWORK

LINE OF INQUIRY PROJECT OUTLINE MCMAHONS POINT DESIGN STRATEGY TECHNOLOGICAL STRATEGY STRATIFICATION & EROSIVE PROFILES FINAL MODEL IMAGES DESIGN NARRATIVE BIBLIOGRAPHY & PRECEDENTS BRIEF & PROGRAM

PROJECT CONTEXT AND SITE

APPROACH & RATIONALE

CONSTRUCTIONAL APPROACH

FINAL DESIGN DRAWINGS & IMAGES

ADDITIVE FABRICATION TECHNOLOGY

PROCESS & DESIGN STAGES

INTELLECTUAL/PHILOSOPHICAL FRAMEWORK

CONCEPTUAL FRAMEWORK

LINE OF INQUIRY On Beauty and Phenomenological Experiences in the Imperfect, Impermanent, and Incomplete INTRODUCTION: A RETINAL WORLD “The architecture of our time is turning into the retinal art of the eye. Architecture at large has become an art of the printed image fixed by the hurried eye of the camera. The gaze itself tends to flatten into a picture and lose its plasticity; instead of experiencing our being in the world, we behold it from outside as spectators of images projected on the surface of the retina.”1 Technological advancements and the development of our culture have resulted in a societal shift, from one that engaged all senses to one that has an over-dependence upon a single sense: vision. As with all art, an obsession with visual aesthetics has fundamentally affected the architectural profession, where buildings are now designed to please the eye, not delight the totality of the body.2 It has become common practice to investigate, appreciate and experience architecture primarily from a visual perspective. Architecture now is typically described with reference to our eyes; we describe how it looks, rather than how it feels, smells or sounds. The realisation of what is occurring with our sensory systems has been noted by philosophers and architects alike. Pallasmaa sums it up neatly when he writes, “…the inhumanity of contemporary architecture and cities can be understood as the consequence of the body and the senses, and an imbalance in our sensory system.”3 The reliance we have upon a visual world can be traced back to classical times. Many philosophical writings contained “ocular metaphors” and certainly centered around vision and visibility.4 In Western thinking, vision has long been thought “the noblest of all the senses” (down to the lowest sense, touch) and is associated with qualities such as knowledge and truth.5 The dominance of sight has continued till today, its ascendancy more pervasive than ever since technological advancements have assisted in ordering and separating the senses even more distinctly. We now rely on vision so much that our other senses are being suppressed and neglected.6 This distancing, “de-sensualization and de-eroticization” of human relation to reality, and the over-emphasis on the intellectual and conceptual dimensions of architecture further contributes to a disappearance of the physical, sensual and embodied essence of architecture.7 As buildings lose their “plasticity” and their relation to the human body, they become detached in the cool, unfeeling and distant world of vision. With the loss of tactility and the scale and details crafted for the human body and hand, architecture turns into stage sets for the eye, without the honesty of material and tectonic logic.8 1 Holl, Steven, Juhani Pallasmaa, and Alberto Pérez Gómez. 2006. Questions Of Perception. 1st ed. San Francisco, CA: William Stout, 29. 2 Pallasmaa, Juhani. 2005. The Eyes Of The Skin. 1st ed. Chichester: Wiley-Academy, 26. 3 Ibid., 17. 4 Ibid., 15. 5 Ibid., 16. 6 Ibid., 16. 7 Holl, Steven, Juhani Pallasmaa, and Alberto Pérez Gómez, 29. 8 Ibid., 29.

MATERIALITY AND TIME The materials of today - sheets of glass, synthetic materials and enameled metal - present their unwavering facade to the eye without revealing anything of their essence or age. They willfully aims at ageless perfection and excludes the dimension of time or the inevitable process of aging. However, natural materials like stone, brick and wood allow the gaze to penetrate their surfaces, and thus convince us of the authenticity of matter. Natural materials articulate its history and age as well as the story of its birth and human use. The patina of wear adds the enriching experience of time; indeed, matter exists in the continuum of time.9 “A pebble polished by waves is pleasurable to the hand, not only because of its soothing shape, but because it expresses the slow process of its formation; a perfect pebble on the palm materializes duration, it is time turned into shape.”10 Figure 1: test text

The Japanese culture has a strong appreciation of these qualities by acknowledging three simple realities: nothing lasts, nothing is finished, and nothing is perfect.11 It embraces the inevitable traces of wear and age, so much so that they have a specific term for describing this particular aesthetic character in objects and materials: wabi sabi. WABI SABI: APPRECIATION OF THE IMPERFECT, IMPERMANENT & INCOMPLETE “We do not dislike everything that shines, but we do prefer a pensive lustre to a shallow brilliance, a murky light that, whether in a stone or an artifact, bespeaks a sheen of antiquity... We love things that bear the marks of grime, soot, and weather, and we love the colors and the sheen that call to mind the past that made them.” 12 - Tanizaki (In Praise of Shadows) In order to understand wabi sabi, the Japanese perception of beauty must first be understood on a conceptual level. The traditional Japanese beauty differs radically from that of the West. The Japanese have long held the notion that beauty is not inherent in an object, but rather is experiential. Given an ordered set of circumstances, beauty is the elicited response experienced by the perceiver.13 The experiential nature of the aesthetic in Japanese culture is not something to be merely looked upon, but rather something to be experienced in a very real sense by all the human senses, which relates strongly to Pallasmaa’s idea of phenomenology in architecture.

Authenticity in matter Fig 1: Ningbo Historic Museum Fig 2 : Each brick tells a story of its history

Wabi sabi is the most conspicuous and characteristic feature of what is thought of as traditional Japanese beauty. It occupies roughly the same position in the Japanese pantheon of aesthetic values as the Greek ideals of beauty and perfection in the West.14 It is, however, the antithesis of the Classical Western idea of beauty as something perfect, 9 Pallasmaa, Juhani, 31-34. 10 Ibid., 57-58. 11 Gellner, Arrol. 2011. ‘Embracing Imperfect Architecture | Inman News’. Inman.Com. Accessed April 27 2014. http://www.inman.com/2011/11/18/ embracing-imperfect-architecture/. 12 Tanizaki, Jun’ichirō. 1977. In Praise Of Shadows. 1st ed. New Haven, Conn.: Leete’s Island Books,11-12. 13 Crowley, James, Sandra Crowley, and Joseph Putnam. 2001. Wabi Sabi Style. 1st ed. Layton, Utah: Gibbs Smith. 14 Koren, Leonard. 1994. Wabi-Sabi For Artists, Designers, Poets & Philosophers. 1st ed. Berkeley, Calif.: Stone Bridge Press, 21.

Source: Hengzhong, Lv. 2014. Ningbo History Museum (2003-8), Ningbo, China. Image. http://www.australiandesignreview. com/features/26177-wang-shu-memory-is-deeper-thansymbols. Hengzhong, Lv. 2012. Wang Shu Ningbo Museum. Image. http://www.pritzkerprize.com/sites/default/files/gallery_ images/wang-shu-ningbo-history-museum-08.jpg.

enduring, and/or monumental.15 In other words, wabi sabi is the exact opposite of what slick, seamless, massively marketed objects (like the latest handheld wireless digital devices) aesthetically represent. The closest English word to wabi sabi is probably “rustic”. The Merriam-Webster dictionary defines “rustic” as “simple, artless, or unsophisticated… with surfaces rough or irregular”. While “rustic” represents only a limited dimension of the wabi sabi aesthetic, it is the initial impression many people have when they first see a wabi sabi expression. In his book “Wabi Sabi for Artists, Designers, Poets and Philosophers”, Leonard Koren exquisitely explained the beauty and experiential nature of wabi sabi in this poetic excerpt:

Figure 1: test text

The qualities of wabi-sabi Fig 3: Wabi-sabi chawan Fig 4: Aged Japanese wooden signage

“I was drawn to the beauty of things coarse and unrefined; things rich in raw texture and rough tactility. Often these things are reactive to the effects of weathering and human treatment. I loved the tentative, delicate traces left by the sun, the wind, the heat, and the cold. I was fascinated by the language of rust, tarnish, warping, cracking, shrinkage, scarring, peeling, and other forms of attrition visibly recorded. Chromatically, I was enamoured of objects and environments whose once-bright colours had faded into muddy tones, or into the smoky hues of dawn and dusk. I was particularly taken by the noncolour colours, grey and black. When closely observed, there is an infinite spectrum of blue-greys, brown-greys, red-greys, yellow-greys... And green-blacks, orange-blacks, violet-blacks, purpleblacks... I was also aroused by the beauty of things odd, misshapen, and/or slightly awkward; what conventional thinking might consider “not in good taste” or “ugly”. I was aroused by understated, unstudied, unassuming objects that possessed a quiet authority. I gravitated toward things that reduced the emotional distance between them and I; things that beckoned me to get closer, to touch, to relate with. And lastly, I was attracted to the beauty of things simple, but not ostentatiously austere. Things clean and unencumbered, but not sterilized. Materiality, pared down to essence, with the poetry intact.”16 Pared down to its barest essence, wabi sabi is the Japanese art of finding beauty in imperfection and profundity in nature, of accepting the natural cycle of growth, decay, and death. It’s simple, slow, and uncluttered - and it reveres authenticity and honesty of material above all. It celebrates cracks and crevices and all the other marks that time, weather, and loving use leave behind. It reminds us that we are all but transient beings on this planet - that our bodies as well as the material world around us are in the process of returning to the dust from which we came. Through wabi sabi, we learn to embrace liver spots, rust, and frayed edges, and the march of time they represent.

Source: Smith, Diane Haynes. 2013. Wabi Sabi Chawan. Image. http://designfieldnotes.com/2013/03/japanese-wabi-sabiliving-in-perfect-imperfection/. Yarrow, Alder. 2010. The Philosophy Of Wabi-Sabi. Image. http://www.vinography.com/archives/2010/08/the_ philosophy_of_wabi-sabi_an.html.

15 Juniper, Andrew. 2003. Wabi Sabi. 1st ed. Boston: Tuttle Pub, 7. 16 Koren, Leonard, 62-73.

The words wabi and sabi were not always linked, although they’ve been together for such a long time that many people use them interchangeably. In fact, the two words do have distinct meanings, although most people don’t fully agree on what they might be. WABI: Simple, Austere Beauty Wabi stems from the root wa, which refers to harmony, peace, tranquillity, and balance. Generally speaking, wabi had the original meaning of being sad, desolate, and lonely, but poetically it has come to mean simple, unmaterialistic, humble by choice, and in tune with nature. Wabi reaches its peak of austerity in emptiness - which is a central and pervasive idea in Buddhism - and the skilled manipulation of light and shadow. In his essay “In Praise of Shadows” (1933) Tanizaki Jun’ichiro has this to say about the beauty of the alcove (tokonoma) in the traditional Japanese teahouse: “An empty space is marked off with plain wood and plain walls, so that the light drawn into it forms dim shadows within emptiness. There is nothing more. And yet, when we gaze into the darkness that gathers behind the crossbeam, around the flower vase, beneath the shelves, though we know perfectly well it is mere shadow, we are overcome with the feeling that in this small corner of the atmosphere there reigns complete and utter silence; that here in the darkness immutable tranquillity holds sway.”17 A simple structure, but a special and evocative one; a place of deeply philosophical depths. A space cut out of the room, which cuts off direct light and thereby opens up a new world of shadows with a quality of mystery and depth more superior to that of any wall painting or ornament: these techniques developed distinctively in the Japanese tradition of architecture. The technique seems simple, but was by no means so simply achieved. Tanizaki remarks, “The beauty of a Japanese room depends on the variation of shadows, heavy shadows against light shadows - it has nothing else.”18 Pallasmaa also talks about the significance of shadow for the creation of mysterious and inviting spaces as they dim the sharpness of vision, make depth and distance ambiguous, and invite unconscious peripheral vision and tactile fantasy.19 He exclaims, “How much more mysterious and inviting the street of an old town with its alternating realms of darkness and light than are the brightly evenly lit streets of today!”20 Homogenous light paralyses the imagination in the same way homogenization of space weakens the experience of being, and wipes away the sense of place. Beauty in wabi comes from a sense of peace and tranquillity yet mystery and awe in the face of simplicity, allowing light and shadow to conceive a new world.

17 Tanizaki, Jun’ichirō, 20. 18 Tanizaki, Jun’ichirō, 18. 19 Pallasmaa, Juhani, 46. 20 Ibid., 46.

Fig 5, 6, & 7: Beauty, mystery and allure through light and shadows (references on the next page)

SABI: Rustic Patina Sabi by itself means “the bloom of time.”21 It connotes natural progression-tarnish, hoarseness, and rust - the extinguished gloss of that which once sparkled. It’s the understanding that beauty is fleeting. The word’s meaning has changed over time, from its ancient definition, “to be desolate,”22 to the more neutral “to grow old”23. By the thirteenth century, sabi’s meaning had evolved into taking pleasure in things that were old and faded. A proverb emerged: “Time is kind to things, but unkind to man.” The concept sabi carries not only the meaning ‘aged’—in the sense of ‘ripe with experience and insight’ as well as ‘infused with the patina that lends old things their beauty’—but also that of tranquillity, aloneness, deep solitude.24 Tanizaki’s “In Praise of Shadows” frequently celebrates sabi, glorifying “…things that bear the marks of grime, soot, and weather, and the sheen that call to mind the past that made them.”25

Figure 1: test text

“Unfinished wood, as it darkens and the grain grows more subtle with the years, acquires an inexplicable power to calm and soothe… When new, tin tableware resembles aluminium and it not particularly attractive; only after long use brings some of the elegance of age is it at all acceptable. Then, as the surface darkens, the line of verse etched upon it gives the final touch of perfection… this flimsy, glittering metal takes on a profound and somber dignity akin to that of red unglazed pottery… We begin to enjoy it only when the luster has worn off, when it has begun to take on a dark, smoky patina.”26 Sabi things carry the burden of their years with dignity and grace: the chilly mottled surface of an oxidized silver bowl, the yielding grey of weathered wood, the elegant withering of a bereft autumn bough. An old car left in a field to rust, as it transforms from an eyesore into a part of the landscape; and an abandoned barn, as it collapses in on itself, hold this mystique. Fig 8: Cracked old wood Fig 9: Old metal lantern, covered in rust Source: Itō, Teiji. 1993. Wabi, Sabi, Suki. 1st ed. Tokyo: Cosmo Public Relations.

As discussed in the earlier part of this essay (under the subheading Materiality and Time), Pallasmaa often brings up honesty and authenticity of material in his writing, critiquing current construction materials which aim at ageless perfection and revering natural materials which age and take on a patina, adding an enriching experience of time.27 There’s an aching poetry in things that carry this patina, and it transcends the Japanese culture. One is ineffably drawn to old towns with their crooked cobblestone streets and chipping plaster, to places battle-scarred with history much deeper than our own. People seek sabi in antiques and even try to manufacture it in distressed furnishings. True sabi cannot be acquired, however. It is a gift of time.

Source: Gardner, Amy. 2014. Craftsman Teahouse. Image. http:// www.houzz.com/photos/637325/craftsman-teahousecraftsman--dc-metro. Donderis, Carlos. 2012. Atami 熱海. Image. http://www. flickr.com/photos/cadsonline/7164974366/. 静寂 (Stillness). 2013. photo/2313526/.

Image.

http://photohito.com/

21 Crowley, James, Sandra Crowley, and Joseph Putnam, 24. 22 Ibid., 24. 23 Juniper, Andrew, 7. 24 Hammitzsch, Horst. 1981. Zen In The Art Of The Tea Ceremony. 1st ed. New York: St. Martin’s Press. 25 Tanizaki, Jun’ichirō, 11-12. 26 Ibid., 6-10. 27 Pallasmaa, Juhani, 31-34.

WABI SABI AS A MULTISENSORY EXPERIENCE Admittedly, the beauty of wabi sabi is not to everyone’s liking; however, diversity of cultural ecology is a desirable state of affairs, especially in opposition to the accelerating trend toward the “de-sensualization”, “de-eroticization” and uniform digitalization of all sensory experiences. 28 Pallasmaa surmised that “every touching experience of architecture is multi-sensory; qualities of matter, space, and scale are measured equally by the eye, ear, nose, skin, tongue, skeleton and muscle. Architecture involves seven realms of sensory experience which interact and infuse each other.”29 In The Book of Tea, Kakuzo Okakura illustrates the experiential beauty of a simple tea ceremony through multi-sensory experiences and imagery: Figure 1: test text

“ ... quiet reigns with nothing to break the silence save the note of the boiling water in the iron kettle. The kettle signs well, for pieces of iron are so arranged in the bottom as to produce a peculiar melody in which one may hear the echoes of a cataract muffled by clouds, of a distant sea breaking among the rocks, a rainstorm sweeping through a bamboo forest, or of the soughing of pines on a faraway hill.”30

Fig 10: Scents and Sounds, by Kengo Kuma for the 2014: Sensing Space: Architecture Reimagined Exhibition Source: Harris, James. 2014. Installation By Kengo Kuma. Image. http://www.archdaily.com/473147/seven-architectstransform-london-s-ra-into-multi-sensory-experience/.

Similarly, architecture should be something that your entire body has a response to--the action, as it were, whereas the way the way you experience a building is the reaction. Architecture is not something that you can simple see; it must be felt, heard, and even smelled, to have a lasting impact upon the person ‘viewing’ it. “A meaningful architectural experience is not simply a series of retinal images. The ‘elements’ of architecture are not visual units or gestalt; they are encounters, confrontations that interact with memory.”31

28 Koren, Leonard, 8. 29 Pallasmaa, Juhani, 41. 30 Okakura, Kakuzō. The Book Of Tea. 1st ed. Champaign, Ill.: Project Gutenberg. 31 Pallasmaa, Juhani, 63.

DESIGN APPLICATION: MUSEUM OF MINING AND GEOLOGY Infusing this research into the design of the Museum of Mining and Geology, the design takes into account these main ideas: honesty and authenticity in materiality; the “bloom” of time; age and patina (sabi); variation of light and shadow (wabi); and tactile, multisensory experiences.

Figure 1: test text

Fig 11: Natural Light, by Grafton Architects for the 2014: Sensing Space: Architecture Reimagined Exhibition Source: Harris, James. 2014. Installation By Grafton Architects. Image. http://www.archdaily.com/473147/seven-architectstransform-london-s-ra-into-multi-sensory-experience/.

For the main material which constitutes the cube, sandstone was chosen due to its tactile materiality and responsiveness to the time, weather, and human action. The site itself, being elevated on beautiful sandstone rock formations, provides an opportunity for the building to act as an extrusion from the ground itself. As the building takes on the properties of actual sandstone, it harnesses the sandstone’s honest honest materiality, natural characteristics as well as its (timedependent) aging process to inform the profile and overall form of the structure - creating cave-like habitable spaces through weathering and erosion. Referencing the museums curatorial premise, the outer layer of the building is partially temporal and responsive to climatic events, changing over time as the earth changes. The creation of cavernous spaces within the sandstone has the capacity to excite and arouse the senses by contrasting spaces with different properties and scale - large spaces with small spaces, grand, imposing spaces, with intimate, claustrophobic spaces - and varying the degree of light and shadow - bright spaces, dark spaces, pitch black spaces, blindingly bright spaces. Sandstone, being a sedimentary rock, produces boundless variations of texture due to its layered property. The different strata layers erode in diverse ways producing varying textural quality and atmospheres. The distinct characteristics of surfaces would also bounce light and sound in different ways, providing visitors with a unique tactile, visual, and acoustic--indeed, multisensory-- experience. CONCLUSION Wabi sabi has a compelling pedagogic dimension. Because things wabi sabi reveals honest natural processes such as aging, blemishing, and deterioration, they graphically mirror our own mortal journeys through existence.32 Accordingly, interacting with wabi sabi objects and environments makes one aware that one exists. Architecture with these qualities “concretize and structure man’s being in the world”33 through multisensory experiences, and a strengthened sense of materiality, texture, weight, space, scale and light. Pallasmaa sums it best when he says, “In memorable experiences of architecture, space, matter and time fuse into a singular dimension, into the basic substance of being, that penetrates our consciousness. We identify ourselves with this space, this moment and these dimensions become ingredients of our very existence. Architecture is the art of reconciliation between ourselves and the world, and this mediation takes place through our senses.”34

32 Koren, Leonard, 8. 33 Holl, Steven, Juhani Pallasmaa, and Alberto Pérez Gómez, 37. 34 Pallasmaa, Juhani, 72.

BIBLIOGRAPHY Crowley, James, Sandra Crowley, and Joseph Putnam. 2001. Wabi Sabi Style. 1st ed. Layton, Utah: Gibbs Smith. Dawkins, Rachel. 2010. ‘Engaging Sensibilities: An Exploration Into Architectural Techniques For Multi-Sensory Environments’. Masters of Architecture, Unitec. Franck, Karen A, R. Bianca Lepori, and Karen A Franck. 2007. Architecture From The Inside Out. 1st ed. Chichester: Wiley-Academy. Gellner, Arrol. 2011. ‘Embracing Imperfect Architecture | Inman News’. Inman.Com. Accessed April 27 2014. http://www.inman.com/2011/11/18/ embracing-imperfect-architecture/. Hammitzsch, Horst. 1981. Zen In The Art Of The Tea Ceremony. 1st ed. New York: St. Martin’s Press. Holl, Steven, Juhani Pallasmaa, and Alberto Pérez Gómez. 2006. Questions Of Perception. 1st ed. San Francisco, CA: William Stout. Juniper, Andrew. 2003. Wabi Sabi. 1st ed. Boston: Tuttle Pub. Koren, Leonard. 1994. Wabi-Sabi For Artists, Designers, Poets & Philosophers. 1st ed. Berkeley, Calif.: Stone Bridge Press. Okakura, Kakuzō. The Book Of Tea. 1st ed. Champaign, Ill.: Project Gutenberg. Pallasmaa, Juhani. 2005. The Eyes Of The Skin. 1st ed. Chichester: Wiley-Academy. Tanizaki, Jun’ichirō. 1977. In Praise Of Shadows. 1st ed. New Haven, Conn.: Leete’s Island Books.

BRIEF & PROGRAM

PROJECT OUTLINE PROJECT OUTLINE The project focuses on the pure form of a cube as a starting point for investigation and experimentation. This form can be morphed in a myriad of ways: cut, eroded, excavated, dissolved, subtracted, fragmented, distorted, liquefied, displaced or otherwise affected by other transformative operations relevant to the concept or program. A functional program is then developed through analysis of the site and the opportunities provided by morphological transformation of the cube. The linearity of the traditional design sequence is broken- where instead of the usual pattern where site and program are fixed by the brief, and form is meant to be the logical result of a linear design operationsite and form are the only fixed parameters at the start, and then program to be determined through the design process.

BRIEF MUSEUM OF MINING & GEOLOGY The museum is a multifunctional centre for galleries and exhibitions, research, education as well as cultural events relating to the area of Mining and Geology. There are a few floors of gallery space (some permanent and some temporary), cafeteria and shop, library and mediatheque, two large auditoriums (one for specially designed acoustic performances), research office spaces, conservation labs, meeting rooms, classrooms, an outdoor bar/restaurant, lounge areas, function rooms and a rooftop amphitheatre. The heritage spot on the site (Lloyd Rees Lookout) is to be maintained as a viewing platform/public plaza on the site. This brief points towards a design that allows one to encounter the siteâ&#x20AC;&#x2122;s materiality, history, culture, geological and climatic conditions in an atmospheric and experiential way, through multi-sensory experiences. Musical event at Cumberland Caverns Source: Bluegrass Underground. 2011. Image. http://4.bp.blogspot.com/2kuZdqBm0GY/TjsxrNHL5vI/AAAAAAAACpI/WRdWedw3Sn8/s1600/cave-035.jpg.

FUNCTIONAL PROGRAM The program is divided into 7 key areas: Entrance, Retail, Museum Galleries, Education & Learning, Admin & Research, Events, and Logistics.

ENTRANCE

ENTRANCE HALL & LOBBY (1600m2) The Main Entrance (off Blues Point Road) is easily accessible by both pedestrian and vehicular traffic. While the main entrance itself in barely visible from the street (recessed into the earth and appears to be a crack in the ground), the entrance hall is a large cavernous space, and entering the building and into the entrance hall would be a grand experience. This area includes ticketing, lobby/lounge areas, a childrenâ&#x20AC;&#x2122;s playroom and an entrance gallery space. TICKETING (300m2) This is where visitors will be able to receive information regarding the facilities and exhibits in the museum as well as buy tickets where required. Includes a cloakroom and a small back office for administrative purposes.

RETAIL

MUSEUM SHOP (600m2) A shop for the museum exhibition catalogues, books, film, music and souvenirs related to the museum exhibits. Includes a storage area inaccessible to the public for retail stock. CAFE/RESTAURANTS (2000m2) A cafeteria on the ground floor in close proximity to Main Entrance (900m2). The space incorporates outdoor seating that takes advantage of the views of the Sydney City skyline and Lloyd Rees Lookout. There is also a higher-class restaurant/bar in the event spaces on the top level (1100m2) with outdoor seating.

MUSEUM GALLERY

ENTRANCE GALLERY (1200m2) PERMANENT EXHIBITION SPACES (5000m2) TEMPORARY EXHIBITION SPACES (3500m2) These spaces take up the largest proportion of the whole building and provide an atmospheric, experiential and stimulating experience for the visitors. Exhibitions vary from informative and educational (eg: geological artifacts like rocks and gems, and machinery used in the past for mining) in the Permanent Exhibition Spaces, to the more artistic spectrum with art like sculptural works in the Temporary Exhibition Spaces. The Entrance Gallery should be directly accessible from the Main Entrance. PROJECTION ROOMS (500m2) Dark spaces for media projections. Walls and ceilings should provide cabling connection options. 11

EDUCATION AND LEARNING

CLASSROOMS/LEARNING STUDIOS (1000m2) Learning spaces for museum-held classes and workshops as well as an activity and discovery areas for kids. Here, kids would be able to conduct little experiments and play games that will help them understand a little bit about the world. LIBRARY/MEDIATHEQUE (4000m2) Library space for the general public, students, researchers and scholars containing books, maps, journals and electronic resources regarding the area of mining and geology. The library would include a help desk area, book storage, reading areas, working areas, group meeting and discussion areas, a media library and a computer lab. The area with books would not be exposed to direct sunlight and be lit artificially. The meeting and working areas however, would have daylighting. AUDITORIUM x2 (700m2 x2, Seats: 289) The auditorium space would be cavernous, as if in a large cave, and the acoustics of the space would be impacted accordingly. The acoustic experience within the auditorium would be similar to the Underground Opera experience in the Jenolan Caves (Blue Mountains) and can be used for performances or even for lectures. The space will be artificially lit and ventilated.

ADMIN AND RESEARCH

RESEARCH OFFICES (3500m2) This is the base where researchers and scholars gather to research, rediscover, restore and preserve historical and geological artifacts. The space would be well-lit and ventilated with both natural and artificial lighting and ventilation. These spaces would include conference and meeting rooms, office spaces, rest/lounge areas and a kitchen facility. CONSERVATION LABS (900m2) This is where the museum team of scientists and conservators work to clean, repair and stabilise objects in the collection. The study of objects while they are being conserved contributes to a better understanding of the collections and the mechanisms by which they deteriorate. This space requires highly controlled artificial lighting, ventilation and humidity conditions due to the fragile state of the objects and also the frequent use of chemicals in the labs. ARCHIVES (1000m2) The archive would contain older historical documents, maps, surveys, and journals inaccessible to the public.

EVENTS

PROGRAM SUMMARY

LOUNGE/LOBBY (1800m2) A continuous space linking various program together where people gather. These are important spaces for private functions and for continuing discussions after meals. It includes a restaurant/bar and can be used to hold special events.

PROGRAM Entrance Hall Main Hall Ticketing Lobby/Lounge Children’s Playroom Museum Shop Cafeteria TOTAL

ROOFTOP AMPHITHEATRE (800m2) A large open area within the eroded sandstone with stepped seating on the roof of the building for cultural events, performances, shows or even just to enjoy the magnificent view. This area would be completely naturally lit.

MUSEUM GALLERY

Entrance Gallery Permanent Exhibition Spaces Temporary Exhibition Spaces Projection Room TOTAL

PUBLIC

STORAGE (3000m2) This is where the museum exhibits are stored under highlyregulated conditions, so as to not deteriorate the historical artifacts. Lighting and ventilation will be fully-artificial and highly-controlled. Connected to loading dock. TOILETS (1300m2) Male and female toilets are provided on each floor.

500 300 800 200 600 900

1.0 0.6 1.7 0.4 1.3 1.9

3300

6.9

1200 5000 3500 500 10,200

2.5 10.4 7.3 1.0 21.3

200 2500 450 700 600 200 250 300 1400

0.4 5.2 0.9 1.5 1.3 0.4 0.5 0.6 2.9

6600

13.8

1800 450 800 1100

3.8 0.9 1.7 2.3

EDUCATION & LEARNING

Library/Mediatheque Help Desk & Storage Book Shelves Reading Areas Working Areas Group Discussion Areas Small Meeting Rooms Media Library Computer Labs Auditorium x 2 TOTAL

EVENTS

Lounge/Lobby Function Room Rooftop Amphitheatre Rooftop Bar/Restaurant TOTAL

CIRCULATION (3000m2) Access to the top floors are via vertical circulation using the lift and stairs. There are 4 circulation cores in the building which consist of a fire-isolated escape stairs and lifts in accordance to the BCA. MACHINE ROOMS (5000m2) The main areas in the building that house the building’s services, machinery and equipment. PLANT ROOMS: A limited-access room dedicated to heating, ventilation and air-conditioning (HVAC) equipment and other machinery. DATA CENTRE: A dedicated room for computers and related data processing equipment, with raised floors, abundant and dedicated air conditioning, and specialized power supply and fire suppression systems.

ENTRANCE

FUNCTION ROOM (450m2) A large private room for exclusive events and functions.

LOGISTICS

TOTAL PUBLIC SPACE

4150

8.7

24,250

50.7

1500 200 600 1000 100 4000 900 1000

3.1 0.4 1.3 2.1 0.2 8.4 1.9 2.1

9300

19.3

3000 1300 3000 5000 2000

6.3 2.7 6.3 10.4 4.2

14,300 47,850

30.0 100.0

ADMIN & RESEARCH

PRIVATE

Research Offices Office Space Meeting Rooms Conference Rooms Rest/Lounge Areas Kitchen Facilities Admin Offices (with Research Office facilities) Conservation Labs Archives

TOTAL PRIVATE SPACE

LOGISTICS SERVICES & CIRCULATION

Storage Toilets (13x100m2) Circulation Machine Room/AC Vertical Circulation

TOTAL SERVICES & CIRCULATION TOTAL FLOOR AREA

PROJECT CONTEXT AND SITE

MCMAHONS POINT McMahons Point is a harbourside suburb on the lower North Shore of Sydney located in the North Sydney LGA. McMahons Point sits on the peninsula flanked by Berrys Bay to the west and Lavender Bay to the east. The lower tip of the peninsula (Blues Point) offers magnificent views of Port Jackson (Sydney Harbour). McMahons Point is primarily a medium-to-high-density residential area and is bordered by the surrounding suburbs of Waverton, North Sydney and Lavender Bay. Once predominantly workingclass, it is now among Sydney’s most exclusive localities due to its proximity to water and views. A popular activity in the North Sydney area is the Historic Walks. These walks provide historical orienteering and take the visitor along the harbor foreshore, through bustling business districts and tranquil parks and gardens to discover North Sydney’s many layers of history while taking in the breathtaking views. The Historic Walks commemorate people, places and events that have contributed to North Sydney’s history and heritage. Coincidentally, one of the Historic Walk paths passes by the site and there are no less than five historical attractions in close proximity to the site, one directly on the site itself (Lloyd Rees Lookout). Blues Point Tower, being one of the historical/heritage monuments close to the site has its own interesting story. In 1957, much of McMahons Point was to be rezoned as ‘waterfront industrial’ and the area mined out for coal, however a group formed by residents and architects, led by Harry Seidler, argued for a residential vision. Seidler proposed a 29-building apartment development, all with harbor views. This vision caused the rejection of the industrial zoning motion, however, soon after that, political support for Seidler’s plan quickly faded, and Blues Point Tower was the only element of the plan to be built.

Top: An aerial shot of Blues Point Tower in 1963 Bottom: CH Hunt’s drawing from the cover of the Illustrated Sydney News, 2 Dec 1893, entitled A Glimpse of the Future: Cremorne 10 Years Hence, illustrating North Sydney being turned into a mining and industrial waterfront. (Source: North Sydney Heritage Centre, Stanton Library)

NORTH SYDNEY: HERITAGE WALKS

2 CAMMERAY

FALCON

CREMORNE

HWA Y

ARY MILIT

DFE BRA

NORTH SYDNEY

MCMAHONS POINT

NEUTRAL BAY

WAY CAHILL EXPRESS

WAVERTON

WARRIN G

AH FREE

WAY

ILD

HIG

MILLER

IFIC PAC

WOOLSTONECRAFT

1 MILSONS POINT HISTORIC WALKS HISTORIC SPOTS COMMERCIAL STRIP SITE SITE AREA

THE SITE Located near the tip of the peninsula, one of the most prominent aspects of the site are the viewsSydney Harbour and city skyline to the south, Lavender Bay, Harbour Bridge, Luna Park and Milsons Point to the east, as well as Balls Head Reserve and Berryâ&#x20AC;&#x2122;s Bay to the west. The site has a 83m x 83m square footprint and a projected height of the project is 83m, which is the same height as Blues Point Tower. The main access into the area (pedestrian and vehicular) is via Blues Point Road. With exception to Blues Point Tower, all the surrounding buildings are lowmedium density housing.

IMAGES: VIEWS FROM THE SITE Top: Views to the South- Walsh Bay & Sydney CBD Mid: Views to the East- Harbour Bridge , Lavender Bay, Luna Park & Milsons Point Bottom: Views to the West- Balls Head Reserve & Berrys Bay

SITE ANALYSIS DIAGRAMS

HERITAGE

The site as an extension of the Historic Walks.

LEGEND SITE BUILDINGS GREEN SPACES HERITAGE SPOTS HERITAGE WALK VIEWS GREENERY

HISTORIC WALK HISTORIC SPOTS

MAIN ACCESS TO SITE

Blue Point Road as the main vehicular and pedestrian access.

LEGEND SITE BUILDINGS GREEN SPACES HERITAGE SPOTS HERITAGE WALK VIEWS GREENERY

BUS STOPS CYCLING PATH BUS ROUTE

PRIMARY VIEWS

South to the Sydney CBD skyline and East to the Opera House and Harbour Bridge.

LEGEND SITE BUILDINGS GREEN SPACES HERITAGE SPOTS HERITAGE WALK VIEWS GREENERY

LEGEND SITE

LOCATION MAP

BUILDINGS

SOUTH- Walsh Bay & Sydney CBD EAST- Harbour Bridge , Lavender Bay, Luna Park & Milsons Point WEST- Balls Head Reserve & Berrys Bay

GREEN SPACES VEGETATION

ROCK WEATHERING & EROSION ON-SITE A large proportion of Sydney sits on natural sandstone; in fact many of the buildings on the site sit elevated on beautiful sandstone rock formations which can be seen and experienced from the street level. Additionally, on the lower end of the site (Middle Street), the street ends abruptly with a steep cliff (Llyod Rees Lookout) with a magnificent view of the harbour. On the site I was particularly fascinated by these natural rock formations and the diversity in which erosion and weathering patterns occurred on the rock surface despite being exposed to the same weathering and erosion agents. In many cases, the erosions created cracks, fissures and niches which initiated the opportunity for the creation of habitable space within these â&#x20AC;&#x153;imperfectionsâ&#x20AC;?. These sandstone formations and rock erosions became the departure point of the design.

OPPORTUNITIES FOR DESIGN The geological nature of the site, its history as a potential coal mine, and being in close proximity to the Historic Walks and no less than five historical attractions (one directly on the site itself), creates an opportunity for the project to build on the richly layered history and geology of the area as well as act as an extension to the Historic Walks. The site, being elevated on these sandstone formations also suggests that the building could act as an extrusion of the ground by embodying the surrounding material qualities.

APPROACH AND RATIONALE

DESIGN STRATEGY GEOMETRY, SCALE, COMPOSITION & FORM IN 2D AND 3D The main question I asked myself at the start of the design process was: How can erosion, which is usually seen as a destructive force, be harnessed as a constructive force for the creation of habitable spaces?

WIND EROSION

To answer this question, the design strategy that I engaged in for the development of the geometry and form of the building was highly processbased, gaining insight and direction from rigorous physical modelling exercises at every stage.

RAIN EROSION

RESEARCH SUMMARY:

TYPES OF WEATHERING & EROSION PHYSICAL WEATHERING Physical weathering is caused by physical changes such as changes in temperature, freezing and thawing, and the effects of wind, rain and waves. Most natural erosion happens with the presence of water: RAIN EROSION, as the impact of rain erodes soil particles and the loose particles are moved by flowing water, STREAM EROSION, where fast flowing water and force of the sediments in streams erode the rock surfaces, and COASTAL EROSION, produced by the continuous strike of waves against the shore.

STREAM EROSION

COASTAL EROSION

CHEMICAL WEATHERING The weathering of rocks by chemicals is called chemical weathering. Rainwater is naturally slightly acidic because carbon dioxide from the air dissolves in it. Minerals in rocks may react with the rainwater, causing the rock to be weathered. Some types of rock are easily weathered by chemicals. For example, limestone and chalk are made of a mineral called calcium carbonate.

CHEMICAL EROSION

BIOLOGICAL/HUMAN WEATHERING Animals and plants can wear away rocks. This is called biological weathering. For example, burrowing animals such as rabbits can burrow into a crack in a rock, making it bigger and splitting the rock. Humans can even cause biological weathering as well. Mining activities are a large contribution to human erosion. 19

HUMAN EROSION

EXPERIMENTATION STRATEGY Since erosion is usually unplanned and accidental, I decided to begin by removing my control and making architectural moves with a rough hand - designing through process and using that process to develop spatial and architectural qualities from the “imperfections” and unplanned “accidents” in the model. I began to cast cubes with different materials (plaster, concrete and 3 different types of sand) in different moulds (aged wood and foam) so that I could try eroding them through physical weathering, the most relevant erosion type on the site. Using a high power water jet spray, I attempted to mimic the effect of rain, stream and coastal erosion on the cubes.

Waterproofed moulds

Concrete cast in a wood mould

De-moulding: Plaster(70%)+Sand(30%)

De-moulding Complete

INITIAL EXPERIMENTATION BEFORE EROSIVE FORCE: PLASTER (70%) SAND (30%) AGED WOOD MOULD

PLASTER (70%) SAND (30%) FOAM MOULD

SAND (70%) PLASTER (30%) AGED WOOD MOULD

AFTER EROSIVE FORCE:

OBSERVATIONS The experiment was conducted with the intention of creating habitable spaces using the effects of erosion in different materials. However, these initial experiments were not giving me the variation in erosion patterns seen on the site. The erosion rates were pretty much uniform throughout the face. This brought up the question: Why do rocks erode differently despite being subjected to the same erosive force? Though these experiments did not produce variety of erosions, it was useful to see which combination of materials eroded more easily than others. The fine sand combination showed the smoothest and highest rate of erosion, followed by sand 21

with coarser aggregates. Concrete did not erode easily but left a more gritty texture when eroded, and the plaster models hardly eroded at all. For this experiment, it was also important to see the effect of the mould material on the model. The effects of Sabi is something that cannot be created. However, through using plaster, a material that mimics any surface it is cast on (be it shiny perspex or matt surfaces) age and patina can be transferred over to the plaster by using a mould made out of old wood. This was quite successful, the texture and age from the old wood made the cubes look like they were made from actual rock.

SAND (70%) PLASTER (30%) FOAM MOULD

CONCRETE AGED WOOD MOULD

CONCRETE FOAM MOULD

RATE & QUALITY OF EROSION SMOOTH

Plaster (70%) + Fine Sand (30%)

ROUGH

Plaster (70%) + Med Sand (30%)

Plaster (70%) + Coarse Sand (30%)

Concrete

Sand (70%) + Plaster (30%)

WHY ROCKS WEATHER DIFFERENTLY Wondering why rocks erode differently despite being subjected to the same erosive force, I did some research into how rocks were formed. The rocks on the site are sedimentary rocks and they are formed when soil and other materials on the Earthâ&#x20AC;&#x2122;s surface are eroded and finally settle down, forming one layer of sediments. As time passes, more and more materials get eroded and settle on the older layers. Thus, layer upon layer is formed. The lower layers undergo intense pressure due to the weight of the upper layers, eventually evolving into rocks. The sedimentary rock layers are being eroded at different rates despite being exposed to the same weathering agents primarily because each of the rock layers have different compositions, causing the softer strata to erode at a faster rate than the harder strata. Layer boundaries are natural planes of weakness along which the rocks can break and fluids can flow.

Niches created due to the erosion of softer strata

Various types of graded bedding: layering of sediments with different granularities

Sandstone texture and strata

Through the uneven erosion rates of each layer, cracks and fissures were created, initiating the creation of habitable space within them.

Diagram: Sedimentary layers with different granularities

SEDIMENTATION: EXPERIMENTATION Rocks erode the way they do because of the way they are formed. Proceeding with this knowledge, the next experimental models were created with layers with different qualities and subjected to the same erosive force. Signs of habitable spaces began to appear. The cube harnessed the materialâ&#x20AC;&#x2122;s natural characteristics to inform the profile and overall form of the design- creating cave-like habitable spaces through weathering and erosion.

BEFORE EROSIVE FORCE: RANDOM LAYERS

AFTER EROSIVE FORCE:

MIXED LAYERS

ORDERED LAYERS

HABITABLE SPACES CREATED:

VIEW OF BLUES POINT TOWER FROM LLOYD REES LOOKOUT TO BE MAINTAINED IN THE DESIGN

SITING

LLOYD REES LOOKOUT

With the knowledge gained from the previous form studies, erosion becomes an opportunity for the creation of habitable spaces as well as a means of getting light into the building and opening up areas to magnificent views. As summarized in the previous section, in strata, erosion mainly happens in 2 areas- the layer boundaries where 2 different materials meet, and the softer, finer strata.

â&#x20AC;&#x153;eroderâ&#x20AC;? of the design. As an example, the south and east faces are eroded to open up as much access to primary views as possible, and the north face is eroded for sunlight access. The area where Lloyd Rees Lookout is on the site is also eroded away so as to maintain this heritage spot, and the north-west corner of the building, which is the part of the building first encountered by approaching visitors, is eroded to allow access into the building.

Extruding the stratified cube on the site, I began to orchestrate where openings might occur and would best occur to take advantage of the properties on the site- the views, sun, wind, access, history and heritage acting as the

PLANNING, LAYOUT, CIRCULATION AND ZONING

Planning of the Entrance and Event floors

Like in nature, the initial erosions and cracks became the gateway for continual erosion into the structure, creating habitable spaces, and inducing the planning of spaces around these voids. The different strata layers would not only erode at different rates, creating habitable spaces, but produce different atmospheric qualities once eroded due to the different erosive qualities of each sedimentary layer. Also, the lower areas, due to its restricted access to light would be darker and more atmospheric while the top areas would have more access to natural light. This subsequently resulted in the stratification and layering of program within the building where courser erosions and darker, more atmospheric spaces housed more experiential spaces like the gallery and event spaces while strata with finer grain erosions and more consistent lighting qualities were

used for more functional spaces like the library and research offices. The building was planned in layers and then stacked on top of one another. Each layer was designed in a similar way to OMAâ&#x20AC;&#x2122;s Agadir Convention Centre where a mass is split apart and the negative space sandwiched in between is designed based on how a person would experience the space. There are 4 circulation cores which run through the whole building- each with a fire-escape stairs and lifts. The cores are located in such a way that the egress is within 25m no matter where a person is in the building. Placing the cores in a symmetrical manner and near the centre of the building is favourable when it comes to structurally supporting the building.

AUDITORIUM FUNCTION ROOM BAR/LOUNGE ARCHIVES CONSERVATION LAB RESEARCH OFFICES

EVENT SPACES ADMIN & RESEARCH

ADMIN OFFICES DISCOVERY SPACE PUBLIC LIBRARY

EDUCATION & LEARNING

UPPER EXHIBITION SPACE

TEMPORARY EXHIBITION

MUSEUM GALLERIES

LOWER EXHIBITION SPACE TICKETING/ENTRANCE GALLERY ENTRANCE HALL/LOBBY MUSEUM CAFE/SHOP

ENTRANCE

MACHINE ROOM

LOGISTICS

STORAGE

Top-left: Program organization diagram Top-right: Stacking of sections Bottom: Stacking of sections (atmospheric)

EXPERIENTIAL ASPECTS: AMBIANCE, ATMOSPHERE, MATERIALITY AND LIGHT

A SERIES OF TEST RENDERS

The creation of cavernous spaces within the sandstone has the capacity to excite and arouse the senses by taking into consideration the bodyâ&#x20AC;&#x2122;s experience as it traverses the space, confronting spaces with different properties and scale - large spaces with small spaces, grand, imposing spaces, with intimate, claustrophobic spaces - and varying the degree of light and shadow - bright spaces, dark spaces, pitch black spaces, blindingly bright spaces. Sandstone, being a sedimentary rock, produces boundless variations of texture due to its layered property where each layer has a distinct erosive quality. The different strata layers erode in diverse ways producing varying textural quality and atmospheres. The distinct characteristics of surfaces would also bounce light and sound in different ways, providing visitors with a unique tactile, visual, and acoustic--indeed, multisensory-- experience. 31

LIGHTWELL

CONSTRUCTIONAL APPROACH

TECHNOLOGICAL STRATEGY BIOSTONE: Microbial-induced calcite precipitation Source: Trimble, Peter. 2014. Image. http://www.dezeen.com/2014/02/08/stools-made-of-sand-and-urine-by-peter-trimble/.

Embodied Energy Analysis: Concrete VS Biostone

G R O W BACTERIA

SAND MOULD

Method for creating sandstone from sand

The museum is to be constructed by the creation of sandstone from sand using technologies like Microbial-induced calcite precipitation which involves flushing a particular bacteria (bacillus pasteurii, which is a micro-organism readily available in marshes and wetlands) through loose sand and turning it into solid sandstone. This is a recent innovative technology and has the capabilities of producing a large block of structurally strong sandstone (able to withstand 70% the compression strength of concrete) in less than 24 hours for less than 1/10 the price of concrete. Currently materials use â&#x20AC;&#x153;heat beat and treatâ&#x20AC;? methods of production, carving things down from the top with 96 % waste and only 4 % product. This process requires less than one-sixth of the energy used in concrete production, and is completely biodegradable. It also replicates the natural erosion of sandstone, being completely made of sand.

Required Energy Analysis of Biostone

PUMP/// BACTERIA THROUGH MOULD

MIX/// CALCIUM + UREA

PUMP/// CALCIUM + UREA

CONSTRUCTION SYSTEM

Though sandstone is structural, stone is good in compression but not in tension. An additional tensile element is necessary to enable the floors to span and open up areas within the building. Thus, each layer of strata is to be sandwiched between reinforced floor slabs that are supported by the central core. Similar to the casting of concrete, each layer of strata in between the floor slabs are cast by building formwork, pouring the sand into it and subsequently solidifying it. The next layer is then built onto that and so on.

Top-left: Position of the central core Bottom-left: Construction system diagram Right: Sketch Design of the Construction System

FINAL DESIGN DRAWINGS AND IMAGES

STRATIFICATION & EROSIVE PROFILES

LOCATION PLAN 1:4000 35

EROSIVE FORCE

CONCEPT DIAGRAMS

PROGRAM ARRANGEMENT DIAGRAM 36

ENTRANCE FLOOR 1 ENTRANCE HALL 2 TICKETING 3 CLOAKROOM 4 LOBBY/LOUNGE 5 ENTRANCE GALLERY 6 MUSEUM SHOP 7 SHOP STORAGE 8 CAFE 9 OUTDOOR SEATING 10 LLOYD REES LOOKOUT 11 CHILDREN’S PLAYROOM

LOWER GALLERY

UPPER GALLERY

1 OUTDOOR GALLERY 2 MUSEUM GALLERY 3 LOUNGE 4 PROJECTION ROOM 5 TOILETS

1 ACOUSTIC PERFORMANCE AUDITORIUM 2 MUSEUM GALLERY 3 OUTDOOR GALLERY 4 WALKWAY GALLERY 5 TOILETS

2 3 3

1 10

9 3

7 2

LIBRARY

ADMIN AND RESEARCH

1 HELP DESK 2 LIBRARY 3 GROUP STUDY AREA 4 READING AREA/LOUNGE 5 WORKING AREAS 6 MEDIA LIBRARY 7 TECH LAB 8 GROUP MEETING ROOMS 9 TOILETS 10 OUTDOOR READING AREA

1 CONSERVATION LAB 2 CONFERENCE ROOM 3 COURTYARD 4 REST/LOUNGE 5 RESEARCH OFFICE SPACE 6 ARCHIVES 7 READING/STUDY AREA 8 MEETING ROOM 9 TOILETS 10 KITCHENETTE

EVENT FLOOR 1 OUTDOOR AUDITORIUM 2 AUDITORIUM 3 FUNCTION ROOM 4 LOBBY/LOUNGE 5 BAR/RESTAURANT 6 OUTDOOR DINING & SEATING 7 TOILETS

SECTION 1:1000 41

EAST ELEVATION 1:1000 44

SOUTH ELEVATION 1:1000 46

TECHNOLOGICAL STRATEGY 1 STRUCTURAL CORE 2 REINFORCED FLOOR SLAB 3 CASTED SOLIDIFIED SAND (STRUCTURAL)

KEY DETAIL DRAWING 1:100 1 REINFORCED FLOOR SLAB 2 CASTED SOLIDIFIED SAND (STRUCTURAL)

MUSEUM GALLERY SPACE RENDER

ADDITIVE FABRICATION TECHNOLOGY

FINAL MODEL IMAGES

The final model is made using a mix of kaolin and silica, basically clay and sand, 2 of the most common minerals in the earthâ&#x20AC;&#x2122;s crust. Using additive fabrication technologies the model seeks to replicate the process of material stratification over time.

View of the building from the south

Close up: view of the eroded area in the lower gallery space

Inside&Outside, Light&Dark: Gallery Space Experience

Entrance: a crack in the earth

Materiality of stone

Rooftop outdoor restaurant/bar area

PROCESS & DESIGN STAGES

DESIGN NARRATIVE CONCEPT MODELS Form and material experimentation through rigorous physical modelling exercises at every stage of the design process.

PRE-INTERIM

MELTED FOAM MODELS

CARVED FOAM MODELS

PLASTER ANTHILL MODEL

SUBTRACTION PLASTER MODELS

Starting out with interest in the idea of mining (in relation to the history of the site as a potential coal mine), I experimented with several ways of excavating mass from solids.

Aiming to gain more control over the way voids were created, I proceeded to manually carve into the foam cubes, creating pathways and links.

The previous models experimented with the outer form of the design, but what of the interior spaces?

Inspired by anthill design, I proceeded to try making a model where the negative space is designed first and then subtracted from the cube: in this model rock-shaped voids were subtracted from the plaster cube.

These foam cubes were melted with acetone to create large cavernous voids within the cube. I tried to create different results with the same process by varying the way acetone was poured onto the model. However, the results are highly uncontrollable and also appear to be quite homogeneous.

With this method I was able to put the cube on the site and subtract spaces based on the effect of the site surroundings. However, I felt that everything I did was too deliberate, too controlled and there was very little room for happy mistakes/accidents.

I decided to follow on with the idea of having the “imperfect”, organic spaces cut into the “perfect”, rigid and rectilinear shape of the cube. The main inspiration for this particular model was the structure of ant nests as they “design” the negative space itself, subtracting it from the solid of the earth.

I collected rocks from the site, cast them in wax, stacked the wax stones within the cube forming a trajectory, cast the cube in plaster and melted the wax stones away, leaving beautiful cave-like, organic voids within the cube. Some very interesting lighting effects, spatial and textural qualities were achieved.

INTERIM

POWDER-PRINTED MODEL

LIMESTONE REACTION MODEL

CAVE-LIKE SPACE: EMULATIONS

ERODED FOAM MODEL

I liked how the previous plasterrock subtraction model turned out, however being a completely analog method of modelling, I had no way of planning spaces within it or turning it into a series of plans or sections. This meant that I had to somehow transfer this analog model into the digital realm.

This model was a study of how facade patterns could be generated via erosive processes. Small pieces of limestone were put into a cube mould and cast in plaster. The limestone was later dissolved by submerging the entire cube in hydrochloric acid.

This model was a physical modelling exercise where I attempted to create cave-like qualities using subtractive techniques.

Following my research on erosion types, I surmised that physical erosion was the most relevant erosive force on the site.

Lime powder (soluble in water but not in plaster) was heaped into the mould while plaster was being poured. After the plaster hardened, the lime powder was washed away, leaving behind these organic cave-like spaces. This model was useful in showing the kinds of spaces and atmospheres I hoped to create and in hindsight, has a very similar look to my final concept diagrams.

Most natural physical erosion happens in the presence of water and therefore, I used a high-power water jet spray to emulate the effects of erosion on a foam cube.

I did a 3D scan on the same rocks I used in the plaster model and then repeated the same process digitally: stacked them in a cube and ran a boolean command on it, subtracting it from the cube. The resulting form was then 3D printed with the powder printer. 61

POST-INTERIM

However, based on the interim feedback, instead of merely generating a facade pattern, it would be more worthwhile pursuing erosion and the process of the creation of strata as a means of creating habitable spaces. Thus my later experiments played more with idea of space creation through erosive forces.

FINAL DEVELOPMENTS

INITIAL EROSION TEST MODELS

SEDIMENTARY EROSION TEST

SEDIMENTARY EROSION MODEL

POWDER-PRINTED 3D MODEL

To test the erosive effects of the water jet on a material more akin to rock, I produced many models with different materials (a mixture of plaster, sand, and concrete) which were cast in different moulds and subjected to the water jet force to see its effect on different material types.

Realizing the reason behind the homogeneous erosion qualities of the initial test models, I proceeded to create new models containing different layers which each have a different erosive quality and subjected them to the same erosive force.

As the erosions were still not very substantial, a new soft material was added (clay) to increase the contrast between the hardness of the different layers. The strata layers with clay eroded greatly to reveal large cavernous spaces while the harder layers like plaster did not erode at all, keeping the overall form of the cube intact. An interesting variety of erosion forms were created.

Transferring the erosion forms into the digital realm by pressing soft clay into the voids and then 3D scanning them, I proceeded to orchestrate the location of erosions on the cube in Rhino 3D based on the site parameters.

This full results and observations from this study is documented in the Design Strategy section of this book as it became a vital part of how the design developed.

Signs of variation and habitable spaces began to appear. Still, the erosions were not as significant as the model as a whole still looked like a bulk of solid.

The resulting form was later 3D printed and painted with oxide powder to simulate actual sandstone. This model was quite successful in that it looked like it had been modelled and sculpted by hand- it really had the characteristics of rock in terms of texture and erosion quality. This model was further developed and printed as the final model. 62

INTELLECTUAL/PHILOSOPHICAL FRAMEWORK

BIBLIOGRAPHY & PRECEDENTS SECTIONAL EXPLORATIONS SOLID/VOID EXPLORATIONS Agadir Convention Centre by OMA

Elevations of the model

Section cuts through different parts of the model

Source: 2012. Image. http://arquitecturamashistoria.blogspot.com.au/2012/01/delicia-pre-digital-koolhaas-y-el.html.

The Agadir Convention Centre is a single block sliced horizontally into two parts. The irregular plane of the cut is exposed by separating the two halves, creating a major urban ‘room’ and a covered plaza on the beach, facing the sea. Floating above the verandah is the hotel: a single layer of rooms, each its own view. The lower part contains the convention centre with auditoriums and conference rooms which form a curvilinear landscape, a seamless continuation of the surrounding hills and valleys, a landscape of artificial dunes. As a mirror image of this landscape, similar relief floats on the ceiling. The landscape of concave and convex domes, with the irregular ‘forest’ of columns, and shafts of light would provide an extremely unique and atmospheric experience for the visitor. 63

The section drawings were especially interesting to me as it was similar to my concept of having “imperfect”, organic spaces cut into the “perfect”, rigid and rectilinear shape of the cube. The amount of poche and it’s stark contrast against the white voids represented in the sections made the section look extremely alluring and compelling. Thus, I decided to follow a similar graphical style with my design. Though the section drawing was meant to represent cuts showing the different parts of the convention centre, to me, it seemed to suggest a stacking of layers on top of one another, which was in keeping with the idea of stratification and layering of program in my design.

ON CARVING Pionen – White mountain by Albert France-Lanord Architects

Top (from left) 1 Entrance 2 Meeting Room 3 Data Storage Rooms Bottom: section

Source: Lindman, Åke E:son. 2008. Image. http://www.archdaily. com/9257/pionen-%E2%80%93-white-mountain-albert-francelanord-architects/.

The Pionen project by Albert France-Lanord Architects transformed a former 1200m2 anti-atomic shelter into server point for an internet provider which houses server halls, meeting rooms and offices. It is located 30m down under the granite rocks of the Vita Berg Park in Stockholm. What interested me about this project was the fact that the walls were carved out of actual solid rock, and not just applied on as a facade or appliqué. Also, once again, the dark poche contrasted against the organic voids pointed me towards the graphical style I wanted to pursue.

ALTERNATIVE CONSTRUCTION METHODS

BIOLOGICAL CONCRETE Biostone by Peter Trimble

The completed stool made from solidified sand. Source: Trimble, Peter. 2014. Image. http://www.dezeen.com/2014/02/08/stools-made-of-sand-and-urine-by-peter-trimble/.

In a project investigating the possibilities of ‘Microbial Manufacturing’, Peter Trimble explored innovative and sustainable material compositions by replacing energy intensive methods of production with low-footprint biological processes. “Dupe”, Trimble’s thesis project, is a microbial-induced casting procedure, which presents bacterium bacillus pasterurii (a bacterium with the ability to precipitate calcite and solidify sand given a calcium source, and urea, the main nitrogen-containing substance in the urine) as a method of cementing natural granular materials for the creation of useful objects such as furniture. Unlike concrete – which is responsible for 5 % of the world’s man-made CO2 emissions – the bio-material produces zero greenhouse gas during its production, and is comparable to concrete’s structural characteristics (70% the compression strength of concrete). The lowcost casting technique illustrates the potential to use the process in larger scale for industrial manufacturing and other architectural applications. 65

Packing the mould with sand.

LIVING IN NATURAL CRACKS Dune, Magnus Larsson

Insertion of piles into the ground for the injection of the sand-solidifying bacteria

View from within the structure

Changes and growth to the structure over time Source: Larsson, Magnus. 2009. Image. http://bldgblog.blogspot.com.au/2009/04/sandstone.html.

Dune is a large-scale proposal by Magnus Larsson intended to sustainably control desertification in the Sahara Desert while housing thousands of refugees. His proposal involves to creating a 6,000 kilometer-long inhabitable green sandstone wall along the Saharan Desert with the help of bacillus pasteurii, transforming loose sand into a fibrous porous sandstone structure.

to the environment) and uses the natural characteristics and materiality of sand and sandstone to determine the form of the structure. Additionally, the cavernous spaces create a tactile and haptic experience for the user. The qualities of this project are along the same lines as what I researched for my line of inquiry and thus became a very important precedent for my design.

The design is to be built using a procedure that would be analogous to using an oversized 3D printer - inserting piles into the ground to inject the bacteria into the loose sand solidifying parts of the dune as needed. According to his research, the initial reactions would be finished within 24 hours, though it would take about a week to saturate the sand enough to make the structure habitable. This process is cheap (compared to concrete), sustainable (no adverse effects 66

MULTISENSORY ARCHITECTURE Sensing Space: Architecture Reimagined

Natural Light, by Grafton Architects

Scents and Sounds, by Kengo Kuma

Source: Harris, James. 2014. Installation By Grafton Architects. Image. http://www. archdaily.com/473147/seven-architects-transform-london-s-ra-into-multi-sensoryexperience/.

Source: Harris, James. 2014. Installation By Kengo Kuma. Image. http://www. archdaily.com/473147/seven-architects-transform-london-s-ra-into-multi-sensoryexperience/.

Touch, smell, sound and memory were brought together to raise significant questions about the importance of our built environment and its affect on the senses in the “2014: Sensing Space: Architecture Reimagined” exhibition at The London’s Royal Academy of Arts (RA). With a series of large scale installations by famous architects, the immersive exhibition creates an atmosphere that encourages visitors to become part of the experience and open their minds to the sensory realm of architecture, each installation evoking emotions and experiences that are wildly different than its neighbour. Kengo Kuma’s work illustrates a delicate forest of rippling bamboo sticks scented in an aroma reminiscent of an aging temple. The darkness that surrounds the work leads to heightened receptivity of the senses, rousing 67

memories from scents and sounds. Grafton Architects transformative, sculptural ceiling illuminated by variations of light and darkness draws upon the special qualities of London’s sky. This creates a dialogue between the installation and the surrounding context, giving meaning, and identity to the place one is occupying. Where in the postwar era, modern architecture was about problem solving, this exhibition represents a shift towards thinking about architecture in terms of experience, material, light and space.

MULTISENSORY EXPERIENCES Underground Cave Acoustic Performances

Top: Old Year Goodbye Opera Performance at Baradla cave (along the border of Hungary and Slovakia). Bottom: Vidin State Philharmonic Orchestra performance in Magura Cave near Sofia, Bulgaria.

Top: Live concert at Postojna cave in Slovenia Bottom: Cave theatre carved out of solid rock in Cairo

The walls of the caves coming alive with the sound of music - these underground concerts and performances provide the visitor with a whole range of sensory experiences and a heightened sense of materiality, auditory perception, texture, space, scale as well as light. In Sydney itself, the Jenolan Caves in the Blue Mountains becomes a venue for underground opera performances. The experience is a feast for the eyes, the skin, the ears, the nose, and the body as a whole. These are the kinds of sensory encounters and spaces I hoped to created within the eroding cube.

Source: Baradla Cave - Old Year Goodbye Operette Concert. 2010. Image. http://www.panoramio.com/ photo/40741209. Concert Hall In Postojna Cave. 2014. Image. http://www.slovenia-explorer.com/en/places/postojna_ cave?place=7. Nenov, Stoyan. 2008. Christmas Concert Friday At A Concert Hall In Magura Cave Near Sofia, Bulgaria. Image. http://blogs.wsj.com/photojournal/2008/12/12/pictures-of-the-day-76/. Cave Church / Theatre. 2007. Image. https://www.flickr.com/photos/vagabondblogger/1060168019/.

MATERIALITY: HONESTY AND AUTHENTICITY Ningbo Historic Museum, by Wang Shu

Source: Hengzhong, Lv. 2014. Ningbo History Museum (2003-8), Ningbo, China. Image. http://www.australiandesignreview.com/features/26177-wang-shu-memory-is-deeper-than-symbols.

The Ningbo Historic Museum uses age, history and materiality to construct an architecture that is a physical memory of the past and carries a high emotional content. In Domus, the museum was been described as “vulnerable, touching, and almost heart-warming”. It is an architecture with the ability to elicit an emotional response. The materials used in the construction are the very epitome of “sabi”. Most of the Ningbo Museum’s exterior is composed of debris collected from destruction sites around the region. The pieces were assembled using a technique known as wa pan, a method developed by the region’s farmers to cope with the destruction caused by typhoons. The distinctive manner of integrating discarded elements allows the building to not only physically reference the history of building in China, but also breathes life into the structure. 69

PROGRAMMATIC ANALYSIS Museum of the History of Polish Jews by Lahdelma and Mahlamaki Having almost the same footprint size as our project, I chose this building for the programmatic analysis. The central focus of the building is the large, deep cavernous entrance hall that cuts through the building. It opens up the view of an important Jewish monument (Monument to the Heroes of the Ghetto which is on the other side of the building. The large void in the building symbolizes the great rift caused by the Holocaust that caused the scattering of Jewish people across the world. It is also supposed to symbolize the parting of the Red Sea. Program-wise, this museum is a multifunctional centre for exhibitions, research, education and culture relating to the Jewish heritage. There are a few exhibition spaces (some permanent and some temporary), a library and mediatheque, a kosher restaurant, cafeteria, museum shop, 3 large auditoriums, office spaces, classrooms and artist residences.

Source: Paniczko, Pawel. 2013. Image. http://www.archdaily.com/441658/museum-of-the-history-of-polishjews-lahdelma-and-mahlamaki-kurylowicz-and-associates/.