Manners by rachelle.

manners. CRISES CURATED BY RACHELLE YEOH

-03

Babylon, Nowhere, Melbourne tutors: ...

Catalogue of Artefacts

Foundation

Foundation LEVEL ONE

Babylon as my first ever studio. It challenged my preconceptions of what architecture is and what architecture could be, and to think in an abstract and narrative manner, and less ‘logically’.

Nowhere was when I pulled my first all-nighter, and caused my first breakdown; making me on the edge of quiting architecture school.

Melbourne encouraged me to push boundaries conceptually and to design what I imagined Melbourne could be like.

These studios were the foundation of my architectural ventures.

-05

What is architecture???????

A mountain in Melbourne... with no handrails or little to no consideration about the practicalities of the building.

Nowhere got me nowhere... or that was what I was thinking at that time anyway.

Catalogue of Artefacts

Learning Frontiers 4: Hazy Territories tutor: Patrick Macasaet

Learning Frontiers 4

Learning Frontiers 4 LEVEL TWO

Situated in Footscray, a new alternative STE(A)M architecture was proposed using typological procedural methods in an intensive, iterative manner. The rational and ordered nature of the dogma explained and generated the form of my architecture and grounded me in my design decisions. Questions of “why” have been drilled into my brain ever since this studio.

We were encouraged to translate propositions and ideas into an (un)built form, with lots of Tschumi and 21st century education readings to inspire us.

The haziness of the project amongst the supergroup (interrelationships) remained unresolved... very much true to the studio name.

-09 ELEVATION

L OOR PL AN 1 : 2 5 0 GROUNDGROUND FLOOR FPLAN 1:250 GROUND F L OOR PL AN 1 : 2 5 0

400 1 2

Section

400

Section

Section AA. 1:150 @ A1. Section BB. 1:150 @ A1.

WHAT’S INSIDE? THE OUTSIDE. Form generation

The facade should not be the ‘skin’ of the building that hides or shies away from the public eye. The facade, not being decorative, should stay true to its own identity, whilst maintaining that connection to its surroundings - ‘contaminated with culture’, but not infected. This was achieved by encompassing the culture of Footscray in abstract forms. The results include the roof being its own facade; and the facade being its own cohesiveFand indeed a contemporary F Iroof. RST It+ isSECOND L OOR PL AN 1:250 learning environment enriched with its own identity - an eccentric and distinctive STEM learning centre. RACHELLE. YEOH. S3784384.F I RST

+ SECOND F L OOR PL AN 1 : 2 5 0

FIRS T + S ECOND FLOOR PLAN 1:25 0 M AT H EM AT I CS M AT H EM AT I CS

MATHEMATICS

ENGI NEERI NG ENGI NEERI NG

ENGINEERING

T ECH NOL OGY T ECH NOL OGY SCI ENCE

ART S 96

SCI ENCE

ART S

Scale and monumentality

TECHNOLOGY c irc ulation of ide as + k n o w l ed g e building c onne c tions

ARTS

S CIENCE

c irc ulation of ide as + k n o w l ed g e building c onne c tions

circulation of ideas + know l e d g e building connections

Concepts and propositions 65

400

1. Planetarium Experiment

Process Experiment 3: Undermining The Private

1 A generic planetarium was modelled based on a planetarium floor plan. The programmes were assigned a number from 0 to 6.

3 The two spheres were split according to the amount of leaves. Individual parts were scaled according to scale factors.

2 Each components were rotated according to the angles in the y-direction.

4 Components were moved up or down, up being public (toilets, cafe, stores etc) and down

being private (special rooms). Circulation remained untouched. 5 The ‘contour’ function was used for the underground levels. The generated surfaces were then ‘loft’-ed.

TYPE: STADIUMS

2. Facade / Monument Experiment

People usually gather at stadiums to suppor t their teams and spectate a match. Similarly in schools, teachers ‘watch’ the primary school students grow as individuals and nur ture them (not in a creepy way).

SYSTEM: SALAMANDER’S LIMB REGROWTH

The best way a school can provide for a student is their suppor t as they learn and grow substantially throughout their schooling years.

ION

the book of MEAT made ect on the work that e across the semester. udio was definitely a e from the start to the ing the development of M learning centre - from tarium experiment that ly thought was a failure plete, habitable building howed that all my hard oughout the semester pless nights (and days) on energy drinks and he blood, sweat and (a ars; really paid off in the a level two, I’m proud of e achieved and will never his experience and the that I’ve accumulated out the semester.

3. Mid Sem

4. Breaking Away from Rigidity

5. Hazing Up the Territory; Blurring Boundaries

6. Monuments

7. Facade Experiments + Explorations

8. Central Hub + Circulation of Ideas

9. Final Form

10. Final Render

Procedural Catalogue of Artefacts

Learning Frontiers 4

-011

Made in Brunswick II: Police Garage tutors: Helen Duong + Tim Pyke

Catalogue of Artefacts

Made in Brunswick II

Made in Brunswick II LEVEL THREE

The issues and themes we explored in this studio was gentrification and social hierarchy. The brief required us to transform the existing police garage into an RMIT building for students and manufacturers to collaborate. I’ve proposed an educational architecture that rejected efficiency and promoted taking one’s time; whilst celebrated work in a performative manner. Building upon the method of designing, the form generation was very much iterative and procedural, and backed up by conceptual ideas and readings such as “The Language of Architecture: 26 Principles Every Architect Should Know” and “Doing Everyday Multiculturalism in Sydney Road”.

Though briefly touched on, the issue of gentrification remained unresolved as I questioned the unbuilt architecture’s purpose is it as heroic as I thought it was?

-013

Understanding the site through analysis and curation A Catalogue of Ar tifacts

A Catalogue of Ar tifacts

01 Furniture and Wall

Main Picture

1 3 : FI NAL P ROJEC T

of alteration

Workers have curated their own social space - placing furnitures and decorating the large space outside their workplaces. This space is a multi-use space, being a social hub, storage space and a carport.

A curated and decorated space, the designer being the workers.

Title

wall

sto ra g e

ca rp ort

In Brunswick, there are often times when the people are the designers of the space. With this, we should be designing spaces that have a ‘slack’ quality to it, for the space to be flexible and adaptable for future uses. What are some aspects to consider when designing a space with ‘slack’? The people seem to make use of the space, as shown in the photos. People have stored a Bible and deodarant stick within the sills of the windows. The people use their creativity to create a social hub. However, empty and used bottles and cigarette butts are left on the concrete ground. With the consideration of the people of Brunswick being the designers, how can we design spaces that can improve or enhance the social hub?

Sc r i p t

BDD

Storage space, social hub and a carport - three in one.

The archi creative c culture as

M A N U FA C T U R I N G

Title

MIXED

DESIGN SCHOOL

Detail or related picture of alteration

Accumulated cigarette butts and a

E X IST IN G SIT E

s oc ial hub (fur nitur e)

The site w cars and site#, whi the circul experienc

RMIT BRUNSWICK

juice bottle that was left behind.

DIVIDIN G T H E SIT E

Detail or related picture of alteration

glass shards and a pair of socks.

Found by Rachelle Yeoh

Made in Brunswick | Police Garage

A Catalogue of Ar tifacts

02 Contents and Container

Main Picture of alteration p at hways ro ads

This storage space contains machinewares and stacks of boxes, with an outer layer of the ‘container’, being the wall. Another similar shop with the same template was spotted near the storage space. 1.

co nte nts

Title

C IR C UL AT IO N

The storage space has been curated by the workers, designed to have a circulation path. As I was speaking the one of the workers, I told her how I found the layout interesting. She looked surprised as to her, it is normal. As ‘outsiders’ who are designing for the people living in Brunswick, how can we ensure that we are translating their culture and history into the new building? In the axonometric diagram, the upper level seems to be dangerous as it lacks a safety railing apart from the piece of wood. Should something be replaced or added for a safety barrier, in light of this? It is ironic how the storage space itself is a container for the contents stored inside.

All throug in Brunsw are large shelters. becoming culture of

The contents of a storage space inside a template of a container.

Detail or related picture of alteration

Perspective view of the interior space. p at hways ro ads

Detail or related picture of alteration container

Axonometric diagrams of contents vs container.

Made in Brunswick | Police Garage

C IR C UL A R C LUST E R S BA SE D O N SE N SE S

Title

co ntai n er

What hap together a use space collabora amount o efficiency with the l effectiven of unity a architectu

The site a few days later - now with

Axonometric diagram - multi-use space

IN FR A ST R UC T UR E

co nte nts

Found by Rachelle Yeoh

Explanation diagrams

The contents of poultry shop inside a template of a container..

Made in Brunswick | Police Garage

Procedural

Key Contextual Diagrams

These se unload m drivers ar slingshot polycarbo activity a

Panel two: overview of design at 1:2000

Mid Sem 13: FIN A L P R OJE C T

Perspective collage

Catalogue of Artefacts

Congestio to genera develops over quan is in thes between in the pre are aware generate experienc of a confl between experienc

Finals

Made in Brunswick II

-015

Remediation tutors: Jane Dash + Paul Dash

Catalogue of Artefacts

Remediation

Remediation LEVEL FOUR

The ideas and themes explored consistently throughout the studio were the pure and the contaminated; parasite and host. A contaminated ecosystem that remediated the site through residential, commercial and educational precincts was proposed in my group of three. Focusing on the residential sector, I employed a procedural manner... much like my previous studios, but this time with a reliance more on my intuition and less so mathematically. Similarly to Frontiers, the tutors gave us a Tschumi reading, which was the driving factor of my form finding exercise.

We had an obsession of resolving the project. From mid semester review, the project seemed resolved to us and we just developed it further more concisely.

-017

Solid / Void

0 0 : F IN A L P R E S E N TAT IO N

Tschumi readings as a method of form finding

RESIDENTIAL - VIEW FROM THE CORNER OF ALEXANDRA PARADE & GEORGE ST. * Rachelle - Residential 22

02: MICROSCOPIC CITY

02: Z OOMING IN

Parasite + Host

PARASITE + HOST

GROUP MEMBERS 01. 02. 03. * 35

Tsz (Angie) Chan Steffi Li Rachelle Yeoh superdrawing arranged by Tsz (Angie) Chan

Catalogue of Artefacts 37

Remediation

-019

ctrl - z(oo) tutor: Jess Simons

Catalogue of Artefacts

ctrl - z(oo)

ctrl - z(oo) LEVEL FIVE

How can we un-zoo? ctrl-z(oo) interrogated the history and ethics of zoos, as we designed an open range zoo for Australian bush animals and visitors. Instead of a procedural manner, we used existing zoo geometries to form and manipulate something new through incorporating animal behaviour into grasshopper scripts and manual tweakings in Rhino that generated chaotic yet controlled formal qualities. The heavy reliance of technology brought up the danger (or beauty?) of losing control over technology.

There was only a reading prescribed during the semester by ARM, however I revisited FIeld Conditions from LF4, which this time made more sense after learning grasshopper in Comms 3.

-021

MELBOURNE ZOO Melbourne, 1862

The driver’ s job was to lead the horses from one end to the other at each terminus, and he also attended to the collection of fares

Two horses were used to pull open cross bench cars, about the same size as a cable trailer.

Melbourne Zoo is Australia’s oldest zoo and was modelled on London Zoo. The zoo was opened on 6 October 1862 at the Royal Park site of 55-acre (22 ha) on land donated by the City of Melbourne. Before this, animals were housed at the botanical gardens in Melbourne.

252

Initially the zoo was important for the acclimatisation of domestic animals recovering from their long trip to Australia. It was only with the appointment of Albert Alexander Cochrane Le Souef in 1870 that more exotic animals were procured for public display, and the gardens and picnic areas were developed.

The Vict o r ia Police str ike took place e ar ly in Nove mbe r 1923 wh e n great damage was don e to sh ops and othe r bu ildings in th e City. The Zoo horse tr am sh e d an d th e four car s we r e de str oye d by ﬁr e , the horses escape d, bu t this put an e n d to an oth e r of Me lbour n e 's boom t ime ent er pr ise s. It is diﬃcult to say wh e th e r the lin e cou ld h ave survived th e de pr e ssion ye ar s pr ior to th e last Wor ld war , as at that t ime t here was little or n o inte r e st in r e tain ing some th ing just for its novelt y o r histor ical inte r e st. Bu t, of cou r se , had it be e n r e tain e d unt il t he pr e se nt time , it su r e ly wou ld h ave be come on e of Melbourne 's most popular attr action s.

History of the site

Visitors can see historical cages including the heritage listed Elephant House, which has been renovated and adapted for use for customers paying to sleep overnight in tents at the WEST COBURG TRAMWAY WEST COBURG zoo in popular Roar and Snore evenings. TheseTRAMWAY evenings allow Melbourne's early horse trams the public to see some of the66 nocturnal animals at the zoo in evening guided tours by experienced camp hosts.

drawings by Rachelle

ht t p://www. tr amway. or g. au/r e ﬂe ctions_the _zoo_hor se _tr am. h tml

Experimentation of different styles

GRASSHOPPER GRASSHOPPER

total animals in zoo

largest land animal

most powerful kick

tallest mammal

characteristics + behaviour

total australian bush animals in zoo

characteristics + behaviour

Animal Behaviour 160

Catalogue of Artefacts

black and white drawings by Rachelle

ctrl - z(oo)

-023

themes + propositions

Catalogue of Artefacts

procedural; iterative

procedural; iterative QUESTION 01: WHAT IS MY DESIGN PROCESS?

Since Patrick’s studio, I had been programmed into designing procedurally and iteratively. Over the semesters, it had evolved from typological procedural, conceptual procedural to un-zoo procedural (using existing zoo geometries to create something new).

Sometimes, I can’t help but wonder if logic and order is the only criteria that grounds my judgment or criteria of success. What about the developed intuition as a designer? Is there a way to unlearn this practical, rule-driven side of me?

-025

1 3 : FI NAL P ROJEC T BDD

M A N U FA C T U R I N G

MIXED

1. Planetarium Experiment

2. Facade / Monument Experiment

E X IST IN G SIT E

DIVIDIN G T H E SIT E

4. Breaking Away from Rigidity

p at hways ro ads

REFLECTION

Curating the book of MEAT made me reflect on the work that I’ve done across the semester. This studio was definitely a challenge from the start to the end. Seeing the development of this STEM learning centre - from a planetarium experiment that I initially thought was a failure to a complete, habitable building really showed that all my hard work throughout the semester the sleepless nights (and days) relying on energy drinks and coffee, the blood, sweat and (a lot of) tears; really paid off in the end. As a level two, I’m proud of what I’ve achieved and will never forget this experience and the lessons that I’ve accumulated throuhgout the semester.

5. Hazing Up the Territory; Blurring Boundaries

7. Facade Experiments + Explorations

The architecture focuses creative class destroying culture as the nature of i

DESIGN SCHOOL

RMIT BRUNSWICK

3. Mid Sem

Script

6. Monuments

C IR C UL AT IO N

C IR C UL A R C LUST E R S BA SE D O N SE N SE S

The site was equally divi cars and trucks are desig site#, which formed the t the circular spaces that w experience of the users.

What happens in the in b together at intersection a use spaces, where there collaborate. This project amount of output. The ar efficiency. It is designed with the least amount of effectiveness. The archit of unity and diversity in t architecture assists in th

All throughout the site, t in Brunswick. They are o are large that they becom shelters. It functions mor becoming monumental a culture of negotiations a

8. Central Hub + Circulation of Ideas

p at hways ro ads

IN F R A ST R UC T UR E

Explanation diagrams 9. Final Form

10. Final Render

400

Process Experiment 3: Undermining The Private

1 A generic planetarium was modelled based on a planetarium floor plan. The programmes were assigned a number from 0 to 6.

3 The two spheres were split according to the amount of leaves. Individual parts were scaled according to scale factors.

2 Each components were rotated according to the angles in the y-direction.

4 Components were moved up or down, up being public (toilets, cafe, stores etc) and down

being private (special rooms). Circulation remained untouched. 5 The ‘contour’ function was used for the underground levels. The generated surfaces were then ‘loft’-ed.

TYPE: STADIUMS

SYSTEM: SALAMANDER’S LIMB REGROWTH

The best way a school can provide for a student is their suppor t as they learn and grow substantially throughout their schooling years.

Catalogue of Artefacts

Congestion is very often to generate new ways of develops a culture of slo over quantity. Connectio is in these emerging tigh between chaos and orde in the previous perspecti are aware of the systems generate an ordered sys experiencing different ac of a conflict formed by la between the people that experience things togeth

These sequential collage unload materials or pack drivers are able to watch slingshot movement cele polycarbonate walls that activity as they slowly m

systematic pluralism

systematic pluralism QUESTION 02: WHAT EMERGES?

Precision versus vagueness. Chaos versus order. Practical versus ambitious. Perhaps it’s not about something against another, but rather something AND another. The both/and phenomena that Venturi fondly speaks of.

I embrace the systematic pluralistic quality in my projects. I welcome the beautiful poetic contradictions, where complexity emerges.

Yet sometimes I abhore the ugliness of empty words.

-027

“Expressionism is to architecture as adultery is to marriage: most people publicly support the stern moralists who condemn it while wishing they were engaged in some themselves.” 1 In the twentieth century, Australia was in search for a new architectural language and order. Filled with colonisers, immigrants and indigenous people, the Australian culture and identity was questioned and explored. Despite the quest of a new identity, mainstream Australian architects were drawn to the technological and modern advancements and took inspiration from Britain and Europe’s rising styles of internationalism and American skyscrapers. 2 The expressionist tendencies of the Griffins, highlighted in Newman College, paved a way for pluralism for Kevin Borland and Edmond & Corrigan (E&C) in a postmodern era. The Griffins, Borland and E&C defied the conventional Australian architecture honestly and fearlessly in their times. In fact, their allegedly ‘scandalous’ expressionist architecture where “art [was] no longer… a luxury of the few, but enjoyed by the broad masses” 3 meaningfully contributed to Melburnian architecture. The reality is that the fabrication of the Melbourne city is stitched together not as an ideal “urban utopia” 4, but rather as a diversity of colourful experiments - and this trait still defines Melbourne today. Their architecture demonstrates the potential of architecture to be involved in the everyday mundane Australian lives, and how architecture can act beyond its form and purpose of shelter, and as an active participant with a proud Australian spirit.

ARCH 1024 AUSTRALIAN ARCHITECTURE

Instead of satisfying the mainstream by designing architecture that was ‘new’ or specifically ‘Australian’, Newman College embraced its humble gothic nature with less drama and flamboyancy in its ornamentation and material choices. In its multifunctionality and “organic wholeness” 13; the planning is pragmatic and expressive towards their “ideal college purpose and spiritual universality” 14 that still attempts to accommodate all in a single building (Fig. 4). The architecture is surrounded by indigenous landscape 15, seemingly more of a picturesque or decorative element with a lack of integration or connection with the architecture. Newman College may have paved a way for a more inclusive postmodern architecture not only socially, but environmentally and pluralistically.

Fig 3. Queen’s College’s campus map. This emphasises on how Newman College responds to its context, despite their different styles and volumes. The main shape of the floor plan is similar to Newman College and is surrounded by landscape. Source: Queen’s College, 2020. 11

Fig 1. Newman College. Source: Tintean Editorial Team, 2018. 9

In 1913, the Griffins entered Australia from the United States advocating for a democratic architecture 5 with the pure intent of reformation. Fixated on their ideas of the ultimate ‘Australian paradise’ that never came true 6, their political and social stance very much aligned with the avant-garde movement as they refused to succumb to the mainstream tendencies, according to Weirick who described their work as “anti-modern” 7. This passion for the working class was translated across many of their works, noticeably in Newman College – a highly expressive architecture in its humble gothic nature which consists of materials such as sculptural and textured bricks and rocks. If the purpose of the modern movement was to “[reject] the inherent past” 8, the Griffins rebelled against the mainstream through reviving gothic architecture again. Reminiscent of the past, its nostalgic medieval style seems uncanny in the sense that at first glance, it may come across as ancient and out of place. However, though the architecture sits shyly within its neighbouring context in Melbourne; it still actively responds to its surroundings through similar planning and building materials, without losing its specific architectural language and personality.

Fig 6. Floor plan that showcases the conflict in comparison to the 3D model. Source: Rachelle Yeoh, 2020 26

MAJOR ASSESSMENT TASK:

By Rachelle Yeoh (s3784384) Tutorial time: 3-4pm

Hamann, C. (2020). Australian Architecture: The Misty Metropolis. Fabrications, 1-22.

Hamann, C. (2012). Cities of Hope Remembered / Rehearsed. Melbourne: Thames & Hudson. Johnson, A. (2020). History Lecture Weirick, J. (1988). The Griffins and Modernism. Transition: Discourse on Architecture, 5 - 13. Weirick, J. (1988). The Griffins and Modernism. Transition: Discourse on Architecture, 5 - 13.

6 7

Fig 9. The continuity and fluidity of the roof that paths rainwater to flow seamlessly into the concrete water tank, despite the various planes at different angles. The roof challenges the modern norm of flat roofs. Source: Rachelle Yeoh, 2020

Fig. 7. A screenshot from the documentary Straight and True. The exposed timber beams and use of raw tree trunks as structural elements composes an architecture of integrity - true to its nature. Note that the bedroom that is an open space. Source: Straight and True, 2018 32 33 34 35

Bishops, R. R. (Director). (2018). Straight and True [Documentary]. Bishops, R. R. (Director). (2018). Straight and True [Documentary].

(refer to Fig. 5). There is a strange sense of comfort and security walking along the cloisters or corridors whilst hearing the echoes of students’ running footsteps, or a teacher’s thumping high heels clanking against the concrete ground. Upon exit, a wide and open landscape greets the eyes. The juxtaposition of the spatial qualities renders two different worlds, cultivating an environment that defines the boundary between the inside and the outside world. It is through these moments that activate the architecture and partake in the daily Australian life.

Fig 5. Cloister interior. Source: Eric Nicholls, 1916. 17 Fig 6. Landscape outside the cloister. Source: Jeff Turnbull, 2004. 18

Despite the spatial differences between the interior and the exterior, there is still a sense of spatial fluidity that subtly blurs the boundaries between these spaces. Similarly to the internal cloisters, there is a sense of warmth outside of the architecture due to its L-shape – as though the architecture is hugging the landscape, with the cloisters that are perceived as extended arms that wrap around the trees (Fig. 4). The sense of comfort found on the outside is similar to the previously described comfort in the interior spaces, but instead of receiving warmth that radiate off the bodies of passer-by’s in a narrow corridor, the source is from the summer sun brightly shining outside, and also from the larger scale of the architecture that hugs the landscape void in the middle. Newman College is an architecture of comfort, filled with different elements that are pieced together and united as one architecture – a similar technique employed by Borland and E&C, later discussed in this paper. This perhaps underlines the Griffins’ desired unity of the school to function as one body, once again highlighting the Griffins’ social and political agendas that were not commonly accepted by the “bourgeois social order” 19 at that time. This little contradictory moment of having similar and yet different internal and external spatial qualities as such may suggest that the Griffins’ architecture was ahead of its time, paving a way for postmodern architecture that embraces contradiction and complexity 20.

1 3 : FINAL P R O JE C T

Furthermore, complexity through the tension in Newman College also suggests an architecture ahead of its time. The tension does not arise within its differing vocabulary of

17 Turnbull, J. J. (2004). WALTER BURLEY GRIFFIN: the ARCHITECTURE of NEWMAN COLLEGE, 1915-1918. Melbourne: University of Melbourne. 18 Turnbull, J. J. (2004). WALTER BURLEY GRIFFIN: the ARCHITECTURE of NEWMAN COLLEGE, 1915-1918. Melbourne: University of Melbourne. 19 Weirick, J. (1988). The Griffins and Modernism. Transition: Discourse on Architecture, 5 - 13. 20

Hamann, C. (2006). Architecture from the Heart. Melbourne: RMIT Publishing. Hynen, H. (1999). Architecture and Modernity. Massachusetts: The MIT Press

Tintean. 2018. Newman College, Photograph, <https://tintean.org.au/2018/03/06/booklaunch/>. Melbourne University. n.d.. Queen’s College. Photograph. <https://archives.unimelb.edu.au/resources/keys-to-the-past/keys/key-16>.

11 12

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Hamann, C. (2012). Cities of Hope Remembered / Rehearsed. Melbourne: Thames & Hudson. Hamann, C. (2012). Cities of Hope Remembered / Rehearsed. Melbourne: Thames & Hudson. Hamann, C. (2012). Cities of Hope Remembered / Rehearsed. Melbourne: Thames & Hudson. Venturi, R. (1966). Complexity and Contradiction in Architecture. New York: MIT Press.

Annotated in Illustrator Bishops, R. R. (Director). (2018). Straight and True [Documentary].

Bibliography

Bishops, R. R. (Director). (2018). Straight and True [Motion Picture]. Boyd, R. (1960). The Australian Ugliness. Melbourne: F. W Cheshire. Hamann, C. (2006). Architecture from the Heart. Melbourne: RMIT Publishing. Hamann, C. (2012). Cities of Hope Remembered / Rehearsed. Melbourne: Thames & Hudson. Hamann, C. (2016). Remembering Peter Corrigan: a life of movement, energy and integrity. ArchitectureAU. Hamann, C. (2020). Australian Architecture: The Misty Metropolis. Fabrications, 1-22. Hynen, H. (1999). Architecture and Modernity. Massachusetts: The MIT Press. Jencks, C. (2011). The Story of Post-Modernism: Five Decades of the Ironic, the Iconic and Critical in Architecture. London: Wiley. Johnson, D. L. (2002). Australian Architecture 1901-51: Sources of Modernism. Sydney: Sydney University Press. Munday, R. (1977). Passion in the Suburbs. AA, 52-61. Turnbull, J. J. (2004). WALTER BURLEY GRIFFIN: the ARCHITECTURE of NEWMAN COLLEGE, 1915-1918. Melbourne: University of Melbourne. Venturi, R. (1966). Complexity and Contradiction in Architecture. New York: MIT Press. Fig. 16. The floorplan shows the circulation and movement within the architecture that is an amalgam of a range of different forms that are stitched together through compromise. Source: Rachelle Yeoh, 2020. 61

Weirick, J. (1988). The Griffins and Modernism. Transition: Discourse on Architecture, 5 - 13.

In conclusion, the Griffins, Borland and E&C’s architecture highly considered and represented the people in different expressions despite being controversial outcasts in their days. However, it was because of their courage to stay true to their values and convictions, and not conform to societal expectations then that contributed and laid the foundations of Melbourne architecture then and now. As emphasised in Newman College, Athan House and McCaughey House, the architects had set multiple stages to celebrate the everyday mundane lives of Australians living in the suburbs and in the city, which until today, still accentuates what it means to dwell and belong in a multicultural and diverse city.

Traced in Rhino, edited in Adobe Illustrator.

Ordered chaos P E R S P E C TIVE : P E DE S TR IA N

S L I N G S H OT: F R AM E 2

INTERVENTION SECTION

P E R S P E C TIVE : TR U CK DR IVE R

SCALE 1:200 @ A3 INTERVENTION SECTION

Traced in Rhino, edited in Adobe Illustrator. Hamann, C. (2006). Architecture from the Heart. Melbourne: RMIT Publishing. Hamann, C. (2006). Architecture from the Heart. Melbourne: RMIT Publishing. Hamann, C. (2006). Architecture from the Heart. Melbourne: RMIT Publishing. Hamann, C. (2006). Architecture from the Heart. Melbourne: RMIT Publishing.

Fig. 18. A photograph of the north side of the Athan House. The house is a celebration of the diversity in Melbourne, conveyed through colours, mass and structures that compose as one harmonious building. 51

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SL I N G S HOT: FR AM E 1

SLINGSH OT: FR AM E 3

26 27 28 29

Fig. 17. The sharp and prickly nature of the architecture that perfectly encapsulates the harsh Australian climate, with a mix of materials and orientations. Source: 50

Fig. 14 + 15. Drawings of the Athan House. Even in black and white, these intricate drawings perfectly capture the architecture’s movement and energy in built form. Source: Maggie Edmond, 1986. 48

Bishops, R. R. (Director). (2018). Straight and True [Documentary]. Hamann, C. (2006). Architecture from the Heart. Melbourne: RMIT Publishing. Bishops, R. R. (Director). (2018). Straight and True [Documentary]. Bishops, R. R. (Director). (2018). Straight and True [Documentary]. Hynen, H. (1999). Architecture and Modernity. Massachusetts: The MIT Press

An essay on pluralism

Venturi, R. (1966). Complexity and Contradiction in Architecture. New York: MIT Press. Venturi, R. (1966). Complexity and Contradiction in Architecture. New York: MIT Press. Venturi, R. (1966). Complexity and Contradiction in Architecture. New York: MIT Press. “Let me repeat that we should not make Efficiency but Liberty our ideal.” – Walter Griffin Modelled in Rhino and Make2d, lineweights edited in Adobe Illustrator.

Fig. 12. A screenshot from the documentary Straight and True. The visibility and transparency within the architecture speaks volumes. Source: Straight and True, 2018 44

Hamann, C. (2012). Cities of Hope Remembered / Rehearsed. Melbourne: Thames & Hudson. Munday, R. (1977). Passion in the Suburbs. AA, 52-61. Jencks, C. (2011). The Story of Post-Modernism: Five Decades of the Ironic, the Iconic and Critical in Architecture. London: Wiley.

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In a similar vein, E&C displays the quality of embracing one’s true nature through honesty in the Athan House. Instead of telling the truth in a humble and loving way, the architecture is told in brutal honesty, as if it is exposing the truth of the rough Australian climate 45 unapologetically. Unlike Borland’s friendly and welcoming McCaughey House, the architecture is hostile and vicious. Bold and confident in its contrasting and diverse materials and colours (Fig. 14), the Athan House exhibits sudden bursts of “movement and energy” 46 in the abrupt and dramatic sharp edges of the architecture and dynamic roof (refer to Fig. 14, 15, 16 and 17). Similar to the McCaughey House, the Athan House also glorifies the informal services, where they become a part of the architecture, thriving and belonging with no shame. The architecture is dramatic and overwhelming, with brightly painted brick walls and metal sheets, some left raw and untouched. The exposed services seem like welcome signs (Fig. 18), though it is more so challenging the occupants to come in here if you dare. The embracement of the ordinary and the “ugliness” 47 of the architecture is what defines it as an honest, beautiful mess that represents the people.

Venturi, R. (1966). Complexity and Contradiction in Architecture. New York: MIT Press. Boyd, R. (1960). The Australian Ugliness. Melbourne: F. W Cheshire.

21 22 23 24

Fig. 13. A tracing of the floor plan. Source: Rachelle Yeoh, 2020

The Athan House reflects Melbourne as a city that “embodies the difficult unity of inclusion rather than the easy unity of exclusion” 52 of the suburbs. E&C’s strong monumental expressionism in the suburbs earned criticisms by mainstream postmodern architects, especially after Boyd’s disdain towards the suburbs in The Australian Ugliness where he criticises the conditions of suburban architecture 53. Suburban architecture is often neglected and thought of lowly to architects. As Hamann once mentioned, “the real complacency was not the statis of the suburbs, but modernist architects’ dogmatic assumptions of moral and cultural superiority over them.” 54 Instead of conforming to societal standards, E&C succeeded in creating architecture that represented the people in exaggerated and highly dramatic ways through a series of elevated stages, which further assisted in setting up the platform to celebrate the lives of Australians, inclusive of those in the suburbs 55, and even the disabled. With ramps for easy access for the disabled, the architecture is inclusive to all and does not discriminate. Moreover, E&C also challenged Charles Jencks’ definition of post modernism as a “hybrid… of opposing time periods” 56, which was the norm at that period of time. E&C’s architecture defies this ‘modern’ thinking and instead, advocates for “social representation” of everyday Australians through the medium of architecture. In terms of scale, the pluralistic architecture exists in a domestic and monumental scale 57. The monumentality of the architecture commemorates and celebrates the everyday ordinary Australian suburban life.

15 Turnbull, J. J. (2004). WALTER BURLEY GRIFFIN: the ARCHITECTURE of NEWMAN COLLEGE, 1915-1918. Melbourne: University of Melbourne. 16 Traced in Rhino 6, edited in Adobe Illustrator.

Fig 11. An annotated diagram to showcase ‘lure factor’ idea. Source: Rachelle Yeoh, 2020 43

The contradiction and juxtaposition of the edgy angled roof and the curved timberframed glass windows give the impression that the architecture is ‘luring’ and attracting people into the house (refer to Fig. 11 and 12). The intent is not malicious or suggestive of a ‘trap’, but rather, the ‘lure factor’ serves to welcome people with open arms. The smaller additional triangular ‘wings’ that extend out of the architecture’s main body exude a sense of “confrontation and craftmanship” 39, with unfinished timber poles that protrude beyond its roof. It screams that these qualities are worth celebrating instead of hiding away in embarrassment, which conveys a message that ‘you should be proud of this cultural identity’. Despite the open plan of the house with no defined boundaries or confined ‘rooms’ (refer to Fig. 12), each space has its own unique dynamics 40, which encompasses a radical experience as the occupants explore and make their way through the house in an adventurous journey. The diversity and flexibility of spaces and programs where “each space is different” 41 points to the idea of inclusivity and “dwelling” 42, as the occupants feel more at home despite living in an unfamiliar and different space. Honesty is a theme that Borland explored in the James McCauhey House, as there is a lack of privacy due to the architecture’s highly transparent nature. It feels as though someone could be watching from the outside, but there is nothing really to hide as everything has already been exposed. From gigantic windows that surround the architecture in different places and sizes to open rooms with no walls, the transparency and honesty of the architecture once again promotes the idea of inclusivity in Borland’s architecture in a postmodern framework. The daily routine of the occupants are visible, which gives the viewers a chance to experience life together where loneliness is now in the past. In the James McCauhey House, every experience is shared and treasured together as a family.

The cultural diversity in Melbourne is celebrated in Athan House. Viewed as “a ‘city’ in one building” 58, the diverse colours, forms, materials and artefacts unite and compose the architecture in agreement rather than homogeneity 59 (Fig. 16). The architecture embraces its “messy vitality over obvious unity” 60. The architecture is seductively dangerous yet playful, and somehow reminds one of a deformed pac-man with its mouth open and ready to chase after the gobbling dots. The form of the architecture is highly expressive and evocative, with the contradictions and conflicts within the architecture that accentuate its feature, leaving the occupants drawn to the strangeness of the house. It reads a statement that speaks of the diversity of Melbourne, perhaps a symbol or vision of people of different backgrounds – sometimes wacky or tame, coming together and united as one body (Fig 16).

Melbourne University. n.d.. Queen’s College campus map. Diagram. <https://queens.unimelb.edu.au/contact/ >. Traced in Rhino 6, edited in Adobe Illustrator.

Fig. 16. Athan House. Source: ArchitectureAU, 2013 49

Bishops, R. R. (Director). (2018). Straight and True [Documentary].

Venturi, R. (1966). Complexity and Contradiction in Architecture. New York: MIT Press.

Turnbull, J. J. (2004). WALTER BURLEY GRIFFIN: the ARCHITECTURE of NEWMAN COLLEGE, 1915-1918. Melbourne: University of Melbourne.

Fig. 10. A screenshot from the documentary Straight and True. The architecture is a place of contemplation, with the surrounding landscape as the backdrop. Source: Straight and True, 2018 38

Hamann, C. (2006). Architecture from the Heart. Melbourne: RMIT Publishing. Hamann, C. (2006). Architecture from the Heart. Melbourne: RMIT Publishing.

Fig 5. An exploded diagram that pulls apart the different elements that are combined in agreement. Source: Rachelle Yeoh, 2020. 25

Fig. 6. A screenshot from the documentary Straight and True that showcases the James McCauhey House and its landscape. Source: Straight and True, 2018 31

The Griffins revolved their design decisions with the occupants at the forefront, expressing tremendous consideration into the circulation and movement within the architecture. The L-shaped, ‘slingshot-like’ internal circulation draws attention to the transition between the internal and external spatial experiences. Though the cloisters are tight with low ceilings, the spatial experience does not result in a feeling of extreme claustrophobia or compression, but rather of a long and comforting embrace. This is perhaps due to the streams of natural sunlight through the rhythmic windows that repeat in a consistent beat 13 Turnbull, J. J. (2004). WALTER BURLEY GRIFFIN: the ARCHITECTURE of NEWMAN COLLEGE, 1915-1918. Melbourne: University of Melbourne.

Fig. 2. Queen’s College adjacent to Newman College. Source: University of Melbourne Archives Image Catalogue, n.d. 10

Hynen, H. (1999). Architecture and Modernity. Massachusetts: The MIT Press

Borland’s James McCauhey House is a remarkable celebration of movement and diversity through a series of planes in its dynamic and good bogan nature (refer to Fig. 9). The architecture takes the form of multiple buildings condensed inside a building 33, with its singular body sheltered by angled quadrilateral roofs. The house enunciates the idea of “dwelling” 34 as the architecture permeates a sense of belonging despite being strangers – very much reflective of the characteristics of ordinary, humble and friendly Australians. It may have been Borland’s close relationship with his clients 35 that enabled him to design architecture that was specific and personal, which added onto the idea of “dwelling” in a space with meaning and purpose. The pluralistic architecture is both dynamic and tranquil, housing a space that is filled with excitement and at the same time, peaceful and calm. It is a place of contemplation that fosters a culture of taking one’s time and slowing down whilst being present in an environment that is surrounded by the wilderness (Fig. 10 and 11). This places an emphasis on improving the wellbeing of the occupants 36 that is “mentally stimulating” 37. Borland demonstrates that architecture has the potential to play a bigger role than simply a shelter over our heads. It can be expressive and a positive influence in our daily lives.

Fig 4. An initial ground floor plan of Newman College. Notice the symmetry and singularity of the architecture surrounded by landscape, unlike the fragmented form of Queen’s College. Source: Rachelle Yeoh, 2020. 12

Johnson, D. L. (2002). Australian Architecture 1901-51: Sources of Modernism. Sydney: Sydney University Press.

“Art and people must form an entity. Art shall no longer be a luxury of the few, but should be enjoyed and experienced by the broad masses.” - Manifesto of the Arbeitsrat fur Kunst 3

Kevin Borland’s architectural approach of designing from the heart and soul 27 spoke volumes to craft meaningful and vernacular architecture. His architecture was a reflection of his true humility as a person and architect, perhaps influenced by his past experiences of poverty in his childhood and his adult years in the Navy 28. Compared to the Griffins who upheld their integrity in politics and ideologies, Borland’s social values were more “emotional than intellectual” 29. To him, an “all-embracing cultural stance was a necessity and not an afterthought” 30 as he aimed to create architecture that was honest and sincere through exposed timber structures and its inclusion with its landscape (refer to Fig. 6 and 7). Located in the Brown Ranges, Borland’s James McCauhey House in its raw timber state quietly sits in its landscape, with large windows that face the breath-taking and impeccable mountain views to blur the boundaries between the inside and the outside.

Fig 4. An initial ground floor plan of Newman College. Notice the symmetry and singularity of the architecture surrounded by landscape. Source: Rachelle Yeoh, 2020. 16

In what ways are the expressionist tendencies of the Griffins, Kevin Borland and Edmond & Corrigan a rebellion against the mainstream tendencies and/or a gateway to pluralism within Melbourne architecture?

Tutor: Damien Thackray

elements, but rather dimensionally, noticeably in the interference of the rotunda two and three dimensionally. A superimposition of squares in the plan create awkward triangular moments; and when juxtaposed against the spherical dome, there is evident tension and conflict between the smoothness of the curves from the dome against the rigidness of the quadrilateral geometrical planning. The result of this is an intricate and complicated architecture that is “ambiguous” 21 and somewhat confusing in nature. It is probable that Newman College contains some hints of pluralistic characteristic of “both-and” 22 that saturates the architecture with richness and ambiguity 23. With an emerging postmodern era, the Griffins may have inspired architects to design architecture that is actively political, as they strived towards liberty 24 through inclusivity with no fear of judgment from the general public.

SCALE 1:200 @ A3

Catalogue of Artefacts

Thackray, D. (2020). Class discussion Hamann, C. (2012). Cities of Hope Remembered / Rehearsed. Melbourne: Thames & Hudson.

Edmond M. 1986. Athan House Perspective Drawings. Drawing. <https://queens.unimelb.edu.au/contact/ >.

49 Anon. 2013. Athan House. Photograph. <https://architectureau.com/calendar/public-event/open-day-houses-designed-by-edmond-corrigan/> 50 Anon. n.d.. Athan House Monbulk. Photograph <https://www.pinterest.com.au/pin/342625484133959380/>. 51 Anon. n.d.. Athan House Monbulk. Photograph <https://architectureau.com/articles/remembering-peter-corrigan-a-life-of-movementenergy-and-integrity/#img-2>.

contextual; relational

contextual; relational THEME 03: HOW DOES IT RELATE TO THE SITE?

I’d like to believe that all my designs have been made for Melbourne, whether it be the city or the suburbs. The architecture responds to its surrounding neighbours through materiality, as they communicate with the same or similar language. It’s not about creating tension, but about the unity of a small puzzle piece inside a bigger picture of Melbourne.

The architecture’s response to the site is a major criteria of success I’d often set for projects, which partially determines whether or not the architecture is superficial or authentic.

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00: FIN A L P RES ENTAT IO N

RESIDENTIAL - VIEW FROM THE CORNER OF ALEXANDRA PARADE & GEORGE ST.

Responding through dialectic exchanges of materials 22

Catalogue of Artefacts

* Rachelle - Residential

anti heroic; self-righteous

anti heroic; selfrighteous QUESTION 04: WHAT IS THE ARCHITECTURE’S ROLE?

I used to regard my designs very highly. After all, they were responding to the issues presented such as gentrification, homelessness and saving endangered wildlife. I used to see them as heroes or the protagonist in a narrative - architecture that could transform or solve these issues.

It was until I questioned the role of architecture. Though powerful, is it more powerful than what we say envision its abilities to be? After all, it is just a building... right? Building made of materials, by people, for people. Perhaps it’s less about how people may occupy the space, but more so how the architecture can serve the people.

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0 0 : F I N A L P RESENTATI O N

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11 10 18

11 14

11 17

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11 11

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7 77

9 10

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L E G E N D

817

15 15

RESIDENTIAL - 1:200 GROUND FLOOR PLAN

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laneway communal garden residential tower communal kitchen storage communal bbq bedroom one bedroom two living room

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LEGEND 1 laneway 2 communal garden 3 residential tower 4 communal kitchen 5 storage 6 communal bbq 7 bedroom one 8 bedroom two 9 living room 10 kitchen kitchen 11 bathroom bathroom 12 stairs stairs 13 lobby lobby 14 shared laundry shared laundry 15 commercial oﬃce commercial oﬃce spaces 16 collaborative collaborative 17 hallwayspaces hallway 18 rain garden rain garden

5 16

Affordable housing... but it’s only 20% with a 80% offset of luxurious apartments 10

9 9

7 7

RESIDENTIAL - 1:200 GROUND FLOOR PLAN

Ethics of zoos still in question...

Catalogue of Artefacts

* Rachelle - Residential LEGEND 1 laneway 2 communal garden 3 residential tower 4 communal kitchen 5 storage 6 communal bbq 7 bedroom one 8 bedroom two 9 living room 10 kitchen 11 bathroom 12 stairs 13 lobby 14 shared laundry 15 commercial oﬃce 16 collaborative spaces 17 hallway 18 rain garden

innocence is a bliss

innocence is a bliss QUESTION 05: WHAT DO I MISS?

I miss the innocence and naivety in my early architecture studies. The lack of handrails, oblivious to the rules set by BCA or the understanding of context. “Just design what you want, as long as you can justify it.” So I designed a mountain in Melbourne city - because I could.

Sometimes I crave the freedom and the courage and fearlessness I had back them. I embraced the ignorance back then, as curiosity quickly took over. Now it’s less of curiosity but more of the embarrassment as ignorance is no longer a valid excuse.

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Year One, Semester One, 2019.

Catalogue of Artefacts

manners. CRISES CURATED BY RACHELLE YEOH