GRAND DELUSIONS by RMIT Architecture

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GRAND DELUSIONS S

ituating the Master of Architecture design studio Grand Delusions within a context is not an easy task. On reflection the projects completed across the 14 week semester emerge without a client, urban refrain, or a concern for type. What the studio did start with was a narrow three-storey brick building at 46 Little Latrobe Street, the former office of Melbourne architectural practice Edmond and Corrigan. The split level office on level 2 is described by a narrow double height space for a library, a concentration of compressed utilitites and an expansive studio space with a wall of glazing. The interior has an urban character filled with odd moment such as a little cut out in the mezzanine window frame, and hints to its occupation in a patchwork of different carpets. Emptied of Edmond & Corrigan’s belongings, the office continues to harbor the architectural discipline. Located away from the RMIT design hub, the office space has been home to a series of studios and exhibitions led by Dr Michael Spooner that operate on the fringe of RMIT architecture. Grand Delusions inherited it as an architectural object, foreign to many of us, as a ground to explore ideas surrounding heritage and preservation. Grand Delusions inherits the studio culture of a series of design studios - initiated at the end of The Last Studio then complete as Maggie, Babylon, and Froth and Foam - that have occupied and speculated on the office. Grand Delusions is a continuation of these studios, but continues in the realm of the virtual due to Covid-19. It shares with these prior studios a concern for the cultural refrain of architecture, films, literature, art, letters and with the belief that confronting the world’s richness that we can overcome our habits. The assumptions of architecture’s concern with heritage is at the centre of the explorations in Grand Delusions. Reflecting on the weekly projects - a total of 54 designs, from a container for no. 46 to furniture - this book outlines an array of strategies to counter the stagnation of our inheritance. This book is dedicated to the first year student who accidentally found themselves enrolled in our studio and turned up to our first online studio (was it Daniel or Jack?), in the odd chance that this occurs again. This book harbors the culture of the studio Grand Delusions; a collection of concepts, design strategies and reflections on architectural and cultural heritage. We offer this artefact as a gift so that it may be offered anew upon our return. We hope you enjoy your inheritance. xoxo

Angus White Dan Jerinel Bay Georgia Rumble James Rumanovsky Jean Viljoen Jennifer Chen

Joel Hiller Joshua De Matteo Justin Yong Sheng Chong Kari Vitalich Sally-Anne Ciantar Stephanie Griffin

IMAGES COMPOSED BY JEAN VILJOEN USING PROJECTS FROM GRAND DELUSIONS.

HERITAGE STRATEGIES

JENNIFER CHEN

THE OBJECT IN ITSELF This strategy believes preservation cannot be partial, but must assign value to the whole architectural object. A buildings form, spatial conditions, materiality, arrangement, and contents within are all deemed to be of significance; they all hold qualities of time, place, space and culture. The walls, slabs, and columns of the existing structure of 46 Little Latrobe Street define the parameters for the addition of a musical salon. The salon adopts the architectural language of no. 46 by translating existing characteristics, most notably the spatial qualities of the entry sequence of level 2, the office of Edmond and Corrigan. The salon adopts the architectural language of an existing victorian cabinet found within level 2 (Figure I). This was an attempt to form a double height space as a cabinet that could hold artefacts left after each itinerant musical event. This project equates a piece of furniture with the interior of a building and the insertion therefore takes up as a CabinetSalon. The found condition is of preference.

This project is a collaboration between Jennifer Chen and Justin Chong.

Figure I An existing victorain cabinet found within the office is translated, repeated and reconfigured to form the wall of the architectural intervention.

HERITAGE STRATEGIES

JENNIFER CHEN

“A gesture that apologies for itself, within the intact walls of the E&C.”

Figure II

This method of translation can be applied across a range of scales. The irregularly arranged windows of the façade are mirrored to form the voids within a double wall stair (Figure II) of a separate provocation.

A CABINET SALON FOR ONE |

WK 01 - JENNIFER CHEN & JUSTIN CHONG

“A shift in owners takes on the double heighted space. The condition below becomes provoked from the upper.” 15

HERITAGE STRATEGIES

ANGUS WHITE

OVERZEALOUS CARE Do archives give enough thought to the value of what they are trying to protect? What is the limit of an artefactâ&#x20AC;&#x2122;s preservation if its storage in an archive prevents any or limited experience? 46 Little Latrobe Street has been reconsidered as a furniture warehouse. An overzealous consideration of the number 46 Little Latrobe Street has stretched the fabric of the building beyond recognition around a collection of furniture. As the collection grows, so does the need for space. Roofs and walls are stacked, trenches dug, and corridors extended, defining the gallery-warehouse hybrid; as a model for this new archive space. The proposal reconsiders the archive as a typological hybrid, a furniture gallerywarehouse. This new typology differs from a standard archive as it attempts to display the objects in full bloom, rather than hiding them behind a barcode. In this case, the gallerywarehouse unorthodoxly occupies space as the building is molded around the collection. The formal qualities of this type is illustrative and comments on the procurement of objects as an archiveâ&#x20AC;&#x2122;s burden. An ironic problem faced by archives as for the collection to have merit, it must extend and traverse years and cultures and never cease to hoard these items.

This project is a collaboration between Angus White and Jean Viljoen.

HERITAGE STRATEGIES

ANGUS WHITE

OVERZEALOUS CARE

HERITAGE STRATEGIES

ANGUS WHITE

SECTION A

SECTION B

SECTION C 19

A Taburalium for no. 46 Little Latrobe Street.

WK 10 - ANGUS WHITE & JEAN VILJOEN

A Taburalium for no. 46 Little Latrobe Street.

WK 10 - ANGUS WHITE & JEAN VILJOEN

PERSONAL REFLECTION

JOSHUA DE MATTEO

Final Reflection Journal Entry 12 Tuesday 27.10.2020/ Lockdown day 228 I find myself strangely greeted by the same sense of melancholy that inhabited my being at the beginning of week one. Am I glad the semester is over? YES. Will I miss this studio? I think so. Probably. Maybe? I guess time will tell. I know I’ll definitely miss seeing Georgia’s gorgy face bright and early on a Tuesday morning! I know I have come to appreciate the self-referential exploration of both my work and inner being throughout the semester. In a time of such uncertainty and loneliness, the studio has provided me with a unique lens in which to channel my honest thoughts, brutal truths, and hopeful lies. For that, I say thank you. But as I sift through the body of work along with personal reflections from within my folio, it is no mistake I am constantly probing into and questioning the malleability of heritage and evolution of identity. I couldn’t help but project my own queer self into each task I completed, my need to deal with countless memories and long-forgotten struggles at the forefront of my mind. With each personal reflection, I would look back and ask myself, have I done it? Is that really me? It is over. Can I forget the struggle now? I am so tired. Please?

For the first few weeks, this toil was paramount, my weekly esquisses pure in their need to vehemently reject the known and embrace the escape, even if that meant turning its back on the framework of the studio. I can fain blissful ignorance but that would be a lie, an honest one at that. But as time progressed, this primal, instinctual response became a

conscious enquiry into an understanding of character, of self, deliberately testing the flux in which it operated. I began to build up a control in which my insistent architectural rigor confronted its malleability, the abstractification of its core. The resultant weekly vessel always manifested as a spiritually tangible language, a propagation that was both delightfully fascinating and acutely horrifying in its lamentation. Did I push it too far? Did I push it far enough? Even if I could, do I even want to bring it back? Who am I to say they were successful? Despite the uncomfortable glare I receive from staring at my own likeness â&#x20AC;&#x201C; mirrors are a ghastly thing â&#x20AC;&#x201C; they present truth that this is both exciting and dreadful in its intrigue that would have otherwise been lost upon to my pre-spooner-studio-self. So, I guess I leave this studio with more questions than answers. I donâ&#x20AC;&#x2122;t mind though, as these questions ring true and give me a destination in which to aspire. Such is the conundrum that is this ghastly existence. I guess the grand delusion is that you really can have your cake and eat it to. I think I am ready to get back into the water. I find land to be quite boring after all. J

PRECEDENT STUDY

STEPHANIE GRIFFIN

DROP THE BOMB Stanley Kubrick’s farcical dark

Stanley Kubrick’s farcical dark comedy ‘Dr Strange comedy ‘Dr Strange Love’Love’ was was released in 1964 in the of released in 1964 in the midst midst of Cold two years after the thethe Cold War,War, two years after the Cuban missile crisis crisis that brought the Cuban missile that brought the world to the edge of nuclear war. world to the edge of nuclear war. Jack D. Ripper, an overzealous RAF Jack D. Ripper, an overzealous RAF officer launches a nuclear strike officer launches a nuclear strike on the Soviets to defend the purity on the Soviets to defend the purity of “our precious bodily fluids” from of “our precious bodily fluids” from Communist subversion. A round Communist A round table of buffoonssubversion. in the Pentagon war roomof attempt to diffuse table buffoons in thethe Pentagon situation, including cowboy military the war room attempt to diffuse generals, US president Merkin situation, including cowboy military Muffley, Russian ambassador Alexi generals, US president Merkin and the cooky Dr Strangelove Muffley, Russian ambassador (Peter Sellers). Dr Strangelove is a Alexi andand the energetic cooky Drwheelchair Strangelove wacky (Peter Sellers). Dr Strangelove is a bound ex-Nazi scientist with a wacky and energetic wheelchair bizarre fascist vision for the survival of the human race. scientist He reminds bound ex-Nazi with a us of the absurdity and volatility bizarre fascist vision for the survival of the decision-making process of of the human race. He reminds warfare.

us of the absurdity and volatility of does the decision-making process of How this relate to architecture warfare. and heritage? The nuclear

explosion encourages us to let goHow of ourdoes inhibitions as designers this relate to architecture and to adopt a bolder and heritage? Theattitude nuclear to heritage in encourages this climate of us overexplosion to let preservation. Dr strange Love go of our inhibitions as designers encourages us to drop the bomb. and to adopt a bolder attitude Stop being so tentative. Introduce to heritage in this climate something problematic. Shake of overpreservation. Dr strange Love things up. Depart from tradition. Blow up a statue.us It just might the bomb. encourages to drop create in its Stopsomething being so beautiful tentative. Introduce spontaneity. something problematic. Shake

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things up. Depart from tradition. Blow up a statue. It just might create something beautiful in its spontaneity.

LOVE LETTER

JEAN VILJOEN

LOVE LETTER

JEAN VILJOEN

FOR YOUR EYES ONLY notes on sanity

Kate Bush – Hounds of Love Interpol – Antics Bbymutha – Muthaland Lucy Dacus – Historian Roisin Murphy – Hairless Toys Siouxsie and the Banshees – Tinderbox Arca – KiCk i Boy Harsher – Careful Missy Elliot – Da Real World Fever Ray – Fever Ray The Horrors – Primary Colours Kelis – Kaleidoscope Goldfrapp – Silver Eye Bjork – Vespertine Grace Jones – Warm Leatherette Blood Orange – Cupid Deluxe Madonna - Confessions on a Dancefloor Beth Ditto - EP Portishead - Dummy Sleater-Kinney - Dig Me Out

Find a muse in your interests. Fall in love with architecture. Invest in a good moisturiser. Replicate a precedent’s methodology. Design an object, furniture or souvenir in the style of a building - what does it reveal? If it ain’t in your view, don’t model it. Use the workshop, build things. Doodle, sketch, paint, cross-stitch. Critiques are not criticisms. Avoid politeness like a jilted lover. Be resourceful. Read a book, read many books. The library is your friend. Don’t trust a building with faded poster in the window fronts. Create lists, tick off said lists. Fantastic Planet (1973 film) and Codex Seraphinianus are deliciously weird. Model architecture instead of trees. Ask why?

albums to model to

HERITAGE STRATEGIES

DAN-JERINEL BAY

COMPASS FOR HERITAGE This project is composed of clusters of furniture distributed to illustrate a way of mapping that declares that it cannot hold all of the pieces of furniture together, where the only option to claim some sense of harmony is through the act of segregation from 46 Little Latrobe Street. My compass deals with the plurality of intentions with no. 46 as its origin as a strategy for dealing with heritage. Some pieces of furniture uphold a similar stance to each other which then determine their place within the site. Others are more inclined to reminisce toward the practice of Edmond and Corrigan, while some introduce foreign memories that seek refuge in the pavillions created. This strategy is a consequence of the confrontation with furniture produced by multiple authors and demands to be put in a place worthy for it. The collection grew on its own, and as a consequence of my own curiousity branching out upon my conflicting conclusions it made sense to separate and hold these pieces together in smaller groups that I could see value in their coexistence. This inspired the creation of unique enclosures to hold these items within as a means to preserve and organize these intentions that came with the furniture.

This act of distribution houses the furniture with a space deemed to suit its eccentricities.

PRECEDENT STUDY

Jennifer JENNIFERChen CHEN

GRAND DELUSIONS AS A PRECEDENT IN ITSELF

THE MISTAKES AND SUCCESSES OF OUR STUDIO COLLEAGUES Confronted by ourselves, and the content placed before us, we yield our positioning on heritage through the consideration of text, film and architectural precedents. While they do not provide justifications for our work, they offer an additional stance for our provocations to be pressed against. The process of studying precedents often comes in the form of reading/viewing, processing and critiquing. Often with the aim to uncover something of use to inform our architectural outcomes. It is not a copy, but rather a translation through spatial configurations and formal gestures. Equally as significant, yet sometimes overlooked is the work of our own and that of our studio colleagues. The process

of studying well-known precedents is similar to that of our weekly deliverables. Where it is not necessarily about the outcomes produced, but rather the studio discussions that begin to unfold. Through a collective sharing of thought experiences on heritage, we begin to uncover our own relationship to architectural objects and their histories. These findings directly and indirectly, consciously and subconsciously begin to inform our future propositions and outcomes. Aiding the same result as successfully learning from a precedent. Just as our stance on architecture is informed by our previous studios, the precedents that inform our work too go beyond the ones specified within this handbook.

architecture

nicolas dorval bory /francesco rioda appartement carmody groake / hill house andrew power / house with a guest room

discipline

oma

angelo candalepas / australian islamic mission

employment

university

workshop architecture / mount macedon primary school

RMIT

steven holl

edmond and corrigan / myers house

leon koutoulas / the rub

idea of melbourne

edmond and corrigan

contesting the city after type chapter 2 extremely small and very loud

babylon

temporal city

block party

grand delusions we are the prison

efdc pty ltd

post capital

regulatory nonsense HAB

volume 2

ngv

art

death in venice

brecht / the street scene

design hub gallery

tectonic behaviour

even looser

curtiz / mildred pierce

jane rendell / may mo(u)rn

theatre

working dirty

froth & foam

stand up

inclusive city

maggie

conrad joseph / the secret sharer

trier / melancholia whos afraid of virginia woolf dr strange love

leftover / i was opened

film

LOVE LETTER

SALLY-ANNE CIANTAR

LOVE LETTER

SALLY-ANNE CIANTAR

PERSONAL REFLECTION

GEORGIA RUMBLE

BRINGING IT HOME

In the Mid- Semester break I ventured home for a two week break to the New South Wales South Coast. While I was there Melbourne’s pandemic response escalated which meant I was stranded here for my final semester. The questions are the same. The in-between space. I can’t go forward or backwards …. waiting. Like many people all over the world. Omnipresent here at the coast is the fire experience and fire anxiety from last summer. It is always present in people’s minds - whether its in the burnt landscape- or the community discourse. The hype of who will join the RFS next.

I observed a small community changed by the influx of refugees from two disasters – fire and COVID. COVID refugees relieved to be out of Melbourne and the usual south coast holiday houses now inhabited by people whose homes were burnt. Undertaking a project on

prominent RMIT mythology and being an observer of a community in post fire recovery and dealing with a global threat. Living in a duality of experience. This set the scene for heritage exploration. Monumental in polarity. There are formal suggestions and invitations to engage in the emerging mythologies in both spheres. My position is to validate the individual experience within a broader collective idea of what heritage is. There is not one heritage. Heritage can be contested, interpreted, interpolated and even changed over time.

PERSONAL REFLECTION | GEORGIA RUMBLE

PRECEDENT STUDY

JOSHUA DE MATTEO

EXPRESSIONIST ARCHITECTURE IN GERMANY Rich in fantasy, utopian idealism and vision, the Expressionist phase of the Modern Movement in German architecture abandoned all previous architectural rules and typologies in an attempt to fashion their social, cultural and political heritage into an image of their own making. The glass projects, which formed the basis of many expressionist amorphous and crystalline proposals both before and after the German revolution, became the vessel through which this desire was manifested and nursed. Early expressionist tendencies were borne in the roots of the Art Nouveau & German avant-garde art movements, whose desire to revolt against tradition and accepted values of 19th century Europe represented a distaste for neo-romanticism. German society was constantly operating in a flux of identities and economies as they drove to personify the redefinition of the everyday, mundane German experience. However, following WW1, the German nation was at the height of its emotional state having fallen from the pinnacle of its existence, causing an abrupt end to all activity in the arts and in building (3). No longer a central power within Europe, it was left reeling, due not only to the humiliation they faced in defeat but the terrible economic and social hardships that were to follow. Germany found itself in the grips of civil war, where amidst the political unrest, “a search began for radical ideas for a renewed society”(1, p.9). Most expressionist projects completed both during at after WW1, were produced by a circle that were known as ‘The Work Council for the Arts’, a consortium of architects which centered around Bruno Taut and Hans Scharoun. A mixture of both art and architecture, the consequential works embraced the crystal as a generative model, abiding not to set strategies nor a formal consistent language (2). The individuals, through their works, although sharing that same subject matter, experimented through drawing out a specific quality of the crystal and exaggerating it through their own artistic sense. What makes this constant struggle with identity in which Germany constantly toiled so intriguing is the malleability in which they treated it. Using an array of strategies and architectural devices to generate and guide their formal outcomes - many of which can be found within this booklet - it prompts some very important questions: What is the worth in reconstituting ones heritage and where does it’s inherit value now lie? How far can its evolution be pushed before experiencing a disconnect with what it once was? What are the consequences of such an action? Was it worth it?

PEOPLE/PROJECTS OF INTEREST • • • • • • -

German Philosopher Friedrich Nietzsche Theologian, Philosopher and Mystic Meister Eckhart Artist-Architect Peter Behrens Artist-Architect Bruno Taut Artist-Architect Hans Scharoun Artist-Architect Hermann Finsterlin Alpine Architektur The Glass House King Solomon’s Glass Temples

Alpine Architecture, Utopian Drawings, Bruno Taut, 1917-1920, sketch

NOTEWORTHY RESOURCES 1. 2. 3. • •

Sharp, D. (1966). Modern Architecture and Expressionism. Bletter, R. H. (1981). The Interpretation of the Glass Dream-Expressionist Architecture and the History of the Crystal Metaphor. Strachan, H. (2014). The Oxford illustrated history of the First World War Frampton, Kenneth (2007), Part II. ‘A critical history 1836-1967: The glass chain: European architectural Expressionism 1910-25’ in Modern Architecture: A Critical History History Lectures (to be experienced)

LOVE JOSH xx

LOVE LETTER

GEORGIA RUMBLE

HERITAGE STRATEGIES

JENNIFER CHEN

ENCASEMENT The facade of 46 Little Latrobe Street acknowledges the occupation within, when what lies behind is no longer there. The three stepped windows on level 2 describe the importance of the original library behind. It continues to hold the rhythm â&#x20AC;&#x153;directed by the streetâ&#x20AC;? and qualities of the work produced within. The facade is preserved in its entirety and new elements are introduced around its periphery, redefining its existence. The introduced system does not acknowledge the specificity of the facade; only that the facade, as an object, is present. The significance of the physical shell is questioned as we doubt its ability to hold historical, social, and cultural value. Perhaps the qualities of heritage that are worth preserving cannot be held by the building itself. Preservation of this kind often applies to buildings that once contributed significant value to people and the discipline of architecture, however, are no longer in use or accessible. These buildings are neither valuable nor invaluable, only a tribute to what the building once held.

This project is a collaboration between Jennifer Chen and Jean Viljoen.

THE VEIL

WK 02 - JENNIFER CHEN & JEAN VILJOEN

THE VEIL

WK 02 - JENNIFER CHEN & JEAN VILJOEN

“Holding and Containing”

COMPARISON TITLE HERITAGE STRATEGY COMPARISON

JENNIFER CHEN & JEAN VILJOEN

The heritage strategy of mis-memory 250 words Your text here Your text is a fragmented container for housing here Your text here Your text here Your mis-memories and heritage. The strattext here Your text here Your text here egy considers the shell and facade of Your text here Your text here Your text no. 46 Little Latrobe Street and uses here Your text here Your text here Your the fragmented geometries to inform text here Your text here Your text here the intervention. inYour text Your here textcan be A comparison betweenThe twointervention heritage strategies that explore thehere extent to text which theYour facade here Your text here Your text here turn responds to the armature of the relied upon. Where one proposition (The Veil) doubts the facades ability to hold historical, social, and no.value; 46 shell. cultural the other (Mis-Memories) captures the values in question through fragmenting the Your text here Your text here Your text facade. The result is a stitching and blending of here Your text here Your text here Your MIS-MEMORIES THE VEIL forms and materiality that inform new text here Your text here Your text here The encasement of no. does not text The project an accumulation of responses spaceisbetween the fragments of no. Your text here Your text46 here Your acknowledge specificity the original to the46. memory and recollection of the office here Your text the here Your textofhere Your of Edmond and Corrigan on level 2 of 46 Little facade; only that the facade, as an object, is text here Your text here Your text here present. Latrobe Street. The strategy is a reading and Your text here Your text

TWO TRUTHS AND A FACADE

fragmenting of the no. 46 shell and facade to conceive geometries that inform the intervention. The geometry is then placed back into no. 46 and amended to consider specific relations that attend to the memory of no. 46.

No. 46 Little Latrobe faรงade

The result is a stitching and blending of forms and Mis-Memory intervention materiality that inform new space between the fragments of no. 46.

No. 46 Little Latrobe Street Faรงade

A space is contained between the first container and the second, existing to hold both the facades. A system of preservation that harnesses an experience centred around viewing the object. This strategy could be applied to any facade or building, with only the scale of the encasement needing adjustment.

Proposition Interventions

PRECEDENT PRECEDENTSTUDY STUDY || ANGUS Angus WHITE White

CABINET MAGAZINE, ISSUE 65: ‘KNOWLEDGE’. FALL 2017 - WINTER 2018. LEFTOVERS / I WAS OPENED. - ‘ANONYMOUS’

REVIEW: LEFTOVERS/ I WAS OPENED. ‘HOW MUCH HERITAGE IS LOST IN THE DETAILS? ANGUS WHITE This snipped from Cabinet magazine details the intimate reflection of an anonymous revolutionist involved in the bombing of a replica of Rodin’s Thinker statue in Cleveland in 1970. This reflective recount of the event offers an extremely unique insight into the agendas and commentary that fuelled the bomb being placed at the foot of the statue. Unlike official recounts of such events, the author captures the once present fire that fuelled the attack on “a looming figure of brooding ‘reason’.” and dives into the how those emotions have evolved into the present day. While the text is highly explanatory of the event, the author’s tone suggests the self-ramifications of guilt when implicated in such “violence” that can linger throughout time. An overarching battle in the text that seems to plague the author is the disparity between personal and historical recounts. This comes to fruition in the final remarks where the author explains “the gesture cannot be so easily contained.” when attempted to be “preserved” and a “historical artifact.” by The Cleveland Museum. This conflict between action and reaction creates an ironic dynamic between anarchist

doctrine and state control. While the bomber’s actions were rooted in what they saw as the best interest of the people, the Museum’s reaction to the event suggests how heritage can be manipulated by those with the power to do so. Much like themes that run through George Orwell’s 1984, history tends to be understood by what is written in history books; or even displayed at Museums - a hub for history. In this instance the museum has attempted to devalue the act of the bombers and downplay the importance of their initial motivation. Much like how the author describes the media’s portrayal of their actions as “incomprehensible” or “mad”, the Museum chooses to leave behind the true spirit of the groups endeavours - that being to “blow up thought itself”. A rather bittersweet ending to an extremely specific, thought out attack. This text depicts an interesting dialogue about who controls heritage. It leaves us asking questions such as ‘how much heritage is lost in the details?’ or things such as ‘what part of our history is actually true’. It is only until we seek out the side of the story from those who actually involved does it allow us to formulate a real understanding of why things are the way they are. Or even the way they should be. 39

HERITAGE STRATEGIES

STEPHANIE GRIFFIN

HERITAGE AS HIERARCHICAL This strategy is a system for determining the hierarchy between the furniture and objects that were designed by the studio. The label ‘heritage’ is ascribed to architectural and other objects by those in power. If everything has a unique cultural and historical story, then the idea of single ‘heritage’ is rather contestable. A collection of sheds sit atop the storage for the finite set of furniture. The sheds wrap around this collection without a curational hierarchy; each furniture object is presented as equal. Raw openings in the shed’s walls manifest stochastic relationships; visual moments of chance that arise between the viewer, the shed and the furniture. The gallery is a system that harnesses the object to be viewed but doesn’t acknowledge the specificity of the object. We only claim that the object is present. How might we view one item beside another? How might these views shift as we look through the array of windows? As we collaborate alongside our studio peers, our understanding of an object and its value constantly shifts also. This project explores another hierarchical relationship; that of the displayed versus the stored. This is a speculation on the limits to archives and collections. The central archive holds a singular item within the negative impression of no. 46, while all other items sit above on display. For there to be a collection, something must be excluded. This leads us to reflect on our own studio, with the archive representing ideas yet to be explored.

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This idea of hierarchy and relationships is inspired by John Hejduk’s holocaust victim cathedral proposal of an assemblage of varied architectural objects added sequentially to a hedged garden space. Their order and hierarchy is dependant on the public’s preference, creating chance based relationships. We also looked at the Grainger Museum at the University of Melbourne by John Gawler in 1938 and were inspired by its Panopticon arrangement with wings projecting from the centre which speaks of a central hierarchy. This began our experimentation with hierarchy, initially creating a variation of a Colloseum structure, the perimeter of which is present in this design.

The Grainger Museum, University of Melbourne. John Gawler 1938.

This project is a collaboration between Jennifer Chen, Sally-anne Ciantar and Stephanie Griffin.

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A CRINKLE CUT COLLOSEUM

WK 10 - STEPHANIE GRIFFIN, JENNIFER CHEN & SALLY-ANNE CIANTAR

The previous iteration of this project exploring a hierarchical dynamic with no.46 as the gallery centrepiece and the storage in rings at the periphery, forming a Colloseum like arrangement. A collaboration between Jennifer Chen and Stephanie Griffin.

10 42

Central storage pit for a singular furniture item, composed of the negative impression of no.46, an inversion of the previous iteration.

CRINKLE CUT COLLOSEUM

WK 10 - STEPHANIE GRIFFIN, JENNIFER CHEN & SALLY-ANNE CIANTAR

43 11

HERITAGE STRATEGY COMPARISON

STEPHANIE GRIFFIN + JUSTIN YONG SHENG CHONG

HERITAGE AS BIAS The strategy that is concerned with is ‘heritage’ as a bias wielded by those in charge of such labels. The comparative diagram below of two different provocations portray how the mentioned strategy operates, with bias being viewed either as an entity that is equal and never defines significance through individuality, or through the assertion of hierarchy by placing importance only on certain objects. ‘A Crinkle Cut Colloseum’ by Stephanie Griffin, Jennifer Chen and Sally-Anne Ciantar consists of a shed-like gallery space that operates to remove this heritage hierarchy, displaying a series of furniture objects in no particular order. It only claims that the object is present. The relationship between the furniture is determined by chance; stochastic relationships that form between the viewer, the shed-like gallery and the furniture object.'

'Inherited Bias' by Justin Chong and Kari Vitalich explores this idea of a bias in a different manner. The project is biased towards a set of furnishings that were designed by the studio class, which were selected by the authors. While the prior project is more static, here selected pieces of furniture are moved, shifted and copied to create new architectural objects via a process of replication. The furniture has been manipulated and abstracted to form an architectural response. In a way the furniture created a repository for itself.

PRECEDENT STUDY

KARI VITALICH

may mo(u)rn: a site-writing 113

MAY MO(U)RN

op fC

“From the road it looks a little unloved, in need of some care and attention. Up close it is clearly derelict, almost in From the road it looks a little unloved, in need of some care and attention. Up ruins.”

close it is clearly derelict, almost in ruins.

can maintain a perpetual state across time. Although remaining subtle and stagnant, lacks stark juxtapositions between the present and past, disallowing evolution. While a catalyst like the ‘insertion of fine art’ within the foreign context of a ‘grubby bit of Hackney’ could that sparks the evolution for a brighter future.

Rendell’s May Mo(u)rn, explores the ‘unconscious of architecture’. Specifically, how the object acts as a ‘psychoanalytic apparatus’, dependent on its physical ‘setting’, generating a broader critique through its interactions, across time. The analysis is based on a site-writing project of an assemblage of decaying black and white photographs of London’s social housing modernist icons. Found within the derelict house of ‘Moss Green’. Capturing a moment of time within their symbolic visual icon, contrasting the time passed in the physical decay of the photograph. Rendell situates the compositions, reminiscent of utopian dreams of modernist social housing, alongside the language of the contemporary real estate agent. An attempt to look back at nostalgic ideals, in hopes to highlight the problems of present day, enacting a sense of change for the future.

A SITE WRITING BY JANE RENDELL

The collection of modernist social housing images situates them within an overarching category that© leads to assumptions made Ashgate Publishing Ltd based on their collective. The bias of the photo assemblage, leads us to assume that this time period of the architecture in history is important and iconic. The fact that these moments have been documented and situated together through the act of collection, now rediscovered, brings about a false sense of importance to the object. Rendell speaks about using positive nostalgia of the past, to enact change for the future. Although within our individual situational narratives, who is assessing this positivity? Is it all just down to the way this moment frozen in time is perceived? One building found in isolation seems less monolithic and instead isolated with little explanation of the human interaction or spatial qualities of the time it recalls. The adjacencies of how each photograph is categorised amongst its surroundings collection can lead us to make assumptions of value and positivity. In isolation without relationships or connections to their surroundings they lose their value, purpose or place and can only be reappraised and truly understood, once rekindled with the memory of their original owner or context. As recontextualising can lead to an assumption or mis memory.

010 Chapter 6 Lahiji.indd 113

The homonym May Morn, generates a discussion around the multifaceted perception of value, that is defined by individual interpretation. Similarly, the transitional quality of heritage, finding itself adaptable to multiple different interpretations and manipulations is where its ultimate value lies, as it shifts throughout its everchanging settings across time. The personal or physical memories that one may tie to a place, hold stronger emotional connections. A more prominent value than that of the physical ornamental embellishments or the economic value of an object. How can the spatial behaviour of the object, stripped back to its functional basic form, become memorialised? Rigg’s idea of the object of a table having an invisible gravitational pull that binds its occupants to interact with it, celebrates the idea of the function of a ‘table’ curating human interaction. Highlighting the unconsciousness of architecture, the seamless function of this object that often goes unnoticed. This malleable approach means that the object

8/31/2012 3:46:51 PM

IMAGE COMPOSED BY JEAN VILJOEN USING PROJECTS FROM GRAND DELUSIONS.

HERITAGE STRATEGIES

ANGUS WHITE

PRESERVATION HAS MANY FACES. Once appropriated, how many forms can an idea take before any original meaning is lost? To test this proposition, furniture was designed to embody specific moments in the timeline of the practice of Edmond and Corrigan. For example, a standing light is derived from the Niagara Galley extension (2012). Or a centre piece that is modelled from a window at the Keysborough Church (1975).

Can the value of the practice under consideration be presented in a different medium with the same importance? Is it possible for the original to take a different shape but still sustain he same sense of architectural valour? Through the furniture, the values are preserved, moulded, propped up, hung, carved, and rebuilt in an attempt to highlight significant moments in specific objects. The approach is positioned as one that collects a more nuanced appreciation of the original form of the Niagara Gallery for example, and thus able to preserve the value of the idea and the architecture

9. 8. 1. 3. 6. 12. 11. 2. 5.

Objects have been scaled from building size to sit within a room filled with a collection of various furnishings. Aspects such as bricks from the demolished Ringwood Library, have been repurposed in chairs and an ottoman to hold the memory of what was. Although not as substantial as the original library, the chair and ottoman highlight the importance of the memory of lost objects. This is an approach to breathe a consideration of a part of architectural history lost to the changing times.

This strategy for dealing with an architectural heritage is a way to represent a moment as a specific object. reveal the impact that best intensions can have when preserving a memory and to protect what has come before. PROJECT REALISED BY ANGUS WHITE AND JUSTIN CHONG

10. â&#x20AC;&#x2DC;NIAGARAâ&#x20AC;&#x2122;.

1. ‘46’.

2. ‘GENTLEMAN’S CHAIR’.

3. ‘FLOWERS COME FROM THE HEART’.

4. ‘HIS’ and ‘HER’ chairs.

5. ‘FROZEN i’ .

6. ‘FROZEN ii’ .

10.

13.

9. ‘RECYCLE’ .

7. ‘FROZEN iii - light’.

8. ‘TO L T YOUR WAY’.

11. ‘THE PERFECT MAN’.

12. ‘SALVATION’.

13. ‘THE RESURRECTION OF CHRIST’. 49

DELUDED

WK 07 - ANGUS WHITE & JUSTIN CHONG

DELUDED

WK 07 - ANGUS WHITE & JUSTIN CHONG

HERITAGE STRATEGIES

JUSTIN CHONG

HERITAGE THROUGH BIAS. The heritage of 46 Little LaTrobe Street has been challenged by weekly precedents such as cinema, written articles and architecture. Confronting these precedents meant considering ideas we often would not as it required us to take a position antithetical to our own. This permited us to hold biased opinions to pursue ideas we would not have been comfortable with otherwise. The projects showcased considered how 46 was sustained through the scaling down into singular furniture, removing the building of reference and dispersing its narratives to a smaller scale. As seen within the ‘Cabinet Salon for One’ with Jennifer Chen, we interpretated an occupiable façade illustrating curiosity that is masked through the familiarity of joinery. The proposed salon mimics the original within the building, but instead transformed into the opposite of its function. The walls address the opposite side of the performance space, allowing for a duality in functions as the music within the salon is to be experienced outside of it. The ‘Repository’ with Kari Vitalich is a consequence of the selecting individual pieces of furniture from the collections designed by our studio colleagues in the week prior. The main agenda is to allow for the furnishings to find purpose in a new environment, an attempt to hold on to their physical attributes without being redundant due to the stripping off from their collective contexts.

My recollection of the object and someone else’s experience is often times distinguishable until they are placed side by side. Memory is delivered through an immediacy to the experience itself. Experience is dimensional and rich as it is a consequence of the proliferation and variation of proximities due to its abundance, hence no experience can be deemed redundant.

Murano Glass Light - Joel Hiller & Dan Jerinel Bay

Dining Chair - Georgia Rumble & Joshua De Matteo

Viljoen’s Toilet - Justin Chong & Angus White

Drink Stand - James Rumanovsky & Jean Viljoen

Bachelor’s Kitchen - Kari Vitalich & Stephanie Griffin

Shower - Sally-Anna Ciantar & Jennifer Chen

ine

-11

ito

ife

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ita

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Same pieces of furniture, Different variations of authentication. 53

8 54

INHERITED BIAS

WK 11 - KARI VITALICH & JUSTIN CHONG

55 9

PRECEDENT STUDY

JOEL HILLER

Jorn Utzonâ&#x20AC;&#x2122;s Bagsvaerd Church (1967), situated west of Copenhagen, is an exemplar of Kenneth Framptonâ&#x20AC;&#x2122;s Critical Regionalism1. It demonstrates vernacular constraint in external appearance thereby indicating an acknowledgement to site heritage. Pitched glazed roofs align narrow corridors that track a rigid gridded plan arrangement with a series of linear arrayed light bulbs, approximately fixed at occupant eye level, act as visual cues that guide progression through a sequence of space; eventually spilling into an expansive chapel. Contrast is immediately apparent as rigidity is replaced by an undulating curved ceiling. Recollecting free flowing clouds, this fluid structure is formed by in-situ board concrete. An architecture that epitomises a structural technological milestone while adhering to a grounded siting. Reference: 1 Frampton, K 2007, A Critical history: Modern Architecture, 4th edn, Thames & Hudson Ltd, 181A High Holborn, London, UK.

Photographed by author on 9/01/19

STUDENT INTERVIEWS

GEORGIA RUMBLE & JOSHUA DE MATTEO

PERSONAL REFLECTION

JEAN VILJOEN

A SECRET HISTORY Heritage in the broadest sense is that which is inherited. An object or an idea passed on to be preserved or revived. In Cities of Hope Rehearsed/Remembered, Conrad Hamman draws a connection between the interior qualities of the Edmond & Corrigan office and their architectural output with emphasis on RMIT Building 8. Here, “one finds one’s way through these interiors by experience, like grasping the world of a play or the themes and relationships in a sequence of history.” By extension this speaks on how a building is revealed and hidden through its occupation and reoccupation, through our recollection of it and the stories of it. A building is not just a static object and through experiencing the sequence of space we inherit a mixture of the objective, the remembered and the rumoured.

8 was in a state of flux, where departments and facilities were constantly shifting during the development of the new academic precinct. A continuous moving and navigation of parts began to reveal moments that had previously been covered or inaccessible, only to be re-concealed following further works. One particular revelation was a toilet cubicle in a bathroom much larger than necessary. A room frozen in time. A set of free-standing basins were perched in front of curtain wall that I could only assume belonged to the internal facing atrium that now hovers above the student hub. The tiling patterns, in the typical style of Edmond & Corrigan, were mottled with yellow light from the curtain wall. The progression from cubicle to bathroom to beyond the curtain wall representing progression of the spaces that make up Building 8.

On reflection, this seemingly arbitrary room I am reminded of this sequence of history in my is representative of the transient nature of architectural methodologies and how the own experiences of Building 8, at the end of housing the RMIT Architecture school. Building importance of a work is only recognised in

PERSONAL REFLECTION

| JEAN VILJOEN

posthumous reflections and celebrations of the architect. What then is heritage? If we think of heritage as a lineage of ideas, the inheritance process may be implicated in the heredity of specific traits or ideas. At the root lies the exemplar (46 Little Latrobe Street) and the branches are the studio undertaking (weekly tasks that respond to no. 46). Each iteration holds a trait of no. 46 but functions within its own defined parameters. Like the bathroom at building 8, ideas provoked by no. 46 are at one moment revealed and then hidden through each project.

The collection of projects explored in Grand Delusions is an understanding of various interpretations of this preservation. Each responding to the source material to reveal something new about no. 46. How far can no. 46 be abstracted and decontextualised, while still maintaining a sense of meaning to their origin? The physical building has been documented in a 3D model and an essay, which has given rise to a collection of furniture which in turn inform the housings, casings and archival spaces of a repository (The Tabularium with Angus White). The unreliability of recollection is interrogated by a [edit] I was only reminded of the Building 8 fragmented container for housing these accounts bathroom after seeing an image by Josh, Sally and and the detritus of memories (Mis-Memories). Danjerinal (A Studio for Gustaf). The composition The intentions of 46 Little Latrobe Street and the office of the architectural practice Edmond bears a striking resemblance to the memory. and Corrigan is explored through the medium of furniture (Dashed Hopes and Good Intentions with In the context of the studio lineage, I am most James Rumanovksy) or souvenirs (Souvenirs with interested in exploring the methodologies behind design strategies and formal outcomes. The works Kari Vitalich). There has also been the question of preservation by using no. 46 as an armature to of Edmond and Corrigan are a mediator of the inform a container (the Veil with Jennifer Chen) or context they sit in. They are not foreign objects, insertion (Cheerful Nihilism with Justin Chong). but rather navigate the various experiences and histories of site. This can be seen in the no. Like the toilet of Building 8, the collection of 46 faรงade composition, that references the streetscape and building that previously occupied works has revealed a secret history that allows for unlimited interpretations of its mythology. the site. It suggests that the transient nature of the urban vernacular is captured in a building as snapshot in time.

HERITAGE STRATEGIES

JEAN VILJOEN

MIS_MEMORIES Recollection of space is tied to the experience. These memories can be fragmented or partial and may not directly correlate to the actual space being remembered. The heritage strategy is an incorrect memory of 46 Little Latrobe Street as preceded by 40 Little Latrobe Street, the building previously occupied by Edmond and Corrigan. It is an attempt to recall this space through the experiences of other. The resulting intervention is a fragmented container for housing these accounts and the detritus of the memories. It is a trove of recalled details misaligned to the point they become a deluded single memory. The misalignments consider the spatial relationships and formal outcomes of no. 46 that intersect or separate so that gaps appear. The treatment of adjacent gaps are privileged over others, where some are filled with remnants of no. 46, some filled with something new and others left as voids. Was the colour pallet watermelon or coral or calypso? Regardless, it is envisaged with a gold splatter effect.

40 Little Latrobe Street

a gold splatter effect

MIS-MEMORIES

WK 04 - JEAN VILJOEN

MIS-MEMORIES |

WK 04 - JEAN VILJOEN

PRECEDENT STUDY

JUSTIN CHONG

MILDRED PIERCE By Michael Curtiz 1945

“No classes on Week 1, and we get to watch a movie as a precedent study. Sweet.” This is in no way an unbiased review, but my own take on a movie that was set decades before I was born. I learnt to utilise a movie as a precedent that can be incorporated into our design provocations, whilst also preserving the status of the design studio to ensure a sense of formality within the conceptual framework of the project. This review dwells into the endless amounts of unrewarded sacrifices that a mother makes for her spoiled daughter’s approval. We as architects face the similar dilemma of being the best parent to our design creations, going through hell and back to give it our utmost attention, care and love to ensure that it can flourish into the adolescent being that we want it to be before setting it free to the cruel world that we live in.

The movie also gives its viewers a reality check in the lascivious and never-ending pursuit of humanity to obtain wealth, establishing the bright and dark side of humanity in their pursuit to achieve glory. Reinterpreting these moments into our discipline would be the sad reality of us ‘professionals’ constant desire to achieve the objectives we want no matter the cost. Architect’s are prone to never be truly satisfied, and the sense of craving for more will constantly be toppled when we have achieved our previous milestone. We crave for the inevitable, we seek to achieve the impossible.

8/10. “Would watch again. It highlights the importance that us architects maintaining a sense of altruism and adhering to ethical standards to provide good design should never be disregarded, but more so at the centre of every decision made.” - JUSTIN CHONG

LOVE LETTER

THE FINAL PRESENTATION You can tell when the second semester is coming to an end as the weather gets warmer and warmer. As the halls of building 100 begin to fill with the sweet scent of pollinated flowers it brings with it the end of a long gruelling year as well as the playful sun, breathing life into exhausted students. The design hub, like a prison, tends to shield you from experiencing all the sun’s yellow goodness. Jealous do you become of those who are lucky enough to finish before you. Who can go out and frolic as they please. There does, however, come a time when you realise you need to start living. To give yourself to the sun and its heat instead of the design hub’s cold relentless interior. For me, this realisation came a bit prematurely. The day of my final presentation was poised to be a beautiful 28-degree day. And it was. Given my presentation was at 6:30 at night, little time did I want to spend inside. This day is usually ravaged with anxious but then relieved and excited students who have just reached their labour-intensive climax of a final presentation. I decided to wait until some friends in other studios finished earlier in the day to join them in their excited lull. Knowing full well my presentation was approaching, I only cared about the sun, the heat and alcohol.

| ANGUS WHITE

The day was spend prancing around the nearby gardens, rejoicing in a deluded sense of freedom. Although the reward of being able to study at RMIT is extraordinary, the emotional response of the actual ending of the semester is like nothing else. It is not until you realise you have drunken an absurd number of alcoholic beverages that your problems do reanimate. Like the ex you always want to text, the presentation was looming. In fact, I was late. The sun had devoured my hours. Eaten my sense of responsibility; but somehow given me back a some burst of motivation to go and present. Or perhaps that was fear’s doing. Alas, I was in love with the feeling. Too inebriated to be nervous. Too excited to care. The end was near, and I was on my way to fight the final battle with an overconfident spring in my step. While I stress the fact, I do not condone or recommend being intoxicated for a final presentation; I do stress the need for a moment of respite. Now, as I complete the semester online, I look back to the sun beaming through those distinctive circular discs. Carving out shadows in the halls. The smell of spring mixed with unwashed people and beds made at the end of the corridors. A memory of a time when the sun brought the internal desire to be with friends and those you love. It is certainly not the same being drunk at your computer screen. A.C.W 65 13

PERSONAL REFLECTION

KARI VITALICH

HOW IS IT ‘FAIR’? What is a ‘fair’ approach that addresses the legacy of 46 Little Latrobe Street? In the ‘container’ project in collaboration with Joel Hiller, a ‘fair’ and equitable method highlighted the knowledge and function of the building. It formalised the behaviour of the downpipes and preserved the original building by elevating it above ground level. In the ‘furniture’ project in collaboration with Steph Griffin, the imprints carved out from original furniture were carefully curated, through ‘fair’ and dainty consideration of these fragments to inform the new furniture. The architectural ‘repository’ project in collaboration with Justin Chong, explored a moment for the gathering of a ‘fair’ with a series of exhibition buildings creating spaces that framed access to the implied experiences of others. In my ‘container’ project I peeled back the layers of the ‘fair’ coloured bagged brick interior walls of the office, expressing their aesthetic qualities through a symbolic foil like screen. A ‘fair’ approach without discrimination of hierarchy between the original and new was adapted in the souvenirs project with Jean Viljoen. Through reductive rescaled versions of the original combined with existing components of the building objects were given a dual purpose.

The building at no. 46 is situated amongst similar buildings. It is only through closer observation, like the unsettling differences in heights of the window placement, that the building is distinguished. Authenticity is measured through the way architecture relates to its collection of surroundings, place in time or the way it acts as a contrast against a current situation. How much is abstracted form or spatial memory true to its origins? What is the value of preserving it within its perpetual state if the spatial qualities of its contextual existence are ever-changing?

The studio used the building of no. 46 as a device to explore conversations and provocations unveiled through an interrogation of the building. With the loss of physical access to the building, through a restricted virtual lens, the possibilities of dealing with the original integrity of the building were guided by a 3d model, imagery and written descriptions of memories. The platform of nurb and mesh surfaces detaches us from the limitations of the physical building using it as a testing ground of endless ideation. The memory of the office of Edmond and Corrigan as an institution lives on through this lens of provocations explored through the studio.

PERSONAL REFLECTION

Initially the inherent value of a building lies in the authentic design moves of the original author or the importance of its initial function in history. In present day it becomes measured against its new contextual meaning. As the architecture occupies this place across time, its importance becomes measured against the current cultural or social standards. While the physical objects may remain their spatial interactions and

KARI VITALICH

program are ever-changing. This shows how the importance of the architecture lies in its malleable qualities to adapt to function, as aesthetic qualities deteriorate over time but the method behind them can be translated.

HERITAGE STRATEGIES

KARI VITALICH

DELAMINATED PERIPHERY This proposal critiques a prior project by Chong and Nguyen that sought to preserve 46 Little Latrobe Street by â&#x20AC;&#x153;shifting interior elements into the exteriorâ&#x20AC;?. The extension that has followed expands from the two layers of this project - between the walls of no. 46 and the space frame. The project peels back each layer of the walls to create additional interior spaces. This project explores an idea through perpetual extension, by showcasing an experience of the conditional properties of the initial wall layers. From the solidness of the exterior masonry, to the interior paint finishes expressed as elegant foil screens, the transparencies across these layers and the transient movements between them highlight how each impacts our experience of the other.

Through the dissection of the wall each layer is expressed as an individual display that showcases its most prominent aesthetic qualities. In plan the layered perimeters create spaces that are held between a number of buildings, with each spatial condition influencing the next. The insertion of new staircases impedes on the space of the original floor plate of no. 46 and symbolises the constricted spatial qualities of the original entrance to the office on level 2. The expansion of the found rigid space frame, is realigned to accommodate the grand opening that exposes the delaminated wall layers. The conditional properties of each layer of containment is reliant on its adjacent condition to constitute its formal qualities, and so each edge establishes a value against another. This project expresses an inheritance as an infinite layer of beauty.

SECTION

PLAN

DELAMINATED PERIPHERY

WK 05 - KARI VITALICH

TADZIO FROM THOMAS MANN’S ‘DEATH IN VENICE’

AXONOMETRIC

DELAMINATED PERIPHERY

WK 05 - KARI VITALICH

PRECEDENT STUDY

SALLY-ANNE CIANTAR

Adrian Curtain, Mosque Concrete in Angelo Candalepas, Australian Islamic Mission

This reading details the story of the Punchbowl Mosque, a new landmark for Western Sydney. The building evidences a system of collaboration, where Curtin is able to capture the importance how a single essence of a building is able to be held across mediums in a multiplicity of ways. The conversation from architectural and engineering viewpoints becomes evidenced in various stages of the project and details the level of consideration and care required by the builders and architects. A uniformity is found in their relationship, where bespoke engineering techniques and several methods of testing and prototypes were employed to describe a sort of preservation through the idea from the building. The idea of the ‘lone creator’ in architectural discourse becomes an illusion of sorts, contested by architects and critics alike. Though it can become easy to isolate one’s self, collaboration within the discipline and across mediums can allow the realisation of experimental works on a large scale that would not be possible within the limits of a single institutional context. A guide is then laid before you, where this readings value is in its ability to highlight how the designers forms of practice are able to challenge disciplinary limits and ask us to think about the ways we can limit ourselves with outcomes not able to be achieved creatively or logistically by a single institution alone.

LOVE LETTER

DEAR FIRST YEARS,

JUSTIN CHONG

- Me every 3 A.M. in the morning. (2017)

EARLY 2017.

LATE 2020.

I was an international Malaysian boy who landed for the first time in Melbourne, Australia. I remember it so vividly, I was in Codex, my tutor was Anna Johnson. My class was sharing the same room with this bald, white man in glasses and a tote bag teaching Atlas sitting in one of those long classrooms in Building 100, waiting for his students to pin up their work for class.

I finished my Bachelors, and am finally in Grand Delusions Michael’s Masters design studio, our paths have crossed once again.

I heard his name thrown around our cohort, his name was Michael Spooner. Only 2 of the students did everything they were tasked to do, Maitija and Holly. Michael was not amused, he wiped his glasses and shrugged, stood up and asked the rest of the class to get out, as they did not deserve his time. I watched as the class pack up their stuff and leave, hoping for Michael to give a second chance, but he was having none of it. As they all left, he went on to give full crits to the two students, as if nothing else mattered. There I was, sitting on the other end of the room with my hand-drawn axo and my physical model made of box board for Anna as it was the cheapest material I could find. I was terrified of Michael; I was terrified of architecture. I’ve always wanted to do be a part of his design studio, but I always backed out during ballots (3 times in total) and decided to do another instead. Friends and alumni of the studio have told me that Michael is a sweetheart that cares for his students, he makes you ponder on the existence of architecture and your perspective of the world in a different manner, but I was hesitant to believe them through that one singular memory 4 years back.

My class was full of bright students, and I constantly feel left behind due to the terminologies and thought processes that the others possess, and I feel that I can’t catch up. Michael mentioned to me during my mid-semester feedback that I was constantly sitting in the background of the studio, defaulting to the partners I work with. He advised me to push through the mass to go to the front, to give leadership a go. I knew I had to do better, I had to find my own voice within the design studio, I can’t be scared anymore. I made it a point to speak out more to my peers during the second half of the semester. To be more open with my design intentions to Angus, Kari and Jennifer, all of whom were really supportive and welcoming to allow for me to speak my mind more. I thank you all for giving me this opportunity to create architecture that I wanted to create. I was free. As the semester comes to an end, this is my message to the first years :This design studio situates itself within the pedological terrain of the many others that you will be undertaking. Consider how far you have come and be proud of yourself. Preserve your personal disobedience towards the architectural discipline and find your own voice within an industry where most people are afraid of stepping out, this is only the beginning.

HERITAGE STRATEGIES

JAMES RUMANOVSKY

IGNORANT PRESERVATION In collaboration with Joel Hiller, this strategy was curated as an attempt to confront the task of preserving 46 Little Latrobe Street by being over protective. This project looks at the precedence of (Carmody Groarkeâ&#x20AC;&#x2122;s) The Hill House Box in the way it utilises an additional facade as a mechanism for preservation. Therefore, this strategy makes use of a wall of glass that encases and shields the building. As a consequence it is hidden and only partially recognisable; in particular lighting conditions does the building within reveal itself. The qualities of this new outer skin bears little to no resemblance of no. 46 except the inclusion of the original interior light globe from the entry stairwell. The light marks out the territory around and animates the facade in an attempt to recall the original building now preserved unseen within.

Carmody Groarkeâ&#x20AC;&#x2122;s The Hill House Box

IGNORANT CARE

WK 11 - JAMES RUMANOVSKY & JOEL HILLER

77 13

PERSONAL REFLECTION

JENNIFER CHEN

46 THINGS TO RECLAIM ON THE RETURN TO BUILDING 100 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.

23.

The ding of the elevator Hearing the tapping of heels walking up and down the corridors Waiting for a large format print on Level 1 Sitting on the benches alongside the longroom waiting for a tut to start Timer running on computers Seeing a friendly face in the print room Wiggling around on the white chapel seats of the lecture theatre on Level 3 The odd tasting water from the drinking taps, by the bathroom Turning the corner at the stairs Getting a knit top caught on the leftover pins of a wall Visiting all levels to not be able to find a computer The panic of accidentally leaving a USB or hard drive plugged into a computer Borrowing a student card from a friend with 24 hour access Borrowing a phone or computer charger from a friend at the hub Breaking the tip of a 0.03 fine liner No octane render licenses available Desktop is full Topping up print credit through paper cut Accidentally trimming down a large format print, only for it to be crooked Watching the sunset with the circle discs of Building 100 framing the view Waiting at the traffic light to cross and enter into the foyer of Level 3 Wondering why it’s called Level 3 and not Ground Floor Dropping a student card or phone down the vents, located at the edge of each floor

24. Spilling coffee all over a moleskine 25. Carrying a white card model on public transport and the fear of accidentally dropping it on the way to tut 26. The ‘no food or drink allowed’ stickers on the corners of the black tabletops 27. Trying to operate a COW 28. Trying to predict how line weights may look once printed 29. Sitting on the hard concrete surface ledges of Level 3 30. Pinning up, down and up multiple times to make sure prints are perfectly aligned on the wall 31. Feeling lost on the RMIT campus, and only feeling a sense of belonging when inside Building 100 32. Lining up at Little Print 33. Complaining about Dinkums 34. Buying UHU from Eckersley’s when Melbourne Artist Supply feels a bit too far 35. Carrying an Olfa stanley knife at all times 36. Walking past building 8 and groups of people outside 37. Organising site visits with others 38. Walking to Dukes Coffee for a coffee 39. The place that use to be T-Square 40. The cold breeze of fresh air after a night tut 41. Not holding time to be a measure for quality of work 42. Prints not coming out as crisp as it appears on the screen 43. Prints surprisingly coming out crisp 44. The 'peak hour' rush of students before 9am, 3pm or 6pm tuts 45. Seeing glimpses of studio work by others 46. Walking past 46 Little Latrobe Street on the way to Building 100

PRECEDENT STUDY

JAMES RUMANOVSKY

In these selected early works by Steven Holl, what becomes clear is the intent to design across multiple scales, methods and medium in order to achieve a specific design intent. From exposed structural beams to etched glass, from furniture to different shades of paint, everything and anything can and should be considered.

JAMES RUMANOVSKY

Who would’ve thought a thin brass channel was worth giving a crap about? Hovering lamps over a waxed cork floor? Sand blasted windows with etchings that represent the architectural ambition, is not something you’d normally consider. Holl is able to put a reason against every decision made, and that is the tell of an incredible designer. This level of control has appeared a number of times in the student works of Grand Delusions, which always stands out in the weekly presentations. The time has come to start focusing on the things you normaly wouldn’t...

I was kind of getting triggered seeing this project remain on the precedence list every week, because i couldn’t really appreciate the value of these works. But now I understand, these projects reveal an ownership for the entire scope of works and how each fabric has a specific role to play.

PRECEDENT STUDY

HERITAGE STRATEGIES

JAMES RUMANOVSKY

CHINESE WHISPERS

46 little latrobe street: the office of edmond & corrigan Continued

In collaboration with Jean Viljoen, this furniture is conceived from a description of an event that once-upon-a-time occurred in 46 Little Latrobe Street. According to Michael Spooner’s essay”46 Little Latrobe Street: the office of Edmond & Corrigan”, Irish Coffee was consumed on occasions late into the night in the Edmond and Corrigan Office. From this piece of information, an assumption on its notoriety associated with the whiskey coffee combination in a professional working environment can be made. For something to be notorious it has to be like a rare gem, appearing in glimpses, hard to find, and worth a pretty penny. It’s in this assumption that new ideas can be formed about the activity. Was there a special Irish Whiskey bottle made from rare emeralds from the corners of the world? Was there a special box that all the utensils lived in between drinking that folded and hid in order to avoid recognition? Was there a glowing ashtray made from chiseled pink diamonds? These questions help simulate a discussion that later inform design moves that attempt to procure notoriety. However, all that is known based on the information provided is that Irish Coffee was consumed at 46. Little Latrobe Street.

the stairwell continues without the stair and eventually protrudes through the roof, realising a dramatic volume above the blue entry door to the level containing the office of Edmond & Corrigan. The architectural office is defined by the reception, library, large studio space and mezzanine. The reception recalls the narrowing spatial progression, triple door cupboard and ancillary stair of Villa Snellman, but as though folded to fit, achieving instead a congested sequence of alcoves and corners that accompany the corridor of space past the 14

meeting room table, and a single door to the kitchenette and bathroom, before being released into the studio. The domestic scale of the reception conforms to the presence of the mezzanine above but contrasts with the vaulted ceiling of the studio. The studio is lit by a generous window, and by four bar lights suspended several metres above: both emphasise the monumental character of this space. A striped canvas awning, of the type found in suburban Melbourne drawn down against the harsh sun, is brought inside, and fixed to the pilasters, floating before the large window to act similarly. The awning, along with

rmit design archives journal Vol 10 Nº 1 (2020)

Opposite Development of Little Latrobe Street and its surrounds. Image by Michael Spooner & William Bennie, 2019

movie Man of Flowers (1983), along with the office’s glass meeting table and chrome chairs, though its existence as an architectural office is obscured by the art-studio props.12 The façade The former hotel building at no. 50 along with the original building at no. 46 and two adjacent sites were singularly owned when put up for sale in 1985. Graeme Butler’s photograph of buildings along Little Latrobe, taken as part of his Central Activities District Conservation Study for the Melbourne City Council in 1985, exhibits the large

For Sale sign on the front of no. 50 advertising the development opportunities of the four sites.13 Corrigan had obtained the owner’s address and when visiting his parents, who had moved to Queensland from Melbourne, attempted to purchase no. 46 but left the vendor’s boathouse with no answer either way. 14 Soon after, Edmond & Corrigan in conjunction with Alan Lewis, an engineer and former client,15 jointly purchased no. 46 at auction, Barton recalling that the agreed limit was exceeded by Corrigan.16 Lewis’ entrepreneurial cousin had run the Thumpin’ Tum, a music

Top Composite street view of 52-42 Little Latrobe Street using photographs by Graeme Butler completed for the Melbourne Central Activities District (CAD) Conservation Study 1985-1989 and made available digitally via the Melbourne Library service through funding from the Public Record Office of Victoria and City of Melbourne.

rmit design archives journal Vol 10 Nº 1 (2020)

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Excerpts from Michaels Spooners Essay ‘46 Little La Trobe Street: the office of Edmond & Corrigan

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PERSONAL REFLECTION

JAMES RUMANOVSKY

My Grandparents Apartment in Balaclava... It wasn’t until I came across the RMIT Design Archives Journal Vol 10, No. 1 2020, in week 3 of the studio that I came to appreciate the term “heritage” in a new light. Don’t judge a book by its cover. In the case of no. 46 Little Latrobe Street, a misaligned window isn’t poor craftsmanship, but actually a deliberate act. But why? Read, listen, interrogate, and the answers come forward. I was that person who thought the builder laughably stuffed up the window, until I read the article. What I learned was the power of communication in explaining what heritage is. Heritage is preserved in text, in photographs, in things other than architecture. After reading this I realised that there is a duty to pass on heritage, and also a responsibly to question something beyond first assumptions...

I consider myself very lucky to have been a young boy growing up with caring grandparents who were driven to constantly keep me well fed. It became an unspoken ritual as I entered through the solid front door, a mandatory hug and kiss on the cheek, followed by making way straight to the welcoming red dining island. Here, I’d be greeted by a flurry of Russian dialogue from my elders, followed by an array of meats, cheeses, breads, soups (the list goes on) that filled the table, more than my eyes could fit in one view. The island was a continuous red laminated piece of joinery with curved edges that swept around the perimeter of the entire kitchen, that went on to provide space for the stove, sinks, and workspaces. This was the defining architectural act, it supported the social and practical life of the apartment. Accompanying the dining island, constantly, someone would be on one of the red leather and chrome swivel chairs, hunched over the table chatting to someone on the other-side who’d usually be preparing something. Of course, as a family we’d spend time in the living and formal dining, for lounging about or main meals, but the kitchen had a special energy. The flat was apart of the postwar housing rejuvenation, and has been home to my grandparents for over 40 years. As a child in the late 1990’s/early 2000’s, I distinctly remember counting the white speckles in the terrazzo floors whilst sitting on the dunny (pre mobile phone era). The same terrazzo tiles in the toilet matched that in the apartment entry foyer and stairs (not to current A.S. Standards). Some time around 2017, the apartment was renovated, mainly at the mercy of my grandparents’ boredom of seeing the same apartment everyday for decades. In the blink of an eye, it was guttered, and replaced with...something different. The renovation was designed by someone who had no prior knowledge of these stories, no attachment to the kitchen or the terrazzo. Visiting my grandparents after the works were completed, the kitchen lacked an invitation without the island, there was nowhere to “hangout”. The whole social ecosystem had been disrupted unknowingly. Not a single trace of the bold red remained. And visiting the toilet was no where near as engaging with the new shiny brown tiles compared to its prior state. The heritage was treated like a bad chapter in a book, done with and forgotten.

What would the apartment look like if I were responsible for the renovation? There was clearly a freedom in the way the original fabrics were discarded. What heritage means to one person means something completely different to others. The physical artifact of architecture is not just a “thing”, but carries with it stories, emotions, the memory of someone, a stage for an activity. This is what gives creates an affection towards an architecture or place, without it, heritage would have no value, it wouldn’t be heritage.

My Grandma an

d I, circa 2005

LOVE LETTER

INSERT NAME

KARI VITALICH

I fondly recall a moment creating one of many of my first

ITâ&#x20AC;&#x2122;S ALL PART OF THE PROCESS

LOVE LETTER

uni tasks. Painstakingly spending hours redrawing every detail of the plan of Gehry's Puente de Vida Museum at A2. I remember preciously carrying the fruits of this labour, in its protective tube casing, shielding it from the rain, as I entered the packed train on my commute that morning. Only to realise on my arrival in class that this crucial drawing would be ripped up and pinned to the wall. Creating the subject for our next A0 detailed observation drawing of these fragments, that represented the studio's collection of 'detritus'. Learning that pride in the process is just as important as the end product. Each task or project is never finished, but builds up momentum sparking an idea for the next.

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LOVE LETTER

JOSHUA DE MATTEO

PRECEDENT STUDY

| GEORGIA RUMBLE

He was didactic. Brecht wanted to educate not entertain the audience by getting them involved in the issue, not the character.

t h c

e r B lt

o t r Be

The shearers strikes of 1800’s were instrumental in forging the working class revolt. I think Brecht would have approved of the shearers shed as a metaphor for social change. Australia’s economy in the 1880s was built “on the sheep’s back”. But the vehicle to get the wool from the sheep to the market was the shearer in the shed. Paid poor wages for back breaking work. The Australian mythology of the shearers quarters. Brecht had confidence in his audience to make such connections He had faith in the Audience. 46 Little La Trobe- Shearers Quaters James & Georgia 1

I think is an attitude evident in the practice of Edmond and Corrigan.

PRECEDENT STUDY

DAN-JERINEL BAY

PRECEDENT STUDY

DAN-JERINEL BAY

Hard rubbish. The act of placing value to a piece is something quite subjective. As the auction takes place, one can decide how far they are willing to go to be able to claim ownership of this artifact. Surely there is something noble about perceiving something is of value within the bounds of its heritage apart from the preparedness of the wallet? The value of a piece of furniture, is susceptible to the stories it may hold, from the sense of nostalgia from the people that once held it physically or the cultural significance preserved in its skin. What judges the appraisal of these items? The glorification of hard rubbish. These pieces are placed with an estimated value of several thousand euros almost seems absurd. I have barely any quid to wager yet i am drawn toward the unattainable. What made this such a valuable precedent to me was the fact that the antiques were at the point of being sold at the time of viewing. To be collected and then sold to the highest bidder. We know not where these pieces will end up, only to accept that we have already lost our chance at bidding. A glimpse into its life through the computer screen. If there are none willing to spend then it simply lays dormant until it happens to catch the eye of someone interested, much like a courtesan on display in a brothel. What parts are deemed valuable enough to keep or destroy to improve upon, how we may transform a building with its own stories into something completely different whilst paying due recognition to the significance of its existence. From this precedent where the maintenance and preservation is taught to give value, we are then to question how we can add value by the specificities of our interventions.

HERITAGE STRATEGY COMPARISON

GEORGIA RUMBLE & KARI VITALICH

TRADE - OFF The architectural heritage of 46 Little Latrobe Street creates a physical framework, where walls and fitting details are accentuated and adapted to propel the original intentions of the architecture into a new behaviour. The approach of each project extends the condition of the existing built forms and informs a new found behaviour. Through an alteration ‘Enabling’ remains true to the delivery function and behaviour of the delivery person. The actor, seen as the delivery truck driver, delivers individual flowers to the transitional space of the loading bay, now at the rear of no. 46. The form of the building proceeds to offer a seat for the delivery driver and a shift in the wall to account for the truck turning circle. Privileging an often disregarded but integral part of the distribution process. The project uses the nature of the existing building as a guide to frame the measured approach of adapting, with minimal but necessary shifts in the facade.

While the souvenirs in ‘Transformative Translations’ abstract and impose the formal qualities of what once was. The souvenir transforms the original toilet door details through distorted scale against the original. Leading to an outcome that is symbolic of its origin but also resembles a lipstick case. The project accounts for the past as well as the present through the creation of a dual interpretation of elaborate deductive forms.

‘Enabling’

‘Transformative Translations’

The transitional focus was to inform the behaviour of the act of delivery, achieving an outcome where the behaviour of the heritage accommodates for the function.

The transitional focus was mimicking the original to achieve an othering, offering an appropriation that recontextualises the object.

LOVE LETTER

SALLY-ANNE CIANTAR

HERITAGE STRATEGIES

STEPHANIE GRIFFIN

HERITAGE AS REPLICATION This is a collection of furniture designed for the studio space at 46 Little Latrobe St that has been renovated as a studio unit for a single bachelor. This project takes the physical form of a stair and a sofa as a starting point, and replicates the formal qualities of the object, but changes the original form, function and familiarity in the process. A staircase transforms and becomes a clothing rack or a bunbed beneath a stair. This transformation was a process of turning ghost read imprints or â&#x20AC;&#x2DC;negativesâ&#x20AC;&#x2122; of the original geometry into into a new form. This project explores the suggestion of an archetype, but the resulting transformation is disorienting. Here heritage is seen as a presence, something intangible like a memory. This project attempts to manifest this memory of an object physically, to give it form.

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This project is a collaboration between Kari Vitalich and Stephanie Griffin.

9 71

LOVE LETTER

JOSHUA DE MATTEO

KEY PHOTOSHOP COMMANDS LOVE JOSH xx

that’ll come to save your life because you only have 15 minutes to work up your final render so you don’t print late, get caught in a giant cue and pin up late for class.

RESULT

COMMAND

Free Transform (Right click on object after for options)

Control + T

Decrease Brush Size

[

Increase Brush Size

]

Decrease Brush Hardness

{

Increase Brush Hardness

}

Interchnage between paint brush and eraser

Hold down `

Switch Foreground/Background colors

Duplicate content from one layer ontop another (make selection with marquee tool then press command)

Control + J

Merge Layers (highlight selected layers then press command

Control + E

Move Tool

Lasso/Polygonal Lasso/Magnetic Lasso Tool

Quick Selection & Magic Wand tool

Eyedropper tool

Brush Tool and Pencil Tool

Rotate View Tool

Switch layer mask on/off (layer mask needs to be selected

\ (backslash)

Select All on layer

Control + A

Paste in Place

Ctrl + Shift + V

Redo

Shift + Ctrl + Z

Undo

Ctrl + Z

Cancel completely

Esc

Search within photoshop for a commands/assistance

Control + F

IMPORTANT! ! !

KNOW YOUR LAYERS TAB!

1 2 3 4 5 6

1) LAYER STYLE - Overlays accessed from here apply to your chosen layer and are non-permanent. Effects can be turned on/off and easily copied across multiple layers. 2) APPLY MASK – Never delete content from your layers, always mask it as you’ll never know when you’ll need it again! This button creates a mask layer that sits over the top of your current active layer. Use the black and white brush tools to hide or show the contents of the layer. Incredibly helpful when cleaning up drawing/renders and removing layers of detail. - TIP press the ‘\’ key when then the mask layer is selected to see where on your artboard the mask it active red means masked, clear means its still visible. 3) ADJUSTMENT LAYER – This tab replicates the options available to edit an image from the ‘image, adjustments’ tab in the toolbar, but like the layer style tab is non-permanent. Can be toggled on/off and removed when needed. 4) NEW GROUP – Creates a folder in which layers can then be housed. Incredibly helpful when working with large files containing a lot of objects. - TIP to further assist in the organization f your files, make sure you name all your groups accordingly and color code your layers/groups. This can easily be done by right clicking on a layer and selecting a color located and the base of the scroll down men. 5) NEW LAYER – Creates a new layer to be inserted above the currently selected layer. 6) DELETE LAYER – As name implies. Permanently deletes layer and contents. 93 3

PERSONAL REFLECTION

STEPHANIE GRIFFIN

Definitions of Heritage

Through the project ‘A Gift for Daniel’ with Georgia Rumble I came to see heritage not just as an architectural artefact, but as a collection of memories intertwined with physical objects and places.

This project ‘A Crinkle Cut Colloseum’ explores a frustration with traditional notions of heritage architecture. If every object has a contextual historical and cultural importance, then the hierarchical label ‘heritage’ is rather arbitrary. This project is an attempt to break this hierarchy by creating a gallery system that harnesses the object to be viewed, but does not acknowledge the specificity of the object. This project is a gallery space and archive for a furniture collection designed by the class. The sheds wrap around this collection without a curational hierarchy; each furniture object is presented as equal. The only claim that the object is present.

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A collaboration with Jennifer Chen and Sally-anne Ciantar

I started with a traditional conception of heritage: buildings that were created in the past and still have historical and cultural importance.

Anonymo Opened,

This prece letter fro Rodin’s Th the Clev Art. The in its dam museum

This letter my attitu author sp of someth bold throu the heritag to ca

PERSONAL REFLECTION

STEPHANIE GRIFFIN

ous, Leftovers I was Cabinet 2019.

edent is an anonymous om the bomber of he Thinker statue at veland Museum of sculpture was kept maged state by the after the bombing.

helped to challenge ude to heritage. The peaks of the creation hing problematic and ugh the destruction of ge object as opposed areful preservation.

This project â&#x20AC;&#x2DC;a 24 hour floristâ&#x20AC;&#x2122; with Angus White marks a point of confusion where a clear definition of heritage did not arise. It consists of a clandestine florist operation that is masked by the E&C office as a shell. A clear approach to heritage did not arise because I was distracted by the realisation of narrative of a clandestine florist operation. In this project heritage is seen as the original shell of no.46 that masks the factory operation inside. Conceiving of a design design via a set narrative does not always produce the most

This last project designed with Joshua De Matteo marks a departure from my rather sheepish approach to heritage in my first few projects. It is a conception of the E&C office as a passenger train. The project boldly appropriates the facade of the E&C office onto the front of the train.

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HERITAGE STRATEGIES

KARI VITALICH

TRANFORMATIVE TRANSLATIONS Adrian Curtain’s description of the Punchbowl Mosque by Angelo Candalepas focuses on the accuracy of the concrete formwork to achieve an outcome that aligned with the architect’s idea. The accuracy of the process helped preserve the initial design intent. The final building holds symbolic meaning behind the history of this collaboration with builders and engineers. The importance of the architecture lies in the rigorous construction process, which can be lost and objectified without an understanding of this history. The first project explores a collection of furnishings that translate the couch, cabinet and bookshelf, from their original setting in the film ‘Who’s Afraid of Virginia Woolf?’, into level 2 of 46 Little Latrobe Street. They were appropriated via a mold cast of the furniture’s negative space. The hollowed cavities were manifested as a kitchen. The process bound the spatial narrative between the past furniture collection from the living room of the film and the present fit out within the setting of no. 46. This translation is where the unconventional performance of the object is revealed.

The second project is based on an invented history of no. 46, the unwanted souvenirs disputed what was authentic. The souvenir inspired by the toilet details of no. 46 was manipulated through proportion and materiality. The souvenir is now ambiguous within a context of uncertain scale. A translation of the existing door allows for the object to be interpreted at building scale. However, the reductive versions of the door details leave opportunity for new interpretations, through recognition of the object as a small lipstick case. The inflated balloon façade temporarily references the spatial qualities of its interactions while it is blown up. As a marquette it creates a familiar but distorted memory of the original façade. At the scale of the building it offers a new sense of interaction, with wall curvature that impedes into the interior spaces of the building, which creates a new purpose for the object. How far can repurpose, replicas, rebuilds and restorations be abstracted and decontextualized, while still maintaining a sense of meaning to their origin?

SHELF, COUCH AND CABINET IMPRINTS OF NEGATIVE SPACE

KITCHEN FOR A SOLE OCCUPANT Designed in collaboration with Steph Griffin 97

HERITAGE STRATEGIES

KARI VITALICH

NO. 46 TOILET DETAILS

COMBINED TOILET SOUVENIR

ORIGINAL NO. 46 FACADE

INFLATED BALOON FACADE

Designed in collaboration with Jean Viljoen

SOUVENIRS

WK 12 - JEAN VILJOEN & KARI VITALICH

HERITAGE STRATEGIES

JEAN VILJOEN

46 LITTLE LATROBE STREET

IN IMITATION OF

Everybody has one, but nobody wants one. An unwanted gift, a meaningless memento of a forgotten memory. Souvenirs are often small and surreal objects that are caricatures of a place, experience or person. The strategy IN IMITATION OF considers the artificiality in the inheritance of exemplar design outcomes through the artificiality of souvenirs. In the absence of 46 Little Latrobe Street, the souvenirs are vessels that highlight moments and design strategies of no. 46. They are proposed as an immediate record of what they reference at the scale of the palm sized souvenir. The specificity of the place or experience become ambiguous, yet still maintain a record of what they reference.

100

But, what then happens when these maquettes are scaled to the size of a room? The enlargement means the inconsistencies of the souvenir offer an imperfect spatial translation giving rise to meaningful architectural arrangements that convey the intent of no. 46.

SOUVENIR

101

102

SOUVENIR |

WK 11 - JEAN VILJOEN & KARI VITALICH

SOUVENIR |

WK 11 - JEAN VILJOEN & KARI VITALICH

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PERSONAL REFLECTION

DAN-JERINEL BAY

RESTRAINT The confrontation with the digital model of the Edmond and Corrigan office was a different way to deal with an architectural condition. I was unable to feel the fabric of the building with my own primary senses; in the mode of visiting the physical form of the building. I may use my imagination to fill in some of these gaps but with the lockdown in place i might as well have been in another country. My point of contact with the Edmond and Corrigan Building was through my computer screen as the window into its contents. It was almost voyeuristic how this building’s every measurement and angle was so easily bequeathed to me. It was a long distance relationship with a building I hardly knew but i was still nonetheless given responsibility as one of its new custodians. I’ve always felt some guilt with dealing with the building, as it could never wholly be mine, coupled with the dilemma being my own fears of tarnishing it through repeated reconstructions. But why was I so doubtful of myself? What is this inherent fear that inhibited my boldness? By the studio’s end i celebrated one task which involved assigning my own provocation to guide the investigation of another. I asked my colleague to design a train carriage for a departure from 46 Little La Trobe Street, to reflect upon my own departure from the studio. Through the invitation of another to enter this polyamorous relationship with the Edmond and Corrigan building, I instructed to create this train carriage, I had hoped by removing no.46 from the site and on train tracks as a drastic perversion of architecture i would be able to also pass it on like hard rubbish.

104

I was finally able to hold the idea of no. 46 Little Latrobe street with less ambivalence than when i first started through a perversion of architecture, something which i struggled with initially due to my restraint.

PERSONAL REFLECTION

DAN-JERINEL BAY

105

106

107

108

109

HERITAGE STRATEGIES

DAN-JERINEL BAY

AN EMBELLISHED SHELL This project uses the programmatic implementation as a means of holding the pieces of the artifact against each other. The fragmentation of the original artifact is then to be put at odds with a transformed piece of itself. The strategy argues that the identity of a building is still preserved even after substantial alteration, that it creates new programmatic opportunities that can claim the original. This project takes the title of a florist situated within the Edmond &Corrigan office. However the florist is held in the midst of two halves of the office which becomes an existence that then becomes a buffer between the original and the transformed part of the building I have separated the existing faรงade from the original building with which to create a separate building. The void created then becomes an enclosed space open to the sky, a freestanding monument of its relation to the original building.

110

what the project others as a consideration of the concerns of studio is that All things are subject to evolve through time, as the cultural and social needs change, so must the environments reflect this to better propel society as a whole.

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PERSONAL REFLECTION

JOEL HILLER

Prior to this studio, I was unaware that the former office of Edmond & Corrigan was within 46 Little Latrobe Street. I do not exactly remember whether no. 46 ever beckoned me to stop as I walked past but I would not be surprised if there was a fleeting moment of dismay towards the misaligned windows on level 2. What I did objectively appreciate is its proportions that formulate a recognisable streetscape that pays homage to the brick heritage of the urban character of Melbourne. My experience of no. 46 has largely depended on the detailed 3D digital model, the weekly manipulation of its properties, and subsequent studio discussions. Working with the digital model curiously revealed the astounding number of objects appropriately arranged to form an occupiable space and provided insight of the interior that I had only glimpsed. While a succinct essay written by Dr. Michael Spooner in RMIT Design Archives Journal (Vol 1. No. 1. 2020) articulated the development, design and occupation of the building. This newly found knowledge and appreciation supported my interest towards the buildingâ&#x20AC;&#x2122;s preservation.

112

Immersed by the sheer volume of work and dedication of Grand Delusions revealed a level of personal attachment to no. 46 and this determined its value. It became an agenda of careful consideration in strategy and architectural intent as I acknowledged the significance of no. 46 from an objective standpoint out on the street and from an empathetic position by listening to others.

113

LOVE LETTER

JAMES RUMANOVSKY

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It was a late night in the design An idea but no rhino mod hub, Needing to el. make a sexy curvy thing I had to ask for studio, so m eone for help I approached . a fellow arch itecture stud and they ga ent, ve me this gi ft. The presenta tion went O But my affe K, ction towar ds building 100 grew stro Be friendly, ng. help others, You too may need help in the darkest of hours

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only 3 DAYS AWAY!

OMGGGGGGGGGGGGGGGG GGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG GGGGGGGGGGGLuckily, i worked really hard , And I printed before anyone else. Note of caution: The printers at RMIT get super busy, it can be avoided....

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114

There are particular moments, times of the day, acts that we do and cherish because of Building 100, its location, the culture within it. All these things that are all under threat, and thereâ&#x20AC;&#x2122;s a duty to remember them and pass them on.

PRECEDENT STUDY

JEAN VILJOEN

MELANCHOLIA - LARS VON TRIER BEAUTY IN DESPAIR

I had a dream, which was not all a dream. The bright sun was extinguish’d, and the stars Did wander darkling in the eternal space, Rayless, and pathless, and the icy earth Swung blind and blackening in the moonless air… The world was void, The populous and the powerful – was a lump, Seasonless, herbless, treeless, manless, lifeless – A lump of death – a chaos of hard clay. Byron – Darkness

ion

elat

nih

time

Melancholia is a cinematic visualisation of cerebral imbalances, a spectacle of imploding anxiety and depression seen through the impending collision of Earth and Melancholia. We are made to feel the heaviness of wading through dense numbness and the constriction of irrational thought. Even in moments of elation, we are unable escape the symptoms that warp our individual sense of time - a disconnect to the zeitgeber and inability to enter into a flow state of consciousness – nihilism. Von Trier’s exploration of nihilism shows the intrinsic freedom in nothingness - that from nothing, comes everything. Such is our experience of space. Architecture can be both agoraphilic and intensely intimate (Tate Modern atrium); a claustrophobic arrangement of intersecting parts where everything is of equal importance (Enric Miralles, Apartment Renovations). The success of a building can measured against its ability to emote a feeling on entry, whether it be unanimous or polarising. A passage of time and space through preservation is an identification of self in the moments of spacial sequences.

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115 9

HERITAGE STRATEGIES

JEAN VILJOEN

INFILTRATION Cheerful Nihilism is a weekly project for a florist within 46 Little Latrobe Street. This strategy reflects the section of no. 46 and the tiering of level 2 that compresses the height of the level beneath and the narrowing progression of the reception that folds to create a series of alcoves and corners. In Cheerful Nihilism, no. 46 sets up an external armature that determines the internal boundaries of the florist. The florist in turn exaggerates the building profile further, creating a series of spatial moves and formal outcomes that collide and intersect with each other. The resulting florist form folds in on itself, bulging and pushing back on the shell to inform the layout and programme. For example, lightwells navigate corners of unresolved junctions that create display surfaces; the floor plate pushes downward, nesting the reception area; bulging of space to the east sets up a storage room where shelves fold out from walls. A staircase leads from the northern courtyard to the top levels where the intersection of junctions informing space is furthered. The compression of parts is layered pockets of space that house the functions of the florist.

no. 46 compression of space

florist compression of space

external armature

116

compression

no. 46 armature florist insertion 117

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CHEERFUL NIHILISM |

WK 03 - JEAN VILJOEN & JUSTIN CHONG

CHEERFUL NIHILISM |

WK 03 - JEAN VILJOEN & JUSTIN CHONG

119

120

IMAGE COMPOSED BY SALLY ANNE-CARTER USING PROJECTS FROM GRAND DELUSIONS.

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HERITAGE STRATEGIES

GEORGIA RUMBLE

TRANSITION AS FORM The loading dock. The waiting room. The student quarters.

These are transitional spaces. They have linear structures and ideas. Actors enter transitional spaces through a threshold. The activity that happens within the exchange is where the interest and the tension lies for this strategy. An optimistic space, it where transformation is possible, and your surrender is inevitable. The Loading Dock (figure 01) The delivery driver delivers the individual objects across the Threshold (the driveway) and enters the loading Dock (transitional zone). This is where the exchange between driver and florist occurs. A seat has been offered to the driver in recognition of their role in the production process. The student quarters: (figure 02) The students enter the threshold of The interpretation of the Edmond and Corrigan doorway. The students then pass through the subsequent towers through to the student quarters the passage way. The student quarters are where students chose how they engage with the institution instructions. This transitional zone is where an acknowledgment of the relationship between student and institution is recognized. The waiting room (figure 03) This project differs from the previous two. The Project as a whole is an embodiment of a transition without a specific threshold or exchange. The landscape is the result of the transition between occupation being formalised. Each of the its parts commemorative of all authors and actors involved.

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These project aim to recognize the individual behind the dogma of the dominant heritage discourse.

(Figure 01)

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CONSTANT REVOLUTION

WK 12 - ANGUS WHITE & GEORGIA RUMBLE

(Figure 02) 125

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CONSTANT REVOLUTION

THE WATCHTOWER

WK 10 - JOSHUA DE MATTEO & GEORGIA RUMBLE

THE ARCHIVAL LANDSCAPE

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(Figure 03)

PERSONAL REFLECTION

JENNIFER CHEN

PRESERVATION OR DESTRUCTION I understand Architecture to be a response to a well-considered reading of place. This position preferences the found condition. This wasn’t any different in the context of 46 Little Latrobe Street. I felt responsible for the building and cared for its heritage. While this has been questioned for the past 14 weeks or so, I believe I still hold onto the same position I once did. However, no. 46 has operated as a tool through which I have considered my understanding of an architectural object’s heritage. The significance of no. 46 isn’t the history that is tied to it, but rather that it is a piece of architecture that is present in the conversation of this studio, and present as a tangible object.

128

We have been custodians and have cared for the building. Speculations have led to a series of architectural operations and ways of

working that bump into, transpose, intersect, envelope, sit against, reveal, hide, frame or consolidate a position on the heritage of no. 46. I hold that every building should be handled with care. Heritage is an open thing. The legal, historical, cultural or political structures that are mentioned in discussion with inheritance only imply a preference for what can be held to be of value. What is considered to conform that value is in constant negotiation, and only exists through contestable claims. The consequences lie in the difficulty of that claim, who claims it, how it is claimed, and what constitutes it. Perhaps the only thing we can do is act with care to ensure our built outcomes are a product of incisive consideration, so that they become the future context to be claimed by others.

PERSONAL REFLECTION

| JENNIFER CHEN

ary

n rdi

VALUING THE WHOLE EXISTING OBJECT

m for

O the

e On g n or n f Cho o l a t S ustin e J n bi ith Ca w A tion a r bo

lla

Preservation cannot be partial, but must assign value to the whole architectural object. A buildings form, spatial conditions, materiality, arrangement, and contents within are all deemed to be of significance; they all hold qualities of time, place, space and culture.

129

PERSONAL REFLECTION

JENNIFER CHEN

lla

o nc

n tio

um r se los nta Co Cia t lly Cu le & Sa ink Cr riffin hG tep

lla

o nc

n tio

eil eV Th iljoen V an

FACADE ACKNOWLEDGING THE OCCUPATION WITHIN

130

The facade is preserved in its entirety and new elements are introduced around its periphery, redefining its existence. The introduced system does not acknowledge the specificity of the facade; only that the facade, as an object, is present.

PERSONAL REFLECTION

ct ite ch riffin R STA ph G te hS

tio

ra bo

| JENNIFER CHEN

lla

rat

lla

o nc

rist Flo h ed italic m su iV As Kar An ith w ion

AN OCCUPIABLE FACADE The significance of the physical shell is questioned as we doubt its ability to hold historical, social, and cultural value. Instead we speculate on the extent to which we can rely on the facade.

131

PERSONAL REFLECTION

SALLY-ANNE CIANTAR

46 LITTLE LATROBE STREET. OR IS IT 42? I DON’T REMEMBER ANYMORE.

What is it to recall a thing, but not remember the things name? When recalling the name, one is required to revisit the pathways formed during the encoding and storage of the memory. This moment as a consequence identifies three stages, describing the capturing of the thing, necessary in the recovery of the name.

Encoding In this studio we were asked to find concepts that considered 46 Little Latrobe Street. At its surface, this booklet reflects some bloody gorgeous work but more importantly, we interrogate the meaning of the label ’heritage’ in allusive images of architecture. In the images of these works, not only do I remember the projects, but do I recall memories and experiences both held within and remembered externally from the studio.

132

Architecture as a thing began as an understanding of the built environment. As a name mostly assigned to pretty buildings and skyscrapers. Then in beginning the degree, the institution of architecture exposed me a

world of new information that began to challenge my understanding of the discipline, constantly reframing my previous knowledge of the name ‘architecture’. But present still in the undertaking of the course, is the slow encroachment of encoding and programming by which it becomes difficult at times to deviate.

To me, this studio began to evidence a deviation from this path, where No.46 began to disrupt understandings of order, offering a new condition to contend with. In the slip of a window or the cut of a brick, our understandings of No. 46’s heritage began to be reflected in the knowledge gained in how No.46 evidenced a challenging of order and typology. Storage The acquisition of No. 46 implies its ability to be stored. Throughout this booklet, the act of comparing two projects became a valued reflective tool, beginning to identify key concepts that weave

PERSONAL REFLECTION

SALLY-ANNE CIANTAR

throughout this tapestry of strategies. Strategies and language become repeated and collated to form umbrellas of inquiry into the analysis of No. 46. It then became beneficial tool to compare, contrast and reflect on not only an individual level, but across the class, all following the same path but diverging in opposed directions.

Retrieval Though usually unintentional, the act of forgetting suggests a level of neglect. Muddled and faded, subjective and intangible, one’s memories of a thing (…architecture, a place, a person…) become vulnerable to the accident. Though still, an essence of a transient heritage may remain, able to shift across time. Time then offers no beginning or end, only a slowly shifting perspective. Though it’s difficult for us to make aesthetic judgments today on what is going to be significant tomorrow, it’s the institutions and the architect’s responsibility to recognize how our actions good and bad outlive us.

133

HERITAGE STRATEGIES

JOEL HILLER

DIFFERENT FOUNDATIONS The foundations of 46 Little Latrobe Street have been evaluated and re-established to form a response to the heritage of the building. This evaluation is in the form of magnetic levitation, a fanciful proposition that allows the preservation of no. 46 while demonstrating the capacity to learn more about its contextual siting. This proposal is a paradigm since it tests a conceptual method of foundations, magnetically levitated. The idea becomes a celebratory gesture as the office levitates above Little Latrobe street. Subsequently opportunities arise to expose elements of the building that were previously unattainable. For example, by elongating the existing downpipes to converge beneath the foundation, an ephemeral experience is created by witnessing the dispersed water. Glass block platforms heighten this confrontation as the water is then partially obscured under your feet thereby suggesting the sensation of being elevated yourself.

134

This project was in collaboration with Kari Vitalich.

LITTLE LATROBE STREET

135

136

DIFFERENT FOUNDATIONS

WK 02 - JOEL HILLER & KARI VITALICH

DIFFERENT FOUNDATIONS

WK 02 - JOEL HILLER & KARI VITALICH

137

HERITAGE STRATEGY COMPARISON

JOEL HILLER & DAN JERINEL BAY

TIME BOUND Establishing a strategy towards 46 Little Latrobe Street by recognising it’s positioning through time. Considering we undertake design studio in a linear progression, from week 1 till semester close, our ﬁrst surprising confrontation with 46 Little Latrobe Street seemingly fades into an increased familiarity. This is what guides our consideration by recognising no.46 through time. For instance, ‘Held Contents’ is a week 2 strategy that takes a literal interpretation of forming a container by magnetic levitation; no. 46 is decisively preserved. Design intent exposes several previously inconceivable spatial experiences of the building and challenges our understanding of architecture’s foundations. Contrary to ‘Held Contents’ is a strategy that came into fruition by week 13. This strategy, ‘The Compass’, considered additional inherited objects of uniquely different pieces of furniture and attempted to organise them by distributing them with no. 46 as its origin point. While no. 46 acts as the origin point, there is an evident departure from the building as a recognisable object due to increased complexity and uncertainty as to what holds more value.

138

HELD CONTENTS

THE COMPASS

etc

139

HERITAGE STRATEGIES

ANGUS WHITE

SELF IMPLICATION At what point does our path become implicated in the narrative of something else? Throughout the course of the studio, we have become a part of number 46 Little Latrobe Street’s life. Through the lens of works such as the ‘Wall House ii’ (designed in 1973) by John Hejduk and the Myers House (2008) by Edmond and Corrigan, an anthesis was explored to form a delineation between the establishment and our personal heritage. A reclaiming and acknowledging that we must begin take hold of who we are as individuals. The reclaiming came in the form of a student clubhouse built from past tasks in this studio. It offers a space for students to withstand the talons of the university. A safe haven for intellectual property. A physical stepping outside for a breath of fresh air. The student club house constructs and dismantles a relationship between the university and the students where one is dependent on the other and vice versa. The project is situated in a site of contested authority and makes present the relationship between student and the institution. The project offers a way to explore heritage at an arm’s length to highlight the importance of personal awareness when under the authority of an education board. Although there is no shying away from the fact that we as students, choose to be taught by these institutions and have our own ideas intertwined with the university’s doctrine; it is important to retain individuality and understanding of our own values. We must not forget how to stand on our own two feet. We must be the legs, and the authority must be the socks – moulded around us. The socks are there to make us feel comfortable.

140

This project is a collaboration between Angus White and Georgia Rumble.

141

HERITAGE STRATEGIES

ANGUS WHITE

142

OVERZEALOUS CARE

HERITAGE STRATEGIES

ANGUS WHITE

143

8 144

HERITAGE STRATEGIES

ANGUS WHITE

HERITAGE STRATEGIES

JOSHUA DE MATTEO

1 945

PERSONAL REFLECTION

JUSTIN CHONG

SHOULD I CARE? “Do I care about a building that I had no affection for?” Truth be told, not at all, but I do care about the friends that I’ve made as well as the provocations we’ve discussed in class, my own bias towards what I care about. I was introduced to 46 Little Latrobe Street prior to the conversations I had with my peers about it. I’ve visited the building a number of times over the years to watch the final presentations for Michael’s prior studios (K is for Ketamine & Maggie). I was more engrossed in watching my peers present their work within the space that it was encapsulated in, but not so much the space itself. I know it in passing, and now I have landed myself in Grand Delusions. The image on the right reflects on my interpretation of the studio as a whole. Inspired by the Freakabana movement (the art of arranging whatever-the-hell with precise composition and purpose) that Jean Viljoen has showed me during our time together as partners. This has been the driving force for me to frame the design studio as a whole, with the different movies, readings and furniture catalogues from different walks of Earth and time periods all meeting together in this design studio.

This plethora of precedents gave us students the opportunity to see our architecture as not just a technical profession that was all about the connection between a horizontal floor slab to a vertical column, but an act of pushing and pulling against originality and the physical, shifting the existing to create a fragmented and reorientated artifact. I have also learnt about architecture that builds into intended redundancy rather than lasting perpetuality through the grasping and exaggeration of the mundane. We as a cohort designed furniture to define a series of spaces that is home to our own labour, a collection of buildings that informs a collective memory conjugated by the entire class. I acknowledge that a multiplicity of personal experiences was utilised to provide meaning to these spaces. Grand Delusions to me is the provoker of a series of ideas that seem obscure to some within the discipline, but it is these ideas that are crucial for the stitching of adjacencies between the way I think about architecture and the way that I will practice architecture, both sides becoming a singular entity to allow for me to become the designer that I should be.

146

“I do care.”

My intepretation of Grand Delusions, a Freakabana collage.

147

148

LOVE LETTER

| STEPHANIE GRIFFIN

My first attempt at Photoshop. Lyons Housemuseum blockparty! Codex 2018

FIRST YEAR Y M O T R E T T E L E A LOV GRIFFIN SELF - STEPHANIE Dear Steph, IT st semester of RM I remember that fir of bulsa it was quite a haze gh ou th al , re tu ec archit min job to coffee. I quit my ad wood and 7-eleven es and g gym-ball sculptur in ak m to f el ys m dedicate tial crisis o land - cue existen in rh in s’ on ti ga re ‘agg there were many. cation to mend my sheer dedi serious Looking back I com t activities and my af cr c ti ao ch s es tl e the coun s urgent. With tim wa ng hi yt er Ev l. al edient attitude to it t have to be so ob n’ do u yo at th nt I have lear all the time. y and rticularly tech savv pa g in be t no r be I remem cky Lam ety attack when Vi xi an an d ha t os by m al e Creative suite all ob Ad e th n ar le to told me way with my y I’ve come a long sa st ju s t’ Le f. el mys photoshopping skills.

My first attempt at Photoshop. Lyons Housemuseum blockparty! Codex 2018

ve come, to see how far you’ r de in m re a is is Th and keep ress and document celebrate your prog first years me feels for those of rt Pa G. N HI YT also EVER e experiences, but es th on t ou g in iss that are m e anxiety. they are spared th at th d gla is e m usly part of you can live vicario S UB ER CH e tl lit For now my es. through these imag

149 9

150

151

152

153

HERITAGE STRATEGIES

JOEL HILLER

LIBRARY RENOVATION This proposal attempts to recollect the memory of learning through participation and observation. It acknowledges the significance of Peter Corrigan’s renowned book collection once held in the library space on Level 2 of 46 Little Latrobe Street. These ideas are translated into an architecture of atmospherics, akin to being immersed within the book lined walls of the library. While crafting this strategy, I recalled a personal memory of visiting Jorn Utzon’s Bagsvaerd Church. This led to a reflection on this experience, recognising the value of constraint in the encounter with a sequence of space and the specific moments that are subsequently intensified. This is demonstrated in the arrival in the church’s chapel and I perceived similar intentions upon entering the library. In both instances, these spatial transitions give little indication to the immense space that awaits. An architecture was formed by drawing a parabolic curve that connected existing brickwork of no. 46 (y axis) with new ceramic library floor tiles based off the typical brickwork stretcher dimensions (x axis). These curved in-situ board concrete panels are then curiously overlapped to mask three new additional bay windows that have been retrofitted to the library’s window openings. To access these new bay windows the curved panels flow into beckoning steps.

154

Since the bay window displays are masked from internal view, and only visible from street level, internal atmospherics are not interrupted and remain a constant. Whereas the displayed objects within the bay windows will be consistently updated. Therefore, this implies that the architectural practice of Edmond and Corrigan will continue its public relationship by sharing ideas.

155

156

HERITAGE STRATEGIES

JOEL HILLER

0.5m

157

158

HERITAGE HERITAGE HERITAGE

If I donâ&#x20AC;&#x2122;t like it, then why should you? As we meet new people and go certain places, we add layers to our own stories that we only realize when recounting these stories to others. What may be less considered is that through this conversation with place, we become implicated in the heritage of others. One of the most pressing factors when dealing with heritage that has come from this studio is that when looking back on a lifetime of moments, which ones do we choose to preserve and recount to others. Grand Delusions has offered a myriad of strategies through which history can be dealt with. Here the value of heritage is explored through these architectural projects. Under these strategies, I have been able to express my burning fear and overwhelming desire to preserve history through architecture. Something that is so easily lost, but one thing that is detrimental for our cultural identity and history. Not until diving into the ins and outs of what we value about a building (or its occupants) do we become aware of its historical significance. Or even so far as to specify what creates this significance. Through the process of attacking, carving, replacing, editing, defining, rethinking, embedding, flushing down the toilet, exploding, and frying, the importance of heritage in a physical and nonphysical form has been highlighted in the Studio. Attempting to interrogate this idea, the projects for week 7, 10 and 11 toil with preservation of heritage and offer an architectural representation of possible ways to preserve in three different ways. Preserving by embedding. Preserving overzealously. And preserving intellectual property.

159

160

161

162

163

164

165

166

A THEATRE FOR DOMESTICITY

WK 04 - SALLY-ANNE CIANTAR

167

168

IMAGE COMPOSED BY JEAN VILJOEN USING PROJECTS FROM GRAND DELUSIONS.

ISSUE 1, NOVEMBER, 2020.

$5.50

GRAND DELUSIONS STUDIO.

“CONTEMPORARY ANTIQUE” in with the old and make the new fit.

A LOOK INSIDE A “VINTAGE MODERN” SANCTUARY.

阴道

SOUVENIRS

The studio space of 46 Little Latrobe St, Melbourne is furnished with artefacts that have been taken as souvenirs from VARIOUS ARCHITECTURAL ENDEAVORS.

MEMORIES

IN PAIRS THE STUDIO WAS TO DESIGN A DETAILED SET OF FURNISHINGS THAT CONFRONT THE ORIGINAL OFFICE OF MAGGIE EDMOND AND PETER CORRIGAN AND ASSUME ITS FRAGILE OCCUPATION BY A LONE PERSON AS A RESIDENCE OF SORTS. BRAIN GETTING FAT DURING LOCKDOWN? WE’VE GOT SOME DESIGN EXCERCISES FOR YOU!

EXCLUSIVE LOOK AT GRAND DELUSION’S NEWEST FURNITURE DESIGNERS

SEX. CHAIRS. AND THE EROTIC WORLD OF FURNITURE.

MASH

The individual furnishings of the space have been plucked from various eras and are mashed together to create a stark juxtapositions of different artefacts.

DUALITY

Furniture was designed to deal with the office and its past, present, and future heritage. From phallic recliners to drink bottle holders, the building's heritage was represented, carved, broken, misconstrued and invented in many different ways through the medium of furniture design. How many faces can heritage have? 169

Between Definitions

A room may furnish the space contained between facades, as a building may furnish its surrounding landscape, streetscape or wider context. Furnishing is defined in accordance to scale and perspective. EXCLUSIVE

EXCLUSIVE

ONLY 1 LEFT!

Multiple Colours

VANITY CHAIR (2020) SALLY-ANNE CIANTAR JENNIFER CHEN

CLOTHING RACK (2020) SALLY-ANNE CIANTAR JENNIFER CHEN

FORMAL CHAIR no. 1 (2020) SALLY-ANNE CIANTAR JENNIFER CHEN

(1)

EXCLUSIVE

Multiple Colours

FORMAL CHAIR no. 2 (2020) SALLY-ANNE CIANTAR JENNIFER CHEN

LIGHT 02 (2020) SALLY-ANNE CIANTAR JENNIFER CHEN

SHOWER COUCH (2020) SALLY-ANNE CIANTAR JENNIFER CHEN

(1)

EXCLUSIVE

(1)

EXCLUSIVE

(1)

EXCLUSIVE

Multiple Colours

Single Colour

Multiple Colours

SHOWER (2020) SALLY-ANNE CIANTAR JENNIFER CHEN

STRUCTURE (2020) SALLY-ANNE CIANTAR JENNIFER CHEN

VANITY (2020) SALLY-ANNE CIANTAR JENNIFER CHEN

(1)

170

(1)

Vanity & Seat A vanity rests on the extended edge of the skirting board. While the bronze structural framework of the original E&amp;C building holds the vanity in place. Through furniture, the contrast of the two opposing conditions begins to collapse.

Estimate

$5,500,000

LOT SOLD

$5,400,000

1. 2. 3.

PICTURED: 1. Vanity Chair 2. Vanity 3. Clothing Rack 171

We’re Getting a Divorce

Assets were fought over and divided. Welcome to the final court proceedings. This recovery of assets explores the evolving nature of heritage as a means of preservation in a response to the film ‘Who’s Afraid of Virginia Wolf?’. Like the relationship of Martha and George, our repaired furnishings are deliberate in their prettiness and offensive intensions, monumentalizing the wreckage that is our marriage. Our possessions hold us accountable

2. 1. 3.

1. Dining Chair 2. Jewelry Louvre 3. Dresser 4. Dining Table SEXY!

EXCLUSIVE

SO HOT!

Multiple Colours

DRESSER (2020) GEORGIA RUMBLE JOSHUA DE MATTEO

DINING TABLE (2020) GEORGIA RUMBLE JOSHUA DE MATTEO

(1)

EXCLUSIVE

Multiple Colours

JEWELRY LOURVE (2020) GEORGIA RUMBLE JOSHUA DE MATTEO

172

(1)

DINING CHAIR (2020) GEORGIA RUMBLE JOSHUA DE MATTEO (13)

Estimate

$2,500,000

LOT SOLD

$9,400,000

PICTURED: 1. Dining Chair 2. Jewelry Louvre 173

Dashed Hopes & Good Intentions

Like architecture, the heritage of furniture is a descriptor of human existence and memory. As such, the furniture is a mediation that claims the mundanity of everyday life. After all, heritage isnâ&#x20AC;&#x2122;t just a physical object, but the inheritance of dashed hopes and good intensions.

EXCLUSIVE

Multiple Colours

EXCLUSIVE

Multiple Colours

DRINK BOTTLE STAND (2020) JAMES RUMANOVSKY JEAN VILJOEN (1)

CALL YOUR BOYFRIEND PHONE

(2020)

JAMES RUMANOVSKY JEAN VILJOEN (1)

EXCLUSIVE

Multiple Colours

CONFRONTATION BOOTH Single Colour

NOTORIOUS IRISH WHISKEY

JAMES RUMANOVSKY JEAN VILJOEN 174

(1)

(2020)

JAMES RUMANOVSKY JEAN VILJOEN (1)

(2020)

Confrontation Booth Heritage transferred across different mediums (furniture in the style of no. 46 Little Latrobe street)

Estimate

$3,500,000

LOT SOLD

$4,000,000

1. Vanity Chair 2. Vanity 3. Clothing Rack 175

IMPRINT

In the studio of the E&C office sits a bachelor pad for George who recently divorced his troublesome wife Martha. Geometry was pulled from these physical imprints to form a suite of furniture fit for a king: a bed, spa bath, shower, closet, kitchen and private reading nook.

3. 2. 1. 1.

3. 3.

1. 2. 2.

Pictured: 1. Kitchen for a Bachelor 2. Spa Bath 3. Stepping Into Bed EXCLUSIVE

EXCLUSIVE

Multiple Colours

COUCH ENCASEMENT (2020) kARI VITALICH STEPHANIE GRIFFIN

STEPPING INTO BED (2020) kARI VITALICH STEPHANIE GRIFFIN

KITCHEN FOR A BACHELOR

kARI VITALICH STEPHANIE GRIFFIN

(2020)

(1)

EXCLUSIVE

Multiple Colours

CLOTHES RACK (2020) kARI VITALICH STEPHANIE GRIFFIN

SHOWER RELIEF (2020) kARI VITALICH STEPHANIE GRIFFIN

SPA BATH (2020) kARI VITALICH STEPHANIE GRIFFIN

(1)

176

Pictured: 1. Shower Relief 2. Spa Bath 3. Stepping Into Bed

SO CHIC!

(1)

This project explores heritage as a ghost - a sug-gestion of what came before. These objects feel both familiar yet disorienting, binding the present, between past and future.

Clothes Rack This clothes rack is inspired by the stair as an object. Hanging railings attach to the wall and it is complete with a seat, lighting fixtures and storage.

Estimate

$60,678,000

LOT SOLD

$4,000,000

2. 2.

PICTURED: 1. Spa Bath 2. Clothes Rack 3. Couch Encasement 177

DELUDED!

The studio space of 46 Little Latrobe St, Melbourne is furnished with artefacts that have been taken as souvenirs from VARIOUS ARCHITECTURAL ENDEAVORS. EXCLUSIVE

Multiple Colours

Suburban Sanctuary (2020) Justin Yong Sheng Chong

$ 750,000.00

Polished Tiles, Mirrors, Water

(1)

HOT PICK

EXCLUSIVE

Singular Colour

Multiple Colours

Stepping Chair (2020)

Jux Table (2020)

Justin Yong Sheng Chong

Builder’s Throne (2000)

$ 150.00

$ 300.00

Birch Wood (190)

EXCLUSIVE

Multiple Colours

Architect’s Asylum (1980) Justin Yong Sheng Chong

$ 8000.00 (5)

Mattress, Birch Wood, Copper Plate, Glass

Justin Yong Sheng Chong

Birch Wood (120)

EXCLUSIVE

Singular Colour

Multiple Colours

Viljoen’s Toilet (2020)

W_I_R (2020)

$ 250.00

$ 2500.00

Justin Yong Sheng Chong

Stainless Steel

Gold Paint, Red Tiling

(20)

HOT PICK

(500)

178

$ 2500.00

Justin Yong Sheng Chong

Birch Wood, Gold Rods, Bronze Finish (50)

Suburban Sanctuary Like a mother that furnishes her empty nest with reminders of her lost children, the embodiment of Maggie Edmond and Peter Corriganâ&#x20AC;&#x2122;s past works are reinterpreted and fed back to become a series of furnishings that cater to the owner of 46 Little Latrobe Street.

Estimate

LOT SOLD

$12,500,000

$8,400,000

4. 1.

PICTURED: 1. Jux Table 2. Stepping Chair 3. Suburban Sanctuary 4. W_I_R 5. Builderâ&#x20AC;&#x2122;s Throne 179

DELUDED!

The studio space of 46 Little Latrobe St, Melbourne is furnished with artefacts that have been taken as souvenirs from VARIOUS ARCHITECTURAL ENDEAVORS. SOLD OUT

EXCLUSIVE

Multiple Colours

Singular Colour

Multiple Colours

Resurrection of Christ (1830)

46 (2020)

Niagara (2020)

$ 460.00 Timber, Pillow

$ 6500.00 Aluminium, Steel, Brick

Angus White

$ 1.3 Million Marble, Oak, Gold, Leather

Angus White

(1)

(46)

EXCLUSIVE

Singular Colour

Multiple Colours

Singular Colour

Recycle (2020)

Salvation (2020) Angus White

Angus White

$ 1000.00 Crystal, Aluminium

$ 5000.00 Rug

$ 700.00

Angus White

(10)

EXCLUSIVE

The Perfect Man (2020) Mirror

(21)

EXCLUSIVE

(100)

EXCLUSIVE

Combo Set

Frozen_1_2 (2020)

Frozen_3_Light (2020)

Gentlemanâ&#x20AC;&#x2122;s Chair (1921)

$ 450,000.00 Resin, Steel, Brick

$ 250,000.00 Resin, Steel, Light

$ 2000.00

Angus White

(4)

180

(100)

Angus White

(2)

Angus White

(198)

Birch Wood, Bronze

Frozen 1 - Chair This frozen chair is a display of bricks salvaged from the demolished Ringwood Library. These bricks were taken from the site to then be frozen in resin to preserve what is left of the physical memory. Rather than a mere photo, this chair protects what was but also allows it a chance at a new life; as a piece of furniture.

Estimate

$69,000,000

LOT SOLD

$8,400,000

7. 4.

5. 6.

2. 1.

PICTURED: 1. Frozen 1 - Chair 2. Gentlemanâ&#x20AC;&#x2122;s Chair 3. Frozen 2 - Ottoman 4. Frozen 3 - Light 5. 46 6. To L***t The Way 7. Niagara Light 8. Him & Her 9. Recycle 181

Conditions of Entry

The architecture is explored through the synthesis of furniture which became the catalyst for the act of admittance into the residence of 46 Little Latrobe Street.

EXCLUSIVE

Single Colour

HERITAGE WALL PROJECTION

JOEL HILLER DAN JERINEL BAY

(2020)

Multiple Colours

Single Colour

E+C DOOR HANDLE (2020) JOEL HILLER DAN JERINEL BAY

WALL SHELVES AND WARDROBE

(1)

EXCLUSIVE

Single Colour

MEDUSA COAT HANGER

JOEL HILLER DAN JERINEL BAY (1)

(2020)

JOEL HILLER DAN JERINEL BAY (1)

EXCLUSIVE

Single Colour

182

EXCLUSIVE

Single Colour

MURANO GLASS LIGHT

JOEL HILLER DAN JERINEL BAY (1)

(2020)

UMBRELLA HOLDER

(2020)

JOEL HILLER DAN JERINEL BAY (1)

(2020)

Entry Within the first threshold of the Edmond and Corrigan building, a sequence of actions for this ritual confronts the observer to actively participate in the artefactâ&#x20AC;&#x2122;s peculiar requirement of wiping ones feet upon entry. Sure Iâ&#x20AC;&#x2122;ll wipe my feet but do you really expect me to completely disarm before coming upstairs?

Estimate

$3,000,000

LOT SOLD

$5,600,000

1. 2.

PICTURED:

Wall

Shelves

and

Wardrobe

Heritage

Wall

projection 183

184

FURNITURE CATALOGUE

GRAND DELUSIONS

FURNITURE CATALOGUE

GRAND DELUSIONS

185

EXCLUSIVE

SOLD OUT

EXCLUSIVE

Singular Colour

Multiple Colours

Combo Set

Multiple Colours

The Perfect Man (2020)

Resurrection of Christ (1830)

Angus White

Frozen_3_Light (2020)

Frozen_1_2 (2020)

To___The Way (2020)

Gentleman’s Chair (1921)

$ 700.00

$ 1.3 Million Marble, Oak, Gold, Leather

$ 250,000.00 Resin, Steel, Light

$ 450,000.00 Resin, Steel, Brick

$ 100.00

$ 2000.00

Angus White

Mirror (100)

Angus White

(1)

Angus White

(2)

Combo Set

Angus White

(4)

Lampshade, Silver Paint

Birch Wood, Bronze

(198)

(40)

EXCLUSIVE

HOT PICK

Multiple Colours

Singular Colour

Multiple Colours

Singular Colour

Combo Set

Salvation (2020)

Recycle (2020)

Niagara (2020)

46 (2020)

Her (2020)

Him (2020)

Him & Her (2020)

$ 5000.00 Rug

$ 1000.00 Crystal, Aluminium

$ 6500.00 Aluminium, Steel, Brick

BEST SELLER

Only 2 Colours

Angus White

(21)

Angus White

(10) EXCLUSIVE

Singular Colour

Multiple Colours

Stepping Chair (2020)

Jux Table (2020)

Builder’s Throne (2000)

Justin Yong Sheng Chong

$ 150.00

$ 300.00

Birch Wood

$ 2500.00

JOEL HILLER DAN JERINEL BAY (1)

(1)

(2020)

JAMES RUMANOVSKY JEAN VILJOEN (1)

EXCLUSIVE

Singular Colour

Multiple Colours

Viljoen’s Toilet (2020)

W_I_R (2020)

$ 250.00

$ 2500.00

Justin Yong Sheng Chong

(2020)

NOTORIOUS IRISH WHISKEY

Multiple Colours

COUCH ENCASEMENT (2020) kARI VITALICH STEPHANIE GRIFFIN

KITCHEN FOR A BACHELOR

(2020)

Multiple Colours

WALL SHELVES AND WARDROBE

JOEL HILLER DAN JERINEL BAY

(2020)

DRINK BOTTLE STAND (2020) JAMES RUMANOVSKY JEAN VILJOEN (1)

(1)

EXCLUSIVE

SEXY!

Multiple Colours

DINING TABLE (2020) GEORGIA RUMBLE JOSHUA DE MATTEO

DINING CHAIR (2020) GEORGIA RUMBLE JOSHUA DE MATTEO

DRESSER (2020) GEORGIA RUMBLE JOSHUA DE MATTEO

JEWELRY LOURVE (2020) GEORGIA RUMBLE JOSHUA DE MATTEO

(1)

(13) EXCLUSIVE

EXCLUSIVE

(1) ONLY 1 LEFT!

Multiple Colours

SHOWER RELIEF (2020) kARI VITALICH STEPHANIE GRIFFIN

SPA BATH (2020) kARI VITALICH STEPHANIE GRIFFIN

CLOTHES RACK (2020) kARI VITALICH STEPHANIE GRIFFIN

STEPPING INTO BED (2020) kARI VITALICH STEPHANIE GRIFFIN

FORMAL CHAIR no. 1 (2020) SALLY-ANNE CIANTAR JENNIFER CHEN

(1)

EXCLUSIVE

Multiple Colours

46 TABLE 2 (2020) SALLY-ANNE CIANTAR JENNIFER CHEN

CLOTHING RACK (2020) SALLY-ANNE CIANTAR JENNIFER CHEN

FORMAL CHAIR no. 2 (2020) SALLY-ANNE CIANTAR JENNIFER CHEN

LIGHT 02 (2020) SALLY-ANNE CIANTAR JENNIFER CHEN

SHOWER COUCH (2020) SALLY-ANNE CIANTAR JENNIFER CHEN

SHOWER (2020) SALLY-ANNE CIANTAR JENNIFER CHEN

(1)

Polished Tiles, Mirrors, Water

EXCLUSIVE

Single Colour

(2020)

SO HOT!

SO CHIC!

EXCLUSIVE

kARI VITALICH STEPHANIE GRIFFIN

HERITAGE WALL PROJECTION

(1)

Multiple Colours

(2020)

JAMES RUMANOVSKY JEAN VILJOEN

JAMES RUMANOVSKY JEAN VILJOEN EXCLUSIVE

Single Colour

$ 750,000.00 (1)

EXCLUSIVE

E+C DOOR HANDLE (2020) JOEL HILLER DAN JERINEL BAY (1)

Justin Yong Sheng Chong

Birch Wood, Gold Rods, Bronze Finish (50)

EXCLUSIVE

Suburban Sanctuary (2020)

Justin Yong Sheng Chong

Stainless Steel

Multiple Colours

(1)

Single Colour

CALL YOUR BOYFRIEND PHONE

EXCLUSIVE

(1)

(2020)

EXCLUSIVE

Multiple Colours

CONFRONTATION BOOTH

EXCLUSIVE

JOEL HILLER DAN JERINEL BAY

EXCLUSIVE

Multiple Colours

Mattress, Birch Wood, Copper Plate, Glass

EXCLUSIVE

(500)

UMBRELLA HOLDER

(2020)

JOEL HILLER DAN JERINEL BAY

EXCLUSIVE

$ 8000.00 (5)

Single Colour

MURANO GLASS LIGHT

(2020)

Gold Paint, Red Tiling

EXCLUSIVE

Single Colour

MEDUSA COAT HANGER

Justin Yong Sheng Chong

(69)

HOT PICK

(20)

EXCLUSIVE

Single Colour

Architect’s Asylum (1980)

$ 19000.00 (30)

(200)

Multiple Colours

Angus White

$ 9000.00

$ 10000.00

(46)

Justin Yong Sheng Chong

Birch Wood (120)

EXCLUSIVE

$ 460.00 Timber, Pillow EXCLUSIVE

HOT PICK

Angus White

(100)

HOT PICK

(190)

186

Angus White

(1)

VANITY (2020) SALLY-ANNE CIANTAR JENNIFER CHEN (1)

LOVE LETTER

JOEL HILLER

Dear First-Year, A guide to better ideas:

Step 1

and

Step 2

and

Step 3

Get up, step away from the computer and go outside.

187

188

IMAGE COMPOSED BY SALLY ANNE-CARTER USING PROJECTS FROM GRAND DELUSIONS.