“Centre for Nuclear Peace” Sohan Mitra
Centre for Creative Peace-making… at the Shrine of Remembrance Supervisors: Anoma Pieris & Athanasios Tsakonas
M.Arch Thesis Booklet 1
Contents Research Thesis proposal
5
Thesis elaboration
7
Precedents
14
Way forward
24
Concept Design Nuclear stories meta data
38
Abstracting form
40
Metaphorical ground zero
44
Design parti development
46
Massing
48
Sketch Design Reworked design moves
64
Materiality
48
Sketch Design Drawings
48
2
Final Design Updated Materiality
112
Design drawings
116
Images
130
Conclusion
144
Reflection
145
Nuclear stories
156
Images list
168
Bibliography
172
3
4
Thesis Proposal/ Research I
5
“Centre for Nuclear Peace” I Thesis proposal
Fig. 0. Jonathan Kumintjarra Brown, Maralinga 1992 (detail) acrylic, sand and lizard skeleton on linen, 1992.
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Shrine of Remembrance I humanizing, self-reflection &...
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Fig. 1. (left) Sohan Mitra, Diagram showing the major developments at the Shrine of Remembrance, 2021.
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Hiroshima Children’s Peace Memorial I Kazuo Kikuchi
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Fig. 2. Hiroshima city showing the peace memorial park. 2017. Fig. 3. A-Bomb Dome, also known as the Hiroshima Peace Memorial. 2017. Fig. 4. Yuji Sasaki, Sadako pictured with her father, July 18, 1955. Fig. 5. Tomiko Kawano, The Children’s Peace Monument is unveiled on May 5 (Children’s Day), in Hiroshima, 1958. .
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Nuclear Tests in Australia
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Maralinga I Frank Walker
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Fig. 8. Christabella Designs & Newspix, Cover of Maralinga: the chilling expose of our secret nuclear shame and betrayal of our troops and country/ Frank Walker, 2014. Fig. 9. Jessie Boylan, Yami Lester in Wallatinna Station in South Australia, 2006.
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Fig 10: Totem showing the test site.
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Fig 16: The National Emergency Services Memorial, Multi faceted wall.
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Fig 19: Sohan Mitra. Diagrams showing the building hidden in the landscape. Fig 20: Overhead view of the museum, 2006.
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Fig 23: (Left) Dancer walking over a collapsed wall rumble in the opening scene of Palemero Palemero by Pina Bausch, 1989.
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Fig. 26: Michael Koerner, Hibakusha Landscape #0416L, #0408C, #0412R, 2020. Fig. 27: Michael Koerner, Hibakusha Families #0448, 2020. Fig. 28: Michael Koerner, Hibakusha #0428, 2020
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Nuclear Activism I Transnational perspective
Fig. 29: “Statement and poem by Kathy Jetnil-Kijiner, Climate Summit 2014 - Opening Ceremony,” Kathy Jetnil-Kijiner, Dear Matafele Peinam, 2014.
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33
The Way Forward
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Fig 32: Diagram showing the way forward in this thesis project.
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Concept Design I
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Nuclear Stories from Australia and the Asia-Pacific meta data bank
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Abstracting Form I based on the shortlisted keywords
“Toppling of Power”
“Struggle for Power”
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40
“Fusion done by the Powerful”
“Fusion done by the Powerful”
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“you havent done anything wrong unless you admit it ”
“An ancient temple carved into the hill, No! Its a nuclear waste repository ”
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“Warped by a new~ divine force ”
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Metaphorical Ground Zero I Radiation thresholds for form development
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Fig. 33: “NUKEMAP by Alex Wellerstein, 100 tons yield nuclear effects map at the Shrine of Remembrance, Melbourne input in Google Earth Pro. Fig. 34: “NUKEMAP by Alex Wellerstein, 10 tons yield nuclear effects map at the Shrine of Remembrance, Melbourne input in Google Earth Pro. Fig. 35: “NUKEMAP by Alex Wellerstein, 10 tons yield nuclear effects map plan view at the Shrine of Remembrance, Melbourne input in Google Earth Pro.
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Metaphorical Ground Zero Design Parti development
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Fig.37 .
46
Fig. 36: Sohan Mitra, sketching a power struggle between the shrine and the envisioned center for creative peacemaking to reveal a tension at the site. Fig. 37: Sohan Mitra, Fine tuned version of the sketch.
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47
Fig. 38: Establishment of the two points of struggle
Fig 39. Establishing the two points of power + contour lines
Fig. 40 Radiating power from the Shrine
48
Fig. 41 Radiating influences from both sides.
Fig. 42 Spillage of power (lines) from the Shrine.
Fig. 43 Return Spillage of Power from the CCPM center point.
49
Fig. 44 Considering the lines from both the points of origin and their intersections and site context, massing lines are drawn
Fig. 45 Waterbodies are drawn on both sides infront of the shrine, enhancing the tension and the image of both the buildings
Fig. 46 Considering the contour lines to crate a terraced platforms that are shaped by the lines of power spillage.
50
Fig. 47 Final Model achieved from the diagramming process
51
3D Views I Development from parti
Fig. 48. View from ANZAC station.
Fig. 49 Aerial view from the south-west site.
52
Fig. 50 View from the Shrine steps on the south side.
Fig. 51 View from Domain road.
53
3D Views I Development from parti
Fig. 52 Aerial view of from the south-west side.
Fig. 53 View of the central sculpture in realtion to human scale.
54
Fig. 54 View from the steps of the Shrine, south side.
Fig. 55 Aerial view/ Drone view: straight up from Domain road.
55
Metaphorical Ground Zero Massing Design Plan
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58
Sketch Design I
59
Reworked Design Moves I Geographically referencing sites of nuclear problems
Fig.58 .
Fig.57 .
60
Chernobyl, Ukraine (former USSR)
Atomic Bomb Dome, Hiroshima
Bikini Atoll, Marshall islands
Montebello Islands, Western Australia
Maralinga, South Australia
Fig. 57: Sohan Mitra, drawing lines from sites of nuclear problems to Shrine of Remembrance. Fig. 58: Sohan Mitra, Lines from nuclear sites at the Shrine .
South side, Shrine of Rememberance, Melbourne.
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62
Fig.60 .
Fig. 59: Sohan Mitra, Plotting the area requirements of the studio brief, i.e. ~2000sqm Fig. 60: Sohan Mitra, Re-plotting the area in a circle and initiating movement along lines plotted from nuclear problem sites.
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Reworked Design Moves I Geographically referencing sites of nuclear problems
Fig.61.
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Fig. 61: Sohan Mitra, Movement of forms along nuclear problem lines and form extrusion
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Fig.63.
Fig. 62: Pascual Bolufer ,Translucent concrete. Fig. 63: A prototype wall of LiTraCon, a translucent concrete product is shown in a photo provided by the National Building Museum. (Associated Press / The Spokesman-Review).
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“Translucent Concrete - Pascual Bolufer | Arquitectura Viva,” accessed May 6, 2021, https://arquitecturaviva.com/articles/translucent-concrete. 1
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Sketch design drawings Site Plan 1:2000 @A3
I
68
0 10
50
100
69
200 m
Sketch design drawings I Upper level plan 1:200 @A3
M ROO USE
REF
LIBRARY
PARENT ROOM/ BABY CHANGING ROOM
FEMALE TOILET
MALE TOILET
DISABLE TOILET
GALLERY
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Fig. 57: Sohan Mitra, drawing lines from sites of nuclear problems to Shrine of Remembrance. Fig. 58: Sohan Mitra, Lines from nuclear sites at the Shrine .
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Sketch design drawings I Lower level plan 1:300 @A3
KIT CH
EN
12
11
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14
LIBRARY
15
2 3 4 RE RO HERS OM AL
5
RE RO HERS OM AL
6 7 8
STAGE
9 10
GALLERY
0 1
72
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Legend 2: Library male & female toilet 3: Peace center office spaces 4: Staff kitchen 5: Staff common room 6: Communications room 7: Parents room 8: Gallery male toilet 9: Gallery female toilet 10: Gallery disabled toilet 11: Resturant 12: Resturant disabled toilet 13: Resturant male toilet 14: Resturant female toilet 15: Resturant parents room
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73
Sketch design drawings Section1 1:300 @A3
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Sketch design drawings Section 2 1:300 @A3
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Sketch design drawings Section 3 1:300 @A3
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79
Sketch design drawings I Front Elevation 1:500 @A3
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Sketch design drawings I Front Elevation 1:200 @A3
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Sketch design drawings I East Elevation 1:500 @A3
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Sketch design drawings I East Elevation 1:200 @A3
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Sketch design drawings I West Elevation 1:500 @A3
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Sketch design drawings I West Elevation 1:200 @A3
90
0
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91
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94
95
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97
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Resolved Design Thesis I
99
Updated Materiality I Connecting with the theme of “nuclear energy”
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I Site Plan
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A
Domain Ro
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0
10
50
100
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Dallas
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I Upper Level Plan
9.
19
6. 4.
18 8.
17
16
7.
15
1.
10.
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2.
3.
1. Library entrance 2. Gallery entrance 3. Cloakroom 4. Restaurant entrance/ lobby 5. Self contained accomodation 6. Peace plaza 7. Open air amphitheatre 8. Central water feature 9. Cascading water feature 10. Pick up/ drop off 11. Refuse center
0
1
5
10
20 m
N
Lower Level Plan
I
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12. 1.
11.
2.
8.
9.
7.
5. 6.
1. Library 2. Gallery 3. Resturant 4. Kitchen with cool room 5. Staff room 6. Communication room 7. Management Office 8. Central water feature 9. First Aid Room 10. Parent Room 11. Visual Experience 12. Rehersal rooms 13. Store room
0
1
5
10
20 m
N
Section through central axis of Shrine
I
Relative Level of Shrine of Remembrance (roof top) 60.96 m
3.
1. SECTION B 1:250 @A3
1. Central water feature filteration tank 2. Cascading water pools filteration tank 3. Water pump
0
1
5
10
20 m
2.
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I
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FFL 0
FFL -6000
SECTION A 1:250 @A3
0
1
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10
20 m
Section through library and amphitheatre
I
RL +14750
FFL 0
FFL -5860
SECTION C 1:250 @A3
CL +13000
0
1
5
10
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1:50 Detail
I
RL + 13000 Steel Plate supporting edge marbel panel Gutter Syphonic downpipe Exterior marbel cladding panel (25-30 mm) backlit with LED Kerf plate welded to steel angle supporting marbel panels Waterproofing membrane Exterior Insulation panel Warren truss structure
Furring channels supporting insulation panels (int.) Steel angle welded to marbel panel kerf plate Interior marbel panel
Raised flooring (150mm) with airconditioning ducts underneath Airconditioning floor vent Truss connected to concrete pad using chemset anchors Exterior floor grating
FFL 0
Post tentioned floor slab Aggregate base Basement retaining walls (500mm) concrete covering bored piles. Rendered with rammed earth in the interior. Backfill Concrete Pad (1200mm wide) Subsoil drainage Bored pile 600 diameter
FFL -6000
0
1
5m
118
119
Approach from ANZAC station exit
120
I
121
South side approach
I
122
123
Central Peace Plaza
I
124
125
Central Peace Plaza
I
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127
North-Eastern Pathway
I
128
129
North-Western Pathway
I
130
131
Reception/ Restaurant Entry
I
132
133
Library Entrance Shard
I
134
135
Library
I
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137
Central Area/ leading to restaurant
138
I
139
Gallery Space
I
140
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Central Water Feature
I
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Bibliography SAvS}vnC}v}v]vRD}u]vP]vnC}v}vnM}TvvoX_MR A U XR'Pllu}vvoX]XP}Xl}v}vl}u]vlvX SAo]vNoW}vno]v A G}vuvDuv}(F}]PvA+]vTX_ MR A UXR'Pll```X(XP}Xl]vv}voro}vl]˙lv}vr}o](}vr ]uuvrur}v}olvor]lo]rvrvor`}vX SBolM]BvC}v˙PvC F}o]vPIv}vX_]viUvXXR'Pllolu]v}v˙X }uXl`r}vvlo}lıllBMBCrO]Pu]rvr`}lX(X C}v}˙UP'XSS}'M}]}vCooRP].ORFu]o˙ [XC}]rıIo] A [CRv}P}TRXX_TR G]vUXR'Pll```XRP]vX}ul`}ol}uuv(llull}'ru}]}vroor Rr].r}r(u]o˙rRr}]r]]r]ro]rRvr}r}rRX H˙XSP˙}P}MPTRR]oP}u]}(V}ov˙P}˙]vRAvrNoF(}L](UıX_ Journal for the Study of RadicalismıUv}X~æZPıæXR'Pll}]X}P lXli]XıXXıæX SH]}]oLVv MunR˙vAou]v]unRoo} A X_Roo} A XMR A UX R'PllRoo}X}ul}ilR]}]orrorvruu•}]X K}`vUM]RooXSW}(}v D PNoIu]o]uvAvrNoP}]vRIv]Pv} L]}(RP].X_ Journal of Postcolonial WritingæUv}Xæ~SuUZPææWXR'Pll}]X }P lXlıææXXæX K]oP}+UAvvXSR]`lDvVP]vBR[RPou}UPou}[E˘o}W}o˙}v B L}P]X_TRN` Y}lT]uUSuUııXR'Pll```Xv˙uX}ulıılılll]`rvr]vrRrr ou}rou}r˘o}rr`}or˙}vro}P]XRuoX Radiation TherapistUv}X
L}v}UR}vv]GXSC}vuovPRS]v.LP˙}(R}u] A B}uX_ ~ZPıWXR'PllRX}R}X}ulo}P]vX˘M]AAART˙AA}AAuANAAæıı æ]AAro]}AA]AAæX
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and Australian ArtMaralinga and Australian ArtXMo}vPB]vi~Dvv}vPRvPCoovC IvXZUXR'Pll```Xolu]v}v˙X}uXl`r}vvlo}lıllBMBCro}Pr`X (X SRvRvvUTXSF}uTRIv}uoTR}unB]lX_B]lUJvUXR'Pll]luPX}ul(}ur Rr]v}uorR}ulX T˙o}UW]oo]uXSLWF}PPTRSR]v}(RuuvUIRo}uvvRH]P}( D]vX_ FabricationsæUv}X~æZPıæWXR'Pll}]X}P lXlXæXææX STRLKv}`vH]}˙}(RMo]vPNoTvvWRI [o]l}SvG}v}Z rABC N`X_MR A UXR'Pll```XXvXlv`lrrluo]vPrvorrP}vr }rorlv}`vrR]}˙lX Performance
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