Studio4_Ass6_860315_final reflective journal by Di Wu

IMPRESSION DRAWING SUSPENDED A Mine and Fossil Museum Experience in Mount Isa, Queensland Di Wu (860315)

TABLE OF CONTENTS

1. ‘FIELD’ Brief p6

2. ‘FLOAT AND ANCHOR’ Concept p20

3. ‘GROUND ABOVE AND BELOW’ Landscape Strategy p38

4. ‘MINE AND FOSSIL MUSEUM’ Programs and Design p 54

KIT OF PARTS

INDUSTRIAL & MECHANICAL

01. Shed Structure (M) ordered, dense, robust, rusty

02. Mine Elevator Structure (M) rusty, monumental, dense, powerful

03. Curtain Wall & Steel Frames (S) rectangular frames, slender structure, simple, aboriginal patterns

05. Roof Turbine & Vent (XS) indicator of the end of MEP duct, rotary, delicate industrial product

06. Telegraph Pole and Powerline (S) messy and in a jumble, catenary,

07. MEP Duct (S) serpentine, “tunnel” above the ground, industrial product

04. Corrugated Metal Sheet (XS) vernacular material, mass production greyish colours and rusty conditions

08. Giant Mineral Chimney (Xl) giant, monumental, powerful

MYSTERIOUS & INTRIGUING

09. Mineral Tunnels (XL) serpentine, dark, unpredictable

10. Tunnel Entry & Exit (L) blend with landform, concealed by ground level, secret

11. Rail (S) rhythm, repetitive, endless

12. Mineral Trolly (S) vehicle in the darkness

13. Microscope (XS) a medium to explore unknown and invisisble world

WARM & HOMEY FEELING

14. Shed (M) canopy, shelter, after hours

15. Corridor (S) walk down to ground modular and human scale

16. Building with vault and curved walls (M) white stucco facade, strip window, fluidity of the curvature

17. Small Stage (S) circular, small scale

NATURAL & LANDFORM INTEREST

18. Lake (L) soft, mellow, peaceful, good for meditation and contrast against surrounding mineral scene

1. ‘FIELD’ Brief

This is our first time to get some basic information of the site, including some official technical drawings and narratives. Mount Isa is located in the centre of Queensland, which is an inland town. The establishment, growth and development of this town relied on the discovery and exploitation of mine profoundly. This land contains rich copper, lead and silver mineral resources. The town stands on the ground peacefully but the underground mineral tunnels had expanded through this land and reached about 2 kilometer deep. In memory of this long period of mining history, Outback at Isa was built and started to receipt tourists. The program of Outback at Isa includes a fossil centre, a garden and a Hard Time Mine experience underneath the ground. In this chapeter, we start to express our initial understanding and impression to this site through collecting any interesting components and elements on and around the site.

KIT OF PARTS: SELECTION AND FILTER

Figure 1

Figure 2

There is a corridor connecting the shed and the underground tunnel. embed or insert into the ground.

Various alerts in all sizes on the lift - give the sense of pressure. Don’t know which one I should notice at first though all are important. Narrow cage and slim mesh enhance this feeling and representation of space. Figure 4

Figure 3

Microscope - A way to perceive, observe and understand an completely unknown world - through a tool or “medium“. Mine is invisible. But we can “peep” at the underground through a medium. (Perhaps, architecture, installation, etc.)

Gentle slope back to the ground. The opening merges into the landform. The expression is quite difference from the tower entrance, which drilled down rudely and directly

Figure 6

Figure 5

Rail and cross-ties - only the rails leads us to walk forward in the dark tunnels. And only counting the cross-ties can we know how far we have walked along. 8

The fossil found in Mount Isa has an unique characteristic - The fossil is in 3 dimensional form because the fossil was usually flattened by the underground pressure and temperature

Figure 7

Figure 8

Circular form, dome, curved walls, and red and white painting look very lovely and dynamic, which did a strong contrast against the rectangular, slender, indifferent and structural industrial facilities.

Figure 9

Figure 10

Figure 11

Figure 7,8,10,11. Components in the Site. From Google Maps. Retrieved from https://www.google. com/maps/place/Mount+Isa+QLD+4825,+Australia/@-20.7258195,139.4907035,17z/ data=!3m1!4b1!4m5!3m4!1s0x6a1652fb794a3ce1:0xe5288d65628b7bb7!8m2!3d-20.7255748! 4d139.4927085. Copyright 2021, Google Maps

Ventilation duct, fans and vents - the ducts and pipes wrapping around the buildings, form the “tunnel“ above the ground and frame the space. Also, they communicate the interior and exterior. Imagine the tunnel and duct connect underground and ground. Vents indicated the end of the pipelines and imply the room underneath. So vent is the symbol of some important nodes of the buildings

Figure 12

Telegraph pole and catenary power lines are in the form of gate Figure 14

Figure 13

Figure 15,16

Figure 15. Japanese Thatch Roof Building. From JAPANESE THATCH ROOF REPLACEMENT. A CENTURY-OLD ART. Haydar Roofing LLC. Retrieved from http://haydarroofing. com/japanese-thatch-roof-replacement-acentury-old-art/. Copyright 2016, Haydar Roofing LLC. Figure 16. Portland Japanese Garden Cultural Village / Kengo Kuma & Associates. From Portland Japanese Garden Cultural Village / Kengo Kuma & Associates. ArchDaily. Retrieved from http://haydarroofing.com/japanesethatch-roof-replacement-a-century-old-art/. Copyright 2021, ArchDaily.

The roof cantilever and facade, the form, structure and texture are similar to traditional Japanese house with thatch roof and Japanese cantilever tectonics. But I dislike the weird colour, material and proportion. I try to understand the use of metal cladding may be aimed to express the power of industrialisation, but the materiality and the texture weaken the sense of mass. And the extremely high cantilever weaken its functionality. Tourists cannot enjoy the time and experience underneath the cantilever.

TRYING TO FIND LINKAGE

KIT OF PARTS: CLASSIFICATION Industrial and Mechanical Feeling

Warm and Homey Feeling

Intriguing, Mysterious and Adventure Feeling

Natural and Relaxing Feeling

Feedback: Line weight should be modified. The scale of the objects should be correct The arrangement of these components can follow the four categories. Text can be added to explain why we chose these elements and how they convey our impression to the site

Kit of parts The site gave us four different senses and feelings , like industrial sense, warm and homey feeling, mysterious sense and natural and peaceful sense The first impression of the site is the strong industrial sense. The ordered, rational, and giant structures stand on the site or around the site, such as the elevator tower and hundreds meter tall chimney. Slender steel structure and highly efficient use of material convey the power of industry. It is common that corrugated metal sheet was used in and around our site. This material was used as roof and cladding with greyish colours and rusty texture that witnessed the development of mount isa. Another interesting characteristic of the site is the tunnel and the immersive experience in the tunnels. The tunnel is invisible from the ground level. Only walking into the darkness, can we feel the mysterious feeling. Rail and cross-ties - only the rails lead us to walk forward in the dark tunnels. And only counting the cross-ties can we know how far we have walked along. The exit of the tunnel blends with the ground, which is secret and unexpected to the trip. We also picked a interesting object from the fossil centre, which is microscope. A way to perceive, observe and understand an completely unknown world - through a tool or “medium“. Mine is invisible. But we can “peep” at the underground through a medium. One of the most important economy of this site is tourism. So what we can perceive and experience is not only the scenarios in the workers’ workplace but also the place where the workers are living and enjoy leisure. So we found some components that have a warm and homey feeling. Like the shed using vernacular materials where workers wear their uniform and take a break. A small and human scale corridor, the building with vault and curved wall. This building was painted in white, which is lovely. The form and colour make the building notable in the site and quite different from those industrial buildings. Lastly, we found another important thing is natural and landform interest like a garden and a lake with rocks and a little vegetations. But the areas of these green land are too small. 13

IMPRESSION DRAWINGS: IDEAS

The drawing aimed to reflecting our impression to the site can be expressed by the assembly of the existing elements around our site. From the urban perspective, size difference and the isolation among different functions are two notable characteristics in Mount Isa. The western part of this town is occupied by Mount Isa Mine, such as the giant chimneys, massive plants and barren landscape. However, the eastern of the town is large areas of small housing and flat urban fabric with square network grids and green lands. Focusing on the space in and around our site, I found there are a lot of steel structure and industrial machines/ equipment. Also, the vernacular buildings are mostly pitched roofs and about one/ two stories. The common material are steel and corrugated metal sheets. These aspects gave me a strong sense of industrialization. Also, the growth and development of the town relied on the mineral industry. So I used the steel structure as the frames or skeletons of the site. And they are the basic structure of the land. The invisible and mysterious tunnels sprawl through the underground, but in my impression, they are the vessels of the town and convey the mine and mineral product which is like the nutrition and blood. So I made the tunnels visible. But visitors may not know what happens in the tunnels and may be curious about the things in the tunnels. So the microscopes represent the desire and curiosity to explore the site. Meanwhile, the lake, natural elements, or the facade of the buildings are the skin of the site. So this site is organism and alive. The giant steel structures are its skeletons, the tunnels are its vessels, and the views are its skin. We have a great curiosity to looking for more interests in our site.

Different people have different feelings and impressions. So my teammate, Echo, and I have different epressions to depict the impression drawing. We tried to find the similarities of both ideas. We had similar expression for the industrial feeslings and have strong interest in the natural elements. Our objectives are same to attract more visitors and stimulate visitors’ curiosity to explore and understand more about Mount Isa. Thus, we combined our interest together and create the model below. The majority of the residential buildings formed the interface and the interior is partly hidden and partly visible to trigger visitors’ curiosity. The site have a lot of treasures to be exploited.

CHAPTER 1 FINAL DRAWINGS

First of all, regarding the site plan, the site is surrounded by four roads with houses of similar height, the highest one being a factory and elevator control tower on the north side of the site. Most of the site is surrounded by a chain-link fence, except for the eastern part, where the main entrance and the parking lot are located. There are two additional private entrances to the southwest. Much of the site and its surroundings lack greenery, with vegetation concentrated in the lakeside area within the site, and the plant species in this area are clearly distinct from the rest of the site. In the northwest of the site is the main mining operation area, with all kinds of sand and gravel and the tools needed for mining. There are three entrances to the mine, which are concentrated in the southwest area. Through observation and organization, we believe that the site presents four different atmospheres, including industrial, homey feeling, nature and mystery, and from these four directions we extracted the following elements from the site. Starting from the site itself, we collage elements that represent different atmospheres to express the present and future possibilities of the site. As we said before, the site is surrounded by residential buildings on all sides, and the site is situated in the largest and most comfortable natural area of the area. However, the site is separated from the surrounding buildings by a huge road, which makes the relationship between the surrounding and the site in a neighboring but strange way. We believe that the tunnel and the natural landscape are both valuable parts of the site, especially the tunnel, which is mysterious and unknown to most people, may serve as a link to attract people to visit the site, to discover something different, to learn everything about the site, including the mining process and the beautiful scenery. 16

KIT OF PARTS

INDUSTRIAL & MECHANICAL

01. Shed Structure (M) ordered, dense, robust, rusty

02. Mine Elevator Structure (M) rusty, monumental, dense, powerful

03. Curtain Wall & Steel Frames (S) rectangular frames, slender structure, simple, aboriginal patterns

05. Roof Turbine & Vent (XS) indicator of the end of MEP duct, rotary, delicate industrial product

06. Telegraph Pole and Powerline (S) messy and in a jumble, catenary,

07. MEP Duct (S) serpentine, “tunnel” above the ground, industrial product

04. Corrugated Metal Sheet (XS) vernacular material, mass production greyish colours and rusty conditions

08. Giant Mineral Chimney (Xl) giant, monumental, powerful

MYSTERIOUS & INTRIGUING

09. Mineral Tunnels (XL) serpentine, dark, unpredictable

10. Tunnel Entry & Exit (L) blend with landform, concealed by ground level, secret

11. Rail (S) rhythm, repetitive, endless

12. Mineral Trolly (S) vehicle in the darkness

13. Microscope (XS) a medium to explore unknown and invisisble world

WARM & HOMEY FEELING

14. Shed (M) canopy, shelter, after hours

15. Corridor (S) walk down to ground modular and human scale

16. Building with vault and curved walls (M) white stucco facade, strip window, fluidity of the curvature

17. Small Stage (S) circular, small scale

NATURAL & LANDFORM INTEREST

18. Lake (L) soft, mellow, peaceful, good for meditation and contrast against surrounding mineral scene

IMPRESSION DRAWING

2. ‘FLOAT AND ANCHOR’ Concept

Based on last chapter’s observation and exploration, we have already had a brief understanding of our site, Outback at Isa, and the bigger context, Mount Isa. In this chapter, we will do more research and observations to obtain more information in order to create some mappings for our site that will be helpful for the concept generation. For us, this is a hard and tough experience to look for the aspects that can be mapped but also to visualise clearly. Thus, Our group spent a lot of time on the thinking and researching. Eventually, after the inspiration of the readings, we are interested in the mappings of movement, views and experience and different sounds that highly influence visitor’s perceptions and feelings during the journey. Because there are many interesting, rare but unique components, like some machines, on our site. There is a exciting underground journey walking in the limited space and darkness. Therefore, there is lots of potential to use views and sounds to create more immersive experience.

I took charge of view and experience mapping. I used grasshopper to simulate the angle of view and angles at different spots. The spots are the points closed to these objects. Controlling the number of the closest points means the different distances to the objects and can gain different densities of the views. 21

I referred to camera lens. The photo with a wide lens contains more objects within frames and landscape photo doesn’t have clear vanishing point. So this kind of photos or views can create a open, wild and broad-minded atmosphere. When people focus on something, the sight is roughly 5 degrees. The focal point blurs between 5 and 60 degrees. This is how the angle influences the views, experience and atmosphere or feelings.

Figure 17

Figure 18

The size of the objects will create different focal points and different feelings. The reason why I want to explore in this field is that there are a lot of interesting components in all sizes on our site.

The tower is tall and you have to look up at it. The one point perspective view leads the eyes to the tower from a long distance. That creates a monumental sense. 22

View guides eyes

The lines and curves of the buildings and tunnels guide people’s eyes to far away. This method can be used to control people’s movement or as the prelude for some exhibitions.

Attention Shift

The angles of views should be very small. Attention focus on several small objects. The attention skips from one thing to another very quickly.

Wide Angle

Figure 19

Lawrence Halprin’s score displayed the performance of a fountain design. The left hand side of the score represents the type sprayer. The right hand side means when the specific sprayer should be turned on and the length of the thick black line means how long the spray will last. Cutting through the score can reveal the status and condition of the spray of the fountain at the specific point. This way of mapping is similar to encoding. (Allen, 2009) The different types of the sprayers and time are the variables. And different arrangements along the time-line can create different outcomes. To change or illustrate the design, we just need to modify the sequence and the time the sprayers operate (in the score). Thus, following this logics and methodology, I tried to find variables and the variations in, on or around the site, and then find the relationships or linkages among the variables. Lastly, I tried to establish the connection and encode the mappings. To be more specific, different angles of view can create different experience and feelings. Our site contains various interesting elements in all sizes. Visitors might focus on a small machine and be fascinated with its usage, function, details and history. Also, visitor might enjoy the open landscape. Therefore, people’s movement becomes my variables and the conversion of views, experience and feelings become the mapping content. The change of angle of view could be the mechanism that causes the different views, experience and feelings. Figure 20

The mapping represents What people can view and how people’s experience is at different spot Wider angle of view, people can gain more monumental and sublime feeling. Smaller angle of view, people will focus on more details The density of the view lines: the denser the lines are, the faster people’s attention move from one thing to another. People can feeling more open and wide atmosphere at the place where the lines are loose. Circles represent the components on the site. Different diameters represent the size of these components Use different grey level to represent different angles of the views. The darker the colour is, the smaller the angle is and the more detail can be focused on. 24

12.5

50 m

Feedback 14/04/2021: The view, experience and feeling mapping is a good starting point. It reflects something that exists there but also something that doesn’t really exist but that we can see. The drawings can be used to start to curate how we might operate in the landscape and how to control people’ experience when they move. It’s better to include what people see rather than just super abstract geometry. For instance, I can show one thing from completely different view points. The drawing is too abstract to be understood. For the people who is looking at the drawing, they might not understand what you are talking about. make sure the drawing is able to communicate. Think about what I am trying to say and how can say without any words. I can try to add some notations, text, refernce of scale.

IDEAS FOR MNEMONIC SITE MODEL

Array the objects as attractors along the roads. Hope people can be attracted by these elements and then walk forwards. So the objects can control the movement. But this way is flat, common and quite boring. Think of if there is any other ideas?

Pile these components up following the hierarchy of the sizes. People can see the highest chimney and view it as a goal. To reach to that goal, people have to experience the spaces with different themes.

For the underground tunnels and spaces, I hope to add more bubbles or cavities along the tunnels. The bubbles can have a underground garden, exhibition, etc..

FINAL MAPPING: VIEW & EXPERIENCE MAPPING DESIGNED BY DI 31

FINAL MAPPING: MOVEMENT MAPPING DESIGNED BY TAMMY 32

FINAL MAPPING: SOUND MAPPING DESIGNED BY ECHO 33

MOMENT 1: WARM & HOMEY SPACE 34

MOMENT 2: MYSTERIOUS & ADVENTURE TUNNELS 35

MOMENT 3: PROVOCATIVE SPEED 36

MNEMONIC SITE MODEL

Different color schemes were applied to different atmosphere. For the moment 1, we want to express a warm, sweet and homey feeling. Although there are steel structures, they form the canopy and protect people from the weathering. They were also painted in pink which is a warm and bright colour. The floating houses with warm colours and some dynamic forms created a fairy tale world for people in this amusement park. People can use this space as their base and staring point of adventure. For the future developement, this space will be a hotel or cabin museum for short stay or overnight stay. For the moment 2, we want to create some mysterious atmosphere in our site to stimulate people’s curiosity of exploring the site. We used the tunnel and darkness to create this kind of feeling. The views in the tunnels are limited and dark. Spotlights highlight the machines floating in the tunnel and people can hear the sound of these machines and touch the steam . This is aimed to creating a mysterious atmosphere and give the visitors an immersive experience in the aspect of vision and auditory. And create a different feeling and experience from other scenarios. The blury effects were aimed to creating provocative feelings and the vibration and sound of these machine. The moment 3 is the most exciting moment of three drawings. I used blurry effects to represent the speed of the trolley. And the blurry effects can concentrated people’s attention to the centre of the drawing, which is a designed view. We are trying to create a “roller coaster experience“ in our site and use sound and views to attract people’s attention and design the speed of their movement. The diversity of the elements of our site enriches the experience of this journey.

3. ‘GROUND ABOVE AND BELOW’ Landscape Strategy

Honestly, at the very beginning, I am confused and totally didn’t know how to start landscape design. Because landscape is a large-scale project. We have to reconcile landscape with the site context and local condition. Furthermore, we have to prepare the design for the building on the site. It will be hard to have a harmonious relationship between landscape and buildings if the landscape strategies were too radical. We tried to balance the interaction among site, landscape and buildings. However, we gradually found our concept step by step by repeating, scaling or deconstructing the kit of parts and looking back to our previous mappings and ideas. The main elements we concentrated on are sound and view. Sound and view can arouse peoples auditory sense and visual sense. The loudness, clarity and frequency will stimulate people’s different moods and reactions and further impact their impression to what they are going to see. Therefore, we studied the influence of sound and view and then tried to use our landscape strategies to guide and control people’s movement and speed so that they can focus on intentional views and feel the atmospheres we studied in chapter 1. Furthermore, The views will be framed, designed or blocked. People will hear the sound first and then enter the scenarios later.

WHERE IS IDEA?

The beginning is the toughest period. I chose to do some reading and I did got some inspiration and learnt from the reading. So I recorded some of my thinking and extract some helpful points or some sentences that interest me for the future project. Traverse the Section “The plan is organisation. The section is experience. - Mark Mclnturff”(Jenkinsm, 2012). Looking back to my experience of drawing plans, sections and elevations, I agree that the plans can indicate the spatial relationships and configurations clearly but them cannot tell the vertical relationship and also cannot reflect the spatial quality from people’s perspective. In contrary, the section can tell the space from users’ perspective and vertical relationships. The viewers can imagine the experience like walking through the space. I also resonated with the philosophy mentioned by Jenkins. He referred to Lao Tzu’s bowl “the essence of a bowl is not the bowl but the void formed by the bowl“(Jenkinsm, 2012). What determined void is the physical entity. That reminds me of Mies Van de Rohe’s Barcelona pavilion and Gerrit Rivetveld’s Schröder House. The former architect used linear wall to lead the space/ void flowing in the house and create the fluid space. The walls were not conventional barriers that enclosed a space and only through openings can the interior that communicates with the exterior. Also, Rivetveld used adaptable panels to reconstruct and redefine the interior and used slender structures to frame and visualise the void space. It is the physical entity and their organisation that define the flow of space and endow the spatial quality to the void. So people can perceive, see, recognize and resonate the void through these entities. Moreover, Tadao Ando used the same strategy - the collision and intersections of physical walls/ concrete walls to express the convergence and merge of void and intangible space. In addition, the physical entity is the medium that introduces the intangible elements to the space and that qualifies the space. For example, Ando’s church of the light filtered the exterior messy views and introduced the pure light to the inner space. So this strategy or thinking can be utilised in my landscape and building design. This article mainly focused on “decoding a building’s quantitative attributes“(Jenkinsm, 2012). In general, there are three types of diagrams. “1. The diagram indicating the movement through a building. 2. The diagram reflecting the relationships and configurations of building volumes. 3. The diagram illustrating the surface condition of the building volumes. “(Jenkinsm, 2012) “A. Orchestrating Sequence Different paths and spatial sequence can provoke different experience and moods. Elongated path enhances the sense of ceremony and control the shifts of views and movement. Short path and direct access give people less time to prepare. Thus, two methods can be mixed in our design. Long path can help visitor cultivate moods and immerse people in certain atmosphere. Short and direct access can create some surprising moments. B. Entering The Building This is the beginning of the entire journey and one of the most important moments. According to different building typologies and scenarios, different entries should be applied. Asplund’s Stockholm Public Library adopted a straightforward way of entrance cutting through the landscape and linking several space. While in Ando’s Church of the Water, he elongated the journey through spiral ramps moving down and up. People can clam down when walking along the ramps in this sacred space. C. Passing through Buildings The relationships between in-site circulation and context flow, and public flow and staff flow, etc., should be taken into account. The public flow and private flow cannot be too complex and confused. D. Articulating Path and Room Sections that cut through paths and rooms from different directions convey different intentions. The longitudinal section along the path emphasises the articulation and linkage between pathway and space. The transverse section emphasises the spaces themselves and differentiate the interior and the exterior. E. Ascending Stairs 39

Ascending stairs can create poetic and unexpected moments. Because of the level difference, people have no idea what is happening on the upper floor. Ascending stairs give people the time to stimulate and accumulate their curiosity. For the expression of the spatial relationships, isometric drawings are better than sections. F. Stepping with the Landscape Taking advantage of the landform can create interesting experience. But our site is relatively flat and has less slopes. H. Compressing and Expanding Sequence “Spatial compression and expansion within a building highlight the transformation from one space to another“. My understanding to “Spatial compression and expansion“ is that using a series small room to condense the spatial experience and then end up with a large space to create a contrast and dramatic effect. I. Walking beneath Portals Portals, overhang, cantilevers and pergolas blur the boundaries between inner and outer space. Also, they cast shading and protect people from wind and rain. It is a transition and “in-between“ zone that communicates public and private spaces. J. Moving through Layers This method can be used to deal with the relationships between void and solid . K. Linking Profane with Sacred L. Interfacing Public with Private The interior space of a building can sprawl to the interface with the landscape. Some parts of the buildings can extend to the landscape. This also reminds me of Mies Van de Rohe’s open space. N. Carving Voids Opposite to using small components, like bricks, steel structure, to construct a space, we can also carve out a space in a solid mass. Similar to the “Boolean Difference“ in rhino. O. Shaping Floor Design some split levels, slopes or steps foe the interior . Q. Expanding Atria “Atria are focal points for the building’s occupants as they admit light and air into a building’s center... and allows views over and cross“ T. Arranging Voids Spaces can be classified into primary, secondary and tertiary categories according to the importance of these spaces.” (Jenkinsm, 2012) That is all the extract and my understanding. I tried to apply these strategies to our landscape design.

SKETCHES FOR FURTHER SITE ANALYSIS AND IDEAS 42

FIRST ATTEMPT

Reflection 1. The circulation is linear, is a story line, but is not a landscape strategy. 1a. The story line starts from the natural forest and people destroy the nature and excavated underground and result in the extinction of animals and finally people can realise the importance of environmental protection and the site go back to the green land again. 2. I did not consider quick access to every program. So if people want to go to one program to another, do they have to finish the entire circulation? 3. The vegetation can permeate the whole site 4. I feel and really want to do the sky ramp. Because our site is flat and there is no vertical experience. I hope to create some vertical experience and provide another perspective to observe our site for the visitors. 5. I don’t have good ideas to introduce light to the tunnel. Because the tunnels are really deep, about 15-25 meter deep. That will be a huge structure if I just put a well here.

SECOND ATTEMPT

Feedback 29/01/2021

“

- Have a grid system, and have structural system punch in this system, take your circle and views and subtract and take off statures or add, it could be either way. Do boolean operation, what you have in the circle and views, could you use that to determine where that frame sits within the landscape. And those frames could just be simple pods, or triangular. And you start with populating that frame with 10 cabins, that super exclusive, not everyone can come here, those cabins will depict a series typologies you found on the landscape, and they will provide a unique experience of mount isa. - The idea of fossils, rachel whiteread., a symbol of her life inside. - How could you take the idea of fossil and casting, casting something to make other thing. - You casting a lot of cabins and they become solid in scale on the site, and imagine these become artefacts exposed with frame, become something to be looked at, to be experienced. - Fossilizing the typology of the mine, you create these objects to be looked at, that based on the history of living there, also, you don’t need to cast whole thing, maybe just a corner. - What I like is the idea of seeing something, idea of history, and living within there, but also the connections with fossil. This is totally different with your sound idea, it’s the idea of looking something, about the view, landmark and history. - You have a series of real and unreal cabins, populate them with the landscape, some you can just watch, some you can enter in and sleep there. - Developing an overall strategy using that one idea, and within that idea, it have many different moments, you can still have those programs in, instead of talking here is this, here is that, talk more about how they relating with each other, how those programs related to another as a clear conceptual framework. - We want people to move through a sounds cape, along that sound scape it will be varied, noise, silent, natural sounds. Along that sound scape, people can be guided to different experience. These experiences gonna happen along this way, When u heading the sounds of bird, u will be arriving the little zoo, when they start to listen to the humor of bees, they might approach the machine and the mine area and might go underground. When they are there, there might be absolute silence, what they can hear is their own heartbeats, their own breathing. Use the sound wave to draw your section, - I would say the concept is to create a sound scape through the site, allows for triggering experience, you can even talk about sound anticipating, watt’s gonna happen. I don’t think sound is enough, sound is a trigger point, you can draw the sound wave in section, every time we go up with the sound we will see something, and it connects with the ideas of view as well, and when you come down, you might see other programs. You need to hear before you see. It’s like the sound anticipating watt’s coming next. - You can control the form of architecture, the orientation, the materiality, and you can say you hear the sound, and you are in it, and you get out of it, an you go through the kind of waves, and you program each of the things. - You can also say there are ways in techniques and technology that with sensors that allow sound to be played, you can also say it’s an architectural device that along the wave, sometime you can control the sound in the transition space, that might be a chamber full of sensors, when we move through, the sound plays.

“

Reflection 1. We might focus too much on the circulation and road design and ignore the design of sound, view and experience in this version of draft drawings. So we should use sound and view to drive the design of circulations. 2. To some extent, we are not doing landscape design and we focused more on the architect and program design. We should figure out a strategy that can be applied to the whole site and create the audio and visual atmosphere along the journey. 3. The cabin is massive. The house can be distributed discretely around the site to create landscape interest. 3. the building component can be used in the same way. That represent the fossil of the buildings and the history of the site gradually sunk. Figure 21

Figure 21. Building immerses into the ground. Note. From How Pythagoras helped inspire iconic work by Petrus Spronk. Retrieved from https://www.hepburnadvocate.com.au/ story/5265449/the-artists-view/. Copyright 2018, Petrus Spronk.

UPDATE

Shrub fences Vegetations Fish Collection and Restaurant Metal cladding/Fossil house Steel frames

Di’s Ideas Referring to Mies van de rohe’s open plan and fluid spaces, I can use some components on our site to create a labyrinth in the amusement park. Use the facade of the surrounding residential buildings and corrugated metal sheet, and shrub as fences. 1. Conceal some designed views that I do not want to show before the sound 2. Use the fence to guide people’s movement 3. As accent of the views. 4. The shrub fences can intersect with metal fence, people can feel the change of atmosphere from industrial to natural. 48

SKETCHES FOR LANDSCAPE STRATEGIES 49

FINAL DRAWINGS

4. ‘MINE AND FOSSIL MUSEUM’ Programs and Design

Based on previous landscape strategies, we will continue to accommodate some relevant strategies and programs on the site. Sound and views will be the attractors and drivers of the individual building projects. In this chapter, I am going to renovate and expand the existing building function, which is currently Mount Isa Fish Stocking Group. I will do some basic research about their work and observe the selected place of the site again. Meanwhile, Our group kept collecting more information about the Mount Isa, involving their vernacular house typology, the native/ local animals and some economic income information. We found the evolution of residential housing is quite interesting, from tent to tent house reflecting the living style of different times and vernacular construction techniques. These information is quite useful and helpful for form-finding process. These elements can help my building and project integrate into local built environments. As a tourism place, how to attract people, give people diverse experience around this mine site and retain more tourist is one of the most important points of our group. Therefore, in this stage, I will develop a fish collection and translate the experience in the mineral tunnels to the experience in my building. Visitor will understand and learn some aquacultural knowledge during recreation and entertainment.

BASIC RESEARCH

Mount Isa Fish Stocking Group 3 employees Generate $246,555 in sales (USD) Year started 2000 Industry Information Aquaculture Companies in this industry raise fish, shellfish, other aquatic animals, or aquatic plants. Agriculture & Forestry Sector Companies in this industry sector grow crops, raise or fatten animals for animal products, and grow and harvest timber. (Dun&Bradstreet, 2021.) “The closest lake is Moondarra Lake. The local fish-stocking group is very active, and helps to host a wonderful Fishing Classic at the end of October each year. (For more information on this great event, visit www.lakemoondarrafishingclassic.com.au). hundreds of entrants will join this event. Lake Moondarra has been stocked with hatchery-bred barramundi for many years, and has produced reasonable numbers of these fish for angling hopefuls over that time, including quite a few trophies exceeding the magic metre mark. a handful of these highly sought-after fish are taken amongst the much more prolific (and willing) long toms, catfish and grunter.” (Innercircle, 2021) It’s a hatchery. Devote to feeding the diverse fish specimens. “Mount Isa Fish Stocking Group need more volunteers to join them. Last month 2018 December, MIFSG boosted the Barramundi population of Lake Moondarra when they released more than 37,000 fingerlings. “It’s a recognition of the number of local businesses and people who love fishing and of the multiplier effect fish stocking has throughout the community. “Every dollar spent on stocking our lakes and dams sees $100 flow into our regional economy,” said Mr Bacon. The fingerlings were produced in Karumba at the Gulf Barramundi Restocking Association hatchery. Each fingerling costs 35 cents, worth $12,950, which means the release represents a large investment by the community and the future of fishing at Lake Moondarra. However like everyone else MIFSG are hoping for rain. The rising water level in the lake will increase the survival rate of the fingerlings. Barramundi season re-opens at midday on Friday 1 February.” (North, 2019) Activities To achieve this milestone 54 separate activities were organised over the last 11 years. 56

Current Interior “As you walk inside the shed, you can see seven viewing tanks at the front of the hatchery displaying local fish that have been breed here, including the sooty grunter, barramundi and sleepy cod. On the wall, there is information about fish that has been breed here, from fishing regulation up to fishing tips. You can learn more about how the hatchery improved aquaculture and lake sustainability around Mount Isa as well as information about local fish life by watching videos. There are also some trophies for fishing competition displayed here. You can grab some fishing magazines for free as well. This hatchery project will ensure local fisheries that Lake Moondarra and Lake Julius are well stocked with sooty grunter and barramundi. By maintaining the number of the fish for recreational fishermen up to the good level at the lake around Mount Isa, hopefully, local anglers, as well as tourists, can have a really good fishing experience. The hatchery also breeds barramundis for Lake Moondarra Fishing Classics, the biggest fishing competition in Mount Isa. Lake Moondarra Fishing Classics lures a lot of people from all over the country for this specially tagged barramundi. Previously, small barramundi were ordered from Karumba and then grown in containers in local backyards. But with this hatchery project, thousands of fish could be breed sustainable.” (Koerber, 2018) Fish Collection Brief Hatchery & Fish museum Recreational Space Lake for teaching and fishing Public space for BBQ and events Fishing skill training Environment protection This green shed is a home of many volunteers who have been working tirelessly to make sure local anglers and visitors are able to reel in barramundi around lakes in Mount Isa. + Offices Restaurant + Kitchen

ITEMISED SPACES

Fish Collection Amount

People

Area

1Aquarium

2Hatchery

3Office

4Toilet

5Storage

1 1~2

6Store 7Gallery Sub Total Area

255

Home of VolunAmount teers

People

1Rest room

5~10

2Change room

5~10

3Tutorial room

2 5~10 per

4Workshop

2 5~10 per

Area

Sub Total Area

150

Restaurant

Amount

People

1Dining area

20~30

2Kitchen

3~4

3Toilet

6~8

4Storage

Area

150 Total Area

600~700

SITE ANALYSIS AGAIN

Figure 22

The current building is a green shed. The form, color and materials of this building are common in the site context. There are a huge area of vegetations in front of the shed. From the shed, we can overlook the tall elevator tower in the background.

Figure 23

These high trees hide the lake. So people can not see the lake and will not walk towards the lake from the existing building. So something should be added and design to make people realise the presence of the lake and lead more people to the lake. Also, the vegetations are separate from the existing building and the building gave a sense of isolation. So a stronger relationship between the nature and the building should be created.

Figure 24

The forest are a barrier separate the building from other parts of the site. From this point of view, there is no industrial elements or atmosphere around this building. Therefore, I can focus more on the relationships among people, architecture and nature

Figure 25

Figure 22, 23, 24, 25. Mount Isa Fish Stocking Group existing building. Note. From Google Maps. Retrieved from https://www.google.com/maps/place/ Mount+Isa+QLD+4825,+Australia/@-20.7258195,139.4907035,17z/data=!3m1!4b1!4m5!3m4!1s0x6a1652fb794a3ce1:0xe5288d65628b7bb7!8m2!3d-20.725574 8!4d139.4927085. Copyright 2021, Google Maps

From another view point, we can see the top of the elevator tower, the hill and tall infrastructures in the background. I intended to retain some facade of the existing building. The existing building used the common materials and may be very ordinary, and also it is not heritage. But it is still the memory of many anglers and it is the achievement of the staffs and volunteers. It is also the base of environmental and ecological protection. Thus, I think it deserves to be preserved.

SPECIFIC POSITION OF MY PROGRAM Due to the sdisconnection between the existing building and the garden, I intend to strengthen the connection bewteen the building and the lake. People can appreciate the beauty of the lake and the peace enclosed by trees and the space isolated from the exterior. Also, the shallow lake can be the place of teaching kids to fish.

Precedent - ACD CAFE 751 by dEEP Architects

Figure 26, 27, 28, 29,30,31,32, 33. case study. Note. From ACD CAFE 751 by dEEP Architects. Retieved from https://www. gooood.cn/chapel-of-sound-china-by-open-architecture.htm. Copyright 2010-2020, gooood.

I am interested in the method to create the ornament. This design reminds me of the common material in our site corrugated metal panels - which can be folded so that some fluid form or shapes can be created. Also, using the vernacular materials and the innovation of the vernacular materials show the respect and response to the site as well. 62

FIRST ATTEMPT OF FORM FINDING

These two forms are deigned if I want to demolish the existing buildings. The forms are alien but I follow the previous landscape strategies. Hide some specific views or display some intentional views, etc.. Some people can walk in the building and experience different sounds. But the forms are too alien to integrate into the site. So I probably extract some ideas from them and abandon the forms.

Precedent - In Bamboo by Archiunion Architects

I am fascinated with the fluidity of the roof and drip form by using rigid materials. Also the roof concealed some views and the design is intentional. In addition, the roof created a background for the trees so that the viewers tend to focus on the designed scenery. This kind of design create an unique spatial experience as well.

Feedback 28/012021 Probably, I can add some urban fishing and cooking fish services to the brief so that people can pay a little fee and they can fish. They can take the fish home or cook in the restaurant. Add more entertainment related to the water, breeding and capture. can keep the profile of the existing building but expand can create something new. But should design a front that connects to the street scape. Find a way to make sure people know this is a new and interesting program to visit. Can using the element from kit of parts to looking through something to see something else. Can continue this language. the idea of relaxing tent form. Combine the second and the third iterations think about recreational area of fishing connecting to the lake and potentially the agriculture area. What species can we hatch and breed there. The aquarium and hatchery and be separate.

Undulating medal roof/ Membrane

Offices & Storage Indoor restaurant & gallery Entries, lobby , Store

Retained part of the existing building (Hatchery, exhibition, training)

Outdoor space under canopy (Restaurant, outdoor recreation and activities)

The disjunction between two membranes look odd and should be refined The anchor points are all at the top of the volumes. The form will be better and integrate into the site better if the anchor points can be dragged down to the ground level. 65

West entry

Reception space - enter the building

Exhibition space - dark with spotlights and linear lights

Outdoor corridor - leading view to the garden

Outdoor space under the eave/canopy - dining area/ activitiesGallery and dining room - cantilever and framed view (open and warm)

Under the eave/canopy - walking on the ramp (landscape)

View from North east

View from the lake - cantilever in the trees

View on the ramp (landscape)

View under the cantilever

View from the street

View from the lake

View from the scaffolding of the cabin museum

Sleepy Cod

local fish, edible.

Barramundi https://thefishsite.com/articles/cultured-aquaculture-species-barramundi

Sooty Grunter Can be cooked and eaten

Precedent - Centre Pompidou-Metz I can study the relationship between the membrane/ grid shell and the cubic building masses. But I do not want to use grid structure because it still looks rigid. I should avoid just simply putting cubes under a sheet. I should increase the interaction and intimacy between the building volumes and thin membrane. The membrane should become a part of the building rather than a canopy.

Figure 38

E 4

E 5

FIRST ITERATION OF RENDERING

View from the lake

Exhibition & Aquarium

Restaurant & Gallery

Entry

View from North west

Public space under canopy

Corridor under cantilever

EXPLODED DRAWINGS

INDUSTRIAL & MECHANICAL

Sound: Entry: water flow in the duct, people can follow the sound

Membrane

Exhibition: silence and sound of wind

01. Shed Structure (M) ordered, dense, robust, rusty

02. Mine Elevator Structure (M) rusty, monumental, dense, powerful

Outdoor space: Rustle of leaves and indigenous musical instrument. 03. Curtain Wall & Steel Frames (S) rectangular frames, slender structure, simple, aboriginal patterns

04. Corrugated Metal S vernacular material, mass p greyish colours and rusty c

Frames and Structure

05. Roof Turbine & Vent (XS) indicator of the end of MEP duct, rotary, delicate industrial product

06. Telegraph Pole and Powerline (S) messy and in a jumble, catenary,

Transparent Duct for Fish

07. MEP Duct (S) serpentine, “tunnel” above the ground, industrial product

08. Gia giant, m

MYSTERIOUS & INTRIGUING

Ornament 09. Mineral Tunnels (XL) serpentine, dark, unpredictable

10. Tunnel Entry & Exit (L) blend with landform, concealed by ground level, secret

WARM & HOMEY FEELING

Form

14. Shed (M) canopy, shelter, after hours

15. Corridor (S) walk down to ground modular and human scale

NATURAL & LANDFORM INTEREST 72

11. Rail (S) rhythm, repetitive, endless

12. Mineral Trolly (S) vehicle in the darkness

Folded Corrugated Metal panel

16. Building with vault and curved walls (M) white stucco facade, strip window, fluidity of the curvature

FIRST ITERATION OF TESSELLATING I used grasshopper and Kangaroo plug-in to simulate the tensional and dripped form. This gave me the opportunity to design the subdivision and tessellation of the roof instead of a entire membrane. First aspect I considered was the colour of the roof. I collected and extracted the colours of the site through some photos and made a colour palette. I found the primary colours are greyish red, blue and green. The saturations are not high. That’s why the site gives me a dim and boring feeling. So I am thinking introduce some bright colours with high saturations in order to stimulate visitors’ interest. So I did some iterations as below. But the outcome looked weird to the site and contrast is too strong. The building’s colour will create a conflict with site environment. So I tried to use some gradient to let the colour fade away and minimise the contrast.

Site Colour Palette Made by Di

ITERATIONS OF TESSELLATING

The green is the colour of site and was added some blue. But the colours are dazzling. Black, white and grey are elegant. But it is architects’ aesthetics and may be not suitable for the site.

I picked greyish blue from the minority of colours. I intended to enlarge the area of this minor colour and draw more people’s attention. This colour is softer and create contrast against the site (soil, tree and machine’s colours). But the intensity is smaller than previous bright colours. But the gradient is a little monotonous.

Therefore, I tried to add some contrasting colour, the greyish red, to the gradient. And then control the pattern of the gradient to emphasise the form of my building. The last iteration have a natural and softer gradient. Unlike others, the colours are too heavy at the end of the membrane and resolve the form of the membrane

Lastly, I thought about the materials. Shingle is a good material and can express many colours. But the texture, glossiness and reflectivity is rigid and stiff, just like brick. Looks very heavy and can not depict the fluidity of the dripped form. So I preferred reflective metal panel with smooth surface and seamless joints creating a little more contrast against the rough texture of the site. 74

First Floor- b

First Floor- a

Ground Floor - b

Ground Floor - a

SPATIAL CONFIGURATION DESIGN Recreational space are separate from working and educational spaces, which is separation of public and private spaces. The long block is for restaurant. It is extended to the garden and underneath is a corridor directing people too the garden. The working and volunteer space were expanded to accommodate more volunteers and activities. It was also extended First Floorb towards the garden and embraced by vegetations. So staffs will have a better working environments. The building masses are cubic, which imitate the steel containers next to the existing building. Besides, the entrance is a tunnel. People will walk into the darkness gradually and prepare for the exhibition. This is inspired by the experience in the mine tunnels. People are First Floor- a nervous but excited from the bright ground level down to the dark tunnels.

Restaurant & Gallery

Tutorial Rooms & Home of Volunteer

Ground Floor - b

Staff Offices & Amenities Hatchery Exhibition Public Toilet Store

Ground Floor - a 76

CIRCULATION DESIGN I intended to design two separate circulation for visitors and staffs respectively. Visitor’s flow mainly involves in recreational projects. And the staff’s flow are mainly for the educational and protective purposes. To prevent them bothering each other, the circulations are split up but linked by the lake and hatchery.

First Floor- b

First Floor- a

Ground Floor - b

Visitor flow

Staff and Volunteer Flow

Ground Floor - a

TRANSLATING DUCTS Walking in the dark aquarium is like walking in the tunnels. In the tunnel, you can follow the railway, steel meshes or the electric cables. Similarly, you can follow the fish ducts/ pipes. The ducts is a common component in our site and convey a industrial feeling. So, I intended to use the transparent ducts to feed the fish and people can walking into the depth of the building by following the pipes. Only difference is the interaction with the fishes. This drawing is a draft and conceptual image. Most space is empty. I will make the flow more complex and clearer for way-finding.

Glass duct – fish swimming in the tunnels

FORM REFINMENT At this time, I dragged the anchor points of the membrane down to the ground level and mimic the form of tent. The membrane covers more space and create more interesting outdoor activity space. Like one the left hand side the space under the canopy and next to the home of volunteer can work with the meeting room and offices and plays the role of outdoor tutorial space.

FIRST ITERATION OF SECTION DRAWINGS

SECTION A

SECTION B

B A

SECTION C

FIRST ITERATION OF SECTION DRAWINGS

SECTION D

SECTION E

Reflections The gap between the new membrane and old building should be utilised efficient and should be defined. Otherwise, it wastes a lot of space.

The interior should be organised effectively. They are empty now. I measured the height between the roof of the old building and the membrane. The height is enough for a new programme. I reckon this space can be used as a platform for small performance. So people can sit on the pitched roof and enjoy the performance Think about the relationship between old building and new parts of my design. 81

FIRST ITERATION OF SECTION DRAWINGS

WEST ELEVATION

SOUTH ELEVATION

NORTH ELEVATION

The restaurant has a split level: when people go upstairs from ground level to the level 1, they can see the fish tunnels and fish. When they go upstairs from the restaurant level to the upper split level, they can overlook the views outside through the opening created by the exterior layer of the membrane

The split level reach the top level of the existing building. The original roof is pitched roof. But I took advantage of the original slope and make a stair where people can take a seat and watch movies or have some activities under the canopy. This is scenario 1.

Scenario 2: this space between the canopy and original building’s room can collaborate with the restaurant and become a outside space for dining but protected by the canopy.

FIRST ITERATION OF PLAN DRAWINGS

I v s b t n e

I f Reflections Some spaces haven’t been resolved, such as gift shop and cafe, the rooms for staffs and volunteers. The line weight should be refined. They are not readable now. And the space between the membrane and restaurant could be more interesting. Refer to the interior design by Verner Panton. It’s a fantastic design.

SECOND ITERATION OF RENDERING

The fish tunnels is aimed for exhibition but also play the role of interior partitions and ornaments leading the visiting circulation. Also, they can block some unintentional views.

The tunnels are the combination of several groups of ducts so that it will be convenient for the maintenance, repair and clean. The ducts in the aquarium (ground floor) connect to those in the restaurant. So the fish can swim go upstairs and people can appreciate them. With the soft music and the gentle sound of the water flow, visitors are bound to enjoy this experience. In summer, they can choose enjoy their meal outside and appreciate the views of the front garden under the canopy. Without the torment of the sunshine and extremely high temperature, they can hear the whisper of breeze and enjoy the cool. At sunset, a mini performance takes place on the platform. Let’s grab some snacks and drinks, take a seat on the original building’s roof. This is not an illusion., the night water, the soft music echoed in people’s heart a touch of sadness and nostalgia. In winter, seating in the warm light, the canopy protects you from the freezing wind. Take a seat and immerse yourselves in a touching movie..

MISTAKE, REFLECTION AND SOLUTION I ignored the design of kitchen for the restaurant. It was a big mistake. I should learn from this mistake. Don’t let this error take place in the future. Because it destroy the original design and organised spatial configuration. The additional building volume may not be harmonious with the original design and it’s hard to maintain the same architectural language. Therefore, I reviewed my form and languages - the integration of cubic building mass and dripped membrane. So, the volume of kitchen could be a cube as well. For convenience, kitchen is better on the same floor level with restaurant . Reconcile with the “Rooftop“ leisure space, I decided to add a one-story volume next to the restaurant so that the height of kitchen is enough (about 3300m) and the roof level of kitchen can be used as a platform at the same time.

PRECEDENT - INTERIOR DESIGN BY VERNER PANTON I was attracted by the colour he used, the compression and expansion of space and how people can use these design. People can lie on the installations and appreciate the fluid shapes. The soft gradient of colours and the change of brightness and darkness created a fantastic and psychedelic for visitor. Therefore, I’m thinking, for my membrane, it can have two layers. The out layer that are fixed on the mesh structures protects interior from the weathering. Under the cable structures is a layer of translucent polycarbonate panels. Some LED strip lighting can be hidden behind the polycarbonate panels. When lights are turned on, the lighting will create an intriguing atmosphere and people lying on the platform can appreciate the lighting. Also, The polycarbonate is a screen as well. The original building’s roof was a pitched roof that is now being used as a slope and stair where people can sit and watch projections on the ceiling.

Figure 39, 40.Interior Design by Verner Panton. Note. From Interior Design by Verner Panton. Retrieved from http://www.robotspacebrain.com/interior-design-by-verner-panton/. Copyright 2017, RobotSpaceBrain.

NARRATIVES Program and Intention I intended to design an architecture that connects the existing isolated fish stocking building with the garden by the means of/ in the form of mineral tunnel. I expanded its original building with single program to a multi-functional project with more immersive recreational and educational space for visitors. The building belongs to Mount Isa Fish Stocking Group. Three employees breed and feed local fishes, such as sleepy cod, Barramundi, and sooty grunter. They also provide volunteer services, like teaching fishing skills, bringing visitors to Lake Moondarra for fishing. Their work maintains the ecological balance and protects the local fishes. Therefore, I propose to retain the hatchery function and to create a fish collection and aquarium to provide visitors a better understanding of native fish specimens and the importance of their work. I also propose to add a new restaurant. Visitors can go fishing, cook their catchings and enjoy a meal. My building will contain a small aquarium and exhibition space, a hatchery, a restaurant and a space for volunteers and staff. Concept and Form finding My concept is to stimulate visitor’s Curiosity and encourage people to explore. However, only a few people can notice and come to the hatchery. Because the trees block the view of the green house. Also, it’s difficult for people to realize that there is a garden, a lake in front of the building. Because the garden is barriered by a wall of trees. Inspired by the mine tunnels, I used long building volumes to link several zones together. A long block inserted into the garden, leading people’s movement and their views towards the lake. The tensional membrane and dripped form embrace the old building are intended to draw visitors’ attention. These referenced to the form of the vernacular tent, tent house and shed. Meanwhile, I got the inspiration from Hard Mine Times Experience in the tunnels, I applied and merged the tunnel idea and experience to my building. Similar to a tunnel, the interior was designed as an enclosed space with dim light and a linear circulation with sound, which creates a mysterious and adventure feeling and atmosphere. Without the interference of light and sound from the exterior, people are able to highly focus on the interior sound and intentional views. It furthermore allows for clear orientation within the building. The design intended to arouse all senses. People will hear the sound of water flowing in the pipes when they enter the building. Dim lighting and several highlighting will guide them walking in the darkness and enjoy the dance of fish in the glass tunnels. The lighting penetrating through the openings in this wall triggers people’s curiosity. Looking through these holes, they will watch how the staffs breed and feed the fish. And then, their can walk upstairs, take a seat and enjoy the food. The restaurant framed the view of the garden. The brightness and view will attract people to walk forwards and they will be greeted by the natural sceneries. Through arousing people’s curiosity step by step, from sound Auditory sense, views visual sense, to smell and taste, people are encouraged to explore this building gradually Moments People will walk into the canopy which is a transitional zone for people to adapt the darkness. from the daylighting. Then, they will enter the tunnel. The space expands gradually until the aquarium. Embraced by the darkness, you can only follow the ducts and fish walking towards the brightness. These fish tunnels are aimed for exhibition but also play the role of interior partitions and ornaments. They also block some unintentional views. fish can swim go upstairs through the ducts If People go upstairs from the restaurant level to the upper split level, they can overlook the views outside through the opening created by the exterior layer of the membrane. The split level reaches the roof ridge of the existing building. The original building’s roof was a pitched roof that is now being used as a slope and stair where people can sit and watch projections on the ceiling. Referring to Verner Panton’s interior design, I tried to create a fantastic, psychedelic and intriguing leisure space for people lying on the sloped platform. With the whisper of breeze, you can enjoy your meal outside and appreciate the views of the front garden under the canopy. At sunset, a mini performance takes place on the platform. Visitors can enjoy snacks and drinks, sit on the original building’s roof. This is not an illusion., the night water, the soft music echoed in people’s heart a touch of sadness and nostalgia. 89

UPDATED ASSIGNMENT 3

Car Park

Fossil Museum

Hard Times Mine

Cabin Museum

100

UNFOLDED PLAN 6

Fishing Collection & Restaurant

Lake

Little Zoo

UNFOLDED SECTION

5 Sound Museum

101

Fossil Museum 2

Hard Times Mine

Car Park

Cabin Museum 4

Little Zoo 8

Lake 7

Fishing collection & Resturant 6

Sound Museum 5

12.5

1:500

SITE PLAN

50m

102

Reference Allen, S. (2009). Mapping the Intangible. In McQuade, M (Eds), Notation and Diagram (expanded second edition). G+B Arts International. Dun & Bradstreet, Inc. (2021). MOUNT ISA FISH STOCKING GROUP INC. https://www.dnb.com/business-directory/company-profiles.mount_isa_fish_ stocking_group_inc.95b055f682073e9d6e1fe8ce9b8329b4.html. Innercircle. (2021). When most southerners hear mention of Mt Isa, they conjure images of arid landscapes, broad-hatted stockmen slouched on gangly horses and intensive mining activity. Few folks are likely to connect this iconic outback town with thoughts of quality freshwater fishing… Yet, as it happens, Mt Isa is a wonderful destination for anglers!. https://www.inner-circle.fishotopia.com.au/project/mt_isa/. Jenkins, E. (2012). Traverse the Section. Drawn to Design. Birkhäuser. Koerber, M. (2018). Hatchery Project - Mount Isa Fish Stocking Group (MIFSG). weekendnotes. https://www.weekendnotes.com/mount-isa-fish-stockinggroup/. North, M. (2019). Mount Isa Fish Stocking Group would like more volunteers this year. The North West Star. https://www.northweststar.com.au/ story/5869588/mount-isa-fish-stocking-group-would-like-volunteers/. Outback Queensland Live Ausralia's Story. (2021). MOUNT ISA FISH STOCKING GROUP. https://www.outbackqueensland.com.au/tag/mount-isa-fishstocking-group/.

103

Figure List The rest figures are provided by studio leader: Laura Martires Figure 7,8,10,11, 22, 23, 24, 25 Google Maps. (2021). Google Maps. https://www.google.com/maps/place/Mount+Isa+QLD+4825,+Australia/@-20.7258195,139.4907035,17z/ data=!3m1!4b1!4m5!3m4!1s0x6a1652fb794a3ce1:0xe5288d65628b7bb7!8m2!3d-20.7255748!4d139.4927085. Figure 15. Haydar Roofing LLC. (2016). JAPANESE THATCH ROOF REPLACEMENT. A CENTURY-OLD ART. Haydar Roofing LLC. Retrieved from http://haydarroofing. com/japanese-thatch-roof-replacement-a-century-old-art/. Figure 16. ArchDaily. (2021). Portland Japanese Garden Cultural Village / Kengo Kuma & Associates. ArchDaily. Retrieved from http://haydarroofing.com/japanesethatch-roof-replacement-a-century-old-art/. Figure 17. Victor. (2018). Like a Bat. Get Real! Science. Retrieved from http://getrealscience.org/blog/like-a-bat/. Figure 19, 20. Allen, S. (2009). Lawrence Halprin’s Score. Note. From Notation and Diagram (expanded second edition). Routledge Taylor & Francis Group. Figure 21. Spronk, P. (2018). How Pythagoras helped inspire iconic work . The Advocate. Retrieved from https://www.hepburnadvocate.com.au/story/5265449/theartists-view/. Figure 26, 27, 28, 29,30,31,32, 33. gooood. (2021). ACD CAFE 751 by dEEP Architects. gooood. Retieved from https://www.gooood.cn/chapel-of-sound-china-by-open-architecture.htm. Figure 34. gooood. (2021). In Bamboo, China by Archi-Union Architects. gooood. Retieved from https://www.gooood.cn/in-bamboo-china-by-archi-union-architects. htm. Figure 35. native fish australia. (2021). Sleepy Cod. native fish australia. Retieved from https://https://www.nativefish.asn.au/home/page/Sleepy-Cod. Figure 36. Wikipedia. (2021). Barramundi. Wikipedia. Retieved from https://en.wikipedia.org/wiki/Barramundi. Figure 37. native fish australia. (2021). Sooty Grunter. native fish australia. Retieved from https://www.nativefish.asn.au/home/page/Sooty-Grunter. Figure 39, 40. RobotSpaceBrain. (2017). Interior Design by Verner Panton. RobotSpaceBrain. Retrieved from http://www.robotspacebrain.com/interior-design-by-verner-panton/.

104