Thomas Seear-Budd

Thomas Seear-Budd Architecture Portfolio BAS (Majoring in Architecture) 2011 MARCH PROF 2012-2014 Victoria University School of Architecture, Wellington, New Zealand

Firth Year 2013-2014 Mediating between Heaven and Earth: A monastic prison for Cistercian Monks and Aboriginal detainees in the land of fire.

Fourth Year 2012 Brewing Architecture: A Craft Brewing Hub in the heart of Cuba Street Birth-Death Part II: A Transient Memorial Gallery Third Year 2011 Silence: An Earthquake Museum for New Zealand The Wall House (Construction Project)

Contact Details

Email Thomas.seearbudd@gmail.com Mobile +64 27 763 5067

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Acknowledgements

Philippe Campays (Thesis Supervisor) Dr. Jan Smitheram Simon Twose Mark Southcombe Ray Atkins Fabricio Chicca Sam Kebell Andrew Sexton

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Opening Message

Light, shadow, water, contemplation and silence are terms that express both my sensory-based architecture and fine art photography endeavours. My interest in these qualities of space stem from my upbringing in New Zealand’s finest landscapes, and my mother’s innate interest in places of contemplation, reflection and silence. I am not a religious man but I believe architecture and photography should focus around a sensory experience while embodying a level of spirituality; whether it be through ones intimate connection to the environment through degrees of enclosure and exposure; varying lighting conditions; the transformation of shadow; or even the juxtaposition between materials and textures.

photographic exertions I have also spent time working in a couple of architecture practices in Wellington and tutoring within the university. Through my experience in practice I have come to realise the importance of maintaining a relationship with architectural education and academia as it not only fosters relationships but also strengthens designs and emphasises critical thought. However, this is not to say that I exhaust all my time to photography and architecture, outside these creative pursuits I enjoy taking part in national car rally events with my father, trying out New Zealand’s scenic tracks or going to a live show or film festival when time permits.

My experience and fascination with the sensory aspects of architecture and the landscape developed throughout my five years (2009-2014) of study towards a Bachelor of Architectural Studies, and Professional Masters of Architecture, at Victoria University of Wellington. Between the all-nighters and project deadlines, like my mother, I sought solace in the landscape while developing my skills as a fine art landscape photographer. As my photographic career has become more prevalent it has started to engage with and inform my architectural work and vice versa. I find myself recreating and drawing from my experiences in New Zealand and Asian landscapes in my architecture, and in particular my final year thesis (in progress). In addition to spending my university breaks on

I appreciate your time and I hope you enjoy my portfolio.

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Mediating Heaven and Earth A Monastic Prison for Cistercian Monks and Aboriginal Detainees in the Land of Fire Master of Architecture (Professional) Thesis In Progress 2013-2014 Supervisor: Philippe Campays Work presented is from the May 2013 three month review.

This thesis addresses how a Cistercian monastic prison, can heal the trauma imbued in the minds and souls of Australia’s incarcerated Aboriginals, while protecting a stand of Victoria’s giant mountain ash trees from future fire holocausts and destruction.

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Abstract

Prepared for three month review in May 2013

For centuries the Cistercian monastery has existed as an isolated and introverted architectural typology that through contemplation, silence and ‘stillness’ strengthens ones psyche and inner peace.

Conversely prisons are ‘intended’ to be environments that condition the human psyche, as like monks, the inmates are left to contemplate and reflect in ‘stillness’, solitude and silence. However in reality many prisons, like those in Australia, are drawn from 19th century models where incarceration and a lack of rehabilitation causes adverse psychological effects and problematic transitions back into society. Currently Australia’s two-century-old prison system is failing with unacceptable rates of incarceration, re-offending, and post release deaths. Additionally, on average Australia incarcerates Aboriginal people at a rate five times that of the Apartheid era in South Africa.

forest giants. The remaining stands of old growth mountain ash along with vulnerable stands of recent re-growth are at risk and in need of protection. Another firestorm in the next 20-30 years in the same area as ‘Black Saturday’ could be devastating for the future of mountain ash in Victoria.

It is proposed that, through typological, programmatic and phenomenological / sensory studies of spiritual space, a hybrid architecture and community of protection be formed. The monastic prison along with its monks and Aboriginals will become a defensive mechanism, protecting the remaining old mountain ash giants and those that, like a phoenix, are rising from the ashes. The main strategy of protection is one of rotational burning, desolation, regrowth and rehabilitation, commonly known as ‘fire-stick’ farming. The monks and Aboriginals will use fire as a form of healing and protection by safely burning the low-lying forests that surround the mountain ash, ultimately forming a ‘buffer zone’.

With ‘fire-stick farming’ as part of their rehabilitation process the Aboriginal inmates will become re-connected with their landscape, ‘country’ ancestors, and culture.

Furthermore, since the Jurassic time Australia has been transformed from a cool-temperate, rainforest covered landscape into the ‘land of fire’, a continent of destruction balancing between ‘paradise’ and ‘hell’. In many parts of Australia, especially Victoria, fire exists as an inevitable and ubiquitous element, in a paradox like state, one of conflicts and tensions. Fire is both intimate and universal, it embodies both good and evil, it is the lifeblood for many of Australia’s ecosystems as well as an incomprehensibly destructive beast. Since the beginning of records the fire-breathing beast has filled Australia’s history books with charcoal, smoke, ash and despair.

As the landscape burns the Aboriginals and monks will witness the landscape naturally heal and rehabilitate itself along with the fresh mountain ash growth. It is envisioned that through stillness, silence, and ones intimate connection with the landscape the healing and rehabilitation of the Aboriginals will occur as they interact, in a contemplative state, with both the monks and the naturally healing fire scarred landscape. Furthermore, with sections of the land at different stages of burning and healing interesting relationships with the architecture will occur. In parts the monastic prison will engage with the charred landscape, it will nestle amongst the trees as they act as silent and solitary ghosts, slowly being revived back to life.

7th of February 2009, ‘Black Saturday’, the day Mother Nature turned the sky red, and the earth black. On this day the fire beast was on a rampage ravaging 430,000 hectares of land, tearing through more than 2000 properties and with its furnace like heat and missile like range murdering 173 people. Beyond the human destruction the ‘Black Saturday ’holocaust also executed centuries old Eucaplytus regnans, the ‘Mountain Ash’, the world’s legendary 06

The Trauma

The Healing

The Scar

An emotional or physical wound.

A restorative process.

A lingering mark.

Thesis Addresses Three Traumas

The Landscape

The Aboriginals

The Aboriginals + Monks

Thesis addresses the mountain ash ‘landscape trap’. Mountain ash trees rely on periodic fires for regeneration.

However, in Victoria with more and more fire storms the re-growth mountain ash are entwined in a landscape trap as they are not able to live long enough to reach sexual maturity and produce seeds.

Thesis is addressing failing 19th century European prison model, system and architecture. Between 350-500 pre and post release deaths and suicides annually (not just Aboriginals). On average Australia incarcerates Aboriginal people at a rate five times faster than that of the Apartheid era in South Africa.

Thesis is a reaction to Tarrawarra Abbey: Aboriginals and their history of the land treated as marginal and vague elements in the historic records of the abbey. There has been no collaboration or interaction, despite their connection through the landscape as cares and protectors.

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Design Principles

Rehabilitation

Re-Connection

Protection

Reviving Origins

Sensory

Rehabilitating Aboriginal ‘inmates’ by returning to the ‘monastic prison’ typology. Using spiritual and sacred architecture along with the landscape as healing and rehabilitation devices with the landscape.

Re-connecting Aboriginals with the land while forming a bond and interaction with the Cistercian monks.

A relationship that should have happened at Tarrawarra abbey.

Protection of the oldgrowth mountain ash through ‘fire-stick farming’ in the foothill forests. Fire becomes a form of control and a symbol of life (not death) reconnecting the Aboriginals with their landscape, culture and history.

Create an architecture that engages with and responds to the architectural origins and history of the Aboriginals (Victoria) and Cistercian monks by reviving the past and/or a lost or dying building tradition such as Victorian Aboriginals’ the use of stone.

Create an architecture, a retroactive of two vernacular lifeworlds (Aboriginal and Cistercian), that through degrees of enclosure and exposure creates an environment oriented around one’s sensory and phenomenological perception of the solid (the wall) and void (space between).

Socio-Spatial

Climate Based

Time

Collective + Self

Sacred and Secular

Create an architecture that focuses on the socio-spatial conditions and environmental experience of Aboriginal and Cistercian life and how these, rather than symbolism and metaphor, can inform formal architectural expression.

Create an architecture that is intimately responsive to Melbourne’s temperate climate through the use of stone and earth as insulating materials that also engages with the traditional architecture of the Aboriginal peoples of Victoria.

Create an architecture that engages with permanence and impermanence, the stationary and the nomadic through architectural palimpsests and the facilitation of fire stick farming expeditions.

Create an architecture that embodies that ‘house’ and the ‘church/temple’, the sacred and the secular, the collective and the self.

Create an architecture that embodies a program that engages with the sacred – secular, collective – self, diurnal – nocturnal as well as catering for (a) various water sources, (b) spaces of ritual for the collective and self, (c) public performance dancing spaces (derived from Aboriginals).

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Splitting the Cloister Programmatic Development

Site Plan

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engaging with the terrestrial Architecture’s relationship with the earth and land

Floor Plan

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The Armarium: A place to store books.

The Sacristy: A place for sacred objects The Chapter Room: A place for meeting, talking and listening.

The Room for Novices: A place for teaching The Parlour The Scriptorium: A place for writing The Hermitages: Individual dwellings for monks and Aboriginals The Church

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Wallaby Creek The Chapter Room: A place for meeting, talking and listening.

The Celefactorium: A place of fire and warming The Cloister

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Inhabiting the void, the space between walls, a space of exposure.

Inhabiting the wall a space of enclosure.

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Brewing Architecture A Craft Brewing Hub in the heart of Cuba Street Final fourth year design project Architecture Design Research Semester Two 2012 Instructor: Mark Southcombe

In order to achieve the connection between the breweries and public mechanically expressive and machine like door structures were designed to lift and fold the timber skin of each tower. The brewer can manually adjust each of these doors to reveal or conceal the brewery and the brewing process while allowing the public to enter the brewery and / or purchase a brew. By enabling one to purchase a drink directly from the brewer the final product, like in most bars, is no longer separated from the process. Consequently one can discuss with the brewer the brewing process, the beer, and the brewery. It was always intended that this craft-brewing hub would become a place where the public learn from the brewers while the brewers learn from each other.

In more recent times craft brewing has become an integral part of Wellington’s culture and identity. However, what does the future hold for the craft brewing capital of New Zealand? The well known cult beer bar Hashigo Zake speculate that in the next ten years an additional 15 craft breweries will be established in the city. Projecting to 2035 one can anticipate that up to 30 new craft breweries may exist with locally brewed beer being sold in most of the cities bars, pubs and supermarkets. Consequently this project seeks to explore; How a craft-brewing hub at the core of Cuba Street might enhance and promote Wellington’s craft brewing culture while fostering an interaction and engagement between the brewing process, the brewers, the breweries and the public?

The engagement between the occupants as well as the utilization of the door system is best expressed in the beer hall. The beer hall acts as the core of the building, the centre point of activity where the beer drinkers and breweries interact with each other, and with Cuba Street. When the large sliding glass door is pulled back this beer hall becomes an extension of the street with the existing JJ Murphy’s façade cut in half and shifted deep into the hall. Only the façade of the existing building remains as it was assessed as the most authentic element of the original building. The façade has been re-articulated as an object to be displayed and recognized as a stationary piece of history within a new and kinetic architecture.

This project proposes a design that concentrates Wellington craft brewing into an intensified hub of breweries that through their monolithic stature and vertical brewing process reflect and engage with the brew tower typology. Returning to the brew tower typology (a brewery design rarely seen in contemporary times) enabled a greater number of breweries to be located on the site forming a more intensified, active and engaging place. Consequently the connection and engagement between the individual breweries and the public became a pivotal aspect to the project.

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Thoroughfare Display Area Entry Brew Tower 01 : Serving Beer Hall Entry Brew Tower 02 : Serving Beer Hall Brew Tower 03 : Serving Beer Hall Low Stud Intimate Eating / Drinking Area Kitchen

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Ground Floor Plan 1:100 at A1

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Third Floor : Malting + 12700

Second Floor : Brew House + 8700

First Floor : Fermenting + 4000

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Fourth Floor : Storage + 17700

Third Floor : Malting + 12700

Second Floor : Brew House + 8700

First Floor : Fermenting + 4000

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Cross Section A-AA 1:50 at A1

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A lively crowd descends on the beer hall.

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The old Cuba Street facade of the JJ Murphies Bar peeps through the timber screen.

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DO NOT SCALE DRAWING. CONTRACTOR MUST VERIFY ALL DIMENSIONS BEFORE COMMENCING WORK.

REFERENCE KEYNOTES

05 THERMAKRAFT COATED WOVEN POLYPROPYLENE BUILDING WRAP METAL PARAPET CAP FLASHING (MIN 5ยบ) ON UNDERLAY AND SLOPED PACKER

50MM MIN.

90X45MM MSG8 H1.2 TIMBER FRAMING, STUDS AND DWANGS FIXED WITH A MINIMUM OF 2.75X3.06MM JOLT HEAD HOT-DIPPED GALVANIZED NAILS AS STATED IN AS/NZS 3604

50mm Min.

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NURAPLY 3P 3MM REINFORCED TORCH-ON BITUMINOUS MEMBRANE WITH HEAVY REINFORCING LAYER OF NON-WOVEN POLYESTER INSIDE. LAID ON TOP OF NURAPLY 3PB FULLY BOUNDED TO 18MM, "C/D" FACE PLYWOOD SUBSTRATE USING NURABOND #10 ADHESIVE.PLYWOOD SUBSTRATE GLUED AND SCREWED TO PURLINS 'VARIED HEIGHT' X45MM H1.2 PURLINS @600CRS CUT TO FORM FALL (MIN 1.5ยบ)

18X197MM 120MM COVER HERMAN PACIFIC WESTERN RED CEDAR VERTICAL SHIPLAP WEATHERBOARDS ON 45MM CAVITY FIXED TO 45X45MM PINUS RADIATA H3.1 CAVITY BATTENS @ 600 CRS WITH 8X40MM BUGLE HEAD 'RAMSET' 316 SS SCREWS MECHANICALLY ZINC PLATED IN ACCORDANCE WITH AS3566 CLASS 4. CLADDING FINISHED WITH AN OIL BASED SEMI-TRANSPARENT STAIN OVER A STAIN BASED PRIMER. THERMAKRAFT COATED WOVEN POLYPROPYLENE BUILDING WRAP

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FLASHING OVER ROD PENETRATION. CAVITY FINISH WITH CAVITY CLOSURE

190X45 H1.2 MSG8 CEILING JOISTS @600 CRS 100MM ECOWOOL 100% NEW ZEALAND RECYCLED LOOSE WOOL INSULATION 120X19MM TONGUE AND GROOVE INTERIOR TIMBER BOARDS SECRET NAILED WITH 50X1.2MM HEADLESS 'BRADS' NAILS @135 CRS TO 20X50MM H1.2 TIMBER BATTENS. TIMBER BOARDS FINISHED IN A WHITE PAINT (TO BE SPECIFIED).

20X50MM H3.1 CAVITY BATTENS FIXED TO TIMBER FRAMING WITH 40X3.55MM JOLT HEAD HOTDIPPED GALVANIZED NAILS.

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CUSTOM 75X3 JOLT HEAD NAIL FIX @ 150MM FROM THE CORNER AND 450MM THEREAFTER

20MM DIAMETER STEEL SOLID ROD @1ยบ SLOPE AWAY FROM BUILDING WELDED TO 8MM THICK STEEL PLATE BOLTED TO 190X50MM TIMBER BEHIND. EXTERIOR SLIDING DOOR TRACK: WHEEL INSERTED INTO 50X30MM STEEL CHANNEL BOLTED TO SOLID STEEL ROD 90X3.55MM JOLT HEAD HOT-DIPPED GALVANIZED NAIL 12759 NU-LOOK SOVEREIGN SERIES ALUMINUM SLIDING DOOR FRAME 50X50X3MM STEEL HOLLOW SECTION SUPPORT MEMBER OF FRAME SCREWED INTO CEDAR BATTENS

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630X240MM CUSTOM STEEL UB AS PER ENGINEERS SPECIFICATIONS

12759 NU-LOOK SOVEREIGN SERIES ALUMINUM SLIDING DOOR FRAME

WATER RESISTANT MS SEALANT AIR SEAL TO PERIMETER OF TRIM CAVITY 12976 FIXING BRACKET 10G X 50MM SCREW ON MIN MIN. 5MM PACKERS

EX 120X50MM WESTERN RED CEDAR TIMBER BATTENS @170MM CRS SCREW FIXED STEEL FRAME BEHIND DOUBLE GLAZED UNIT AS PER PROJECT SPECIFICATIONS

50X50X3MM STEEL HOLLOW SECTION SUPPORT MEMBER OF FRAME SCREWED INTO CEDAR BATTENS

50X30MM STEEL FRAME SUPPORTING CEDAR BATTENS 175

EX 120X50MM WESTERN RED CEDAR TIMBER BATTENS @170MM CRS SCREW FIXED TO ANGLE FRAME. BATTENS EXTEND BEYOND THE SLIDING TRACK COMPONENTS AT THE TOP AND BOTTOM IN ORDER TO CONCEAL BOTH THE ALUMINUM FRAMING OF THE SLIDING GLASS DOORS AND THE SCREEN SLIDING GEAR.

12976 FIXING BRACKET AND 10G X 50MM SCREW ON MIN. 5MM PACKERS

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WATER RESISTANT MS SEALANT AIR SEAL TO PERIMETER OF TRIM CAVITY 10GX50MM FIXING AT 450MM CRS

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SLIDING SCREEN DETAIL HEAD AND SILL 1:5

20MM DIAMETER STEEL SOLID ROD @1ยบ SLOPE AWAY FROM BUILDING WELDED TO 8MM THICK STEEL PLATE BOLTED TO 190X50MM TIMBER BEHIND. THERMAKRAFT BUILDING WRAP WRAPS OVER ROD PENETRATION 19X50MM PINUS RADIATA TIMBER BATTENS DIRECTLY FIXED TO TIMBER FRAMING WITH 50X20 'BRIGHT' JOLT HEAD HOT-DIPPED GALVANIZED NAILS 120X19MM TONGUE AND GROOVE VERTICAL TIMBER BOARDS SECRET NAILED WITH 50X1.2MM HEADLESS 'BRADS' NAILS @135 CRS TO TIMBER BATTENS. TIMBER BOARDS FINISHED IN A WHITE PAINT (TO BE SPECIFIED).

12759 NU-LOOK SOVEREIGN SERIES ALUMINUM SLIDING DOOR FRAME. EACH DOOR PANEL 36MM THICK WITH A 24MM GLAZING POCKET. 12MM LOW -E DOUBLE GLAZED SYSTEM TO COMPLY WITH AS/NZS 4223 12750 25MM FACING CONTINUOUS SEAL EXTERIOR SLIDING DOOR TRACK: WHEEL INSERTED INTO 50X30MM STEEL CHANNEL SCREW FIXED TO BATTEN THROUGH TIMBER PACKER. WHEEL RUNS ALONG ALUMINUM TRACK FLEXIBLE FLASHING WRAPPED OVER BUILDING WRAP TO SIT UNDER GLAZING UNIT PACKER THERMAKRAFT COATED WOVEN POLYPROPYLENE BUILDING WRAP 45X45MM H3.1 CAVITY BATTENS FIXED TO TIMBER FRAMING WITH 90X3.55MM JOLT HEAD HOT-DIPPED GALVANIZED NAILS. 90X45MM MSG8 H1.2 TIMBER FRAMING, STUDS AND DWANGS FIXED WITH A MINIMUM OF 2.75X3.06MM JOLT HEAD HOT-DIPPED GALVANIZED NAILS AS STATED IN AS/NZS 3604 100MM ECOWOOL 100% NEW ZEALAND RECYCLED LOOSE WOOL INSULATION

PROJECT NAME:

CRAFT BREWERY HUB 119-121 CUBA STREET TE ARO WELLINGTON NEW ZEALAND SHEET NAME:

TIMBER SCREEN AND GLAZING DETAILS SCALE:

18X197MM 120MM COVER HERMAN PACIFIC WESTERN RED CEDAR VERTICAL SHIPLAP WEATHERBOARDS ON 45MM CAVITY FIXED TO 45X45MM PINUS RADIATA H3.1 CAVITY BATTENS @ 600 CRS WITH 8X40MM BUGLE HEAD 'RAMSET' 316 SS SCREWS MECHANICALLY ZINC PLATED IN ACCORDANCE WITH AS3566 CLASS 4. CLADDING FINISHED WITH AN OIL BASED SEMI-TRANSPARENT STAIN OVER A STAIN BASED PRIMER.

1:5 DRAWN BY:

THOMAS SEEAR-BUDD DATE DRAWN: 19.10.2012

PROJECT COMPLETED FOR SARC421 INTEGRATED TECHNOLOGIES (CONSTRUCTION) UNDER THE SUPERVISION OF GEOFF FLETCHER.

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A: EXISTING 450X450MM CONCRETE COLUMN B: 20MM DIAMETER STEEL ROD CHEMSET INTO PRE DRILLED HOLE IN CONCRETE COLUMN C: STATIONARY 120X50MM INTERIOR WR CEDAR BATTENS THIS EXPLODED SHOWS IN DETAIL THE CONSTRUCTION, ARRANGEMENT AND DYNAMICS OF A HORIZONTAL BI-FOLD INTERNAL DOOR SYSTEM. AS STATED IN THE PROJECT OUTLINE IT IS INTENDED THAT THE BEER HALL BECOMES A PLACE WITH AN INDUSTRIAL CHARACTER AND ARCHITECTURAL EXPRESSION. THIS DOOR SYSTEM WAS DESIGNED TO BECOME THE MAIN FEATURE OF THIS SPACE WITH THE SYSTEM BEING REPEATED THROUGHOUT THE DESIGN. MORE SPECIFICALLY THIS DOOR DESIGN WAS TO BE A SYSTEM THAT COULD BE MANUALLY HANDLED WITHOUT THE NEED FOR MECHANICAL MOTORS AND WINCHES. AS A RESULT A COMPLEX BUT VERY INDUSTRIAL SET OF COMPONENTS HAS BEEN ESTABLISHED THAT TOGETHER EXPRESS A DYNAMIC ARCHITECTURE AT A MACRO (DOOR SHIFTING) AND MICRO (COGS MOVING) SCALE. THE DOOR IS OPENED WITH THE TURNING OF THE HANDWHEEL SET OUT FROM THE STEEL COLUMN. AS ONE ROTATES THIS WHEEL A COG SYSTEM TRANSFERS THE MOVEMENT TO A SPOOL OF ROPE THAT BEGINS TO UNWIND. AS THIS ROPE UNWINDS A COUNTER WEIGHT FALLS INTO A PIT DUG OUT OF THE FLOOR AND GROUND. WITH THE COUNTERWEIGHT FALLING THE ROPE WORKS ITS WAY UP AND AROUND MORE PULLEYS. THE BOTTOM PANEL OF THE DOOR IS THRUST UPWARDS AS IT CLUTCHES TO THE ASCENDING ROPE. ADDITIONALLY TWO ROLLER COMPONENTS AT EACH END OF THE DOOR ACT AS GUIDES ENSURING THE DOOR DOES NOT GO ASTRAY. TO CLOSE THE DOOR THE HANDWHEEL IS ROTATED IN THE OPPOSITE DIRECTION WHICH UNLOCKS THE DOOR ALLOWING IT TO DROP SLOWLY TO THE FLOOR. IN ORDER FOR THIS TO WORK BOTH THE DOOR AND THE CONCRETE COUNTER WEIGHT NEED TO BE VERY SIMILAR IN WEIGHT. THEREFORE WHEN ONE IS GIVEN SOME EXTRA MOMENTUM THROUGH THE HANDWHEEL IT WILL FALL AND THUS PULL THE OTHER WEIGHT (DOOR OR COUNTER WEIGHT DEPENDING ON DOOR MOVEMENT DIRECTION) UPWARDS. IF THE COUNTER WEIGHT WAS MUCH HEAVIER THEN THE DOOR THEN THE DOOR COULD NOT CLOSE AS THE HANDLE, COG SYSTEM AND HUMAN OPERATER CANNOT SOLELY LIFT THE CONCRETE COUNTERWEIGHT.

D: 20MM DIAMETER STEEL ROD CHEMSET INTO CONCRETE COLUMN E: 20MM DIAMETER STEEL ROD PENETRATING ALUMINIUM FRAME AND ONE TIMBER BATTEN. PLASTIC OR ALUMINIUM SLEEVE SET INTO TIMBER BATTEN TO ALLOW DOOR TO ROTATE AROUND THIS POINT. F: ROLLING WHEEL INSIDE ALUMINIUM CHANNEL SET INTO CONCRETE COLUMN G: 20MM STEEL ROD MOUNTED TO ROLLING WHEEL COMPONENT WITH THE OTHER END PLACED INSIDE PLASTIC OR ALUMINIUM SLEEVE SET INTO TIMBER BATTEN TO ALLOW DOOR TO ROTATE AROUND THIS POINT. H. ROLLING MECHANISM IN ALUMINIUM CHANNEL ON OUTSIDE EDGE OF TIMBER BATTEN. I: 310 STEEL UC J: HANDMADE IRON HANDLE AND HANDWHEEL TO OPEN AND CLOSE THE DOORS K: COG SYSTEM CONVERTING DIRECTION OF MOVEMENT L: COGS TURN CAUSING SPOOL OF ROPE TO UN WHINED M: SPOOL OF ROPE AROUND STEEL WHEEL / PULLEY FIXED INTO STEEL UC (I).

N: ROPE O: STEEL WHEEL / PULLEY HALF NOTCHED INTO FLOOR FIXED WITH A STEEL ROD AND BEARING THROUGH CENTRE P: STEEL FIXINGS THAT CLUTCH ROPE AT POINT MARKED ARE THEN WELDED TO 20MM DIAMETER SOLID STEEL ROD THAT CONNECTS TO A ROLLING WHEEL MECHANISM WITHIN AN ALUMINIUM CHANNEL THAT RUNS ALONG THE SHORT EDGE OF THE CEDAR BATTEN DOOR. NOTE: THERE IS 6MM STEEL L SECTION FRAME AROUND THE BATTENS HOLDING THEM IN PLACE WHILE FORMING A UNIFIED STRUCTURE Q: STEEL WHEEL / PULLEY HALF NOTCHED INTO THE FLOOR ABOVE FIXED WITH A STEEL ROD AND BEARING THROUGH CENTRE R: STEEL WHEEL / PULLEY FIXED TO CEILING WITH U BRACKET AS SHOWN BOLTED TO TIMBER FLOOR MEMBERS S: PRECAST CONCRETE COUNTER WEIGHT (EXACT DIMENSIONS AS PER ENGINEERS CALCS) FALLS THROUGH PIT IN THE FLOOR LINED WITH 5MM STEEL PLATE (PIT NOT SHOWN FOR CLARITY)

REFERENCE KEYNOTES

DO NOT SCALE DRAWING. CONTRACTOR MUST VERIFY ALL DIMENSIONS BEFORE COMMENCING WORK.

PROJECT NAME:

119-121 CUBA STREET TE ARO WELLINGTON NEW ZEALAND

A104

CRAFT BREWERY HUB

SHEET NAME:

DOOR SYSTEM EXPLODED

N.T.S

SCALE:

THOMAS SEEAR-BUDD

DRAWN BY:

DATE DRAWN: 19.10.2012

PROJECT COMPLETED FOR SARC421 INTEGRATED TECHNOLOGIES (CONSTRUCTION) UNDER THE SUPERVISION OF GEOFF FLETCHER.

Birth to Death A Transient Memorial Gallery Part II Architecture Design Research Semester One 2012 Instructor: Ray Atkins

the building begins as it fills a void within Wellington’s urban fabric in the form of an art gallery (birth). However, like a memorial yet unlike a typical art gallery, this building is both the container for the art and the art itself; an exhibition of water and light. As the building proceeds through life the exhibition connects its interior to the passing of time, a quality rarely found within a typical gallery. Once the building has lived for about a year it, like a human, will enter into ‘old age’ and finally die. In the last stages of it’s life the heart will deteriorate as the water level within rises and the shutters close. Additionally through this process it’s perspiration increases and temperature drops, while it’s pulse and breathing becomes irregular. Finally it will become an inhabitable and flooded memorial to itself, a sculptural object within a park as it slips into darkness and silence.

“It is one of life’s most self-evident truths that everything fades, that we fear the fading, and that we must live nonetheless, in the face of the fading, in the face of fear.” Fading, decay and deterioration is a part of life. It is a process that occurs in multiple layers applied through time.

As discussed by Valerie Hope and Edwin Heathcote to live in a Western society, obsessed with youth and rigor is to be isolated from death, impermanence and mortality². The disconnection between Western Society and death has become apparent within Wellington’s city centre as architectural interventions, such as memorials and monuments, that deal with death are predominantly located in suburban areas. According to Alois Reigl through their age value (materiality and texture) these memorials/monuments engage with the viewer ultimately initiating an emotional and contemplative response. Through this experience one becomes reconnected with their own impermanence and mortality while acknowledging the fragility of life itself. In response to the merits found in Hope, Heathcote, Reigl’s statements this project aims to increase the visitor’s awareness of the mortal and impermanent qualities of life. In order to reconnect the visitors with impermanence and death the project cross programs an art gallery and memorial. Furthermore the project will exhibit a birth-life-death process with its function and role in society evolving as it lives then dies. The life-cycle of

¹ Hope, Valerie M., and Janet Huskinson. Memory and Mourning: Studies on Roman Death. Oxford (UK: Oxbow, 2011), 1. ² Heathcote, Edwin. Monument Builders: Modern Architecture and Death. Chichester, West Sussex: Academy Editions, 1999.

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² Heathcote, Edwin. Monument Builders: Modern Architecture and Death. Chichester, West Sussex: Academy Editions, 1999.

Water

Light

Like a human being the building will be born, live then finally die.

In this building water is presented as an exhibition that changes over time.

Throughout this process the water in the building communicates its death (see process of dying diagram).

In addition to the water this building presents, unlike an art gallery, natural light and shadow as an exhibition. As the building ages the light within it changes (see process of dying diagram).

Temperature

Pulse + Breathing

Birth - Life - Death

Materiality + Texture

Key Aspects of the Design

Transience

Ones life is transient and impermanent as is the display of art in an art gallery, the memory of a loved one, or the perfect nature of the memorial or monument (age value).

Vision

Auditory

Process of Dying

Perspiration

Within an art gallery refined and texture less materials creates a visually orientated environment rather than a haptic atmosphere that engages with one’s body.

In response this building presents the imperfections and textures of rammed earth and timber shuttered concrete to further express the passing of time.

The building’s water level will rise as it proceeds through life. This increase in water level and flow influences other parts of the dying process..

As the water in the space increases and the ‘cool’ materials the temperature in the space, like a human being, will drop considerably as the building reaches its final stage of life.

The flow of water in the space will go from being a constant flow that gradually increases in volume to a fast but sporadic flow. These changes in water flow will make the space much more dramatic to increase the breathing and heart rate of the occupants.

Birth: Fill Void

Life: Art Exhibition / Gallery

Currently the site sits, as an empty and dead lot, within an active urban area. Through this intervention the site and the surrounding areas will be re-activated.

Building bring activity to the site that at present is an unused void. The soil excavated from the site for the building is dumped on the site. At this stage the rest of the site remains undeveloped.

The building begins its life an art gallery and exhibition of water and light.

As the light is the space diminishes ones hearing becomes the sense of focus as the large amounts of flowing water create a dramatic environment. Having ones hearing as the final sense that the space engages with is similar to the human process of dying. Often people are told to talk to their dying loved ones as they may not be able to see or talk but they can still listen.

Life + Death: Memorial

Death: Memorial + Park

Birth - Life - Death Process

Pre-birth: ‘Dead’ Site

As the water level and flow increases the amount of natural light in the space decreases as the roof shutters close. This is because as a human is in their final stages of life their vision is often one of the first senses to disappear.

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Once the building dies it becomes a sculpture like object, like a memorial or monument, to be viewed externally.

As the building becomes a sculpture on the site the baron landscape is re-developed into a park with the potential connection to Glover Park. Within this park the roof of the building could be used as a stage for performance.

Title Here

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Title Here

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The gallery is alive and open

The gallery is dying as water fills the space

The gallery is dead and the memorial begins 029

The gallery is alive, the water is coming and the site is healing.

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The gallery is dead, the water has come, the memorial begins and the site is rehabilitated.

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Final Model 032

Silence An Earthquake Museum for New Zealand Architecture Design Research Semester Two 2011 Instructor: Fabricio Chicca

Silence, the absence of noise, enables contemplation; emotion, thought, reflection, prayer and meditation. Creating an environment of silence is often used as a gesture of respect, commemoration, and mourning.

Yisrael Rice (rabbi) states “Silence gives significance to that which is around it.� For example: a rest in music, a pause in a conversation, or even the white space between text. In a world where noise is constant to create a physical silence is the highest level of honor and respect.

Silence is rarely a physical attribute of an earthquake, although the moment during such an event can cause silence in the mind as it enters into a state of shock; life momentarily stops. This mental response is repeated as the extent of damage and loss of life is exposed.

In some spaces one may experience physical silence, but it was not the aim of this design. This museum has been designed to provoke contemplation, thought, and reflection with periods of shock. These experiences are responses to a silence expressed through architectural form, scale, materiality, light and structure. The integration between the structure and architecture is an integral part of the concept and is articulated best in the memorial. The scale of the columns dwarfs the inhabitants and with no roof to support they seem lost, standing like ruins or soldiers showing their respect while expressing a mournful silence.

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Approaching the great stairs that descend into the entrance.

The great hall.

The exhibition spaces.

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Within the memorial, columns dwarf the visitor, standing like silent soldiers in solitude.

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The Wall House An Exploration into the Construction of a Parti-wall House Construction Semester Two 2011 Instructor: Simon Twose House Designed in Semester One 2011

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