Tomoki Takei_Master Degree Thesis_Out of the East by Tomoki Takei

Out of the East

Tomoki Takei

Supervisor: Daniel K. Brown

A 120-point thesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Interior Architecture Victoria University of Wellington School of Architecture 2015

Fig 0.01 Tokomaru Bay board.

iii

Fig 0.02 Tokomaru Bay Freezing Works-1950.

Abstract

Post-war economic shifts and modernisation of industrial technologies caused many of New Zealand’s rural industrial buildings to become run down without any acknowledgement of their heritage value. These historic buildings have been abandoned due to their original programme no longer being viable, with the surrounding landscape often infiltrating the buildings until they enter into a state of wild decaying ruins with no separation of inside and outside. This thesis argues that standard approaches to complete restoration could remove important aspects of the heritage buildings’ decay while also disabling our ability to connect to the story of the ruin’s abandonment. It also argues that the qualities resulting from the building’s abandonment and ruin are an important part of the building’s on-going heritage, which are vulnerable to becoming lost forever. The thesis investigation site of Tokomaru Bay is a rural town on the coast of the Gisborne region. The sheep freezing works of the town were closed and abandoned in 1952 resulting in a decrease in population from 1427 to just 393 people. After its closure the buildings have been left to decay in the overgrown landscape. This thesis examines ways in which decaying rural industrial buildings can be given a new programme to become economically viable again, without losing their meaning or their original heritage qualities. The Japanese philosophies of Wabi-Sabi, Ma, and In-Ei celebrate qualities of impermanence, transition and darkness that have come to define New Zealand’s abandoned rural industrial buildings. The thesis investigations will explore how these three Japanese philosophies, when integrated together, might offer a new approach to revitalising the buildings – safeguarding the qualities of decay, spatial ambiguity and darkness while also making the buildings habitable once more. Applying these philosophies to the interiors of abandoned heritage buildings may help depleted rural communities regain their sense of identity as a community. This thesis takes the position that New Zealand’s rural abandoned industrial heritage buildings within declining communities should not simply be restored to their original condition, because the story of abandonment and ruin is an important chapter in the story of the building, and the community’s story as well. The principle aim of this thesis is to investigate ways that these three Japanese philosophies can be used to generate interior interventions that safeguard the story of New Zealand’s rural industrial heritage buildings while restoring the identity of the rural community that it represents. Overall the main objectives of the thesis are to integrate the Japanese philosophies of Wabi-Sabi, Ma, and In-Ei to: develop design ideas that safeguard the story of the abandoned industrial heritage building; provide spatial experiences that enable the people to intimately connect to the story of the abandoned building; engage new architectural interventions as contemporary occupants of the ruined building; become an active participant of the on-going story of the building’s heritage; and provide a new programme that rejuvenates the building economically.

Fig 0.03 Tokomaru Bay shore.

vii

Preface

Both of my parents are native Japanese who immigrated to New Zealand in 1990. I was born in Christchurch, but raised with acute awareness of my Japanese heritage. The title of this thesis comes from the book Out of the East written by Patrick Lafcadio Hearn, or in Japanese Yakumo Koizumi. Born in Greece, Hearn worked as a writer in the USA until he was forty years old when he moved to Japan and remained there for the rest of his life teaching and writing about Japanese aesthetics. From his experience living in Kumamoto, Hearn wrote extensively about how the Japanese people traditionally see nature, architecture, even light and shadow differently from the Western perspective. I have selected Out of the East as a symbolic tome to begin my own journey in this thesis, developing my understanding of my own role spanning two cultures. I began by investigating three fundamental philosophies applied to the design of Japanese architecture: ----

Wabi-Sabi-(侘び寂び) advocates retaining elements of decay, framing them in ways that acknowledge the importance of time and aloneness; Ma-(間) is the philosophy of in-between, advocating the active engagement of the liminal zones between inside and outside, covered and uncovered; In-Ei-(陰翳) reflects on the richness of shadows, recognising shadow as a positive spatial quality.

These three philosophies are vital to the design of new Japanese architecture. But Japanese culture does not typically apply these three theories to the restoration of heritage architecture, preferring complete restoration as a means of conveying continuity of mental spirituality. As a Westerner with Japanese heritage, I am seeking ways to integrate these three Japanese philosophies into the renovation of New Zealand heritage buildings to address an important problem we now face in New Zealand: safeguarding the stories of New Zealand’s abandoned rural industrial heritage buildings. Some Western theorists and Western architects have begun to explore qualities similar to Wabi-Sabi, Ma and In-Ei separately. However none have yet integrated all three philosophies as an approach to rural industrial heritage restoration. By engaging them separately, we may lose opportunities to achieve an intimate experiential connection to the ruin as a whole. In this thesis investigation I will research recent case studies and theorists who have addressed similar qualities of each of these philosophies. These philosophies will be interpreted and integrated to address the unique problem of returning New Zealand’s abandoned rural industrial heritage buildings back to the community and safeguarding their stories for the coming generations. My hope is that this thesis may provide a first step in discovering how I might bring something new to New Zealand architecture, my unique signature, also born ‘Out of the East’.

Fig 0.04 Tokomaru Bay steps.

Acknowledgements

Firstly I like to acknowledge Nick Destounis, Gordon and Julia Halley, Tate and Kody Pewhairangi, John and Louis Robinson, and all the other people in Tokomaru Bay who spent time with me and offered a warm welcome. They were a great help for my investigation and research into the site, Tokomaru Bay Freezing Works. Secondly I thank my family and friends in Christchurch for their extensive support through the years. I would also like to acknowledge all of my classmates of MIA-2014. You all were my great friends and talented designers, giving me amazing inspiration and huge encouragement. I truly enjoyed the journey throughout my 5 years of Interior Architecture at university with you all. Lastly, I would like to bow with my upmost respect to my supervisor Daniel K. Brown. Your patience, intelligence and huge passion enabled me to upskill and exceed my own expectations as a designer. Working with you during the year, gave me a significant experience which is an unforgettable treasure. ありがとうございました。

Thank you.

Fig 0.05 Brick building exterior.

Table of Contents

Abstract vii Preface ix Acknowledgements xi Table of Contents

xiii

I. Introduction 1 II. Literature and Project Review

Introduction Wabi-Sabi: Aesthetics of Imperfection and Transience Case-Study 1: Public Promenade

Ma: In-between Case-Study 2: S-House

In-Ei: Richness of Shadows Case-Study 3: Inujima Seirensho Art Museum

Conclusion

III. Site Analysis

Introduction History Contextual Elements Waima Wharf Waihi Stream and Water Tank Concrete Framing Overgrown foliage

Fig 0.06 Tokomaru Bay townboard.

xiii

Original Building Analysis Materiality Orthogonal Axis Analysis

Conclusion

IV. Programme Analysis

106

Introduction Original Programme Community Population Case-Study 4: Resin Interpretation Centre

Proposed Programmatic Approach Conclusion

V. Preliminary Design

128

Introduction Sketch experiments 1: Conveying Wabi Sabi Sketch experiments 2: Conveying Ma Sketch experiments 3: Conveying In Ei

Experiment 1 Freezing Works Design Professional Review 1: 27 May 2014

Experiment 2 Sketch experiments 4: Circulation Sketch experiments 5: Modular booth Modular Booth Sketch experiments 6: Central hall Central Hall Professional Review 2: 3 Oct 2014

Conclusion

xiv

VI. Developed Design

200

Introduction Programme Ground Floor First Floor Second Floor Conclusion

VII. Conclusions 241 VIII. Bibliography 245 IX. Sources of Figures

249

X. Appendices 254

I. Introduction

The sheep industry has played a significant role in New Zealandâ&#x20AC;&#x2122;s heritage, particularly in rural coastal communities. Following a significant decline in the sheep industry after WWII, rural slaughterhouses now lie neglected and decayed as evidence of industrial obsolescence. This thesis argues that the impending loss of rural heritage buildings is a serious issue for these rural communities, but restoration to the original condition is not viable for historic buildings whose original programme is no longer relevant. Also complete restoration to the original condition would destroy qualities of the decaying rural industrial buildings which reflect the history of the buildingâ&#x20AC;&#x2122;s abandonment. One of the significant characteristics of ruined sites within rural contexts is the notion of phenomenological experiences deriving from the landscape, such as the sound of wind and waves, the aroma of overgrown foliage, and the temperature differentials of dark and light space. Such phenomenological characteristics can contribute significantly to the extraordinary spatial experience of the overgrown architecture, experiences which would be lost by complete restoration. And complete restoration would also not necessarily provide a viable programme that brings the community together and allows people to connect with the buildingâ&#x20AC;&#x2122;s heritage experientially.

Fig 1.01 Freezing chamber entrance.

The thesis investigation begins by examining new ways of generating viable resolution of abandoned rural industrial buildings through applications of traditional Japanese sensibilities as a new investigative approach. Botond Bognar, an American architect and a professor in the School of Architecture at the University of Illinois, argues that Japanese culture has “evolved around the notion of impermanence” and this concept has fundamentally “conditioned the Japanese mentality toward the phenomena of change and the transitory nature of existence” (1997, 36). This is evident especially in the traditional Japanese temple Ise Shrine (fig-1.02) where the Japanese completely recreate the whole building every twenty years. Contemporary Japanese architect Tadao Ando explained: What has been transmitted through the Ise Shrine is not a building in physical substance, but ‘style’ itself and spiritual tradition. In it we find that a sensibility which pursues a beauty of simplicity, fresh vitality and grace in its most pristine expression has been successfully handed down among the Japanese from generation to generation (1995, 474). Ise shrine is a unique example of approaches dealing with the inevitable process of decay, while conserving the authenticity of architectural tradition; this approach still continues in contemporary times as the last restoration was done in 2013. This approach would not be appropriate to the context of rural industrial building of traditional New Zealand architecture, however, as their original programme is usually not viable anymore.

Fig 1.02 Ise Shrine.

The thesis explores three key philosophies representing traditional Japanese sensibility: ----

Wabi-Sabi-(侘び寂び): Aesthetics of imperfection and transience Ma-(間): In-between In-Ei-(陰翳): Richness of shadows

In relation to Wabi-Sabi, rather than seeing decay as something to remove or hide as Westerners traditionally do, the Japanese accept those natural cycles of decay, even celebrating and idealising the intangible qualities deriving from its patina as visual references of an on-going history (Tanizaki 11). In this sense, the thesis argues that the decay could be seen as important elements of authentic memory carved into the ruined architecture representing significant layers of on-going history of the rural industrial site. In relation to Ma, metabolist Japanese architect Kisho Kurokawa implicates the Japanese concept of Ma through his philosophy of symbiosis; by strategically employing intermediary space, two opposing elements can “recognize each other’s sacred zone and observe mutually established rules of interaction” (1996, 27), blurring the boundaries of the two zones through active design of the in-between. The concept of Ma in the thesis will be investigated not only as a means of activating in-between zones, but also as a means of enabling the old and the new to cohabit the same site without threatening the identity of one another. In relation to In-Ei, in his book In Praise of Shadows Junichiro Tanizaki describes how Japanese find beauty in the “patterns of shadows, the light and the darkness, that one thing against another creates” (30). Tadao Ando declares darkness “kindles the brilliance of light and reveals light’s power, is innately a part of light” (1995, 471). In Japanese culture, shadows play a significant role in the architectural spatial experience.

Research Problems and Related Issues: ----

Changing economic conditions caused rural industrial buildings to be abandoned and fall into states of ruin, resulting in the potential loss of heritage architecture. The dialogue between old buildings and new interventions can cause conflicts between the two opposing identities. These rural communities need a new programme that renews their sense of identity as a vibrant community even though they may have lost most of their population.

Research Questions: ---

How can New Zealandâ&#x20AC;&#x2122;s rural abandoned industrial buildings be revitalised to safeguard the story of their on-going heritage? How can new interior interventions in New Zealandâ&#x20AC;&#x2122;s rural abandoned industrial building sites help restore the sense of community identity?

Aims: The aim of this thesis is to investigate ways that integrating Japanese philosophies of WabiSabi, Ma and In-Ei can generate interior interventions that safeguard the story of rural New Zealandâ&#x20AC;&#x2122;s industrial heritage buildings while restoring the identity of the rural communities that they represent. Objectives: The principle objectives of the investigation are to: -----

Treat the industrial ruins as one important chapter in the on-going story of the building and the community. Provide spatial experiences that enable people to intimately connect with the on-going story of the abandoned building. Engage the new architectural intervention as an occupant of the ruined building, making it an active participant in the on-going story. Provide a new programme that restores economic viability to the abandoned building.

The selected investigation site is the former Tokomaru Bay Freezing Works, an abandoned slaughterhouse located on the north edge of Waima Road in Tokomaru Bay in the Gisborne region, New Zealand’s northeast coast. Tokomaru Bay is a typical example of a rural town which was critically affected from the rise and fall of the sheep industry from 1911 to 1953. The closure of the works hugely impacted the entire township as the population decreased from 1427 people to 393 people (“Tokomaru Bay Area Unit Group”). This rural industrial ruin represents an important part of the heritage of Tokomaru Bay which is now vulnerable to permanent loss, even though it represents significant historical and cultural memory of the Tokomaru Bay township and its community. A new programme for this building must offer spatial opportunities for the rural community to have an intimate relationship with the dialogue between historic ruins and contemporary intervention. The following chapter explores the three Japanese philosophies of Wabi-Sabi, Ma, and In-Ei along with related case studies that incorporate each of these philosophies individually into practice.

Fig 1.03 Freezing chamber-1910.

Fig 1.04 Distance from Gisborne.

Distance from Gisborne along State Highway35 108km 101km

90.3km

75km

54.9km

44.8km

Gisborne

Poverty Bay

Waipiro Bay Te Puia Springs

Tokomaru Bay

Anaura Bay

Tolaga Bay

Waihau Bay

II. Literature and Project Review

Introduction The intention of this chapter is to outline the design principles of the Japanese philosophies of Wabi-Sabi, Ma, and In-Ei within contemporary Western case studies that reflect similar attributes. Botond Bognar considers that the Japanese are one of the few cultures who â&#x20AC;&#x153;see beauty and harmony in aging, in transition, or in impermanence and appreciate these aestheticallyâ&#x20AC;? (1985, 29). Bognar argues that contemporary Japanese architects have been challenged to continue and evolve their traditional sensibilities through their architectural practices. Esteemed architects such as Tadao Ando, Sou Fujimoto, Kengo Kuma, Kisho Kurokawa, and Kazuyo Sejima for example explore ephemeral qualities through the notion of shifting time, enabling the occupant to experience and acknowledge on-going heritage in a way that is distinctly Eastern. The thesis investigation examines how the philosophies of Wabi-Sabi, Ma, and In-Ei might be integrated and applied within the discipline of interior architecture as a means of rejuvenating historically significant abandoned rural industrial ruins in New Zealand. The thesis further examines how such an approach might enable a set of contemporary interior interventions to reveal the significance of historic rural New Zealand sites while respecting the heterogeneous sensations expressed by and within the ruined spaces.

Fig 2.01 Monument, Rachel Whiteread 2000. Intervention on a historic pedestal reflecting the heritage.

侘び寂び Objects with the patina of time have a unique quality about them. It is something new objects could never imbue. Even man-made objects after tens or hundreds of years begin to slightly lean towards the side of nature, or begin to take on the existence in between the natural and the artificial (Fujimoto 213).

Fig 2.02 Public Promenade interior.

Wabi-Sabi: Aesthetics of Imperfection and Transience Traditionally the decay seen in neglected buildings within rural contexts is treated as dangerous and to be avoided, resulting in a loss of the significant heritage reflected by these rural industrial buildings. Subconscious feelings against the retention of decay can be challenged by proposing the philosophy of Wabi-Sabi – an alternative way of understanding decay. The word Wabi-Sabi unites two Buddhist sensibilities: Wabi and Sabi. According to Daisetz Suzuki, Professor of Buddhist philosophies at Otani University, Kyoto, Japan, Wabi is about aloneness, finding an “inexpressible quiet joy deeply hidden beneath sheer poverty” while Sabi is “aesthetic appreciation for things suggestive of age, desiccation, numbness, chillness, obscurity” (285286). In his book Zen and Japanese Culture, Daisetz Suzuki describes Wabi and Sabi: They are, in fact, feelings growing out of poverty and deficiency; but they have also a certain quality lending themselves to highly cultivated aesthetic ecstasy. The tea-man will say that this is “objectively negated but subjectively affirmed,” whereby external emptiness is filled with inner richness. In some ways, wabi is sabi and sabi is wabi; they are interchangeable terms (285). As such they are treated as one philosophy, Wabi-Sabi, which understands that a state of ruin reflects inner qualities and the greater on-going story of time and impermanence. As a related case study from the West, Landschafts Park by German landscape architecture firm Latz+Partners successfully converts abandoned industrial blast furnaces into a recreational urban park without eliminating or restoring the decaying elements. Instead they treat elements such as the rusted iron plates, rugged concrete bunkers, and former gas tank as important parts of the on-going history of the site (figs-2.03-2.04). Such historic traces are important for New Zealand’s decaying rural industrial heritage architecture as well, it evidence economic declines and cultural developments of rural New Zealand. By acknowledging these historic traces as authentic pieces of a building’s on-going heritage, the state of ruins can act to safeguard the story of these buildings.

Fig 2.03 Old furnace in Landschafts Park (Duisburg, Germany 2002) utilised for rock climbing.

Fig 2.04 Central Plaza in Landschafts Park.

Wabi-Sabi accepts the natural process of decay and ruin as something inevitable, acknowledging its importance in relation to an on-going story. Tadao Ando believes that Japanese have been exploring this notion since ancient times, feeling that eternity is, ironically in fact, impermanent and ephemeral (1995, 474). Jennifer Hill, Australian architect and member of DoCoMoMo Australia, argues that the weathering processes in post-construction of a building are important parts of the on-going history of the architecture: The history of most buildings is a process of metamorphosis in which every transformation alters our historical interpretation and those transformations of their period also become parts of the history of the building (64). As a related case study from the West, Warehouse-17C is an abandoned former slaughterhouse in Matadero Madrid, Spain redeveloped in 2006 by Spanish architect Arturo Franco. Franco allows the existing historic traces and decay to remain as important parts of the original buildingâ&#x20AC;&#x2122;s heritage by inserting new layers of glass as architectural interventions framing the existing decay (fig-2.05). The new architectural intervention effectively becomes an inhabitant of the ruined space, acting as an additional new layer to frame the existing as an important part of the on-going buildingâ&#x20AC;&#x2122;s story.

Fig 2.05 Warehouse-17C interior.

Author and designer Andrew Juniper runs a Wabi-Sabi design company in England. In his book Wabi-Sabi the Japanese Art of Impermanence, he defines Wabi-Sabi as awareness of “transient beauty in the physical world that reflects the irreversible flow of life in the spiritual world” (51), which indicates the importance of the ephemeral relationship between architecture and its surrounding context. This is also evident from the technique used in traditional Japanese architecture called Shakkei, the borrowed landscape, which “attempts to read and give form to the character inherent in a site or place” (Ando 1995, 474) (fig-2.06). Contemporary Spanish architects Enric Miralles and Carme Pinos used a similar technique in Igualada Cemetery to connect the past and present by integrating the existing landscape and new architectural interventions (fig-2.07). Daisetz Suzuki argues that the moment of the Wabi feeling should be discovered accidentally, as he describes: In the beginning there is no suspicion of the presence of anything extraordinary, yet something attracts – a closer approach, a tentative examination, and, behold, a mine of solid gold glitters from among the unexpected. But the gold itself remains ever the same, discovered or not (286). In his design for the Nasu History Museum (fig-2.08), architect Kengo Kuma conveys this idea by integrating interior space with seasonal change through contemporary glass façades, enhancing “the richness of natural phenomena and a profound sense of liberating lightness within the sublime ephemerality of the surrounding unbounded environment” (Bognar 2005, 36). By using the technique of Shakkei and inviting the surrounding context to become an integral part of the new intervention, the thesis proposes that Wabi-Sabi can be applied to Interior Architecture as a design tool to establish spatial experiences through a combination of ruins and new interventions to help the community reconnect with its rural heritage.

Fig 2.06 Traditional Kare-Sansui garden outside the Adachi Museum of Art. Shakkei (borrowed landscape), blends a small private garden into a background landscape as one composition.

Fig 2.07 Igualada Cemetery (Igualada, Spain 1991) landscape.

Fig 2.08 Nasu History Museum (Tochigi, Japan 2000) interior.

Case-Study 1: Public Promenade 3S Studio (Albisola Superiore, Italy 2011)

An inoperative railway along the coast of the Liguria region of Italy was revitalised by Italian architecture firm 3S Studio in 2011, reconnecting the two coastal towns of Albissola Superiore and Celle Ligure. The curved corten-steel promenade is integrated with the heritage brick tunnel, extending the new pedestrian walkway while environmentally responding to the original decaying site (fig-2.09). The new architectural intervention conveys Wabi-Sabi by framing the existing decay seen from the old brick walls as well as retaining the historic traces of the old railway on the floor. By the use of corten-steel which rusts, the firm invited the new contemporary intervention to merge into the decaying industrial materials while responding to the historic form of the semiellipse shaped tunnel. Various openings created on the screen (fig-2.10) frame the existing historic traces behind, like pentimento, revealing the previous layers of the original tunnel while activating the contemporary interventions as an additional new layer of an on-going story. Due to its original programme of a railway, the intervention was required to respond to the linear and enclosed form of the tunnel, which contrasts with the open context of rural industrial ruins. This case study provides a valuable opportunity to investigate how new interventions may merge into historic sites while signifying the importance of maintaining the materiality and traces of the past.

Fig 2.09 Public Promenade interior-2.

Fig 2.10 Corten-steel screen of Public Promenade.

Fig 2.11 Public Promenade lighting placed for enclosed tunnel.

Fig 2.12 Public Promenade partial section.

Fig 2.13 Sketch exploring how a corten-steel could be utilised to frame decay and graffiti.

間 Ma can be understood as “gap” or absence between two or more phenomena; it gives shapes to these phenomena as much as it is shaped by them; they cannot exist without each other; they are mutually inclusive. Ma underscores the Buddhist thesis that “form is emptiness, and emptiness is form” (Bognar 1988, 150).

Fig 2.14 S-House interior.

Ma: In-between In rural industrial buildings which are partially broken due to decay and demolition, nature often infiltrates, dissolving the boundary between inside and outside creating ambiguous spatial conditions – neither inside nor outside, covered nor uncovered. Interior become exterior and exterior become interior. By exploring Ma, these ambiguous spatial conditions can be treated as a significant part of the on-going story of these rural industrial ruins. According to Kisho Kurokawa, Ma represents the idea of the in-between, the interval between two opposing elements such as interior and exterior, an intermediary space that introduces “ambiguity and ambivalence that are excluded by the dualism and binominal opposition of the West” (1992, 16). In Japanese traditional architecture Ma is apparent in horizontal elements such as engawa (fig-2.15), a circulation space which enhances the “transition between architectural space and the garden” (Bognar 2005, 37). In his architecture for the Head Office of the Fukuoka Bank, Kurokawa focused on conveying Ma by creating intermediary space as a “method to reunify a dissected and disassembled architecture” (1992, 14), in this case in the form of a public gathering space (fig2.16). He explains: The street serves sometimes as a transportation space; at other times it is an extension of private living space. It exists as a space of plural nature and plural meaning. It is an intermediary zone where the private interior space of the individual dwelling meets public exterior space; and these interpenetrate, creating a zone that can be described as suggesting “the architecture of the street” (1992, 25). The ruined state of abandoned rural industrial buildings offers significant opportunities for new architectural interventions to generate Ma as an interactive intermediary space between circulation, intimate private space, and open public space. Ma will be explored as a design tool to interweave these multiple spaces by celebrating ambiguous spatial conditions that contribute to the story of a building’s heritage.

Fig 2.15 Engawa at Northern Culture Museum (Niigata, Japan 1958).

Fig 2.16 Intermediary space in the Head Office of the Fukuoka Bank (Fukuoka, Japan 1975).

According to Ando, architecture is often portrayed as having a distinct relationship with its surroundings but in fact the “inside and the outside of the architecture are not separate things but instead form one continuous place” (1995, 457). Dr. Catherine Smith, lecturer in architecture and programme convener of Bachelor of Design at the University of New Castle in Australia, explores similar ideas of threshold conditions between architecture and exterior space in her theory of liminality. She proposes that the interior can be reconceptualised as the “space of between-ness rather than the space contained” (2004, 93) by architecture. According to Jonathan Hill, Professor of Architecture and Visual Theory at The Bartlett School of Architecture at University College, London, architecture has two occupants: one is the occupant who uses the space, and the other is the architectural intervention placed within the space (1998, 140). In this way, new interior interventions could be conceived as occupants of rural industrial ruins, establishing spatial dialogues between the old and the new and enhancing the notion of spatial ambiguities. Contemporary Japanese architect Sou Fujimoto has proposed a scheme called Garden House (fig-2.17) for a peripheral forest area in Tochigi, Japan in 2008, demonstrating this idea of occupant identity of architecture within architecture. By placing an architectural wall of reinforced concrete that encloses the existing foliage (fig-2.18), Fujimoto transforms the identity of the existing landscape into a garden. He states: My utterance of exteriors denotes the internal structure of the threshold between internal and external spaces. Where internal space ends, the exterior begins. Where external space ends, the interior begins. Quintessentially, the exteriors are themselves materialisations of internal and external interactions (208). Fujimoto proposed a scheme which adapts architecture to the site rather than transforming the site to suit the architecture, demonstrating the condition of the site both before human intervention and afterwards, by blurring the spatial boundaries.

Fig 2.17 Garden House physical model.

LANDSCAPE

GARDEN

Fig 2.18 Shift of identity from landscape to garden.

LANDSCAPE

The thesis investigates ways to integrate Ma into rural industrial ruins by exploring the ambiguous spatial conditions characterising these abandoned buildings, activating and interweaving them as co-participants of new architectural interventions. The thesis proposes that Ma can contribute to positive spatial experiences that convey the unique heritage of the ruins while establishing a meaningful relationship to the surroundings. Sou Fujimoto explored this idea in a residential house in Oita, Japan in 2008. In House-N (fig-2.19), Fujimoto evidences Ma by proposing three layers of architectural envelope, blurring the boundary between private house and public street. By creating multiple openings through each layer, Fujimoto achieves transparency through the architecture and generates multiple liminal conditions experientially, conveying the notion of exposed-exterior, enclosed-exterior, exposed-interior, and enclosed-interior (fig-2.20).

Fig 2.19 House-N interior.

Exposed Exterior

Enclosed Exterior

Exposed Interior Enclosed Interior

Fig 2.20 House-N section.

Case-Study 2: S-House

Kazuyo Sejima with Haruka Kojin (Inujima, Japan 2010) Contemporary Japanese architect Kazuyo Sejima collaborated with Haruka Kojin to evidence Ma in her 2010 design for S-House (fig-2.21), one of the Inujima Art House Projects on Inujima Island near Okayama Prefecture, Japan. Sejima blurs the boundary between interior and exterior by extracting spatial experiences through the glass pathway. Sejima explores the concept of Ma by inserting a transparent glass corridor on the exposed site, blurring the relationships between inside and outside the volume, thereby also connecting the community with the existing setting â&#x20AC;&#x201C; one of the principle thesis aims and objectives. By placing a fully glazed corridor on the exposed site, Sejima blurs relationships not only between inside and outside, but between intervention and site itself, making the surrounding visually become part of the intervention and an active participant of the spatial experience. Sejima added circular lenses to the glass faĂ§ade using a range of sizes and focuses, further enhancing the unique spatial qualities connecting the visitors and surrounding context experientially (fig-2.24 in following page). This case study indicates how the contemporary material of glass can contribute to providing spatial experience that connect to the surrounding site context by blurring interior and exterior space, and enhancing the dialogue between site and intervention. By articulating the notion of Ma through the glass corridor, Sejima conveys the importance of connection with the surrounding context and expresses opportunities that the rural context offers.

Fig 2.21 S-House exterior.

Fig 2.22 S-House entrance. Curved passage form responding to the shape of surrounding terrain.

Fig 2.23 S-House interior-2.

Fig 2.24 S-House lenses.

Fig 2.25 Sketch exploring how glass intervention respond to the overgrown rural context within a ruined structure.

é&#x2122;°çżł We delight in the mere sight of the delicate glow of fading rays clinging to the surface of a dusky wall, there to live out what little life remains to them. We never tire of the sight, for to us this pale glow and these dim shadows far surpass any ornament (Tanizaki 18).

Fig 2.26 Earth Gallery interior in Inujima Seirensho Art Museum.

In-Ei: Richness of Shadows This section focuses on the relationship of shadows within ruined buildings, treating spaces of darkness as an important part of the on-going story. The interplay of natural light and shadow contributes to new architectural interventions while providing a unique spatial quality. According to Bognar, the spatial quality of shadows seen within traditional Japanese buildings sharply contrasts with the Western perspective (1985, 56). In his book In Praise of Shadows, the renowned Japanese novelist Junichiro Tanizaki describes how the shadow becomes a significant participant of traditional Japanese culture when our Japanese ancestors “forced to live in dark rooms, presently came to discover beauty in shadows, ultimately to guide shadows towards beauty’s ends” (18). By celebrating the notion of darkness, Japanese spaces celebrate the “world of shadows that formed there a quality of mystery and depth superior to that of any wall painting or ornament” (Tanizaki 20-21). Contemporary Japanese installation artist Rei Naito demonstrated the beauty of darkness in Kinza in 2001, one of the installations in Naoshima Art House Project. Naito created dark simple spaces in a small rural wooden house allowing the natural light to filter through the slit opening on the bottom of the traditional clay walls (fig-2.28). The project asked visitors to experience the space one at a time, enabling them to intimately connect with the mysterious, subtle spatial qualities of the heritage building through their aloneness (Ando 2005b, 168). Beirut photographer Serge Najjar also explores abstraction of space defined by shadows (fig2.27). The spatial quality is enhanced by the contrast between light and shadows, where the penetrating lights highlight the surface and features of its materiality.

Fig 2.27 Brooom---On Black and Light, Serge Najjar 2013.

Fig 2.28 Kinza, Rei Naito.

Tadao Ando is a contemporary Japanese architect who celebrates the importance of shadows, encouraging his designs to â&#x20AC;&#x153;return to the origin of architecture and contemplate light from the side of darknessâ&#x20AC;? (2005a, 88). Optical Glass House in Hiroshima, Japan in 2012 by Hiroshi Nakamura is another example of how the ephemeral quality of shadows enhances dialogues between architecture and natural elements such as water, wind, and trees. Nakamura conveys the tranquillity of shadows through his glass block facade (fig-2.29) and entrance space by filtering natural light through the water basin ceiling, projecting a ripple pattern shadow (figs-2.30-2.31).

Fig 2.29 Optical Glass House facade.

Fig 2.30 Optical Glass House ceiling. Water conveys ephemerality, changing its pattern by the wind and rains.

Fig 2.31 Optical Glass House entrance.

According to Ando, the impermanent qualities observed in nature could become potential design elements, suggesting an architectural intervention “becomes a medium by which man comes into contact with nature” (1995, 449). He states: A concern for the relationship between architecture and nature inevitably leads to a concern for the temporal context of architecture. I want to emphasize the sense of time and to create compositions in which a feeling of transience or the passing of time is a part of the spatial experience (1995, 465). Ando activates In-Ei in his designs by “lead[ing] light into the interior of architecture in a manner that will inform space with depth, and produce richly stimulating places” (1995, 471). In his 2004 project for Chichu Art Museum in Naoshima, Japan (figs-2.32-2.33), Ando buried the architecture below ground to preserve the landscape while enhancing the concept of “darkness rather than the light, below ground rather than above” (2005a, 88). Ando explains: I attempted to give character to each space by the use of light. I wanted light penetrating the darkness to give direction to the architecture. The actual galleries are woven into a modulated space, born of light and geometry (2005b, 9). In-Ei can be an important active participant in defining spatial conditions within abandoned rural industrial spaces.

Fig 2.32 Circulation of Chichu Art Museum. Contrasting lighting conditions, intensifying the spatial quality of darkness.

Fig 2.33 Chichu Art Museum courtyard emphasises the relationship between above and below ground by allowing the lighting.

Case-Study 3: Inujima Seirensho Art Museum Hiroshi Sambuichi (Inujima, Japan 2008)

On the island of Inujima, Japan, contemporary Japanese architect Hiroshi Sambuichi redeveloped the neglected ruins of a copper refinery into a fully self-sustaining contemporary museum. Sambuichi conveyed a narrative sequence through underground interventions, an experiential interiority where people and air, a “moving material”, interact and pass through the space together guided by the natural lighting (Sambuichi 83). Rather than sunlight hitting the space directly, the spaces absorb light by the reflection of mirrors placed at 70° angles (fig-2.34). The visitors experience In-Ei within an underground gallery enclosed by black slag bricks and steel guided by the hint of reflected lighting leading to the exhibition space of artwork by Yukinori Yanagi (Sambuichi 83). Sambuichi states “[in] this museum, architecture is what incorporates people (along with plants, water, air, soil, and the sun) into the natural cycles of the earth” (91). The thesis considers this notion of linking people with the surrounding environment to be another important opportunity for providing meaning to the overgrown ruins of the Tokomaru Bay Freezing Works and thus helping to restore heritage identity to the community. This case study also suggests how existing materials either man-made or natural can be revitalised as active participants of spatial experience celebrating darkness in abandoned industrial ruins.

Fig 2.34 Earth Gallery mirror.

Fig 2.35 Inujima Seirensho Art Museum exterior.

Fig 2.36 Inujima Island slag bricks.

Fig 2.37 Sketch exploring spatial quality signified by darkness of the foliage and steep terrains forming similar situation of underground space.

Fig 2.38 Sketch exploring how In-Ei may allow visitors to acknowledge spatial qualities of darkness in circulation as a buildingâ&#x20AC;&#x2122;s important heritage.

Conclusion By exploring the philosophies of Wabi-Sabi, Ma, and In-Ei, this thesis investigates three unique conditions of rural industrial ruins which need to be safeguarded: imperfection, in-between space and darkness. The contemporary case studies suggest how these philosophies may be applied to enhance our connection with the story of the abandoned building. The following chapter explores site-specific conditions of the former Tokomaru Bay Freezing Works in relation to these three Japanese philosophies.

Contemporary architectural interior intervention

New chapter of a building’s history Three Japanese Philosophies Wabi-Sabi (侘び寂び) Ma (間) In-Ei (陰翳)

Spatial experience through array of liminal conditions

Tokomaru Bay Freezing Works Ruins

Historical authenticity

Overgrown landscape in rural context

Cultural memory

Fig 2.39 Theory-based diagram. Fig 2.40 Hero Dry Cell, Yukinori Yanagi in Inujima Seirensho Art Museum. Room defined by window frames and floors ‘occupies’ the interior space, treating the original space as an ‘exterior space’ of the ‘interior’ of the artwork.

Waima

Tokomaru Bay central town

III. Site Analysis

Introduction The economic rise and decline of the New Zealand sheep industry significantly influenced the development of the township of Tokomaru Bay. Tokomaru Bay community was bonded to the development of the freezing works, whose historic buildings are witnesses of history. This chapter introduces the heritage buildings of former Tokomaru Bay Freezing Works as the vehicle for design experimentation in relation to safeguarding the significant heritage of New Zealandâ&#x20AC;&#x2122;s rural industrial ruins through application of Wabi-Sabi, Ma and In-Ei. Tokomaru Bay is representative of New Zealand rural communities affected heavily by postwar industrial shifts. The proposed site is located along Waima Road, along the north edge of Tokomaru Bay in the Gisborne region of New Zealand (fig-3.01). During the site visit, significant phenomenological experiences became apparent such as the aroma of overgrown foliage, the sound of the stream, and wind blowing across the bay. The overgrown nature of the ruins enabled nature elements to express their strong identity within the site context. One major objective is to retain these phenomenological elements as another means of ensuring the story of the ruins is retained, even with the addition of interior interventions.

Fig 3.02 Operating freezing works.

Fig 3.01 Tokomaru Bay map.

Hillside water tank

Tokomaru Bay Freezing Works

Fig 3.03 Waima map.

Former managerâ&#x20AC;&#x2122;s house

Waima Wharf

History The Freezing Works was opened on 24 January 1911 by the local Tokomaru Freezing Co Ltd (Rau 180-181), and handled 2500 sheep and 60 cattle a day (Gundry 20). The growth of Waima invited the whole township to develop, and over the years various trading happened at the same time (Gundry 89). However the economic impact from modernisation resulted in closure of the facilities and halted development of the township. Rapid centralisation included improvement of the road transport, resulting in economic trends shifting industry towards the central city of Gisborne (Rau 191). The chain system for slaughtering was introduced to New Zealand by the mid-1940s, shifting their processes from solo butcher to chains (Gundry 66, 197). The higher demand for better facilities and hygiene requirements from importing countries were also reasons for closure and the staff were told on 9 May 1952 that the works were not to be reopened after the season (Gundry 66). After the closure of the freezing works they even lost supply of electricity to the community (Gundry 66). The machines were all dismantled and transported to other sites owned by Borthwick â&#x20AC;&#x201C; the owner at that time (Gundry 67). Bricks, timbers and iron from floors, walls and roofs were reused for other buildings in Te Puia and Gisborne (Gundry 100). The only structure remaining was the concrete framing and exterior walls, now completely exposed and overgrown. No more machines run in the building and it has lost its identity as a slaughterhouse.

Tokomaru Bay History Line

1914

WWI 1917

1939

WWII 1945

1909

Formation of the Tokomaru Freezing Co Ltd.

1919

Freezing Works open.

1914

Major improvements made to the wharf.

1917

Extentions of works made for storage.

1921

Works acquired by Gisborne Sheepfarmers Frozen Meat Co.

1932

Chain system widely introduced to New Zealand.

1935

Steam locomotive was replaced by diesel model.

1937

Improved roading between Tokomaru Bay---Gisborne triggered decline of coastal development.

1937

Rebuilt Waima Wharf with concrete and timber berthage area allowing a depth of 3.5m.

1939

Diesel model replaced by another larger locomotive. 150-ships taking on 94,500tons of cargo.

1939-50

Decline of port due to wartime shipping restrictions. 1944: 60-ships taking on 20,000tons of cargo.

1945

Owner changed to Thomas Borthwick-&-Sons.

1952 7 July

Works closed. Waima loses electricity.

1952 Nov

All machinery dismantled.

1953

Freezing Chambers floor and roof demolished.

1957

Waima regains network electricity.

Fig 3.04 History-line.

Fig 3.05 Historic photos key-plan.

Fig 3.06 A.-Freezing Works seen from boat.

Fig 3.07 B.-Waima road.

Fig 3.08 C.-Freezing works exterior.

Fig 3.09 Historic photos key-plan-2.

Fig 3.10 D.-Former managerâ&#x20AC;&#x2122;s house.

Fig 3.11 E.-Original wharf.

Fig 3.12 Articles showing past attempts at restoring the site.

Fig 3.13 Heritage site-poster.

The site is recognised as Historic Place Category-2 heritage (Skinner, Henry, and Pattison). Several attempts (Appendix-1.02-1.04) were made for the reuse and renovation of the former Tokomaru Bay Freezing Works ruins, but with no success. The lack of funding and complicated ownership of each individual building of the freezing works increased the difficulty of achieving any changes to the site.

Contextual Elements

Fig 3.14 Running Waihi Stream.

Fig 3.15 Waima Wharf.

Waima Wharf Waima Wharf is a timber pier used to run the short railway locomotive to the freezing works from the crane to carry wool and meat. By 1940 the wharf was replaced by a reinforced concrete pier extending out 250m, connected to the original timber berthage area with a depth of 3.5m underwater (fig-3.16) (Gundry 64). During the site visit, gusting wind was constantly blowing towards the bay, and the timber columns at the berthage were swaying due to the wind and waves (fig-3.17).

Fig 3.16 Waima Wharf-2.

Fig 3.17 Waima Wharf-3.

Fig 3.18 Waima Wharf-4. Concrete pier connected to original timber berthage which was created along true north axis.

Fig 3.19 Tramway diagram.

00 00 25 d ce or inf Re

ier p te re nc co

th wi

l rai

ck tra

48000

Fig 3.20 Waima Wharf analysis.

38000

Timber berthage area

50m

25m

10m

A D B

C 0

5m 10m 20m

Fig 3.21 Site photos key-plan.

Waihi Stream and Water Tank The locals source their water either from streams running from the hills or a water tank collecting rain water built beside each house (fig-3.22). A water tank on the hill (fig-3.23) supplied water to the freezing works during its operation. It pumped water from Waihi Stream which runs directly through the foundations of the freezing works and provides an unexpected sound of water for the visitor. (fig-3.24-3.25). The thesis retains this stream, recognising its phenomenological experience as an important element of the buildingâ&#x20AC;&#x2122;s heritage.

Fig 3.22 Domestic water tank.

Fig 3.23 Neglected hillside water tank.

Fig 3.24 A.-Waihi Stream.

Fig 3.25 B.-Waihi Stream-2.

Fig 3.26 C.-Bridge straddling Waihi Stream.

Fig 3.27 D.-Waihi Stream-3.

Figs-3.28-3.29 explore how the engagement of a new intervention can provide accessible passage while revealing the Wabi-Sabi quality. The sketches explore the approach to convey the sense of tranquillity of the stream within the spatial experience of the community.

Fig 3.28 Sketch for stream-1.

Fig 3.29 Sketch for stream-2.

Freezing Chamber 1910

Freezing Chamber 1917

B A C

5m 10m 20m

Fig 3.30 Site photos key-plan-2.

Concrete Framing The foundation and concrete framing which allows the Waihi Stream to run directly through the works was created as an extension in 1917 for extra storage (Gundry 87). The decayed column framing of the remaining freezing chambers are seriously damaged and in unsafe condition, but the thesis considers these as significant architectural elements which enhance the spatial quality of the site.

Fig 3.31 A.-Freezing chamber-1.

Fig 3.32 B.-Freezing chamber-2.

Fig 3.33 C.-Damaged concrete framing-1.

Damaged columns

Fig 3.34 Sketch expressing arrangement of concrete framing and highlights the damaged columns.

Fig 3.35 Damaged concrete framing-2.

Figs-3.36-3.37 explores spatial arrangements established through, above, and below the existing concrete framing structures. It also explores different lighting conditions that convey In-Ei qualities and enhance temperature differentials caused by shadows. The sketches inform how a new interior intervention may act as an inhabitant of existing framing while conveying spatial dialogues between old and new, above and below.

Fig 3.36 Concrete framing sketch-1.

Fig 3.37 Concrete framing sketch-2.

D B C A E

5m 10m 20m

Fig 3.38 Site photos key-plan-3.

Overgrown foliage The earlier freezing chambers are fully demolished, and now only the exterior wall and framing remains. Even the roof was removed (fig-3.39) to â&#x20AC;&#x153;reduce the capital value and so the rates payable is under the capital value rating systemâ&#x20AC;? (Gundry 67). Absence of the roof visually and experientially blurs the boundaries between interior and exterior, inviting the surrounding landscape to enter into the building footprint. The encroaching foliage creates natural aromas of the landscape that enhance the extraordinary spatial experiences through the buildings (fig3.40).

Fig 3.39 A.-Demolished roof.

Fig 3.40 B.-Pathway covered by foliage.

Fig 3.41 C.-Broken wall.

Fig 3.42 D.-Window framed by plants.

Fig 3.43 E.-Path along Waima Road.

Fig 3.44 F.-Freezing chamber-1917 exterior.

These unique conditions suggest design opportunities to explore how Ma can enhance the connections between interior, architecture, and landscape as an important part of evidencing the on-going story of the site. Figs-3.45-3.46 explore the ambiguous spatial boundaries.

Fig 3.45 Sketch for occupying rural context-1.

Fig 3.46 Sketch for occupying rural context-2.

Original Building Analysis

Fig 3.47 Existing facade investigation of freezing chamber.

Fig 3.48 Existing facade investigation of brick building.

Fig 3.49 Existing facade investigation of former manure work building. The building is currently used by local fisherman as storage.

5m 10m 20m

Fig 3.50 Site photos key-plan-4.

Materiality The buildings were mainly made out of concrete, pumice and 1.25 million locally made bricks (Gundry 20), apparent especially in the former boiler house (fig-3.51). Photomontages were created (figs-3.47-3.49) to document how these industrial materials have decayed, dissolved into the context of rural landscape and remain as historic traces including patina and graffiti. The thesis examines existing masonry walls and columns (fig-3.53) as drivers to define the form of the new architectural intervention and achieve relevant spatial relationships with the existing ruins.

Fig 3.51 A.-Brick building exterior-â&#x20AC;&#x201C;-former boiler house.

Fig 3.52 B.-Brick building entrance. Light penetrates through the broken roof, hitting the brick wall with graffiti.

Fig 3.53 Columns remain on existing masonry walls as significant historic traces.

Figs-3.54-3.55 explore how contemporary materials of corten-steel and glass could be utilised as active participants of new architectural interventions to achieve experiential dialogues with the existing ruins and retain their significance as an important chapter in the buildingâ&#x20AC;&#x2122;s heritage.

Orthogonal Axis Analysis The orthogonal diagram shown on the following page (fig-3.56) shows important axes within the original architectural wall, and axial relationships with significant contextual elements such as the wharf and water tank. The diagram investigates areas where Ma can be enhanced between the architecture and surrounding landscape while evidencing how axial focal points can generate specific experiential spatial moments. These relationships also articulate the dialogue between existing ruins and new architectural interventions by forming architectural grids from existing wall columns and treating its trace as an important part of the on-going story of the freezing works, inviting the community to connect with it.

Fig 3.54 Sketch of materiality-1.

Fig 3.55 Sketch of materiality-2.

A B I

C D

F G

Centreline axes of the freezing chamber Axes extend towards the wharf and water tank

10m

20m

94 Fig 3.56 Orthogonal axis diagram.

Water tank

A B C A

D E F

Waima Wharf

Fig 3.57 Existing building facade wire-frame.

0 1m 2m

Fig 3.58 Existing concrete framing.

Facade-A

Facade-B 0 1m 2m

Fig 3.59 Facade-A-and-B.

Historic trace of demolished floor

Facade-C 1

Facade-D 0 1m 2m

Fig 3.60 Facade-C-and-D.

0 1m 2m

Facade-E

Facade-F

Fig 3.61 Facade-E-and-F.

0 1m 2m

Fig 3.62 Facade-G.

Facade-H

Facade-I 0

1m 2m

Fig 3.63 Facade-H-and-I.

100

0 1m 2m Fig 3.64 Facade-J.

101

Fig 3.65 Tokomaru Bay Freezing Works building plan-1915.

Conclusion This chapter investigated site-specific issues that can be utilised in the thesis investigation in relation to enabling Wabi-Sabi, Ma and In-Ei. Overgrown landscape, decayed concrete framing, the running stream, water tank and wharf are all important elements of the story of the Tokomaru Bay Freezing Works. The thesis investigations will incorporate these elements as drivers for exploring design experiments that safeguard the story of the abandoned building. The following chapter explores how integration of the three philosophies may contribute to establishing a viable new programme for the abandoned rural industrial heritage building while enhancing a sense of community identity.

Fig 3.66 Brick building broken roof.

104

IV. Programme Analysis

Fig 4.01 Resin Interpretation Centre interior.

Introduction This chapter investigates how Wabi-Sabi, Ma and In-Ei might contribute to providing a new programme for the community which also might help intimately connect the community to the story of the buildingâ&#x20AC;&#x2122;s heritage. Tokomaru Bay has a very low population and fluctuates in size seasonally. The new programme must respond flexibly to a range of groups and activities.

Original Programme This section investigates the original programmatic functions of each of the buildings and spaces comprising the site (fig-4.12). The buildings provided bespoke spaces for slaughtering and freezing sheep. --------

Fellmongery: Process of removing wool from the skin after it has been removed from the carcass, and treating the skin for eventual conversion into leather. Pie House: Where scraps of sheep skin were sent to purify, making it easier to remove the valuable wool. Boiling Down Works: Where the process of rendering fat from animal carcasses was done to produce tallow (solid made from fat which can be used to make soap and candles). Manure Works: Place for manure, the organic matter used as organic fertilizer in agriculture. Hide: Animalâ&#x20AC;&#x2122;s skin. Casing: Material that encloses the filling of sausages. Dressing Room: Carcass is dressed; that is, head, feet, hide, excess fat, viscera and offal (organ meats) are removed, leaving only bones and edible muscle.

Fig 4.02 Hicks Bay works slaughterhouse.

108

Fig 4.03 Haslam steam engine.

Fig 4.04 Hercules ammonia refrigeration compressor.

109

Fig 4.05 Wool scouring.

Fig 4.06 Pie room.

110

Fig 4.07 Hicks Bay works freezing chamber.

Fig 4.08 Casing room.

111

Fig 4.09 Tramway. The locomotive runs along the tramway connecting freezing works and wharf.

STUNNING

BLEEDING

SKINNING

Killing Box

Trough collects blood

Skin on hind legs opened

Into Main Hall

Skin on stomach Breast and front legs opened

Shoulders cleaned Tongue and head removed

Breast chopped through

Skin pulled off Fig 4.10 Sheep slaughtering process.

Fig 4.11 Sheep carcasses in freezing chamber.

CARCASS SPLITTING Carcass opened up heart and lungs removed

INSPECTION & GRADING Carcass weighed and graded

Carcass washed wiped down and dried off

Lower flank removed, ticket hole made, edges trimmed

Neck tied to front legs excess blood removed

Sorted according to grade and brand

SHIPPING Put in stockinet wrapper

Casing Room

Hide House Dressing Room

Motor Room

Chilling Room

Corridor Slaughterhouse

Tram way

Storage Pump House Office Boiling Down Works

Manure Works Mechanics Shop

Fig 4.12 Historical footprint of original program.

Pie House Fellmongery & Cooling Room Lime Store

Drying Room Gangway

Engine Room Freezing Chambers & Storage

Freezing Chambers & Storage

Boiler House

Tram way

Community Population Often with reduced populations of a rural community, it is difficult to effectively reprogram abandoned industrial buildings with new contemporary functions. Tokomaru Bay had its highest population in 1926 with 1427 people. The closure of the freezing works resulted in a reduction in population to 1240 people in 1961 (Gundry 91), 462 people in 2001, and by 2013 only 393 people remained (Appendix-1.05). The population is affected by seasonal trends and in the summer Tokomaru Bay experiences an influx of tourists and visiting young relatives. More than 25% of the population is under 15, a greater percentage than Gisborne district or New Zealand as a whole (fig-4.13) (Gisborne District Council 18). However the younger generations have typically never been to these sites and experienced the buildings. By investigating a meaningful way to return the abandoned rural industrial buildings to the community, the reduced sense of community identity might be enhanced. The new programme should also enable younger generations and visitors to recognise the story of the buildingâ&#x20AC;&#x2122;s on-going heritage. The thesis proposal for a new programme is one that can act as a type of â&#x20AC;&#x2DC;community centreâ&#x20AC;&#x2122;. The thesis investigation examines Resin Interpretation Centre (fig-4.14) as a case study of an industrial ruin returned to the rural community with a new programmatic identity.

118

Canterbury 2001: 20.3% 2006: 19.6% 2013: 18.6%

Auckland 2001: 22.9% 2006: 22.2% 2013: 20.9%

New Zealand 2001: 22.7% 2006: 21.5% 2013: 20.4%

Wellington 2001: 21.8% 2006: 20.6% 2013: 19.5%

Fig 4.13 New Zealand population graph age-group under 15.

Fig 4.14 Resin Interpretation Centre north side view.

119

Gisborne 2001: 27.5% 2006: 26.2% 2013: 24.5%

Tokomaru Bay 2001: 28.1% 2006: 28.2% 2013: 27.5%

Case-Study 4: Resin Interpretation Centre Oscar Miguel Ares Alvarez (Traspinedo, Spain 2014)

In a rural area of Traspinedo, Spain, contemporary Spanish architect Oscar Miguel Ares Alvarez renovated an empty warehouse into a community centre for multi-purpose activities. Alvarez retains the existing architectural forms by enveloping the whole building with his intervention as a new interior and exterior layer (fig-4.15). Alvarez proposed a simple plan layout including two spatial types providing different activities and occupying different group sizes. A large central space (fig-4.16) established from the existing open volume of the building is used as exhibition, job training and storage. Another smaller space attached along the north side of the building provides private spaces for offices, toilets and utilities (Tebbutt). Unlike the Tokomaru Bay Freezing Works, this site has a very limited footprint. However this case study suggests how this new programme contributed to enhancing community identity. Alvarez allowed the community to identify their own uses of the building while retaining the buildingâ&#x20AC;&#x2122;s heritage through the retained gable roof truss and perforated gate on the entrance designed to adapt local construction traditions (fig-4.17) (Tebbutt).

0 1m 2m

Fig 4.15 Resin Interpretation Centre cross-section.

120

Fig 4.16 Roof truss of Resin Interpretation Centre exposed as an important buildingâ&#x20AC;&#x2122;s heritage.

Fig 4.17 Resin Interpretation Centre entrance.

121

Proposed Programmatic Approach A new programme should be interactive with the community, inviting them to become active participants occupying the space. As Resin Interpretation Centre suggests, a community centre should provide both large public spaces and small private spaces for a range of groups and activities. Large public space may use as a gathering space or theatre, while small private spaces provide for meetings, workshops, kitchens, resting lounges, storages, and toilets. These spaces can invite the occupants to identify how spaces are used. The table (fig-4.19) compares the floor area of Resin Interpretation Centre to Tokomaru Bay Freezing Works in order to establish viable programme relationships.

9m2

5m2

8m2

4m2 2m2

5m2

119m2

0 1m 2m

Public Space

Fig 4.18 Resin Interpretation Centre plan.

122

Private Space

Cabinet storage

Resin Interpretation Centre

Proposed programme

Exhibition Job training

Gathering Theatre Lounge approx.60 Minimum 238m2

Public Space Use

Occupant size Floor area

approx.30 119m2

Private Space Use

Restroom Utility room Office approx.10 41m2

Restroom Office Meeting room Lounge approx.20 Minimum 82m2

Cabinet Storage n/a 19m2

Storage n/a Minimum 38m2

approx.40-50 179m2

approx.80-100 Minimum 358m2 per storey

Occupant size Floor area

Other space Use Occupant size Floor area

Total Occupant size Floor area Fig 4.19 Required floor area table.

123

162m2

272m2

10m

392m2

20m

Fig 4.20 Floor area calculated from boundary of brick building and freezing chambers, but excluding other building already occupied.

Sheltered area in the existing buildings Exposed area due to demolished roof Demolished area Occupied area by local fisherman Total available site area per storey-=-2220m2

425m2 795m2

205m2

795m2

Conclusion This chapter investigated a viable new programmatic approach to bring the community together and allow them to experience the narrative of the buildingâ&#x20AC;&#x2122;s on-going heritage. By establishing connections between a wide ranges of liminal spatial condition, the new interventions can enhance spatial qualities that foster enhanced sense of identity for the community. The following chapter tests theoretical and design approaches implicating Wabi-Sabi, Ma and In-Ei within design experiments to address the thesis objectives.

Fig 4.21 Resin Interpretation Centre timber furniture could be used as either display or table.

126

V. Preliminary Design

Fig 5.01 Experiment-1 clay-render.

Introduction The preliminary designs investigated approaches to new interventions to enhance the sense of identity of the rural community while safeguarding the building’s important heritage. The relationship between the abandoned building and its overgrown surroundings offer opportunities for significant contextual elements to be engaged as active participants of the on-going story of the site. The intention of this chapter is to test how three Japanese philosophies can be strategically integrated and applied to contemporary Western architectural interventions. This chapter begins with individual sketch experiments conveying how these philosophies contribute to addressing and achieving the research objectives. ----

Sketch experiments 1: Conveying Wabi Sabi The sketch experiments-1 is testing how the elements of decay as well as the overgrown landscape can become active participants of the design intervention to safeguard the on-going story of the rural industrial building. Fig-5.02 test how a new intervention is generated from architectural grids and axis from existing masonry columns and walls. Fig-5.03 show the unique form can be generated from existing architectural elements when converted into new architectural interventions.

130

1.01

1.02

1.03

Fig 5.02 Sketch-1.01-1.03. 1.01-1.02 enhance the space between existing and the new. 1.03 re-orients the intervention along the axis towards the wharf.

1.04

1.05

Fig 5.03 Sketch-1.04-1.05.

131

Figs-5.04-5.05 introduce contemporary glass and corten-steel envelope into the palette of the ruins. Figs-5.06-5.07 explore how the Shakkei (borrowed landscape) can engage surrounding contextual elements within the interior spaces as an important spatial experience.

Fig 5.04 Sketch-1.06. Corten-steel screen occupies the brick building, signifying its own identity while treating the existing as an important heritage.

Fig 5.05 Sketch-1.07. Glass intervention reflects the original roof of the freezing chamber.

132

Fig 5.06 Sketch-1.08.

Fig 5.07 Sketch-1.09.

133

Sketch experiments 2: Conveying Ma Figs-5.08-5.09 test how Ma can enhance transitional spaces inside, outside and through the site, challenging the ‘boundary’ of the interior intervention.

2.01

2.02 Fig 5.08 Sketch-2.01-2.02. 2.01 exploring intervention as an ‘occupant’ inhabiting the existing. 2.02 extends the intervention to surround it.

134

Fig 5.09 Sketch-2.03. Intervention extend out, connecting with wharf, hillside tank and former managerâ&#x20AC;&#x2122;s house.

135

2.04

2.05

Fig 5.10 Sketch-2.04-2.05. Enhancing materiality changes from concrete to timber as an important story of the wharf â&#x20AC;&#x2122;s evolution.

Figs-5.10 suggest how the new intervention may extend toward contextual elements including wharf and hillside tank, recognising each as an important part of the buildingâ&#x20AC;&#x2122;s heritage.

136

Fig 5.11 Wharf experiment wire-frame.

137

Sketch experiments 3: Conveying In Ei Sketch experiments-3 utilise darkness and shadows created from penetrated natural lighting through broken walls and roofs. Fig-5.12 explore how spatial qualities may alter depending on how the lighting penetrates through the buildingâ&#x20AC;&#x2122;s envelope. Figs-5.13-5.14 test how this could be conveyed into a new architectural intervention to create a spatial dialogue between the old and new architecture.

3.01

3.04

3.02

3.05

3.03

3.06

Fig 5.12 Sketch-3.01-3.06.

138

Fig 5.13 Sketch-3.07. Broken roof of the brick building enlighten the intervention occupying the existing.

Fig 5.14 Sketch-3.08. Exploring how slits on the wall contribute to the spatial experiences of circulation.

139

Figs-5.16-5.17 explore how In-Ei can derive from the overgrown foliage and geographic condition of the concrete framing. By the use of glass, the intervention retains the lighting conditions through its transparency and allows the community to read the interplay of natural light and shadows as an important part of the buildingâ&#x20AC;&#x2122;s on-going story.

Fig 5.15 Sketch-3.09. Indicating various In-Ei condition of the site.

Fig 5.16 Sketch-3.10.

140

Fig 5.17 Sketch-3.11. Glass intervention above maintains the lighting quality in the space.

141

Experiment 1 Freezing Works Design The preliminary design experiment-1 within the freezing works site began by interpreting Wabi-Sabi, exploring the intersection between multiple axes derived from historic traces of existing masonry walls. The design explores the axes that define principal site relationships including true north axis, the wharf axis, and the principal axis defined by the freezing works buildings. By expanding the idea of Ma, the design experiment is situated within the freezing works and expands out along the axis connecting the wharf, the hillside water tank and the former managerâ&#x20AC;&#x2122;s house, uniting them all into the overall intervention. In this experiment the two freezing chambers occupy the new architectural intervention differently, enhancing contrasted spatial conditions. One is enclosed by a glass shelter restoring the original roof, presenting it as a new occupant of the original architecture, while another is left exposed but inhabited by smaller habitable components oriented towards the wharf. By responding to existing axes on site, the intervention establishes contextual relationships with the surrounding elements and a dialogue between the freezing works ruin and the surrounding landscape, reconnecting the interior and the exterior of the ruins through spatial experiences generated from the Shakkei (borrowed landscape).

142

Fig 5.18 Initial experimental plan.

143

Fig 5.19 Freezing works design plan.

144

Fig 5.20 Freezing works design iteration.

Fig 5.21 Freezing works design clay-render.

145

Fig 5.22 Clay-render-1. Enhancing connection between wharf and tank.

Fig 5.23 Clay-render-2.

146

25m 50m

100m

Fig 5.24 Overall plan.

147

Fig 5.25 Wharf design iteration. Conveying important axis while enhancing focal point seen from the shift of materiality.

Fig 5.26 Wharf design clay-render.

148

5m 10m 20m

Fig 5.27 Wharf design plan.

149

Fig 5.28 Wharf design section.

Fig 5.29 Freezing works design exterior.

Fig 5.30 Wharf design interior.

Fig 5.31 Experiment-1 section.

25m

50m

100m

Fig 5.32 Experiment-1 interior. Testing how the Shakkei conveys Wabi-Sabi moments emphasising connections between the freezing works and wharf.

Fig 5.33 Experiment-1 interior-2. Testing how the intervention may blend into the concrete framing, overgrowing foliage, and the stream.

0 25m 50m 100m Fig 5.34 Experiment-1 plan

160

Professional Review 1: 27 May 2014 Comments from critics: Strengths: -- Powerful opportunities are starting to be engaged by retaining the ruins and the surrounding elements -- Good contrasts between the differences of tranquillity and sense of permanence through form. Weaknesses: -- The scope of the extended design including the wharf is overwhelming in relation to the freezing works itself. -- The machine-like design is almost trampling the spirituality provided by the existing ruins and natural landscape context. -- There is ambiguity as to the functionality of the design; further programmatic research is needed. Possible directions: -- The design could be more gentle or subtle, carefully touching the ruins. -- Allow the design to moderate and transform to deal with the spirit of the site and enable both to coexist meaningfully. -- The conflict of scale can be solved by revising the scope of overall project and deciding which elements to focus on so it can balance between existing historic ruins and proposed new architecture.

161

Experiment 2 The overall scale of the project was reduced following the May review by focusing the design to be developed within the freezing works buildings themselves rather than expanding outwards as well. The experiment-2 develops the modular booth for smaller private activities and the central hall for public gathering and theatre. These spaces are interwoven as overall interventions occupying the freezing chambers, enabling testing of the three philosophies at multiple scales.

Sketch experiments 4: Circulation Figs-5.35-5.37 explore spatial arrangements and relationships between public and private while establishing circulation systems. The circulation is treated not only as connecting spaces but as occupiable spaces, further investigating Ma as spaces transitioning between distinct realms.

162

Fig 5.35 Sketch-4.01. Circulation runs along existing wall, but distinguishes between circulation and intervention rather as integrated Ma.

Fig 5.36 Sketch-4.02. Circulation achieves continuous flow of walkway, but lacks accessibility from corner to corner.

Fig 5.37 Sketch-4.03. Circulation becoming part of the space within intervention, establishing interactive Ma space with simple layout which is easier to understand and for the community to experience.

163

Sketch experiments 5: Modular booth Private spaces for activities such as office meetings and resting are created by developing an individual modular booth generated from architectural grids of the existing columns. While these spaces are allocated for smaller private activities, figs-5.38-5.40 explore how spatial ambiguities of Ma can contribute to the spatial experience by conveying intimate connection with the original building. By seeing the new intervention as an inhabitant of the existing buildings, various liminal spatial conditions â&#x20AC;&#x201C; exposed-exterior and enclosed-exterior, exposed-interior and enclosed-interior â&#x20AC;&#x201C; are signified to establish spatial dialogue between old and new architecture (fig-5.40).

A:-Enclosed-interior B:-Enclosed-interior

A:-Exposed-interior B:-Exposed-interior

B 5.01

5.02

Fig 5.38 Sketch-5.01-5.02. Space shifts from enclosed-interior to exposed-interior by use of glass, having visual connections to the surroundings.

164

B A:-Exposed-interior B:-Exposed-interior/exterior C:-Exposed-exterior

Fig 5.39 Sketch-5.03. By creating verandas, space B becomes an exposed-exterior although it was interior before.

C B

A:-Enclosed-interior B:-Exposed-interior C:-Enclosed-exterior D:-Exposed-exterior Fig 5.40 Sketch-5.04. When the intervention occupies the existing architecture, space A, B and C transform identity although the spatial composition has not changed.

165

Fig 5.41 Modular booth watercolor. Intervention responding to dimensions of existing columns.

Fig 5.42 Ground floor modular booth model

166

Fig 5.43 Ground floor interior.

167

Fig 5.44 Modular booth watercolor-2.

168

Fig 5.45 Modular booth model plan.

169

Fig 5.46 Modular booth model.

Fig 5.47 Modular booth design as exploded wire-frame.

170

Modular Booth The modular booth developed from earlier experiments has been replicated and reoriented to maintain visual connections to the wharf and tank while conveying various Ma conditions between lower and upper areas of concrete framing through verandas (figs-5.44). Contemporary glass on upper floors allows light to stream through to lower spaces; ground floor focus shifts to witness concrete framing in shaded underground, enhancing the spatial qualities of In-Ei (fig-5.43). Iterative experiments suggest Ma can be developed to achieve private spatial conditions while simultaneously maintaining connections to public surroundings and the overgrown landscape permeating the ruins. The booth enhances â&#x20AC;&#x2DC;in-between zonesâ&#x20AC;&#x2122; by establishing enclosed habitable modules connected by a central circulation embracing and ordering the spaces.

171

Fig 5.48 Booth design interior. Exploring interplay of light and shadow through circulation while conveying connection with the wharf.

Fig 5.49 Sketch-6.01.

Sketch experiments 6: Central hall The space for larger public activities is designed as a central hall, retaining its identity as an occupant of the historic freezing works while responding to historic traces along the masonry walls. Figs-5.49-5.50 replicates the design of the modular booth, united into a larger space and reoriented to convey formal symmetry along the central axis of the existing building. The spaceâ&#x20AC;&#x2122;s transparency enhances the interplay of light and shadow but also establishes separation between spaces by the central circulation.

174

Fig 5.50 Central hall watercolor.

175

Fig 5.51 Central hall interior.

Fig 5.52 Central hall interior-2.

178

Fig 5.53 Sketch-6.02.

Fig-5.53 shows how the intervention may contain various spatial conditions between the first and second floors signified by shadows, where the upper floor receives full natural lighting through the glazed faรงade whose height is above the trees, while the bottom floor remains in darkness.

179

Fig 5.54 Sketch-6.03.

Figs-5.54-5.55 show integration of the central space and circulation space while responding to architectural grids derived from the masonry wall columns. The design achieves larger open habitable space but the overall form is overwhelming the identity of the existing building.

180

Fig 5.55 Central hall watercolor-2.

181

Fig 5.56 Central hall interior-3. The open space achieves wider visual connections and enhances contextual relationships with the water tank.

Fig 5.57 Sketch-6.04.

Figs-5.57-5.58 maintain the integration of hall space and central circulation with increased open Ma space, maximising habitable space as public gathering space. The simple box-like form inhabits the existing architecture without conflicting with its identity.

184

Fig 5.58 Central hall watercolor-3.

185

Fig 5.59 Experiment-2 exterior. Exploring In-Ei conditions at night; the intervention itself becomes the lighting source to intensify the darkness of the surrounding context.

Fig 5.60 Central hall design wire-frame. Minimise contact with the site to retain the existing conditions, using a self-supporting steel structure to enable the central hall to float above the ground.

Central Hall While the modular booth was developed from an asymmetrical diversion from the central axis of the existing building, the central hall was developed along the central axis of the building to enhance contrast between the two spaces. The design was intended to enhance the reading of the new intervention as an â&#x20AC;&#x2DC;occupantâ&#x20AC;&#x2122; of the space while maintaining the heritage of the ruins through understated forms separated from the existing walls; maintaining the overgrowth within the ruins also enhances the identity of the original architecture. The experiment suggests how contemporary interventions can help acknowledge and celebrate the on-going narrative in a way that the ruins alone could not. The intervention restores community identity by providing spatial conditions for both public and private use, interwoven with interactive Ma spaces which invite the community to signify spaces for diverse uses as a community centre.

188

Fig 5.61 Central hall model south-east view.

Fig 5.62 Central hall model north-west view.

189

10m

20m

Fig 5.63 Experiment-2 plan.

Fig 5.64 Bridge model.

192

Professional Review 2: 3 Oct 2014 Comments from critics: Strengths: ---

Adds strong cultural propositions to the project. Enhances connections between Western and Eastern cultural philosophies as a main driver to further evolve the intervention.

Weaknesses: ----

Needs further exploration as to what specific heritage wants to be retained and conveyed. Built fabric? Building itself ? Social, cultural dimension? What parts of the history of its cultural context can bring it alive again so people can acknowledge it? Lack of resolution as to how the design intervention responds to the community, and how exactly it can be occupied. Less intimate consideration of the relationship between intervention and ruins. Think of the site as a community of ruins, treating each significant area of the site (water tank, wharf, buildings) as part of the community conveying different qualities.

Possible directions and opportunities: ----

The current conditions of the ruins are not appreciated by the community. Can a design intervention invite community to celebrate the heritage seen from the ruins? Consider and explore differences between how Western and Eastern people respond to space. Look at semi-inside, semi-outside zones; similar spaces could be in different operations. Consider opportunities for the intervention to reinforce the existing structure; could structural reinforcement become part of the intervention to achieve programmatic awareness of the fragile nature of the existing conditions?

193

Fig 5.65 Exterior responding to historic traces of existing concrete bridge straddling the stream.

Fig 5.66 Brick building interior. Exploring how the intervention frames and celebrates the heritage of the site seen in the materiality and graffiti, while conveying In-Ei through interplays of penetrated light through the broken roof.

Conclusion This chapter explored iterative preliminary design experiments articulating the three Japanese philosophies as an important means of safeguarding the story of the rural industrial building while restoring the identity of the rural community. The intervention incorporates the existing freezing works ruins and the overgrown landscape while interweaving various spatial conditions of private modular booths and public central hall, allowing the community to come together and establish an intimate relationship with the on-going story of the freezing works. The following chapter discusses how the three Japanese philosophies contributed to generating the developed design intervention.

Fig 5.67 Tramway rails.

198

199

VI. Developed Design

Fig 6.01 Developed design exterior.

Introduction The previous chapter developed experiments to integrate Wabi-Sabi, Ma and In-Ei as a design tool to safeguard the on-going story of the rural industrial heritage building while restoring community identity. The intention of this chapter is to establish the developed design by integrating the results of the preliminary design experiments.

Wabi-Sabi The developed design conveys Wabi-Sabi by emphasising the relationship between existing contextual elements – including Waima Wharf and hillside water tank – and the freezing works ruins through the Shakkei. The architectural intervention blends the new materiality of glass and corten-steel within the existing materials of brick and masonry to highlight decay as a site’s unique heritage feature. The design’s organisational system is generated by reinterpreting the axes of the historic elements including those lost through decay.

Ma The impermanent intermediary space of Ma is manifested as integrated circulation space, gathering space and private space, able to transform its spatial qualities flexibly, providing fluctuating sizes for diverse activities. Ma is manifested by developing in-between spaces: enclosed-exterior, exposed-exterior, enclosed-interior and exposed-interior. By enabling the intervention to be responsive to a fluctuating community, Ma enables the community to become active participants in the on-going history.

In-Ei In-Ei introduces the interplay of light and shadow to enhance spatial conditions and their experience. The tranquil quality of darkness signifies its richness, and the hints of lighting filtered through layers of space define the spatial quality. Rather than avoiding or eliminating darkness, the design intervention treats shadows as participants of the spatial experience, celebrating the heritage of the site while enabling the community to acknowledge its impermanent qualities. The thesis develops the final design intervention by reflecting on how well the iterative preliminary design experiments convey the three principles.

202

5m 10m

20m

Fig 6.02 Ground floor plan.

G 1

5m 10m

20m

Fig 6.03 First floor plan.

203

A B C D E F G

Fig 6.04 Second floor plan.

10m

20m

N 1

A B C D E F G

Programme The design has multiple access points rather than defining one specific entrance. Visitors access the building through four main entrances located on the ends of the central circulation with lifts and stairs provided at the mid-point. The bridge extended along the wharf axis invites visitors to walk through the foundations of the freezing chamber, leading to the staircase. The service space including restrooms, lifts and fire-stairs are integrated and located in the mid-point of the central circulation, providing access from both sides of the building. The brick building also contains extra storage and restrooms for visitors. Ground floor space above the concrete framing is mainly occupied by offices and meeting room, while exterior space under the central hall retained in its original condition can be utilised as a courtyard. First floor has modular booths with balconies connected to the lounge, achieving transparency through the booths. The central hall contains a theatre beside the veranda exposed to the exterior, and large storage spaces placed on the opposite end. The central circulation connects to the brick building, achieving further accessibility between the freezing chamber and the brick building. Modular booths in the second floor are enclosed for privacy while the central hall achieves public space fully illuminated by the use of contemporary glass. Also it has a mezzanine floor with a large opening to convey the vertical interactive Ma space with visual connections inbetween. A kitchenette is placed beside the gathering hall for serving light food on particular occasions.

206

Fig 6.05 Circulation diagram.

207

5 11 3 8

1 12

10 15 16

6 3

7 19 18

2 1.-Fire-stair-A 2.-Fire-stair-B 3.-Lift 4.-Restroom-A 5.-Restroom-B

6.-Restroom-C 7.-Restroom-D 8.-Storage-A 9.-Storage-B 10.-Storage-C

11.-Office 12.-Meeting room 13.-Lounge/Balcony 14.-Private lounge 15.-Mini theatre

Fig 6.06 Programme diagram.

208

16.-Veranda 17.-Gathering hall 18.-Kitchenette 19.-Mezzanine floor

Public space Use Mini-theatre Veranda Gathering hall Kitchenette Mezzanine floor

Floor level 1st 1st 2nd 2nd 2nd

Occupant capacity 10-15 5-8 30-40 6-8 10-20

Floor area 106m2 76m2 210m2 45m2 145m2

Floor level Ground Ground Ground Ground 1st 1st 2nd 2nd

Occupant capacity 2-3/booth 4-6/booth 5 4 3-5/booth 5 3-5/booth 5

Floor area 30m2/booth 30m2/booth 15m2 23m2 50m2/booth 27m2 30m2/booth 27m2

Floor level Ground Ground 1st

Occupant capacity 1-2 1-2 3-4

Floor area 6m2 26m2 40m2

Floor level All All All Ground 1st 2nd

Occupant capacity n/a n/a 8-10 n/a n/a n/a

Floor area 10m2/floor 22m2/floor 4m2/floor 582m2 405m2 197m2

Floor level Ground 1st 2nd Total

Occupant capacity 30-40 40-60 75-100 150-200

Floor area 861m2 949m2 839m2 2649m2

Private space Use Office Meeting room Restroom A Restroom B Lounge/Balcony Restroom C Private lounge Restroom D

Other space Use Storage A Storage B Storage C

Circulation Use Fire-stair A Fire-stair B Lift Walkway A Walkway B Walkway C

Total

Fig 6.07 Programme table.

209

Fig 6.08 Longitudinal section.

10m

20m

A 0

10m

20m

10m

20m

Fig 6.09 Cross-section through central hall.

Fig 6.10 Cross-section through modular booth.

You feel the picture is more true to Nature than any Western painting of the same scene would be, that it produces sensations of Nature no Western picture could give. And indeed there are contained within it whole ranges of discoveries for you to make (Hearn, Out of the East 121).

Fig 6.11 Exposed-exterior of concrete bridge reflects the existing bridge while reconnecting access between the wharf and ruins.

Ground Floor

Fig 6.12 Semi-dark space of concrete framing. Corten-steel pathway runs beside the stream, the community experiences shifts of spatial conditions from exposedexterior to enclosed-exterior.

Space was carved like a sculpture in the making by a line of light that pierced the darkness, its appearance altered with each successive moment (Ando 1995, 470).

Fig 6.13 Concrete framing admits the darkness of enclosed-exterior, while revealing its form by natural light filtered through upper spaces of the intervention.

There is an old song that says â&#x20AC;&#x153;the brushwood we gather â&#x20AC;&#x201C; stack it together, it makes a hut; pull it apart, a field once more.â&#x20AC;? Such is our way of thinking we find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates (Tanizaki 29-30).

Fig 6.14 Semi-dark space under the overhanging ceiling conveys spatial condition between exposed-exterior and exposed-interior.

May not Memory somehow and somewhere also survive? Are we sure that in ways and forms unknowable it does not? As infinite vision, remembrance of the Future in the Past? Perhaps in the Night without end, as in deeps of Nirvana, dreams of all that has ever been, of all that can ever be, are being perpetually dreamed (Hearn, Out of the East 231).

Fig 6.15 Exposed-exterior of brick building. Penetrated light reveals the intervention within the building which was hidden within the darkness.

Fig 6.16 Semi-dark brick building enclosed-interior. Corten-steel enhances relationships with the decaying materiality and allows light hitting the pathway to guide the inhabitant.

Fig 6.17 Theatre. Dark enclosed-interior retaining connection to the surrounding through slits, contrasting spatial conditions with the upper space.

First Floor

Fig 6.18 Exposed-exterior balcony. Experiencing intermediary space between exposed-interior and exposed-exterior through balcony.

For in the cosmic order of things the present is the shadow of the past, and the future must be the reflection of the present. One are we all, even Light is, though unspeakable the millions of the vibrations whereby it is made. One are we all, and yet many, because each is a world of ghosts (Hearn Out of the East 67).

Fig 6.19 Veranda enhances the spatial conditions in-between the ruins and intervention, establishing intermediary space between exposed-interior and enclosed-exterior.

Second Floor

This light, drawn through openings into the interior of his build structures, enabled man, who dwelt inside, to understand his own being, relative to his surroundings (Ando 1995, 471).

Fig 6.20 J.-Dark enclosed-interior looking towards the wharf, experiencing contrast with exposed-interior.

Fig 6.21 Semi-dark circulation. Enclosed-interior of Ma established as a connecting space, an interactive intermediary space between the circulation and the modular booth.

Fig 6.22 Exposed-interior of Ma encouraging diverse use while people experience the illuminated space achieved by glass and enhancing the spatial quality above the overgrown foliage.

Please see animation â&#x20AC;&#x153;Out_of_the_East_Animation_Tomoki_Takeiâ&#x20AC;? in attached disc or click on the title.

Conclusion When the Japanese philosophies of Wabi-Sabi, Ma, and In-Ei are integrated, they emphasise the unique spatial qualities of the rural industrial ruins and surrounding contexts, while enhancing the community’s ability to recognise its heritage as an important means of enhancing their own sense of local identity. The developed design establishes the new interventions as ‘occupants’ of the ruins by applying Wabi-Sabi, respecting the original heritage by minimising the physical impact on the existing site. The new programme of a community centre contributes to interweaving various spatial conditions reflecting the needs of a fluctuating community. By projecting Ma as in-between space, intermediary zones become at once connecting circulations, private booths, and an open hall for the public gatherings. The interplay of light and shadow deriving from the philosophy of In-Ei contributes to conveying a spatial experience which allows the community to recognise the on-going story of the site, connecting themselves further to the heritage of the freezing works ruins by highlighting the ephemeral quality of the shadows that have come to define the site. The thesis design experiments suggest that the integration of these three Japanese philosophies can be used as a tool to provide a spatial experiences that enhance our ability to read the on-going heritage stories of New Zealand’s rural industrial ruins. However the experiments also indicate the limitations of explicit translation of these philosophies due to potentially ambiguous sensibilities. Wabi-Sabi, Ma, and In-Ei are in fact phenomenological principles when experienced, and as such it is difficult to assess successful applications when tested only through 2-dimensional representations such as digital renders, animations, drawings, and photographs. Perceptual systems are significant participants of these philosophies, including conditions such as temperature change from darkness to light, air movement from the bay, aromas of foliage, and sounds of the stream which are difficult to convey. The retention of the ruinous conditions of the existing freezing works ruins is not only for safeguarding their on-going heritage, but also to convey these phenomenological experiences which contribute to the Japanese philosophies of Wabi-Sabi, Ma, and In-Ei.

239

VII. Conclusions

The main intention of this research investigation was to develop a model for safeguarding the on-going story of New Zealandâ&#x20AC;&#x2122;s rural industrial heritage buildings while enhancing the identity of the community they represent. These buildings have typically been neglected and are in ruins due to post-war economic shifts involving industrial advancements and relocations to larger cities. Rural industrial ruins represent only one form of heritage architecture which struggles to express its heritage and risks becoming lost in the past. The rural community needs these buildings to be safeguarded to enable on-going generations to witness remember the townâ&#x20AC;&#x2122;s history. This thesis examined how three Japanese philosophies of Wabi-Sabi, Ma, and In-Ei can be strategically integrated and applied to provide added value to these abandoned rural industrial sites, safeguarding them while making them viable once more. Traditional western approaches to historic renovation often demand full restoration rather than understanding that ruins can reflect important lessons about the impermanence and evolving nature of heritage narratives. Public Promenade by 3S Studio evidenced a successful approach to treating existing decay as an important heritage element of the former railway, framing the decay using corten-steel screen. However the philosophy of Wabi-Sabi adds to this idea by not only safeguarding these historic traces as beautiful elements, but also using them to enhance phenomenological experiential moments derived from them. Wabi-Sabi was applied to the new architectural interventions by exploring symmetrical and asymmetrical relationships with important focal points and axes established by historic elements of the existing architecture. The spatial moments generated from asymmetrical diversions from formal axes enabled the use of Shakkei to expand the experiential field from inside to outside, enhancing lost contextual relationships between the freezing works building and the wharf. Due to demolition and weathering of the architecture, the siteâ&#x20AC;&#x2122;s partially lost roof, floors, and walls have enabled the overgrown landscape to dissolve the boundary between interior and exterior space. Ma was applied to this liminal space by treating in-between zones as both connecting and gathering spaces. In the case study of S-House, Kazuyo Sejima explored the spatial dialogue between interior and exterior using the contemporary glass corridor. This idea was expanded through the design experiments, engaging Ma not only as a passage but also to interweave various liminal spatial conditions: exposed-interior and enclosed-interior, exposedexterior and enclosed-exterior. Ma enhanced the identity of interior spaces without using enclosing architectural walls. Ma also conveyed spatial dialogues between the old and the new, while accommodating fluctuating sizes of the community through a combination of private modular booths and a public central hall for larger gatherings.

Fig 7.01 Hillside view.

241

Darkness infills the abandoned ruins due to encroaching foliage penetrated by natural light through the broken roof. The thesis examined ways to apply In-Ei through the case study of Inujima Seirensho Museum by Hiroshi Sambuichi, investigating how shadow conditions may be signified as active participants of a new architectural intervention. Sambuichi used mirrors to engage natural lighting as a guide for visitors; natural light and shadow defined the interior spaces and enhanced the identity of the new architectural intervention as an ‘occupant’ within the ruined space. In-Ei suggests that the tranquil quality of shadow can help restore the sense of identity by intimately connecting the community with the dialogue between architecture, interior intervention, and surrounding landscape. In-Ei enables the community to understand the heritage of the building through spatial experiences defined by the existing natural lighting condition of the ruins resulting from the encroaching rural context. The thesis investigation suggests that these three culturally specific philosophies can be applied into the context of rural New Zealand and still be understood by a local New Zealand community. The thesis was examining ways to inhabit decayed ruins while facilitating the ability to witness their intimate relationship to the environment through interior architectural interventions. Limitations of the investigation include the constraints of evidencing its phenomenological and experiential effects. Also the thesis understands that the design outcome exceeds the economic capability of a rural community with a low population. A structural engineering investigation of the design research outcome is beyond the scope of this research, particularly with the level of damage occurring in the existing structures and damaged concrete framing. The developed design suggests a new approach to resolving post-ruin conditions of abandoned industrial buildings in New Zealand. In future the research could be tested in heritage buildings situated in urban contexts, exploring how the approach can be adapted to convey impermanence and regain greater connections between the community, its heritage buildings and the surrounding contexts, contributing to the urban development of New Zealand while these buildings still exist. According to Ando, Japanese architecture has already begun to lose such sensibilities as In-Ei, since developing technology and industrialisation “produced a world of exceeding transparency – a world of homogeneous light, bright to the exclusion of all else, and devoid of darkness” (1995, 470-471). The thesis also considers that this investigation could contribute to the cultural development of Japanese Architecture, retaining their traditional sensibility.

242

Immigration to foreign countries has become a major global trend, resulting in â&#x20AC;&#x2DC;in-betweenâ&#x20AC;&#x2122; cultures represented by second and third generations who begin to play dominant roles in local culture. Migrations to New Zealand are increasing, the highest migrant inflows being in the last ten years (MacPherson 5). Conserving local heritage as well as oneâ&#x20AC;&#x2122;s own culture becomes ever more significant especially as these generations struggle to signify their own cultural identity. Through the design investigations of two cultures representing both East and West, New Zealand and Japan, this thesis suggests interior architecture can contribute to new opportunities to enhance our recognition of evolving global heritage, while enabling local communities to retain and witness their evolving cultural identity. Through narratives derived from the spatial qualities of these three integrated Japanese philosophies, cultural sensibility prioritises neither East nor West, but represents a unique experience which appreciates and enhances our reading of the historical background and cultural identity of the architecture, the community, and the surrounding context. In further research it would be hoped that the abandoned rural industrial ruins could become significant contributors again to represent the cultural development and evolution of New Zealand, offering opportunities for rural communities to witness their heritage in on-going and memorable ways.

243

VIII. Bibliography

Ando, Tadao. Chichu Art Museum:-Tadao Ando Builds for Walter De Maria, James Turrell, and Claude Monet. Ed. Eugenia Bell. Ostfildern: Hatje Cantz, 2005a.-Print. Ando, Tadao. Tadao Ando at Naoshima:-Art, Architecture, Nature. Ed. Philip Jodidio. New York: Rizzoli, 2005b.-Print. Ando, Tadao. Tadao Ando:Complete Works. Ed. Francesco Dal Co. London: Phaidon, 1995.-Print. Bognar, Botond. “An Architecture of Dissolution? The work of Kengo Kuma.” Kengo Kuma Selected Works. Ed. Botond Bognar. New York: Princeton Architectural Press, 2005. 18-41.-Print. Bognar, Botond. Contemporary Japanese Architecture, its Development and Challenge. New York: Van Nostrand Reinhold, 1985.-Print. Bognar, Botond. “The Japanese Order of Things:-Notes on Humanism and the ManEnvironment Relationship in Japan.” Pratt Journal of Architecture Vol.2 (1988): 148-162.-Print. Bognar, Botond. “What goes up, must come down: recent urban architecture in Japan.” Harvard Design Magazine Vol.3 (1997): 33-43.-Print. Fujimoto, Sou. “Primitive Future.” Sou Fujimoto:-2003-2010. El Escorial: El Croquis, 2010. 198-213.-Print. Gisborne District Council. “Tokomaru Bay township development plan April 2007.” Gisborne District Council.-16-Dec-2011.-Web.-13-Jan-2015. <http://www.gdc.govt.nz/assets/Township-Plans/Tokomaru-Bay/Tokomaru-BayFinal-2007.pdf> Gundry, Sheridan. Making a Killing. Gisborne: Tairawhiti Museum, 2004.-Print. Hearn, Lafcadio. Out of the East:-reveries and studies in new Japan. London: Jonathan Cape, 1927.-Print. Hill, Jennifer. “Six Degrees of Intervention.” The double dimension:-heritage&innovation. Ed. Jennifer Hill. Canberra, ACT: Royal Australian Institute of Architects, 2004. 64-83.-Print.

Fig 8.01 Freezing chamber from hill.

245

Hill, Jonathan. “An other architect.” Occupying Architecture: between the architect and the user. New York: Routledge, 1998. 135-159.-Print. Juniper, Andrew. Wabi Sabi:-The Japanese Art of Impermanence. Boston: Tuttle Publishing, 2003.-Print. Kakuzo Okakura. The Book of Tea. Boston, MA: Tuttle Publishing, 2000.-Print. Kurokawa, Kisho. “From Metabolism to Symbiosis.” Kisho Kurokawa:-From Metabolism to Symbiosis. New York: St. Martin’s Press, 1992. 7-29.-Print. Kurokawa, Kisho. “The Universe and Abstract Geometry.” Kisho Kurokawa:-Abstract Symbolism. Milano: L’Arcaedizioni, 1996. 13-28.-Print. Lawrence, G. Robyn. The Wabi-Sabi House:-the Japanese art of imperfect beauty. New York: Clarkson Potter, 2004.-Print. MacPherson, Liz. “International Travel and Migration: November 2014.” Statistics New Zealand (Dec 2014):-1-16.-Print. Rau, Charles. “History of Tokomaru Bay.” 100 years of Waiapu. Gisborne: Gisborne District Council, 1993. 177-192.-Print. Sambuichi, Hiroshi. “Inujima Art Project Seirensho.” Japan Architect Vol 81, (2011).70-91.-Print. Skinner, Damian, Gail Henry, and Linda Pattison. “Tokomaru Bay Freezing Works.” Heritage New Zealand. Heritage New Zealand Pouhere Taonga, 21-Jun-2010.-Web.-13-Jan-2015. < http://www.heritage.org.nz/the-list/details/3481> Smith, Catherine. “Between-ness: Theory and Practice within the Margins of Excess.” IDEA Journal (2003):-131-144.-Print. Smith, Catherine. “Inside-Out Speculating on the Interior.” IDEA Journal (2004):-93-102.-Print. Smith, Catherine. “Looking for liminality in architectural space.” Limen no.1 (2001).-Web.-13Jan-2015. <http://limen.mi2.hr/limen1-2001/catherine_smith.html> Suzuki, Daisetz. Zen and Japanese Culture. Princeton: Princeton University Press, 1970.-Print. Tanizaki, Junichiro. In Praise of Shadows. Trans. Thomas Harper and Edward Seidensticker. Branford: Leete’s Island Books, 1977.-Print.

246

Tebbutt, Luke. “Oscar Miguel Ares Alvarez converts Spanish slaughterhouse into community centre.” Dezeen.-18-Sep-2014.-Web.-13-Jan-2015. <http://www.dezeen.com/2014/09/18/resin-interpretation-centre-spain-gallerycommunity-centre-oscar-miguel-ares-alvarez/> “Tokomaru Bay Area Unit Group---Population Change---1981 to 2013.” MERA Socioecometrica Online Library. Monitoring and Evaluation Research Associates Ltd, 21-Mar-2014.-Web.-13Jan-2015. <http://socioecometrica.co.nz/InfoLib/NZAU/STATS/AU200613_769_SumPageV1a. php>

247

248

IX. Sources of Figures

All figures not attributed are author’s own. Figure-0.02

Copy of historic photo taken by local resident.

I.-Introduction Figure-1.02

“Ise Shrine.” Sakura, 2013.-Web.-13-Jan-2015. <http://warabikazuo.com/wordpress/?p=2390>

Figure-1.03

“Early Tokomaru Bay Photos.” Tokomaru Bay New Zealand, 2014.-Web. 13-Jan-2015. <http://www.tokomarubay.info/206188026?i=69508504>

Figure-1.04

Google Earth. 4-Oct-2013.-Web.-13-Jan-2015.

II.-Literature and Project Review Figure-2.01

Augustine, Luhring. “Rachel Whiteread born 1963.” Luhring Augustine, 2010.-Web.-13-Jan-2015. <http://www.luhringaugustine.com/artists/rachel-whiteread>

Figure-2.02

Singhal, Sumit. “Albisola Superiore in Albisola Superiore, Italy by 3S studio.” AECCafe, 2011.-Web.-13-Jan-2015. <http://www10.aeccafe.com/blogs/arch-showcase/2011/11/09/ albisola-superiore-in-albisola-superiore-italy-by-3s-studio/>

Figure-2.03

“Landschaftspark Duisburg Nord by Latz-+-Partner.” Landezine, 2011.-Web.-13-Jan-2015. <http://www.landezine.com/index.php/2011/08/post-industriallandscape-architecture/>

Figure-2.04

“Duisburg Nord Landscape Park, DE.” Latz-+-Partner, 2002.-Web.-13Jan-2015. <http://www.latzundpartner.de/en/projekte/postindustriellelandschaften/landschaftspark-duisburg-nord-de/>

Fig 9.01 Waima Wharf aerial view.

249

Figure-2.05

Singhal, Sumit. “The Warehouse17C in Madrid, Spain by Arturo Franco Office.” AEC Café, 2011.-Web.-13-Jan-2015. <http://www10.aeccafe.com/blogs/arch-showcase/2011/06/14/thewarehouse-17c-in-madrid-spain-by-arturo-franco-office/>

Figure-2.06

“Japanese Gardens.” Adachi Museum of Art, 2014.-Web.-13-Jan-2015. <http://www.adachi-museum.or.jp/garden>

Figure-2.07

“Igualada Cemetery-Enric Miralles-&-Carme Pinos.” Office Twenty Five Architects, 2013.-Web.-13-Jan-2011. <http://www.o25.gr/blog/article/igualada-cemetery-enric-mirallescarme-pinos>

Figure-2.08

Bognar, Botond. Kengo Kuma Selected Works. Ed. Botond Bognar. New York: Princeton Architectural press, 2005:-110.-Print.

Figure-2.09-2.12

Figure-2.14

Bann, Iwan. “Inujima Arthouse Project”. Iwan Baan Photography, 2010.-Web.-13-Jan-2015. <http://iwan.com/photo_index_Sejima_Inujima_Arthouse_Project. php>

Figure-2.15

“Nouthern culture museum.” My-Ho-jo-ki, 2007.-Web.-13-Jan-2015. <http://blog.livedoor.jp/dankai_sedai23/archives/64742761.html>

Figure-2.16

Shikashi, Aruiha “Fukuoka Bank/Kisho Kurokawa.” Hatena Diary, 2013.-Web.-13-Jan-2015. <http://d.hatena.ne.jp/aruiha_shikashi/20130521/p1>

Figure-2.17

Sou Fujimoto:-2003-2010. Sou, Fujimoto. El Escorial: El Croquis, 2010:-119.-Print.

Figure-2.19-2.20

“House N-/-Sou Fujimoto.” ArchDaily, 2011.-Web.-13-Jan-2015. <http://www.archdaily.com/7484/house-n-sou-fujimoto/>

Figure-2.21-2.23

Bann, Iwan. “Inujima Arthouse Project.” Iwan Baan Photography, 2010. Web.-13-Jan-2015. <http://iwan.com/photo_index_Sejima_Inujima_Arthouse_Project. php>

Figure-2.24

“Inujima Arthouse Project S House-/-Lens.” Art Setouchi, 2014.-Web.13-Jan-2015. <http://setouchi-artfest.jp/artwork/a095>

250

Figure-2.26

“Inujima Art Project Seirensho.” Open Buildings. Despark, 2012.-Web.13-Jan-2015. <http://openbuildings.com/buildings/inujima-art-project-seirenshoprofile-3566/media>

Figure-2.27

“The Architecture of Light.” Glossom, 2013.-Web.-13-Jan-2015. <http://www.glossom.com/collections/the-architecture-oflight?seq=dedit_date%40UC-18361>

Figure-2.28

Tadao Ando at Naoshima:-Art, Architecture, Nature. Tadao, Ando. New York: Rizzoli, 2005b:-170-171.-Print.

Figure-2.29-2.31

“Optical Glass House.” Hiroshi Nakamura-&-NAP Co, Ltd, 2012.-Web.13-Jan-2015. <http://www.nakam.info/en/>

Figure-2.32

Tadao Ando at Naoshima:-Art, Architecture, Nature. Tadao, Ando. New York: Rizzoli, 2005b:-129.-Print.

Figure-2.33

Tadao Ando at Naoshima:Art, Architecture, Nature. Tadao, Ando. New York: Rizzoli, 2005b:-123.-Print.

Figure-2.34

Baldridge, David. “Inujima Art Project.” Griddable. Zemanta, 2010.-Web.13-Jan-2015. <http://griddable.com/?p=798>

Figure-2.35

Hybel, Harry Jakob. “Inujima Seirensho Art Museum.” Arcspace. Danish Architecture Centre, 2013.-Web.-13-Jan-2015. <http://www.arcspace.com/features/sambuichi-architects/inujimaseirensho-art-museum/>

Figure-2.36

Zaikabou. “Journey through Setouchi Day-2.” Higoto-ni-teki-to-taida-nitatakau. Hatena Diary, 2009.-Web.-13-Jan-2015. <http://d.hatena.ne.jp/zaikabou/20090502/1241622981>

Figure-2.40

“Inujima Art Project Seirensho.” Open Buildings. Despark, 2012.-Web.13-Jan-2015. <http://openbuildings.com/buildings/inujima-art-project-seirenshoprofile-3566/media>

III.-Site Analysis Figure-3.01

Google Earth. 15-Jan-2011.-Web.-13-Jan-2015.

Figure-3.02

Copy of historic photo taken by local resident.

Figure-3.03

Google Earth. 15-Jan-2011.-Web.-13-Jan-2015.

251

Figure-3.06-3.08

Copy of historic photo taken by local resident.

Figure-3.10

“Early Tokomaru Bay Photos.” Tokomaru Bay New Zealand. Simplesite, 2014.-Web.-13-Jan-2015. <http://www.tokomarubay.info/206188026>

Figure-3.11

Copy of historic photo taken by local resident.

Figure-3.53

Briggs, Christiaan. “Tokomaru Bay.” Flickr, 2009.-Web.-13-Jan-2015. <https://www.flickr.com/photos/christiaanbriggs/5023467028/>

Figure-3.65

Making a Killing. Gundry, Sheridan. Gisborne, Tairawhiti Museum, 2004: 204.-Print.

IV.-Programme Analysis Figure-4.01

“Resin Interpretation Centre-/-Oscar Miguel Ares Alvarez.” Archdaily, 2014.-Web.-13-Jan-2015. <http://www.archdaily.com/537400/>

Figure-4.02

Making a Killing. Gundry, Sheridan. Gisborne, Tairawhiti Museum, 2004: 102.-Print.

Figure-4.03

“The original Haslam (English) combined steam engine and compressor at the New Zealand Refrigerating Company’s Islington Freezing Works.” Christrchurch City Libraries. Christchurch City Council, 1890.-Web.-13Jan-2015. <http://christchurchcitylibraries.com/heritage/photos/disc17/ IMG0086.asp>

Figure-4.04

Making a Killing. Gundry, Sheridan. Gisborne, Tairawhiti Museum, 2004: 24.-Print.

Figure-4.05

Copy of historic photo by local resident.

Figure-4.06

Making a Killing. Gundry, Sheridan. Gisborne, Tairawhiti Museum, 2004: 11.-Print.

Figure-4.07

Making a Killing. Gundry, Sheridan. Gisborne, Tairawhiti Museum, 2004: 35.-Print.

Figure-4.08

“Men preparing sausage casings at Islington Freezing Works, Canterbury.” National Library of New Zealand, 1920.-Web.-13-Jan-2015. <http://natlib.govt.nz/records/22316115?search[i][primary_ collection]=TAPUHI&search[i][subject]=Fre>

Figure-4.09

Making a Killing. Gundry, Sheridan. Gisborne, Tairawhiti Museum, 2004: 20.-Print.

252

Figure-4.11

Making a Killing. Gundry, Sheridan. Gisborne, Tairawhiti Museum, 2004: 74-75.-Print.

Figure-4.14-4.18

“Resin Interpretation Centre/Oscar Miguel Ares Alvarez.” Archdaily, 2014.-Web.-13-Jan-2015. <http://www.archdaily.com/537400/>

Figure-4.21

“Resin Interpretation Centre/Oscar Miguel Ares Alvarez.” Archdaily, 2014.-Web.-13-Jan-2015. <http://www.archdaily.com/537400/>

IX.-Sources of Figures Figure-9.01

“Waima.” Tokomaru Bay Virtual Museum. Yola, n.d.-Web.-13-Jan-2015. <http://www.tokomarubayvirtualmuseum.yolasite.com/waima.php>

X.-Appendices Appendix-1.01

Gisborne, Tairawhiti Museum.Print.

Appendix-1.02

“Scheme to make use of ruins.” The Gisborne Herald. 13-Jun-1987.-Print.

Appendix-1.03

“Aquaculture paves new way on coast.” The Gisborne Herald. 26-Sep1987.-Print.

Appendix-1.04

Conway, David. “Could museum sprout from Waima ruins?” The Gisborne Herald. 6-Jun.-Print.

Appendix-1.05-1.06 “Tokomaru Bay Area Unit Group-Population Change-1981 to 2013.” MERA Socioecometrica Online Library. Monitoring and Evaluation Research Associates Ltd, 21-Mar-2014.-Web.-13-Jan-2015. < h t t p : / / s o c i o e c o m e t r i c a . c o. n z / I n f o L i b / N Z AU / S TAT S / AU200613_769_SumPageV1a.php> Appendix-1.07-1.08 Photograph taken by Essi Airisniemi. Dec-2014.

253

X. Appendices

Appendix 1.01

Tokomaru Bay Freezing Works Tramway Plan.

Appendix 1.02

Newspaper article-1.

256

Appendix 1.03

Newspaper article-2.

257

Appendix 1.04

Newspaper article-3.

258

Appendix 1.05

Table of trends in age composition 1981-2013 for Tokomaru Bay.

Appendix 1.06 Bay.

Graph comparing population composition by age and sex for 2006 and 2013 for Tokomaru

259

Appendix 1.07

Master of Interior Architecture exhibition display.

Appendix 1.08

Exhibition display back.