Museum of Maritime Artifacts

Museum of Maritime Artefacts TetWey Chen 828678

M.Arch Thesis, Semester 2, 2020 University of Melbourne Studio 03 DIG Studio Leader: Virginia Mannering

front cover image: Print of ‘Wreck of the Loch Ard near Sherbrook River’, from Illustrated Sydney News and New South Wales Agriculturist &​Grazier, 13 July 1878, p. 13.

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Contents 1.0 Research

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2.0 Site

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3.0 Concept Design

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4.0 Sketch Design Development

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5.0 Sketch Design

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6.0 Refined Design Development

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7.0 Refined Design

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8.0 Bibliography

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Thesis Statement Melbourne has undergone physical transformations since the colony first established its ports in service of the growing city. The waterfront city is rich with maritime history and heritage, yet it is disregarded on the ocean floor impacting the fragile marine ecosystem.

A century underwater, these wrecks are at risk, weakening with metal fatigue, failure and collapse that may result in leakage of oil, fuel and toxic chemicals (Spalding, 2020). How can a new museum typology facilitate a new understanding of the city’s history with the ocean and celebrate its maritime heritage?

This thesis will investigate Victoria’s treacherous coastline and the impact of shipwreck tragedies on the fragile marine life through the design of a museum that draws inspiration from Melbourne’s maritime history.

The Melbourne Museum of Maritime Artifacts aims to re-establish the city’s connection with the waterbody by resurfacing hidden layers, objects and issues surrounding current shipping industries, ultimately shifting the public’s perspective on the subject matter.

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1.0 Research

The Artefact, Shipwreck Studies, The Collection, Precedents

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The Artefact Ships have played a vital role in the early years of Melbourne settlement. However, the journey to the land down under was often long and dangerous.

Navigation out at sea requires good working knowledge and skill by the captain, and tools such as the sextant were crucial in safe navigating at sea (Mörzer Bruyns, 2009). Equipped with a set of filters and a telescope lens, it uses double reflection principle that measures the angular distance between two visible objects and the horizon, so seafarers can measure the angle and altitude of the sun, moon or star above the horizon to navigate themselves at sea better.

Exhibiting the sextant and possibly other significant maritime navigational instruments as part of the museum’s broader collection will reconnect the contemporary city back to the wider interpretation of Melbourne maritime heritage.

How the artefact made its way to Melbourne can be traced back to London where it was first manufactured.

Though the navigation operates well in general, uncertain factors with weather and sea currents can easily obscure the functionality of such device (Mörzer Bruyns, 2009). The treacherous conditions offered by the Victorian coastline, along with bad weather can hinder the navigation’s visibility; the captain of the ship would have to rely on dead reckoning (Law, 1978).

Occasionally shipwrecks occur, and a vast quantity of cargo sinks into the ocean floor.

It is only in recent decades that wrecks have become accessible to many divers. Soon after the development of SCUBA diving, it leads to an increasing number of divers to the shipwreck sites in an attempt to recover or loot valuable cargos and items of the past until legislation is made to halt illegal scavenging (Hosty and Stuart 1994).

Figure 1: Sextant

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Timeline

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Shipwreck Studies: Loch Ard The City’s development was intrinsically connected to the ocean. Its evidence of dependency on the ocean to transporting goods and people remain abundant in historical places and objects. Maritime infrastructure and shipwrecks are some of the most tangible maritime heritage. There are 780 shipwrecks along the Victorian coast, yet less than half are discovered (VEAC, 2015).

Studies of these remnants can begin to understand their history and narratives surrounding the shipwreck.

Victoria’s renowned shipwreck Loch Ard (1878) was full of romance and heroics. It was an iron-hulled sailing vessel carrying 54 passengers and crew from London. After the wreckage, only 2 survived. The event has been memorialised in a variety of media (Fielding, 2003). Paintings, opera, diorama and memorials, to name a few are some of the examples.

The event also inspired poetry such as the “Ship in a bottle” in Figure 3. It is important to consider how the museum would help facilitate these storytelling devices so that these cultural heritage can enrich the peoples’ lives by building a connection between the communities to the past and lived experiences.

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Much of the cargo has now been salvaged, and some items were washed up into Loch Ard Gorge. Over the years, objects of value from the ship were subject to illegally salvagery before protective legislation was introduced in 1982 (Hosty and Stuart 1994). One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock (Figure 6). The statue was destined for the Melbourne 1880 International Exhibition (Peacock Majolica Figurine, 2020). The artefact holds a significant value as it uncovers the affluence of Melbourne in the era of the gold rush. Today, many of the underwater shipwrecks artefacts were untouched to preserve the identity of the sites. Some became popular recreational diving spots for people as they represent a tangible remain of historical events (Figure 4).

Heritage Victoria held an exhibition in 2016 featuring Artefacts from seven Victorian shipwrecks on a reimagined dinner party (Figure 7). Although coming from different shipwreck sites, these artefacts start to suggest that the museum can be organised in specific themes to exhibit the collection.

Figure 2: Wreck of the “Loch Ard”, Painting

Figure 3: Ship in a Bottle, Poem

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Figure 4: Loch Ard Site Map

Figure 5: Railway Iron and other Heritage Items

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Figure 6: Fragmentation of Loch Ard Wreckage

Figure 7: Peacock Majolica Figurine

Figure 8: From the Deep: bottle from Loch Ard wreck

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Shipwreck Studies: SS Yongola The SS Yongola (1911) prior to its wreckage was a luxury passenger vessel, iron-hulled screw steamer. It sank in 1911 in Cape Bowling Green Bay, Queensland during a cyclonic event, and was regarded as one of the best diving spots in the centre of the Great Barrier Reef Marine Park. 122 passangers and crew lost their lives when the vessel sank, which bacame a significant gravesite for people. The wreck serves as a productive artificial reef system and home to hundreds of marine species (Jewell, 2004). This provides a different perspective to shipwreck impacts on the marine ecosystem, and studying this provides greater understanding to the process of marine colonisation and wreck disintegration.

The conditions of these shipwrecks can vary depending on the depth of the shipwreck and water movement.

In general, the wreck will experience lower rate of corrosion with increasing depths. However, corrosion is greatly reduced when a layer of ferric hydroxide forms on the metal and later covered by another layer of marine organisms that forms a protective concretion over the surface of the wreck (Edney, 2006).

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This natural process of concretions is particularly interesting because it provides strength to the disintegrating structures or artefacts and forms a protective layer to retain the detail of artefacts.

The materiality of the museum could intergrate a similar logic to its exterior, forming a layer of concretion that would protect the artefacts contained within, and housing an external ecosystem.

Figure 9: SS Yongala

Figure 10: Artificial Reef on the SS Yongala Shipwreck

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The Collection Shipwreck and their artefacts are unique in their way.

They provide glimpses of the past, each with a different story to tell. The significance of these underwater cultural heritage is that it offers possibilities for future generations to study our history and human behaviour.

Since ships were effectively sealed off from the world in their departure, each element of culture was enclosed in a sort of ‘time capsule’ (Edney, 2006). The opportunity to exhibit these artefacts to the public will indefinitely attract a broader audience as it has a historical, cultural heritage and educational value.

There will be a challenge to how the remains of the ship be conserved on dry dock and safe for visitors to observe. After spending decades under the ocean, these remains of the ship can be extremely fragile. Precedents in the following research will provide guidance to how the operation could be achievable. There’s an interesting approach in keeping the shipwreck conservation as part of the staged spectacle to the public. The conservationist will no longer require to work behind the ‘white cube’ of the museum. Instead, their efforts are highlighted to the public, which could serve as another educational 16

platform to the greater audience. This exhibition will attempt to blur the boundaries of the front and back of house operations.

Conditions for shipwreck artefacts may vary, some require high security, thus casing for highly valuable artefacts will be required.

An “Ocean box” which is challenging the traditional black box and to display projections of the photogrammetry shipwreck site to the public without having to diving 50m below the ocean. This can function as a tool for future archaeological researchers to study the wreck sites.

A Marine Sediment repository which will house collection and storage of sediments near the shipwreck site to monitor the ocean health.

1. Shipwreck Recovery

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2. Shipwreck Artefacts

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4. “Ocean Box”

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5. Marine Sediment Core Repository Cast in resin

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Mary Rose Museum, Portsmouth UK Wilkinson Eyre & Pringle Brandon Perkins + Will The Mary Rose Museum offers a unique program for the exhibition in terms of designing the museum around the shipwreck. The legendary warships remains were discovered in 1971 on the seabed near Portsmouth with half of the starboard hull preserved by the silt.

The remains were salvaged in 1982 and unveiled 19,000 sixteenth-century artefacts that give insights to the history of Tudor life. (Richardson, 2016) The ship’s carcass was transferred to a dry dock at historic Portsmouth Dockyardand has remained there ever since.

The museum had to be constructed around the ‘hotbox’ while the drying process continued uninterrupted. So the designers took an inside-out approach, cradling the hull at the centre of the new museum (Ijeh, 2013). It was interesting how the set of physical and environmental constraints had a significant influence on the design process.

Perhaps the most successful aspect of the design was how the museum section was organised as a mirror inversion. The salvaged hull of the ship located on one side directly facing a virtual hull that contains galleries of 22

the ship’s artefacts. The mirroring concept interestingly corresponds to the original deck levels, which provided historical authenticity to the wreckage. The galleries have low ceilings with three levels of the gangway to evoke the sense of claustrophobia being under the deck, promoting an intimate feel with the artefacts.

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entrance shop cafe restroom west gallery east gallery context gallery

offices conservation room equipment room staff room classroom shiphall storage plantroom

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Figure 11: Mary Rose Museum exterior

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Figure 12: Mary Rose Museum gangway gallery

Figure 13: Mary Rose Museum artefacts

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The Mary Rose ship’s hull has gone through an extensive conservation efforts to preserve it due to its fragile state after spending four centuries underwater.

It is required to be sprayed with a chemical wax solution called ‘polythylene glycol, a preservative used to prevent the wood from shrinking (Bass, 1998).

The spraying process went on uninterrupted from 1994 to 2013. The next phase of drying-out was also crucial as the hull was enclosed in a ‘hotbox’ at a constant temperature of 28°C (Lane, 2012).

The volume in which the shipwreck sits in would require adequate space to accomodate walkways and spaces to work for conservations.

Figure 14: Mary Rose conservation works

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Shipwreck Exhibition Vantages

Vantage Levels & Spatial Requirement

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The Hill House Box Carmody Groarke The Hill House Box is designed as a temporary enclosure that provides basic shelter to the heritage building while conservational work occurs beneath it.

Unlike many other renovation work wrapped with conventional scaffolding, the architects took on a unique approach in designing the shelter with elevated walkways that go around and over the house. The enclosure functions as a museum that allows visitors to observe the renovation in progress. (Carmody Groarke, 2019) The temporary museum is covered entirely with a stainless-steel chain-mail mesh supported by crossed braced steel frame (Carmody Groarke, 2019). This project allowed the visitors to maintain a visual connection to Mackintosh’s architectural icon rather than confining the house away from view.

The temporary museum is highly successful in engaging with the public desire to observe the heritage building rather than treating it as a simple renovation task.

Similarly, this project can be compared to the Mary Rose Museum in terms of staging the artefact a spectacle 28

for the visitors as both artefacts have extraordinary historical value in their own right.

Figure 15: ‘Big-box’ temporary museum

Figure 16: Steel frame pavilion protecting Hill House

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Atmospheres Iron is commonly used with an interesting array Language of these panels into how the facade

as shipbuilding material of panels on the hull. can be carried forward or interior treatment.

Perforation on the facade might offer interesting effects to allow dapple light into the gallery spaces, achieving similar effects to atmospheres of actually diving in a shipwreck site. The state of rust and corrosion underwater will serve as a reminder for the public and leave behind a strong memory after visiting the museum.

The underwater marine sediment core gallery atmospheres could be interesting to have a view into the Yarra river in conjunction with the display of sediment cores. The lens into the river can serve a research purpose for the city to monitor its waters.

Figure 17: Iron Steel Panels

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Figure 18: Perforated corton steel Panels

Figure 19: Light rays into shipwreck

Figure 20: View into the ocean

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2.0 Site

Mapping, Site Analysis

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The Tragedies of Shipwreck The regional map illustrates the vast number of vessels that have ended up on the ocean floor along Victoria’s coastline. When the map is overlayed with the bathymetry ocean underwater depth and topography, it is clear to see why that is the case. The bathymetry highlights the narrow passage called Bass Strait, became even narrower by King Island and jutting Cape Otway.

With less than half of the 780 shipwrecks discovered, many ships were still unknown from the database.

Many ships sailed across the dangerous ‘Great Circle’ route and towards Victoria’s treacherous coastline, enduring wild seas generated from perpetual storms.

The navigation across these oceans does not come easy and requires significant knowledge and exceptional navigational skills.

The map raises questions on the amount of potential damage the shipwreck have on the marine ecosystem in the ocean.

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Dispersed Maritime Collection Unlike many other major port cities, Melbourne has yet to properly recognise its maritime legacy, with tangible evidence of significant maritime collection scattered all over the Victoria. Non-profit organisations often manage many of these valuable artefacts with untrained volunteers who lack technical skill to care for these collections, and without professional curatorial experties to exhibit.

This fragmented collection lacks connectivity to the community with limited exposure to the public. For example, Heritage Victoria had a comprehensive collection of maritime archaeological artefacts which are kept away and often not accessible for the public.

The design of a Maritime Museum in Melbourne aims to assemble these fragmented pieces of maritime artefacts with the objective to create a permanent home to showcase Melbourne’s vibrant maritime heritage.

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Melbourne: Docklands

Melbourne: Williamstown

Eastern Victoria Coast

Western Victoria Coast

Figure 21: Steam Tug Wattle

Figure 24: Seaworks Maritime Museum

Figure 27: Victorian Maritime Centre

Figure 30: Queenscliffe Maritime Museum

Figure 22: Polly Woodside Museum

Figure 25: HMAS Castlemaine

Figure 28: Port Albert Maritime Museum

Figure 31: Flagstaff Hill Maritime Village

Figure 23. Shrine of Remembrance

Figure 26: HMAS Castlemaine Museum

Figure 29: Port Welshpool Maritime Museum

Figure 32: Portland Maritime Discovery Centre

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The Rip and Port Philip Bay The government had invested substantially in port and harbour infrastructure at the end of 19th century which planned to stimulate the economic development of the colony through trade and settlement (VEAC, 2019).

The Rip at the entrance to Port Phillip Bay between Point Nepean, Lonsdale and Shortlands Bluff was the only way in and out of the bay. It was extremely narrow and dangerous for shipping with limited channels for safe passage. Dredging of the seabed became necessary to remove the significant hazards and provide safer and faster access. Although the infrastructure did facilitated the growth in a good way, the developmental process had significant environmental impact to the local wetlands, as well as underwater topography.

Other aids were developed in response to maritime disasters, coastal navigational lighthouses along the Bass Strait were constructed in hope to prevent such disasters. While it did reduce the frequency of accidents along the coast, it could not prevent the tragic wreck of the Loch Ard in 1878 along with 52 lives.

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The City and Water The gold rush of the 1850s brought an influx of population into the city. While the gold did not last forever, the population and the wealth stayed, sustained by wool, finance as well as manufacturing (Dovey, 2005). The city also gained international interest and was fuelled by British investment, entering an era known as ‘Marvellous Melbourne’, and claiming Australia’s largest city and financial capital.

The city context map also indicates the historic Yarra River course and several other hidden wetlands of Melbourne. These lost waters bodies and the altered landscapes were ultimately the results of the urbanisation of Melbourne. Continuous alteration of the landscape, as well as the underwater topography, has been in the service of the city to meet with growing population, trade, export and shipping transportation logistics, which took a heavy toll on both the fragile land and marine ecosystem.

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The Divide The map shows how the relationship between the city and the water was much severed by the Spencer Street and Flinders Street railway corridors, which disconnected the city and the water ever since.

Accessibility in Docklands was also constrained due to the Yarra River, Victoria Harbour, the Marvel Stadium, and surrounding arterial road and networks. The walking distances between destinations in Docklands are also rather significant considering the size of the Hoddle Grid is about the same size as Docklands.

Marvel Stadium Southern Cross Station

The selected site attempts to reconnect the city to the water by creating a link with Melbourne’s maritime heritage, allowing the people of the community to reconnect with the city’s seafaring history.

Melbourne Convention and Exhibition Centre (MCEC)

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Mission to Seafarers Victoria

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Site History Fast forward to the gold rush era, major public engineering works were commissioned at the end of the 19th century to facilitate the influx of immigrants and trade into the city. This included the creation of the Coode Canal on the Yarra River which aimed to introduce a smooth curvature for the ships to navigate, diverting the river course into a wide, deep canal along a direct course from the city to the river’s mouth. A Large Dockyard, now known as the Victoria Harbour is also created to facilitate loading and unloading cargoes (VEAC, 2019).

Shipping development also influenced the maritime infrastructure of the city. As iron-hulled vessels and steamers gradually replaced wooden sailing vessels, jetties along the Port Philip had to be extended.

Channels of the river are widened and deepened to accommodate larger ships. Surviving evidence of these can be seen in the Duke and Orr’s Drydock, where the barque Polly Woodside currently resides. Series of goods sheds and wharves along the Yarra River is constructed to carry cargo from the ships. Shipbuilding and repair industries also emerged along the river. A Mission to 40

Seafarers branch was established in Melbourne close to the busy Yarra River wharves to provide practical care and moral support to the seafarers.

Very few of these maritime infrastructures remained today, after the closure of the river in the completion of Charles Grimes Bridge in 1975, these sheds and wharves were made redundant (Lovell Chen, 2018).

The historical significance of the site in relation to the strong connection to its maritime history and engagement of the waterfront presents an opportunity for a renewal of the redundant wharf sites. Thus, the site of the Museum of Maritime Artefacts will situate on the existing Goods Shed 5 beside the Mission to Seafarers Victoria building.

Figure 33: Coode Canal and Victoria Harbour Proposal

Mission to Seafarers

Duke & Orr’s Drydock

Mission to Seafarers

Figure 34: Yarra River Wharves in 1930s

Figure 35: Busy Wharves and Goods Sheds along Yarra River

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Site Context The context of the surrounding greatly influenced the site selection choice. Nevertheless, being on the river’s edge was a crucial factor as the design of the museum might inhabit the space within the river and leading the visitors into the water to create better engagement with the Yarra River.

Historical heritage around the site, for instance, the Mission to Seafarers building and the Polly Woodside sail ship permanently placed in the Duke and Orr’s Drydock. The project aims to build a stronger connection between the city and its water bodies such as river and ocean by using remnants of maritime artefacts to draw public awareness and attention to the past and present issues of the shipping industry.

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Figure 36: Mission to Seafarers Building

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Figure 39 Melbourne Convention and Exhibition Centre

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Figure 42: Charles Grimes Bridge

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Figure 37: Seafarers Bridge

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Figure 40: South Wharf DFO

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Figure 43: Jim Stynes Bridge

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Figure 38: Polly Woodside on Duke/Orr’s drydock

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Figure 41: Webb Bridge

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Figure 44: Kangan Institute Automotive Centre

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Sunpath Study

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3.0 Concept Design

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Program Organisation Exhibition Spaces: • Shipwreck gallery • Navigations Gallery • Cultural Gallery • Underwater sediment core gallery • “Ocean Box” gallery

other programs: • Reception • Management • Library • Classroom • Auditorium • Storage • Services • Toilet

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Tectonic The series of image studied ship elements to begin formulation of tectonic language in preparation for the design of the museum. Shipwrecks are always seen fragmented, with the content scattered around the wreck site. Natural forces of sea currents and water movement moved them around and eventually settle on the ocean floor, buried by sediments or became productive artificial reefs. The destructive nature of the wreck becomes a key composition strategy for the organisation of the museum.

Observation of Melbourne’s historical images captures the busy wharves along Yarra River. Sights of the ships funnel and sail masts rigging are familiar sights of the past. The funnel can afford as a wayfinding device on the proposal, creating a centrepiece for the rest of the site.

The framing and rigging tectonic are structured and ordered. This can juxtapose with the chaotic nature of the destructive force of the shipwreck fragmentation, as it controls and balances the composition forms.

Wreckage

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Concept Parti Testing The diagram explores how a scene of a shipwreck can be interpreted in architectural forms. The strategy used in the concept was a clear penetration of the form, breaking and scattering the other masses into multiple volumes surrounding the site, each housing a specific gallery. The penetrating element allows for connectivity and access into the wreck site for the public to discover the leftover wreck scene. The extended linearity of the circulation space connects the city to the water; it can be interesting to explore in the 3-dimensional form.

Further testing of the overall composition will be required to experiment how can the gesture of a wreck be materialised into architecture while implementing the proper programs and gallery planning.

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Form Testing v1

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Masts Rigging The Masts rigging tectonic represents the characteristics of the historical sailing ships. Rigging around the masts acts as supports for the masts to maintain the stability, the logic of tensile structure around the masts design act as further support for the structure to be manipulated in different angles and directions.

For further exploration of the masts language, form research of Enric Miralles’s Olympic Archery Ranger was done. Although the canopy of the roofs in his project is much heavier, he still managed to manipulate the support elements in different angles and directions in 3 dimensions. The way that the tensile rod crossed paths with the angled primary structure while allowing circulation to occur underneath was impressive, allowing for more permeability rather than just acting as of columns. The logic can be applied to the design of the mast to bring better connections to the exterior forms as well as hanging artefacts in the outdoor gallery spaces.

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Olympic Archery Range Enric Miralles

Figure 45: Assembly Elements

Figure 46: Perspective of Archery Range Elements

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Form Testing v2

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Form Testing v2

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Form Testing v2

Valuable Artefact

Seafaring History Staff

Observation Deck

Shipwreck Restoration

Seafaring Research/Storage

Plant room Marine Waste Repository Water Sample

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4.0 Sketch Design Development

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Shipwreck Tectonics To further develop the form, shipping elements of a historic ship were studied to understand how the ship works in general. While the ship’s sail rigging and masts were explored previously, more ship elements were discovered during this exercise. The repetitive nature of ship structural framing, for instance, establishes a firm structure and allows iron panels to be installed on the exterior of the ship to endure harsh conditions during a voyage in the ocean. However, once compromised and sunk to the bottom of the ocean, remnants of these structure were mostly visible in shipwrecks, along with other elements that are fragmented and scattered across the shipwreck site. When discovering shipwrecks, marine archaeologist typically looks for the structure of the hull and other prominent parts of the ship to begin, the repetitive framing of shipwreck then becomes a vital wayfinding device for shipwreck discovery. This logic of discovery and wayfinding of the tectonic is applied to the project.

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Ship Funnel

Sail Rigging & Masts

Walkways & Deck

Pipes & Valves

Ventilator

Cargoes

Hull

Framing

Paneling

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Materiality As mentioned previously in the shipwreck study of SS Yongala, the phenomena of corrosion and concretion that occurs on the surface of the shipwreck after a long period of time underwater can serve as a multilayered facade system for proposal building material.

The layered facade system will then create protective skin for the artefact inside, echoing the collections of the museum.

Reclaimed timber from the piers of the north wharf can be utilised for thresholds between the fragments of the volumes and assemble.

Corton Steel

Biological Concrete

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Textured Concrete

Reclaimed Timber Boards

Sunlight and the shipwreck As the precedent study of Mary Rose Museum suggests, the gallery was dimly lit and only used artificial lighting around the shipwreck gallery, due to the sensitivity of sunlight has to the 400-year-old relic. This factor has influenced the design of the roof for the shipwreck gallery and allowing only indirect light into the gallery space.

Another design decision has to do with the way the shipwreck gallery is sunken into the ground. This is to optimise the viewing experience as shipwrecks are generally very large, which required a certain height and volume to house it.

Shipwreck Exhibition Vantages

In form testing version 3, attempts were made to combine the galleries, to address the vastly dislocated forms from before that created disconnectivity with the museum. However, the section looked homogenous and less interesting; it also contradicts with the concept of wreckage.

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Form Testing v3

Shipwreck Artefacts

Ocean Gallery

Shipwreck Restoration Catwalk

Management Gallery Management

Lift

Plant/Service Room Waste & Sediment Repository

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Form Testing v3

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Form Testing v4

ocean box

Early settlement exhibit shop

Outdoor vessel exhibit Shipwreck exhibit

Theatre

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Maritime History of Melbourne Gallery

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Ocean Box Gallery Management

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Conservation Lab

Underwater Sediment Repository

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5.0 Sketch Design

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Shipwrecks on the Victorian coast provide moments of the past with unique narratives of the events as they are tangible evidence of the people’s history with insights to their social, cultural and economic development.

However, they remain inaccessible to the public, hidden on the ocean floor and unknowingly causing harm to the marine environment.

The proposal of the museum aims to resurface shipwreck artefacts as objects of the past and the issues surrounding wrecks deteriorating in the ocean with the risk of pollution leakage. Conventional methods of engaging with marine archaeology will be reconsidered for the people to commemorate the events of the past.

Isometric

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Week 09 Design Iterations

Site Plan

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6.0 Refined Design Developement

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The size of the shipwreck gallery was vastly misunderstood from the beginning, as very little space are allocated to the shipwreck remain. The cradle supporting the shipwreck requires further detailing to determine how it can influence the form architecturally.

The dimensions of the Mary Rose Museum shipwreck cradle were referenced to provide a clearer understanding of the gallery size.

Further designing of the underwater sediment gallery is required as the current form following the verticality of the sediment cores and the chamfering edges of the section are not benefitting the curation of the internal experiences. A new strategy is required to rethink the underwater gallery experience.

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Week 10 Design Iterations

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Collections Categorisation To better understand how the gallery spaces can be designed, collections are categorised in sizes as it can influence the number of spaces that the galleries needed, For example, the shipwreck gallery required a large space to house the artefact. Some artefacts that do not require protection can be exhibited on the outdoor where they can in interacted with the visitors. these include medium-sized collections like the anchor of the ship, and smaller sized boats can be placed within the masts circulation Galleries are divided into four main volumes. The cultural aspects of shipwreck and historical items can be housed close to the main entrance on the east side, whereas the back of house and ocean box gallery can be placed on the west side for vehicles to unload. The shipwreck gallery will be the largest and therefore placed beside the river edge. Lastly, the gallery of hidden layers is placed underwater with the entrance between the shipwreck gallery and the west outdoor heritage ship gallery.

Image sourced from Victorian Collections, 2020

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Week 11 Design Iterations Following the last iteration, the form had moved away from the very linear planning scheme in sketch design, and introduced a new dynamic into the form. Where the last iteration allows the visitors to see a clear path through the valley of the buildings, the new iteration now carves out selective views and access from different nodes to created unexpectedness and encounter, providing the visitors with a sense of discovery through the fragments. The exploded diagram begins to visualise the repetitive tectonics of the masts and portal frames as wayfinding and connection for the fragments of galleries. The frames lead the visitors right in the middle of a plaza where outdoor gallery displays are hung off the masts and several other outdoor artefacts.

The underwater sediment gallery was refined into an elongated form instead of going deep under the tiver and introduced a lens into Melbourne’s river health.

The journey into the river begins by descending the visitors into the river with stairs as if they are diving deep into the waters. They will be introduced with a forest of sediment cores before reaching an end of the gallery confronted by the Yarra River’s health.

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Exploded Tectonic Diagram

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Perforated Facade Screens The perforated facade screens and irregular openings simulate the decaying process of an iron shipwreck.

Corroded areas break off, allowing opportunities for occupation within the structure. Underwater, these openings allow sea life to move into the nooks and crannies of the wrecks to seek shelter from larger predators which might otherwise be exposed on the ocean floor. The design of the screen panel (1mx2.5m) utilises two distinct patterns to recreate the rich experience of being immersed within a decaying shipwreck, a gridded pattern with varying densities as well as an irregular pattern that ‘eats’ into the panel, which creates unexpected openings visual connectivity and partial light to penetrate the space. The screens also serve as a reminder of the impairing state of these shipwrecks, at risk of leaking harmful chemicals and fuels into the environment.

2.5m

1m

85

Partial Views, Light & Shadow

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Facade Details

87

Week 12 Design Iterations

88

89

90

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Perspectives

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Gallery Atmospheres

93

7.0 Refined Design

Museum of Maritime Artifacts

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Timeline The timeline collage illustrates the events happening from the past with the country’s relationship with arriving ships, exploration, colonisation, migration and trade. There were several unfortunate events where ships are wrecked on their way to the treacherous Victorian coastline. Wrecks like many archaeological finds, preserve tangible evidence and narratives of the people’s history with insights to their social, cultural, and economical development. When properly decommissioned, wrecks can create artificial reefs than benefit the ocean. However, they can also have adverse repercussions on the marine environment The proposal draws on the city’s maritime history to preserve these events and resurface these issues to educate the public.

Concept The concept of the proposal is Wreckage and Assemblage, drawing on the abstract tectonic of ships and the historical wharf buildings in fragmented planar languages that sculpt different perspectives, connected and brought together the body of artifacts by the repetitive elements, guiding the visitors throughout their own journey of discovery.

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Timelime Collage

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Concept & Tectonic Collage

97

Diagrams

98

Diagrams

99

Diagrams

100

Diagrams

101

Diagrams

102

Diagrams

103

Parti

104

105

4

5

1. Sediment Core Gallery 2. Yarra Riverbed Gallery 3. Yarra River Viewing Area 4. Shipwreck Preservation 5. Plant Room 2

1

3

BASEMENT FLOOR PLAN

106

10

20

40m

Mission to Seafarers

ri Way Wurundje

8

11

9

7

12 10

15

14

13

17

Seafarers Rest

16 6

Jim Stynes Bri

dge

18

Yar ra River

GROUND FLOOR PLAN

6. Loch Ard Shipwreck Remains Gallery 7. Reception/Ticketing 8. Contemporary Shipwreck Gallery 9. Melbourne Shipping Gallery 10. Plaza/Outdoor Gallery 11. Ocean Box Gallery 12. Lounge 13. Conservation Lab 14. Meeting Room 15. Bike Parking 16. Steam Tug Wattle Display 17. Amphitheatre 18. Recreational Landscape

10

20

40m

107

22

23

21 27 24 26 25

19

20

19. Loch Ard Shipwreck Remains Gallery 20. Viewing Platform 21. Shipwreck Cultural Gallery 22. Shipwreck Migrants Gallery 23. Shipwreck Trade Gallery 24. Officce 25. Admin 26. Seminar Room 27. Kitchen

FIRST FLOOR PLAN

108

10

20

40m

Detail 3

Detail 2

Detail 1 1

2

3

4

5

Wurundjeri Way Yarra River 6

Existing Timber Piers

1. North Entrance 2. Plaza/Outdoor Display 3. Masts Seating 4. Loch Ard Shipwreck Remains Gallery 5. Lift Promenade 6. Sediment Repository 7. Sediment Core Gallery 8. Yarra Riverbed Gallery 9. Yarra River Viewing Gallery

SECTION

9

7

8

10

20

40m

109

Aerial Perspective

110

View Across River

111

West Entrance

112

Outdoor Gallery

113

Shipwreck Gallery

114

Hidden Layers Gallery

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Ocean Box Experience

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Ocean Box Isometric

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Details

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Details

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Details

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8.0 Bibliography

References, Figures

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References •

Bass, G. F. (1998) ‘History beneath the sea’, Archaeological Institute of America, 51(6), pp. 52–53.

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Carmody Groarke (2020) The Hill House Box. Available at: https://www.carmodygroarke.com/hill-house/ (Accessed: 29 August 2020).

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Dovey, K. (2005) Fluid City. Sydney: UNSW Press. pp. 30-45.

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Edney, J. (2006) ‘Impacts of Recreational SCUBA Diving on Shipwrecks in Australia and the Pacific: A Review’, Micronesian Journal of the Humanities and Social Sciences, 5(1), pp. 201–233.

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Fielding, K. (2003) ‘A pane in the past: the Loch Ard disaster and a few bits of glass’, Australasian Institute for Maritime Archaeology, 27, p. 1.

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Hosty, K. and Stuart, I. (1994) ‘Maritime Archaeology Over The Last Twenty Years’, Australian Archaeology, 39, pp. 9–19.

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Ijeh, I. (2013) The Mary Rose museum, Building. Available at: https://www.building.co.uk/buildings/the-mary-rose-museum/5054899.article (Accessed: 12 August 2020).

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Jewell, B. (2004) ‘The effectiveness on diver attitudes and awareness of underwater shipwreck values—SS Yongala, a case study’, Bulletin of the Australasian Institute for Maritime Archaeology, (28), pp. 43–62.

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Lane, T. (2012) The Mary Rose museum: Hidden treasure, Building. Available at: https://www.building.co.uk/focus/the-mary-rose-museum-hidden-treasure/5036231.article?adredir=1 (Accessed: 13 August 2020).

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Law, P. (1978) ‘The Loch Ard Centenary’, The Victorian Historical Journal, 49, No2(192), p. 95.

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Lovell Chen (2018) Berth No 5, North Wharf Heritage Impact Statement. Melbourne, pp. 2–5.

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Mörzer Bruyns, W. F. J. (2009) Sextants at Greenwich. Oxford: Oxford University Press. pp. 3-4.

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Peacock Majolica Figurine (2020) Victorian Collection. Available at: https://victoriancollections.net.au/items/4f72a48997f83e030860241d. (Accessed: 10 August 2020).

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Richardson, N. (2016) The best view of the Mary Rose in 471 years, Telegraph. Available at: https://www.telegraph.co.uk/travel/destinations/europe/united-kingdom/articles/mary-rose-museum-reopens-in-portsmouth/ (Accessed: 12 August 2020).

•

Spalding, M. (2014) Underwater Cultural Heritage As A Potential Environmental Time Bomb, National Geographic Society Newsroom. Available at: https://blog.nationalgeographic.org/2014/10/06/underwater-culturalheritage-as-a-potential-environmental-time-bomb/ (Accessed: 21 August 2020).

•

VEAC (2015) Historic Places Investigation. Draft Proposals Paper. Melbourne: Victorian Environmental Assessment Council, p. 18.

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VEAC (2019) Assessment of the Values of Victoria’s Marine Environment. Melbourne: Victorian Environmental Assessment Council, pp. 124–132.

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Figures Figure 1: Sextant. Museums Victoria Collections. Accessed August 20, 2020. https://collections.museumsvictoria.com.au/items/400366 Figure 2: Short, S., Wreck of the “Loch Ard”, 1878, Picture. State Library Victoria. Accessed September 01, 2020. http://search.slv.vic.gov.au/permalink/f/1o9hq1f/SLV_VOYAGER1796506 Figure 3: Gould, A., Ship in a bottle, Poem. Australian Poetry Library. Accessed September 1, 2020. https://www.poetrylibrary.edu.au/poets/gould-alan/poems/ship-in-a-bottle-0402043 Figure 4: Loch Ard Site Map. Heritage Victoria. Accessed September 1, 2020. http://vhd.heritage.vic.gov.au/shipwrecks/heritage/417 Figure 5: Railway Iron and other Heritage Items. Heritage Victoria. Accessed September 1, 2020. http://vhd.heritage.vic.gov.au/shipwrecks/heritage/417 Figure 6: Fragmentation of Loch Ard Wreckage. The Standard. Accessed September 1, 2020. https://www.standard.net.au/story/1474678/loch-ard-dive-to-hidden-history/ Figure 7: Peacock Majolica Figurine. Collections Victoria. Accessed August 31, 2020. https://victoriancollections.net.au/items/4f72a48997f83e030860241d Figure 8: Zweep,M., Bottle from Loch Ard wreck, 2016. HeritageVictoria. Accessed August 31, 2020. https://artsandculture.google.com/asset/from-the-deep-bottle-from-loch-ard-wreck-photographer-martin-zweep/FQEgu_tqCPZF3g Figure 9: SS Yongala. State Library of South Australia, B 28458. Accessed September 07, 2020. https://collections.slsa.sa.gov.au/resource/B+28458 Figure 10: Artificial Reef on the SS Yongala Shipwreck. Australian Geographic. Accessed September 07, 2020. https://www.australiangeographic.com.au/archive/wallpaper/2015/12/ss-yongala-shipwreck/ Figure 11: Wilkinson Eyre. Mary Rose Museum exterior. Accessed August 13, 2020. https://www.wilkinsoneyre.com/projects/mary-rose-museum Figure 12: Wilkinson Eyre. Mary Rose Museum gangway gallery. Accessed August 13, 2020. https://www.wilkinsoneyre.com/projects/mary-rose-museum Figure 13: Wilkinson Eyre. Mary Rose Museum artefacts. Accessed August 13, 2020. https://www.wilkinsoneyre.com/projects/mary-rose-museum Figure 14: Bass, G. F. 1998, ‘History beneath the sea’, Archaeological Institute of America, 51(6), pp. 53.

Figure 15: Carmody Groarke. Big-box’ temporary museum. Accessed Auguest 28, 2020. https://www.carmodygroarke.com/hill-house/ Figure 16: Carmody Groarke. Steel frame pavilion protecting Hill House. Accessed Auguest 28, 2020. https://www.carmodygroarke.com/hill-house/ Figure 17: Iron Steel Panels. Accessed October 6, 2020. https://aasarchitecture.com/2013/12/titanic-belfast-by-eric-r-kuhne-associates.html/ Figure 18: Perforated corton steel Panels. Accessed October 6, 2020. https://divisare.com/projects/16682-Caixaforum-Madrid Figure 19: Light rays into shipwreck. Accessed October 6, 2020. https://micheladipaola.it/million-hope-sharm-el-sheikh/ Figure 20: View into the ocean. Accessed October 6, 2020. https://www.thisiscolossal.com/2019/03/europes-first-underwater-restaurant-snohetta/ Figure 21: Steam Tug Wattle. Accessed September 27, 2020. http://baysteamersmaritimemuseum.org.au/4restoration.php Figure 22: Polly Woodside Museum. Accessed September 27, 2020. https://victorianmuseums.com.au/polly-woodside-melbournes-tall-ship-stor#3 Figure 23: Shrine of Remembrance. Accessed September 27, 2020. https://www.visitmelbourne.com/regions/Melbourne/Things-to-do/Art-theatre-and-culture/Architecture-and-design/Shrine-of-Remembrance

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Figures Figure 24: Seaworks Maritime Museum. Accessed September 27, 2020. https://www.weekendnotes.com/seaworks-maritime-museum/ Figure 25: HMAS Castlemaine. Accessed September 27, 2020. https://hmascastlemaine.org.au/exterior.php Figure 26: HMAS Castlemaine Museum. Accessed September 27, 2020. https://hmascastlemaine.org.au/museum.php Figure 27: Victorian Maritime Centre. Accessed September 27, 2020. http://www.maritimecentre.com.au/victorian-maritime-museum/maritime-exibits.html#prettyPhoto Figure 28: Port Albert Maritime Museum. Accessed September 27, 2020. http://yarrampa.customer.netspace.net.au/pamm.html Figure 29: Port Welshpool Maritime. Accessed September 27, 2020. https://www.tripadvisor.com.au/Attraction_Review-g552243-d13116474-Reviews-Port_Welshpool_Maritime_Museum-Port_Welshpool_Gippsland_Victoria.html Figure 30: Queenscliffe Maritime Museum. Accessed September 27, 2020. https://victorianmuseums.com.au/queenscliffe-maritime-museum#2 Figure 31: Flagstaff Hill. Accessed September 27, 2020. https://www.visitvictoria.com/regions/Great-Ocean-Road/Things-to-do/History-and-heritage/Maritime-history/Flagstaff-Hill-Maritime-Museum-and-Village#tab-overview Figure 32: Portland Maritime Discovery Centre. Accessed September 27, 2020. http://www.visitportland.com.au/maritime-discovery-centre/ Figure 33: Unknown, Coode Canal and Victoria Harbour Proposal, 1886. Accessed September 04, 2020. https://poi-australia.com.au/points-of-interest/australia/victoria/docklands/coodes-yarra-river-canal-c-1886/ Figure 34: Pratt, C., Yarra River Wharves, 1930, State Library Victoria. Accessed September 04, 2020. http://search.slv.vic.gov.au/permalink/f/1o9hq1f/SLV_VOYAGER1653868 Figure 35: Pratt, C., Busy Wharves and Goods Sheds along Yarra River, 1930, State Library Victoria. Accessed September 04, 2020. http://search.slv.vic.gov.au/permalink/f/1o9hq1f/SLV_VOYAGER1653868 Figure 36: Mission to Seafarers Building. Accessed September 21, 2020. https://www.visitmelbourne.com/regions/Melbourne/Things-to-do/History-and-heritage/Maritime-history/Mission-to-Seafarers-Victoria Figure 37: Seafarers Bridge. Accessed September 21, 2020. https://grimshaw.global/projects/seafarers-bridge/ Figure 38: Polly Woodside on Duke/Orr’s drydock. Accessed September 21, 2020. https://www.onlymelbourne.com.au/polly-woodside Figure 39: Melbourne Convention and Exhibition Centre. Accessed September 21, 2020. https://www.archdaily.com/331339/melbourne-convention-and-exhibition-centre-woods-bagot-2 Figure 40: South Wharf Good Sheds and DFO. Accessed September 21, 2020. https://www.probuild.com.au/projects/projects/south-wharf-dfo Figure 41: Webb Bridge. Accessed September 21, 2020. https://www.robertowen.com.au/webb-bridge-1 Figure 42: Charles Grimes Bridge. Accessed September 21, 2020. https://structurae.net/en/structures/charles-grimes-bridge Figure 43: Jim Stynes Bridge. Accessed September 21, 2020. https://www.coxarchitecture.com.au/project/jim-stynes-bridge/ Figure 44: Kangan Institute Automotive Centre. Accessed September 21, 2020. https://www.nationalcollisionrepairer.com.au/bendigo-kangan-institute-searches-for-a-vehicle-body-teacher/ Figure 45: Assembly Elements. Accessed September 3, 2020. https://buildingdocumentation.archi/buildings/olympic-archery-range Figure 46: Perspective of Archery Range Elements. Accessed September 3, 2020. https://buildingdocumentation.archi/buildings/olympic-archery-range

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